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Those uncomfortable with Wilson’s eccentricities suggest he should be admired, but dutifully, like a Roman statue stuck in the far corner of the lawn.
Read MoreThe stupendous Fritz Lang retrospective running over the course of this summer at Harvard Film Archive will soon screen two Lang remakes (in America) of films directed by Jean Renoir.
Read MoreSheila Jordan, to the club crowd in Central Square: “What do I care? I’m still alive.”
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As Alex Honnold observes, if he solos El Cap, it’s like winning a gold medal in the Olympics. But there’s no second or third place. If he fails, he dies.
Read MoreBy Caldwell Titcomb The American Theatre Critics Association, which moves around the country for its annual convention, this year spent a recent week in the nation’s capital and environs. The area houses 75 theatres – 43 in the District of Columbia, 17 in nearby Maryland, and 15 in the contiguous portion of Virginia. From the…
Read MoreThere was a memorial service for Caldwell Titcomb, invaluable friend of the arts in New England, yesterday in the Memorial Church at Harvard University. He passed away on June 12th of leukemia at the age of 84. The ceremony was moving and heartfelt, with memories shared about Caldwell as a friend, composer, critic, grammarian, teacher, brother, long-time President of the Elliot Norton Awards, and researcher in African-American history.
Read MoreSo what’s a hero to do but throw punches and kicks in the name of love and forgiveness?
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Exposure is a septet assembled to perform Robert Fripp’s quirkily diverse, overlooked 1979 solo album “Exposure” for the first time ever, in sequence.
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While the experience is new and otherworldly, it was daunting to realize that it had taken over a decade for Compagnie Käfig’s exercise in cutting-edge art and technology to reach the hinterland of Jacob’s Pillow.
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The guitarist led his razor-sharp band through two sets steeped in bluegrass that, at any given moment, could erupt into psychedelic jams, old-school country, metallic thrashing, or jazzy forays.
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Book Review: “Unfinished” Argues for AI as an Artistic Partner — But at What Cost?