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It’s impossible to talk about Wes Anderson without describing his aesthetic. Ever since his second full-length film, “Rushmore” (1998), Anderson has created a fantastical style that looks like it was ripped from the pages of a storybook. Though his aesthetic has evolved throughout the years to become even more stylized, it has remained distinctly “Wes,” rendering many of his films instantly recognizable to viewers.
Last night, Friday Night Rock’s blue neon sign illuminated the path into Sarner Underground, where five bands and one solo performer competed in a Battle of the Bands contest.
On Saturday evening, Casual Thursday stepped out of the Greek houses they typically perform in and into the Hopkins Center. The 45-minute performance in the Hop’s Bentley Theater featured informal improvisation scenes, sketch comedy and audience involvement.
Famous for his 1988 Billboard chart-topper, “Don’t Worry, Be Happy,” Bobby McFerrin has had an accomplished career as a vocalist and conductor, winning 10 Grammy Awards. On Saturday, McFerrin comes to Dartmouth to perform a sold-out evening show in the Hopkins Center’s Spaulding Auditorium.
Listening to a symphony or watching a film, an audience’s interaction with the piece ends at the sonata or closing credits. How long, though, should someone spend looking at a painting?
As Bernardine Evaristo read in the rich voice of her protagonist, Barry, she transformed before the audience into a man internally torn between loyalty to his wife and becoming the man he knows he is inside. Yesterday evening, Evaristo read from her newest novel, “Mr Loverman,” which navigates themes of gender and sexuality through a mix of dry humor, vivid descriptions and catchy expressions.
Michael Lasser ’57 is a lecturer, writer and critic. Raised in New Jersey — “with Manhattan on my left and the Jersey Shore on my right” — Lasser has made his name as a great arbiter of American music from the late 19th to mid-20th centuries, hosting the nationally-syndicated and Peabody Award-winning radio show “Fascinatin’ Rhythm” for the past 34 years and penning “America’s Songs I and II.” Lasser has also served as a theater critic for The Rochester Democrat & Chronicle and as director and curator of the Wilson Arts Center in Rochester, N.Y. After graduating from Dartmouth, he continued to study at Brooklyn College and Rutgers University.
A purple octagon with mustard yellow spots draws in the viewer’s eyes. Stepping closer, it becomes apparent the octagon was created from interwoven and overlapping pieces of fabric laid at crisscrossed and parallel directions.
When sitting down to dinner at Canoe Club Restaurant, don’t be surprised if someone with a guitar case plugs his instrument into the bass behind you or sits down at a piano bench nearby. Many local venues like restaurants, bars and clubs host various live music acts throughout the week and weekend. In town, musicians play at the Salt Hill Pub, Canoe Club and Jesse’s Restaurant and Tavern, while around the Upper Valley, popular venues include the Tupelo Music Hall in White River Junction, the Lebanon Opera House, Quechee’s River Stones Tavern and Flying Goose Brew Pub in New London.
At Dartmouth, where short, busy terms create a fast-paced environment and the theater community on campus is small and intimate, performance artists often suffer from nerves just as much as audience members. Actors, musicians and singers grapple with anxiety that ranges from “butterflies” before auditions and performances to trembling and nausea. The mental rigors of a production do not end after the final curtain. The dramatic highs and abrupt end to shows can leave performance artists with a feeling of emptiness or post-show blues.
After years and years of watching Indian movies with my parents, I’ve come to the conclusion that 99 percent of Indian cinema is not very good. Movies that shouldn’t last more than 80 minutes get drawn out to three-hour musical extravaganzas complete with an army of backup dancers, a multitude of European locations and strategically blowing wind. Add in clichés, musical cues that attempt to tell you how to feel, horrifically bad acting, dialogue that makes it sound like the writer hasn’t contacted human beings for 20 years and editing done by someone who just discovered Windows Movie Maker, and you’ve got to wonder how on Earth this industry stays financially solvent.
Jake Nevola ’14 began a trick by showing audience volunteers three cards, two red and one black, which he shuffled as he explained the three-card monte con game’s history. To ensure the volunteers understood the game, he showed them the cards again, only this time, all of them were black. When he flipped the cards over a third time, two were black and one was red. As the game progressed, it became obvious that nothing is as fair as one thinks.
Imani Winds, whose blend of classical, modern and international influences form a vibrant repertoire, performs at the College tonight at 7 p.m. Composed of Valerie Coleman on flute, Toyin Spellman-Diaz on oboe, Mariam Adam on clarinet, Jeff Scott on French horn and Monica Ellis on bassoon, the group will be joined by jazz pianist Jason Moran for a concert in Spaulding Auditorium.
Clifford Owens’s performance art piece “Anthology,” performed Tuesday night at the Hopkins Center, demanded audience members to forget faintness and fortitude of heart and embrace flexibility. The collection of performance art scores forced viewers to examine their perceptions of race, gender, sexuality and sexual assault.
In her short time at Dartmouth, Haley Reicher ’17 has already made a name for herself in the campus arts community. Reicher has performed in two of the theater department’s main stage productions and sings regularly in her a cappella group, the Sing Dynasty.
For most, Dartmouth is associated far more with sending graduates to Wall Street and Capitol Hill than to Hollywood, and the size of associated academic departments only reinforce this perception. Nevertheless, a number of Hollywood titans do call Dartmouth their alma mater. While I'm sure you've come to terms with the fact that the guy who golden-treed you last weekend probably will be making six figures upongraduation, you most likely haven't yet imagined that the girl who sits in front of youin your 10 could be the next Mindy Kaling.
This term, the Dartmouth Film Society presents audiences with “The Life Cinematic with Wes Anderson,” a series that surveys all eight of the esteemed director-screenwriter’s feature-length works. Anderson is known best for the meticulous and often whimsical quality of his work, the product of what New York Times critic A. O. Scott described as an “impish, ingenious and oddly practical imagination.” Employing devices such as stop-action animation, highly specific color palettes and an arsenal of repeat collaborators including Bill Murray and Owen Wilson, Anderson occupies a singular niche in American cinema.
A glance through the glass walls of the Hopkins Center’s Strauss Gallery reveals vibrant and intriguing photographs hanging on its whitewashed walls — the works of senior studio art lecturer and renowned photographer Virginia Beahan.
Phil Klay ’05 is a former Marine who released his first short story collection, “Redeployment,” early last month. After graduating from Dartmouth, Klay served in Iraq’s Anbar province from January 2007 to February 2008 as a Public Affairs Officer.
The fourth season of “Arrested Development” was a pivotal one for its protagonist, Michael Bluth (Jason Bateman). Since the show began, Michael played the straight man, the only sane person in a family of mess-ups and thieves. Yet as the show continued, Michael’s façade slowly began to crack, and the latest season showed him as about as unlikable as the other members of his family.