January 9, 2019

The Chronicle

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Williamson scores careerhigh 30 points in win Page 11

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

WEDNESDAY, JANUARY 9, 2019 DUKECHRONICLE.COM

By Bre Bradham Editor-In-Chief

BLUE DEVIL DOLLAR$

What Duke pays its highest-paid employees

By Nathan Luzum Senior Editor

With roughly 25 Duke student tuition fees, you could buy a dream home, a Ferrari or pay former President Richard Brodhead’s compensation during his last full year at Duke.

Brodhead made more than $1.4 million in 2016, which was roughly $20,000 increase from his earnings in the prior year, according to records filed with the Internal Revenue Service that recently became public. In total, Brodhead’s yearly compensation nearly tripled from the $500,000 paycheck he received during his first year at Duke in 2004 to his final payday in 2016.

“The university leadership and board go through a rigorous annual process using independent consultants to set and review executive compensation based on responsibilities, performance and the competitive environment,” wrote Michael Schoenfeld, vice president

(2016)

Government shutdown drags on, Duke largely unaffected

ONE HUNDRED AND FOURTEENTH YEAR, ISSUE 31

The government shutdown drags long into its third week as President Donald Trump and congressional Democrats square off about spending billions of dollars on a border wall.

Duke has been largely unaffected by the shutdown so far, but that is likely to change if the government stays partially closed.

“We’re keeping an eye on it. Right now, as of this particular moment, we’re not seeing any significant impact,” said Michael Schoenfeld, vice president for public affairs and government relations, Monday. “We expect that if it goes much longer, there will potentially be questions about payments of grants and other ordinary business transactions.”

David Rohde, Ernestine Friedl professor of political science, laid out the political calculations lawmakers are facing right now. As Trump plays to his base by pushing for a wall at the cost of shutting down the government, Democrats are focused on the center of the electorate, which does not want a wall or a shutdown, the professor said.

“The problem with this one is that the two sides are targeting different parts of the electorate,” he explained. “So, if they focus on that part of the electorate, it’s possible that neither is being damaged, at least in the terms the party is focused on.”

The partial government shutdown began the morning of Dec. 22 at midnight, and is going

for public affairs and government relations, in an email to The Chronicle.

John Burness, who served as senior vice president for public affairs and government relations from 1991 to 2008, said that the Board of Trustees would approve compensation for officers as part of the annual budget during his time at Duke.

After consulting with independent firms, the president would recommend compensation to the Board, which could then approve or deny the amount—though Burness never recalled an instance where the Board did not accept the president’s recommendation.

Compared to presidents of peer universities, Brodhead fell toward the bottom of the pack in earnings in 2016, according to an analysis by The Chronicle. His compensation earned him eighth place in the group of 11 university presidents, ahead of the leaders at Princeton and Dartmouth and Cornell’s interim president.

Columbia President Lee Bollinger topped the list with $3.95 million—more than 2.5 times what Brodhead collected.

Burness said the discrepancy could be a result of Duke presidents intentionally setting their compensation relatively low.

Jeremy Chen | Graphic Design Editor

See DOLLARS on Page 4

See SHUTDOWN on Page 4

MEN’S BASKETBALL

Duke demolishes Demon Deacons

By Hank Tucker Associate Sports Editor

Eric Wei | Staff Photographer The Blue Devils played their first true road game Tuesday night, defeating Wake Forest in Winston-Salem.

WINSTON-SALEM, N.C.—Duke’s freshmen were unfazed by the first true road game of their college careers, though about as many Blue Devil fans made the short trip to watch them play as Wake Forest fans at Lawrence Joel Veterans Memorial Coliseum.

No. 1 Duke picked up a methodical 87-65 victory against the Demon Deacons Tuesday night, its first win in an ACC road opener in three years.

DUKE 87 Freshman Zion Williamson led way with a career-high 30 WAKE 65 the points on 13-of-16 shooting and 10 rebounds, and classmates R.J. Barrett and Cam Reddish joined him in double figures, with the change of scenery helping Reddish start to break out of a long slump.

“[Zion] is a complete player, and so efficient, to get 30 points on 16 shots, and one miss was a dunk, and he’s sharing the ball. Our guys are very unselfish, but he’s a very special player,” head coach Mike Krzyzewski said. “When he and R.J. are playing—for good portions of tonight’s game, those two guys were playing at a really high level.”

Duke (13-1, 2-0 in the ACC) struggled to pull away from the Demon Deacons in the first half, never taking a double-digit lead as Wake Forest stayed in it by controlling the offensive glass early. Five-star freshman Jaylen Hoard pulled down eight rebounds before the break, though he finished with just nine to go along with 13 points, and the Demon Deacons (7-7, 0-2) capitalized on many of their second chances.

See M. BASKETBALL on Page 12

High school football’s effects on the brain

AMI Filmcraft series comes to the Ruby

Women’s basketball in search of ACC win

Duke researchers found that one season of high school football can affect structures in the brain.

PAGE 3

A workshop series teaches amateur filmmakers basics in filmshooting and production.

PAGE 7

After two losses to top-15 opponents, women’s basketball looks for first conference win against Georgia Tech. PAGE 11

INSIDE — News 2 | Sports 4 | Crossword 9 | Opinion 10 | Serving the University since 1905 |

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Winter break breakdown

Faculty CBA in action:18 months in Although these changes are monumental to faculty, Shreve pointed out that they represent only a small financial burden on For many non-regular rank and non-tenure the university.

“We’re not asking to be paid $100,000. We’re track faculty members, the collective bargaining not even asking to be paid $80,000,” he said. agreement—negotiated by the faculty union more than a year ago—represented a victory.

Despite the CBA’s success, there have been Before the CBA, faculty members were often in and continue to be roadblocks with the CBA’s full a state of flux, worried that their jobs could end implementation. at any time. Although the CBA’s implementation In March 2018, the Duke Faculty Union alleged has been successful for the most part, it has also hit that the University was violating the terms of the some roadblocks along the way. agreement. Faculty who were promised health “If we are faculty at Duke, we should be treated benefits or raises were not receiving them and like faculty at Duke,” said Christopher Shreve, accused the University of dragging its feet. instructor of biology and Duke Faculty Union’s Since the CBA is only a guiding document current president. that outlines the minimum standards for When the faculty union entered compensation, some departments have been negotiations—which lasted nine months— unwilling to raise salaries to levels above those with the University, the union was focused on outlined by the CBA. obtaining salary increases for the lowest paid In the next version of the CBA, Shreve employees and job security said he hopes to clarify the as well as access to benefits If we are faculty at Duke, document’s language so for additional faculty. that faculty are not slighted “It was a challenge we should be treated like by technicalities.

For agreeing on a document that faculty at Duke. example, faculty who teach would make everyone happy during summer sessions because the union features left out of the CBA christopher shreve were faculty from many different due to vague language.

INSTRUCTOR OF BIOLOGY AND DUKE departments with varying Despite remaining issues, FACULTY UNION’S CURRENT PRESIDENT priorities,” Shreve said.

Kauffmann and other faculty Steven Kauffmann, said they were grateful an instructor for the physical education for the CBA’s benefits. Prior to the CBA, for department, told The Chronicle that at one example, Kauffmann would be paid if the physical point, he doubted whether or not he was going education department had to drop a class due to to get a new contract. low enrollment. Now, he is guaranteed pay for The CBA has been a benefit for faculty on each of his classes.

Duke’s campus, providing many of them with Going forward, he explained that making all health benefits and regular pay raises to match beneficiaries aware of the union is important. the rising cost of living in Durham. Shreve “The next step is having clear communication mentioned that non-tenured faculty also feel that with the administration so that the officers in the they are beginning to be treated with the same union have knowledge of people who have been respect as tenured faculty. recently hired or promoted,” Kauffmann said.

Staff Reports

By Sanha Lim

The Chronicle

Contributing Reporter

Here’s a recap of the biggest news that happened while you were away.

For the full stories, visit us online at dukechronicle.com.

Security measures increase on Central Campus

Since a student reported being raped at knifepoint in a Central Campus common room at the end of last semester, the University has taken steps to ramp up security on Central Campus for its final semester housing undergraduates.

These measures include installing security cameras, adding Duke Card readers outside common room entries and including automatic door closures.

Sam’s Quik Shop closes

Originally opened in 1946 as an Esso station, the iconic craft beer haven closed Dec. 31. Sam’s Quik Shop occupied a corner of Erwin Road between Duke’s Central and East Campuses for more than seven decades. The shop, a student favorite that stocked more than 1,500 beers, was sold and will be replaced by what the owner called “Blue Light Living.”

9th District still in limbo

On election night, it looked like North Carolina’s 9th Congressional District had been won by Republican Mark Harris by less than 1,000 votes, defeating Democrat Dan McCready, Trinity ‘05.

Allegations of election fraud emerged, and the State Board of Elections declined to certify the results as it investigates the accusations. The 116th Congress was sworn into office Jan. 3, but the 9th District’s seat remains empty as the results continue to be disputed.

New voter ID law restricts private college IDs

Students at private colleges in North Carolina have been able to vote using their college identification cards, but a new law passed by North Carolina’s state legislature adds a list of qualifications those identification cards now have to meet in order to be accepted.

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Study finds one season of high school football can affect brain

By Shayal Vashisth Contributing Reporter

High school football players may be putting more than just a college scholarship on the line when they step onto the field.

A study published in the November issue of Neurobiology of Disease indicates that playing one season of high school football leads to significant microstructural changes in the human brain—even without being diagnosed with a concussion. Using helmet accelerometers and MRI imaging, researchers from institutions including Duke, the University of California, Berkeley and University of North Carolina at Chapel Hill examined the structural changes in the brain that occurred over one season.

“We wanted to ask how long a person has to be in contact sports to see some sort of effect on the brain,” said Jeffrey Petrella, professor of radiology and one of the paper’s authors, said. “We took high school athletes because high school is an age when the brain is still developing and particularly vulnerable to trauma.”

Previous studies investigating football’s impact on the brain have focused on degenerative diseases those who have played football for extensive periods of time. A year ago, a group of researchers, including Petrella, began focusing on high school football.

