September 26, 2019

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Keohane painting removed ‘Untitled 1’ taken down after student complaints


Professor files discrimination lawsuit against Duke By Mona Tong Local and National News Editor

The humble origins of “Untitled 1” began around 2012— not 2016, as the painting’s placard claimed—according to Fick. He mentioned he was present when the work was created by Dobson, who paints under the Big Trouble Studios name.

A Duke professor of medicine is suing the University for gender and racial discrimination. The plaintiff, Manal Abdelmalek, a tenured professor of medicine and physician at Duke Medical Center in the gastroenterology division, filed the suit against Duke July 3. Abdemalek, who is Egyptian and immigrated to the United States as a child, had been “subjected to discrimination on the basis of her gender and her race/ national origin,” according to her complaint. Duke filed a defense in the case Sept. 13. Michael Schoenfeld, vice president for public affairs and government relations, wrote in an email that as a matter of policy, the University does not comment on active litigation or personnel matters. He added that “as an employer, Duke is deeply committed to equity and inclusion for all faculty and staff.” Stewart Fisher—Abdemalek’s attorney from the Glenn, Mills, Fisher and Mahoney law firm in Durham—told The Chronicle that it will be “a long time” before the court decides the outcome of this case, as the lawsuit is still in its beginning stages. “I really admire Dr. Abdemalek and I think she’s been treated wrongfully, so I look forward to moving forward with her case,” Fisher said. Lawyers from Ogletree Deakins, the firm representing Duke, did not respond to a request for comment. The complaint claimed Duke Medical Center has a “history of favoring men over women [for] promotion and compensation” and a “pattern and practice” of paying male employees and white employees more than female employees and non-white employees who have “equal or better training, experience and performance.” Abdelmalek’s complaint also accused Duke Medical Center of “more readily promoting men over women,” and of denying leadership position opportunities to ethnic minority women with equal or more experience than others. Duke denied these allegations in its answer to the complaint. Andrew Muir, professor of medicine and GI division chair, presented salary equity data for the division Nov. 28, 2017, according to the complaint. The presentation demonstrated that women were being paid at least 10% less than men working in the same jobs. Duke’s answer stated that Muir examined salary equity data and presented his findings but denies that the presentation showed that women are paid less than men. Although the salary data wasn’t sorted by ethnicity, the complaint stated, “on information and belief, nonwhite doctors in the GI Division are paid less than comparable white doctors” and “non-US origin doctors in the GI Division are paid less than comparable US origin doctors.” The complaint also noted that Muir developed a bias against her that was consistent with “historical norms and culture of the Duke University and its leadership.”

See PAINTING on Page 3

See LAWSUIT on Page 4

Nathan Luzum | Managing Editor The painting entitled “Untitled 1” has been removed from Keohane 4B dorm after students complained that it freaked them out.

By Nathan Luzum Managing Editor

Carter Fornash Features Managing Editor

The Louvre displays the “Mona Lisa,” the Metropolitan Museum of Art features “Starry Night” and Keohane 4B dormitory boasts a work of art known as “Untitled 1.” The piece—an abstract work that was created at the Mural Durham Festival—stood near the entrance to Keohane 4B for around two years. However, in response to a post on the Fix My Campus Facebook page and a survey revealing student concerns about the artwork, “Untitled 1” has been taken down and temporarily placed in storage. Multiple students told The Chronicle that the style of the piece elicited a feeling of unease. For senior Lucia Helena Mees, the artwork’s appearance only adds to an already stressful atmosphere at Duke. “It’s just not the sort of relaxing, colorful painting I was expecting to see on a college dorm hallway, and it’s a frightening scene to see late at night,” Mees wrote in an email. “In a high-stress environment like Duke, I’d expect to go home and relax, which is hard when you see paintings like those around.” Artist Joe Dobson, who created the work, acknowledged that the painting might make some people feel uneasy. He explained that he often created works while “sneaking around at night” and that his pieces might reflect some of that energy.

Econ 101 first-years can’t get Dean’s List First-years taking Economics won’t be eligible for Dean’s List.



“So what fits, at least in my humble opinion, in the street doesn’t always translate to the comforts of a dorm, living room, etc.,” he wrote in an email to The Chronicle. “So if [Duke] would ever like to have me back, I’d be happy to paint something with some more of that positive energy, and hopefully bring them nothing but good vibes.” Bill Fick, a lecturing fellow in the department of art, art history and visual studies, was present when the painting was created. He admitted it was understandable that some students might not find it pleasing to the eye, but argued in favor of the work. “I can understand the image not being of interest or folks not liking it, but it’s definitely a very well made spray painted work of art,” he wrote in an email. “Does it have aesthetic value? I definitely think it does and follows a wellestablished tradition of street art and graffiti.” Fick added that if the work ended up being removed for good, he would be “more than happy” to welcome it into the art department’s building.

The origins of Keohane’s iconic work

Women’s basketball schedule released fall


Key matchups include marquee Notre Dame and North Carolina.

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No Dean’s List for Fall first-years in Econ 101? By Glen Morgenstern Contributing Reporter

Students in Duke’s introductory economics course learned about opportunity costs before class even started. Administrators and economics faculty announced in April that the popular Economics 101 course will be graded as a “satisfactory/ unsatisfactory” (S/U) course starting for Fall 2019. But because first-year students are only allowed to enroll in up to 4.5 credits during their first semester, first-year students enrolled in the course this semester cannot qualify for the Dean’s List. “Nobody really thought to look at the fine print for things like Dean’s List,” said Connel Fullenkamp, director of undergraduate studies and professor of the practice of economics, who teaches the class. To make the Dean’s List for Trinity College, undergraduate students must take at least 4.0 credits for a letter grade, and their semester GPA must be among the highest third of undergraduates in Trinity, according to Trinity’s website. S/U courses do not count toward this credit requirement and do not affect a student’s cumulative GPA. It hasn’t been an easy road to implementation of the new grading policy, however. Just a week before first-year move-in, Fullenkamp and administrators still had not settled on a grading policy for the introductory course for Duke’s second-most popular major. Fullenkamp wrote an email to incoming Econ 101 students Aug. 11 claiming that the course would revert back to traditional letter grading because grading on a S/U scale would disqualify first-years from Dean’s List, and S/U courses do not count toward an economics major or minor. The following day, Dean of Academic

Duke professor wins $625,000 MacArthur ‘Genius’ Grant By Nathan Luzum Managing Editor

Sujal Manohar | Associate Photography Editor First-years who are taking Econ 101 this fall can’t get Dean’s List because it’s not a letter grade class.

Affairs John Blackshear corrected Fullenkamp’s email in a follow-up email to Econ 101 students. Although Dean’s List eligibility was still unknown, he wrote the course would be graded as S/U this semester and count toward economics majors and minors. One of the reasons why the Duke economics department switched to S/U grading, Fullenkamp said in April, was to match recommendations from Valerie Ashby, dean of Trinity College of Arts and Sciences, that departments redesign introductory courses to help students see the importance and relevance of their fields. The new system is intended to relieve anxiety related to the transition from high school to college and increase the enjoyment in learning economics, Fullenkamp wrote. “You would think that having the class as [S/U] would reduce some stress, and in some ways, it does because you don’t have to think too hard about the grade,” sophomore Austin Shi, a current Econ 101 student, said. “Realistically, though, when you are still trying to learn material, sometimes you are still [very confused].”

To earn a grade of “satisfactory,” a student must only earn a letter grade of C- or higher. It falls to Fullenkamp, and all instructors of S/U courses, to draw the line that separates the “satisfactory” students from the “unsatisfactory” ones. He promised to “think very hard and very carefully about where the bar should be and what is should represent.” Enrollment in Econ 101 has spiked this semester. Two hundred ninety-one students are currently enrolled in the course, which Fullenkamp said is at least 50 students higher than his previous record high-enrollment for the course. Despite the high enrollment, Fullenkamp hopes that each student earns a “satisfactory” grade. However, there is nothing he can do for the first-year students in Econ 101 this semester who want to make it onto the Dean’s List. “Certainly, the hope is that we can convince the faculty to make some kind of exception or rewrite the rules for making Dean’s List,” Fullenkamp said. “Econ 101 is a mandatory S/U—you don’t get to opt in or opt out of this.”

