recess
R VOLUME 18, ISSUE 1
JUNE 6, 2016
Duke Alumna Margaret Skoglund, T’10 her life after Duke, from LA to Disney, pg. 8
Beyoncé Concert Survival Guide Essential reading for the Queen’s Formation World Tour, pg. 9
Triangle Summer Concert Picks
The must see shows this summer, pg. 11
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2 | MONDAY, JUNE 6, 2016
recess
The Chronicle
The Duke University Department of
THEATER STUDIES IS OPENING UP! Open Classes
248S Voice & Speech* THEATRST 190S-1 Reading Theater* THEATRST 209 Musical Theater THEATRST 115 Theater Today THEATRST 262S Scene Design* THEATRST
Open House
Monday, August 29
5:00pm to 7:00pm Sheafer Theater (West Campus, Bryan Center)
All with ALP credits! *Can count for 1st year Seminar
BBQ, free t-shirts, and live music!
lCREATEl
lCONNECTl Open Auditions and Crew Call Cast/crew get class credit for dept. shows (ALP, CCI & R). First-year students welcome! August 30-31: Auditions/crew call for Ibsen’s The Wild Duck September 6-7: Auditions and crew call for Jacques Brel Is Alive & Well & Living in Paris
lCOLLABORATEl www.theaterstudies.duke.edu Facebook: Duke Theater Studies Instagram/Twitter: @DukeTheater email: theater@duke.edu
R The Chronicle
recess editors Who is your celebrity summer fling?
Dillon Fernando.......legally cannot say Christy Kuesel...................Hamilton tix Tim Campbell...Robert J. Oppenheimer Georgina Del Vecho....... Jason Momoa Kirby Wilson...becky with the good hair Jessica Williams..... 2001 Jon Stewart Alex Griffith.. you’ve never heard of her Drew Haskins...................Karlie Kloss Aditya Joshi.................. i’m totally lost Claire Ballentine...........Jackson Avery
recess Being that it is summer break, the last thing I want to do is write an editor’s note. Now don’t get me wrong, I thoroughly enjoy editing and managing arts and media content for tens of people—if I didn’t, I wouldn’t have taken this job. However, summers for me are sacred. I need a break from the trials and demands of the school year. I’m realizing now that after this one, I only have one real summer left—which, of course, is reserved for people do their big internship. So in all actuality, I’m pretty much booked (or should be theoretically) for the rest of my life until retirement. That’s fun. All cynicism and mild exaggeration aside, I guess I’m really just upset with the fact that summers are no longer those fun, do-nothing times where there was little stress and little worry about how what you are doing that summer is going to benefit you in your future career. When I was younger, summers were times when I would learn about the world around me in ways you couldn’t learn in school. Some days, the neighbor kids and I, armed with a “half-broke” fishing pole and a frayed “huntin’” net, would spend hours capturing fish, frogs, bunnies and any poor wildlife we could get our grubby, melted popsicle lathered hands on for our “backyard zoo.” Biology and anti-PETA lessons all in one. Other lazy days, when it would rain or the Indiana heat got to us, we would mindlessly waste the day with our hands glued to the XBOX controllers as “Battlefront 2” (with
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MONDAY, JUNE 6, 2016 | 3
me dominating because the force was definitely strong with me) or “Halo” (with me idly watching because I sucked at Halo) flashed on the TV screen. Early lessons in procrastination. What really made my summers were bonfire nights. The kind where the egregiously blazing sun left for the night, so that the temperature rested just a tad cooler. Girls would change into oversized sweatshirts for no reason at all and guys just kind of wore whatever they wore that day—as the flames licked all our bare legs alike. Many s’mores and feels were shared around bonfires, and as the flames died
editor’s note
down into embers, we would lay back in our lawn chairs and see all of the star—a single star—through all the light pollution and talk about our hopes and dreams. Lessons in farmer’s astronomy and carving sentiment out of over-used clichés. Less and less, summers become less of a break and more of a continuation of everyday life. In this volume of Recess, I hope that our stories can be a bit of a break from the daily chronicles of Duke. This year, in diversifying our coverage, everyone can find something that interests them.
Whether it be student life or popular culture or the newest Nasher exhibit, Recess will grow to not just to be the section that serves the niche few but expands to serve a little more than few. The stories and storytelling methods we have planned for this next school year will be experimental, but change is a good thing. My time at Recess has been marked by both lax and feature heavy tenures, but I hope that mine is a healthy mix of the two. And if you’re a curious writer who has a passion for the arts, media, popular culture, know that our doors are always open here at The Chronicle, and we would love to have you aboard. So whether you’re pool side, at an internship, nervous about coming to Duke or need to line a litter box, Recess is here for you this summer. Enjoy the summer, and if you can have fun, have it. —Dillon Fernando, Recess Editor
Do you like what you see? Think you could do better? Write for us this fall! Look for Recess at Chronicle information sessions next semester. or email djf23@duke.edu for more information
Ensembles & Performance Opportunities
Chamber Music Ensembles, coordinated by Jonathan Bagg, explore the repertoire for string quartet, piano trio, saxophone quartet, and other combinations. Groups receive weekly coachings with a member of the performance faculty in preparation for a public performance. The focus is on in-depth study of one or two complete works, allowing students to develop and refine their ensemble skills.
The Duke Jazz Ensemble, directed by John Brown, has a rich history of excellence. The ensemble performs at least two concerts each semester with guest artists noted for their high level of artistic achievement. Last year’s guests included Terri Lyne Carrington, John Fedchock, Mark Whitfield, and Jason Marshall. Small group Jazz Combos provide additional opportunities.
The Duke Chorale, directed by Rodney Wynkoop, is a concert and touring choir of 50 singers. This year’s annual Spring Break tour will go to Central America. The 2016-17 season will include a concert on Family Weekend, a holiday concert in Duke Chapel, and Brahms’ Nänie and Kodaly’s Te Deum with the Choral Society of Durham in April. Rehearsals are 7:30-9:30 pm Tuesday & Thursday. The 20-voice Chamber Choir rehearses 9:30-10:30 pm Tuesday.
The Duke New Music Ensemble [dnme], coordinated by Eren Gümrükçüoğlu, brings 20th and 21st century music to the fore, including new works by Duke graduate composers.
The Duke Collegium Musicum is devoted to the performance of early music, including Gregorian chant, Renaissance motets and madrigals, and Baroque sonatas and cantatas. Opportunities exist for singers and those who would like to perform on early instruments. The Collegium Musicum rehearses once a week for two hours. The Duke Djembe Ensemble, directed by Bradley Simmons, offers students the opportunity to develop skill in the art of West African drumming. The Djembe Ensemble memorizes each rhythm, just as the Mandinque people have for hundreds of years. The Afro-Cuban Class introduces students to the many exciting rhythms of the Cuban diaspora. Applied Music lessons for instruments & voice: Students may take one-hour weekly lessons (1/2 course) or half-hour lessons (1/4 course). Qualified juniors and seniors may take Independent Study in Performance, a full course culminating in a recital.
