Duke Chronicle Send Home 2023 Recess

the chronicle

recess

june 1, 2023

when science meets art CJ Monét’s neuroscience-influenced art, page 7

student creativity Creative projects by The StudioDuke cohort of 2023, page

booktok drama Colleen Hoover’s wildly popular – and divisive – novels,

2 | THURSDAY, JUNE 1, 2023

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The Chronicle

What is your favorite part of summer?

Jules Kourelakos.........................traveling Katherine Zhong........homecooked meals Anna Rebello...................floral sundresses Zev van Zanten.........a break from writing Derek Deng...................bleach blond hair J.M. Stroh....................lavendar lemonade Alex Berkman......................netflix binges Arnav Jindal..........................croc weather Charlotte Joyner..........definitely research

Cover image courtesy of Unsplash

staff note

I dug up my old college essays recently out of morbid curiosity. They were… fine. Not quite as bad as I remember, a little cringier than I remember, best summed up as “look at all these big words I promise I know how to use; now pretty please let me into your college!” But there’s one I still enjoy just as much as when I wrote it: a “What’s your favorite book?” essay for the scholarship I’m currently on, which I wrote two hours before the deadline on my favorite singer’s autobiography: “The Art of Asking” by Amanda Palmer.

Amanda Palmer is best known for her provocative punk-cabaret band and a musical wherein she dresses up with her drummer as conjoined twins in a single frilly dress, and “The Art of Ask-

ing” is equally off-the-wall. But its theme is something I really resonated with as a kid and still do now: Palmer’s journey to let herself give up her pride and ask for other people’s help. That it’s silly to try to do everything alone — and suffer for it — when the people you care about love you, want you to succeed and would be happy to offer their guidance if you just give them the chance.

That’s something I’ve always struggled with. Since I was little (only-child syndrome for the win!) I’ve been very good at spending time alone, probably a little too good — and so when I’m faced with a problem my natural instinct is to figure it out on my own. Maybe college has made me more self-aware, or maybe college has just given me more opportu-

nities to examine this tendency of mine and go, “wait, this kind of sucks, actually; why do I do this?”

For starters: networking. Sometimes at this school it feels like everyone else took a mandatory networking class before they got here and I somehow missed the memo, and now I’m scrambling to catch up. It’s necessary, I know, and an example of the base human need to ask for help and help others in return, but the transactionality of it has always felt odd to me — going through the motions of forging a relationship not out of a genuine desire for connection, but so that one day you can ask them for a favor without it being weird. I digress.

This summer will be my first time living alone, without roommates, in a small town where I don’t know a soul. This fall I’ll serve as editor of Recess, a depart-

ment that’s led me to some of my best friends and most incredible experiences over my past two years as staff writer — and that I hope more than anything to do right by. This spring I’ll be studying abroad in a country whose language I only started speaking four months ago.

I joined Recess freshman year because my biggest motivator is external accountability. I wanted to write consistently – and I knew the best way to make myself write was a support network that would force me to write. (It worked!)

So this is me holding myself externally accountable for what I suppose is my mid-year resolution, as I prepare for the school year to come and whatever excitement and challenges Recess may bring: to ask for help when I need it, and to work with our exceptional 202324 masthead team to make this next year of Recess the best it can be.

– Jules Kourelakos, Recess Editor

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The Chronicle

campus arts

By Zev van Zanten Campus Arts Editor

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THURSDAY, JUNE 1, 2023 | 3

Studio Duke: A Year in Review 2022-23

Two years ago, Recess introduced StudioDuke, an application-based, year-long arts program where students work on a creative project with the help of a Duke alumni serving as their mentor. This year, twelve students participated in the program, several of whom presented their projects at the annual showcase. In honor of several successful 2023 graduates and an incredible year for the University’s arts, I wanted to share some of the presented projects, the story behind them and what the students gained from the experience.

‘Washed’ This project was a partnership between two seniors: John Kang, a neuroscience and visual media studies double major, and Nicole Park, a visual media studies major. Their idea originated from a conversation they had about the lack of Asian-American representation on the screen, which inspired them to tell a story about Asian-Americans where the focus wasn’t their culture or background. Their initial plan was to create a web series about an unlikely friendship between two student actors navigating life’s challenges while a movie is about to be filmed on campus. After some rewrites and modifications, the end product was a thirty-minute pilot episode for a dark comedy about a student journalist who finds himself embroiled in a scandal after running over the campus’s beloved cat. Both Kang and Park appreciated the program, as they hope to work in the entertainment industry, and their work gave them valuable experience while providing an idea of what their future may be like.

‘Ghost Speak’ The second project was a book by sophomore Tyler King, an intended biomedical engineering and English double major. Just like Kang and Park, he felt there was a lack of AsianAmerican stories in the media and — inspired by authors like Ocean Vuong — wanted to write a book that provided an accessible story about Asian-American youth and AsianAmerican history. The result was his novel, “Ghost Speak.”

