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I couldn’t care less about the Grammys, which actually surprised me this year by bestowing their “prestigious” Album of the Year distinction on Arcade Fire, a tremendous band represented by Durham independent label Merge Records.
London producer James Blake’s self-titled debut album has relegated everything else in my music library to second-class status for the past month, but for an album I’ve listened to 60 times it remains unusually difficult to contain.
I lost my apartment key yesterday, less than 24 hours after picking it up from the Residence Life and Housing Services office on Central Campus. That number is pretty consistent with my past record. I remained keyless for most of my freshman and sophomore years, by the logic of, “I’m going to lose them again anyway.”
Opened last night at the Nasher Museum of Art, The Jazz Loft Project: W. Eugene Smith in New York City, 1957-1965 is a remarkably realized recreation of a space and time.
It’s a marriage of community and University in the truest sense: The Center for Documentary Studies will offer a new course this Spring in video editing for Merge Records. The Durham-based record label represents seminal artists like Arcade Fire and Dinosaur Jr.
Smith Westerns were sort of interesting two years ago. Blogs were talking about them anyway, with unironic enthusiasm for a group of teenagers making some pretty good singles with “aw, shucks” titles like “Boys are Fine,” “Be My Girl” and “My Heart.”
No Age could’ve dropped bags of bricks onto the heads of their audience to a fair amount of success and critical acclaim. The group has a rapid fan base at a time when that means something—a time when there is money to be made during tours and at festivals, but not by selling records.
Jamie Lidell’s music appeals in the same way as country music: primarily, it inspires people to imaginatively recast their persona. With Lidell, instead of a bleary-eyed Texas romantic with a pickup, you get to be a whipsmart young lover who learned soul music in a jazz club. And then, both country and Lidell signal that summer has arrived.
Lisbeth Salander, with her bullring and black leather getup, makes Angelina Jolie look like a veritable beacon of gentle femininity. Apart from her subversive style and dramatic features, there’s something more to the heroine of The Girl With the Dragon Tattoo, the film of the same name and first cinematic installment based on Swedish author Stieg Larsson’s bestselling Millennium trilogy.
Bruce Springsteen created Nebraska in 1982 with a four-track recorder, releasing the songs as demos and opting out of full-fleshed production with his trusty E Street Band, whom he had collaborated with for Born to Run, his uncompromised masterpiece.
Recess’ Brian Contratto e-mailed with Gwendolyn Oxenham, Trinity ’03, co-director and star of 2010 Full Frame entry Pelada. The film, which premiered at South by Southwest, will screen free to the public on Saturday, April 10, in Durham Central Park at 8 p.m. There will be a repeat screening in Cinema 4 on April 11 at 7:30 p.m.
Director Atom Egoyan has seen better times, and his latest film Chloe is more successful in concept than execution.
The Three Gorges Dam is an epic feat of modern construction, a gargantuan dam made of millions of tons of concrete that spans China’s Yangtze River. Its recent completion displaced more than one million riverside residents—forcing them to move under the threat of flooding—and submerging a wealth of cultural history. This historic project provides the thematic and emotive inspiration for Displacement: The Three Gorges Dam and Contemporary Chinese Art, opening today at the Nasher Museum of Art.
Post-apartheid South Africa sets the stage for MoLoRa, a Farber Foundry Theater production presented by Duke Performances. This tale of vengeance and suffering is adapated from an ancient Greek tragedy, Aeschylus’s Oresteia, and updated in the context of the Truth and Reconciliation Commission tribunals, where apartheid victims would face their tormentors.
Born in the United Kingdom, potter Mark Hewitt, now based in Pittsboro, N.C., is as much an artisan as an artist, eschewing the boundaries between high art and functional craft. His new exhibition, Falling into Place, features 12 large, made-from-scratch ceramic pots, and is on display on the Nasher Museum’s front lawn. Brian Contratto spoke to Hewitt about his work.
This Thursday in Reynolds Theater, Andy Warhol’s spirit will be channeled through the modern rock of Dean & Britta, performing music to accompany a showing of the artist’s “Screen Tests.”
Penelope Cruz is a sight to behold. This fact isn’t lost on audiences and especially not with directors like Pedro Almodovar. With Broken Embraces, Almodovar fully capitalizes on Cruz’s captivating screen presence—this is a film full of sensuousness and dramatic aesthetics that seem inextricably linked to its star.
An eclectic dance, club and hip-hop DNA comprises the lifeblood of Causers of This, Toro Y Moi’s entrancing new LP. Heavy reverb, filters, loops and obfuscated vocals are the tools of choice, employed to a mixed degree of success, for Chaz Bundick’s one-man band.
Sam Davol, a Harvard graduate, plays the cello that opens Realism, leading into the vocals of fellow alum Claudia Gonson and John Cage acolyte Stephin Merritt. This kind of pedigree doesn’t obstruct the opening track’s immediate pop embrace; by the third, the whimsical and sardonic “We Are Having a Hootenanny Now,” it’s almost hard to believe.
Influences don’t matter here, so I won’t inform you that Japandroids play from a tradition of DIY punk or that they worship Guns N’ Roses. Yes, they’re a stripped-down drum and guitar two-piece, but the sound is bigger than “lo-fi.” They’re playfully aware of genre shtick and the chances that they’d be incorrectly labeled “proto”-something or other—instead, they’re delightfully “Post-Nothing.”
