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Despite being down 19-11 with only five points up for grabs, WTT rules would have allowed the Lobsters to force overtime if they won the mixed doubles tie. It was a win that seemed within their grasp given Blake??s form—but though Blake was on the card to play alongside Schlukebir, he was subbed out in favor of Johan Landsberg...

Author: By William C. Marra, CRIMSON STAFF WRITER | Title: Blake Can't Save Lobsters | 7/15/2005 | See Source »

...match was Blake??s only home game for the Lobsters, though he did play Wednesday in the Lobsters’ 23-22 overtime loss to the Houston Wranglers Wednesday night. Despite the loss, Blake played in and won the men’s singles, men’s doubles, and mixed doubles events...

Author: By William C. Marra, CRIMSON STAFF WRITER | Title: Blake Can't Save Lobsters | 7/15/2005 | See Source »

Nowhere was this signature tendency more prominent than in Evans’s 2001 installation accompanying the William Blake exhibit at Tate Britain, where a computer was rigged to translate randomly-selected snippets of Blake??s poetry into Morse code...

Author: By Kimberly A. Kicenuik, CRIMSON STAFF WRITER | Title: MFA’s ‘Flashes’ Lackluster | 11/19/2004 | See Source »

...Tahitian Pearl,” Ron Blake??s saxophone converses with McBride’s electric bass until the two finally meet, yielding perhaps the album’s smoothest effort. “Lejos de Usted,” with its samba-influenced rhythm, is also unique for McBride’s bowed bassline, which complements a strong flute performance from Blake. Although the track’s spoken introduction seems extraneous, the interesting play of repetitions that follows more than compensates...

Author: NO WRITER ATTRIBUTED | Title: New Music | 4/11/2003 | See Source »

...Loose Cannon,” allowing the audience to catch a true glimpse of his virtuosity. He constructed polyrhythmic extrapolations onto the initial simple patterns, building on the rhythm and blues flavored hooks and then subsiding into sparse, off-putting snare shots as he tried to push Blake??s more cool and subdued solo into another, more frenzied direction. Blake??s resistance to percussive prodding created a palpably apparent tension, until Stewart resolved the matter, asserting his authority in the first of many explosive solos. Building up from a simple extended interplay between nothing...

Author: By James Crawford, CRIMSON STAFF WRITER | Title: The Jazz Man Cometh | 4/6/2001 | See Source »

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