A dual narrative, it follows an Asian-American child and his mother and their shared — albeit chronologically separated

— struggle to establish a life in a community that doesn’t accept them. He too enjoyed participating in the program, as he received excellent guidance from his mentor Alyssa Wong, Trinity ‘13, while learning about the publishing industry and publication process.

‘Full-Method Jacket’ Senior Sascha Seinfeld, an English major, wrote a screenplay for her project. After watching “How To Build A Sex Room” — a Netflix show where people renovate entire rooms in their homes to be dedicated to roleplay — she wondered what would make someone take this fixation even further, to the point where roleplay controlled their lives. Her thoughts inspired her to write a comedic screenplay Courtesy of Duke Innovation & Entrepreneurship about a pair of married and struggling screenStudioDuke supports Duke students in producing creative works. writers who take a stolen house on a road trip in an attempt to fix their writer’s block. Along the way, they reconnect with their neglected son and con- bring light to this under-discussed part of history. Through front his invention, a screenwriting AI which threatens to StudioDuke, she received helpful feedback from her menmake their careers as writers obsolete. Seinfeld was drawn tor Chuck Adams and was able to network with him, letting to the program’s mentoring system, as she sought a mentor her develop a strong relationship in the industry. to help with the screenwriting process, and she enjoyed getting to learn about the pitching process and form connec- ‘Mafia Princess’ The seventh project was a play by sophomore Ondine tions with her mentor Amy Gravitt, Trinity ‘95.

Peck-Voll, a visual media studies major. Inspired by 2016 Netflix film “Brain On Fire,” she wanted to warn audiences ‘Lebensborn’ Senior Ally Lublin, a visual media studies major, pre- about the dangers of high levels of THC on brain developsented a draft of a screenplay for her project. Inspired by ment, mental illness and suicide. At the same time, she her previous research and her father’s love of World War II hoped to tell a story about a rite of passage and a trippy history, she wanted to create a project about Nazi Germany’s journey that ultimately brings people together. The result Lebensborn Program. As part of Hitler’s attempt to grow of these dual motivations was a story riddled with dramatic the Aryan population, the program sought to boost birth irony that follows a woman who enters the criminal underrates by taking Polish children (from orphanages and from world to save her brother from a criminal organization, families) and giving them to German families to be raised as discovering her own supposed mafia ties along the way.

Nazi citizens. Lublin focused on a fictional young girl and Like the other participants in the program, she appreciher brother taken from their family and placed with a Ger- ated her membership in the program and enjoyed getting man family, hoping that creating a story about them would connected to her mentor Ben Epps, Trinity ‘00.

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4 | THURSDAY, JUNE 1, 2023

The Chronicle

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Q&A: Stuart Weitzman almost went into investment banking ...

By Derek Deng Recess Editor

Only Kate Middleton can play volleyball in skinny jeans and heels — and execute it flawlessly. The unsung hero of such a feat was her trusty pair of navy suede Stuart Weitzman Corkswoon sandals, a pair that warrants an entire slideshow on the Kate Middleton Style Blog. The slideshow proves that the wedges are sporty enough for volleyball, but also ergonomic enough for some casual shoveling, but also diplomatic enough for charity engagements.

This aspect of feminine functionality has differentiated Stuart Weitzman’s women’s footwear designs in an industry where shoes are more often designed for the starry-eyed male gaze than for actual practicality. At the core of Weitzman’s designs and his entrepreneurial experiences is a genuine understanding of the customer and perhaps more broadly, the human.

Whether through his long-established friendships with his celebrity clients (I asked Weitzman who his favorite Kardashian was, to which he said, “I think Gigi Hadid is great!”) or his emphasis on practicality in the shoe design process or his philanthropic efforts supporting Jewish communities, his entrepreneurial successes are in large part because he is willing to listen to — and learn from — the people who buy his shoes.

Most recently, Weitzman led a seminar hosted by Duke’s Career Center, Duke Innovation and Entrepreneurship and Jewish Life at Duke. The Chronicle sat down with Weitzman to talk about not going into investment banking, his Jewish heritage and how he came to understand his consumer.

This conversation has been edited for length and clarity.

The Chronicle: Duke has this really intense professional culture where everyone feels this pressure to go into investment banking or consulting. I know you went to Wharton and almost went into investment banking. Ultimately, you chose design. What led you to follow your own path?

Stuart Weitzman: My hobby was always drawing and making things. I used to do the artwork for Penn’s Mask & Wig, an all-guys musical group, and I helped

Courtesy of Duke Career Hub Weitzman speaks to students about his entrepreneurial journey. dress them for shows. One day, I thought, I’ve got do the whole thing.

SW: Can I have a piece of paper?

TC: Sure.

SW: I was going to go to work at Goldman Sachs. I had interned and I was offered an opportunity to start there after college. But this fella of mine asked me to design shoes for his father, a shoemaker. So, he brought me his father’s catalog, and I drew 20 sketches and went over to their house for dinner.

