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On Sunday morning, straw blanketed the ground upon which 15 identical blue yoga mats lay in a circle at Hux Family Farm, waiting for the participants of goat yoga to claim their space. Despite the chilly weather, yogis of all ages and abilities joined us on the mat to practice some beginner’s yoga. The collective class intention: to take ourselves less seriously, with the help of our animal friends.
It seems nearly impossible to walk around campus and not find people streaming shows and movies from their laptops — huddled in a corner booth at The Loop or holed up in Perkins, their screen split between organic chemistry notes and Netflix. I’ve even seen people watch episodes of their favorite show on Amazon with the sound muted so as not to attract unwanted attention at work. I don’t personally have a Hulu account, but my aunt does; without it, how could I watch old episodes of “Buffy the Vampire Slayer” when I should be studying for my midterm instead?
This semester, Duke’s oldest theater group is diversifying their repertoire in more ways than one. Senior Sophie Caplin is directing Duke Players’ first musical, the award-winning “Once on this Island,” performed by an all-black cast.
Marilyn Manson’s new album, “Heaven Upside Down,” is classically Manson, an album that fits in sonically alongside 1996’s “Antichrist Superstar” and 1998’s “Mechanical Animals.” The album remains true to Manson’s sound, complete with catchy riffs and gravelly vocals backed by lingering synths. But it leaves me wondering about the longevity of Brian Warner’s outcast persona that he developed in the early 1990s to make and sell his art, and whether or not it was built to last.
I first saw Touché Amoré perform in July 2014. They played to a sweaty crowd packed tightly into a venue with a broken air conditioner and a dip in the center of the hardwood floor, the cumulative result of too many circle pits. This past Tuesday, I saw them perform once again — this time, at Durham's Motorco Music Hall. Despite Touché’s growing success since that 2014 show and Motorco’s comfortable, well-conditioned air, by the time the band took the stage the venue was just over half full. Sandwiched between sold-out shows in Orlando and Philadelphia (not to mention Austin, Toronto and Chicago), I was surprised that the band’s first Durham performance in their nearly ten-year career hadn’t attracted a larger audience.
When asked what Sunday Salons mean to her, MFA student and film curator Lexi Bass said, “For me, there’s an element of church in it. There’s a way to engage in spirituality with a group people, in the dark. [We’re] able to reflect on things that don’t necessarily lend themselves to words. Instead, we experience them together with moving image and light and sound and an immersive, quiet, dark, reflective environment.”
It’s no secret that the film industry is a male-dominated field. In 2016, women comprised only 4% of directors, 13% of writers and 17% of executive producers on the top 100 grossing films that year. Of the top 250 grossing films in the same year, 58% of them had no female executive producers whatsoever. This dearth of women involved in higher-level film direction and production is by no means a consequence of a widespread lack of qualification. In fact, about half of film school graduates are women. Unlike the underrepresentation pointed out in STEM fields like Computer Science, the film industry’s gender disparity has gone largely ignored.
“It’s an honest story about a relationship, and I think of it as a sociological study… It really is about the influence of culture,” author Nancy Poling said of her newest book, “Before It Was Legal: A Black-White Marriage (1945-1987).”
