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Mike McGovern ’21 spent his fall term putting cameras in trees. More specifically, he put up huge DSLR cameras, a few assorted flashes and an infrared transmitter. With each beam break of the transmitter, the “photo trap” would catch about five photos of whatever crossed its path.
On Sunday, the 78th Golden Globe Awards began the strangest awards season in recent memory. The ceremony was held mostly virtually, with half taking place in New York and half in Los Angeles. Instead of the usual array of celebrities, the in-person audience was made up entirely of socially distanced first responders and essential workers, while the nominees all teleconferenced in.
On Feb. 22, contemporary dance company Dance Heginbotham and violinist Colin Jacobsen took to Hop@Home to share the world premiere of Caprices #5 and #6 — the two latest installments in the ensemble’s “24 Caprices” series. Throughout the pandemic, the project has sought to explore each entry of composer Niccolò Paganini's “24 Caprices for Solo Violin.”
“Two of Us,” a French film directed by Filippo Meneghetti, feels at first like a simple love story. However, the film quickly evolves into a complex portrait of queer love, familial distance and loss. Meneghetti’s debut film is a harrowing yet stunning exploration of what it means to love in secret.
Eric Dezenhall ’84 is a crisis management consultant and the author of seven novels, which draw inspiration from his experiences and transform them into fast-paced tales of gangsters, terrorists, dirty politics and, most recently, revenge.
Studio art intern Kevin Soraci ’18 seeks to find beauty in the ordinary. Soraci’s exhibition “The Comforts of Home,” currently displayed in the Barrows Rotunda of the Hopkins Center for the Arts, features paintings of scenes from everyday life, capturing a space that can feel both familiar and peculiar.
On Feb. 11-12, viewers from across the globe tuned into the Convergence Symposium, a two-day event hosted by the Hopkins Center for the Arts. The symposium, which featured presentations from professors and artists, kicked off the Hop’s “Convergence” series, a joint venture with the Irving Institute for Energy and Society focused on educating the Dartmouth community on the overlap between art and science. Over 300 viewers joined the event over Zoom.
On Friday night, actor and comedian Nick Kroll, co-creator of the Netflix series “Big Mouth,” participated in a live conversation hosted by Latif Nasser ’08 of WNYC’s “Radiolab.” Throughout the conversation, presented by Collis Programming Board and the Hopkins Center for the Arts, Kroll discussed his career in television and how his personal experiences inspired his work.
Frontwoman Tamara Lindeman takes a grand leap on The Weather Station’s fifth album, “Ignorance.” She departs from the band’s previous indie-folk sound to undertake an emotive art rock project brimming with existentialism. Lindeman interweaves personal storytelling with reflections on climate change and urbanization, bringing emotional weight to easily depersonalized issues. Despite a sometimes simplistic sound, the masterful lyricism of “Ignorance” offers a poignant take on the ongoing destruction of the natural world.
In the wake of last year’s Black Lives Matter protests and ongoing calls for racial justice, Walt Cunningham, director of Dartmouth's Gospel Choir and Contemporary Pop Ensembles, launched “Artivism,” an organization based in the music department that sponsors and produces arts-related social justice projects run by students and faculty.
No other band has had as inconsistent a career as Weezer has. After achieving critical and commercial success with the power-pop of their 1994 self-titled first album, the darker direction of Weezer’s second album, “Pinkerton,” initially drew negative reviews, despite later achieving cult status. Lead singer Rivers Cuomo’s embarrassment over “Pinkerton” led to a long series of albums in the 2000s full of safe, boring pop music that lacked the magic of Weezer’s early work. While the band did produce a couple of albums I enjoyed during this period, particularly 2016’s “White Album,” they reached a low with 2019’s “Black Album.”
A staple of a 111-year-old tradition, the Winter Carnival art competition this year drew on the theme “Level Up: Carnival Rebooted,” inspired by the largely digital nature of the event. This year, Allan Rubio ’23 created the winning poster design, which depicts a video game set up in a dorm room overlooking Baker Tower. Brian Lee ’22 made the winning T-shirt design, featuring the classic Atari “Pong” game as its foundation.
Sophie Xeon, stylized as SOPHIE, was a Grammy-nominated avante garde singer and producer behind some of the biggest names in pop music. Before the artist’s unexpected death at 34 on Jan. 31, Sophie had pioneered the hyperpop subgenre — a radical blend of trance, electronic and hip hop music — and collaborated frequently with pop stars like Charli XCX. As a transgender artist, Sophie also inspired many LGBTQ+ listeners and queer musicians.
In an upcoming gallery talk, Allison Carey ’20, curator of the Hood Museum’s “When Art Intersects History,” will revisit and reexamine her exhibition nearly a year after its debut.
A decade after Argentinian director Juan José Campanella’s “The Secret in Their Eyes” won the 2010 Academy Award for best foreign film, Campanella made his return to live-action cinema with “The Weasel’s Tale” — a remake of the 1976 film “Yesterday's Guys Used No Arsenic.” Campanella’s dark comedy, offered through the Hopkins Center for the Arts’ “Film on Demand” series until Wednesday, follows former starlet Mara Ordaz, played by Graciela Borges, who lives with three filmmaking colleagues in a secluded mansion on the outskirts of Buenos Aires.
Alexi Pappas ’12, who rose to fame as a member of Greece’s cross-country team in the 2016 Summer Olympics, is not just an athlete.
Since the release of his debut album in 2015, Chris Stapleton has made a name for himself in country music — opting for the grit and rough edges of the genre’s earlier days rather than the bikinis and pickup trucks of its pop iteration. Gifted with masterful songwriting and a powerful voice, Stapleton knows how to write an affecting song and drive home its emotions with his distinctive, raspy tone. With his fourth solo album, “Starting Over” — which debuted in November — Stapleton has truly mastered his craft, tugging at heartstrings with the lyrics of one song and excoriating your soul with his vocals on the next.
This past weekend, the first part of the 14th annual Dartmouth Idol semifinals took place virtually. Breaking from the traditional format of the beloved competition, the kickoff event combined footage from previous competitions with audition tapes from this year’s semifinalists.
Last fall, three students came together with the idea of developing a new publication to connect Dartmouth undergraduates with the wider literary world. This December, the efforts of Frances Mize ’22, Avery Saklad ’21 and Ethan Weinstein ’21 came to fruition in the first edition of Meetinghouse, a literary magazine that has already attracted submissions from over 1,200 authors and poets from around the world.
The start of the new year heralds change — often in the form of New Year’s resolutions, but also when it comes to new titles on our favorite streaming services. With the arrival of 2021, Netflix and Hulu have welcomed a slew of classic titles to their collections. Wondering what movies you should watch from the comfort of your home or dorm room? Look no further: Here are our favorite “new” old movies to enjoy in the brand new year.