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Arts - page 5

Goucher Poet: Rowan Youngs


As a part of this semester’s theme of community, the Kratz Center for Creative Writing sponsored an event series called “Poetry as Community,” bringing local poets to campus. In conjunction with this theme, the Q has asked student poets to send in their own poems. This issue features a poem by senior American Studies major Rowan Youngs.

Lamp in Three Parts
My friend was born with a lamp for a head.
She has lost the ability to discern between people who truly care about her and those who simply need the light.
It gets worse during the winter months—she’s almost no fun at all.

First and foremost: you are not valuable in isolation. It’s important that you learn this now, so that later when the sadness arrives it can operate un-impinged. Confusion clouds the waters, muddies that which is and that which could be. It’s important that you know this now, before you start to get any bright ideas haha, because the truth is that it can’t. Be, that is.

Without the detritus of the life you cast yourself upon there is simply no need. The necessity for your illumination comes with a qualifier, and it is everything aside from you. See the photo, strangled behind warped glass? See the plastic cup of milk, the lavender handkerchief it kisses and the spot on the couch where the cigarette fell between bare thighs? See the bird? That is the family bird. It is the color of bone marrow and it is loved. It must be seen, too.

You are the silent sentinel.
Function and form, at least theoretically. You specifically have not gotten any younger.
More than anything you are provider of choice. Choice. The moment they are not yet ready for the dark—That is your time. You are never to cry (you can’t) but if you have to (it’s not possible), don’t.

You will be positioned inconveniently. Behind a couch, at an oblique angle, half hidden behind the perennially desiccated ficus. You will be installed beneath a draft or by the bedside table of lovers gone sour. As they fuck, tangled in the stained periwinkle quilt she sewed over long nights in a desperate bid for wholeness you will mourn the loss of something vital and unspoken and you will not look away. You can’t look away, but more importantly, don’t turn from them. Never turn from them. After he wilts he will fix his eyes on the oil painting of a little boy, a little boy in a little house with a large dog and he will howl in the space that you yourself brighten. Isn’t that special? Isn’t that wonderful, how needed you are in this moment and all moments to come?

It came on in the night
Some dark summoning
Probably a test
I’ve heard of these things
Happening somewhere else but
Never here.

The next morning, foggy, slide tomatoes and sea salt down my ripe gullet whole.
Gird yourself for the battle
Fall for your queen so that we might rise
Whorled pads against chilled glass
I begin to unscrew, one turn, two
Turn and turn and turn
Days pass and I look around.
Joints ache
There is dust at the corners of my eyes, tiny drifts like
Fallen snow.
Faded curtains hang open
I hope no one has seen me at work.

The Poetry Corner Part Two


As a part of this semester’s theme of community, the Kratz Center for Creative Writing is sponsoring an event series called “Poetry as Community,” bringing local poets to campus. In conjunction with this theme, the Q has asked student poets to send in their own poems along with poetry recommendations. Here are student poets Sebastian Bronson Broddie, ‘20, and Thalia Richter, ‘20 on poets whose work they appreciate.

Sebastian’s Poet Recommendation: Gwendolyn Brooks is well known for crafting powerful poems about racial identity and many hold evidence of her engagement in politics, from when she worked with the NAACP in college. What I most love about Gwendolyn Brooks’s work is her ability to make me feel a great deal more like who I am supposed to be, or to feel a greater appreciation for who I am right now. I always feel like she knows exactly who I am when I read her poems, and that who I am is to be celebrated. Her subjects…sometimes seem to leap right off the page and envelop you in a warm, soft, comforting light.

Thalia’s Poet Recommendation: My favorite book of [Maggie Nelson] is Bluets, which is written as a cross between poetry and prose, ruminating on depression, loneliness, and love through the lens of the color blue. The book begins, “Suppose I were to begin by saying that I had fallen in love with a color. Suppose I were to speak this as though it were a confession.” Nelson’s obsession with the color blue bleeds into her discussions of depression, sometimes eliding the two, so that emotion gains literal visibility. Loneliness is blue, and perhaps parts of love are red, but no matter what, Nelson made me believe in the tangibility and physical realities of these emotions…Her poetry depicts love and heartbreak side-by-side, as though the latter is inevitable, but worth it for the sake of the former…by articulating her loneliness, Nelson creates a sense of shared sadness, and perhaps that can help lessen the burden.

To read the work of Sebstian and Thalia, look here.

Featured Image: Gwendolyn Brooks. Photo Credit: The Poetry Foundation

Goucher Poets: Sebastian Bronson Boddie and Thalia Richter


As a part of this semester’s theme of community, the Kratz Center for Creative Writing is sponsoring an event series called “Poetry as Community,” bringing local poets to campus. In conjunction with this theme, the Q has asked student poets to send in their own poems along with recommendations for poets whose work they appreciate. This issue we feature Sebastian Bronson Broddie, ‘20, and Thalia Richter, ‘20. They’ve also shared what they appreciate about each others’ work.

