The entrance to the exhibition City People: Black Baltimore in the Photographs of John Clark Mayden sits to the left of Peabody’s entrance. The room is small. Photographs grouped in couples and triples line the walls, all black and white, all centered around the black population of Baltimore as their subjects.
Breaking Bad is widely considered one of the best TV shows of all time. Its creator, Vince Gilligan, took a great risk by releasing a follow-up movie, “El Camino: A Breaking Bad Movie,” this past Friday.
You probably know Alia Shawkat from her role as Maeby Fünke in Arrested Development — the quick-witted, opportunistic teenager who is the only character that has the slightest idea of what’s going on. Or you may know her from her starring role in Search Party, a genre-bending, satirical murder-mystery TV show.
Every young person deals with older people yelling about how this generation’s music is garbage compared to theirs. It involves some combination of a false equivalency, ignorance towards the modern genres and some claim to their geriatric authority.
It’s really hard to get a sequel right. At best, they build upon the themes of the original piece and give audiences a chance to reconnect with beloved characters. At worst, they come across as meaningless cash grabs that can tarnish any good will earned by their predecessor.
Hidden in plain sight yet undiscovered by many in the county, the Glenstone, a contemporary art museum, is a well-kept secret of Potomac, Md. Glenstone’s collection features art from the post-World War II era to the modern day. Following its inception in 2006 after being financed by American businessman Mitchell Rales, the mission of Glenstone was to seamlessly integrate art, landscape and architecture into a serene environment for introspection and contemplation.
This past Sunday, the Young People’s String Program (YPSP) of the Hopkins Peabody Preparatory put on its 33rd annual Halloween concert. The performance took place in the Miriam A. Friedberg Concert Hall, and the entire venue was full to the brim.
Bong Joon-Ho’s Snowpiercer blew my high school mind. The film came to Netflix in late 2014, when the service still felt like somewhat of a novelty. Renting DVDs was still a large part of their model. Their push into original content was fledgling but promising with House of Cards, and “Netflix and chill?” was a phrase still unironically used by fuckboys everywhere.
Big Mouth isn’t for everyone. This crude yet reflective comedy about middle-schoolers discovering their sexuality isn’t easy to digest, and, as the show cheekily admits in one of its episodes, it probably wouldn’t be able to get away with it if it wasn’t animated. But for those who make it past the shock and see the ingenious comedy behind it all, the third season of Big Mouth will be a treat. This show pulls no punches and perhaps, owing to the three-season Netflix deal, leaves no stone unturned.
About 20 minutes into Subtronics’ set at Baltimore Soundstage this Saturday, I had a stomach-dropping realization.
Tucked away in the folds of Baltimore’s historic Hampden neighborhood, the art of Tim Burton and his 1988 classic film, Beetlejuice, came to life in the vintage, consignment and antique shop Wishbone Reserve.
The annual Fells Point Fun Festival took place this past weekend from Oct. 12 to Oct. 13. It was my first year at the festival, but I don’t think it’ll be my last. Over 100 vendors and 17 bands filled up the waterfront in the historic area along Thames Street, including Caroline and Wolfe.
Terry Thompson’s exhibition Bianco e Nero premiered at the Y:ART Gallery in Highlandtown’s Art District on Sept. 14. On Saturday, Oct. 12, Thompson presented his personal story, talked about the works on display at his exhibition and discussed the overall trajectory of his career as an artist.
In the early afternoon haze and post-Sterling Brunch lethargy, I find myself leaning back against the darkness of a Baltimore Museum of Art (BMA) side room. Before me rises Kevin Beasley’s immense installation Chair of the Ministers of Defense, a sculptural piece of resin-stiffened hoods made of various clothing materials looming over a single wicker chair.
Fall has arrived, which means that the annual Acatoberfest is here. On Saturday night, multiple Hopkins a cappella groups gave a lively and stunning performance at the Bloomberg auditorium. Although it takes place every year, the support towards the a cappella groups and popularity of these special a cappella performances never fade away; the entire auditorium was packed.
Many know the 17-year-old rising musician Billie Eilish from her successful debut album When We All Fall Asleep, Where Do We Go?, which was released in the spring of this year.
I had been talking with a friend who told me she was scared to watch the recently released DC Comics movie, Joker. While I assumed she was scared of the possibly gory and creepy contents of the film, I proceeded to ask her what exactly she found disturbing. Her response startled me.
Last weekend, the American Visionary Arts Museum (AVAM) premiered this year’s exhibit, “The Secret Life of Earth: Alive! Awake! (and Possibly Really Angry!)”. To those who do not know AVAM, the museum always highlights artists and work that go beyond the norm, using different and innovative mediums of art to reach the end goal of their exhibit: in this case, learning more about the earth in which we live and to love it more. AVAM did not fail to awe and surprise me with their most recent installation.
This past weekend might have just been a normal weekend for you, but for many, it was “Death Weekend.” To commemorate the 170th anniversary of the mysterious death of acclaimed poet Edgar Allan Poe in Baltimore, the Carroll Mansion hosted a funeral reenactment on Saturday morning as a part of many other events hosted during the International Edgar Allan Poe Festival & Awards.
When I heard that Echosmith was playing Jamtoberfest this year, I began to vividly relive my freshman year of high school.
