By Raph al Guul
Over the years, I have really grown to appreciate the musical album as a unit of art. I think it started with American Idiot, a record that really offered a lot more to those who sat down for consecutive and uninterrupted listening. Obviously, not every album accomplishes this, but I still like to listen to new albums from front to back without interruption, at least the first time around. And I look out for new records each year, hoping for a gripping hour or so.
Compiling a yearly top five from the results of this quest makes sense – listing is what I expect the artist to do for me. The track list is the fulcrum of listeners’ emotions during playback and what I now do is reciprocally list them like a fractal. Only this time it does not occur artfully, but at least I hope tastefully.
By Raph al Guul
Despite my own departure from the group last summer, I will always have a soft spot in my heart for The Blueprint Masquerades; this is why this review, even more so than any other, could never be at all above suspicion of personal bias. But in the past years, no one has taken the time to review the premiere of The Blueprint Masquerades’ productions and so I will take this heavy duty upon myself as I finally have some distance from the very heart of their production cycles.
Raph al Guul
The Blueprint Masquerades have been around for three years now, born out of what seemed to be the end of the long-lived English drama group altogether. Noone really remembers the rocky start of the bpm, in part because the first year did not see the performance that had been planned and worked toward, as it faltered due to copyright issues. So it happened that the newly rebranded drama group only kicked into gear with its debut on the big stage in 2013, performing (F)Ailing (T)Errors, a play written by fellow student Lisann Anders, to such success that the only seriously critical opinions I have heard to this day were those of the actors themselves. To follow up on such a well-received first effort is obviously a tremendously difficult task; as someone who was and is involved in both productions (in fact, I have even been on retainer for that first, uneventful year – but noone remembers that, of course), let me explain to you why I recommend The Importance of Being Earnest, the upcoming play staged by the Blueprint Masquerades.
Raph and Jenny ramble about university-related matters and whatever else matters to them. Please provide us with any sort of constructive feedback (use the comment section or send us an email) so that we can eliminate problems if possible. On this episode:
– Switzerland faces its worst enemy, yet: snow
– Modernist conceptions of Art
– A discussion of Frankenstein, while hardly even referring to Frankenstein
– Raph tries to pronounce “vehemently”
– Jenny tries to pronounce “expressionist”
Ann Rice - Blood and Gold
Hey guys, it’s been a while since I’ve posted anything here. I sometimes find it hard to find a topic I think people will actually care to hear about. But I thought I’d share this blog with those of you who don’t already know it. I stumbled across it on tumblr a couple months ago, and I think the work this person does is amazing!
The New York Underground library consists of photographs of people reading while riding on the trains or waiting on the platforms of the New York subway. Continue reading
The last thing I expected to see at the Renaissance exhibition of the Brera Gallery in Milan was modern technology in a 19th-century painting. I was immersed in a past era when, on a small canvas by Milanese painter Girolamo Induno, I saw a girl in a white nightgown, and I could have sworn she was texting me.
The kiss. A magical word used to name many works of art, the most renowned probably being Klimt’s golden embrace. Of equal splendor is Il Bacio (Italian for The Kiss), a Romantic painting by Milanese artist Francesco Hayez. However, Il Bacio doesn’t show just a kiss. Il Bacio is the iconic kiss that represents the birth of Italy.