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VOLUME 21, ISSUE 1 | JUNE 6, 2018

Manbites Dog says goodbye Local theater closes after 31 seasons, page 8

filming at Duke Duke’s history on the big screen, page 4

summer sounds A guide to the Triangle’s music scene, page 9

Hey, parents!

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R 2 | WEDNESDAY, JUNE 6, 2018

recess editors

What did you get out out of beach week? Christy Kuesel ......................senioritis Sarah Derris......................... cynicism Will Atkinson ................... rejuvenation Nina Wilder ...........venereal memories Selena Qian ............ sand, everywhere Eva Hong.................... severe sunburn Alizeh Sheikh ................. what beach? Lexi Bateman ....................a hangover Sydny Long ............... cheap souvenirs Jessica Williams ......................... love Bre Bradham........................not a tan

The Chronicle

recess Everyone has their thing at Duke. Some talented, ambitious people occupy themselves by juggling passion upon passion with classes and clubs. I will forever count myself lucky that I found my thing during my first week at Duke: Recess. There seem to be two groups of people in Recess: those who knew from the start that they loved arts and culture and wanted to write about it, and those who thought they would write for news but decided to give Recess a try anyway. I fall into the second category. I hadn’t ever written for a newspaper before and didn’t know the first thing about it, so naturally, I hadn’t even heard of Recess before coming to Duke. What I did know was that I wanted to try writing for the Chronicle at Duke. I even earned an esteemed “Most Likely to Write for The Chronicle” award during my pre-O. I showed up to the first Recess meeting because I had already met the then-Recess editor and I was desperate for a friendly face during those first few chaotic weeks of freshman year. I walked into that first meeting and sat on one of the scratchy couches, listening to the story pitches and the older staff members joke around as I tried to draw as little attention to myself as possible. I gathered up the courage to pick up a story and listened eagerly as I received the basics of journalism. As I walked out of the room, full of anticipation about my first story, I was looking forward to the next week’s meeting. Even then, in the back of my mind, I knew I wanted to lead Recess someday. My first assignment seemed like the most challenging thing I’d ever have to do (in reality, it involved leaving my dorm on East Campus, walking five minutes to the Arts Annex, interviewing a professor and walking back). I didn’t feel qualified

to be interviewing anyone or writing anything meant for publication. But once I picked up a copy of Recess and saw my name and my story in print, I couldn’t wait to write another article. Looking back over my three years at Duke, almost all of my proudest achievements originated in Recess — whether it was interviewing one of my favorite artists, learning more about a local gallery or instituting the policy of snacks at meetings. Whenever someone asks what my favorite thing I’ve done at Duke was, I immediately say being

editor’s note Recess managing editor sophomore year. A year from now, that answer may change to being Recess editor. There have been pitfalls, of course. Typos, long hours in the office and adventures with InDesign all proved to be greater challenges than I had previously imagined. Taking a semester to gallivant across Europe may have shaken up a previously imagined line of succession. Poor phone service is still an enemy to interviews everywhere. But as I learned how to deal with these problems, I felt more and more like a journalist and less like a college student pretending to know what she was doing. Recess has taught me many practical skills: how to send a proper email, how to call strangers on the phone, how to

go through an article line by line and checking for any unwanted Oxford commas. It has taught me how to listen and how to write, how to research and how to ask questions. But it has also provided me with a group of mentors and friends who I couldn’t have met anywhere else. Recess has shown me the role of the arts on a campus like Duke’s and has taken me to galleries and museums and a giant arts center opening or two. Duke will always first and foremost be a research university, but a thriving arts scene exists both on and off campus. And now Recess editor. A job that I’ve wanted for three years. I’ve seen Recess grow from a small and somewhat dedicated section to the flourishing group of writers it is today and I can’t wait to take it further — to continue uncovering stories regarding Duke culture and to figure out how the arts fit into them. You may not find the biggest news of the day at Recess, but you may learn a thing or two about that local band or the latest film. You’ll find reporting on arts and culture on and off campus, personal essays and musings on the latest pop culture trends of the day. Recess focuses on the unexpected, on what you weren’t looking to find but you’re happy you did. Who knows, you may find a new passion. I know I did. —Christy Kuesel

on the cover: The Nasher Museum Photo by Sarah Derris

arts.duke.edu & follow @dukearts

Your guide to the arts across Duke

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


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WEDNESDAY, JUNE 6, 2018 | 3

campus arts

Warsan Shire amplifies marginalized voices at April poetry reading By Alizeh Sheikh Interviews & Reviews Editor

“For whom do I write?” It’s a question that is fleeting in its apparent ease of response. Those who see it as cut-and-dry enjoy a measure of privilege — or perhaps they’re robbed of it. And those who are baffled by it must labor for longer, though they have much more to chew. Warsan Shire — a poet most noted for her work’s appearance in Beyonce’s “Lemonade” — writes in the margins and thereby complicates this question. In the articles profiling her in The New Yorker, The New York Times and The Guardian, you would think she writes for everyone: the displaced and disoriented immigrant, the Somali women whose legacies she blossoms out of, her own aching, addled soul. During poetry reading held in April at Duke, Shire said she is most interested in writing about people whose stories are either not told or told inaccurately, especially the stories of immigrants or refugees. She herself is devoid of tethered roots, a marginalized person as a result of her cultural in-betweenness; she was born to Somali parents in Kenya, and moved to London at the age of one. Which home is really hers? Or do they all belong to her? What does it mean to have no home, or to have so many that the walls cave in? When floating in this space of metaphorical displacement, the question of who one writes for becomes poignant and perplexing, and it is from this current that Shire’s poetry flows, serving to answer the oft-mined question, “How does the presence

of one’s own marginality inform the content of one’s art and its aesthetic?” Let us first explore what others say. Perhaps marginality affords us greater freedom: Two and a half decades ago, Edward Said argued intellectuals in exile are “not afraid to overturn the applecart, anxious about upsetting fellow members of the same corporation” because they do not claim allegiance to any corporation in the first place. Or perhaps it binds us to Earth: Three weeks ago, Ta-Nehisi Coates said of African American art and music, “The gift can never wholly belong to a singular artist, free of expectation and scrutiny, because the gift is no more solely theirs than the suffering that produced it.” There is no liberation from the we, he suggests. Marginalized people Courtesy of Flickr Images must carry the weight of their history, “of British poet Warsan Shire recited her work at Duke in April, highlighting matters of race, family and identity. all the killing, all the beatings, all the rape and plunder” that necessarily informs them and their art. for? Choose one. Rankine and Said chose everything at once. It’s about attempting to Perhaps it is neither. When scrawling academics. With “Lemonade,” Beyoncé chose build a home out of your own bones when in the margins, the question of for whom her own marginalized culture. Coates chose no country will call you its own: “I know one writes becomes unanswerable because intellectuals and later anyone who’d listen. a few things to be true,” says a nameless one’s identity is inherently splintered. Or maybe there’s an alternative where you refugee in “Conversations about Home (at When you are marginalized, you do not don’t have to choose to write for anyone at the Deportation Centre).” “I do not know know whether to write to those in power all. In order to find purpose in your writing where I am going, where I have come from or for the powerless. More than a century or your art, maybe you don’t have to choose is disappearing…My body is burning with ago, W.E.B. DuBois described the “double one splinter on a many-pronged brush. As the shame of not belonging, my body is consciousness” of being “an American, and Shire’s poetry suggests, perhaps you can just longing. I am the sin of memory and the a Negro,” and Claudia Rankine echoed that paint with the whole damn thing. absence of memory.” sentiment a hundred years later when writing The reason why Shire’s poetry so It’s about sexuality as transgression, of the “Self-Self ” and the “Historical-Self,” gracefully refuses to lend itself to the humanity, and violence, sometimes one at stating, “You can’t put the past behind you. question of “for whom do I write?” is that her a time and sometimes all at once: In “Fire”, It’s buried in you; it’s turned your flesh into writing lies in the crevice of contradiction, upon learning about her husband’s young its own cupboard.” crisscrossing vast swathes of territory to The dilemma is as old as human unite images that have no apparent desire See SHIRE on Page 15 displacement has existed: Who do you write to be held together. Shire’s poetry is about

Ensembles & Performance Opportunities

Chamber Music Ensembles, coordinated by Jonathan Bagg, explore the repertoire for string quartet, piano trio, saxophone quartet, and other combinations. Groups receive weekly coachings with a member of the performance faculty in preparation for a public performance. The focus is on in-depth study of one or two complete works, allowing students to develop and refine their ensemble skills. The Duke Chorale, directed by Rodney Wynkoop, is a concert and touring choir of 50 singers. This year’s annual Spring Break tour will go to California. The 2018-19 season will include a concert on Family Weekend, a holiday concert in Duke Chapel, and a concert in March with the Choral Society of Durham, orchestra, and soloists, featuring Eric Whitacre’s Deep Field and Philip Glass’s Itaipu. Rehearsals are 7:309:30 pm Tuesday & Thursday. The 20-voice Chamber Choir rehearses 9:30-10:30 pm Tuesday.

