Your rhetoric is killing trans people
Content warning: The following column contains mention of references to mass shootings, death, and transphobia.
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Content warning: The following column contains mention of references to mass shootings, death, and transphobia.
I’m a bit of a doormat.
“The love and affection I used to have,” a Program in Visual Arts senior thesis show by Ameena Faruki ’22, is a dual act of creation and destruction. On display in the Lucas Gallery at 185 Nassau Street, Faruki’s exhibition draws viewers in with bold asceticism — it is populated sparsely with six cathode-ray tube TVs (CRTs) in the gallery’s small space, bookended by two photography collections. Then, when viewers are in the thick of it, the exhibit comes to life with an evocative, communicative artistic language of its own.
The Lunar New Year can be a celebration that is at once intensely personal and introspective and also a deeply shared cultural experience. To better understand what this time looks like for students on Princeton’s campus, The Prospect solicited responses from our editors and staff, as well as staffers from The Daily Princetonian at large.
Following on the heels of an exhausting, two-years-and-counting pandemic, the pop music landscape of the day is dominated by soft-spoken harmonies and acoustic backings, the kinds of things that lend themselves naturally to rumination on days gone by — Taylor Swift’s “Red (Taylor’s Version)” and Kacey Musgraves’ “star-crossed” come to mind. There’s a nostalgia inherent to these albums, as if they’re looking back on a time that was, for lack of a more encompassing word, different.
There’s a scene from the 2014 anime “Your Lie in April” that I’ve always found awfully trite: In it, violinists are competing onstage in succession, playing Beethoven’s “Kreutzer Sonata.” The scene portrays the piece as banal, overplayed, and dull — your classic high school music competition! — until one of the show’s main characters, Kaori Miyazono, appears on stage.
Lately, I’ve been thinking a lot about Lamp. Active beginning in the early 2000s, Lamp is a Japanese band that draws on a number of disparate styles, including jazz, bedroom pop (insofar as the genre was conceived at the time), and pop rock. Blending all of these genres into something greater than the sum of its parts, Lamp writes minimally-produced songs over which the lead singer’s vocals can soar.
Lorde released her third studio album, “Solar Power,” on Aug. 20. “Solar Power” is a marked shift from the musical identity Lorde has cultivated among her following with her critically-acclaimed albums “Pure Heroine” (2013) and “Melodrama” (2017).
Earlier last week, I stopped by Olsson’s Fine Foods for the first time since arriving on campus. The day was painfully overcast, as Princeton’s weather tends to be in the spring, and Palmer Square was quiet, save for the occasional car and a muted chatter. Peculiarly, then, Olsson’s had a sizable crowd: as I waited for my grilled cheese, and as I was enjoying it at a nearby picnic bench, customers came and went, and it seemed there was not an idle moment for the modest storefront.
As we spring right into March, welcome back to the fifth installment of Intersections, a newsletter run by The Prospect section of The Daily Princetonian dedicated to delivering arts and culture to your inbox.
As we ease into the Spring Semester, we are excited to welcome you back to Intersections, The Prospect's newsletter dedicated to delivering arts and culture to your inbox.
During a period in which a pandemic has restricted communication, both verbal and musical in nature, brother-sister cellist and pianist duo Sheku and Isata Kanneh-Mason performed a program of chamber works rich in interaction, comprised of works by Beethoven, Saint-Saëns, and Rachmaninoff, that spanned the widest possible breadth of the Romantic period.
At the 54th annual meeting of the New Jersey State Council on the Arts on Oct. 27, the Arts Council of Princeton was named the recipient of a $50,000 grant in an effort to support New Jersey’s arts organizations in weathering the effects of the COVID-19 pandemic.
Robin Park ’23, a cellist from Princeton Junction, N.J., is planning to major in history, with certificates in East Asian studies and music performance. He currently serves as music director of both Opus and La Vie en Cello.
In a Q&A held immediately after their Oct. 15 concert, the Takács Quartet emphasized the importance of demystifying the classical music industry, particularly in the often esoteric and unreachable depths of the diverse, yet relatively untapped, string quartet repertoire. Second violinist Harumi Rhodes said that one of the Takács’ newly reignited missions in the depths of the pandemic is “trying to reconnect with the inclusive parts of music-making.” Indeed, they succeeded in this mission, breaking countless long-held rules in the process — to great effect — and potentially setting a new precedent for online music performance that may very well persist after the pandemic has subsided.
The pandemic has fundamentally challenged the classical music world. As recording labels and orchestras begin a painful, gradual process of reopening, they do so in an economic and artistic landscape ravaged by the closing of countless companies in artist management, performance, and more.