Thalia Richter on Sebastian Bronson Boddie: Sebastian’s poetry has an undeniable individuality. My favorite poem of his, “the love letters of pretend gods,” is a love story built from imagery, like the sound of the speaker’s laughter and the taste of chocolate. Instead of leaning into cliché, Sebastian creates a specific moment, when this pretend god awakens in their tomb and sees their lover again. This moment is visceral, described through taste and scent and touch. Sebastian’s imagery comes from unexpected places and doesn’t relying on sight alone to carry the reader. He always brings a completely unique voice to his poetry and provides an insight into his own thoughts which is not only accessible to readers, but stunning to read.

the love letters of pretend gods
sebastian bronson boddie

there is nothing sweeter than waking up in my
tomb and feeling around in the darkness and silk for you and drinking in your joy
at our reunion. the black is so different with you in it. nothing is
quite like the way your skin tastes when i bite into the meat
of your hand and smell the sap that rushes out, tasting like hello. we are the same,
cut from jewel and geode, made to reflect back. the sun is sinking into the lines on your palm as
we speak; you break off a piece of the sky and taste it, say it is better than twelve
pieces of that fair-trade, organic, $18 chocolate (Ethiopian?)
we bought at the market in D.C. and my laugh sounds like goats
bleating for their milk back. but even this cannot break the moment, standing
facing one another in the living room, aching to kiss ancient dirt away. perfectly silent
as we trace the lines of each other’s godly faces in
our minds, cataloguing how many laughs these cheeks have suffered. how many tears the
skin has harvested. how many flowers will bloom from wrinkles. morning
is not for some time. that is just fine. the moon gives us a new light.

golden shovel poem
line 15-16 of jack gilbert’s “the forgotten dialect of the heart”


Sebastian Bronson Boddie on Thalia Richter: Thalia is really good at plucking a piece of nature that I’ve never seen before in poetry and attributing it to the subject of the poem. The nature imagery that she often uses is really its strongest point, because it’s never cliche, and I’m never expecting it; it’s very fresh. Paired with the way that she always manages to imbue the poem with a mythic air, even if the subject is not myth-related, makes for a poem that feels very holy. The images are never expected, and even if the subject of the poem is not particularly startling, it is profound in its quiet magic and air of mystery. It is always a pleasure to read.

Laura Palmer
by Thalia Richter

The pine trees sway together,
holding each other for company
and dry leaves skim the ground,
never touching, but twirling,
stroking the bark,

and she is here.
She’s always been here.
Hair like fox fur,
and her eyes, blue like stone,
or maybe the way
the mountains rest on the horizon.

Her eyelids never quite close,
and her gaze never quite meets yours,
but you can’t stop looking at her,
at her skin shining in the moonlight,
and she is so beautiful.
She is the only person in this whole forest,
except you of course,
and you’re not really here.

There are clouds now, rolling over the moon
the hollows below her eyes are shadows
and she is fading, returning to the pines,
their needles brushing her cheeks.
You want to ask her to come back,
but the trees join hands
and she is lost behind them.

To read the work of another Goucher poet, look here.

To read about poets that Sebastian and Thalia recommend, check out The Poetry Corner.

Featured Image: Laura Palmer from Twin Peaks. Credit:

Black Bolt Vol. 1: Hard Times Review


While the Inhuman royal family’s live-action debut last fall was, erm, let’s be generous and call it hot garbage left out on a summer’s day, do not fret dear Marvel fans! The royal king of the Inhumans, Blackagar Boltington (yes, that is his real name) is fairing much better in the comics. Well, better quality wise as his solo-title sees him suffer quite a bit at the hands of the creative team of Saladin Ahmed and Christian Ward and the villainous Jailer.

As an introduction to the character of Black Bolt, you can’t do any better than this volume. Collecting the first six issues of Ahmed and Ward’s twelve issue run, the volume is a thriller seeped in cosmic psychedelia complete with a jailbreak, a colorful cast of characters, a deeply flawed main character, and a heartbreaking redemption arc. If you’ve never had any experience with Black Bolt and the Inhumans, the first issue gives you all you need to know through some truly creative and beautiful panels. One such page is modeled after an MC Escher painting and sees Black Bolt walking through the interstellar prison he’s been trapped in. In the background are bits of who he is and how he got here and, later in the series, we learn more and more about his tragic backstory.

Upon first opening the volume, you are greeted by a fairly simple page. The first panel is a black box with some small, white text. It is short. It gives you all you need to know. The next three panels elaborate, slowly revealing that someone has been bound, chained, muzzled. He has no memory of who he is or where he is. The next page sees a voice yell “Name your crimes! Repent your crimes!” before the muzzled man is shocked.

