Use the fields below to perform an advanced search of The Dartmouth 's archives. This will return articles, images, and multimedia relevant to your query.
1000 items found for your search. If no results were found please broaden your search.
After last year’s “Oscars So White” controversy, I didn’t think a more uncomfortable Oscar ceremony would be possible. But somehow, the last five minutes of this year’s ceremony managed to top it and then some. In one of the most awkward moments in Academy Awards history, it was revealed that “Moonlight” had actually won Best Picture, even while the “La La Land” team was giving speeches on stage.
“Get Out” begins with a beautiful, stylistic long take following an African-American man trying to navigate a suburban neighborhood in the middle of the night. The scene sets the stage perfectly, as the man attempts to evade a car that starts to harass him. “Get Out” is a horror film to be sure, but its predominant interest is actually in the real-world horrors inflicted daily on the African-American community. It’s amazing that Hollywood, known for thinking the world is composed of entirely white, straight, cisgender males, allowed this film to be made — a film which unmasks the casual, passive and insidious racism that remains deep-seated and systemic in our society.
After playing Ludwig van Beethoven’s “Symphony No. 9” last spring, the Dartmouth Symphony Orchestra will be performing and paying tribute to the famed composer with a piece created by another beloved composer Johannes Brahms. As part of its winter concert this Saturday, DSO will play Brahms’ “Symphony No. 1,” which is often referred to as “Beethoven’s Tenth” because of its similarities to Beethoven’s “Symphony No. 9.” The other piece, Jean Sibelius’ “Violin Concerto,” also comes from the late Romantic era and will feature Orestis Lykouropoulos ’17 on violin.
The beginning of 2017’s music landscape has been uncontestably dominated by rap artists from a city that has recently become a key niche of American popular culture: Atlanta, Georgia. Following the release of Migos’ wildly successful “Culture” in late January, Atlanta’s unique brand of trap rap has maintained a constant presence on radio stations, late night talk shows and the Billboard Hot 100 Chart.
The first few minutes of “The LEGO Batman Movie” are some of its funniest. As the audience stares at an empty screen waiting for the film to start, Batman (Will Arnett) informs us in a voice-over that all great movies start with a black screen and edgy music that makes parents and studio executives feel uncomfortable. He proceeds to comment on the varying degrees of epicness inherent in each of the studio logos as they appear on screen. I had yet to see a single LEGO brick, and I already thought the movie was hilarious. We then jump right into the middle of the action as literally all of Batman’s villains attempt to destroy Gotham City. The police are evidently helpless until the Dark Knight arrives on the scene, cues his own background music and starts unleashing havoc on his enemies. The first half of “The LEGO Batman Movie” is exactly like this: nonstop breathless fun filled with witty satire. It’s only a shame that the film decreases both in speed and in quality as it approaches its finale.
Everyone at Dartmouth excels at something, but it is rare to find a student who manages to surpass expectations in countless different fields. While choosing to major in English with a concentration in creative writing, Alex Lopez ’15 has expanded his time at Dartmouth beyond the traditional academic bounds, pursuing coursework and internships in the fields of sustainability, finance, politics and numerous other areas.
Christina Ritter ’99 majored in history and participated in theater productions during her time at Dartmouth. Post-graduation, she trained in acting at the London Academy of Music and Dramatic Arts before completing a Ph.D. in theater at the Ohio State University. She now teaches “Introduction to Theater” at the University of Kentucky and is actively touring the country with her theater company, “for/word.”
A play about a dystopian society oppressed by a malevolent corporation during a harsh drought in which residents must pay to urinate does not seem to have much potential for laughs. However, the Dartmouth theater department’s presentation of the Tony-winning musical “Urinetown” promises a satirical play that is not only a laugh but also a look at contemporary issues through the lens of a theater production.
Gene Baur is an activist and best-selling author who co-founded the farm animal protection organization Farm Sanctuary. Time Magazine has called him the “conscience of the food movement” and he is one of Oprah Winfrey’s SuperSoul 100 dream team of “100 awakened leaders who are using their voices and talent to elevate humanity.” Tonight at 7 p.m., he will be speaking with students and community members in Achtmeyer Hall about his work in sustainability during a “Sustainable Dinner with Gene Baur.”
