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Durham election: Incumbents win mayor, city council By Matthew Griffin University News Editor

Maria Morrison Health and Science News Editor

Olivia Wivestead


BIG APPLE TURNOVER Men’s basketball tops Kansas in sloppy Champions Classic

Contributing Reporter

Incumbents carried the day in Durham elections—but less than a fifth of eligible voters participated. Mayor Steve Schewel, Trinity ‘73 and Ph.D. ‘82, and city council members Jillian Johnson, Charlie Reece and Javiera Caballero each won reelection, and voters approved a $95 million affordable housing bond. Only 18.32% of eligible Durham voters voted in Tuesday’s municipal elections, according to the North Carolina State Board of Elections.

Thousands of Durham residents to receive housing assistance

One of the major issues in the mayoral and city council races was the affordable housing bond. The bond passed with the approval of 75.89% of those who voted. The bond’s goal is to build 1,600 new units of affordable housing, which would assist 15,000 Durhamites, according to the bond’s website. The $95 million in required funding will be sourced from the community by increasing property tax by 1.6 cents. The other elections of the day demonstrated the community’s commitment to the bond. Johnson, Reece and Caballero all supported the bond, and Schewel was the one who originally proposed it as part of a five-year, $16 million affordable housing plan. See ELECTION on Page 4

Lilly Library to feature cafe, Co-Lab, other amenities after upcoming renovation By Kaitlyn Choi Staff Reporter

President Vincent Price announced a year ago that Lilly Library, one of Duke’s oldest buildings, was in line for renovation. But how much progress has been made, and what changes should future students expect to see? The renovations to Lilly Library are set to begin next summer, with the library reopening after 18 to 24 months, according to Kelly Lawton, head of East Campus Libraries, and David Hansen, associate university librarian for research, collections and scholarly communication. The library will include not only upgraded study spaces, but also a café, writing studio and Co-Lab space. They wrote in one email to The Chronicle that Lilly Library has “lagged behind” the West Campus libraries. See LILLY on Page 4

Photos by Sujal Manohar | Associate Photography Editor

By Derek Saul Sports Editor

NEW YORK—Nearly a year ago to the day, Duke’s freshmen dazzled and dominated in a 118-84 season-opening victory against No. 2 Kentucky, with four rookie starters accounting for more than 75 percent of the Blue Devils’ points. The first half of Duke’s 2019-20 season opener against Kansas made it clear that heroic efforts from the newcomers would not be the Blue Devils’ key to victory— Duke’s freshmen combined for just 14 on 5-for-17 66 points KAN shooting and six DUKE 68 turnovers. Despite the sluggish start, freshman guard Cassius Stanley and sophomore point guard Tre Jones came alive in the second half for the Blue Devils, leading No. 4 Duke to a 68-66 victory against the third-ranked Jayhawks at Madison Square Garden Tuesday night. In an all-around sloppy Champions Classic matchup—the two teams combined for 44 turnovers and 19 missed free throws— the steady performance from Jones and energizing night from Stanley were enough for the Blue Devils. “I’ve told [Jones] every day, ‘Look, you’re going to lead us. I don’t care what happens, you’re going to lead us,’” Stanley said. “I told him in the middle of the game, ‘You’re going to lead us to this win.’ I told him for sure, ‘We’re going to hop on your back,’ and that’s what we did.” The last five minutes featured numerous lead changes, the first coming from Kansas’ mammoth center Udoka Azubuike. With the Jayhawks (0-1) down 56-55, Azubuike bullied his way to the basket, threw down a two-handed slam and added a rare free throw make after Matthew Hurt fouled the Kansas big.

Did Joey Baker play?

“Oddville! A Festival of the Awesomely Strange” brought unusual art to Durham. PAGE 6

Although the box score said he got in the game against Kansas, reality begs to differ. PAGE 8


Serving the University since 1905 |

Kansas’ Devon Dotson and Stanley exchanged lay-ins on consecutive possessions, but Stanley was fouled on his drive, giving the Blue Devils a late 62-61 lead that they would retain for the rest of the game. Not to let his fellow Duke guard outshine him, Jones rose over two Jayhawk defenders for a jumper that fell through the net after hitting the rim three times, extending the Blue Devil advantage to three with 90 seconds left. After key defensive stops, Jones sunk four free throws to ice the game in Duke’s favor. “This year, it’s his team,” Blue Devil head coach Mike Krzyzewski said. “He feels less pressure with more responsibility. Those are the type of people you would like in your organization. I told him, ‘Just follow your instincts…. Everyone will react to you and you just go for it.’” Trailing 46-37 after an abysmal start to the second half, the Blue Devils (1-0) looked like they were quickly falling out of the contest. Then it was Jones and Stanley’s time to shine. On consecutive possessions, Jones found a Duke big open beyond the arc, with Vernon Carey Jr. and Jack White knocking down 3-pointers to cut the growing Kansas advantage to three points. After looking lost in his first official half of college basketball, losing the ball numerous times and breaking down on defense, Stanley came alive halfway into the second period. The 6-foot-6 guard, known for his elite athleticism, escaped for back-to-back breakaway dunks, knotting the score at 47 with 12 minutes remaining in the contest. Stanley would add a 3-pointer from the left corner a few minutes later, his first make from beyond the arc of the season, finishing with 13 points on 83 percent from the field. “[Stanley] plays his ass off,” White said. “You saw, he was just See TURNOVER on Page 9

Airing of grievances

Keep it weird, Durham

INSIDE — The journalism equivalent of a slam dunk

Graphic by Kyle Harvey | Layout Editor

In the spirit of Festivus, columnist Sami Kirkpatrick airs his grievances against everybody. PAGE 10

@dukechronicle @dukebasketball |

@thedukechronicle | © 2019 The Chronicle


The Chronicle

Years of work lead Duke researcher closer to a breast cancer treatment By Matthew Griffin University News Editor

Eight years of work and some well-timed coincidences led Donald McDonnell and his lab to a discovery that could change the lives of breast cancer patients. McDonnell, chair of the department of pharmacology and cancer biology, researches a type of breast cancer called estrogen-receptor positive cancer—a type in which tumor cells grow in response to the hormone estrogen. He said ER-positive breast cancer makes up about 75% of cases of the disease. Doctors can treat this kind of cancer with endocrine therapy, which uses anti-estrogen hormones to stop tumors from growing, according to the Mayo Clinic. However, McDonnell said that some cancers are resistant to this treatment, which leaves traditional chemotherapy as the only option. The product of eight years of research conducted in McDonnell’s lab, recently published in Cell Reports, could change that. Researchers discovered a way to stop tumors from growing by using antibodies to target two proteins found in endocrine-therapy-resistant cancer cells. “This would likely be another relatively benign, in terms of side effects, therapy, so that it potentially could extend the life of patients who have late-stage disease,” McDonnell said. Instead of trying to prevent cells from becoming resistant, the researchers in McDonnell’s lab explored ways to exploit the differences between resistant and non-resistant cells, creating treatments that would be uniquely effective in cells that do not respond to traditional therapy. Researchers identified two proteins, AGR2

and LYPD3, present in therapy-resistant cancers. The proteins interact with each other, and the researchers thought that they might be able to prevent tumor growth by targeting them with a drug. McDonnell said that he was presenting these results at a Duke Cancer Institute research meeting when Jim Abbruzzese, D.C.I. professor of medical oncology at Duke, told him about research that identified LYPD3 in pancreatic cancer cells. Moreover, Abbruzzese said that a researcher at the MD Anderson Cancer Center had developed antibodies that neutralized the protein. Interested, McDonnell went to Texas. Charles Logsdon, professor and chair of cancer biology at MD Anderson, had created antibodies to both proteins and licensed them to a company called Viba Therapeutics. Viba, a company in which McDonnell owns stock, provided the antibodies to researchers in McDonnell’s lab, who injected them into mice with endocrine-resistant breast cancer. The results were striking: The tumors stopped growing. “I think a lot of basic science is kind of putting pieces together until you make that connection,” said Kimberly Darlington, a former M.D.-Ph.D. student and researcher in McDonnell’s lab, of the discoveries that led to the team’s breakthrough. McDonnell’s team submitted their findings for publication, he said, but the reviewers wanted more from them. Animal models were one thing, but were the proteins found in human breast cancer as well? Answering that question took more collaboration. McDonnell turned to Mitch Dowsett, a professor of biochemical endocrinology at the Royal Marsden Hospital in London who oversees large collections of

data on tumors in humans. McDonnell’s team worked with tissue samples that Dowsett had gathered. Their findings matched what they had seen so far: AGR2 and LYPD3 were highly prevalent in cells from tumors that were resistant to traditional therapy. “My goal in starting this project was to understand the process and trials and tribulations of drug discovery, and I feel like we’ve sort of gone through the gamut,” Darlington said, from working with cells to performing mouse studies to finding evidence that their treatment could work in humans.

