Thundercat’s 'Drunk' stays goofy when the world is anything but
(03/01/17 4:59am)
Even a month before its release, Stephen Bruner’s latest album made an impression with its cover art.
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Even a month before its release, Stephen Bruner’s latest album made an impression with its cover art.
David Longstreth would like everyone to know that he is not going solo.
In the latest addition to Duke Performances’ artist-in-residence series, hip-hop artist and activist Talib Kweli spent the last week in Durham holding conversations with Duke professors and Durham community members before playing two sold-out shows at Motorco Music Hall.
My high school, situated in the heart of Cary, N.C., regarded itself as the last bastion of the American high school experience.
The last presidential election seemed to open a rift within the pop culture community. On the one hand, we saw a reality-television show host rise to power in no small part due to his celebrity status. On the other, we witnessed the combined forces of Beyoncé, Jay-Z and a whole host of entertainers stand for his rival. Never before has the liberal skew of pop culture seemed more apparent. Never before, too, has its politics seemed more contradictory—President Trump, after all, has long been a pop culture icon.
Two hours before the Lunar New Year Festival Saturday, the scene in Penn Pavilion was a hectic one. As I spoke to a few of the event’s organizers, students darted in and out constantly. Red tablecloths decked the booths where dozens of organizations set up shop for the night.
Hoof ‘n’ Horn’s production of “Violet,” a musical set in the Civil Rights-era South that takes on themes of race, gender and politics, opened last Thursday—the night before an inauguration ceremony that capped off an election season marked by racism and sexism.
Young composers face a daunting—if not nearly impossible—task in getting their pieces played for an audience. It is difficult enough to attract the attention of an orchestra, much less round up enough money to pay them.
When the world last saw the handiwork of Damien Chazelle, it was in an exhilarating, ten-plus-minute drum performance that capped off 2014’s “Whiplash.” The extended tension and release of that final scene, buoyed by a restless camera, stood out as the undoubted highlight of the film, and it showed Chazelle’s unique capabilities as a director. When given the chance to let the music take over, he does not disappoint.
Shortly before the American Revolution, a group of farmers in central North Carolina organized in protest of unfair taxation by colonial officials. They brought their fight to the governor in the form of a petition. He did not respond kindly. A battle ensued between the farmers and colonial troops, ending in the shooting or hanging deaths of most of the farmers, who called themselves the “Regulators.”
The last year has seen a wave of protests on college campuses. From Yale to Missouri, students have garnered a fair share of attention for demonstrations against institutional racism and microaggressions, prompting nationwide discussions about race, higher education and free speech.
Sometime early in middle school I got it into my head that I wanted to be a rock star, or something close to it, and I signed up for guitar lessons. Every Wednesday evening, my older brother drove me to the music shop on the back side of a strip mall where, for thirty minutes at a time, I attempted to wrap my hands around a bar chord. As I would soon learn, being a rock star takes time, calluses and (preferably) a post-pubescent vocal range. Within a couple months, I was done. (Update: I am a competent guitar player these days. Do you know “Wonderwall”?)
After graduating from Duke in 1992, JJ Ramberg moved to New York City in search of a job—a familiar yet precarious position for any young graduate. Soon, opportunity presented itself when the receptionist for "NBC Nightly News" took a six-week leave. The show’s manager offered Ramberg the temporary position, and she accepted.
When Bob Dylan takes the stage for his performance at the Durham Performing Arts Center Friday, it will be in the midst of a protracted Nobel Prize victory that has at times played out like a soap opera.
Our society, despite its general refusal to talk candidly about death, romanticizes the dying artist.
Department Of bills itself as “Duke’s only intentionally comedic publication,” and this claim does not stretch the truth.
Seen in a live setting, Whitney looks almost inside-out. At the front of the stage, where rock convention suggests the lead singer should be standing with guitar in hand, Julien Ehrlich sits hunched over a drum set, a coat draped over his shoulders and a microphone dangling from above. The guitars, keyboard and trumpet that complete Whitney’s live roster take a back seat to Ehrlich, who acts as both lead singer and drummer—an unconventional combination, to say the least.
A few minutes before 8 p.m. Thursday evening, a small congregation had formed around the door of Small Town Records. Guitar cases and keyboards leaned against the walls, their owners patiently awaiting the chance to put them to use. It was explained that no one present had a key to the studio; the only person who did was running a bit late—and understandably so, as the student-run record label is housed in the bowels of the Bryan Center, behind more than a few right turns and double doors. I’m lucky I found my own way there.
In my four weeks at Duke, I’ve sometimes been asked what has surprised me about the place, what I didn’t expect to experience. This exercise in soul-searching typically comes once the perfunctory which dorm and what major questions have been exhausted, when a short pause and a cursory glance around the bus reveal that, yes, there are still three more stops left in this conversation.
In the photoshoots promoting her new album, Angel Olsen reportedly gave one directive to her publicists: no trees.