In its first study in 2017, the team focused on the white matter of the brain—its wiring— and saw changes in a bundle of nerve fibers known as the fornix. This most recent study builds upon that previous work to examine the gray matter structures.

“We found that not only was the wiring of the brain affected, but also superficial parts of the brain—the gray matter—was as well,” Petrella said.

Henry Haggart | Sports Photography Editor A study by Duke researchers found that one season of high school football can affect brain structures.

The white matter affected, the fornix, has implications for memory effects. The fornix is often vulnerable in high speed motor vehicle accidents, given its curved structure and the rotation of the head, Petrella said.

According to Petrella, the gray matter changes found in this study were localized to the frontal lobe and thalamus, which are responsible for higher order cognitive function, inhibition, sensory perception and memory.

Petrella said this type of damage could lead to more impulsive behavior. For both gray and white matter changes, researchers saw a positive correlation between the number of hits taken

IT’S SO CREAMY

by a player and the damage to the brain.

“Many NFL players describe changes in personality over time, characterized by more impulsivity,” Petrella explained. “This could be contributing to the biological basis underlying that increased impulsivity and loss of inhibition.”

Most of the high school students the researchers studied experienced only subconcussive hits. However, one student did experience a concussion near the end of the season. Petrella noted that the brain imaging results of this student allow for some optimism regarding structural changes caused by high

school football.

“In the fornix, when the player was injured, there was evidence of loss of integrity,” he said. “When we re-scanned the player after a couple of months of rest, these changes had completely disappeared.”

Although Petrella acknowledged that this repair could be influenced by the plasticity of a younger brain, he also stressed the importance of rest and recovery. However, the reversibility of these changes may not extend to the lifetime of football experienced by professional players.

Some prior studies of football players focused on correlating concussions with brain damage. This study reflected the number of hits a player received, rather than the severity. Petrella described how the emphasis on subconcussive injuries in this study highlights the roles of an extensive range of player positions, including those who don’t experience high velocity hits.

“We studied subconcussive injuries, and that’s a unique thing that we’re seeing here,” he said.

“You have an uneventful season of high school football in which you don’t get a concussion, but you’re still seeing brain changes.”

Petrella said the researchers built on the experiences of co-author Samuel Kuzminski, who was a college football player himself. The study indicated that hits directly to the crown of the head had greater effect on the frontal lobe.

Petrella said modifications to the way athletes are trained—including training to minimize hits to the crown—will help protect younger players whose brains are still developing.

“Even in high school football, which is not as violent a game as college or the pros, we need to be cognizant of safety,” he said. “We’re not saying high school football is unhealthy. It’s just a cautionary flag that coaches need to take more protective measures, teaching kids how to hit appropriately and not lead with the head.”

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DOLLARS

With that paycheck, he earned more than any other listed employee besides FROM PAGE 1 Krzyzewski—including football head coach Former President Nannerl Keohane, David Cutcliffe and women’s basketball head who served from 1993 to 2004, would coach Joanne P. McCallie. purposefully set her salary at a lower level, Other DUMAC employees also appeared on even when the Board wanted to pay her the list of Duke’s most highly compensated. Alice more, Burness added.

Gould also beat out Brodhead’s compensation “She was very conscious, for instance, at $1.45 million as an investment manager who that there ought to be some relationship oversaw Duke’s private investments. between the highest-paid person and the Evan Jones, manager of DUMAC’s direct lowest-paid person investments portfolio, at the institution, so The university leadership made $1.34 million in she intentionally kept 2016, and Justin Nixon, her compensation at and board go through a an investment manager a relatively lower level rigorous annual process using who heads up the public than a lot of other securities team, earned consultants to set and review nearly $970,000. presidents,” he said.

Current President executive comepnsation... “ D U M A C Vincent Price, who compensation is was then provost michael schoenfeld reviewed and approved VICE PRESIDENT FOR PUBLIC AFFAIRS AND by the DUMAC Board at the University of GOVERNMENT RELATIONS of Pennsylvania, made Directors and only slightly less than subject to oversight Brodhead in 2016 at $1.28 million in total by the Duke University Board of Trustees,” compensation.

Schoenfeld wrote. “DUMAC compensation Although Price’s paycheck at Duke is not generally includes base compensation as yet public, Burness told The Chronicle in well as incentive compensation linked to December 2016 that Price would probably investment performance.” see a bigger paycheck once landing Duke’s Those at the helm of Duke’s medical presidential gig. operations made millions in 2016.

“The president would likely be paid A. Eugene Washington, chancellor of the more than a provost, let’s put it that way,” health system, was compensated over $2.2 Burness said. million, a steep increase from the $1.2 million Despite his position at the helm of the he made in the prior year. Although she has University, Brodhead was not the highest- since stepped down from the position, former paid official at Duke in 2016. His salary was Dean of the School of Medicine Nancy Andrews dwarfed by that of men’s basketball coach netted $1.05 million in 2016.

Mike Krzyzewski—who made just more than Not everyone collecting pay from Duke $7 million that year—but some Duke officials currently works at the University. without athletic affiliations managed to beat Ex-Provost Peter Lange, who was Duke’s out Brodhead as well. longest-serving provost after his tenure from Neal Triplett, president and CEO at Duke 1999 to 2014, collected nearly $550,000 in Management Company (DUMAC), made 2016. This number stands at around $150,000 nearly $3.9 million in 2016. less than current Provost Sally Kornbluth’s

compensation of roughly $710,000.

Victor Dzau—who stepped down as chancellor of health affairs in 2014—also received more than $140,000 in 2016.

Although Burness did not know the basis of any individual’s compensation, he explained that former officers and deans may continue receiving compensation when they step back into a faculty role.

“It is not uncommon that when [officers and deans] return to the faculty, they receive compensation that is somewhat fair as a result of their having been an officer,” he said.

Dzau is currently the James B. Duke professor of medicine and Lange was a professor with tenure in the political science department and the Sanford School of Public Policy until 2018.

Burness added that administrators could also choose to defer their compensation so that it becomes spaced out during retirement.

SHUTDOWN FROM PAGE 1 into day 19 on Wednesday, is the second longest in United States history. The longest began in December 1995 and lasted 21 days. The current stall marks the third shutdown of 2018—one occurred in January and another in February.

The 1995 shutdown came to an end when Republicans—trying to cut spending and limit the size of government—realized they were on the losing end of public opinion to former President Bill Clinton and Democrats and gave in. An earlier 2018 shutdown was resolved when Democrats—pushing for protection for DACA recipients—found themselves on the wrong end of public opinion, Rohde said.

But because the two sides are focused on separate parts of the electorate, their versions of political success are not mutually exclusive, he explained.

“I don’t know that there is a path forward.

Until something changes about the situation that I described, I don’t see any grounds for a resolution,” Rohde said. “I think the expectation of most analysts would be that, assuming they were to agree with the way I have characterized things, that it would be Trump who would eventually back down because his situation would quite probably lead to his defeat. But I don’t know that he would agree with that calculation, and if he doesn’t, then he has no reason to change.”

Despite limited implications for Duke currently, the shutdown complicates matters for the 800,000 federal employees it affects. This ranges from 6,000 Secret Service agents and members of the Transportation Security Agency, which manages airport security screenings, to the Securities and Exchange Commission employees going unpaid.

With the National Park Service closed, trash has been shown overflowing at some of the parks that remained open without staff.

Initially, the Internal Revenue Service was not issuing tax refunds during the shutdown, but the Trump administration directed them to Monday, despite the previous policy.

But on campus, the effects so far have been minimal.

“Things like student aid are not affected by the shutdown,” Schoenfeld said. “So the disbursement of Pell grants, of student loans, of things like that are still on track.”

The biggest change is related to hiring practices, he added, as E-Verify and similar services are inoperable while the government is partially closed.

“It will just extend some hiring processes.

We’re also keeping an eye on things like immigration and visas,” Schoenfeld said. “If the State Department is closed, then we run into challenges especially as people are coming back and forth.”

But that’s if the shutdown continues.

“All of this is in the way of speculative,” he added. “Right now, the direct impact on Duke has not been notable. But we expect that will likely change over time.”

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VOLUME 20, ISSUE 31 | JANUARY 9. 2019

‘the image book’

Godard’s latest film to be screened at the Rubenstein, page 8

difficult conversations One-man show centers around police brutality, page 8

new year, new me Marie Kondo tidies up our lives in new Netflix series, page 9

R recess editors

What are you rushing?

Christy Kuesel .................... adulthood Sarah Derris..................... hyde house Will Atkinson ..................delta gamma Nina Wilder ............................. recess Selena Qian ..................................KA Eva Hong......................................dsg Alizeh Sheikh ................................ no Lexi Bateman .................... all of them

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“Name one fun fact about yourself.”

The new semester — with its host of icebreakers and probing questions — can be a nerve-wracking experience for introverted individuals. People who know me probably wouldn’t consider me introverted, given the huge volume of personal information I daily make available to anyone willing to listen, but nothing terrifies me like that one awful demand to disclose a “fun” fact. How am I supposed to know what fact about me is interesting enough to share with complete strangers? What if I divulge too much? What if I’m not even fun enough for a whole fact?

This is the sort of situation that only a walking knot of anxiety such as myself would fret over. I worry that my interests are too weird, my life too boring, my personality too dull — fears that haunt me even when the icebreakers are done. As ridiculous as it is to stress over such trivial matters, I worry constantly about how I appear to others, which is why one of my New Year’s resolutions is to stop caring about that and present myself honestly. No longer will I demure from the fun fact request: I will proudly provide a response, no matter how uninteresting.

The inspiration behind this decision came in a rare fit of honesty. I was asked that dreaded question in a small seminar class without any warning and, in a panic, told the group that I like to restore vintage toys in my spare time.

This was indeed a fact about me, but it was hardly fun. However, as I braced myself for the subsequent wave of judgemental stares, I instead found myself the subject of several polite smiles and even a remark of “oh cool!” before we

Sydny Long ....................line monitors Ashley Kwon ............................. Duke Jessica Williams ...................... chaus Bre Bradham.............................chron

moved on to the next student. What had been built up as an apocalyptic disaster in my brain turned out to be completely uneventful. I told the truth about one of my bizarre interests and no one judged me for it.