Special to The Chronicle McDonnell was inspired to research breast cancer after learning of his mother-in-law’s illness.

An unlikely start to a long career

Today, McDonnell runs a lab on the second floor of Duke’s Levine Science Research Center that manages to be both spacious and, in some places, cluttered. Researchers peer into microscopes, machinery covers the countertops and shelves feature an array of bottles and boxes. This is not where McDonnell thought he would end up, he said. He grew up in Limerick, Ireland, and he earned a scholarship to study marine biology at the National University of Ireland, Galway. That plan changed when he met Mary Downes at a community dance, whose mother had been diagnosed with breast cancer earlier that day. McDonnell and Downes started dating, and Downes’ mother would have him go to the library to research her disease. That research inspired McDonnell to go to the group that had given him the scholarship and ask to use the money to study breast cancer. “The guy who was the head of the scholarship committee said, ‘You know, my daughter or my wife may get breast cancer some day. Take your scholarship and go and study breast cancer,’” McDonnell said. McDonnell studied metabolism and immunology at NUI Galway, graduating in 1983. By then, he and Downes had married and the couple moved to Houston so that McDonnell could pursue a Ph.D. at Baylor. McDonnell is now 58, and he said he has had an “amazing career” in breast cancer research. “I would have been cold, poor and wet for the rest of my life, as a marine biologist on the west coast of Ireland,” he said, laughing. Today, McDonnell’s lab is working with Viba to develop versions of their antibodies that work in humans. McDonnell said that he is hopeful about the results, and a drug could be on the market soon.

The Chronicle


Women have been able to vote for 100 years, but challenges remain By Irene Park Staff Reporter

In 1984, Geraldine Ferraro made history. Selected as Democratic presidential candidate Walter Mondale’s running-mate, she became the first woman to be included on the presidential ballot of a major American political party. Meanwhile, Kristin Goss, Kevin D. Gorter professor of public policy and political science, was working toward her bachelor’s degree at Harvard University. It was the tail-end of the second wave women’s movement, and the majority of the country had begun to shift toward the Republican Party. There was a sense that the women’s movement was on the verge of dying out. However, she recalled that women in particular were extremely politically active on campus, and Geraldine Ferraro’s appearance only added to the political excitement. It didn’t even particularly phase anyone when Mondale and Ferraro lost in a landslide Reagan victory. Goss said no one had really expected them to win anyway. Yet, the United States has not yet seen a woman as president or vice president. One hundred years after women were provided with their long-denied right to vote, the 19th Amendment has reshaped American politics—but women’s unfettered access to their political rights still remains in question. On one hand, women are heading to the polls. A higher proportion of women eligible to vote than men have cast their ballots in every presidential election since 1980, according to a recent report by the Center for American Women and Politics at Rutgers University. On the other hand, the Amendment was not designed to address the intersecting identities—such as race—that are central to women’s issues of today, Goss added. “When I say ‘women,’ that’s a really diverse group,” Goss said. “Some of these generalizations are going to hold more for some kinds of women than other kinds of women.” According to Goss, women in the 20th century were active not only in “women’s issues” like abortion, but

also in areas ranging from international relations to juvenile justice. Today, women are more likely to vote for Democratic than Republican candidates and are especially active in election-time efforts like canvassing, Goss said. Although there is no major difference in opinion between men and women on most contemporary issues, Goss noted there are certain issues that do have a gender gap. Gun control is one of them: women are far more likely than men to support regulations on gun ownership. “To the extent that becomes an important issue in an election, politicians who are on the pro-gun-regulation side are going to have to be thinking a lot about women,” Goss said. This upcoming presidential election cycle is the second of many young women at Duke. Last year, junior Samhitha Sunkara, a co-founder of the undergraduate organization Women in Politics, drove back to Charlotte, North Carolina for her first election. A woman at the polling center asked if it was her first time voting, and she said that it was. The woman announced it to the entire room, which was filled predominantly with women. “It was really empowering,” Sunkara said. “Everyone was cheering for me. It felt so good.” Junior Jessica Sullivan said her decision to get involved in politics was largely linked to her identity. She was influenced by her childhood in North Carolina, a place she described as “very politically volatile,” and she found that being a woman made voting seem all the more important. “It’s harder to be heard as a woman, and I think voting is a great way to have a voice,” Sullivan said. “Historically, women haven’t always had the right to vote, and so it’s so important to recognize that and use that power that we have now.” Sullivan is one of nine student members of the Duke Votes Coordinating Committee. Duke Votes, a



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group affiliated with POLIS: Duke’s Center for Political Leadership, Innovation and Service, helps students register to vote, acquire voter identification and understand the voting process. Maryam Arain, student development coordinator at the Center for Muslim Life and a Duke Votes ambassador, explained that intersecting identities are often at the core of today’s politics. “As a Muslim woman, I’ve watched women like [Swetha] Rakshitha and Ilhan Omar be really fierce and amazing in the way that they move through political spaces,” she said. “It’s definitely not just being a woman, but the intersection of me being a woman and Muslim, or me being a woman of color, that drives me more toward paying attention.” Daisy Lane, a sophomore and another Duke Votes member, agreed. “I’m also Hispanic, so I think that plays into my [politics] a lot,” Lane said. “I’m going to care more about immigration than somebody who isn’t a minority.” Sunkara, whose aunt is one of the leaders of the Communist Party in India, said that seeing people like you at the forefront of politics is uplifting. “The police actually beat her once for leading a protest, but she was so courageous about it still,” Sunkara said. “Just seeing how she’s doing so much grassroots organizing and how she has the energy to go about that is so inspiring to me.” While women have the legal right to vote, there are still people who are left out of the political process. For example, Sunkara said that it can be hard for people who work full-time or live far from polling locations to make it to the polls on election day. Voter disenfranchisement disproportionately affects African Americans and those who have been convicted of a felony, Arain added. “Thinking about all the populations who don’t have the right to vote is really important to consider at a time when we’re celebrating the people who do,” Arain said.

We are pleased to announce the Class of 2023 Baldwin Scholars Olwyn Bartis Chaya Brennan Agarwal Arianna Buchanan Dominique Buford Sarah Chang Meghna Datta Emma Frankstein Amber Fu Lana Gesinsky Adela Guo Hana Hendi Claire Kraemer Tina Machado Aaliyah McNeill Mia Miranda Charlotte Navin-Weinstein Gloria Odenyo McKenna Raley


Alliance PAC, the Durham Association of Educators and IndyWeek. However, they were FROM PAGE 1 criticized for a June vote to raise wages of parttime city employees rather than expand the The bond is set to follow the Expanding police force. Housing Choices ordinance passed in September In the end, the three carried the day, 2019, which authorized the construction of earning 20.64%, 20.33% and 19.78% of the more housing units near downtown. vote, respectively. Challenger and local rapper Joshua Gunn Schewel wins in a landslide narrowly missed winning a seat, falling fewer Incumbent Schewel decisively defeated than 400 votes behind Caballero with 19.37% three-time mayoral candidate Sylvester of the vote. Gunn, who is the vice president Williams—running for his fourth time— of member development at the Greater receiving 83.4% of the vote. Durham Chamber of Commerce and sits Schewel ran for his second term on a on the Board of Directors for the Durham platform centered around continuing his work Public Schools Foundation, is a founder of to provide affordable housing to Durham the Black August in the Park Festival and a residents, mainly through the housing bond. strategic partner at “co-working and creative In addition, he aims to expand and improve workplace” Provident1898. public transportation. Criminal defense attorney Daniel Meier Schewel plans to cultivate stronger and former city council member Jacqueline relationships between citizens of Durham and Wagstaff won 9.81% and 9.72% of the vote, law enforcement to build a safer and more respectively, finishing fifth and sixth. inclusive Durham. Beyond the immediate scope of Durham, Schewel has worked to tackle climate change by emphasizing cities’ role and diverting more recyclable materials from landfills. Williams, who serves as a pastor for The Assembly at Durham Christian Center, garnered 15.89% of the vote. Although Williams’ platform also focused on affordable housing, his religious beliefs influenced a firm opposition to controversial issues such as abortion, same-sex marriage and evolution being taught in schools.


