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Resembling a ghostly tornado, the 36-foot-long sculpture is suspended from the glass ceiling of the courtyard in the Fogg. Echelman used knitted stainless steel, velvet and nylon nets to create the sculpture...

Author: By Molly J. Moore, CONTRIBUTING WRITER | Title: Adams Residents Create AIDS Awareness Sculpture | 12/1/1998 | See Source »

Echelman said the velvet red ribbon that runsthe complete length of the sculpture is areference to our culture's way of acknowledgingthe societal trauma of the AIDS virus...

Author: By Molly J. Moore, CONTRIBUTING WRITER | Title: Adams Residents Create AIDS Awareness Sculpture | 12/1/1998 | See Source »

...songs Richman wrote and performed during the early '70s are astonishing; they meld the sound of his beloved Velvet Underground and the Stooges with the typical teen rock concerns of girls, driving and insecurity, shot through with an unnerving simplicity and directness like nothing else in rock then or now. Also distinctive is Richman's voice, which I hesitate to describe as nasal and monotone, because it is far more appealing than that...

Author: By Ben Mckean, CONTRIBUTING WRITER | Title: Boston Big-Shot Returns to Bean-Town | 11/13/1998 | See Source »

During this period Richman recorded his best known song: "Roadrunner." He takes two chords from the Velvet Underground's "Sister Ray" and makes "Roadrunner" one of the best rock songs ever recorded. The simple, affecting music is matched by the lyrics, which are both the typical rock song and about the power of that song: "I'm in love with Massachusetts/I'm in love with the radio on/It helps me from being lonely late at night/I don't feel so bad now in the car." Richman's probably sick of playing "Roadrunner," but people aren't sick of hearing...

Author: By Ben Mckean, CONTRIBUTING WRITER | Title: Boston Big-Shot Returns to Bean-Town | 11/13/1998 | See Source »

...slip of pale magenta light shone out between red velvet curtains. It and the musical prelude could have gone on for three hours, and I would not have missed the opera. Three violins and a phat viola fiddled while Nero was ostensibly still in the dressing room. They made up the feisty, devilish flank of the Early Music Society Orchestra, balanced by a quietly attentive harp and two awfully long lutes (allegedly a "chitarrone" and a "theorbo") on the right, with two harpsichords rammed together in the middle like poorly parked flagships...

Author: By Benjamin E. Lytal, CRIMSON STAFF WRITER | Title: Decadent Opera's Majestic Monteverdi | 11/13/1998 | See Source »

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