The Peabody Modern Orchestra held the first spring concert of the 2017-2018 Concert Season on Saturday, Jan. 27, in the Miriam A. Friedberg Concert Hall at the Peabody Conservatory of Music in Mount Vernon. The orchestra played a selection of pieces authored by contemporary composers under the direction of conductor Harlan D. Parker.
We’ve left another year behind. By the time you read this, we’ll know who has been nominated for the Oscars. Almost all of the films aren’t currently available in theaters, so for the general public it’s time to look ahead.
In an eclectic night of minimalist beats and nostalgic rock, the Ottobar brought together a collection of local Baltimore bands to play a four-part concert on Jan. 18. The event took place in the venue’s downstairs performance space.
Remember when Richard Spencer got punched in the head on TV? That was a great moment in the history of racists getting beaten. Our anonymous black-clad hero played Spencer’s head like it was a game of Bop-It; he snuffed him like a vanilla-scented candle.
Music suffers some of the harshest disrespect of any of the arts. All too many people who consider themselves music fans (including me) often listen to music in the background while doing something else — grinding through work, driving or any other menial task. It is rare for anyone to sit down, clear their schedule and listen to an album.
I’m going to start this off by saying that I have never watched The Room and I will never watch The Room. It’s not something that appealed to me in high school, and its prevalence among college students as a “cult classic” has only strengthened my feelings against it. This is the hill I will die on, and nothing will ever change that.
We live in an era were people of color are able to become more and more intertwined with relevant popular culture events. We have Ta-Nehisi Coates writing for the Black Panther comic book, Jordan Peele giving us the racial horror film Get Out and Guillermo Del Toro still serving us some nuanced — but still weird — characters in his productions.
Even before I met Alpha Johnson I sort of knew who he was, sort of. I knew Alpha as the rapper Joey Bricks, who I was introduced to when a friend showed me the video for his song “No Love.” The general wavy quality of that song, as well as the fact that I see Alpha almost everyday — on-campus, at work, everywhere — made an interview with him a must.
J.Magazine, the student-run literary arts magazine, is published biannually and features student prose, poetry and art. On Wednesday Nov. 29, the magazine held a reading of a variety of works that will be published in its Fall 2017 issue. The authors had the chance to showcase their writing at Bird in Hand.
This past Thursday, I found myself wandering down a rainy, vacant Baltimore street trying to find an event I had long been interested in attending: the Bmore BeatClub, a monthly event which is organized by Brandon Lackey, the owner of Lineup Room Recording Studios.
Considering that we’re in the middle of gearing up for finals, a.k.a. impending doom, I was surprised at the massive and honestly pretty diverse segment of our student body that was assembled in Turner Auditorium. The crowd waited, anxiously cramming in those last few calc problems.
On Friday, Dec. 1 a packed audience gathered in the John Astin Theater in the Merrick Barn to watch the first of three performances of Love, Loss, and What I Wore.
I first tried watching Sex and the City (SATC) a couple of years ago. As a fan of Darren Star’s latest fun, if at times oddly-paced, show Younger, I figured I was likely to enjoy its fashion-forward and more mature cousin even more.
On Nov. 17, British shoegaze veterans Slowdive and Los Angeles garage-rock band Cherry Glazerr played at Rams Head Live! as part of Slowdive’s North American tour. The band skipped over Baltimore in their original tour dates for the United States, instead hitting D.C. in May. But, two weeks ago, they managed to make their way here, and the show was great.
Ever since I first heard the Dear Evan Hansen soundtrack by Benji Pasek and Justin Paul, I’ve wanted to go see this musical. Even the first few times I listened to it, when I had no idea what the storyline was, the music somehow made me cry.
This Thanksgiving break, I had the chance to visit the Tate Modern, one of the most prominent contemporary art museums in London. Located on the South Bank of the River Thames, Tate Modern is a massive building that houses many different themed galleries and art installations.
At their core, murder mysteries are rarely about murders. Sure, somebody will die. There will be a crime scene and clues and a culprit, but at the end of the day, those don’t really matter.
There are few things better than finding new, good music. There is something adventurous, exciting and even daring about listening to an artist or song you haven’t heard before. But how does one find new music?
The late 1990s and early 2000s were an interesting time for hip-hop. Labels like Bad Boy, G-Unit and Ruff Ryders had essentially come to define the New York sound, which had become far more melodic and polished.