The old man — Eastern European, gruff guy, hands callused — laid out my sketches like a deck of cards, fanned them out, and picked one up.

Weitzman, imitating his friend’s father, squints at the piece of paper with an eyeful of doubt.

SW: He told me, “I don’t put anything in my collec-

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.

Ensembles & Performance Opportunities Duke Music hosts a vibrant Chamber Music Program, coordinated by Caroline Stinson, of close to two dozen groups from duets to sextets with strings, winds and piano. Groups are coached by faculty including the Ciompi Quartet, Ieva Jokubaviciute, piano, and Susan Fancher, saxophone, and perform on and off campus in masterclasses, workshops and concerts throughout the semester. Improvisation Ensemble is also offered.

The Chinese Music Ensemble, directed by Jennifer Chang, is open to all members of the University community who are interested in performing traditional Chinese music using both Eastern and Western musical instruments. Musicians of all levels, including those with no prior experience in Chinese music, but with some background in performance, are encouraged to participate. String players and percussionists are particularly needed!

The Duke Chorale, directed by Allan Friedman, is a concert and touring choir of 50 undergraduate and graduate singers. The Chorale sings sacred and secular music from a variety of eras and traditions in concerts throughout the year, including a Family Weekend Concert, Holiday Concert in Duke Chapel, a benefit concert for Durham charity, a spring tour, and a Spring Concert with orchestra. We have fun while making beautiful and meaningful music. Come sing with us!

tion that’s copied from somewhere else. I want to know who you copied this from.”

I said, “I didn’t, sir. I looked at your catalog and drew what I thought would work with your customer.”

And he put my paper up to the light and said, “I see sketch marks. It looks like you traced it.”

“I didn’t, but I didn’t come here to sell you anything.

It was your son’s idea.”

Weitzman shreds the paper with an authoritative grip.

SW: Then he just rips it up. About 15 seconds went by, and I’m just sitting there, not knowing what to say. He picked up another sketch, and asked me to sketch it on the spot.

I did, and he told me, “I’ll give you 20 bucks per sketch.” That was $380 — at a time when Penn’s tuition was $1500 a semester. I had made $380 in an hour, and I thought, maybe I should try this.

The Duke Jazz Ensemble, directed by John Brown with associate director Evan Roberson, 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. Previous guests have included Chris Pattishall, Jason Marsalis, and Javon Jackson.

Small group Jazz Combos provide additional opportunities.

Open to all Duke students.

Auditions are required for ensembles (0.5 credit) and applied music lessons (o.25 or 0.5 credit).

music.duke.edu

Applied Music lessons for instruments & voice Students may take one-hour weekly lessons (1/2 course) or half-hour lessons (1/4 course) More info at music.duke.edu/lessons

The Duke Opera Theater, directed by David Heid, presents operas, opera scenes, and concerts of operatic repertoire. Recent projects include an inventive retelling of The Magic Flute (Mozart), a concert of operetta repertoire with strings, as well as a scenes program featuring operas based on fairy tales.

The Duke Symphony Orchestra is directed by Harry Davidson. Recent seasons have included symphonic works by Mozart, Beethoven, Schumann, Brahms, Tchaikovsky and Mahler, as well as performances by Concerto Competition winners. An annual Labor Day Weekend Pops concert begins the year and a benefit concert in Beaufort, SC takes place each spring.

The Duke Wind Symphony, directed by Verena Mösenbichler-Bryant, performs a wide variety of high level wind ensemble music. Highlights of the 2023-24 season will include concerts in our beautiful Baldwin Auditorium and the annual Viennese Ball. You will have the opportunity to work with guest composer Michael Markowski and perform diverse repertoire with musicians from across campus. Join us!

The Chronicle

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THURSDAY, JUNE 1, 2023 | 5

... then he didn’t TC: The most shocking part is how cheap your tuition was. But wow, that must have been so validating.

SW: It was. I called up Goldman Sachs and put it off for a year. Then I saw one of my sketches in the window of a Bergdorf Goodman — and then the store told me they sold that shoe out. That was exciting. So I gave up finance, but I will tell you that the experience at Wharton was tremendously helpful to me in building a business where I was both the CEO and the creative director.

TC: What kind of advice would you give to someone who’s in a similar boat… someone trying to decide whether to be a corporate sellout or to follow their lifelong dream?

SW: If you have a passion for something, try to do it non-corporately — either with a smaller business, or eventually on your own. I would advise the smaller route: better opportunity, less competition. The finance and tech world is where everyone wants to go, because they’re driven by money. You shouldn’t necessarily take the job that pays you the most. Take the job that thrills you the most.

TC: What kinds of lessons did you learn from college, even if what you studied wasn’t directly related to designing shoes?

SW: The best thing I got out of college was great friendships. My college friends are still my best friends.

Penn is like my third child.

TC: You talk a lot about supporting the Jewish community and honoring your heritage. Why is that important to you?

