An investigative essay into the value of artistic representations of gore.
Though upon first listen, the nine individual tracks seem incongruous, even occasionally unpleasant, Medicine’s avant-garde approach to production and song structure is unapologetically itself.
Taylor Swift’s transition into a bona fide pop artist has been years in the making, and her metamorphosis is finally complete. “1989” is the result, and it’s arguably Swift’s best record to date.
The Pool has a small, relaxed feel to it, and "Carrie and Otis" is a small, relaxed kind of play. It doesn’t try to be thematically grand or artistically ground-breaking; instead, it tries to be sweet, pithy, funny, interesting, and generally fun. And it succeeds.
An image of armored police officers during the August riots in Ferguson, Missouri, sets the story of the Harvard-Radcliffe Dramatic Club's production of “Mother Courage and Her Children," which runs from Oct. 30 to Nov. 1 at Farkas Hall. The play’s promotional poster gives a small glimpse of the conflict that underlies the plot: smoke-filled darkness is pierced by the flashlight of a police officer’s assault rifle, illuminating the few dozen other officers around him.
“Birdman” is an exquisite, well-crafted, and inventive masterpiece that is not only another piece of evidence for director Alejandro González Iñárritu’s genius but also very likely to be the best film of the year.
Despite its imperfections, "Whiplash" is a frenzied exploration of music and perfectionism that showcases rising star Miles Teller's true-life drumming talent.
When Flynne Fisher—the protagonist of William Gibson’s new novel “The Peripheral”—agrees to cover for her brother Burton at his new job, she is under the impression that she is simply beta-testing a new video game. The reality is much more complicated.
To read a novel like David Bezmozgis’s “The Betrayers” in this mighty age of American literary mass-production is like getting to nibble on one of those small, precious slabs of black-market chocolate in “1984.” Aha! is the feeling: here is a book that recalls what fiction can do! Its quality is concentrated in every part, not scattered about and diluted.
Victoria Lin explores the dark, consumer driven push behind the rise in transgender modeling.
“Think about yourself and think about the ideal romantic relationship, the ideal friendships that you have,” director Cole V. Edick ’17 says of “Dogfight.” This production, which will run from Oct. 31 to Nov. 8 at the Loeb Experimental Theater, centers around U.S. Marine Corps officers on the eve of their deployment to Vietnam in 1963, their brother-like bond, and the girls who begin to threaten that close friendship.
The Harvard-Radcliffe Dramatic Club’s production of Jules Feiffer’s “Little Murders,” which ran from Oct. 17 to Oct. 25 on the Loeb Mainstage, was this year’s Visiting Director’s Project. Under director Shira Milikowsky, the play met the professional standard one has come to expect from the A.R.T.’s mainstage productions.
Gigi Kisela takes us inside the Harvard Photography Club with its president, Alex B. Young.
The Arts Blog looks at actors who have fallen into the curse (gift?) of Liam Neeson: typecasting.
Ultimately, the tapes are part of an ongoing journey towards understanding Stevens; nearly half a century after his death, the poetry community is still in the process of unearthing new truths about his life and work.
Run the Jewels’s second album takes the frustrated, heavy-hitting sounds of its predecessor and intensifies them, carrying them through 11 unrelenting songs.
“Black Ballerina” has musical potential when it comes to production, but extraneous elements like hazy verses and creepy spoken interludes alienate the listener.
Snow speaks like a guru. He has a gentle, slightly lisping voice, so it’s surprising when he puts mic to mouth and emits powerful, pounding drumbeats: loud, commanding kicks; high, bracing snares; delicate cymbals.