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When indie-folk band Bon Iver arrived on the music scene in 2007 with the release of “For Emma, Forever Ago,” critics latched to the melancholic vocals. Led by singer-songwriter Justin Vernon, the track “Skinny Love” gained popularity and critical attention, cementing Bon Iver’s legacy in a single album. “For Emma, Forever Ago” was followed by the self-titled “Bon Iver,” released in 2011. Another five years later, Bon Iver has returned.
After being chastised for not attending any concerts in Washington, D.C. during the three years I have spent here, I was given the opportunity to see a high school favorite, Los Campesinos!, at the famous 9:30 Club.
Indie pop band Los Campesinos! bring its newest album, “Sick Scenes,” to the 9:30 Club on March 9 for the group’s first U.S. tour in over five years.
It has never been easy to be a woman. As I wandered through a dimly lit parking lot on Nov. 30 on my way to to see sophomore director Emma Hooks’ production of “The Changeling,” I was struck with how vulnerable my gender has made me. The list of things I cannot do is far longer than the list of things that I can. After all, I am only a woman and woman was not formed on her own; rather, she comes from Adam’s rib. For these reasons, “The Changeling” -- and its ability to question gender and the rigidity of religion that frequently binds women in its clutches -- resonated deeply with me.
After attending the wonderful Variety Show in October, I could not stay away from the AU Rude Mechanicals and their productions. Led by Executive Director Elizabeth Morton, the Rude Mechanicals perform plays by William Shakespeare and from the Jacobean era like the upcoming production of “The Changeling” this weekend. This time, I had the pleasure of watching the magnificent production of “The Tempest” on Nov. 17.
Before getting ready for the dreaded finals season, take some time to unwind this month by attending one of AU’s musical or theatrical performances. Whether you love acapella, musicals or smooth jazz, there are plenty of shows you can see without leaving campus. Chances are you even know one of the students performing, so go out alone or with friends and enjoy the talent your fellow students have to offer.
By most accounts, I have been categorized as the type of woman who stands up when it is necessary. However, I am also the type of woman who sits down when my voice is no longer asked for by the other people in the room. I speak in measured tones, ensuring that I do not come across as shrill or as if I am overtly challenging authority. To my friends and close colleagues, however, I am a feisty, loud, outspoken woman. I know what I want and I have the drive, ambition and intelligence to take it. But I am rarely angry.
A long walk in the dark led me to the Kreeger Building, the venue for AU Rude Mechanical’s Variety Show: Dystopia. Situated in the back of campus, Kreeger is typically one of the buildings that few students realize exists, much less can find; however, as home to many of the Rude Mechanical’s productions, it is a spot to keep in mind.
The DC Arts Center is, quite literally, a hole-in-the-wall space. Located in Adams Morgan’s main strip, it is situated near restaurants and bars. After climbing a set of stairs nestled between Mellow Mushroom and Donburi, the first thing visitors will see inside the center is Danielle Smith’s Death via Affluence, the first piece showcased in the exhibit. An oil painting on canvas, it depicts a lavish bed covered in pillows with ornate decorations; however, smothered under those pillows and nearly blending in with them is a young black girl. One of the pillows, covered by stripes, suffocates her so that only her hair, braided into cornrows, peeks out. We don’t see her face.
As several members of the original cast of Tony Award-winning Broadway musical “Hamilton” move on to new projects, we reflect on what brought this musical its enduring legacy. At first glance, its concept - a musical based off a hip-hop mixtape - seems to be an attempt to pander to millennials in order to reinvigorate interest in the stage. Perhaps even worse, is that the mixtape was in turn based off a biography on Founding Father Alexander Hamilton. Was “Hamilton” created as a way for history professors to reach a disengaged generation?
I was thirteen when I first understood what the word “rape” really meant. I had read Alice Sebold’s "The Lovely Bones;" it was one of those novels that I read too early, I was too young to cope with the text. Although I never finished the book, from the moment I read of Susie Salmon’s rape, it became one of my greatest fears. I developed an apprehension of older males, like the novel’s villain. I hid from them when I walked around antique stores by myself. I felt my skin crawl whenever I thought they were looking at me, staring at me, as I crossed the street. I imagined a stranger waiting for me in the darkness as I walked around my neighborhood at night. Now, seven years later, a part of me wonders if perhaps I could have prevented my greatest fear from happening to me. Maybe if I had not been running from imaginary strangers in the night,Iwould have noticed the danger of the boy who took me to his prom and the man who took me to Kramerbooks and Afterwords.
Despite not being a runner before I started college, I ran all over campus during my first semester.
In 2001, the Epsilon Iota chapter of Alpha Tau Omega lost its charter and became unrecognized on AU's campus. The group members subsequently formed an unrecognized, underground “fraternity” known as Epsilon Iota or EI. Thirteen years later, in the spring of 2014, a 70-page document consisting of email threads and texts between EI members was leaked to the AU community. Not only did the document expose the group’s use of virulently homophobic, racist, ableist, sexist, and misogynist language, the emails also revealed that members of EI had committed acts of sexual violence against women who attended their parties.