It’s almost as if anxiety is totally irrational.

To be fair to myself, I used to have a reason to abstain from sharing honestly. When I was younger, I was bullied relentlessly for talking about my weird hobbies and obsessions. I was the kid who read too many books and still played with dolls and dispensed trivia about absurdly obscure media to everyone I met.

Getting glasses and wearing brown loafers to school everyday didn’t do me any favors either.

staff note Although I have since developed significantly better taste in fashion and managed to acquire just enough social grace to squeak by, I have yet to shake the taunting that followed me through middle school. I can never let a fun fact or an introduction or a first impression reveal too much about me and what I like without privately fearing that I’ll be tormented again.

When I gave my fun fact for the seminar class and wasn’t immediately dismembered by my peers

— one of many worst case scenarios I formulate whenever I have to speak in front of people — I realized that my brain was still programmed for the hostile environment of primary education. College isn’t always the open-minded haven of handholding and acceptance that it’s often portrayed to be, but I’m slowly learning that it is a far cry from the social battle royale that is public school. Having niche interests is no longer a source of ridicule, but a point of interest. It’s okay to be a little weird.

Caring about things is too often framed as uncool or unremarkable. As someone who has been dragged through the full gauntlet of unpleasant, traumatic life experiences, I can attest to how pointless and childish it must seem to be so passionate about something fictional or irrelevant.

While it is important to remember reality and all the baggage that comes with it, there is an equal need to engage with the positive aspects of life. It is so easy to fall prey to the cynicism inherent to living in a society permanently on the verge of collapse: taking the time to care about something is one of the few weapons we have to fend off that crushing depression. Having interests is all we have sometimes and I don’t feel guilty about mine anymore — for the most part.

I like talking about myself. I like talking about my hobbies and my toys and my writing and my friends, and I want to talk about everything without fearing scorn or judgement. It will always be difficult to express myself sincerely thanks to the anxiety gremlins that hijacked my brain long ago, but I am working toward the goal of not feeling ashamed for being myself. A fun fact is a good place to start.

—Sydny Long

on the cover: Coney Island Museum at Coney Island

by Nina Wilder

Admission is always free for Duke students.

Gallery Talk, Book Signing Opening Reception Friday, January 18, 5 PM

Students interested in running for Editor of The Chronicle (2019-20 school year) should submit a resumé and a two-page essay on goals for the organization to the Board of Directors of the Duke Student Publishing Co., Inc.

Discover the extraordinary work of Hugh Mangum, a self-taught portrait photographer from Durham who lived more than a century ago.

Applications should be submitted to: Bre Bradham Editor, The Chronicle breanna.bradham@duke.edu

2001 Campus Drive I nasher.duke.edu/mangum

Where We Find Ourselves: The Photographs of Hugh Mangum, 1897 – 1922

is organized by Margaret Sartor, independent curator and Duke instructor, and Alex Harris, professor of the practice at Duke University, in association with Duke’s Center for Documentary Studies. Special thanks to the David M. Rubenstein Rare Book & Manuscript Library, Duke University. This exhibition was organized in conjunction with the publication of the book of the same name, from the University of North Carolina Press in association with CDS.

Deadline for application is Friday, January 18, 2019 at 5 p.m.

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WEDNESDAY, JANUARY 9, 2019 | 7

AMI Filmcraft series allows amateur filmmakers to develop practical skills

By Sarah Derris Managing Editor

For some, it can be difficult to engage in the arts at Duke. Heavy class loads, career-oriented extracurriculars and burgeoning social lives make it difficult to explore the vast array of screenings, exhibits and workshops around campus, all free to students. The Art of the Moving Image department is particularly unsparing in its offerings, often holding screenings of rare 35mm prints and recent limited-release films. Starting Tuesday, AMI will host the Filmcraft series, comprised of workshops designed to provide an understanding of filmmaking equipment and techniques.

The Filmcraft series will run through February and will tackle topics ranging from camera operation and movement to location sound recording and lighting exercises. AMI faculty member and Freewater adviser Steve Milligan spearheads the series, bringing his experience in film production and cinematography to the classes. The workshop series aims to offer an outlet for students to develop core filmmaking skills outside of the classroom.

“Filmmaking has a set of core skills that are universal and foundational, across almost any type of production — lensing, movement, lighting, editing — so the workshop series is an opportunity for students to acquire these skills outside of class, in the order which best suits their interests and ambition.”

Milligan stressed the diversity the Arts of the Moving Image program offer in terms of classes, both in film studies and production, ranging from experimental film to global cinema, celluloid to animation to full-scale modern digital cinema production.

The workshops are open to the Duke community, including students, faculty, staff and alumni, and targeted to those who

would like to further advance skills learned in an academic setting. Taking on a new skill can be daunting, especially when faced with unfamiliar technical equipment and with no prior experience. But the workshops require no background in filmmaking, just a genuine interest in learning the ropes.

Even if a student is interested in a single aspect of filmmaking, Milligan suggests that it is still important to be well versed in multiple areas of production and post-production. The classes help inform one another — the lighting workshop, for example, serves as the perfect pairing to camera operation.

“This reflects one of the chief difficulties of filmmaking in general: a successful film requires the application of a wide variety of interdependent skills,” Milligan said. Every person involved in a film should understand film editing, while an editor would benefit from understanding the basics of film directing, cinematography and sound mixing.”

“Until Duke implements this kind of instruction, which I assume they’re working on, a concise workshop series seems like a reasonable way to address the problem,” he said.

Through largely hands-on experiential learning, attendees can expect to learn their way around industry-grade equipment, typically found on professional film sets. The workshops will be held in the Rubenstein Arts Center’s AMI studio, which also houses large tungsten and LED lights, that attendees will learn to manipulate to create optimal lighting setups for film. In addition to newly developed production skills, a workshop centered on editing and post-production techniques will close out the series on Feb. 22.

The workshops run for two to three hours, and each session is offered two to three times a semester. Due to time constraints, the emphasis

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of the workshops is on practical instruction.

“In the workshop, students will use the same equipment and learn the basic skills they will need to make their own films — the operation of cameras, the function of lenses, the use of sound recording equipment and the properties and manipulation of light,” he said.

On campus, there seems to be incessant discussion regarding the intersection of STEM and art. Duke has hosted exhibits that demonstrate art in medicine and in the physical sciences, but film production is the ultimate convergence of art and technology. Those pursuing STEM fields with very little interest in film can still find value in the Filmcraft workshops.

“Film is also a fantastically fruitful point of intersection between STEM and the creative arts.

The technical tools of filmmaking evolve quickly and under extreme competitive pressure. New technology is pressed into service as soon as it is marginally workable — oftentimes before,” Milligan said. “Cinematography, for example,

is alternately described as a science and an art.

I had a STEM career myself before I became a cinematographer, that background still serves me every day.”

Successful filmmakers must not only keep up with current technologies and know their way around the equipment, but adapt a personal method of perceiving the world.

Analyzing light, movement and sound in an environment can allow for a filmmaker to imagine innovative techniques for presenting a scene and a story. The best filmmakers are often those who break the conventions of filmmaking, but the rules must first be mastered before they can be broken.

“Study light and movement,” Milligan said.

“Take note of light in the real world and where it comes from. Also take note of your internal state, how does it make you feel? Imagine how this would advance the story — that’s cinematography. Filmcraft then, is the set of skills needed to implement your imagination.”

Special to The Chronicle Steve Milligan (pictured) and students operate professional film equipment during a production.

8 | WEDNESDAY, JANUARY 9, 2019

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Godard’s latest film comes to the Ruby ahead of New York premiere

By Jessica Williams Media Production Editor

At 88 years old with nearly 60 years in the film industry, Jean-Luc Godard remains at the cutting-edge of cinema. His newest film, “The Image Book,” or “Le Livre d’image,” was the first film to ever receive a Special Palme d’O’ at Cannes 2018. Duke students will be able to see the film a full two weeks before its American opening on Jan. 25 in New York City with Screen/ Society is hosting showings Thursday and Friday at the Rubenstein Arts Center.

Organized by the Arts of the Moving Image Program, Screen/Society is a curated film exhibition series open to the Triangle community. The showings range from new releases to restorations and retrospectives, and often feature introductions or Q&A discussions with filmmakers and Duke scholars. “The Image Book” fits well into Screen/Society’s program due to its thoughtprovoking subject matter and representation of a master filmmaker’s changing style.

Godard is unique in continuing to change his style over the course of his career, said Jason Sudak, assistant programmer for Screen/Society.

“His youthful Nouvelle Vague (New Wave) films of the 1960s redefined what narrative cinema could look like,” he said. “His move away from narrative cinema in the 1970s put the political stakes of filmmaking into sharp relief. His films from the 1980s-on have been something else altogether, making use of new video technologies to push cinema to its outer limits.”

Described by critics as an essay horror film, “The Image Book” is a kaleidoscope of new filming as well as received images,

sounds and texts. Just as how Godard’s “Histoire(s) du cinéma” of the 1980s and 1990s used cinematic collage to question the relationship between film and the 20th century, “The Image Book” uses montage to acknowledge cinema’s shortcomings in recognizing the atrocities of the 20th and 21st centuries. Godard explores the ethical underpinnings of cinema, specifically the Western gaze through which images of Arab world are consumed. The overload of imagery is disturbing and disorienting, but produces rich and illuminating associations about the state of the world. Although the film has no actors, Godard narrates along with the powerful soundtrack.

“I’m really looking forward to listening to the film this weekend,” Sudak said. “’The Image Book’ deploys 7.1 surround sound, a first for Godard, and the film’s sound mix is dazzling, visceral and wholly unique. It’s a rare film that makes us think with our ears and our eyes equally.”

“The Image Book” will be introduced by Professor Anne-Gaëlle Saliot, who teaches a seminar on Godard every other year and is currently writing a book about Godard, Jacques Rivette, François Truffaut and the 19th century entitled “Against the Grain.” She believes Godard has challenged the practice and understanding of cinema like no other, inspiring a range of global directors including Wim Wenders, Martin Scorsese, George Lucas, Coppola, de Palma, Quentin Tarantino, Glauber Rocha, Wong Kar-Wai and Jia Zhangke. Yet the director’s later works haven’t been given as much attention as his earlier New Wave material.