Open to all Duke students. Auditions are required for ensembles (0.5 credit) and applied music lessons (o.25 or 0.5 credit).
Ensemble Information Meetings Saturday, August 27 1:30 OR 3:00 pm (you choose) Rooms 019 & 101 Biddle Music Building
Auditions begin Monday, August 29 Audition schedule & ensemble info:
music.duke.edu/ensembles
Auditions are by appointment. Sign up on the doors of the audition rooms.
The Duke Opera Workshop, directed by Susan Dunn, presents operas, opera scenes, and musical theater revues. The 2015-16 season included a revue of movie music from the 1950s and “Broadway Goes to the Opera,” which featured excerpts from Oklahoma!, Street Scene, Sweeney Todd, Candide and West Side Story. An info meeting will be held on Wednesday, Aug. 31 at 4:40 pm in Room 075, Biddle Music Bldg. The Duke Symphony Orchestra is directed by Harry Davidson. The 2015-16 season featured works by Mozart, Beethoven, Schubert, Copland & others, as well as a celebration of the music of Tchaikovsky in the 175th anniversary year of his birth. A benefit concert in Beaufort, SC takes place each spring. Please join us for auditions with a prepared solo piece and the ability to sight-read an orchestral excerpt. The Duke Wind Symphony, directed by Verena Mösenbichler-Bryant, performs a wide variety of high level wind ensemble music. Highlights of the 2016-17 season include a concert with guest composer John Mackey, our annual Viennese Ball, and the Family Weekend concert in the Duke Chapel. We will start the season with Orff’s Carmina Burana. Come and join us!
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The Chronicle
CONVENIENCE. IT’S WHAT WE’RE ALL ABOUT. The Lobby Shop, located in the University Store, offers a variety of conveniences from crackers to candy bars, frozen foods and beverages to canned goods, natural snacks, and health and beauty aids. The Lobby Shop is open evenings and weekends to satisfy after-hours shoppers.
Upper Level, Bryan Center | Phone: 919-684-2179 Monday - Friday: 8:30am - Midnight Saturday: 9am - Midnight | Sunday: 11am - Midnight Department of Duke University Stores®
OPERATION: The Lobby Shop PUBLICATION: Chronicle HEADLINE: Convenience DATES: Send Home Issue 2014 COLOR: CMYK
got jazz?
Wanna PLAY jazz? Wanna LEARN about jazz? The Duke Jazz Program wants YOU! Get into the groove! with these courses:
Intro to Jazz (MUS/AAAS 140) Jazz Improvisation (Mus 171, 172) Special Topics in Jazz (MUS 290S) Private lessons are also available!
For info on courses and auditions check us out at music.duke.edu/ensembles/jazzprogram or contact Professor John V. Brown, Director jbrown@duke.edu 919-660-3385
The Chronicle
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Campus Arts
pArts aims to foster arts community among first-years Georgina Del Vecho The Chronicle
Last year, Duke saw the addition of a new preorientation program to its long-standing repertoire of Projects BUILD, WILD, Waves, Change and Search: Project Arts, or pArts. PArts, which focuses on building a strong arts community within the incoming freshman class for artists and art-lovers alike, enjoyed enormous success in its inaugural year fall 2015 according to one of last year’s program co-directors Shelby Wailes. “I think we emphasized that the main goal of the program was to form friendships and a new arts community,” Wailes said. “We did well in keeping this perspective when we ran into programming challenges.” Another goal of the program was to break the “Duke bubble” and to introduce first-year students to Durham’s vibrant arts community through outings to local concerts and museums or through community service projects in the city. “We did well with getting the new Duke students out of the ‘Duke bubble’ and into Durham,” said Alexis Shindhelm, the other 2015 program codirector. “I am well-pleased by how the structured schedule, although fluid in nature, was able to allow for friendships to be created that have grown much deeper than any created during my own preorientation experience.” However, that’s not to say the program did not encounter any problems. Both co-directors agree that the housing for the program—the AC-lacking and famously cockroach-ridden Crowell—could be improved upon for the Class of 2020 freshmen. The program also faced financial and exposure problems due to its novelty. “Other programs have a safety net of funding,” Wailes said. “Fortunately, DSG was able to give us a bit of funding so that we could make the program more affordable in our first year.” PArts hopes to repeat its successes this year under the advisement of the new program codirectors, Melissa Carrico and Alex Deckey. The pre-orientation program will again focus on building an arts community for the incoming class and introducing students to the Durham arts scene, although there will be some changes from last year’s themes. “The program no longer has a social activism theme, as it did last year,” Carrico said. “We want the first year students to focus more on their own transition into life at Duke and become familiar with the arts opportunities available at Duke and become familiar with Durham.” In addition to this theme change, pArts has added two new arts focuses, creative writing and visual media and restructured the crews themselves. “This year we focused on integrating the arts crews,” Carrico said. “Last year, crews were organized by art, now each crew had a mixture of different art forms.” The addition and success of pArts document the rising recognition of the arts at Duke. With the construction of a new $50 million arts center on campus, and the move of music and arts festivals like Moogfest to the Durham area, Duke’s and Durham’s art scenes are growing fast—a point aided by the fact that pArts has over doubled in size for its second year. “I’m so excited to see [pArts] grow so quickly and for it to be in such great leadership hands for this year,” Wailes said. “Duke’s arts community is growing rapidly and I think Project Arts should be a reflection of that growth.” Although it may seem as though the preorientation program is going through many changes in its second year, according to Carrico, pArts will still aim to create the same “safe, welcoming and fun environment for the first year students” that the program did last year. “The main goal of Project Arts this year is to successfully deal with the challenges associated with doubling the size of the program,” Carrico said. “Beyond that, we hope to help create a more cohesive arts community by preparing first-years to successfully become involved with the arts at Duke.”
Special to the The Chronicle pArts co-directors Alex Deckey (left) and Melissa Carrico hope to change the focus of the program this year.
Special to the The Chronicle Project Arts, which was created last year, has since doubled in size.
