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“Venus in Fur” could be best described as cheeky rather than kinky, more of a talky intellectual exercise than a zesty exploration of the allure of sexual domination and submission.
A real life collision of legends of stage and screen that took place almost 50 years ago is a seductive, but dangerous, idea for a play.
If you’re a fan of the podcast or the magazine, you know that Arts Fuse writers are sworn adversaries of the dreaded algorithm.
Maybe finally we’re reaching the Natsume Sōseki moment in the English-speaking world.
Berkeley’s Nelson reinforces my sense that many fine composers of the twentieth century have largely slid off the map because they did not cater to the obsession of many critics and academics with “the New at all cost.”
What a pleasure it is to revel in this work, which expresses enduring values in such an original way.
The second recording of William Alwyn’s searing opera confirms the work’s vitality and importance. It is one of the best and most accessible operas to have been written in the past few decades.
Ken Thomson’s Restless doesn’t hide from dark places or things; Oberlin Orchestra does right by Argentinian composer Alberto Ginastera.
Local film festivals like BUFF are keeping what’s left of the American film industry from turning into a massive IP holder churning out algorithmically generated slop for the masses.
Music Commentary: The Summer of Doja Cat — Never the Same Thing Twice
Doja Cat offers a glaring example of why the music industry’s new (albeit Big Brother-inspired) way of doing digital business is here to stay.
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