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Noah Goldstein

Deputy Arts Editor

Noah is a deputy arts editor for the Daily. Noah is a sophomore studying cognitive brain science and can be reached at Noah.Goldstein673986@tufts.edu.

Boots Riley, writer and director of "I Love Boosters"
Arts

"I Love Boosters” Review: The revolution will not be normal

By Noah Goldstein | April 28

Before Boots Riley redefined himself as a full-blown filmmaker with his 2018 film “Sorry To Bother You,” he was the established frontman of Oakland-based rap group The Coup. The group is a politically incendiary collective whose most popular records bear titles like “My Favorite Mutiny” and “5 Million Ways To Kill a C.E.O.” The son of a civil rights attorney and a Jewish refugee-turned-activist, Riley spent his teenage years organizing school walkouts and rising through the ranks of the Progressive Labor Party. 

Gregg Araki, director and co-writer of "I Want Your Sex"
Arts

‘I Want Your Sex’ is a call for Gen Z to touch grass, and each other

By Noah Goldstein | April 28

Has Gregg Araki ever truly been a provocateur, or is he just a breezy, sex-positive activist stuck in an important filmmaker’s body? The anarchic energy of his early work points to the former, but his latest, despite its provocative title “I Want Your Sex,” suggests he may have evolved into something closer to the latter — if there’s a difference between them at all.

full court press
Columns

The Full Court Press: Making the World Cup great again

By Noah Goldstein | April 24

In less than 50 days, the world’s biggest sporting event will come to American soil. It will arrive with a fair share of complications. The host nation — or rather, one of three — has instigated a vastly unpopular conflict with one of the participants. Haiti qualified for the first time in 50 years, and their fans can’t get into the country to watch. Hotel prices in host cities have dropped by a third. Somewhere within all this, Gianni Infantino is smiling — or trying to stop fecal matter from falling down his leg, or maybe something in between.

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Arts

A Friday at the Boston Progressive Jazz Festival

By Noah Goldstein | April 10

Boston is, and has for a long time been, a city of nascent artistic talents. Taking the Berklee College of Music alone, which graduates around 1,300 students each year, one would assume that a vibrant and expansive music scene would naturally follow. But, as it turns out, this assumption proves to be at best a half-truth. For as long as Boston has been a city teeming with the talents of clear-eyed and full-hearted college bands, it has likewise been the site of continuous struggle for performance and practice spaces, with most acts being confined to DIY basement shows or backyard gatherings.

full court press
Columns

The Full Court Press: Mirror images in March

By Noah Goldstein | March 27

Whenever March Madness rolls around, a sort of mythos always emerges surrounding the storylines and narratives that go into that year’s games. With every buzzer beater or Cinderella story, these legends are deepened, etching themselves into the history of what very well may be the most revered sporting event in the United States.

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Arts

A rave at the end of the world

By Noah Goldstein | March 12

In the eyes of many, attending a rave is one of the ultimate forms of escapism. After all, few settings seem better suited to forgetting oneself than a haze of hallucinogens and EDM. Yet, as most ravers will tell you, the experience is less about losing their consciousness than discovering it.

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Arts

On ‘Ca$ino,’ Baby Keem bets on himself

By Noah Goldstein | February 27

When Baby Keem’s first studio album, “The Melodic Blue,” dropped in September 2021, a future of chart-topping superstardom seemed almost inevitable for the Las Vegas-raised rapper. Similar to the reception of his first hit single, “Orange Soda,” the album’s release was followed by near-universal praise, and for a while it looked as if Keem’s arrival as a mainstay of modern hip-hop had come ahead of schedule. The summer following the release of “The Melodic Blue” saw Keem playing to the world’s biggest crowds — four nights at Los Angeles’ Crypto.com Arena, two at London’s O2 Arena and a particularly memorable livestreamed stop in Paris — as a central presence on his cousin Kendrick Lamar’s Big Steppers Tour. He dropped seven fresh tracks as a deluxe album in October of the following year. Then he disappeared.

full court press
Columns

The Full Court Press: Rooting for the red, white, blue

By Noah Goldstein | February 20

Rooting for the United States, whether it be in the Olympics, the World Cup or any other sporting event, almost always leads me to some degree of internal confusion. Sure, I’m as much of a red-blooded American as the next guy, but it’s often difficult to reconcile the instinct to root for the home team with the knowledge that its banner — so often touted as that of the ‘good guys’ — is emblematic of a nation flawed at its core.

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Arts

‘Resurrection’ is one of cinema’s most daring love letters

By Noah Goldstein | January 15

At this point, Chinese filmmaker Bi Gan’s career can largely be described as an anomaly. He’s 36, yet his films display a maturity that most fail to reach even in their later years. He comes from mainland China, infamous for its artistic censorship, but his work is some of the most innovative and expressive in world cinema today. His first two feature films, “Kaili Blues” (2015) and “Long Day’s Journey Into Night” (2018), were hypnotic in style and personal in philosophy, following protagonists as they ventured through Gan’s native Guizhou province in southwest China.

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