Tag: Vol. 32 No. 7

Buddy Miller has made a decent living as a sideman, playing guitar with Steve Earle and Emmylou Harris, and Julie Miller’s tunes have been recorded by Lee Ann Womack and the Dixie Chicks, but the couple’s most heartfelt efforts are saved for their own albums. On his new disc, Midnight and Lonesome (HighTone), Miller is […]

Todd Haynes’s best feature to date–a provocative companion piece to his underrated Safe (1995), which also starred Julianne Moore as a lost suburban housewife but is otherwise quite different. This brilliantly and comprehensively captures the look, feel, and sound of glamorous 50s tearjerkers like All That Heaven Allows, not to mock or feel superior to […]

Stephen Sondheim’s Grand Guignol musical, which tells the story of a vengeful 19th-century London barber who hacks his enemies into pieces and stuffs them into meat pies, is widely regarded as one of the composer and lyricist’s finest works. Until recently, however, Todd wasn’t performed in major opera houses. Excuses have been offered, some valid, […]

The best moments of the Free Associates’ improvised parody of NBC’s ER don’t dwell on specifics but capture the overall feel of the show–the nail-biting tension in the emergency room, the life-and-death urgency of every injury, the smug self-importance of its impossibly resourceful physicians. But BS also works well when it caters to the TV […]

One of the things I’ve always loved about paint is its near limitless potential–a gooey blop of color can become anything. Looking at Lisa Clark’s Spools, a grid of 18 elegant color photographs of spools of sewing thread, I realized that the same could be said of fiber. “Pictorial Seams,” an exhibit of works by […]