The independent news organization of Duke University
For our first column, we're taking questions related to the transition between summer and school, like your lingering doubts about an office affair or the anxieties driven by your return to Durham. Sounds like a problem you could use help with? Use the submission form below, and ask Alice.
What’s most shocking about “Anima,” Thom Yorke’s third solo album, is that it really doesn’t try anything new.
Bruce Springsteen has always been a journeyman, but these last five years have been different.
The problem with “Doom Days” is that Bastille seems to have forgotten that playing to your strengths and taking risks are not mutually exclusive, and the result is a collection of almost entirely uninteresting songs.
Each spring, the Metropolitan Museum’s annual Met Gala showcases some of the most noteworthy and daring looks in fashion, and the theme typically aligns with the Costume Institute’s annual exhibition. Accordingly, this year’s theme was camp.
Imagine the date is June 16, 1960 — the premiere of Alfred Hitchcock’s newest film, “Psycho.”
Yep, I went to see “Avengers: Endgame,” despite my feigned disdain whenever my friends — some of them film-school movie buffs, like me — express their love for Marvel movies.
Orchestral arrangements, addictive riffs, needed guest performances and thunderous performances by Berninger make the band’s eighth album, “I Am Easy To Find,” its most daring record to date, proving The National can make interesting music that appeals to a wider audience.
“Booksmart” sounds like any other teen movie, but its Damien Chazelle-esque visual ambition (including one fantasy musical scene) and its all-encompassing commitment to character are what strip it from tradition.
After a long break, we're back with the newest episode of “Reel to Reel,” Recess’s pop culture podcast.
It’s been a busy six years for Ezra Koenig. The one thing missing? Another Vampire Weekend album.
Built in a French Gothic style and consecrated to the Virgin Mary, the Notre-Dame Cathedral was completed in 1345. This cathedral has survived the scenes of battles like during the French Revolution, inspired novels like Victor Hugo’s "Hunchback of Notre-Dame" and galvanized religious individuals for centuries.
“Welcome to beautiful downtown Mossville. Population: one.”
Need any pop culture recommendations? Recess’s weekly roundup is a new series in which our writers and editors discuss what they are listening to, reading, eating or watching in a given week.
“Ramy” has the familiar trappings of any other dramedy about any other millennial: Our protagonist, Ramy (Ramy Youssef, who is also writer, director and co-producer), is a 20-something working at a sinking tech start-up, stumbling through the last chapter of his bildungsroman and trying to figure it all out before he hits his 30s.
In his lone season in a Duke uniform, Marvin Bagley III had some of the best single-season statistics in Duke history, scoring the most points ever by a freshman at the time and posting the first-ever 30-point, 20-rebound game in the Coach K era. But it turns out those aren’t the only records he’s dropping.
Member of Forbes 30 under 30 and Out 100, Jacob Tobia, T’14, is a writer and producer, known for their work as the creator and producer of MSNBC’s “Queer 2.0” and as producer of “Transparent.” They recently wrote the book “Sissy: A Coming of Gender Story,” a memoir that questions societal binaries in gender.
Four presidential campaigns in, Selena Meyer is as power hungry and cutthroat as ever. The same cast of bumbling staffers surrounds her campaign, which predictably struggles from the outset with launch problems, airport mishaps and more.
The Chronicle spoke with the film critic and PhD candidate in the Romance Studies department about his current projects and the mechanics of film criticism.
Nearly 16 years ago, OutKast released “Hey Ya!,” a single that stands as one of the biggest hits of the new millennium. For all its ubiquity today, though, “Hey Ya!” was deceptively revolutionary: Blending an acoustic guitar-driven hook with a funk bassline, rapped breakdowns and an atypical time signature, the song seemed to signal a new dawn for genre — or, rather, the lack thereof.
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