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For fans of Kanye West, there is nothing in the world more stressful than when he announces a new album. Kanye’s album rollouts are never anything less than a full-blown spectacle, often containing controversial statements, ill-conceived actions, pushed-back release dates and even major changes made to both the album’s title and content. After scandals like the “Imma let you finish” fiasco with Taylor Swift leading up to 2010’s “My Beautiful Dark Twisted Fantasy,” the numerous name changes to 2016’s “The Life of Pablo” and Kanye’s public embrace of Donald Trump before 2018’s “Ye,” veteran Kanye fans thought that nothing else he could do would surprise them.
Set after World War I, “Peaky Blinders,” the fifth season of which came out this month, is centered around the Shelbys, a Romani family who have made their name as gangsters in the streets of Birmingham, England. At the head of the family is Thomas (Tommy) Shelby, played by Cillian Murphy, a ruthless and overly logical patriarch who, at the end of season four, becomes a newly minted member of Parliament to fulfill his longtime goal of becoming a legitimate business owner and politician who speaks for the people. While the show maintains its focus on the Shelbys’ endeavors to cultivate power and protect their own, the fifth season adds depth to the show in its discussion of mental health and morality.
Shamell Bell, an original member of the Black Lives Matter movement, brings forth her experience as a community organizer and advocate for black activism as a lecturer in the African and African American studies and theater departments. She is currently teaching THEA 1, “Introduction to Theater” and THEA 21, “Race, Gender and Performance.”
A wise man once said, “Come for the music, stay for the message.”
Studio art professor Zenovia Toloudi’s “Technoutopias” series is currently on display in the Jaffe-Friede and Strauss Galleries, located in the Hopkins Center. An architect and artist, Toloudi explores the interactions, or lack thereof, between humans and public spaces in her current exhibit. Her work uses various materials and techniques to show this relationship and the impact of architecture on social interactions and the civil self.
Before coming to the woods of New Hampshire for college, Adam Riegler ’20 found his love for theater on some of the biggest stages in New York. From acting on Broadway to directing at Dartmouth, Riegler’s upcoming show “Red Speedo,” which will premiere on a Dartmouth stage on Nov. 15, will draw on his lifetime of experience with theater.
Everyone can enjoy watching a teenager who’s struggling with an identity crisis on TV. What’s not so fun to watch is a show that itself is struggling with an identity crisis. “The Politician” is striving for the former, but has ended up with the latter. The result is a show having an identity crisis about a gaggle of teens who are similarly confused.
It is not a well-known fact that Dartmouth hosted a small cohort of women exchange students starting in 1968 before its official inception as a coeducational institution in the fall of 1972. In recent years, Dartmouth has nearly equal numbers of women and men, a norm that is in part due to these trailblazers who made the first incursions onto Dartmouth’s all-male campus and shaped Dartmouth into the school it is today.
Fall is the season of change. Musically, Post Malone has changed from a hardcore rap/pop mogul to a gentle sad boy with his new album “Hollywood’s Bleeding,” released earlier this fall. His third album reflects complex emotions of melancholia and regret, differing profoundly from the aggressive, angry lyrics of his past two albums.
“Norman F—ing Rockwell!” is easily Lana Del Rey’s best work to date. Upon its reveal, the cover art of “NFR!” created a considerable amount of controversy within Lana Del Rey’s fanbase. While her previous covers all use similar bold fonts for the title of the album and feature cinematic images of Del Rey alone with a car and wearing white, conservative outfits, “NFR!” goes in a different direction.
I’ve followed Netflix’s animated series “Big Mouth” since it debuted in 2017. I’ve loved every minute of it since, including its third season, which was released on Oct. 4. But I know that it rubs some people the wrong way, and I can see why it does. The sexual jokes are blatant and graphic — which can feel especially inappropriate considering that the characters are middle schoolers — and visually, the show is a tad more grotesque than your typical animation.
It’s strange to say, but I did not notice the narrator had no name the entire time I was reading Nico Walker’s novel “Cherry.” It was only when I sat down to write this review that I realized the person whose deepest thoughts I had been reading was unnamed to me, however fictional or autobiographical he may be.
What is contemporary art? For some, it’s Pollocks and Picassos and Poliakoffs. For others, it is the senseless combination of shape and color. For University of Chicago art history professor Darby English, it’s a conversation.
“Joker” is not the most boring film I’ve seen all year. Nor is it the most poorly made. Nevertheless, “Joker” is probably the worst film I’ve seen in 2019, or at least the one I despised the most.
Welcome to 1969 Hollywood. Retro buildings, vintage cars and neon signs line Hollywood Boulevard. Men dress in bell bottoms, patterned shirts and turtlenecks with blazers. Women wear miniskirts and vinyl, knee-high boots. Flower children don bohemian outfits of the counterculture movement. The Quentin Tarantino-directed movie “Once Upon a Time... in Hollywood” pictures these vintage scenes through rose-colored glasses.
When someone mentions the word “pink,” what images come to mind? Maybe you picture a little baby girl in her light-pink nursery, pink-frosted gender-reveal cakes or the new millennial pink that covers dorm rooms and stores across the country. Whatever you think of, it is most likely related to girls and traditional femininity.
“Doesn’t money make you horny?” Ramona (portrayed by Jennifer Lopez) whispers this to newcomer Destiny (portrayed by Constance Wu), as she leaves center stage, bathed in dollar bills. In the film “Hustlers,” Ramona immediately establishes the primary foundation of the film: the intertwined web of money and sex.
Maybe you have seen her give a tour of her dorm on YouTube or heard about her stint on the red carpet of the Video Music Awards this summer. Joelle Park ’19, who is in her final term at Dartmouth, is by all accounts zealous and innovative — founding and maintaining her own Youtube channel titled “Joelle,” which has over seven thousand subscribers, is just the start.
As a Dartmouth student, the end of summer can be a pretty lonely time. With almost all other colleges starting the last week of August, the stretch between when home friends leave to the journey back to Hanover can be a slow and painful one. I am on campus now, of course — and it would be an understatement to say that my schedule is just a bit chaotic — but when I lived in a ghost town for those couple weeks, I had nothing but free time.
It’s hard not to enjoy certain moments of pure thrill — the rapid descent of a rollercoaster, maybe, or a hard-won victory on the athletic field. Director James Mangold’s new film, “Ford v Ferrari,” draws upon one of such thrills: the roar and rush of high-speed driving. Shown at Dartmouth’s Hopkins Center for the Arts as part of the annual Telluride Film Festival screenings, “Ford v Ferrari” is a riveting piece of car-focused filmmaking wrapped up in an underwhelming but ultimately solid narrative envelope.