“There is a fascinating paradox at the core of Godard’s fame,” Saliot said. “Godard, or even God’Art as the famous pun used to run,

Photo Courtesy of Wikimedia Commons Godard’s newest film “The Image Book” will be screened at the Rubenstein Arts Center Thursday and Friday.

is at once universally recognizable as an icon forever ensconced in the 1960s, and totally unknown inasmuch as very few people actually watch his films, even though everybody might know the name.”

With its state-of-the art audio and visual capabilities, the Rubenstein Arts Center will provide an intimate experience of Godard’s powerful film.

“The Spring 2019 screening season marks a milestone for us in a number of ways, including the fact that it is the first semester in which all of our screenings will take place in the Rubenstein Arts Center’s film theater. It is also the first time we will not be showing any DVDs or Blu-Rays – instead showing all the films in their best

available DCP, 35mm, 16mm or archival digital formats,” said Hank Okazaki, programmer for Screen/Society.

The upcoming season will feature two nights of Lee Chang-dong’s celebrated thriller, “Burning,” as well as Alice Rohrwacher’s “Happy as Lazzaro.”

Screen/Society will also show “Jurassic Park” in January, as well as “The Simpsons Movie” in 35mm in February. Covering six decades of cinema and many genres of film, this season of Screen/Society has found a momentous opener in “The Image Book.”

“The new Godard film’ has always been an event, going on almost sixty years now,” said Sudak. Now that Godard is 88 years old, we can’t take it for granted that there will be more.”

local arts

‘The Talk’ brings the discussion surrounding police brutality to the stage

By Nina Wilder Design Editor

In the spring of 2015, Sonny Kelly — an actor, performer, Ph.D. student at UNC-Chapel Hill and, perhaps most importantly, a black man — was driving his seven-year-old son Sterling to school. He tuned the radio to NPR, as he did most mornings, a routine that allowed him to open up a dialogue with his son about the world’s current events and happenings. But that day, the radio station was reporting on the riots in Baltimore that followed the death of Freddie Gray, a black man who died from injuries sustained while in police custody. All of a sudden, Kelly was saddled with explaining police brutality to his child — a lesson that distressingly “hit really close to home.”

“Whereas I was used to explaining to him what was going on in the news, I could not avoid the fact that the cause of all of this going on in Baltimore was really a black man,” Sonny recalled. “It was very important to note that it was because he was black that all of this was happening. In that moment, I looked at my son,

and I realized, ‘Oh, you’re a black boy. And you’re one day going to be a black man.’ So this is not a typical lesson. This is a life lesson.”

Kelly, who formerly served as a U.S. Air Force officer, had only a short amount of time to communicate to his son the magnitude of what it means to be black in America, to exist within the confines of white supremacist structures and to encounter racist ideologies in what can often be life-or-death situations. Looking back on it, Kelly realized that he gave his son a speech that almost resembled a threat briefing, the kind that military members receive before departing for a mission.

That speech would prove to be the basis for “The Talk,” an hour-long, one-man show that Sonny will be performing across the Triangle area.

“I call it a ‘discursive heirloom,’” Kelly said.

“A habitual hand-me-down from generation to generation, what my father had told me and his parents told him, what people have told us as black people, especially as black males. … So I unloaded on this seven-year-old, all the time anxious and afraid that I was killing his innocence, that I would maybe make him angry or afraid.”

Photo Courtesy of Sonny Kelly Sonny Kelly performs his one-man show “The Talk” from Jan. 24 to Feb. 10 at the Durham Fruit and Produce Co.

It was the first time Kelly had talked to his son explicitly about racial politics in America, and although he’d approached it with an instinctually calmed composure, it wasn’t until later that Kelly felt the weight of the conversation envelop him.

“About two weeks later I found myself walking in downtown Fayetteville … and I just started weeping,” Kelly said. “I started thinking about the fact that I had to have this talk with my son, and it what it meant to him and to me. I didn’t know it was in me. I didn’t know that the anguish was there … When you’re in a group of people that have always experienced this, you get used to it. ‘It is what it is, we’ve got to push through, endure.’”

So Kelly pulled out his phone and began to document his experience of talking with his son, and quickly saw the story’s potential as a script, which he developed into an eight-minute piece called “Sterling’s Story.” Afterward, through a class about creating original performance work at UNC-Chapel Hill in 2016, Kelly developed “Sterling’s Story” into what is now “The Talk.” He tapped the class’s professor, Joseph Megel, to direct the play, who is also the artistic director for the StreetSigns Center for Literature and Performance.

“It’s time that, in this divided era, we own our own stories,” Kelly said. “We speak for ourselves.

This story is not a black show, it’s not a race show. … This is one man’s story about his love for his son, and how that story gets complicated by the race politics and inequity in this country. And so, being a one-person show, it allows me to own it and speak my truth … I don’t even have solutions for it. I just know we need to talk about this thing.”

And for Kelly, whose doctoral work partially deals with communications, that’s precisely the problem with so-called conversations surrounding police brutality: They aren’t actually conversations at all.

“We are presenting our sides, our talking points, we are listening to sound bites, we are

framing everything in political and sometimes prescribed identities, politics,” Kelly said. “But we’re not saying, ‘You’re a human, I’m a human.’”

Indeed, much of the writing and art surrounding police brutality in recent years has been concerned with the systemic side of racialized violence, from Ta-Nehisi Coates’s “Between the World and Me” to Angie Thomas’s “The Hate U Give.” But Kelly’s show taps into a far more intimate, interpersonal and sometimes uncomfortable narrative — that, regardless of one’s race, we are individually accountable in the struggle for racial equality.

To further that intimacy, Kelly holds talkbacks with the audience after every performance of “The Talk,” and presents a panel that includes himself, members of law enforcement, educators and parents. It’s an allencompassing and sometimes disparate group that he believes is critical to have at the table together in order to effectively talk about issues that affect the black community.

“I’ve learned that ‘The Talk’ is much bigger than me,” Kelly said. “I don’t have pictures of Sterling up and I don’t embody Sterling because I want Sterling to be anybody. … It’s very important that people see Sterling as everybody’s hope and pride and joy, everybody’s child.”

Kelly also stressed that the purpose of “The Talk” is ultimately not to demoralize anyone or make them feel guilty, but to bring awareness to issues afflicting the black community and open the audience’s eyes to the plight of others. To create a story that allows anyone, black or white, to find a deep emotional connection with the subject matter at hand, and reflect on the ways in which they can hold themselves accountable.

“I remember when we did [‘The Talk’] at the Chapel Hill library, and a white male stood up and he said ‘I want to thank you for calling me in and not calling me out,’” Kelly said. “That was huge to me. I thought, ‘Mission accomplished.

That’s what I want the show to do.’”

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WEDNESDAY, JANUARY 9, 2019 | 9

playground

‘Tidying Up with Marie Kondo’ bridges minimalism and sentimentality

By Frances Beroset Contributing Writer

“My mission is to spark joy in the world through tidying,” Marie Kondo explains selfassuredly in the trailer for the eight-episode show “Tidying Up with Marie Kondo,” released on Netflix Jan. 1, as many Americans, myself included, are in a spirit of New Year self-improvement.

In each 35 to 45-minute episode, tidying expert Marie Kondo visits a different family who feels overwhelmed by the amount of stuff in their home and walks them through the KonMari method she invented and first introduced to the world through her bestselling book, “The LifeChanging Magic of Tidying Up,” in 2012.

Kondo claps her hands with delight over the messiest rooms in a home, sometimes sincerely exclaiming, “I love mess!”

None of Kondo’s specific tidying advice is new to people familiar with her book, and the show settles into a steady, mild rhythm. The KonMari method is (almost) always the same: Take everything out of its storage place and put all together in a pile. Hold each item in your hands. Identify the things that spark joy. Discard the rest. Repeat with each of the five categories — clothes, books, papers, miscellaneous items, called komono, and sentimental items. Then, store according to her suggestions: fold things vertically, put items in easy-to-access boxes, group like things together.

“White people have too much stuff,” my best friend at Duke often tells me, half-joking but mostly serious, and I don’t disagree with her. But Kondo would never say this to us. She is generous with her clients, reassuring the families that she, too, has a messy house from time to time. As she walks up to one household, she remarks that “American apartments” are so cute.

“American trash bags are amazing,” Kondo exclaims in the kitchen of another home, laughing at their scentedness. She proceeds through each home with a consistent broad smile, communicating kindly with each family through her translator. The show portrays families of different races, all with too much stuff, and so I

might amend my friend’s statement to suggest the problem of too much stuff might be more one of Westerners and wealth than race.

The best criticisms of the KonMari method note that there’s privilege in being able to discard things, that it’s ultimately a luxury to be able to get rid of something knowing that you can afford to replace it if you ever need it again. It is true that the people for whom the KonMari method is most helpful will be those wealthy enough to not keep track of each individual clothing item, to have more stuff than they need, and to live in enough square footage to store all their extra stuff.

However, many of the valid class-based critiques of minimalism and the philosophy of decluttering apply less to Kondo than to anticonsumerism in some of its other iterations.

Kondo trusts her subjects to know themselves what they must keep and get rid of, as anyone following her method must. When a recently retired wife has a room filled with Christmas decorations in the second episode, Kondo asks gently if she needs so much of it. When the woman says yes, it all sparks joy for her, Kondo moves on and simply advises storing holiday decor in plastic bins rather than trash bags.

“Tidying Up” doesn’t deliver the spectacle we have come to expect from reality TV. Two of the most popular current reality shows, “Survivor” and “The Bachelor,” demand that their participants uproot themselves for weeks at a time in the pursuit of some difficult-to-attain prize: $1 million, a husband. This show’s energy is much more in line with recent reality success stories — like “The Great British Baking Show” and “Queer Eye” — which embrace a gentler ethos. These shows, mostly binge-watched on Netflix rather than tuned into weekly, have far lower stakes for their participants: no cash prizes or dramatic twists.

