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At the Global Cinema Film Festival, some look for love and life in all the wrong places.
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Betye Saar’s assemblages and travel sketchbooks are rich in references and symbols; they are mysterious and introspective, more spiritual than political.
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Others may hear a painfully flawed Latin jazz album, but what I heard was a brilliant postmodern ironic jam session in the mode of Ornette Coleman. I’m probably wrong, but I don’t care, because this album is a blast.
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What could have been a readable, informative, pleasurable book that would, much like Woody Allen’s recent film MIDNIGHT IN PARIS, enhance our experience of some of the modernist figures we adore wallows too often in brain-dead literary theory.
Read MoreThe most important takeaway from American Justice 2014 is the potential danger, from Epps’s perspective, of the growing influence of Justice Alito.
Read MoreDeath By Water plumbs the depths of the human condition in an entirely original way.
Read MoreIs it a sign of the times? On October 5, the New York Sun updated yet another art authentication controversy that’s been simmering since earlier this year. Like the better known Pollock Matter Affair (see past posts in Fuse Flash and Anonymous Sources), this one involves a filmmaker, art work that may or may not…
Read MoreBen Ratliff, Coltrane: The Story of a Sound (Farrar, Straus & Giroux) Reviewed by J. R. Carroll During an interview in Japan in 1966, John Coltrane was asked what he would like to be in ten years. Coltrane replied, “I would like to be a saint.” Lewis Porter, author of the definitive study John Coltrane:…
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Classical Commentary: “Rethinking the Repertoire” — An Introduction
It’s one of the enduring ironies of classical music that so much of today’s repertoire was written by such a small number of people..
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