July 1, 2010 (Recess)

Recess

volume 13 issue 1 july 1, 2010

THE GHOST THAT WALKS.

u D

s ’ m a rh

a Stage DPAC and Duke Performances define 2010-11 programming in Durham

CENTER

Melissa Yeo/The chronicle

ADF@DPAC

the American Dance Festival returns to Duke and DPAC

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color balance

the Nasher displays—and helps create—abstract art

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ryan carnes

the Phantom is back, and he’s played by a Blue Devil

page 13

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theSANDBOX. I’m going to open up my greeting to you freshmen with a question that I hope gets some raised hands.

How many of you wanted to come to Duke at least in part for Durham?

Hailing from Connecticut, I knew nothing about the Bull City before I arrived. But after three years, I’ll be the first to tell you that you should be excited not only to come to Duke, but also at the prospect of spending four years in one of the most exciting places in the country.

Like food? Durham’s a culinary World Cup year round, filled with some of the best Nouveau South cuisine there is. Start with Magnolia Grill, Gourmet’s #11 restaurant in the country—bring your parents, especially if they’ll pay—and then move on to Watts Grocery, Revolution, Piedmont and on.

How about music? Durham is mentioned in the same breath as traditional bastions like Seattle, Portland and San Francisco as the prime non-Brooklyn places to go to find your new favorite

band. Next year the Hopscotch Music Festival should glut the city with America’s best, and Troika celebrates the local scene—which is superb. And let’s not forget the Coffeehouse, DPAC or the Cat’s Cradle in Chapel Hill, one of the nation’s premiere venues.

Prefer movies? The Full Frame Documentary Film Festival is the best of its kind, four days of 100+ films. That should keep you busy.

I love books, so there’s the Regulator.

I saw Wells Tower read there. If the idea of that gets you as pumped as it got me, get in touch, we’ll be friends.

And there’s no shortage of innovative, exciting art spaces, starting with the Nasher, which since I’ve been here has featured work by Warhol and Picasso.

The fact that I ran out of space so quickly should give you an idea of how sincere I am about here. Go to college here, sure. But try to live here as well.

—Kevin Lincoln

[recesseditors] why we didn’t wake up Kevin Lincoln..........................................................................where mah chargers?

Lisa Du.......................................................................................you snooze, you lose Jessie Tang......................................................................................Park Slope nights Andrew O’Rourke...................................................what’s ‘wake up’ in Afrikaans?

Sanette Tanaka.............................................................................donde esta DPAC! Larsa, Melissa, Hon................................................................late nights in the cave Nate Glencer.....................................................................Tanzania time difference Lindsey Rupp...................................................................sleep-in while she still can

[DUKE HORIZONTAL]

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Duke students manage the chaos in their lives by making lists. As Type A perfectionists hopped up on diet Red Bull and bin candy, survival depends on organizational compartmentalization and the ability to derive feelings of success from accomplishing menial tasks. Case in point: Upon arrival at Duke, incoming freshmen are informed that the essence of their collegiate career can be broken down into four prerequisites: driving the East Campus circle in the wrong direction, climbing Baldwin Auditorium, boning in the library stacks and sexual relations in the Duke Gardens. I’m not sure who first introduced this benign to-do list, but I imagine it was someone who didn’t get out much and enjoyed the thrill of disobeying basic traffic laws. In response, I’d like to introduce a new bucket list of promiscuity to welcome the Class of 2014.

Make-out with a random stranger on the Shooters dance floor. This interaction forms the basic behavioral unit of Duke’s sexual algorithm. The act is as inherently Duke as excessive food point splurges and faux-Gothic architecture. It’s almost too embarrassingly cliché to discuss, despites its prevalence in most Sunday morning conversation. When a Shooter’s DFM is coupled with any other act of poor decision-making, however, it magnifies the impact of earlier debauchery like an elegant punctuation mark. Fighting cops, stealing farm animals or drinking Four Loko all make for interesting stories. One of these FOLLOWED by hooking up on the Shooters dance floor creates legendary stories.

Walk in on your roommate in a compromising position. When they’re alone. Watch-

July 1, 2010

ing Anime porn.

Have sex and then head straight for McDonald’s to enjoy the breakfast-dinner hybrid menu. Double credit for the Cook-Out drive-in, especially if you walk there.

Make friends with a Durham cab driver.

Chances are he’s going to have a front row seat to your romantic life.

Discover the mythical and elusive man whose size requires the use of Magnumbrand condoms. The word “mythical” should be read with a cynical inflection. During my formative elementary school years, my classmates and I were exposed to a sex education instructor who uniformly loved animal print and fellatio, and she managed to imprint the fact that a standard condom is large enough to fit over your entire head. I’m not exactly sure what my spandex-clad teacher intended for us to gain from this particular statement, besides an awkward party trick. In my case, I was forever baffled by the existence of extralarge condoms given the ample room afforded by their smaller counterparts, and I grew dogmatic in my belief that these brands were marketed to profit off the male population’s tender egos. Therefore, I challenge you to nail such a beast and prove that the Magnum condom is not a latex industry hoax.

Draw a dick on every whiteboard in your East dorm without getting explicitly caught.

Go four years WITHOUT having sex in K-ville. Seriously, just don’t do it.

Collect the following: oversized t-shirts that don’t belong to you, Facebook pictures that will one day make you unemployable, bar tabs that you regret in the morning and phone contacts with no last name.

Keep adding to the list. Unlike all the other pages of unchecked boxes in your life, this one is probably best left uncompleted.

—Brooke Hartley is a Trinity senior. Her column will run every other Thursday.

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American Dance Festival opens 77th season

by Jessie Tang THE CHRONICLE

Even after school is out, Duke’s campus teems with life as the American Dance Festival takes the stage once more.

Since 1977, the biggest and brightest modern choreographers and dancers have flocked to Durham every summer to showcase some of the world’s finest masterpieces. The festival’s 77th season, and 33rd in Durham, explores the theme “What is dance theater?” Answering this question, however, is not what ADF aimed to do when putting together the season’s repertoire. “[With] all the elements of dance and theater, trying to define them gets interesting… and then you ask what difference does it make,” ADF Director Charles Reinhart, who has been president of the festival since 1969. “We are focusing on a label to get rid of a label.”

In order to veer peoples’ attentions away from categorizations and onto the dance pieces themselves, ADF 2010 features companies and productions with international origins and various stylistic influences.

A perfect example is Durham’s own African American Dance Ensemble, which kicked off the season June 10. Specializing in energetic performances that draw from African traditions, movement and music, AADE may seem like the fusion of theater and dance, but in Africa those two elements see no boundaries.

“Dance is by nature theater; but in Africa, it was thought of as life,” ADF Co-Director Jodee Nimerichter said.

This year’s ADF selections include eight world premieres, one U.S. premiere, two reconstructions and five company debuts.

