In 2012, a group of 12 researchers and artists met at Duke to talk about dance. Two years later, they created the first Collegium for African Diaspora Dance Conference.
On Jan. 15, senior Evan Nicole Bell opened her first solo photography exhibit: “black.”
The common room in which I stood was tightly packed with crowds of wide-eyed freshmen, which made any attempt at mingling without awkwardly elbowing past someone nearly impossible.
No matter how hard I try to shut it out, the Academy keeps coming back into my life.
Duke’s Hoof ‘n’ Horn will present Stephen Sondheim’s musical comedy “Company,” opening Thursday, Jan. 25 at 8 p.m. at Sheafer Lab Theater in the Bryan Center.
In the middle of Steve Hartsoe’s debut solo album, “The Big Fix,” alongside a spate of original compositions, is a cover of Tom Petty’s “Trailer.”
I was once a big fan of dystopian novels and films. The bleak, trash-filled landscape of “WALL-E” and the babies born in jars of Aldous Huxley’s “Brave New World” both scared and intrigued me.
The Grammys will celebrate its 60th birthday Jan. 28, with two Grammy-nominated Duke musicians, Christopher Jacobson and Patrick Douthit.
It’s 1:45 a.m. and after four months of reading, I’ve just finished “The Amazing Adventures of Kavalier & Clay.”
Liver cells, water droplets and crabs. Wildflowers, ion beams and protein models. These have all been subjects of winning photos in the “Envisioning the Invisible” photo contest hosted by the Engineering Graduate Student Council.
Tommy Wiseau’s 2003 film “The Room” went from box office flop to profitable cult classic within just a year of its premiere.
The fourth series of BBC’s “People Just Do Nothing” hit Netflix in September 2017.
Like over 1 billion people worldwide, I rang in 2018 by watching the ball drop in Times Square. Confetti streamed down into the crowd, which was substantial despite the frigid temperatures.
As a tie-in with its latest feature-length film, Netflix released a promotional “Bright”-themed video fireplace. What an accurate depiction of this movie: an oil drum full of burning refuse.
A few days ago, there was a headline on Vox: “How tribalism overrules progressive tenets like ‘believing women.’”
So much happens in “The Last Jedi” that it becomes difficult to remember exactly what the main conflict should be.
“Star Wars: The Last Jedi” hit theaters a little less than two weeks ago, with the second-largest opening weekend ever.
Reminiscing on my elementary school days, when I was first introduced to the 1995 adaptation of “Jumanji,” I recall the orphaned Judy and Peter Shepherd (Kirsten Dunst and Bradley Pierce) unleashing creatures from the depths of a centuries-old board game into their new home, including a disheveled Robin Williams who is finally released twenty-six years into the future.
My favorite album of 2017 has no garnishing, no extraneous material — it is a modest record.
The holiday season is here, with bright lights, warm drinks and cold noses.
