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
XXXDAY, MONTH THURSDAY, FEBRUARY XX, 2013 7, 2013
ONE ONEHUNDRED HUNDREDAND ANDEIGHTH EIGHTHYEAR, YEAR,ISSUE ISSUE94 X
Hundreds protest persistent campus racism by Georgia Parke THE CHRONICLE
Hundreds of students demanded active reparations from Kappa Sigma fraternity at a Wednesday afternoon protest against the controversial party held last week. The protest served as an extension of the flier campaign that occurred Tuesday morning, which brought campus-wide attention to the party. The fraternity drew criticism for hosting an “International Relations” party that invoked Asian stereotypes in the invitations and costumes worn at the event. Students also participated in a civil discussion Wednesday night about the racial tensions that have continued to resurface on Duke’s campus. “No longer can the social norms of this university be determined by a small group of people,” Asian Students Association Ting-Ting Zhou said at the protest. “The dominant definition of ‘fun’ has poisoned this community for the past few years, and we must re-establish fairness and equality on this campus.” By early afternoon Wednesday, the national organization of the Kappa Sigma fraternity had suspended the operations of the Eta Prime chapter. A statement from the fraternity’s Executive Director Mitchell Wilson, said that the fraternity CAROLINE RODRIGUEZ/ THE CHRONICLE
Organized via Facebook, hundreds of Duke students gathered at the West Campus bus stop for a demonstration protesting Kappa Sigma’s controversial party theme.
SEE KSIG ON PAGE 14
GRADUATE YOUNG TRUSTEE
Duch seeks to lead higher CAPS makes strides toward education, not just study it healthier mindset on campus by Anthony Hagouel by Imani Moise
In recent years, students have become more open to talking about sensitive subjects, contributing to an improvement in psychological health, administrators say. Several campus services including Counseling and Psychological Services, Student Health, the Student Wellness Center and the Office of Student Affairs have worked jointly to deliver mental counseling to their patients, reaching around 6,000 students and parents annually. Students have become more aware of the difficulties of college life and are moving away from the concept of “effortless perfection,” which is the mentality that students have to maintain an appearance of excelling easily. “We seem to be moving away from this extreme prohibition of struggle,” said Dr.
STEVEN BAO/ THE CHRONICLE
Kate Duch studies higher education as a doctoral student, and now she hopes to guide the future of the University as a Graduate Young Trustee. Duch, a candidate for a Ph.D. in Public Policy, has already served on two committees for the Board of Trustees. She currently represents the Graduate and Professional Student Council on the Board’s Institutional Advancement Committee, which is responsible for approving fundraising initiatives such as the Duke Forward capital campaign. If elected, she hopes to continue advocating for the
Graduate public policy student Kate Dutch would draw on Board experience as Graduate Young Trustee.
SEE DUCH ON PAGE 4
Game Day Banner Inside Bring it to the game & see your line monitor for additional cheers
Gary Glass, assistant director for outreach and developmental programming at the CAPS. “We seem to be going towards a student mindset of wanting to be open and having a better campus.” Maintaining a healthy psychological environment on a diverse college campus can be difficult. Students’ different backgrounds make interactions about sensitive issues difficult, Glass noted. Duke has used a holistic approach to deal with mental health issues through three University offices. Collaboration between CAPS, Student Health and Student Wellness has increased awareness and broken down stereotypes that five years ago were cultural norms. CAPS Director Kelly Crace has seen positive results both in the way students SEE HEALTH ON PAGE 3
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DUKE STUDENT GOVERNMENT
Legislation prepares for voting law changes by Carleigh Stiehm THE CHRONICLE
Impending changes in North Carolina voting policies prompted Duke Student Government legislation to assist students and staff at the polls. Sophomore Derek Rhodes, vice president for Durham and regional affairs, introduced the legislation following a presentation titled “What’s at stake for Duke voters: the big impact of proposed voting laws” at the DSG meeting Wednesday night. Senior Elena Botella, president of Duke Democrats and member of North Carolina Students for Vot-
ing Access, said the upcoming policy changes are a reflection of the Republican majority in the North Carolina general assembly. The proposed new laws will restrict what constitutes voter identification and could limit Duke’s early voting site. Rhodes noted that these new policies will impact all college campuses. Given the diverse geographic distribution of Duke students, however, such voting policies will be especially significant on Duke’s campus, he said. SEE DSG ON PAGE 4
JISOO YOON/THE CHRONICLE REEM ALFAHAD/ THE CHRONICLE
Sophomore Derek Rhodes, vice president for Durham and regional affairs, speaks to Duke Student Government at their Wednesday meeting about North Carolina voter registration.
Marian Schwartz, prize-winning translator of Russian literature, speaks in the Westbrook Building Wednesday afternoon in an event sponsored by Slavic and Eurasian Studies and the Focus Program.
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HEALTH from page 1 hear and access counseling services, citing a 33 percent increase since 2007 in referrals to counseling by friends of patients as opposed to other sources. Additionally, 35 percent of all patients said that they heard about CAPS from friends, which was the most popular response in the survey. “The student responses to our efforts to affect campus climate have been very well-received,” Crace wrote in an email Wednesday. “Our outreach programs fill almost immediately, and the topics of those programs are intended to shift the paradigm of thinking about issues of perfectionism, relating, fear and worry.” Online programs are being developed so that students can access help from their own rooms and on a flexible schedule, Crace added. Glass noted that the increased student-oriented referral is a recent trend, and it shows that effortless perfection is dwindling at Duke. “Students are more comfortable with the reality that life is hard and that you don’t have to fake [effortless perfection],” said Glass, explaining that student
organizations are taking initiative to raise awareness for sensitive issues such as suicide, eating disorders, and gender roles. Amy Powell, associate dean of students, who has worked with DukeReach—a program that allows students, faculty and family members to report signs of psychological issues in other students—has also seen these positive results. “It’s not just departments speaking— students who have had experience with CAPS speak highly of it. A lot of times you need to talk to someone,” said freshman Faye Goodwin, who began seeing CAPS in September. “It was really helpful for me.” Providing effective counseling, however, “is about the water, not about the fish,” Glass said, and there are still many problems that CAPS is attempting to tackle. Glass noted that the biggest problem is that students assign and divide things into all or nothing terms that can lead to a lot of anxiety and pressure. This binary leads individuals to operate under fear—to sink or swim. CAPS workshops are made to deconstruct the binaries through establishing authenticity, purpose, harmony and connection in students.
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Renowned scientist Robert Weinberg speaks about cancer to a packed audience in Love Auditorium Wednesday afternoon.
How shall I study? Let me count the ways. 1. in Bostock 2. on the quad 3. in the gardens 4. by the pool 5. in the gardens and by the pool
general info & projected course offerings @
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DUCH from page 1 advancement of graduate and professional students on campus by representing them at Board meetings and acting as a bridge between students and the administration. “Right now, I feel that graduate and professional student concerns take a backseat to undergraduate student interests,” Duch said. “When [such] student needs are addressed, the discussions tend to occur within the silos of graduate departments and professional schools.” Duch—who is working on a dissertation analyzing legislative support for higher education funding—noted her firm grasp on the infrastructure of higher education. Such an interest and background would reinforce her perspective and input as a current Duke student, she said. Her main goal, Duch noted, would be to bridge the gap between graduate students and the Young Trustees. “While the Graduate and Professional Student Council elects the Young Trustees, graduate and professional students have limited interaction with them after their election,” she said. To address this, Duch plans to institute office hours in Von der Heyden Pavilion to give graduate students an opportunity to share their thoughts and concerns about the University. Some of the other issues facing graduate students that Duch hopes to address are enhancing career services, bolstering financial support and offsetting declines in government funding for scientific research. “Kate is one of the smartest, most responsible students I’ve ever worked with,” said assistant professor of public
policy Nicholas Carnes, who is a member of Duch’s dissertation committee. “Whether she’s doing detailed research, meeting with important stakeholders or supervising large projects, Kate brings a keen intellect [and] a razor-sharp attention to detail.” Throughout her four years at Duke, Duch has served on committees focused on student life including the Board’s Academic Affairs Committee, which reviewed academic programs at Duke Kunshan University. She has also represented graduate students as a member of GPSC, the Sanford School of Public Policy’s Board of Visitors, the Sanford Dean Search Student Advisory Committee and the President’s Council on Black Affairs. Robert Wright, associate dean for development and alumni relations, affirmed Duch’s breadth of experience and qualifications for the position, noting her role as a student representative on Cornell’s Board of Trustees and her experience in both public and private sectors. Wright collaborated with Duch on the Sanford Board of Visitors and Board’s Institutional Advancement Committee. “In all her roles, she has been actively involved, gone above and beyond expectations and conducted herself with professionalism and decorum,” he added. Carnes emphasized Duch’s wellrounded personality, an asset that complements the accomplishments that she brings to the table. “She has a rare combination of book smarts and people smarts,” Carnes said. “She’s exactly the kind of person I would want to represent our wonderful students and our amazing university.”