The Duke Djembe Ensemble, directed by Bradley Simmons, offers students the opportunity to develop skill in the art of West African drumming. The Djembe Ensemble memorizes each rhythm, just as the Mandinque people have for hundreds of years. The Afro-Cuban Class introduces students to the many exciting rhythms of the Cuban diaspora. The Duke Jazz Ensemble, directed by John Brown, has a rich history of excellence. The ensemble performs at least two concerts each semester with guest artists noted for their high level of artistic achievement. Last year’s guests included Nicholas Payton, Joey DeFrancesco, Tim Warfield, and Bobby Broom. Small group Jazz Combos provide additional opportunities.

The Duke New Music Ensemble [dnme] is a student-run ensemble open to all students who make music, regardless of genre or experience level. This season includes four events off-campus, partnerships with schools, and workshops with three guest artists. Everyone is welcome to make music with [dnme]!

Open to all Duke students. Auditions are required for ensembles (0.5 credit) and applied music lessons (o.25 or 0.5 credit).

Ensemble Information Meetings Saturday, August 25 1 pm OR 2:30 pm (you choose) Rooms 019 & 101 Biddle Music Building

Auditions begin Monday, August 27 Audition schedule & ensemble info:

music.duke.edu/ensembles Auditions are by appointment. Sign up outside Biddle 105.

The Duke Opera Workshop, directed by Susan Dunn, presents operas, opera scenes, and musical theater revues. Our Fall 2017 show highlighted songs from the Great American Songbook. In Spring 2018, we presented “Operas Comic and Comique,” with excerpts from Carmen, The Barber of Seville, The Marriage of Figaro, The Magic Flute, The Elixir of Love, and Don Pasquale. Interest meeting on Wed., Aug. 29 from 4:30-5:30 pm in Biddle Rm. 075. The Duke Symphony Orchestra is directed by Harry Davidson. The 2017/18 season included works by Mozart, Beethoven, and Brahms, as well as American Masters, celebrating the 100th anniversary of the birth of Leonard Bernstein. A benefit concert in Beaufort, SC takes place each spring. Please join us for auditions with a prepared solo piece and the ability to sight-read an orchestral excerpt. The Duke Wind Symphony, directed by Verena Mösenbichler-Bryant, performs a wide variety of high level wind ensemble music. Highlights of the 2018-19 season include concerts in Baldwin Auditorium, the annual Viennese Ball, guest conductor/composer Johan de Meij, and a Halloween concert. We will perform a variety of works by Holst, Grainger, Ticheli, Bryant, Whitacre, Mackey, and many more. Join us! Applied Music lessons for instruments & voice: Students may take one-hour weekly lessons (1/2 course) or half-hour lessons (1/4 course). Qualified juniors and seniors may take Independent Study in Performance, a full course culminating in a recital.


4 | WEDNESDAY, JUNE 6, 2018

The Chronicle

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From ‘The Handmaid’s Tale’ to ‘Dawson’s Creek’: Duke on the big screen By Selena Qian Features editor

North Carolina has a rich history of film. Wilmington, N.C., has been called both “Hollywood East” and “Wilmywood” due to its appearance in a number of movies and TV shows. According to Southeast Discovery, more than 400 productions have filmed in Wilmington since 1983. But Duke itself also boasts features in several films and shows throughout the years. Among those productions is “Brainstorm,” a science fiction movie released in 1983 and directed by Douglas Trumbull. The film follows a research team that creates a way to record and play back people’s sensory experiences and explores the potential for abuse of their invention. The movie includes scenes in the Medical Center, in Duke Gardens and at the Chapel. The Duke University Choir, then directed by choirmaster Ben Smith, was also featured in the film. The 150-voice choir sounded so good that the original plan to replace it with a pre-recorded 700-voice version was scrapped, according to an article in Starlog Magazine. In 1990, Duke was part of the setting for “The Handmaid’s Tale,” a film now largely unknown, eclipsed by the recent TV adaptation of the original Margaret Atwood novel. Several scenes in the movie were filmed at Duke in 1989, according to IndyWeek. They were scheduled to coincide with spring break so there would be fewer students around. The most notable shot of Duke in the movie was filmed right in front of the Chapel. One of the handmaids is hanged, and her body swings with the Chapel as a backdrop. The scene led to a flurry of complaints, with many saying that it violated the sacredness

of the church space. Duke now has a policy regarding filming on campus that requires submission of exact details and scripts and final approval from the senior vice president for public affairs. Three years later, Duke was one of several universities to feature in “The Program,” joining Boston College, the University of Michigan, the University of Iowa and the University of South Carolina. The film follows a fictional college football team through its season as the players deal with the pressures of playing a varsity sport while adapting to the other trials of college life. In 1997 came another novel adaptation, this time of James Patterson’s “Kiss the Girls,” originally published in 1995. It stars a recurring character, Alex Cross, who learns that his niece, who goes to Duke, is missing. The film has shots of Duke and the Chapel and features Research Triangle Park and

UNC-Chapel Hill as well. While it is likely more widely known as the title of a Shawn Mendes and Camila Cabello song, “I Know What You Did Last Summer” was another film released in 1997 that featured Duke’s campus. Shots of Duke’s academic buildings were used as the college attended by one of the main characters in this Jim Gillespie slasher film. In the fifth season of “Dawson’s Creek,” Duke represented a fictional Boston university called “Worthington.” While the series was set in New England, production was actually based in Wilmington, so it was much more convenient to use Duke rather than a university in Boston. According to an article published in Duke Today, filming started in the summer of 2001 and continued throughout the following spring. In that article, John F. Burness, then senior vice president for public affairs and government

relations at the time, said he appreciated that the producers of the show wanted to involve students, giving them the opportunity to work on an actual set. The university has also featured onscreen as the main topic. Duke basketball was the subject of “A Cut Above: 100 Seasons of Duke Basketball,” a 2005 documentary produced by Bombo Sports and Entertainment. The film looked at the years of the Duke team through the eyes of past and current coaches and players. Duke has had its fair share of screen time over the years, in the foreground and in the background, featuring both controversial and undisputed subjects. It has been the setting of movie hangings and universities both real and imagined. Filmmakers have been using Duke’s campus for decades, and its iconic architecture is easily recognizable in each of them.

Courtesy of Youtube The 1990 adaption of Margaret Atwood’s novel “The Handmaid’s Tale” is one of many movies to use Duke’s campus as a filming location.

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online www.jewelsmith.com

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WEDNESDAY, JUNE 6, 2018 | 5

Experiencing the joys of Last Day of Classes for the first time By Eva Hong Features Editor

Two weeks before LDOC, I was just finishing up at my college adviser’s office, glad that I got to reflect on what exactly happened in my first year at college before its tail slipped away from my grip and relieved that I had finally figured out (kind of) what to do in the next year of my life, when Ms. Guinn suddenly added, on top of wishing me good luck with finals, “And you’re about to have your first LDOC, right?” “…Right, yeah.” “Well, have fun at that! I’m excited for you!” she said, with her signature sparkling white-teeth grin. …LDOC… Closing the door behind me, I walked out into the day outside that is full of the promises of spring. L By the time LDOC actually came, spring was in full ripeness. But the day started as usual, except that even in class, people were unusually relaxed, mentally preparing themselves for the party later on. Or maybe it was just me. There was a two-hour gap in between my morning and afternoon classes, so I used the time to wander around a bit and take a look at the daytime activities. In the Bryan Center Plaza, people stood in long lines for DanCakes, where an artist would paint your face on a freshly cooked pancake for you to take a Insta-worthy picture and then eat it up; very long lines for glitter tattoos and face paint; and extremely long line for the caricature artist who, though wearing a suit and a high hat, had the knack to get a big smile from you in five minutes and draw it down in a way that could get even more big smiles from you in the future. Oh, and don’t forget the half-hour drizzle that forced people in lines to cram themselves under the little tents and made everyone a little worried about the outdoor concert at night. According to the upperclassmen, rain is “so classic” of Duke’s LDOC. Yes, I was in the line for glitter tattoos for a blue rose on my thigh, then waited for two hours for a caricature painting and was late for class. D I walked out of my last class of freshman year and immediately sensed that the whole world had changed. Probably in a more literal sense than you think: People had already changed out of their go-to-class outfits and into dresses, skirts, shorts, tank tops and button-downs. Wherever I went, there were laughter, chatter and the imperceptible excitement in the air that heralded the beginning of a party. The weather did not fail us in the end. The rain teased us but then gave the stage to the sun. A little breeze did decide to crash the party. Based on asking upperclassmen about LDOC to clear away my anxiety — they couldn’t exactly explain it though — it’s not an event that is conducive to meeting up with people, so you’re supposed to just “go with the flow.” So I suppressed the small Type A side of my personality that comes to dominate in this kind of grossly unknown and confusing situation and was able to drag a few friends that I met at the BBQ in Penn Pavilion to join the Silent Disco crowd, which initially stunned and confused me. O Halfway into the night, I agreed that LDOC is not the most convenient for meeting up with friends, but I was surprised that it helped me make new friends. The group I was with was made up totally spontaneously, and it all worked out perfectly. I lost track of the number and order of the places we stopped at that day. BC Plaza, Edens, McDonald’s, the concert, Keohane, Edens again, West Union, the concert again… It was crowded everywhere. I never realized the student body at Duke was this large — people lining up for chicken nuggets, people swinging their bodies on the temporary dance floor, people just sitting on the steps at the plaza and staring into the sunset… Sometimes I saw a glimpse of a gait that I was familiar with, a pair of eyes that I recognized or a side view of a face that looked like one of my friends. But they soon were carried away by the crowd. When the night fell completely, I found myself on the dance floor when the concert was at its peak with Marc E. Bassy, looking up to the night sky whose boundaries were pushed by the concert lights. Then I turned my attention to the stage and saw the clouds of red turned orange, turned yellow, turned green, turned blue, turned purple… My friends and I fought for space on the floor and started dancing. The crowd was noisy and silent at the same time. The clouds turned vapor. Turned smoke. Turned light. I closed my eyes. C Now I understand the upperclassmen’s struggle to sum up what LDOC is. It is hard. The Snapchat stories. The Instagram posts that came after. The memories. The freedom. The fun. Just as hard as coming to terms with the brutality of the passage of time and the fact that next year I will be an upperclassman myself and be called upon to explain to the freshmen what LDOC is.

