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In the promo video for Seth Meyers’ first stand-up special on Netflix (or anywhere, as far as I can tell), he asks a group of children if they’d like to play with a new action figure, “Stand-Up Seth.”
If you’re like me, vague memories of Philip Pullman’s His Dark Materials: The Golden Compass and its cinematic iteration wove themselves intermittently throughout your childhood. Although they were less beloved than Harry Potter, less modern than Percy Jackson & the Olympians and less classic than The Chronicles of Narnia, they are perhaps the most timeless and successfully constructed stories of them all (although the 2007 movie adaptation garnered a fair amount of criticism).
Disney was a big part of my childhood. And over time, after releasing sequels to my favorite movies and acquiring film production companies such as Pixar in 2006 and Lucasfilms in 2012, Disney managed to become an even bigger part of my childhood. But building up to the Nov. 12 release of Disney+, a new streaming service for Disney-owned content, I wasn’t that excited.
This past weekend, in conjunction with the two-day jazz symposium at Hopkins, An Die Musik LIVE! presented two jazz luminaries on Saturday night who were pivotal to the free jazz scene in France at the turn of the 1970s.
The Office of Multicultural Affairs hosted the 32nd Annual Culture Show on Friday, Nov. 15. The event featured performances by 14 student groups — from the Gospel Choir’s heavenly harmonies to the Ladybirds’ sharp, graceful dance routines — all of which were centered around the event’s themes of resilience and strength, succinctly summarized by the event’s tag line: “We Rise.”
The University held a free two-day symposium, “Paris/Algiers 1969: Declarations of Freedom by the Black American Avant-Garde,” on Friday, Nov. 15 and Saturday, Nov. 16. The Centre Louis Marin for Interdisciplinary French Studies organized the event with the support of the French Embassy in the United States, and the symposium director was none other than Hopkins Professor and Chair of German and Romance Languages and Literatures, Professor Derek Schilling.
As the crowd chanted “Taco Bell! Taco Bell!” five minutes into “Super Art Fight: Thanksgiving Thrashing,” I knew this night was going to be wild. This Thanksgiving edition of the strange collision between wrestling and live art, or “the greatest live art competition in the known universe,” as it calls itself, took place at Ottobar on Friday, Nov. 15.
This past Sunday, Nov. 10, “Not a Film Fest: Anticolonial Conversations in Baltimore” wrapped up with its third and final day.
I find myself listening to music all the time, whether it’s while working out or just sitting on my bed, but once I get hooked on one song, I will continuously play it on loop until someone begs me to stop humming the earworm-triggering tune.
Before coming to Hopkins, I had already started laying out extravagant plans for concert-viewing in D.C. The fall lineup is always ripe, no matter what part of the country you’re in, and I even had an app that scanned my Spotify music library to track who was passing through and where they were playing.
Present day commemorations, whether in the form of service, art or expression, are irreplaceable markers of historical narratives that must not be forgotten.
The Writing Seminars Department invited the acclaimed poet Richard Kenney to share his philosophy on writing poetry and read some poems from Terminator, his new and fifth published book of poetry and his first since 2008.
JPEGMAFIA returned to Baltimore on Saturday, Nov. 9 for the final leg of his JPEGMAFIA Type Tour and played to a sold-out audience at the Ottobar. This tour follows the release of Peggy’s newest album, All My Heroes Are Cornballs. Opening for JPEG on his tour was Butch Dawson, a rapper and producer from West Baltimore.
On Friday, Nov. 8, the Hopkins African Students Association (ASA) hosted a screening of Sex for Grades, a documentary recently published by the BBC about endemic sexual harassment in African universities.
Listen to our “Winter” Playlist on Spotify here.
“I believe in a cruel God who has created me in His image.” These sacrilegious words begin Iago’s aria in composer Giuseppe Verdi’s Otello, characterizing mankind as inherently bitter and wicked. It is in Iago’s dark worldview that director David Alden seems to base his production of the opera, now showing at The Kennedy Center with the Washington National Opera and starring Russell Thomas, George Gagnidze and Leah Crocetto. Otello, based on Shakespeare’s Othello, is considered a crowning achievement of the composer’s late period and also provides a pinnacle role for the dramatic tenor.
We routinely hear the phrase, “The book was better than the movie.” It is rare that a movie adaptation meets the standards that are set by the book. Only when the movie includes as many details as it can from the book does the movie begin to reach our expectations.
Kanye West’s Jesus is King marks his ninth consecutive number-one album debut, tying him with Eminem’s record. This 27-minute-long album is Kanye’s love letter to God and his own religious calling. But why now?
The Hopkins Stand-Up Comedy Club rocked the house this past Saturday night with their annual Halloween show, this year titled “Halloween 2: Electric Spookaloo.” The show featured nine members performing sets of five to 10 minutes.