Duke professor Jenny Tung, Trinity ‘03 and Ph.D. ‘10, is set to receive $625,000 after winning a 2019 MacArthur Foundation Fellowship. Tung, an associate professor in evolutionary anthropology, studies primates and has demonstrated links between social stress and immune system function in macaques. She is one of 26 winners of the prestigious Genius Grant in 2019, and the $625,000 will be paid over quarterly installments for the next five years. However, Tung hasn’t decided yet on what she plans to do with the new windfall. “I don’t know yet. I feel an obligation to try to live up to how MacArthur sees these fellowships: as an impetus to creativity. So I’m trying to figure out what I can do to fulfill that mission,” she said in a news release. “I’m very humbled and very grateful that there are people in my community who value the work my collaborators, lab and I have been doing.” President Vincent Price commended Tung for the new award, which follows her Sloan Fellowship in 2016 and naming to the “Ten Scientists to Watch List” by Science News in 2018. “Dr. Tung is most deserving of this great honor, with her many contributions to evolutionary anthropology over the past decade and the many more she is sure to make in the years to come,” Price said in the release. “We are so very proud she is conducting this work at Duke.”


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Additionally, Abdelmalek complained that Muir denied her a proper salary. In 2016, she requested a salary increase that corresponded to “the amount of money that Duke’s response denied the two she was bringing into the University and what allegations. Muir declined to comment to she understood her white male counterparts The Chronicle. were being paid.” However, Muir blocked her In 2016, Abdelmalek complained to Muir request, according to the complaint. about her treatment by the leadership at Duke. Muir denied Abdelmalek her earned “Dr. Muir responded by telling Plaintiff financial incentives for clinical work and that Duke is a Southern sexist institution research for meeting certain benchmark and that she simply needed to do her best measures, along with cutting her ability to to get along and learn ‘soft skills,’” the do the work that would earn her more such complaint stated. “Dr. Muir told her that payments, the complaint stated. As a result, if she could not conform to these cultural she lost approximately $43,293 in payments norms at Duke, then she should just leave over the next three academic years. the University.” Duke’s answer denied that the University Duke’s answer admitted that Muir and has attempted to justify such actions and Abdelmalek met in 2016, but it denied that gender and ethnic discrimination were that Abdelmalek complained about her motivating factors. treatment and that Muir responded in the The complaint alleged that Abdelmalek way described by the was subjected to Dr. Muir told her that if she complaint. threats of dismissal As a result of could not conform to these and “unjustified her filed charges, disciplinary measures” assertiveness and cultural norms at Duke, then based on “hearsay resistance against the she should just leave the and anonymous institution’s norms, complaints.” the complaint states University. Muir and Mary that Abdemalek Klotman, dean of the complaint filed by manal School of Medicine, suffered “retaliation” abdelmalek put from Duke, which has Abdelmalek attempted to “‘justify’ on a performance adverse employment improvement plan actions against her.” (PIP) in September 2017, which was renewed For example, the complaint stated in 2018. She remained on the PIP as of the that in 2015, Muir delayed Abdelmalek’s complaint’s date. The complaint argued that promotion to the rank of full professor for “there was no substantial justification for two years by advancing his own dossier and placing Plaintiff on either PIP.” that of another male candidate. As a result Duke’s answer acknowledged that of her delayed promotion, the complaint Abdelmalek was on a PIP but denied the noted that she lost additional salary and rest of the allegation. Klotman declined to benefits that would have accompanied her comment to The Chronicle. promotion to the rank of full professor Within the last year and a half, Abdelmalek with tenure. was also allegedly subject to repeated, FROM PAGE 1



unwarranted audits, investigations and heightened scrutiny on the basis of “anonymous allegations.” However, Duke’s answer denied the allegation. The complaint cited tension between her and Muir dating back to 2006—when she began working for Duke—including Muir attempting to serve as her mentor and reporting manager despite being of a lower rank. It mentioned that in 2008, Muir allegedly accused Abdelmalek of “unprofessional” conduct after she spoke in her native language to a patient’s mother who did not understand English. The complaint also alleged that, in 2010, after overspending his research budget, he attempted to take money from her research account to transfer to his own. Duke denied those allegations. It stated that the University “lacks sufficient knowledge or information to form a belief about the truth or falsity” of the complaint’s description of Abdelmalek’s interaction with the patient’s mother. A world-leading researcher of nonalcoholic fatty liver disease, Abdelmalek has published more than 100 papers about the disease in medical journals, the complaint stated. Prior to filing this lawsuit, Abdelmalek had filed three separate, timely charges of discrimination with the Equal Employment Opportunity Commission beginning November 2017, according to the complaint. The EEOC issued a notice of right to sue in April 2019. The complaint stated that Abdelmalek “seeks injunctive relief, monetary relief, compensatory damages, liquidated damages, punitive damages, and attorney’s fees” under federal law.

PAINTING FROM PAGE 1 Fick added that he remembered Dobson’s work was based on artistry in Bazooka Joe, a comic strip character who was often featured on gum wrappers. The piece was created when multiple graffiti artists came to Duke to showcase their techniques, he explained. While the original intent was for the artists to share their styles with students, the outdoor workshop was caught up in a sudden storm and forced to move to a small indoor space— leading to “Untitled 1.” “A couple students came by but to my best memory we just kinda hung out amongst ourselves and painted,” Dobson wrote in an email to The Chronicle. For “Untitled 1,” Dobson drew on many of his usual influences, including spray paint graffiti and freestyle hip-hop, which he sees as “pure art forms” that respond to a specific moment in time. Driven by the desire to create art rooted in the moment, Dobson freestyled the painting, which adapted traditional graffiti letterforms into a cartoonish character. “People tend to respond better to the characters versus the letterforms, even if the same energy, style and techniques go into both,” Dobson noted. While Dobson remembers “Untitled 1” fondly, he did note that the name may be somewhat misleading. “As for the title, I suppose just Untitled versus Untitled 1 would make the most sense,” Dobson wrote. “This certainly wasn’t the first and I’ve painted thousands, in some form or another, to date.”

The rise and fall of ‘Untitled 1’

After the workshop the painting bounced around for a bit, spending stints in the Arts See PAINTING on Page 4

Matthew Griffin contributed reporting.

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you’ll start to realize that the art hanging around Keohane is unique, both in its quantity (we have more than most, if not all, other areas) and content (more student-created art, more variety in its subjects, more styles and forms and media),” Nelson wrote in the email. Almost a week later, he announced the survey results to the Keohane community in a Sept. 11 email, which was also obtained by The Chronicle. The three street-art style pieces in the dorm—including “Untitled 1”—would be taken down and placed in storage pending further student discussion. Gonzalez explained that Nelson consulted him in the process of responding to the concerns, but that the solution was developed by the residence coordinator himself. In the Sept. 11 email, Nelson noted that “Untitled 1” was not universally disliked and that one student had praised the artwork in a survey response. He also announced that an event would be held at the beginning of November for Keohane residents to discuss the meaning of good art. “My hope in this program is not to convince you of anything. I’m not hoping to convince you to like the three street-art style pieces,” Nelson wrote. “But my hope is that you critically engage in an important conversation around space, art, beauty, community, and representation.” Blue Ridge House Council and Maxwell Executive Board will “facilitate a decision” to determine the fate of the three art pieces, Nelson wrote. They can determine to keep the art in its current location, move it, remove it in favor of an empty space or remove it and replace it.