Ultimately, it’s the emotional landscape of each household that makes the show interesting to watch, even after you can recite the KonMari method from memory. Kondo, and by extension, the viewers, are granted a great deal of intimacy by the show’s subjects.

Not only are we invited into their homes and allowed to peer into closets and underwear

drawers, but we’re also permitted a glimpse into families, marriages and private shames.

In almost all of the families, it is the mothers who bear most of the burden of a disorganized life, and bear the shame for the family’s failure to stay organized. “I feel like I’m to blame, because I’m the mom,” mother-of-two Katrina explains in the show’s third episode.

Most of the women in the show follow a similar script, commenting that they feel ashamed of how many clothes they have when they see them all piled on their beds, and later confessing, sometimes tearfully, that they feel they’re failing their husbands and children by failing to keep a tidy home. Kondo eases the subjects’ shame primarily by maintaining an empathetic and cheerful persona, while reminding them that the tidying is a project which they will eventually finish, and that each member of the household must take responsibility for their own belongings.

It’s not precisely feminist, but Kondo’s mandatory egalitarian tidying method seems to bring wives more peace, and husbands more empathy.

Although not much really happens in any episode, I find myself misty-eyed while watching, particularly at the points where Kondo introduces herself to the home by kneeling on the floor, closing

her eyes, and silently communing with the structure itself, the most explicit allusion to Shinto animism in the series. As the house’s inhabitants look on, a little bemused, Kondo prompts them to thank the home for protecting them and to imagine the future they would like to have there together. It’s a ritual that, particularly as I watch the first episode of the series in my childhood home with my parents, moves me. Each household is struggling to adapt to a change — having children, growing older, the death of a partner, a move, retirement. I am also going through a transition in life, and though a devotee of Kondo’s method, I wonder if there are still things I might get rid of.

Back in my bedroom in Durham, I discard the rainbow dolphin I won with an ex at the fair, which has been lurking under my bed since early November, and the plastic tiara from my 21st birthday last June. Donated are books from last semester’s classes, my dress from last year’s Chronicle formal, sneakers I no longer wear. I tell them thank you as I make space for the adult I would like to be. January is as good a time as any to clear the physical and emotional detritus of our lives. If you, like me, like to clean with a TV show on in the background, I recommend Kondo’s gentle series.

Photo Courtesy of Netflix Author Marie Kondo’s new Netflix series based on her bestselling book “Tidying Up” premiered Jan. 1.

The allure of ‘Black Mirror: Bandersnatch’ quickly dissolves

By Jack Rubenstein Staff Writer

After three hours of watching “Black Mirror: Bandersnatch,” Netflix’s new standalone “Black Mirror” movie that was supposed to take 90 minutes, I had to give up. The movie is an interactive experience, meaning the viewer gets to pick between two options at various points to determine the direction of the plot, and I had basically exhausted most of the endings and timelines. Near the end, the movie became hard to watch, as finding new scenarios required rewatching earlier scenes numerous times. The film’s novel concept quickly went from intriguing to grating, and by the end of the interactive experience, I wished I had spent those three hours watching three better “Black Mirror” episodes.

But the interactive nature of the film is not its main problem. It’s just boring. The movie, set in the 1980s, revolves around a young man named Stefan, who successfully pitches a video game concept called “Bandersnatch” to Tuckersoft, a well-known video game company. Tuckersoft’s success is largely attributed to Colin, a famous video game developer coming off a string of hit games. The movie spends most of its time with Stefan as he tries to complete the game for a Christmas season release date.

Unlike most “Black Mirror” episodes, the story in “Bandersnatch” does not explore the consequences of some sort of futuristic technology.

“Black Mirror” usually leaves the viewer

questioning the merits of modern technological the story’s message, that alternate timelines exist This move is unsurprising for “Black Mirror”, advancements, which makes the show both allowing versions of ourselves to live entirely which never provides easy answers, but it was compelling and unique in today’s television different lives. However, it still hurt the movie’s refreshing to see a film nowadays end without landscape (though it clearly takes inspiration watchability, and it will be a greater problem much hope for its main characters. from the “Twilight Zone”). Instead of sticking when this technology is used by Netflix for In a way, “Black Mirror: Bandersnatch” is itself a video game. Netflix is the console with this winning formula, the episode tells a things that are not trying to make this point.

As far as positives for the movie itself, outside that empowers us as the players to choose our relatively simple and dull story without asking any broader questions about society. This interactive of its format, there are only a few. The acting is path in the game. The concept of the game experiment could have worked, but it needed solid across the board, but Will Poulter stands “Bandersnatch” perfectly matches the experience one of the show’s better stories from episodes like out for his work as Colin. “Bandersnatch” makes we have as the viewers: two choices at various some surprising moves, like including Netflix as points that decide which ending you reach. But “White Bear,” “Black Museum” or “Nosedive”.

It is worth mentioning that the interactive part of the film in one path, but even this story by trying to be both a movie and a video game, technology itself is incredible. Choices register is rushed and feels unfinished. And no matter “Black Mirror: Bandersnatch” cannot achieve the quickly and easily integrate into the story arch, which path you choose, the film ends unhappily. full success of either format. and the script smartly finds ways to avoid awkwardness during the roughly 10 seconds alloted for a selection. These options show up during important moments in the story and were not overused., showing that the feature has great potential for both future “Black Mirror” episodes and other shows.

There is a concern with the interactive format inherent in its concept, however. I found that it took me out of the story at times, since most impactful scenes could be quickly undone in an alternate timeline. For example, early on, the viewer is given a choice over whether Stefan should work on developing the game at home or at the Tuckersoft office. If Stefan works at the office, the game is a failure, and the story abruptly ends only to quickly lead the viewer back to the same decision about where to work Photo Courtesy of Netflix on the game. Of course, this structure is part of “Black Mirror: Bandersnatch,” which premiered Dec. 28 on Netflix, tested out new interactive features.

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10 | WEDNESDAY, JANUARY 9, 2019

Akhavan’s ‘The Bisexual’ is funny, dramatic and much-needed

By Alizeh Sheikh Interviews & Reviews Editor

Photo Courtesy of Hulu Iranian-American filmmaker Desiree Akhavan’s semi-autobiographical six-episode series “The Bisexual” debuted on Hulu this November.

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Riding the heels of her Sundance Grand Jury win for this summer’s “The Miseducation of Cameron Post,” IranianAmerican filmmaker Desiree Akhavan’s six-episode series “The Bisexual” debuted on Hulu in November with surprisingly little to no fanfare.

In fact, although I was aware of Akhavan and her work following an interview she did with Terry Gross, I had no idea that she was the director, writer and leading actress of “The Bisexual” until the dramedy reared its head in my Hulu “Suggested for You” tab (not surprising given the three lackluster seasons of “The L Word” I’d binge-watched over the summer). Although the show’s general vibe of urban hipsterdom may come across as uninspired if not semi-pretentious to the wary outsider, it conceals a biting wit and care of character that merits the show more public attention than it’s received thus far.

The show follows thirty-something Leila (Akhavan), the eponymous bisexual and a tech innovator launching a fashion app with her longtime partner, Sadie (the lovely Maxine Peake, who almost single-handedly carried an entire episode of “Black Mirror” last year). When Sadie unexpectedly and extemporaneously proposes marriage, Leila balks and ends up moving out, too afraid to commit.

Leila, a once-confident wearer of the “lesbian” label, soon begins experimenting with men and eventually comes to terms with her bisexuality. Although her sexual partners come and go, Leila’s regular posse includes Gabe (Brian Gleeson), a novelist still trying to get his mojo back a decade after the publication of his renowned debut, and Deniz (Saskia Chana), a Turkish-British lesbian who fiercely loves both women and her conservative family.

Akhavan’s mainstay in “The Miseducation of Cameron Post” is her knack for forging complex character out of the limited screen time that is budgeted to her, a strength that she flexes once again in “The Bisexual.” As Leila embarks on her belated bildungsroman with the presumption that she knows (and can thereby judge) the people around her, the viewer’s first encounters with characters like Deniz and Gabe involve their settling into tropes that we know and are familiar with: Deniz is the counterpoint to Leila’s dry yet endearing humor, deadpan with a take-no-prisoners candor, while Gabe is the egocentric straight white man whose ignorance and all-around cluelessness make him the brunt of a good few jokes.

Although Leila’s interactions with these one-dimensional character sketches sparks comedic chemistry and yields a couple of guaranteed crowd-pleasers, what Akhavan works her magic on best is the deconstruction of these cinematic stereotypes. Gabe may be your classic downtrodden white male writer, but his perennial problem is not that he needs to find his “leading lady,” as one might think, but rather that he must free himself from the smothering affection-bordering-manipulation of his older sister.

And what Leila sees as a problem for Deniz — her staying in the closet, her on-hold dreams of becoming a chef — are in fact not a problem at all for the latter, who steadfastly asserts that she finds more happiness in family unity than in regretless individuality.

The show’s characters shine and sparkle in their own way because Akhavan, ultimately, gives them their due.

One of the takeaways of “The Bisexual” is that people are more complex and flawed than we make them out to be, or than we’ll sometimes even permit them to be. It’s a message that might have gone without saying 10, 20 years ago when there were too few queer characters on screen for there to be a standard of “good representation” to compare them to. But in an era where we are asked to scrutinize ourselves and the media we consume, more closely than we ever have before, this kind of message takes on a political tinge. No character can, or should, be perfect, can, or should, be expected to align with feminist or queer theorist principles to a tee, Akhavan seems to imply, because no real person could possibly do so. Being an egalitarian in the abstract guarantees nothing in actuality.

This is in no way to suggest that “The Bisexual” verges on queer discourse. Rather, the characters wear their contradictions like battered shoes that are too comfortably worn in to throw away.

They are imperfect and they know it, yet they are not punished for being so. Although Leila comes across as surefire, honest and quick to call people out, she is no model activist. She maintains a steadfast allegiance to the “lesbian” label and all the political trappings that come with it (at one point battering Gabe with the line, “As soon as we don’t fit your fantasy wet dream, we’re manhating dykes?”), but the only thing that consoles her after finding out that her ex-girlfriend and office secretary are sleeping together is Gabe’s assurance that she’s more attractive than them both. In a fantastic exchange with Gabe on whether she should get rid of her armpit hair, Leila rightly notes, “But it shouldn’t be what girls like, it should be what I like.” When Gabe asks in response to “What do you like?” she merely sighs, “I have no f*cking clue.”

