This Friday, the Hopkins Center for the Arts will present “Welcome to Indian Country,” a collaborative performance of both song and stories. Co-commissioned by the Hop, the show features 10 songs performed by a group of six Indigenous artists.
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Reading “The Love Hypothesis” feels like gaining all the perks of graduate school without actually having to attend a university. Author Ali Hazelwood creates a fake relationship between cheery Olive Smith, a Ph.D. candidate at Stanford University, and standoffish Adam Carlsen, a tenured professor and MacArthur Fellow. When Anh, Olive’s best friend, starts dating Olive’s former fling, Olive attempts to show that she is unbothered. Olive tells Anh that she’s also dating someone, and to prove it, Olive kisses the first man she sees: Adam. To her surprise, Adam then proposes the idea of “fake-dating” for their mutual benefit. Adam can project the image of having “roots” at Stanford so his department will stop expecting his departure after the completion of his research, and Olive can keep up her lie to Anh. The cliche of fake-dating, while drastically overused, still finds a way to my heart each time.
On Feb. 9, the Hood Museum of Art will host a talk with Cara Romero, moderated by curator of Indigenous art Jami Powell. Three of Romero’s pieces — “Kaa,” “Oil Boom” and “Water Memory” — are currently on display in two exhibitions in the Hood: “Unbroken: Native American Ceramics, Sculpture and Design” and “This Land: American Engagement with the Natural World.”
Matthew Heineman ’05 has filmed in conflict zones around the world and received glowing praise in the most elite circles of film. Most recently, he shot at a hospital in Queens, New York at the start of the COVID-19 pandemic. Heineman entered the field after graduation and is now a renowned filmmaker.
Like many other book lovers, I found myself trapped in the confines of “BookTok,” the community of TikTok users who share and discuss book recommendations, at the height of quarantine. The BookTok canon is both particular and chaotic, filled with young adult novels like “The Song of Achilles” and messy romance books like “Red, White, & Royal Blue.” Hanya Yanagihara’s 2015 book “A Little Life,” though not in the same genre, is still adored by those in the BookTok community. “A Little Life,” which attracted a strong fanbase but received mixed reviews from critics, operated on extremes and had a profound emotional impact on readers. My reaction to it was ambivalent. The novel operated on such insane highs and desperate lows that I was frankly left trying to recover emotionally. Yanagihara’s newest novel, “To Paradise,” elicited a similar response.
Given COVID-19 dining changes and closures, a lack of options for students with dietary restrictions and cravings for home-cooked meals, many students are finding ways to adapt to the challenges of college dining.
It’s been a while since I exited my young adult literature phase. Throughout seventh and eighth grade, I consumed YA novels as if my life depended on it — at least two a week at my peak. Since then, I’ve tried to reignite my excitement surrounding the genre that inspired me to fall in love with reading, but I haven’t been able to do so since middle school.
In the past decade, social media influencers have grown more and more in popularity. First, it was on YouTube. Then, it was on Instagram. Now, with TikTok, it’s easier than ever to become famous. On the Netflix reality show “Hype House,” these influencers break out of our phone screens and onto our televisions.
Alice Crow ’22 produces abstract works that deal with themes of the subconscious and nature. Double majoring in studio art and history, Crow currently works as a campus engagement intern at the Hood Museum of Art where she helps connect students to the museum and curate an upcoming exhibit.
On Jan. 9, the 79th Golden Globe Awards took place at the Beverly Hilton in Los Angeles, in a ceremony vastly different from any previous Golden Globe Awards. Last year, the ceremony followed a hybrid format, in which some celebrities attended in-person and others made virtual appearances. Still, the 2021 Golden Globes were televised to the public. This year’s ceremony did not include a red carpet or a televised broadcast of the event. This decision resulted from concerns about the lack of diversity among the Hollywood Foreign Press Association’s members and nominations.