Annex and Allen Building before finding its way into Keohane. The work was first introduced to Keohane in the summer of 2017, Residence Coordinator Jeff Nelson wrote in an email. And there it remained adorning the Keohane walls, until a Facebook post brought the artwork into the limelight. On Sept. 4, senior Cristina Garcia Ayala posted a photo of the piece to the Fix My Campus page, asking whether it was possible for the artwork to be removed. The post has since received 160 likes and reactions as of publication. One day after the post, Nelson sent out a survey to Keohane residents gathering feedback on the painting. The survey, a copy of which was obtained by The Chronicle, asked students about the function of art and the style of pieces they would like to see featured in the dorms. Nelson declined to comment on the survey or artwork to The Chronicle, deferring to Joe Gonzalez, assistant vice president for student affairs and dean of residential life. Gonzalez credited Nelson with working alongside students to spearhead the acquisition of more artwork in the dorms. “I think it’s been very well received for the most part,” Gonzalez said. “Obviously the one painting has generated some concerns from the community, but overall I think people have really appreciated the introduction of the art.” In the email containing a link to the survey, Nelson pushed back on the idea that Student criticisms the art was a “top-down initiative,” explaining Ahead of the decision to reconsider the fate that many of the paintings in Keohane were of the painting, student reactions to the piece acquired by the Residential Life team, which were mixed. includes student-led House Councils. In a survey conducted by The Chronicle— “If you’ve been to other residence halls, on a busy Tuesday afternoon—students

walking past the painting on their walk through Keohane 4B were split on “Untitled 1.” Of 30 students who were asked about the painting, half of them rated the painting a one out of five. Five more—including one student who asked to give a 1.5 to avoid feeling mean, and whose score was rounded up—gave the painting a two out of five. On the other end, many students were more favorable toward the painting, with ten students rating the painting a three or a four, calling it an interesting break from other art in the building. Sadly, at least for the painting’s fans, there were no perfect scores. Mees, the senior who called the work “a frightening scene to see at night,” explained that even though she lives live in Keohane 4E, the art has caught her attention many times when visiting her friends in 4B. She applauded the administration’s response to student concerns. “I think the discussion on this issue was valid since it finally brought students into the conversation, and allowed us to help shape a place that we should feel is our home,” Mees wrote. “It was great to see how quickly the administration responded to our concerns,

and that our opinions are definitely being taken into consideration.” For senior Dina Daas, the piece brought back unpleasant memories associated with childhood TV. “I found the painting to be reminiscent of the artistry in ‘Courage the Cowardly Dog,’ a television show which terrified me throughout childhood,” she wrote in an email. “As a result, I felt that the painting was unsettling and disturbing to me and other members of the Duke community.” The piece also adversely affected senior Alice Reed, who wrote to The Chronicle that she has an anxiety disorder. Whenever she passed by “Untitled 1” for her house course in Keohane, Reed would refuse to look at the work due to increased anxiety and a possible panic attack. She acknowledged that the art has intrinsic value and added that she hopes the voices of students with disabilities aren’t “drowned out” during a potential vote over the pieces.

An effort to expand amount of art

Gonzalez explained that introduction of more art has accompanied renovations of dorms across campus. “Increasing the presence of art in our buildings is something we’ve been pursuing more aggressively over recent years,” he said. “In renovations and new construction projects, we’ve incorporated more artwork than we had previously.” Although there is no official policy governing art in dorms, Gonzalez acknowledged that Housing and Residence Life is striving to create a more formal process for spreading art to dorms, one that he said would draw heavily on Keohane as a positive example. “We certainly want students to support what’s happening in their community and Nathan Luzum | Managing Editor be involved,” he said. “I think this offers the opportunity for that to happen.” The label for the painting in Keohane.

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VOLUME 115, ISSUE 13 | SEPTEMBER 26. 2019

refugiARTE Exhibit features cartoons about the refugee crisis by Latin artists, page 6

jeddah’s tea opens Tea shop finds its space in downtown Durham, page 8

the art of the scam Our complicity in the era of Instagram influencers, page 7


Who was snubbed at the Emmy’s? Nina Wilder .................. amy adams

Kerry Rork ........... paul mccartney

Will Atkinson .................mad men

Sydny Long .................... spacebar

Miranda Gershoni ......... chopped

Jack Rubenstein .........good place

Sarah Derris ................... humanity

Selena Qian ....................jeopardy

Alizeh Sheikh ................... good tv

Eva Hong ...........................friends

On the cover: Morgan Siegel pouring tea. Courtesy of Jeddah’s Tea.

staff note The agony of losing a loved one is at once one of the most universal of human experiences and one of the hardest to concretely define. It is a pain that cannot live in words or gestures, a pain totally unique to each individual, a pain so vast yet so entrenched in the minutiae of daily life. A concept as overwhelmingly nebulous and personal as grief might seem impossible to capture in any context, let alone the fleeting frames of a moving image, but cinema has nevertheless striven to reproduce that pain, squeezing and flattening it into a twodimensional film print. Grief has taken nearly every conceivable shape on the big screen — rivulets of tears, maudlin pop songs, murderous monsters

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— but few forms come close to embodying the true anguish at its core. In the aftermath of suddenly losing my best friend Gwen to a car accident during my senior year of high school, I found myself seeking out a representation of my grief, unable to contend with my hideously explosive reaction to her death and the resulting emptiness. I felt like I did not respond correctly, nor was I mourning the right way. My feelings were refracted and reframed into more palatable expressions onscreen, particularly in the female characters with whom I sought refuge. The women would weep or, more frequently, drop into catatonic states at the outset, their emotions crystallizing so quickly that their make-up was inscrutable. They cried, they compartmentalized, they carried on. Their grief was small enough to fit in a jewelry box.

My search went on for nearly a year and a half before I finally encountered a film that could fit every ugly, unvarnished corner of a woman’s grief — Ari Aster’s “Hereditary.” After finding her daughter’s dead body in her car, protagonist Annie does not react like a typical female character. She screams primitively, hunched over on her hands and knees, inconsolable. Her sobs are not so much cries as guttural sounds of total agony, unaffiliated with any particular emotion. At one point, she shrieks “I just want to die” before lapsing again into screams. Her grief transcends the mere hysteria that might color a female character’s response in a lesser movie: Her grief is tremendous, so intense that its permutations are violent and senselessly destructive. She is undergoing something traumatic beyond measure, an intergenerational ritual of undoing that deprograms her to the point of incapacitation. “Hereditary” was the first movie I saw that accurately encapsulated what it was like to go through that pain. Like Annie, I screamed before I cried, a scream so piercing that it drew every member of my family to my bedroom. I lost my motor control, my spatial awareness; I fell down in the hallway, wailing. I wanted to die if only to escape that awful, crushing feeling of having to relive — in every second, in every breath — the moment of knowing. Grief is a pain strong enough to shake the stars from the sky; Ari Aster conveyed that by letting his protagonist break instead of bending. The theme of grief is also prevalent in Aster’s sophomore effort, “Midsommar,” which includes a scene so similar that I was once again transported to that moment of knowing. Protagonist Dani receives a phone call that her sister has killed herself and her parents, confirming Dani’s fears about her sister’s mental wellbeing that had repeatedly been dismissed by

her aloof boyfriend. The dread of no response, of sending messages that are going unread, is captured perfectly, as is Dani’s response. Like Annie in “Hereditary,” she falls apart: She clings desperately to her boyfriend, wailing like a child and unable to breathe between screams that spill almost unconsciously out of her. Grief again overwhelms her so completely that it eclipses everything else, filling every inch of the frame. Ari Aster has quickly made a name for himself by writing and directing two of the most visually compelling and beautifully disturbing films of the decade, but his movies have never scared me — they bring me to tears. Too often, women are relegated to the background of their own stories, forced to internalize their grief and remain an emotional stalwart for others. In Aster’s films, women grieve loudly and openly. They do not cry prettily. They cope badly with their pain. They are triggered and traumatized. They are torn open and transformed by their losses, never once concerned with appearances or control. The audience is forced to endure every interminable second of these women’s pain, which makes it all the more true to the actual experience. In Aster’s world, grief looks like the inescapable image of Toni Collette contorted on the floor, writhing and wailing in utter excruciation. Grief looks as painful as it is in reality. For a woman whose grief was too great for words, I am comforted by their pain. Like the village women who give Dani the space and support to finally vocalize every awful feeling still attached to her family’s deaths through primal screaming in “Midsommar,” Aster’s female characters validate my grief in all of its ugly, wounded enormity. I am woman — hear me scream. —Sydny Long

campus arts

Sanford’s ‘RefugiARTE’ exhibit reflects on the global refugee crisis By Tessa Delgo Contributing Writer

The Spanish verb refugiarse is reflexive, which means it is a verb done to oneself — in this case, seeking shelter or refuge for oneself. But “RefugiARTE,” an exhibit on display at the Sanford School of Public Policy’s Rubenstein Hall until Dec. 12, is also reflective, imploring the viewer to examine the current global refugee crisis and its humanitarian implications. The exhibit, which is presented by the Duke-UNC Rotary Peace Center in collaboration with the Duke Center for International Development, the Duke University Center for International and Global Studies and the Sanford School, features 20 editorial cartoons, all created by individual Latin American artists. In curating the exhibit, “we were looking for not only something that personally touched us, but art that would get people thinking,” said Susan Carroll, managing director of the Duke-UNC Rotary Peace Center. “[We wanted] to portray refugee situations and … the personal trauma that goes along with making the decision to leave your home, [in hopes] that it would really speak to people and make them think.” The exhibit’s opening coincided with a visit from Filippo Grandi, the current United Nations High Commissioner for Refugees, who gave a talk about the global refugee crisis at UNC’s Memorial Hall Sept. 19. The talk was Grandi’s first visit to an American university. “It was a unique opportunity to not only have [Grandi] speak… but to raise awareness [through art] as well,” Carroll said. “The refugee crisis is one of the big crises of the world right now, so rather than just having someone give a talk, we were trying to create other opportunities around it. It seems to be promoting a lot of discussion, which is exactly what we would’ve intended.” The cartoons featured in the exhibit are displayed without explanations from the artists, because they are “really meant to get you thinking,” according to Carroll. “We didn’t want [pieces] that were necessarily obvious, but also nothing that was so opaque that you couldn’t quite figure out what they were,” Carroll said. “We wanted to make sure there was a variety of ideas and concepts represented.”