SW: Heritage is so important — we are all Americans, but we are all something else. I come from a Jewish heritage, but I’m not a religious person at all.

But it’s a culture, a heritage that I’m so proud of when I see people like Pfizer CEO Albert Bourla, whose parents survived the Holocaust and who helped create the Pfizer COVID-19 vaccine. They survived, and look what he accomplished.

TC: One of the things that distinguish your brand from so many other women’s’ footwear brands is that rather than appealing to the male gaze, you really

listened to the woman consumer. How did you come to understand that perspective?

SW: I’m making shoes for women. What the heck do men know? We had 73 managers at my company when I sold it, and 71 were women. That wasn’t by accident.

The biggest change in our company occurred when I created our thigh-high boots. And that came about when a young lady, college-aged, told me, “I know you, my mother wears your shoes.”

I thought then that I needed to go after these younger generations. Because that became the new market. That interaction really encouraged me to go after a change like that.

TC: Is my generation hard to understand? How has it been catering to us?

SW: Terrific. They’re the ones who get excited about the product. They see it, they want it. It adds to the thrill of fashion.

Our DNA is comfort: fashionable shoes that are comfortable. Louboutin makes gorgeous sexy shoes that kill the feet. We put comfort and fashion together and decided that fashionable shoes don’t have to kill your feet.

TC: Did you ever have to make any compromises working in fashion?

SW: Even if a shoe was gorgeous — if it didn’t work — we didn’t make it. You put on a shoe, it gives you a blister, you’re not going to come back to my store.

Our most famous sandal — the Nudist —

changed Hollywood. I drew it in one afternoon. Wasn’t approved for two months. 19 different trials until it finally worked. And when we put it in the marketplace, it did fabulously.

TC: How is retired life?

SW: I love it. I’m with my kids a zillion times a month.

I’m speaking at 19 different colleges this semester. So, I’m still busy.

I got back into all the sports I loved as a kid. I’m at a ping pong table every day. I’m not having any trouble filling the days.

Courtesy of Footwear News

arts.duke.edu & follow @dukearts

Your guide to the arts across Duke

“Satellite Park” Mural Durham festival at the Duke Arts Annex (Estlin Haiss); THE_OPER& presented by Duke Performances (Alex Boerner); Student dancers at the Rubenstein Arts Center (Chris Hildreth).

6 | THURSDAY, JUNE 1, 2023

local arts

The Chronicle

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SmART Durham uses public arts to reimagine economic development

By Zev van Zanten Campus Arts Editor

Is there an alternative path for economic growth that doesn’t rely on a single tariff or the typical subsidization of infrastructure, education and industry? Durham’s SmART Program believes art can be that alternative, one that causes growth by spurring more tourism and commerce. They are putting their theory to the test with an ambitious effort to transform Durham’s urban landscape.

SmART is an initiative of the North Carolina Arts Council that aims to use art in a way that boosts the economy of local communities while preserving and highlighting their individual character. Selected as one of four SmART pilot cities — alongside Burnsville, Kinston and Wilson — Durham received a small grant and paired it with additional funding from Duke University, local and national businesses, as well as an “Our Town” grant from the National Endowment for the Arts.

With funding secured, SmART Durham — the group created to oversee the undertaking — contracted acclaimed artist Mikyoung Kim and her firm Mikyoung Kim Design to reimagine downtown. After extensive community input, Mikyoung Kim Design created a multi-year plan to build a unified arts and entertainment district combining three key regions of downtown Durham — American Tobacco, City Center and Central Park — through a shared creative corridor. The goal of this renovation is to bring more events, tourism and customers for local businesses. The work of Mikyoung Kim Design requires addressing the major barriers to increased movement between districts — namely a lack of continuous connections and an unappealing pedestrian experience.

The newly envisioned zone will start in the Central Park District — home to Durham Central Park and many small businesses — before running through City Center — the location of CCB Plaza and Carolina Theatre — and ending in American Tobacco District — site of Durham Bulls Athletic Park and the Durham Performing Arts Center.

Along the way, it will feature 15 different projects that are classified as either streets, gateways (areas which welcome pedestrians to new districts) or civic centers (places for events and bonding). The three most notable projects focus on transforming city plazas into pedestrian-friendly sites that better fit the needs of the surrounding areas.

In the American Tobacco District, the Diamond View Plaza and a key adjacent crosswalk shall be preserved via partnerships with local developers while being given a new identity through the addition of crosswalk art and light installations.

In the City Center District, CCB Plaza — a civic site and tourist destination that houses the 21c Hotel — will be remade into a new centerpiece that uses innovative paving, sculpture and seating to change how visitors see Durham while also incorporating the region’s history and hoped-for future.

Lastly, Durham Cultural Plaza — another City Center District plaza which links the Convention Center, Durham Armory and Carolina Theatre — will be turned into an event space that highlights the aforementioned sites through artistic paving and lighting.