Veterans such as Pilobolus, Shen Wei Dance Arts and Paul Taylor Dance Company set the stage with several notable new works. Shen Wei, best know for choreographing the 2008 Beijing Olympics opening ceremony, founded his company at ADF in 2000. He will commemorate a successful decade with a new solo featuring the choreographer himself. Paul Taylor also joins in the celebration by presenting an ADF-commissioned world premiere on his 80th birthday.

The newcomers this year bring a splash of flavor to liven up the festival. Inbal Pinto

Melissa Yeo/The Chronicle

This summer’s American Dance Festival marks the 77th overall and 33rd season in Durham and at Duke, where it moved from Bennington College in Bennington, Vt. This year also marks the second in which the festival will use the Durham Performing Arts Center to host dance performances. & Avshalom Pollak Dance Company make their official ADF debut, but they are no strangers to the scene, having collaborated with Pilobolus in 2008 and 2009. They will be presenting their 1999 hit Oyster, which is based on a short film by eccentric filmmaker Tim Burton.

Other groups performing at their inaugural ADF include Canadian company RUBBERBANDance Group, which will showcase a collection of their great works under the collective piece Loan Sharking. In their showcase, audiences experience a dynamic work, where the physicality of hip-hop stylistics mingles with contemporary storytelling that stretches across multiple genres.

Drawing upon an entirely different form of expression, director and choreographer Martha Clarke, the 2010 Samuel H. Scripps ADF Award for Lifetime Achievement recipient and a founding member of Pilobolus, delves into the fascinating world of the Shakers. The world premiere of Angel Reapers, in collaboration with award-winning Driving Miss Daisy writer Alfred Uhry,

explores the contradictions of strict celibacy practiced by the Shakers and the sexual tension the individuals released through song and dance.

The diverse and dynamic programming of ADF this year benefits from the inclusion of the Durham Performing Arts Center as one of the venues. This will mark the second year using the facility, and Executive Vice President Tallman Trask said it has really changed the scale of what can be done with the festival.

As the chief administrative and financial officer for the university, Trask has worked with ADF each year to provide institutional support. The 2010 season is dedicated to him for remaining a long-time ally of the organization, Reinhart said.

Duke and the greater Durham community have a stake in ADF, not only because the festival has been a leader in showcasing world-renowned talent, but also because it brings a level of cultural capital that the university did not have previously. “[ADF] is a major, national cultural

The Record: Contemporary Art and Vinyl September 2, 2010 – February 6, 2011 (Preview week starts August 26)

event, and having it at Duke for so long is an interesting thing,” Trask said. “You didn’t used to see Duke featured in the arts section of the New York Times that often.

When it moved to Durham, it was a major accomplishment.”

ADF also reached new heights this year—they received the largest number of applicants for its dance school in history and were also able to hand out the greatest number of scholarships. The school has long been a cornerstone of ADF’s mission to provide professional education and training to young dancers. This year 400-plus students will partake in the Past/ Forward program, which includes a performance of West Side Story.

Though it is hard to pinpoint the exact reason why there was a jump in applicants this past year, one thing is for sure: they are all here for the love of dance.

“There are people from all over the world and from all different walks of life,” Nimerichter said. “But they are all here for one common purpose, and that is pretty special.”

October 28 - RIGHT ROUND 9 PM - Midnight. Exclusive Duke undergraduate, graduate and professional student party. Sharp Attire.

Cash Bar. DJ. The Record: Contemporary Art and Vinyl is made possible

by The Andy Warhol Foundation for the Visual Arts. Major support is provided by Marilyn M. Arthur, the Mary Duke Biddle Foundation, Duke University’s Council for the Arts, the N.C. Arts Council, a division of the Department of Cultural Resources, Charles Weinraub and Emily Kass, E. Blake Byrne, Barbra and Andrew Rothschild, Consulate General of the Netherlands in New York, Christen and Derek Wilson, and the Graduate Liberal Studies program at Duke University. Additional support is provided by Dr. and Mrs. Robert F. Allen, Catherine Karmel, Peggy and John Murray, Francine and Benson Pilloff, Arthur H. Rogers III, Olympia Stone and Sims Preston, Angela O. Terry, Richard Tigner, Nancy Palmer Wardropper, Peter Lange and Lori Leachman, and Lauren and Neill Goslin.

IMAGE: Jeroen Diepenmaat, Pour des dents d’un blanc eclatant et saines, 2005. © Jeroen Diepenmaat.

NASHER MUSEUM OF ART AT DUKE UNIVERSITY

Melissa Yeo/The Chronicle

Performers at ADF this year include Pilobolus, Shen Wei Dance Arts, Paul Taylor Dance Company and RUBBERBANDance Group, among others.

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Department of Theater Studies

Annual Open House

All undergraduates are invited to our open house, Monday, August 30, from 5:30 to 7:00 pm at Sheafer Theater, Bryan Center, West Campus.

Meet the Theater Studies Faculty and the Duke Players Council and reconnect with friends. Information about courses, auditions, backstage opportunities, and other news will be available. FREE FOOD!

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July 1, 2010

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Duke undergraduates can earn credit for participation in some Theater Studies’ productions and workshops as the lab component of academic coursework!

Duke University Department of Theater Studies On Stage 2010-2011 The Underpants

Learn more about Duke Players when we present a rollicking night of theater…

a wild and crazy play by Steve Martin Directed by Ben Bergmann (T’11) Brody Theater, East Campus August 27 at 11:00 pm and 28 at 11:30 pm September 3, 4 at 8 pm

The Underpants

The Beatification of Area Boy

Duke Players Orientation Show

A goofy play by funny man Steve Martin that will leave your head spinning from the twists and turns of his “wardrobe malfunction” comedy.

Brody Theater, Branson Building, East Campus August 27 at 11 pm & 28 at 11:30 pm September 3 & 4 at 8 pm* * free pre-show pizza on the Brody porch at 7 pm!

Visit Duke Players at the Student Activities Fair!

Duke Players is the student organization in the Department of Theater Studies. Its members support the Department’s productions by running auditions, working on production crews, promoting participation in theater by all Duke students, and representing the interests of students involved in Theater Studies. All undergraduates are eligible for membership.

Auditions for The Beatification of Area Boy and The Laramie Project All Duke undergrads are invited to audition for the Theater Studies fall and spring mainstage plays, The Beatification of Area Boy and The Laramie Project on September 1 & 2 with callbacks on September 3, from 5 to 8 pm each day. Auditions will be held in the Bryan Center. Location TBA. Prepare a 1-2 minute contemporary monologue.

Sign up in advance for your audition time in the Duke Players notebook at the Info Desk in the Bryan Center starting August 27.

Copies of both plays are on reserve in Lilly and Perkins Libraries. For more info, email ashley.d.jones@duke.edu.