DSG from page 2 “A change to voter identification laws, especially one that would not accept college IDs and voter registration cards—items that many Duke students possess and are fairly easy to obtain, would drastically reduce the number of Duke students who can and will vote,” Rhodes said. Botella said voting student voting turn out in the 2012 election was far more successful than the 2008 election because students were able to vote on campus, adding that students had the opportunity to register to vote and vote on the same day. The University should not expect to have an early voting site in the 2014 or 2016 elections, nor will students be guaranteed the ability to register to vote on voting day, Botella noted. “These changes will have a major impact on the ease for students, like us, to be able to vote,” Botella said. “It could impact all students’ abilities to express their opinions through voting.” Current proposals for voting policy changes include not accepting student identifications, Help America Vote Act documents, voter registration cards or out of state driver’s licenses as forms of voter identification, Botella said. New laws could also restrict student groups from being able to register voters. Although no changes to voting laws have been made yet, the legislation proposed by Rhodes said in the event that the proposed laws are passed then DSG will encourage “Duke University to promptly develop a process for assisting students and staff in obtaining suitable identification.” Until the laws are passed, Botella said that she encourages “proactive responses” from the student body. Botella said that it is important for students to remember that they move many times during their time at Duke, and if these voter laws
were enacted, they would need a new identification for each new address. The legislation passed by unanimous consent. In other business: A funding request from the sophomore class council to fund Academic Homecoming did not pass. Academic Homecoming is a new event on March 20 to allow the sophomore class to celebrate major declarations and selecting a new “academic home” at Duke. The event would culminate in a class picture and free shirts that declare each student’s major. Lesavoy said that there needs to be more emphasis on building academic tradition at Duke. He noted that this event will foster a “sense of community” within the class. The executive board of DSG presented legislation in response to the controversy surrounding the recent Kappa Sigma party. Junior Stefani Jones, vice president for equity and outreach, read the beginning of the legislation to the Senate. “In light of recent and past social events hosted by Duke student groups that have been racially, ethnically, culturally, sexually and otherwise offensive, the Duke Student Government would like to show support to communities that have been disrespected and urge that all groups are held to a higher standard of responsibility and accountability,” she read to the senate. She added that DSG is condemning racism in any form, and encourages students to work towards accountability for all of their actions. President Alex Swain, a senior, said DSG is in “alliance” with those who were offended, adding that the legislation is one step in making the Duke campus more inclusive. “A resolution by itself is just a resolution,” Jones said. “We want to take more steps to prevent these situations from happening in the future.”
The Sanford School of Public Policy presents
A 2013 Terry Sanford Distinguished Lecture
Senator Richard Lugar Former U.S. Senator from Indiana Richard “Dick” Lugar will discuss the hyper-partisan climate in Congress.
Tuesday, Feb. 12 • 5-6:30 p.m. Fleishman Commons, Sanford School of Public Policy Duke University Free and open to the public
THURSDAY, FEBRUARY 7, 2013 | 5
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>> THE BLUE ZONE
THURSDAY February 7, 2013
Can’t make it to the men’s basketball game? Keep up with the action on The Chronicle’s sports blog as the Blue Devils take on the N.C. State Wolfpack.
Blue Devils seek revenge against the Wolfpack
Duke signs 20 to program by Daniel Carp THE CHRONICLE
FAITH ROBERTSON/THE CHRONICLE
Junior Josh Hairston, who has seen more playing time since senior Ryan Kelly was injured, may sit out Thursday due to an infected injury. by Tim Visutipol THE CHRONICLE
No member of the current N.C. State team has ever won a game at Cameron Indoor Stadium. Having already beaten the No. 4 Blue Devils (19-2, 6-2 in the ACC) this season, N.C. State has an opportunity to record its first victory at Duke since 1995. N.C. “We’re not really looking at it State as revenge,” Blue Devil sophomore vs. Quinn Cook said. “We’re just trying No. 4 to get another conference win…. Duke N.C. State is coming off a tough loss, they’ll be ready, and we’ll be THURSDAY, 9 p.m. ready too.” Cameron Indoor In their previous meeting, the Wolfpack (16-6, 5-4) handed then-No. 1 Duke its first loss of the season in its first contest without senior Ryan Kelly. Since that game, however, the two teams have experienced different fortunes. The Blue Devils have slowly improved, winning road games at Wake Forest and Florida State to bounce back from a 27-point drubbing at the hands of Miami. N.C. State, on the other hand, has dropped four of its last six games since the victory against Duke, but only by a total of seven points with all four games decided in the last 10 seconds. “There are a lot of positive things happening,” N.C. State head coach Mark Gottfried said in his weekly press conference. “We just have to make sure that we turn those things into winning games, which we’ve obviously been very close [to doing].” Duke has adjusted to playing without Kelly and has begun to embrace its new rotation with freshman Amile Jefferson assuming the starting role and Josh Hairston, Alex Murphy and Marshall Plumlee playing more minutes off the bench. Jefferson, Hairston and Murphy may all have to play even more now, though, because Hairston may also be absent against the Wolfpack with an infection in a cut on his arm. Still, the Blue Devils have seen a great deal of improvement since that first game against N.C. State as they have had time to implement a new offense without Kelly.
While the ink was still drying on the national letters of intent that Duke received from the newest members of its football program, the Blue Devils unveiled their incoming freshman class and made a definitive statement about the team’s future. On National Signing Day Wednesday, 16 high school seniors made their decisions to play for Duke next fall official, adding to four more who had enrolled early for the Spring semester. But when the Blue Devils released their official 2013 recruiting class for the first time, the team broke away from typical football jargon. The 20 players were listed at just three positions: quarterback, back or lineman. As head coach David Cutcliffe took to the podium to speak about his new recruits for the first time, his message was clear: He is still searching for the 11 most athletic people to send onto the gridiron. “These are some guys who can just run,” Cutcliffe said. “They’re playmakers on both sides of the ball.... If you do your research, a lot of them played and started on both sides of the ball for their [high school] teams.” With just two offensive linemen and two defensive linemen in the class, Cutcliffe’s priority was speed and athleticism. He also sought to fill some holes left in Duke’s defensive backfield, which allowed nearly 50 points per contest in the team’s final five games of the season and lost three starters to graduation. At least eight of Duke’s signees will play in the Blue
“We’ve put in a lot of sets from that time,” Cook said. “We’re a different team from when we were then. I think we’ve got better since that point.” N.C. State will be facing injury worries of its own, as point guard Lorenzo Brown, who Cook labeled as “one of the best in the country,” missed the team’s last game, a lastsecond loss to Miami. Brown recorded 13 assists in the last matchup against the Blue Devils. Brown did, however, warm-up with the team in their last game against Miami, and both Cook and senior Seth Curry said the Blue Devils are preparing as though Brown, who is critical to the fast-paced offense that derailed Duke, will play. “The biggest difference in this game will be that hopefully we’ll get back in transition,” Duke senior Mason Plumlee said. “We knew that going into the last game, but I don’t think we fully understood how well they get out and run. If we can get back in transition and make them work on their offense we’ll have a better chance to win.” The game pits two of the ACC’s active leading 3-point shooters against each other—N.C. State’s Scott Wood and Curry. Wood, a senior, is the conference’s active leader with 286 career 3-point field goals and Curry is behind him with 179. “They’ve always done a good job of denying the wings and limiting the catches for the wings,” Wood said. “You’ve just got to work hard, set really good screens, hit the open man and make the extra pass. It’s kind of like a minefield; you’re passing a lot of big dudes down there and then you’ve got someone trying to prevent you from getting the ball.” Wood said he will not be taking too much from the January matchup except learning from what worked effectively against the Blue Devils to exploit his opponents’ tendencies. Curry, who is coming off two 21-point games, said the added time between games lately helps his recovery and gives him time to practice, leading to better confidence on the court. Curry has missed the majority of Duke’s practices this season in order to nurse a lingering leg injury. And with the Blue Devils coming off an 11-of-18 shooting
Although personal checks will be a little different this year with the concert on Saturday night—the second night of the checks—the hype and celebration around the event will likely be the same as in past years. The checks will take place on the Friday and Saturday before the North Carolina game. Personal checks, also known as “P-checks,” is a time when every tenter is responsible for his or herself to be in Krzyzewskiville both nights in order to make three out of five of the tent checks. These are the last few checks that take place before Duke’s matchup against the Tar Heels Wednesday and must be attended in order to ensure getting a wristband for the game. “This is a great event that brings everyone together to celebrate the end of tenting,” head line monitor Bradley Baird said. “It’s a really awesome time for everyone to come together to demonstrate the Cameron Crazie spirit.” In years past, the concert has taken place on the first night of “P-checks,” resulting in greatly decreased attendees on night two of the event. It was originally reported that the concert would again be on Friday night this year. “This year will be good because everyone always
SEE M. BASKETBALL ON PAGE 10
SEE P-CHECKS ON PAGE 10
SEE SIGNING DAY ON PAGE 10
Personal Checks unify students by Jackie Klauberg THE CHRONICLE
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SIGNING DAY from page 9 Devil secondary, a unit that was decimated by injuries last season and allowed 267.6 passing yards per contest, ranking second-worst in the ACC. “We had so many injuries that we just about ran out in the secondary,” Cutcliffe said. “It was an area that we knew we had numbers that we needed to address.” Some of the Blue Devil recruits may compete for first-team reps next season, especially on the defensive side of the football. Cornerback Evrett Edwards and safety Chris Holmes, in particular, may be called upon to step in as true freshmen. Edwards, who is one of the more highly-touted recruits in the Blue Devils’ 2013 recruiting class, enrolled at Duke a semester early along with cornerback Quay Mann, quarterback Parker Boehme and linebacker Dominic McDonald. They will be able to participate in Duke’s spring practices and become better acquainted with the team’s playbook throughout the semester. This will be particularly advantageous to the defensive players, who will be tasked with learning the Blue Devils’ complex 4-2-5
defensive scheme. “Evrett is a very talented young man,” Cutcliffe said. “He’s very committed to his academics, a very disciplined young man and a mature young man. He’s a really good football player.” Duke’s recruiting class appears to be versatile on the offensive side of the ball as well, featuring two dual-threat quarterbacks in Boehme and Quay Chambers as well as T.J. Douglas, who will play wide receiver for the Blue Devils. Douglas was a second-team All-State selection as a quarterback at Fort Myers High School in Fort Myers, Fla. “T.J. can play anywhere,” Cutcliffe said. “All I know about T.J. is that he can run it, catch it, throw it, cover it. He just can play.” Cutcliffe said with an athletic crew of recruits, he will keep an open mind about what positions may be best for them in the future, adding that it may be a different position than some of the recruits played in high school. The head coach may be able to afford this flexibility in his sixth year, given that most of the team’s 20 incoming freshman played both sides of the ball and made impacts on special teams in high school. Although Duke will add 20 players to
ELYSIA SU/CHRONICLE FILE PHOTO
Head coach David Cutcliffe signed 20 players onto his roster Wednesday during National Signing Day. its program, the team was also forced to address the departure of two members of its coaching staff. Wide receivers coach and recruiting coordinator Matt Lubick announced last week that he had accepted a job at Oregon and Cutcliffe
announced during his press conference Wednesday that tight ends coach and special teams coordinator Ron Middleton has been hired by the Jacksonville Jaguars to be the team’s tight ends coach.
