Valerie Alhart is press officer for humanities and broadcast media, and covers humanities and the arts at the University.
Valerie Alhart's Latest Posts
A significant pay gap still exists between men and women on a national scale. In order to help raise awareness of this issue, the Susan. B Anthony Center has partnered with the Coalition on Pay Equity (or COPE) to survey this inequality in the Rochester area.
Institute for Popular Music’s ‘In Conversation’ series to explore lives, careers of industry leaders
Kara DioGuardi, songwriter and former judge on TV’s American Idol, and Bill Flanagan, a veteran music journalist who has spent the last 15 years as an executive at both MTV and VH1, will sit down for a behind-the-scenes look at their careers on Wednesday, April 22 and Wednesday, April 29.
University students, faculty, and staff will celebrate Day of the Arts 2015: Silence,which includes five events centered on the question “What is Silence?” This two-day series starting on Wednesday, April 8, explores movement, dance, art, and music.
International Theatre Program presents gender-bending adaptation of Shakespeare’s The Taming of the Shrew
Shakespeare’s play The Taming of the Shrew is often criticized for its portrayal of women as weak and submissive. But on Thursday, April 9, the University’s International Theatre Program will present a new take on the classic comedy in a production performed by a largely male cast.
For the past five decades the Rolling Stones have enjoyed tremendous success as the original bad boys of rock for their image based on sex, drugs, and rock ‘n’ roll. But what many people don’t realize is that this hasn’t always been the case for the group, according to John Covach, director of the Institute for Popular Music.
Joshua Dubler’s project will shed new light on how changes in the religious landscape in America have contributed to tremendous growth in the prison system over the last 40 years.
Rochester will be the second university to produce This situation, a piece by British-German artist Tino Sehgal. The piece is described as a “constructed situation” akin to a contemporary salon in which live interpreters discuss among themselves and with visitors such issues as the aesthetics of existence and the implications of moving from a society of lack to a society of abundance.