By Wole Soyinka Directed by Jody McAuliffe, Theater Studies faculty Reynolds Theater, Bryan Center, West Campus October 21-31

Duke Players Lab Theater Brody Theater, East Campus December 2-5

Proof

By David Auburn (Sr. Distinction Project) Featuring Heather Wiese (T’11) Brody Theater, East Campus February 3-5

An Evening of Hemingway

(Sr. Distinction Project) Adapted and directed by Will Sutherland (T’11) Brody Theater, East Campus February 17-19

Duke Players Lab Theater Brody Theater, East Campus March 24-26

The Laramie Project

By Moisés Kaufman & company Directed by Jeff Storer, Theater Studies faculty Sheafer Theater, Bryan Center, West Campus April 7-17

2011 New Plays Festival (Sr. Distinction Project) new works by Alex Young & Ben Bergmann (T’11) Brody Theater, East Campus April 20-23

Check http://theaterstudies.duke.edu for times and/or changes and for exciting Theater Studies co-productions happening off campus!

Off Stage

If you are interested in working backstage on any of our productions listed, contact Kay Webb, Costume Shop Supervisor at kay.webb@duke.edu, or Doug Martelon, Theater Operations Manager, at douglas.martelon@duke.edu.

Duke University Department of Theater Studies 109 Flowers Building • Box 90680 • Durham, NC 27708 Info: (919) 660-3343 http://theaterstudies.duke.edu

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toy story 3

dir. lee unkrich walt disney pictures

Featured music review

the national high violet 4ad

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“Sorrow found me when I was young,” the National frontman Matt Berninger sings on “Sorrow,” High Violet’s second track. “Sorrow waited, sorrow won.”

It’s a remarkably apt lyric for Berninger and the National, whose career arc has seen them release increasingly bleak albums to increasingly widespread critical acclaim. It’s also representative of Berninger’s mindset on High Violet, which plumbs previously unforeseen emotional depths and, in doing so, propels the National to new heights.

On previous album Boxer, Berninger grappled with the contrast between insouciant youth and anxious adulthood, and the consequent strain on relationships with lovers and friends. “One time you were a glowing young ruffian,” Berninger sang, “Oh my God, it was a million years ago.” Although High Violet treads some similar territory, it’s also a far more neurotic beast. Gone are the intractable relationship struggles of “Start A War,” instead replaced by the pervasive paranoia of “Conversation 16: “I was afraid I’d eat your brains/Cause I’m evil.”

Because the National are such an unrelenting downer, they’ve drawn comparisons throughout their career to successful acts also consumed by negativity—from Leonard Cohen to Interpol’s Turn on the Bright Lights.

But never before has the doom-and-gloom torch been

passed to a band endowed with such sublime talents.

Dessner brothers Aaron (bass) and Bryce (guitar), who along with producer Peter Katis are the primary composers of most National songs. They have a knack for arrangements and dramatic melodies far more potent than those of their thematic predecessors. Look no further than the cinema-ready “Runaway,” a horns-andstrings bit that soars and dives around Berninger’s refrain of, “We’ve got another thing coming undone/And it’s taking us over.” Bryan Devendorf’s drumming, perhaps the National’s signature sound, is truly a tour de force on High Violet: at times emotive, at others emphatic and always a definitive sonic texture.

The sound throughout High Violet is one of a slow, smoldering burn—the minor key guitars of “Sorrow,” the languid strings of “Afraid of Everyone”—and the album’s penultimate track, “England,” initially appears to follow the same course. “Someone send a runner through the weather that I’m under for the feeling that I lost today,” Berninger requests, with typical brilliance.

But then, like the storm clouds that hang invariably over High Violet suddenly parting, the tempo changes: Devendorf’s drums start charging hard, horns exultant atop the mix, the whole thing building with each cymbal splash. It’s a fleeting moment, quickly subsiding into subdued guitars, but nevertheless an undeniably triumphant sequence—the sound of a band, consumed with fear of simply leaving the bedroom, aiming for the rafters and actually hitting them.

—Ross Green

Focus on Nature

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Pixar seems infallible (if we don’t include Cars). Churning out hit after hit after hit, one begins to wonder when uplifting themes like friendship and hope begin to lose their charm. With Toy Story 3, the animation studio proves once more that the inner child will never grow restless.

It’s been 11 years since we’ve last seen the gang in action, but the long time lapse is fitting: the third installment explores the question of what happens to toys when their owners outgrow them (in this case, when Andy is headed for college). As Andy prepares for the big move away from home, he must decide whether his childhood toys should come along for the next phase.

Through a series of mishaps, the toys end up at Sunnyside daycare, a fate that was embraced quite willingly. However, their enthusiasm quickly dwindles when the gang must confront the ugly toy hierarchy of Sunnyside, headed by a jaded and deceptively cute stuffed animal named Lotso-Huggin’ Bear (Ned Beatty). Toy Story 3 is as fantastically funny and endearing as the previous movies in the trilogy.

There’s not a dull moment in the animation, with plenty of moral dilemmas to drive the many twists and turns. The fast-paced sequences benefit from the 3-D animation that literally makes the toys jump out at you.

Several new characters are introduced this time around (the Ken doll is a standout), but the film concentrates on old favorites who stick it out through thick and thin. Woody (Tom Hanks) is once again our unrelenting beloved hero who never loses faith in Andy. His wisdom and selflessness are perfectly captured in these words: “It’s not about getting played with—it’s about being there for Andy.” There really is no shelf life for a toy and lifelong friend.

—Jessie Tang

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July 1, 2010

Max Indian talks ahead of Gardens show This summer marks the third iteration of Duke Performances’ now annual Music in the Gardens series, a string of concerts in the Sarah P. Duke Gardens that allow showgoers the opportunity to come sprawl out on a blanket and enjoy live music in the great outdoors. Carrboro’s Max Indian will be performing July 21, and Recess’ Kevin Lincoln spoke with the band’s Carter Gaj about the Carrboro scene, identity crises and getting snowed in at the Coffeehouse.

Could you give me a little history of Max Indian—how you guys got together, how long the band’s been around, that kind of thing?

Yeah, basically, Max Indian formed probably about two or three years ago, three years ago sounds about right. It started out as just James Wallace and I, we wanted a band but we didn’t have a band, we were just two guys and we decided we’d start making the record at his house. That was a really interesting time of us starting to record... you know, we were recording drums like one at a time, and doing all manner of painstaking pursuits to try and make these sounds the way that we wanted to. Once we got a little momentum going on that recording project and we knew what we wanted to call it and everything then we formed a band. The band has been through a lot of different incarnations over those three years, there’s never really been a period of consistent membership; it’s always kind of been a rotating cast of people that James and I were close to, who would come in and out. We eventually released the record, You Can Go Anywhere, Do Anything in December of 2008, I think. That has been our only release.

And you guys put that out yourselves, right?

Right. I borrowed the money to press like a thousand copies, sold it online, sold it at shows.

You guys are stationed out of Carrboro. What’s it like being immersed in a place with such a living music scene, both past and present?

I mean, it’s changed a lot in Carrboro from my perspective. When we came to school at UNC we found ourselves hanging out in Carrboro pretty quickly. The overall music scene at that time was just different, there

wasn’t really a scene that we fell into; we sort of sequestered ourselves off in our own world. And then one day, it just seemed like everything had picked up momentum and there were all these people that were our friends that were living in town and making music that we really liked.