JOIN THE DUKE WIND SYMPHONY
Join the Duke University Wind Symphony for an exciting 2016/2017 season Perform concerts in the beautiful Baldwin Auditorium and the Duke Chapel Meet and perform works by our renowned guest composer John Mackey Perform concerts in the beautiful Baldwin Play fun, exciting, and challenging repertoire Auditorium and the Duke Chapel Host the annual Viennese Ball
Meet and perform works by our renowned guest composer John Mackey The Wind Symphony is open to ALL Duke students by audition. Play fun, exciting, challenging If you are and interested, email us! repertoire conductor: verena.m@duke.edu Host the annual Viennese Ball president: alex.pieloch@duke.edu
The Wind Symphony is open to ALL Duke students by audition. If you are interested, email us! conductor: verena.m@duke.edu president: alex.pieloch@duke.edu
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The Chronicle
Playground Feature
The good and the bad of political memes during election seasons Jessica Williams The Chronicle In one of the most turbulent, amusing, and even sassy American presidential elections of all time, it’s not surprising that social media has exploded with political activity—from lighthearted jokes to angry tirades on both sides. In the world of political posts, memes have stolen the show. Shared by anyone from the politically obnoxious but mercurial high school classmate you keep forgetting to unfriend or the older family member who posts way too much, political memes have clogged Facebook and other social media for months, and will probably continue to do so even when the election is actually over. But are political memes worth reading and posting? Here are our pros and cons of political memes: Pros: - Memes are funny. Whether we’d like to admit it or not, memes are generally quite witty. Though not usually funny enough to laugh out loud about, memes are a good source of internal chuckling during an otherwise monotonous day. - Political memes are relatable. If they weren’t easy to connect to, they wouldn’t be reposted. In the tricky world of politics, memes provide an easy way to connect with relevant issues. - Memes are short. They provide an easy, quick distraction to studying or work that won’t take too much attention away from the things you’re actually supposed to be doing. - Political memes inspire research on political issues. Because it sucks to not understand a joke, not comprehending a
meme can lead to research on whichever candidate or issue it’s about. - Political memes have a pretty equal playing field. With interesting characters from both political parties, jokes can be made regardless of ideological differences. - Political memes provide a positive approach to something otherwise possibly depressing. Whether you’ll want to move to Canada if Trump wins or if you’d never in a million years vote for Bernie, memes create laughter about the election rather than tears. Cons: -Political memes create a false sense of political action. Although social media is an important facilitator in the spread of political messages and action, sharing a meme is rarely taken seriously and doesn’t equate to actually getting involved with the issues. -They can misconstrue the issues. At a maximum of a few sentences each, memes provide little information on the subject they’re joking about, and are often heavily biased by the political beliefs of their creators. -Political memes may not take the election seriously enough. There’s always a time for laughter, but this election (like all others) is serious and will have a deep impact on the United States. Memes may not be the best way to portray the election’s gravity. -They can be straight up annoying. The frankness of memes can easily come off as offensive (especially to someone with a conflicting view), and seeing too many memes just makes them seem pointless. So, what’s the verdict? Political memes are good, but only in moderation. Although they can be witty, there is a fine line between Ted Cruz and the Zodiac Killer—or is there?
Special to The Chronicle Memes such as the one depicted above, mock Hilary Clinton’s alleged pandering to the youth as she tries to relate to younger demographics through pop culture during her campagain
Special to The Chronicle The uncanny resemblance between former Republican presidential candidate Ted Cruz and the notorious Zodiac Killer spawned several memes and internet conspiracies
Music Classes Gothic Bookshop AT DUKE UNIVERSITY
Open to first-year students!
Music 120: MUSIC, SOUND, AND STYLE (CCI, ALP, CZ) TuTh 3:05 PM – 4:20 PM, Anthony Kelley A study of the components of music (e.g. rhythm, melody, harmony, form, etc.) by listening to styles from different places and times, ranging from current popular artists to classical, jazz, and world music. Students will attend concerts at Duke & the surrounding communities and write commentaries.
Music 140: INTRODUCTION TO JAZZ (CCI, ALP) MW 4:40 PM – 5:55 PM, John Brown In this entry level course, students will learn to identify elements such as form, improvisation, swing, and call-and-response and how they are used in the many styles of jazz, and compare and contrast important compositions from the various historical periods within jazz.
Music 290S-01: CREATION AND RE-CREATION (ALP, R) F 10:05 AM – 12:35 PM, Susan Dunn Using Shakespeare's Othello, students will trace the influence of interpretations in different media, including different stage versions of the play, operas, a ballet, a Japanese Noh version, movies, and visual art. Trip to The American Shakespeare Center in Staunton, VA, to see a live play in a reproduction Elizabethan theater.
music.duke.edu
Get acquainted with the Gothic Bookshop, devoted to the fine art of browsing. We offer a 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.
For Everyone. All the Time. 20% off Hardcovers | 10% off Paperbacks Special Orders Welcome.
We offer academic departments and student organizations assistance in book support for special events.
Gothic Bookshop
Duke’s Independent Book Shoop (919) 685-3986 Upper Level, Bryan Center e-mail: gothic@duke.edu
Academic Year Store Hours Mon - Wed 8:30 am to 7:00 pm Thu - Fri 8:30 am to 8:00 pm Sat 9:00 am to 6:00 pm Sun 11:00 am to 4:00 pm DukeCard and Major Credit Cards
The Chronicle
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AMI 340S Experimental Filmmaking The history of avant-garde in film and video combined with production exercises.
