The Prospect: Year in Review 2022
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From Dec. 4 to Jan. 23, the Princeton University Art Museum (PUAM) is presenting “Orlando,” an exhibition organized by Aperture, New York and guest curated by Tilda Swinton at Art on Hulfish, 11 Hulfish Street.
If you walk down into the Bloomberg Hall basement, there is a chance you might come across faint music emanating from behind a locked door, punctuated by mic breaks relaying the names of the songs and artists that have just played.
Throughout the COVID-19 pandemic, Princeton’s a cappella groups couldn’t rehearse or perform together in-person and struggled to admit new members. After nearly two years, Blair Arch and 1879 Arch are once again being filled by their voices, old and new.
During the COVID-19 pandemic, sisters Cassandra James ’23 and Kate James, who is a first-year at Cornell, started an organization called Saturnia Arts that matches artists with people who want art, whether for themselves or others. The Daily Princetonian sat down with them to discuss where the idea for Saturnia Arts came from, how they got started, and their journey since then.
In honor of the centennial anniversary of the Broadway debut of the all-Black musical “Shuffle Along” and the Tulsa Race Massacre, the Lewis Center for the Arts has teamed up with CLASSIX — a non-profit organization dedicated to “celebrating classic plays by Black playwrights” — to host a symposium of artists, journalists, and scholars to connect these seemingly discrete events.
Nathan Davis, a lecturer in the theater department and Berlind Playwright-in-Residence, received the Donald Windham-Sandy M. Campbell Literature Prize for Drama on March 22. The prize provides each winner with a citation, which describes why they were selected, and an unrestricted grant of $165,000 to support the their writing.
“Fill out this survey to get matched with your other half,” the Princeton Marriage Pact promised. For the 2,273 Princeton students who completed the survey, it was an intriguing enough promise from a matchmaking service new to the University this year — especially within the context of returning to campus during the COVID-19 pandemic.
It’s a familiar concept: After an hour and a half of turmoil and intense back-and-forth, one of the protagonists — often the male one — makes a mistake that costs him his love interest. Thus, in order to prove his undying commitment to her, he concocts a grand, public, meaningful gesture to win her back. It’s Heath Ledger in “10 Things I Hate About You” singing to Julia Stiles on the bleachers. It’s Hugh Grant asking Julia Roberts about their relationship in front of the press in “Notting Hill.” It’s every cliché airport reunion or wedding interruption or onstage profession of love. The love interest, of course, is wholly charmed and the entire experience is lauded as the epitome of romance. They kiss. The extras applaud. The virtue of the protagonist is proven and the scene serves as a pipe dream for viewers everywhere. The end.
Today, entertainment is political. Despite this trend, however, political conviction continues to elicit resolute objection: people continue to dislike the invasive nature of today’s politics, and especially its extension into entertainment and media. Our television shows, our movies, our music — voice after voice laments the loss of feel-good TV and mindless tunes written only to entertain us.