Hollywood has recently taken an interest in re-releasing old favorites in 3D, but this is a misstep. 3D has proven itself as a powerful cinematic tool, yet it is often used as little more than a promotional tool. Much of the success of the recent re-releases is due to the audience's nostalgia for the films, not the fact that the films are now in 3D.
The new single from Dale Earnhardt Jr. Jr. takes them into slightly synth-ier territory, but remains properly quirky and oddly sultry. New Kids On The Block begin to show their age with cut-rate and poorly-disguised Auto-Tune. Meanwhile, Chris Brown's new single is lyrically uncomfortable.
It used to be an accomplishment to make it through an entire Black Angels album in a single sitting. However, “Indigo Meadow” continues the work of its predecessor, “Phosphene Dream,” in stripping away this production in favor of a clear and classic style.
There’s something beautiful and useless about “The Invisible Way.” It certainly has the highest production value of any album Low has put out in their 20-year career, but for the most part it simply retreads the same musical concepts as those other albums.
You may not know much about Tyga. He also may not have been your top choice to headline Yardfest this year. But that's okay. The Arts blog is here to acquaint you with the untold joys of Tyga's oeuvre.
The gap in musicianship and technical skill between the strings and the rest of the orchestra persisted throughout the symphony. The strings were mostly excellent throughout, even providing some jaw-dropping moments such as the wonderfully formed interplay between the violins and cellos during the third movement.
Crimson arts editor Will Holub-Moorman explains who should win the Academy Award for Best Director.
Tom A. Lehrer '46, the piano-playing musical comedian and the subject of this week's Arts cover, is also a Harvard man. Naturally, then, he likes a good highbrow reference—and he's especially fond of giving shout-outs to German-language composers. For those of you not primed on your lieder, here's a playlist of pieces for piano and voice by the composers Lehrer referenced.
Comedian and teacher Tom Lehrer’s influence goes beyond the invention of the Jell-O shot and the composition of “Fight Fiercely, Harvard.” More than fifty years after his matriculation in Cambridge, Lehrer remains an icon of satirical music.
“Unapologetic” is her most enjoyable batch of songs since 2007’s “Good Girl Gone Bad.”
You may not have heard, but Harvard is hosting a football game this weekend. If you're a student and haven't picked up your ticket for The Game, today is the last day you can do so. Bring your ID to the Murr Center Ticket Office before 5 p.m. to claim your ticket. No, you can't send a friend with your ID to pick your ticket up. Yes, this means you have to walk across the river.
J. Michael Friedman ’97, the composer and lyricist for the Broadway musical “Bloody Bloody Andrew Jackson,” visited campus for a performance and discussion.
“After thirty-six steps—I’m a habitual step counter—we were met by the sound of a loud slap, as if a huge cut of roast beef had been flung against a stone wall.”
The Guy Mendilow Ensemble’s latest musical program, “Tales From the Forgotten Kingdom,” is full of contradictions—and that’s exactly how they like it.
"Local Business" a riveting, confrontational album in which immense energy collides with wrenchingly bitter lyrics to produce magnificent results.