The Bull City stays together

Johnson, Reece and Caballero teamed up to run as “Bull City Together,” releasing a joint policy platform. They prioritized housing access and affordability, community safety and sustainability, inclusive economic development and democratic community engagement. Bull City Together received several endorsements, including from the People’s

The Chronicle


Other new features will include the addition of a second entrance in the rear of the building FROM PAGE 1 that leads to a covered terrace as well as collaborative study spaces and technology“We want Lilly Library to be a true hub equipped project rooms. The renovation will for academic engagement on East Campus. also update the building’s heating, ventilation Perkins, Bostock and Rubenstein Library have and air conditioning systems. all been renovated in recent years to add loads Lawton and Hansen noted that the of features that have made them a central place renovation balances “the historic charm for students and faculty to study, research and and intimacy” of the library, such as the collaborate,” Lawton and Hansen wrote. Carpenter, Few and Thomas reading rooms, They highlighted specific features of the with “new modern spaces” like the Co-Lab project that have been designed with input from and project rooms. campus partners. The café is being developed “The architects for this project have been with Duke Dining, the testing space with the incredibly adept at finding that fine line Academic Resource Center, the writing studio between building in new, modern conveniences with the Thompson Writing Program and the and spaces while also respecting the history of Co-Lab—a makerspace—with OIT. the building,” they wrote. “An important aspect of this project is that Over the past few months, the library staff we want it to be a crossroads with other parts of have worked closely with Dewing Schmid campus life that are closely aligned with what Kearns architectural firm to finalize design, happens in the ‘traditional’ library,” Lawton development and funding plans for the and Hansen wrote. renovation, which is expected to wrap up by April 2020. They are currently looking for a smaller space on East Campus to house a temporary library facility for the duration of the renovation. The renovation project has been in the works for several years, dating back to a feasibility study conducted in 2015. This year, the project team has held meetings with various groups to review plans and gather feedback, including around 40 faculty based on East Campus, the First-Year Library Advisory Board, the Undergraduate Library Advisory Board and the Graduate Student Advisory Board. Lawton and Hansen emphasized that the team welcomes student and faculty input. “Although the major aspects of the plans are pretty well fixed at this point, we are always happy to hear from students and faculty about Rebecca Schneid | Associate Photography Editor their ideas on how to improve and refine our The renovated Lilly Library will include a cafe, a writing studio, a testing space and the Co-Lab. approach,” they wrote.

Admission is always free for Duke students.

NOVEMBER ’19 8 FR: THE DIP ($15/ $18 ) w/Erin & The WildFIre 8 Fr: Big Thief w/Palehound @ Haw river ballroom 9 SA: INFAMOUS STRINGDUSTERS w/Kitchen Dwellers 10 su; The New Pornographers w/Lady Lamb, Phil Moore @ haw river ballroom 12 TU: Cursive / Cloud Nothings / The Appleseed Cast 12 TU: TR/ST w/SRSQ @ motorco 13 WE: KIKAGAKU MOYO w/Minami Deutsch ($15/$17) 14 th: Robyn Hitchcock (solo) w/Django Haskins @ the artscenter 14 th: Turnover & Men I Trust w/Renata Zeiguer 15 fr: Allah-Las w/Tim Hill 16 sa: Gaelic Storm 17 su: Crumb w/Divino Niño, Shormey 20 we: San Fermin w/Wild Pink & the Artscenter 22 fr: Sylvan Esso Presents W/Special Guest Molly Sarlé (of Mountain Man) @ DPAC 22 fr: OfFice Hours (LINEUP TBA) 23 SA: Sylvan Esso Presents W/Special Guest Molly Sarlé (of Mountain Man) @ DPAC 23 SA: CAAMP w/Special Guest TBD & the ritz raleigh 25 mo: New Found Glory w/Hawthorne Heights, Free Throw, Jetty Bones 27 WE: La Dispute w/Touche Amore, Empath 30 sa: Daughter of Swords and the Dawnbreaker Band @ THE ARTSCENTER DECEMBER ’19 6 fr: Our Last Night – Let Light Overcome The Darkness Tour w/I See Stars, The Word Alive, Ashland 7 SA: Southern Culture On The Skids 12 th: Twin Peaks w/Lala Lala, OHMME

shows at Cat’s Cradle back room NOVEMBER ’19 7 Th: Blue Cactus W/Tatiana Hargreaves 9 SA: Jack Klatt w/Carter Hodge 10 su: Peter Holsapple Combo w/Charles Latham & The Borrowed Band 12 tu: Black Mountain w/Ryley Walker 15 FR: black midi w/Fat Tony 17 su: EddieFest 2019 (Hammer No More The Fingers, Triple X Snaxxx, John Howie Jr., Secret Monkey Weekend, Elvis Division, & more!) 18 MO: McCafferty & Guardin w/Carousel Kings, thebreathingbackwards 19 tu: Anna Tivel & Maya de Vitry 20 we: King Buffalo 21 th: Thirsty Curses w/Sick Ride, Housterino 22 FR: Travers Brothership w/JULIA. 24 su: Beach Bunny w/Another Michael 27 we: Zebbler Encanti Experience DECEMBER ’19 3 TU: Diamante 4 we: Laura Stevenson w/Adult Mom 5 th: Jump, Little Children 6 fr: Neil Hilborn w/Caracara 7 sa: Solar Halos, Dreamless, Weird God 15 su: Lynn Blakey’s Christmas Show featuring Ecki Heins, FJ Ventre, and Special Guests w/Danny Gotham 18 wE: An Evening with Sam Tayloe (Time Sawyer) & Mike Ramsey

Visit for complete concert LISTINGS 300 E. Main St, Carrboro / 919 967 9053

On view through January 12, 2020 Radiant Tushka (detail), 2018. Repurposed quilt, assorted glass, plastic and stone beads, printed chiffon, nylon ribbon, canvas, acrylic paint, nylon fringe, copper, and artificial sinew; 95 ½ x 64 x 2 ½ inches (242.57 x 162.56 x 6.35 cm). Courtesy of the artist and Kavi Gupta, Chicago. Photo by Peter Mauney. Art for a New Understanding: Native Voices, 1950s to Now is organized by Crystal Bridges Museum of American Art, Bentonville, Arkansas. The exhibition is co-curated by independent curator Candice Hopkins (Tlingit, citizen of Carcross/ Tagish First Nation in the Canadian territory, Yukon), Mindy Besaw, curator of American art at Crystal Bridges, and Manuela Well-Off-Man, chief curator of the Museum of Contemporary Native Arts at the Institute of American Indian Arts in Santa Fe, New Mexico. Support for this exhibition and its national tour is provided by the National Endowment for the Humanities, the National Endowment for the Arts, and the Sotheby’s Prize. This project is supported in part by an award from the National Endowment for the Arts. This exhibition has been made possible in part by the National Endowment for the Humanities: Exploring the human endeavor. At the Nasher Museum, this exhibition is made possible by the William R. Kenan, Jr. Charitable Trust, with additional support from The Nancy A. Nasher and David J. Haemisegger Family Fund for Exhibitions. This project was supported by the N.C. Arts Council, a division of the Department of Natural & Cultural Resources.