I guess it’s just bizarre the way that happens to you. It wasn’t like we arrived in Carrboro and they handed us our scene membership card and then we were like, “It’s awesome here, thanks for inviting us into this club.” It was just like, over time, slowly, the more that we played out and the more that we expressed ourselves, the more we were aware of other people expressing themselves. It’s really coalesced of late into a real scene of people really enjoying and believing.

When were you guys at UNC? James and I graduated from high school in 2001 so we went to school at UNC the following year, and we were in the jazz department there for that first year, Jazz Studies.

That was an interesting thing about the duality of living in a place that has its own music scene but also being connected to the music department of the university. It put us in contact with a lot of different people that, over the years, have helped us to figure it all out.

Going a little bit further into this being from Carrboro, are there any current acts that you guys feel a particular kinship with?

Yeah, there’s a lot of different bands that we feel kinship with. Max Indian is a part of the Drughorse Collective, and through the Drughorse Collective we’ve come into contact with lots of different bands that all helped us to see what kind of music we wanted to make by inspiring us.

Are there any older bands, either Carrboro or Chapel Hill, that you guys grew up with and are influenced by?

Well, there’s a lot. All the bands of the sixties, the British Invasion bands. The whole category of soul music.

There’s a lot of pop from the seventies and eighties, new wave stuff. James and I also listened to a lot of hip-hop when we were in high school, and when we met each other, when we were younger. There’s a small but often

overlooked element of that kind of music and that sort of beatmaking culture in what Max Indian tries to do. I wouldn’t say that it’s like our foremost objective to make hip-hop influenced music, but it definitely happens. I mean, you can’t listen to as much hip-hop as we’ve listened to and have it not come out in some way in your conception of how to make a hook, or how to go from a verse to a chorus with a drum fill.

I know that when I was listening to You Can Go Anywhere, Do Anything, I couldn’t stop hearing a lot of a Wilco sound, particularly Summerteeth. Does that sound on-point to you?

Yeah, I went through a period of my life where I listened to that record a lot. I think where we were at as far as trying to find a way to say what we wanted to say about that point of our lives, that seemed like a pretty inspiring piece of work, and more than I even realized I was trying to create a work in that vein. Because that was just one of those records that ended up kind of seeping into my consciousness slowly over time; I was in a band where they were all real big Wilco fans, they played those records around me all the time and over the years it became sort of like a nostalgic thing. Then, all of a sudden I was in a band that was making a record that was being compared to that band, it probably had something to do with it.

I definitely get the Beatles vibe too, particularly in the group harmonies you guys have.

The Beatles were a particular obsession for us during that period of time. We would argue about the Beatles, talk about the Beatles, it was just a constant pursuit of knowing more about them and figuring out how they had made all this music that we thought was so inspiring. I think we were considerably more overt in how we decided to take from that kind of music. That’s just how crazy for it we were, we were like let’s just make something that sounds kind of like this, or let’s just capture that kind of a feeling. It just goes back to the inspiration thing: I think See max indian on page 14

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Nasher shows art of Hines and Thomas

by Ashley Taylor THE CHRONICLE

At first glance, the Nasher Museum of Art’s new exhibit Color Balance, featuring the work of the two abstract artists Felrath Hines and Alma Thomas, appears uneven—the different styles are not complementary of each other.

Thomas’ use of vibrant colors is initially more intriguing to the everyday observer than Hines’ use of razor-sharp edges and subtle shadings. That impression fades, though, as the observer delves deeper into the works and begins to appreciate the skill required for both styles.

Thomas and Hines were both black artists unable to devote their full time to painting until retirement. Just as Pop art was becoming all the rage among the cultural elite, these aging painters created pieces that were success-

ful even though abstract art was trending out of style.

When entering the exhibit, one immediately observes a painting by Thomas of bold daubs and dashes of color upon a white canvas. The visible left side of the space displays the simpler works of Hines, while the right side holds large paintings from Thomas.

Following the natural path of exploring Hines’ works first, viewers begin to fully appreciate the sharp edges in the compositions: they were painted with a consistently steady hand as opposed to the popular method of using tape to divide sections of color in Cubist works. His geometric use of shapes against striking colors on smooth surfaces creates the illusion of unusual depth. Also interesting are two ink wash pieces that appeal more to creative minds in their depictions of ab-

Melissa Yeo/The Chronicle

Both Felrath Hines and Alma Thomas were black artists who worked in an abstract style.

Hines started painting full-time after retirement, and Thomas’ first show came at age 68.

stract scene.

After experiencing the more formal style of Hines, the exhibit fades into Thomas’ collection of works, which all share the central theme of mediations on nature.

While there are fewer works by the latter artist, the pieces compensate with a heightened level of intensity and imagination that recall the style of French modern artist Henri Matisse. The lively, blissful atmosphere created by her section of the exhibit is visually satisfying.

In addition to the works of the artists, an open room in the center of the exhibit allows observers to create abstract works of their own, either using magnets on whiteboards or drawing on postcards. The added element of physical interaction with the space creates a playful environment that the entire family can enjoy.

Color Balance is an intriguing exhibit that is enjoyable even to those who aren’t well versed in art. Though Thomas’ works are more digestible, careful attention paid to both artists will lead to the most satisfying visual equilibrium.

Color Balance will be on display at the Nasher Museum of Art until Sept. 5. The Nasher is open Tuesday, Wednesday, Friday and Saturday from 10 a.m. to 5 p.m., Thursday from 10 a.m. to 9 p.m. and Sunday from noon to 5 p.m.

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Melissa Yeo/The Chronicle

The Nasher’s exhibit displays works from Hines and Thomas, along with a space in the center where viewers can make their own abstract art.

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July 1, 2010

The Lion King January 4-30

Billy Elliot The Musical Oct. 30 - Nov. 14

Blue Man Group March 15-20

Mel Brook’s Musical Young Frankenstein December 7-12

Durham Performing

Two years in, DPAC Arts Center develops into major performance venue

by Sanette Tanaka THE CHRONICLE

The Durham Performing Arts Center opened in the midst of a budding visual arts scene as well as an economic recession in Durham. Yet less than two years since opening its doors in November 2008, DPAC—nestled in the American Tobacco District off of East Campus—has quickly developed into a major locale for world-class performances.

The venue will open its 2010/2011 season in October with the 10-time Tony Award-winning “Billy Elliot the Musical,” as well as multi-week showings of Disney’s “The Lion King” in January. Since the center opened its doors, more than 500,000 guests have visited DPAC for premieres ranging from Broadway musicals to concerts to comedy shows, DPAC General Manager Bob Klaus wrote in an e-mail. “[‘Billy Elliot’] has been the biggest new show in New York since 2008 and will be making its national tour debut right at DPAC,” Klaus said. “Triangle audiences will get the chance to see this great new show before any major U.S. cities outside of New York and Chicago.”