M. BASKETBALL from page 9
P-CHECKS from page 9
performance against Florida State, Curry said the team needs to continue passing the ball effectively. “We’re just sharing the ball,” Curry said. “Guys are just being unselfish and hitting the open man instead of forcing shots.” N.C. State’s balanced offense also includes a strong presence in the paint. C.J. Leslie and Richard Howell combined for 41 points and 24 rebounds against the Blue Devils in their previous meeting, with Howell pulling down 18 boards. With a win, Duke can show how far the team has progressed since Kelly’s injury and hand the Wolfpack a three-game losing streak, denying them another chance to win and to silence the Cameron Crazies. “[Playing at home is] a huge advantage,” Wood said. “I know they’re kind of out for some revenge since we beat them at our place, so we’ve got to bring our A-game.”
shows up for the first night of P-checks anyway and it’s a really festive atmosphere and everyone is super excited,” said Alex Shapanka, a senior line monitor and chair of Duke University Union’s Major Attractions committee, which puts on the concert. “On the second night people usually show up for one or two checks and then they leave. I think this year it will be good to get a crowd there and get people excited for both nights.” The concert will feature up-andcoming DJ Tim Gunter along with The Knocks and A-Trak. Blue Devil junior Mitch Ruben, who was tabling for Saturday’s concert Wednesday in the Bryan
Center, said he is enthusiastic about the concert being moved to the second day of the festivities and thinks that this year the concert will definitely exceed expectations. “It will help that [the concert] is on the second night because as it gets closer to the game, there is a lot more hype and everyone’s getting more excited…. I know that Tim Gunter and The Knocks will do a great job leading up for A-Trak who has a really good reputation and will put on a great show.” But personal checks is not just for those tenting in Krzyzewskiville, and instead is intended as an event to bring together the entire campus before the highly anticipated game against North Carolina.
CAROLINE RODRIGUEZ/CHRONICLE FILE PHOTO
Duke students can enjoy the Personal Checks concert Saturday while they tent for the UNC game.
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More practice rooms needed We commend Duke practicing their instruments University’s efforts toward at Duke. First, there are not promoting arts on campus. enough music rooms on Music, dance and theater Duke’s campus to accompositively impact University modate the number of muculture. But more impor- sicians. There are five practant than puttice rooms on ting on weekly West Campus editorial concerts and and 20 pracproductions for students to tice rooms—located in the observe is ensuring that stu- Biddle Music Building—on dents can participate direct- East Campus. There are no ly in the arts themselves. The practice rooms on Central accessibility of music prac- Campus. Often the practice tice rooms on campus re- rooms—especially on West— stricts the ability of students are full, and the first-come, to improve and disenchants first-served policy means stucasual musicians. When one dents can never be certain of considers that Duke offers availability. Pianos in comclasses that require students mon areas are not suited to to practice regularly, the practice because such spaces problem becomes increas- primarily act as social hubs. ingly pertinent. Second, to practice on Several things currently West Campus, students need impede musicians from a key to access the practice
Why are there no articles defending lower class, impoverished whites when people throw White Trash parties that mock ... those lower income groups? Isn’t that racism, or at least the same type of bigotry that you are trying to eliminate? —Anonymous user commenting on the editorial “Implicit racism is still racism.” See more at www.dukechronicle.com
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rooms. Students who take for-credit music lessons may be able to obtain a key for regular use but otherwise, keys are issued on a one-day basis from Housing, Dining and Residence Life. We understand HDRL’s decision to give preference to students who are taking a music course at Duke, but this should not be a necessary compromise to make—the need to go to HDRL each day one wants to play one’s instrument is particularly discouraging for students who simply play an instrument as a hobby. Third, the practice times are currently 10 a.m. to 11 p.m. on West Campus, further limiting availability. Considering that many students are occupied during the day
due to classes and at night because of extracurricular involvement, the absence of overnight and early morning hours is problematic. Duke should consider the following improvements to music rooms. The priority should be the addition of practice rooms to Central Campus. A bus ride to East or West Campus might not seem like a major convenience—but when one considers that the most suitable practice times probably coincide with infrequent bus schedules and that students never have any guarantee of room availability, a set of rooms on Central Campus is urgently needed. The merits of the key system should be reevaluated—students should be able to swipe in
with their DukeCard as they do other buildings. It seems likely that the limited hours of availability of the practice rooms on West are due to noise concerns in residential areas. If this is the case, rooms should be soundproofed so that they can be available at all hours. 24/7 practice rooms would give students far more flexibility for fitting practice into their schedules and such a change would significantly decrease overcrowding. If we want to revitalize arts at Duke, prioritizing the improvement of our practice facilities is one of the most basic ways we can facilitate student involvement in music. Practicing one’s instrument should be as effortless as possible.
What I’d do if I wanted to commit voter fraud
et me start off by saying: I have never commit- just vote illegally for Carol with an absentee ballot, ted voter fraud, nor encouraged anyone else never leaving the comfort of her own home? to do so. I have, however, spent a lot of time Passing a law requiring voter ID in order to prefamiliarizing myself with voting laws in North Caro- vent voter fraud is like passing a law banning apples in lina. The General Assembly has anorder to prevent people from smoknounced its intention to create a new ing marijuana. Sure, you can smoke law requiring every individual voting pot out of an apple bong (or so I’ve in person to show ID each time they heard on the bus), but banning vote. Right now, they’re haggling apples would do very little to impact over which IDs will be accepted and the ease with which a would-be stoner which will not. Student IDs? Driver’s could light up. More importantly, a licenses from other states? Bank stateban on apples would be an enormous ments? Handgun licenses? What nuisance to the millions of people elena botella types of identification are deemed who like apple pie, applesauce or just acceptable will make a big difference a rebirth of wonder plain apples. Similarly, a voter ID law in how many North Carolinians will would have basically no impact on the have to acquire a new form of ID—and how many ease with which someone could commit voter fraud, prospective voters will turn around and go home be- but you’d be putting up a huge barrier to the 600,000 cause they were confused about what they needed legitimate North Carolina voters who might want to to bring. If you’re a Duke student who wants to vote vote in-person but don’t currently have a state issued in the 2014 senate election, it’d be a big pain in the identification card. If you actually wanted to prevent butt to get an ID card made at the Durham DMV, voter fraud, the single most effective thing you could but you’d likely be able to figure it out, assuming you do is ban mail-in absentee voting—as noted by Judge could catch a ride off campus. If, like many elderly Richard A. Posner of the U.S. Court of Appeals, “AbNorth Carolinians from rural counties, you were sentee voting is to voting inperson as a take-home born at home and were never issued a birth certifi- exam is to a proctored one.” cate, getting the necessary ID could literally require All of this makes me wonder: Maybe voter ID hundreds of miles of travel and months of advance laws aren’t even designed to prevent voter fraud. planning. Voter ID laws purportedly exist to prevent Republicans often get caught on tape sharing their voter fraud, but not all types of voter fraud. Voter real motivations. Shortly after Pennsylvania passed fraud comes in many flavors: throwing away some- its voter ID law, the House Majority Leader Mike one else’s voter registration form, selling your vote, Turzai, a Republican, was filmed saying, “Voter ID, intimidating voters, voting in two states or voting if which is going to allow Gov. Romney to win the you’re not eligible to vote, among others. Voter ID state of Pennsylvania: done.” The poor and the laws would, at best, prevent one very specific type of homeless are less likely to have state-issued photo voter fraud: a person showing up to a polling loca- ID. Women are less likely to have ID, since they oftion pretending to be someone they’re not. ten change their names after marriage or divorce. Let’s say a North Carolinian, we’ll call her Susie, Students and the disabled are less likely to have ID. intended to vote on behalf of somebody else—maybe Conveniently for Republicans, requiring photo ID Susie is trying to vote illegally on behalf of her deceased is a big nuisance for exactly the people they don’t neighbor, Carol. A voter ID law would effectively pre- want to show up for the polls. vent Susie from showing up to her neighbor’s polling And let’s backtrack a moment to mail-in absentee place and trying to vote on Carol’s behalf. voting, where the potential for fraud is much higher: A voter ID law would not prevent Susie from send- Maybe the reason Republicans aren’t touching mailing the Board of Elections a letter in Carol’s name in absentee voting is that Republicans cast more abrequesting that Carol’s absentee ballot be mailed to sentee votes. In the 2008 general election in Florida, whatever address in the world Susie wanted—perhaps Republicans cast about 47 percent of total absentee Susie’s own address or perhaps even an address in Bo- votes, while Democrats cast 36 percent. tswana if Susie were on vacation. Without ever showCall Governor Pat McCrory, and let him know ing ID, Susie could then cast a ballot on Carol’s behalf you oppose a voter ID law. and mail it back to the Board of Elections. It prompts the question: Why would Susie ever fuss about going Elena Botella is a Trinity senior. Her column runs every to Carol’s polling place to vote illegally if she could Thursday. You can follow Elena on Twitter @elenabotella.