First performed in 1996 at the HERE Arts Center in New York City, “The Vagina Monologues” has quickly blossomed into one of the feminist movement’s most relevant and empowering pieces of theater. Written by Eve Ensler, “The Vagina Monologues” is composed of a series of monologues based on interviews Ensler conducted with over 200 women. Each episode includes instances that deal with the feminine experience, employing topics such as sex, rape, birth and the various names for the vagina.
Winter Carnival is over and it’s become painfully clear that it took all motivation on campus with it. I’m left with a lot of work and nothing to look forward to, so I’m choosing to deal with my problems through passionate and vehement denial. These are just a few ways I plan to relive Winter Carnival until 17W ends, and I strongly encourage you to join me.
Imagine the classical composer in love. Most will imagine a stuffy old European man maintaining a rather mediocre relationship with a matronly wife; in reality, however, it’s not an exaggeration to say that classical composers’ romances were just as sensational and dramatic as their music. Upon examining the lives of some of the most famous classical composers, we see love lost and found, love triangles and forbidden romances intertwined with their most famous works.
If “Manchester by the Sea” was a fairy tale, it would be the most downbeat one you’ve ever heard. Instead, it is a film that draws out every painful and saddening moment of its characters’ lives as they grieve the death of a beloved family member. In past reviews, I’ve tried to make clear that I have a special admiration for smaller, more personal films that are more concerned with character and story than spectacle. “Manchester by the Sea” should fit perfectly into that niche. And for some people it clearly did. The film is not only nominated for Best Picture at the 89th Academy Awards, but many critics have also declared it as 2016’s best film. I only wish I felt the same way.
Some claim that the Grammy Awards don’t matter anymore. Regardless, I, along with the rest of the arts staff, offered predictions for this year’s Grammys, which aired this past Sunday. Here’s how the staff faired with the results.
Another February, another awards season, another inevitable failure by music industry “elites” to recognize true musical artists properly. The 59th Annual Grammy Awards offered a surprising improvement on the usual tame, predetermined nature of televised award shows, but the awards themselves ultimately failed to fulfill the promise of the ambitious live performances. In the post-election social and political pressure cooker that has characterized 2017, the Grammy producers obviously picked up on the public’s undeniable need for meaningful music and the affirmation of marginalized groups.
Each year, Winter WhingDing brings an element of musical excellence to a Winter Carnival that is already filled with entertainment. One of three major a cappella performances held each year, this year’s Winter WhingDing is hosted by X.ado, a co-ed Christian a cappella group. Hosting responsibilities for Winter WhingDing — and its fall and spring counterparts — rotate through all of the a cappella groups on campus, and this year it is X.ado’s turn to take center stage. In addition to performing as an a cappella group, X.ado is also a ministry on campus and is known for singing songs from a variety of genres, including gospel, contemporary pop, Christian rock and traditional hymns.
The “elevator music” conception of jazz is not the kind of music to be expected from the Barbary Coast Jazz Ensemble’s 41st Annual Winter Carnival Concert. Featuring visiting artists Joe Bowie, Steven Bernstein, Bahnamous Bowie and JT Lewis, the concert will feature big band interpretations of musical genres such as funk, R&B, jazz and the James Bond movie soundtrack.
Born in New York City, New York, Genevieve Adams ’11 is an actress and screenwriter. She started acting from a young age and continued her passion at Dartmouth as an English major. During her senior year, Adams wrote an honors thesis, which eventually turned into “IMPROVed,” a two-act comedy that showed in front of a sold-out audience in NYC. This play was later adapted into a movie, “I’m Obsessed With You (But You’ve Got to Leave Me Alone),” which is available on iTunes. Her work has allowed her to work alongside major names such as Kristen Wiig in “The Skeleton Twins” and Katie Holmes in “Touched with Fire.”
Setting the stage for folk-meets-bohemian styling, Hanover Strings, an instrument store on Main Street, embodies modest bluegrass roots and an eccentric vintage aesthetic. Merging a time-honored cordial demeanor with a ’60s counter-culture maverick spirit, Hanover Strings emerges as the primary source of stringed instruments for the town and its neighboring communities. It is a musical cathedral for the Upper Valley, providing a receptive community space for the generation of traditional bluegrass and folk alongside a younger generation of evolving expressionist styles.