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...taking with this complex, enigmatic musical—which is going up in the Ex during reading period—they have chosen what many Broadway lovers view as an antiquated, stylized piece.A poor choice? Hardly. Furth’s foundational book is replete with ’70s slang and cultural references, which manifest themselves subtly in Sondheim’s retro-pop tonal touches. Critics harped on the inclusion of these cultural artifacts in the ’80s, but 36 years after the first Broadway run, all the “retro” aspects...

Author: By Kyle L. K. Mcauley, CRIMSON STAFF WRITER | Title: Notes on the Sound of New Music(als) | 10/19/2006 | See Source »

...camera store was wonderful in the ’60s, in the ’70s, in the ’80s, in the ’90s, but it’s not what people are looking for in the new century,” said Ferranti, surrounded by friends, loyal customers, employees, and family. “You don’t need as many products for digital photography, and it’s a different type of product that you need...

Author: By Shifra B. Mincer, CRIMSON STAFF WRITER | Title: Camera Shop Shutters, Its Long Kodak Moment Over | 10/16/2006 | See Source »

...most of the pop isn’t bathos. McDonald covers a pair of songs by ’70s songwriter Laura Nyro (“To a Child” and “Tom Cat Goodbye”) and a tango by Rufus Wainwright (“Damned Ladies”), none of which feel like a waste of McDonald’s talent...

Author: By Kyle L. K. Mcauley, CRIMSON STAFF WRITER | Title: CD Review: Audra McDonald, "Build a Bridge" | 10/12/2006 | See Source »

...Hardcore” music emerged as a consequence of the ’70s punk-rock explosion. Disappointed that their musical heroes were trading in black boots and militant politics for glamour and coke, down-and-out youth in cities across America decided to bleed rock dry of decorative superfluities...

Author: By Richard S. Beck, CRIMSON STAFF WRITER | Title: Movie Review: "American Hardcore" | 10/12/2006 | See Source »

...There's more sex in the movie, including a three-way gay routine that features a rendition of "The Star Spangled Banner" sung in very close quarters. (It still sounds better than Roseanne's version.) But Mitchell has little interest in being the avatar of '70s porn directors. His structuring of the material is less like a hard-core film, more like a musical. There are songs throughout, and even the sex scenes have the geometrical elegance and absurdity of classic movie production numbers, making Mitchell a porno Busby Berkeley. When the movie finally ends (it has more...

Author: /time Magazine | Title: Meet the F---ers | 10/6/2006 | See Source »

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