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VOLUME 115, ISSUE 23 | NOVEMBER 7, 2019

stay odd, durham ‘Oddville! A Festival of the Awesomely Strange’ came to town, page 6

‘the lighthouse’ beckons Robert Eggers’s latest film is a darkly funny thriller, page 7 recess



What did you do with your extra hour? Nina Wilder ..........................gamble

Kerry Rork ............. defeat sexism

Will Atkinson ...................... brood

Sydny Long ....cry over lighthouse

Miranda Gershoni ....... roll shoots

Jack Rubenstein ............ drink tea

Sarah Derris horoscopes

Selena Qian ............ throw frisbee

Alizeh Sheikh ....................... sleep

Eva Hong ............... (french) revolt

On the cover: Neon Museum in Las Vegas. Photo by Nina Wilder.

staff note My zodiac sign was one of the first things I consciously remember that my mother taught me. Dec. 4, 1998 — I was born a Sagittarius, the archer, a mutable fire sign with a “penchant for travel and the outdoors.” The Sagittarius is often signified with a centaur with a bow and arrow poised for shooting, and is, in general, “idealistic, adventurous and energetic.” Sagittarius is most compatible with Leo, Aquarius and Aries, least compatible with Capricorn, Virgo and Pisces. In many ways, even though I was still young and highly impressionable, I identified with these traits — not on experiential grounds, but through a sort of intrinsic sensibility — and simultaneously internalized them. It goes without saying that astrology has no scientific basis. As one of the oldest forms of

cultural “topos,” the observation of stars has been constant in ancient civilizations both in the East and West. Astrology largely filled practical needs, including predicting floods and famines; these cosmological portents served to satisfy the very human desire to foresee and explain. In astrology’s evolution, it has come to reveal complexities surrounding character, the future and relationship patterns, through the shorthand of the zodiac and its representative symbols, as connected to the cosmos. But on the matter of philosophy, astrology can be approached through its synchronicity — its quality as a series of meaningful coincidences, as theorized by humanist psychologist Carl Jung. In many ways, Jung’s idea of synchronicity is almost convincing — most of my friendships have been with Aquariuses and Leos, and some of my worst enemies, well, Capricorns. Jung also viewed astrology as a

categorization of paradigmatic traits observed by the collective unconscious of all humans. People then become reduced to archetypes, grouped by their positioning on the astral calendar. But the theory of synchronicity seems to offer no more than to acknowledge the perceived significance of coincidences, and to be satisfied with that alone does not feel substantial enough. Astrology’s reliance on signage to communicate its language risks universalizing experiences across cultures. All that I can really ascertain from my sign is a common experience shared between me and others of the same sign — we’re all apparently thriving in our love lives and are struggling professionally — but the social, economic and cultural differences are entirely overlooked. Of course, this is not just an issue with astrology; any form of generalized categorization runs this risk. The multitude of signs and symbols seek to paint a detailed tableau of an individual’s life, but the signs only reveal so much. And as we see them today, they ignore the experiences of non-Western audiences. It’s no surprise, then, that generalized personality descriptors can be so widely applicable yet say absolutely nothing about a person. Astrology fell out of fashion with the rise of theology and, later, science during the Enlightenment. In the late 1960s, the practice experienced a revival brought about by the New Age movement, characterized by a fascination with the supernatural and metaphysical. It became increasingly popular for newspapers and magazines to publish horoscopes, making astrology more accessible to the general public. The New York Times published a series on Nancy Reagan’s fascination with astrology in the ‘80s, which was then filed under “Superstition and Witchcraft.” Though experiencing a resurgence, astrology still had strong links to the underbelly of the occult. Today, astrology is as much a profitable

The Chronicle business as it is a mystical practice or means of assuaging the anxieties of everyday life. Online quizzes and listicles link signs to anything from movie characters to Starbucks beverages to dog breeds. Star signs have become so entangled with personal identity that they appear at the forefront of social media and dating profiles alike. Twitter zealously greeted the recent onset of Scorpio season and the empowerment of the “passionate, vengeful, ouija board-loving” sign-bearers — leaving it to Mercury’s retrograde to spoil all the fun. If before, astrology helped inform patterns of being, now they inform the most frivolous of consumer and social choices. During those early formative years when I first discovered astrology, I did my best to fit within the rigid mould of the Sagittarius, but it became pretty evident that the expanse of my personality could not be contained by generalized descriptors, and as time went on, I considered them silly and pointless. But I have found myself, as of late, consulting my horoscope on a pretty much daily basis, and have been using it as a tool for self-reflection and relaxation. The nice thing about astrology is that it provides a framework for social and personal orientation, but allows the individual to fill in the blanks themselves. You can’t live and die by the positioning of the stars, but it’s nice to have a harmless scapegoat when everything seems to be going wrong. Astrology’s appeal and intrigue lies in its paradoxical nature. It can feel both personal and universal, rational and spiritual, palpable and ineffable. Although I’m not exactly an astrological apologist, in times of great uncertainty, as vast and boundless as the universe itself, I find comfort in connecting small moments in the space of my everyday to the small specks of light where I am reflected in the space of the universe. —Sarah Derris

local arts

Keep it weird, Durham: Finding value in strange art at ‘Oddville!’ By Tessa Delgo Staff Writer

For anyone suffering from strange-art withdrawals in a post-“Untitled 1” world, Durham’s first iteration of “Oddville! A Festival of the Awesomely Strange” was filled to the brim with kindred spirits. Last Saturday, Nov. 2, the art-event production company EJC Art Shows, cofounded by Ezra Croft, put on the one-day festival at downtown venue The Fruit. The festival showcased self-proclaimed “strange” artists who specialize in everything from painting macabre dolls to a ventriloquist act about finding one’s purpose, performed in a hot-dog suit and alien mask. “There’s a saying that goes, ‘Genius is just thinking of something from a different angle,’” Croft said. “I’m not going to say any one thing in particular is genius, but doing things from a different angle — I think it kind of makes you evolve, and for the better.” Tickets were $12 for general admission, but for delving into “weirdness,” the cost decreased. “I’m wearing a costume” cost $10.37. “I brought a grandparent and I’m ready to party” got both of you in for $13.99. For $15.34, I opted for “I brought someone who has no idea what this is” and roped in an unsuspecting, open-minded friend. Upon arrival, my friend and I surveyed the masses of people in animal costumes and bathrobes and felt that we, dressed in jeans and college paraphernalia, were the odd ones out. As we meandered through tarot card readers and jewelry-makers peddling pendants that encased insects in resin, I watched my friend grow increasingly amazed by the people surrounding us. Utterly fascinated by a person dressed in a black morph suit and an infant

mask, she agonized over not having dressed more “weirdly.” “If you can look at something … and think, ‘This is great art, but it’s weird,’ that’s the value of [Oddville!],” Croft said. “Being able to explore why it makes you feel weird, exploring your own feelings, that’s valuable. Art without emotion is — I mean, what is that?” Witnessing the community built between artists and patrons with the giddiness of an attendee purchasing a photograph of a cat

sculpture on a skateboard, I tried to reckon with my own feelings. At that point, I could not quite ascertain a specific emotion any particular piece of art elicited from me, but somehow, knowing that there were people bold enough to make feminist neon art made me feel a little better about the world. En route to the bathroom, my friend and I stumbled upon the tucked-away performance art space, where the aforementioned infantmasked person was dancing jubilantly with

Courtesy of Oddville! “Oddville! A Festival of the Awesomely Strange” showcased self-proclaimed “strange” artists.

a bright pink puppet for a scintillated crowd. Enraptured, I found myself laughing — at first out of awkwardness and utter confusion, but eventually from pure joy. The man behind the mask was Benjamin Martin, the creator and performer of “Poose the Puppet.” The puppet show, based on personal tragedies in Martin’s life, depicts the growth of Poose — derived from the Spanish word mariposa, meaning “butterfly” — a young spirit trying to find her “purpoose” and encouraging others to do the same. “I have realized [that] when I totally set myself free, it actually helps other people do the same,” Martin wrote in an e-mail. “You take everyone’s mind hostage for a moment … and bring them to another world so they can experience the same freedom of existing in the moment as you.” At the end of Poose’s story, Martin pronounces the audience “free” and implores everyone to scream with him and his puppets. “When you let yourself go … you become one with everything and everyone. Strange art is simply opening that door for people to walk through,” Martin wrote. As I participated in the communal yelling, I was finally able to ascribe a label to my feelings toward strange art; as trite as it sounds, I felt genuinely free, at least for the moment. While screaming in unison with 50 strangers at the command of a man in an alien mask, I felt my most human. “It’s hard to step out of your normal ‘fun’ patterns to really discover something that you didn’t know you were interested in,” Croft said. “[Strange art] challenges your boundaries of what you enjoy … but it’s interesting and it’s passionately designed. It jumps out at you, past what ‘normal’ good art would do. It adds something to your soul.”

