Because of classical music’s long-standing history of assimilation within the academic structure at Harvard, small groups of classical musicians have networks of support and paths to performance, whereas no similar systems for musicians in other genres seem to exist.
Honestly, the degree of commitment vis-à-vis the actual quality of the album is embarrassing. There’s something fundamentally lame about this wasted effort—the listener is left with a small kernel of pity for this anachronistic dinosaur of an album that makes it impossible to regard with anything more than condescension.
There’s a strange pleasure in beholding this album—like holding a high-grade, expensive drill or some other piece of uninspired utilitarian hardware.
“Concentric Rings in Magnetic Levitation” consists of 13 “rings” of sound focused about a central core. The rings themselves draw from a wide variety of sounds, including sine tones, a piano, percussion, and found objects, all presented in a periodic manner.
The Harvard-Radcliffe Dramatic Club’s production of “Bat Boy,” which runs until Nov. 23, wins points for consistency, wittiness, and overall polish. With a sophisticated, clever set and costume design, and self-aware actors who toe the line between the campy and the commonplace, “Bat Boy” takes a vivacious relish in the overall absurdity that permeates the production.
Journalist Maziar Bahari speaks to The Crimson about Jon Stewart's directorial debut, entitled "Rosewater," a portrayal of Bahari's imprisonment and torture at the hands of the Iranian government.
Despite minor narrative shortcomings, “Interstellar” succeeds on a grand visual and thematic level, as director Christopher Nolan's reimagining of the frontier adventure amidst a galactic backdrop of existential obsession.
“Marianne Moore became the important poet she was because of her resistance and her survival of her very oppressive mother,” said Linda Leavell, biographer and Beinecke fellow at Yale. “What I needed to do in this book was to tell the story of Moore’s family.”
Arts Board Staff Writers tell about the stories of the books that have changed them. In this installment, Victoria Zhuang explores her relationship with John Updike's "Higher Gossip."
Dylan R. Schaffer offers some hope for the music industry moving forward and offers some tips for becoming a thoughtful consumer of music.
The Harvard-Radcliffe Dramatic Club's production of "Three Sisters" infused the play with a 21st-century flavor, and its subtle wit engaged the modern audience while fully preserving the poignancy of the characters’ conditions. The play effectively made up for the lackluster performances of some of its lead actors through an ingenious use of props and stage design, which helped to deliver the emotional power that the blocking and acting largely failed to convey.
“’Tis a Pity She Was a Whore,” David Bowie’s newly released single off the upcoming retrospective “Nothing Has Changed,” blends classic rock music and modernism with flair typical of the iconic art rocker.
There are stretches of “pom pom” that are honest and quite beautiful. But Pink layers on so much irony that it is hard to know what to take seriously.
As a Shakespeare “problem play,” so named because it delicately toes the line between cookie-cutter comedy and tragedy, “Pericles” can be difficult to stage. However, the Harvard-Radcliffe Dramatic Club’s production that ran in the Adams Pool Theater from Nov. 7 to 9 managed to do it—and well, due to a strong core of actors.
If the love of your life and father of your children abandoned you for a younger woman, what would you do? And what if you had magical forces at your disposal? You might or might not go as far as Medea, the passionate antihero of the Harvard-Radcliffe Dramatic Club’s production of “Seneca’s Medea.”
“Street of Thieves” delivers well on the socially relevant elements of its premise but presents a plot with little electricity and a main character without much depth.
A new feature in which the Arts Blog suggests an artistic goings-on for the weekend.
Art imitates life, as life imitates art. This is especially apparent in “Three Sisters,” which runs on the Loeb Mainstage from Nov. 7 to 15. In this particular production, directed by Anna A. Hagen ’15 and co-produced by active Arts Executive Emma R. Adler ’16 and Andrew P. Gelfand ’15, renowned contemporary playwright Sarah Ruhl takes the classic Chekhov play and gives it a modern twist.