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Tonight, we came into the evening without having a Sandbox written. It was a mistake of our weekly budget. No one was assigned the Sandbox. There was a void in our creative spirits, dampened by hump day and the far-too-distant fall break. There is no humor to be had in this week’s Sandbox.
When John Cook opens the 11th chapter in Our Noise, “If there is a quintessential Merge band aside from Superchunk, it is Lambchop,” it becomes instantly clear what this book is.
I planned to write this Sandbox about the Girls of the ACC issue of Playboy. But I couldn’t. As such, I present why.
WEST POINT, N.Y. — Head coach David Cutcliffe told his team at halftime there’s a reason football games have two halves. And Duke’s come-from-behind win over Army was proof of that.
WEST POINT, N.Y. — The last two minutes of Duke’s fourth quarter in West Point were among the best the team has seen in years—and certainly the best of Leon Wright’s career.
Few in the publishing industry have earned the celebrity status of Anna Wintour. Known almost as well for coldness as for her taste-making, the bobbed editor of Vogue magazine has been mocked incessantly. But as director R.J. Cutler’s newest documentary shows, she didn’t get to the top by being just mediocre at her job. The September Issue brings audiences behind closed doors, revealing Wintour in her workplace. Highlighting the production of the fashion bible’s September 2007 issue—Vogue’s thickest volume yet—Cutler focuses on the creative tension between Wintour and her longtime co-worker, Creative Director Grace Coddington. If Wintour is a wicked witch, then Coddington is Glinda. The two spar over design, the ever-likable Coddington fighting to have her work included while the editorially vicious Wintour removes spreads and photos. For a man who made his name with political documentaries like The War Room and The Perfect Candidate, Cutler might seem a surprising choice to helm this documentary. He handles the film with moderate success. The creative dispute between Coddington and Wintour often feels reductionist, as it is often more anecdotal than substantial and worthwhile. In one instance, Coddington decides to incorporate a cameraman in a photo shoot for the issue. His photo needing some airbrushing, and so Wintour breaks the fourth wall and suggests that the man might need to pay a visit to the gym. Coddington, with Wintour off-screen, comforts him, saying he looks fine. Wintour, in spite of her insistence that The Devil Wears Prada is a “silly” movie, lives up to Meryl Streep’s not-so-outrageous portrayal of the Wintour-inspired Miranda Priestly. Cutler does succeed in penetrating the layers of Wintour. Hailing from a family of venerable British journalists, the editor admits that her siblings think her profession is “silly,” showing a hint of insecurity. But Wintour is no sentimentalist, and these moments are few and far between. They are, however, rare insights into a woman almost as famous as the magazine she makes. Wintour might be icy, but she is decisive and, above all, a wickedly adept editor. Ice Queen? Maybe just Snow Queen.
Few in the publishing industry have earned the celebrity status of Anna Wintour. Known almost as well for coldness as for her taste-making, the bobbed editor of Vogue magazine has been mocked incessantly. But as director R.J. Cutler’s newest documentary shows, she didn’t get to the top by being just mediocre at her job.
With their buzzed debut Apple’s Acre, Portland-based Nurses just embarked on an ambitious three-month tour of the United States. The band is coming to the Duke Coffeehouse this Saturday with the Brunettes and Throw Me The Statue. Before they embarked on the tour, recess’ Andrew Hibbard caught up with vocalist Aaron Chapman. You made Apple’s Acre in your attic. Do you think that affected the sound and making of the album, or is it a sort of mythology that people have played up? It influenced what we’re doing. Most of the songs were already written, but the way we chose to record definitely was inspired by our surroundings. It was an attic in an old Victorian house we kind of converted into this crazy magical tent universe. I think that being there definitely got us into a certain head space, so in a sense it definitely influenced the record. But like I said, the songs themselves were already written, but the way we played them was definitely influenced by our surroundings. Did you ever get claustrophobic? We ended up moving out because the house was kind of crazy. There were 12 people living there. It was a party house. We definitely did retreat to the attic. At the time we were doing it, it was awesome. I think it was perfect. But we did reach a threshold. You couldn’t really stand up except for at the very center of the attic. So everywhere else, you just kind of had to crouch down or crawl at certain points, so there’s only so long you can live like that. But it was awesome. I loved it. You recorded the album with GarageBand. What was it like having all the creative control? Anything we had recorded prior had been with someone who was an engineer or inside the studio. I had never