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...play is a delight. The story concerns a young man of the Japanese town Titipu, Nanki-Poo (Jonas A. Budris ’06), who tries to woo Yum-Yum (Annie E. Levine ’08) away from her fiancé Ko-Ko (W. Brian C. Polk ’09). Rather inconveniently, Ko-Ko also happens to be both Yum-Yum’s guardian and the Lord High Executioner of Titipu, with a quota to meet...

Author: By Elisabeth J. Bloomberg, CRIMSON STAFF WRITER | Title: 'The Mikado' Makes For Good Fun | 12/3/2007 | See Source »

...that is slightly over-dependent on kick-line dancing. A particular standout is Polk’s Ko-Ko, whose every emotion plays itself out exaggeratedly across his face in complete keeping with the play’s nature. Also fantastic is Adam Goldenberg ’08 (who is also a Crimson columnist) as the haughty, money-grubbing official Pooh-Bah. As befits the character, he manages to seem both dignified and pathetic in each scene. The interactions between Ko-Ko and Pooh-Bah are easily the funniest parts of the show...

Author: By Elisabeth J. Bloomberg, CRIMSON STAFF WRITER | Title: 'The Mikado' Makes For Good Fun | 12/3/2007 | See Source »

...During the Big Band era, drummers unobtrusively maintained a song's rhythm. As a founding father of the revolutionary genre of bebop, visionary bandleader Max Roach made percussion a star player. He backed Duke Ellington and Charlie Parker as a teenager, and on seminal recordings ranging from Parker's Ko-Ko to Miles Davis' Birth of the Cool sessions, he created rich, complex, melodic sounds and drove rhythms disturbed by loud bass-drum beats, sudden silences and offbeat riffing. After his hugely successful quintet dissolved in 1956, following the death of his friend and band co-founder, trumpeter...

Author: /time Magazine | Title: Milestones Sep. 3, 2007 | 8/23/2007 | See Source »

DEFINITION kon-flikt ko-ko n: Profits from the cocoa trade used to finance civil war in Africa's Ivory Coast...

Author: /time Magazine | Title: Dashboard: Jun. 25, 2007 | 6/14/2007 | See Source »

...featuring such Ellington stalwarts as Johnny Hodges, Cootie Williams and Juan Tizol. But after bassist Jimmie Blanton and tenor-sax man Ben Webster signed on in 1939 and '40, it became the leader's best ever. The compelling evidence is on these three discs, on tracks like Cotton Tail, Ko-Ko, Jack the Bear and Harlem Air-Shaft. Individual glories abound, but the band's chief glory remains the nonpareil jazz composer whose instrument it was: the Duke himself...

Author: /time Magazine | Title: 7 Greatest Jazz CDs | 5/7/2006 | See Source »

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