19 items found for your search. If no results were found please broaden your search.
Last week, when I learned that Philip Roth had died, I searched my Notes app for the line from “American Pastoral” that I’d copied down last spring: “And since we don’t just forget things because they don’t matter but also forget things because they matter too much ... each of us remembers and forgets in a pattern whose labyrinthine windings are an identification mark no less distinctive than a fingerprint...”
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.
Through long lines and rain, we, Kourtney and Madeline, successfully survived our first music festival. Saying we had a blast would be an understatement. Nearly every performer we watched exceeded our expectations by giving audiences a mix of tracks for new and die-hard fans. Despite the rain on Friday and the subsequent muddy patches throughout Harvard University’s Athletic Complex, the artists and attendees — numbering more than 30,000 thanks to the venue’s relocation from Boston’s City Hall Plaza — embraced the weather to enjoy a weekend celebrating music, comedy and art.
Screenwriter and novelist Kamran Pasha ’93 Tu’00 majored in religion at Dartmouth before working as a financial journalist on Wall Street, attending Cornell Law School and graduating from Tuck School of Business. After briefly working as an attorney, Pasha moved to Los Angeles in 2007 to pursue a career in screenwriting. Since then, he has worked as a screenwriter and producer on Showtime’s “Sleeper Cell” and NBC’s “Kings” and “Bionic Woman.” He has also published two novels, “Shadow of the Swords: An Epic Novel of the Crusades” and “Mother of the Believers: A Novel of the Birth of Islam.”
For the past 40 years, Don Glasgo and Barbary Coast Jazz Ensemble have been practically synonymous. Glasgo has been the director of Barbary Coast since the mid-1970s; prior to his directorship, Barbary Coast was a small, student-run jazz ensemble. This Saturday’s concert, though, marks the end of an era, as it will be Glasgo’s final concert with the ensemble. In honor of Glasgo’s impending retirement, the second half of tomorrow night’s show will feature Barbary Coast alumni, including some ’78s and ’79s from Glasgo’s first years with the ensemble, sharing the stage with its current members.
Students worried that the weekend after Green Key is sure to be disappointing may want to consider traveling down to Harvard University to get another outdoor music fix. Starting this year, the music festival Boston Calling will take place at the Harvard Athletic Complex, a move that is the result of increasing interest in the festival. The new location, though, is not the only change in this year’s Boston Calling, which has also expanded to include comedy acts, a film component and a visual art component.
Alexander Stockton ’15, a film and media studies and economics double major, will screen his first feature-length film, entitled “Transient,” at Loew Auditorium on Monday, April 24 at 8:30 p.m. He wrote and filmed the entirety of “Transient” during his junior year at Dartmouth. Stockton currently works for VICE News Tonight on HBO as a graphics editor.
I used to think of myself as a person who likes large quantities of good books, small quantities of good movies and miniscule quantities of very, very bad television. While I never missed an episode of “The Bachelor,” that one episode would fill my brain-melting quota for the week — that is, until a spring break wisdom-teeth removal gave me a week in bed on Percocet, and an unsuspecting Tinder match gave me his HBO GO password.
Whether first-year students have been dreaming of joining the Aires since their first solo in their high school choir, curious about Ujima since the dance showcase or thinking they might just wing it at the Dog Day Players auditions, the start of classes brings with it the first opportunity for first-years to show off their talents to student performance groups at Dartmouth. As auditions kick into gear, upperclassmen in performance groups share their own audition experiences and wisdom with the arts section.
Darby Raymond-Overstreet’16 is a studio art intern for the studio art department. At Dartmouth, she majored in studio art and psychology and was heavily involved with the Native Americans at Dartmouth community. She is an enrolled member of the Navajo Nation and she is from Flagstaff, Ariz.
Walking into the Hop Garage on Sunday afternoon, one would see a simple set-up of chairs arranged to promote an intimate viewing of a Dartmouth Dance Ensemble performance.
Student artist and computer science major David Wu ’16 says he could not imagine his life without a creative outlet. Wu works at the Davidson Ceramics Studio and has taken six visual arts classes during his time at Dartmouth, facts that might surprise some considering his scientific area of study. Before Dartmouth, he was not a visual artist.
We might be able to blame the theater department for the wind chill over Winter Carnival weekend. While the rest of campus was human dogsled racing and taking a stab at ice sculpting, the cast and crew of this term’s main stage production were working hard to bring the Windy City to Hanover. For the next two weekends, students will be staging “Chicago” (1975), the longest-running American musical in Broadway history.
tTonight’s performance of Eve Ensler’s “The Vagina Monologues” marks the 18th consecutive year of the performance at Dartmouth as part of V-February, the College’s annual campaign for gender equality and sexual violence awareness during the month of February. In the show, 22 self-identifying women will perform the monologues in Spaulding Auditorium.
You wonder about us every time you head to Hinman to pick up the basic life necessities you ordered off of Amazon because CVS is basically in a different country. You make uncomfortable eye contact with us while you’re fast-walking towards the tender queso wrap that you’ve been dreaming about since breakfast. You’re dying to know what our job actually consists of, who we are and whether or not we just saw you checking out your reflection in the glass. So today, in an unprecedented step, I will bridge the gap between the mysterious elite glass box-sitters and the general Dartmouth public: I am a Hopkins Center for the Arts gallery attendant and these are my confessions.
Alumnus Tom Maremaa ’67’s most recent novel, “Of Gods, Royals and Superman” (2015), might hit a little close to home for some of his fellow sons and daughters of Dartmouth — it follows Christopher Reed, president of the fictional fraternity Quad Alpha, after his expulsion from the College on account of his brotherhood’s especially creative methods of ensuring their new members’ loyalty, a practice colloquially referred to as “hazing.” The Dean of the College tells Reed that he has six months to “do something great” if he wants to stand a chance of graduating with the rest of his class — so off he goes to “save starving children,” a phrase tossed around by probably every single character to whom he explains his situation. I, for one, immediately thought he should travel across the country; first, with the cast of a Mark Twain drama troupe and later, the film crew for a Superman remake, before settling down and working in a restaurant for a few months to really learn the value of hard work. We can take bets, if you want.
Tom Maremaa ’67 graduated from Dartmouth as an English and German double major. He spent 17 years as an Apple software engineer and now works in Silicon Valley. His novel “Metal Heads: A Novel” was named an American Library Association Notable Book in 2009. His eleventh and most recent novel, “Of Gods, Royals and Superman” (2015), takes place at Dartmouth.
DakhaBrakha, a world music quartet that will be performing at the Hopkins Center on Wednesday, has a sound that is rooted in traditional Ukrainian folk music, but is not limited by that genre — nor by anything else, it would seem. A surprise hit at music festivals such as Bonnaroo and GlobalFest and winner of the prestigious Sergey Kuryokhin Prize for Contemporary Art in 2010, DakhaBrakha describes itself on its website as an “ethnic chaos” group, a title that fits both its sound and aesthetic.
Max Samuels ’15 graduated from Dartmouth last year as a theater and Chinese double major. He is now attending a one-year master of arts program focused exclusively on classical acting at the London Academy of Music and Dramatic Arts.