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...help of anthropologist David Guss. These masques, performed by Europe, Americas, and Africa, are intended to represent themes of nature and multiculturalism to a modern audience. Unfortunately, Daniels' masques replace a considerable chunk of the original text: but then again, Shakespeare's masques never got an audience to clap along...

Author: By Hsuan L. Hsu, | Title: Tradition, Fantasy Blend in 'Tempest' | 12/7/1995 | See Source »

...moment on the specters of Stu Sutcliffe and Pete Best, band members who fell by the wayside before the big time. The group defined its early cheekiness at the 1963 Royal Command Performance before the Queen, where John famously said, "Would the people in the cheap seats clap your hands, and the rest of you, if you'll just rattle your jewelry." But America was the promised land, and the Anthology's first evening climaxes with their conquest of the colonies...

Author: /time Magazine | Title: GET BACK | 11/20/1995 | See Source »

...While at the time it symbolized the irreconcilability between his goals and his means, namely the pursuit of peace via the strategies of war, today this image conveys the dichotomy between the Arafat of today and the Arafat of yesterday. He brings peace, but he brought war. As we clap for the former, it is the latter action which leaves the lump in our throats...

Author: By Erica S. Schacter, | Title: With a Lump in My Throat | 10/24/1995 | See Source »

When McGuire gets up on his and my Commencement Day, I will be hearing not only his Address but the other speeches he has made. I will not clap for him, just as I would not support an artist I considered intolerant of my person. I do not suggest that you do as I do (and refrain from applause, the customary form of approval), but I ask simply that you think about where you draw the line between speech and speaker. At Harvard, we have learned to write for a grade, to write what we know others want to hear...

Author: By Natasha H. Leland, | Title: Salvete...Omnes? | 5/17/1995 | See Source »

...obviously just as comfortable riffing along to happy Sly Stone grooves as he is in his sonic explorations. The contrast to the first side is somewhat hard to take, especially on the two compositions written by Miles, "Changes" and "We Gotta Live Together," as the audience is encouraged to clap with silly shouts of "Yeah!" "Everything's gonna be alright!" The two remaining Hendrix compositions, "Power to Love" and "Message of Love" are more intriguing. These two tracks offer a sense of agonized and feverish optimism that is a couterpart to the first side's confusion and depression. Interspersed between...

Author: By Eric D. Plaks, | Title: Re-enter the Bastard Son of Jimi Hendrix Albums | 4/13/1995 | See Source »

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