Little Boots finds her own musical niche
In the last ten years, the UK music scene has been producing new female singer-songwriters like an exponential growth function let loose. After the great success of Ireland-native Róisín Murphy’s trip hop and dance-pop solo career in the UK, followed by Amy Winehouse’s planetary breakout and her revival of contemporary soul and jazz music, there have been few major waves of incoming sound — and look-alike female musicians. Adele and Duffy were the first ones to take and pass on Winehouse’s torch, by writing and producing similarly soulful and bluesy songs. By the end of the 2000s, a new wave of more-pop-oriented female artists brought VV Brown, Jessie J, Florence Welch (of Florence + The Machine), and Marina Diamandis (of Marina and the Diamonds). In the meantime, Róisín Murphy-inspired artists, such as Elly Jackson (of La Roux) and Ellie Goulding, diversified the music scene by popularizing electro-pop music.
Science-inspired art
CAST’S Spring Sound Series brought to us alumna Julia C. Ogrydziak ’96, a multi-everything artist. Ogrydziak exploited all the goodness MIT had to offer her, and in return, she has made the most out of what MIT gave her. While pursuing a double degree in Physics and Music, she UROPed for a couple of years in the then-called Hyperinstruments Group at the Media Lab, which focused on multi-media and performance. After that, she pursued her interest in design by getting a degree at Harvard’s Graduate School of Design. Phew.
A snazzy exosuit, a power couple, and a lot of battles
Some people have questioned whether their favorite Avenger is Iron Man or Robert Downey Jr. Iron Man 3 seeks to unite the disparate personalities that are the cocky billionaire Tony Stark and the selfless armored hero Iron Man. It explores this theme through two hours of over-the-top action scenes and genuinely funny humor. As great as the special effects and jokes are, they leave little room for a cohesive or moving narrative. Still, I was having so much fun I barely noticed.
Coming of age by the Mississippi River
Mud is a reminder of how movies have the potential to be more than just entertainment. With a setting that is foreign to most, director Jeff Nichols tells the typical loss of innocence story through a new lens. By making Ellis (Tye Sheridan) the observer who eventually enters the world he observes, the audience is able to make the transition with him and live his adventure.
The bee and the chimp in you and me
Have you ever felt like other people must be crazy — or at least be hypocrites — to hold certain views that you consider profoundly immoral? Some people defend the Iraq War to this day, while others opposed it from day one. Some people want to ban abortion, while others want to ban guns. “What is wrong with these people? What are they thinking?” you may ask in despair.
Berklee’s adaptation of the famous musical Hair
Growing up as a child in a very musical and theatrical family, I developed a keen sense of distinguishing high quality shows from mediocre ones, in both visual and acoustic performing arts. Even the most nuanced distasteful details in a show can make me frown, which is why I always found it difficult to like live musicals. Whereas regular plays and musical concerts require a certain subset of performance skills, musicals require the full package: good production, acting, dancing, singing and very often a well-coordinated orchestra. With that said, I am so happy to wholeheartedly admit that I was astonished by Berklee College’s adaptation of Hair, which premiered last week at the Berklee Performance Center.
4X game with a one-man development team
I have something of a love-hate relationship with the 4X (eXplore/eXpand/eXploit/eXterminate) genre. The typical 4X game is an uneasy marriage of amazing strategic depth, the grandeur of empire, and tedious micromanagement. As a consequence I find myself in a cycle where I develop a desire to play a 4X game, binge for some period of time, and then quit the genre for months after getting burned out navigating menus.
Let there be light
Lighting is arguably the most important factor in many types of traditional and digital art, ranging from painting and photography to animation and architectural renders. It is surprising to know that this fundamental building block of visual art is often overlooked by artists, and many do not fully understand the full implications of light on an artwork. This book by Richard Yot serves as an instructive primer for artists of all disciplines, and at all levels, to begin to understand the intricacies of lighting. It serves as a tool to inspire continued creative manipulations of light in visual art to create extraordinary effects.
An invitation to wonder
In director Terrence Malick’s latest project, we follow the relationship between Marina, a young Frenchwoman, (Olga Kurylenko) and Neil, her American boyfriend (Ben Affleck) from Paris to Oklahoma. Their intensely passionate love struggles against the frustration and isolation that accompanies Marina’s relocation. When Marina moves back to France, Neil reconnects with a childhood flame (Rachel McAdams), whose own experiences with love and loss add another layer of solemnity and sorrow to the narration. Along the way, we briefly glimpse into the lonely life of their local priest in Oklahoma, Father Quintana (Javier Bardem), who currently struggles with a crisis of faith. Their intertwined stories create a heavy yet inspiring narrative on life, love, and God.