Other highlights of the coming season include comedian Lewis Black, musical group Celtic Thunder and Chicago-based Blue Man Group.

But Durham’s newest performing arts venue is no stranger to well-known productions and popularity—it’s been happening since day one.

Beginning with its first performance, a show by blues legend B.B. King, DPAC sold out more than 30 shows in its opening year. Other full performances included the musicals “Hairspray,” “Rent” and “The Color Purple,” and comedians Bill Cosby and Robin Williams.

Most recently DPAC just finished up a run of the Broadway hit “Wicked,” which tops the list of sold-out performances with 32 shows. Klaus called it one of the “most successful Broadway events in North Carolina in years.”

As an indicator of its success, DPAC has generated substantial income despite the economic downturn, and the venue has hosted increasing numbers of shows in the past two years, Klaus said. The center presented more than 150 events during its first year and

more than 175 in its second year, according to its website.

DPAC attracts audiences of all demographics, but college students compose about eight to 10 percent of the average audience, Klaus said. Duke encourages students to experience the Durham arts scene through the Office of Student Activities and Facilities, which offers special pricing and packages for DPAC shows.

The center has also collaborated with the University in other ways in order to put on top-notch performances for the Triangle community. DPAC was built in part to host the American Dance Festival, ADF Co-Director Jodee Nimerichter said ADF has utilized space in Reynolds Theater and Page Auditorium in past years, but the bigger productions are now performed at DPAC as of summer 2009, replacing Page. This move will continue into subsequent years, Nimerichter said.

“The larger space [in DPAC] allows for much more freedom than in [Page Auditorium],” she said. “It’s a beautiful theater, the seating is incredible and our dancers from national and international companies love to perform on it.”

Several performances scheduled at DPAC will include “larger than life” aspects—such as a tango in the air by the Buenos Aires-based Brenda Angiel Aerial Dance Company—and Nimerichter said they will benefit from the additional stage space.

Although DPAC has weathered the economic downturn, some Triangle arts supporters have raised concerns that DPAC could hurt the sales of other venues, such as the nearby historic Carolina Theatre. However, Klaus said that DPAC has tried its best in preparing its schedule to avoid booking conflicts with local centers.

“We have also recently opened talks about booking collaborations for events that could be co-presented at each of our theaters,” he added.

For the future, Nimerichter said she hopes DPAC continues to make its mark as a national arts venue.

“I see this as another incredibly opportunity for the residents in and around Durham to come and enjoy a diverse set of works,” she added. “DPAC is putting Durham yet again on the national map.”

Merce Cunningh Dance Company February 4-5

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Duke Performances looks at “A Nation Made New”

by Kevin Lincoln THE CHRONICLE

There are a number of Duke institutions that have significance beyond the bounds of campus.

Naming them all would make for a tricky parlor game, a project in and of itself. But one thing becomes increasingly clear with every new season of programming and each successful evening: without Duke Performances, this list is incomplete.

Having created a schedule for the upcoming 2010-11 academic year fit to burst with essential artists and creators, Duke Performances seems poised to build on the run of accomplishments the organization has strung together since Aaron Greenwald was appointed interim director at the beginning of 2007 and took over as director a year later.

Duke Performances’ programming is clustered into series, giving it both a thematic and organizational coherence. This year, the classical offerings remain the same as last—the Piano Recital Series, Duke Artists Series, Chamber Arts Society and Ciompi Quartet—and the non-classical are contained under the greater umbrella of “American.”

“What the season is looking to do is to sort of have a conversation about these unique artists who each have different varieties of relationship to American traditional art or the avant-garde,” Greenwald said. “If you have this panoply of voices, which we do, what’s the message each of them is offering about the nation?”

More principally, the American programming has been divided up into five series: Witnesses, Inventors, The Sanctified, Travellers and Liars, Thieves and Big Shot Ramblers, all of which group artists “by the trajectories in which they engage a conversation about American tradition,” Greenwald said.

The numbers behind this programming have been trending up: Greenwald said attendance in 2008-09 increased by 17 percent overall from 200708, and 18 percent among Duke students, who made up 27 percent of overall attendance—32 percent if you remove the Ciompi Quartet and Chamber Arts Society from the equation, series whose audiences tend to skew older and more from the outside community. And this is after decreasing the number of offerings by 12.5 percent from the previous year.

“Before Aaron took over... I think student attendance at Duke Performances was around 11 to 12 percent, and the total number of tickets sold was quite a bit lower as well,” Vice Provost for the Arts Scott Lindroth said.

“We have seen with this greater investment in Duke Performances, as well as Aaron’s very imagi-

native leadership, it can become a major presenter in the area and attract not only the campus community but the surrounding community as well.”

Attached to all this is the tagline “In Duke, at Durham, a Nation Made New,” which speaks to an intimacy with a target audience that extends far outside the university’s bounds. As if to put this connection in concrete, Duke Performances will be conducting two immense projects entirely off-campus in 2010-11: the Merce Cunningham Dance Company’s two performances in the Durham Performing Arts Center and the three-day “Lomax Sounds of the South” at the Hayti Heritage Center, presented by Megafaun and featuring Justin Vernon of Bon Iver and special guest Sharon Van Etten.

Marking Duke Performances’ first event to be held at DPAC, the Merce Cunningham Dance Company’s appearances form a centerpiece for the year’s schedule. Merce Cunningham was one of the country’s leading choreographers before he died in July 2009; the great Russian dancer and choreographer Mikhail Baryshnikov famously said of him, “Merce Cunningham reinvented dance, and then waited for the audience.”

The company which he founded is currently in the midst of a celebratory “Legacy Tour” and will dissolve after its last performance Dec. 31, 2011.

The two nights at DPAC Feb. 4 and 5 are a part of this tour and will likely be the last chance residents of the area will have to see the Merce Cunningham Dance Company perform, Greenwald said.

“The Cunningham Company has gone on to redefine what American modern dance is, or what modern dance is period,” Greenwald said. “It will be our challenge to really expand who our audience base is for those projects. I think we need to convince people that if you care about contemporary art and you live anywhere near here, you need to make the trip to DPAC to see the Merce Cunningham Company for the last time.”

The “Lomax Sounds of the South” project signifies an entirely different interaction with the community. The goal there will be to record an album, modeled after the Brian Blade/Hallelujah Train project that also took place at the Hayti last year.

In fact, the project’s conception came from Megafaun’s Bradley Cook attending the Hallelujah Train performance and then asking Greenwald if he could do something similar. Megafaun subsequently joined forces with Virginia guitarist Matt White, who arranged horns for the performance, Greenwald said. The group then enlisted Justin Vernon of Bon Iver (who played with members of Megafaun in an earlier band) and vocalist Sharon Van Etten as additional musicians.