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‘The Lighthouse’ is a darkly funny examination of masculinity By Sydny Long Culture Editor

Divorced from visuals and performances, Robert Eggers’s screenplays read like landmark pieces of American theater still studied and performed for their enduring relevance. Though ostensibly marketed as horror films, his movies are historical dramas at heart, so deeply researched and written in such dense, archaic language that they serve as roadmaps into specific eras of American history. His debut film “The Witch” was a surprisingly successful glimpse into the dreary, overwhelmingly God-fearing life of a Puritanical family in New England, an atmospheric folktale that rivaled “The Crucible” in its detailed exploration of how religion and gender dynamics foster chaos. In a year of sophomore features — with Jordan Peele and Ari Aster also releasing highly-anticipated second films — the pressure was on for Robert Eggers to once again deliver a chilling, thematic horror-drama. “The Lighthouse” proves that Eggers is more than a book-smart one-hit wonder: he is a veritable force to be reckoned with, a contemporary writer-director with the sensibilities of his ‘70s predecessors and turnof-the-century poets. Filmed with Lynchian black-and-white cinematography and scored primarily by the ambient wails of a foghorn, “The Lighthouse” is a tempest in a bottle, a carefully calibrated psychological thriller posing as if it is out of control. By turns Shakespearean and almost Apatow-ian in its bizarre stabs of comedy, the film effortlessly blends a host of influences — “The Shining,” “The Rime of the Ancient Mariner,” the legend of Prometheus — into something entirely new, drenched in ambience

and bodily fluids. The movie’s premise is simple: two men occupy and operate an island lighthouse in late 19th century New England, barely disguising their contempt for one another. Robert Pattinson is the reserved lackey Winslow working under the rule of his grizzled, abusive boss Thomas Wake, played with delicious contempt by Willem Dafoe. When the relief that was promised to them never arrives, the pair turn to every possible measure — drinking, fighting, dancing — to stave off insanity and cope with their hatred of the other. While “The Lighthouse” is definitely a showcase for Eggers’s direction and writing, it is also a career high for both Dafoe and Pattinson. Tasked with difficult filming conditions and near incomprehensible dialogue, Dafoe and Pattinson tackle their respective roles with appreciable bite, oftentimes disappearing into their characters. Pattinson has effectively shed his reputation as wooden pretty-boy star of the “Twilight” franchise, turning in an initially quiet performance that bubbles and boils into a raging descent into vindictive madness attenuated by his impressive physicality and resentful Kubrickian star. Dafoe is magnetic even in his most repulsive moments, his mad grin and sandy voice transporting his character from mean drunk to a truly tyrannical figure that digs itself under the audience’s skin just as it does Winslow’s own. They never outshine each other though, choosing instead to constantly one-up each other in acts of twisted showmanship until finally burning themselves out in a tremendous, operatic burst. Unlike “The Witch,” which harnessed dramatic irony by revealing that the witch was real long before any characters knew otherwise, “The Lighthouse” purposely keeps its straightforward story shrouded in mystery. Although the

Courtesy of A24 “The Lighthouse” is a tempest in a bottle, a carefully calibrated psychological thriller.

characters are surrounded by endless swaths of sea, they are crammed together into their claustrophobic cabin, every corner of which hides another secret or ominous shadow. The use of light and imagery is hauntingly stellar in its ability to both reveal and conceal, adding another brick to the narrative while ripping another hole through the characters’ psyches. “The Lighthouse” is nearly perfect on a technical level — from the sharp editing to the shiveringly bleak cinematography to the subdued sound design — but it is the film’s weirder tendencies and jarringly sexual themes that make it so uniquely wonderful. Eggers doesn’t shy away from depicting the behavior of men stranded without female company, synthesizing the yonic imagery of pits and mermaid gills with the phalli of writing tentacles and towering lighthouses into a powerful orgy of homoeroticism that eventually teeters into toxic masculinity. Enriched by the

conventions of the time period — Winslow is often humiliated by his chores not because they’re difficult, but because he feels like a “housewife” — the dissection of how men behave when constantly reminded of their animalistic nature and deprived of women to feel superior to plays out with horrific grace in Eggers’s capable hands. A movie with so much slippery nudity and gross-out humor might not seem on par with the epic sailor tales and watershed psychological horror films that preceded it, but “The Lighthouse” is another masterwork from Robert Eggers. Grounded in historical drudgery with occasional striking flashes of fantasy, it is an enchanting exhibition of talent on the part of every cast and crew member, as disgusting as it is compelling. Like a catchy sea shanty, its language is inscrutable and its connotations bizarre, but it will worm its way into even the most guarded brains and stay there.


JASON D E PARLE The Human Story of Global Migration A conversation with Jason DeParle ’82, New York Times writer and author of A Good Provider is One Who Leaves: One Family and Migration in the 21st Century With Prof. Phil Bennett, DeWitt Wallace Center for Media & Democracy

Monday, Nov. 11, 6 p.m. Fleishman Commons Sanford School

Free and open to the public. Parking: Public Policy lot.

Sports 8 | THURSDAY, NOVEMBER 7, 2019

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Blue Devils win battle Did Joey Baker of the bigs in Big Apple play? Box score By Conner McLeod Sports Managing Editor

NEW YORK—Heading into Tuesday night’s contest between Duke and Kansas, much was made about Udoka Azubuike, the Jayhawk Goliath, and how his experience and size would overpower the young Blue Devil forwards. But in an early season grudge match in the Big Apple, Duke came to play, using grit to make up for its lack of size. Despite going down by as much as nine to begin the second half, the Blue Devils outlasted, outwitted and outplayed their opponent to overcome a rough offensive night. “I think we found our identity—hard-nosed, rough [and] tough,” Duke freshman Cassius Stanley said. “It might be ugly, but we’re going to get the dub. We’re going to be very, very, very aggressive.” Stanley’s words rang true especially for fellow freshmen Vernon Carey Jr. and Matthew Hurt, who were tasked with slowing Azubuike. Carey in particular moved his feet well and forced Azubuike to do more with the ball than just bully his way to the bucket. The Jayhawk center turned over the ball four times over the course of the game, as Duke’s double teams forced Azubuike into bad passes and frequent travels. The 7-footer only scored eight points, a testament to both Carey’s presence in the paint and Azubuike’s inability to stay out of foul trouble himself on the other end. Carey, who ended up with 11 points and six rebounds, set the tone down low, continually trying to back down his opponents, even when size was not in his favor. The “tank,” as Duke senior captain Javin DeLaurier calls him, played somewhat of an unsung hero role for the Blue Devils, as his box score did not fully display his impact on the game. “[Carey] wasn’t afraid of the moment at all. Vernon wasn’t scared,” DeLaurier said. “[He] got the ball and went right at him and got his team the win. What more can you ask for than that?” Carey’s bruiser mentality rubbed off on the rest of the team, but maybe not in the traditional sense. Hurt buckled

down and went at his defenders the best way he knew how, with finesse. The Rochester, Minn., native put up Duke’s first five points, utilizing a spin-around jumper from the elbow. While he wasn’t the strongest forward on the court, his offensive skills were unmatched, as his ability to shoot from deep and shimmy his way into an open pull-up jumper kept Kansas’ bigs on their toes. “The confidence that my teammates and coaches have in me to keep shooting really helped me,” Hurt said. “I thought it was a good win and we’re gonna go back pretty happy.” Despite not having the best percentage from the field— Hurt only shot a 4-of-12 clip—his makes were crucial to Duke’s nitty gritty win. One of his 3-pointers gave the Blue Devils the lead down the stretch, helping regain momentum after a Kansas and-one. To round out the trio of banging bigs, senior forward Jack White also provided a spark and a fight to help Duke come away with the win. After knocking down a 3-pointer to help end the Blue Devil scoring drought in the beginning of the second half, White came up with a game-saving steal on the baseline to help close out the game once Duke had the lead. The Australian also received quality time with Azubuike down low once Carey earned a third foul. “[White] actually played better when he got hit in the mouth,” said Blue Devil head coach Mike Krzyzewski. “I thought he got angry.” Getting back up after getting punched in the mouth seemed to be a theme for Duke in its season opener. Time and time again, the Blue Devils found themselves down, but played hard to find that one shot or force that one turnover that would inevitably help them get back into the game to win. The battle of the bigs ended up in Duke’s favor this time around, but Krzyzewski didn’t seemed too surprised by the results. “They have really practiced hard,” Krzyzewski said. “These kids put it in, they did what they were supposed to do…. Overall, we were able to stay fairly fresh defensively. And that’s gonna have to be a key for our basketball team.”

