Kamasi Washington’s film As Told to G/D Thyself screened at the Parkway Theatre on Friday, Feb. 21. The saxophonist, band leader and torch-bearer of contemporary jazz made the film following the release of his conceptual two-part album Heaven and Earth. Washington explained during the interview portion of the night how he decided on the visual accompaniment to the music.
Netflix is no stranger to the gritty superhero genre. If you’ve seen Jessica Jones or Daredevil (both of which were recently cancelled), then you know that the streaming service knows how to create compelling drama out of the spandex and superpowers that define the heroes of Marvel and DC. The first season of Umbrella Academy, which was released on Feb. 15, is Netflix’s best outing in the genre to date.
It’s strange to go to a comedy show and come out having discovered a new fear: the fear that the person sitting next to you is actually a part of the performance. I grappled with this fear for the first time when a surprisingly friendly Russian-accented fellow tapped me on the shoulder, asked if he could sit next to me, politely asked me how I was doing and asked me whether I had ever been to a Throat Culture show before.
When it comes to music, most people like to date around, listening to lots of different artists at once. My relationship with music is generally monogamous. I find an artist whose music I love, and I make a commitment. I’ll listen to an album for weeks at a time until I know all of the lyrics. But this doesn’t happen very often; so when I saw that Pinegrove, one of my most recent loves, was going to be playing at Black Cat in D.C., I knew I had to go. Even though I saw the tickets almost two months in advance, I still bought them immediately — I wasn’t going to miss this.
Indie-rock troop Car Seat Headrest, led by singer-songwriter Will Toledo, played at Rams Head Live on Feb. 17 as they continued the second North American leg of their tour celebrating the re-release of their 2011 classic, Twin Fantasy. As an avid music fan, to say I had never been to a concert in my life was near blasphemy. So when I saw my favorite band coming to Baltimore on the day before my 20th birthday, I had no choice but to book some tickets.
On Friday, February 15, I traveled to Philadelphia to see G Jones on tour for his debut album The Ineffable Truth. I had seen G Jones live three times prior to this show, but this would be my first time seeing him headlining. I had been anticipating it for months.
I got the chance to interview some of the writers and directors involved in the Witness Theater’s 2019 Intersession Showcase on Saturday, February 16. Every semester, the Witness Theater performs four plays, each written and directed by students, that gravitate around a central theme, idea or location. This year, the central location of every play was an art gallery. Even within those limits, the plays — The Importance of Being Terry, Art Isn’t Dead, Montana and Framed — all had styles that differed starkly from one another, ranging from comedy to drama and each expressing the unique voices of the directors and writers who worked on them.
I am neither an avid skateboarder nor a Tony Hawk skateboard fanatic, but in the past few years, I’ve grown increasingly interested in the subculture’s influence on fashion, arts and the community it holds together. Skateboard videos have claimed their own unique niche in the world of social media, where young, talented individuals showcase their tricks in oddly satisfying clips that are edited to match trending hip-hop songs.
One of the best surprises is watching a movie you know almost nothing about (perhaps because you were craving theater popcorn), and it turning out to be absolutely brilliant. Green Book happened to be such a surprise for me.
From the writer of all those Paranormal Activity sequels comes yet another horror movie sequel, Happy Death Day 2U. It feels like an odd combination of the time-loop films we know fairly well at this point — basically, a crazed science project, countless physics theories that will register as alien to non-majors and a psycho killer in a baby mask equals a flood of weirdness, inconsistencies and a copious amount of blood.
When I saw that Charli XCX was putting on a concert in Baltimore with tickets selling for only $22, that ticket was in my cart almost faster than I could read the offer. With so many of her songs topping my middle school playlists, it would have felt dishonest to do anything else.
If Isn’t It Romantic was a character in a romantic comedy, it would be the first-act love interest: attractive, charming, generally a nice enough guy, but the protagonist isn’t going to burst into the church at the last second to stop their wedding. The parody of romantic comedies/actual romantic comedy has some good jokes and a lot of heart, but its attempts to subvert the expectations of the genre, though admirable, often feel underdeveloped — especially in the film’s final moments. Still, for all of its flaws, Isn’t it Romantic finds a lot of humor and heart in the clichés and is ultimately a fairly enjoyable, if shallow, satire.
The Barnstormers presented their Intersession show, The Wolves by Sarah DeLappe, in Arellano Theater this weekend. The play — directed and produced by juniors Sydney Thomas and Maya Singh Sharkey, respectively — featured nine young women on a high school indoor soccer team.
Alfonso Cuarón’s Roma is the sensational masterpiece we are all — and should be — talking about. The film has also become the center of attention for the upcoming 91st Academy Awards, where it has secured nominations for Best Actress in a Leading Role, Best Actress in a Supporting Role, Best Cinematography, Best Director, Best Foreign Language Film, Best Picture, Best Production Design, Best Sound Editing, Best Sound Mixing and Best Original Screenplay. And these prestigious accolades come just after countless other titles it has claimed over the few months since its 2018 debut at the 75th Venice International Film Festival.
I have depression. At my lowest points, I physically can’t stop myself from crying, and working on music is the only thing I’ve found that rescues me from breaking down further. On a more regular basis, my depression manifests in the very typical form of being unable to get out of bed.
High Flying Bird is a film of contradictions. It’s a film about basketball, one of the most dynamic sports ever created, yet also one where the action primarily takes place in nondescript business rooms, hotel lobbies and living rooms. It is also one of many recent films shot entirely on an iPhone, but its stylistic trappings are more indebted to classic Hollywood than to any new stylistic possibilities the iPhone has opened up. It is both a film where Netflix (the film’s distributor) figures in as a major plot point and also one where men conduct backdoor business in saunas like it’s the slickest thing since buttered bread.
If you’re like me, then you probably spent the majority of not only your winter break but also the entirety of Intersession dedicating yourself to exploring the depths of every streaming service out there. If you, indeed, are like me, then you watched You, the confusingly-named Netflix original series featuring Penn Badgley, who played the infamous Dan Humphrey on Gossip Girl.
Tired of listening to the Spotify Discover playlists? Bored by the same artists that pop up on the top 100 charts? Want to become more well-versed in music? You’ve come to the right place. In this article I’ll lay out a simple road map that will turn you — a boring layperson who listens to lo-fi music while studying — into a well-respected, nay I say sophisticated, music fan.
In honor of the recent transition into the Year of the Pig, the Walters Art Museum hosted a celebration of the Lunar New Year on Sunday, Feb. 10. The event featured a wide array of activities that balanced education with entertainment, such as a series of shows organized by local performance groups. All in all the Lunar New Year Celebration was a fun and family-friendly event that more than lived up to the high standards set by its predecessors.
Like most other young millennials/old Gen-Zers, I remember singing along loudly to songs like “Payphone,” “She Will Be Loved” and “One More Night” at slumber parties and on car trips.