Omar Zevallos | Courtesy of RefugiARTE “RefugiARTE” features 20 twenty editorial cartoons, all created by individual Latin American artists, such as the one above.

Each of the 20 pieces was rendered in the artists’ unique perspective on the refugee crisis. Some took a more satirical, comedic approach, while others communicate a decisively somber tone. “I think this refugee issue is very serious and it is very painful for [those] who are in this situation,” wrote Jean Galvão, a Brazilian cartoonist whose work is featured in the exhibit, in an e-mail. “So I drew the world with no place for them, as if it had an end. There is no entrance to a better life, there is only an abyss of humanity.” In his talk at UNC, Grandi called for an increase in humanity with regard to the global refugee crisis. According to Carroll, one of the chief suggestions Grandi offered as a way individuals can aid in the crisis is getting to know refugees and “learning their stories.” Getting to know a refugee’s situation “can change the way people think,” Carroll said. “Becoming a little more

compassionate, realizing that [refugees] are humans who had to make a really horrible decision to keep themselves and their family members safe.” Members of the Duke community have ample opportunity to get involved in aiding the refugee crisis. Two NGOs that the Duke-UNC Rotary Peace Center works with, Church World Service and World Relief Durham, are a 10-minute drive offcampus. Additionally, the Office of the Provost’s fall forum is centered around “Immigration in a Divided World,” and will host multiple events focusing on the refugee crisis. The “RefugiARTE” exhibit is a featured event in the forum. “We’re bringing attention to a big, tragic problem, so it’s not like you can look and smile at anything, but I’m grateful to see that people are interested in this, and that they’re seeking it out,” Carroll said. “There’s a lot we can all do, and if [“RefugiARTE”] prompts people to take that more seriously and think about ways that they can have an impact, then that’s all good.”

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Trick mirrors, orchid crowns and jawlines: The art of the scam By Stephen Atkinson Contributing Writer

I have a time limit set on my Instagram use. Some days, as I’m lying in bed, aimlessly scrolling through images of burnt-orange sunsets and golden retrievers, a notification will command my vision and fill me with guilt — but only briefly. Often, in the instant my eyes mindlessly scan over the reminder that I’ve “spent 15 minutes on Instagram today,” my right thumb lunges toward the “OK” button, and the notification disappears. I move on, only slightly deterred in my dead-eyed scrolling. What am I looking for when I spend 15, 20, 30 minutes — maybe even an hour — on Instagram? I can’t say. In her recently released essay collection “Trick Mirror,” New Yorker staff writer Jia Tolentino writes that when it comes to social media, we’re like lab-rats, pressing a lever that only rarely and irregularly dispenses a reward. Most of the time we get nothing: We scroll and scroll and, unsatisfied, we continue scrolling, “pressing our lever over and over in the hopes of getting some fleeting sensation — some momentary rush of recognition, flattery or rage.” Viewed this way, Instagram looks a lot like a scam. We give the app our last few minutes before falling asleep, our caption-producing faculties and our carefully curated self-branding. In return, we receive little to no reward (and, according to studies, a lot of anxiety), while companies profit off of us — unless, that is, we engage in the very system that scammed us, and scam back. That’s essentially the job of the social media “influencer” — a new professional breed that shapeshifts to the whims of the internet landscape and profits off of empty promises. Popular culture offers many examples of the most disastrous and visible of these influencer scams. There was Fyre Festival in 2017, which for lofty prices promised a luxury festival experience, yet resulted in thousands of wealthy millennials stranded on a rugged Bahamian beach with nothing but rain-soaked tents and skimpy sandwiches. Then, this year, a determined journalist tweeted an elaborate takedown of Caroline Calloway, a popular Instagram lifestyle influencer and blogger. Calloway’s “speaking tour” (tickets only $165) yielded one four-hour event in Brooklyn, where the promised “orchid crowns” were individual flowers, the “mini-gardens” were near-empty mason jars and the “creativity workshop” was, according to one attendee, nothing they couldn’t have found on the internet. The drama continued when, just this month, Natalie Beach, Caroline Calloway’s former friend and ghostwriter, published an intimate — and entertaining — narrative

of the influencer’s rise to fame, highlighting her lies, coercions and signs of unstable mental health. Caroline Calloway is a particularly compelling scammer because she very nearly acknowledges the full extent of her harm. She fits it into her brand of authenticity: She’s just a woman, forging her way in the world, who happens to make some mistakes — and she’s really sorry for them! Her Instagram bio currently reads, “No, not that one. The other scam. The one you love.” She still posts multiple times a day; sometimes she’s apologizing, sometimes she’s pleading with Natalie Beach for reconciliation and sometimes, clad in a fashionable loose-fitting sweater and surrounded by vines that chaotically sprawl across the walls of her Brooklyn flat, she’s posting mirror selfies. Whatever she’s doing, it works. She gained close to 15,000 followers in the week following the supposedly image-damaging tell-all. Below her posts, commenters leave hearts and incite her to “YUP, get it gurl,” just like before. The recent Hulu documentary “Jawline” presents a more complicated scamming narrative than Twitter take-downs. Amid pastel-pink hues and ethereal synthesizers, the camera follows aspiring “broadcaster” Austyn Tester, a 16-year-old boy living in poverty in Kingsport, Tenn. In his live videos online he repeats sweet, vague words of encouragement to his overwhelmingly tween-toteenage female audience. “Be yourself … follow your dreams,” he seems to repeat endlessly. At the same time, as Variety writer Amy Nicholson points out in her review of the film, Tester is part of a “authenticity-industrial complex”: While he tells his fans to be true to themselves, he dons the same “shag haircuts and plastic smiles” of all the other young male internet celebrities. “Influencer culture,” Nicholson writes, “is a pyramid scheme of positivity. Boys boost their own happiness by getting likes for telling other people to be happy while masking their own depression.” Still, what if this pyramid scheme … works? At the bizarre concerts shown in the film — in which internet celebrities mostly stand on a stage (save for a selfie here, a backflip there) in front of high-pitched screaming hordes — girls recount earnestly in interviews how internet broadcasters have made their lives better. These teenage celebrity boys are better friends than any they’ve had, even if only accessible through a screen. It’s easy to view these spectacles of scam culture from behind the safety of our glass-protected phone screens. We may laugh at the people who fell for Fyre Fest, dismiss Instagram personalities as vapid and talentless or scorn fangirls. But the idea that we’re not mixed up in all this too — that we, as consumers of media, aren’t complicit —

Nina Wilder | Contributing Graphic Designer Caroline Calloway is one of the internet’s many scammers.

is a delusion. It’s nearly impossible to engage in social media and not scam people with a narrow or blatantly false version of ourselves. When I dove into Caroline Calloway’s Instagram account, I expected to find a few quotes in a few minutes and jump back out. But instead, I scrolled and scrolled. According to my screen time statistics, it was an hour and a half later that I returned to the real world. These influencers scam us — in big and small ways, with potentially positive and disastrous consequences — just like the internet as a whole scams us, and just like we, knowingly or not, scam others online. But as long as we try to see the promised orchid crown for what it truly is — a single, wilting flower — we can navigate online scam culture with a little more self-awareness, constantly reflecting on how we contribute to the system.