Sujal Manohar | Associate Photography Editor

Vernon Carey Jr. and the Blue Devils came out on top against the imposing Jayhawk bigs, including Udoka Azubuike.

vs. reality

NEW YORK—After a seven-month break, college basketball made its triumphant return Tuesday night, but it seems like the offseason left everybody involved in the sport feeling rusty. The official scorer of the Duke-Kansas matchup at Madison Square Garden is among those still shaking off the cobwebs. The showdown between the fourth-ranked Blue Devils and the third-ranked Jayhawks was high-pressure for a season opener, amping up the nerves for everybody in the building returning to game action. The two teams combined for 44 turnovers, freshmen such as Duke’s Wendell Moore often looked shaky and the official scorer made at least two errors. The first clue came when I glanced at the printed box score postgame, which showed that Blue Devil head coach Mike Krzyzewski used a 10-man rotation, inserting sophomore forward Joey Baker into the contest for less than a minute. I’ll admit, at first I didn’t trust my eyes—after all, the early season rust applies to me also—and assumed that Baker did enter the game. So, as any good sleuth would do, I headed to the box score’s play-by-play to see when Baker supposedly played. Apparently, the Fayetteville, N.C., native came onto the floor for 19 glorious seconds midway through the first half, before exiting with 11:43 remaining and never seeing the floor again. However, what actually happened with 12 minutes left in the first half indicates that Baker never played against the Jayhawks, unless his spirit inhabited the bodies of teammates Jordan Goldwire, Cassius Stanley, Alex O’Connell, Matthew Hurt or Vernon Carey Jr. We all know what happened in this sequence: the official scorer mistook O’Connell or Hurt for Baker, giving Baker credit for a phantom appearance. The official scorer’s regrettable evening did not end there. As SportsChannel8 and WRALSportsFan’s Ben Swain pointed out, O’Connell clearly missed a one-and-one free throw with two minutes left in the first half, but the junior sharpshooter is credited for making both of his attempts from the free throw line. A common saying in sports is that statistics don’t tell the whole story, but during the Duke-Kansas game Tuesday night, they simply told the wrong story.

Derek Saul

Juan Bermudez | Associate Photography Editor

Joey Baker played for Duke according to the box score.

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TURNOVER FROM PAGE 1 all over the court. He loves to play, obviously he’s a great athlete, but he’s just a competitor. Great person to have around, great teammate.... I think that defense and that effort he put in early just translated into him getting into the game and his offense just kind of flowed from there.” Krzyzewski elected to run out a small starting lineup against the Jayhawks, with Jones, Jordan Goldwire and Stanley joining Hurt and Carey in the starting five. Nine Blue Devils featured heavily in the rotation, confirming that Krzyzewski will rely on a deeper rotation than in prior seasons. The quick lineup worked to the Blue Devils’ favor in the first half, forcing 18 Kansas turnovers, including four from the 7-foot, 270-pound Azubuike. However, the second half proved to be a different story for the Jayhawks. After a quiet opening period, Azubuike took over out of the locker room, leading Kansas on an 11-0 run with a thunderous dunk and two assists. An Ochai Agbaji 3-pointer at the top of the key sent the pro-Jayhawks Madison Square Garden crowd into a frenzy, with Kansas taking a 43-37 lead into the under-16 timeout. “We had an emotional timeout, made some subs and what was good was that some of the kids that were in at that time came back in the game, and they were good,” Krzyzewski said. “You don’t find that out until you have a game like this. Are you going to stay in a funk or are you going to respond? We played so hard and well in the first half, and we were just a completely different team for four minutes. Then we came back.” This marks Duke’s first win against Kansas since the 2011 Maui Invitational championship game and its third consecutive Champions Classic victory.

Sujal Manohar | Associate Photography Editor

Sujal Manohar | Associate Photography Editor

Cassius Stanley came alive in the second half, providing a Alex O’Connell led all bench scorers with nine points, much-needed spark for Duke after it fell behind by nine. though he was an inefficient 1-for-6 from beyond the arc.


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Sujal Manohar | Associate Photography Editor

Tre Jones hounded Kansas’ ballhandlers all evening, picking up two of the Blue Devils’ 11 steals.

CLASSIFIEDS ANNOUNCEMENTS What’s Not to Like? 10th Annual Yiddish Songfest to benefit Urban Ministries of Durham. Sunday, Nov. 10, 3 pm. Great concert, kosher refreshments. Trinity Ave. Presbyterian Church 27701. Contact 919-682-7468 or Good music, good food, good cause--WHAT’S NOT TO LIKE?

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The climate crisis is not a commodity The members of the Community Editorial Board are independent of the Chronicle’s editorial staff.

maintains the current operation of the fossil fuel and non-renewable energy industry as the status quo. This

that such profiteering will continue. Dr. Lawrence Baxter, chairman of Duke’s Advisory Committee

is emphasized by Duke Energy Week’s corporationstudded sponsorship list featuring Chevron, DTE Energy, NRG, ExxonMobil, and Duke Energy, all of which face accusations and lawsuits for severe environmental degradation, some on a global scale. This commodification isn’t limited to this event, but rather is intrinsic to the history of Duke long before climate change came into the public discourse. Despite being a separate entity from the University, Duke Energy was founded by James B. Duke after his cigarette companies went under. Ever since, the company has produced millions of tons of coal ash that have leached into North Carolina’s water supply and poisoned communities. The company has explicitly attempted to deny responsibility for clean-up. At the same time, members of the Board of Trustees throughout Duke’s history have invested in environmentally-damaging practices, from Aubrey McClendon whose fortune was built on fracking to David Rubenstein’s investments in oil-and-coal through the notorious Carlyle Group. As the climate crisis initiated by these kinds of profit-seeking ventures grows, so to do the wallets of those that extract dollars from desperation. In our September editorial we highlighted the scramble over dwindling freshwater sources, but examples of such cynical investments, from flood-wall construction to airconditioning, abound. For as long as the primary historical relationship between profit and environment-as-commodity is maintained and not decoupled, it seems likely

on Investment Responsibility (ACIR) succinctly addresses this contradiction: “some investments are quite profitable [for Duke], even though they are borderline uncomfortable for us.” This, alongside the fact that ACIR has continuously rejected student demands for fossil fuel divestment, brings us to the conclusion that it is this relationship itself that must be critiqued and addressed. This relationship isn’t merely an abstraction. Its language, even when expressed in marketable buzzwords of conservation, obscures the actual impacts it has on the livelihoods of people. While students convene for Duke Energy Week, the California fires rage on. While words like ‘sustainability’ and ‘innovation’ are thrown around by keynote speakers from companies like Chevron, our livelihoods burn as a result of the decisions of those same companies. This is not an exaggeration, but merely a reminder that this relationship is real and it is lethal. If discourse on climate change and sustainable energy opportunities remains limited purely to a paradigm of profit, then the discourse is missing the point, whether ignorantly or maliciously. The company and environment may momentarily come in line together, but only insofar as it is a profitable venture. Profit does not care about livelihoods nor the climate—it only cares about its opportunities to expand itself. The only sustainable way out of this is to treat this relationship critically: tomorrow’s future not as a commodity, but a world that needs to be secured.

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his past week, Duke University hosted Duke Energy Week, a week that “brings students, faculty, and industry professionals together for a week of energy events to promote collaboration, knowledge-sharing, and professional networking.” One might assume that, given the grave and worrisome series of climate disasters currently unfolding, the week might focus on the global relationship of energy to climate-change. However, the language of the event’s theme—energy evolution—clearly takes a different tack: businesses need to “adapt quickly in order to capitalize on new opportunities, implement effective strategies, and avoid being disrupted by others.” Some means of new capital could include more ‘energy-efficient innovations’ (a phrase which the organizers use often), but the overall messaging is clear: climate-change might be a disaster, but it also opens up the possibility for new opportunities to invest and profit. This framing posits the climate crisis as a commodity, a belief that reinforces and

hot take of the week “People who like The Smiths are usually obnoxious.”

