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Call it anarchistic boorishness, an artist chomping on the hand that feeds him. But at least Thomas Bernhard is honest about why he welcomes awards — he wants the money, especially because the amounts, given European largess to its culture-makers, are considerable. My Prizes: An Accounting by Thomas Bernhard. Translated from the German by Carol…
Read MorePolish writer Marek Hlasko sometimes writes like Hemingway, but without the premium the latter placed on honor and grace.
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Melody is one of the things that keeps a song from floundering, no matter how in-your-face its rhythm and chord structure might be, which is something a lot of spunky punk bands tend to forget. The Damned always kept that well in mind.
Read MoreMatt Wilson’s album includes both beautifully performed musical settings and readings of Carl Sandburg poems.
Read MoreThe Fest’s music is mostly about audience participation — whether it’s dancing, sing-a-longs, or shouts of call-and-response.
Read MoreJavier Perianes proved himself one of the elite pianists of our day, playing with such deep, inward focus.
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Two very influential and brilliant Cuban musicians, Albita Rodríguez and Chucho Valdés, join together to make a fine album; Chilean guitarist/vocalist/composer Camila Meza serves up a potent mixture of jazz and lyrics concerned with social justice.
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The Arts Fuse welcomes a new character to its extended universe. Deanna Marie Costa, an editor and critic at the magazine.
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In this overstuffed show, Sturgill Simpson presented himself as someone who, after too long away from the stage, was back because he was in love with playing for the sake of playing.
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Dance Commentary: Trust Art, Not Theory
By Debra Cash A retrospective chronicles the four-decade career of radical dance giant Yvonne Rainer. Yvonne Rainer: Radical Juxtapositions 1961-2002 at the Carpenter Center for Visual Arts in Cambridge, MA What Rainer has been doing isn’t hard to see, as long as it isn’t theorized into academic incomprehensibility. Over time she has been called a…
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