First things first, watch the original movie “Willow” (1988). Starring Warwick Davis in the titular role alongside Val Kilmer as Madmartigan and Joanne Whalley as Sorsha, the film has a similar vibe to “The Princess Bride” (1987) as it tells a story of destiny, magic and love. With a story by George Lucas, the original film is certainly worth a watch.
Norah Jones’ “Don’t Know Why” (2002) played the other day on my Spotify shuffle. Immediately, I was transported back into my childhood bedroom, and I was 5 years old again. I was on Pandora listening to their pop radio station, and just like that, it was 2008 and things had never been so clear.
A few minutes away from the Kendall/MIT Red Line stop and free to the public, the MIT List Visual Arts Center is an accessible and intimate space to see art in Greater Boston.
Celebrities have always been used as marketing tools for companies. From Jennifer Garner splashing water on her face for a Neutrogena commercial to Shawn Mendes’ steamy photoshoot for a Calvin Klein campaign, celebrities grab our attention and draw much-desired eyes to a certain brand. In recent years, rather than using their publicity for another company, some celebrities and influencers have opted to create their own brands.
After about seven months of anticipation, PURPLE KISS finally came back with its fifth EP, “Cabin Fever,” on February 15, 2023. At only 16 minutes in run time, this EP serves as a fierce reminder that PURPLE KISS is one group that will always release a banger with a sound so addictive that you feel like you’ve ascended to heaven.
The Tufts Daily had the privilege of speaking with Stephan Pennington, one of Tufts University’s associate professors in the music department. When Pennington, an activist, military veteran and lifelong scholar, was first asked which set of pronouns would be best to refer to him, he wanted to make it clear that while he can be referred to using “he/him/his” pronouns, and he also noted that he generally does not share his pronouns because he wants to normalize a space where individuals can both “share their pronouns or not share their pronouns,” if desired.
Boston’s SpeakEasy Stage opened “Fairview” (2018), written by Jackie Sibblies Drury, on Friday, Feb. 17. Running through March 11, this production depicts the white gaze with a Pulitzer Prize-winning script and commanding cast.
In hundreds of years of Latin American literature, the male-dominated canon has kept the character of women as an accessory and a servant, following sexist and conservative values instilled by the Catholic church.Even in this last decade, with Latin American conservatism having been discarded, and especially with the “Latin Lover” stereotype, women are judged and not allowed to have a perception and manifestation of their own sexuality.
Editor’s note: The Daily’s editorial department acknowledges that this article is premised on a conflict of interest. This article is a special feature for Daily Week that does not represent the Daily’s standard journalistic practices.
To celebrate the Daily this week, the arts section’s new assistant editors describe their experience with the Daily and what it has meant to them.
Welcome back to another week of Queeries! This week we’re talking about The Daily and the importance of queer voices. Being queer is a lifelong journey of breaking the boundaries that surround gender and sexuality, but being societal rule breakers is exhausting when it feels like your voice is not being heard. For us, the Daily has supported our voices and given us a space to not only banter with one another but also create an environment where we feel valued, included and empowered to succeed.
In 1985, postmodernist writer Don DeLillo gained widespread acclaim for “White Noise,” a novel about a professor and his family in Middle America whose lives are upturned by a toxic air contamination accident. The novel, which touches on themes of consumerism, academia and death, won the National Book Award for Fiction and has since become a postmodern classic. While the book’s success should’ve made it the perfect candidate for a movie adaptation, it was long considered “unfilmable” because of its complex plot. After nearly 20 years in development, “White Noise” has finally been given the Hollywood treatment by “Marriage Story” (2019) director Noah Baumbach. Did he make a cinematic masterpiece and prove everyone wrong? Not exactly.
You would not expect most modern pop artists to include bagpipes, operatic influences and a guest verse from Grimes on the same album, but for Caroline Polachek, it is completely on brand.
Flashback to January 2021, if you can — or want to, even. After a long hiatus from our favorite superpowered protagonists, Marvel Studios was set to release its new project: “WandaVison” (2021). The word “new” is important here, as this project gave Marvel some firsts. It was the first series centering Marvel Cinematic Universe actors reprising their blockbuster roles on the small screen of Disney+. And it was, arguably, Marvel’s first attempt at playing with genre within its superhero-flick formula. And it was the first of many — perhaps too many — MCU shows coming to Disney+.
It doesn’t always feel good to come full circle. Without enough change or perspective, it can feel like what it literally is: going in a loop. It feels almost worse to see such a lap happen to others, and both in and out of the show itself, that is the case with season 2 of Amazon Prime Video and Critical Role’s “The Legend of Vox Machina” (2022–). Characters return to their roots, check up on estranged family and interrogate what they want out of their own lives. Yet by the time the season ends, it feels like so much of what made the first season a pleasant but overreaching animated fantasy show has remained intact for better and worse. Season 2 is a better, more fleshed out show than what came before it, but its retention of the series’ key flaws makes it a more frustrating experience than ever.
Picture this: You wake up, the sun shines through your blinds and you feel an unnerving sensation tingling in your nostrils. The worst possible feeling has descended upon you — a stuffy nose. As a student, being sick is one of the most irritating inconveniences to your day. It can start with a sniffle or a throat itch, and then BOOM! You’re on bed rest.
“How We Got On” (2012) debuted Friday night to a packed Curtis Hall as the first production by Tufts’ Black theater company, Envision, created by sophomores Chance Walker and Elias Swartz. The show tells the stories of three suburban Black teens and their growing passion for the art of rap during the inception of the hip-hop genre. As the show goes on, main characters Hank (Dylan Bell), Julian (Moriah Granger) and Luann (Marsha Germain) cycle through the stage like tapes in a boombox, telling their stories of growing pains and an MTV-fueled passion for rap.
Maggie Rogers exemplifies the dream-come-true star. Hailing from the Eastern Shore of Maryland, she grew up playing banjo and started writing songs in eighth grade. She went to NYU’s Clive Davis Institute of Recorded Music, and in 2016, she wrote “Alaska” in 15 minutes for a homework assignment. Pharrell Williams ended up being a surprise guest that day, and it was a random happenstance that he heard her song. But he loved it, a video of the interaction went viral and Rogers got a record deal. “Alaska” made it onto her 2019 album “Heard It in a Past Life,” and four years later, she’s now touring her 2022 album “Surrender.”
Queeries: Valentine's Day special
Nearly three years ago, the Daily published an op-ed detailing the racism within the music industry and how it robbed Beyoncé of winning Album of the Year at the Grammys in 2017. Flash forward to this year’s ceremony and here we are again. While Beyoncé set historic records at this year’s ceremony, she was snubbed of the night’s biggest honors once again.