As of now, three projects have been completed — the wrapping of Corcoran Street Garage, the installation of an interactive exhibit at Liberty Warehouse Wall and the creation of three Art-Deco inspired crosswalks. Many other projects are still in their planning or design stages. While these finished projects have brought some visual flair to the regions they’ve been placed in, they and SmART Durham overall haven’t been as transformational as was hoped, mainly because they haven’t established the cohesive corridor that will be the beating heart of the new district.

However, that isn’t to say that these projects are failures, as much of their benefit is intended to come from

Courtesy of Duke Career Hub A concept area from the SmART Vision Plan. being part of the larger zone, if it is fully implemented.

But the outline is just an outline, and there is no certainty that the original project will be finished, be it for lack of funds or some other issue.

All in all, the SmART program makes grand promises of a unified downtown district that will boost tourism and the arts, growing Durham’s economy, increasing its quality of life and bringing more people and businesses to the region. There are potential pitfalls from this grand project bearing even grander promises: from creating a fragile tourism-based economy to causing uneven development and further gentrification within Durham to enriching only those who own businesses in the new zone. Yet, there is still hope that SmART Durham will persevere in their work and complete their ambitious vision. If carried out completely, SmART has the potential to change Durham for the better.

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THURSDAY, JUNE 1, 2023 | 7

Q&A: Golden Belt artist CJ Monét talks Durham, science and her art’s influences

By J.M. Stroh Staff Writer

Located in East Durham, the Golden Belt is a community filled with retailers, restaurants, office spaces and notably: artists. A plethora of world class artists spanning all mediums work in the Golden Belt Warehouse Studios — photographers, weavers, metalsmiths and whatnot.

CJ Monét is a visual artist, poet and musician working at the Golden Belt Warehouse Studios. She graduated from East Carolina University in 2019 with a degree in neuroscience and art history.

This conversation has been edited for length and clarity.

The Chronicle: In your Golden Belt bio, I read up on your North Carolina roots. You were born and raised a bit west in Graham, NC, and attended college at East Carolina University. How did you end up in Durham at the Golden Belt studios? Has your time at the Golden Belt shifted or advanced your perspective, motives, or general career?

CJ Monét: Honestly, I ended up here sort of by chance but also intentionally. I was looking to move somewhere I could have my own studio in the area around Durham. My best friend was moving there so I ended up rooming with her. Then I found Golden Belt had open studios, applied, and found out that I got accepted! It was a bunch of things aligning at once for sure.

My time at Golden Belt has certainly shifted my ability to create. I have more space and a dedicated space specifically for creating, and that’s helped me to stay focused. I’m inspired by the artists around me to work harder and to hone my craft, which has advanced my career even in this short time.

TC: I’m quite captivated by your double major in neuroscience and art history. I likewise toggle between STEM and humanities majors and minors, and I enjoy activating both sides of my brain. Can you expound upon how your study of neuroscience has impacted your art?

CJ: Thank you! I love balancing logic and creativity because they actually lend themselves to each other more than people think. My background in science has it helped me understand not only how people think, but how they perceive the world around them.

Understanding how people experience sensation and perception helps me get my message across more relatedly. Understanding people can only help you understand art better.

TC: The Golden Belt describes your work as the “intersection between poetry, music and visual art.” I and others really admire your lyrical portraits — in which you draw singers, rappers, athletes, and other icons using the words for which they’re remembered. Why do you think this style compels you and so many others? Is there a lyrical portrait you consider your favorite? Or the most personal?

CJ: I’ve always had a bit of an obsession with art and with writing words. This style is the intersection of things I enjoy between music, art, words and logic. It’s compelling because the art is ironic in a way — it challenges the way we perceive pictures and words as normally two separate things.

My favorite lyric portrait is hard to pick, but I do love the Mac Miller one.

The most personal pieces are definitely those from my show, “Mirrors.” I did a series of portraits completely out of the life stories of the people closest to me; it was such a powerful and eye-opening experience.

TC: I read in your Alumni Spotlight about your neat study abroad experience —Semester at Sea, where you visited Hawaii, Japan, China, Vietnam, Myanmar, India, Mauritius, South Af-

rica, Ghana, Morocco and Portugal. Has your study abroad experience found its way into your work?

CJ: It absolutely influences me. This trip taught me how to observe what’s around me. Semester at Sea encouraged me to take a step back and see things from every side, even when it’s difficult. I learned to be intentional with my words, messages and art that I put into the world. Everything matters. We are all connected, and how we live in the world affects the lives of people around us.

If you’re interested in keeping up with CJ Monét, you can find her art on her Instagram @cj.monet and on her website www.cjmonetart.com. Her music is available on all streaming platforms under CJ Monét.

Courtesy of CJ Monet CJ Monét is a visual artist, poet and musician working at the Golden Belt Warehouse Studios.

