volume 12, issue 1
recess backsliding
July 1, 2009
XX Merge
Famed Chapel Hill label celebrates two decades of music in five nights,
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MAGGIE FROST/SPECIAL TO THE CHRONICLE
american dance
for the love of art
garden variety
Summer brings another fling with the American Dance Festival
Couple’s labor of love sees the light of day
Duke Performances rocks out in the Sarah P. Duke Gardens
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sandbox
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the
But just because you’re having a slopping go at the hanky-panky doesn’t mean you need to be trashy about it. Word travels fast, and you don’t want to be remembered as the guy who said, “Hey wanna go back to my place, drink some hooch and spin some Rod Stewart records? We could even have some of that good ole in ‘n’ out.” This isn’t California. There’s no missing that euphemism. — Knowing the names of fraternities and sororities does not make you proficient in the Greek alphabet. And on that note, take heed: AEPi is different from ADPi, which in turn is different from ADPhi. — Don’t be the kid who says, “Yeah, Durham really sucks.” No, it’s not Brooklyn—or BK as the kids are calling it these days. It’s not Amsterdam. But check the memo: things are hip below the beltway. At least in Durham anyway. — Finally, just because you saw it in Animal House does not mean it actually happens. Don’t shout “Toga! Toga!” at a party, unless, of course, you’re at a toga party. This is school. Act like it. Follow this guide and you’ll be a regular Mr. Cool. Or you could just go the next four years without friends. It’s not like anyone that goes to Duke is that great anyway. — Andrew Hibbard
[recessstaff] our version of ‘Summer Nights’ Andrew Hibbard...............................................mosquitoes by the moonlight Eugene Wang................................................................poolside while bbming Kevin Lincoln.....................................................Travolta with a touch of Irish Charlie McSpadden............................................................would i have a car? Claire Finch..................................................................luaus in the dirty south Jordan Axt..................................................................crisscrossing the country Michael Naclerio..............................................................beisbol > homework Hon Lung Chu.................................................................homework > beisbol Will Robinson.................................................................Vader in a wheelchair
“I’m never going to be able to run for public office with an arrest on my record!” This was the drunken logic of my best friend as we sat cross-legged on the floor of an unknown fraternity brother’s bedroom, apprehensively hiding from the police, but still irrationally clutching our Solo cups as if drinking would ease our anxiety. When the law unceremoniously arrived at the off-campus house on that first day of orientation, the evacuating tipsy first-years had blocked most of the exits, and we were left to try our luck upstairs. It seemed we were the only freshmen stupid enough not to flee. But as we giggled nervously over our dilemma, panicked shushing sounds emerged from the closet. Concealed among the polo shirts and button-downs, two of our classmates huddled in terrified silence. I found the whole situation amusing, but I feared the unfamiliarity of this mysterious crisis. I didn’t know anything. I was a freshman. When instincts said reemerging was appropriate, we reentered the lingering festivities—the gender ratio strongly in our favor in the wake of the freshmen exodus. We had just won the lottery of upperclassman boys. Pretending we needed instruction in flip cup and faced with little competition, a potentially disastrous police run-in suddenly evolved into a smorgasbord of romantic opportunity. That was the first moment. There was a party going on in the hallway. This is the essence of a section party—intrusive, claustrophobic revelry intended to fill every last nook and cranny, trying not to waste a single drop of a good time. I was flirting in the doorway. A conversation turned into a trip to Devine’s. The cab company accepted FLEX. A trip to Devine’s turned into making out on the Southgate bench. Not having learned the art of sex-iling yet, making out on the Southgate bench turned into making out in the Southgate laundry room. That was the second moment. We had no air conditioning during a recordbreaking Durham heat wave. I failed to appreciate how insufferable this situation would be until forced to endure the sight of freshly pressed hair turning thick and kinky only within minutes of being ironed into submission. Vanity is always the first to take note of emergency, but soon my more pragmatic sensibilities were kicking in, unsure of how I would manage to sleep or study without continuous and direct contact with cooling device. My two roommates were
being driven equally mad. And so we hatched a plan. The rest of the class of 2011 was looking at freshmen yearbooks at an alumni-sponsored picnic, part of orientation week’s cruise ship-style itinerary. We, on the other hand, were enjoying the retail familiarity of Target, assessing the prices of various models of A/C window units. The tricky part (or so it seemed at the time) would be sneaking our illicit air conditioner past our RA and any of our more scrupulous hall mates. After a successfully stealth unloading process, we developed some innovative home improvement strategies using Styrofoam and duck tape. One look at the poorly constructed sculpture of plastic and bits of cardboard box revealed the amateur mechanics involved in its installation. But that was a problem for another time. We sighed in the success of our accomplishments as the air began to refrigerate that third-floor triple, just three freshmen girls trying to get some straight hair. That was the third moment. Sometime during the chaos of orientation week, a moment passes when you are suddenly hit with the strange realization that you’re in college. This is Duke’s version of culture shock, when events that would be considered preposterous, offensive or illogical in the real world are categorized as normal. Before such an occurrence, all your DukeCards and mini-fridges just seem like props for a sitcom of the college experience, with all eager and earnest freshmen waiting around for someone to give them a script. When it becomes clear that no one is going to yell, “Action!” hooking up on a public washing machine seems as normal as a clandestine air conditioner smuggling operation. And that’s when writing about sex in a highly public venue seems like a really good idea. If you don’t know what I’m talking about, you soon will. Until then, welcome to Duke. Brooke Hartley is a Trinity junior.
Duke Opera Workshop Info Meeting Wednesday, August 26 4:30-6:30 pm, Baldwin Auditorium If you’ve enjoyed singing in choir, performing in musicals, or studying voice and are interested in performing opera or musical theater, please join us for an audition! We present arias, opera excerpts, show tunes, and/or fully staged operas. Last spring’s production was Die Fledermaus by Strauss, presented as a full opera with orchestra.