THURSDAY, FEBRUARY 7, 2013 | 13
Open the gates
letterstotheeditor An Asian-American’s response to backlash against Kappa Sigma As an Asian-American, I was naturally disappointed in Kappa Sigma’s insensitive party theme. I was equally disappointed, however, in how Asian student organizations on campus chose to respond to this crisis. The president of the Asian Students Association, among other students, posted flyers printed with photos of party attendants from Facebook—many of girls in compromising positions. A group called the Asian American Alliance used a host of inflammatory rhetoric and called for a protest of Kappa Sigma. These acts are antagonistic in nature—they seek to retaliate and humiliate, not to promote rational discourse or respect for other cultures. I am outraged by this party theme, and I am also outraged at those who fail to understand why this party theme is offensive to Asians. But outrage is not the answer. Directing my outrage toward Kappa Sigma will not ameliorate the damage they have caused. Directing my outrage at those who continue to maintain that this party theme wasn’t offensive won’t give them a better appreciation of Asian culture or a better respect of the Asian race. Directing my outrage at those responsible for the flyers or hosting the protest won’t lead to better alternatives for promoting crosscultural understanding. Outrage will only devolve into a he-said-she-said argument, and fail to bridge an already divided student body. As Duke’s largest minority group, we Asians had the opportunity to take the high road and truly break new ground in eliminating these cultural insensitivities, a problem that seems to plague Duke perennially. But we chose instead to fight fire with fire, and as a result we’ve burned the bridges that used to connect us as a student body. Now it’s time to put the fire out and rebuild those bridges. Let’s stop the finger pointing, and start things over with a simple handshake. Johnny Wei, Trinity ’14 Shame on you, ASA This Wednesday I passed by a rally organized by the Asian Students Association at Duke in protest of a recent fraternity themed party whose references to cultural identity were found “offensive” and “racist.” This is obviously a matter of perception: I don’t suppose a French person would be offended if I dressed up as a musketeer, and I know of no Swedes who would find a Viking costume insulting or racist. When pop culture incorporates a national ware and other parts of cultural identity, it inevitably trivializes it, extracting the most jovial, funny, appealing (and most easily commercialized) aspects—and there’s nothing wrong with that. We all realize that Spartan soldiers didn’t exactly look like tanned supermodels in speedos, as shown in “300,” and that there’s more to the Sicilian culture than Vito Corleone. But these are all popular, 21st century interpretations of culture aimed to entertain, not diminish or discriminate one’s culture, race or nationality. Why, then, is last week’s dress-up party any different? And why are people assuming that emulating one’s culture in a joking way is a sign of disrespect, discrimination and racism? Shouldn’t the ability to take lightly one’s own culture and, yes, sometimes
mousa alshanteer you don’t say?
joke about it, be taken as a sign of cultural maturity? Apparently, not. The behavior of the ASA in this situation is deeply disappointing on two grounds. First, the underlying premise of this protest is a demand for greater tolerance by the perceived “white majority” (which in turn dismisses all identities as secondary in importance to race). However, this demand is not matched with any hint of tolerance on the part of those who ask for it. Tolerance includes reciprocity—you can’t just accuse XYZ of being intolerant while yourself exemplifying such profound intolerance that a simple dress-up party gets you enraged. Besides being essentially unfair, this approach can be very destructive. Second, as I talked with the attendees of the protest, I understood that a significant majority of them don’t take much offense with the specific party, but rather with the general discriminatory atmosphere in society. In this sense, the party itself was a trigger, really an excuse to protest a broader issue. The ASA clearly was aware of this fact—this organization knew that if it screamed “racism” and directed this “deadly word” at a Duke fraternity, it would easily gain public spotlight. They were, as everyone is, perfectly aware that a conveniently unpopular “villain” provides a perfect catalysis of accumulated anger and frustration. And then just pin it all to the “d-bag frat dudes” everyone loves to hate. The ASA took advantage of the situation and did not restrain itself from manipulating the mob mentality and media greed—so vividly seen in Wednesday’s protest—not to foster dialogue, but to get its vocal points across. And for this kind of behavior: Shame on you, ASA. Fedja Pavlovic, Trinity ’15 Alumna appalled by Kappa Sigma behavior How can the racism shown by Kappa Sigma fraternity be flourishing at Duke? My stomach turned when I saw news Tuesday night of the party on Facebook and Gawker. My first thought: “How on earth can I recommend Duke now to the Jersey students I interview who are so keen on the school?” Why would the many wonderfully talented Asian-American, Indian-American, African-American or other students of color whom I get to meet have any interest in Duke knowing that such idiocy and insensitivity exists on campus? For that matter, why would any prospective student be interested now? Perhaps the members of Kappa Sigma can come up with some answers. Fortunately, as a Duke parent, active alumna and former editor-in-chief of The Chronicle, I know enough about the breadth, depth and humanity of the Duke community to remain an enthusiastic ambassador. And I trust I’ll be able to report that swift action was taken to ensure that nothing like the Kappa Sigma party ever happens again. Ideally, the community will find a way to immerse the students involved in sensitivity training so they understand how outrageous their behavior was. Meanwhile, let’s hope the students responsible aren’t counting on the Duke alumni network to help them further their careers. Bigots cannot be tolerated in the global workplace.
Online only today!
Anne Newman, Trinity ’76
lydia thurman doubly a lie
“Respect is the key” by Mousa Alshanteer and “Skirting legality” by Lydia Thurman Read online at dukechronicle.com/opinion
From her beacon-hand glows world-wide welcome. … Give me your tired, your poor, your huddled masses yearning to breathe free.” —Inscription on the Statue of Liberty. America is a grand experiment in democracy, a place where people are free to pursue their own happiness. America is also a nation of immigrants, a great melting pot of the world. Now in this day, we are at a critical juncture in the debate on immigration policy. President Obama has recently called for reform on immigration, and I wholeheartedly agree with him. The president and jonathan zhao I may not agree often, but this is one free markets, instance in which I staunchly back free people his agenda. It is time to open the gates of America and welcome those who come here in search of the American dream. There are three main objections to free immigration. The first is that immigrants steal American jobs and are bad for the economy. The second is that immigrants dilute American culture and values. The third is that immigrants who come here illegally obtain benefits without sharing the costs. I will address all three below. Rather than being an economic detriment, immigrants offer a significant boost to the economy. Currently, American immigration policy operates on a racial and ethnic quota, capping the amount of immigrants from each country. This is a vestige of a bygone era where socially engineering the racial composition of the nation was considered good policy. According to Pia Orrenius, a Federal Reserve economist, only about 15 percent of green cards are issued to high-skilled workers (and their families) for reasons of employment. We are losing high-skilled labor to other nations with friendlier policies. These immigrants can help us stay ahead in innovation and technology. Even relatively unskilled laborers should be freely admitted. These workers would increase competition in the American labor market, driving down prices. Increasing competition is good in terms of economic efficiency and also helps to lower prices for consumers. Like quotas in other markets, creating a quota in the labor market by limiting immigrants hurts everyone. Immigrants are mostly younger people who can help sustain our entitlement programs for the rapidly aging babyboomer generation. We do not want to go down the path of Japan where the 65-and-over population is projected to become almost 40 percent of the total population by 2050, according to the Japanese Ministry of Internal Affairs. Immigrants are thus a big part of the answer to our economic and social welfare problems. As for stealing jobs, who is an American? How is an immigrant who naturalizes or is on the path to naturalization not an American? The cultural objection should not stand in the way of millions who want to be proud Americans. Those who bring up the cultural argument generally believe that allowing an influx of immigrants would somehow permanently alter our national identity and destroy our cherished values. But what are American values? We praise those who are hard working, independent and enterprising. That seems to me to be a good description of most immigrants. They come to our nation in search of freedom from oppression and the opportunity to create a better life for themselves and their posterity. What about that is un-American? I do believe that the process to citizenship should mandate a proficiency in English and an understanding of American history and civics. But I believe that most immigrants are more than happy to assimilate into American society, embrace our culture and become model citizens. In fact, by coming from nations with different political and socioeconomic systems, immigrants have a greater appreciation for the free markets of America and the liberty ingrained in our democratic republic. They are a benefit to our culture, not a detriment. Lastly, it is true that illegal immigrants obtain benefits in many states without having to pay into the system. Yes, that bothers a lot of people and it bothers me too. But rather than it being an indictment of illegal immigrants, I see it as a major flaw in the way the system is set up in the first place. The government has no place managing most social programs. Even if you are not philosophically opposed to an activist government, you should consider their economic inefficiency. A bureaucratic, centrally planned system is, in most cases, inferior to a market solution in terms of efficacy and fairness. But, that is a discussion for another day. If you complain that illegal immigrants don’t share costs for programs that they draw benefits from, then allow them to be legal citizens so that they do pay taxes into the system. Let them be contributing members of society without having the constant fear of deportation shadowing them. Don’t doom them to a system where they are forever a marginalized group, almost like second-rate citizens. Instead, give them a path to attaining that which you and I cherish: the rights, liberties and opportunities afforded to American citizens. Turning our backs on immigrants is a betrayal of our own American values. Instead, I channel my inner Reagan and say, “Mr. Obama, tear down this wall.” The American dream must endure. Jonathan Zhao is a Trinity freshman. His column runs every other Thursday.
