T H E I N D E P E N D E N T D A I LY AT D U K E U N I V E R S I T Y
The Chronicle
THURSDAY, NOVEMBER 15, 2012
ONE HUNDRED AND EIGHTH YEAR, ISSUE 59
WWW.DUKECHRONICLE.COM
Duke recognizes World Diabetes Day Names give new houses community
by Zaynah Alam THE CHRONICLE
Students and campus organizations collaborated to host activities commemorating World Diabetes Day on West Campus Wednesday night. The event, coordinated in part by the Duke Partnership for Service and the Duke Global Health Institute, represented Duke’s contribution to a global initiative led by the World Diabetes Foundation and the Global Health Organization to shed light on diabetes and other non-communicable diseases as a growing health issue. It has been estimated that 347 million people worldwide have diabetes, according to the World Health Organization. The disease particularly affects middle- and low-income countries, where more than 80 percent of deaths from diabetes happen. The need to more effectively diagnose and educate populations about diabetes has been a growing concern, especially in developing nations, said senior Sanjana Marpadga, who coordinated the event. “It’s an issue of social justice—diabetes doesn’t discriminate,” Marpadga said. “If you talk to anyone, they usually say that they know someone with diabetes. Everyone is connected to the issue in some way, but they don’t know much about the disease itself.” More than a dozen student and campus groups—including Project HEAL, Unite for Sight and Duke Student Wellness—contributed to World Diabetes Day. Duke’s celebration of the event included interactive SEE DIABETES ON PAGE 4
by Maggie Spini THE CHRONICLE
This year, some unaffiliated students are seizing the opportunity to test a longasked question: “What’s in a name?” Under the house model, students are charged with naming their newly created residential houses. The names selected are intended to be emblems of each individual community, which will outlast current students’ tenure at the University. Twenty-nine of the 35 unaffiliated houses have had the names they submitted to Housing, Dining and Residence Life approved so far, Dean for Residential Life Joe Gonzalez said. “I’m pleased with how it’s progressing,” he said. “The process of developing the name makes the house more cohesive because they have to work together. The process accomplishes just as much as the name itself.” The house names range in seriousness, Gonzalez noted. Some have historical roots to the University, like Hart House, named to commemorate former Duke President Deryl Hart. Others are more lighthearted—the residents of a house in Edens 2C named their living space Far Quad, alluding to the long
SOPHIA DURAND/ THE CHRONICLE
Students stand to form a heart in front of the Duke Chapel while holding blue LED lights to represent World Diabetes Day Wednesday night.
SEE HOUSES ON PAGE 5
Freshmen parking on Dept. of Energy exec. East may be removed to fill innovation role DUKE STUDENT GOVERNMENT
FAITH ROBERTSON/THE CHRONICLE
DSG President Alex Swain, a senior, discusses possible changes to freshman parking at DSG’s Wednesday meeting.
Amber Henson’s long road to recovery, Page 7
by Michelle Menchaca
from Staff Reports
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Future freshmen may not be able to bring their cars on campus. The Duke administration might choose to eliminate parking for freshmen on East Campus in the near future, Duke Student Government President Alex Swain, a senior, announced at the DSG meeting Wednesday. The administration is considering this change for several reasons, including the desire to mitigate University-wide parking shortages and become carbon neutral by 2024. “DSG is opposed to eliminating parking on East Campus and we are in talks with the administration to try to preserve student parking on East Campus,” Swain said in an interview.
Eric Toone will serve as the new leader of the Innovation and Entrepreneurship Initiative, Duke administrators announced Wednesday. Toone, Anne T. and Robert M. Bass professor of chemistry, succeeds Kimberly Jenkins, who resigned as adviser to the president and Eric Toone provost for innovation and entrepreneurship in July. “Innovation and entrepreneurship have become major priorities for Duke because they connect to the heart of education—using the creative powers of mind to invent a better world,” President Richard Brodhead said in a press release.
SEE DSG ON PAGE 4
ONTHERECORD
“...if we seek a culture of respect and civility at Duke, then we must start somewhere....” —Natalie Alberman in ‘The wall that should be torn down.’ See letter page 10
“Our University-wide initiatives have gained speed in recent years, and with a leader as experienced and dynamic as Eric Toone, they will continue to thrive.” On leave from the University since 2009, he has since led the Department of Energy’s Advanced Research Projects Agency-Energy as its principal deputy director. A government task force, ARPA-E is responsible for promoting and funding research and development of advanced energy technology. Under his purview, Toone said the initiative will develop around four foundational axes—education, research, translation and social entrepreneurship. Such efforts, he added, will facilitate the transformation of fundamental discoveries in the sciences and engineering into SEE TOONE ON PAGE 4
Recess interviews Eric Oberstein, Recess Page 6
2 | THURSDAY, NOVEMBER 15, 2012
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New Chinese leadership drag show to have global impact by Carleigh Stiehm THE CHRONICLE
New leadership in China—a once-adecade occurrence—comes at a critical time for the nation both within and outside of its borders, said William Kirby, T. M. Chang professor of China studies at Harvard University and Duke’s senior adviser on China. A panel—comprised of Kirby; James Holmes, associate professor of strategy at the U.S. Naval War College; and Bai Gao, professor of sociology—previewed the potential changes of the incoming Chinese government and analyzed its past international policies Wednesday night. The event was hosted by the Duke International Relations Association and the Duke East Asian Nexus.
After months of secretive bargaining and much speculation, the seven members of the committee who sit atop China’s political system walked out onto stage in the Great Hall of the People in Beijing Thursday Nov. 15. The new committee members were led by Vice President Xi Jinping, who will take the reins as general secretary of the Chinese Communist Party from President Hu Jintao, who will remain as president until March 2013. “The Chinese government will transition from the fifth generation of leaders to the sixth [Thursday],” Kirby said. “China, I am confident, will do amazingly well for itself in the 21st century.” The panel began by addressing the
a photo essay by Nicole Savage
Performers wear elaborate clothing and makeup in the Duke Coffeehouse’s annual Drag Show Wednesday night. The performers sang and danced, with some emulating celebrities. One performer switched costumes three times.
SEE CHINA ON PAGE 3
Did minorities matter?
SOPHIA DURAND/THE CHRONICLE
Zogby Company Senior Analyst, John Zogby, talks about whether or not minorities made a difference in the 2012 election in a talk at the Sanford School of Public Policy Wednesday.
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Romney blames loss on ‘gifts’ doled out by Obama by Jerry Markon and Karen Tumulty THE WASHINGTON POST
Mitt Romney is blaming his loss in the presidential election on “Obamacare” and other “gifts” he says President Barack Obama handed out to black people, Latinos and other core supporters, according to news reports Wednesday. The defeated Republican candidate told donors in a conference call that Obama targeted those demographics, along with young voters and women, through programs such as health care reSPECIAL TO THE CHRONICLE form and “amnesty” for children of illegal immigrants, according to articles posted Former presidential candidate Mitt Romney is online by the New York Times and Los claiming that President Barack Obama clinched Angeles Times. Both papers appeared to his second win by giving “gifts.” have listened to the call or obtained at least partial transcripts. nors Association meeting in Las Vegas. In explaining his overwhelming elecA person who was on Romney’s call toral college defeat last week, Romney with the donors told The Washington said Obama followed what he called the Post that the subject of “certain demo“old playbook” of seeking votes from graphics” was discussed, in the sense of specific interest groups “especially the “how the Obama campaign messaged African-American community, the His- that group, how we messaged this group. panic community and young people,” .. how, as Republicans, we didn’t build a the New York Times said. “In each case campaign on promising things to groups they were very generous in what they of people.’’ gave to those groups,” he added, accordBut the person, who spoke on the coning to the paper. dition of anonymity because he was not an The question of how to appeal to the authorized spokesman, said he could not nation’s changing demographics is sen- recall if Romney or other campaign offisitive for Republicans, especially since cials made the references or if the word Romney so badly lost the non-white “gifts” was used. Numerous former Romvote to Obama, the nation’s first black ney campaign aides did not return calls president. and e-mails or declined to comment. Two leading Republican governors According to exit polls, Romney easand potential presidential candidates, ily captured the white vote last week but Bobby Jindal of Louisiana and Scott Walk- Obama offset that, winning 93 percent of er of Wisconsin, immediately denounced the black vote and 71 percent of Latinos. Romney’s remarks. “I am very sorry that we didn’t win,” “We have got to stop dividing Ameri- Romney also said on the 20-minute call. can voters.... I absolutely reject that no- “I know that you expected to win. We tion, that description.... We’re fighting expected to win.... It was very close, but for 100 percent of the vote,’’ Jindal said at close doesn’t count in this business.” a news conference at a Republican GoverAlice Crites contributed to this report.
THURSDAY, NOVEMBER 15, 2012 | 3
CHINA from page 2 immediate concerns that will affect the government following the announcement of the new leaders. “The greatest challenges that they will have are the same in the short and long term. In some areas, life in China is going well, but not politically,” Kirby said. “How does the Chinese political system enter the twenty-first century when the rest of the country is already booming in the twenty-first century?” Holmes noted concern for the overreaching goals that the Chinese government is aiming to fulfill. In the short term, China has created vast expectations for itself. “Keeping everything in balance is like trying to hold a ball between three magnets,” he added. “The new leadership must now meet these expectations or try to manage them.” Holmes referenced his personal military background as reason to be concerned that China appears to be prepared to pay “any price” to follow through on its commitments. He added that China’s military power poses a threat to the United States and its allies no matter the state of its government and economy. But Gao disagreed with Holmes’ fear of the potential of China. “Americans should have more to fear than fear itself,” Gao said, referenc-
ing the famous words of Franklin D. Roosevelt. “Fear is a negative factor in the international political system.” Kirby noted that weaknesses in China’s political system may pose more difficulties to the United States. “It is a region of peace accompanied by prosperity with incredible insecurity at the heart of the regime,” Kirby said. The biggest challenge in American relationship with China is learning to manage a nation that is “strong but not confident,” Kirby added. All three panelists warned against categorizing the actions of the Chinese government as a reflection of its people. “There are many different voices claiming for influence on policies in Bejing for any given thing,” Holmes said. “Cultural differences matter, though I believe that they only matter at the margins.” Kirby said the diversity of the population makes the nation “an empire as much as it is a country.” He added that in the next 10 years, the world’s top university could likely be in China. Students studying abroad in China or planning to study at Duke’s new campus in China, Duke Kunshan University, however, do not need to worry about negative influences of the Chinese government, Kirby added. “The Chinese people are taking things into their own hands,” he said. “They can see other political models and I think their position is becoming more and more one of activism.”