Fall 2016 Courses AMI 101 AMI 201 AMI 202 AMI 209 AMI 210 AMI 301S AMI 306S.01 AMI 306S.02 AMI 320S AMI 340S AMI 356S AMI 357S AMI 499S
Intro to AMI Intro to Film Studies History of Documentary Film Film Noir Film Genres Moving Image Practice Writing the Movie Writing the Movie Film Animation Production Experimental Filmmaking 16mm Filmmaking Editing for Film & Video AMI Capstone
Landesberg Hadjioannou Price Morton Staff Milligan Staff Staff Herbert Kipervaser Gibson Haverkamp Kaul
WF 10:05-11:20 Tu 4:40-8:30, Th 4:40-5:55 M 4:40-7:40 W 1:25-4:25 TuTh 3:05-4:20 TuTh 1:25-2:40 M 10:05-1:05 W 1:25-4:20 MW 10:05-11:20 MW 1:25-2:40 Tu 3:05-6:05 MW 10:05-11:20 M 3:05-6:05
Carr 103 Carr 103 Carr 103 East Duke 209 Smith 271 Smith 101 Carr 103 Carr 103 Smith 101 Smith 101 Smith 101 Old Chem 201 Smith 101
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The Chronicle
DEMAN Feature
Disney’s Margaret Skoglund talks navigating the theater industry Tim Campbell The Chronicle Duke is nationally famous for many reasons, not the least of which is its uncanny ability to send graduating students to work at top financial institutions and medical schools. However, Duke’s campus is far more diverse than this reputation would make it seem. Walking around campus, one does not merely students like artists to athletes talented in only one discipline, but rather a collection of students who are all talented in many ways and offer a range of skills to the job market. Duke alumna Margaret Skoglund, Trinity ‘10, exemplifies this latter breed of Duke students and has found a niche for her many skills and experiences in the arts industry. Skoglund is currently an associate company manager with The Walt Disney Company’s theater division. While at Duke, Skoglund was active on campus in addition to studying political science and film. Besides a more expected involvement with Hoof n’ Horn, a Duke’s musical theater group, Skoglund was
also a manager for the women’s basketball team for four years, a member of the Duke University Union and even an RA. “Anything I could get my hands on I liked to throw myself into, and I very much credit Duke for creating fertile ground for that,” Skoglund said. Like many Duke students, Skoglund came to Duke with dreams of law school or finance, and focused her attention on theater only after working with a theater production company to manage multiple performances while attending Duke in Los Angeles. “When I got to Duke I was very much prepared to go into ‘Corporate America,’ but I always had this nagging desire to go into the business side of entertainment,” Skoglund explained. “Because of Duke in L.A., I made the commitment to go head first into it.” Since the program, Skoglund has been able to work with many prominent people and companies, in addition to her current role with The Walt Disney Company. Skoglund’s former employers include producer Scott Rudin, who has won multiple Tony awards in addition to a Primetime Emmy, Grammy and an Academy Award, and Laura Ziskin, whose credits include Pretty Woman and the Spider-Man trilogy, and who was the first woman to be sole producer of the Academy Awards. Skoglund explains that these various experiences taught her a great deal about the entertainment industry, about both success and the corresponding stress that usually accompanies a job with a highly successful employer. “You’ll face a lot of big personalities,” Skoglund said. “Usually in the entertainment industry, you’re underestimated until you’ve proven otherwise.” Scott Rudin is one such ‘big personality’ that Skoglund has encountered; the San Francisco Chronicle quoted screenwriter and novelist John Gregory Dunne in describing Rudin as “the bully boy’s bully boy, both impossibly demanding, even cruel, to subordinates… and impossibly funny, a jovial Mephistopheles.” While Skoglund acknowledges
that Rudin and similar characters in the industry can be demanding, she cheerily accepts this as part of the territory. “He’s really good at his job. His tactics might not be the most politically correct, but when it comes down to the actual work, he was brilliant. So, that was really cool to experience firsthand,” Skoglund said. Skoglund currently works as an associate company manager with The Walt Disney Company and has participated in multiple productions, including “The Lion King” and “Newsies.” Unsurprisingly, working with Disney has been a singular experience for Skoglund, which she considers largely positive. “It’s so different,” Skoglund said of her transition into working with Disney. “When you sign up to work in Broadway theater, most businesses are run as true mom-andpop small businesses… So, getting a job at a Fortune 500 company, where all of a sudden I have an HR department and shareholders was a huge shift for me.” Skoglund’s position at Disney simultaneously increases her access to helpful resources and limits her autonomy to a certain degree. “It informs a lot of my daily responsibilities,” she explained. “On my other shows, I’m used to being able to go to the bank and withdraw money. On a Disney show, they’re not going to give Margaret Skoglund the ability to go to a bank and withdraw cash.” Despite these limitations, a job with Disney offers incredible advantages to Skoglund both personally and professionally. “The synergy among the various departments is very powerful,” Skoglund said. “But it’s people first. It’s not just about getting every last dollar that the show can yield.” Skoglund’s job as associate company manager lies at the intersection of the various aspects of play production. Her role requires her to interact with people at all levels of the business, from executive producers to actors and lighting teams. “An associate company manager is at the intersection of operations, HR, investor relations and therapist,” Skoglund said with a laugh. “One bucket of my job is dealing with all the money… another is logistics… and the third is taking care of people.” While logistically difficult, her role is also exacting due to the emotional support that she must give to the actors. On long tours, a show’s personnel can be away from home for
months at a time, separated from friends and family and strained by highly demanding schedules. “It’s not uncommon for colleagues to break down crying in front of me, and I’ve gone to more ERs with colleagues than most people probably ever have.” Perhaps because of the mental and emotional fortitude that her position requires, Skoglund has not lost her energy or need for involvement since graduating. Rather, she has been prolifically involved with her own projects, which keep her grounded in an industry that can take over your life if you let it. “I think it’s easy to let the job completely define you, and one great piece of advice my boss gave me is ‘the show will never love you back,’ so I’ve made sure that I’ve kept a lot of really meaningful side projects happening,” Skoglund said. These projects include a theater production company that Skoglund leads with a friend, Prooffix, a translation and proofreading company of which Skoglund was the COO and pARTy, a theme party in New York City intended as a platform for artists to show their work. “As cool as it is to walk through a stage door at all these different venues around the country, at a certain point it becomes just like any other job.” Through all her exploits, Skoglund considers Duke crucial in helping her define her skills and prepare herself for her career. “Instead of practices, I have rehearsals. Instead of games, I have performances. When I’m ‘on call’ I’m doing rounds at the theater,” Skoglund laughs. “ [S]o I feel like being an RA and a basketball manager could not have prepared me better for Broadway, which is hilarious because they’re such disparate fields.” While many Duke students may feel that graduate school and business are the only viable routes to success, Skoglund shows us otherwise. Though Skoglund has certainly carved her own path—due in no small part to her unique set of skills that she refined at Duke—her story demonstrates that a career in the arts is not necessarily the pipe-dream that many people make it out to be. Margaret Skoglund is a part of the DEMAN network that connects both students and alumni in the arts and media industries together through LinkedIN, social media and on-campus events. Look for DEMAN events and networking opportunities throughout the academic year.
Staff Picks
The Recess 2016 Alternative Summer Playlist Recess Staff The Chronicle Tired of the radio’s summer smash hits? Did you realize you can actually stop feeling JT’s new single or that seems like “7 Years” more accurately describes how long the song has been on track lists? Well, if you answered yes to any of those questions, then this is the article for you. Here are a few tunes on our Spotify that the Recess staff has picked for you to jam out to this summer. “Kiss From A Rose” – Seal Great for family and friends and a nice hot day at the beach “Up Up Up” – Givers Givers’ spirited track is as optimistic as it is catchy. More than that, though, it’s got so many distinct sections, this single addition to your summer playlist might as well be several.
“tbh ily (Kidwaste Remix)” – Chet Porter This is a calming song that has a really unique sound and that’s just fun to listen to.
“Safe Till Tomorrow (ft Angelika Vee) (Bee’s Knees Remix)”– Morgan Page This is an upbeat, feel-good song that’s not too intense; perfect for just hanging by the pool or driving to the beach. “Fill In the Blank”–Car Seat Headrest This song is made to be driven to. Full of paranoia, self-doubt and explosive drumming, it’s a powerful opener to Car Seat Headrest’s new album. “U-Turn” – Tegan and Sara The past few years have seen a flood of 80s-inspired jams, but this may be the one to beat them all. The synths are dazzling, and Tegan and Sara’s lyrics meld into the melody so perfectly that you won’t be able to keep this
song out of your head.
