Happy as Lazzaro is well-attuned to exploitation and misery, but it doesn't beckon audiences to shed tears. The real vision is a more cynical one.
Eula Biss's essay collection remains compelling not only for its elegant prose that melds politics and personal essay but because its subject matter may be even more relevant today.
From forward-looking electronic and experimental to new approaches in the ever-evolving R&B scene, from hip-hop and punk to rock and pop, 2018 bestowed an embarrassment of musical riches upon us.
Imagine John Yoko is a beautifully curated recollection of a song, an album, successive films, and the legacy of peaceful idealism from the people who made it happen and carry on with the message.
For a book so full of coded language, innuendoes, gossip, and rumors, Anna Burns' award-winning Milkman is perhaps really about silence.
Sponsored by the Library of Congress, Mostly Lost is an annual film workshop in which unidentified or mis-titled silent films are screened to an audience of scholars and fans who try to figure out what they are. Sometimes they succeed.
In his own words, let George FitzGerald guide you through the best work of his career and the best electronic album of 2018.
Colm Mac Con Iomaire is currently collaborating on dancer Maureen Fleming's Wildflowers performance in New York City.
The latest album from the Ukranian-born pianist Lubomyr Melnyk combines lush melodies with stunning instrumental technique.
On their first release from forthcoming album, TENDER examine the flawed character traits that we all possess on intricately refined pop song.
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