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The 2012 John Fisher Zeidman Memorial Colloquium On Politics and the Press
Media Coverage of the 2012 Elections
Panel discussion with:
John Dickerson Slate, CBS News
Nia-Malika Henderson T’91 The Washington Post
Ben Smith BuzzFeed Moderated by
James T. Hamilton Charles S. Sydnor Professor of Public Policy Director, DeWitt Wallace Center for Media and Democracy
National political journalists from broadcast, print and online media evaluate coverage of the 2012 presidential election.
Saturday, Nov. 17 1:00 - 2:30 p.m. Fleishman Commons Sanford Building For information: 613.7306, shelley.stonecipher@duke.edu
4 | THURSDAY, NOVEMBER 15, 2012
activities on the Main West Quadrangle, food tastings, fitness classes and a narrative video documenting the effect diabetes has on students’ daily lives. Although past years have seen the Duke Chapel lit blue to express support for World Diabetes Day, Wednesday’s activities ended with students, volunteers and community members forming a blue circle—the universal symbol for diabetes—with LED lights for an aerial photo on the Chapel Quad.
DSG from page 1 The change would limit the transportation options available for freshmen, which would not be in the interest of the firstyear experience, Swain said. The talks will likely continue over the next few weeks. The Senate also discussed the recognition of a new student group called Scale and Coin, an interest group meant to offer opportunities and information in the business field. Scale and Coin plans to organize business and finance-related events and workshops, as well as hold open recruitment for new members. Sophomore Adesuwa Giwa-Osagie, senator for equity and outreach, raised concern over the group’s similarity to Alpha Kappa Psi business fraternity, which was disbanded due to conduct violations. The Senate voted 28-21 to refer the decision to a different committee within DSG. In other business: Sophomore Laurel Kaye urged the Senate to support the implementation of a syllabus archive that would connect to
Event coordinators also showed a video of several students relating the effects diabetes has had on their college experiences to further raise awareness. One of these students, freshman Nick Camarda, spoke of how his diagnosis with type 1 diabetes in the middle of his senior rowing season changed everything from his diet to his career options. “[Diabetes] is a new way of life,� Camarda said in the video. “There are days when I’m glad I’m a diabetic and days when I’m indignant and despondent because of the disease’s stranglehold on my life.� ACES to aid students in choosing classes. Kaye said that during the drop/add period, many students who have to shift their classes around would benefit from a resource that gave more information about a class. The archive would accomplish this task by giving students more information about a particular class. The Senate voted unanimously in favor of the idea. The Senate unanimously approved the resolution to allow the Romance Studies department to create a majors union, which will plan to implement mentors and mentees within the department and host learning activities. Duke Quidditch will be allowed to hold their third Annual Intercollegiate Yule Ball of the Carolinas in the Great Hall. DSG will fund Great Hall fees, food, flyers and a DJ. The Senate also reviewed and approved the Young Trustees applications. The rules committee met to discuss the election by-law amendments for DSG. Social Culture Committee member Leighanne Oh, a sophomore, said the rules have to go through two different readings before being approved by the Senate.
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DPS and DGHI sponsored the event to raise awareness about the global risk of diabetes and to highlight the need for accessible care, Marpadga said. Additionally, dPS plans to lead student volunteers in organizing an educational session with Duke Hospital’s Healthy Lifestyle Program and creating a manifesto urging Durham County representatives to more effectively support diabetes care. Sophomore John Davis, a member of the DGHI student council, said he was excited that DGHI supported raising diabetes awareness on campus. “Because a typical Duke student may
be unfamiliar with the daily struggles that a diabetic may go through, educational activities such as the ones held on Main Quad are important to increase the knowledge of this disease that can affect anyone,� Davis said. Marpadga said the event succeeded in spreading the word about the global diabetes awareness movement. “The main goal of this was to have people know that it was World Diabetes Day, even if they couldn’t come out to the Main Quad,� Marpadga said. “If you ask around, people have actually heard about World Diabetes Day [now].�
TOONE from page 1
who funds what, who is responsible for what, how agencies work and how Congress works,� he noted. “This knowledge is important because the federal government is still the primary supporter of early stage translation— not venture capitalists. VC support typically comes later on in the process.� Provost Peter Lange noted that Toone— who founded two medical startups, Aerie Pharmaceuticals and Vindica Pharmaceuticals—draws upon a wealth of personal experiences and accomplishments. “The breadth of vision, with its combination of educational, research and translational ambitions and commitments to both commercial and social entrepreneurship, assure a good match both with the University’s mission and the passions and interests of our faculty and students,� Lange said.
commercial products. “This initiative, focused on both innovation and entrepreneurship, is a means to increase the relevance of the University and increase its impact on society,� Toone said in the release. Toone noted that his experience with Department of Energy’s research incubator has prepared him to direct the initiative. adding that nearly half of ARPA-E funding was funneled to research conducted at the university level. “Early-stage tech transfer is not about discovery anymore—it is about making those discoveries ready for market impact. I spent four years learning how Washington works—
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DIABETES from page 1
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HOUSES from page 1 trek to the heart of West Campus. Sophomore Laurel Kaye is the president of Sherwood House in Craven House D, which has the first name to be approved by administrators under the house model. Sherwood residents have started to rally behind the theme their name signifies, she said. “We’ve been associating it with Robin Hood for fun, but I don’t know what the intentions of the person who submitted it were,” she said. “We picked out colors, symbols and a motto—‘ad astra.’” Sophomore Ashley Qian, a resident of Kilgo House O and P, now named Avalon House, also said she and fellow house members have tried to build up the theme of their house, though she noted that the process of naming was “a shot in the dark.” “It was really difficult for the entire house to get together because we’re so big and don’t all know each other personally—it’s hard to get the vibe of the entire house in general,” she said. Choosing a name is a multistep process intended to be the first move in creating cohesive living communities for unaffiliated students, Gonzalez said. After residents of a particular house have agreed upon a name, they must submit it to their campus dean, who forwards it to Gonzalez, who then presents it to a committee of students and staff. That group must approve the name and coordinate with legal services to complete a trademark check. Several submitted names were trademarked items, he noted—the procedure for those names is generally to allow their use, and to work with the affected house if a complaint were to be received. Administrators hope the remaining six nameless houses will complete the naming process before the semester ends, Gonzalez said, though no absolute deadlines are being imposed. A few names that have been submitted were rejected, he added. Gonzalez declined to state the rejected names because not all have been notified, but they will be by the end of the week. For the most part, however, Gonzalez said he believes students are taking the naming process seriously. After a name is approved, residents are encouraged to design a crest and sign to display on the exterior of their living space, Gonzalez added. He looks forward to the Spring when he hopes houses will start putting their signs up, which will contribute to house identification. Qian was asked to design the crest for her house and in doing so largely decided to follow the historical connotations of the house’s name. “Avalon is known as the Isle of Apples, it’s also the place where Excalibur was forged and also where King Arthur usually went to take a break or take time off,” she said. “I tried to make the crest very medieval-based with a fun quirky twist, but mostly it’s more of a royal tone.” But some students are not optimistic about the house model’s potential to create a more cohesive environment for unaffiliated students—or happy with the house model in general. Corinne Santoro, a sophomore in the selective living group Maxwell House, said she would not have joined the SLG if the house model had not been implemented. “I was planning on blocking with friends who all joined sororities and ended up living with their sororities, so then I joined the SLG,” she said. “From a purely selfish point of view, I don’t like [the house model].” Santoro noted that she does not think her unaffiliated friends are reaping benefits from the new housing system—most do not even know the names of the other residents in their houses, she said. But Qian thinks it is a work in progress, noting that the success of a house becoming unified depends on its house council. “If we have cool swag or a solid foundation to set the mood and set the scene, I think people will follow,” she said. “West Campus residents already are established [with their friend groups], so it’s harder [to foster community], but I still think it’s possible.”
G
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THURSDAY, NOVEMBER 15, 2012 | 5
Let’s raise awareness
SYLVIE SPEWAK/THE CHRONICLE
Students teach passersby about the international impact of diabetes on West Campus as part of World Diabetes Day Wednesday.
6 | THURSDAY, NOVEMBER 15, 2012
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The Hindu Students Association & JYOTI invite everyone to celebrate the
Festival of Lights puja : dinner : performances : garba
Saturday, Nov. 17 6-10pm Von Cannons
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Read about Lil Wayne courtside at the Tuesday’s DukeKentucky game. Blue Devil commit Matt Jones officially signed his national letter of intent.
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WOMEN’S BASKETBALL
Four 2013 Henson’s long road to recovery recruits sign by Zac Elder THE CHRONICLE
Heading into her second season at Duke, redshirt freshman Amber Henson has only played a total of 93 minutes in a Blue Devil uniform. After contributing early last year off the bench, she injured her patella and underwent season-ending surgery in January. Duke head coach Joanne P. McCallie wasted no time in submitting a petition to the NCAA for a medical redshirt to save Henson a year of eligibility. “I’m just so grateful that we were able to catch it early,” Henson said. “I played seven or eight games at the beginning of the season, and I think if I had of played one more or something I wouldn’t have been eligible for the redshirt. So I’m glad we caught it before that. I’m just glad to have another year here.” Henson will start the 2012-13 campaign still recovering from her surgery, but should be back in action in late December or early January. For the Blue Devils, Henson may be the perfect Christmas present, especially considering the myriad injuries plaguing several of McCallie’s other standout players. Returning center Elizabeth Williams, a preseason Player of the Year candidate, is still suffering from a lingering stress fracture in her right leg that has plagued her for over seven months. Incoming freshman forward Katie Heckman has a torn ACL and
6-foot-3 Cooper the latest to join the class by Nick Martin THE CHRONICLE
Entering last week, Duke women’s basketball head coach Joanne P. McCallie had already secured verbal commitments from three of the nation’s top recruits. But a fourth joined that crew last Thursday when Kendall Cooper, a 6-foot-3 center from Carson, Calif., announced at a ceremony at St. Anthony High School that she had chosen the Blue Devils instead of her hometown school UCLA. Cooper and fellow recruits Rebecca Greenwell, Oderah Chidom andand Kianna Holland were able to officially ink their national letters of intent Wednesday, forming a consensus topthree class in the nation. Cooper cited academic reasons, along with the team’s success, as the main motives behind her decision. “This has been the most important and hardest decision of my life,” Cooper said at the press conference. “I have dreamt about it, thought about it, talked about it, researched it, cried about it and prayed about it.” ELYSIA SU/THE CHRONICLE
SEE RECRUITS ON PAGE 8
After suffering a season-ending patella injury last year, Amber Henson earned a medical redshirt.