“Vroom Vroom” – Charli XCX Need a song to blast while you’re riding in a “lavender Lamborghini” with your mains? Look no further than this futuristic romp. “Sunshine All Night” – Gold Motel This upbeat song is all you need for your summertime adventures, wherever they may take you. “Keeping Your Head Up – Don Diablo Remix” – Birdy, Don Diablo For whatever mood, happy, sad, hungover, this song knows how to speak to you. Trust me. “Cheap Thrills” – Sia ft. Sean Paul For those nights where you’re broke and are looking for fun inspiration this summer, this is your national anthem. Warning: You may not understand what either singer is saying during the course of the song. That’s fine, just let the music enthrall you.
More Online
Check out the Recess online page for more great reads, including the Spotify playlist for this Summer Playlist!
The Chronicle
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Local Arts
Recess’s Declassified Beyoncé Concert Survival Guide Kirby Wilson The Chronicle When I purchased my Beyoncé tickets in January, this was not the type of story I was expecting to write. When one thinks Beyoncé concert, one doesn’t think “gut-wrenching” or “monsoon-induced hypothermia” or “hospitalization.” But as I sprawled across my girlfriend’s bathroom floor, clutching her vomit-ravaged toilet, I was hardly reflecting on Queen Bey’s choreography. In fact, I was pretty sure I was going to die. But perhaps I’m getting ahead of myself. I’ve only been to one Beyoncé concert in my life (this one), and it was a harrowing ordeal. I survived, though, and I feel it is now my purpose to impart the wisdom I learned from an evening fraught with tension, mortality contemplation and sugary sweet pop jammers. Here are my eight tips for surviving a Beyoncé concert: 1. Plan for more traffic than you thought was possible. Beyoncé was set to take the stage at 9 p.m. My crew pulled out of Duke at 5:55 p.m., in more than enough time to catch all of our heroine’s set. We coasted down the interstate blasting The Queen’s phenomenal new record “Lemonade” debating which song was the best. My good friend, Austin, informed us that Beyoncé’s favorite was the soulful “All Night,” complete with its compassionate Jay-Z infidelity-forgiving and Outkast horns sample. (I’m with Her Highness on this one). But when we got about halfway down the stretch of I-40 to the concert, we hit...ok, so imagine all the traffic you can. Then square it and quadruple that and then add the
numerical value of Warren Buffett’s net worth, and that’s how much traffic we hit. Around 7:30 p.m., I saw people beginning to ditch their cars, attempting the rest of the two-plus miles to the arena on foot. It then dawned on me that we may miss some of Beyoncé’s set. 2. Bring running shoes. Sadly, I was correct. We pulled into the already-muddy PNC parking lot around 9:40 p.m., a full three quarters of an hour after Beyoncé took the stage. We missed “Formation.” We missed “Hold Up,” the song to which she busts up a street with a baseball bat in the video version of “Lemonade.” We even missed “Run the World (Girls),” by all accounts one of the best-choreographed numbers of the set. In total, we missed about a third of Beyoncé’s per formance. We weren’t going to miss any more. My three friends and I made a mad, multi-hundred yard dash to the stadium, entering just in time for the rollicking, Jack White feature, “Don’t Hurt Yourself.” To be honest, even the two thirds of that song that I saw was worth the entire trip. The
raw emotion of her performance sticks with me even now. 3. Be prepared for inclement weather. Around half an hour into our truncated Beyoncé viewing, the heavens opened up for a second time (the first time being the birth of The Queen, obviously). Beyoncé left the stage. The PA announcer advised that the event had been suspended, but not cancelled. My nonponcho-ed friends and I sulked off to shelter, the dampness of our shirts only matched by the all consuming wet of our clothes. 4. Even if it rains, remember to drink water. Hydration is important. 5. When the Gods grant you more Beyoncé, grasp all of it with tightly clenched fists. When they reopened the gates, the throng of tens of thousands of loyal Trianglers instantly transformed into a jungle. There was no way to verify our seats (except for yellow, “floor level” wristbands), so we pushed our way to the
lower bowl level, significantly upgrading our position. Oh my, was it worth it. The next hour of entertainment I consumed is one I will never forget. Beyoncé returned to the stage to rapturous applause, bursting into an unconscionably hype rendition of “Daddy Lessons.” (For the uninitiated, this is the song off of “Lemonade” that Beyoncé used to prove she could record a better country song than any other living artist, just for the heck of it). She moved the crowd with the tour premiere of “1+1.” (Man, can that Lady sing). She honored the late, legendary recording artist Prince by playing a recording of “Purple Rain” as she changed eye poppingly alluring outfits. (I have never seen a more beautiful woman with my eyeballs). She rocked the crowd into delirium with “Crazy In Love.” (Shout to the Destiny’s Child fans). Yet all of these moments somehow paled in comparison to Our Lady and Savior’s performance of “Freedom (ft. Kendrick Lamar).” While dancing impeccably through somewhat redundant knee-level stage water, Beyoncé reminded us of our freedom. Our freedom from the patriarchy; from unfaithful lovers; from our own inhibitions; from racial barriers and social injustice and pain and fear and haters. “I’ma keep runnin’ / cause a winner don’t quit on themselves,” she sang. And in that moment, I had hope. Beyoncé gave me the strength to carry on. A strength which was reaffirmed one hundred fold by her closing performance of “Halo.” After “Freedom,” she played the video clip from which she got the title of her album. JayZ’s grandmother stands before an unnamed crowd, proudly declaring, “I had my ups and See BEYONCÉ on Page 15
Playground Feature
The impact of Beach Boys’s ‘Pet Sounds’ 50 years later Alex Griffith The Chronicle This past May, “Pet Sounds” passed the 50year mark since its release in 1966, and with the passing of this milestone, the concept of critical artistic value in popular music turned 50 as well. The Beach Boys’ opus, “Pet Sounds” set the standard for mainstream music for its era and helped define the psychedelic pop sound that would flourish and percolate through all other genres of music. Borne out of Brian Wilson’s inability to tour with the rest of the band, “Pet Sounds” was meticulously arranged by Wilson in an attempt to craft an artistic response to the Beatles’ psychedelic classic, “Rubber Soul.” Featuring Phil Spector’s session orchestra and a wide range of other equipment and effects, Wilson’s instrumentation was crafted over the course of over ten grueling months. The obsessive bandleader recorded and re-recording parts over and again until he achieved the sound he wanted—an ingenious, sublimely trippy blend unprecedented in the popular canon. Wilson’s unique sound was no coincidence: many of the instruments he used, including the theremin, accordion and harpsichord, were brand new to pop music. The remaining Beach Boys returned from tour to find vocal parts awaiting them that were far different from the straightforward, danceable harmonies they had performed on their early tracks. Wilson’s high standards and the psychedelic influence found in the music (the “uptight” folks in “I Know There’s an Answer”; also see “Sloop John B”: “This is the worst trip I’ve ever been on”) did not sit well with the other members of the band, who brought their own lyrics to the table as
Special to The Chronicle The Beach Boys’s ‘Pet Sounds’ passes its 50-year anniversary and is known for its impact on popular music today.
