When Mumford & Sons released their single “I Will Wait” — aptly named for fans who struggled through a three-year musical dry spell from the group — in early August, they coupled it with a YouTube video showing a random street passing under the camera’s eye.
Let’s start with a social experiment: Take the next five people you encounter on the street and ask one question: “Was ninth grade a fairly awkward year for you?” If these folks had a freshman experience like mine, I’d bet their responses would consist of a rushed affirmation and fits of laughter after visualizing the dorks, geeks, dweebs or complete misfits they were so many years ago. The reason this reviewer blatantly refuses to partake in the common U.Va polos-and-khakis dress code is because in 2008, that uniform stuck to his skin five days a week.
As temperatures cool and leaves turn a pleasant washed-out gold, the early-fall release of Band of Horses’ Mirage Rock is nothing but timely.
Given the recent influx of disastrous 3D movies into theaters across America, it’s hard not to question Disney’s decision to re-release a handful of its most beloved classics in this often-gaudy format.
Since the 2007 release of An Ocean Between Us, the Grammy-nominated quintet As I Lay Dying has become one of the crusaders of melodic metalcore, a subgenre whose decline has been marked as its former champions experiment with other brands of metal.
Theater of the Absurd calls for a rapid-fire pace, a focus on the mindlessness of humanity and society, repetitive actions and illogical patterns that challenge and intrigue the audience.
The Kluge-Ruhe Museum’s new weekly event “Thursdalia” combines food, drinks and socialization with Aboriginal art and art history to make for a refined Thursday evening.