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...jocular enormity” stud the book like jewels (Johnson on the first atomic bomb test: “the orange fireball levitating amid its electric-blue halo”). The inventiveness, the eye for detail, and the understated irony of Johnson’s prose make for vibrant, rhythmic writing that would be compelling even without its off-center subjects...

Author: By Josiah J. Madigan, CONTRIBUTING WRITER | Title: ‘Seek’ and Ye Shall Find Yourself | 4/27/2001 | See Source »

Other moments of special note include the stellar rhythmic hula-hoop/latin dance combo of the petite Dania Kaseeva, the trapeze act, and the juggler Serge Percelly who, aside from his juggling act, could probably pass as a daytime soap star (again, this is probably best appreciated by the older members of the crowd). Two types of animals are used in the show: Dogs—a small terrier and a golden retriever—and an Arabian horse troupe, which are treated with utmost respect and humanity on the stage. While the horse routine is good...

Author: By Adriana Martinez, CRIMSON STAFF WRITER | Title: A Day at the Circus | 4/20/2001 | See Source »

...audience was also educated throughout the performance. Los Hombres Calientes took the audience on a rhythmic tour of North, South and Central America. As a Harvard undergrad in attendance said after the concert, “It’s amazing that six people can create so much music.” Perhaps that’s one more lesson Los Hombres Calientes wanted to get through to their fans...

Author: By Malik B. Ali, CONTRIBUTING WRITER | Title: Getting Hot With Los Hombres | 4/20/2001 | See Source »

...performer with the Boston Ballet Company, contrasted classical Vivaldi with modern ballet. DiMarco’s movements fluttered to the shifting pace of harpsichord and strings, using all parts of the body. The dancers maneuvered on the floor, in perfect marching blocks, or chaotic ensembles. Through the schizophrenic rhythmic changes and steps, “If I Only Had Time” captured the vivacity of life...

Author: By Theresa A. Botello, CONTRIBUTING WRITER | Title: Dance Viewpointe | 4/13/2001 | See Source »

Call Max Roach Mr. Cutting Edge. In the 1940s and 50s, Roach catalyzed the drum set’s redefinition with his sophisticated rhythmic approach. His Freedom Now Suite of 1960—a work banned by the Republic of South Africa—reflected his political concerns. In the 1970s Roach founded the M’BOOM Percussion Ensemble. Over the years, he has worked with actor Bill Cosby, poet Maya Angelou and playwright Sam Shepard, among others...

Author: By Malik B. Ali, CONTRIBUTING WRITER | Title: 'What this music is really about': An Interveiw with Max Roach | 4/13/2001 | See Source »

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