'Salo' billed as shocking and intense
For those who like Italian films, and especially for collectors of bizarre cinema, the showing of "Salo, or 120 Days of Sodom" (Italy, 1975) on November 1 in Spaulding Auditorium at 6:45 and 9:15 p.m.
For those who like Italian films, and especially for collectors of bizarre cinema, the showing of "Salo, or 120 Days of Sodom" (Italy, 1975) on November 1 in Spaulding Auditorium at 6:45 and 9:15 p.m.
G. Love and Special Sauce, a Boston-based trio whose raw, unabashed style has caught the attention of the hip-hop industry, will perform at Webster Hall this Friday at 8 p.m. Blending a strong blues influence with the lively rhythms of hip-hop, G.
The next time you are in the Hopkins Center for the Performing Arts, whether checking your Hinman box or grabbing a bite to eat, check out the exhibits in the Lower Jewett Corridor, where the woodworking and jewelry workshops are located.
Sam McIntire / The Dartmouth Staff Today and tomorrow only, take a break from your studies and come see "No Exit" in the Bentley Theater in the Hop. The director, J.
With five films in the Loew series on new American independents under our belts, it is fitting that we be shown a depiction of the trials and tribulations of making a low budget film. Tom DiCillo's "Living in Oblivion," showing tonight in Loew auditorium, follows one day in the making of an independent movie where everything that can go wrong, does. "Living in Oblivion" was extremely well received when it premiered in March, leading off the New Directors/New Films series in New York City. Janet Maslin of The New York Times called it "a wonderfully funny behind-the scenes-look at the perils of film making, no-budget style." Nick Reve (Steve Buscemi) is a director trying to shoot his piece de resistence amidst a sea of troubles. His male lead (James LeGros), a studly up-and-coming star, is just using Nick's film as a stepping stone. The female lead (Catherine Keener) has to perform her pivotal scene over and over because technical accidents ruin every take, and the macho cameraman (Dermot Mulroney) is out-of-control. "Living in Oblivion" was originally intended as a thirty minute short about an actress who can't get her big scene right, and it was shot in black and white for $38, 000. But DiCillo decided to extend it, so he wrote and shot a second and third part which were added to the original segment to become the final product. This is DiCillo's second film; his first was "Johnny Suede," which was released in 1992 and starred a pre -"Thelma and Louise" Brad Pitt. The film, although critically acclaimed, was a commercial flop.
David Cioffi, manager of the Dartmouth Bookstore, was not at all flustered when an employee working on the main floor called an upstairs office to report that a shoplifting was in progress. Cioffi calmly listened to the sales clerk describe how an elderly woman had placed items into her tote bag, insisting she had already paid for them.
"Law of Desire" was not a film mainstream American audiences flocked to see when it was first released. There were just too many aspects its plot and themes which seemed shocking, disturbing and deviant.
The Fall Fling was one of three acapella concerts of the weekend; Friday night the Dodecaphonics hosted a concert in Collis, which featured an impressive debut from the new all-female group Femme Fatale, and the evening culminated with an uproarious performance by The House Jacks, a California-based group already signed by Warner Brothers record company. In addition, Spontaneous Combustion, a group of five alums, performed late Saturday night in the Top of the Hop. The Decibelles hosted this year's Fall Fling, which took place Saturday night in Spaulding Auditorium.
Ursula Oppens is a pianist of incredible versatility, at her best when called on to reconcile disparate playing styles, whether in the same program, or within the same piece. In Thursday evening's concert, she provided the Spaulding Auditorium audience with a compelling demonstration of her mastery, presenting a program of music from the last two centuries which highlighted the breadth of Oppens' pianistic skill. According to Oppens, the pieces were meant to explore the different challenges offered by virtuosic and non-virtuosic piano compositions.
Courtesy www.muscleboundtheplay.com Have you ever ordered dinner over the World Wide Web?
Ursula Oppens has been hailed as the most important interpreter of contemporary music. She has premiered some of the most significant piano compositions of the last 20 years, garnering praise from both composers and critics for her flawless technique, fierce musical intelligence, and seemingly boundless versatility.
Performing to a full house at Spaulding Auditorium last night, four guitar greats showed Dartmouth the way the guitar should be played. Featuring Kenny Burrell, Jorma Kaukonen, Steve Morse and Manuel Barrueco, "Guitar Summit" was a celebration of four distinct styles of guitar playing.
