ValleyNet opens up the Upper Valley region to the Internet
Courtesy www.muscleboundtheplay.com Have you ever ordered dinner over the World Wide Web?
Courtesy www.muscleboundtheplay.com Have you ever ordered dinner over the World Wide Web?
Ursula Oppens has been hailed as the most important interpreter of contemporary music. She has premiered some of the most significant piano compositions of the last 20 years, garnering praise from both composers and critics for her flawless technique, fierce musical intelligence, and seemingly boundless versatility.
Performing to a full house at Spaulding Auditorium last night, four guitar greats showed Dartmouth the way the guitar should be played. Featuring Kenny Burrell, Jorma Kaukonen, Steve Morse and Manuel Barrueco, "Guitar Summit" was a celebration of four distinct styles of guitar playing.
Shocking, outrageous, humorous, sarcastic and always powerful, Guillermo Gomez-Pena and Roberto Sifuentes presented "Dangerous Border Game" to Dartmouth Saturday night at the Moore Theater. Exploring issues of immigration, race relations, bilingualism and ethnic identity, Gomez-Pena and Sifuentes tossed aside all principles of conventional theater and staged a drama uniquely original and self-conceived. However, their disturbing portrayals of emigres in America were not distant or far-fetched.
Guitar Summit, which will be held at Spaulding Auditorium tonight, features four distinct guitar styles performed by noted masters of the instrument.
The celebrated Italian pianist, Giuseppe Scotese, returned to Dartmouth yesterday after a two year absence, to perform a short concert as part of the Vaughn Recital Series.
The exploration of the inner workings of the mind of a schizophrenic is the subject of "Clean Shaven," the latest installment in the Loew Film Series, to be shown this Thursday. It has been described as "brilliant," "extraordinary," and "a blistering piece of cinematic inventiveness," but it has also been called "disturbing," "unsettling," and "unbearable." Director Lodge H.
As the annual fall foliage season draws to an end, hundreds of "leaf-peepers" are still flocking to Hanover to take in a last glimpse of the brilliant autumn colors. Pat Bourke and Betty Conlogue, two leaf-peepers from New Jersey, stood on the Green Tuesday, with their cameras focused on Baker Tower.
Over the centuries they havve mystified pilgrims and princes, a Moslem saint and the Rolling Stones, and tonight the Master Musicians of Jajouka will caste their spell over Spaulding Auditorium. From their remote village in northern Morocco, the 4,000 year old rock 'n roll band leads off a 17-city U.S.
Proving once again who is the hottest ticket in dance today, Mark Morris Dance Group stunned the sold-out audience last night in its first performance at the Moore Theater. Part stylist and part illusionist, Morris freely incorporates the classic and the avant-garde, the elegant and the awkward, to present an eclectic movement style of juxtapositions which speaks about a similar mix in life. In "Lucky Charms," a cross between chorus line pizzazz and sobering sculptural escapades, dancers donned in vibrant sequins flash jazz hands in kick formations and flittering games of hide-and-seek. With a flip in lights, Morris, always playful provocateur, commands an unexpected recognition of weight.