well. Despite some conflict, the band slaved in the studio under Wilson’s guidance, and the album was released May 16, 1966. Critics did not immediately greet the album with the same praise they lavished on “Rubber Soul,” justifying many of the band members’ Wilson-contradicting opinions. Overshadowed by the Beatles’ next album, “Revolver,” “Pet Sounds”’ mainstream reception remained lukewarm, though other musicians received it well. Eric Clapton has
since praised the record and Paul McCartney even claimed that the album inspired “Sgt. Pepper’s Lonely Hearts Club Band.” Conceived by Wilson as an attempt to create a cohesive work of art, “Pet Sounds” is an early concept album. The themes of love, both lost and found, and struggling to relate to the world are found consistently throughout the record. And the songs have thematic similarities, despite the disparity in musical tones. “Pet Sounds” helped change
the very face of pop music: The concept album played a key role in the shift away from singleoriented pop that dominated the marketplace in the 1960s, and it helped birth album rock. The record, with its reliance on orchestration and recording techniques, its unusual keys, and its atypical song structures, also helped created progressive rock. Wilson experimented with bizarre instrumentation, using an eclectic mix of percussion instruments and used recordings of normal objects, including a train and a dog barking on “Caroline, No.” These influences carried over into the progressive rock that would dominate pop music in the 1970s and 1980s. Despite its far-reaching influence, however, “Pet Sounds” stands alone. From the indelible arpeggios interrupted by the crashing snare of the opener “Wouldn’t It Be Nice,” it does a masterful job of connecting the saddest of human emotions—heartbreak, distance from society—to incredibly complex, yet upbeat instrumentation in tiny pop song chunks. No song is longer than three minutes and twenty seconds. Take “I’m Waiting for the Day,” the fifth song on the album. Crashing tympani open the song, only to give way to a sweeping symphony of flute, keyboards and strings backed by the signature doos and dahs of the Beach Boys. Brian Wilson’s lead vocals bemoan a woman who can’t love after another lover broke her heart. His deliciously upbeat arrangement belies the bittersweet sadness of the song. Wilson’s lyrics reach for something completely accessible, yet still distant: “He hurt you then, but that’s all gone / I guess I’m saying you’re the only one / I’m waiting for See PET SOUNDS on Page 12
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Passionate about health and wellness? Future doctor looking for community healthcare experience? Love shooting hoops with kids? Kohl’s Bull City Fit is hiring Wellness Program Supervisors for the 2016/17 academic school year! Supervisors are responsible for leading a variety of activities for children ages 2-18, at least 6 hours/week. Duke students with work study will be given preference. Kohl’s Bull City Fit is a community-based wellness program for patients of the Duke Children’s Healthy Lifestyles program, a childhood obesity clinic in Durham.
Contact Kiah Gaskin (kiah.gaskin@duke.edu) to learn more about position openings and to apply. More information at www.kohlsbullcityfit.org
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Local Arts
Recess picks must-see triangle summer concerts Drew Haskins The Chronicle Now that Duke students are free for the summer, they’ve scattered to all corners of the globe to work, be merry and take advantage of these beautiful months. However, some people are sticking around Durham and the Triangle Area, to which we at Recess say, “Lucky you!” The Triangle Area is one of the best places to see concerts in the US, and this summer has an awesome slate of artists that you won’t want to miss. We’ve taken the liberty of picking the best concerts of this summer so, if you’re around Durham, go check one out! It’ll make your summer totally not a bummer. Chris Botti—6/9 at The Carolina Theatre One of America’s foremost jazz trumpeters and composers, Chris Botti has won one Grammy and been nominated for several more. He will play selections from his ten-LP discography in what is sure to be a lush and toe-tapping evening. POWERS—6/13 at Cat’s Cradle The pop band Powers has risen to prominence over the past year thanks to the strength of its first two singles “Beat of My Drum” and “Loved By You.” Dual vocalists Crista Ru and Mike Del Rio have amazing voices that provide emotion and fire to their eminently danceable jams. PopUp Chorus—6/20 at Motorco Music Hall PopUp Chorus is a Triangle Area staple that lets community members join a glee club for an evening. During each session,
the directors teach the audience one or two songs that then get arranged with live instrumentation. Participants in the 2015 DukeEngage Academy got a taste of PopUp Chorus firsthand, and so can you. Kevin Morby—6/24 at The Pinhook Texan singer-songwriter Morby recently released his excellent third album, “Singing Saw.” It’s full of beautifully confessional folk rock and has garnered some of the best reviews of the year so far. Check out the song “I Have Been to the Mountain” before the show for evidence of Morby’s singular talent.
by an environmental catastrophe in her neighborhood. You’d never know it from her music, though; this is paranoia you can dance to all night. Lindsey Stirling—7/18 at DPAC Stirling may be one of the few musicians in the world who has managed to entice younger generations to embrace classical music. This is largely because her music blends classical violinwork with elements of dubstep, dancehall, and EDM. Her show at DPAC will display how one violin can truly command a crowd.
Swans—7/26 at Cat’s Cradle Legendary band Swans has had a storied 30-year career. Their wildly experimental rock music has seen resurgence in recent years with many imitators and groups that call it a major influence. However, Swans’ output from the past five years show that they’re still an original powerhouse. They have a reputation among concertgoers as one of the best live shows around, so you won’t want to miss out on their latest trip to Cat’s Cradle.
Mitski—6/26 at The Pinhook Mitski is on a roll this year due to the buzz surrounding her emotionally devastating singles “Your Best American Girl” and “Happy.” Fans of St. Vincent and Bleached will enjoy her great guitar-playing skills and lofi vibes. She will come to the Pinhook to play an intimate yet rocking show to celebrate the release of her upcoming album “Puberty 2.” Adia Victoria—6/30 at Kings Barcade Adia Victoria is an indie alternative singer from Nashville who is currently touring her debut album “Beyond the Bloodhounds.” The LP is an unsettling record full of dark harmonies, booming percussion, and sludgy guitar work that creates a unique atmosphere. Her automaton-inspired aesthetic should enhance her aural work in a live setting. Jessy Lanza—7/5 at Cat’s Cradle Lanza is a Canadian electronic producer and singer. Her new album “Oh No” was inspired by sensations of the paranoia and claustrophobia she felt when confronted
Special to The Chronicle Lindsey Stirling one of the featured performers in the Triangle this summer will playing her mi x of strings and EDM inspired music at the DPAC July 18.
