Like Billie Holiday or Anohni or Lucinda Williams, Crain seems to elicit complicated ideas from a single morphing vowel, and to imply an opus’ timetable in a 3-minute song.
The Miami artist and Colombia native makes monumental and ironic charcoal drawings inspired by and commenting on the clash of cultures in Florida.
Thoughtful food and thoughtful dialogue have long trod hand in hand, and Jessica B. Harris’ work sits at the intersection between the two. Harris’ 2017 memoir “My Soul Looks Back” delves into her relationships with bright lights like Toni Morrison, Maya Angelou, Nina Simone and James Baldwin in Harlem during the ’70s, and her 12 […]
When a concert at the New Deal Salon involves Mann with her Arkansas colleagues and promises “unusual repertoire,” expect to feel like you’re being let in on a terrifically juicy secret.
Rev. Sekou is the next in Oxford American’s “Archetypes & Troubadours” series (see oxfordamerican.org/events for tickets and details), and he comes to the stage with some formidable experiences.
Arkansas State University opens three fall shows in the Bradbury Museum.
Full drum kits, electric violins, nose rings and covers of “Sweet Child O’ Mine” have made frequent cameos in DSQ’s sets — and maybe even more impressively, they seem to do it without any appearance of publicist-manufactured wackiness.
V.L. Cox's exhibit at the Delta Cultural Center addresses racism with sculpture.
Falletta’s conducting some of the juiciest, alluring pieces of music orchestras can offer up: Time for Three takes on Jennifer Higdon’s Appalachia-inspired “Concerto 4-3,” and the ASO interprets Ravel’s “La Valse” and Rimsky-Korsakov’s swelling, swooning “Scherazade.”