Camila Dominguez ’18 exhibited her art project “Pin Up” in Alumni Gym on September 30. The project was for her advanced art seminar on public art and social practice. She placed pictures of current female Amherst students over pictures of male athletic teams, and her installation remained in the gym for about a week, prompting lively discussion between athletes and non-athletes alike. A talented artist and art major, Dominguez’s work has already left its mark at Amherst, and she will surely continue to surprise and stimulate us with her art.

Hunter Whitaker-Morrow ’17 is a Film and Media Studies and Sociology double major in the process of creating a film for his senior thesis. I had the chance to speak with Whitaker-Morrow about his Italian Neo-Realism shaded film this week, delving into the inspiration behind the project, the creation process and final curatorial goals.

Sit-ins and protests are not new to the College. Following the recent dialogue between students, faculty and the administration during the walk-out last week in solidarity with those affected by the Executive Order that targets nationals of Muslim-majority countries, I’ve decided to recover a past instance, about half a century ago, in which students also urged the administration to respond to politics. In the November 2, 1967 issue of The Student, Tim Hardy ’69 covered the Val sit-in to block a U.S. Army recruiter during the Vietnam War:

Mark Simonitis ’19
Staff Writer

Over the past few years, Netflix has offered extremely high-quality entertainment such as “Beasts of No Nation,” “House of Cards” and more. Then again, it’s also given us “The Ridiculous Six.” “iBoy” lands somewhere in the middle of these two extremes, a movie that remains exceptionally average throughout its hour and a half run time. To be honest, I am not looking forward to writing this review, because there just isn’t a lot worth mentioning.

On Feb. 3, British singer Sampha released his highly anticipated debut album “Process.” The album comes after years of collaboration with some of the biggest names in the music industry across multiple genres.

What keeps people coming back to live performances — even when there’s a good recording that you could sit comfortably and listen to at home — is catharsis. Witnessing an outburst of emotion, even when it is not your own, provides release. I was accustomed to this philosophy as a reflection on theatre, but a piece of music I saw performed this weekend made me consider how the action of playing an instrument can have just as much emotional energy as spoken words in a scene.

Danny Brown’s fourth studio album “Atrocity Exhibition” dropped on September 30 of this year, and it may be the most aptly named album of the year. Brown’s eccentric, piercing voice is as present on each track as it has been in the past, and the album itself recalls many of the same sounds present on his second studio album, “XXX”. A noticeable change, however, is the feature list. Kendrick Lamar, Ab-Soul and Earl Sweatshirt all guest star on the stand-out single “Really Doe,” a riding, aggressive anthem which should be played at any and all pre-games everywhere.

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