I probably caught wind of this really late, but how great is it that Spencer Krug will stop by Local 506 with his Sunset Rubdown June 15 and less than a month later Dan Boeckner will stop by the same venue (July 13 as presented by the Cat’s Cradle) with Handsome Furs? Plus, both shows are only $10 (advance anyway). It’s like seeing Wolf Parade without having to endure “Kissing the Beehive.” (Though, having experienced that 10-minute piece live, there are much worse things to have to put up with.)
Bob Dylan. Willie Nelson. John Mellencamp. Possibly the perfect summer concert but made even better by the venue: your local minor league baseball park. The triumvirate will be making a stop in Durham at the Durham Bulls Athletic Park Tuesday, July 28. The gates open at 5:00 p.m. and the show starts at 5:30 p.m. All tickets are general admission and cost $67.50. Children 14 and under get in free. For more dates and information, check out the aggregation of press releases at Brooklyn Vegan.
Never a university known for perfect town-gown relationships, the behavior of Duke students on LDOC seems reason enough to sour those feelings more, even if the students tend to remain on campus. So it’s funny to read various blogs that covered this year’s last day of class festivities. From the Indy Week’s Scan:
One student, hoisted onto her boyfriend’s shoulders, grew impatient with the newer material, with which Folds led the show. After telling her beau that the view was great, but meant she couldn’t finish her beer, she told Folds to “play something good, asshole.” For the diehard Folds fans—and those old enough to have watched MTV in the ’90s—it meant singing along to “Brick,” “Still Fighting It” and “Army” (during which, Folds broke a string … a piano string), occasionally yelling with ecstasy, and swaying back and forth, arms around your fellow man. Again, a lot of hugging.
And the less funny post from Triangle Music Blog:
By the end of the night, the campus was wrecked and everyone wandered home and hopefully stayed out of trouble.
After a successful run last year, Duke Performances is bringing back its summer Music in the Gardens series. Called “Music in the Gardens: Listening Locally,” the series puts the spotlight on “the best forward-thinking art from the state.” This years schedule looks great.
May 20 – Ciompi Quartet with Sandra Cotton, soprano – Kirby Horton Hall, Duke Gardens
May 27 – Ciompi Quartet with Vega String Quartet and Joe Robinson, oboe – Nelson Music Room, East Building, East Campus
June 3 – Thad Cockrell
June 10 – The Rosebuds
June 17 – Megafaun
June 24 – Alina Simone
July 1 – Dex Romweber Duo
July 8 – Mallarme Chamber Players with Brussels Chamber Orchestra – Kirby Horton Hall, Duke Gardens
July 15 – The Love Language
July 22 – Eric Bachmann
July 29 – Peter Holsapple & Chris Stamey
All shows are outside in the Sarah P. Duke Gardens on the lawn behind the Doris Duke Visitor Center (the building by the parking )unless otherwise noted. Food and drink are permitted, and concerts go rain or shine (anyone who was at Portastatic last year should know this). General admission is $10, Duke employees are $5, students and children under 12 are free.
How old is Jamie Foxx? Courtesy myvegasscene.com
Every year, I think the music on LDOC gets less and less important. After all, whether it’s sap-rock, granola-rock or just plain old nostalgia-rock, few people really seem to remember the performances. Instead, we remember obnoxiously waking up our hall at 8:00 to “Since You Been Gone,” inventing drinking games on the fly and, let’s be honest, regrettable hookups. Hell, LDOC might as well stand for “Loosening the Definition Of ‘Consensual’” (kidding!).
Seriously, LDOC is the apex of poor choices on Duke’s campus, and many of us chalk this up to the overwhelming consumption of liquid confidence. Nowhere is this sentiment better expressed than in Jamie Foxx’s latest single, “Blame It (On the Alcohol).” When he’s not suggesting that Miley Cyrus should contract a venereal disease, Foxx likes to spend his time producing air-tight pop songs that reinforce what we all seem to believe: when bottles go up, expectations go down.
The song, which obligatorily features T-Pain, details how Foxx and a certain female become more and more attracted to one another as the night progresses and the drinks keep flowing. Foxx admits that his love interest is only attractive after a few shots, singing that, “I was unaware of how fine you was before my buzz set in.” He gets the same message from his companion, noting “She spilled some drink me/And now I’m knowin she tipsy/She put her body on me/And she keeps staring at me right in my eyes.” In the end, some stuff happens between the two that Foxx believes would not have occurred without inebriation. The chorus places the responsibility of the tryst solely on alcohol:
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