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...days like these, when even the most devoted art lovers would flee the Fogg for the Charles?? banks, public art all around the square conveniently hatches from its snow-lodged locales, finally freed from the cold winds and eye-covering scarves that have hid them from sight since November...

Author: By Cara B. Eisenpress, CONTRIBUTING WRITER | Title: Tales of Public Art | 5/5/2005 | See Source »

...effects of shifts in the co-ed team’s lineup rippled into the No. 9 women’s team, which finished eighth of 12 teams in a weekend regatta on the Charles?? Lower Basin...

Author: By Samuel C. Scott, CRIMSON STAFF WRITER | Title: Sailing's Strategy Leads To Berth in 2006 Sloops | 4/12/2005 | See Source »

Drew: K-man, let’s pause here for a moment. So you’re right about the Grammys being a blowhard event nowadays (well, always, but even more so nowadays), but let’s look at Mr. Charles??s wins a little more fairly. The duet with Norah Jones? Contrived, yes, but worse duets of its nature have been conceived—touching or not, I still think Natalie Cole and Father was a dumb idea. At least Jones and Charles are interesting as a pairing, since they’re both pianists, they...

Author: By Drew C. Ashwood and Christopher A. Kukstis, CRIMSON STAFF WRITERSS | Title: Grammys Love Company of Dead Artists | 2/18/2005 | See Source »

...okay, Genius Loves Company probably wouldn’t have picked up album of the year without the industry’s collective guilt over Mr. Charles??s untimely demise, but it was at least a full-fledged concept album—and in that sense, a unified document in music—not just another case of “slap on another voice to old tracks.” Then again, it was promoted/sold heavily at Starbucks, so I’ll buy into your anti-commercial argument. But for both Charles wins, this isn?...

Author: By Drew C. Ashwood and Christopher A. Kukstis, CRIMSON STAFF WRITERSS | Title: Grammys Love Company of Dead Artists | 2/18/2005 | See Source »

...okay, Genius Loves Company probably wouldn’t have picked up album of the year without the industry’s collective guilt over Mr. Charles??s untimely demise, but it was at least a full-fledged concept album—and in that sense, a unified document in music—not just another case of “slap on another voice to old tracks.” Then again, it was promoted/sold heavily at Starbucks, so I’ll buy into your anti-commercial argument. But for both Charles wins, this isn?...

Author: By Drew C. Ashwood and Chris A. Kukstis, CRIMSON STAFF WRITERSS | Title: Grammys Love Company of Dead Artists | 2/17/2005 | See Source »

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