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It is always a rare delight to watch a play performed by its creator. Though at times such a personal work can unintentionally alienate an audience, at others, they can be evocative, drawing an audience into a vivid, heartfelt experience. From start to finish, “little sister: An Afro-Temporal Solo-Play,” was of the latter kind.
This past Wednesday evening, I fulfilled what felt like the most Brandeisian of Brandeis rites of passage: Liquid Latex. This year’s show was titled “Legally Latex” to represent that it was the 18th and now “legal” Annual Liquid Latex show. The event was hosted by the Liquid Latex club and organized by club president Rebecca Kahn ’19.
Leopards are sly, fast and endangered — so too is Burt Lancaster as Don Fabrizio Corbera in Luchino Visconti’s classic 1963 film “The Leopard.” Projected in a classroom at the Mandel Center for the Humanities on Thursday, March 8, this film — about a ruthlessly honest aristocrat fighting to preserve his way of life while his country is in political turmoil — created a calm in the room filled with students chewing popcorn and eating candy.
TOUGH LOVE: Moving mechanically, Eve (Haia Bchiri ’20) prepares to strike her husband, Paul (Ryan Sands ’19) during a tense scene.
This week, justArts interviewed Dylan Hoffman ’18, who directed “The Danube” for his senior project.
Waltham civil leader Joseph Burgoyne III passed away suddenly at the age of 62 on Feb. 16, according to a Feb. 21 Boston Globe article. The third-generation Waltham businessman was laid to rest at Grove Hill Cemetery in Waltham on Thursday, Feb. 22.
“I recorded almost all of this in my basement,” Mathias Boyar ’20 said in an interview with the Justice. Still slightly uncomfortable with self-promotion, he sat back onto the black leather couch in Farber Library and admitted, “Normally I write a song and just show it to a couple people and then it ends up on a file somewhere on my computer where it’s archived.” Now, for the first time ever, Boyar’s music is accessible to anyone with internet access.
This week, justArts spoke with Sophia Massidda ’20 who directed “Iphigenia.”
As Valentine’s Day approaches, people express their love and affection for significant others, family and friends, often by buying flowers, chocolate or other gifts. This year, Graduate Student Affairs is holding a campus-wide fundraising initiative, Cupid Express, to benefit the Boston Area Rape Crisis Center. This board encourages the Brandeis community to participate in this worthy initiative by using Cupid Express as the one-stop-shop for buying roses and chocolate.
AMY and DAN
LOVE AT FIRST SIGHT: From the moment she saw him in class, Amy knew there was something special about Dan. They married 15 years after meeting and 6 months after their first date.
This past week, the Cleveland Cavaliers threw caution to the wind and made a series of surprising roster moves that have at once reshaped their team and the National Basketball Association as a whole. Months after acquiring star point guard Isaiah Thomas from the Boston Celtics, it had become clear that Cleveland’s revamp project was faltering in irresolvable ways. Many are wondering if Cleveland’s moves — sending out guards Iman Shumpert, Isaiah Thomas, Derrick Rose and Dwyane Wade, along with forwards Jae Crowder and Channing Frye, and bringing back a young group of long and athletic players made up of forward Larry Nance Jr. and guards George Hill, Rodney Hood and Jordan Clarkson — will be enough to get them out of the East and over the hump against the Golden State Warriors, who most believe will have an easy path to a fourth consecutive Finals appearance. Though it is impossible to predict how the rest of Cleveland’s season will unfold with any degree of certainty, one does not need to dig deep to conclude that this move has made the Cavaliers younger, more defensively adept and overall, significantly better.
As Valentine’s Day comes around every February, we all look for songs to get us into a romantic mood. Often the songs are classical tunes — wordless, sometimes corny melodies replete with string sections. Very rarely, though, are Valentine’s Day songs lacking instruments. Brandeis’ all-male a cappella group VoiceMale sought to change that with its annual variety show “Lovapalooza,” which took place this past Saturday. “Lovapalooza,” however, delivered performances as diverse as the selection of discount candy after the holiday.
The Levin Ballroom got lit on Saturday, Feb. 10, as the Brandeis Black Student Organization held its first ever “Shades of Blackness” event.
Dr. Allyson Livingstone has joined the Office of Diversity, Equity and Inclusion as the director of Diversity, Equity, and Inclusion Education, Training, and Development, according to a Jan. 30 BrandeisNOW article.
