Amos maintains her trademark ethereal vocals and cryptic, pointed lyrics throughout “Night of Hunters,” yet also reaches beyond her established sound. The risks she takes are often successful, but some may be off-putting for those who are accustomed to her older work.
There comes a time, during a behind-a-desk internship in New York, when you realize that your only weekday exercise is the hurried walk back and forth from your desk to the shredder in the room next door.
The songs are not laden with superfluous frills or overly dramatic lyrics: instead, simple melodies confidently stand on their own and make the album play like a laid-back, ten-movement symphony—a cohesive work in which all the songs fit firmly into a well-defined aesthetic structure.
When Harvard students walk into the Coop, their main concern tends to be the price of textbooks, but some students have taken a greater interest in the bookstore. Ten Harvard students are currently running to join the 34-member board of the Harvard Cooperative Society. Although the Board can't lower the price of books, many of the candidates hope to open the lines of communication between the Coop and the student body.
With actors splashing paint and navigating through water onstage, it’s safe to say that the Harvard-Radcliffe Dramatic Club’s (HRDC) version of Christopher Marlowe’s “Faustus” is anything but traditional.
Isabel Q. Carey ’12 is the president of the Harvard-Radcliffe Dramatic Club (HRDC) and has been involved in an on-campus production every semester that she’s been at Harvard. As a member of the HRDC executive board, she also oversees more than 10 shows per semester.
A full house in Harvard Hall 201 on Tuesday, February 15 welcomed Yeston to Aesthetic and Interpretive Understanding 31: “American Musicals and American Culture,” taught by William Powell Mason Professor of Music Carol J. Oja.