The independent news organization of Duke University
As counter-cultural and independent as rap claims to be, it is still a hierarchical institution.
Over the course of the last week, day-to-day life around the world has come to a grinding halt in response to the rapid spread of COVID-19.
Meg Remy always seems to return at exactly the right time.
After announcing and promptly disregarding multiple release dates, Lil Uzi Vert finally released his sophomore album “Eternal Atake.”
In all its glamorous artificiality and melodrama, “Love Island” occupied a strangely comforting place in my life, wherein its faults were fodder for my ironic consumption.
Whether he’s experimenting with psychedelic rock, folktronica or house, Caribou makes music that is, above all else, fun.
In many ways, Wong Kar-wai’s “In the Mood for Love” is the first real movie I’ve ever watched.
What I have only recently come to realize is how much “The Mary Tyler Moore Show” shaped my conception of womanhood.
In brief glances and lovelorn sobs, “Portrait of a Lady on Fire” finds a passion that transcends time and burns brighter with each day.
Ekwa Msangi’s feature film, “Farewell Amor,” premiered at Sundance Film Festival Jan. 25.
Duke alumni made a splash at Sundance this year — many of the films in competition were acted, directed and produced by Duke graduates now working in the industry.
Among the canon of soft-rock singer-songwriters of the ‘60s and ‘70s, Carole King seems out of place.
Due to drill’s barely defined scope, calling it a genre or even a subgenre is dangerous.
I really tried to have an open mind when first listening to “Changes,” but Justin Bieber certainly doesn’t make it easy.
On “The Slow Rush,” Kevin Parker’s fourth album as Tame Impala, he faces the idea of eternity head-on.
On Feb. 10, at the Bernie Sanders rally in New Hampshire, The Strokes announced the upcoming (April 10, to be exact) arrival of their newest album, “The New Abnormal.”
Benedict Cumberbatch seems to be steadily making his way through the 20th century.
“The Painter and the Thief” follows the shocking meeting and budding friendship between an artist and the thief who stole her paintings.
The language of “optimization,” of constantly bettering ourselves as if we exist on a linear spectrum of quality, is, like Goop’s very existence, embedded in capitalism.
On this album, the band reveals how musical innovation means both crossing genre lines and transcending time and regional boundaries.
