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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.
My review for the TV adaptation of “Daisy Jones and The Six” must begin with an important caveat: I have not read the book. And while I know you may think it a great sin for me to write this review, what I lack in book background knowledge I promise I make up for with a healthy appreciation for Fleetwood Mac, Free People and messy relationships. Additionally, my review will judge the show based on its merit alone without comparing it to its beloved predecessor.
As an avid “Game of Thrones” fan, I have been counting down the minutes to its highly anticipated prequel, “House of the Dragon,” since its announcement in 2019. Like many “Game of Thrones” fans, I was wildly disappointed by its unfulfilling finale that left me irrationally angry; a rushed ending that throws away about eight seasons of character development is no way to reward fans for their dedication. Even so, I was excited to restart my obsession with the “Game of Thrones” world — now with new characters, romances and drama.
Madison Square Garden seemed like the perfect place to see Harry Styles. With the opulence and reputation his name commands, only a renowned stadium could fit the bill. Nearing the end of his 15-night residency and with charisma to spare, Styles himself may as well have called me himself and told me to purchase tickets. Or at least that is what I tell myself to justify the exorbitant price. A vibrant performer and even more personable guy, Styles’s banter with the crowd and powerful performance completely transformed MSG into Harry’s House.
I am a sucker for a concert. If anyone notable is playing within three hours of me, I can’t help but go. I’m attracted to the energy, the lights, the live music, the food — and my wallet hates me for it. So, when my friend texted me last minute about seeing Elton John in Foxborough, Mass. on July 27, suddenly the interview I had the next day, my upcoming midterm and my discussion post due in two hours all fell to the wayside. Nosebleed tickets were purchased and an outfit was thrown together. Piling into my beloved Subaru with four other Dartmouth students, we began the three-hour drive to Gillette Stadium. Throughout the drive, we couldn’t hold in our excitement as we listened to John’s greatest hits and made a brief Chick-fil-A stop on the way.
The Grateful Dead have been the soundtrack to all my best memories — the ride to and from school every day, my dad singing “Brown-Eyed Women” to me while making pancakes every Sunday morning, driving to Atlanta for my first Dead & Company concert in 2017. I have been a Deadhead since birth; both my parents are avid fans and have been playing their music since before I could walk. Now that I’m grown and my parents’ love for the band has evolved into my own, riding about six hours on the Dartmouth Coach to New York to see Dead & Company — the Grateful Dead legacy band featuring icons Bob Weir, Mickey Hart and Bill Kreutzmann, along with John Mayer, Oteil Burbridge and Jeff Chimenti — was an easy sacrifice to make.
Parrotfish, a Tampa, Florida based band, made up of members Conor Lynch (vocals), Joe Cadrecha (guitar), Trace Chiappe (drums) and Matty Rodrigo (bass), recently performed for Dartmouth students at Phi Delta Alpha fraternity’s block party. The band kicked off the Green Key weekend with an electric performance that drew a massive crowd and packed Webster Avenue. The Dartmouth sat down with Parrotfish to discuss their history as a band, their Dartmouth performance and their many plans for the future.
Driving back from New York on the morning of the album’s release, “Harry’s House” was the soundtrack of my return to campus. With nothing but long highways and sleeping passengers — coupled with Waze occasionally interrupting the soft crooning of Harry Styles — I was able to give this album the attention it deserved, which is what has made me appreciate its many nuances and subtleties so much.
“Euphoria” seduces its viewers with an absurd portrayal of high school. There is something intoxicating about watching these characters ruin their lives, a total inability to look away as their world burns around them while you snack on the couch. Episodes fluctuate between campy teen drama and somber character explorations, each desperately trying to raise the stakes by increasing shock with explicit content.
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.
The Korean TV mini-series “Squid Game” seemed to appear out of nowhere, quickly receiving worldwide attention and inciting vast media discourse. Featured on Netflix, “Squid Game” tells the story of a cruel competition for immense wealth — won by playing children’s games with a deadly twist. The show is told through the perspective of player 456, Seong Gi-hun (Lee Jung-jae). Created by South Korean director Hwang Dong-hyuk, “Squid Game” tactfully explores class issues and its viewers’ role in them through superb acting and character development that evokes strong emotional responses.
The third annual Indigenous Peoples’ Month Fashion Show will return to the Russo Atrium of the Hood on Oct. 21 at 8 p.m. The show aims to celebrate Indigenous fashion by highlighting its characteristic artistry, design and innovation.
Connected by their fraternity and an appreciation for classic rock, Theta Delta Chi’s resident band, The Dandelions, celebrates the catharsis of musicality with their performances. Named after a friend’s infamous dandelion wine, the band comprises Keeks George ‘22 on guitar and vocals, guitarist Peter Chabot ‘22, Cam Guage ‘22 on saxophone and vocals, Nate Koidahl ‘22 on drums and percussion, Connor Morris ‘22 on piano and vocals and bassist TJ Bryan ‘23.
Billie Eilish revolutionized pop through the institution of a dark, eclectic style in her debut studio album “When We All Fall Asleep, Where Do We Go?” Between the tantalizing whispers and her penchant for contrasting harsh instruments with soft vocals, Billie Eilish united reality and fantasy to tell the story of teenage trauma through lucid dreams. Winning a whopping six Grammys in 2020, Eilish skyrocketed to mainstream success and mass fame at just 18 years old.
When the Marvel Cinematic Universe announced a wave of new television shows, it was no surprise that the charismatic brother of Thor, Loki, secured a series all to himself. Played by the beloved actor Tom Hiddleston, Loki won over viewers with his debut in 2011’s “Thor.” Despite his introduction as a villain, MCU fans have watched him develop into a reformed hero. Disney Plus’ new show “Loki” follows this evolution and expands on Loki’s character development by exploring the meaning of free will, faith and identity.
Since garnering mass attention with his music-based performances on YouTube at just 16, Bo Burnham has been an iconic presence in the comedy community. He has an impressive discography of surprisingly introspective songs, such as “Art is Dead” and “Lower Your Expectations,” which discuss the harrowing problems of comedic brilliance and leave the listener cackling while also questioning society. With his newest Netflix special “Inside,” Burnham builds on his catalogue of self-reflective songs as he struggles to understand his place in a convoluted world.
Machine Gun Kelly’s newest album transcends his former rap concentration and launches the artist into his newest exploration: pop-punk. Based heavily on popular music of the early 2000s, “Tickets to My Downfall” marks the genre’s return to popularity with a new edge that makes it stronger than before. With over 66 million streams, Kelly has seen more commercial success from this album than any of his previous work, proving his versatility by successfully making the difficult jump to a new genre.