—Carter Forinash, University News Editor, on Nov. 6, 2019


Direct submissions to:

The Chronicle welcomes submissions in the form of letters to the editor or guest columns. Submissions must include the author’s name, signature, department or class, and for purposes of identification, phone number and local address. Letters should not exceed 325 words; contact the editorial department for information regarding guest columns. The Chronicle will not publish anonymous or form letters or letters that are promotional in nature. The Chronicle reserves the right to edit letters and guest columns for length, clarity and style and the right to withhold letters based on the discretion of the editorial page editor.

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of some of my personal grievances. It’s not a complete list, but off the top of my head here, in bullet point form, goes nothing: To my housemates: I feel like I’m the only one that has been clearing out the lint tray in the dryer and I’m getting tired of saving our house on a weekly basis. I know a friend of a friend who had a dryer catch on fire because of

Sami Kirkpatrick

Inc. 1993

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The Chronicle is published by the Duke Student Publishing Company, Inc., a non-profit corporation independent of Duke University. The opinions expressed in this newspaper are not necessarily those of Duke University, its students, faculty, staff, administration or trustees. Unsigned editorials represent the majority view of the editorial board. Columns, letters and cartoons represent the views of the authors. To reach the Editorial Office at 301 Flowers Building, call 684-2663 or fax 684-4696. To reach the Business Office at 1517 Hull Avenue call 684-3811. To reach the Advertising Office at 2022 Campus Drive call 684-3811. One copy per person; additional copies may be purchased for .25 at The Chronicle Business office at the address above. @ 2019 Duke Student Publishing Company


ou know that Seinfeld episode with Festivus? Not sure if Seinfeld references are still culturally relevant but I think this one is important to my story so I’m gonna go for it and if it doesn’t land, well, the ten people who make up The Chronicle opinion section’s readership base will just have to wait another two weeks for Alex Frumkin’s follow up to his column about bean burgers.


JAKE SATISKY, Editor DEREK SAUL, Sports Editor STEFANIE POUSOULIDES, News Editor NATHAN LUZUM, KATHRYN SILBERSTEIN, Managing Editors LEXI KADIS, Senior Editor MICHAEL MODEL, Digital Strategy Director MARY HELEN WOOD, CHARLES YORK, Photography Editor LEAH ABRAMS, Editorial Page Editor NINA WILDER, Recess Editor CHRISSY BECK, General Manager CONNER MCLEOD, Sports Managing Editor CARTER FORINASH, University News Editor MATTHEW GRIFFIN, University News Editor PRIYA PARKASH, University News Editor MONA TONG, Local & National News Editor ROSE WONG, Local & National News Editor MARIA MORRISON, Health & Science News Editor EMILY QIN, News Photography Editor ERIC WEI, Sports Photography Editor MICHELLE TAI , Features Photography Editor AARON ZHAO, Features Photography Editor MIHIR BELLAMKONDA, Editorial Page Managing Editor MAX LABATON, Editorial Page Managing Editor SELENA QIAN, Graphics Editor BRE BRADHAM, Video Editor

An airing of grievances

Where was I? Right, Festivus. So in this Seinfeld episode, George’s dad celebrates a holiday called Festivus as a substitute for Christmas. There are a couple of marginally funny traditions associated with the holiday but the main one is an “airing of grievances” in which you “gather your family around and tell them all the ways they have disappointed you over the past year.” The reason I bring that up is because I feel like this year The Chronicle Opinion Section has been one big airing of grievances—and I love all of it. Columnists as of late have not been afraid to fire shots at one another: it makes for compelling reading, much needed, in my opinion, for a publication that seems to run articles on a weekly basis about the cat that lives on West campus. As someone who has both fired and received some shots, I like to think that ultimately it’s all in good spirits and that the discourse in most cases positively contributes to the campus discussion on whatever the issue in question might be. More often than not the most memorable columns are the ones you take the most issue with. For example, you may not agree with everyone’s favorite snowflakefighting duo Matthew Noles and Mitch Murphy—I know I personally don’t, but their articles lead me to formulate my own thoughts as to how I disagree with them. I think that’s a valuable exercise. Not the most original of concepts, I know, but I thought I’d at least try to sneak something of substance into this thing before it really derails. On to the derailing: • Since I’ve pretty much said what I wanted to say already, I thought I would end with an airing

a dirty lint tray. Definitely not something we want to mess around with. • To multifactor identification: why don’t you work on Safari for me? • To Amelia Klitenic: Why do you stop and talk with me in Perkins but not at Devines? I thought we were friends, and it hurts my feelings when you don’t want to hear how my week has been going. It’s been going well in case you were wondering. • To Duke Football: you need to be better if you’re going to justify making everyone move their cars from Blue Zone. • To people who like the show Brooklyn 99: have some self-respect. • To my editors, Leah and Mihir: why can’t I use f**k in my columns? F**k is a really important word for comedic phrasing and without it most of my sentences end up sounding like the radio edit of a mildly explicit song. My columns are pretty much just Ceelo Green’s “Forget you.” It just feels antiquated to censor f**k in a 2019 university newspaper, that’s all. HBO lets its people say f**k and HBO is the best at what it does, so like, f***ing let me say f**k. If you would like to write a response to this column please DM Leah or Mihir on any and all forms of social media. Sami Kirkpatrick is a Trinity senior. His column, kinda kidding, runs on alternate Wednesdays.

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I commentary


Making the most of Nasher brunch

t’s November, Mercury is in retrograde and I for one have mapped out the remaining weeks of the semester with a mild but steadily intensifying sense of dread. The semester is flying by, and it’s a good idea to check in with the Food Points Usage Chart. If the food point balance is at all in your favor, it is time for one thing: Nasher Brunch.

Nasher brunch is for those weeks when you realize you’re twenty food points ahead of the suggested amount, or have used a Marketplace guest swipe on an upperclassman and it’s their turn to pay up, or just want to treat yourself. And if you’re going to Nasher brunch, you’re going. This is not a time to hold back or choose between appetizer or dessert, but it is

the 1 am Pitchforks haystack from the night before weighs heavily on the mind (and stomach). On those occasions, the agave roasted beet salad is just as decadent as anything else on the menu. It has more ingredients than I could name, and the combination of different textures makes it feel like so much more than a plate of leaves.

important to follow a gameplan. The first rule (and the most important by far): make a reservation. You can do it online! You don’t even have to talk to anyone! But you gotta have a res. Second: don’t eat breakfast before brunch. That’s like making a sandwich an hour before Thanksgiving dinner is served—it simply isn’t done. Now we’re going to walk through the tantalizing cornucopia of possibilities that is the Nasher Café brunch menu: start with a drink. If you aren’t 21, for the love of orange farmers, wine snobs and art museums everywhere, don’t degrade the Nasher by trying to order a mimosa with your fake I.D. Their lattes and hot chocolates come in mugs the size of soup bowls, and that will be indulgent enough. But if you are 21, you know what to do. App time. While you’re half-listening to your brunchmates exchange lukewarm takes about Tallman Trask’s retirement, smile to the waiter and whisper the magic words: “caprese platter.” In an instant, you’re no longer sitting at this quirky metal table, but lounging somewhere along the Italian coast, worshipping the real Holy Trinity—tomato, basil and mozzarella. I know a restaurant makes a good salad if I, Gretchen Wright, will order a salad at that restaurant. And the Nasher Café makes one of only two salads that I order on campus (the other is at the Loop and contains both chicken tenders and shredded cheese, but you probably guessed that already). Brunch is about indulgence and luxury, but sometimes

The savory sandwiches and sweeter options (like the aforementioned citrus-infused French toast casserole) are all stellar, and sometimes hit the spot just right. But the true stars of the show are the eggs. I believe I have sampled all of the Benedicts, huevos rancheros, hashes and omelets on the menu, or at least all of them that don’t have mushrooms, and I don’t think I could pick a favorite. They’re just that good. When they ask if you’d like to see the dessert menu, the correct answer is a resounding, unequivocal “yes, please.” The chocolate chip cookies are some of the best on campus and the gelato is always a lovely palate cleanser, but there’s really only one clear choice: the chocolate lava cake. A unique kind of primal urge takes hold when you cut into the warm cake for the first time, and I want everyone to be able to experience that rush. At this point, everyone is too full to think straight and we’re all ready to go lay in bed or fight for a table in Perkins. And this is where the Nasher gifts us with a final, unexpected delight: if you pay in food points, the gratuity is automatically applied to the check. When the food coma is setting in, my befuddled, English-major mind doesn’t even have to do math. And that is truly a beautiful thing.