He remembers that he is not a criminal but a hero. A king. He remembers this as he falls into unconsciousness… or something worse. Upon turning the page, the sequence repeats, albeit differently. We know more information this time and as the repetitions continue, we, along with Black Bolt, gain our footing. We began by being disoriented, stuck in the deep black-blue darkness but now, through the patterns, we are no longer confused, and we are ready to escape the cycle. From there the adventures, or more accurately the trials and tribulations, of Blackagar Boltington, the Midnight King, the Most August Ruler of the Inhumans, begins.

In just these few pages, Ward and Ahmed show their mastery of their respective crafts as well as what a truly magnificent creative team can accomplish. Christian Ward’s art is just gorgeous to behold, and Ahmed’s sharp dialogue manages to be funny, heartfelt, dramatic, and most of all, genuine, all at once. Every character is fully realized through Ward’s command of posing and facial expressions. The prison they are trapped within is ever-shifting, massive, and oppressive which Ward manages to capture and convey perfectly.

The comic is bathed in deep neons, both bright and dark, and Ward’s lineless digital art gives the world that constantly shifting feel I just mentioned. He turns every page into a canvas, from the largest battles to the smallest conversations. What is most impressive about his work, though, is his paneling. Let me give an example from Issue four. Crusher Creel and Black Bolt have been chained up and are just talking.
In this scene, Ward does something unconventional for the series so far – he sticks to a nine-panel grid for the Crusher focused flashback sequences. Anytime Black Bolt or present Crusher are in the panel, the comic breaks from the very rigid grid. Let me explain. On one page, the top three panels are laid out as you would expect for that grid: all the same size, all spaced out the same way. Then we get Black Bolt and Crusher talking once again in these skinny panels that are recessed into the center of the page more than the grid panels. Then, for the final panel of the page (which is a shot of a cop car from the past), it is back to the perfect grid panel, placed as if the whole page were a normal nine-panel grid.

The present is visually distinct from Crusher’s past, as one is constructed, a story that has neat delineations, while the other is the present, a messy and tense time. As such, as the flashbacks creep closer to present day, the grid starts to bend and break. There are still nine panels per page but by the second to last full flashback page, the grid morphs, growing to show the increasingly complex nature of Crusher’s life. When we get Black Bolt’s single flashback page, the panels are a jumbled mess, strewn about the page, reflecting Black Bolt’s own view of himself at the moment. Is he a good man? He does not know. Nor does he know how to arrange his past.

Honestly, issue four is probably the strongest of all the issues in this volume and considering all six issues have the same level of quality, that is high praise. This volume and this series is an analysis of Black Bolt, of what it means to be a father, of what it means to be a prisoner. Of what it means to be a good person and how one can reclaim goodness for themselves.
Beautifully written, beautifully drawn and heartbreakingly bittersweet, this is comics at some of its finest. Give it a read.

Featured Image Credit: Google Photos

Coachella 2018: 5 Artists That You Should Know


The second weekend of the 2018 Coachella Valley Music and Arts Festival is here, and people across the world are gearing up for it. If you missed out on the debut weekend performances, check out various social media websites for live streams of artists’ sets. The Coachella lineup consists of talented artists who may be well-known in pop culture, but not all of them have a substantial following. So why not listen to some new music? In no particular order, here are five artist recommendations based on the Coachella 2018 lineup.
First is the female rapper and singer/songwriter Princess Nokia, or Destiny Frasqueri. Frasqueri began her career in 2010, self-releasing mixtapes on Soundcloud and YouTube with her original moniker “Wavy Spice.” In 2012, she released her song “YAYA” which got the attention of people from around the world. In 2016, she released her mixtape “1992”, which was then made into a deluxe album in September 2017 by Rough Trade Records. Frasqueri makes it clear that she sees herself as a feminist, a tomboy, and a queer woman from New York that cannot be held back. This woman is truly an inspiration, and her music showcases that as well.
The next artists are an alternative rock band from Los Angeles called The Buttertones. They were formed in 2011 by the original members, guitarist Richard Araiza, drummer Modeste Cobián, and bassist Sean Redman. The band is now made up of five members, with guitarist Dakota Böttcher and saxophonist London Guzmán joining in 2015. With influence from genres such as surf music and garage rock, the band has released four studio albums, one EP, and one single over the course of five years. If you like The Beatles or The Sonics, you will most likely enjoy The Buttertones.
Next up is a band that embraces indie-folk, and they are called MAGIC GIANT. The band is a trio, and the members are as follows: Austin Bisnow, Zambricki Li, and Zang (Brian Zaghi). Formed in early 2014, they create songs that sound like artists Mumford and Suns, The Lumineers, and Avicii had a music lovechild, combining banjo licks with electronic sequences. It provides for an upbeat experience unlike any other in the scene so far. The band’s single “Let It Burn” was called “a summer festival anthem” by NPR, and in June of 2017, Rolling Stone named them one of the 10 New Artists You Need to Know.
Returning to the punk genre, FIDLAR is a punk rock band formed in Los Angeles, California. Members Zac Carper and Elvis Kuehn founded the band in 2009 after working at a recording studio together. Brandon Schwartzel and Elvis’ brother Max Kuehn joined shortly after, and they’ve been performing ever since. The band has released two studio albums, three EPS, and numerous singles. In 2015, the band debuted on Jimmy Kimmel Live! and played two songs off of their album Too, “West Coast” and “Why Generation,” and in 2016 they performed on Conan. Full of angst, FIDLAR is a band that doesn’t mess around.
For the final artist, we have South African DJ and producer Black Coffee. His real name is Nkosinathi Innocent Maphumulo, and he started his career around 1995 in a time when the world was just starting to grow interest in the South African dance music scene. And as the years have passed, Black Coffee has grown to become Africa’s most influential electronic music producers. He has released five albums and one EP since he grew in popularity in 2005. Many of his songs are trance-like, emitting a calm feeling when listened to which isn’t very common in electronic music.