On the decay of punk rock and Blink-182’s final album ‘Nine’ By Skyler Graham Contributing Writer

Anti-establishment music has defined Western teenage culture for decades: From rock & roll to punk rock to hip-hop, the voices of youthful rebellion consistently dominate the music industry. But do these voices prevail as artists grow out of adolescence? How does maturity impact music designed for teens of past generations — kids who now have their own kids? Last Friday, pop-punk band Blink-182 released its ninth and final album, titled “Nine.” Combining modern pop sounds with emotional lyrics of punk music, “Nine” attempts to revive the buried art of punk rock. Unlike Blink’s 1999 hit album “Enema of the State,” flaunting aggressive guitars and raw voices, “Nine” exhibits a fragmented, and admittedly artificial, attempt to piece together ‘90s pop rock with current production techniques. It displays the decay of pop punk and the struggle to create a nostalgic sound while appealing to modern markets. Pop-punk is a sub-genre of the punk rock movement. Beginning in the early 1970s, punk rock bands such as the Ramones and the Sex Pistols channeled the anti-establishment messages of the hippie movement into highly energized cries of teenage rebellion. Buzz-saw electric guitar riffs, punchy drumming and seditious lyrics defined the sound of the movement, as safety-pinned t-shirts, black leather jackets and ripped jeans defined its look. Using music and fashion to push gender boundaries and defy societal expectations, punks found community in nonconformity; a commitment to non-commitment.

The explosion of pop music shadowed punk rock throughout the 1980s. Sub-genres of punk, however, were only emerging: Grunge music — angsty, unpolished, unapologetic garage ballads mastered by bands such as Nirvana and Stone Temple Pilots — boomed in the early ‘90s. Grunge was not only an outlet for the perils of adolescence, it was a reflection of the individualism and sociopolitical apathy of Generation X. With Kurt Cobain’s raspy moan to “come as you are,” that was all you had to be: Not what your parents wanted you to be, not what school wanted you to be and not what businesses wanted you to be — just what you wanted to be. Throughout the late 90s and early 2000s, a brighter version of punk music evolved: pop punk. Bands including The Offspring, Sum 41, Green Day and Blink-182 used simple melodies, vulgar lyrics and loud, unfiltered voices to bring garage angst to a wider audience. The melding of rebellious punk

styles with catchy pop rhythms was irresistible to the adolescent psyche. It was a creation of pop punk not only as musical development, but as cultural rebirth. Cynical post-9/11 songs such as Green Day’s “American Idiot” and Sum 41’s “Still Waiting” reflect the revival of anti-establishment themes after a period of political apathy. While pop punk contains similar attitudes and styles to its grunge predecessors, the fact that it is equally part pop as it is punk displays the inevitable transition to mainstream styles within the music industry. Fall Out Boy and Panic! At The Disco, for example — once the poster children of ‘emo’ culture — have gradually shifted to pop styles to gain airplay and expand their fan base. While these are valid reasons to change musical styles, they are also destroying rock music. This destruction is epitomized in Blink-182’s “Nine.” “Nine” is a self-aware farewell to the band and the pop punk era. The hi-fi, auto-tuned sound of

Kerry Key | Courtesy of Flickr Blink-182, pictured above, performing in the early 1990s at the Soul Kitchen in El Cajon.

“I Really Wish I Hated You,” for example, presents a dramatic difference from the lo-fi garage-band sound of the band’s earlier music. The use of reverb and other pop elements, though demonstrating musical development, diminishes the angst and rebellion that defined Blink’s career. There is, however, an acknowledgement of its past and present sound. “Generational Divide” anxiously asks the audience, “Are we better now?” and “Blame It On My Youth” finds a middle ground between modern music and punk rock roots, highlighting the comfort of music in a world reeking of alcohol and despondence. Even “On Some Emo Shit,” with its artificial melody and synthetic drum beats, contains the melancholic and self-deprecating lyrics reminiscent of their late ‘90s hits. Although evidently produced in 2019, the lyrics invoke the same message that put Blink-182 in the spotlight 20 years ago: We all deal with heartache and stress and a longing to preserve our youth. We all feel isolated sometimes, but you are not alone. Since lead singer Tom Delonge’s 2015 departure from the band, Blink has lost its nasally whining about heartbreak and maturity. Delonge’s signature sound didn’t make Blink incredible — it made them relatable. And in their new album, there is still a lingering sense of relatability, just not for teenagers. But how could anyone expect teenage angst from a group of middle-aged men? Why should we expect the pop punk sound of the late ‘90s to prevail in 2019? As artists mature, so does their music. Perhaps changing musical styles over time is not about conforming to mainstream artists, but about rebelling against the past. This divergence is the essence of punk rock: a commitment to non-commitment.

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local arts

Jeddah’s Tea opens in downtown Durham with community help By Jack Rubenstein Culture Editor

The inception of Jeddah’s Tea is a quintessential underdog story. In 2018, Morgan Siegel, along with her now ex-husband Wael Suliman, started Jeddah’s Tea with a $250 loan from her mother to vend at Durham’s annual Juneteenth celebration. Siegel and Suliman were so strapped for cash at the time that, according to their Kickstarter campaign, “The morning of the event, we were literally looking under our dressers, rummaging through our pockets and taking our kids’ older clothes to consignment stores so that we could afford change and ice.” The stand was a hit. In the months that followed, Jeddah’s began selling tea to local coffee shops and eventually opened a popup shop at The Pinhook, as well as a series of subsequent pop-ups throughout the Triangle. With the help of the community, including the Kickstarter campaign that generated over $20,000, Jeddah’s flagship store in the heart of downtown Durham had its soft opening this past Saturday, coinciding with CenterFest Arts Festival. When I sat down with Siegel at the new tearoom, she emphasized her gratitude for the community’s help. “It took a lot of work and a lot of community support to get me to this space,” Siegel said. “We had a really successful Kickstarter. There are many organizations that had our back, people in our corner, so Durham really has felt like a warm hug since I’ve been here. I’m excited to have a future here and raise my kids here and just be in Durham because it has been such a great community.”

SEPTEMBER ’19 26 TH: THE MOTET w/Mellow Swells 27 FR: RIDE w/The Spirit of The Beehive 28 SA: ABBEY ROAD LIVE! (50th Anniversary of “Abbey Road”) 29 SU: CARRBORO MUSIC FESTIVAL (Free show, 4 pm -midnight) October ’19 1 TU: MT JOY w/ Susto (sold out) 5 SA: ELECTRIC SIX 6 SU: BUILT TO SPILL 7 MO: LUNA performs PENTHOUSE 10 TH: WITT LOWRY w/Xuitcasecity ($16/$18) 11 FR: VIOLET BELL - Album Release show ($10/$12) 12 SA: LANGHORNE SLIM & THE LOST AT LAST BAND w/Katie Pruitt and Kate Rhudy ($18/$20) 16 WE: MELVINS / REDD KROSS w/Toshi Kasai 17 TH: Watch What Crappens ($25/$28) 18 FR: RA RA RIOT ($17/$19) w/Bayonne 19 SA: MOONCHILD ($22/$25) 22 TU: NOAH GUNDERSEN ($17/$20) 23 WE: OH SEES w/ Prettiest Eyes, No Whammy 24 TH: KISHI BASHI 25 FR: STIFF LITTLE FINGERS w/The Avengers 26 SA: Knocked Loose NOVEMBER ’19 8 FR: THE DIP ($15/ $18 ) w/Erin & The WildFIre 9 SA: INFAMOUS STRINGDUSTERS w/Kitchen Dwellers 12 TU: Cursive / Cloud Nothings / The Appleseed Cast 13 WE: KIKAGAKU MOYO w/Minami Deutsch ($15/$17)

She also unpacked the meaning behind the tearoom’s name. “Jeddah is actually [my ex-husband’s] grandmother,” Siegel said. “She had a tea shop in Northern Somalia, in Hargeisa. We wanted to pay homage to her. She was a force; she was an entrepreneur in a time that was really difficult, in a space that was really difficult, [as] a single mother.” Jeddah’s offers over 40 varieties of tea, including house specialties like the Dallo Blend, a Somali black tea with cardamom, cloves, ginger, black peppercorns and cinnamon, and Lavender Rooibos, a South African redbush tea blended with lavender. The shop is currently selling five of those 40 teas — Dallo Blend, Maghribi Mint, Shahy Nana, Hibiscus Chamomile and Lavender Rooibos — in oneounce tins to take home. Sourcing the tea is an important part of the process, one that Siegel takes seriously. “I source directly,” Siegel said. “It is really important to me to ensure that we are serving fair trade, organic, pesticide-free [tea], and the conditions of the people working on these farms are adequate because in agriculture there is so much pseudo-slavery. We don’t want to be part of it, so that’s why it is important to have at least a secondary connection to the farm, with a person you directly know and trust.” While most coffee shops relegate tea drinkers to London fogs and chai lattes, Jeddah’s can make any of its teas into a latte, and the Indonesian black tea latte was possibly the best tea latte I have ever had. For food options, Jeddah’s offers pastries from the acclaimed East Durham Bake Shop and a French-Algerian baker based in Morrisville. Jeddah’s Tea is located in the old Herald

Courtesy of Jeddah’s Tea Founders Wael Suliman and Morgan Siegel at Jeddah’s Tea, located in downtown Durham.

