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A single boat bobs on the Mediterranean Sea. The malnourished and dehydrated men, women and children onboard, suffering from infectious diseases and scurvy, huddle together. Their bright orange ponchos pop out against the dark water. A couple of the women are heavily pregnant, and one of them has to be rushed to a hospital for an emergency delivery.
“Tom Hanks and Meryl Streep were a bit shoddy in ‘The Post,''' said no one ever.
Friday Night Rock hosted a concert this weekend featuring soul artist Madison McFerrin and rap artist Deem Spencer in a continuation of its efforts to bring live music to campus. Founded in 2004, FNR began when a group of Dartmouth students, frustrated with the absence of live music at the College, came together in a collective effort to fill the void. As of 2013, Friday Night Rock shows take place in Sarner Underground, a venue with a 300-person capacity and professional staging, audio and lighting capabilities.
Acclaimed ensemble Riyaaz Qawwali will grace the stage of Spaulding Auditorium tonight for a performance that will weave together ancient Islamic tradition and modern South Asian culture.
Hanover’s Howe Library will begin celebrating the 21st year of Ciné Salon, a program that celebrates seldom seen films, on Monday. Seven segments will be presented through April 16. With a variety of genres, Ciné Salon will feature psychedelic LSD films and avant-garde masterpieces.
In 2017, writer and historian Erica Armstrong Dunbar published the biography “Never Caught: The Washingtons’ Relentless Pursuit Of Their Runaway Slave, Ona Judge.” Attempting to accomplish an ambitious feat, Dunbar imagines the life of Judge, a young woman who was enslaved by America’s first family but managed to escape from bondage. The book reconstructs the course that Judge took on her journey to freedom from enslavement in 1796. By harnessing her skill for research, Dunbar reconstructs Judge’s world, telling a story that has never been explored in such detail or with such tact. Through this biography, Dunbar also honors the life and humanity of a woman who was denied niceties at birth.
The Malpaso Dance Company, a contemporary Cuban dance group specializing in a diverse range of styles, performed Thursday night at Moore Theater in the Hopkins Center for the Arts. The company performed pieces derived from European ballet to modern North American to traditional Afro-Cuban. Founded in 2012, the company has worked with prominent North American choreographers including Aszure Barton and Ron K. Brown, whose works were performed at the show on Thursday.
On Jan. 3, Freeform debuted the first two episodes of “grown-ish,” the highly-anticipated spin-off of ABC’s “black-ish.” “grown-ish” follows Zoey (Yara Shahidi), the eldest Johnson daughter, through her freshman year of college and journey into adulthood. The show is fresh, colorful and fun, featuring a diverse cast of characters and strong writing. “grown-ish” manages to build on the success of “black-ish” while asserting itself as distinct and worthy of anticipation. The show retains many of the core elements that allowed “black-ish” to rise as a critically-acclaimed sitcom on ABC. For example, “grown-ish” also stresses audience education, offering brief insights into character background and historical context, a practice which takes on new meaning as Zoey is tasked with learning who she is, where she comes from and how she wants to exist in the world.
Today, Grammy Award-winning vocal ensemble Roomful of Teeth will bring its unique sound to the Hopkins Center for the Arts. Founded in 2009, Roomful of Teeth is a group of eight singers who explore a variety of vocal techniques in their pieces, including Persian classical singing, Tuvan throat singing and yodeling.
Watching the opening scene from the new Amazon series “The Marvelous Mrs. Maisel,” I knew immediately that the titular character would get cheated on. A woman does not happily bounce through her daily, homemaking chores that seamlessly in the first few minutes of a feature without foreshadowing the demise of that perfect, happy routine by the end of said feature.
For some writers, dialogue is lyrical. For others, it is realistic, capturing the rambling cadence of everyday speech. And for still others, it is purely utilitarian: Characters must speak, so they do. But for Aaron Sorkin, dialogue is the beating heart and soul of the enterprise of writing.
The start of 2018 means the beginning of #NewYearNewMe routines and looking forward to new beginnings, but there’s also no better time than now to reminisce on the year that just ended. Even if 2017 wasn’t a particularly amazing year, it definitely saw the release of some amazing music and the rise of great new artists. Here are my top songs from 2017 for you to nod (or shake) your head to.
In “The Uses of the Erotic: The Erotic as Power,” Black feminist writer Audre Lorde critiques the ways in which Western patriarchal societies have suppressed and falsely encouraged women’s sexual expression. In the piece, she asserts that “the erotic offers a well of replenishing and provocative force to the woman who doesn’t fear its revelation, nor succumb to the belief that sensation is enough.” With these words, Lorde calls for a full-bodied praxis regarding the body, one which acknowledges sexuality as a basis for reclamation and degradation.
If I had to bet on a song that every Dartmouth student knows, I would pick “Mr. Brightside” by The Killers. What they may not know, however, is that “Mr. Brightside” came out over a decade ago in 2004. Along with “Human” and perhaps “Somebody Told Me,” it seems like people are more than happy to sing along to the Killers’ old songs, which means that either the music is really good or that the band has not followed up with anything better. With The Killers, it may be a little bit of both, but their new album “Wonderful Wonderful” stands to change that and hopefully give their fans some new songs to enjoy.
I know that Taylor Swift is a bad person. She lied about Kanye West, she tried to fight Nicki Minaj via Twitter and she probably voted for Donald Trump. Furthermore, I know that her music is bad. You don’t have to tell me that “I can’t say anything to your face / Because look at your face” is not a good lyric. I am an English major. I have picked up on this already.
A few weeks ago, my editors acquiesced to my request to drop the numerical ratings system in my reviews. I felt the ratings were becoming increasingly arbitrary. Not just arbitrary in the sense that one number is a rather weightless way of expressing an opinion, but also in the sense that the distinction between “good” and “bad” cinema was becoming more and more blurry to me. Thanks to some of my film studies courses, I began to appreciate how limiting these categories were. Of course, I wouldn’t write film criticism week after week if I didn’t feel that discussing the quality of films had some value. I’ve come to realize that the way I define “quality” is somewhat complicated.
Recently, Dartmouth announced a clear commitment to address food sustainability throughout campus dining by initiating the formation of a “food working group” comprised of a collective of students, faculty and staff. As one of the students serving in this group, I am as nervous as I am hopeful, and while not jaded, certainly uncertain. I wonder — what would a comprehensive sustainable food action plan look like, and how could we direct our efforts into getting it right?
An ode to former first lady Michelle Obama, “Courage is Contagious: And Other Reasons to be Thankful for Michelle Obama” takes on the task of memorializing and honoring the legacy of Obama as a cultural icon through a collection of written reflections. The book’s editor, Nick Haramis, compiled essays by actors, writers, fashion designers, activists, high schoolers and others in order to participate in the process of unpacking the Obama family’s legacy in America and the significance of Obama’s navigation of the first lady position.
There are many people who paint, but there are not many who use emoji as a source of inspiration — Kevin Soraci ’18 is both. A studio art and engineering double major, Soraci has been painting for about seven years. Although he can’t recall how he got started, he remembers instantly falling in love with the sense of calm that painting gives him. For Soraci, painting is a way to engage with our culture conceptually, he said.