Existentialism in a hotel room
MIT Dramashop’s production of No Exit, based on the work of existentialist playwright Jean-Paul Sartre, takes place in the afterlife, where three damned souls are locked in a tacky hotel room together. The Tech spoke with director Adam Strandberg ’14 about his experience directing the play.
Kilts and whiskey
Think of maybe the last truly obscene word in the English language, one that’s managed to retain a little bit of shock value even in contexts where the F-word flies free — I doubt you’d hear it on a trading floor.
Diverse in style and storyline
It might be due to my biased pop-oriented ear, but it seems that it’s hard to find a rock band nowadays that maintains the essence of rock music while being original and progressive at the same time. Put some repetitive guitar and percussion sounds together with unrefined lyrics and forced hoarse voices and you’ve got yourself a group of fully-operating contemporary rock band copycats. Nevertheless, there are still a few of them that manage to captivate my attention with their rock-based roots and striking, ever-growing uniqueness. Yeah Yeah Yeahs is one of them.
MIT’s nomadic sculpture
Each week, for the past seven weeks, a sculpture titled “I am Mit, as I am in Mit, just like a lot of other people are” by Amalia Pica has been traveling to various places on campus, hosted by different members of the community. The 30-pound pink granite sculpture, hand-carved by Pica, is shaped like an Echevaria plant, which is known for its ability to thrive in nearly any condition.
Far Cry 3 is far from special
First person shooters have always been one of my favorite genres of video game. I grew up at a time when computing technology was just starting to meet the challenge of inexpensively rendering a shooter. As a kid, I was weaned on a generation of post-Doom titles, like Quake II, Counter Strike, and Team Fortress Classic, and for a time, the mere improvement of hardware was enough to keep the genre exciting. Each iteration of the first person shooter produced higher and higher graphical quality, and I didn’t spend much time lamenting that the gameplay and plot of Crysis was not many steps beyond that of Goldeneye 007.
iamamiwhoami
If this is the first time you hear the oddly concatenated name iamamiwhoami, then you have missed the fascinating beginnings of an enigmatic viral internet sensation that took over Youtube in 2009. Founded by the Swedish folk singer-songwriter Jonna Lee, her producer Claes Björklund and the film director Robin Kempe-Bergman, iamamiwhoami is an audiovisual musical project with many charming peculiarities that your regular wannabe-weirdo artists never manage to deliver.
Remember “Don’t Worry Be Happy”?
Bobby McFerrin is a virtuoso, and his instrument is his own windpipe and chest. He is not a powerful singer, but he is a beautiful singer. Although he practices many forms of music (directing classics, singing duets with Yo-Yo Ma’s cello, etc.), he truly excels at just a few of them. The same can be said about his most recent concert in Boston. As part of a multi-city tour for his upcoming album “spirityouall”, and through the felicitous auspices of the Celebrity Series of Boston, Bobby McFerrin paid a visit to Beantown last Sunday, and treated a full Symphony Hall to an afternoon of good music.
Post-apocalyptic escapades
Oblivion is the kind of movie that you would rather see without knowing anything about it. But why would you go see something unless you know it is good?
America’s first black Major League player
After watching the masterful biopic 42, about the struggles of Jackie Robinson, his wife, and his team’s owner, during Jackie’s first year in the Major Leagues, the truth in Alonzo Bodden’s bit called “First Black Anything” becomes clear: “If you are the first black anything, you can’t be good. Your ass better be miraculous. You have to be unbelievable.” Bodden bemoans — in a hilarious manner — the uphill battle that non-whites face to earn recognition when entering any new field. Even though he gets to the subject apropos of Barack Obama’s presidency, Bodden illustrates the point invoking Jackie Robinson, “the first black player in the Mayor Leagues.”
Twisted mythology
MIT Professor of Music and Theater Arts Jay R. Scheib’s newest production, Elektra, took stage this month at Kresge Little Theater, starring an all-MIT-student cast. The Greek myth inspired tale of heartache and revenge makes the audience cringe, laugh, and gasp as characters spit blood into each other’s faces, surgically remove someone’s heart, reunite with long-lost siblings, and commit murder. The performance both captivates and horrifies the audience while effectively articulating its tragic theme.