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The cast’s youth occasionally shows through in the form of clammed notes and mishandled equipment, but these mishaps pale in comparison to the outstanding solos and consistently solid ensemble playing. The show’s only real weakness is its lack of original music (the repertoire is...

Author: By Christopher M. Loomis, CONTRIBUTING WRITER | Title: BLAST! Catapults Boston | 3/8/2002 | See Source »

To call Bobby McFerrin a critically acclaimed recording artist is a bland, established fact. To call him a creative, engaging performer is better. To call the vocalist a singularly talented virtuoso still cannot completely capture the music that swirls once he takes the stage, but it’s pretty...

Author: By James Crawford, CRIMSON STAFF WRITER | Title: McFerrin Makes Magic | 3/8/2002 | See Source »

His performance capped off in breathtaking, awe-inspiring artistry a four-day sojourn to Harvard campus sponsored by the Office for the Arts (OFA). During his visit, McFerrin appeared at a luncheon at the Institute of Politics and, as part of the OFA’s Learning from Performers series...

Author: By James Crawford, CRIMSON STAFF WRITER | Title: McFerrin Makes Magic | 3/8/2002 | See Source »

His subversive instinct was evident from his bare feet upwards. McFerrin utilized his improvisational ability to twist classical music; Pachelbel’s “Canon” became a country and western hoe-down and received tumultuous audience response. He interjected his performances with parodied accents and hammy...

Author: By James Crawford, CRIMSON STAFF WRITER | Title: McFerrin Makes Magic | 3/8/2002 | See Source »

The classical component has been a pervading thread through much of his painting and sculpture, perhaps most notably in the 1964 triptych Iliam (One Morning Ten Years Later), the 1991 sculpture Thermopylae, and, especially, the ten-part 1979 painting Fifty Days at Iliam.

Author: By Sarah R. Lehrer–graiwer, CONTRIBUTING WRITER | Title: Old Favorites and New Pioneers: New York Art | 3/8/2002 | See Source »

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