Use the fields below to perform an advanced search of The Cavalier Daily's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
9 items found for your search. If no results were found please broaden your search.
The music world has been patiently waiting for a follow-up to Maggie Rogers’s triumphant indie-pop record “Heard It In a Past Life” — the 2019 album that would eventually lead to a Best New Artist Grammy nomination and widespread critical acclaim. True Rogers superfans know, however, that “Heard It In a Past Life” was far from the singer-songwriter’s debut. Rogers’s catalogue extends far back into her past, beginning with a talented teenage girl and her banjo. Rogers, before releasing new music, intends to honor this past — songs that have floated around small New York City venues and lesser-explored corners of the Internet — with the release of “Notes From the Archive: Recordings 2011-2016” on Dec. 18. In this compilation, Rogers’ past work finds a permanent foothold.
It all started with a tweet. On Nov. 3, singer-songwriter Phoebe Bridgers sent a promise out into the digital ether — “if trump loses I will cover iris by the goo goo dolls.” Following the results of the presidential election, the tweet caught the attention of fellow artist and musician Maggie Rogers, and she offered up some musical assistance — “u need some harmonies for that special tune?” to which Bridgers replied “I’d give up forever to harmonize with you.” Thus the perfect indie duo was born.
Maybe there is something to be said for modern music television after all. This past Friday, MTV aired a special “MTV Unplugged Backyard Session” featuring Miley Cyrus — the most recent installment in a long history of collaborations between Cyrus and the television station. Over the years, the “Unplugged” series has produced many notable Cyrus covers, including her crooning cover of Dolly Parton’s “Jolene” that went viral in 2012. Each new “Backyard Session” with Miley Cyrus serves not only to showcase her newest artistic style and image, but also her newest genre endeavour. This most recent installment is a testament to her glam-rock persona, matured vocals and genuine appreciation for good music. In these home-bound times, Cyrus takes to her glammed-up backyard to share these covers, with a backing band dubbed “Miley Cyrus and the Social Distancers,” and invokes nostalgia for a more colorful time.
The “Hamilton” film was released July 3 on Disney Plus, giving fans of the smash-hit musical the ability to watch an intimate 2016 recording of an original cast performance. A new piece of media for “Hamilton” lovers — beyond the original soundtrack, of course — the film also brings the magic of the original ensemble to those who may have never gotten the chance to see it on Broadway.
When “To All the Boys I’ve Loved Before” first dropped on Netflix in August of 2018, it was met with praise from critics and casual consumers alike. A unique gem of a romantic comedy, “To All the Boys” was unafraid to cultivate depth and story with a wide cast of non-archetypal characters — all without sacrificing the warm, fuzzy essence that make our favorite rom-coms a joy to watch and rewatch. Needless to say, the sequel has been highly anticipated, as fans wondered what might become of the unlikely couple from the first film, Peter Kavinsky (Noah Centineo) and Lara Jean (Lana Condor).
FX aired a novel take on Dickens’s classic “A Christmas Carol” Thursday, notably excluding Kermit the Frog from the cast — though the film could certainly have used the levity. A darker, heavier reimagining, both thematically and visually, gave the adaptation a certain maturity, setting it apart from those that came before it and perhaps justifying its creation. The adaptation, however, fumbled the opportunity to employ such maturity in ways that thoughtfully explored the more complex ethical dilemmas introduced by Dickens, or even in ways that made for a particularly chilling ghost story.
Taylor Swift was honored during the American Music Awards with the Artist of the Decade award Nov. 24. The award is a nod to the longevity and impact of her career as a musician and songwriter, as well as to her new status as the show’s most awarded recipient in its history. Her performance, intended to highlight the biggest hits over the course of her career, was consistent with the caliber she’s set over the years as a formidable headliner and prolific pop star.
Netflix’s Friday night release of “The King” was long-awaited, especially for dedicated fans of the leading man and DiCaprio-esque heartthrob Timothée Chalamet. Since his unusually successful Oscar run in 2018 — he had a role in not one but two Best Picture nominees, not to mention a Best Actor nomination — Chalamet’s every move and performance has been highly publicized and highly appraised. The average Chalamet enthusiast, however, may be somewhat disappointed by this particular undertaking.
A millenial generation of cinephiles is emerging alongside the wildly successful, prolific and thematically diverse A24 film production studio. The company — which is behind the independent films that made household names out of young actors such as Timothée Chalamet and produced the breakthrough teen show of the year, “Euphoria,” among several other feats in their filmography — has been launched into inescapable relevance. It is no surprise, then, that the University’s own OFFScreen club, dedicated to the screening of films for general audiences and the cultivation of cinematic literacy for its members, chose to screen one of the most recent A24 films — “The Last Black Man in San Francisco” — Oct. 3 at Newcomb Theater.