Major spoilers for “Little Women” ahead. The recent cinematic release of Greta Gerwig’s “Little Women” (2019) is far from the first screen adaptation of Louisa May Alcott’s beloved novel, but is closer than any thus far to realizing the thematic complexity of its titular “Little Women.” Since the book was first published in 1868 to…

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In the final installment of the Music Beat’s top ten albums of the 2010s listicle, Timothy Dai (‘23) reviews Lorde’s sophomore musical opus and Lana del Rey’s latest sad-core hits, Kamilah Arteaga (‘22) reflects on Tame Impala’s lyrical exploration of humanity and Volume 256 Executive Editor Holden Foreman (‘20) reviews the chart-topping queen Billie Eilish:

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In the second installment of the Music Beat’s top ten albums of the 2010s listicle, Timothy Dai ’23 reflects upon the emotional valences of SZA, Kamilah Arteaga ’22 considers the vulnerability of Tyler the Creator and Natalie Francis ’22 reviews the “Truth Hurts” flute-playing, twerk and rap queen Lizzo: No. 4 SZA’s “Ctrl” (2017)  It’s…

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Rather than write stand-alone album reviews of this decade’s greatest hits, the Daily Music beat has come together this quarter to write short but sweet album reviews and collectively created our top ten best albums of the '10s.

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In Santa Clara University’s production of Sarah Ruhl’s "Eurydice" (2003), all Eurydice ever wants to do is think about language and how it opens up new worlds.

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To “pass by catastrophe,” according to urban legend, you must experience a major earthquake or other catastrophic event during your final exam warranting the university registrars to give everyone passing grades. But in the case of the Stanford band, "Pass By Catastrophe," the phrase means exploring making music together and dropping your first extended play (EP) on Oct. 4, amidst the Stanford grind.

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NOTE: A previous version of this article inaccurately reported the identities of Cabaret ensemble members in “Maybe This Time” and “Entr’acte”. Commentary on the live sound design has also been amended. Come hear the music play in the 2019 Theater and Performance Studies (TAPS) Mainstage production of Kander and Ebb’s “Cabaret” (1966), choreographed and directed…

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Aitan Grossman (‘19) became involved with Latinxs in Theater, the Asian-American Theatre Project and Blackstage’s production of Broadway breakout hit “In the Heights” (2008) thanks to a chance conversation over Thanksgiving dinner. When his friend, “In the Heights” producer Dan Holland (‘19), discussed his artistic vision for the show and the need for good music…

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The Harmonics concert “mood” last Friday at Toyon Hall reverberated with the messy range of emotions that define the grind of late winter quarter at Stanford. For its first full a cappella show of the calendar year, the alternative and indie rock group was decked out in its signature black leather and goth makeup. The…

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Perpetual anticipation of actors becoming pianists, cellists and even orchestra players buzzed on campus this past weekend thanks to the Stanford Music Department’s production of Stephen Sondheim’s “A Little Night Music” (1973). Renowned for its complex meters, polyphony and high notes all performed in waltz time, the musical explores the rekindling of past love between…

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When you see “Gaieties” posters strewn about the campus or see zealous cast members crash dorm house meetings in animal onesies, you may not realize that Stanford students write all the music for the show. But for Ayoade Balogun (‘21), composer, and Lexi Kupperman (‘21), lyricist, “Gaieties 2018: Jane Stanford and the Chamber of Secrets”…

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NOTE: A previous version of this article included a comment that inaccurately portrays the a cappella callback process and a spoiler for one group’s initiation process, which have been cut.   You open the door and are immediately drawn in by thunderous applause, every person in the room calling your name and smiling at you. No,…

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