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Monáe’s headlining performance addressed diversity at Harvard and elicited praise, particularly in the wake of last year’s controversial artist selection.
Homework can wait and the latest episode of Game of Thrones will always be on HBO GO, but YOYO—You Only Yardfest Once (or four times, but you get the idea). For those who are unsure how to get the best out of that Sunday, here are some tips!
Today, the Kuumba Singers of Harvard College is a choir of more than 100 members. Its mission “to express the creativity and spirituality of black people through song” has endured over the years, though the group has experienced many changes and faced various challenges since its founding in 1970. “No one person can understand Kuumba completely,” the choir’s vice president Matthew S. Williams ’14 says. “It’s still a mystery to me how this group has been able to last and maintain so much of what makes it itself for so long.”
While the concert had its lows, the few peccadilloes pointed out here did not truly outweigh the many strengths displayed on stage. The orchestra was technically impeccable throughout the performance (or at least seemed so from a third-row balcony seat), and the music was nothing if not enjoyable.
Will Sissle of L.A. Jeff plays drums during band practice in the Lowell House basement.
Nicolas J. Schwalbe '14 of L.A. Jeff sings during band practice in the Lowell House basement.
Sampling has gained the approval of artists and critics alike. But while the artistic community sees it as an innovative device that should be continued, the law has lagged behind, creating a legal gray area that interferes with artistic innovation.
Upon meeting me, Sam Cooper ’14 of Hot Breakfast offers me a plate of oysters from Eliot dining hall and informs me that I am his Datamatch. This might be a conflict of interest.
The founding of the Krokodiloes out of the Hasty Pudding Social Club in 1946 marked the beginning of a capella at Harvard. In the last half century, a capella at the College has expanded to include many groups that comprise a growing but tight-knit musical community on campus.
Much of the album’s greatness comes from this mature and sophisticated treatment of free will, which transcends the teenage-rebel ballads of contemporary bands. Ronnie’s progress through the underworld begins with his judgment at the hands of an unnamed chorus that shows him his life as a movie, numbering to him his earthly virtues, but more importantly, his failings.
The opening chords of the album immediately set the feel of "Surrender to the Fantasy." They are dissonant and jarring, yet syncopated and steady. The jumbled pounding of a guitar, bass, and drum kit comes in unrelenting waves, one after another, assaulting ears.
This piece clearly brought forth the greatest enthusiasm from the ensemble, whose handling of the piece was immaculate and whose dynamic range made for a powerful experience.