Sun building downtown, two doors down from The Parlour ice cream shop and neighbors with soon-to-open Zen Succulent. The space is simply stunning, outfitted to look like an old-world teahouse by the local design firm Nomadic Trading Company. The centrallyplaced long communal table and purposeful lack of Wi-Fi help Jeddah’s achieve one of its main goals of fostering community,

inspired by the sense of community Suliman’s grandmother was able to create at her tea shop in Somalia, and later Saudi Arabia after fleeing the Somali Civil War. “I see us providing a space for people to gather,” Siegel said. “We can foster communication and dialogue between people who may not otherwise have conversation. Why not do it over a cup of good tea?”

shows at Cat’s Cradle back room September ’19 26 TH: PALM PALM (J Roddy Walston’s new band) w/Secret American 27 FR: Leslie Stevens ($10/$12) w/Michael McArthur 28 SA: ELLIS DYSON & THE SHAMBLES / Noah Adams & the Louisiana Natives (FREE SHOW/ CMF Kickoff) 29 SU: CARRBORO MUSIC FESTIVAL HIP HOP STAGE 30 MO: JONAH TOLCHIN October ’19 Oct 1: THAT 1 GUY 2 WE: B BOYS w/ Family Vision 3 TH: BLANCO WHITE w/Shey Baba 4 FR: VEGABONDS 5 SA: TYRONE WELLS w/Dan Rodriguez 8 TU: ELIZABETH MOEN OCT 9: Elder Island w/ Dirty Nice 10 TH: CHARLIE PARR ($15) w/Josh Moore 11 FR: HANK, PATTIE & THE CURRENT 12 SA: O’Brother ($14/$16) 15 TU: Mike Watt & the missingmen ($15) 16 WE: Cactus Blossoms w/Esther Rose ($15) 18 FR: SWERVEDRIVER w/Milly 19 SA: John Howie Jr & Rosewood Bluff 23 WE: CITY OF THE SUN w/Old Sea Brigade 24 TH: Driftwood 25 FR: Hovvdy, Kevin Krauter, and Caroline Says ($12/$14) 26 SA: CAT CLYDE ($12/$15) w/Jamie Drake

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

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at The Chronicle’s online guide to living near Duke.

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SATURDAY, SEPTEMBER 28 2 PM & 4 PM (rain date October 5)

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Highlights from Blue Devil Preseason Media Day By Derek Saul Sports Editor

Michael Model Associate Sports Editor

Evan Kolin Assistant Blue Zone Editor

“This group is more old-fashioned. We have to blend the old and new. I really like this group and that dynamic. Javin [DeLaurier] and Jack [White], they help these young guys, and [last year], what are you going to help Zion with?”

Though summer just officially ended, basketball season is officially here. Monday afternoon, the Blue Devils hosted their Preseason Media Day, a day before practices for the 2019-20 season begin. Here are some highlights from the afternoon:

Wendell Moore on his style of play “The big thing for me is being versatile. I’m really someone who can do anything on the floor, whether it is defend, score, make others better or get them involved. That’s really everything that needs to be done.”

Tre Jones on Instagram posts and return “It was a pretty easy decision for myself to come back here. There is no place like Duke. As far as basketball goes, to be able to play for the greatest coach again, and to be able to be with a group of guys like this, it’s tough to pass up…. It wasn’t a tough decision for myself. I knew pretty early after the season what I wanted to do and there was no reason to test the waters.”

Joey Baker on learning from guarding Cam Reddish and R.J. Barrett last season “Those are two lottery picks. To practice against them every day, you’re either going to get destroyed or fight and figure it out. That’s what I did. I think as the season went on, I got a whole lot better. Guarding other people isn’t as bad as guarding R.J. and Cam.”

Michael Savarino on getting his Duke offer “There was one instance in sixth grade where [Coach K] sat my brother and I down and said, ‘If either of you want to walk on, that opportunity will always be there.’ I don’t think he remembers that conversation, but—trust me—I remember that conversation.” Mike Krzyzewski on the dynamic of this year’s team compared to last year’s

Mike Krzyzewski on Matthew Hurt’s defensive prowess “Defensively, Matthew’s ahead of [all the other freshmen]. He can guard the perimeter and bigs and he really has great concentration on defense already.” Mike Krzyzewski on Tre Jones’ new role “I don’t think he was reluctant to shoot, I think he overpassed last year…I want him to produce scores, whether he’s passing them or not. He’s become a really good layup-maker.

Charles York | Photography Editor

Tre Jones will take on a role as a leader on and off the court for Duke this season. If you’re going to be a really good point guard, then you have to make layups, and so much of it is having that balance...and different angles…. If we’re going to be really good, he has to be really good.” Alex O’Connell on gaining 10-15 pounds “With strength comes confidence, so I’m

excited to just be more aggressive and really open up my game a little bit more and do more of the stuff I know I’m capable of doing.” Javin DeLaurier on continuing late-season success See PRESEASON on Page 13


Scouting the opponent: Duke after first win vs. Hokies since 2015 By Evan Kolin Assistant Blue Zone Editor

Four years ago, Thomas Sirk and No. 23 Duke clinched bowl eligibility with a quadruple-overtime, 45-43 victory against Virginia Tech in Blacksburg, Va. Since then, the Blue Devils are 0-3 against the Hokies. Quentin Harris and company will try to replicate that 2015 victory this Friday at 7 p.m. at Lane Stadium for Duke’s second consecutive road matchup. Virginia Tech’s record has steadily declined since Justin Fuente took over for the legendary Frank Beamer, with the Hokies’ 10-4 finish in Fuente’s first year dropping to 9-4 in 2017 and 6-7 last season. Still, this week’s showdown at Lane Stadium presents as tough an environment as Blue Devil head coach David Cutcliffe’s squad will see this year. “I think as an athlete, every player likes those environments,” Cutcliffe said of playing a program like Virginia Tech. “Hats off to them, Frank Beamer, all of the history, the Virginia

Tech fan base, the university. They have built something up there really special.” Virginia Tech’s entire roster sprinting onto Worsham Field to the tune of Metallica’s “Enter Sandman” is only the beginning, though. From there, the Blue Devils will be tasked with stopping an offense that dropped 31 points on them a season ago en route to Duke’s first loss of 2018. That heartbreaking defeat at Wallace Wade Stadium came mostly as a result of the Blue Devils’ inability to stop Virginia Tech’s passing attack. Hokie quarterback Ryan Willis’ explosive effort of 332 yards and three touchdowns, Duke’s struggles to rush the passer and Virginia Tech’s size advantage against an injury-depleted Blue Devil secondary led to the defeat. “The toughest thing is [Virginia Tech is] always really good in the offensive line,” Cutcliffe said. “So to create pass rush, you can pressure, you got five-man rushes, you got sixman rushes and on rare occasions seven-man. See SCOUTING on Page 13

Mary Helen Wood | Photography Editor

Quentin Harris and the Blue Devils look to extend their winning streak to three games.


