Magazine
While Reid’s part of Immortal Voices hints at the heavens, Pangelica’s deals with darkness.
Abdu Ali's nomadic curatorial platform as they lay includes sound and performance art, poetry, and more.
MAWU: TheEndisTheBeginningIstheEnd is an eight-hour durational performance that combines the history of Juneteenth with the legacy of Lucy Parsons, the revolutionary labor organizer who fought for the eight-hour workday.
Musicians who already survive precariously have lost gigs due to Covid-19 cancellations and have had to figure out how to hustle through a pandemic
The art of the DJ is sorely missed while music venues are closed. Find out how five local DJs have adjusted to quarantine life and how to support them.
"I knew I had a gift with words when I started getting in trouble for speaking my mind without being disrespectful or explicit, but simply for the fact I was speaking the truth that a certain group of people didn't want to hear."
Baltimore-based musicianr Marino is inspired by 90s/2000s R&B, to trap music, to storyteller raps, and beyond
This week we are featuring online events that you can view from the comfort of your own couch plus a few ways to get involved locally. Stay home, stay healthy, stay engaged in the arts.
For a nominal cost, Baltimore residents can hire musicians to perform a few songs, stoop-side, at a safe distance for family, friends, and neighbors.
This Week we are featuring online events that you can view from the comfort of your own couch plus a few ways to get involved locally. Stay home, stay healthy, stay engaged in the arts.
If a good performance is one that resonates, then Collective Dreaming at MICA’s BBOX theater March 6 and 7, was spectacular.
Who are these people? What is their relationship? Why is it so damn awkward? It's an engaging hook for the audience that fits nicely with the farcical Clue-inspired supernatural whodunnit that follows in the second half of the one-act play.
Lola Pierson, who wrote the text and directed the show, frequently had the audience laughing—often at the very confusion that opera (and language) might perpetuate.
The 2009 musical, with book/lyrics by Maggie-Kate Coleman and music by Anna K. Jacobs, is ahistorical, apolitical, amodern, and absolutely entertaining.