Word: likenesses
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
Bringing us to Gaga’s “Telephone,” which in its first week up had more than 20 million views on YouTube. The relevance of Gaga doesn’t need to be restated here. The “Telephone” video, like Hipsterdom’s underlying ideology, is self-conscious to the point of stylizing that awareness. The video is a celebration of celebrity qua celebrity, as well as an amalgamation of different cultural allusions, the familiarity of which render the viewer comfortable. ‘Telephone?...
...We’ll be sending Emergency Broadcasts over our network to announce supply drops for survivors,” Chance explained. “They’ll have to go to an abandoned warehouse—like Mather House—to pick up more supply cards from a man in red, or something along those lines...
...Like many graduate students at Harvard’s Kennedy School of Government, Naseem S. Khuri HKS ‘08 had long thought he wanted to effect positive change in the world. But with “Dust Windows,” the debut album from his band Kingsley Flood, Khuri proves to have strayed markedly from the typical Harvard government student’s route of contributing to society. “Dust Windows,” which will be released at the Middle East Club on Saturday, represents both the unconventional turn Khuri has taken with...
...duration of the performance to a flaming-red lobster, remote controlled, the production’s staging provides an extra layer of madness to complement the actors’ efforts. While the props fit this manic mood, the sound accompaniment—mostly composed of indie rock acts like The Antlers—often feels overwrought. Tunes like The Antlers’ “Bear,” whose lyrics chronicle the effects of an abortion on a couple’s relationship, make for an incongruous backdrop to the more animated plot...
...actors themselves, after a somewhat hesitant start which reflects the utter self-confidence required to say lines like “I heard my own name too late… I never got accustomed to it,” by-and-large settle into their roles. Ilker Oztop GSAS ’12 , in particular, stands out playing both Leah’s husband and her son. The hip-gyrating, dance routine that introduces the son exemplifies his performance, elevating the script’s ludicrous dialogue to even more absurd heights with a frenzied, hyperkinetic energy. Kerr, too, handles...