The Chronicle

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8 | THURSDAY, JUNE 1, 2023

International Civil Rights Center and Museum blueprints an equitable future

By Katherine Zhong Local Arts Editor

Built on the site of the 1960 Woolworth’s lunch counter sit-in, the International Civil Rights Center & Museum stands at the heart of Greensboro as a testimony to the arduous fight for civil rights. It shows a lengthy history of how a seed of bravery spurred a nationwide movement and made breakthroughs in the progress of democracy that continues to this day. “[This] is a place that goes deep in terms of the history of Black people in this community,” said Will Harris II, principal scholar at the International Civil Rights Center & Museum (ICRCM). The museum sits on “Parcel No.1 of Guilford County” — the number one block of Greensboro. This was one of the blocks that used to have slave cabins, according to Harris.

ICRCM’s building is modest in size, yet its relatively small physical scope is

made up for by the immersive exhibitions and dramatic narratives of its tour guides. The staff-guided tours take visitors on a journey from the Declaration of Independence to slavery to segregation, and finally, to where the civil rights movement is now.

The museum takes viewers back to Feb. 1, 1960. On that day, four young men, Franklin McCain, Ezell Blair Jr. (later known as Jibreel Khazan), Joseph McNeil and David Richmond, sat down at the Woolworth’s lunch counter until the store closed, amidst threats and heckles from others. They came back the next day and the following, each day with more people. Their efforts inspired others and were echoed in other cities.

By the end of the summer of 1961, an estimated 70,000 people participated in similar demonstrations. This came to be known as the Sit-In Movement.

Courtesy of Katherine Zhong The International Civil Rights Center and Museum stands at the heart of Greensboro

Though it might be hard to understand today, the sit-in was radical at the time. By barring Black customers from sitting at the lunch counters, “they excluded [Black people] from [access to] business and common encounters,” said Harris. Sitting down at a whites-only lunch counter defied societal expectations that Black and white people were not to interact except in situations within well-defined power dynamics. “This [was a] strategic choice of the demonstrators to make the biggest difference with one single action,” Harris said.

Today parts of the lunch counters at the Woolworth’s site are kept in their original 1960 décor, with 1960s prices for menu items. The Woolworth’s store closed in 1993 and was subsequently purchased. It became the International Civil Rights Museum Center & Museum in 2010.

ICRCM expands upon the Sit-In Movement, giving a comprehensive understanding of what segregation meant in people’s lives. “It was all about keeping people separate,” docent Cassandra Williams said. This system of segregation seeped into all aspects of southern life – education, employment, healthcare, traveling, public amenities and unequal voting registrations.

However, the museum not only immerses viewers in a past filled with oppression, but also celebrates Black people’s progress and achievements such as the Mutual Life Insurance in Durham and creative enterprises like Motown Records.

A central part of the museum’s mission and vision is to prompt further advancements in social justice to continually tear down existing walls between people. In this light, the museum grounds itself in

a legacy of struggles for civil rights and looks to the future. It is seeking recognition as a UNESCO World Heritage Site.

Furthermore, Sit-In Movement, Inc., the non-profit that owns the museum site, acquired the five-story building immediately next to the original Woolworth’s building in 2022. With this purchase, ICRCM is now more than ever poised to keep the memory and the momentum of the Sit-In Movement alive by blueprinting a more humane future.

ICRCM’s future expansion centers around the “New Constitution” concept.

The museum is actively developing exhibitions and initiatives to articulate what this country would look like if the promise of the civil rights movement – full citizenship and equitable access to resources and social contacts for all people— was fulfilled. “If the 14th Amendment [of the Constitution] were true, what would the world look like around us?” said Harris.

“We have the capacity to translate ideas into pictures people have never seen before. We want this museum to be a museum of future constitutional reality.”

This new body of the center will highlight the bilateral influences of national and international civil rights movements. According to the ICRCM’s case statement, the expansion will “build out the ICRCM’s intersection of national, international, and regional perspectives on civil rights as the key to innovative and humane community at all levels.”

The museum envisions that the “New Constitution” concept in its full-fledged form would serve as a compass for America and global communities to build a society where everyone has the right to full, equal citizenship and social justice.

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THURSDAY, JUNE 1, 2023 | 9

Colleen Hoover: Booktok’s most divisive author

Contributor

Love her or hate her, you’ve probably heard of author Colleen Hoover. Step into a Barnes and Noble and you’ll be greeted with an entire stand dedicated to her plethora of books. They’re among the most read books on Goodreads, and her novel “It Ends With Us” is currently being adapted into a movie.

Yet, despite the adoration and cult-like following that Hoover has received, her name also brings about a chorus of groans. YouTube reviews, bluntly titled “i read the 5 most popular colleen hoover books so you never have to” and “i read 3 colleen hoover books and my life has been changed... for the WORST,” beg the question: what makes the work of Colleen Hoover so controversial?

Hoover’s popularity surged with the rise of BookTok, Tiktok’s subcommunity focused on books and literature. A place for book lovers to share recommendations and their thoughts on the latest releases, BookTok has revitalized the publishing industry. Its influence on the popularity of books is indisputable, with ten of the fifteen top sellers on the Feb. 26 New York Times bestseller list being “BookTok books.” Out of those ten books, five were written by Hoover.