Jim Liu | Staff Photographer Students listen as LDOC headliner and former 2AM Club vocalist Marc E. Bassy performs, bringing a day of music, free food and silent disco to a close.

Duke Dance Program OPEN HOUSE! Dance at Duke is for all, from Freshmen to Graduate students! Come explore our beautiful studios and meet new and returning dance students, talk to our faculty, and enjoy delicious snacks!

Monday, August 27 @ 5pm in the Ruby Lounge Rubenstein Arts Center

COME SING!

Duke Chorale

Philip Glass’s Itaipu and Eric Whitacre's Deep Field with the Choral Society of Durham and the Durham Medical Orchestra Spring Break tour to California

Info & Ice Cream: 8 pm on Sunday, Aug. 26 in Room 104 Biddle Music Bldg. Visit music.duke.edu/ensembles/chorale to sign up for an audition


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6 | WEDNESDAY, JUNE 6, 2018

Film Studies

HOW TO UNDERSTAND IT AMI studies courses offer in-depth encounters with the history and theory of cinema, from its beginnings to its present: genres, periods, themes, national cinemas, fiction, documentary, experimental, animated, and other moving image forms.

Film Practice

HOW TO MAKE IT AMI production courses offer hands-on introduction to cinematography, editing, screenwriting, directing, and more, in motion pictures and other new mediatechnologies from the celluloid to the digital eras.

Fall 2018 Courses AMI 199 AMI 201 AMI 202 AMI 210 AMI 301S.01 AMI 301S.02 AMI 306S.01 AMI 306S.02 AMI 320S.01 AMI 320S.02 AMI 356S AMI 357S AMI 499S

LGBTQ/Queer Cinema Intro to Film Studies History of Documentary Film Film Genres Moving Image Practice Moving Image Practice Writing the Movie Writing the Movie Film Animation Production Film Animation Production 16mm Film Production Editing for Film & Video AMI Capstone

Polish McCarty Price Sudak Cunningham Oppliger Russing Russing Herbert Herbert Gibson Haverkamp Kaul


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WEDNESDAY, JUNE 6, 2018 | 7

local arts

Getting off campus: exploring Durham during summer session By Ashley Kwon Staff Writer

Munching the buffalo wings that we ordered, my summer school friends and I sunk into comfy sofas in the fourth floor common room in Keohane 4B. While praising the heavenly combination of medium spicy sauce and boneless wings, we envied our friends posting edgy Instagram pictures in Italy and Japan. Although I never got tired of the Gothic architecture on West Campus, I did not want to spend the entire summer in the Duke bubble. So I decided to explore Durham and found a variety of interesting places. Little Dipper The fondue restaurant is ideal for a fancy dinner after a long week of summer classes and research. The restaurant is a bit expensive, so I went with five “fondue buddies” to split the bill. We started our dinner with bowls of salad, but the actual fondue feast began when the waiter made a pot of melted cheese in front of us. Among six options for cheese fondues, we chose Baja Cheddar Fondue and loved it for its unique combination of salsa, hot sauce, and cheese. For entrée, we ordered “Zen,” including filet mignon and ravioli, which we dipped into a pot of boiling chicken oil to fry. Stirring the pot with a rescue spoon to find a missing ravioli and waiting for the food to be well cooked in the bowl proved to be fun challenges. S’mores fondue was the perfect end to the fondue night. Rockin’ Rolls Sushi I was disappointed that Ginger and Soy in the Brodhead Center was closed for summer, but I luckily found its replacement — Rockin’

Rolls Sushi — only five minutes away from West Campus. The restaurant served sushi on a conveyor belt. Each plate had about two to four pieces of sushi and I could eat as much as I wanted for only $11. Spicy salmon roll, with crunchy rice puffs at the top and the shrimp tempura roll were my favorites. Every time my friends and I saw a row of fried shrimp rolls coming, we got ready to snatch as many as we could. We also did not hesitate from trying interesting dishes like the “crazy monkey roll,” which included fried banana with mayo and teriyaki sauce. Mission X Escape-Durham The escape room was a nice place to take a break from scorching Durham summer. The games had four different themes, including Vampire Manor and Butcher Shop, each with different levels of difficulty. With five friends, I tried Vampire Manor, the plot being that the players are trapped in a vampire castle and have to find a magical gem to escape. Despite the cheesy premise, we had a great bonding experience trying to find clues in a dark room with only three flashlights. Managing to escape with five seconds left, we also had the honor to display our picture on the wall of winners next to the entrance. Quirky Shops on Ninth Street When I first went to Ninth Street with my orientation week friends, I took a picture with them in front of a flower graffiti wall next to the Ninth Street Flower Shop. Although the photo is still the home screen of my phone, I did not have enough time to explore the street more and discover its interesting shops until this summer. Among all the stores, The Regulator Bookshop and Zola Craft Gallery stood out. Unlike other bookstores that I have visited in other cities,

the bookshop had several shelves devoted to local authors. I sat down on a green sofa at the corner of the shop for a while and flipped through books titled “27 Views of Durham” and “Hidden Hillsborough,” reading about different perspectives of Durham from its long-time residents and looking at pictures of houses in Hillsborough. I then walked over to Zola Craft Gallery, a gift shop featuring locally made crafts. The sound of the wind chime on the door and the squeaky wooden stairs reminded me of my grandmother’s home. At the store, I bought a journal and a necklace for my sister. Pleiades Gallery Downtown Durham was among the first places I visited when I came to Durham. I knew the place for its highly-

rated restaurants, but did not realize until I spent a Saturday afternoon there that it also has art galleries. The first floor of the gallery featured works of North Carolinian artists, ranging from bizarre mixed media works like a baby’s head made of ceramic with long nails at the top, to a painting on traditional Japanese paper. I found the temporary exhibition by an artist named Dawn Hummer on the second floor, called “Watermark,” particularly attractive. In the works, different shades of multicolored threads weaved together representing sceneries like sea waves and meeting waters. Durham seemed like an oddly peaceful town to me as someone from a large city. But as I explored more, the town began to reveal its numerous charms.

Christy Kuesel | Contributing Photographer Ninth Street, located within walking distance of East Campus, is a hub for restaurants and shopping.