SEE HENSON ON PAGE 8
FOOTBALL SCOUTING THE OPPONENT
Yellow Jackets are a tale of two units by Jacob Levitt
Georgia Tech
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Under head coach Paul Johnson, Georgia Tech has thrived with an unusual triple option offense, making four bowl games in as many years, including a berth to the 2010 Orange Bowl. Last week the Yellow Jackets showed just how deadly that offense could be, dropping 68 points and nearly 600 yards on a talented North Carolina defense in Chapel Hill. hat game showed just how badly a defense could get burned if players deviated from their assignments in pass coverage, missed tackles, or deviated from their lanes against the run. “It was one of those games where they took advantage of opportunities,” Duke defensive end Dezmond Johnson said. “Georgia Tech is one of those teams that if they see a flaw they can take advantage of it. And like you’ve seen last week, they can… turn it into six points.” But last week also highlighted the defensive deficiencies that have sunk Georgia Tech this season as the Tar Heels scored 50 points of their own in that game. After three consecutive losses in which Georgia Tech gave up more than 40 points, the team fired defensive coordinator Al Groh. In the four games since, the team is 3-1, although that stretch included a 41-17 loss to BYU and the North
Yellow Jackets (5-5) (4-3) PPG RUSH/G PASS/G TD FG-FGA SACKS-YDS
MELISSA YEO/CHRONICLE FILE PHOTO
Georgia Tech quarterback Tevin Washington is second on the team with 536 net rushing yards. Carolina win in which the team gave up a season high in points. Duke head coach David Cutcliffe believes the coordinator change has refocused the Yellow Jacket defense on executing its fundamentals, although the results are hardly indicative of a unit playing in-
spired football. “It’s schematically somewhat the same. They had an open date, but you’re not going to change [the scheme],” Cutcliffe said. “I’m sure their focus became fundamentals, became a focus on pursuit angles, a focus on not giving up big plays. From
GT 38.2 324.4 138.6 52 7-13 20-131
OPP 30.2 148.6 256.3 38 11-17 11-61
Running the triple option, the Yellow Jackets are dangerous on the ground, averaging 324.4 rushing yards per game, tops in the ACC. They excel in their limited passing opportunities as well with 10.4 yards per pass. reading between the lines that was what the head coach expected to see—just a very sound approach to defense.” What the defense lacks the offense compensates for, however. The triple-option SEE SCOUTING ON PAGE 8
8 | THURSDAY, NOVEMBER15, 2012
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RECRUITS TS from page 7
Donlad s All-American. Gray has mainta Donlad’s maintained her roots in the Storm system after being heralded h as the No. 4 recruit in the class of 20 2010 out of high school. m Chelsea,” “Kendall had a chance to meet Quintero said. “Our alumni always come back and give back to our pro program.” ma five-star reIn order to bring in so many cruits, McCallie is constantly w working to build relationships with players aand coaches all lik every other over the country, just like elite head coach in ccollege basketball. But McCallie has been quite successful fosteri fostering this friendship, as Quin Quintero cites his relationship w with both Gray and McCallie as reasons for him to be enc encourage players to join the Blue Devils. “That com combination of Chelsea’s mann manner and her being a social kid and me havrel ing a great relationship with coach [Duke’s] coaches,” Quintero said. “Coach P. has done such a great job of b building a relationship with m me.” additio of Cooper, The addition along with the rest of her recruiti strong recruiting class, will give the Blue Devils eve even more depth on their bench, es especially in the post. Although W Williams will undoubtedly be the starting center
Cooper is ranked as the No. 12 recruit in the class of 2013 by ESPN.com’s PN.com’s HoopGurlz while Greenwell, Chidom and Holland are ranked No. 6, 10 and 32, respectively. Cooper willl boost the Blue Devil frontcourt, figuring to play ay alongside sophomore center Elizabeth Williams, liams, the reigning National Freshman of the Year. Although her position will not be determined until she joins the team next year, her strength around the basket combined with ange jump shot will a solid mid-range make her an effective ffective complement to Williams. Cooper is a member of the orm club team, California Storm coached by George Quintero. She is joined on the Storm by Chidom, who made her verbal pledge to McCallie three weeks ago. The other starting memtorm are going bers of the Storm to Stanford, Yale and California, Quintero said. Duke’s connection nnection with the Storm goes deeper than Cooper and Chidom, however. Duke junior guard Chelseaa Gray also was a memtorm during her high ber of the Storm school days at St. Mary’s High School alif, where she was a Mcin Manteca, Calif,
SCOUTING from page 7 offense primarily a running scheme, and Georgia Tech has consequently racked up some impressive numbers on the ground. The Yellow Jackets average 324.4 yards and more than four touchdowns per game on the ground, good for fourth and first in the nation, respectively. Georgia Tech’s offense unit has not been without struggles of its own, though. Quarterback Tevin Washington, the returning starter, has ceded an increasing number of snaps to redshirt freshman Vad Lee. Despite Lee’s success, Georgia Tech will continue to use its two-quarterback system. But Cutcliffe said the Yellow Jackets’ quarterback swapping would not affect Duke’s preparation because the two quar-
terbacks run the same offense and both are capable of converting defensive lapses into big plays. Last year, Washington gashed the Blue Devils for more than 300 total yards, averaging eight yards per carry and more than 14 per pass attempt. Even though he has not faced the Blue Devils yet, Cutcliffe is familiar with Lee, a Durham native. “I saw him a lot over here—he spent a lot of time over here at our place. I had him in camp. Vad’s a fine young man and a very, very gifted athlete,” Cutcliffe said. Although the run game is clearly Georgia Tech’s strength, the team has succeeded in its limited opportunities through the air. In years past, the Yellow Jackets have had a superstar at receiver, with two taken on the first day of the draft in the past three years.
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Chelsea Gray played on the same club team in California as two incoming recruits, Kendall Cooper and Oderah Chidom. for the duration of her time at Duke, the Blue Devils will lose senior Allison Vernerey, who has been the one called upon to fill Williams’ spot in the two exhibition games. Cooper receives praise for the improvement she has made throughout high school, developing a power game around the hoop in addition to her quality jump shot. “She really understands the game,” Quintero said. “She really is a kid who, in a lot of ways, is a throwback. She really understands that she’s a post player. Some kids want to avoid that and be a point guard, not Kendall.” Cooper should be able to fill this role, and if she performs well at the next level, could expect some playing time. The Blue Devils will likely return eight guards next season, while only bringing back three forwards and one center.
This year the ball has been spread more evenly—six players have more than 100 yards receiving, led by Jeff Greene’s 256—but the success through the air has continued. The team averages more than 10 yards per attempt through the air and more than 18 yards per completion, largely because the play calling keeps defenses so off balance. “A lot of times you see these guys running wide open,” cornerback Ross Cockrell said. “During the course of the game you get so locked in to the run, so keyed into the run. And then on first down, they hit you with a pass. That’s what makes it hard is you can get passes at times that you really don’t expect…. Last year they threw the ball on us well. They hit us with a couple deep passes, and that’s really how they win games.”
behindenemylines
HENSON from page 7
adversity of injury well. The Blue Devils’ coach, though, will still have to wait a couple months to see her talented forward back in action. “I want to have her back, but I can’t even think about it right now because it’s not for a while,” McCallie said. “She is terrific, and I’m so glad we redshirted her last year. With things going our way she’ll get some great experience this year and then have three fantastic years left to play.” Until then, the Blue Devils will start their season with uncertainty in the post. Despite the injuries to some of her key players, though, McCallie is focused on the positives rather than the large holes in her lineup. “That’s not what sports are about,” McCallie said. “You can’t lament—you have to go forward. It’s a great life lesson for the players and for all of us. Life throws you some curveballs, and you better focus on the ball and hit it anyway. I think we’re doing that.”
will most likely be redshirted this season. But after having another surgery two months ago to remove scar tissue, Henson’s timetable for return is still unclear. “No timelines, just day by day,” McCallie said. “But it won’t be November, although she is growing, getting better, and her knee is healing.” When Henson does return, though, she has the potential to make a large impact on the court for the Blue Devils. “She’ll rebound, she’ll defend and she’s got an attitude,” McCallie said. “She’s one tough lady. She plays hard—very blue collar, very tough. She’ll help us in all those ways. Plus she can shoot it lights out.” Henson was a three-time Parade AllAmerican nominee and was named the Florida Gatorade Player of the Year as a senior in high school. She was tabbed as the fifth best player in her recruiting class by the Collegiate Girls Basketball Report. She also competed in the Women’s Youth Olympic Games in 2010 in Singapore, where she helped lead the U.S. to a bronze medal. “We ended up getting a bronze which is subpar for any U.S. Women’s Team,” Henson said. “But I think I learned about intangibles like leadership and teamwork and things like that— things that [also] come into play here.” Along with the skills she learned while competing for the United States, McCallie believes that Henson has handled the
>>Where did Georgia Tech’s offensive explosion come from last week? There’s a certain energy that’s come to the team in the last couple of weeks. Georgia Tech is 3-1 in its last four games.... part of it is that lately they’ve made the switch to the twoquarterback system with Tevin Washington and Vad Lee. >>Check out more of The Chronicle’s Daniel Carp’s interview with the associate editor of The Technique, Georgia Tech’s student newspaper, on The Blue Zone
Stay up to date with all your Duke basketball news, men’s and women’s, at The Blue Zone www.sports.chronicleblogs.com
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10 | THURSDAY, NOVEMBER 15, 2012
Embrace debate, reject violence Last Thursday, a Duke Stu- trivial: It threatens to disrupt dents for Justice in Palestine free intellectual discourse on event was interrupted when a campus, one of the Universenior destroyed the replica sity’s most vital features. West Bank barrier and flipped The DSJP incident closely over a table of Palestinian food follows another troubling DSJP was offerincident of ing to passersby. intellectual editorial This incipersecution. dent is extremely serious for A freshman who publicly optwo reasons. First, violent or posed Duke’s affirmative acthreatening behavior on a col- tion policy earlier this month lege campus is never accept- was significantly harassed as a able, and no student should result. Although the editorial ever feel he has a right to en- board gives resounding supdanger or intimidate another. port to affirmative action, we It tears at the fibers of a safe were nevertheless shocked community. Second, violence and appalled to hear that is perhaps even more atro- this student was subjected to cious when it is used to intimi- yelling and banging on his date a group that is present- bedroom door because of ing a viewpoint it rightfully the views that he held. Nuholds, however controversial. merous comments on The The impact of such a sense- Chronicle website attacking less and cowardly act is not his character rather than his
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What a non-apology from Kimel. At this point, as a member of the Duke community, I have little concern about how the lacrosse teams’ choices are “viewed by those outside of our program.” —“anon” commenting on the story “Duke Athletics revises photo uploading policy after blackface incident.” See more at www.dukechronicle.com.