“Lomax Sounds of the South” fits into The Sanctified series, which also includes a performance by the Books, the Bad Plus’ reimagining of Igor Stravinsky’s “The Rite of Spring” and an experimental take

Duke Performances

on Tennessee William’s The Glass Menagerie

by Lee Breuer and the Mabou Mines theater company. Featuring a workshop, the Mabou Mines’ involvement embodies another plum aspect of Duke Performances which Lindroth stressed the importance of: artists’ working with academic departments and Duke students.

“We’re developing collaborative projects where arts programs will develop programs within their departments that will somehow connect with Duke Performances events,” Lindroth said. “And by doing this I think we’re able to expand the impact of artists who are presented by Duke Performances.”

As for the other series, Inventors features a performance Oct. 5 in Page Auditorium by Dirty Projectors, a contemporary indie-rock outfit that Greenwald describes as “the most interesting band I’ve heard over the last couple of years.”

And Liars, Thieves and Big Shot Ramblers, certainly the most adventurous in name of the series, is highlighted by one of the most adventurous events: Loudon Wainwright III’s “High Wide and Handsome,” a tribute to Eden, N.C. banjo player Charlie Poole.

“What Wainwright has done is he’s taken some Charlie Poole songs and he’s sung them, and that makes sense as a tribute project,” Greenwald said.

“And then he’s gotten into the character of Charlie Poole, who was tawdry and fun-loving and a drunkard and kind of a badass, and he started writing songs from the perspective of Charlie Poole and the people in Charlie Poole’s life. Which, as a tribute project, is totally nuts.”

Duke Performances specifically invited Wainwright to perform “High Wide and Handsome” with a full band here—which is not a request Wainwright normally gets, Greenwald said. But the interest is unsurprising, as the piece, and the rest of Duke Performances’ slated programming, fits perfectly into one of Greenwald’s statements about art.

“Artists are not museum pieces,” Greenwald said. “And if they’re going to be interesting, they’re going to be creating something new.”

Bonnie “Prince” Billy & The Cairo Gang December 4 Dirty Projectors October 5

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jamie lidell compass warp

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i am love

dir. luca guadagnino magnolia pictures

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Director Luca Guadagnino had no intention of providing answers to the questions he dregs up in his third feature film, I Am Love: how does one balance truth to self versus sacrifice for one’s family? How does family loyalty fit into an increasingly global world?

What is love?

Guadagnino’s sensual world is occupied by selfish characters interested in skin-deep pleasures, questioning why they don’t feel a deeper satisfaction with life without taking any initiative to find fulfillment. His cinematic genius is overwhelming, however, as his film awakens every sense in the body—making I Am Love an unusual experience.

In modern day Milan, Emma Recchi (Tilda Swinton) is a Russian transplant married to an

Italian industrialist and attentive to the duties of a bourgeoisie housewife: supporting a recently open lesbian daughter, throwing dinner parties for in-law birthdays and engagements and carrying on an affair with her son Edo’s (Flavio Parenti) best friend.

When Edo discovers the affair, a confrontation leads to an emotionless, tragic ending.

With minimal dialogue, Swinton is the clear acting talent, constructing a hollow and isolated housewife through method alone.

Not easily overlooked, though, are the inspiring performances of Alba Rohrwacher as the daughter and Maria Paiato as the house nurse, both amidst a disjointed world created by fragmented and flighty cinematographic decisions.

Although I Am Love presents a seductive spectacle of a pulsating Italian countryside, a flat story and forgettable, tired characters cause the film to fall short of remarkable.

—Dani Potter

Jamie Lidell’s music appeals in the same way as country music: primarily, it inspires people to imaginatively recast their persona. With Lidell, instead of a bleary-eyed Texas romantic with a pickup, you get to be a whipsmart young lover who learned soul music in a jazz club. And then, both country and Lidell signal that summer has arrived.

New album Compass is Lidell’s fourth LP of solid electronicR&B infusions, and he continues to push a singular agenda. The opening beats of Compass could be mistaken for Radiohead and indeed, the album continues the expansive sonic ruminations of

ratatat lp4 xl

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Ratatat’s music has always been easily identifiable—debuting six years ago with a unique take on electronic rock. On the simply titled LP4, however, their once-fresh style is beginning to sound like a band on autopilot.

While the band’s blend of danceinfused house and heavily synthesized rock shows hints of new life, one has to wonder how long the same basic formula can last.

For most of the album, Ratatat’s recognizable synthesized

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Jim. Lidell’s Warp Records affiliation has given him lucrative indie connections that leave their mark on the record as well—the collaborations range from logical (Beck, Grizzly Bear) to eyebrowraising (Feist, Wilco).

“Your Sweet Boom” is the best present encapsulation of Lidell’s artistic powers. Sounding something like a paean to female orgasm—wandering through a multitude of melodic climaxes and grinding rhythms—the song is Lidell at his most exhibitionist.

Never settling on a single chorus or structure, it further reflects Lidell’s semi-schizoid demeanor on Compass, for better or worse.

“Enough’s Enough” is a straightforward pop tune in the vein of the Jackson 5 that sounds too pedestrian in its audacious surroundings. “She Needs Me”

goes farther with its simplicity by applying vocal layering and sultry keys that assist Lidell’s best Stevie Wonder impression— even obscured on the more playful tracks, Lidell’s voice is sexy as ever, and a main selling point.

And “Big Drift,” with its dirgelike stomp, ranks among Lidell’s best work.

On “Completely Exposed,” Lidell admits: “I can’t face to be standing in my own reflection.”

Indeed, a more focused musical image might hinder his creativity, but Lidell could certainly use a better attuned compass in the form of an editor—Compass is four tracks too long—and maybe some Ritalin. Still, there’s enough summer playlist potential here to make Compass a worthy lead into his bright future. ­—Brian Contratto

guitar parts are present, floating above busy basslines and highly syncopated percussion. It’s a bit ironic that Ratatat’s unique sound has lost some of its identity after four LPs of the same premise; much of the album sounds like a languid retread of their previous three.

Tracks that deviate from the band’s norm are the album’s highlights. The driving force behind “Neckbrace” is underscored by a Ratatat rarity: a vocal line, though it’s simply digitized beatboxing.

Pounding percussion is offset by an equally rare acoustic instrumental in “Bob Gandhi,” and the band experiments further with an orchestral backing track. The

highlight of the album is the chaotic “Bare Feast,” with its Middle Eastern influence and high energy.

Though Ratatat still has the creativity to synthesize new sounds and ideas, most of the album is merely par for the course.

The soaring guitar lines appear to be lifted directly from their previous albums, and the backing electronics are uninspired, lacking much of their once-unique sound. Given the opportunity to start fresh, it’s a pity that Ratatat used LP4 to hold onto the past, resulting in an unbalanced record that leaves us wanting something different.

—Jeff Shi

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drake thank me later universal motown

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Drake’s debut LP Thank Me Later—delayed more than once and lustfully hyped—sounds so effortful that you half-expect your iPod to be sweating when “Thank Me Now” drones to a close.

