Word: folks
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Come celebrate the release of singer-songwriter the second album by Liz Carlisle ’06. Liz has played at venues like the Kendall Café and Club Passim, and she will be playing some of her new pop-ready folk tunes live. Hors d’oeuvres will be served. Free and open to the public. 5:30 p.m. Quincy Junior Common Room...
...were considered too foreign to make the jump to Europe or America. A handful of Indian directors and actors are escaping that mold, and now Rahman is breaking out too. The composer has long been a musical magpie, borrowing freely from an array of traditions: South Asian, Sufi, Irish folk, rock, reggae, even ragtime. And the outside world is discovering that beneath the tabla and synthesized sitar, his music isn't strictly subcontinental. "The sound of Middle Earth has to be a unique sound," says West End producer Kevin Wallace, who chose Rahman to score The Lord of the Rings...
...social call punctuated Hu's banner year after taking over China's presidency from Jiang Zemin. At home, Hu fashions himself as a uniquely accessible Communist Party leader concerned with the plight of common folk--far different from Jiang, who seemed most comfortable in his glitzy Shanghai hometown. Ordinary Chinese welcome Hu's pledge to raise stagnant peasant incomes, his firing of officials for covering up last year's SARS epidemic and his ban on ostentatious airport send-offs for traveling dignitaries. At the same time, he has hobnobbed with leaders of capitalist nations at G-8 meetings and pressured...
...Kuumba Singers of Harvard College, a 90-member choir dedicated to the expression of black creativity and spirituality through song, are singing for their latest concert entitled “Brighter Day.” The songs will include African folk songs, traditional and contemporary gospel and original compositions. Tickets $12 regular, $8 students and seniors. 8 p.m. Sanders Theatre...
...production (directed by Joe Mantello) beyond including a new song, Something Just Broke, written for the 1992 London version. It's a nice addition to a score that is (oddly, given the subject) one of Sondheim's most tuneful and accessible, with its stylistic echoes of American folk ballads, gospel hymns, Sousa-style marches and turn-of-the-century waltzes. Sondheim has little patience for the long-voiced criticism that many of his scores abandon melody for astringent experimentation. "I do what is required for each show," he says. Besides, melody is "a very tricky word," he says. "When someone...