An abbreviated version of this article appears in print. For the full version, visit https://www.dukechronicle.com/section/ arts-culture.

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WEDNESDAY, JANUARY 9, 2019 | 11

THE BLUE ZONE

BEYOND THE ARC: DUKE TAKES OUT WAKE FOREST dukechronicle.com

WEDNESDAY, JANUARY 9, 2019

MEN’S BASKETBALL

ROAD WARRIORS

Blue Devils ace first test away from home with a blowout victory against in-state rival Wake Forest

By Spencer Levy Associate Sports Editor

WINSTON-SALEM, N.C.—For the first time this season and 14 games in, Duke played a game in an opponent’s home arena.

And after an even start to the contest, the Blue Devils responded in a big way to pull away towards the end of the first half.

Duke opened the season with a blowout victory against Kentucky and then won two out of three games in Maui this past November for a runner-up finish at the Maui Invitational. The Blue Devils also knocked off Texas Tech at Madison Square Garden last month.

But up until today, head coach Mike Krzyzewski’s freshman-laden starting lineup was yet to compete in a true road game.

“We’re trying to get ready for March, so where do you get a chance to play in huge neutral arenas against outstanding nonconference teams?” Krzyzewski said.

“You don’t do it during conference, so that’s our plan, whether we’re first, last or whatever, what the hell does that mean?”

With five neutral-site games on the ledger as well as a home game for the ACC/Big Ten challenge, the Blue Devils filled the rest of See ROAD WIN on Page 13

Eric Wei | Staff Photographer

R.J. Barrett had another strong performance as Duke’s freshmen appeared to be unfazed by a hostile environment in the Blue Devils’ first true road game of the season.

WOMEN’S BASKETBALL

Duke still searching for first ACC win Thursday

By Evan Kolin Staff Writer

Last season, Duke lost its first two ACC matchups before winning its next four on its way to an 11-5 conference record.

The Blue Devils will look to start a similar winning streak Thursday when they Duke take on Georgia Tech vs. at 7 p.m. at McCamish GT Pavilion in Atlanta. For the first time in school THURSDAY, 7 p.m. history, Duke opened McCamish Pavilion its ACC slate with Atlanta two undefeated top10 opponents, dropping both by a combined margin of 34.

Although that was likely not the result head coach Joanne P. McCallie was hoping for, she believes the experience playing against top tier talent will help her team the rest of the way.

“It is a great opportunity,” McCallie said.

“Obviously we fell short in both of them, but the rebounding, the defense, the intensity of guarding excellent players, the taking care of the basketball—there are so many intangibles relative to the physicality of the game as well.

So without a doubt you learn, you grow and you learn from those experiences.”

Sitting with just a 1-2 record against top25 opponents, the Yellow Jackets are not the same caliber of team as the Wolfpack or Cardinals. Nevertheless, Georgia Tech (11-4, 1-1 in the ACC) is still one of the better programs in the ACC and will be just as physical of an opponent as its northern counterparts, ranking 43rd in the country in rebounding and 14th in offensive boards.

“They are really aggressive on the glass,” McCallie said. “They will miss shots but they will get in there, sometimes sending five people to the offensive glass. [It will be a] very physical game. They have got a very strong inside presence with [freshman forward Elizabeth Dixon].”

Dixon leads the Yellow Jackets in both

rebounding at 6.8 boards per contest and field goal percentage, converting at a 53.9 percent mark. But she is by no means the only newcomer—or the only Elizabeth—the Blue Devils (8-6, 0-2) will have to prepare for since defeating Georgia Tech 77-59 a year ago.

Fellow freshman Elizabeth Balogun has been lighting up the scoreboards all season long, leading the Yellow Jackets with 14.7 points a night. The Chattanooga, Tenn., native has also earned ACC Rookie of the Week three times this year—the most recent honor coming just this past week after Balogun led Georgia Tech in both scoring and rebounding during its first two ACC games against Boston College and No. 1 Notre Dame.

Furthermore, Georgia Tech has a stifling pressure defense, ranking 13th in the nation with more than 11 steals a game. That is something the Blue Devils could especially have problems with, as Duke’s 19.5 turnovers per contest—including 24 in a very sloppy See W. BASKETBALL on Page 12

Mary Helen Wood | Associate Photog

Leaonna Odom broke out of a recent rough stretch against No. 3 Louisville.

12 | WEDNESDAY, JANUARY 9, 2019

M. BASKETBALL FROM PAGE 1 “The negative of tonight’s game, we gave up 19 offensive boards,” Krzyzewski said.

“Anytime we rebounded defensively, we had the fast break, so there was going to be stuff in the lane, and when we didn’t, they got second shots. When we get our transition going, we’re better.”

The Blue Devils leaned on their quartet of freshman starters to stay in front for the majority of the game. Reddish had two early turnovers and missed his first three shots in what looked like it could become another long night for the 6-foot-8 forward, but Duke got two offensive rebounds on one possession seven minutes into the half and kept feeding him before he attacked the rim with a baseline drive for a dunk.

Reddish’s last two shots of the first half were the Blue Devils’ biggest two shots of the night—a made 3-pointer that broke a 28-28 tie to give Duke the lead for good and another triple near the top of the key in the closing seconds of the half that gave the Blue Devils’ their largest cushion before the break at 42-34.

“Especially when a young kid hasn’t played to the level that he thinks he can play at and we think he can play at, you get down a little bit. You put pressure on yourself, and I thought he was tight to begin with,” Krzyzewski said. “Then he made that dunk, that was big, and then we called a timeout and put in four shooters with Tre, and we thought there was a chance one of them might get a three, and he was the guy and he knocked it down. It was a big shot, a really big shot for us in the game.”

Reddish wasn’t the only freshman to get hot from downtown. Williamson shot 3-of4 from long distance, firing away with the confidence he showed during Duke’s preseason Canada tour in August after entering the night converting just 19 percent of his 3-point attempts in the regular season.

“I do have a lot of confidence, but I haven’t really been shooting it so much that my first

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instinct is just to drive,” Williamson said.

“But I’ve spent multiple hours after practice just shooting threes, shooting jumpers and if I miss, just move onto the next shot because that’s just how basketball works.”

Barrett also knocked down a triple for the Blue Devils’ first points of the game before doing most of his damage around the basket the rest of the way, finishing with 21 points.

With all of the nation’s top three recruits scoring well, Duke’s final fivestar freshman—point guard Tre Jones— continued to excel at creating opportunities for his teammates. The nation’s leader in assist-to-turnover ratio dished out seven more dimes with just one giveaway.

The Blue Devils scored four points on the first play of the second half with the help of an offensive rebound on a missed free throw and went on a 10-3 run in the first two minutes after the break to build a 15-point lead. Barrett, Williamson and Reddish were

responsible for all 10 points, and Duke gradually stretched its advantage the rest of the way.

It was generally a quiet night for the Blue Devils’ veterans, but junior Javin DeLaurier did inch closer to the ACC record for consecutive made field goals.

The 6-foot-10 forward was 3-for-3 to get to 19 made shots in a row, one shy of tying the record. Fellow captain Jack White continued his impressive defensive play with four blocks in the first half despite struggling to make his usual impact as a perimeter shooter, and junior Marques Bolden got three late buckets in the paint to finish with 12 points.

“Marques and Javin, together they had 20 and 15 tonight,” Krzyzewski said. “You get that and the defense that they play, it makes us a better team.”

Duke will face a much bigger road test Saturday afternoon in Tallahassee, Fla., for a showdown with No. 13 Florida State.

Eric Wei | Staff Photographer

Zion Williamson continued his recent stretch as Duke’s go-to option on offense Tuesday with a career-high 30-point performance.

W. BASKETBALL FROM PAGE 11 showing against Louisville—rank 306th in the country.

“You got to play aggressive,” McCallie said.

“You got to be attacking and we need to handle their press. They press a lot so we need to take advantage of that and look to score.”

One player who is going to be very important if the Blue Devils hope to come out of Atlanta with a victory is junior forward Leaonna Odom. Odom struggled entering Duke’s matchup with the Cardinals, failing to produce a doubledigit scoring output in the team’s three previous contests. But the Lampoc, Calif., native found her groove against one of the country’s powerhouses, leading Duke with 16 points, seven rebounds, three steals and two blocks. “[Odom] played so hard and aggressive,” McCallie said. “She played at a pro level in terms of her quickness and attack mode and that is the difference. She went hard on defense and on offense [and] she went into the boards hard. [Odom has] been learning how to be consistent, but without question she really went after it against Louisville and [against] NC State she had some great moments. So hopefully she can continue with Georgia Tech.”

After the Yellow Jackets, the Blue Devils will return to Cameron Indoor Stadium to play Miami Jan. 17. After missing out on the opportunity with its first two conference foes, Duke really needs to start pulling out some quality wins if the team hopes to make its 24th NCAA tournament appearance in 25 seasons.

“If you look at our games—whether we have been competitive with Oregon State, very competitive with NC State and then at moments with Louisville—I feel really good about the team,” McCallie said. “I think we play really hard and I think we will take full advantage of every opportunity. But I am not into speculation. I am just [going] into every game one at a time.”

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ROAD WIN

to the neutral-site games with three for the Blue Devils. wins out of four against then-top “I think it was a good test FROM PAGE 13 12 teams. for our young guys, it was their “It was different for sure,” first time [in] a road game,” their nonconference slate with junior Marques Bolden said. DeLaurier said. home contests against non-Power “First true road game so we just Yet, despite technically playing 5 schools. had to come out and play hard in a road game Tuesday, the Last season, the Blue Devils from the jump.” environment in Winston-Salem defeated Indiana on the road in The start of this game was was not nearly as hostile as some the ACC/Big Ten challenge and the polar opposite of the way of the arenas Duke will find itself fell to St. John’s—which Duke will the Blue Devils closed out the in going forward. Due to the host next month—as part of their contest. After taking opening up proximity to Durham, the crowd at two road games. But those two a 14-8 advantage in the opening Lawrence Joel Veterans Memorial games this year are both home, minutes, Wake Forest regrouped Coliseum was about half Blue thus resulting in the lack of a true and knocked down a pair of Devil supporters. road contest.