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arguments were equally unacceptable. Students attend Duke for a number of reasons. One important benefit—if not the most important benefit—of attending Duke is that we expose ourselves to a wide range of people and thus a variety of values and backgrounds. Although disagreement and debate will inevitably ensue, it all helps further important discourses rather than stifle them. In 2004, Duke allowed the conference of the Palestine Solidarity Movement to take place, despite widespread criticism from students and the public, citing its longstanding commitment to academic freedom of expression. The ideas and membership of this group were controversial, but the University’s response
principally affirmed its commitment to the unfettered circulation of ideas. Students benefit from having their beliefs challenged—hearing opposing viewpoints engenders deeper thinking and more sophisticated positions. Violence and intimidation severs that process in an ugly way. Two recent incidents— the DSJP and affirmative action flare-ups—do not necessarily constitute a trend, but Duke can be a place where unpopular opinions are subtly stifled on a daily basis. If the surprisingly high number of Romney supporters in the student election poll tells us anything, it’s that there are many more Republican-identifying students than like to publicly share their political affiliation. People with opin-
ions that do not conform to popular thinking face an inevitable struggle. Although the editorial board endorsed Barack Obama and supports affirmative action, we also deeply respect the right of people with minority views to express their views without intimidation, physical and social. Of course, students who voice unpopular opinions should prepare for some strong reactions, which can help propel discussion forward. But under no circumstances should students have to prepare for harassment. We implore the Duke community to show respect for individuals, even if not for the specific points of their arguments. A well-structured rebuttal is far more compelling than an overturned table.
The wall that should be torn down
onlinecomment
Est. 1905
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commentaries
T
he incident that occurred on Thursday, events on campus with far-too-narrow a lens. Nov. 8, 2012 involving a student’s inapThe vandalism that occurred is the opposite propriate counter-protest of Duke Stu- of what DFI and other groups hope to achieve. dents for Justice in Palestine’s display of the Instead of allowing secondhand accounts and separation wall between Israel and misplaced displays of anger on the West Bank was regrettable. I both sides to create a mutually natalie alberman distrustful would like to clarify that the indiand spiteful atmoguest column vidual who lashed out acted indesphere on campus, I propose that pendently of any organizational groups from all points on the poties, without representing the organizations he litical spectrum, including Duke Students for was said to be associated with. In addition, the Justice in Palestine, Muslim Student AssociaJewish Student Union, of which the student is tion, JSU, DFI and all others who wish to join a member, and Duke Friends of Israel, a group the discussion, come together to discuss what is he had cut all ties from, both oppose the inap- happening on campus and worldwide. I know propriate display of political opinion. that all parties involved prefer peace and coopThere is no defending vandalism, but per- eration to be the basis for a successful resoluhaps the act should be given additional con- tion to the Israel-Palestine conflict. As such, I text. This week—when 140 rockets have hit would like to formally state DFI’s intention to Israeli civilians in the span of 72 hours—is a work toward a more open exchange of ideas particularly tough time for Israel supporters and to use that as a foundation to lessen harmto quietly sit on campus. Numerous students ful intergroup and inter-student relations on have family or friends who have been forced this campus. to cease their normal routines entirely and run This column is not about one side getting with their families into bomb shelters to shield the last word. It is my hope, in fact, that adthemselves from rockets launched from Gaza. ditional dialogue can be achieved so that we For those who live under this constant attack, can at least take one campus-wide step toward and for those on campus who care about their peace in the Middle East—even if it would survival, moving through the day, knowing that have to start here in Durham. Though it may the rockets hit these cities with only 15-seconds be naïve to think that the conflict can be reof warning, hardly affords us any time to re- solved from somewhere in North Carolina, the lax from a constantly anxious state. Knowing current wall of bitter tension that has torn our that my 10-year-old cousin, Ori, still tends to campus apart is one that must be addressed cotrip over her shoelaces makes that 15-second operatively and swiftly. If we are to truly care window all the more terrifying. for all students, including those who feel hurt I strongly believe that all student groups on by displays and actions by opposing sides, and this campus should be allowed to express their if we seek a culture of respect and civility at views fully, even (and especially) as world events Duke, then we must start somewhere. become more dire. As such, to deny the emotion that has afflicted many on both sides of the Natalie Alberman, Trinity ’13 conflict this week would be to look at last week’s President, Duke Friends of Israel
Want to contribute to campus dialogue? The Chronicle is now accepting applications for regular columns, as well as Monday, Monday and rotating author series columns. Email mfl5@duke.edu for an application.
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When the tables are turned
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his campus is not a safe space for Arabs or Mus- of Muslims and Arabs in general. The individual would lims, and it shouldn’t take an act of violence to be criminally charged. An inquiry would be launched on realize that. how Palestinian activism or the Muslim community breed Last Thursday, Duke Students for Justice in Pales- violent extremism. Politicians would capitalize on the tine hosted an event on the Bryan Cenevent to their own ends by breeding hate ter Plaza. We constructed a mock wall of in the electorate. This is the discriminathe one that currently separates and antion that Arabs and Muslims face daily in nexes parts of the West Bank into Israel this country; it’s a similar line of thought to raise awareness of the suffering and that justifies the collective punishment of oppression of the Palestinian people at the Palestinians and the immense human the hands of the Israeli state—supporttoll we inflict with our military intervened by our very own government. Upon tions and foreign policy. completion, the wall will run for almost This campus isn’t just an unsafe space ahmad jitan 500 miles and will essentially annex part for Palestinians, but many other marginof the West Bank, leaving Palestinians liv- indecent family man alized groups, including women, people ing in Bantustans, ghettos and military of color, the LGBTQ community and zones. In its highest areas it is 25 feet tall, more than those of lower socioeconomic status. It’s apparent in twice as tall as the Berlin wall. It restricts Palestinians’ the persons of color who feel they need to prove their access to work, school, healthcare, friends and family. worthiness to be members of this school. The victim of Witnessing the wall firsthand is extremely psychologi- sexual assault who is told “she was asking for it.” The gay cally intimidating, living by it day-by-day even more so. or lesbian couple who are afraid to hold hands walking It has been declared illegal by the International Court across the quad. The parties that caricature an entire of Justice and denounced by international human cultural group in their themes or costumes. And the list rights groups. Our event was a criticism of the oppres- goes on. … The lived experiences of these individuals sive structures and settler-colonialism of the Israeli state are constantly invalidated and minimized by power strucand the nations that support those actions. tures largely out of their control. When they try to speak At one point a student destroyed part of our display out against the oppression they face, they are ignored, and flipped over our table of food. ridiculed, written off as “angry feminists,” told that they The goal of the event was to educate the Duke com- can’t take a joke, threatened or in some cases—like last munity about the oppression of Palestinians and the week—face physical violence. struggle toward freedom, but it also ended up exposing The administration has a responsibility to respond the not-unrelated oppression present on our very own in a manner to make sure that this campus is a safe campus. space for every member of our community. This doesn’t It is no coincidence that this violent act of intimida- mean responding to this as an isolated incident but adtion—that took place in broad daylight in one of the bus- dressing the structural inequalities in our institutions. iest public spaces of campus—was perpetrated against a More importantly, every individual has a personal regroup that is constantly villainized and dehumanized in sponsibility to hold themselves and their peers accountthe media, put under surveillance by our government able for their actions. and unequally treated in our society. To make sense of In my shock after the incident, I couldn’t help but the events, we need to look further than the tempera- notice the irony of a student upset with our message tearment or actions of an individual student. The same forc- ing down part of our mock wall. It is my dream that those es that invalidate the voices of Palestinian solidarity activ- invested in the idea of Israel, and anyone who desires to ists on this campus are those that keep the wall standing, live in a just and peaceful world, would realize how the prevent Palestinian refugees from resettling, deny them wall threatens their own humanity. Every human is retheir right to self-determination, allow the continuation sponsible in ensuring the end of oppression of any other of illegal Israeli settlements and perpetuate a brutal mili- human being. After educating people about the injustary occupation. Palestinian lives, voices, health, dignity, tices of the wall, we invited attendees to symbolically take hopes and dreams aren’t valued. part in this process by breaking down our own mock wall As Muslim chaplain and fellow Chronicle columnist we had built. This symbolic act can become a reality. It’s Abdullah Antepli stated, “The consequences would have time to turn over the tables of oppression. been drastically different if the tables were turned.” I don’t even want to imagine the consequences if a PalAhmad Jitan is a Trinity senior and the president of Duke estinian-American were to respond in a similar manner. Students for Justice in Palestine. His column runs every other It would be taken as a sign of the aggression and danger Thursday. You can follow Ahmad on Twitter @AhmadJitan.
lettertotheeditor Israel, Palestine both deserve to exist in peace I was saddened, but not surprised, to hear of the violent disruption of the recent Duke Students for Justice in Palestine event. The disruption is the typical response of those who seek to silence the voices of the marginalized in general and the voice of Palestinians in particular. Israel has an absolute right to exist as a nation. Israel also has the right to exist free from threats of terror and war. Few dispute the right of Israel to exist except for extremists who must be condemned. Israel, however, has shifted from ensuring its security to perpetuating a violent and illegal occupation that oppresses and dehumanizes the Palestinian people. Israel has a right to exist, but it has no right to construct illegal settlements on land that is owned by Palestinians. Israel has a right to be treated with respect, but it has no right to force Palestinians to move through dehumanizing checkpoints that sometimes cause Palestinian men and women to move like
cattle for up to six hours a day simply trying to get to and from work and home. Israel has the right to its security, but it has no right to demolish Palestinian homes simply because the Israeli government harasses Palestinians by arbitrarily denying building permits. I spent a few weeks traveling in Israel and Palestine this past summer. I visited with Palestinians living in the everyday reality of Israeli occupation. I walked along both sides of Israel’s so-called “separation fence.” I visited a camp where Palestinian refugees have lived now for almost 65 years. One Palestinian woman asked me to tell people back in the United States, “We Palestinians are human beings. We are not dust.” I urge the Duke University community to listen to her voice. Yes, Israel deserves the right to exist in peace, but so does an independent Palestine. Alan Felton Divinity ’14
Purgatory or reincarnation?
