“Those who can’t do, teach.” It’s an age-old mantra and one commonly rejected by artists who double as educators. But for award-winning cartoonist and comics theorist Scott McCloud, the saying has always rung a little true.
Though we weren’t allowed to record this interview, we promise we took the best notes we could.
With “Crush Songs,” her first proper solo album, Karen O returns to the low-tech tape recorders on which she cut her teeth.
“When the People Cheer” is a haunting mood piece, a somber reminder that what The Roots do best has always been serious, top-shelf hip-hop.
Tree A. Palmedo reintroduces "For the Record" with a revisiting of Common's 2005 classic, "Be."
It’s at this moment, seeing her clearly through the smoke, that you realize you’ll never stop loving Annie Clark. Not if it’s the scariest thing in the world.
George Clooney's directorial efforts falter in "The Monuments Men," based on the true story of art conservation expert Frank Stokes.
"Rave Tapes" ushers in the New Year not with a bang, as the band might have done in the old days, but with a collection of mostly slow-burning compositions that add subtle new flavors to their traditional formula.
Incoming campus arts executive Tree A. Palmedo is, in fact, named Tree A. Palmedo.
To complement his detailed description of the song’s sound, Marcus finally played the recording of the song from “The Times They Are a-Changin’.” The audience sat in silence as they listened to Dylan’s recorded voice sing, “Well there’s seven people dead / On a South Dakota farm / Somewheres in the distance / There’s seven new people born.”
Even as “Reflektor” shows flashes of excitement, there’s no truly great song on the album. The rousing shout-along chorus of 2004’s “Wake Up”? The percussive, satirical hook of their last album’s “Rococo”? “Reflektor” has no moments like these. Too many tracks show potential and fail to deliver, a fault that carries over to the whole album.
Laughter filled the hall several times as Time magazine columnist Joe Klein moderated a discussion with a diverse quartet of terror and terrorism experts.
The Fogg Museum's galleries are closed now. One of the largest collections of art in the country, spanning numerous continents, periods, and media, has been under wraps since it closed for renovation in 2008. But from the remnants of the Fogg, a new structure has risen—devoted to broadening and refining the role of the "teaching museum."
Despite his own star power and screen presence, Robert Redford's most recent film fizzles due to a lack of focus or captivating action. Redford is the most interesting part of the film, and he greatly outshines his costars like Shia LaBeouf. "The Company You Keep" skirts around its most compelling questions and comes out fairly unentertaining.
"The Place Beyond the Pines" is Derek Cianfrance's second collaboration with Ryan Gosling, after 2010's "Blue Valentine." "Pines" struggles to hold together the disparate segments of its story, and it is only Cianfrance's strong sense of directorial style that redeems the film.