This past Sunday, Nov. 10, “Not a Film Fest: Anticolonial Conversations in Baltimore” wrapped up with its third and final day. Baltimore-Palestine Solidarity (BPS) presented the event, which began on Oct. 20 at the Baltimore American Indian Center and continued its second day on Oct. 27 at the 2640 Space before concluding this Sunday at the Creative Alliance in Patterson Park.
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 Greek Chamber Music Project (GCMP), is an arts presenter and record label devoted to performing the eccentric music of Greek composers. On Tuesday, Nov. 5, GCMP presented an emotionally-charged and impactful program at the Peabody Institute in memory of the Holocaust, called Remembering the Jews of Greece: A Musical Journey.
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.
“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.
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. For the screen adaptation of John Green’s first novel, Looking For Alaska, this wasn’t a problem, since it was made into a Hulu TV series.
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.
LGBTQ Life at Hopkins hosted a Queer Comedy Night at the LaB on Tuesday, Oct. 29. The event featured both student comedians and a professional local comedian, Elizabeth Norman. Throughout each set, the hour was full of shared giggles, shared laughs and, most importantly, the shared theme of queer stories and comedy.
Over the last two weeks, for their fall 2019 Mainstage production, the Barnstormers performed The Curious Savage, a play about money, class and the all-too-thin line that separates the sane from the mad.
I’ve seen event fliers for months around Baltimore cafes and bookstores advertising the World Oddities Expo. Upon entering the lobby of the Lord Baltimore Hotel this past Sunday, Nov. 3, however, I saw little indication of the Expo’s existence, of tattooed viewers and strange relics on display.
Netflix has recently released a new show called Living With Yourself starring Paul Rudd, and it has proven to be even better and more complicated than expected. Already having received great critiques and responses from audiences all around, it is full of twists and cliffhangers that would have even The Vampire Diaries shaking.
It has been a busy week for music. Kanye West finally dropped his highly anticipated Jesus is King, which, in a surprise to nobody, was filled mostly with cringy bars that feed his persecution complex and half-hearted attempts to redeem his public image. Rex Orange County released a disappointment of an album, Pony, his third and least likeable project yet.
In partnership with the Mountainfilm film festival and the Saul Zaentz Charitable Foundation, the Hopkins Film and Media Studies program hosted a screening of Changing the Game on Thursday, Oct. 24.
With music production tools becoming more accessible and music streaming services allowing for an easy avenue to distribute music, the number of prominent, young artists in the music industry has increased dramatically.
Once upon a midnight dreary, the two of us went to see Edgar Allan Poe impersonator David Keltz perform a dramatic reading of “The Raven” at The Elk Room on Fleet Street. We initially had trouble finding The Elk Room, a speakeasy hidden behind an unmarked, locked black door behind the Italian restaurant, Tagliata.