Photos: Jianghai Ho
With freshman orientation looming in the distance, we’re all reminded of how awkward it is to make new friends (especially after that extra Busch Light hits your low-tolerance blood). But, in an incredible act of benevolence, recess is here to help, providing tips to make it through the most awkward (and useless) week of your life. Consider this the grown-up (or at least college) version of what Big Bird & Co. taught us. — Commenting on how awkward orientation week is—that’s awkward. — Talking about how many AP classes you took or your SAT scores doesn’t make you cool or impressive. Everyone else you’re talking to received that Duke-stamped acceptance letter too. You’re not special. You’re not impressive. Besides, you’re not the kid that got into Harvard. — On a similar note, each and every one of you has some interesting skill or quirk. You might be the drummer/ harmonica player in a shoegaze/lo-fi/ noise rock/blues fusion duo out of Fargo, direct Shakespeare puppet theater or be moonlighting as a rogue demon hunter. Or you might be a collector of women’s undergarments. Whatever you do, that’s cool. Just think before you advertise what it is that makes you special. — Hooking up happens in college. Probably more often than it should.
July 1, 2009
Interested in voice lessons? We offer Beginner and Advanced Beginner classes as well as private lessons.
Auditions will be held in 019 Biddle
Monday, Aug. 24
1:30 - 4 pm
Tuesday, Aug. 25 10:30am- 12pm 1:30 - 4 pm Sign up for a time at 075 Biddle Music Bldg. Be prepared to sing scales & a piece of your choice. (Bring music for the provided accompanist.)
More info? Please email opera@duke.edu or visit www.music.duke.edu/performance
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Merge celebrates 20th year with July festival by Jordan Axt THE CHRONICLE
Mac McCaughan and Laura Ballance are both members of Superchunk, a band that has been together for more than 20 years, released eight albums and played Lollapalooza. Still, neither of them should quit their day jobs. In 1989, Superchunk, based out of Chapel Hill, began to attract interest from major labels like Atlantic Records. But instead of signing with an already established label, McCaughan and Ballance started their own: Merge Records. Twenty years later, the label—now comprised of over 60 bands—has become a leading influence in indie music. While still representing many North Carolina-based groups, Merge has attracted musicians from across the world, including at one time or another the likes of Camera Obscura, Spoon and the Arcade Fire. Every five years, the label has organized a festival that attempts to bring together as many of their acts as possible. This month brings XX Merge, a five-night extravaganza created to honor the label’s 20th anniversary. Held from July 22-26, XX Merge will consist of four nights at Carrboro’s Cat’s Cradle and a final show, headlined by folk duo She & Him—She being major actress Zooey Deschanel, and Him, Merge rocker M. Ward—at the University of North Carolina at Chapel Hill’s Memorial Hall. Concertgoers can expect an air of unpredictability from the Cradle shows. The label has released a list of the 28 musicians set to perform, featuring a balance of more recent and higher profile
MERGE RECORDS Through the Years, 1989 - 2009
Superchunk releases its fourth LP, Foolish. The album contains Superchunk classic “Driveway to Driveway.”
20 04 MAGGIE FROST/SPECIAL TO THE CHRONICLE
Mac McCaughan and Laura Ballance, both of the seminal Chapel Hill indie rock band Superchunk, started Merge Records in 1989. The label has grown to be a powerhouse in indie rock over its 20 years. Merge artists like M. Ward and the Mag- Merge Records, believes that the secrecy netic Fields alongside longstanding la- hints at unexpected appearances and unbel members like Polvo and Matt Suggs. conventional collaborations. However, Merge has decided to not give “I’m very curious to see what surprisa nightly lineup for any Cradle perfor- es they have lined up. I have to imagine mance. that they have some oldies but goodies in John Cook, author of the forthcoming SEE MERGE ON PAGE 10 Our Noise, which chronicles the history of
Get acquainted with the Gothic Bookshop, devoted to the fine art of browsing. We offer a wide range of titles covering all areas of interest, including titles directly related to the University as well as a comprehensive selection of titles by Duke faculty. 20% off Hardcovers • 10% off Paperbacks Excludes already discounted books and some special orders.
Visit the Gothic, a place defined by books. Special Orders Welcome. We offer academic departments and student organizations assistance in book support for special events.
Duke’s Independent Book Shop
19 94
20 00
at Duke University
684-3986 • Upper Level Bryan Center e-mail: gothic@notes.duke.edu
Superchunk leaves behind indie giant Matador for their own, North Carolina-based label.
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Gothic Bookshop
Gothic Bookshop
19 89
Mon-Wed 8:30am-7:00pm Thur-Fri 8:30am-8:00pm Sat 9:00am-6:00pm Student Flex and Major Credit Cards
www.gothicbookshop.com
20 06 20 09
Neutral Milk Hotel releases its final studio album In the Aeroplane Over the Sea February 10. The album is considered one of the best of the decade and a seminal indie record. Spoon releases Love Ways EP, their first album with Merge. The Austin-based band would go on to be one of Merge’s most successful acts. Arcade Fire releases Funeral September 14 to universal acclaim. The Canadian group has gone on to sell out many venues. Possibly the most lucrative year for the label, Merge releases two albums that crack the Billboard charts. Merge celebrates 20 years with XX Merge July 22-26 and a slew of album releases including Superchunk’s first new release in 8 years.
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July 1, 2009
Department of Theater Studies
Annual Open House
All undergraduates are invited to our open house, Monday, August 24, from 5:30 to 7:00 pm in Brody Theater, Branson Building, East 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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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 2009-2010
Duke Players Orientation Show Learn more about Duke Players when we present a quartet of clever shorts‌
The Lives of Ives 4HESE FOUR ONE ACT COMEDIES BY $AVID )VES WILL LEAVE YOUR HEAD SPINNING FROM THE QUICK PACED WIT AND PLAYFUL HIJINKS
The Lives of Ives
Two Small Bodies
&OUR ONE ACT PLAYS BY $AVID )VES $IRECTED BY !DAM "ARRON 4 Brody Theater, East Campus August 21, 22 at 11:30 pm August 28, 29 at 8 pm
(Sr. Distinction Project)
"Y .EAL "ELL 4HEATER 3TUDIES FACULTY $IRECTED BY !DAM "ARRON 4 &EATURING "RITTANY $UCK 4 Brody Theater, East Campus February 25-27
Duke Players Lab Theater
Nevermore
Duke Players Lab Theater
Brody Theater, East Campus October 29-31
Brody Theater, East Campus March 25-27
The Lower Depths
The Miser
"Y -AXIM 'ORKY $IRECTED BY *AY / "ERSKI 4HEATER 3TUDIES FACULTY Sheafer Theater, Bryan Center, West Campus November 12-22
By Molière 4RANSLATED BY %LIZABETH ,EWIS #ORLEY $IRECTED BY *OSEPH -EGEL Sheafer Theater, Bryan Center, West Campus April 8-18
Visit Duke Players at the Student Activities Fair!