It’s a funny thing to say about a hip-hop album: in a genre that spawned the mixtape-a-day mythology and freestyling off the cuff, too much time lavished on one release almost seems counterintuitive. But Thank Me Later isn’t even necessarily hip-hop. Equal parts R&B and rap, Drake takes Kanye’s 808s and Heartbreak, Thank Me Later’s most necessary prerequisite, and sews onto its tortured auto-wail the self-laudatory spitting of a Tha Carter or Blueprint.

Each aspect of Thank Me Later gleams from the hours of time spent on it. The beats are its most unequivocal success: with a heavy presence from fellow Canadian Boi-1da, and significant contributions from heavyweights 40, No I.D., Kanye West and more, each song sports a boisterous electronic swagger that fits the defiant introspection like a fitted shirt.

Not a complete vocalist, Drake is nonethe-

July 1, 2010

less the best equipped of hip-hop’s new guard, balancing a capable flow with lyrics that oscillate between shopworn clichés and piercing one-liners. Jay Electronica or Freddie Gibbs could spit shapes around him, but they don’t have the tunes or the crossover appeal, and despite his technical and verbal shortcomings, Drizzy still makes the likes of Kid Cudi and B.O.B. look like clowns.

Most importantly, nobody offers hooks like Drake. Single “Over,” a masterpiece of sneering bombast, sports the album’s most gargantuan chorus: “I know way too many people here right now that I didn’t know last year/who the f*** are y’all.”

Thank Me Later leans impressively little on guests for a debut, and those who do show up bring their best. Perfect marks go to Nicki Minaj (“Which bitch you know made a million off a mixtape?/That was just a keepsake”) and Jay-Z, who seems revitalized by Drake’s youth and produces a verse better than anything from Blueprint III on “Light Up.” This all has about as much spontaneity as a campaign speech, but the polish and Drake’s evident loving labor make up for it. Fans should be thankful for the pushed-back release date, because these days, there’s nothing more unexpected than a young gun living up to expectations.

—Kevin Lincoln

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The last few years have seen a cinematic obsession with superheroes, vigilantes and corporate injustice. Upon debuting in 2008, the Iron Man franchise laughed in this trend’s face, using Tony Stark’s (Robert Downey Jr.) wit and singular entrepreneurial virtue to add a fresh twist to the genre. In a difficult follow-up to a brilliant origin story, Iron Man 2 retains the fun of its rogue status but loses much of the complexity and intelligence that made its predecessor such a hit.

The film is much more action-packed than the nuanced Iron Man. Instead of presenting a contemporary idealistic conflict within the military-industrial complex, Ironman 2 defaults to a classic Cold War-era clash of superpowers­.

This picture is made complete by Russian antagonist Ivan Vanko (Mickey Rourke) and Tony Stark’s self-identified role as America’s privatized “nuclear deterrent,” complete with fluttering American flag and a fireworks display.

Vanko, infuriated by his father’s overlooked legacy, seeks vengeance in bringing down the mighty Iron Man. Along the way, he meets corporate villain and Stark competitor Justin Hammer (Sam Rockwell), who finances and supports Vanko’s work. Stark and Vanko fight it out in a fierce final battle. Guess who wins.

Where the film progresses significantly in terms of Industrial Light & Magic-furnished graphics and visual punch, it regresses in terms of creativity. Vanko is clearly the evil genius from the start, and Hammer a feeble threat at best. The script dispels the shades of gray present in the first film’s characters in exchange for a very black-andwhite, good-guy/bad-guy morality found in most superhero stories.

The film does, however, maintain its predecessor’s wit and sense of humor. Downey Jr.’s performance is once again stellar, transforming an otherwise mediocre plot into something rather enjoyable. All in all, the film retains its forerunner’s fun and excitement for a thrilling ride. But once you remove your safety harness, don’t expect much to stick with you.

—Andrew O’Rourke

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Former Blue Devil Carnes takes leading role

by Michael Woodsmall THE CHRONICLE

Ryan Carnes has come a long way from feeding the pigs on his family farm.

Carnes plays the title character in SyFy’s new movie The Phantom¸ which premiered June 20 and is the latest iteration of a comic book character that has been around since 1936. His IMDB.com profile and Los Angeles zip code are a far cry from what he had envisioned for himself when he left the Midwest for Duke. Though he spent only two years in Durham, his days as a Blue Devil and bass drummer for the Duke University Marching Band have been influential in landing him where he is today.

Although Carnes did dabble in community theater as a child, it wasn’t until Duke that the art began to resonate with him.

Undecided on the concentration of his Public Policy major, Ryan thought he would fulfill some graduation requirements and enrolled in an introductory performance class with Jay O’Berski, a lecturing fellow in Theater Studies.

“O’Berski was my first real introduction to acting,” Carnes said. “I just had a great time, all the crazy things we did in that class. I just had a lot of fun.”

The following spring Carnes enrolled in two more acting classes and decided to minor in Theater Studies. Noticing his interest in acting, a few friends encouraged him to audition for Pieces of Eight¸ a Duke student production. Carnes said he was initially reluctant to make such a time-consuming commitment, having done so his freshman year as a member of the band.

But the friends persevered and, eventually, he auditioned and received a part.

Carnes enjoyed the experience so much that he began considering acting as more

O

special to The Chronicle

Ryan Carnes stars in The Phantom, a four-hour movie event on the SyFy channel based around a superhero first created in 1936. Depending on viewership, The Phantom could be poised to become an ongoing series. than an extracurricular. Following his soph- alizes the script, always looking for the arc.” omore year, he attended an open call in ChiIn fact, Carnes recently re-enrolled in cago where he met John Simmons of Sim- academics, this time as part of a master’s mons and Scott Entertainment. Simmons program at the University of Santa Monica, saw potential and offered to sign him if he pursuing a Masters degree in Spiritual Psymoved out to Los Angeles to train as an ac- chology. tor. Three weeks later, Ryan left his summer Ryan’s extensive efforts have landed job working at a restaurant on the Lake of him guest parts on long-running shows like the Ozarks in Missouri and moved out west. General Hospital and Desperate Housewives, Though he left Duke after his sophomore culminating with The Phantom—his first year, Carnes remains a student. As an actor, leading role. he said, it’s necessary to explore oneself and As a character, the Phantom preceded push against limits, boundaries and preju- Superman, Batman and most other condices. This intensive method isn’t lost on his temporary heroes with flagship franchises. friend and manager, Chris Anderson.

He doesn’t have superpowers. His alter ego “He’s thorough and really breaks down isn’t a billionaire playboy. The marketplace the material,” Anderson said. “He intellectu- seems to crave special effects and fast cars

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Thursday, September 2, 2010 Ark Dance Studio, East Campus 7:30 - 8:15 pm Modern Repertory with Andrea Woods 8:15 - 9:00 pm Ballet Repertory with Amanda Miller

and explosions, but The Phantom is about a man navigating the mortal battlegrounds that come with heroic altruism. The daunting challenge of being that man and personalizing the character fell squarely on Carnes’ shoulders.

