On Friday, September 29, Witness Theater’s Fall Showcase premiered in the Swirnow Theater. This year’s lineup featured the debut of five original and student-written short plays, including Kiana Beckman’s Please Form a Line Here,Anita Louie’s IQ, Vanessa Quinlivan’s Invisible, Emma Shannon’s Perfect Strangers and Michael Feder’s Neighbor.
We live in a globalized world. The music industry, which used to be more local and regionalized, has become a melting pot of influences and mishmashes. People rarely care where an artist is from, and if they do ask, it is simply to add context to their music rather than to dismiss them.
“Say it, say it out loud.” Those are the infamous words that have followed Robert Pattinson ever since he starred in the five film teenage-vampire angst series that was Twilight.
Japanese animation is not particularly new to the American television canon. Exports have brought their talents to American networks since the 1960s and shows like Pokemon and Dragonball Z are of particular importance to many millennials.
This past Friday, Kingsman: The Golden Circle premiered in theaters. If you’re unfamiliar with the title, then you missed out on one of the best comic book films of the past five years. The Golden Circle is the follow up to the impressive Kingsman: The Secret Service (adapted from the comic book of the same name).
For the past 40 years, City Paper (CP) has served as a beacon of alternative news and arts in Baltimore, an outlet for creative individuals to write and read stories outside of the constant onslaught of the mainstream media.
The Fall Play Lab at Center Stage featured the performance of two one-act plays that were edited and revised over the course of the weekend. Audiences were able to engage with and comment upon the two original works: Handle It, by Rachel Knoblauch and To the Flame, by Miranda Rose Hall.
The Baltimore Symphony Orchestra (BSO) opened its first non-gala concert of the 2017-2018 season with “Tchaikovsky Thrill Ride,” a program that combined works by contemporary composers and beloved classics.
The easiest way to present yourself as a boring, uninteresting and lame person is to start a sentence with the words, “Music isn’t the same nowadays...” or “I was born in the wrong era.” That is a mindset that many fall into — feeling that all of the “good stuff” has passed and that new music is garbage.
Plenty of cities have rats. They are the archetypal urban pest, something seemingly inseparable from city life. However, for some reason, Baltimore seems to have become known for its rat problem.
This year’s Emmys were far from perfect. We had a controversial, perhaps in poor taste, appearance of Sean Spicer, Sterling K. Brown was unceremoniously cut-off in the middle of his powerful acceptance speech and, as always, some great performances were overlooked.
As a crowd of around 30 students tentatively stepped into the SDS Room of the Mattin Center on Sept. 15, they encountered a sparse ring of black plastic chairs and white lamps. The audience members filing into the circle of seats had gathered to watch Vacation, a play by Hopkins junior Michael Feder.
Hidden in an unassuming building on North Howard Street, Current Space, one of Baltimore’s numerous art galleries, is currently presenting a new exhibition, which attempts to engage viewers on the very abstract levels of form and color.
Darren Aronofsky, director of mother!, has never been one to shy away from the realm of “What the f***?” in his films. From his debut, Pi, to the biblical tale that is Noah, he fills all of his films with biblical allegory and psychological mind screwing, so it shouldn’t be a surprise that Aronofsky’s new film, mother! follows the same themes.
After a summer of relatively weak films and a Labor Day weekend that was spearheaded by a Ryan Reynolds movie — The Hitman’s Bodyguard — IT, the second film to be based on Stephen King’s 1986 novel of the same name, had a lot riding on well, “it.”
It took a while before the Metro Gallery filled up, but by the time the headliners came the place was packed. The majority of the people crowded around the front of the stage, eager to see the Detroit four-piece, Protomartyr play their latest show in Baltimore and perhaps even hear a few songs from their newest LP, Relatives in Descent, which is due to be released at the end of this month.
The Canadian R&B singer Daniel Caesar burst onto the R&B scene with a hauntingly beautiful love song, “Get You,” featuring the amazing Kali Uchis.
It’s 2017 and almost nobody with an internet connection actually watches broadcast television anymore, except for Game of Thrones and maybe Rick and Morty. Nonetheless, for the most part people are streaming, which is fine because there are literally thousands of sites from which to do so, be they legal or otherwise.
One of the best discoveries you can make at live shows or when interviewing someone for a story is that the artists you support are genuinely kind and thoughtful people.
The dour and gloomy atmosphere that keeps Homewood in a depressing stasis is all too familiar to your average Hopkins student — or maybe just the cynical ones. Fortunately, this environment is unique in Baltimore, a city that maintains its vibrance in spite of everything. So when one wants to escape the heavy-hand of academic insecurity and imagined doom, it is easier than they might assume to find refuge in what seems like a whole different world.