Stories from MedellĂn
Check http://theaterstudies.duke.edu for times and/or changes
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.
7RITTEN DIRECTED BY $ANYA 4AYMOR 4 Brody Theater, East Campus February 11-13
Brody Theater, Branson Building, East Campus August 21 & 22 at 11:30 pm August 28 & 29 at 8 pm* * free pre-show pizza on the Brody porch at 7 pm!
Auditions for The Lower Depths !LL $UKE UNDERGRADS ARE INVITED TO AUDITION FOR THE 4HEATER 3TUDIES FALL MAINSTAGE PLAY The Lower Depths ON !UGUST FROM NOON TO PM WITH CALLBACKS ON !UGUST !UDITIONS WILL BE HELD IN THE "RYAN #ENTER ,OCATION 3HEAFER 4HEATER 3IGN UP IN ADVANCE FOR YOUR AUDITION TIME IN THE $UKE 0LAYERS NOTEBOOK AT THE )NFO $ESK IN THE "RYAN #ENTER &OR MORE INFO E MAIL ALLISON THAWLEY DUKE EDU
(Sr. Distinction Project)
Off Stage )F YOU ARE INTERESTED IN WORKING BACKSTAGE ON ANY OF OUR PRODUCTIONS LISTED CONTACT +AY 7EBB #OSTUME 3HOP 3UPERVISOR AT KAY WEBB DUKE EDU OR $OUG -ARTELON 4HEATER /PERATIONS -ANAGER AT DOUGLAS MARTELON DUKE EDU
Duke University Department of Theater Studies "IVINS "UILDING s "OX s $URHAM .# )NFO http://theaterstudies.duke.edu
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LabourLove sets up shop at Golden Belt Gallery offers exposure to up-and-coming artists by Andrew Kindman THE CHRONICLE
On May 15, Golden Belt welcomed its newest resident to the grounds of the burgeoning creative campus: the LabourLove Gallery. The first art retail outlet in downtown Durham’s freshly renovated warehouse complex-cum-art space, LabourLove Gallery is owned and operated by Hillsborough couple Kelly Dew and John Pelphrey. Opening a gallery has been a dream of long-standing for Pelphrey and Dew. “We wanted it to be an unpretentious space,” Pelphrey said. “A place where everybody passing by feels welcome.” The gallery is artist-driven, and many of the artists featured in LabourLove have never had a professional show before. “I just wanted a good starting place for young artists,” Dew said. The walls of LabourLove are currently host to a series by three up-and-coming artists: long-time Raleigh resident Luke Miller Buchanan, fresh-faced Durhamite and former New Yorker Kevin McGoff and Dew herself. Dew’s featured work is a series completed while pregnant with the couple’s now two-year-old son. The pieces are collaged together with wallpaper, newspaper and magazine clippings and other detritus of interior design commingled with paint. The composition of each artwork reflects the stage of her child’s natal development, explained
Duke in LA nixed for 2010 Program to join Study Abroad, resume in ’11
MICHAEL NACLERIO/THE CHRONICLE
The LabourLove Gallery recently opened its doors in downtown Durham’s Golden Belt, a newly renovated art facility. Managed by two Hillsborough residents, the gallery features work by several young artists. Dew. The series, as a whole, is a labor of patience, development and, appropriately, love. McGoff’s work, all of it oil on canvas, takes on a sheen of pop-realism. “I paint African-American people,” McGoff said. “Sort of viewing it through a white person’s experience. I’m fascinated by it, and most things I paint are informed by that.” From urban snapshots to television
freeze-frames to a crowd-pleasing portrait of Barack Obama sensually indulging in an ice-cream cone, McGoff juxtaposes neon-vibrant color with soft, almost aural lines to create a sensation that is both mesmerizing and old-school nostalgic. A portrait of JFK has the decidedly nonAfrican American subject, the lines of his face ruddy with harlequin interpolation, SEE LABOURLOVE ON PAGE 11
Due to a transition from the Film/ Video/Digital program’s office to the Office of Study Abroad, the Spring 2010 iteration of Duke in LA will be cancelled. Offered each Spring since 1996, the program, targeted at pupils interested in film and media careers, offered students a chance to study at the University of Southern California and take on a 15-hour per week internship. With its transition from the F/V/D office comes major changes in the program. According to a press release, Associate Professor of Romance Studies & Art Esther Gabara and Assistant Professor of the Practice of Visual Arts Pedro Lasch, who is also an artist, will join Duke in LA Faculty Director Jim Thompson at the helm. Both will likely broaden the program beyond its current film focus. Pre-requisites for the program will also change. Currently, students need only have taken Introduction to Film or Introduction to Visual Studies. The program offers four course credits—two from USC, one from Duke and one for the internship. Duke in LA will resume in Spring 2011. —from staff reports
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July 1, 2009
DP hits summer stride with slate of indie rock by Kevin Lincoln THE CHRONICLE
MADDIE LIEBERBERG/THE CHRONICLE
For the second year, Duke Performances is offering a more laid back approach to music with its concerts in the Sarah P. Duke Gardens. This summer, several indie rock groups with local roots have graced Duke’s campus.
