MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
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Who’s paying the piano player?
PATRYCJA ROZBICKA surveys the manifestos and is frustrated by the lack of discussion of our music and night-time industries
NATIONAL TREASURE: Goat Girl plays Camden’s 100 Club, 2018
[Paul Hudson/CC]
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
The missing sister, the vengeful WAG, cruise ship claustrophobia, and reanimated Avengers
Three great releases of lost concerts by Duke Ellington Orchestra, John Taylor & Stan Sulzman, and Joe Henderson
To rescue Kahlo from the clutches of the corporate art market, we need to acknowledge the overt and covert political dimensions of the work, demands GAVIN O’TOOLE
SO far the British 2024 elections have been dominated by discussions on migration and fiscal responsibility. As a result, the space dedicated to arts, culture and music has felt relatively minuscule.
But there are important issues to be addressed in these industries, especially in the face of city councils slashing their culture and heritage budgets — such as Birmingham in February. This has been likened to creating a “cultural wasteland” and causing “cultural deprivation.”
Despite both parties calling the sector “world leading,” Labour and the Conservatives have failed to give any concrete commitments for funding the creative industries.
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PAUL W FLEMING is unequivocal that Labour’s unpreparedness and resulting ambiguity on copyright in the creative industries has to be reined in with policies that will reverse the growing abuse by Big Tech AI
OLIVER SNELLING, a south London stonecarver and yeoman stonemason, relates how he is helping bring about a new festival next month