Six years ago, Nadia Alawa was a full-time mother whose days were spent driving her eight children to sports games and homeschooling them for exams. In 2011, her quiet life in the sleepy town of East Hempstead, New Hampshire ended with the eruption of a devastating civil war in Syria, her father’s homeland.
Theaters these days are full of fast-paced movies with modern filmmaking techniques and complex story structures, but sometimes one needs to step on the brakes and go back almost a century to the films that introduced these practices we now take for granted. One must return to the golden age of cinema, to the Hollywood of the late 1920s to early 1960s. So, amid the oncoming onslaught of summer blockbusters which seems to come to theaters earlier and earlier every year (I’m looking at you “Black Panther,” “Tomb Raider” and “Pacific Rim: Uprising”), it seemed just to attend an on-campus screening of a Buster Keaton film.
There is a famous expression which goes, “Those who don’t learn about history are bound to repeat it.” Today, 73 years later, it is important not to forget the atrocities that occurred during the Holocaust. With many of the survivors already having passed and the remaining survivors continuing to get older, remembering the events of the time becomes a task for a new generation. This is why the United Nations General Assembly established International Holocaust Remembrance Day, on Jan. 27. Coinciding with this day, Brandeis University had an Internation Holocaust Remembrance Panel of members from the Women’s Studies Research Center, to share the unique experiences of their relatives who remember the Holocaust in the most vivid way possible — they lived through it.
On Jan. 28, the 60th annual Grammy Awards, held in New York City, continued the long and storied tradition of honoring the complete mediocrity that the Recording Academy strives for. Once again, the Grammys chose to elevate bland and predictable pop acts over cutting-edge hip-hop and rap artists. Bruno Mars’ milquetoast pop retread “24 Karat Magic” bested far more worthy contenders like Kendrick Lamar’s “DAMN.” and Childish Gambino’s “Awaken, My Love!” for album of the year, repeating the annual cycle of hip-hop being kept out of the top spot by any means necessary. Once again, the Grammys have marked themselves as the laughingstock of the award season, hopelessly out of touch with anything close to the cultural zeitgeist and seemingly clueless to music’s current form. Disturbingly, the Recording Academy seems to care less about artistic integrity or creativity and more about ensuring a basic standard of whiteness and complacency is maintained in its top honors. If the album of the year winner isn’t an accessible and inoffensive white pop album, it’s an oddball album from white industry veterans the Academy should have honored years ago, like Daft Punk’s “Random Access Memories” or Beck’s “Morning Phase.” The last album of the year that can be charitably described as anything close to a daring pick is Outkast’s 2004 LP “Speakerboxx/The Love Below,” a legitimately forward-thinking album that only won because of the runaway success of its lone traditional stab at pop songwriting, the smash hit single “Hey Ya.” Since then, no hip-hop album has ever won album of the year, despite the wealth of fantastic works in the genre and its meteoric rise as the dominant form of popular music. No matter the pick, the logic behind it is always the same. The Grammys are only capable of looking backward, clinging dearly to musical artifacts and outdated preconceptions. Mars’ “24 Karat Magic” is a hollow replica of classic R&B albums like Stevie Wonder’s “Songs in the Key of Life” and Janet Jackson’s “Control”, containing all their flair but none of their punch or immediacy. Traditionalist pop and rock acts always manage to find their way into the top spot, cultural relevance or critical acclaim be damned. Any remotely daring album put out by a Black artist is to be cast aside by the Grammys, regardless of artistic merit.
There is a reason that fewer than 10 percent of Americans support Congress, as found in an Aug. 3, 2017 Quinnipiac University poll. They view the institution I visit nearly every day as ineffective, weak and lacking American interests. This summarizes the view by many as of late January, when the spineless Congress chose to vote to fund the deportation of 800,000 young Deferred Action for Childhood Arrivals recipients such as myself who, since Sept. 5, have been unable to see their futures beyond six months. This lack of principle is not partisan, which is why GOP members such as Reps. Carlos Curbelo ,R-Fla., and Ileana Ros-Lehtinen ,R-Fla., and Democrats like Sen. Elizabeth Warren ,D-Mass., and Sen. Kamala Harris ,D-Calif., all voted against the ineffective short-term management of congressional funding, better known as “CRs.” Americans also view this institution as ineffective, because since 2001 they have failed to pass any solution for Dreamers, even though more than 80 percent of American constituents urgently want this to be solved, according to a Jan. 20 CBS News article.