The Department of Art will have its annual “Flicks!” student film showcase, featuring films made by current students across multiple genres in the Rice Cinema April 20. The showing will begin at 7:07 p.m. and will be free to attend.
As the demand for senior photos escalates towards the end of the semester, Rice’s student photographers find themselves at the forefront of commemorating significant milestones for their peers.
On Monday mornings at 8 a.m., Ella Langridge walks upstairs to her desk at the Bayou Bend Collection and Gardens and gets to work, sifting through photocopies of Americana and decorative arts with pasts unknown. Langridge’s job, as this year’s Jameson Fellow for American Painting & Decorative Arts, is to research these artifacts, uncover their histories and communicate their uniquely American stories to the collection’s thousands of annual visitors.
There is no easy way to quantify a film, much to the chagrin of lazy film critics and lazier audiences. We may try to force a movie to fit into a box labeled ⅗ or ⅘ , but occasionally, there appears a work of art that refuses such indignity. A breathtaking fabrication that rejects the premise of a “rating,” whatever that monstrous practice might entail. These magna opera simply are. Along this line of thought, it makes sense to characterize this film for what it is, rather than lambast it for what it is not. This movie is about giant monkeys and lizards fighting.
Seasoned R&B singer Bryson Tiller has returned with his fourth studio album, a self-titled record that infuses cyberpunk aesthetics into both its visuals and its sound. On the eponymous album, Tiller, best known for hits like “Don’t” and “Exchange,” takes on the challenge of deconstructing his own artistic journey. “Bryson Tiller” is a multi-genre departure from Tiller’s comfort zone. It features pop, dancehall, neo-soul and drill elements next to his signature combination of hip hop and R&B.
Orion Miller began playing classical instruments before most toddlers refine their motor skills. Now a bass performance major at the Shepherd School of Music, Miller’s passion for music began during his childhood in New York. Both of his parents are musicians and encouraged their children to play instruments — Miller began playing the cello at age three and bass at 11.
For around 30 years, filmmakers Brian Huberman and Ed Hugetz have been working on their seven-part series “Once I Moved Like the Wind: Geronimo’s Final Surrender to the American Empire.” The two present the fourth part of their film, titled “Carcosa” at Rice Cinema April 13 at 7 p.m.
The Wiess Tabletop performance, “Hello, Hamlet!” is returning to Wiess College commons this weekend after four years. The show, according to members of the cast and crew, is a comedic parody of the original Shakespeare production. There will be three performances from April 12 to 14, each starting at 7:30 p.m. and free for all students and alumni.
While waiting for a train last summer, Gabby Franklin realized what her senior project would be: a modern play retelling the myth of Pandora’s Jar. Franklin, a Brown College senior, is required — like all seniors majoring in English — to participate in a yearlong seminar course, where students produce long-form writing projects.
With spring semester rapidly approaching its end, students are beginning to look at fall course offerings. If looking at the general announcements is making you feel generally unhappy, consider adding one of these humanities courses for a little spot of joy in a sea of despair.
Beyoncé’s much-anticipated country album is more than just country. Instead, “Cowboy Carter” defies the genre, sprawling to include country and non-country covers alike, R&B tunes and acoustic ballads.
Rice Cinema presented three films as part of the Glorious Things series, a collaboration between Rice Cinema, Rice Humanities Research Center and FotoFest, on March 22 and 23. Organized by assistant professor of art Sindhu Thirumalaisamy, the films detail stories from the perspectives of marginalized groups that are connected by a common theme: the intensifying of authoritarianism at Indian universities. “Does Your House Have Lions?” focuses on university suppression of queer students, while “We Have Not Come Here to Die” and “A Night of Knowing Nothing” center on student protest movements that swept India after the death of Rohith Vemula, a student, activist and Dalit, the lowest ranking group in traditional Indian caste hierarchy.
ktru hosted its 32nd annual music festival, the Outdoor Show on Saturday, March 30, with student cover band Sunset Blvd opening and Philly-born artist Binki headlining.
The end of the “best boy band since One Direction” (i.e., BROCKHAMPTON) was especially sad for the insufferable people who spammed their songs in high school, but equally exciting as it inevitably presented the opportunity for solo projects. Among the prospective solo projects, perhaps the most exciting — for me, anyway — was that of the former-collective member, Matt Champion.
Indie darling Waxahatchee first earned her country stripes on “Saint Cloud,” a resounding critical favorite of 2020. Her sixth studio album, “Tigers Blood,” fixes up new folktales of heartbreak in the same genre-defying signature.
At 22 years old, singer Tyla has already seen a level of success most musicians can only dream of. In the past year, she’s had her viral, platinum-certified hit “Water” top the Billboard U.S. Afrobeats Songs chart, collaborated with Travis Scott and Summer Walker and won the first-ever Grammy for Best African Music Performance.
Kacey Musgraves is one of the most innovative singer-songwriters within the country genre, a quality that’s been evident since she released her debut album, “Same Trailer, Different Park,” 11 years ago. Musgraves’s latest record, “Deeper Well,” melds the star’s signature country stylings with folk, resulting in a stellar collection of 14 tracks that are packed with thoughtfulness and nostalgia.
While indie folk-indie rock group Big Thief has consistently dropped passionately bittersweet and critically acclaimed work since their 2016 debut “Masterpiece,” the band reached their career high in 2022 with “Dragon New Warm Mountain I Believe In You,” which stands as one of the most celebrated albums of the decade so far. Adrianne Lenker, Big Thief’s lead vocalist, has had no shortage of success herself, with her previous album “Songs” appearing in the year-end top 10 albums list of many major publications. While Big Thief tracks like “Not” and “Little Things” can be noisy and dense, Lenker’s solo work is reliably soothing yet simultaneously heartbreaking.
Female filmmakers have been innovating since the era of silent film in the late nineteenth and early twentieth centuries. However, the 1934 establishment of the Hays Code — a set of guidelines for Hollywood films from the 1930s to 1960s that censored content deemed offensive — played a major role in stifling women’s creative say in the film industry. With Greta Gerwig’s “Barbie” becoming the highest-grossing film in the states and worldwide, 2023 was a landmark year for female directors in Hollywood and signifies an ever-changing landscape of female film direction. In honor of Women’s History Month, here are some new or upcoming female-directed films that represent the variety, innovation and artistic verve that women have imbued into the film canon.
Four galleries of art tell the story of previously-unestablished Henri Matisse and André Derain and their shared 1905 summer spent in Collioure, a fishing town in the South of France. Titled “Vertigo of Color: Matisse, Derain, and the Origins of Fauvism,” the exhibit opened Feb. 25 at the Museum of Fine Arts Houston.