“ BBQ ,
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MOTHER’S LOVE” • PORK • CHICKEN • TURKEY • RIBS • BEEF
2510 UNIVERSITY DRIVE, DURHAM 919.402.4BBQ (4227)
Monday - Sunday 11 am - 9 pm
SAUSAGE • BEEF BRISKET
Eat-In • Take-Out • Catering
So it’s a lovely summer evening, and you want to see a show. You don’t have a car, which means Cat’s Cradle is out of the question. Most of your cash is going toward food, making an expensive ticket to Carolina Theater unrealistic. And you’re underage, so a bar isn’t the, ahem, most legal of options. But don’t fret—Director of Duke Performances Aaron Greenwald has an idea for you. And it’s free, if you’re a student. This summer, Duke Performances is hosting its second annual Music in the Gardens series. The series is composed of three indoor chamber music shows and a number of outdoor independent rock concerts, featuring music with a Triangle connection and some national appeal. Case in point: the Rosebuds, a Raleigh-based duo from Chapel Hill’s Merge Records, performed in the Sarah P. Duke Gardens June 10. “[The Rosebuds] performed just a killer show,” Greenwald said. “And we had 800 people out for the show, which is pretty incredible if your real aim is not to have thousands of people out but to do something in a very low-key and relaxed fashion.” Greenwald said the summer is an essential time for Duke Performances to “retool” and pursue this type of lower-energy, less taxing slate of programming. During the school year, the organization presents artists that Greenwald describes as “of the highest caliber,” generally erring more toward traditional and classical music. The indie rock shows
that are the meat of Music in the Gardens provide a suitable alternative. Less expensive to produce and less cerebral to pull off and attend than the year’s typical fare, the concerts nevertheless offer a high level of musical artistry. “To be able to maintain that sort of ethos but also draw what we would consider to be pretty massive audiences for this sort of thing is pretty gratifying,” Greenwald said. Duke Performances is under the umbrella of the Provost’s office, lending some authenticity to the organization’s stated goal of promoting academic, intellectual art with its programming. But this is not mutually exclusive with relaxing fare, as Greenwald and Provost Peter Lange were both quick to point out. “I think [Music in the Gardens] is an entirely appropriate and engaging part of the kinds of contributions that Duke Performances makes to our campus and noncampus communities,” Lange wrote in an e-mail. “‘Laid back’ is good and should not imply intellectually or artistically vacuous, in fact, when done well, quite the opposite.” Greenwald said the series is off to an “enormously successful” start, and the performers also seem to be enjoying themselves. Alt-country artist Thad Cockrell played the series’ first outdoor show, and he came away with a positive vibe. “It was beautiful. It was cool. It was really laid back,” Cockrell said. Sounds like summer.
DUKE IN NEW YORK ARTS & MEDIA A unique program taught by Duke professors who come with you to New York and supervise courses—including an internship—that carry Duke credit. In addition, the program provides subway passes, the best museum pass ever, tickets to plays, concerts, jazz clubs, and so much more! The Fall Arts & Media Program A complete, exciting semester for students interested in learning more about art, music, theater or media. Includes an internship for credit and the NYU course of choice—a great way to take subjects not available at Duke, to complete a requirement. All majors, Sophomores, Juniors, and Seniors. Summer Internship in the City Internships in any field in New York over the summer for course credit. All majors, Sophomores, Juniors, Seniors.
W W W. D U K E . E D U / W E B / N E W Y O R K
July 1, 2009
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wilco
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regina spektor
WILCO (THE ALBUM) NONESUCH
FAR SIRE RECORDS
Any time a band releases an eponymous album, they are not only gambling the reputation of the album itself, but of their entire catalogue to date; they are saying, “this is our definitive work.” With their newest, self-titled album, altcountry superstars Wilco have taken that risk a step further with their opening track, “Wilco (The Song).” From there, they quickly cover a vast musical landscape. “Deeper Down” mines Wilco’s country roots with twangy guitar chords interspersed with soulful vocals, while “Solitaire” is reminiscent of their slower work on 1999’s Summerteeth. “I’ll Fight” matches blues lyrics with an oddly up-beat tempo that Johnny Cash would’ve been proud to have written. “You Never Know” is a piano-driven romp dissecting generational self-interest that seems to uncover significant universal truths nonchalantly—a pretty nifty trick. A few weeks ago at a party, some unapologetic hipsters— the kind who believe that “irony” qualifies as a lifestyle and required me to list my five favorite books as a prerequisite to conversation—asked me to name my favorite Wilco song. In any other instance, the fact that people I found so repulsive liked a band as much as I did would have turned me off that band completely. But Wilco exists independent of their own identity; their music is neither reactionary nor contrived; they don’t experiment for the sake of experimentation. They could care less if you don’t think they’re cool (though they are cool enough to care about their fans, especially at concerts). So here, in this moment when these hipsters were trying to negotiate a sort of cultural advantage, Wilco was actually a force of equity. Jeff Tweedy is an undeniable everyman; instead of the usual rock-star excesses of fast drugs and loose women, he carries his son on his shoulders during encores. Not that he hasn’t battled adversity, such as his addiction to pain killers, but when the axiom that musicians must “suffer for their art” becomes stale, you can look to artists like Tweedy
Regina Spektor is an oddity, and that’s why we love her. Her last record, Begin to Hope—including the infectious mainstream hit “Fidelity”—put her on the radar as one of the most charming musician/songwriters today. And anticipation has been high for its successor, Far, her fifth studio album. On the new record, Spektor’s quirk is more polished. After working with four big-name producers, the songs are glossier but her signature spunk is not dampened. Rather, the music has comfortably matured without feeling awkward. First single “Laughing With” perfectly encapsulates this added depth. Spektor explores the role God plays in our daily lives in a fantastical but grounded way. Straying from songs that are purely silly (e.g., “That Time,” which is great, for the record), this track showcases her ability to infuse the lighthearted with a deeper, more personal token of truth. Her earnest storytelling, also highlighted in “Blue Lips” and “Two Birds,” is at its finest in “Man of a Thousand Faces.” Lyrics like, “He’s found a path to her likeness/He eats a small lump of sugar/Smiles at the moon like he knows her” are set to an unfettered piano melody that fully underscores the songwriting. Though many of the songs on Far tend to be slower, Spektor compensates with some upbeat gems. A good example of this style is the summer-kissed “Folding Chair,” one of the strongest tracks on the album. It is full of surprising embellishments—Spektor imitates a dolphin at one point—and reminds us of just how charming she can be. “Dance Anthem of the 80s” is most reminiscent of the Spektor of old, heavily sprinkled with her flirtatious and funky vocal ornamentations. Overall, Far is more accessible than previous records, but the strong tracks shine brighter than ever before, giving fans old and new a needed fill of the Spekt-acular. — Jessie Tang