14 | THURSDAY, FEBRUARY 7 2013
KSIG from page 1 is currently investigating the chapter’s Feb. 1 party. The chapter allegedly violated the Code of Conduct of Kappa Sigma and committed “Conduct Unbecoming a Chapter of Kappa Sigma.” The statement asserts that all activities of the chapter must cease until the investigation is complete and until decisions are made regarding disciplinary actions. Senior Luke Keohane, Kappa Sigma Eta Prime chapter president was unavailable for comment in time for publication. “An apology of action” The student protest lasted about twenty minutes and included calls for a new task force to deal with incidents like the party, as well as 10 hours of community service from each member of Kappa Sigma. The rally was organized by the Asian American Alliance, and speakers included members of the Asian Students Association and Blue Devils United.
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The rally featured several student speakers including Zhou, a senior, BDU President Jacob Tobia, a junior, and AAA co-presidents Tong Xiang, a senior, and Kat Zhang. Zhang, a junior, also serves as chair of The Chronicle’s independent editorial board. The student speakers led protest attendees in a series of chants such as “No more hate, make Duke great,” and, “Hateful parties make no sense, don’t party at our expense.” One speaker also read aloud the original email sent by Kappa Sigma on Jan. 29 to invite students to the party, which was originally dubbed “Asia Prime.” “It is not an apology of words we desire,” senior Ashley Tsai said to the crowd, “but an apology of action.” More than 250 people were in attendance near the West Campus bus stop, forming a large circle around the speakers and a poster reading “RACE IS NOT A PARTY.” Zhou made it clear to the crowd that the offense taken by students on campus ran deeper than Friday’s event. “This protest is about the destructive prejudice that must be uprooted from every corner of Duke to make this place an inclusive and safe place for all,” Zhou read from
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a pre-written statement. Zhou and Tobia concluded the demonstration by reading aloud a letter they had composed to Vice President for Student Affairs Larry Moneta with demands for change. The letter calls for the establishment of a Group Bias Incident Task Force constituted of leaders of organizations representing groups that historically have been marginalized. The goal of the GBITF, the letter said, is to “adjudicate punitive measures” for similar incidents that may happen in the future. The letter also demands that the members of Kappa Sigma participate in a community social justice project consisting of 10 volunteer hours each to causes approved by the Center for Multicultural Affairs or else face immediate de-chartering. “We believe that the administration must hold Kappa Sigma fraternity accountable for their actions,” the letter reads. “Through requiring Kappa Sigma to apologize through reparative action, Duke will set an important precedent that this behavior is unacceptable in the Duke community.” Not all in the crowd were moved by the emotional demonstrations. Sophomore Fedja Pavlovic called the outcry over the party and the resulting protests “ridiculous.” “In the Western world, racism has become a deadly word and screaming it, just relying on the intensity of the word, is a just really good way to gain public recognition,” Pavlovic said. “Being able to joke about one culture is a sign of maturity. I’ve seen it in my own country [Montenegro] and in America more and more. It’s a good thing.” Tobia said that the chapter’s suspension by the national organization will not affect the plans he and other students have in creating a more tolerant community. He said that Moneta and other key members of the administration seemed inclined to cooperate. “The national decision is between the fraternity and the national chapter,” Tobia said. “The requests that we made today for the community social justice project and the GBITF pertain to the Duke community. Those are very important steps for the administration to take regardless of the national chapter.” Time to learn The open discussion hosted Wednesday night by the ASA and Duke Student Government took a quieter tone than the fervent protesting of the afternoon. Members of a coalition formed in response to the controversy— including Tsai and Zhou—and Keohane led discussion of several questions including, “Why was this party invitation and event hurtful?” “What are the implications of this as it relates to race on this campus? Why does it matter?” and “What has KSig learned from this?” Members of the audience were allowed and encouraged to respond to the questions after Keohane and the coalition had a chance to respond. Many students shared personal stories of experience with racism, which were greeted with emotional encouragement and applause from the audience. “Our actions are inexcusable,” Keohane said to the large crowd gathered in McClendon 5, who also garnered applause for his remarks throughout the night. “We’re not here because we want to defend ourselves. We’re here because we want to learn.” At least 10 Kappa Sigma brothers, in addition to Keohane, were in attendance of the discussion, including one graduated member. University officials excluded national media from entering the room and filming the event. Some students brought attention to another aspect of the controversy: the use of Facebook photos of students at the party, which Tsai, Xiang and Zhou included in the fliers posted Tuesday morning. Zhou again reiterated that the photos had already gained more than 100 likes on Facebook and were easily visible by thousands. Senior Jaimie Woo, a columnist for The Chronicle, said she was hopeful after hearing the diversity of what people said at the discussion and the boundaries that were pushed by the discussion, but she questioned the long-term effects of the efforts made. “This is over. So now what?” she said. “There’s been a lot of movement, progression and discussion. But what are the solutions and where are we going with this?” Plans are already in the works to host additional discussions on the topic as it pertains to Duke in general beyond this single incident, Zhang said. “Hopefully some of this has sunk in,” Zhang said. “After hearing the members of KSig talk, I really think they’ve thought long and hard about what the effects of the party are, and some real change will come out of this.”
volume 14 issue 18 february 7, 2013
O L O V A DI
acrobatic company cartwheels into Reynolds
SOPHIA DURAND/THE CHRONICLE
my bloody valentine
raisin in the sun
concert to feature eastern and western music
SPECIAL TO THE CHRONICLE
PlayMakers does justice to the classic
first full-length release in 22 years gets 5 stars
SPECIAL TO THE CHRONICLE
SPECIAL TO THE CHRONICLE
February 7, 2013
e was an old man who fished alone […]
loyal as a book. A book has many functional uses: it preserves and conveys knowledge and extends a reader’s imagI am a sentimental fool. Yes, a fool. ination and takes them on a fictional (or non-fictional, if I tend to attribute sentimental value to certain trinkets. you are into that) roller-coaster ride. It’s not a fair comIt’s both a blessing and a curse. The champagne bottle re- parison. Despite how great my best friend is, she is not a minds me of a good night with friends. All those notebooks classic novel. But I find a similar kind of comfort with both from high school are full of memories, both good and of them. More than anything else, a book reveals a piece of gruesome. And don’t even get me started with birthday our identity. The books we choose to buy, to keep, to read cards, bead necklaces and newspapers. My room is a nostal- once, twice, three or ten times become portholes to our gia store: a compilation of separate, bittersweet memories, personalities. The works I cherish remind me who I am, collected through time to come together as a whole. and they teach me about others. I consider literature an There is a certain charm to keeping treasures. Deep anchor in time, and every glance at the many titles on my down, it may be due to an innate fear of losing a memory, shelf, desk and floor is an opportunity to reminisce. forgetting an event or suppressing an emotion. It is not Often people refuse to admire him because his prose is rational. It is nonsensical. Then why do we do it? Why do I simple, his grammar plain and his language accessible to all. do it? To find comfort in emotion or perhaps to heighten Yet Hemingway is capable of transmitting the complexity of an experience. At least that is the way I see it. Some people humankind in the simplest of ways, directly and eloquently. might call it hoarding. I prefer to think of it as an subtle He constantly revised his work to be as concise as possible, emexpression of my romanticism. phasizing sequences of actions and dialogues. He was a literAs a pathological collector, I’m most challenged when ary genius, creating countless melodies in staccato; short and I give or throw away books. Once I read a book, I form a sweet. He was a minimalist. He mastered the art of narrative. bond with it. It becomes mine. I appropriate them, one by He wrote from experience and from the heart; he wrote perone, as I live through them and enjoy watching them stack sonally. Usually I relate to literature that is explicitly emotional, up: what is possibly—probably—complete chaos to some, but I am constantly challenged by this one man’s work. To soothes and provides solace for me. many of his followers, Ernest eliminated emotion. Perhaps he Hemingway once mentioned that there is no friend as thought that emotions were pointless if described, or perhaps he didn’t believe that describing them was an effective way to share them. He has the unparalleled power of transmitting emotion our appropriate party themes Michaela Dwyer....................................................................................time-based art without embellishing his work. The words you read are his, and Holly Hilliard.....................................................................................party in the usa he doesn’t need to hide behind Katie Zaborsky......................................................................................white russians a blanket of adjectives to proDan Fishman..............................................................................Songs of Innocence voke a certain reaction: he “sat at a typewriter and [bled].” His Ted Phillips...................................................................................dosas and samosas countless experiences led him to Sophia Durand..........................................................................old men and the sea write some of the greatest works Emma Loewe.......................................................................................moms vs. dads in the 20th century: He wrote about Paris, about wars, bullfight-
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ing, Cuba, fishing, Mount Kilimanjaro. Hemingway documents his life by writing his experience, down to the detail of events, places and people he knew. First impressions are often misleading; the same is true with Hemingway’s prose. While initially his writing may feel foreign in its abruptness, his characters set the text in motion, inviting us—inviting me—to come closer to the author himself. Santiago may be a character in a novel, but he is full of life in The Old Man and the Sea: “Everything about him was old except his eyes and they were the same color as the sea and were cheerful and undefeated.” Despite his old age and his apparent failure to catch fish, Santiago possesses inner success. He is a fighter. He suffers throughout the novel, yet transforms his failure into triumph: more than a caricature, Santiago is a character whose spirit will live long after his death and who will resonate with all readers. Hemingway’s intricate intermingling of expressive dialogue and living characters creates a multi-sensory experience that can rarely be found in other literary works. I admire how with few and simple words, Hemingway succeeds in opening himself completely to his audience. He stays true to himself, to his profession and to society: he puts down on paper how he feels, no more, no less. In some ways, Hemingway writes with a photographic sensibility: he captures experiences, turns them into textual stills. My admiration for Hemingway could be seen as excessive, and probably unhealthy. I own more Hemingway novels and novellas and short stories than I could count. I read them regularly, always deriving the same amount of pleasure at the end, always wondering what it would be like to meet the man behind the brilliant words. What does this tell you about me? I am a romantic, but in the least conventional way possible. In reading and in living, I forego the sugarcoated and overdone for the true and emotionally invigorating. I enjoy charm and warmth, but I admire Hemingway’s aggression and self-parody. And with every short sentence of his that I read, I acknowledge and aim to embody how genuine—and holistic—he is being. —Sophia Durand
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SUNDAY, FEBRUARY 17 5 PM • REYNOLDS THEATER
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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.