Shocking, outrageous, humorous, sarcastic and always powerful, Guillermo Gomez-Pena and Roberto Sifuentes presented "Dangerous Border Game" to Dartmouth Saturday night at the Moore Theater. Exploring issues of immigration, race relations, bilingualism and ethnic identity, Gomez-Pena and Sifuentes tossed aside all principles of conventional theater and staged a drama uniquely original and self-conceived. However, their disturbing portrayals of emigres in America were not distant or far-fetched.
Guitar Summit, which will be held at Spaulding Auditorium tonight, features four distinct guitar styles performed by noted masters of the instrument.
The celebrated Italian pianist, Giuseppe Scotese, returned to Dartmouth yesterday after a two year absence, to perform a short concert as part of the Vaughn Recital Series.
The exploration of the inner workings of the mind of a schizophrenic is the subject of "Clean Shaven," the latest installment in the Loew Film Series, to be shown this Thursday. It has been described as "brilliant," "extraordinary," and "a blistering piece of cinematic inventiveness," but it has also been called "disturbing," "unsettling," and "unbearable." Director Lodge H.
As the annual fall foliage season draws to an end, hundreds of "leaf-peepers" are still flocking to Hanover to take in a last glimpse of the brilliant autumn colors. Pat Bourke and Betty Conlogue, two leaf-peepers from New Jersey, stood on the Green Tuesday, with their cameras focused on Baker Tower.
Over the centuries they havve mystified pilgrims and princes, a Moslem saint and the Rolling Stones, and tonight the Master Musicians of Jajouka will caste their spell over Spaulding Auditorium. From their remote village in northern Morocco, the 4,000 year old rock 'n roll band leads off a 17-city U.S.
Proving once again who is the hottest ticket in dance today, Mark Morris Dance Group stunned the sold-out audience last night in its first performance at the Moore Theater. Part stylist and part illusionist, Morris freely incorporates the classic and the avant-garde, the elegant and the awkward, to present an eclectic movement style of juxtapositions which speaks about a similar mix in life. In "Lucky Charms," a cross between chorus line pizzazz and sobering sculptural escapades, dancers donned in vibrant sequins flash jazz hands in kick formations and flittering games of hide-and-seek. With a flip in lights, Morris, always playful provocateur, commands an unexpected recognition of weight.
Dinesh D'Souza's '83 controversial new book, "The End of Racism" gives a comprehensive discussion that includes a wide assortment of intriguing ideas regarding the nature of racism in modern day America and throughout history. In an exhaustively researched and clearly laid out presentation, D'Souza traces the historical development of racism to the present day, arguing convincingly that it is rarely a product of ignorance and fear as often charged, but instead the result of a rational, scientific attempt to reconcile observed differences between groups. D'Souza elaborates on the difference between racism, which is based on a presumption of biological inferiority, and ethnocentrism, which is between cultures, not necessarily racially based and presumes no biological inferiority. Contrary to popular claims, D'Souza argues that racism is not a universal part of human nature, that it had a clearly marked beginning and thus there is hope for its end. It is in his consideration of the origin and correct interpretation of racism that D'Souza excels, debunking many of the myths espoused by what he sees as a Civil Rights establishment afraid to admit that racism has largely vanished from American society because it would leave them with no job and no cause to fight for. Unfortunately some his ideas and refreshing perspectives are bogged down by poor organization and a lack of a coherent thesis. D'Souza's purported goal in the book is to argue that the enormous decay in the black community in America can not longer be blamed on racism by whites or on lingering effects of slavery, and that the blacks must take responsibility for their community. But far too much of the book is dedicated to a discussion of cultural relativism, an idea that D'Souza spends considerable time bemoaning but little time rebutting. Much of the text is a meandering trip through a series of ideas that, while all related to race and racism, give the reader little indication as to the author's goal. And in the last chapter, with the reader hopeful that D'Souza will attempt to pull together his monumental research effort into some sort of defining statement, he comes out of nowhere with a proposal that the Civil Rights Act of 1964 should be repealed in favor of a system that calls for a completely "color blind" government and a legalization of discrimination in the private sector. In this culminating chapter D'Souza argues that people do not have a basic right not to be discriminated against.