Crimson staff writer
Michael L. McGlathery
Latest Content
The Life of 'The Life of Pablo'
At its core, “The Life of Pablo” explores the mutable form of the album in the present environment of music consumption.
What We've Done With the Great Gray Space
Did the rise of the Internet forever change the way music is shared? Are we closer to artists or in danger of losing the essence of music? Michael L. McGlathery examines Kanye, Bowie, and more in his new look at the “gray spaces” of the music industry.
Christian McBride Trio and Salvant Electrifies
Sanders Theater's performance with the Christian McBride Trio and Cecile McLorin Salvant was filled with moments of ingenuity, expressiveness and joy--thus proving to be an evening that explored the strongly beating heart of jazz.
Yuja Wang: Music and Style
On Friday, Wang appeared at Harvard in a spirited discussion in the Kirkland Junior Common Room co-organized by Harvard College Piano Society and the Office for the Arts’ Learning From Performers program, with support from the Celebrity Series of Boston.
"Shulamith" a Complex, Tragic Sophomore Work
The tragedy of “Shulamith” is unrelenting. The album avoids sentimentality altogether, replacing it with emotional vulnerability to one’s ex-lover. The ubiquitous bleakness of “Shulamith” is saved from being tiring through the compelling sense of self that persists throughout the work.
In the "Valley" of Mediocrity
Indie rock outfit the Dismemberment Plan achieved underground sainthood with their 1999 record “Emergency & I.” Their latest, "Uncanney Valley," falls short of its predecessors’ brilliance—largely due to uninspired lyricism.
"Hold Your Tongue" Speaks Out
Global Arts Corps’s “Hold Your Tongue; Hold Your Dead,” which ran through September 28 and was put on by ArtsEmerson The World on a Stage, isn’t a satisfying play. Then again, it isn’t intended to be; this play aims to convey hard, unresolved truths. “Hold Your Tongue” follows the lives of two intersecting families as they struggle to find happiness, or any sort of resolution, in post-conflict Northern Ireland. The script and actors treated their material with a sincerity that allowed the overall atmosphere of the culture to pervade the production.
Finnegans One-Man Show
“No, I do not think I’m familiar with it,” Daniel W. Erickson ’14 says of James Joyce’s “Finnegans Wake.” It’s a strange statement, given that Erickson is performing a one-man stage adaptation of the work—titled “Here Comes Everybody”—to open on Thursday in the Adams Pool Theatre.