Coachella 2018 may be over in a few days, but these five artists will continue to perform and grow. Give them a listen whenever you have the time. Who knows, they could be a new favorite artist of yours. And if you’re up to it, check out all of the artists on the lineup. Each artist is extremely talented, and all of them have an exclusive performing style.

Featured Image: Coachella. Credit: Leonardo Pierce

Charm City Stories Releases First Publication


Baltimore’s New Student Art and Literary Magazine of Mental and Physical Health Debuts

You know an event is a success when there are more people than chairs. On Friday, April 6th, Charm City Stories, Baltimore’s first student literary and art magazine of mental and physical health, released its first publication with a poetry reading and gallery showing.

The slim and bold art magazine features the work of at least five Goucher students, including Natasha Hubatsek, ‘21, Michelle Cheifetz, ‘20, Ruth Diaz-Rivera, ‘20, Donche Golder, ‘19, and Sarojini Schutt, ‘18.

The magazine was founded by Johns Hopkins student Arunima Vijay. Through her experience living in Baltimore, Vijay had begun to notice many experiences with illness in the community around her, as well as the abundance of art. She desired to find a way to combine medicine with art, a desire which eventually led to the creation of this publication. Charm City stories is inspired by the field of Narrative Medicine, which is rooted in the idea that effective and humane healthcare relies on the ability to interpret and be moved by the stories of others.

Starting out, Vijay was nervous about how others would respond to her idea. “I didn’t know if I was the only one who thought there was a need for a publication doing this kind of work,” she said.

As it turned, however, Vijay was not alone in wanting a student publication focused on health. She was able to form a team of editors with three other students from Johns Hopkins: Anuradha Haridhas, Julia See, and their magazine and website designer, Coleman Haley. The team publicized through social media, student writing/art groups, and outreach to the heads of the art and writing departments at Johns Hopkins, Goucher, Loyola, UMBC, University of Maryland College Park, and Morgan University. Through these various outlets, they received student poetry, art, creative nonfiction and fiction, all of which was related to physical and mental health. “The most fulfilling part was the overwhelmingly positive response we got from the community,” said Vijay.

In addition to the support of the community, a student publication also requires financial backing. Charm City Stories was fortunate to receive funding by the Mellon Arts Innovation grant from Johns Hopkins University.
Between applying for the grant for funding, contacting writers and artists, designing the magazine, creating the website, and planning the exhibition, Vijay estimates that, altogether, putting together the magazine took several hundred hours. “It’s a year’s worth of hours and effort,” she said.

The publication opens with a poem from Goucher student Natasha Hubatsek entitled “maybe that’s another morning.” Hubatsek’s free verse poem wanders from crisp detail to sensory snapshot, tracing the thoughts of someone asking and answering the question of why they keep on getting up in the morning.
Further into the publication, Michelle Cheifetz’s contemplative poems, “Don’t cry,” “What isn’t,” and “science: Rome,” slide between italics and regular font, images and ideas, beauty and destruction. Cheifetz and Hubatsek both read from their work at the gallery showing and magazine opening.

About halfway through the magazine, Donche Golder’s poem, “This is what you need to hear, and why” speaks directly to the perpetrators of sexual assault. At the end of the poem, the poem’s speaker then addresses a particular yet general “you,” saying, “I could have inserted a name, but this poem isn’t for one person./ This poem is directed at “you,” whoever “you” may be,/ wherever “you” are, for whatever “you” have done wrong./ This is what you need to hear, and this is why.”

Many of the Goucher students involved submitted to the publication because they were in a writing class with Professor Katherine Cottle, and wanted to see how their work would be received outside of the classroom and the Goucher community. It appears that the response was largely a positive one, as the publication features the work of so many Goucher students.

