Uuganzul Tumurbaatar '21 celebrates the Lunar New Year.
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Uuganzul Tumurbaatar '21 celebrates the Lunar New Year.
For a long time, Spotify was nothing more to me than the obscure, Swedish-born music streaming platform that my artsy older sister used. But five years later, it’s almost impossible for me to envision listening to music without it. I spent a few weeks over winter break with my old iPod Classic. In comparison to the luxurious, adaptively intuitive world of Spotify, listening to music on what had once been my most coveted possession (as an 11 year old, I had opted for the Classic over the Nano because that is what I believed the more “serious” music listeners used) had become taxing. The motion was not a click, but rather an arduous scroll. Playlists were harder to access. Navigation was more cumbersome, and I felt less flexible in my listening. To jump even further back in musical history, to a time when music was something people held in their hands and had to be retrieved from the store or library, is even harder to grasp.
In the op-ed “Red, White and Offended” published in The Dartmouth on Jan. 31, Peter Leutz delves into the issue of free speech in comedy and declares that infamous comedian Louis C.K.’s recent jokes and their offensive content “should be of little concern” as long as they’re for comedic purposes. I applaud Leutz for his defense of free speech and his analysis of modern comedic discourse, but as a person who both preforms and enjoys comedy, I disagree with his thesis entirely. While many comedians rely on “shock value” and often tread the grey area of “too far” and “just enough,” C.K. should be heavily criticized, and his jokes, such as his most recent mocking of Parkland shooting survivors, have no place in modern comedy.
I have never been tasked with breaking a story — that’s not my job. My job is to write hot takes for The Dartmouth. To be slightly more pretentious, I am a columnist for the opinion section of America’s Oldest College Newspaper.
I have no qualms about claiming that “Parks and Recreation” is the best sitcom of the decade. Those who know me are certainly unsurprised by this claim. If my obsession with this show was not brought up in our first conversation, I have certainly quoted, referenced or forced you to watch at least one of my favorite scenes. “Parks” is my go-to pick-me-up — Andy’s gleeful silliness is contagious. “Parks and Rec” is my go-to for motivation — Leslie Knope’s boundless determination is enough to inspire anyone to do their homework. And it’s definitely my go-to for a laugh — the different characters that make up Pawnee, Indiana are hysterical. Basically, “Parks and Rec” is my go-to any day, any time.
Like all faculty, staff and postdocs, I received my email summons to complete mandatory Title IX training, as directed by College President Phil Hanlon and the College in response to the student lawsuit against faculty and the College stemming from alleged sexual misconduct of three male faculty in the psychological and brain sciences department. By a certain logic, this obligation makes me yet another link in the chain of the exploitative side of Dartmouth’s culture, in this case as it concerns labor practices. Exploring this link may point to deeper fixes for campus culture.
Last Saturday, the Hood Museum of Art reopened its doors. Before the Hood closed for renovations in the spring of 2016, the museum was working with and enriching classroom experiences across 35 academic departments and programs on campus. Now, with the addition of the Bernstein Center for Object Study, more gallery spaces and a spacious 2,500 square foot atrium (that remains open for students even after the closing), the Hood can extend its reach on campus and engage students across disciplines with the arts.
Canadians are being targeted abroad, and it is reflective of Canada’s rising political status. In the last few months, Canadian nationals living and travelling in China and Saudi Arabia have been imprisoned, expelled or sentenced to death. In the midst of this tragic loss of life, however, is evidence that Canada is stepping up its involvement in world politics. Its government is finally willing to get its hands dirty in controversial foreign relationships — and the by-product of detainment is a cost that world superpowers have dealt with for years.
Updated Jan. 31, 2019 at 1:44 p.m.
"What good is it for someone to gain the whole world, yet forfeit their soul?" Mark 8:36 (NIV)
If Mapplethorpe had Instagram, would his account get banned? In museums, nudity and emotional expression are well-accepted. But the account @artwerk6666, which often features twerking and seemingly baroque iPhone photos of the nude body, recently got deleted at 69 thousand followers for about the 17th time. Featured on Vice, Dazed 100 and a couple of smaller culture websites, Alexandra Marzella, the owner of @artwerk6666, is an artist, selfie taker and feminist performance artist — so what’s the issue? Nudity. Nudity is crass and unsophisticated, or so digital admins would have you believe. Her account, however, is one of many that intentionally misuses social media to display an affect of rawness that destabilizes the idea of a polished public face. An Instagram feed with different variations of golden-hour selfies would be a boring place to be. Social media spaces should take the recent Tumblr regulation initiatives as a sign to take a step back, since feminist performance artists rely on social media to destabilize the image of the perfect woman for consumption.
In its Verbum Ultimum on Jan. 25, The Dartmouth editorial board asserted that “The [Rockefeller] Center must recommit to its original guiding mission.” The contention in the editorial is that “much of the Rockefeller Center’s identity has been constructed around the notion of ‘leadership.’” In this response, I will explain why the second of these assertions is true but the first is not. I will also argue that rather than being a detraction from the liberal arts experience at Dartmouth, leadership programs of the sort offered at the Rockefeller Center are an essential element of Dartmouth’s mission to prepare its students for “a lifetime of learning and of responsible leadership.”
In the 13th chapter from her series "Mixed from Maine," Cecilia Morin '21 illustrates our evolving standards as temperatures drop.
The premiere of “Crazy Rich Asians” and the inception of the Facebook group Subtle Asian Traits were only a month apart last fall, marking a turning point in how Asian identities are perceived in mainstream media. Despite their names, both the film and the online community cater more toward an audience of Asian descent than an Asian audience. “Crazy Rich Asians,” a Hollywood film, was made for American Asian viewers. The scope and reach of Subtle Asian Traits has become much greater. The group was started by a handful of Australian high schoolers in Melbourne to bond over what it meant to be the children of Chinese immigrants. Intending it to be a local Facebook community, the students had added all of their Asian friends and classmates, but then membership increased exponentially to a thousand people within a few weeks through the same process. Subtle Asian Traits currently has over 1.1 million members globally, many of whom live overseas in Canada, the Netherlands, the United Kingdom, the United States and other Western countries. And while “Crazy Rich Asians” has experienced an unprecedented amount of mainstream success for a film of its genre, Subtle Asian Traits is ultimately more effective when it comes to representing and building the global Asian community.