February 7, 2013
bullet to the head DIR. WALTER HILL DARK CASTLE ENTERTAINMENT
Criticizing Bullet to the Head for being a stereotypical ’80s-esque buddy cop film would be like criticizing a new Bob Dylan album for sounding like a stereotypical folk/ rock album. You can’t call the guys who did it first generic: they invented the genre. And when you have a film starring Sylvester Stallone, king of the ’80s action picture, and directed by Walter Hill (who was behind the camera for the gritty 48 Hrs., among other great films like The Warriors), you know you’re working with the originals. So I came in hopeful. I enjoy trashy films, even with Stallone. I own a copy of Demolition Man because I do believe that joy can still be found in an old formula, if you can keep the dialogue crisp, the action fresh, etc. Alas, in these regards, the film is still a total failure. The plot is generic enough where I’m reasonably sure five sentences would describe it, and I am even going to leave off the second half of each sentence. See if you can fill in the blanks: 1. Stallone plays an aging hitman whose partner… 2. Stallone, with the help of a compromised rookie cop (Sung Kang, of the last four Fast and Furious films), angrily seeks… 3. Stallone doesn’t understand the young cop, but his alluring young daughter… 4. Due to his antics, his daughter is kidnapped and he… 5. Axe fight. But the surprises don’t stop there! Is it his “last” job? Is he unable to communicate with his partner of a different generation, and (gasp) a different race? Does he use a disproportionate amount of violence? The point is, even if you haven’t seen this movie before, you’ve seen this movie before. So is there anything to recommend? Certainly not the dialogue: one particularly cringe-worthy exchange has Stallone proclaim, “Do I sound like a broken record,” only to be corrected by Kang that “they don’t even make records anymore!” What an insight! Meanwhile, the performances are pretty blasé, with perhaps the exception of Jason Momoa as the muscled thug with an ulterior agenda. Yet the action is just frequent enough, and the punches just brutally realistic enough, that it might be worth watching—so long as you are really, really craving a throwback action movie and/or feel a crip-
pling need to support your local movie theatre. Also, that axe fight? It’s damn exciting. And the film is a mercifully short 91 minutes. So, in the words of Bill Murray, it’s got that going for it. —Harry Liberman
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DIR. JONATHAN LEVINE SUMMIT ENTERTAINMENT
A handsome non-human creature falls in vaguely stalker-ish love with a human girl with an overprotective father. On the surface, it sounds a lot like Twilight. But Warm Bodies is actually good, and not just because Nicholas Hoult plays a nearly-speechless zombie with more emotional range than Kristen Stewart was ever able to give Bella. Hoult plays R, a zombie who can’t remember anything about his human life except for the first letter of his name. His inner monologue makes him seem almost human, except for the cravings to devour live human flesh, which he does unflinchingly. That’s actually how he meets love-interest Julie (Teresa Palmer). He kills her boyfriend, and then he eats his brain, which imparts all of his memories to R, including those of Julie. He instantly falls in love and kidnaps her. I wasn’t expecting much from Warm Bodies besides seeing that guy from Skins look pretty and do a zombie-like shuffle while some girl pined over his hidden humanity. Fortunately, only one of those was the case. Julie isn’t the typical damsel in distress, hopelessly in love with someone
who is no good for her. She knows that R is no good, and if it weren’t for the “bonies” (more-dead-than-zombies, defleshed skeletons with superhuman running ability) she would have escaped. Watching smitten R try to woo terrified Julie—after all, he did eat her boyfriend’s brains— provides some of the sweetest moments of the movie. Hoult and Palmer are earnest actors with genuine chemistry. R’s inner pep talks while around Julie almost always consist of one phrase: “Don’t be creepy.” Unfortunately for him, that’s very hard to accomplish because he’s undead. Slack mouth, blood-stained lips, groaning and unmoving eyes all come with the territory. Warm Bodies could easily have become a standard zombie movie, but thankfully it doesn’t. It’s a pleasant mix of romance, post-Apocalypse action and comedy. It doesn’t shy away from gore and guns, but it doesn’t avoid being too optimistic, either. R has a penchant for ’80s vinyl, but power ballads are just one facet of the near-perfect soundtrack. Warm Bodies includes an eclectic collection of indie pop (Feist, Bon Iver), ’80s rock (Guns N’ Roses, John Waite) and classic standbys like Bob Dylan and Roy Orbison. The music underscores moments so purposefully that it could be criticized as “too literal”—Bruce Springsteen’s “Hungry Heart,” for example—but it’s campy fun, like listening to the songs you’re embarrassed to let people know are on your iPod. Yes, Warm Bodies is cheesy, but it’s good cheese. It’s not afraid to laugh at itself. It’s a movie about zombies who don’t just eat hearts, but have hearts, too. At times it pushes the suspension of disbelief a bit too far, but then again, it is a movie about undead romance. —Megan Rise
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Interested in social entrepreneurship, arts advocacy, and arts education? www.kidznotes.org Duke University is collaborating with KidZNotes, a phenomenally successful local music education program, to host “Take A Stand” in the Nelson Music Room on Friday, February 15 and at the Holton Community Center on Saturday, February 16. Take A Stand is the national El Sistema initiative of the LA Phil and the Longy School of Music of Bard College in leadership and teaching in the El Sistema movement in the United States. KidZNotes and Duke University are teaming up with Take A Stand to host the Southern conference of their regional professional development series.
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February 7, 2013
Diavolo company fuses acrobatics and dance by Thomas Kavanagh THE CHRONICLE
In its aesthetic austerity, Diavolo Dance Theater’s Fearful Symmetries is just the deconstruction of a cube, and Trajectoire is simply the revolution of a large semicircular prism. But when embodied onstage with heart-racing acrobatics, choreographer Jacques Heim’s latest works transcend their exterior geometries to create emotionally charged, adrenaline-infused performances. On tour away from their native Los Angeles, Diavolo will show both performances back-to-back as part Duke Performances spring series at 8 p.m. this Friday and Saturday in Reynolds Industries Theater. One of the few consistently producing LA-based dance companies, Diavolo brings a distinctive West Coast attitude and outlook to Durham. “LA dance tends to be audience-minded, presentational and has glamorous feeling to it,” said Thomas F. DeFrantz, professor of Dance and African & African American Studies. “LA dance is concerned with connections to the audience. It’s immediate, physical, available, legible.” No doubt, the circus-sized and elegantly engineered sets are the fulcrums of Diavolo’s distinctly minimalist spectacle. In Fearful Symmetries, bodies vault and tumble over and inside a rotating, scalable jigsaw cube to investigate the relationship between mathematical thought and abstract emotion. Their staple touring work Trajectoire literally hinges upon a 3000-pound, barge-like, teetering behemoth, the exploration of which provokes human conditions of instability, frustration and loss. Both works are the culmination of years of improvisational trial and error, precise performance and on-the-road revision. Fearful Symmetries, Diavolo’s current headliner, premiered in 2010 as part of the LA Philharmonic’s threepart collaborative commission with Diavolo Dance Theater. Symmetries and its predecessor Foreign Bodies (2007) were originally performed in the open-air Hollywood Bowl, against orchestral compositions by Esa-Pekka Salonen and John Adams, respectively. The final installment of the trilogy, Fluid Infinities, will be set to Phillip Glass’s Symphony No. 3 and is expected to go up this year. Diavolo’s success is a testament not only to their technical expertise, but to trends within the contemporary dance world. DeFrantz noted that Diavolo’s theatrical, acrobatic style is part of a rising mode of Parkour-inspired, ensemblebased dance that looks “almost like extreme sports.” This type of work, DeFrantz said, is part of “an exciting strain of choreography that has long legs and long roots,” which draws on the experimental groundwork of American choreographers like Loie Fuller and Elizabeth Streb. Executive Director of Duke Performances Aaron Greenwald said that Diavolo’s work brings to mind the choreographic athleticism of Connecticut-based modern dance
company Pilobolus, which has performed numerous times here in Durham at the American Dance Festival. “This is the company at its most impressive, as part of a history of daredevil dance companies,” Greenwald said. “Diavolo has been better and better, with less ornamentation and more straightforward engagement with complex structure and apparati that they use to their full potential, their creative limit.” The groundbreaking work done by Diavolo, in fact, partly stems from their conversion of high-flying, mobile circus props traditionally used in big-top tents to black-box style set pieces suitable for more intimate performances and theaters like Reynolds. “Diavolo represents a rising interest in dance that forces dancers to deal with props, and reminds us of what risk feels like,” DeFrantz said. “It’s exciting for us at Duke, especially for students who are artistic, creative and have an interest in something exceptionally physical.” With respect to its contribution to the local Duke and Durham dance scene, the company brings more than an internationally acclaimed performance. After having led departmental dance students through a backstage walkthrough earlier this week, Diavolo will offer an open master class this afternoon from 6:15 to 7:45 p.m. at the Hull Avenue Dance Studio between Duke’s Central and East campuses. Chisa Yamaguchi, Diavolo’s educational director, said that the master class will focus on the core elements of Diavolo’s ensemble. Yamaguchi noted that her ensemble work always begins with fundamentals of trust, partner work and protective measures. “We begin with trust falls, leading each other with our eyes closed, listening, picking up verbal cues, the basics,” said Yamaguchi. “We wouldn’t be able to do all the big flies and major movements if we didn’t know how to bear weight and absorb momentum. It all comes into perspective when you realize you are responsible for another human being.” Yamaguchi said that once the foundation of trust has been established within the Diavolo ensemble, the group proceeds through experimentation with the prop for at least a six-week period. “Much of our creative process is based on improvisation
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and ends up being achieved collaboratively,” said Yamaguchi. “So much of what we create we don’t actually use.” Stunt-based work nevertheless comes at the price of considerable hazards for performers. Diavolo’s artistic director and founder Jacques Heim, who choreographed the $165 million Las Vegas Cirque du Soleil production of Ká, calls his dancers “gladiators,” said Yamaguchi. The title, of course, suits the company members perfectly. A war-like camaraderie is the emotional backbone of their high-risk, high-reward ensemble performances. For not only must the Diavolo daredevils face personal peril every time they execute their elaborate, gymnastic choreography, but each must maintain a dynamic awareness to ensure the safety of their cast members. The troupe has stylistic origins in circus acrobatics, with all its leaps and dives, but has adopted the versatility of contemporary dance groups. Unlike acrobats, Diavolo company members neither specialize their onstage roles —they triple as dancers, actors and gymnasts—nor do they take large mid-performance breaks. “We put ourselves in the line of fire,” noted Yamaguchi. “We have to save each other every single night.” Diavolo Dance Theater performs in Reynolds Industries Theater this Friday and Saturday at 8 p.m.
