We are incredibly grateful to Food for Free and the many other community members who have worked tirelessly to provide alternative food sources, and our shelves are fully stocked in preparation for when we open our doors for the winter tomorrow night.
Mark J. Mauriello '15 speaks with The Crimson about the process of writing and directing his play "OSCAR at The Crown and the love that dare not speak its name," which premieres at the Oberon on April 15.
While tracks on “Doris” were kept somewhat positive by catchy melodies and appealing beats, it seems that Earl is abandoning all pretentions of cheeriness on his newest work.
Jennifer Bornstein's “Two Videos” is a synergistic piece of art that uses seemingly distinct videos to express Bornstein’s artistry and development.
The Harvard South Asian Association's Ghungroo marked its 26th anniversary with a three-hour celebration of South Asian culture through dance, music, and acting.
“I Love You, Honeybear,” is unexpected in many ways—from its format as a concept album to its display of an as-of-yet unseen side of Joshua Tillman, the man otherwise known as indie-folk-rocker Father John Misty.
Grammy-award winning conductor Vance George brought his unique perspective to the classroom and choir during his week-long residency at Harvard.
The opening of “Hood Billionaire,” Rick Ross’s newest album, is an imagined multi-million-dollar drug deal arranged via collect call from prison. “Intro,” this conversation-turned-opening-track, is an appropriate start to the album, since it’s about as clichéd and brazen as the rest of the material on “Hood Billionaire.”
Flyby picked out some of the gems from this year's UC campaign ad crop—whether they’re the most ridiculous or the most predictable—and collected them for you here.
Run the Jewels’s second album takes the frustrated, heavy-hitting sounds of its predecessor and intensifies them, carrying them through 11 unrelenting songs.
The role and power of the haiku as a form of poetry has been the subject of significant debate since its introduction to the West. On Oct. 16, Native American poet and academic Gerald Vizenor added another voice to the discussion.
There’s a promising show in the works for fans of humor. “Laughter on the 23rd Floor,” produced by the Harvard-Radcliffe Dramatic Club and The Office for the Arts, is a comedy about comedy. Directed by Boyd I.R. Hampton ’16, the play premieres Oct. 17 at the Loeb Experimental Theater.
Getting an audience to laugh at jokes on race relations is no easy task. But Black Community and Student Theater Production’s “Negative”—which ran from Oct. 2 to 4 at the Adams Pool Theater—deftly achieved this. The production highlighted the racial conversations that have become prevalent on Harvard’s campus with cohesive directing that balances satire and serious conversation.
Iceage’s pent-up frustration is very good news for the listener—judging by “How Many,” there will be plenty of energetic angst to fuel their upcoming album, "Plowing into the Field of Love."
After his 13-year hiatus, 43-year-old Richard James proves that the way to push electronic music forward isn’t by searching for the ultra-bizarre, but by taming and combining the sounds we know into a work as mesmerizing as “Syro.”
Hundreds Sign Letter Condemning Asian Groups for Failing to Co-Sponsor DACA Walk-Out
Mathew and White-Thorpe Win UC Presidential Election
The Black Sheep of Harvard Economics
Harvard Law School to Drop Application Fee, Streamline Process for Junior Deferral Program
Why the Mandatory Unlimited Meal Plan is Unfair