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DUKE SYMPHONY ORCHESTRA AUDITIONS Saturday, August 27 Information Meetings
1:30 or 3 pm (you choose)
Monday, August 29 6 - 9 pm
Viola, Cello, Bass
Tuesday, August 30 Flute, Oboe Clarinet, Bassoon
5 - 10 pm
Wednesday, August 31 Horn, Trumpet Trombone, Tuba
6 - 9 pm
Thursday, September 1 Violin
5 - 11 pm
101 Biddle 084 Biddle 104 Biddle
019 Biddle
084 Biddle
The Duke Symphony Orchestra is open to all members of the Duke community by audition. Our season features formal concerts in Baldwin Auditorium, an outdoor pops concert, a Family Weekend concert in Duke Chapel, and our annual trip to Beaufort, South Carolina, to play a benefit concert for the Duke-affiliated Keyserling Cancer Center. Harry Davidson, music director 919-660-3324, hdavid@duke.edu
music.duke.edu/ensembles
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Campus Arts
The Monti adds a storytelling component to Duke Engage Academy Tim Campbell The Chronicle
Every year, hundreds of Duke students participate in DukeEngage Academy, a set of workshops and classes intended to prepare students for their DukeEngage service. This year, for the first time, DukeEngage teamed up with local Durham nonprofit The Monti to add a new spin to the traditional program. The Monti is a Durham-based nonprofit organization with an unconventional cause: rather than fighting social injustice, The Monti and its founder, Jeff Polish, seek to spread the art of storytelling. The organization accomplishes this by employing members of the Durham community, as well as guests and celebrities, to come and tell stories that Polish deems socially relevant or otherwise impactful. “I invite people to come and tell stories on a given theme,” Polish said, describing the original format of The Monti’s shows. Stories can range from humorous to heartbreaking, depending on the theme of the show; while some shows involve whimsical topics, Polish recently curated a show on race and racial identity, which he described as highly difficult and provocative. “That took a lot of courage, a lot of thought, and I didn’t know if I was up for it because it’s such a charged topic,” Polish said. Since it was first established in 2008, The Monti has been engaging the community in topics in the same vein, and the nonprofit has since earned a reputation for engaging community members in thoughtful discourse about subjects that can be difficult to discuss in day-to-day social settings. DukeEngage Academy states on its website that it attempts to “provide the groundwork and tools for effective civic engagement, safety and self-care” and provide students with the ability to reflect on their place in the world. The Academy similarly attempts to instigate conversations about sensitive topics that are relevant to Duke students’ service trips. The Monti is therefore a well-suited partner for DukeEngage, as its fundamental goal is to provide an avenue for people to communicate within and between communities. “It’s about the community telling stories to the community. I want the storytellers and the audience to have the same feelings I have when I am touched by an honest and real experience,” Polish said in a statement on The Monti’s website. The collaboration served multiple purposes for DukeEngage, many of which were practical. Polish identifies one of the crucial components of The Monti’s work as reinforcing the lessons taught at the Academy. “Everybody will listen to a story,” Polish said. “We’re wired to listen to stories, to absorb information when it’s couched into a compelling narrative.” Meredith Casper, DukeEngage’s assistant director for training & student development, worked with Polish to incorporate The Monti into DukeEngage Academy. Casper felt that The Monti helped to drive home lessons that students learn at the Academy, from broad principles to practical advice that can help a student avoid getting their personal belongings stolen, as one storyteller recounted in their story. “We all benefit from examples,” Casper said. “You can say a statement or principle or policy or procedure, but when we talk about the why and the how, an example through a story serves as a powerful tool for learning.” Apart from helping the Academy communicate practical advice, Polish worked with DukeEngage staff to help academy leaders—students who formerly participated in DukeEngage and who have returned to help teach future participants—communicate the personal impact that their DukeEngage experiences had on them. “Sometimes it’s hard for students to say what their biggest takeaway was from the summer,” Casper said. “Our student program and our collaboration with The Monti are a way for us to provide some reentry programming that helps students continue to reflect and continue to process what those lessons are.” This reflection is invaluable to both the Academy leaders telling the stories and to the students hearing them; while the student can learn valuable lessons from previous DukeEngage participants, leaders can
reflect on lessons learned from their time abroad by working with The Monti to consolidate their experiences into a cohesive story. “I think it’s a very powerful reentry resource for students who are still processing their experience,” Casper said. However, Polish warned that students should be careful to avoid ‘voluntourism,’ a word used to describe service done abroad which may be ineffectual, misguided or even narcissistic and is especially used to refer to short-term volunteering by citizens of wealthy countries in poorer regions. In the context of DukeEngage, Polish feels that voluntourism is most crucially addressed in the perspectives of student volunteers as they reflect on their experiences abroad. “When people are telling stories about their
DukeEngage experience they should be personal stories, not about the poor kid that they met and that they tried to inspire to do something great. That’s the kid’s story, not the student’s story. I want to make sure that the stories are about personal transformations, not somebody else’s,” Polish explained. In essence, voluntourism is as much in the mind as it is in the actions of volunteers; if students fail to adequately reflect on the context of their service and understand its impacts, then they fail to truly grow from their experiences.
For
more of this article, visit Recess at dukechronicle.com
Save the Date: Wednesday, August 31, 7 PM Free public reception featuring southern fare and live music
All Duke students are invited to celebrate the opening of
2001 Campus Drive, Durham I nasher.duke.edu/southern TOP: William Eggleston, Jackson, Mississippi, c. 1969. Dye transfer print; 13.563 x 21.063 inches (34.5 x 53.5 cm). Private collection. Image courtesy of the Eggleston Artistic Trust, Memphis, Tennessee, and Cheim & Read Gallery, New York, New York. © Eggleston Artistic Trust. Southern Accent is co-organized by Trevor Schoonmaker, Chief Curator and Patsy R. and Raymond D. Nasher Curator of Contemporary Art at the Nasher Museum of Art at Duke University, and Miranda Lash, Curator of Contemporary Art at the Speed Art Museum in Louisville, Kentucky.
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Playground Feature
The Chronicle
Exploring the hype behind the Broadway hit ‘Hamilton’ Christy Kuesel The Chronicle
Special to The Chronicle Creator and actor in “Hamilton” Lin Manuel Miranda performs during a showing of the musical
“Hamilton: An American Musical” is a name recognizable to nearly every ear. Most Americans today are divided into two camps: those who don’t understand what all the hype is about, and those who would give their left arm to see the show on Broadway. The rise of “Hamilton” to worldwide fame is impressive considering the show only premiered off-Broadway in Feb. 2015. So how did Hamilton reach the critical and public success it has in such a short time period? Lin Manuel Miranda originally got the idea for “Hamilton” when he picked up “Alexander Hamilton,” a biography written by historian Ron Chernow, in an airport. Miranda first decided to adapt the book into a hip-hop album entitled “The Hamilton Mixtape” and
Hone your acting and movement skills for opera & musical theater in
Opera Workshop (Mus 213-1)
Info Meeting Wednesday, August 31 4:40 - 6:00 pm, 075 Biddle No experience needed! All are welcome!