The Chronicle


Blue Devils release full 2019-20 schedule By Spencer Levy Sports Features Editor

After a disappointing 2018-19 season, the Blue Devils return the majority of their core from last season and will look to make their way back to the NCAA Tournament. Now we know who stands in Duke’s way. Back in late July, the nonconference schedule was made public. Then on Tuesday morning, the ACC schedule was announced, and the 2019-20 season’s slate was officially set in stone. After the Blue Devils encounter three nonconference opponents that made the NCAA tournament last season— Texas A&M, South Carolina and Florida Gulf Coast—Duke will take on seven ACC foes that accomplished that feat a year ago. Key matchups: 1. Jan. 2 vs. Wake Forest After a road contest against Florida Gulf Coast Dec. 28 to conclude the nonconference slate, Duke will return home to Cameron Indoor Stadium against Wake Forest Jan. 2. The Demon Deacons finished last season with a 10-20 record and earned only one conference victory. In the two matchups between the in-state opponents, Duke won by 14 points at home and then Leaonna Odom’s 20 points led to an 11-point win on the road. 2. Jan. 5 at Louisville/Jan. 9 at Virginia After the quick home stint, the Blue Devils will return to the road for a pair of matchups with Louisville and Virginia Jan. 5 and Jan. 9, respectively. The Cardinals enter this season off of a 34-win Elite Eight run halted by a seven-

point defeat to Connecticut. Duke lost its only matchups with Louisville and Virginia a year ago. 3. Jan. 16 vs. Notre Dame In the second and final game of the short homestand, Duke will host defending national runner-up Notre Dame, who bested the Blue Devils in South Bend, Ind., last February. The Fighting Irish made history last April as they became the first program to have all five starters selected in the first 20 picks of the WNBA Draft. But Notre Dame did bring in two of the premiere freshmen in this year’s freshman class and will look to continue its success under Hall of Fame coach Muffet McGraw. 4. Feb. 24 at North Carolina State In their third-to-last game of the season, the Blue Devils will make the short trek to Raleigh to face N.C. State in the 15th annual Play4Kay game on ESPN2, a contest that honors former Wolfpack coach Kay Yow to raise awareness of and money for women’s cancers. The Monday, Feb. 24, meeting will be one of the most anticipated on the season, as N.C. State enters this season after a 28-win campaign that ended in the Sweet 16 with a loss to Iowa. 5. Feb. 6 vs. North Carolina/March 1 at North Carolina Last season, the Blue Devils swept the Tar Heels in convincing fashion with a 16-point road win followed up by a 18-point victory at home against a tournament team. North Carolina hired a new coach in former Princeton head coach Courtney Banghart. The current Tar Heel coach led the 2014-15 Princeton team that went undefeated through the regular season and the first round of the NCAA Tournament, before falling to top-seeded Maryland in the second round.

Henry Haggart | Assistant Sports Photography Editor

Coach McCallie and company have their slate set in stone.

Have questions for The Chronicle? Ask us what you want to know about Duke and Durham at

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SCOUTING FROM PAGE 11 But to depend on that is never what you hope, so some guys have got to win some battles.” Damon Hazelton Jr.—the Hokies’ 2018 leader in receiving yards—has been sidelined for Virginia Tech’s first three games due to a hamstring injury and is questionable for Friday’s contest. Meanwhile, Eric Kumah—the team’s second-leading receiver last year—transferred to Old Dominion following the departure of receivers coach Holmon Wiggins. But tight end Dalton Keene—who broke free for a 67yard score against the Blue Devils last year and finished 2018 as an All-ACC Honorable Mention—returns to join freshman Tavyion Robinson, junior Hezekiah Grimsely and sophomore Tre Turner, who have emerged as the Hokies’ other top targets to begin the year. After three consecutive blowouts to begin Duke’s 2019 campaign, Virginia Tech the Blue Devils’ regrouped secondary needs a kind of test like Virginia Tech. “We’ve got plenty of size in the secondary, and you just got to be physical with those guys,” Cutcliffe said. “That’s what the game has turned into. You never know for sure what is interference, what’s not interference. But you do know this—if you’re not competing for every ball, then those types of receivers will get the job done.” Virginia Tech’s defense, meanwhile, has been a roller coaster over the last couple of years. After finishing 14th in total yards allowed per game in 2017, the Hokies finished 98th in the same department in 2018. A lot of last season’s struggles, however, were due to a defensive core consisting of mostly freshmen and sophomores, a group that now has one more year of experience under its belt. And the last thing anyone wants to do is disregard a unit led by renowned 25th-year defensive coordinator Bud Foster, who announced in early August that he will be retiring following this season. “I think they’re playing well together,” Cutcliffe said of the Hokies’ defense. “They’re tackling well, their linebacker play is outstanding.


They’ve got a lot of the front people back, a lot of the secondary back. I think they’re a better defense than they were a year ago.” No matter how Virginia Tech has played recently, though, a win in Blacksburg Friday night would be a statement victory for a program that’s struggled against the Hokies, and a good indicator of how good this year’s Duke team really is. “It’s going to be Friday night football, but it’s not going to be too big for us,” wide receiver Scott Bracey said.

PRESEASON FROM PAGE 11 “I really started playing my best basketball at the end of last year, kind of found my flavor a little bit...take advantage of the summer, with the draft process, just another big thing that really helped me out individually as a player. I try to take all of that and come back into this year and be a consistent double-double guy.” Justin Robinson on acting as a mentor for the team’s younger players “Mentoring them is my main role. I know I’ve been around, I’ve done this four times already. I know the drill, I know what to do. I’m taking pride in that as one of my main roles, to be able to guide them, get them to perform as well as possible.”

The New York Times Syndication Sales SujalCorporation Manohar | Associate Photography Editor 620 Eighth Avenue, New York, N.Y. 10018 A redshirt senior, Justin Robinson will be looked to as a mentor. Scott Bracey thinks that Friday’s stage will notFor be Information “too big.” Call: 1-800-972-3550 For For Release Release Thursday, Tuesday, September September 24, 26, 2019 2019 Jackson Muraika | Associate Photography Editor





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Online subscriptions: Today’s puzzle and more than 7,000 past puzzles, ($39.95 a year). Read about and comment on each puzzle:


The Chronicle

Empire-building 101 The Community Editorial Board is fully independent of the editorial staff of The Chronicle. ast week the U.S. Department of Education released a letter to the Duke-UNC Consortium for Middle East Studies, informing the Consortium of their potential misuse of Title XI funding. Title XI funds are administered by the Department of Education to support “foreign language and area or international studies” programs.


can be understood as the process by which a nation extracts the wealth of another nation or people for their own enrichment, there is an obvious imperialist logic the stance the letter takes. It declares, in no uncertain terms, that the Middle East exists only as a vector for the acquisition of political power and economic wealth by the United States. Any knowledge or instruction that does not serve to further these interests, the Department of Education has decided, is ineligible for financial support.

is it that we’re learning here?’ but also ‘who is education for?’ The Consortium may not have produced a significant number of government employees or focused enough attention on projects of national interest, but our University has been more than willing to further both of those goals. Our engineers received millions of dollars to design security aparati for the Department of Homeland Security, and a current course is offered in

COMMUNITY EDITORIAL BOARD A collaboration between the Duke Middle East Studies Center and the UNC Center for Middle East and Islamic Studies, the Consortium is under investigation for the specific subject matter their programs cover. In particular, alleged wrongdoings include too few graduates working in government positions, too much “emphasis placed on understanding the positive aspects of Islam,” and too little “serious instruction” regarding U.S. geopolitical and economic needs. This comes directly on the heels of recent tweets by the President, hinting at the possibility of a new American-involved conflict in the Middle East. For most current undergraduates, and even many graduate students, American invasion and imperialism in the Middle East has been a fact of life. As imperialism

hot take of the week “We should impeach the white Blue Devil.”

—Nina Wilder, Recess Editor, on September 23, 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.

Est. 1905

The Chronicle commentary


partnership with the Department of Defense. The class, entitled, “Hacking for Defense,” is also inexplicably, and somewhat laughably, advertised as service-learning. The Duke Program in American Grand Strategy hosts events on the Middle East, but in keeping with an oppositional framework, uses language such as “crisis” and “turmoil.” Meanwhile, in our interactions with ourselves and our peers we continue to reproduce neoliberal logics. Though UNC responded directly to the Department of Education in a letter just a few days ago, Duke has been noticeably silent on the topic. Meanwhile student groups such as Students for Justice in Palestine at Duke and UNC have been mobilizing against the Department’s censorship and in an effort to deconstruct the imperialist assumptions of the investigation. Clearly, we cannot allow the University to position itself as the neutral arbitrator of knowledge. While Duke is positioned as the antithesis of Islamophobia and the champion of intellectual engagement in this situation, we know that to not be true. Duke actively perpetuates othering Islamophobic and Orientalist logic through partnerships with the Department of Homeland Security, programs such as American Grand Strategy and within most classroom instruction. We must demand more from our academic communities and institutions of higher learning. And, while defending programs from funding threats, we must also be willing not only to name nationalist or imperialist or colonial logic in our instruction and thinking, but also to actively work towards deconstructing the Others which we are continually taught to imagine.