The current team of Charm City Stories editors, consisting entirely of JHU students, hopes, in future years, to have more students from other schools involved in editing the publication. They would also like to have a broader audience, more submissions, a larger event venue…and more chairs.
To read the publication online, visit

If you’re interested in applying for an editor position for next year, click here to fill out an application form:

Featured Image: Charm City Stories Logo. Photo Credit: Charm City Stories Facebook Page

The Way to a Convoluted America’s Heart is Through the Stomach


For the older more metropolitan foodie generation of our parents and older cousins, David Chang may be a familiar name because of his restaurants, most notably Momofuku and NoodleBar. For us Millenials/GenZ-ers, David Chang is a bit more well-known because of his appearance in a Buzzfeed Worth It episode. (If you are still unsure, go back to the episodes “$13 BBQ Ribs Vs. $256 BBQ Ribs • Korea” and “$17 Fried Chicken Vs. $500 Fried Chicken” by Buzzfeed Worth it.)

However, the reason that I introduce this foodie to the Goucher public is because of Chang’s Netflix Original show, Ugly Delicious. The show came out in the tail end of February, and I spent one of the days of my spring break binge watching seven episodes of it (I had already seen the first episode). Now, the reason this is a solid show is not due to the influential names like Steven Yuan or Jimmy Kimmel who make guest appearances. Nor because of the mouthwatering foods like dumplings and fried chicken. But because of Chang himself and his unabashed personality as an American with a neo-metropolitan, Generation X outlook on life and food.

Unlike all other food shows on TV, Ugly Delicious does not have Chang teach the audience how to make obsessive and obscene foods. Nor is he trying the craziest of concoctions out there, giving a bad reputation to food joints and countries around the world. Instead, what Chang does is ask blunt questions about food and cultures, giving way to a thinly veiled political exploration.

To give the run-down as to why this is a political show that is not to be ignored is because when one delves deep enough into the food culture and the culture of the food, there comes the point where one must discuss racism and appropriation and wars and bloodshed. And in this day and age, when food seems to be the only thing worth bonding over, us inhabitants of the 21st century should know more about what we put into our body other than the calorie intake or dietary status. Now, as for Ugly Delicious, Chang overtly confronts the political issues. Sometimes it is addressing the unknown but omnipresent biases and racisms that plague the consumption of food. Such as why when eating Chinese food, one may feel as though MSG is destroying the body but when gorging on a bag of chips the only thing felt is that New Year’s resolution slipping away. But other times Chang outright asks political questions, giving insight as to why some people in the world think a certain way, such as when Chang talked with a Vietnamese restaurant owner who was a refugee in the 70s, over a meal with shrimp and crawfish. They discussed at one point how 40 years back the Vietnamese were fighting the KKK for their ability to work but now were hesitant when it came to wishing for a less complicated way for other refugees to go to America or other democratic nations. Chang has a way to get people to open up, be it pit masters in Tennessee or sushi masters in Japan, and while he challenges his audience’s beliefs, at no point does he try to change those ideals. However, ever so slightly he gets one to think and see things from a different point of view.

America is a melting pot. School House Rock sang about it; teachers teach about it, writers write about it. However, even with that, we have barriers to the type of foods. Everything is of a particular category, and when arguing against those put in place boxes, questions emerge. What qualifies fried chicken as authentic? What makes a pit-roasted pig BBQ but a Peking Duck not BBQ? What Chang does so honestly, is that he tastes, learns, watches, talks, and asks the questions that aren’t always asked but may be at the back of our minds.

So, while it is not the food itself that kept me listening for most of the day, I’m okay with that because the conversations that were going on about the food, cultures, and politics behind everything made the show a success.

Featured image: Chef David Chang. Photo Credit: Google Images

Goucher Students Published in Charm City Stories


On Friday, April 6th, Charm City Stories, Baltimore’s first student literary and art magazine of mental and physical health, will release its first publication. The magazine will feature the work of at least four Goucher students: Donché Golder, Natasha Hubatsek, Michelle Cheifetz, and Ruth Diaz-Rivera.

Print copies of the free publication will be released at Johns Hopkins University at a gallery exhibition in the Second Decade Society Room of the Center for Visual Arts from 7-9pm. The publication will also be available online at

Charm City stories is inspired by the field of Narrative Medicine, the idea that effective and humane healthcare relies on the ability to interpret and be moved by the stories of others. The first annual publication builds on the collaboration of writing departments at Johns Hopkins, Goucher, Loyola, UMBC, University of Maryland College Park, and Morgan University. The first annual publication of the free magazine is sponsored by the Mellon Arts Innovation grant from Johns Hopkins University.

One day, Goucher writing professor Katherine Cottle asked her writing students to submit at least one piece for publication before they left class, and this was the assignment that led to the publication in Charm City Stories for Donché Golder. Golder, ’18, submitted a poem, entitled “This is what you need to hear, and why.”