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ecently I’ve been preoccupied with the question of what happens to art after it’s created. The tendency to paint a canvas and then say “ok great, ready for the next one,” and then go out and buy another seems problematic. Meanwhile, the first canvas likely languishes in the corner of the house gathering dust. What is it about artistic items that makes us want to, and makes it okay to, keep them for a long time? Especially when we’re not actively using or appreciating them. If it’s not on our walls, and we’re not keeping it for our professional portfolios, than why keep it at all? Art relies heavily on the materials used to create it— before making any piece of art, the necessary supplies hannah andersonhave to be acquired. Mibaranger chaels, the U.S.’s largest arts and crafts retailer, has more state of the arts than 1,000 store locations in the U.S. and Canada. To put that into perspective, compare that number to 1,872, the number of Staples stores in the U.S. and Canada. Clearly, there are a lot of people buying art supplies. But I’m wondering: where does it go? In my experience at least, most arts and crafts items have one of the following fates. First, they might never be used for anything after being bought and instead might just gather dust somewhere, waiting to be used. Next, they might get made into something, which then gathers dust somewhere. Or finally, these items might get made into an art/craft piece and sold, after which it might very well just gather dust somewhere. If it’s just going to sit somewhere and not even be looked at or enjoyed, then what is the point of keeping it? Why not disassemble the piece and recycle or reuse it? Instead of buying a new canvas each time we fancy expressing ourselves, maybe we should take one of our old canvases, paint on it and create a new work of art from the old. But we don’t. Which suggests that, for example, painted canvases and newspapers are somehow intrinsically different. They’re both made out of a fiber-based material and have information encoded on it in pigment. But, newspapers are recycled—in fact, in Durham it’s prohibited to put newspapers in the trash. We don’t typically recycle painted canvas; I’m not even sure it’s physically an option. But reusing painted canvas, by painting over what is already there, is an option. The items that we most typically recycle or reuse are items we value for their utility. An understanding of instrumental value determines how we feel about items and how we interact with them. We value newspapers, glass bottles and aluminum cans only so far as they are useful to us and provide us with some sort of service—informing us of the news or holding a beverage. After an item is done providing this service, we have no qualms about trashing, recycling or reusing it. However, we do not value art for its utility. Sure, the arts and crafts can provide for us the service of self-expression. But, if that were the sole reason we valued the items, then we would just throw things out after creating them, just like recycling a read newspaper. Rather than appreciating art’s utilitarian value, we appreciate its intrinsic, aesthetic value. Which really isn’t that surprising, since for many people, art is defined in terms of aesthetics. Intrinsic, aesthetic value is difficult to quantify, making it difficult to determine when this type of value has diminished. But nonetheless, somehow this difference in valuation leads us to save things even when we are no longer actively appreciating their aesthetic value. The paintings we create on canvass may be beautiful, and we might enjoy looking at them. But then why do we let them gather dust behind some dresser somewhere? Speaking from my own experience, as an artist and lifelong crafter, I have collected quite an assortment of projects over the years that, once finished, were never looked at again. And, to me, this seems to be a problem. But also, as an artist I don’t want to suggest that we shouldn’t save art pieces for at least some length of time. Yet I’m still left wondering: If beauty is in the eye of the beholder, and if there is no beholder, then what is beauty? Hannah Anderson-Baranger is a Trinity junior. Her column runs every other Thursday.
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November 15, 2012
editor’sNOTE
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f you’ve ever followed any of the sex advice doled out by Cosmo magazine, chances are you’ve probably ruined a perfectly good banana. Today, the women’s magazine has a reputation that precedes itself; what was once a publication focused on sexual liberation and women’s empowerment has now descended into a parody of itself. Yet I still read it exclusively while working out on the elliptical machine at the gym. I choose Cosmo over other reading material precisely for its lack of substance, and after years of only using the pages as something to sweat on, Cosmo, in its infinite fruit-filled wisdom, lost its ability to get a rise out of me. Or so I thought. When reading the November issue this past week, I came across an article entitled, “Uh-Oh. Your Crazy Side Came Out. Now What?” The article went on to give four scenarios where women “lose their cool” and then provides ways to help you reassure your boyfriend that he still wants to be with you. This type of thinking is of course deeply problematic, but not atypical Cosmo fare. The article, however, is more troubling than usual because it reinforces an attitude towards women that extends beyond the bindings of a magazine. This is not a harmless pop science piece about decoding body language on the first date. This is an article that contributes to a culturally-perpetuated cycle of how men perceive women: crazy. Such thinking saturates popular culture to a point that
the examples are not even surprising, but it’s worth mentioning that even women now label themselves as crazy. In Melanie Fiona’s current radio hit “4 AM,” she opens with the lines, “Sitting here feeling kind of crazy/ But not just any crazy/ It’s the kind you feel when you love somebody.” She goes on to say that her lover is not home at 4 a.m. and won’t answer her calls, leading her to suspect that he’s with another woman. Why is this irrational? Fiona opens the song by blaming herself, a response that’s unfortunately too common when we try to filter our emotions in a society that’s conditioned to ridicule them. Now it’s not just men who dismiss women as “crazy,” it’s women confirming that “crazy” has indeed become a gendered adjective. This type of emotional manipulation has a name: gaslighting. The term comes from a 1938 British play called Gas Light where the husband psychologically abuses his wife to convince her that she is going insane (he even dims the gas lights in the house and tells his wife that she is imagining it). The original premise is specific and extreme, but gaslighting itself extends to innocuous remarks that we’ve all said at one point or another. An article in the Huffington Post that was published in September entitled “A Message to Women From a Man: You Are Not ‘Crazy’” begins with phrases that women have heard many times: “You’re so sensitive. You’re so emotional. You’re defensive. You’re overreacting. Calm down. Relax. Stop freaking out! You’re crazy! I was just joking, don’t what we’re thankful for you have a sense of humor? Michaela Dwyer ..............................................................................................Recess! You’re so dramatic. Just get over it already!” Holly Hilliard...........................................................................................Chronsemi! These phrases are examDan Fishman..........................................................Cy Twombly and the Cy Young! ples of how gaslighting colors Katie Zaborsky......................................................................................scarf weather! male-female interaction—that when confronted with womTed Phillips....................................................................................mashed potatoes! en’s emotions that fall outside Sophia Durand......................................................................Joseph Gordon Levitt! of our male-sanctioned code Emma Loewe........................................................................................photography! of conduct, the reaction is Andrew Karim.............................................................................................Party Cat! to delegitimize the emotions themselves, and by extension,
[recesseditors]
DUKE PERFORMANCES In Durham, at Duke, a City Revealed. rday!!! ay & satu this frid LEGENDARY GOSPEL QUARTET
THE MIGHTY CLOUDS OF JOY FRIDAY, NOVEMBER 16
the women who feel this way. And every time we call a woman “crazy” as a synonym for overly-emotional or irrational, we are contributing to the systematic marginalization that discounts opinions that are “too messy” to deal with. This past weekend, I visited another university and heard a guy describe a girl as “crazy.” I decided to press him on what he actually meant, since the description of a “crazy bitch” is on the verge of becoming almost flippant. He then told me a story that involved alcohol, Taylor Swift and a unitard. Yes, the story was absurd, but what if a guy had been at the center of the story? Most likely, he would be labeled as “ridiculous.” But “ridiculous” is an elected action, a momentary performance before we revert to our stable selves. “Crazy” is innate, a bodily manifestation that should be tempered or mitigated for the sake of others. And by others, I am of course referring to men. Our representation of the “crazy bitch” is nothing new— feminist theory has been tackling Freud’s idea of “female hysteria” for decades, and fetishizing mental illness is a recurring trope in cinema. What’s troubling is how women are seemingly subscribing to this cultural depiction of themselves by monitoring their behavior so they don’t have to find a rebuttal to “calm down.” What’s so effective about gaslighting is that it’s almost impossible to regain control. If I do “calm down,” I am submitting to your idea of social propriety; if I refuse, I am affirming your original idea that I am a slave to my emotions. Who wouldn’t want to avoid a no-win situation? Ultimately, I read magazines like Cosmo and listen to the radio to gauge popular thought, and popular thought has decided that “crazy” is an acceptable term to describe a woman, but “bitch” and “c**t” elicit deserved outrage. Gendered language carries with it many implications, but first we must recognize when a new word actually enters this repertoire. As women, our only defense against such dismissiveness is to point out the cycle of emotional manipulation that both genders contribute to at every turn, because calling women “crazy” is just bananas. —Katie Zaborsky
NASHER MUSEUM OF ART AT DUKE UNIVERSITY
Collecting Matisse and Modern Masters THE CONE SISTERS OF BALTIMORE November 4, 2012 – February 10, 2013 LEFT: Henri Matisse, Striped Robe, Fruit, and Anemones, 1940. Oil on canvas, 21½ x 25½ inches. (54.3 x 64.8 cm) BMA 1950.263 ©2012 Succession H. Matisse/Artists Rights Society (ARS), New York.
& SATURDAY, NOVEMBER 17 8 PM • HAYTI HERITAGE CENTER (804 OLD FAYETTEVILLE ST.) LUMINOUS PIANO VIRTUOSO
PIOTR ANDERSZEWSKI,PIANO BACH, SCHUMANN, JANÁCEK
FRIDAY, NOVEMBER 30 8 PM • REYNOLDS THEATER ELECTRIFYING STRING QUARTET
JACK QUARTET
FEAT. STEVEN MACKEY, ELECTRIC GUITAR
WEBERN, SCHUMANN, STEVEN MACKEY SATURDAY, DECEMBER 1 8 PM • REYNOLDS THEATER DAZZLING SYMPHONIC INDIE ROCK
LOST IN THE TREES
WITH CHAMBER ORCHESTRA
$10
ST
Plus dozens more shows...
Tickets on sale now 919-684-4444, nasher.duke.edu/matisse or in person at the museum.
EVERY SHOW. ALL SEASON. TAKE ADVANTAGE.
Nasher Museum Members receive two free Matisse tickets per day.
GET TICKETS: WWW.DUKEPERFORMANCES.ORG | 919-684-4444 UDE NT
“…a fascinating look at the Cones’ evolving relationships with – The New York Times Picasso and Matisse…”
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U KE
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FRIDAY, DECEMBER 7 8 PM • REYNOLDS THEATER
This exhibition is organized by The Baltimore Museum of Art, The Jewish Museum, New York, and the Vancouver Art Gallery. In Durham, the exhibition is presented in collaboration with the Nasher Museum of Art at Duke University. At the Nasher Museum of Art, lead foundation support is provided by the Crow Creek Foundation. Lead corporate support is provided by Wells Fargo. The media sponsor is NBC17.