Hoover’s novels span a multitude of genres: from romances to steamy psychological thrillers. Yet one thing that remains consistent in her work is her combination of fast-paced drama and outlandish plot twists. These inventive plots have fueled BookTok conversations about everything from the rollercoaster ride that is “Verity” to the emotional damage inflicted by “Reminders of Him.” Paired with her easily digestible prose, her books have reached new audiences and garnered a legion of cultish fans.

However, Hoover has also experienced her fair share of controversies. This is most prominent with her most popular book, “It Ends With Us.” “It Ends With Us” is a contemporary romance novel that tells the story of Lily Blossom Bloom (yes, that’s her real name) and her tumultuous-turned-abusive relationship with neurosurgeon Ryle Kincaid. The novel has received criticism sur-

rounding a plethora of issues. Critics of the novel question the absurdity of the plot: what kind of main character writes letters to Ellen Degeneres and owns a flower shop while being named Lily Blossom Bloom?

More significantly, “It Ends With Us” has been accused of glorifying abuse. At the end of the book, we learn that Lily and Ryle have “amicably” divorced and are now co-parenting their daughter.

Yet, this decision was not redemptive but “a blatant shirking of the barest parental responsibility — the responsibility to protect her daughter,” as Jennie Young from Ms. Magazine points out in an article published September 2022.

At this point, Ryle is a known violent sex offender with a history of manipulating and victimizing women. To allow him to be around the young daughter and paint this in a positive light is a dangerous message to send to the readers of Hoover’s novels, which are primarily younger women.

“It Ends With Us” was also slated to have a spin-off coloring book, a decision that was slammed by the book community. After all, what would you be coloring in a book centered around domestic abuse? Fortunately, Colleen Hoover listened to the waves of criticism and decided to pull the plug on this project. In an apology on her Instagram story, Hoover wrote that “The coloring book was developed with Lily’s strength in mind, but I can absolutely see how this was tone-deaf. I hear you guys and I agree with you. No excuses. No finger pointing. I have contacted the publisher to let them know I would prefer we don’t move forward with it.

Thank you for the respectful discourse and accountability. Nothing but love.”

Speaking more broadly though, much of the criticism surrounding Hoover’s work can be attributed to her writing style. Although easily digestible, many have

Courtesy of Nathan Hunsinger Hoover’s popular novels have sparked division online. argued that Hoover’s writing is subpar, elementary, and sounds like it belongs on Wattpad. Case in point: “We both laugh at our son’s big balls” is an actual line excerpted from Hoover’s book “Ugly Love.”

Hoover is at once one of BookTok’s most loved and most hated authors. She continues to dominate the conversations on these book-focused platforms, and, consequently, the best sellers list while also generating passionate hate from creators.

The controversy surrounding Hoover brings up larger questions of what it means to be an author in the age of TikTok: how should we tell stories about domestic abuse? What kind of responsibilities does Hoover hold as an author to tell the “right” narratives around domestic abuse? Should we value plot or writing style more?

While these questions have heated much debate, one thing is undeniable: Colleen Hoover’s work has revitalized the book industry.

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‘Yellowjackets’ season 2: ‘Lord of the Flies’ meets high school girls

Alex Berkman Staff Writer

“Yellowjackets” Season 2 is among us, and it appears as though a cult-like following may be emerging for the show that — ironically enough — features cults. The hit drama broke Showtime streaming records with its Season 2 debut, which became the cable network’s most streamed season premiere — and was also “Yellowjackets”’ most watched episode yet.

Theshow follows a dual timeline, in 1996 and 2021, and centers on a girls high school soccer team from the 90s that survives an airplane crash, leaving them stranded in the Canadian wilderness.

The group must cope with the consequences of the crash, tragedy, death and trauma, while hoping to survive long enough to be rescued. There is, however, a dark spin on the show. If there wasn’t, fans would simply deem “Yellowjackets” as a cold climate version of “Lost.”

So, how does “Yellowjackets” distinguish itself? Along with outright cannibalism and murder rituals, the show features a supernatural aspect that develops over the course of the season. As viewers, we are also all taken back to our ninth grade discussions of Freud’s Id, ego, and superego as we read “Lord of the Flies.”

Once sweet, innocent teenage girls devolve into a savage state, and it appears — based on the record S2 debut — fans are here for it. The frequent cuts to future scenes, depicting cult-like madness in the Canadian winter, leaves viewers excited for what is to come.

As the show goes on, audiences can better understand how the haunting memories of the girls follow them as adults.

Nostalgia from the ‘90s only emphasizes the storyline — evident in clothing style, culture references and, most notably, music. Ella Purnell as Jackie, Sophie Thatcher as Natalie and Samantha Hatratty as Misty all bring a unique voice to their characters. The writing is strong and the dialogue witty. But beware, the show isn’t really

By Charlotte Joyner Staff Writer

about language: by the season’s end, the girls are nonverbal, howling.

