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...Jackson’s dancing, jerkily grooving to the same song on three different occasions. He often focuses on his facial expressions—a tense grimace taking shape when something doesn’t sit right with him and a serene smile of satisfaction when a musical number has gone off without a hitch—as well as his hands, which never seem to stop moving, giving nearly imperceptible cues to musicians and dancers, silently conducting the music, and expressing the sentiments behind the lyrics of his songs...
...that story isn’t familiar, it might be because the movie came into the world—despite its copious number of gunshots—with a whisper. Opening in theaters right after Columbine, national anti-violent sentiment, combined with poor critical response, led to the shoot ’em up’s release being curtailed to a 1-week stay at only a handful of theaters; essentially, it went straight to video. Since then, however, it has acquired a bit of a cult, assaulting the hearts of adolescent boys and men across America. The film?...
With the rapid expansion of the faculty under Kagan’s tenure some of these barriers began to disappear. As the number of appointments increased, faculty no longer feared that positions would not be available for professors with similar methodologies and ideologies...
...include international tours and workshops, with the mission of uniting the world’s neighborhoods through music. The ensemble has since commissioned works from across the globe and led numerous tours across Europe, Asia, and the Americas.When it began its residency here in 2004, the project included a number of educational programs, including small workshops with Harvard undergraduates. In the five years thereafter, the project’s scope expanded to include programs in Chicago and New York City middle schools.The program in New York, called Silk Road Connect, intensifies a pilot program first implemented in Chicago...
...number of the songs on “Tabloid” are taken from white artists as profoundly influenced by black music as Phoenix has been. Selected gems from these singers and songwriters—Elvis Costello, Dusty Springfield, Lou Reed, the Dirty Projectors, to name a few—are paired with songs by preceding, contemporaneous, and succeeding black artists—The Impressions, D’Angelo. For Phoenix, stylistic connections trump relations of chronology or influence. Placing Elvis Costello’s schmaltzy, intricate “Shipbuilding,” just before D’Angelo?...