for redemption. On Yankee Hotel Foxtrot, Wilco derived poignancy from the melancholic, discovering that sentimentality, wistful or otherwise, never came cheap. With Wilco (The Album), they have realized that while pain is a convenient source of inspiration, the motivated can find it anywhere—even in a beat-up Chevy Nova. When asked, I answered with “Misunderstood” as my favorite Wilco song and then amended that to “Wishful Thinking.” Now, I would say Wilco’s closing track, “Everlasting Everything.” Does that indicate anything? Would it be a bold statement to say that, even with the likes of Yankee Hotel Foxtrot, Being There and A Ghost is Born behind them, Wilco is better than ever? —Alex Fankuchen
eager for more recess? check out playground.chronicleblogs.com
American Dance F
takes t Pilobolus unveils two new pieces as Durham hosts the annual ADF showcase by Sanette Tanaka
A
The chronicle
lthough a summer staple at the American Dance Festival since 1973, the dance troupe Pilobolus is anything but commonplace. And this year, they are back to prove it again. From performing in the 2007 Academy Awards to touring internationally, the group quickly established its reputation for pushing dances to the physical limit, seeking both to move and to shock. “They’re innovators,” said Charles Reinhart, President and Director of ADF. “They put movement together in a way that no one else had done before.” Pilobolus combines elements of acrobatics, athleticism, flexibility and body exaggerations to create both serious and humorous pieces. To date, the group boasts a repertoire of more than 85 works, five of which will be performed at this year’s festival. The lineup includes two ADF-commissioned world premieres: 2b by Israeli choreographers Avshalom Pollak and Inbal Pinto and Redline by Jonathon Wolken, Pilobolus’ Development Director and co-founder. Redline features “pedal-to-the-metal” energy while 2b is more theatrical, he said. The other three pieces are Pilobolus classics. Before 2b, Pollak and Pinto collaborated with the troupe to produce a dramatic dance called Rushes. Ocellus features a men’s quartet engaged in almost-primal body contortions. Finally, the silent Walklyndon features six comedic jocks bopping about in vaudeville-style. According to Wolken, all the works, as varied as they are, are meant to incite the audience. “We want people to have strong reactions and to say, ‘I love it,’ ‘I hate it,’ or ‘it’s disgusting,’” he said. “The day we have only one thing to say is a sad day, indeed.” Since its inception, Pilobolus has been marked by this tendency to provoke and stand out. Wolken and fellow Dartmouth students founded the group in 1971 after the chaotic ’60s. As the meaning of the company’s name suggests (Pilobolus is a type of fungus), none of the founders were especially trained in dance. Almost immediately, they diverged from the traditional art form.
photos by larsa al-omaishi/Th
Renowned choreographer Shen Wei treated Durham residents, members of the Duke community and dance lovers from across the globe to a perfo his work June 18-20 at the Durham Performing Arts Center. Pilobolus will perform its two newest pieces—in addition to three classics—at DPAC in J “The whole glorious explosion of the sixties made them free to explore different directions that were not possible ten years ago,” Reinhart said. “There is this modern dance tree—and Pilobolus is this glorious mushroom.” The synthesis of these forms is a major theme of this year’s ADF. Contemporary styles and traditional ballet used to exist independently from one another, but recently that gap has shrunk ”as evinced by the presence of choreographers like Shen Wei. Through panels, discussions and showcases, participants will weigh the pros and cons of the fusion. Although Pilobolus’ multifaceted performances fit especially
well with this focus, the group has been a constant at years. Reinhart found that the company appealed to a wi of audiences. “It is a rare case when you believe in the talent and th agrees with you almost immediately,” he said. Theresa Ai, Artistic Director of Duke Chinese Danc Duke senior, emphasized Pilobolus’ easy popularity. “The group has a universally appealing style,” Ai sai men and women, young and old, can appreciate body f and athleticism, especially when the dance looks effort never heard of any other group like them.” For a troupe as constantly evolving as Pilobolus, Wo lieves that all fans will find something enthralling about t performances. “I hope our works are wildly inventive, strangely innovat nant with imagery, thought-provoking and a lot of fun,” he sai open-minded because you never know. You just never know.
Pilobolus will perform July 9-11 at 8 p.m. at the Durham P Arts Center. For ticketing information, visit the ADF Web site.
Upcoming AMERICAN PILOBOLUS
July 9, 10, 11 at 8 p.m. DPAC Always a hit at the annual American Dance Festival, the internationally recognized Pilobolus presents Redline and 2b, along with classics like Rushes and Ocellus for its 2009 iteration. The group is well known for its use of physical motion and positions in its dance routines.
DOUG ELK AND FRIEN
July 13, 14, 15 Reynolds Theate
Choreographer kins recreates The Music with his awar musical Fraulein Mar by The New York Tim is known his ability t beat and fun rend classic show tunes w dance.
Festival
the stage
I hope our works are wildly inventive, strangely innovative, pregnant with imagery, thought-provoking and a lot of fun.... Come open-minded because you never know. You just never know.
— Jonathan Wolken, co-founder of Pilobolus
SPOTLIGHT ON:
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choreographer Mark Dendy
ew York choreographer Mark Dendy returns to the American Dance Festival with two new site-specific performances. His second piece, Golden Belt, utilizes about 12,000 square feet of the lobby, bathroom, upper floor and stairwells in the recently renovated Golden Belt complex. recess’ Sanette Tanaka recently discussed the piece with Dendy. recess: Why did you choose Golden Belt as the site of your dance? Mark Dendy: I came to Durham looking around for spaces. A friend of mine is a painter and has a studio here at Golden Belt, which was an old textile factory that made packaging for cigarettes. Later, the areas were turned into galleries, office space and lofts. I got a tour of the place and just fell in love with it. The upstairs room has windows and columns and beams; it’s a very open space and begging to be choreographed for. I walked into this room and I said, “I want to choreograph a dance in here.” The space just speaks to me—its history, its architecture, its upper room. Also, with the utilization of ADF students and local dancers augmenting my company, it’s a great way to get as many people involved in the community as possible.