Through his poem, Golder explores themes of healing and accountability. “Without beating around the bush,” he said, “the poem is about sexual assault. The bulk of the poem addresses the agony of those who have been effected by sexual violence/abuse and the last four lines drive the point home: ‘I could have inserted a name, but this poem isn’t for one person./ This poem is directed at “you,” whoever “you” may be,/ wherever “you” are, for whatever “you” have done wrong./ This is what you need to hear, and this is why.’”

Golder, a 4th year English Major, Professional Writing minor, was inspired to submit for Charm City Stories because, he admitted, he hadn’t been published since seventh grade. “I’ve come a long way since then and I think it shows in my work,” he said.

To find out more, visit

Events in Baltimore (March 17th – March 30th)


Events in Baltimore (March 17th – March 30th)


*​ ​18+
**​ ​21+

March 17

  • Santa Librada album release party w/ Gateway to Hell and Holy Fingers at The Windup Space
  • Kurt Deemer Band, Cancled Stamps, Divining Rod, The Jennifers at Ottobar
  • “Don’t Kiss Me. I’m Not Irish” Dance Party** at Ottobar
  • The Mantras, Squaring The Circle* at Metro Gallery
  • “FOOD NOT BOMBS” Benefit at Sidebar
  • Herd of Main Street, Run Come See, Echo Bloom at Joe Squared
  • The Legwarmers: Ultimate 80’s St. Patrick’s Day at Rams Head Live!
  • Torrey Smith Family Fund Charity Basketball Game at Royal Farms Arena
  • Schubert The Great at Joseph Meyerhoff Symphony Center
  • Gallery Show: Ernest Kromah “Legacy of an Icon” (ongoing) at The Motor House
  • Zip Into the Yellow Light ft. Abdu Ali at The Motor House
  • Revival Series: “The Big Heat” (1953) dir. Fritz Lang at The Charles Theater
  • Sugar ‘n’ Spice at The Crown
  • Skin Tight Soul Party at The Crown
  • “Family Life” (2017) dir. Cristian Jimenez & Alicia Scherson (3 shows only!) at The SNF Parkway

March 18

  • Drinking and Dragons** at The Windup Space
  • Little Tybee The Reign of Kindo, Del Florida at Ottobar
  • The Sweet Spot Baltimore: Mardi Gras Edition* at Baltimore Soundstage
  • Baltimore Symphony Youth Orchestras Concert at Joseph Meyerhoff Symphony Center
  • Romeo and Juliet at The Lyric
  • Coffee Fest at Baltimore Convention Center
  • “Stage Russia: Chekhov’s Three Sisters at The SNF Parkway
  • Bobbi Rush, Josh Stokes, Lambda Celsius & Internet Boyfriend at The Crown

March 19

  • The Noise Presents: Iced Earth – The Incorruptable World Tour and more! at Baltimore Soundstage
  • Comedy Night! at Sidebar
  • Revival Series: “The Big Heat” (1953) dir. Fritz Lang at The Charles Theater
  • “Sight Unseen and Secret Psychic Cinema co-present Spatial, Celestial, Cerebral: Short Films by Woman Filmmakers (one night only!) at The SNF Parkway

March 20

  • Baltimore Boom Bap Society at The Windup Space
  • Brown Angel, Hangers, Tombtoker, Wayward at Sidebar
  • The Great Uprising: Race Riots in Urban America during the 1960’s at Red Emma’s Bookstore Coffeehouse
  • “Everyman at the Parkway: Big Night (1996) dir. Stanley Tucci & Campbell Scott (one night only!) at The SNF Parkway

March 21

  • Snail Mail, Shame, Romantic States, more TBA at Ottobar
  • Soft Kill, Choir Boy, Blacksage, Carl Gene* at Metro Gallery
  • Red Sun Rising, Imbued, Old Eastern at Baltimore Soundstage
  • Ether, Deep Rest, Dead Empires, Pickwick Commons at Sidebar
  • Miguel at The Lyric
  • The Art of Comedy Open Mic at The Motor House
  • Revival Series: “Festival!” (1967) dir. Murray Lerner at The Senator Theatre
  • “Stage Russia: Chekhov’s Three Sisters at The SNF Parkway
  • TWEN (TN), Den-mate, Hexgirlfriends, Albert Bagman at The Crown
  • Co-op Happy Hour with BRED at Baltimore Bicycle Works
  • Michael Loadenthal presents The Politics of Attack at Red Emma’s Bookstore Coffeehouse
  • “Maineland” (2017) dir. Miao Wang at The SNF Parkway

March 22

  • Bugg, Wildhoney, Post Pink + Ultra Beauty at The Windup Space
  • Steely Dan vs Fleetwood Mac Vinyl DJ Night** at Ottobar
  • Forever Came Calling, In Her Own Words, Hold Close, Something More, Chris Swartz* at Metro Gallery
  • Elohim at Baltimore Soundstage
  • MUNK, Evergroove, Xactil Xperience at Sidebar
  • BSO Pulse: Valerie June at Joseph Meyerhoff Symphony Center
  • Turntabliss Thursday’s w/ DJ Pope at The Motor House
  • Film Screening: Release at The Motor House
  • Revival Series: “The Big Heat” (1953) dir. Fritz Lang at The Charles Theater
  • Everything Will Be Okay (A stand-up comedy show) at The Crown
  • “The Times of Harvey Milk” (1984) dir. Robert Epstein at The SNF Parkway