DUKE SYMPHONY ORCHESTRA AUDITIONS Saturday, August 25

Information Meetings, 1 pm or 2:30 pm (you choose), 101 Biddle

Monday, August 27

Viola, Cello, Bass, 6 - 9 pm, 084 Biddle

Tuesday, August 28

Flute, Oboe, Clarinet, Bassoon, 4:30 - 10 pm, 104 Biddle

Wednesday, August 29

Horn, Trumpet, Trombone, Tuba, 6 - 9 pm, 019 Biddle

Thursday, August 30

Violin, 6 - 11 pm, 084 Biddle

JOIN US FALL 2018! Looking for a freshman (89S) seminar class? COMPOSERS OF INFLUENCE (MUS 89S-01) ALP MAKING MUSIC TODAY (MUS 89S-02)

Trying to fill a seminar requirement? FAIRY TALES AND MUSIC (MUS 190S-05) ALP MUSIC, MEDICINE, & NATURAL SCIENCE (MUS 190S-01) ALP, CZ SINGING THE FRENCH HISTORY (MUS 290S-01) ALP, CCI, CZ AFRICAN MUSIC (MUS 290S-3-01) ALP, SS, CCI, EI

Other Classes 

 Formal Concerts in Baldwin Auditorium  Family Weekend Concert Outdoor Pops Concert  Benefit Concert in Beaufort, SC

Harry Davidson, music director 919-660-3324, hdavid@duke.edu

music.duke.edu/ensembles

INTRO TO MUSIC THEORY (MUS 161-01) ALP MUSIC AND MODERNISM (MUS 259-01) ALP, W

more at music.duke.edu


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The Chronicle

Manbites Dog Theater to close after 31 unconventional seasons By Christy Kuesel Recess Editor

A Durham mainstay for experimental theater will close its doors June 10. Manbites Dog Theater was founded in 1987, but it found its permanent home at 703 Foster St. 10 years later. Over 31 years, the theater has pushed the boundaries of the stage, from putting on a puppet show to a production with 70 short scenes. The company has produced more than 175 shows. The founders of Manbites Dog, Jeff Storer and Ed Hunt, first came up with the idea for Manbites Dog after seeing a production of Larry Kramer’s “The Normal Heart,” which focused on the AIDS epidemic in New York City. “We were so moved by the production that we started to think about how much theater, really, really good theater, did not make it to where we were living,” Storer said. Storer said Manbites Dog sought to produce theater that they did not already see in Durham. They looked for plays that experimented with storytelling, used the voices of new playwrights or addressed political themes or social justice. “The Normal Heart” became the theater’s third production, leading to a community discussion of the AIDS epidemic at a time when no one was talking about the disease. Although Storer and Hunt first thought they would only do one season, local newspapers sent critics to cover the Manbites Dog shows, prompting a conversation about new works and new playwrights. Storer said he never imagined he would spend his career in Durham, but he came to value the theater’s relationship with the community. “Somewhere along the way we made a conscious decision that we were going to

stay here and have a conversation with the public,” Storer said. The name Manbites Dog Theater comes from an old journalism saying — “If a dog bites a man, who cares. But if a man bites a dog, that’s news.” Storer and Hunt wanted to use a memorable name that also alluded to the newsworthy theater they produced. Even the use of “theater” instead of “theatre” is a nod to its accessibility. Jaybird O’Berski, associate artistic director for Manbites Dog, has been involved with the company as an actor and director for 26 years. His personal theater company, Little Green Pig, has been performing at Manbites Dog for 13 years. “Manbites Dog is one of the reasons I moved to the Triangle,” O’Berski said. He said the theater’s area premieres of provocative, unique work and focus on sexual and racial diversity drew him to the theater. Manbites Dog was doing work that no other theater was doing. O’Berski said Manbites Dog also tackled more challenging work, favoring intellectual content over simplistic, moralistic themes seen in many other theaters. “Manbites Dog really started the tradition that’s strong in Durham of challenging work,” O’Berski said. The theater’s final show is “Wakey, Wakey,” directed by Manbites Dog artistic director Jeff Storer. The play, written by Will Eno, opened off-Broadway Feb. 7, 2017. “Wakey, Wakey” marks Eno’s fourth play to be performed at Manbites Dog. “It’s about how to say goodbye,” Storer said. The theater announced the sale of the building to Modern Energy for $1.1 million in Dec. 2017. Modern Energy is an energy company investing in technology for more

Courtesy of Alan Dehmer Manbites Dog Theater, closing June 10, produced 31 seasons of unconventional shows, including “Paris 76.”

efficient energy use. Manbites Dog rented back the building to finish its 31st season. A portion of the money from the sale will pay off current debts, but the rest of the funds will be put into a Triangle Community Foundation agency fund. The money will go to theater companies in the area in earlier stages of development. “We hope to continue to have that strong influence on the community by virtue of the artists that we champion and the people that we’re able to give money to,” Storer said. O’Berski expects it could be easier to get subsidized by money through this fund than through a state or city arts council. The Durham arts scene has grown tremendously since Manbites Dog opened. The Durham Performing Arts Center opened in 2008, drawing in touring Broadway shows

and top performers from across the country. Downtown Durham is full of art galleries and creative arts spaces. According to a June 17 Durham Herald Sun article, nonprofit Durham arts organizations spent $104.6 million and audiences spent $49.5 million in fiscal year 2015. O’Berski believes many areas of the arts, from theater to music to dance, have benefited from the pioneering work of Manbites Dog Theater in producing challenging shows. Although Storer and Hunt did not realize what they were doing in the moment, their work did give other groups the courage to produce unknown playwrights and interesting theater. “I think that we did influence the area, See MANBITES on Page 15

The Regulator celebrates succcess with Independent Bookstore Day By Selena Qian Features Editor

On the April 28, The Regulator Bookshop, an independent bookstore on Ninth Street, joined book shops across the country in celebrating Independent Bookstore Day (IBD). This year, The Regulator brought in hedgehogs for customers to pet, raffled advanced reader copies — books that have not yet gone to print — and gift certificates and gave away copies of a cookbook, “In Helen’s Kitchen,” which was written by Helen Hudson Whiting, one of the founders of the store who passed away in 2000. IBD is an annual event originally inspired by Record Store Day. Both events look to raise awareness for independent book and record stores, respectively. The Northern California Independent Bookseller’s Association first created a California Bookstore Day from the model of Record Store Day. From there, the American Bookseller’s Association (ABA) joined in and provided the financial and technical support to increase the event to a national scope. The day is also another way for independent bookstores to engage the community, which is vitally important to the success of the store. “That really is the secret sauce to their success, the role that the booksellers play in community organizations, the way they interact with the school systems, or the libraries, or other businesses,” said Oren Teicher, CEO of the ABA. “It’s that community connection that really is, at the end of the day, the indispensable ingredient that allows stores to succeed.” By definition, independent bookstores are independently-owned and thus tend to be smaller in size and scope. However, this does not mean that larger stores will necessarily take over, nor does it mean that the industry

will be consumed by other forms of media. In fact, it’s almost the opposite: ABA membership has seen continual growth in the past five years, and the numbers are up again this year, as are sales figures. In the last few decades, independent bookstores have faced challenges, starting with the large chain bookstores in malls (B. Dalton’s and Waldenbooks) in the late ‘60s, then superstores, then mass merchandisers (Walmart, Target, etc.) and warehouse clubs (Sam’s Club, Costco, etc.) starting to sell books and now the internet and electronic books. “If I go back and think about the last 25, 30 years, there seems to be every few years some tsunami that’s going to come and wipe us out, but we’re still here,” Teicher said. He again attributes that success, that endurance, to the role independent bookstores play in the community and the unique experience each independent bookstore creates. The Regulator has weathered all of these challenges in its 41 years in business, and its community support plays a major part in its prosperity. “Steve Schewel was one of their [the owners’] classmates, he’s now the mayor of Durham,” said Amy Spaulding, events coordinator at The Regulator. “This whole group of Duke students who stayed in the area and really believed in Durham and have lived here for a long time have created a really supportive community for this bookstore.” The Regulator has similarly strived to give back to that community, hosting events like monthly cat adoptions, preschool storytime, author talks and even a breastfeeding class by the Women’s Birthing and Wellness Center. It also provides a space for people who want to just spend some time reading or browsing the shelves.

Spaulding recalled two children in particular that come in every day at the same time. “They bring their Italian ices in. They come in by themselves. They look like they’re about 10, a boy and a girl. They come in and they go straight back to the children’s section. They put their ices on the table and they read. When they’re done, they throw away their little ices and they leave,” Spaulding said. “Someone feels like this is a safe place for them to go where they can spend a little time, and we’re just happy they’re in the store.” She also said The Regulator isn’t “all about money.” It’s about the experience and the culture created in part by how long the employees and the owners have worked at

the store, most of them over 10 years, if not longer. “They have seen people grow up at this store and go off to college and come back,” Spaulding said. “They know who they are and what they like to read. It’s kind of like Cheers, everyone knows your name kind of thing.” Teicher also had a short stint working at The Regulator during the holiday season, which he has done now at dozens of independent bookstores across the nation. At The Regulator, he noted the knowledge and passion of the staff, calling it “uncanny” that no matter how unusual or obscure a customer’s request, a staff See REGULATOR on Page 15

Christy Kuesel | Contributing Photographer The Regulator joined the national celebration of Independent Bookstore Day on April 28.


