GIFs seem to have become a ubiquitous presence on the internet—the driving force for hugely popular websites, and a bone of contention for pronunciation-snobs the world over. But amid a superfluity of cats and reality show soundbites, there exist thoughtful, intricately executed GIFs that suggest the form is much more worthy of the label “art” than the casual visitor to BuzzFeed might think.
Not only has Common added a fresh sound to his brimming catalog of records, but he has also delivered an inspiring and apposite socio-political charge to the community dearest to him.
An album that cleverly draws from other genres and refuses to take itself too seriously, “Trouble in Paradise” proved that Elly Jackson is singlehandedly capable of laying down a fantastic pop album.
Directed by Jacob A. Brandt ’14, "Penelope", which runs from April 25 to May 3 on the Loeb Mainstage, gleefully collides the sublime with the ridiculous, transporting a mainstay of world literature to a banal, seedy modern-day setting. In the able hands of its four main actors, the Harvard-Radcliffe Dramatic Club’s production pulls off the play’s comic elements without passing over the sense of unease at the play’s heart.
“THUD Island” featured music closely tied to the group’s experiences on a “deserted” island. In the production, the group crashes on an island and must navigate back to Harvard’s campus for their show, only to find out that they were in the Quad all along.
In Nick Cassavetes’s no-holds-barred battle of the sexes, "The Other Woman" is full of scenes that go on long after any traces of comedy have expired.
“Dom Hemingway” features a bold and unusual storyline carried well by Jude Law and an excellent supporting cast.
“Lovers at the Chameleon Club, Paris 1932” is memorable only as an exemplar of the particular aesthetic badness that plagues so many novels produced today, even by decorated and commercially successful writers.
Neuman ties together his characters’ thoughts with an effective and chronologically elastic narrative, which magnifies the already staggering emotional and technical depth of his unforgettable “Talking to Ourselves.”
“World Peace” is almost one-dimensional in its charged character. The result is an unrelenting odyssey into the self-assertive character that is Morrissey—a world that while initially fascinating becomes exhausting.
Regardless of whether she’s comfortable with it or not, fame has set its sights on Sia, and it’s likely that “Fear,” far from innovative, yet still accomplished, will elevate the star to even higher strata.
Beverly might be Frankie Rose’s main focus moving forward, or a one-off side project, but “Careers” doesn’t ask a lot of questions that feel like they need answering in a follow-up.
On "X," Sheeran balances his traditional guitar pieces and overbearing vocals with mainstream rhythms, while discussing more personal events in his songs. These choices have given rise to a bold, refreshing album that displays Sheeran’s versatility and maturity.
How To Dress Well's newest, “What Is This Heart?,” is a highly accomplished progression that retains the authenticity of his previous two albums while honing a radio-friendly approachability.
“Ultraviolence” is steeped in despair, and in contrast with the heavily produced and sometimes jarring major-label debut “Born to Die,” Lana Del Rey's followup reaches a new level of sincerity.
For the second year in a row, contributing writer Andrew R. Chow is our eyes and ears into the annual Governors Ball, held on Randall's Island, New York City. This year, the festival featured everything from impressively executed banter to an offensively stupid shirt.
Despite the flashy packaging, "Donker Mag" lacks semblance of growth, except a few smidgens of thought that only serve to exacerbate the deficiency. Instead of feeling lively and saucy, everything ends up coming out well-executed but overblown.
“Animal Ambition,” which alternates wildly between well-executed rehashes of 50’s old sound and scattered attempts at a new sound, is another inconsistent entry in the artist’s increasingly frustrating recording career.
"Turn Blue” shows The Black Keys folded firmly into the mainstream, picking up tired grooves from Danger Mouse that he probably left lying around his studio two years ago.