March 23

  • Shannon and the Clams, LIP at The Windup Space
  • Lightning Bolt, Glockabelle, James Twig Harper, Book of Morrin at Ottobar
  • Movements, Can’t Swim, Super Whatevr, Gleemer at Metro Gallery
  • Our Last Night – Selective Hearing North America tour 2018 w/ I The Might, Don Bronco, Jule Vera at Baltimore Soundstage
  • Hungover, One Life To Lead, Matt Talley at Sidebar
  • Kevin Hart: The Irresponsible Tour at Royal Farms Arena
  • The High & Wides (early show!) at Joe Squared
  • Rachmaninoff and Tchaikovsky at Joseph Meyerhoff Symphony Center
  • “12 Days” (2017) dir. Raymond Depardon opening at The SNF Parkway
  • “A Ciambra” (2017) dir. Janas Carpignano opening at The SNF Parkway

March 24

  • Icon for Hire, Makeout, Courage My Love at Ottobar
  • “Feed The Tree” 90’s Alternative Party w. DJ Matthew Rubbish** at Ottobar
  • Breakforth & Think Again, Indianhead, Palm Trees in Moscow, The Revived* at Metro Gallery
  • Barely Alive & Virtual Riot, Anoxex, Cybin Quest, Don DC, Campbell at Baltimore Soundstage
  • Dark Waters End, Genevieve, Pathogenic, Emerge A Tyrant, Constituents at Sidebar
  • DysDopia: Comedu Music End of the World Party at Joe Squared
  • Area 301, Milton J and The Leftovers, Old Eastern, The Control** at Fish Head Cantina
  • Kevin Hart: The Irresponsible Tour at Royal Farms Arena
  • Classical Revolution presents Lost & Found at The Motor House
  • Revival Series: “Crisis” (1946) dir. Ingmar Bergman at The Charles Theater
  • “Belly and Set It Off” (1998/1996) double feature (one night only!) at The SNF Parkway

March 25

  • Expert of Nothing at The Windup Space
  • Ottobar Equinox Spring Flea Market at Ottobar
  • ATM, George’s Bush, Joe Biden, Mallwalker at Ottobar
  • Gost, computer Magic, Ca8al* at Metro Gallery
  • Timeflies, Bryce Vine, Baby Raptors at Baltimore Soundstage
  • Revival Series: “Festival!” (1967) dir. Murray Lerner at The Senator Theatre

March 26

  • Horatio Dark at The Windup Space
  • Generations Tour: Mega Ran, Non Like Joshua, and more! at Ottobar
  • Comedy Night! at Sidebar
  • Revival Series: “Festival!” (1967) dir. Murray Lerner at The Senator Theatre
  • Revival Series: “Crisis” (1946) dir. Ingmar Bergman at The Charles Theater
  • “Gummo” (1997) dir. Harmony Korine (one night only!) at The SNF Parkway

March 27

  • Norma Jean, Gideon, Toothgrinder, Greyhaven, Birthright
  • Cloak, Mother Moon* at Metro Gallery
  • Revival Series: “Festival!” (1967) dir. Murray Lerner at The Senator Theatre
  • Filthy (TX), Nightmare Difficulty & Sword Prom at Holy Frijoles

March 28

  • The Screams, Morning Dew, Dedyuth, Triple Backflip, Committee at Ottobar
  • Watain, Destroyer 666, Tomb at Baltimore Soundstage
  • Sidebar Flea Market! at Sidebar
  • Drake Bell, Tyron, Joe Kirk, Cecilia Grance, Brian Hardy at Fish Head Cantina
  • Revival Series: “Edward Scissorhands” (1990) dir. Tim Burton at The Senator Theatre
  • Royal Brat (MN), No Hair, Eggman at True Vine Record Shop
  • Resounding Silence at Red Emma’s Bookstore Coffeehouse
  • Patsy’s Rats, Outer Spaces, Glue Traps at Asian Taste

March 29

  • Billy Lyve & Ill Luck, Jaymoney Hackett, Ignorant Idols at Ottobar
  • Daddy Issues, PLRLS, James & The Giant Peach* at Metro Gallery
  • The Contortionist, Silent Planet, Skyharbor, Strawberry Girls at Baltimore Soundstage
  • Flower at Sidebar
  • Control Top, Empath, Vo//id, Wipeout at Joe Squared
  • Revival Series: “Crisis” (1946) dir. Ingmar Bergman at The Charles Theater
  • MLK, Jr. and the Memphis Strike at Red Emma’s Bookstore Coffeehouse