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An incomprehensive introduction to the Triangle’s music scene By Sarah Derris Managing editor

The Triangle has become quite the musical linchpin in North Carolina. With countless music venues ranging from independent to commercial, musicians and artists across the country pass through the Triangle each year, leaving behind their mark in North Carolina music history. For the incoming freshman or seasoned senior who would like to dip their toes into the proverbial waters of the Triangle music scene, here is an introduction to some of the best places around to see a show. The Pinhook A downtown Durham staple, the Pinhook is a bar and intimate live music venue host to upand-coming performers and seasoned musicians

alike. Founded by Loamlands frontwoman and Durhamite Kym Register in 2008, the venue has since seen dance parties, drag shows and experimental music acts grace its stage. Come for the music or the giant PBR-clutching panda that adorns the wall. Upcoming Events: Sam Evian, June 10 Multi-instrumentalist, North Carolina native and New York inhabitant Sam Evian is on tour promoting his upcoming album “You, Forever.” Highlighting themes of love, heartache and selfimage, Evian seeks to connect with audiences through an easygoing listening experience. “Every song reflects a state of being or experience,” he said. “What does it reveal? I’m in love, I’m restless, I’m insecure about my place in society. I want to be successful.” Evian’s sound is a nod to the past,

Sarah Derris | Contributing Photographer

A downtown Durham staple, the Pinhook is an intimate live music venue host to local and national acts.

bringing on a sort of breezy nostalgia that pairs well with contended solitude. “I hope the album feels cool and easy. I wanted it to feel right for driving across the country, or walking around alone at night,” Evian said of the album. “I wanted the record to sound and feel like it came from another time. But I’m no historian.” So why come to the show? “Because we’ve got a good beat that you can dance to,” he said. “My band hits all the marks. They are beautiful people and player and they bring the tunes to life in a way I couldn’t have imagined.” Poor Pie, June 20 Chapel Hill based “aggressive” pop-rock trio are back with the debut of the “Poor Pie” EP, the first since the release of their 2016 album “Roomple.” Allegedly inspired by a recipe for Poor Man’s Pie, the trio regularly tours venues across the Triangle. Rife with enough power-chords and distortion to appease audiences, “Poor Pie” is a sufficient introduction to the local music scene. Motorco Music Hall This former 20th century car dealership boasts a little more breathing room as Durham’s largest music venue. After remaining empty for nearly a decade, the venue underwent renovations to become a live music club and bar in 2010. Cofounder Jeremy Roth noted in a 2010 interview with IndyWeek that one of their founding principles is convenience for Durhamites. “We hate driving to Raleigh and Carrboro to see shows,” he said. Ever since, Motorco has seen national headliners including artists signed to Durham’s premiere independent music label, Merge Records. Upcoming Events: The Revelers, July 22 Louisiana-bred country-Cajun group, “The Revelers” has been at the forefront of a Louisiana cultural revolution for the last eight years. Selfbranded Cajun swamp-pop-zydeco, the sextet bring Louisiana roots with a country flair. The

Revelers have toured internationally and their 2016 Grammy nomination for best regional music is a testament to their remarkable group dynamic. Cat’s Cradle This unassuming venue has hosted perhaps some of the most iconic names in music history, including Nirvana, Joan Baez and Iggy Pop. Located about a mile from UNC-Chapel Hill’s campus in downtown Carrboro, Cat’s Cradle is arguably one of the Triangle’s best-known hubs for live music. Over the last 40 years, Cat’s Cradle has maintained an undeniable presence in the Triangle’s music scene. Upcoming Events: Kurt Vile & The Violators, July 11 Former lead guitarist of “The War on Drugs,” Kurt Vile has amassed success in his solo career. Signed to Matador records, he recently released the collaborative album, “Lotta Sea Lice” alongside Courtney Barnett. Vile’s sound has been described as rambunctious yet charming and his valiant ambition as a producer and musician make Vile a creative force to be reckoned with. Car Seat Headrest, Sept. 21 Car Seat Headrest’s 2011 album has been reimagined in the band’s latest re-release of “Twin Fantasy.” Although the album deals with heavy topics such as teenage heartache and longing, the album tackles them with explosive arrangements and witty lyricism. Dripping with nostalgia, “Twin Fantasy’s” lo-fi production nods to such acts as The Strokes and Pavement and its raw and euphoric snapshot of adolescence is a powerful statement of what it means to be young and heartbroken. Local 506 A small rock club that doubles as a dive bar, Local 506 is drenched in equal parts beer and music history. As one of the older resident venues, Local 506 first opened in 1992 on Chapel Hill’s See CONCERTS on Page 15

in retrospect

‘Age of Consent’ and the vision of my unremembered ‘80s By Will Atkinson Culture Editor

My vision of the ‘80s, a decade that began and ended years before my life did, begins and ends with “Age of Consent.” This single from New Order, the lead track on their 1983 album “Power, Corruption & Lies,” first came to me late in high school. In hindsight, it was probably the perfect time to come across this ‘80s record: My imagination of what high school ought to be like, after all, was painted by the cultural byproducts of that decade, all Reagan-era sweaters, nighttime drives and breakfast clubs. But I hadn’t yet found a suitable musical counterpart to go along with those nostalgic tropes. “Age of Consent” filled that void, appearing to me as if it were the soundtrack to some John Hughes movie that never made it beyond the cutting room floor, running during the final credits in the place of O.M.D. or Simple Minds. (And doing it just a little better than either of those acts could.) From my vantage point, situated squarely in the 2010s, the track became the avatar, to borrow a turn of phrase from James Murphy—a New Order acolyte himself—for my “borrowed nostalgia for the unremembered ‘80s.” Unlike Murphy, I couldn’t say that I was there, but traversing the veins of suburbia to the motorik rumble of “Age of Consent,” I could pretend to have been, or at the very least imagine a phantom version of myself who was. For a long time before then, I knew New Order as nothing more than a footnote in the proverbial Wikipedia page of its predecessor, Joy Division, an afterthought compared to the myth-making (forever immortalized, like those flowers on the cover of “Power, Corruption & Lies,” by Urban Outfitters) that followed lead

singer Ian Curtis’s untimely death. But an exploration of New Order’s discography, from their underrated 1981 debut “Movement,” which bore more than a trace of the former band’s DNA, to the sporadic releases that have come since their 1980s heyday, reveals a band that has crafted its own, distinct legacy. Perhaps more than their full-length albums, too, New Order mastered, better than most contemporaries, the art of the single; many of their greatest-hits candidates, like “Ceremony,” “Temptation” and “Blue Monday,” didn’t appear at first on long-playing releases, coming instead as 7- or 12-inch singles. Few of these dispatches from the early- to mid-1980s attain the uninhibited pathos of “Age of Consent,” but they adhere to the same aesthetic that guides so many of the band’s tracks from that period. New Order makes pop music at its most abstract. A great many of their songs, “Age of Consent” included, alternate solely between a I and a IV chord, a progression that, in its elemental simplicity— the base of the first chord remains constant— creates the illusion of forward motion. (It’s the same formula that makes David Bowie’s “‘Heroes’” so powerful.) Guitar solos, if they can be called that, flit between two or three notes. And lead singer Bernard Sumner’s lyrics reveal only impressions, intimations of desire and longing, directed at an unspecified “you.” Because of this, New Order songs tend to hold their subject at arm’s length. They resist resolution, be it lyrical, emotional or melodic. Even the certified bangers in New Order’s collection have the strange quality of leaving something to be desired. The version of “Bizarre Love Triangle” that appears on 1986’s “Brotherhood,” for example, despite being arguably the most overt, in-your-facecatchy track from the band, still seems to

Nina Wilder | Recess Graphics Editor New Order’s song “Age of Consent” from their album “Power, Corruption & Lies” paints a picture of ‘80s nostaglia.

be missing that star-scraping chorus that would completely envelop the listener (and might have launched it into the Top 40). In New Order’s world, satisfaction is rarely attained. The songs, in their union of guitars and samplers, man and machine, seem to be grappling with their own limitations of expression, as if locked in a search for a corporeal form. New Order has always been as much an idea as a physical band, anyway. Shunning interviews, limiting their live performances and marking their releases with Peter Saville’s minimalist art, the group is notorious for its “non-image,” a style cultivated equally by the content of their music. So it’s fitting that their

songs would be vehicles for an idea of a decade in which I was never alive. “Age of Consent” is the sound of nostalgia, its subject incomplete and wanting—and, maybe, never really there in the first place. Memory—particularly that of a wholly unremembered time—cannot help but be imperfect and distorted, only amounting, at best, to a flimsy simulation of the real thing. That’s why my unremembered ‘80s, pieced together as it were by the culture I’ve consumed and the mythologies I’ve inherited, must fall short. New Order hints at romance, at driving around, at some quintessential prom night, but they understand that, like a borrowed nostalgia, you can never quite grasp it.