Dinesh D'Souza's '83 controversial new book, "The End of Racism" gives a comprehensive discussion that includes a wide assortment of intriguing ideas regarding the nature of racism in modern day America and throughout history. In an exhaustively researched and clearly laid out presentation, D'Souza traces the historical development of racism to the present day, arguing convincingly that it is rarely a product of ignorance and fear as often charged, but instead the result of a rational, scientific attempt to reconcile observed differences between groups. D'Souza elaborates on the difference between racism, which is based on a presumption of biological inferiority, and ethnocentrism, which is between cultures, not necessarily racially based and presumes no biological inferiority. Contrary to popular claims, D'Souza argues that racism is not a universal part of human nature, that it had a clearly marked beginning and thus there is hope for its end. It is in his consideration of the origin and correct interpretation of racism that D'Souza excels, debunking many of the myths espoused by what he sees as a Civil Rights establishment afraid to admit that racism has largely vanished from American society because it would leave them with no job and no cause to fight for. Unfortunately some his ideas and refreshing perspectives are bogged down by poor organization and a lack of a coherent thesis. D'Souza's purported goal in the book is to argue that the enormous decay in the black community in America can not longer be blamed on racism by whites or on lingering effects of slavery, and that the blacks must take responsibility for their community. But far too much of the book is dedicated to a discussion of cultural relativism, an idea that D'Souza spends considerable time bemoaning but little time rebutting. Much of the text is a meandering trip through a series of ideas that, while all related to race and racism, give the reader little indication as to the author's goal. And in the last chapter, with the reader hopeful that D'Souza will attempt to pull together his monumental research effort into some sort of defining statement, he comes out of nowhere with a proposal that the Civil Rights Act of 1964 should be repealed in favor of a system that calls for a completely "color blind" government and a legalization of discrimination in the private sector. In this culminating chapter D'Souza argues that people do not have a basic right not to be discriminated against.
Often whimsical and slightly outrageous but always propelled from the heart, the Mark Morris Dance Group will perform tonight at the Moore Theater. Since founding his company in 1980, Mark Morris has earned a reputation for writing his own rules as the country's hottest young choreographer.
Starring in the black-comedy, "To Die For," Nicole Kidman shows that she no longer has to play Gilligan to husband Tom Cruise's Skipper in such past movies as "Far and Away" and "Days of Thunder." Going it out on her own in Gus Van Sant's newest flick, Kidman shines as Suzanne Stone, a perky and ambitious weather girl in a sleepy New Hampshire town, who will do "anything" to make it big. "To Die For," the perfect medium for the talents of the kewpie-eyed vixen of this summer's "Batman Forever," is Van Sant's much heralded thriller/farce.
After years of trying to enter the Upper Valley market, Wal-Mart, the national discount superstore, may soon open a branch in Lebanon despite legal technicalities and reticent townsfolk. K&J Associates recently applied to develop a tract of land that Wal-Mart previously tried to construct a store on.
The latest dark comedy by Columbia pictures, "To Die For," will be part of a special presentation by the Dartmouth Film Society this Friday. Based on a novel by Joyce Maynard and starring Nicole Kidman and Matt Dillon, "To Die For" is touted as one of the best films of the Fall season.
Putting on a clinic in group improvisation and communication, the Hal Galper jazz trio and tenor saxophonist Jerry Bergonzi gave Dartmouth a rare treat last night at Rollins Chapel. The trio, which has had few personnel changes in the last thirty years, exhibits a tremendous amount of empathy in their playing.
Hoping to turn some heads and spread their message, X. ADO, a newly formed a capella group on campus brings a unique brand of a capella music to Dartmouth this fall. Unlike the other a capella groups on campus including the Aires, the Dodecaphonics, and Rockapellas, X.
Residents cite concerns over safety, damage of property; violaters face up to $100 fine
Songs focus on the lighthearted and relaxed side of the group
When alto-saxophonist Charlie Parker and trumpeter Dizzy Gillespie hit the jazz scene in the 1940s, few predicted that the course of jazz music would be changed forever. Be-bop, the music that Parker and Gillespie conceived, also had a few derivatives, including hard-bop and re-bop. The Hal Galper trio, a jazz group that will perform at Rollins Chapel tonight,is best known for its interpretations of standards and originals in the re-bop tradition.And though they maintain a relatively low profile, their music largely speaks for itself.It is a mix of the fare that be-boppers played and "cool-jazz," developed by the Miles Davis quintet in the 1950s but with a degree of lyrical improvisation that is absent in most jazz groups today. Comprising pianist Hal Galper, drummer Steve Ellington and acoustic bassist Jeff Johnson, the trio has a unique voice: subtle and quiet, but intense and energetic at the same time. Galper, a graduate of Boston's Berklee School of Music, is the most prominent voice in the trio's latest recording, "Re-Bop." His style, however, is hardly reminiscent of be-bop.