Interested in voice lessons? We offer Beginner & Advanced Beginner classes as well as private lessons.
performed the now famous Alexander Hamilton rap at the 2009 White House Poetry Jam. He then developed his idea into a musical, which sold out at the offBroadway Public Theater in New York City. Ever since transferring to Broadway at the Richard Rogers Theatre in Aug. 2015, the show’s success has skyrocketed. “Hamilton” has won the Pulitzer Prize for Drama as well as a Grammy Award for Best Musical Theater Album. The show has also been nominated for a record-breaking 16 Tony Awards, including seven individual actors being nominated for their roles. Does “Hamilton” deserve all of its praise? The show is certainly a phenomenon in how quickly it captured the hearts and imaginations of all different kinds of people and its level of critical success, especially considering the topic of the musical. Ten years ago, no one would have believed that the most popular Broadway show of 2016 was about one of the less well-known Founding Fathers. What makes “Hamilton” so special is that it dabbles in many different fields but does not commit to one. The show combines rap, history and politics to form a musical that is not only about Alexander Hamilton himself, but also about how history is formed and what America has become. Though the “Hamilton’s” titular character is the focus of the show, Hamilton’s perspective is by no means the only viewpoint explored by over the course of the play. The audience sees Hamilton as a great orator in the eyes of his friends, a greedy elitist in the eyes of his enemies and a hero in the eyes of his wife. Central characters—including Aaron Burr and Thomas Jefferson—all had different opinions of Hamilton and what he contributed to the founding of America, but the audience is ultimately left to form their own opinions of him. The mechanics of “Hamilton” also make it stand out from other Broadway shows, as the show seeks to be more accessible to its audience than most any other show. The diverse cast seeks to more closely emulate the racial makeup of America today rather than in the eighteenth century, and almost all of the main roles are played by racial minorities. The show also makes significant inroads into making the show available to those who would not normally be able to see it. A ticket to “Hamilton” on any given night requires having several hundred dollars sitting around, and the lottery that take place for tickets is the only affordable way to see the show. The live lottery that takes place every Wednesday features a #Ham4Ham show, where Miranda, often accompanied by guests from his show or elsewhere, gives a short performance to entertain those waiting to find out if they scored one of the coveted last-minute tickets. “Hamilton” also made history once again by starting a program where 20,000 eleventh-grade students in New York City will pay only $10, or one “Hamilton” bill to attend a Wednesday matinee performance of the show. What lasting mark will “Hamilton” leave on Broadway and on popular culture? It is impossible to tell whether Hamilton, with its diverse cast and accessibility to its fans, will transform the way Broadway operates. The show’s efforts to include all its fans, both online and at the actual show, instead of merely those who can afford ticket prices could pave the way for a more inclusive Broadway. “Hamilton” tells audiences the story of how a selfmade man changed the course of history while actually making history itself. Only time will tell what impact the musical will have on show business. In the meantime, we can only wait for the national tour.
Auditions (075 Biddle Music Bldg.) Tuesday, Aug. 30 1:30 - 4 pm
Wednesday, Aug. 31 10:30 am - 12:30 pm & 1:30 - 4:30 pm Be prepared to sing scales & a piece of your choice. (Bring music for the provided accompanist.)
More info:
opera@duke.edu or visit music.duke.edu/ensembles
Special to The Chronicle The cast of “Hamilton” performs at the White House
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BEYONCÉ from page 9 downs, but I always find the inner strength to pull myself up. I was served lemons, but I made lemonade.” It’s a cliché, turning lemons into lemonade. But what is a Beyoncé show if not a cliché? The pop star stadium experience has been done a thousand times over. Beyoncé stands alone not because of her originality, but because of her ability to tower above her peers even while offering a similar live product. A Beyoncé concert shows us the power of the cliché. After all, how could something become popular enough to assume cliché status without offering some sort of higher truth? 6. Don’t go to Cookout after the show if your stomach isn’t feeling great. You will soon see why this is relevant.
7. When the food poisoning strikes, have kind friends who will take you to the hospital. Yeah, the post-concert cookout was a mistake. Around 4:00 a.m., I awoke with sharp stomach pains and proceeded to throw up somewhere between infinity and one thousand infinity times before my girlfriend mercifully escorted me to Duke Urgent Care. I was completely dehydrated (there’s tip #4!) and unable to keep down water. I have never felt worse in my entire life. I experienced 3.5 hours of traffic, two separate downpours, and a stomach plague that reduced me to a green pile of human jello. Yet as the doctor hooked up the salubrious liter of IV fluids, I had one sentence playing on repeat through my mind. “Worth it.”
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PET SOUNDS from page 9 the day when you can love again.” From “Wouldn’t It Be Nice” to the Bahamian folk cover “Sloop John B” to “Caroline, No,” “Pet Sounds” dominates all emotions and demonstrates the magic of Brian Wilson’s pop engineering. The album closes with the wistful anthem “Caroline, No,” which concludes with a dog barking over the sound of a train rushing to some unknown destination. Just like that train, music hurtled headlong into the unknown in the fifty years since “Pet Sounds.” And just like that train, our top 40 hits could never have existed without the Beach Boys. “Pet Sounds” was composed by Wilson as a great pop album, but its influence will loom as long as pop music continues to be made.
Special to The Chronicle The album cover for the Beach Boys’s
duke dance program
auditions Wednesday, Aug. 31 Ballet Repertory with Tyler Walters 4:40 pm @ Ark Studio
& African Dance Repertory with Ava Vinesett 7:45 pm @ Ark Studio
Special to The Chronicle Beyoncé’s current world tour is based off of her visual album “Lemonade” which was released on HBO in April. The album allegedly discusses infidelity in her marriage to rapper Jay-Z.
Thursday, Sept. 1 Modern Repertory with Bill T. Jones choreography, led by Andrea Woods 6:15 pm @ Ark Studio Bharatanatyam Rep Dancers with experience contact pshah@duke.edu
Monday, Aug. 29 OPEN HOUSE! Meet faculty & dancers! 5:00 pm in Ark basement studio
DANCEPROGRAM.DUKE.EDU
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Lower Level, University Store, Bryan Center • 919.684.8956 Academic Year Store Hours: Monday - Wednesday: 8:30am - 7pm Thursday & Friday: 8:30am - 8pm | Saturday: 9am - 6pm | Sunday: 11am - 4pm
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