CAT’S CRADLE 300 E. Main St. Carrboro (919) 967 9053 www.catscradle.com
300 E. Main St. Carrboro
JONATHAN RICHMAN @ CAT’S CRADLE SATURDAY, FEB. 16
WHO’S BAD? A TRIBUTE TO MICHAEL JACKSON @ CAT’S CRADLE Saturday, FEB. 23
Some shows at Cat’s Cradle FEBRUARY ’13: 9 SA: DEAD TONGUES, Toddlers, Michael Holland**($5) 14 TH: BITTER HEARTS BALL ( social dance ) 15 FR: ZOSO ( Led Zeppelin Tribute ) 16 SA: JONATHAN RICHMAN**($12/$15) 17 SU: DESAPARECIDOS w/Joyce Manor 18 MO: BLACK FRANCIS w/ Reid Paley 21 TH: TAME IMPALA ( SOLD OUT ) 23 SA: WHO’S BAD? ( Michael Jackson Tribute ) 25 MO: RA RA RIOT* w/Pacific Air 26 TU: THE TOASTERS, Regatta 69, Archbishops Of Blount Street 27 WE: LOTUS w/Moon Hooch MARCH ’13: 2 SA: BOMBADIL 4 MO: EELS w/Nicole Atkins 8 FR: THE BACKSLIDERS w/John Howie Jr., Stag**($10) 9 SA: TRISTAN PRETTYMAN 12 TU: CITIZEN COPE solo acoustic 15 FR: MISSION OF BURMA 24 SU: An Evening with The Dear Hunter APRIL ’13: 3 WE: LOS AMIGOS INVISIBLES**($15/$18) 8 MO: FRIGHTENED RABBIT 10 WE: THEY MIGHT BE GIANTS
BRUCE COCKBURN @ FLETCHER OPERA HOUSE
Cat’s Cradle is at: 300 E. Main St Carrboro 27510 919 967 9053 NOW SERVING CAROLINA BREWERY BEERS ON TAP!
SHOWS @ LOCAL 506 ( Chapel Hill): Feb. 8 FR: KOOLEY HIGH w/ HaLo, Toon, and JSWISS**($6/$8) Feb 12 TU: RAMONA FALLS w/Social Studies
WEDNESDAY, FEB. 27
LOTUS @ CAT’S CRADLE WEDNESDAY, FEB. 27 Advance sales at CD Alley (Chapel Hill) Charge by phone at 919-967-9053 Or on the web at WWW.ETIX.COM www.catscradle.com
SHOW AT MOTORCO (Durham): Feb 20 WE: MENOMENAw/ Guards SHOWS AT THE ARTSCENTER (Carrboro): Feb. 8: Chris Stamey CD Release Feb. 12: PATTERSON HOOD (OF DRIVE-BY TRUCKERS) March 9: COWBOY JUNKIES SHOWS AT FLETCHER THEATRE, RALEIGH: WE FEB 27: BRUCE COCKBURN** WE APR 10: OVER THE RHINE w/ Ben Sollee**($21/$23) SHOW AT DURHAM PERFORMING ARTS CENTER: MARCH 3: NAS w/ DMX, hosted by 9th Wonder
**BUY TICKETS ONLINE! at WWW.ETIX.COM For phone orders call 919 967 9053 Visit www.catscradle.com for more listings!
February 7, 2013
Chinese National Orchestra visits Duke for dP concert by Jamie Moon THE CHRONICLE
Once used toward political and revolutionary ends, Western classical music in China has been redefined on its own terms. This Thursday, the internationally recognized China Symphony National Orchestra will play in Page Auditorium. Their performance illustrates the growing coalescence of traditional Chinese and Western classical influences. “You can hear a sort of Chinese melody in the music played, but the harmony and format is Western,” said Hsiao-Mei Ku, Professor of the Practice of Music and member of the Ciompi Quartet. The first half of the performance presents Chinese composers Chen Gang and He Zhanhao’s Butterfly Lovers’ Violin Concerto, featuring soloist Chuanyun Li, and Xia Guan’s Earth Requiem, a somber response to the earthquake in Sichuan Province. During the second half, the Orchestra will play Beethoven’s Symphony No. 7 in A Major. “Duke Performances has presented very little Chinese art or East Asian art in particular,” said Aaron Greenwald, Director of Duke Performances. “So this was an ideal opportunity to bring something that was simultaneously Eastern and Western.” Greenwald also discussed the importance of pursuing a constant growth of cultural exchange between Duke’s campus in Durham and its campus in Kunshan. “I think a lot of us at the institution are trying to figure out how we can make Duke a place where there is a greater engagement with Chinese culture and with the Kunshan campus,” Greenwald said. “This was a fairly straightforward way to make that kind of transaction and to see what the response was.” In order to teach audience members about the history and relationship between China and Western classical music, Ku hosted a lecture last night featuring Professor Jindong Cai, Music Director and Conductor of Stanford Symphony Orchestra, and his wife Sheila Melvin, both scholars on Western music in China. “In general, classical music in China was always accompanied with a different purpose [than Western classical music],” Cai said. When missionaries initially exposed China to Western styles of music more than 400 years ago, classical music was used to pique the interest of Chinese leaders. Sharing unfamiliar instruments and technology with the Chinese allowed missionaries to more easily evangelize and build missionary schools. After the Opium War, Western classical music became
a source of entertainment for foreigners in big cities like Shanghai. While one of the earliest symphonies was created in Shanghai in 1879, not a single symphony or audience member was Chinese until 1927. When the doors opened for wider populous to enjoy and even study classical music, some Chinese young adults believed that classical music could potentially heal existing social and cultural problems in China. They viewed Western classical music as progressive and elite and Chinese music as traditional and backwards. “Young artists were comparing China to what they saw in countries like Germany and believed that if the Chinese people went to concerts every week, they would become more civilized,” Cai said. It was only after the Japanese invasion in the early 1930s that Western classical music finally became more political. Young students began to see the narrow role classical music could play to reform Chinese social and cultural problems. Nie Er, a young composer also struggling to consider the role of music during the invasion, visited seaports and night clubs to better understand the struggles of working class Chinese. Er eventually wrote what became the national anthem of the People’s Republic of China, “March of Volunteers,” which solidified the use of music as a political force. “Music can inspire people,” Cai said. “The rule at that time was that art had to serve a political purpose, to unite the masses to go against the Japanese.” While art is often celebrated for its own sake—without added requirements of political or social discourse—Chinese composers still feel the urge to create music that represents a wider public. Personal reflections—e.g. musings about the beauty of a flower—are not considered sufficient inspiration for larger symphonic works. This can be seen even in pieces such as Xia’s Earth Requiem, which reveals more about the tragedy in Sichuan than his own artistic aspirations and questions. Despite these differences, Western-influenced classical music has continued to grow in appeal in China, and millions of Chinese youths learn to play the piano or string instruments. “People ask me if I think the future of classical music is in China,” Cai said. “It depends on how you define classical music. If you think the Chinese can use the orchestra symphony format to create something different, something closer to their culture, then I do believe that China can go forward with it.” The China National Symphony Orchestra will perform in Page Auditorium tonight at 8 p.m. Duke student tickets are $10.
