Duke's artists finally find a place to call home
(07/01/10 8:00am)
What do you know about the arts at Duke?
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What do you know about the arts at Duke?
This summer marks the third iteration of Duke Performances’ now annual Music in the Gardens series, a string of concerts in the Sarah P. Duke Gardens that allow showgoers the opportunity to come sprawl out on a blanket and enjoy live music in the great outdoors. Carrboro’s Max Indian will be performing July 21, and Recess’ Kevin Lincoln spoke with the band’s Carter Gaj about the Carrboro scene, identity crises and getting snowed in at the Coffeehouse.
There are a number of Duke institutions that have significance beyond the bounds of campus. Naming them all would make for a tricky parlor game, a project in and of itself. But one thing becomes increasingly clear with every new season of programming and each successful evening: without Duke Performances, this list is incomplete.
I’m going to open up my greeting to you freshmen with a question that I hope gets some raised hands.
Tauri Wind’s debut EP, Wayward Traveler, is rife with jazz inflections and the throwback feel of ’90s rock. But nostalgia shouldn’t distract from what this record really is: the music of five guys on either side of graduation.
Jonathan Safran Foer is a smart dude. Like, really super intelligent. Princeton undergraduate. Full-time writer of both fiction and nonfiction. Yada yada yada.
Full Frame may be a documentary film festival, but “documentary” hardly covers all that Rodrigo Dorfman does.
With the men’s basketball team already in Indianapolis gearing up for the Final Four, Kid Cudi and N.E.R.D. brought a different kind of crazy to Cameron Indoor Stadium.
It took White Rabbits one album—their debut Fort Nightly—to join the ranks of Brooklyn’s indie elite, and with sophomore release It’s Frightening, the band is already headlining their own tour. Kevin Lincoln spoke to guitarist Alex Even about the band’s supporting days, working with Spoon frontman Britt Daniel and developing from album to album.
Justin Bieber is a contradiction.
When someone throws around the term “documentary,” chances are the following word will be “film,” maybe “radio” if the conversation concerns public radio programming. But because of the efforts of Duke’s Center for Documentary Studies, including this month’s Documentary Speakers Series, the phrase “documentary writing” should soon look far more familiar.
Most viewers hope their favorite TV show will stay on the air because they just like watching it. But when sophomore Simone Lewis followed America’s Next Top Model, she was invested in its success for another reason—one day, she wanted to be a part. Good thing it lasted.
Go in through the front door of The Regulator. Walk past the magazine room on the left, the register on the right, the fresh hardcover releases deliberately arranged in the center. Eventually, you’re going to take a left; you’ll know the turn because you’ll see a staircase going down. Descend.
It took Susannah Gora more than 100 interviews over the course of three years to put together her portrait of John Hughes and the Brat Pack. But despite never getting to speak to Hughes himself—the filmmaker was famously averse to media and the Hollywood machine—it didn’t make the teen-film virtuoso’s death last August any less devastating.
A movie based on a real-life event as riveting and history-rich as the Oxford, N.C. trial of Henry “Dickie” Marrow’s murder can’t be anything but worth watching. Unfortunately, there’s still the matter of craft, and it is in this area that Blood Done Sign My Name often comes up short.
Professor James Boyle can fly.
You’ve heard of Gil Scott-Heron.
Even though German is its tongue of choice, the history-rich splendor of a city like Berlin can fuel creativity in any language. And Maggie Zurawski, a graduate student in English, is Duke’s point person on helping students channel this inspiration into words.
The iPad is here, and recess hasn’t been this underwhelmed since Scarlett Johansson tried to sing.
Back at the start of the research that led to The Jazz Loft Project, “13 years later” was not a part of the plan. Sam Stephenson didn’t know—couldn’t have known—that his investigation into the universe of artifacts left behind by legendary American photographer W. Eugene Smith would come to resemble one of Smith’s ever-growing photo essays, its focus growing wider by the day. But here he is, 13 years since the beginning of the entire project, and there are still over a thousand CDs to listen to.