In this region of the country, a specific subculture is bred to be classy, exclusive, intelligent and well-dressed. No, not Tufts students — although, yes, of course, Tufts students. Think more along the lines of boarding schools, plaid, polo shirts, popped collars, pearls, sailboats, tennis clubs and summering on Nantucket. I speak, of course, of the world of prep.
Hollywood frequently turns to zombies to provide entertainment in the form of apocalyptic horror and gore. From George Romero's classic "Dawn of the Dead" (1978) series and Zach Snyder's 2004 remake to "28 Days Later" (2002) and its sequel (2007), to "Zombieland" (2009), the undead have never been in short supply at the movies.
The history of copyright law is not on the top of most people's beach read hierarchies, but Lewis Hyde's newest book, "Common as Air: Revolution, Art, and Ownership," chronicles copyright development in a way that's both gripping and accessible. With the help of the Founding Fathers — heavy on the Franklin, who gets his very own chapter — as well as a series of modern−day cases of copyright exploitation, Hyde makes a compelling case for a cultural commons within our copyright−happy society.
Haunted houses are scary. There's something deeply primal about the sanctity of a house — it is a source of strength against the evil outside. Often, horror movies play off this idea, with the main characters either being stalked by something external in their own house or being treated as the intruder in someone or something else's home.
If you happen to be taking any classes at Tufts — and I'm assuming some of you might be — the past month has been somewhat unkind to you.
Taylor Swift has had a lot going on in her life since she released her last album, "Fearless" (2008). She gained a devoted — maybe even obsessed — fan following, released three Top 10 Billboard singles, became the youngest artist ever to win the Country Music Association Award for artist of the year, made her major motion picture debut, dated a werewolf and a Jonas and, of course, sent Kanye West into a media life/death spiral by beating out Beyoncé to win the Video Music Award for best Female Video.
The creative genius of the artist is one of our society's best loved myths: Michelangelo, enmeshed in his own angst−ridden, manic brilliance, carving "David," Monet splashing color across a canvas. But in reality, the artists we have turned into demigods are not nearly as celestial as we make them out to be, and the artistic process is a whole lot messier.
In "Body Awareness," deep social issues are combined with witty instances of humor as four characters struggle for connection and communication.
The Revels Repertory Company (Revels Rep) will perform "There's a Meeting Here Tonight" on Saturday in Cohen Auditorium, telling the story of the Hutchinson Family Singers, a famous 19th-century American singing group.
The genre of "Funstyle," the latest release from alternative-rock veteran Liz Phair, is impossible to identify. Simply put, it's a hodgepodge of musical miscellany that pushes both limits and buttons. Like that ingredient-filled casserole you indulge in every now and then, the sheer variety of flavors can be a bit overwhelming, yet the dish is ultimately a nice diversion from the ordinary.
This week, 17-year-old "Gossip Girl" star and rocker of The Pretty Reckless, Taylor Momsen, flashed her hoohas onstage at a show. She then asked people not to take pictures or videos — because that's not right! In honor of Momsen's girls, the Daily Arts Department presents our top 10 favorite naked things.
Tonight at 8 p.m. in the Balch Arena Theater, the Tufts Department of Drama and Dance will present "The Alchemist," its first show of the season. Laurence Senelick, the Fletcher Professor of Drama and Oratory, directs Barry Edelstein's adaptation of Ben Jonson's 1610 comedy.
After NBC made a slew of pickups last week, CBS, The CW and ABC shortly followed suit, giving full-season orders to many of their shows and at least ordering additional scripts for the rest.
In the Old 97's newest album, "The Grand Theatre, Volume One," the band departs boldly from tradition by including not just one, but two entire songs that are not about love.
It's almost November, which means Oscar season is coming. Every winter, studios release their most aesthetically and artistically valuable projects, aspiring for some coveted nominations at the coming Academy Awards in late February or early March. This year is no different, and film fanatics everywhere are bristling with excitement due to the caliber of some newly released trailers.
In "The Aliens," a burnt-out hippie and a self-proclaimed representation of "trailer trash" both clash with a 17-year-old summer employee in what becomes a pleasantly surprising, meaningful interaction.
The start of the fifth and final season of "Friday Night Lights" is bittersweet. On one hand, it means that there are only 13 episodes remaining in one of television's best dramas before it goes off the air forever. On the other hand, it is a reminder of just how lucky we are that it even reached this point.
Adrian Nicholas Matthews Thaws, who performs as Tricky, has always been interested in the swankier side of trip−hop.
The words "hopeless" and "romantic" are far too often paired together. Should someone be asked about their views on love, frequently the response is something along the lines of, "Oh, I'm just a hopeless romantic; I love that goopy, goofy stuff." Aside from my immediate reaction to gag, such a declaration suggests to me a self−defeating proclamation, resembling the sentiment of, "I believe in love, but I'm not too optimistic."
"Circle Mirror Transformation," the first of a three−play series by Annie Baker, is an unusual play that manages to invoke in the audience the same feelings of uneasiness and nervous expectation experienced by its characters as they set out to immerse themselves in the uninhibited world of acting. It is clever and profound, funny and heart−wrenching and terrifically realistic.