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playground

Beach House’s latest album ‘7’ stays true to band’s dream pop roots By Aaron Paskin Contributing Writer

Courtesy of Wikimedia Commons Dream pop group Beach House’s seventh studio album ‘7,’ released May 11, may be the duo’s darkest and edgiest work to date.

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Beach House have already carved out their spot in music history. For over a decade, the duo of Victoria Legrand and Alex Scally has served as a guiding light for dream pop, paving the way for a genre that has permeated rock far more than it is given credit for. Their latest album “7” builds upon Beach House’s legacy as one of the best modern dream pop groups out there while displaying its influences more explicitly than any of the group’s earlier works. The result is one of the most comprehensive works of dream pop in the genre’s nearly 30-year lifespan. Indeed, it’s been nearly three decades since a flurry of dream pop originators kicked off the 1990s. Cocteau Twins released their chiming record “Heaven Or Las Vegas,” My Bloody Valentine changed rock with their wall of sound “Loveless” and Hope Sandoval hypnotized the world with Mazzy Star’s lovesick dreamscape “Fade Into You.” The ripples of these works were evident throughout the 1990s, resurfacing over the past decade with the lo-fi minimalism of The xx, the neo-psychedelia of Tame Impala and the synth grandeur of M83. And while these newer groups have felt more like offshoots of the genre, Beach House have remained at the center of dream pop’s revival. Their sleepy early works were instrumental in bringing the genre back as something more than just a vehicle for nostalgia, and the livelier “Teen Dream” and “Bloom” cemented their role as architects of modern dream pop. Following two solid but fairly repetitive releases in 2015, Beach House have returned with a well-needed shift. “7” tries to do a lot. It marks the first time the duo has put its influences directly on display, and it’s the duo’s darkest and edgiest work to date. With so much going on here, it’s best to start at the beginning. “Dark Spring” finds Beach House engaging with shoegaze, its heavy distortion and layered, whispered vocals directly recalling My Bloody Valentine and Slowdive. This track leads right into “Pay No Mind,” one of the more traditionally “Beach House” songs on the record, and “Lemon Glow,” the album’s lead single. The latter is an exciting detour into trip-hop that retains Beach House’s signature psychedelia. It’s this balance of bold exploration and familiarity that makes “Lemon Glow” so great and so deserving of its lead single status. “L’Inconnue” and “Drunook In LA,” backed by artificial synth choirs, introduce a dark twist on the immersive quality of Beach House’s catalog. Specifically, “Drunk In LA” evokes imagery of the isolating quality of selfie and spotlight culture as Legrand sings about “skinny angels making eyes at cameras perched in every room.” The synths morph into a blurry imitation of an orchestra on “Dive,” giving the song a sort of old-time film aura that builds to a dramatic climax. Here is a wonderful display of Alex Scally’s matured guitar work, reminiscent of Arcade Fire’s “The Suburbs.” Fourth single “Black Car” is ominously trippy, repeating the same haunting keyboard riff as the intensity builds layer by layer. “Lose Your Smile” continues the psychedelia in a more uplifting way as Scally strums his acoustic guitar and electronic beeps echo, recalling “Space Oddity” and the Flaming Lips. “Woo” and “Girl Of The Year” are even more joyful, adding to the album’s emotional arc and providing some sonic familiarity to long time Beach House fans. Finally, the album closes with the tender piano ballad “Last Ride,” an almost perfect blend of the the end of the Smashing Pumpkins’ “Adore” and “Slowdive” closer “Falling Ashes.” With so many detours and influences on display, Legrand’s entrancing vocals and the seashore-like quality washing in the background of every song make “7” just as much of an effortless escape as Beach House’s previous records. And while the album is less of a self-defining record than “Bloom” due to its explicitly displayed roots, it is these influences that make “7” Beach House’s most comprehensively “dream pop” album to date.

Sarah P. Duke Gardens

Your gateway to science, art & community

read more online check out dukechronicle.com/section/arts-culture for more articles Where will your gateway take you?


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I WANT TO BE A climatologist

A geochemist An energy analyst

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A hydrologist A geologist A research scientist An oceanographer

major in earth + ocean sciences (eos) RIGOROUS CURRICULUM. MANY CAREER PATHS.

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ENVIRONMENT DUKE UNIVERSITY MARINE LAB


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12 | WEDNESDAY, JUNE 6, 2018

10 hidden Durham arts gems to check out this summer By Jessica Williams Media Production Editor

Jessica Williams | Contributing Photographer The Carrack is a community run, zero commission space for emerging artists to showcase their work in downtown Durham.

People Get Ready Building a Contemporary Collection Opening September 1, 2018

First Art Night at the Nasher Exclusive Party for First-Year Duke Students!

Saturday, August 25, 9 – 11 PM 2001 Campus Drive, Durham I nasher.duke.edu Genevieve Gaignard, Front Line (Nothing to Hide) (detail), 2017. Chromogenic print, edition of 3 + 2AP, 34 × 48 inches. Collection of the Nasher Museum. Gift of Jennifer McCracken New and Jason G. New. © Genevieve Gaignard, courtesy of the artist and Shulamit Nazarian, Los Angeles.

Admission is always free for Duke students.

2018 has been a significant year for culture at Duke. The opening of the Rubenstein Arts Center on Campus Drive served as a testament to the university’s commitment to the arts and the building remains an unmistakable daily reminder of Duke’s artistic resources on the bus ride between East and West Campus. With expanding cultural amenities on campus, it’s easy to forget that a flourishing arts scene exists just outside of Duke; from a dynamic film community to a network of local art galleries, Durham embraces a vibrant cultural hub. Here are ten great art spaces students shouldn’t miss out on: Claymakers Arts Community: This Durham space is a one-stop-shop for pottery and the clay arts. In addition to selling clay, tools and supplies, Claymakers features a gallery of contemporary North Carolinian ceramic pieces. The Community also offers wheel and sculpture workshops and classes for beginners to masters, which include 35 hours of open studio time. Pleiades Arts: Located on E. Chapel Hill Street by The Parlour and Pizzeria Toro, Pleiades Arts is a local gallery accessible to students. A nonprofit artist-driven space, the organization looks to foster community engagement with the arts. A new artist is featured in the gallery’s upper floor each month and shows rotate in the lower gallery every six to eight weeks. Pleiades hosts a Third Friday reception each month and has gallery hours Thursday through Sunday. The Fruit (Durham Fruit and Produce Co.): Self-described as an “art space and creative playground,” The Fruit is a new addition to the Durham arts scene. A decades-old renovated produce storehouse, the venue provides a space for nearly all arts imaginable — from painting to drama. In addition to housing instillation, The Fruit hosts events including dance parties, performance art shows and film screenings. The Carrack: A volunteer-run, zero-commission arts venue in downtown Durham, the Carrack provides a space for emerging artists to show their work. Along with opening for most Third Fridays and hosting yoga in the gallery on Wednesday, the Carrack hosts a variety of exhibitions and installations – many of which are communitybased — that rotate biweekly. SplatSpace (Durham’s HackerSpace): At the crossroads of technology and art, SplatSpace is a nonprofit, member-funded place for community members to access tools and support for their creative scientific or technological projects. Comprised of “crafters, engineers, mad scientists, artists, programmers, tinkerers and makers of all kinds,” the organization hosts monthly and weekly classes and events focusing on topics from woodworking to robotics. The Scrap Exchange: As a creative reuse arts center, the Scrap Exchange is a DIY-lover’s paradise. By collecting materials from Durham businesses and individuals and repurposing them for sale, the organization provides a source for creative projects more sustainable than chain arts stores. In addition to its store, the Scrap Exchange hosts a gallery showcasing local artists who utilize reclaimed supplies in their work, as well as classes and meetups on creative processes such as DIY garden art and altered books. The Durham Cinematheque: The passion project of a local filmmaker, the Durham Cinematheque hosts monthly 16mm film screenings focused on a central theme, including experimental or comedy pieces. As each screening has a capacity of 10 viewers, the showings are an intimate way to learn about Durham and general film history. The Cinematheque additionally hosts the Analog Museum, a collection of vintage cameras and editing devices, as an exhibit on the history of motion pictures. Liberty Arts: Liberty Arts is a collective of artists, known for the “Major the Bull” statue in the heart of downtown Durham. In addition to their studio and gallery being open for every Third Friday, Liberty Arts hosts an array of classes on topics including printmaking, pottery and metalworking. The Durham Jazz Workshop: A nonprofit organization with the goal of sharing jazz with the Triangle community, the Durham Jazz Workshop often has concerts at its gallery with discounted tickets for students. In addition to performances, the Workshop has six-week classes for all levels of jazz musicians as well as private lessons. SPECTRE Arts: Built as a church in 1910, the historical space currently housing SPECTRE Arts now holds exhibition and performance rooms and artists’ studios. Along with opening for every Third Friday, SPECTRE hosts events and exhibits from all forms of the visual and performing arts.