“It was definitely my biggest role to date,” Carnes said. “To be the third guy ever to play the Phantom was really cool. It challenged me artistically to really find this character and to track his journey.”

Carnes embraced his role as lead not only on set but off as well. And there he thrived, proving to himself and others what he said he already knew—that he had what it took to make it to Hollywood.

“It’s an incredible experience watching him,” Anderson says. “To be able to see him in this part that we always knew he could do.”

Although Carnes remembers being tired of small-town America and, feeling claustrophobic, looking for somewhere bigger and brighter, he said he’ll always be a Midwesterner.

“That restlessness that I felt as a young guy that made me want to leave is what makes me love going back to Pittsfield now,” Carnes said.

For all the success that Ryan has experienced, he said that someday he’ll be ready to go back to school, and when he does, his first choice will be the same as what it was his senior year of high school: Duke. Even now, he fondly remembers the basketball games, the Dillo, Ninth Street and PubPol 116.

“I still talk about [Assistant Professor of Public Policy] Evan Charney’s ethics class to this day,” says Ryan. “That is what made me want to be a Public Policy major and it has helped me as an actor. To turn things on their heads.”

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christina aguilera

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max indian from page 6

Bionic: utilizing electronic devices and mechanical parts to assist humans in performing difficult, dangerous or intricate tasks. Long-established pop star Christina Aguilera seems to have forgotten the “human” part of that definition.

In Aguilera’s fourth studio release, Bionic, she turns to a playful blend of electronic and dance music, but this latest reinvention may be the least successful of all her musical personas. What has seemed to sustain Aguilera through the years is her ability to make pop music soulful, her voice easily imbibing even the most insipid of lyrics with emotional depth. Bionic largely lacks this soulfulness, instead charged with synthesizers and tacky, sexual lyrics.

Aguilera certainly takes an “in-your-face” approach here. The lyrics are so aggressively erotic at times that the results are laughable: just try not to smirk while listening to “Woohoo,” featuring young star Nicki Minaj and lyrics like, “All the boys think it’s cake when they taste my woohoo.”

That’s not to say that Bionic has no genuine and enjoyable moments. Tracks “I Am” and “You Lost Me” are positioned together near the end of the album, and they form a blessed island of respite from electronic sounds and titillating lyrics. Both slower and filled with sincerity, the two songs give a glimpse of the woman who became an international pop sensation.

The biggest problem with Bionic is it’s trying to reinvent Aguilera so hard it doesn’t feel like her anymore. It’s clear after Bionic that to further evolve, Aguilera needs to pin down the humanity she’s trying so desperately to change in the first place.

—Nathan Nye

that 90% of a creative endeavor is ripped off from some other creative endeavors, but that’s just the nature of all creative endeavors, it all builds on itself; it’s like a shared language among all people. The extent to which [my songs] sound like the Beatles is the extent to which I’ve listened to the Beatles and the Beatles have been thrust into my world. There’s also just an... aspect of wanting to find a road through the artistic wilderness that was a little less derivative. It gets tiresome when people say like, “They sound like the Beatles!” and it’s like, okay, I don’t feel like the Beatles right now.

It’s a balance of trying to take that sound and make it your own and not be like a Beatles cover band, that’s obviously not what you’re going for.

Yeah, we live in a time where people cover acts, do it really well. And you find yourself questioning what the merits of being in a band that hearkens back to another time, what does that really mean, what have you really carved out for yourself? Is that what you want? I think we went through something of an identity crisis after the release of that record, because people’s reactions were so, like—people would say things to us about it that would put us off guard in a way, like, “It’s just like my favorite stuff, like the Beatles.” We’d be like, well, I don’t know what direction we should go from here, if people have associated us with this nostalgic thing of our past, are they going to be upset when we decide that this is not a kind of music that we particularly want to make for the rest of our lives.

How have you guys tried to, as a band, get yourselves outside of that box of people thinking they know exactly what you sound like?

Of late, it’s basically just been about gathering people together that have the ability to instinctively play through the song and—not exactly improvised, but give it a different flair every time, do a different reading of the work. That shows nowadays that it’s not always completely known until sometimes the last minute what people are going to be playing and what instruments they’re going to be playing.... Now it’s all about mixing it up every time and hoping to be surprised, in a good way, by the result. If you put yourself in a situation of that little comfort, you can’t make it sound like the Beatles; I’m not a good enough copycat to just, on the fly and in the heat of the moment, make things sound like certain bands. I can throw some stuff together that’s going to sound interesting if I’m in the heat of the moment just because I’m under the gun. When you’re deciding

RCA eeEEE

July 1, 2010

special to The Chronicle

Carter Gaj and James Wallace went to UNC-Chapel Hill together and later formed Max Indian, with the rest of the band’s lineup rotating steadily since. with each part, how to best feature it, that’s how you sometimes just wind up like, well let’s just do it like our favorite band would do it, it solves arguments.

What got you guys involved with the Duke Performances series, and Music in the Gardens?

I think what happened was, we played at the Coffeehouse, and somebody saw it and asked if we would perform, I think Aaron [Greenwald, the director of Duke Performances]? We played a gig at the Coffeehouse on this day where it got totally snowed-in, and it was a really fun show, because people were apparently walking around and heard the show and then walked in. We thought that because it was snowing there might just be nobody there at all. But it turned out to be a really fun show.

And then they asked us if we would play [Music in the Gardens].

I was definitely flattered to be asked, I knew that the Love Language had played the year before and they had said such great things about the gig in general. So yeah, I was ecstatic. I’m looking forward to it.

Max Indian will perform in the Sarah P. Duke Gardens July 21 as a part of Duke Performances’ Music in the Gardens. Tickets are $10 for general admission and $5 for Duke students and employees; children 12 and under are free.

July 1, 2010

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MERCE

Page 16

recess

July 1, 2010

A NoRth CARoliNA hoMECoMiNg EvENt “Merce cunninghaM

reinvented dance, and

then waited for the audience…

he

has taught

us soMething new and powerful about how

to dance and how to live, and about the

aMerica.”

—Mikhail baryshnikov

diversity of art in

1953 The visionary dancer and choreographer Merce Cunningham partnered with John Cage to form the Merce Cunningham Dance Company in Black Mountain, North Carolina.

For five decades the company remade modern art, redefining dance as a new American language.

2009 Merce passed away at 90, spurring a drive to archive the work of this American original. Fulfilling the founder’s vision, a legacy tour is set to bring Merce’s dance modernism to the world, live, a final time.

2011 The company returns to North Carolina for two once-in-a-lifetime shows, the last time the legendary group appears in the state that started it all.

THE MERCE CUNNINGHAM DANCE COMPANY in NORTH CAROLINA Friday & Saturday, February 4 & 5, 2011 • Tickets on Sale July 20, 2010

AT

DURHAM PER f OR MING A R Ts CENTER PREsENTED bY DUk E P ERfORMAN CEs Details and tickets at www.dukeperformances.org.