But, not all is good, however. The modern plotline is a drag… an overextended, unwanted drag. In the 2021 plotline, we rejoin Natalie (Juliette Lewis) fresh out of rehab, Taissa (Tawny Cypress) running for state senate and Shauna (an outstanding Melanie Lynskey) as a newly disaffected housewife. Mysterious postcards, an apparentsuicide and the threat of blackmail force them to team up with Misty (Christina Ricci) in order to discover who is on to their secret.

I often find myself yearning to fast forward, wanting so desperately to return to the Canadian wilderness. The Courtesy of IMDB modern plot of “Yellowjackets” S2 feels forced and unnecessary. Melanie Lynskey as adult Shauna, though a reputable actor, does not give her best performance. To put it bluntly, the acting is unengaging and the writing uninspiring.

As you can likely tell, my feelings on “Yellowjackets” are a mixed bag. What I will say is this: you are guaranteed to enjoy at least half of each episode.

Take that as you will.

Nonetheless, I would still recommend that all at least try the show out and see how you like it. It will certainly Courtesy of IMDB leave you shocked.

Does the second season of psychological drama “ Yellowjackets” live up to the hype?

‘This Is Why’ I will always be a Paramore fan

Paramore’s long anticipated album, “This Is Why”, released Feb. 10, was a welcomed and highly anticipated comeback for the band’s fan base of former (and current) angsty teens.

After several years in the 2000s of watershed successes like “Still Into You” and “Ain’t It Fun” as well as features on the “Twilight” soundtrack, the band experienced a period of transition, evidenced in the cancellation of their European tour due to “internal issues” and eventually the departure of the Farrow brothers and bassist Jeremy Davis. After Zac Farrow’s return to the group and another decade of petty drama, Paramore is back and ready to tell us the “why” of where they are today.

Paramore’s most recent release before “This Is Why” was their 2017 album “After Laughter.” The six-year hiatus was a period of antsy waiting for many a Paramore

fan, but I myself had largely forgotten about the group whose hit “That’s What You Get” is responsible for much of the current damage to my eardrums after countless listens at a much-too-high volume. When I heard that the album had come out, however, I was excited to reenter the mind of my middle-school self and bare my soul alongside lead singer Hayley Williams’ vocals.

The beginning of the album sets a tone of (shocker!) angst, frustration and overall fed-upness with an unspecified subject, which I can only presume is to be interpreted as both the listener and the general public.

“This Is Why” is an anthem for the anti-social homebody, one that touches upon the themes of anxiety and isolation characteristic of the pandemic era.

Rather than being fed up with the regulations of distancing, Paramore is done with us, the world. This generalized grievance against all of humanity transitions into a targeted condemnation in the album’s next track, “The News,” an attack on major media and the general consumption of televised trauma porn.

The overall frustrated and punchy sounds of the album are mellowed out in “Big Man, Little Dignity.” With a message similar to that of P!nk’s accusatory track, “Dear Mr. President,” the lyrical accusation combines with a slower, melodic instrumental background to produce

Courtesy of Billboard “This is Why” is a welcome comeback album long awaited by Paramore’s fanbase.

less of a finger-pointing “fuck you” and more of a disappointed appeal to the potential of the “big man” to be more than an integrity-lacking sellout.

In the next track, “You First,” Paramore steps off of their moral high-horse and admits to falling victim to pettiness, jealousy, greed and all of the unattractive “bad guy” behaviors and thoughts we all experience. The chorus stays particularly true to this brutally self-aware transition because rather than ever correcting their karmic missteps, Paramore hopes that the karmic retribution “comes for you first.”

“Liar” is the album’s softest track, most reminiscent of old hits like “The Only Exception,” staying true to one the band’s favorite lyrical themes: heartbreak. In contrast to the screams of the surrounding tracks, the gasping vocals of “Liar” are pained, begging for an ear that will listen. The sadness of “Liar” transitions smoothly into the longing and nostalgia of “Crave,” an homage to the uncertainty, despair and angst of being a young adult still learning to navigate the world. Despite the struggles and the hurts, Paramore craves to “do it all again,” exalting the pained adolescence for what it is: a fleeting moment in a long-life story.

In the album’s final track, however, we are reminded that the state of inexperience and the journey of maturing are constants, regardless of age. After maturing, learning to recognize the evils around us and within ourselves, we are still foolish, mistake-making kids with “thick skulls.”

My reaction may be the result of my own personal history with the band, but the sounds of “This Is Why” — rather than fully transporting me back to brooding on the school bus as a preteen with poorly-executed winged eyeliner — connect my present, ever-angsty self with my younger self, full of emotions but unable to articulate them.

Hayley Williams’ voice is still visceral and emotional, and as a listener, I can’t help but experience what her words and tone convey: fury, frustration, confusion and heartbreak as a maturing woman unsure of how to be and how to feel.

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