March 30

  • DA KID EMM, Teemonee, and more!*
  • Joh Works, Death by Bong, Dj Selah* at Metro Gallery
  • Australia’s Thunder From Down Under* at Baltimore Soundstage
  • Apex tha Genius, Elaye, Lil Millzz, Yung Easy, Silent Tough Guys, Dre Thompson at Sidebar
  • The Fun Boys, Phase Arcade, Phantasm, Lushfarm at Joe Squared
  • Eve to Adam, Blacklight District, VEER, Calisus, Demyze at Fish Head Cantina
  • Saved by the 90’s with the Bayside Tigers at Rams Head Live!
  • Jimmy Buffett and The Coral Reefer Band at Royal Farms Arena
  • Women’s History Month Performance Celebration at The Motor House
  • “Flower” (2017) dir. Max Winkler opening at The SNF Parkway
  • “Outside In” (2017) dir. Lynn Shelton opening at The SNF Parkway
  • “The Chine Hustle” (2017) dir. Jed Rothstein opening at The SNF Parkway

Featured Image: Baltimore’s Snail Mail. Photo Credit: BrooklynVegan


The Poetry Corner


This semester, the Kratz Center for Creative Writing is sponsoring a series of events entitled “Poetry as Community.” In conjunction with this theme, the Q has asked student poets to write about poets whose work they appreciate, to send in along with their own poems.

Here is Goucher poet Donché Golder, ’18, on poets who he considers to be great:

Lady Ise 877-?940

Lady Ise is a Japanese poet who wrote her work and the ‘Waka’  form. The term ‘Waka’ refers to poetry written in a 5-7-5-7-7 metre, (5-7-5 look familiar?) although it was once an all encompassing word form poetry in Japan. Lady Ise was the premiere female poet in Kokinwakashū, the first anthology of waka commissioned by Emperor Daigo. She is also, alongside Ono no Komachi, one of the premiere female poets in the Japanese early classical canon. Her works on the season are very beautiful and when translated are among some of my favorites.

*Note: Waka when translated into English or other languages may not always retain their metre.

ISE SHŪ 37 (*Ise Shū is the poetic memoirs of Lady Ise)

yo ni sakanu        Never blooming in this world,
mono ni ariseba    Were it such a thing,
sakurabana        A cherry blossom;
Fito ni amaneku    To all and sundry
tugezaramasi wo     It would be better not, to announce it so!

KOKINWAKASHŪ XVIII: 1000 (located in the 18th book of the kokinwahashū, the 1,000th waka chronologically.)

yamagaFa no        A mountain brook
oto ni nomi kiku    Babbling is all I hear
momosiki wo        Over the many-stoned palace
mi wo Faya nagara    Swift as the current would I return to the days
miru yosi mo gana     I saw it-how I wish it could be so!


Fujiwara No Teika 1162-1241

Like Lady Ise above, Fujiwara No Teika (Teika), was a renowned Japanese poet who wrote in the waka form. His works were inspired by the occurrences in his life, and show fluctuations due to his status at court and his physical health. Nonetheless he is still an inspiration to me as a poet. His works are recorded in the Senzaishū and the Shinkokinshū.


sigure yuku        Touched by drizzling rain,
yomo no kozuwe no    All around, the treetops
iro yori mo        With their colours say
aki Fa yuFube no    Autumn in evening is
kaFaru narikeri     A time of change, indeed.


tamayura no        Fleeting, indeed, are
tsuyu mo namida mo    Dew and tear drops, both
todomarazu        Unceasing;
nakibito koru        She loved
yado no aki kaze     This house, where Autumn winds blow now.


Lucille Clifton 1936-2010

Lucille Clifton was an African American Poet born in New York City.  Since it isn’t my job to give you a full chronicle of her life, I’ll keep it brief. Clifton’s work focused on the African American experience, both as an African American woman and as a member of an African American family.  She was a Pulitzer Prize finalist for her works Good Woman: Poems and a Memoir, 1969-1980, and Next: New Poems, which were both published in 1987. Clifton was also Poet Laureate of Baltimore City (My hometown). All in all, Clifton’s work speaks to me as an African American and makes me aspire to write as well as she did.

homage to my hips

these hips are big hips

they need space to

move around in.

they don’t fit into little

petty places. these hips

are free hips.

they don’t like to be held back.

these hips have never been enslaved,

they go where they want to go

they do what they want to do.

these hips are mighty hips.

these hips are magic hips.

i have known them

to put a spell on a man and

spin him like a top!


my dream about being white

hey music and


only white,

hair a flutter of

fall leaves

circling my perfect

line of a nose,

no lips,

no behind, hey

white me

and i’m wearing

white history

but there’s no future

in those clothes

so i take them off and

wake up



Other poets Donché recommends:

Featured Image:  Lucille Clifton. Credit: The Poetry Foundation

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