The Williamston Theatre founders are big-pond tested Midwesterners who love the small-town way of life, and believe that art can be a thread in the greater fabric of a community.
Can we use sad music any way we see fit? Or does the disclosure of pain oblige us to think carefully about the way we listen?
Guest blog by Curator contributor Rob Hays.
As music fans, we’re often asked to make comparisons and assign labels, often with the purpose of more narrowly defining our tastes and the attendant level of coolness we extract from them. Alterna-folk or lo-fi? Indie-noise or Art school punk? Too much like U2 or not [...]
We could benefit from studying the work of J.S. Bach and letting his statement of principle embodied in his late works challenge our assumptions that the emotional and the intellectual are mutually exclusive.
Football, like music, like dance, like much of life, is a study of chaos and disorder that men strive and plan and work to overcome, doing so only in moments, in glimpses of something more.
An interview with Justin Poole, creator and director of the Cross-Cultural Theatre Initiative.
Distributism sweeps the music industry.
Film & Television / Humanity / Music & Performing Arts / Social Justice
December 4, 2009The line between modernism and postmodernism, both in theory and in time, is blurred, but one thing is certain: in the last decade, we’ve subtly begun to move away from the lack of interest in morality and the relativism so prominent in the twentieth century.
It’s Jonathan Richman’s lack of snide irony that lets him indulge in wonder.