The independent news organization of Duke University
“3.15.2020,” the fourth album by Childish Gambino, addresses the same fears that “Awaken, My Love!” did, but the approach couldn’t be more different.
On Tuesday, a few days ahead of its slated release date, Sufjan Stevens released “Aporia,” his latest collaborative effort with his stepfather Lowell Brams.
Conan Gray is lonely. A global pandemic has him isolated at home, surrounded by the comforts of musical instruments and Taylor Swift and Lorde posters.
As counter-cultural and independent as rap claims to be, it is still a hierarchical institution.
Livelihoods, economies and entire cultures have been affected by COVID-19.
Owner Allie Labate always intended to use VYB Studio as a space that helped and supported the Durham community — she just didn’t anticipate doing it amid a global pandemic.
When she received the March 10 email from Duke administration, announcing the extension of Spring Break and the transition to remote learning, senior Christine Yang’s first thought was whether Street Medicine’s annual showcase would go on.
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.
The world of “The Roadkill Club” is not quite like our own.
On March 11, this year’s Full Frame Documentary Film Festival, which is held annually in Durham, N.C., was cancelled.
As soon as she walked in, Retta began joking about the radical changes at Duke since her graduation in 1992.
Meg Remy always seems to return at exactly the right time.
Classical music has a problem. Its audience is mostly white, educated, wealthy, and old
After announcing and promptly disregarding multiple release dates, Lil Uzi Vert finally released his sophomore album “Eternal Atake.”
If you’ve walked through the Chappell Family gallery in Perkins Library any time recently, you’ve probably noticed it: the big colorful arrows and ribbons on the walls, the twisting wires and strange diagrams galore.
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 Durham’s burgeoning underground EDM scene, The Fruit is quickly becoming the life of the party.
In many ways, Wong Kar-wai’s “In the Mood for Love” is the first real movie I’ve ever watched.
I didn’t grow up particularly religious. My parents rejected most political and corporate institutions with a persistent Gen X apathy.
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