3-pointers and saw its deficit turn After taking Wednesday as The Blue Devils have attracted into a four-point lead in a matter a mandatory off day, the team some national criticism for of three minutes as it appeared will then begin to prepare for becoming the final Division-I the road environment may shake their Saturday matchup with No. program to play a road game this up a Duke team that entered the 13 Florida State on the road in season. Tobacco Road rival North contest as a 20-point favorite.

Tallahassee, Fla. Carolina, in contrast, began the But in his first career road “That’s why I came to the season with a pair of road contests game, freshman Zion Williamson ACC. There’s no conference like it,” against Wofford and Elon. One halted the home crowd’s cheers as Williamson said. “For my first away AP voter—Graham Couch—even he took control of the offense and game, it was great. I’m glad we were able refused to put Duke on his AP Top scored the next two baskets which to get a win and now onto the next.”

25 ballot through Monday’s poll were followed by freshman R.J. due to the fact that the Blue Devils Barrett converting a layup for the had not yet played an opponent on 22-20 lead. their home court.

“We’ve got another [road game] “It’s something we didn’t do, in a couple days,” Barrett said. “We so then it becomes, you’re a bad love road games. Silencing the guy because you haven’t done crowd is fun.” it. We’re not as good because we While veteran leaders like haven’t done that yet,” Krzyzewski captains Javin DeLaurier and Jack said. “It’s ludicrous, really. When I White have played in road games see stuff like that, it cheapens that in the past, this first true road person’s knowledge of the game. environment for the four starting Knowledge of the game. Come on, freshman will be crucial practice The Newfor York Syndication Corporation man. We come up with a top-10 theTimes daunting slate of Sales the ACC 620 Eighth Avenue, New York, N.Y. 10018 schedule every year.” and the numerous upcoming topFor Information Call: 1-800-972-3550 Eric Wei | Staff Photographer The young team has respondedFor 25 matchups in opposing territory Release Wednesday, January 9, 2019

Crossword ACROSS

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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

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14 | WEDNESDAY, JANUARY 9, 2019

2019: Looking back, going forward

T

he spring semester of 2019 has officially begun, and with the new academic term brings familiar campus rituals. Eager young freshmen—suited up in blazers and decked out in cashmere—graze the open houses of Duke’s Greek and SLG organizations, armed with flatteries in their quest to carve out a social niche on West. Worldly juniors coming back from study-abroad find themselves back inside the Duke bubble, struggling to situate back into the stressed-out syncopations of campus life. Seniors, the last cohort to still remember Grace’s Cafe (you are still dearly missed) and the class of 2016, find themselves in the role of elder statesmen on a campus that has changed dramatically over the past four years since they arrived on East that fateful morning in August of 2015.

The new year gives each class cohort at Duke an opportunity to ruminate about their place in the University in space and time. In contemplating our existence on a campus rapidly changing both physically and in terms of student makeup, we should not lose sight of our position in relation to the grand scheme of Duke’s nearly 100-year timeline. Looking back at the zeitgeists shaped by the thousands of previous Duke students who graced the Gothic Wonderland before us, we can perhaps better understand our own place at an institution progressing into the vast unknown of the 21st century.

One hundred years ago, our student forbearers graced a small liberal arts college known as Trinity, surrounded

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by tobacco mills and with them the promise of a robust, post-Civil War industrialized South. Images of the Great War—of an entire generation mowed down in the muddied trenches of the Somme and Marne—were probably still fresh in the collective consciousness of Trinity students, many of whom left to fight in the “war to end all wars.” Trinity students also had to be wary of the the Spanish Flu, humanity’s worst global pandemic since the Black Death, which resulted in over half a million deaths in the U.S. alone. Female Trinity College students

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still could not not exercise their constitutional right to vote (although that would change soon with the passage of the 19th Amendment). Trinity’s student body scarcely could have conceived that in only five years, their sleepy Southern college would be transformed into “Duke” University, courtesy of the eponymously endowed nouveau riche tobacco fortune.

Fifty years ago, Duke students would have confronted a campus very much in turmoil, in keeping with the political mood of universities all across the country.

America’s ethically dubious military involvement in Vietnam and the still unsolved issue of civil rights for all Americans plagued the consciences of many students who came of age in one of the most divisive eras in our nation’s history. Duke ultimately was forced to confront its own race problems when black students, fed up with the lack of institutional support given to them in the process of desegregating the University, took over the Allen Building on February 13, 1969. The tumultuous

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events of early 1969 on Duke’s bucolic Southern campus eventually resulted in the resignation of President Douglas Knight, who had called in the police to “control” the situation in Allen.

While 2009 seems like only yesterday, 2019 marks a decade since the era of Silly Bandz and Teach Me How to Dougie. Many current Duke undergraduates likely remember the monetary anxiety facing their parents during the Great Recession. The economic downturn—a decline in United State’s GDP caused by the subprime mortgage crisis and risky, predatory bank lending practices—sent ripples throughout the country as dramatic numbers of job losses ensued. Even Duke was not immune to this financial turmoil. In 2009, the endowment shrunk by $1.68 billion to $4.4 billion. Like many comparable universities feeling the pressure of the recession, this endowment diminution put Duke in a financially precarious position. However, ‘09 also offered a lot of hope for millions of Americans. In January, the world watched as the first African-American U.S. President was sworn into office. With an officially estimated 1.8 million in attendance, the inauguration shattered previous records for number of people gathered on the National Mall.

As undergraduates find their way back to campus via RDU and prepare for a semester of new courses, life is breathed back into campus again. The university has bared witness to decades of changes and new challenges, as have Duke students. While the future remains uncertain and we have no one of telling what on the horizon will greet us tomorrow, there is comfort in knowing that time and the University continues to march on relentlessly.

Note: this editorial was written by the board chairs.

When we don’t know

“

Why don’t you look it up for homework today?” was the response of my elementary school teacher whenever I raised my hand with a question too big to answer, ones like “When does infinity end?”, “Who put a hole in the ozone?” and “What makes the internet work?” My teacher would deflect as a way of saying “I don’t know” without actually admitting it.

A decade later, now in college, I am sitting in a biochemistry lecture and my professor began to talk about the symptoms and biological markers of a rare disease. When a classmate raised their hand to ask about why it occurs in humans, Professor Coggins responded by saying “I don’t actually know. Scientists and doctors haven’t been able to find a cause for what is happening in our bodies.”

In almost four years of college, that was the first time I had ever heard a faculty member admit that the answer wasn’t certain, or explainable, or reachable through hard work and a Ph.D. dissertation.

Janie Booth COLUMNIST But I’ve found that if you listen harder, encoded ways of saying ‘I don’t know’ appear all throughout our professional language.

In fact, there are hundreds of scientific terms for ‘we haven’t got a clue.’ When doctors can’t determine the cause for a disease that arises spontaneously they call it “idiopathic.” Physicists use the term “fudge factors” in order to account for unanticipated differences between theory and experiment. Chemists attribute unexplained results of a reaction to a “combination of electronic and steric effects.” Statisticians label data points that don’t fit into the trend as “outliers.” Programmers just call it a computer error and move on. Astronomers write about the “contamination of an unknown origin,” which is probably science-speak for aliens.

Language encoding the phenomenon of “not knowing” isn’t only limited to science. When archeologists don’t know how to classify an object from the ancient past, they say it was used for “ritual purposes.” Artists call their works “untitled,” and art historians label them as “avantgarde.” Librarians file items under “miscellaneous.” When journalists can’t make out words from a transcription, they label it [inaudible]. Poets just leave a bunch of empty spaces. Academics write that some questions are “outside the scope of this paper.” In religion, what is beyond human

understanding is usually called a “holy mystery”, but could also be condensed into one really small word: God. We resort to so many shorthand phrases to cover up the big, gaping hole in what we are certain of. I’m quick to fall back on this code, too. My most-used emoji is the smiley face with its eyebrows raised and hands gesturing a nice big shrug. Translation: I have no clue.

When an acquaintance asks me where I’ll be working after graduation, I’ll say, “I’m looking at a few options.”

Translation: I have no idea.

How many times have you not known the answer to a question on a test, only to scrape together a series of formulas or nonsense sentences to try to cover it up?

There is a consequence for not knowing, and as I get older that stakes seem to get higher.

So often we try to mask what we don’t know—or can’t know—with language or formulas or emojis as a placeholder, because it’s easier to hide behind our own human lack of understanding with words and phrases like the ones listed. But I also think we use other words to describe what we don’t know out of the fear that we might never, ever know. Perhaps this recognition of the gap in our knowledge is the first in a series of steps pointing towards discovery.

Senior year has felt like one long metaphor for ‘I don’t know’ repeated over and over again. No one prepares you for how scary it is, arriving at the end of four years in college without a clue of where to go from here. After all, who made it a rule by the time we are 22 years old, we should have all of the unknowns—who we are, where we will live, who we will love—figured out?

When I unpacked my bags in Southgate almost four years ago, my original goal was to figure out the answers to all of these questions. Find my passion, fall in love, pick a city, get a job, checking off all the correct boxes of achievement along the way. Now, in my last semester of college, my new goal is just to finish. As I go, I’ll be repeating “I don’t know” as many times as it takes.

My favorite phrase for the uncertain is the one map makers from medieval times used to label areas that were dangerous or unexplored: here be dragons.

Looking around at the path before me as I am about to graduate from college, there are a lot of dragons.

Pretty much nothing but dragons. Not knowing what my future looks like invites doubt, but also leaves so much room for risk, and courage, and love. And I’m excited to see what messy, beautiful things I discover along the way.

Janie Booth is a Trinity senior. Her column usually runs on alternate Tuesdays.

The Chronicle

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dukechronicle.com commentary

The case for SLGs

his time last year, the Chronicle published a column called “In defense of Greek life.” In it, the columnist attempts to dispel the commonly held beliefs that Greek life is nothing more than homogeneity and a good barn party. He does a convincing job describing why the Greek life may not deserve the stereotypically bad rap students are quick to give it.

