It can be blackened, seared, grilled, fried, country fried or cajun. Southern kitchens may render the fish barely recognizable, but Catfish the film tells a story of an identity crisis even more...
In a Duke Performances season devoted to music that characterizes “A Nation Made New,” no act might fit this epithet better than Dirty Projectors.
If all the world’s a stage, PlayMakers’ actors make good use of the cliche.
In recent years Durham has risen from its status as a junior partner in the Triangle music scene to a thriving music community that is home to indie bands with national followings.
The first time I saw the music video for West Coast rap group King Fantastic’s “Why? Where? What?” I was pleasantly surprised not as much by a nude and dancing Kristina Rose as by the porn actress’...
Padgett Powell, Ron Rash, Elizabeth Spencer, Wells Tower. The table of contents reads like some idealized issue of The Southern Review—and there are 21 more names just like that.
Within my vast inventory of socially awkward behaviors and habits, I have a tendency to accidentally “out” virgins.
Combining food and art may seem hedonistic at first, but the newest exhibit at Golden Belt provides a social critique of the North Carolina agricultural system and the migrant farm laborers who...
Journalist Deena Stryker’s poignant collection of photographs spans only two years but captures slice-of-life moments during the upheaval and uncertainty of the Cuban Revolution.
Devil recently possessed theaters as the newest motion picture to be loudly stamped with the now dubious brand of M. Night Shyamalan.
The Carolina Chocolate Drops pursue an intriguing, almost paradoxical aim: to play in the traditional Piedmont folk style as modern musicians.
Weezer’s newest release and their first on Epitaph, Hurley, can’t help but stand out due to Jorge Garcia’s beaming face on the cover.
When, in 20 years, we look back on the Walkmen, Lisbon will probably occupy something of a holding pattern in their discography.
John Hughes would be proud: Easy A both subtly and obviously resembles his Brat Pack movies of the 1980s.
Here’s an example of a controlling market share: When Charlie Poole’s recording of “Don’t Let Your Deal Go Down” was released in 1925, it sold 100,000 copies.
Superchunk has been a fixture in the indie-rock scene for almost two decades. The release of Majesty Shredding ends their longest hiatus yet, nearly a full half of their existence.
