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James Blake knows how to ring in the New Year. On the first second of the title track of his latest EP Love What Happened Here, a rising organ note bursts through the silence and jubilantly announces his most engaging electronic track yet.
The Church of the Good Shepherd welcomed a congregation of a few hundred to their 11 a.m. Sunday service with the baptism of two adults and several children.
Cass McCombs is a master of dark humor. Over the course of five albums, he’s been so understatedly funny and subversive that you’d be forgiven for not noticing.
As a native Californian I’m ashamed to admit that I’ve never been to Coachella, but I’m willing to wager that Moogfest weighs favorably on a comprehensive quality scale.
So I’m sitting alone because I got a free ticket to the Aziz Ansari show, and my phone’s probably broken, so instead of Grindring I’m half-reading The Order of Things and half-listening to LCD Soundsystem play over the loudspeakers. My initial thought is, “This is rad,” followed by the self-pitying thought that most of my fellow classmates don’t even realize this is happening, and then I realize what a dickhead I am.
Brian: The idea of connoisseurship is funny to me, because even as an “insider” of this practice (I write music criticism), it’s often still absurd and full of unnecessary self-seriousness.
There’s a degree of difficulty involved in understanding the bureaucratic-professional structure of Duke University Libraries. This is probably unavoidable for a field of meta-knowledge that is both integral and external to all other academic departments. The Perkins Library System is comprised of the Perkins-Bostock complex, in addition to the Rubenstein Rare Book and Manuscript Library, the University Archives, Lilly Library, the Music Library on East Campus and an off-campus Library Service center. The medical, law, business and divinity schools have their own organizational hierarchy and management that operates for the most part separate from Perkins. The fundamentally collaborative, interdisciplinary nature of librarianism doesn’t lend itself to these formal distinctions.1
Anthony Gonzalez, a.k.a. M83, has a preternatural ear for the sound of cinema. His music has been used in C.S.I. Miami, a Britney Spears documentary and Gossip Girl, and he’s also created soundtracks for less commercial projects. M83 has approached previous albums with a visible directorial framework: Dead Cities, Red Seas and Lost Ghosts plays with the rose-tinted euphoria of a 1960s acid flick, and Before the Dawn Heals Us cops the vibe of a comically bad Japanese horror. Songs like “Teen Angst” and “We Own the Sky,” vocal overdubs of tremulous young girls reading from diaries, even the cover art of previous album Saturdays=Youth have all positioned M83 as a flag bearer of the John Hughes teen-drama aesthetic.
There’s the moment at stoplights when I become especially self-conscious of my vehicle, my new bike, and I never look back at the cars behind me to see how much space they’ve designated as an appropriate window of safety that indicates they are aware of my semi-vulnerable position on a bicycle.
Since its inception, rock and pop music have been flexible proving grounds for unconventional sexualities. The use of innuendo, metaphor, cheeky puns and even cross-dressing has either subtly disguised or relieved itself from the censorship of social mores—we call this “artistic license.”
A diverse profile of literary figures will speak at White Lecture Hall this Friday. “Out in the South: Writers in Conversation” brings Dorothy Allison, Shirlette Ammons, Jim Grimsley and Minnie Bruce Pratt together to read from their pieces and converse. Though the authors’ work runs the gamut from memoir to poetry to music, all share the commonality of being queer-identified and from North or South Carolina.
The Smiths are bona fide rock heroes to a certain class of music listener—Morrissey’s wry observations and oblique narratives served as the textbook for a generation of young songwriters better at nailing down the image than his writing.
Guided By Voices spent much of the’90s defining the indie landscape. In 2004, after a 17-year career that produced nearly as many records, they called it quits. But beginning last year, the band returned in its original lineup (singer/songwriter Robert Pollard, guitarists Tobin Sprout and Mitch Mitchell, drummer Kevin Fennell and bassist Greg Demos) for another season of touring that concludes this Friday at the Hopscotch Music Festival in Raleigh. Recess’ Brian Contratto interviewed Tobin Sprout via email.
In “History Lesson Part II,” the Minutemen nailed down the punk ethos with their classic line: “Our band could be your life.” Now a decade since its formation, the founders of Trekky Records, Will Hackney and Martin Anderson, have pretty much realized this aspiration.
Merrill Garbus, aka tUnE-yArDs, calls herself “new kind of woman.” She’s not afraid to use alternating caps, sings ambivalently of sex and violence, plays the ukulele and makes a kind of pop that draws from non-Western musical elements. Whether or not it’s “new,” her message certainly is complicated and is delivered with a unique vocal expressivity that demands more attention than her lo-fi rudiments might suggest.
Big River, the Tony Award-winning musical adapted from The Adventures of Huckleberry Finn, succeeds Angels in America to round out the PlayMakers Repertory Company’s 35th Anniversary season. Unlike the more graphic Angels in America, this interpretation of Mark Twain’s classic novel contains suitable levels of depth and fun for audience members of all ages.
This evening, Duke Theater Studies will debut its spring production, The Laramie Project. This presentation of “documentary theater” is a dramatic recapitulation of historic events comprising 67 roles performed by a cast of students.
Those familiar with jazz know the names: Jeff “Tain” Watts, Ravi Coltrane, Nicholas Payton and Christian McBride. These musical legends will perform “Watts Project” this Friday in Page Auditorium as part of Duke Performances’ “Liars, Thieves and Big Shot Ramblers” series.
So I finally got a Twitter account, but because my Facebook statuses read like neo-Beatnik keyboard ejaculations, I’m too self-conscious to actually tweet, lest potential employers doubt my social media savvy or ability to #writelikethis.
Rubenstein Hall frequently serves as a modest gallery space for photography exhibitions. Hung on the walls between classrooms, the displays can be partially assessed by their ability to capture the attention of over-stimulated public policy students shuffling between classes. Alex Harris, professor of the practice of public policy, stated as much about After the Storm: Post-Katrina Photographs, currently on display in the Hall. His medium is documentary photography, and his goal is to divert focus to important policy issues.
