Before The Show: Arts on Campus Green Key Weekend
(05/19/23 6:00am)
Friday, May 19
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Friday, May 19
Music festivals seem to have become one answer to our generation’s short attention span and extravagant desire for live music. After a brief hiatus during the quiet times of the pandemic, music festivals are larger, more elaborate and more popular than ever before. These multi-day events cram hundreds of artists and thousands of attendees into an all-consuming escapist experience. The impermanence of the music festival signifies how millennials and Gen Z-ers value experiences over material purchases.
On May 19 at 7 p.m., the long-awaited Green Key concert will take place on Gold Coast Lawn featuring Neon Trees and Cochise. Neon Trees, with their infectious pop-rock sound and powerful vocals, has been a staple of the alternative music scene for over a decade, while Cochise’s blend of trap and Reggae pushes the boundaries of modern rap music.
John Mulaney takes the stage with a veteran’s grace tinged with his signature awkwardness. He begins: His siblings insist he is adopted. At age three, this confusing (and untrue) information sends young John Mulaney into a convoluted thought process involving his imaginary, dead birth mother, Miss America and the Statue of Liberty.
Friday, May 12
While Hanover and the Upper Valley may have vibrant arts scenes in their own regard, each year Dartmouth students who crave more than what Hanover has to offer participate in Foreign Study Program (FSP) experiences tailored specifically to the arts. This spring, 12 students traveled to Rome to study Art History with professor Ada Cohen and professor Steven Kangas from Dartmouth’s art history department. Likewise, 14 students forwent a Hanover spring for the opportunity to study in Vienna with music professor Sally Pinkas. In addition to Dartmouth faculty, both programs were supported by local professors and staff at onsite facilities in each respective city.
By 6 p.m., on May 1, a line of teenagers clad in floral maxi skirts and leather jackets snaked past the drunken pre-game chaos of Fenway’s sport-themed bars, over the David Ortiz Bridge and onto the urban side-street past it. Boston’s House of Blues wouldn’t open their doors until 7 p.m., but these devoted concert-goers bided their time, happily sacrificing an hour to secure a spot on the General Admission floor to see Lizzy McAlpine. Amidst Fenway’s boisterous atmosphere, as Red Sox fans filtered into the neighboring stadium, the hum of whirling anticipation and wistful melodies echoed down Lansdowne Street, outside the stadium’s high green walls.
On April 27, the Hood Museum of Art hosted a panel discussion on the exhibition “¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now.” The panel was moderated by professor Mary Coffey and featured artists Scherezade García and Sonia Romero as well as co-curator of the exhibition Claudia Zapata.
Friday, May 5
On the first Monday in May, the two of us sat on a couch in Hanover and watched celebrities arrive on the red carpet at the Met Gala, an annual fundraiser for the Metropolitan Museum of Art’s Costume Institute, in New York City.
On Friday at 7:30 p.m. in Collis Common Ground, Milk performed along with six other student bands in Battle of the Bands — a competition to determine the student opener of campus music festival Green Key. Additionally, on May 6, they will take the stage at Kappa Delta Epsilon’s annual musical event, WoodstocKDE.
It is no longer enough to love your favorite artists; you now must put blood, sweat and tears into getting tickets to concerts if you want to see them live. Beyond the actual effort of obtaining tickets, prices have skyrocketed as fan’s demands from live music have become extraordinary. Gone are the days of casually attending concerts; instead, getting in has become a battle. While this is not a new issue, the scale of concerts and expectations of fans have escalated in the past few decades, making an already limited market increasingly competitive and expensive.
Led by Michaela Benton ’22, Spilled Ink is the only active poetry club on campus, meeting on Mondays at 6 p.m. in Carpenter 201C. Benton, who founded the club, said Spilled Ink is a welcoming space for writers.
Friday, April 28
On February 14, 2023, Daisy Alpert Florin ’95 released her debut novel “My Last Innocent Year” about a young woman's final semester at a small college in New Hampshire. Florin was recently named a “Writer to Watch” by Apple Books. The Dartmouth sat down with Florin to learn more about what motivated her to write the novel.
Friday, April 21
On April 19 at the Hood Museum of Art, Jami Powell, Curator of Indigenous Art, and Michael Hartman, Jonathan Little Cohen Associate Curator of American Art, led a special tour titled “Painting History.” The tour touches upon the Hood’s theme for this year pertaining to art’s role in the construction of history through the exhibitions “Historical Imaginary” and “Kent Monkman: The Great Mystery.”
On April 14, Brandon Abiuso ’23 released his debut alternative rock album “A Day is the Worst Segmentation of Time” under his alias “Summer on Venus” on all music streaming platforms. “Summer on Venus” is also the name of a student band he sings and plays bass for on campus.
From April 13 to 16, speculative fiction authors from around the country came to Hanover to participate in the Dartmouth Speculative Fiction Project, a series of events which included interdisciplinary activities between visiting authors and Dartmouth faculty, as well as readings and panel discussions open to the public. The project aimed to foster collaboration between authors and Dartmouth faculty – with a focus on designing stories rooted in scientific research – and addressed the present and future of the speculative fiction genre.
“NEVER ENOUGH” is by far Daniel Caesar's most brutally personal and candidly human project to date. Released on April 7, Caesar’s third studio album is a melancholy amble into the Grammy award-winning artist’s psyche. The album delves into themes like death, romance, fame and maturity. Spread over 15 tracks with a run time of about 50 minutes, Caesar’s latest release — despite its title — is sure to satisfy his fans’ four-year itch for new music.