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Since its founding, Duke’s student-run record label, Small Town Records (STR), has given student-artists an opportunity to explore and develop their musical passions while balancing their academics. The label consistently seeks new talent of every genre, giving students the experience of making music in a professional setting.
JPEGMafia, also known as Peggy, is perhaps one of the most unique voices in the experimental hip-hop scene. I first became acquainted with his music when I heard his 2018 album, “Veteran,” followed by 2019’s “All My Heroes are Cornballs,” each unique and fantastic in their own ways. “Veteran” has “Baby I’m Bleeding” and “All My Heroes are Cornballs” has “Jesus Forgive Me I am a Thot,” both of which have never left my rotation since my first listen. Both albums have entirely different vibes, yet fit distinctly in JPEGMafia’s style. With this momentum, I was interested to see where he would go artistically when he released his follow-up album, “LP!”
By Rhys Banerjee
Mac Miller has always been one of my favorite artists. Fresh in my mind is the excitement I had when he released what turned out to be his final album, “Swimming,” wondering about the potential he had for growth as a musician. Tragically, just over a month after the album’s release date, Miller would die at the age of 26, victim to a drug overdose. His recreational use of drugs often came up in his songs. His music often dealt with difficult subject matters, which is what was so appealing about Miller. His sheer emotional honesty was refreshing, and his music evolved with his maturity. His first, and only posthumous album, “Circles,” is a benchmark for respectability — it’s a posthumous album that doesn’t exploit a dead artist’s unfinished music just for quick cash. As such, it served as the perfect send-off for Miller’s legacy — that was until “Faces” was re-released for streaming services.
Running throughout the month of October, the 2021 North Carolina Latin American Film Festival celebrates Latin American perspectives in cinema, showcasing feature-length and short films. The festival invites filmmakers from across the region, showing films in 13 languages, and serves as a bridge between various cultures of the 26 countries. The festival features both in-person and virtual events, with the films being shown over Zoom. All events are free and open to the public.
The Muslims, a Durham-based punk rock band, may have started in “a backyard shed,” according to their Spotify page, but their latest album is an indication that they have bloomed beyond their initial label. Describing themselves as a band of all Black and Brown queer Muslims, they formed in 2017 shortly after the inauguration of Donald Trump as president — an event that motivated the initial theme, a rejection of all forms of oppression, of their first four studio albums. Their recently released fifth studio album, “Fuck These Fuckin Fascists” is a continuation of the initial four albums in a 12-track record.
Over twelve years ago, one of the most ubiquitous albums of the late 2000s was released to much commercial success, Grammy nominations and enough attention for the artists to be chosen to headline the Super Bowl Halftime Show. Now, “The E.N.D.” by The Black Eyed Peas is often disregarded, relegated to a footnote in contemporary musical history. Seen as nothing more than the home of “Boom Boom Pow” and “I Gotta Feeling,” the bulk of the work as a whole faded into obscurity during the last decade despite the cultural throne it once held.
