By now, students who regularly pass by the Fralin Museum on Rugby Road have probably noticed a big change in the terrace of the University’s art museum.
Earlier this month, the University Dance Club presented their spring showcase at the Paramount Theater, which was appropriately entitled “Bringing Sexy Back.” The entirely student-choreographed performance included impressive dances from a wide variety of genres including tap, ballet, jazz, modern and hip-hop.
Making a name for yourself as an a cappella group at the University is no small feat, especially given the ever-increasing number of these groups around Grounds, but the Virginia Belles, the University’s oldest female a cappella group, have nonetheless managed to steal the spotlight. The Belles were founded as an offshoot of the Virginia Women’s Choir in 1977 and today consist of 18 undergraduate women — a relatively small group given the number of women who audition every year.
The series that sparked the entire Real Housewives phenomenon — and countless spin-off shows, products, and even real-life fights — is back!
It was just yesterday that I sat down to watch the first episode of Secret Life of the American teenager – oh, what a day it was!
As a die-hard country music fan, I can’t even begin to explain how disappointed I am with Blake Shelton’s latest album, ‘Based on a True Story.’
For those of you who had the chance to see the absurdly strange movie Rubber on Netflix, here comes another bizarre film from oddball director Quentin Dupieux, Wrong.
Autre ne Veut’s most recent album, ‘Anxiety,’ merges the vocal styling of late 80s and early 90s R&B with experimental electronic backdrops.
The 1990’s were a good time for emotional indie rock. Bands like The Smiths, Radiohead, Belle and Sebastian all peaked during this tumultuous decade.
The career of Boston pop-punk outfit Transit has been characterized by musical baby steps. Their first effort, ‘This Will Not Define Us,’ was surprisingly derivative in definition, blending melodic sensibility while flying the no-holds-barred flag of the New England scene.
As far as film genres go, horror movies are about as polarizing as they come. Many people love subjecting themselves to the suspense and shocks of a scary movie, but others refuse to watch them at all.
Following a successful fall production of The Mystery of Edwin Drood, the First Year Players are preparing for their spring show, ‘Oklahoma!,’ which premieres April 18 in the Student Activities Building.
Over the course of the past decade, LGBT groups have made massive strides with regard to the portrayal of so-called “queer” characters on television.
Ever wonder how that goon of a man became the Great and Powerful “Wizard” of Oz behind the green curtain all the way back in the original 1939 hit musical? Yeah, don’t think you were the only one who didn’t care.
Reality television fans, take note: the network that brought you such gems as Dance Moms and Army Wives is offering up yet another reality show.
In horror flicks, we’ve all seen the classic 911 call. What we never see is the other end of the line. The Call takes us into one of the largest 911 call centers in Los Angeles and shows the fear that can come from those who are answering these calls.
It’s apparent forty-five seconds into lead-off track “Sail to the Sun” that Afraid of Heights, the latest record from surf-rockers Wavves, is sunkissed and spontaneous. After the album presses start on a strange chime section, it barrels into a late-90s punk jam. I don’t know if Nathan Williams (vocals/guitar) has a prized copy of Green Day’s Dookie jammed in his stereo, but I wouldn’t put it past him.
While Justin Timberlake was busy pursuing a career in acting, I was busy wondering whether he’d ever come out with a new album. After a long, seven-year hiatus, he finally released The 20/20 Experience and I’m not disappointed.
Phosphorescent’s Muchacho settles into a groove, but unfortunately it’s one that feels all too comfortable by the end. Houck’s latest does little to offend but, by the same token, little to distinguish itself.
When The Strokes released their first album, everyone said that this was it, that these guys were the saviors of Rock and Roll music. With the album’s melodic take on 70‘s garage rock, 2001’s Is This It generated the template for 21st century guitar music and engendered a surge of interest in “indie” rock as a sound, rather than a designation of contra-mainstream status. Because of this hype, the general populace has held its tongue about the steadily decreasing quality of The Strokes’ records in the hopes that the next record will herald a return to their classic form. Sadly, now with their most recent Comeback Machine, it seems clear that all hope for a comeback is lost.
