Word: musicals
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...come to apply to the diverse population throughout the region. These people are one of many unique segments of American immigrant societies—poor, subjugated, and concentrated into local majorities—that incubated and grew a coherent cultural and artistic style. The culture has produced Zydeco music, its own French dialect, a vibrant social culture with a penchant for raucous festivities, and an incredibly flavorful cuisine which reflects the rich boldness, economic poverty and diversity of the culture that created...
Moverman underscores the perpetual untimeliness of death in day-to-day life. The brief and rare use of music is entirely diegetic, stemming only from sources within the scenes, such as a barroom jukebox or a beaten-up car stereo. Montgomery’s first somber exchange with Stone, for example, is set to a cheery Beach Boys tune. The movie also resists the impulse to tailor the style of scenes to their emotional underpinnings; in one scene, a woman discovers that her husband has died on the sunniest, most peaceful of early fall days. With a careful hand...
Fred Ho ’79—baritone saxophonist, composer, band leader, political activist, and Marxist—is a pretty remarkable guy. He aspires to create multicultural and deeply political music by blending avant-garde jazz and African American music with Asian influences, and he actively fuses his roles as an artist and political activist to create a uniquely expressive identity for himself. Last Friday, Ho was honored with the Fall 2009 Harvard Arts Medal, which is awarded by the Office for the Arts to an alumni “who has made a special contribution...
Since his beginnings as a self-taught musician, Ho has been pushing the boundaries of jazz, which he calls “quote-unquote jazz,” referencing the term’s origin as a racial slur. He merges African American music with Chinese opera and uses Duke Ellington-style swing in musicals and operas featuring female vampires, mythical monkeys, and now, green earth monsters. His music is arresting, indefinable, and unquestionably dramatic, aggressive in its motifs but always expansive in tone...
...combining musical messages with social emancipation is a vital part of his identity. Growing up as an Asian American in Amherst, Mass. in the 1960s, he says, “I’d faced racism ever since the day I’d become conscious as a young kid at age three.” “I was hit with the tidal wave of Black Power and the Black Arts movement,” he says of his teenage years. African American music and culture gave him a way to understand his Asian American identity...