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SPECIAL TO THE CHRONICLE
skyfall
DIR. SAM MENDES COLUMBIA PICTURES
Like it or not, lofty expectations come standard with the “Bond” label. With this being the 23rd installment in the James Bond franchise, I found it hard to walk into the film without some preconceived notion of what a Bond film should be. With the help of director Sam Mendes and a multitalented supporting cast, Daniel Craig’s 3rd stint as the infamous Mr. Bond unquestionably delivers. Skyfall boasts many of the ever-entertaining “Bondesque” elements that have made the franchise so enduring: the breakneck opening sequence, the exotic locales and the illustrious femme fatale (Sévérine, played by Bérénice Marlohe) contrasted against the delicate sexual tension between Bond and his more serious potential love interest (Naomie Harris as Eve) are all sure to please die-hard Bond fans. But what sets Mendes’s film apart is that he has the audacity to tackle a storyline that is, in many respects, anything but the classic Bond—and tackle it he does. The thematic force behind the plot of Skyfall is a struggle with time. Bond is getting older, the villains are getting smarter and more tech-savvy and British Intelligence Agency MI6’s dark past has come back to haunt it. Ultimately, Bond’s only recourse against the passage of time is embracing it—he limits his use of gadgets, and he often relies more heavily on his intellect than his ailing body to pull him through. Mendes takes care to embrace this abandonment of the Brosnan/
Craig-era Bond with his deft cinematography. One of the film’s earliest fight scenes takes place under the harsh, rapid blue and white flicker of spectacular Shanghai marquees, while one of its last is illuminated by the soft orange glow of fire in the Scottish countryside. By staging fight scenes first in the dazzling modernity of the inner city and then in the bleakness of the moors, Mendes demonstrates how Bond— both the agent and the franchise—can survive and thrive in the modern world by staying true to his roots. Bond’s supporting cast makes an equally strong impact to Mendes’ directing prowess. Judy Dench delivers a poignant performance as M, fleshing out the willful grit that imbues the character with just a trace of tenderness as she comes under fire for her own past. As Silva, the film’s villain, Javier Bardem proves to us that his Academy Award for Best Supporting Actor in No Country for Old Men was no fluke. He is twisted enough to evoke revulsion from the audience, but not so much that we lose sight of the last shreds of his humanity. These two performances provide a compelling backdrop for Daniel Craig’s portrayal of Bond. Craig is as steady as ever: not spectacular or gripping, but at once more violent and more vulnerable than his predecessors, remaining true to Bond novelist Ian Flemming yet still entirely his own. In many respects, “steady” seems an apropos description of Skyfall as a whole. There is nothing monumental about the film; it toys with boundaries, but it does not seek to cross them completely. As with all Bond films, its plot is somewhat formulaic, but it is by all counts a highly enjoyable film. —Shane Loomis
the sessions
DIR. BEN LEWIN SUCH MUCH FILMS
Do you believe in a God with a wicked sense of humor? If you are a 38-year-old virgin trapped in an iron lung, you may have to in order to maintain your sanity. The Sessions is an independent film written and directed by Ben Lewin and based on the true story of Mark O’Brien (John Hawkes), a poet and journalist who, after a childhood bout with polio, is left a paraplegic. While needing a personal assistant to attend to many of his daily needs, Mark is able to perform some tasks such as dialing a telephone, reading and writ-
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ing newspaper columns through the use of a stick held in his teeth. However, there is one act that the crippled protagonist cannot accomplish—especially by himself. It is for this reason that he contacts a sex surrogate, Cheryl (Helen Hunt). The Sessions follows the framework of a love poem combined with a revealing confessional and a psychoanalytic case study. The plot of the movie stems from an article the real-life Mark wrote for The Sun in 1990 entitled “On Seeing a Sex Surrogate.” The film switches between instances of Mark confiding in his parish priest (William H. Macy) and of Cheryl recording her observations about her sessions with Mark. We also see the painful and awkward attempts Cheryl makes to adequately help Mark understand how he can satisfy himself and a potential female partner. Despite his intense desires, Mark is initially very uncomfortable talking about sex. Talk of drug-induced sexual abilities initially horrifies him, but his time with Cheryl opens the door to a healthier, more open view of sex. But The Sessions is much more than a dramatic version of 40-Year-Old Virgin. It is also a tale about love and how we can find it in the most unexpected of places. This movie chronicles the journey of life, and how beautiful, terrifying, cruel and—most importantly—illogical it can be. We also get an opportunity to see Cheryl become much more than a simple sex surrogate and to understand the more profound elements of her occupation. She helps Mark avoid self-blame for developing polio and to see that his life is not necessarily a series of punishments. Too often, disabled characters in film are given only minor roles and a one-dimensional portrayal. I would give a few examples, but these characters are so bland and forgettable that none come to mind. The Sessions instead follows the vein of movies like Forrest Gump, My Left Foot and Rain Man, all of which served to give a more complete portrait of their disabled protagonists. The Sessions shows that they have the same needs as everyone else—everyone wants to be loved by someone. —Kelly Scurry
SPECIAL TO THE CHRONICLE
November 15, 2012 Sanford 05 | 5:30 pm
CHELSEA GOLDSTEIN IR Specialist, Europe-Eurasia Area Desk (Defense Threat Reduction Agency, U.S. Department of Defense)
GILL STEVENS Communications Director for Congressional campaigns, Independent Political Consultant, McCain Presidential Campaign
ERIC LORBER Institute for Defense Analyses, worked on Iran Sanctions with US Treasury Department
ELLA LIPIN Research Associate, Council on Foreign Relations Middle East and Africa Studies, Fulbright Grantee
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NC Comicon partners with Carolina Theatre by Lauren Feilich THE CHRONICLE
This Saturday night, the Carolina Theatre will transform into an arena for a perilous battle to save Earth from an extraterrestrial sludge monster invasion. The Intergalactic Nemesis is a live-action graphic novel, a description which may initially seem contradictory. However, the show transcends the ordinary constraints of a comic book —voice actors, musicians and a foley artist will contribute to a unique audiovisual experience. The performative presentation of Book One: Target Earth, the first in the Intergalactic Nemesis saga, is only one part of the North Carolina Comicon that is coming to Durham this weekend. The Intergalactic Nemesis evolved gradually, from a radio play to a series of graphic novels to its current presentation as a touring performance piece. In a May interview with the Austin Post, creator Jason Neulander said of his project, “...It’s really fun, pure escapism... I totally wrote this thing for my inner 12-year-old, so I’m trying to push all those inner 12-year-old buttons in the material. Adventure, characters, visuals, surprise – all the things I know I loved when I was 12. And it’s really fun to see kids respond to the show the way they do.” As part of the Comicon, Neulander will participate in a panel to discuss the development of his project on Saturday afternoon at the Durham Convention Center. “We found out that Comicon was going to be happening in Durham on this particular weekend. We approached them and asked, ‘Was there any way we could cross promote?’” said Jim SPECIAL TO THE CHRONICLE Carl, senior director of the Carolina Theatre. Comicon showed its support by co-sponsoring such events as the Escapism Film Festival in late September and the recent Hayao Miyazaki retrospective series. “It’s the same target audience, the Comicon crowd. Basically we’re doing a partnership to reach out to each other’s audiences. We’ve got materials here at the theater that their audience would love to see, and vice versa,” said Carl. “It’s a neat idea, combining live action with this printed form. And the artwork looks really fun, sort of on the level of what a graphic novel would look like,” said Will Hansen about The Intergalactic Nemesis. Hansen, the Assistant Curator of Collections at Duke’s Rubenstein Rare Book and Manuscript Library, is involved with the acquisition of materials, including graphic novels. “I work with them all the time, showing them to classes, talking about their history,” he said. “A number of students have used our comic book collection, one of the biggest in the country, for classes. It’s open for students to use, and they’re welcome to come in and see what we have. There seems generally to be an interest at Duke based on the number of classes that have been taught on them exclusively over the past few years.” Hansen, who participated in NC Comicon panels at last year’s convention in Morrisville, NC, said he expected “a bigger crowd this year because it’s in Durham.” The head organizer of NC Comicon, Eric Hoover, also believes the location switch from outlet mall to convention center will result in a stronger turnout. The Intergalactic Nemesis promises to be just one of the many exciting features of North Carolina Comicon, where approximately 35 vendors and 40 different artists and writers will exhibit their work. “Some are professional, dealing with the companies, but a lot of them are local, trying to break into the industry,” said Hoover. “It’s a very family-friendly event, a lot of people in costume, a lot of things geared toward kids. There’s also a lot of stuff going on for fans: panel discussions with different creators about their work in the industry, art contests, costume contests, a lot for people to do. It’ll be very active.” The Intergalactic Nemesis will be shown Saturday at 8 p.m. at the Carolina Theatre. North Carolina Comicon will take place on Saturday from 11 a.m.-6 p.m. and Sunday from 12 p.m.-6 p.m. at the Durham Convention Center.
This week in arts
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Arts Annex houses “Pecha Kucha”-style salon by Thomas Kavanagh THE CHRONICLE
My first climb up the Arts Annex walkway was dark, uninviting and completely misleading. At 6:30 p.m. on Tuesday, the path towards the back entrance of the Annex was forebodingly quiet. The chainlink keycard gate seemed like the entrance to a military compound. The only evidence of student activity was a series of finished canvases hanging on a cable between the trees; but even then, with only lamplight to illuminate the works, the mini-gallery had a multicolored glow that suggested the presence of some secret art cult. That is, the relative warmth of the Annex interior was totally surprising. As soon as I swiped in, my impressions of Duke’s new arts collective were dismantled. Student art covered the walls and overflowed on the floor. A mingling of MFA students collected on several couches, which angled toward a screen to create an impromptu theater. And yes, they had pizza and drinks. I was proven wrong. The renovated warehouse wasn’t some inaccessible, privately commandeered hideaway for esotericism after all. It immediately struck me as the lively public workshop it’s been rumored to be. The event I attended that evening, an hour of multimedia presentations advertised as a “Pecha Kucha Night” (PKN), only confirmed my newfound positive impression of the space. The new monthly discussion series, open to the entire Duke community, encapsulates the Annex’s nascent identity as an interdisciplinary hotspot for Duke artists of all mediums. Furthermore, the gathering epitomizes a casual salon-culture that Duke could always use more of. Now, when I say “multimedia presentations,” I’m being vague. Still, I’m not sure how to avoid a broad description: PKN showcased such a diverse set of pieces that it’s tough to give the event a single identity. In this way, PKN again embodied the flexible and accommodating personality of the Annex. The event name inspires a specific presentation format, which forms the rough foundation for Duke’s gathering. “Pecha Kucha,” which is Japanese for “chit-chat,” was first coordinated in Tokyo in 2003 as an open forum for designers and artists to present their work to other professionals. Since then, the event style has gone viral across the world, with regular gatherings organized in over 500 cities. Typically, the presenter shows twenty pictures and gets twenty seconds to talk about each one. With only six minutes and forty seconds, presenters are forced to be concise. Since the first Duke PKN last month, presenters have showcased videos, multimedia installations, or snippets of photography portfolios. I saw six presentations, which employed a range of visual media to discuss distinct topics. On the one hand, Ph.D student Pinar Yoldas presented her installation, “Scream! a homage to Edward Munch,” which used animatronic skulls to embody the plight of endangered species. Runa A, an MFA student in Duke’s Experimental and Documentary Arts program, set an entirely different tone with the only physical installation, which involved video projection onto a large paper mask. She says she reformatted a previous live-action installation into a video just for PKN, one
which involved her blindly cutting newspaper bandages that covered her head. The focus even turned from experimentalism to global documentary studies. Jason Woerner, a graduate student in the Cultural Anthropology department, presented a selection of photos from his multinational portfolio on the ripples left by Soviet expansion across Asia, “Chasing the Ghost of Karl Marx.” Because his study spanned several cities and countries, he contained his PKN slideshow to a few shots of Mongolian development. John Rash, the event organizer, says the versatility of the space added to PKN’s atmosphere. “The Arts Annex is a great venue, because it’s not like you’re in an auditorium or a lecture hall,” Rash said. “It’s more like you’re in someone’s living room.” Rash says his PKN is inspired by, but deviates from, the pilot format. While he still hopes to emphasize the 6:40 time limit, future PKN will allow for submissions of all types. “We’d like to make it more inclusive to all the arts,” explained Rash. “Ideally there should be a visual element, but I’d like to see films or musical or dance performances.” Woerner, who had just returned from a seven-year study abroad, was initially skeptical of the “Pecha Kucha” structure, but commented on the success of the night as a whole. “I really liked seeing people from a variety of disciplines coming together and make their work fit the 20x20 format,” Woerner noted. “What starts as a restriction becomes a unifying factor.” The event was run mostly by graduate students, but Rash emphasizes that PKN invites submissions from anyone in the Duke and Durham community. Rash started the night off, in fact, with a short documentary of his own, which he arranged using both “found” and “borrowed” footage. I definitely didn’t expect to begin a night of intellectualism with the “woawp, woawp” of PSY’s “Gangnam Style,” but Rash set the Korean pop hit against clips of police brutality—specificially towards the Occupy protests—to create an eerie irony. He noted that though the music and visuals seem unconnected, they fit together because he’s “seen too much of both.” Rash’s final product, as well as all the PKN presentations, was a refreshing, unique glimpse into Duke’s visual media subculture. I suppose “sub”-culture is no longer the right word; events like Pecha Kucha, which has its third installment January 22, will hopefully broadcast the visual-media life here at Duke and generate the student attention it deserves.