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DANCE FESTIVAL Performances
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PAST/FORWARD
MARK MORRIS DANCE GROUP
July 20, 21, 22 at 8 p.m. at 8 p.m. Reynolds Theater @ Duke July 23, 24, 25 at 8 p.m. er @ Duke DPAC In its third year, Past/
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Forward features several renowned choreographers from across the dance realm, some of whom have designed works that border the world of theater. All three Past/ Forward pieces will be performed by ADF dances this year.
To close this year’s ADF program, the Mark Morris Dance Group will take the stage. Considered one of the world’s most accomplished choreographers, Morris leads an ensemble that has performed across the globe and is known for its electic use of live music.
R: Where do you get your inspiration for your dances? MD: My inspiration comes a great deal from the site-specific works that I’ve previously been involved in, like Ruby Shang’s The Small Wall Project in 1984. That was a great influence on me in the use of architecture and the use of landscaping because that becomes your partner on stage. It takes dance back to its original function as a ritual, as opposed to a separate performer-and-audience manner. R: Why do you continue to perform at ADF year after year? MD: I have this wonderful relationship with ADF. It’s a once-in-a-lifetime thing that you get with an organization. The American Dance Festival is also where I learned so much about dance when I was a student here. The first summer I came here, there must have been at least 15 different ways of working that I was exposed to, both in performances and in classes. I also met the first three choreographers I worked with here at ADF. That helped me with my tran-
Special to The Chronicle
sition from college student to professional because I was already connected. And I can trace that deep and emotional connection all the way back to the start of my career. It just keeps renewing itself. R: You’re famous for daring and energetic dances at site-specific works. What’s different about this year’s performance at ADF? MD: This next piece goes along with the progression of my work. I’ve done lots of sitespecific works—the Kennedy Center in D.C. and two site-specific works at ADF. Golden Belt is building on that legacy. The difference, though, is the amount of movement and new vocabulary for this new group of dancers I’ve been working with. Even so, every site-specific piece is unique because the space dictates your limits and your possibilities. It’s kind of like working with a composer to create music because you’re working with the space and the architecture to collaborate on a piece. These kinds of dances will always be different according to the site that inspires them. R: What can we expect at your performance? MD: You can expect the usual audienceperformance relationship––broken in half by a stage––to be gone. You’re right with the dancers, three feet away and breathing the same air. There is no “us and them.” It’s just us, you know what I mean? Everybody is an “us.” It kind of takes away the subject-object relationship and makes it subject-subject. We want everyone to come out. This piece is definitely made for the community. Golden Belt will be performed Friday, July 17 at 7 p.m. and Saturday, July 18 at 2 p.m. in Golden Belt’s Building 2, Floor 3. Shows are free and open to the public.
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MERGE from page 3 store,” Cook said. One such surprise may come from the anticipated Superchunk performance. Due to McCaughan and Ballance’s obligations at Merge Records, Superchunk shows have become increasingly rare. Yet McCaughan wrote in an email that the band is currently recording new tracks, with plans of releasing a single in July. In fact, a new Superchunk release in April—EP Leaves in the Gutter, their first release of new material in 8 years—is just one of a number of fresh Merge releases taking place within months of the festival. For the performers, XX Merge is more of a celebration than a showcase for the label. Ivan Howard, of Raleigh’s the Rosebuds, views the festival as an opportunity to reconnect with labelmates who he rarely has a chance to hear in person. “It’s a family reunion situation,” Howard said. “A lot of the bands travel all the time, and we never get to see
July 1, 2009
them.” Scheduling so many acts could easily have been a logistical nightmare for Merge employees, but McCaughan was surprised at the willingness of his roster to perform at XX Merge.
“The actual label hasn’t changed at all [despite its growth.] They may have hired a few more people, but they always treat us exactly the same.” — Ivan Howard, member of the Rosebuds “Persuading the bands is always easier than I think it will be— I feel like they’re doing us a favor, but they (hopefully) see it as something fun to do,” McCaughan wrote. It’s clear that Merge owes much of their success to
O
an ability to retain personal relationships with all of their artists, despite continued growth. Convincing 30 acts to come and play takes more than just fiscal incentives. “The actual label hasn’t changed at all. They may have hired a few more people, but they always treat us exactly the same,” Howard said. “The label is exactly the same.” Cook, who has followed Merge artists since he first attended a Superchunk show in the early ’90s, agreed. “Merge purposely stayed small,” Cook said. “They never overreached…. They never wanted to simply find the next record that would make them money.” Merge Records is an example of what happens when diligent and business-savvy musicians are allowed to run their own label. And XX Merge will allow fans to enjoy the label’s dedication to indie music. “It’s a chance to see a bunch of great bands all at once, and unlike most festivals now, you’re not standing in a field somewhere,” McCaughan wrote. “You’re up close and seeing these bands in a great rock club.”
AUDITIONS
Dance Program
pen House
The Ark, East Campus Repertory Auditions Wednesday, August 26, 2009 7:30 - 9:00 p.m. • African Repertory with Ava Vinesett
Thursday, August 27, 2009
Tuesday, August 25, 2009 4:30-6:00 p.m. The Ark Dance Studio Porch, East Campus
7:30 - 8:15 p.m. • Modern Repertory with Andrea Woods 8:15 - 9:00 p.m. • Ballet Repertory with Julie Walters
Optional African Dance session 6:30-7:30 p.m. in the Ark Come and meet the dance faculty and other students interested in dance!
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DEFINING MOVEMENT HOLDING AUDITIONS!
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phoenix
LABOURLOVE from page 5 wrapping its cartoonist lips around a fat, white cigarette. The piece stands in trenchant contrast with the realism of other pieces. Luke Miller Buchanan’s work is powerful objectively, but its context against the exposed brick wall of the born-again Golden Belt creative campus makes it even more so. The Golden Belt complex, formerly Golden Belt Manufacturing Company which closed operations in 1996, lay empty and dormant for a decade before it was purchased by a developer in 2006. According to Buchanan, his scenes of wasted factories, rusted steam plants and post-industrial decay are lifted from the very streets that surround the gallery. The series is a visceral reminder of the history of the very walls upon which the work rests. “The ability to reclaim a building and change what it’s for but keep a nod towards what it was goes along with my painting,” Buchanan said. LabourLove Gallery is open and inviting, beckoning not only young artists but young clients as well. Because the artists are all relatively new to the scene, their original works are priced well below what one would expect to pay at a gallery. For those who are not in the market to furnish a house, the gallery also offers giclee and t-shirt prints of its art at prices within a college student’s budget. Sure to be a hit as well are its beautifully reupholstered pillows and pieces of vintage furniture, also featuring prints of the art. LabourLove Gallery is open Tuesday through Saturday from 11 a.m. until 7 p.m.
