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The Durham Farmers' Market is celebrating 20 years since its conception in 1998 and the Durham Craft Market is now in its 12 year since first opening in 2006.
I clearly remember the crisp fall days of my first year of high school, waiting on the corner of my street for the bright yellow school bus to rattle up to my stop. I recall staring forlornly out of the window, watching the water droplets pool together as Morrissey’s haunting croon drifted through my headphones for the first time in a moment of striking euphoria. Since then, The Smiths’ acclaimed and quintessential “The Queen is Dead” has been a staple in my musical repertoire. The Smiths’ third and suitably named studio album underlines a group at the pinnacle of its career. Its discovery defined my musical tastes and marked a period of my own existential fascination. I stumbled upon The Smiths not of my own accord but as I read Rainbow Rowell’s “Eleanor and Park,” a story about an odd pair who enjoy listening to odd music together. Never has an album made me feel so dreadfully jovial, experienced such wretched bliss, as “The Queen is Dead,” and nothing truly has since I was first engulfed by the surging chorus of “There Is a Light That Never Goes Out.”
A few weeks ago, an order for 25 three-by-five Shutterfly photo prints arrived at my door. The photos were mostly Instagram photos that I needed to occupy my empty picture frames, which had sat vacant on my shelves all semester. Nearly all of them were posed photographs of me and my friends taken on an iPhone camera. Unlike film photography, iPhone photos are disposable, economical and ubiquitous, so printing them allowed the ephemeral digital renderings to possess tangible sentimental value.
A gloomy day in a moldering town is seen through the lens of a 4:3 aspect ratio, introducing us to the gaunt, borderline lethargic 30-something-year-old woman, Nancy (Andrea Riseborough). Everything about the scenes in the introductory half of the film reflects Nancy’s misery — from the crumbling shopping malls to the dimly-lit diner. Director Christina Choe establishes Nancy as a liar from the beginning, not in a malicious capacity, but rather as someone who is lost and perhaps misunderstood.
The senses are immediately overwhelmed as the camera pans across Delhi’s bustling city streets. Cutting to concealed body cameras and shaky handheld cameras, the audience is immediately propelled into a factory raid as Bachpan Bachao Andolan officials and law enforcement shout commands, forcibly burst through doors and ultimately lock in on an unassuming pile of trash bags. Behind those bags, dozens of terrified children are discovered and rescued from a long-standing child slavery operation.
Experimental, chaotic, and genuine all express the vision of “White Rabbit” in its exploration of identity, mental health and self-expression. “White Rabbit” encapsulates unabashed creativity on the part of an Asian-American performance artist, Sophia. The film premiered last Friday at the Sundance Film Festival. The Chronicle sat down with director Daryl Wein to discuss the film and what he hopes his work will convey in the current political climate. The following interview has been edited and condensed for clarity.
In October 2015, financier and Duke alumnus David M. Rubenstein, Trinity ‘70, endowed the University with $25 million to create a center for the arts on campus. Three years and $50 million later, the Rubenstein Arts Center stands in impressive opulence. The steel- and glass-constructed building aims to be the ultimate home for the arts at Duke.
Tommy Wiseau’s 2003 film “The Room” went from box office flop to profitable cult classic within just a year of its premiere. Dubbed the “best worst movie ever made,” “The Room” continues to captivate audiences at midnight screenings. Fast forward 14 years to James Franco’s Golden Globe-nominated film “The Disaster Artist,” which permits viewers to examine how Hollywood’s most infamous film came to be. The film is largely based on “The Disaster Artist: My Life Inside The Room,” written by one of “The Room”’s lead actors Greg Sestero.
“A game for those who seek to find / a way to leave their world behind.”
‘Tis the season again — if you wander into any shopping mall or city center, you may notice hordes of holiday shoppers clutching their Starbucks hot chocolates and marveling at gingerbread-scented candles. Although North Carolina is not often the typical “Winter Wonderland,” seemingly nothing will stop the masses from reveling in the excesses of the holiday season. If for some reason you are remaining in the Triangle for the holidays, here is a roundup of celebrations around the Triangle sure to satiate anyone’s desire for holiday cheer.
Duke’s annual dance showcase, the November Dances, proved to be a visually stunning display of athleticism and art last Friday and Saturday, Nov. 17 and 18. The concert presented by the Duke Dance Program featured ballet, modern, jazz and African dance performances, with many of the performances being choreographed by the students themselves.
The “Stoned and Starving” New York post-punk band Parquet Courts have a knack for astute observations and biting witticisms (“Ya know, Socrates died in a f---in’ gutter”) coupled with nods to the past via instrumental eccentricities. Singer and guitarist Andrew Savage took a break from Parquet Courts with the debut of his solo album “Thawing Dawn,” released under the name A. Savage, and subsequent tour with London musician and frontman of Ultimate Painting, Jack Cooper. The two played at Durham’s The Pinhook on Thursday night.
As Durham settles into November, an ensuing buzz of excitement suffuses through the self-proclaimed “geek” community — as with winter, North Carolina Comicon: Bull City is coming. It will be held at the Durham Convention center from Nov. 10 to 12. Rife with “Supernatural” cosplayers and Deadpool impersonators, the convention prides itself in being “the ultimate celebration of comics and pop-culture in the Triangle.”
When the lights dim and a drag queen takes the stage, she is, for that moment, utterly free — to be herself, free of societal pressure to conform to the gender binary’s norms. Drag shows are over-the-top, characterized by dynamic drag personas in big hair and loud makeup, lip-synching to poppy club hits and death-dropping — a physical feat in itself. These queens and kings are made up of not only cisgender individuals, but also gender fluid, gender non-binary and transgender people who challenge the boundaries of social order and creativity.
In its simplest form, the lovable Fox comedy “Bob’s Burgers” focuses on working-class hero Bob Belcher (H. Jon Benjamin) and his family’s everyday struggles, from financial to relational. The show takes a lighthearted approach in navigating such challenges, allowing audiences to connect with the Belchers’ everyday lives. Awash with toilet humor and juvenile antics, “Bob’s Burgers” never fails to draw laughter from Tina’s (Dan Mintz) schemes to seduce love interest Jimmy Jr. and remains relevant with Gene’s (Eugene Mirman) well-timed pop culture references.
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After much anticipation, singer-songwriter Jack Johnson released his new album, “All the Light Above It Too,” last Friday, Sept. 8, his first album since 2013. Johnson did not record “All the Light” with the band he has historically recorded with; rather, he and longtime producer Robbie Lackritz were the main sources of instrumental sound. Johnson addressed the inspiration for his album, noting both political and environmental realizations in his own personal journey spanning the past year. He was especially unsettled by Trump’s decision to withdraw from the Paris Climate agreement and cut funds from the EPA’s budget.
In 2012, the film “Beasts of the Southern Wild” earned recognition at the prestigious Sundance and Cannes film festivals in addition to garnering four Oscar nominations, bestowing “universal acclaim” upon director Behn Zeitlin from viewers and critics alike—the oft-overlooked score that smoothly transitions the audience from feelings of tears to triumph was co-produced by Zeitlin himself.