my bloody valentine MBV SELF-RELEASED
In the 21 years since Loveless, My Bloody Valentine have accrued almost insurmountable expectations within the rock community. Many fledgling groups have tried (and failed) to replicate the Irish band’s swirling vortex of reverb, drum loops and angelic vocals. Meanwhile, their 1991 magnum opus has become a cult classic and garnered numerous musical accolades in and outside of the artistic community. After last year’s announcement that a new record had finally been mastered, MBV followers around the globe put the band’s discography on repeat and waited intently for the fabled release. Founding member and guitarist Kevin Shields promised that their new effort would be a “stranger” affair than Loveless. On the night of Feb. 2, with the release of m b v, they finally made good on their promise. Their official website—on which the album was exclusively sold—was sent into Internet server oblivion from overpopulation as fans scrambled and jockeyed to listen to it throughout the evening. The wait was worth it. Never breaking the barrier into cosmic abstraction, their “stranger” new direction retains the central elements of Isn’t Anything and Loveless while breaking new ground. Any fan worried that My Bloody Valentine would careen into unwelcome territory can breathe a sigh of relief. After the first few measures of the opening track “she found now,” their characteristic wall of sound coalesces into a silky melody, and Shields’ diaphanous voice delivers a string of MBV’s distinctively enigmatic lyrics: “I wonder how you found out/ You could be the one for me.” The following track “only tomorrow” is more triumphant and bouyant than most MBV tracks. Bilinda Butcher’s vocals reconcile the instrumental dissonance until midway through when her voice rises and quickly dissipates, leaving Kevin Shields to shred our ear buds with an uncharacteristically exultant guitar solo. “who sees you” is the melancholic counterpoint to “only tomorrow,” and it’s where MBV’s poetic aptitude is most fleshed out. The drums and guitar remain the initial focus, but Shields’ longing drone appears again with a morbid tinge: “Who will you choose/ say goodbye to this world/ and I’ll come.” The lyrics are hard to decipher but render the correct expressionist affect within the context of the song. “is this and yes” is a clever tonal shift. With its airy synths and Bilinda’s angelic vocals, the song serves as a palate-cleanser after the emotionally exhausting starting trio. Shields retreats back to the refuge of his guitar for the rest of m b v and Bilinda has full reign over singing duties. The ensuing track “if I am” lapses their sound back into a resonating and cavernous space. This return to form is broken by “new you”, a song that sounds like Stereolab on downers. The remainder of the album furthers the experiments away from their usual sound. “nothing is” offers an expanding Mobius strip of drum loops and hammering guitar riffs that serve as instrumental catharsis before the album’s finale. “wonder 2” ends m b v on an up-tempo note. With the frenzied breakbeat drum rhythm motivating a churning plane engine-like guitar roar, the band soSEE VALENTINE ON PAGE 6
MARKETING TEAM WANTS YOU! Interested? You should be. Come by 101 West Union Bldg to pick up an application and learn more. Applications due Monday, February 11th.
a raisin in the sun
DIR. RAELLE MYRICK-HODGES PLAYMAKERS REPERTORY COMPANY
Lorraine Hansberry’s A Raisin in the Sun is not merely performed by a phenomenal cast at the PlayMakers Repertory Company—it is brought to life. The classic American play, which debuted on Broadway in 1959, feels no less relevant today, as the black family onstage finds out what happens to “a dream deferred,” the title of the Langston Hughes poem from which Hansberry drew her title. A five-person family crammed into a two-bedroom apartment, the Youngers anxiously await the $10,000 life insurance check of Lena Younger’s recently deceased husband. How the money should be spent and where it actually goes during the course of the play force these characters to their breaking points. The natural acting and creative direction remind audiences why plays are performed and not just read. Desperation is palpable as the head of the household Walter Lee (Mikaal Sulaiman) gets down on his knees to beg for money,
unknown mortal orchestra II
FAT POSSUM RECORDS
Unknown Mortal Orchestra are difficult to define and they like it that way. The group’s first ever single, “Ffluffy Ffriends,” was uploaded anonymously to Bandcamp and it remained anonymous until its frenzied fanbase tracked down the artists responsible. Their self-titled debut crosses many genres, all ribs on a backbone of psych-soul sound. Over a year later, they’ve now released II, an album that hybridizes with even more zeal than the first. II is a remarkable testament to ’60s psychedelic rock. The vocals—sung by New Zealander Ruban Nielson—are reminiscent of John Lennon and Art Garfunkel. The deceptively simple instrumentals recall the Grateful Dead, with basic drum patterns and fluid guitar lines. The aesthetic reminds me of another contemporary band that also riffs off classic sounds but has still carved an original identity: Woods. While Woods chooses to incorporate heavier, more jarring distortions, UMO spices up its light-hearted jam-band sound with funk and soul influences. Throughout, UMO retains its characteristic gritty garage vibe, fuzzy lo-fi textures and grooving falsetto.
February 7, 2013
a yellow spotlight isolating him from the rest of the cast. The final 30 seconds, focusing on a lone and silent Lena Younger (Kathryn Hunter-Williams) have the impact of a bomb, and Beneatha Younger’s (Miriam A. Hyman) seductive walk to the door draws out such laughter from the audience and speaks so much to her youthful spirit; the play wouldn’t be the same without such detailed characterization. Director Raelle Myrick-Hodges added a unique touch to the transitions as well. As the lights dim, an onstage radio brightens and plays old sound bites, including an interview with Lorraine Hansberry herself, grounding an already truthful play more firmly in reality. And there isn’t just gutwrenching drama here; there are wonderful moments of subtle smiles, echoing laughter and resounding kinship— the full range of emotions that should come across in a story ultimately about love and family. Originating in canonized material, the performance does Hansberry’s play more than justice. Just as Beneatha contemplates her place in the world, an affected audience leaves with similar questions. Additionally, PlayMakers’ intimate venue and Robin Vest’s detailed set help draw the audience into the Youngers’
world. A Raisin in the Sun takes place in one location: the family apartment, a place which itself is symbolic of one generation’s decay and the other’s restlessness. By the end of the two-and-a-half hours, the audience is acquainted with every aspect of this room, from the dated wallpaper to the cheap tray table that sits on the edge of the stage. The props act as additional characters that each member of the family interacts with in a distinctive way. This show feels acutely authentic, and the chemistry onstage reaches out to the audience and draws them in. Hansberry’s timeless words, delivered by a talented cast, make PlayMakers’ A Raisin in the Sun a professional performance that connects to today’s crowd as much as it did 50 years ago. PlayMakers Repertory Company presents A Raisin in the Sun until Mar. 3. The play will be performed in rotating repertory with Clybourne Park, which will be reviewed in next week’s issue. Check www.playmakersrep.org/raisin for show times and ticketing information.
UMO was very mindful to not get lost in its own very relaxed, sun-soaked beats. Sunshine pop has the tendency to be monotonously bubbly, but II is filled with tracks that reconcile complex emotions and various musical approaches. Opener “From the Sun” juxtaposes understated, upbeat guitar and vocals with its desolate lyrics. That dissonance—between calm cheerfulness and voiced discontent—allows the potentially superficial track to be relatable. Lines like “Isolation can put a gun in your hand” and “If you need to, you can run away from the sun” present themes of homesickness and loneliness that complicate the tone of nearly every track. “So Good At Being in Trouble,” Nielson’s personal favorite, is much more soulful. Nielson croons offhandedly into the microphone, and he sounds like a soft-spoken, less masterful Stevie Wonder. The lyrics are simple but provocative, delivered casually like folk tunes but with the dulcet melody and easy mobility of funk. The next track, “One At A Time,” veers in a different direction, showcasing the band’s versatility. The song emphatically and successfully combines old-fashioned blues and acid funk, wahwah pedals and sticky garage vocals. Not all of UMO’s experiments turn out well. “Monki” is one of the rare instances where a track’s analogue vocals don’t incorporate with its instrumentals. It sounds very distant and Nielson’s vocals—elsewhere vulnerable—sound aloof. “Dawn”
is too short, too atmospheric and misses Nielson’s voice. Both tracks lose UMO’s minimalist charm and never fully synthesize. But other than these two miscues, most of the album revitalizes decades-old psychedelic pop with a few new twists.
VALENTINE from page 5 lidifies that they have not settled for rehashed versions of their previous accomplishments. Judging m b v’s merit after such a limited time feels sacrilegious. MBV’s musical output is ethereal and necessitates sustained listening before its full range of meaning can sink in. Over these past 21 years, their songs have harbored entire concepts—love, depression, heartbreak, ecstasy—and have been creative catalysts for a large swath of contemporary musicians. The full scope of m b v’s greatness will only be known as a new generation of fans and incipient artists are exposed to and invigorated by its presence. Nevertheless, one thing is certain: there has been no band that sounds like My Bloody Valentine and there never will be. —Derek Saffe
cosmic cantina Call for Submissions Deadline: February 10, 2013 The Duke Political Science Standard is currently accepting submissions for its third edition. Submissions will be accepted until February 10th, at which point the editorial board will begin its review process.
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The Editorial Board of the Duke Political Science Standard is seeking submissions of scholarly papers including but not limited to research on current or historical political, economic, and social phenomena and analysis on the theoretical foundations of political institutions. Submissions are limited to work from current undergraduates and class of 2012 graduates. Successful submissions may cover a wide variety of subjects, but embody the qualities of original scholarship, cogent argumentation, and thorough research.
Submissions Author Anonymity - Because manuscripts are evaluated anonymously, please include the author’s name and contact information on a separate title page only. Length and Abstract - Normal length of published manuscripts is 8-35 doublespaced pages. A 100-150 word abstract is encouraged although not required for submission. Manuscript Preparation and Style - The Duke Political Science Standard follows the Chicago Manual of Style for standards of citation, punctuation, and other editorial considerations.
Please email submissions to Editor-in-Chief Justin Zhao at Justin.Zhao@duke.edu with “2013 Spring Submission” in the subject ﬁeld no later than February 10, 2013.