WOLFGANG AMADEUS PHOENIX V2 RECORDS
moby WAIT FOR ME MUTE
When Eminem famously dissed Moby on “Without Me,” the rapper explained the folly of pop stars taking potshots at one another: pop success is fleeting, and at this point a new Moby record just seems to fit the volatile landscape of popular music better than Eminem. In 1999, Play became Moby’s surprisingly likeable breakthrough, achieving multi-platinum sales and the dubious accomplishment of having all 18 of its tracks licensed for commercial use. This trivia speaks to the emotional elasticity of Moby’s compositions, but his ubiquity in television ads and film scores marked a promising creative shift in the market. After all, Moby displays a musical acumen more impressive than most, drawing from Phillip Glass and Kraftwerk with equal aplomb. Moby’s music sees a harmonious coexistence between pop and compositional music—jazz, classical and electronic. His last two records seemed like a ploy
to please record label execs delighted by the unlikely success of Play, and Wait for Me needed to be a statement of creative reinvigoration in order for Moby to reestablish his credibility. Unfortunately, the first three tracks only inspire ambivalence. “Pale Horses” is generic movie soundtrack fodder. And lead single “Shot in the Back of the Head” manages to be more affecting than most of the purely instrumental material he’s released post-Play. Pulling samples from a now too familiar repertoire of blues and gospel, “Study War” is pleasant enough, but by now cliche to those familiar with Moby’s back catalog. “A Seated Night” is his latest track design for advertising—essentially a desultory chorale song placed randomly in the center of the album. It would, however, sound great on the soundtrack for the next Dan Brown film adaptation. But it’s all a shame, since Moby clearly knows his craft well and has talent to spare. And perplexingly, on his latest LPs—including this one—Moby’s creative instincts have seemed stifled. — Brian Contratto
FHM Magazine once named the Killers The Best Band Not From Britain. If that’s true, then Phoenix is The Best American Band Not From America. Over the past decade, the Parisian foursome has not only ditched their native tongue, they’ve also left behind stereotypes that Europeans can’t recreate the American pop sound. But Wolfgang Amadeus Phoenix is not just a simple replication of the group’s prior success. Instead, the album tackles styles and themes previously unexplored. Whereas earlier releases like United and Alphabetical were delightfully bubbly, and It’s Never Been Like That was an attempt at a more guitar-driven sound, Wolfgang is Phoenix’s softer, even classical record. And it’s hard not to notice this classical motif. Both the album’s name and first single, the meditative “Lisztomania,” are references to musicians of not decades, but centuries past. Standouts like “Fences” and “Rome” introduce sweeping sounds more reserved for opera halls than rock clubs. And through it all, lead singer Thomas Mars mixes the simple and the subtle to create addictive lyrics. In “Lasso,” he advises that “forever is a long long time when you lost your way.” On “Girlfriend,” he proclaims, “the miracles still give fortune tears.” These are the signs of an outstanding album. I don’t know what Mars is talking about. I just want to. In Wolfgang, Phoenix has found what most bands yearn for: a fluctuating sound backed by continual success. With each new release, Phoenix makes it more and more clear that Americans are now importing their best pop music. — Jordan Axt
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July 1, 2009
ART REVIEW
Unconventional ‘Video Quartet’ hits the Nasher by Claire Finch THE CHRONICLE
Imagine the ultimate synthesis of Girl Talk’s aural pop-culture sampling, John Cage’s high-art experimental sense and an MGM movie highlight reel. Fans of any of the above will be enthralled by Christian Marclay’s epic 14-minute media work, Video Quartet, on display now at the Nasher Museum of Art. Video Quartet is, quite simply, overwhelming. Over 700 video clips from film and culture flash across four adjacent screens. Their corresponding audio mingles and overlaps to form a deftly-composed experimental symphony. Confronted with the symbiotic mélange
of sound and image and the looping repetitions that form the basic skeleton of the piece, one can decipher the traces of Marclay’s earlier artistic experiments with turntables and records. An art student in the late 1970s, Marclay was heavily influenced by the burgeoning punk movement. Unable to play an instrument, he set about manipulating records, fascinated by their oft-maligned potential for skips and ambient noise. Out of this interest rose his sound collages: records cut apart and glued back together in interesting configurations that distorted the sound or allowed him to mix sounds from different records. Because he was creating these sound objects long
before hip-hop’s popularity made record manipulation a thing of contemporary culture, Marclay is often lauded as a pioneer of sound appropriation—an influence that is fully evolved in his 2002 work, Video Quartet. The work is on one level a wry commentary of how we visualize sound and those who produce it. Jumbled together are actors playing musicians, musicians playing musicians and real musicians just playing their instruments, constantly calling into question the foggy line between popular performance and performance art. Thrown in are seemingly random sounds— glass bottles breaking, loose change clanging against a hard floor, cinematic explosions—that further challenge notions of
acceptable musical expression. Part of the work’s attraction lies not only in its obvious appeal to artistic sensibilities, but in its ability to excite viewers via a myriad of pop-culture references. Sightings of Dick Van Dyke as the chimney sweep in Mary Poppins, archival footage of Bob Dylan entertaining friends with his harmonica and a clip of Sandra Bullock in a dirndl all augment the piece’s seductive power. Add the fact that the four screens make it virtually impossible to catch every fleeting reference, and it becomes impossible to justify seeing Video Quartet only once. Video Quartet is on display now through July 26 at the Nasher Museum of Art.
