The Harvard Crimson has undergone numerous changes, both online and in print, over the past two decades. These changes have shaped the newspaper's focus in both design and content.
On "Purpose," Justin Bieber and his myriad producers create a coherent new vision of the artist's persona.
The EP demonstrates that, if anything, Kline isn’t content to rest on her indie pop laurels but is still striving for more varied modes of expression.
Founder of Boston Fashion Week, Jay Calderin came to the Cooper Gallery to speak on its new exhibit "Black Chronicles II." Prior to his Nov. 15, Calderin spoke with The Crimson about his thoughts on the exhibit and his experiences as a leader in fashion.
In celebration of the 10th anniversary of the Harvard Dance Center, the Harvard Dance Program debuted “Gym Dances,” a performance of pieces made “in and for gymnasiums” that ran from Nov. 11 to 15.
Jude D. Russo has an existential meltdown over "Wings of Desire," Wim Wenders's masterwork.
Last Friday at the Charles Hotel, "The Lion King" and "Across the Universe" director Julie Taymor spoke about her own work in theater and film, the political power of the arts, and the challenges facing women in arts leadership.
"The Gold Eaters" paints a vivid picture of 16th-century Peru, with convincing perspectives from both the Spanish and the native side. But despite its accomplished tone of historical realism, as a novel it is somewhat lacking in plot depth and character maturity.
"The Big Green Tent" is not a book one may quickly breeze through, but Ulitskaya’s epic will reward patience, a love of literature, and an eye for detail with a brutally stark portrait of her homeland’s darkest years.
In its Nov. 11-15 production of Philip Glass’s “In the Penal Colony,” the Boston Lyric Opera provocatively explored issues of justice, torture, tradition, and authority. The result was modern opera at its finest: tense, daring, and darkly relevant.
On Nov. 10, the ICA held its first College Night to introduce college students to the fascinating world of contemporary art. This Roving Reporter attended the event, trying to figure out the meaning of modern art and to chisel away at the mystery of the perfect date night spot.
For 100 days, six hours a day, performance artist Marilyn Arsem will be at work in Gallery 261 of the Museum of Fine Arts, inviting visitors to view and even participate in her artistic process.
When visitors entered the Institute of Contemporary Art’s galleries this weekend, they encountered not a traditional piano concert but instead the startling sight of a Steinway, its strings laced with rubber and metal, upon which pianist Elaine Rombola played selections from John Cage’s “Sonatas and Interludes.”
"Noises Off," which runs Nov. 6-15 in Farkas Hall, is a farce presented as straightforwardly as possible; although this focuses attention on the actors and their excellent physical comedy, it also makes for somewhat unambitious theater.
“Ruddigore; or, the Witch’s Curse,” the Harvard-Radcliffe Gilbert and Sullivan Players’ latest endeavor, ran Oct. 30-Nov. 8 in the Agassiz Theater and brimmed with energy, well-rounded acting, and effective technical design,
Past and present members of the Harvard Opportunes came together for a jam on Nov. 7 that celebrated 35 years of co-ed acapella.
Ross Gay, one of the this year's Radcliffe Institute for Advanced Study Fellows and recent finalist for the National Book Award in poetry, sits down with The Crimson to talk about his recent and upcoming work.
Just as actors remain resilient through difficulty, even incorporating their adversities and triumphs into their work, others can do the same and “keep on keeping on” despite all odds.
The hipster’s attempt to avoid thinking about money while simultaneously enjoying the privileges that wealth provides points to the inseparability of their wealth and social image.