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On Jan. 15, senior Evan Nicole Bell opened her first solo photography exhibit: “black.” From a conversation with a client at a local barbershop to a usual day in Durham with a friend, stories of black Americans come to life through photographs in her exhibition, which is on display in the Bryan Center’s Louise Jones Brown Gallery.
I was once a big fan of dystopian novels and films. The bleak, trash-filled landscape of “WALL-E” and the babies born in jars in Aldous Huxley’s “Brave New World” both scared and intrigued me. But I became tired of seeing numerous, modified versions of the “big brother” trope and robot-like people. Then, the recently released season of “Black Mirror” on Netflix revived my interest in dystopia, despite several flawed story lines throughout the episodes.
Last Friday night, a corner of Devil’s Krafthouse was turned into a theater. In a series of short plays, students acted out a wide range of characters from a “real deer bartender” dressed in a deer onesie to a llama, with a few simple props like chairs and tables borrowed from the restaurant.
Beginning with an opening reception Wednesday evening, senior Jeainny Kim’s exhibit, “(as) Thick as Thieves,” will be on display until Dec. 9 at Duke’s Power Plant Gallery — the first exhibit by an undergraduate to be shown at this professional gallery. Kim interprets everyday objects using a scanner and gives them new outlooks by magnifying or blurring certain parts of the objects, integrating her highly personal experiences into those objects to evoke an emotional response from viewers.
Last Tuesday, the crunching sound of nachos and vegetables filled a seminar room in the Perkins LINK. Toward the side of the room was a table full of food, including goat cheese, grapes and fresh vegetables from the Duke Campus Farm. The commotion was a result of Food For Thought’s screening of “Soul Food Junkies.” Following the screening, four people from different backgrounds discussed the film with students who attended the event.
One of the perks of being a writer at Recess is that I get to reach out to interesting people whom I would not easily be able to talk to if I were not writing articles about them. But after every interview follows the painful time when I have to play the recording of the interview on my computer and unwillingly listen to my voice.
In the past, the term “a cappella” referred to Jewish or Christian choral music sung without accompanying musical instruments. Traditionally, most a cappella performances took place in European Christian churches. Due to the nature of the performances, white male singers tended to dominate most a cappella groups, including those at Duke. However, Duke’s a cappella groups are challenging this history of whitewashing, as evidenced by the racial diversity of the various groups’ newly added members.
As the story goes, Courtney Barnett, the Australian singer known for her sarcastic wit, and Kurt Vile, former guitarist of Philadelphia’s The War on Drugs, met each other on the music festival circuit. As they talked about their taste in indie rock music in their drowsy, mumbling voices, they felt like they found their soulmates. They began to exchange songs written for each other and, last week, finally released an album together titled “Lotta Sea Lice.” The story of Courtney and Kurt seems like the tired plot of a romantic comedy — although they are not actually dating each other. But their new album is a masterpiece full of fantastic stories and nonsensical dialogues between the two artists.
Liam Gallagher is like a rebellious teenager who never grows mentally older. His erratic behavior has always been the center of attention: when he was only in his twenties, he was banned for life from Cathay Pacific Air Line for abusing other passengers and flight attendants. However, Gallagher, with his unique singing styles and powerful lyrics, has been a legendary figure among English rock bands. After beginning his career as a solo musician in 2015, Gallagher released his first album, “As You Were,” last Friday. Through the lyrics of the songs, Gallagher reflects on his past and signals his beginning as a solo musician. Still, the album is disappointing, because it fails to shed light on Gallagher’s unique musical characteristics as a solo artist.
Last Sunday morning, Richard White Auditorium on East Campus was crowded with Duke students and members of the Durham community who came to watch the movie “La Jaula de Oro.” Translated as “The Golden Dream” in English, the movie depicts a Native American boy and teenagers from Guatemala on their journey to immigrate to the U.S. Through the protagonists’ struggles, the movie draws attention to the thousands of Latin American children who try to cross the American border for better opportunities.
Last Thursday, the Branson Hall Theater on East Campus was filled with people who came to hear Ann Lauterbach read her poems. A discussion session with Lauterbach on Friday at East Duke building followed the event.
On the first floor of the Friedl Building at Jameson Gallery is an exhibit whose two wooden doors at the entrance open for everyone. Launched Aug. 28, the “Be Patient | Se Paciente” exhibit displays the works of Dr. Libia Posada, a surgeon and contemporary artist from Medellín, Colombia.
The St. Thomas Choir of Leipzig has been performing for 805 years. Originally part of St. Thomas Monastery, the Choir grew from a musical school that trained boys for religious singing at church services to an internationally famous musical group. The all-boys choir is a living legacy of Johann Sebastian Bach, who served as the leader of the choir from 1723 to 1750. Although many contemporary composers write for the choir, Bach’s pieces remain the center of the choir’s performances.