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DIR. WOODY ALLEN SONY PICTURES CLASSIC
Neurotic New York Jews everywhere have dreamed of the day when comedy kings Larry David and Woody Allen would combine forces on film. Well, that day has arrived, and, apparently, too many cynics spoil the broth. In Whatever Works, David plays Boris Yellnikoff, a retired college professor who “filches” what little joy he can from the world by terrorizing his tween chess students, eating knishes and occasionally throwing himself out of windows. Boris’ nihilistic routine is turned upside down when Melodie St. Ann Celestine (Evan Rachel Wood), a former Mississippi pageant queen who has run away to start anew in the Big Apple (cringe), becomes his 17-year-old bride. Matters are further complicated when Melodie’s equally blonde and sheltered mother (Patricia Clarkson) comes searching for her and thanks to Boris, whimsically discovers her overlooked and miraculous gift for photography. To top off this incredulous lower east side odyssey, the insufferable southern belles manage to indoctrinate Boris’ inflexible approach to life with the notion of love, turning everyone’s favorite TV curmudgeon into just another victim of a fairytale ending. Made evident from his work on Seinfeld and Curb your Enthusiasm, David is at his best in the kind of comedy where he can pin his pessimism against the little things in life such as soup and the lack of parking spots. Here, Boris tackles the broader dilemma of life and the meaning of it, drowning the usual charm of David’s hostility in cliche characters and one outlandish plot twist after another. Allen can’t seem to adapt David’s comedic talents to Boris’ character—perhaps because the script, penned in the 1970s, was originally written for comedian Zero Mostel. At the beginning of the film Boris informs us that “this is not going to be the feel good movie of the year.” He is absolutely right. Whatever used to work for Woody Allen— the auteur who made OCD and horn-rimmed glasses irresistible in award winning classics such as Annie Hall and Manhattan—has finally gone sour. — Emily Ackerman
July 1, 2009
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food, inc.
DIR. R. KENNER MAGNOLIA PICTURES
Though the villainy of largescale corporate farms and virtue of local food are old news by now, it hasn’t prevented activists from promoting their cause. But after Upton Sinclair and post-Fast Food Nation, do we really need another exercise in food industry muckraking? According to Robert Kenner, “Yes.” In his documentary Food, Inc., the director throws the audience into the stomachchurning world of American farming, and delivers a film that, while not packed with new insights, remains fresh and en-
July 1, 2009
gaging. Rightly so, the doc does demonstrate a keen awareness of its predecessors, most likely due to Eric Schlosser’s presence as a co-producer and a narrator of sorts. Free of gimmicks à la Morgan Spurlock’s Super Size Me, the doc benefits from its more factual approach to the subject. Kenner and his crew capture stunning images of animal mistreatment that will make CEOs sweat and audiences rethink their next side of bacon. One of Food, Inc.’s greatest assets is the breadth of its coverage, which ranges from corporations to government, from big to small farms and finally to individual consumers. Similarly, the doc isn’t merely a gross-out vilification of
the food industry—Kenner offers examples of individuals and companies who are making a difference in the way Americans eat. He highlights yogurt giant Stonyfield Farm and Polyface Farm, a sustainable cattle farm in Virginia, as pioneers. This positive focus gives the narrative a unique bite, injecting some joyful zest into a blandly grim topic. Food, Inc., which showed at Durham’s Full Frame Documentary Film Festival in April, is certainly not a necessary film, but Kenner and his crew have added their voice to an important movement in America. The result is a film not particularly surprising but nonetheless informative and enjoyable. — Andrew Hibbard
moon
DIR. DUNCAN JONES LIBERTY FILMS UK
David Bowie’s son would look to outer space in his directorial debut. In the near, post-energy-crisis future, astronaut/miner Sam Bell (Sam Rockwell) is at the end of a three-year assignment at space station Selene, where his only company is artificial intelligence system GERTY (voiced by Kevin Spacey). When the station’s satellite goes down and he is left with only a set of old communication tapes with his wife and child, Bell begins to experience strange emotions, hear ghostly noises and hallucinate. While on a routine extraction of Helium-3—the solution to the energy crisis—Bell suffers an accident, spurring conflicting feelings of inconsolable loneliness and disquieting uncertainty about whether or not he is actually alone. Rockwell delivers an impressive performance as the only man for hundreds of thousands of miles. With a nonhuman supporting cast of special effects, Rockwell, like Bell, is truly alone when mining for his character’s identity to compel the story forward. The film is an actor’s workshop for Rockwell as he displays remarkable range, captivating the audience start to finish. Director and co-writer Duncan Jones partially reveals Moon’s twist early in the film rather than predictably unveiling it at the film’s close. His choice is well executed, however, as it engages the audience during the movie and adds an interesting complication to the narrative’s unfolding. Moon successfully avoids becoming another conventional sci-fi film, largely because Jones’ direction and penmanship focus on the psychological, more human effect of Bell’s alienation, rather than the alien environment of outer space This is ground control to director Jones—you’ve really made the grade. — Michael Woodsmall
July 1, 2009
rudo y cursi
DIR. CARLOS CUARON SONY PICTURES CLASSIC
If Rudo y Cursi accurately portrays the lives of professional soccer players, I am glad I get my kicks watching movies. Brothers Beto (Diego Luna) and Tato (Gael García Bernal) leave the banana farms they call home to pursue dreams of soccer, celebrity and success. Along their individual paths to glory, they pick up nicknames “rudo” and “cursi”—tough and corny—for their respective playing styles. But just like many professional athletes often succumb to their vices (is it too late for a Michael Vick joke?) and dreams, the two struggle to remain focused on soccer, putting their careers in jeopardy. Their paths climatically collide in a pivotal game against one another, each with their careers on the line.
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What makes Rudo y Cursi such a powerful picture is that it slide-tackles a lot of heavy issues, like the struggles of life in rural Mexico, the exploitation of poor-yettalented athletes, gambling and drug addiction. As Luna and Bernal compellingly mix gags and gravitas in their characters, the film delves deep into the tug-of-war between passion (gambling and singing) and talent (soccer). It makes us arts and crafts students wonder whether to focus on what we enjoy (re-playing Pokemon Yellow on my Gameboy) or what will make us most successful (taking Econ 55D and learning about maturity through the ensuing C+)? Although the closing minutes are more disappointing and depressing than Night at the Museum: Battle of the Smithsonian, seeing director Carlos Cuarón’s beautifully shot drama is a worthwhile and wrenching way to escape the summer heat. — Brendan Szulik
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