recorded anything before, so that was a lot of the creative process through the necessity of figuring things. But it allowed us to be really spontaneous and record things really quickly. Whenever we had an idea, we could record whenever we wanted to, pretty much. It’s very portable. It just gave us a lot of freedom. I think between having the freedom to just be spontaneous with ideas and just record instantly and, like I said, the limitations or lack of expertise in recording, kind of, I think forced us to be creative in how we record the song. But it ended up being a really awesome catalyst for creativity. Do you think GarageBand has opened doors for other bands? Yeah, I hope so. I hope people would be encouraged to do that rather than saving up money forever to make a record. There are so many things that go into it. In my mind, working with GarageBand sort of seemed like—it’s the software that comes with the computer, so I kind of assumed it wasn’t an acceptable way to make a record at first. Then when we started messing around with it and we were like, wait a second, we like this as much as anything else. So I would hope people know that they can and would be encouraged to do things themselves. With music being free and people downloading so much stuff, it makes sense to forget about huge budgets and make a record themselves instead of waiting around saving up money, expecting that they have to make a proper studio album or whatever. A lot of the stuff that we really like is kind of more do-it-yourself, lo-fi stuff. It sounds awesome. I hope that people do [it themselves] instead of just not making a record. Will you continue with the DIY approach or turn to engineers and producers for future recordings? We have been recording more ourselves in the meantime, and I think we’re kind of open to either way. We’re really happy being able to do it ourselves though. Unless something really awesome comes along, I’m sure we’ll just keep doing it that way for the immediate future. Nurses are playing at the Duke Coffeehouse Saturday, Sept. 5. Tickets are $10 (free to Duke students). Doors open at 8:30 p.m., and the show starts at 9 p.m.
The pinnacle in men's fashion magazines, Gentleman's Quarterly, dubbed Duke the second "douchiest" college in America (let's just forget about that U.S. News slip) in its September issue. GQ named Duke the home of "The O.D. (Original Douche)," but I like to think it takes more variety to rank so highly. Here are some of the classifications they missed.
Between the blaring horns and drums, there's a quiet moment when most of Midtown Dickens and the orchestra of friends practicing along with them settle on the floor of their living room. Before going into "The Road Pt. II," Catherine Edgerton announces, "I feel like it's campfire time."
Intimidated and confused by your first day of classes? The Chronicle's arts and entertainment section is here to help. recess' Andrew Hibbard takes you through the perfect way, or at the very least, the realistic way, to make the most of FDOC.
With freshman orientation looming in the distance, we're all reminded of how awkward it is to make new friends (especially after that extra Busch Light hits your low-tolerance blood).
Walking into Toast feels like walking into a venerated, Old Durham institution. It's not the look, not as though dust has collected in corners, or paper browned to the color of tobacco on the walls. But the sandwich shop's ambiance, the unique menu and Kelly Cotter's warm smile give the establishment-or paninoteca, as the sign reads-the feel of something that's been in Durham for decades.
After his show in Page Auditorium, comedian B.J. Novak was spotted with DUU prez Cha Goonewardene at the James Joyce. Novak was later seen leaving the bar with a group of girls. We wonder how they compare to the Harvard girls of Novak's college days.
There might not have been paparazzi or a red carpet, but one of Hollywood's most celebrated stars had his moment in the sun Saturday.
For all the attention Of Montreal has drawn to psychedelia, I question how much good they've done for the genre. So the arrival of Super Furry Animals' ninth album comes as a welcome entry to a musical style dominated by Kevin Drew's junk.
Like a circus for the documentary crowd, the Full Frame Documentary Film Festival comes to town once a year. And from today until Sunday, it will be a documentary bonanza in downtown Durham.
Armed with point-and-shoot film cameras, Jamara Knight took a trip to Northern Tanzania. During his two-month stay, he worked with children orphaned by HIV/AIDS, giving them cameras to document their lives. To complement the photos, the children wrote descriptions of their work and life experiences. The result is Watoto Wanapiga Picha, a touching documentary photo exhibit currently on display at Golden Belt.
Only weeks before the 11th annual Full Frame Documentary Film Festival is set to begin, The New York Times, one of the Festival's two biggest sponsors, has pulled its support.
When Polonius said, "Brevity is the soul of wit," I'm sure Shakespeare never expected his words to become so proverbial. I'm also confident that he never anticipated Twitter.