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WEDNESDAY, JUNE 6, 2018 | 13

DUKE – UVA – VANDERBILT PARTNERSHIP FOR LESS COMMONLY TAUGHT LANGUAGES Fall 2018 Courses Duke University, the University of Virginia, and Vanderbilt University are partnering to offer courses in languages not often taught in the Western academic curriculum. Classes are taught to students on all three campuses through Zoom virtual classrooms, and the courses count towards the foreign language requirement.

Haitian Creole, often called simply Creole or

Kreyōl, is a language based largely on 18th Century French, some African languages, as well as languages, such as Arawak, English, Arabic, Portuguese, Spanish, Spanish, and Taino. It is spoken in Haiti, the Bahamas, Belize, Canada, Cayman Islands, Cuba, Dominican Republic, France, French Guiana, Guadeloupe, Ivory Coast, Martinique, Puerto Rico, Trinidad and Tobago, parts of the United States, and Venezuela. Creole 101 and 203 offered every fall; Creole 102 and 204 offered every spring. CREOLE 101: Elementary Creole I (FL): MWF 3:05 – 4:05 pm CREOLE 203: Intermediate Creole I (FL): MWF 1:40 – 2:30 pm [Note: graduate students enroll under CREOLE 701 or 703]

Duke / UVA / Vanderbilt Partnership

Tibetan

Tibetan is the language of a vast region at the heart of

Creole

Duke / UVA / Vanderbilt Partnership

K’iche’ is a Mayan language spoken by about a million

Asia and is used in China, Nepal, Bhutan, Pakistan, India, Russia, and Mongolia. In addition, Tibet is home to Tibetan Buddhism, which is itself the source of one of the worlds' richest contemplative traditions. Learning Tibetan gives students the ability to explore this uniquely rich and diverse culture in today’s Asia, as well as learn about Buddhist philosophy, contemplation, and other forms of knowledge. Tibetan 101,203, 301 offered every fall; Tibetan 102, 204, 302 offered every spring.

K’iche’ Mayan people in the western Highlands of Guatemala; it is one of the major indigenous languages in the Americas. The K’iche’ language has played a central role in the Mayan cultural revitalization movement and has a long literary tradition including such works as the Popol Wuuj (Popol Vuh) and Rabinal Achi. K’iche 101 and 203 offered every fall; K’iche 102 and 204 every spring KICHE 101: Elementary K’iche’ I (FL) TTh 4:00 – 5:15 pm

TIBETAN 101: Elementary Tibetan I (FL) MTWTh 11:00 – 11:50 am TIBETAN 203: Intermediate Tibetan I (FL) MTWTh 12:00 – 12:50 pm TIBETAN 301: Advanced Tibetan I (FL) TThF 1:00 – 1:50 [Note: graduate students enroll under TIBETAN 700—level]

KICHE 203: Intermediate K’iche’ II (FL) TTH 2:00 – 3:15 pm [Note: graduate students enroll under KICHE 701 or 703]] For questions, please contact Professor Ingeborg Walther (waltheri@duke.edu).

got jazz?

Wanna PLAY jazz? Wanna LEARN about jazz? The Duke Jazz Program wants YOU! Get into the groove! with these courses:

Intro to Jazz (MUS/AAAS 140) Jazz Improvisation (Mus 171, 172) Special Topics in Jazz (MUS 290S) Private lessons are also available!

For info on courses and auditions check us out at music.duke.edu/ensembles/jazzprogram or contact Professor John V. Brown, Director jbrown@duke.edu 919-660-3385


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14 | WEDNESDAY, JUNE 6, 2018

Snow Patrol’s ‘Wildness’ is well worth the seven-year wait By Aaron Paskin ContributingWriter

Courtesy of Wikimedia Commons Snow Patrol’s seventh studio album “Wildness,” is a mixed bag of mature and weak tracks while showcasing the band’s creative progression.

Fall 2018 Course Offerings

E NG LI SH T AUG HT LI T E RAT URE / CULT UR E CO UR S E S AMES 120 Music in East Asia AMES 123 History and Culture of Iran AMES 132S Chinese Literature/Culture in Translation AMES 138 Scripture: Judaism, Christianity, and Islam AMES 151 Indian Cinema AMES 165S/565S World of Japanese Pop Culture AMES 172S Korean Literature/Culture in Translation AME S 190S Modern Chinese Cinema AMES 204FS Documenting the Middle East FOCUS AMES 205FS Literary Islam FOCUS AMES 208S Geopolitics and Culture AMES 220S From Al-Qaeda to ISIS AMES 290S.02 Introduction to Middle East Culture AMES 335 Chinatowns: A Cultural History AMES 413S Vampire Chronicles AMES 432S Storyworlds AMES 435S Chinese Media and Pop Culture AMES 440S Games and Culture AMES 448S Pamuk & World Literature AMES 620S Genealogies of the Middle East AMES 771S Topics in Classical Japanese

Chinese 332 Chinese Translation Chinese 333 Advanced Literacy in Chinese Chinese 407S Issues in Chinese Lang/Society I Chinese 435S Chinese in the Humanities I Chinese 455 Modern Chinese Culture

HE BRE W Hebrew 101 Elementary Hebrew Hebrew 203 Intermediate Modern Hebrew Hebrew 305S Advanced Modern Hebrew

HI NDI Hindi 101 Elementary Hindi Hindi 203D Intermediate Hindi Hindi 305 Advanced Hindi Hindi 407S Issues in Hindi Lang/Society I

JAPANE S E Japanese 101 Elementary Japanese Japanese 203 Intermediate Japanese Japanese 305 Advanced Japanese Japanese 471S/771S Topics in Classical Japanese

K O RE AN Korean 101 Elementary Korean Korean 203 Intermediate Korean Korean 305 Advanced Korean Korean 455S National Identity & Music in Modern Korea

AMES 790S Topics in Asian Humanities

PE RSI AN

ARABI C

Persian 101 Elementary Persian Persian 203 Intermediate Persian

Arabic 101 Elementary Arabic Arabic 203 Intermediate Arabic Arabic 305 Advanced Arabic Arabic 407 Issues in Arabic Lang/Lit I

CHI NE S E Chinese 101 First Year Chinese Chinese 105 First Year Chinese in Review I Chinese 131 Literacy in Chinese I Chinese 203 Intermediate Chinese Chinese 305 Advance Chinese Chinese 331 Modern Chinese Media

T URK I SH Turkish 101 Elementary Turkish Turkish 203 Intermediate Turkish Turkish 305 Contemp Turkish Comp/Readings

T I BE T AN Tibetan 101/701 Elementary Tibetan I Tibetan 203/703 Intermediate Tibetan I Tibetan 301 Advanced Tibetan I

