When painter Susan E. Miller-Havens opened the first ever artist-operated gallery in Harvard Square earlier this fall, the development and rising rents of the Square had long been on her mind. Miller-Havens, who has two works displayed in the Smithsonian National Portrait Gallery, has lived in Cambridge since 1968. Two years ago, she came face to face with a redevelopment project that made her plans for the near future inextricable from the state of the Square. Strolling among dozens of her paintings arranged salon-style at 9 JFK Street, Miller-Havens spoke to The Harvard Crimson about her gallery’s role in the Square and the challenges of her profession.
Harvard is renovating its Schlesinger Library at the Radcliffe Institute in an effort to drive increased engagement with the library's extensive collection of documents vital to the history of women in America.
What is the inescapable draw of The Killers? This question became especially confounding as the night went on and The Killers seemed more and more determined to keep their performance devoid of meaning.
Present and past icons became larger than life and joined her in song onscreen. Jackson herself—a new mother at 50 whose pregnancy halted her “Unbreakable” album tour in 2016—came back dancing with the full force of her sexuality. Decades of art forms, and human flesh collided at high speed.
Between Cardi B’s pregnancy, the Friday rain debacle, and Lil Wayne’s last-minute no-show, cancellation threatened to be the theme of the festival. Instead, thanks to some of the remaining acts on Sunday, the more important trend of the day was inventive instrumentation.
Simultaneously a mutter and sing-song, strained and explosive, electronic and a return to a guitar-driven rock core, “Hail to the Thief” embodies the frustration and defeat of a bruised animal throwing itself against the bars of a cage—“hysterical and useless,” to quote the band’s earlier work.