Since that article was published, however, I have seen another aspect of Duke’s social scene become the butt of many jokes: selective living groups. Housing and Residence Life defines non-Greek SLGs as “student-initiated communities that can be purely social in nature or based upon some

Ryan Williams COLUMNIST fundamental intellectual or cultural theme.” And since I am a student in one of these student-initiated communities, I want to use this opportunity to dispel a few myths about SLGs and make my case for a different side of Duke social life.

I believe selective living groups are the best combination of an inclusive environment and a strong social group. From the rush process to the internal make-up to the way they socialize, SLGs are moving toward a more equitable, inclusive version of social life at Duke.

Here’s my argument for selective living groups: The Rush Process SLGs—Cooper specifically—have come under fire for the way new members are recruited and selected. The main complaint is that, in just three weeks, it’s hard to get to know hundreds of rushees well enough to decide which 20 or 30 get bids, and which will be left out in the cold. Granted, the three week rush process the University mandates for SLGs forces them to, no pun intended, rush through recruitment. I believe, however, that in those three weeks, SLGs are

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here are several topics of conversation that accompany the start of spring semester (tell me more about abroad, juniors), but perhaps the biggest is the recruitment process for the Interfraternity Council, Panhellenic Association, and Selective Living Groups that takes

Ethan Ahuna COLUMNIST place every January. In my years at Duke, I have seen just how valuable membership to a Greek organization or SLG can be. They provide built-in community, often times residential. They facilitate mentor-mentee relationships between older and younger undergraduatesstudents and the opportunity to meet people on campus you might never have met otherwise.

But these groups are selective, which means not everyone can get in.

And the reality of this type of rejection is too often swept under the rug.

Three years ago, I made my way through the rush process for a few of the non-Greek SLGs on campus.

I went into rush looking for a fun new community on campus and an opportunity to duplicate the tightknit residential experience I so valued in my first-year dorm. Plus, almost all of the friends I had made in my first semester were rushing some form of social organization. I had heard rumors that hallways in East Campus dorms became empty after rush, and when that happened, I didn’t want to be left behind.

So I rushed. I went to open houses, played dodgeball at Sky Zone, and skated around Wheels. I stood in common rooms and tried to be memorable in conversations where rushees outnumbered SLG members 10 to one. I grew to love the SLGs I was rushing, and I was excited about

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able to host a variety of events that benefit people with different personality types, backgrounds and interests in the attempt to make rush as equitable as possible. Rush committees spend months trying to figure out the most efficient and fair way to meet hundreds of first years, get to know them on some level, and decide who is offered a bid. Moreover, the deliberation process in most SLGs requires intense discussion among house members rather than a computerized algorithm. Sure, the rush process isn’t perfect. But a simple glance at Brownstone, Cooper, Mirecourt or Maxwell’s calendar shows the result of countless hours of thought and effort put towards improving the recruitment system. At the end of the process, SLGs have to make cuts. While receiving my own rejection emails my first year stung, I have come to realize that those decision were not a rejection of me as a person, rather a rejection out of necessity and that—in all honesty—I can still be friends with people in SLGs whose last email to me began with “We’re sorry.”

More Diverse Groups If you find yourself insulated in a space where the overwhelming majority of people share your identity’s most defining characteristics, chances are you aren’t pushing yourself to grow beyond your comfort zone. Granted, there are SLGs for where people of similar marginalized identities can find solace in a safe space—these are the exception. But if you’re looking around at a mixer and can’t point out someone different than yourself, you might not be taking advantage of the opportunity to expand your social network to the fullest extent. Sure, you may be meeting new people, but do those people challenge you to become a better student and person?

One of the biggest benefits of SLGs is how they have evolved to all prioritize different types of diversity. At any given SLG you’re sure to find members across the gender spectrum, members of vastly different ethnic and racial backgrounds, members across income levels, and members with varying sexual orientations. The result goes beyond the novelty of appearing inclusive. Some of my most educational moments at Duke have come from living with people with backgrounds

I never would have encountered if we didn’t live down the hall from one another. Of course, this sort of learning can take place outside of social living arrangement. But living in an environment that easily facilitates the conversations I came to college to have makes learning so much more enjoyable.

The Sharing of Social Autonomy When I came into Duke, my idea of a party involved a packed basement, cheap alcohol, and a power imbalance between those throwing the party and those invited. My O-Week escapades only confirmed my suspicions. While Greek parties may seem to be more open than most SLG parties—as Greek organizations have exponentially more money to spend on being your go-to party guys—SLG parties dismantle the reliance on men for both the place and the alcohol to get the party going. When SLGs ramp up for a good Friday night, the social power is shared across members as no one person holds a place or the drinks at ransom. At the very first SLG party I went to, I was reminded that I did not have to drink if I did not want to more times than I could count. Instead of the classic beer pong, House members played with water so that people who usually avoid the table could feel included. Beyond the parties, SLGs have just as many non-drinking-centered events, like class lock ins or House dinners that are meant to bring the House together in a more wholesome way.

Here at Duke, your social life and your living situation are—for better or for worse—bound together inextricably.

Barring outside circumstances, the decision you make in January of your first year determines your social calendar for the next three years. SLGs are the social product of both Duke’s commitment and a personal commitment to inclusion, diversity and equity. And, hey, you get a few great parties out of it too.

Ryan Williams is a Trinity sophomore. His column runs on alternate Wednesdays.

Not only fools rush in the budding friendships that I seemed to be forming. But when bid day came, many of my friends received bids, and I was rejected.

In a recruitment process for social groups, rejection is indisputably personal. When you apply to Duke, you are evaluated on your academic and extracurricular merits. When you try out for a sports team, you are evaluated on your ability to play the sport. But when you rush a social group, you are evaluated on your personality. You can call it “vibes” or “fit with the group” if it makes you feel better, but at the end of the day, there are no clear qualifications for getting into a social SLG or a Greek organization other than how much the people in the group like you. So when friends of mine got bids to the SLGs that rejected me, I internalized the notion that I had a worse

personality—or at least, the groups I had wanted to be a part of liked my friends better than they liked me.

And though you could argue that it’s not that black and white and that First-Year Ethan should have just gotten over himself, I wasn’t the only one who left my first-year January with a sour taste in my mouth. I remember how toxic it felt as the girls in my dorm who were rushing Panhellenic sororities wondered why they had been cut from their favorite chapter, or why their friend got invited back to a chapter when they didn’t, or what they could have done differently to get the bid they wanted. And for the rest of the semester, the names of SLGs and Greek chapters were plastered on dorm room doors, so when you walked to the shower, you were reminded of who got into what group

and who didn’t get in at all.

Now that I am three years removed, I can see how inconsequential my rejection was for my social experience at Duke. Whether you don’t get the bid you want or you don’t rush at all, being unaffiliated does not need to limit your social life or place sanctions on which friends you can make, or keep.

But I also got lucky. The friends I made in Brown Residence Hall, most of whom are affiliated, are still some of my closest at Duke. I had joined a dance group during my first-year fall, and it has provided me with a family away from home for the entirety of my Duke experience. Few people at Duke can say that their strongest long-term relationships were formed during their first few months on campus. And even if getting into clubs like my dance group is based on some other type of merit, they are still social organizations, and they are still selective. In too many cases, finding an organized community on this campus comes at the expense of that community being available to others.

This isn’t supposed to be about self-pity, and I’m not suggesting that we would be better off if we got rid of all selective social organizations on campus. I know many Duke students struggled in their first semester, rushed in January, and found a support system in their SLG or Greek chapter that changed the trajectory of their college experience, and I would never want to deny them that. But finding your social niche at Duke shouldn’t be a zero-sum game. So while there is much more to the Duke social experience than rush and selective living, we as a campus would do well to find a way to provide this kind of community to everyone who seeks it.

Ethan Ahuna is a Trinity senior.

His column usually runs on alternate Chronicle File Photo Tuesdays.

The Chronicle

dukechronicle.com

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CAN’T MISS EVENTS JANUARY 10 - APRIL 14

The Image Book

Thursday, January 10 & Friday, January 11 7 pm each night Film Theater at the Rubenstein Arts Center The legendary Jean-Luc Godard adds to his legacy with this ambitious collage film essay. Fans of his sprawling, multi-part Histoire(s) du Cinema series will have some idea of what to expect: a lifetime of received images, sounds, and ideas, broken down to their essentials and re-mixed into thrilling, gnomic salvos. Here, Godard’s approaches to multi-channel sound are intensely physical and often astonishing, providing a novel and disorienting form for Godard’s far-reaching inquiries into the histories of representation and global violence.

CHOREOLAB 2019 DANCE AUDITIONS Ballet: January 14, 4:40 pm, The Ark Modern: January 15, 6:15 pm, The Ark African: January 16, 7:45pm, Rubenstein Arts Center 224

CAMILLE A. BROWN & DANCERS: BLACK GIRL: LINGUISTIC PLAY Friday, February 1 & Saturday, February 2 8 pm Reynolds industries Theater

EXHIBITION OPENING: POP AMERICA Thursday, February 21-Sunday, July 21 Nasher Museum of Art

SPRING MAINSTAGE PRODUCTION: BAD ROADS Thursday, April 4-Sunday, April 14 Sheafer Theater

DUKE SYMPHONY ORCHESTRA WITH KAREN WALWYN, PIANIST Wednesday, March 6 8 pm Baldwin Auditorium

MFA|EDA THESIS EXHIBITION Monday, March 18-Saturday, April 13 Duke and Durham

Antonio Dias, The Illustration of Art/Uncovering the Cover-Up, 1973.

Screenprint and acrylic on canvas, 35.82 x 53.54 inches (91 x 136 cm). Courtesy of the artist and Galeria Nara Roesler, New York, New York and Rio, de Janeiro, Brazil. © Antonio Dias.

Katie King (’18) a tangle of branches

Brought to you by Department of Art, Art History and Visual Studies, Center for Documentary Studies, Dance Program, Music Department, Master of Fine Arts in Experimental & Documentary Studies, Nasher Museum of Art, Program in the Arts of the Moving Image’s Screen/Society, Theater Studies and Duke Performances.