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...album’s second single “Chinese Whispers” shows, they’ve become quite adept at integrating melody into mathcore. Throughout the track, TDEP use mellow breaks to release the tension built up during their aggressive sections. For instance, about half-way through the song, Puciato begins to scream atop an angular guitar riff and steady drumbeat. Then, as Puciato’s screams grow more desperate, the drums charge into double-time. Catharsis comes as the band transitions into a steadier and more ethereal chorus...
...sense, it’s an easier task for a quirky half-hour comedy like “Modern Family” to fulfill its potential than for “Parenthood,” a longer and more dramatic program with lofty ambitions...
...Vaginas of the Harvard Community,” credited to Colette S. Perold ’11, is a collage of sixteen black-and-white photographs, laid out in a four-by-four grid. Half of the images depict vaginas and half other objects—a head of lettuce, an elongated flame—but even these, in context, take on a distinctly labial character. Now imagine this piece juxtaposed with “Expanding Consent,” a thoughtful, 8000-word interview with feminist activist Jaclyn Friedman, also by Perold. The two were sandwiched together...
...Telephone” is nine and a half minutes long, and every one of those minutes is packed with a healthy dose of good old-fashioned crazy. Though it’s meant to be a sequel to the “Paparazzi” video, “Telephone” feels more like a break from that phase of Gaga’s career than a continuation of it. No longer do songs need to play contiguously, videos don’t have to relate in any way to their song’s subject matter, and product...
...economist half-jokingly cited his father as inspiration for studying off-beat economic issues...