Gretchen Wright CAMERON CRAVINGS Did Michael Che once go undercover as a Liberal White Woman Named Gretchen for a Saturday Night Live bit? Yes he did. Was going to brunch an essential part of that character? Indeed it was. I know my brand, so I can sheepishly own up to it and enjoy a smoked salmon omelet at the same time. The Nasher Café is arguably the highest-quality restaurant on campus. The menu is seasonal, the ingredients are local and the vibe is excellent. Before I jump into a deep analysis, let me lay a couple things on the table. First, I should be honest: I work at the Nasher. I’m a Development & Marketing student assistant, which has absolutely nothing to do with the Nasher Café and quite a lot to do with stuffing envelopes, but my innate bias towards the institution that sustains both my body and my bank account will undoubtedly make itself clear, and I wanted to get it off my chest. Second, I want to emphasize the importance of financial responsibility. No one’s meal plan can support unrestricted Nasher outings, and I cannot be held liable for any first-years blowing through their food points because they read this and threw caution to the wind after their first bite of the Nasher’s baked cinnamon French toast. Easy does it, young padawan. No, the Nasher cannot—and should not—be a daily routine. It should be a grand affair, reserved for birthdays, flunches or dates (I mean, I assume. I definitely have not imagined how perfect it would be to share a cheese plate with a special someone on an open terrace surrounded by tall pine trees swaying gently in the spring breeze. It’s never really crossed my mind).

Gretchen Wright is a Trinity senior who wishes she could teach a house course on the history and socio-political significance of brunch. Her column, Cameron Cravings, runs on alternate Thursdays.

The NCAA’s welcome policy change


magine if during his time at Duke, Zion Williamson could sell his own shoes. I, along with the tens of thousands of crazed Duke fans, would buy and proudly wear them. Without signing any professional team contracts and remaining a Duke student, Zion would have millions of dollars to his name.

Naima Turbes MIND OVER MATTER The NCAA’s recent decision allowing athletes to profit from their name, image, and likeness might make this scenario possible in the future. The ruling is a result of pressure from a California law “Fair Play, Fair Pay” passed earlier this year that gave NCAA athletes in the state the same freedoms. Changes to the policy will go into effect by January 2021 after each sports division discusses and develops more specific rules. Despite the lack of clarity concerning how athletes might benefit, the ruling’s message is clear. Student-athletes should not be pawns for institutional benefits. They deserve to retain the freedom to benefit from their success. To say that I was shocked at the NCAA’s decision would be an understatement. The NCAA notoriously uses its power to give athletes’ incoming money and fame to their respective institutions. Under previous NCAA amateurism rules, schools benefited at the expense of athletes. Too often, the institutions win. If anything, I thought that the NCAA would oppose down the rule in California. Maybe that is why I am excited about the

new rule and conversations about athlete freedoms. Maybe college athletics will see more money in the hands of players. Maybe more successful athletes will finish school. From a gender equality standpoint, some might argue that the rule favors men’s basketball and football. While I do not doubt the greater attention and profit available in

level while college age—such as Simone Biles, Aly Raisman, or Venus Williams— cannot simultaneously receive money and play college sports. Many women are at the top of their sport in terms of success and fame during their college years. Compared to men’s sports, money in women’s professional sports might as well be pennies in a bucket.

Student-athletes should not be pawns for institutional benefits. They deserve to retain the freedom to benefit from their success.

those sports, allowing female athletes to profit from their likeness is a bigger deal. Former UCLA gymnast Kaitlyn Ohashi affirms this idea in her endorsement of the changes. “From experience, allowing... women or Olympic-sport athletes, who... are staying and graduating from NCAA institutions to take advantage of unexpected moments like I had empowers us to help finally earn what we deserve,” said Ohashi. Her words made me think of all the female athletes at the peak of their career while college age. Athletes with the opportunity to compete at the professional

Arguably, college represents the best time for female athletes to profit. There are, however, a variety of potential problems with allowing athletes to profit from their names. This is particularly true in women’s sports, where social media platforms like Instagram, can promote an oversexualization of female athletes. Sports resembles a meritocracy in that wins and losses measure success. Thus, using female athletes’ body image in college as a means of income is frustrating. Is more attention to and money in female college athletics worth potential objectification? In my conversations with Duke athletes

about the ramifications of the ruling, the divide in takeaways was stark. Football players expressed excitement over the ability to make money. “Wait for me to develop my Instagram platform” said football player Dewayne Wade. “I am about to bring in the cash.” On the other hand, players in sports like tennis, field hockey, and track and field almost dismissed the ruling, arguing that it had no significant impact on “minor” sports. “I guess the new rule is good, but at the end of the day, this rule is for men’s football and basketball” said tennis player Chloe Beck. As a track and field athlete, I have no intention of profiting from my name or image while at Duke. The feasibility of making money from my sport in college is so small, especially compared to money in campus jobs or summer opportunities. At the same time, I cannot dismiss the impact and importance of such a rule simply because I have little stake. I am eager to see people like Skylar Diggins or Kaitlin Ohashai in years to come earn money from what is essentially a job. This rule was not meant to disempower institutions but to give athletes more freedom. Before we all get too excited, new ruling raises more questions than anyone can answer at this point. What if Zion could have become a millionaire at Duke? Would he have stayed? I find that people often avoid the conversation about money in sports. My challenge to the NCAA and leaders in this effort is to allow the change in ruling create open dialogue for how money in college athletics can be ethically earned and distributed. Naima Turbes is a Trinity first-year. Her column, “mind over matter,” typically runs on alternate Tuesdays.

The Chronicle




As You Like It

Sheafer Theater Thursday, November 7 | 8 pm • Friday, November 8 | 8 pm Saturday, November 9 | 8 pm • Sunday, November 10 | 2 pm Thursday, November 14 | 8 pm • Friday, November 15 | 8 pm Saturday, November 16 | 8 pm • Sunday, November 17 | 2 pm Join us for a rendering of one of Shakespeare’s most wellknown comedies, “As You Like It.” This classic is a riff on the pastoral genre, where figures of lowly means and meager formal education offer their social but not emotional betters an unencumbered understanding of the world in which to take solace, find refuge, and even fall in love. We have assembled a company comprised of first-year to senior students and have been blessed with the expertise of British actor Jonathan Cullen during our rehearsal process.





RECEPTION & ARTIST’S TALK WITH RENEE JACOBS; Q&A MODERATED BY TOM RANKIN Wednesday, November 13 | 5 pm Rubenstein Library Holsti-Anderson Family Assembly Room 153

SOUTHBOUND: PHOTOGRAPHS OF AND ABOUT THE NEW SOUTH Through Saturday, December 21 All Day Power Plant Gallery

COSMIC RHYTHM VIBRATIONS Through March 1 Nasher Museum of Art

PEE WEE’S BIG ADVENTURE Saturday, November 9 2 pm Rubenstein Arts Center, Film Theater





SHAI WOSNER & ORION WEISS TWO PIANOS Saturday, November 9 8 pm Baldwin Auditorium

DUKE UNIVERSITY WIND SYMPHONY WITH IMANI WINDS Thursday, November 14 7:30 pm Baldwin Auditorium


RUBY FRIDAYS— ALL SEMESTER LONG! (Most) Fridays at Noon Ruby Lounge Rubenstein Arts Center

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.


NOVEMBER DANCES 2019 Friday, November 22 & Saturday, November 23 7:30pm Reynolds Industries Theater

Profile for Duke Chronicle

November 7, 2019  

November 7, 2019