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In this genial, colorful memoir, Leslie McFarlane reveals the long path to how, anonymously, he became author of the most best-selling series of boys’ books in publishing history, twenty million volumes and counting.
The season-long celebration of the fiftieth anniversary of Benjamin Zander’s debut as a conductor, which gets underway later this month when the Boston Philharmonic Orchestra (BPO) returns to the stage, doesn’t stint on festive spirit.
Wild Williams is a marvelous antidote for the formulaic.
“The Monkey” is a delightful exercise in black humor.
Two jazz writers for the magazine pay homage to the indispensable accomplishments of jazz writer Dan Morgenstern, who passed away on September 7 at the age of 94.
From the pounded opening bars of “Prove It All Night,” it’s revelatory to see a young, lithe Bruce Springsteen as he prowls his domain, cocks his guitar, and belts his impassioned vignettes of blue-collar struggles and dreams.
“Heat” is a fictional interview in which Dickinson asks uncomfortably intimate questions and then imagines the answers Seberg might have given.
This tender documentary makes an airtight case that cinema has lost a very special person.
If the first set was all about reminding us the breadth and depth of the talent in Billy Strings’ combo, the second set was all about dynamics and power.
As a soloist, Fred Hersch is a wonder: he plays with an active, to the point of restless, two-handed style that sweeps a listener along with its lyrical fervor.
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