New releases from The Jim Mullen Quartet, Caroline Kraabel/John Edwards, and Matthew Muneses/Riza Printup
Attila the Stockbroker Diary: December 1, 2023
The bard attempts to introduce the economics of the internet without being patronising, and wallows in his fortune as a south coast seabird
JAN WOOLF wallows in the historical mulch of post WW2 West Germany, and the resistant, challenging sense made of it by Anselm Kiefer
ANA ISABEL NUNES points to the empowering legacy of Augusto Boal’s Theatre Of The Oppressed
CARLOS MARTINEZ welcomes the publication of the writings of the great Palestinian author, political theorist and spokesman for the PFLP
The Star's critic MARIA DUARTE review Cottontail, Memoir of a Snail, Bridget Jones: Mad About the Boy, and Captain America: Brave New World
PAUL DONOVAN is fascinated by an account of the long history of Catholic Church’s involvement in espionage
ROGER McKENZIE welcomes an important contribution to the history of Africa, telling the story in its own right rather than in relation to Europeans
NOW, I don’t want to impugn the cultural awareness of our readers in any way, but I think it may be possible that if I tell you that yesterday was Bandcamp Friday and last Tuesday the launch of Spotify Wrapped, a few of you may not have the faintest idea what I’m talking about.
Spotify Wrapped is when the well-known streaming service (I’m not going to explain what one of those is, that would be ridiculously patronising) tells users what they’ve listened to and tells artists how many plays and listeners they’ve had over the past year.
Bandcamp Friday is when the well-known independent online sales platform waives its fees so DIY artists get the full amount from their sales.
More from this author
The phrase “cruel to be kind” comes from Hamlet, but Shakespeare’s Prince didn’t go in for kidnap, explosive punches, and cigarette deprivation. Tam is different.
ANGUS REID deconstructs a popular contemporary novel aimed at a ‘queer’ young adult readership
A landmark work of gay ethnography, an avant-garde fusion of folk and modernity, and a chance comment in a great interview
ANGUS REID applauds the inventive stagecraft with which the Lyceum serve up Stevenson’s classic, but misses the deeper themes
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