CHRISLYN CHOO/THE CHRONICLE
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Recess Interviews: Eric Oberstein tion and the other in arts in education—blended fairly seamlessly into your directorial work at an arts non-profit. Talk a little bit about how these paths took shape. EO: [At Columbia, where I studied arts management], I worked at the Research Center for Arts and Culture and conducted studies with living artists in response to their needs— with jazz musicians, [figuring out] what they need, something as simple as health insurance. For one summer I worked at Alvin Ailey American Dance Theater. I wanted to see very high-functioning, high-quality arts organization. I think my posture was better than ever that summer. I’d walk into the elevator with Ailey dancers, and I’d be slouching and tired in the morning. Seeing [them] and their artistry was very inspiring. When I first got to Columbia, I attended a concert at Symphony Space and the Afro Latin Jazz Orchestra [led by Arturo O’Farrill] had just started a residency there. I filled out an audience response card, flipped it over and wrote [to the Orchestra], “I’m studying arts management, I’ve admired you guys for long time, and would love to help you out.” I got an email from Arturo’s wife 10 months later. She invited me by to their house to chat, and all of a sudden I was Arturo’s assistant director, producing their shows, writing grant applications, [going] to Cuba for the first time, being invited to produce their big-band album. That was an amazing experience, producing an album [nominated for a Grammy award] from start to finish. When I was at Harvard [studying arts in education], halfway through, I emailed Arturo and said, “You need to hire me. You don’t have any staff, you and the board know you need staff,” and he said [I was] right. He went back to board, they raised money, got a few grants, and that summer I started as their executive director. It was a staff of one and an army of interns.
Eric Oberstein, Trinity ’07, recently returned to Duke—from serving as Executive Director of the New York City-based Afro Latin Jazz Alliance—to hold the newly created position of Associate Director of Duke Performances. In the thick of DEMAN Weekend, Recess Editor Michaela Dwyer talked to Oberstein about his Cuban background, riding the elevator with well-postured Alvin Ailey dancers and what it really means to be an arts administrator. Recess: I’m always really interested in how people define themselves. You call yourself, among other things, an arts administrator, producer, musician, educator, consultant. First of all, what is an arts administrator? Eric Oberstein: I like to think of arts administrators or arts managers as those who are providing the structure for the arts—whether it’s the creation or presentation of art or arts, visual and performing. I think in every great arts administrator there’s an artist. We all got into it somehow because we either play an instrument, or dance, act, write, or [practice] visual arts. For me that was always music. There’s a moment of self-realization that is simultaneously scary and really fulfilling when you can realize your limitations. For me, I realized I wasn’t going to be a virtuosic jazz musician, but I was okay with it because I realized I could still be an integral part of that art form but operate in a different capacity. When I got to Duke I didn’t necessarily know [arts administration] was a career option. As an arts administrator, I wear many different hats, which is part of the reason why I love the work so much: it’s not so narrow. [We’re] cultivating audiences and consumers and we’re very much in the business of education, creating context [for performances]. I don’t look at myself as a gatekeeper or a tastemaker, but I do know what I enjoy and what affects me deeply. You’re thinking about the community in which you live and what art will most inspire your community—what art will hit the mandate here at Duke. If we’re not passing the arts on—sharing, contextualizing, inviting people to embrace them—the arts are really self-absorbed. I don’t like high/low art distinction. There’s just art. It’s either good or bad, and that’s subjective. R: It seems like arts administration is a relatively new phenomenon in the academy. How, as an undergraduate, do you construct an academic experience to prepare yourself for that type of career? When you were here there was a certificate program in arts management, which no longer exists. EO: In academia there weren’t proper arts administration programs until the 1970s or so. I kind of fell into it. I’m half-Cuban and grew up around Cuban music, and I credit [my interest in the arts] to a really supportive school system with active arts programs, which is so important. Today it’s incredibly sad because this is an exception rather than the rule, and in New York City, even, where the arts are revered, if you stumble upon an arts program in a high school you are profoundly lucky. I’ve always been interested in why that happened, how that happened, and how we can better advocate for changing that. Then I got to Duke and took Public Policy 55 first semester, and it just wasn’t for me. Then I signed up for a [Cultural Anthropology] seminar on Cuba. That class changed my life—changed, really, my Duke career. I really was not thinking about the lucrative potential of [Cultural Anthropology as a major], but I loved the classes. And then my junior year Duke introduced the certificate in arts management, and I was lucky enough to do that. [Arts administration] wasn’t clearly laid out for me as a career… R:…In the way that other career options are. EO: Right. But because I’m very much self-driven and in touch with what I wanted to be doing, I just took classes that I liked and shaped it into a path that made sense for me. That’s why I was so thrilled when the certificate program launched because I thought, “Finally! An acknowledged program of something I want to do!” I actually love talking with Duke students to say, yes, you can do this and pay bills and live a productive life. No matter what you’re doing at Duke, [you have to] create your own path, check in with yourself.
SPECIAL TO THE CHRONICLE
R: And the notion that this doesn’t have to be a really pressured activity. EO: It can be something you do on a bus, at the end of the day in your room. Sometimes we get so caught up…I struggled with myself for half of my Duke career, and then it was, like, “Wow, there’s a whole area out there, this exists,” and that’s exciting [to realize]. In terms of building a path for arts management at Duke, students have to continue to be involved in building an active arts culture, whether it’s leading arts organizations, performing, creating, writing— just being part of the conversation. R: And we’re at that point where there’s all this energy in the arts at Duke. How do you enter into your new position? EO: I’m incredibly excited for the current state of the arts at Duke, and that’s part of the reason why I’m back because I see this forward motion, this energy, this prioritization of arts as an integral part of the university experience. That’s not to say it wasn’t here when I was here. Right before I left, Duke released a strategic plan, and seeing the arts as one of areas of focus was incredibly exciting to me. Arts should be prioritized the same as other academic subjects. Duke students work so hard to get here and do a million extracurricular activities. Like, 80 percent of students coming in have done arts extracurriculars and want to stay engaged in it and may even be on the fence about it as a career path. When you come to a place, whether it be a university or a job, there’s a culture, vibe and certain values being reinforced. I think Duke is very much in a state of transition, especially with the Duke Forward campaign. When you arrive at a place and hear people talking about [a culture], you don’t even question it. If you came to campus as a freshman and saw DEMAN, support for the Nasher and for Duke Performances, you’d think Duke and Durham has a whole broad arts scene going on, and you want to be a part of that. The more that students genuinely engage in that conversation, [the more] it will continue to grow. R: Your two master’s degrees—one in arts administra-
R: What did that feel like, to be in charge so suddenly at such a young age? EO: I was unbelievably frightened. I didn’t know any better. I just kind of threw myself into it, thinking, of course, at 24, I can be the executive director of a Grammy-winning orchestra and non-profit. R: But no one was really telling you no. EO: Exactly. Trial by fire. I was thrown into the fire. We brought our orchestra to Cuba [again], headlined the Havana Jazz Festival, performed in the town where my mom lived as a child because Arturo’s dad, who was also a legendary composer and arranger, was from that same town—our paths were definitely meant to cross. [With O’Farrill], it was just an amazing relationship. I always look at arts administrators’ relationship to artists as so sacred. We became best friends. We know how we think and how to support each other. It was a privilege to be invited by a world-class composer and pianist and bandleader into his and his family’s world, and to be able to build this reality, to give structure to his dreams and his goals. R: You were so entrenched in this New York and Latin Jazz scene—how did that switch for you? EO: I love New York. I also love Durham. I’ve always been looking for that balance of the urban and the natural. I love Duke and have since I was in fifth grade. My first point of entry was Duke basketball, and then I discovered there was more to this incredible university—more that I wanted to be a part of. Aaron [Greenwald] called me and said [Duke Performances was interested in] creating a position just for me that would involve fundraising, a strategic plan for DP, managing residencies and artist engagements—all the things [I’ve] been working on and studying and engaging in for the past several years, to use that and bring that to Duke. I wasn’t anticipating this change. But you can feel the energy here at Duke and Durham. [When I was a student] Brightleaf used to be the cutoff, and to know that you can go to Casbah, Motorco, all these restaurants—there’s a vitality that’s really exciting to me. I’m not trying to relive my Duke past but I’m approaching it from this totally different perspective.
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November 15, 2012
one direction TAKE ME HOME SYCO RECORDS
If there has ever been a perfect album for a 2 a.m. solo drive to Cookout, Take Me Home is it. “Live While You’re Young” is already blowing up every Top 40 radio station for weeks, and it’s only the first song of the 17-track album. Unlike Up All Night, One Direction’s first CD released in March, Take Me Home is a gold mine of hits that the will play at Shooters on repeat until 2014. “What Makes You Beautiful” was no fluke: the boys of One Direction are here to stay, at least until a new season of The X Factor when Simon Cowell will force another group of similarly hair-styled teen heartthrobs onstage. While One Direction may be the kind of group you would never admit to listening to, their latest release proves they’re doing something right in the world of pop. Just about every song on Take Me Home is radio-ready. “Kiss You” and “Heart Attack” will have their preteen constituents swooning on the way to soccer practice and their parent driver/chaperones unwittingly bobbing their heads to the beat. “Little Things” will be played as an awkward slow jam
brian eno LUX WARP RECORDS
Brian Eno is the musical equivalent of Nikola Tesla. Just as Tesla is under-appreciated for his pivotal role advancing electrical engineering in the past two centuries, Eno is often left off lists of “most influential artists” though he quietly remains one of the most important forces in music. Those who listen to Lux without knowledge of Eno’s background, might not give Lux enough attention to notice its subtle shifts and refined production techniques. Ambient music is rarely stumbled upon when we’re in a position to notice it—and when we do notice it, we rarely appreciate it. But Eno has been working against this all along, and to understand this it helps to know something about Eno’s path. Originally a member of the band Roxy Music, Eno’s musical career began in the late sixties and early seventies. This time period also marks the point when new technology in the studio started to become common.
