An Alanis Morissette jukebox musical shows how mainstream culture is openly embracing the idea of a didactic or propagandistic role for art.
Mark Helprin’s latest novel, ‘Paris in the Present Tense,’ is an ode to fighting anti-Semitism, the beauty of music, and never giving up hope.
A question my four-year-old often asks me suggests the lessons of youth can be intellectually stimulating and penetrating.
For centuries, we’ve mythologized the sound and quality of Stradivarius instruments. Now, a blind test shows that audiences prefer the sound of new violins.
The people screaming about PBS, the NEA, and the NEH are the same people who helped tear down the arts in favor of the ‘counterculture.’
The opening bars of ‘2001: A Space Odyssey’ were meant to tell a story about human evolution and the Übermensch. Now they’re used to sell Pop-Tarts.
If there can be an argument for God’s existence based on aesthetic experience, why can’t there be a corresponding argument based on food?
Will it be a full-symphony banger, or will you opt to spend more time one-on-one with a solo piano number, working your fingers across the keys?
People used to drink too much wine and listen to Bach. Things aren’t different when you substitute Beck.
Beyonce thinkpieces load pop culture with more meaning than it can carry, and make us forget what can.
In a culture that celebrates youth, fears dying, and refuses to accept death’s inevitability, how is it that a funereal theme will not die?
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