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For a time, Snow Patrol was the best part of a fairly stagnant period of rock music. It was out of the postgrunge Britpop phase of the late ‘90s that the clean, simple guitar rock of the 2000s emerged, spearheaded by Coldplay’s “Yellow” and the Fray’s “How To Save A Life.” There wasn’t much to it: throw together four chords, a piano and electric guitar, and some introspective lyrics sung by a decent impersonator of either Jeff Buckley’s angelesque falsetto or Liam Gallagher’s nasal crooning. Logic would dictate that an artist can’t put out more than an album or so of such formulaic music without sounding dully repetitive, but Snow Patrol defied this logic and proved just how simple great music can be. Now, over a decade after “Chasing Cars” defined a generation of young teens discovering alternative rock music for the first time, the Irish band has returned with the ambitious but calculated “Wildness.” Over the past 10 years, lead singer Gary Lightbody has repeatedly described his struggle with writer’s block, which explains why “Wildness” took seven years to produce. But rather than feeling belabored as do many works that take so long to complete, this record benefits greatly from Snow Patrol and producer Jacknife Lee’s meticulous attention to detail. Nowhere is this more evident than on lead track “Life On Earth.” At its core it’s another standard Snow Patrol song, led by a simple but effective acoustic riff reminiscent of early Coldplay. When the chorus kicks in, however, heavy drums, a movie soundtrack orchestra and passionate singing from Lightbody make this Snow Patrol’s most dramatic song yet. Lee’s production also injects the periodic electronic distortion that gave 2011’s “Fallen Empires” its unique sound. Combine all these elements and it’s easy to understand why the space voyage imagery of the music video feels so appropriate. Whatever creative struggles Lightbody had to encounter over the past seven years, it’s clear that “Life On Earth” is the breakthrough he needed. The few songs that follow are the weakest on the record. “Don’t Give In,” “Heal Me” and “Empress” are tailor-made alternative anthems, and save for Lightbody’s crackly, Bono-esque falsetto on lead single “Don’t Give In,” they’re largely forgettable. Thankfully, however, things get interesting again with “A Dark Switch.” The swift acoustic strumming at the base of the song is complemented beautifully by more electric distortion and a fantastic string backing. Put simply, the track is a confident, multilayered groove. Of course, it wouldn’t be a Snow Patrol album without a sappy piano ballad, and it doesn’t get more sappy than “What If This Is All The Love You Ever Get.” The four chord piano ballad has been done so many times that it’s nearly impossible to pull one off without additional instrumentation or the voice of Adele—and Gary Lightbody is no Sam Smith. But despite the song’s clichéd nature, it displays Lightbody’s best vocals of his career. He’s always had that soft, aching-heart tone, but here he ambitiously hits a falsetto he’s never even attempted before. For a second there he sounds like James Blake, leaving much to be desired given how much more creative the music of Blake is than that of “What If This Is All The Love You Ever Get.” “A Youth Written In Fire” has the spirit of a Bastille song and contains more impressive singing from Lightbody. The pop style verses trade off with a dark chorus that builds in intensity to a thrilling climax. Like many of the album’s other tracks, every detail of this song is calculated precisely and executed masterfully. Snow Patrol are clearly veterans of the game, and it shows just as plainly on the even darker “Soon.” As the track builds, strings hauntingly streak in and out of tune, recalling the end of Radiohead’s “Daydreaming.” “Wild Horses” is a nice blend of old and new Snow Patrol, recalling the grittiness of “Final Straw” while incorporating “Fallen Empire’s” percussive electronic work. Finally, Lightbody’s brilliant newfound falsetto shines again on “Life And Death,” and while it takes a bit too long to get going it’s a worthy album closer. At a succinct 10 songs, “Wildness” suffers somewhat from its four weak tracks. The other six, however, are so mature and so expertly put together that it makes Snow Patrol’s seventh LP well worth the seven-year wait. The record is a late-career breakthrough for Snow Patrol, and represents an important creative step in the right direction. “Wildness” was released on May 2.


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SHIRE FROM PAGE 3 lover, a wife douses herself in lighter fluid, beckons her spouse to the bedroom, and subsequently lights him and herself on fire. It’s about the possibility of Allah when your face is shoved into the ground and your mouth is filled with dust: “Your daughter’s face is a small riot / her hands are a civil war / a refugee camp behind each ear / a body littered with ugly things,” Shire writes in “Ugly”, “But God, doesn’t she wear the world well?” Shire’s poetry throbs unabashedly and resolutely, making it easy to wield as a rallying cry. In The Guardian, Rafia Zakaria said, “Finally, here is the migrant talking back, trolling the absurdities of documentation that have such unquestioned legitimacy in the Western architecture of border and boundary.” The New York Times editorial board quoted her poem “Home” in an op-ed beseeching Western countries to do more for refugees: “You have to understand / that no one puts their children in a boat / unless the water is safer than land.” However, we should not mistake Shire’s capacity to effectively put her finger on human longing for our own desires to level challenge against the powerful or find art to claim as our own. She doesn’t necessarily write to or for anyone; rather, her poetry documents all, functioning much like a camera trained on immigrant life that not only captures the photo but also the emotions that swirl within its margins. The openness of Shire’s work is what

makes it so malleable and thus so individually significant, allowing it to command a room. At Shire’s poetry reading, the audience was so quiet that you could hear a pin drop. Her ability to blend the reverential nature of her work with the quotidian commentary that bookended her readings – whether it be references to reality TV, current events, or personal anecdotes – was both aweinvoking and endearing. Shire centered the room within a span of a minute, managing to be simultaneously worldly and ethereal in her all-encompassing nature, and a listener couldn’t help but think, “God, doesn’t she wear the world well?”

for these types of productions. Storer also hopes the agency fund will encourage other groups to create more theater spaces in Durham. For O’Berski, Storer and Hunt have left a lasting impact on Durham and its art scene. “It’s two guys who made a lot of sacrifices and worked incredibly hard to put Durham culturally on the map,” O’Berski said.

REGULATOR FROM PAGE 8

member would always be able to provide a recommendation. While there has been a lot of continuity FROM PAGE 8 at The Regulator, the store recently went through a change in ownership at the and we influenced the area by bringing in beginning of March. The former owners, new voices that might not have otherwise Tom Campbell, Trinity ‘70, and John gotten here,” Storer said. Valentine, Trinity ‘71, decided to retire, Storer said Manbites Dog also served handing ownership to two longtime as an inspiration in succeeding for over employees, Wander Lorentz de Haas and three decades, emboldening other groups Elliot Berger. to embark on their own projects. In Valentine’s retirement speech, he While Durham is home to numerous brought up special memories from his other theatrical venues, no one space could 40 years of working every day in the occupy the place of Manbites Dog. store, from Jimmy Carter’s visit to the “There’s nothing as established,” release of the Harry Potter books. He also O’Berski said. “It’s going to take a while to discussed the importance of keeping local, rebuild from the loss of a name that’s been independent stores open. trusted for decades.” “Bookstores are really super important Storer said other groups, like O’Berski’s for freedom, for having multiple opinions, personal company, Little Green Pig, have reading what you want to read,” Valentine continued the tradition of producing said. “That’s why you want different people challenging works. Spaces on Duke’s coming from different places curating campus and The Fruit performance space different book selections, not one store in downtown Durham can provide venues dictating this is what’s available.”

MANBITES

WeLcome to Duke! Get an insider’s look at who’s who and what’s what at Duke.

PHOTO COURTESY OF DUKE UNIVERSITY

WEDNESDAY, JUNE 6, 2018 | 15

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CONCERTS FROM PAGE 9 infamous Franklin Street, emphasizing an accessible live local music scene. The club’s laid-back atmosphere generally draws a younger audience from across the Triangle. Upcoming Events: White Denim, Wednesday June 20 Hailing from Austin, Texas, this rock quartet pulls inspiration from psychedelic rock, blues, punk rock, progressive rock, jazz and experimental rock. Although they haven’t released a record since their EP “Takes Place in Your Work” in 2011, White Denim has been working meticulously on their upcoming release of “Performance” this August. Kings Raleigh When Kings reopened after the demolition of its original site in 2007, the venue had already experienced nearly a decade of success, with national acts including The Shins and Calexico making stops at Kings on tour. Even with a myriad of venue options around Raleigh, Kings became a mainstay for artistic innovation in the area and has remained an integral establishment in Raleigh’s music sphere. Upcoming Events: Lilac Shadows, Saturday June 30 Durham-based Lilac Shadows are asking fans to mark their calendar for June 13. They don’t reveal much, not even an album name, but they want listeners to know that something is happening. The quartet’s moody psychedelic sound has defined the band’s discography and as far as expectations go, they’ve certainly built a fair amount of curiosity.

JOIN THE DUKE WIND SYMPHONY Perform concerts in the beautiful Baldwin Auditorium Play exciting and challenging repertoire Host the annual Viennese Ball Work with guest composers, conductors, and soloists

The Wind Symphony is open to ALL Duke students by audition. If you are interested, email us! conductor: verena.m@duke.edu president: samantha.woog@duke.edu


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THEATER STUDIES offers a major, a minor and a minor in musical theater. Classes and auditions are open to all undergraduates. theaterstudies.duke.edu ALEX FELIX, VINEGAR TOM, 2018

CASEY PETTIFORD, CABARET WORKSHOP, 2018

FALL CLASSES OPEN TO FRESHMEN THEATRST 115 Theater Today: required for major (ALP) THEATRST 211 Musical Theater Performance: workshop new material for public showing (ALP; XL: Music, Dance) THEATRST 232 Asian American Theater: w/new faculty Professor Esther Kim Lee (CCI, ALP; XL: English, AMES) THEATRST 282S Adaptation: study/write adaptations (W, ALP; XL: AMI, English) THEATRST 350 Mainstage Production: audition for permission to add class (ALP, R, CCI)

JULIA DONNELL, GEORGE LUCAS, BOB, 2016

UPCOMING EVENTS AUDITIONS for FALL MAINSTAGE August 28 & 29 Dancing at Lughnasa, by Brian Friel FRESHMEN DO GET CAST! Students will work with faculty director, professional designers, dialect coach, Irish dance instructor, and live musicians. More info: theaterstudies.duke.edu/auditions

DEPARTMENT OPEN HOUSE Sheafer Lab Theater, Bryan Center Monday, August 27, 5-7p BBQ & free tshirts! Everybody welcome!

GET SOCIAL WITH @DUKETHEATER: FACEBOOK, INSTAGRAM AND TWITTER 109 Page | Campus Box 90680 | Durham, NC 27708-0680 theaterstudies.duke.edu | (919) 660-3343

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