When Beth Orton sings about how far we've come or how far we'll go, something rustles inside. Escape and sudden liberation somehow seem possible. You want to grab you car keys, let your hair go, and "roll away." Orton's voice holds familiar secrets that speak to us individually; she is an old friend,
A kind of charming darkness oozes between Morrissey and Johnny Marr of the Smiths. The combination of Morrissey's syrupy, melancholy voice and Marr's jangling, meticulously layered guitar breeds an infectious moodiness. Breaking away from the bawdy new-wave synth pop that characterized the early 1980
It's a strange world that casts decor as its main character. This is the world of the Brothers Quay, in which all kinds of incomprehensible objects and machines hold the stage while human characters remain at their mercy. Disjointed, dreamy, labyrinthine, and oblique, this is a theater of the unconsc
Michel Fokine approached the still-youthful art of ballet with fresh insight, revitalizing a form that had become saturated with spectacle. In 1898, after joining the Maryinsky Ballet, Fokine found himself dissatisfied with his beloved art form. It had been reduced to a circus act, as dancers showed