Music Department Presents “Song of the Land: Poems of Ishion Hutchinson”

Barnes Hall was packed for “Song of the Land: Poems of Ishion Hutchinson,” a performance presented by the Music Department that put Hutchinson’s poetry to compositions by graduate student composers. The performance presented a fusion of the old and the new, incorporating multiple forms of art to deliver a powerful concert. Guest artist Rachel Calloway, a mezzo soprano, sang a dramatic reading that conveyed the emotion communicated in the performance, and did so in a way that drew the audience in to share in the experience with her.  This innovative project brought the respective virtues of literature and music into a symbiotic relationship that managed to showcase both the artistry of the music and the postmodern themes of Hutchinson’s poetry. The English department’s Ishion Hutchinson writes narrative poetry that investigates colonialism through his depictions of landscape and the emotional weight of colonial history.

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Nickelodeon Tries to Join the Tolerance Bandwagon — and Fails Spectacularly

Tolerance. Prejudice. These two concepts are on everybody’s minds nowadays. Racial, ethnic, political and religious tensions are flaring around the world — including in our own country. It’s an uncertain time for children to grow up in, and some aren’t learning about the importance of coexisting with others who differ from themselves. That’s where several media studios are stepping up.

And then there’s Nickelodeon’s new show, Bunsen is a Beast.

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TEST SPIN: Depeche Mode — Spirit

I knew pop music reached a turning point when Depeche Mode released their single “Where’s the Revolution” and Katy Perry followed, a week later, by releasing “Chained to the Rhythm.” Ever since the presidential election, everyone became “woke,” including artists. I expected Katy Perry to buy into this, but not Depeche Mode. “Where’s the Revolution” left me hoping for something less industrial and more like the band’s trademark upbeat synth sounds. I had high expectations for Spirit and, sadly, they were not met. Rather than continuing to make thoughtful, soul-searching soundtracks, Depeche Mode bought into the rising “Purposeful” or “woke” pop act.

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Sex With Strangers at the Kitchen Theater

It is only appropriate that playwright Laura Eason chooses to reflect on the millennial obsession and consumption of authentic selfhood through psychological realism, a form that exposes private and supposedly authentic humanness. Literally walled off in a remote house and then, during act two, in an apartment, actors Leeanne Hutchison and Darian Dauchan strive to imitate authentic privacy through theatre. Their characters, Olivia and Ethan, aspire to achieve this by writing fiction, and, both character and actor, inevitably by social media. So the play dialogues inwards, towards a generation where pressure to authentically be (and perform) one’s self is supreme, monetized and burns through relationships. Sex With Strangers’ political effect is potent but undecided, and ultimately, like its form, a dialogue in itself.

COURTESY OF A24

GUEST ROOM | Girl on the Road: Female Sexuality as Power in American Honey

In Andrea Arnold’s American Honey, a teenage girl named Star leaves behind a troubled home life to join a group of kids who travel across the Midwest selling magazines. This film sets out to tell the story of adolescent camaraderie on the road; it ends up an important contribution to road narratives that does justice to female sexuality in a way rarely seen before. In the beginning of the film, Star and two children stand on the side of the road sticking out their thumbs for passing cars. When no one will pick them up, Star yells in exasperation, “Are we invisible?” If women and children are seen as in need of help at any locus of society, that perceived helplessness is amplified when one is a woman or a child (both, in Star’s case) on the road. The vulnerability of women on the road is a reality that renders people like Star invisible to passersby.

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TEST SPIN: Pitbull — Climate Change

Well-worn but never quite worn out, Pitbull classics like “I Know You Want Me (Calle Ocho)” and “Hotel Room Service” are always a go-to for playlists if you want a song everyone can sing along to. He’s been around for a while now, having released his first album M.I.A.M.I. in 2004 and been on an up and up trajectory with many collaborations with big-name artists. In Climate Change, released Friday, Pitbull has (once again) gathered artists like Enrique Iglesias, Robin Thicke, J-Lo and Kiesza to do a lot of the heavy lifting in most of his tracks with their vocals.

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SWAN | Chuck Berry and the Things We Ignore

MUSIC 1101, Elements of Music, begins with a rather thorough discussion of the Voyager Golden Records. Each record contains a somewhat lengthy selection of music, which was compiled in 1977, by a committee chaired by Cornell’s Carl Sagan, then professor of space sciences. Of course, this spurs the musicological debate on archival selection and canon formation. Is it even remotely fair that an American professor, grounded in Western culture, is in charge of leading the effort to select music representing societies of the entire world? The final lineup is indeed unjustly skewed towards the inclusion of Western musical examples and traditions.

The Adam Ezra Group Fills an Empty Haunt

The long and short of the Adam Ezra Group’s concert at the Haunt is that it was a great show that no one really went to. Ten or so fans and at least a few people who came for drinks or dinner contributed to the overall sparse feel of the venue. Somehow they still ran out of chairs and stools. I suppose you’re supposed to dance, but the only people on the floor were a middle aged man and a girl I hope was his daughter. It almost seemed like the Group was trying to compensate for the emptiness of the bar with the fullness of its roots rock sound.

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Redefining Space at the Johnson

Located in the Gold and Picket Family Video Galleries, Empathy Academy succeeds in synthesizing art and the human experience via an organic transmission of the unspoken immensity of the exhibition to the viewer. While the works embody the material forms conventionally tied to them (sculpture, film, etc.) the medium takes a platform that is undeniably human in nature. In “Colors, Cultures, Knots, and Time,” Ernesto Neto invites the viewer into a space of wordless dialogue. Neto’s installation consists of plastic rings serving as loci from which vividly colored cotton strings connect. The threads are not, however, limited to single hoop; many are seen taking a journey across rings and sharing their own space with that of others.

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TEST SPIN: Greg Graffin — Millport

In elementary school, running into your teacher outside of school was like watching your favorite television character walk right out of the screen. Our grade school teachers only existed in construction paper covered classrooms, between cursive writing lessons and popcorn reading. As we’ve grown, of course, it’s easier to see that teachers have lives too. They wait with us in line at Temple of Zeus; they peek at their phones during discussion. But Greg Graffin, a professor of evolution this past fall semester and former PhD student at Cornell University, forges new boundaries for the teacher-form.