Sporting carpenter pants, a glittering belly chain, and a cropped baseball jersey with “KP” on the front, King Princess looked the part of the gay, genderqueer teen heartthrob that she is.
Both Tyler’s new and older work were well received — he didn’t shy away from performing some early, more provocative and offensive tracks, as well as his newer, more vulnerable material.
As Mitski sang with a sort of abandon to a departing partner, “And when you go, take this heart / I'll make no more use of it when there's no more you,” she danced with wild joy.
“Sucker” feels like the unfortunate culmination of the “10 Year Challenge” meme: The last time this trio was collectively relevant was a decade ago.
There are so many Boston rappers who are well-worth listening to — here’s a small sample of five great, relatively recent music videos from the local scene.
If Kelsie Hogue's debut album as Sir Babygirl, "Crush on Me," is any indicator, "20BiTeen" is already off to a promising start.
Letissier pairs these punkish and puckish declarations of pride with cleverly complicated and taboo-challenging visuals.
Singing about their experiences growing up is nothing new for Girlpool. Their latest release, “What Chaos is Imaginary,” is both a deepening of and departure from their previous sound.
Like much of Anjimile’s best work, "Maker Mixtape" is a diverse yet connected listen.
This awkward and contrived single is a notable misstep from a talented and ordinarily savvy musician.
American romance following outlaws on the run was due for a queer rewrite.
“A poet’s poet’s poet,” as acclaimed poet John Ashbery described her, Elizabeth Bishop, one of the finest mid-twentieth century American poets, is masterfully portrayed in Megan Marshall’s new biography, “Elizabeth Bishop: A Miracle for Breakfast.” Marshall, a former student of Bishop’s, interweaves a richly descriptive account of Bishop’s personal life and artistic output with sections about Marshall’s own life.
Writing a catty song about one’s ex is practically a solo pop singer’s birthright, and wounded, pretty, and mean is a look Zayn wears well.
Bent Shapes are, perhaps, the consummate Boston-based band—a self-described “hyperliterate, tightly-wound, and irreverent” quartet, performing jangly garage rock with a healthy dash of critical theory. In advance of the Mar. 11 release of their second album “Wolves of Want” on Slumberland Records, The Harvard Crimson had the chance to sit down with frontman Ben Potrykus and drummer Andy Sadoway.
Aislinn E. Brophy ’17 is the president of the Harvard-Radcliffe Dramatic Club. The Crimson sat down with her and discussed her plans as the head of Harvard’s largest student theater group, her experiences in the new TDM concentration, her ongoing theatrical work, and the current HRDC season.
Following SFFA Attorney’s Comments at Event, Harvard Law Students Debate Discrimination Against Asian Americans
‘Crazy Ex Girlfriend’ Creator Rachel Bloom Performs as IGP’s 2019 Player of the Year
Prevalence of Sexual Misconduct at Harvard Remains Unchanged From Four Years Ago, AAU Survey Finds
Harvard Closes a 72-Year Old Door