More importantly, the performance was recorded, to be released in 2017. What I like about this article is its stance on the establishment’s take on difference – even when that establishment is nontraditional. The atonal powers-that-be dismissed this out of hand, and we all know that (especially in the world of Carroll) most everything is nontraditional. There are no boundaries, and every adaptation, homage, new work, or revival should be evaluated not only as a derivative of Carroll, but also on its own merits, regardless of the context or even preceding work of the artist. Well done, Allan Kozinn.