After almost a year of experimentation, Stavros Hughes ’23 recently released a full-length debut album titled “Entropia,” a portmanteau of entropy and utopia. His album tackles the chaos of adolescence as well as themes of mental health and anti-establishment protest.
Over the past year, many events at the Hopkins Center have returned to their live format. Student ushers and will call workers largely facilitate the plays, musical and concerts Dartmouth students and Upper Valley patrons frequent.
Student Spotlight: Abigail Smith ’23 explores the Southern Gothic genre’s representations of people of color
On Jan. 14, the Hood Museum of Art hosted Conroy intern Abigail Smith ’23 for the latest installment of the museum’s “A Space for Dialogue” series. During the Hood’s first in-person gallery talk since winter 2020, Smith discussed her curated collection, “Southern Gothic,” which examines the complex and often macabre world of the Southeastern U.S. Featuring pieces from the Jim Crow era to the 2010s, Smith’s collection aims to capture both the darkness and light of the Southern Gothic era, according to the event’s promotional materials.
Loosely categorized as an “opera,” “The Force of Things: An Opera for Objects” is an intense visual and sonic performance intended to engage with the ramifications of climate change through a collective audience experience. The performance will take place from Jan. 13 to Jan 16 at the Moore Theater in the Hopkins Center for the Arts. It is created by sibling duo Adam Fure and music professor Ash Fure and co-directed by music professor César Alvarez. Ash Fure also works as a music professor at Dartmouth, and Adam Fure is an architecture professor at the University of Michigan.
Studio art intern Phoebe Kong ’21 sits at the desk of her studio in the Black Family Visual Arts Center. As one of five chosen interns, she will spend the year building her portfolio and assisting in undergraduate art classes before applying to MFA programs. Behind her is a collage wall composed of various prints of her family, each connected by her various drawing studies.
One of the most highly anticipated movies of the year, “Spider-Man: No Way Home,” incited a mass exodus of fans from the comfort of their couches back to the theater’s big screen. With various spoilers circulating on the internet since the movie’s release on Dec. 17, the movie demands an in-theater viewing for the most genuine experience. Racing to see it myself, I was struck by the emotionality woven into the action of this film that celebrates Spider-Man’s legacy and future.
In his first feature film, “God’s Country,” Hanover High School alumnus Julian Higgins explores morality in an immoral world. Struggling against racism and sexism in daily life, a Black female professor has her strength of character put to the test when hunters trespass on her land. “God’s Country” will premiere in the 2022 Sundance Film Festival this month.
Co-created by Justin Noble and Mindy Kaling ’01, “The Sex Lives of College Girls” provides thoughtful entertainment with a title that promises intrigue.
If you’ll excuse the pun, I seem to be building a reputation for myself as The D’s resident Taylor Swift reviewer. In May 2019, I deemed “ME!” from “Lover” uninspired. In July 2020, I fancied the mature melancholy of “folklore.” Now, in December 2021, I’d like to talk about “Red (Taylor’s Version).” There is something so innately powerful in those parentheses — they signify that Swift has become the songsmith and owner of her music. Indeed, the re-recorded version of her 2012 album is a strong, intentional reflection on fame and heartbreak, guided by its thematic and tonal lodestar, the epic 10-minute version of “All Too Well.” A pivot from the in-your-face nature of her prior pop albums, this music, like “evermore” and “folklore,” employs minimal instrumentals and lucid, expressive vocals that tell a tale of graceful rebirth.
After the strange, pandemic-dominated year of music that was 2020, 2021 felt like a return to normalcy for the music industry. Albums that had been postponed due to COVID were released, major artists like Kanye West and Drake dropped new albums and many albums devised during the lockdowns of the previous year saw artists exploring new directions. One notable musical event of the year that will not be included on this list was Taylor Swift’s re-releases of her older albums as “Taylor’s Version”; because none of that music was written in 2021, it will not be included on this list. Otherwise, here are the ten best albums released in 2021.