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at middle school dances. “Last First Kiss” will briefly blare through the silence of the Carpenter Reading Room, and an embarrassed first-year will slam his computer shut and blame the incident on his friends hijacking his computer. But what is it about One Direction that draws people in? It’s the simple verses, the everybody-sing-together choruses and the pure pop sound. It’s free of dance-floor dub-step digressions and trying-too-hard JBiebs pseudo-raps. The boys don’t pretend to be something they’re not. And even though they’re following in the tradition of now-extinct boy bands who broke up because someone wanted a solo career, none of the One Direction guys steals the limelight the way Justin did in *NSYNC. All of their voices are noticeably different, so it’s fun to listen for which guy is singing what (kind of like the way I used to memorize the voices of the members of the Backstreet Boys by studying the concert tour VHS that I got from Burger King). Except with One Direction, there’s no annoying Nick Carter, no stand-out “leader”; they’re just a group of guys singing together about young, inconsequential love. Take Me Home does have a bit of childish flair, but what would a boy band be without it? Take the lyrics from “Kiss You”: “Oh, I just wanna show you off to all of my friends /
Making them drool down their chinny chin chins.” Or from “Heart Attack”: “And I’m like, ow! / Never thought it’d hurt so bad / getting over you.” They never take themselves too seriously, which I’d say is a good thing considering none of them is older than 20. Though many of the songs sound similar, they all do what they’re supposed to do: give the fans something to sing. Though One Direction might not appeal to the typical Duke student—at least not in public—Take Me Home blends all that was good about the Jonas Brothers and 98 Degrees, a testament to the lasting appeal of the boy band.
Granted, producers were always important to mix and master tracks, but the use of tape-delay systems and different synthesizers were just gaining traction. With these recording methods, instruments were freed from the constraints of their operators. Sounds could be delayed, altered or distorted any which way. Needless to say, the effects were tremendous, and from this new technology came new genres of music such as reggae and ambient. Ambient music was pioneered by Eno as an approach to music that creates a sonic atmosphere designed to alter our perception of our environment and evoke specific emotions and sentiments. Ambient music has never become a major genre, and with it, Eno’s reputation has rarely moved outside the small world of electronic musicians and art critics. Often designed for specific art displays, films and videos, his works seek to create a world within the sound where subtle shifts register and songs don’t have objective beginnings and endings. This doesn’t translate to radio, and it’s not radio’s fault. Ambient music is not meant to be listened to in that way. It’s a different approach to music, where the goal is to follow the emotional tide of the notes; it’s best enjoyed in a low-volume environment where the music
doesn’t dominate or control but complements and enhances. While this is his trademark, it is far from his legacy. Ambient music will always point to Eno as its founder, but the entire modern day EDM scene also quietly tips their hat to the master producer. Due to the fact that he was not a traditional instrumentalist, Eno is the first person to have changed the world of music while referring to himself as a “non-musician”. Instead, Eno describes his method of modifying music and sounds as “treatments” and credits his career as a producer to his use of the studio as a compositional tool, using technologies like tapedelays and synthesizers as his instruments. Almost every DJ we see today copies this method of production, and as disturbing as this may be to his art-loving fanbase, this is the artist’s most lasting impact. So now, when I say that Lux, his first totally independent effort since 2005, is a return to his classic ambient music, you have a better sense of what I mean. Lacking an easily appreciable song structure, Lux saunters and shifts lightly between its various musical elements and no element dominates. Meant to be a sonic accompaniment to an Italian
—Holly Hilliard
SPECIAL TO THE CHRONICLE
SEE BRIAN ENO ON PAGE 8
P roject Share
Help a local family in need: 1. Make a donation towards the purchase of gifts 2. Adopt a family A debilitating medical diagnosis has this 87 year-old wondering how many more holidays she will have left to enjoy. Please bring some cheer to her this year with your gifts of clothes in her favorite color of fuchsia. SYCE #3 This mother of five children is doing all she can to provide for her children under difficult circumstances while looking for a safer place to live. She hopes that you will help her make this Christmas a happy one for her children with the gifts of household items, clothes, coats, and toys. SYC 301 These three teens are being cared for by their grandparents, who suffer from severe medical problems. They would all appreciate your help this holiday season with gifts of pajamas for the grandparents and clothes, and an MP3 player for the children. SYC 285 A local homeless shelter is what this family of 3 people calls home. Mom is working and hopes to provide stable housing soon. Until then, each member of the family would truly appreciate your gifts of toiletry products, clothes, a scooter, and singing Elmo. SYC 295
To get involved or for more information, visit: http://csc.civic.duke.edu/main/project-share or call 919-684-4377
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sweet tooth IAN MCEWAN NAN A. TALESE
It is apparent that British author Ian McEwan set lofty goals in piecing together his newest novel, Sweet Tooth—goals that he has accomplished in novels past, but lofty ones nonetheless. Memory and imagination are recorded in the mind in tandem, influencing one another as they solidify. Sweet Tooth tells the story of a beautiful British spy who betrays her mission in favor of romancing her subject. Touching the psychology of deception, the novel suggests that fiction and reality are estranged but rival brothers, born of the same blood line, but competing for which will leave a more enduring legacy. The theme invokes McEwan’s 2001 masterwork Atonement, in which another youthful and deceitful female narrator introduces herself as infallibly clever—though the reader learns otherwise—and comes to such realizations about the limits of lying. But Atonement does it better. Serena Frome (rhymes with “plume,” she specifies in the opening sentence of the novel) recently graduated
from Cambridge with very poor marks and a degree in mathematics. It’s 1972, and the Cold War is raging. But unlike her flower child sister, Serena has her mind on selfish endeavors. She cycles through romances with strange men at what seems to be her own insatiable whim and is quick to gloat about her ability to beat even the most confident men in a round of chess. All the while, Serena claims to devour three or four novels per week by merely glancing at each page. She follows the storylines of strong female characters who, much like herself, meander in and out of love rather than absorbing the novels’ themes and descriptions. Her reading habits provide a stark contrast to the way in which McEwan treats his audience. Sweet Tooth, like all of McEwan’s works, slips in details that are gems worth digging for, as they surprisingly help the reader later in the story. Serena takes subtleties like these for granted, perhaps explaining why she so easily falls prey to a character who closely resembles McEwan himself. A self-proclaimed possessor of both beauty and brains, she is recruited for M15—the domestic branch of the UK’s intelligence system—by Tony Canning, the middle-aged,
The School of Medicine & The Graduate School
2012 Science & Society Symposium Monday, November 19, 2012, 4:00 PM Bryan Research Building Auditorium Keynote Address by
Clifford W. Houston, PhD Associate Vice President for Educational Outreach and Herman Barnett Distinguished Endowed Professor in Microbiology, University of Texas Medical Branch; Presiding Chairman, ABRCMS
The Benefits of Preparing an Innovative and Diverse Scientific Workforce: Perspectives from NIH, NASA and ASM
November 15, 2012
SPECIAL TO THE CHRONICLE
married history tutor with whom she had an affair at the tail end of her Cambridge career. Despite her shaky performance as a math student and her detached devotion to literature, Canning sees Serena as an ideal candidate for the British intelligence agency in the heat of the West’s engagement with its Communist opponents (she had a brief stint during which she wrote anti-Soviet diatribes disguised as book reviews in a Cambridge periodical). Her mission, “Sweet Tooth,” aims to create a foundation to fund and support budding authors whose literature serves the needs of the state, thus maintaining anti-Soviet sentiments in England. Serena is swept up to the University of Sussex, McEwan’s alma mater, where she is sent to spy on and follow Thomas Haley, a doctoral candidate in literature. Haley is the author of several lesser-known short stories and journalistic works, which, upon commencing her mission, Serena reads hungrily. McEwan dedicates a large chunk of his novel to Serena’s recounting of Haley’s literature, some of which very closely resembles a couple of the short stories McEwan published at the beginning of his career. The spy falls in love with her subject’s stories, attracted to their clean portrayals of life. Then she falls in love with Haley himself, prompting Serena to partially depart from her duties as an MI5 employee. Out the window goes her dedication to country and her motivation for anti-communist escapades. It is at this point that the reader has his suspicions confirmed. Serena truly is self-serving, deluded and unreliable—McEwan’s defective narrator is an embodiment of his assertion that stories, even when claimed to be true, must be taken at face value. Although Sweet Tooth’s backdrop works to remind the reader of Cold War-era Britain by painting details like the IRA bombings and England’s unstable government, these realities fade to dark almost as soon as Serena and Haley fall into bed together. Under Serena’s watch and subsidy, Haley publishes a novel that gets nominated for a literary award, hinting that operation “Sweet Tooth” may be succeeding. But as the relationship intensifies, Serena loses her grip on the mission, convincing herself that she never would have been able to succeed as a spy in the first place. The novel’s plot does not come as a shock—Serena reveals on page one that she went to school, became a spy and failed her mission. It’s the ending that shakes the reader’s perception of Serena’s recollections and works to promote McEwan’s thesis that fiction and reality can be as tricky of adversaries as spy and subject. However, McEwan’s big reveal is not as jarring and poignant as it has been in his past works. A similar ending in Atonement—one that left McEwan’s audience wideeyed and astounded at how exactly McEwan so cleverly strung all the details together—is not quite as effective in Sweet Tooth. A recycled plot line of a spy falling for her subject and the near-insufferable naivete of the narrator make for less pop in McEwan’s latest novel. —Jack Mercola
SPECIAL TO THE CHRONICLE
*A wine and cheese reception will immediately follow the keynote address For more information please contact the
Office of Biomedical Graduate Diversity 919.668.0454 biomedgraddiversity@duke.edu
BRIAN ENO from page 7 art installation that represents the play of light, Eno’s piano notes tap-dance around careful plucks from a harp, and for seventy-five minutes he stretches each note to its full effect. In classic Eno fashion, his harmonic progressions and detailed, layered notes are simple and come on slowly but boast of sophistication and detail. While Lux will not come to define Eno’s catalogue or represent a pinnacle in his career, it is a trip that only he can deliver. —Aymeric Vincenti