E-mail: Editorial Page Department The Chronicle Box 90858, Durham, NC 27708 Phone: (919) 684-2663 Fax: (919) 684-4696

The Chronicle

Inc. 1993

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

After all, a program that does not provide graduates eager to work on state projects, that portrays other cultures as worthy of attention and inquiry, and that shies away from geopolitics is useless in building an empire. Critical to imperial logic and clearly implied in the letter to the Consortium is the construction and maintenance of an “American” identity juxtaposed against a threatening, oppositional “Other.” American (interests) to the Department of Education is not Muslim. “American” means white, and sometimes Black, but always Christian, and always wholly committed to the United States. This exclusionary understanding of “American” permeates our country—erasing the experiences of millions and enabling the immense harm and murder of hundreds. The Department of Education actively perpetuates this deadly understanding in their reprimand of the Consortium for teacher training programs that explore “issues of multicultural education and equity” and create more welcoming classrooms. This white nationalist understanding of who belongs in the United States inspires white supremacist mass murders and attacks continually in the United States. We see this white nationalist ideology continually on campus as well. Shortly after 9/11, three Pakistani students were intially denied jobs by a professor who understood their nationality only as equivalent to terrorism (read: un-American). Much more recently, the Duke College Republicans planned an event entitled, “The American Muslim: Patriot or Insurgent?” That such an absurdly dichotomous understanding of American Muslims permeates Duke’s campus begs not only the question ‘what

BEN LEONARD, Towerview Editor JAKE SHERIDAN, Towerview Managing Editor WILL ATKINSON, Recess Managing Editor MIRANDA GERSHONI, Recess Managing Editor JAEWON MOON, Editorial Board Chair OLIVIA SIMPSON, Editorial Board Chair BRE BRADHAM, Investigations Editor BEN LEONARD, Investigations Editor SHAGUN VASHISTH, Investigations Editor BRE BRADHAM, Recruitment Chair SHAGUN VASHISTH, Recruitment Chair MAYA ISKANDARANI, Senior News Reporter JOHN MARKIS, Senior News Reporter TREY FOWLER, Advertising Director JULIE MOORE, Creative Director

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

My door, your door, our door


ear Unlicensed Ethicist: While returning to my dorm last Friday, I was intimidated from taking the most direct route, which involved using the door of a “selective living group,” because the last time I dared use their hallway, a student barked at me. Yes, barked... as in like a dog. Plus, she hung obnoxious signs. How should I react? Should I bark back?


on their own. After all, we are adults... more or less. So is this a valid territorial issue? Does a living group have the right to exclude others from using “their door?” Is there any such thing as “their door” and “our door?” Is there some unwritten rule that you can’t cut through another dormitory? Does it matter which dormitory? Does an individual student have the right to harass a passerby? The answer to all these questions is a resounding no. Does this neighboring dormitory, which shall remain unnamed, get a pass because it belongs to a selective living group? One can’t help but think that if a fraternity brother stood sentry at a door and barked at “non-brothers,” it would become a scandal, especially if he did it with some regularity during daylight hours. Even if the fraternity didn’t ask the brother to bark, the organization would be censured for not keeping him on a tighter leash. If one fraternity brother misbehaves, the stigma has a way of spilling over onto everyone. That is reality, even if it’s not entirely fair. The selective living group may want to keep this in mind and have a “talk” with their barker. As Duke students with diverse interests and a multitude of organizations to join, it may be tempting to divide ourselves into insular cliques. But it is best to resist the unhealthy urge to label and judge each other by stereotypes. It creates a poisonous atmosphere, one that is not conducive to learning and personal growth. When encountering someone from a different organization or living group, view it as an opportunity to enrich yourself rather than to exclude. So how should one respond to a barking neighbor? Reach out. Build a relationship. Maybe even toss them a tasty bone. If the urge to bark proves to be irresistible, bark in unison rather than at each other. The quad will be a better place.

Valued reader, Yes, it is okay to bark back. But it depends on your barking abilities. Practice in the shower to gauge if your bark is louder than hers. When going canine, it’s best to be dominant. But while a single bark may be a humorous way to defuse the situation, it is not necessarily the best course of action. It’s worth analyzing why she feels compelled to bark. Have you checked for any correlation with the lunar cycle? Perhaps this is a twenty-first century expression of ennui. Sort of like Gregor Samsa, the stressed out salesman who awoke one day to find himself transformed into an insect. Except in this case, the stress of being a Duke student has transformed and deprived her of the ability to speak. But what are the chances of that? Slim to none. There is a reason that “The Metamorphosis” is classified as fiction. All kidding aside, maybe this bark is a message. Not the most eloquent one, but a message nonetheless. The easiest course of action would be to report it to Housing and Residence Life (HRL) and ask them to sort it out. They’ve been dealing with problems like this for decades and likely have seen similar cases in the past. But Lena Yannella is a Trinity sophomore. Her column “the is their intervention necessary? Absolutely not. This is a life unlicensed ethicist” typically runs on alternate Tuesdays. lesson, one that students are entirely capable of resolving

The Chronicle

I commentary


An astrological approach to Duke Dining

t’s Libra season, folks! You may not know—or care—but Libra season (September 23 to October 23) is traditionally seen as the “peak” of the year, when we enjoy the last days of summer sunshine and final fruits of the harvest. It is an exciting, critical time of year: the fall equinox kicks off the season, midterms are not far behind, and after Fall Break we will be blessed with Countdown just before passing into Scorpio season (and won’t that be a wild ride).

count)—expectations that it has far surpassed. Tap into Sazón’s fearless, determined energy this week, and pay the extra for guac. Taurus (April 20-May 20): Café. Taurus, you definitely love a treat. Indulge your Epicurean self and order a mocha latte, a nutella crepe and/or a $6 cup of juice. Sit by the window. Feel the warmth of the sunshine. There is caffeine nearby when you need to get back to work, but for now, just enjoy the chocolate.

Gretchen Wright CAMERON CRAVINGS Libras are fashionable, graceful and poised, which is why I definitely have never tripped going up the stairs in West Union. In this time of new beginnings, personal reflection and enjoying the fruits of the earth, let’s start autumn off right by giving Duke Dining the love it deserves and taking a moment to reflect on what is the best fit for you. (Disclaimer: I am purely basing this on the horoscopes on Cosmo’s Snapchat story this week and actually know very little about astrology. But Libras don’t respond well to criticism, so no, I will not be taking comments at this time.) Aries (March 21-April 19): Sazón. Bold and ambitious, Aries individuals are not easily intimidated by challenges. When Sazón came onto the scene a year ago, it faced high expectations as the first Latin American eatery on campus (no Duke, Krafthouse burritos don’t

Gemini (May 21-June 20): Vondy. 1. Order your soy iced matcha. 2. Say “so good to see you, let’s get a meal sometime!!” approximately 12-14 times. 3. Sit down to check your email. 4. Remember you are supposed to be in two different club meetings right now. 5. Decide to go to the gym instead. Cancer (June 21-July 22): The Loop. Incredibly intuitive and deep-feeling, you adapt easily to the emotional needs of your friends, just as the Loop is always there for you, whatever your needs. Happy? Sad? Stressed? Conflicted about the ethics of pursuing a career in consulting? There is no emotional state that cannot be assuaged by mozzarella sticks and milkshakes. Leo (July 23-August 22): The Commons. Nothing but the best for you, Leo! Satisfy your flair for the dramatic and dine somewhere that requires a reservation. Sit on the balcony, have a glass of wine, and watch

the plebs walk by on the plaza below. They wish they could be as special as you. Virgo (August 23-September 22): Twinnie’s. Virgo, you’re on a roll. Your practical, systematic approach to life is evident in everything you say and do. You’ve been making (and meticulously completing) to-do lists since the semester started, and you’re kind of killing the game. But don’t forget to take the time to refuel and recharge: you definitely need coffee and a pastry. Libra (September 23-October 22): Nasher Café. Hello, birthday brunch! Time to celebrate with an extravagant cheese plate, mimosas and an Instagram post in front of that one wall. You know the one. But of course, don’t forget to keep it balanced: pay with food points (they’re not real money!) and add a side of fruit. Or don’t! Whatever makes you feel the most ~harmonious~. Scorpio (October 23-November 21): Tandoor. You’re so easily misunderstood, Scorpio. People often think they have you figured out, but you know your true emotions and passions run deeper than that. Similarly, Tandoor is more than its tikka masala. You’re both tragically misunderstood, and it’s time you bonded over it. Sagittarius (November 22-December 21): Krafthouse. Charismatic and witty, your magnetic personality inevitably draws people to you. It is high time to pile into a booth with your friends and impress them with your hilarious hot takes on Daniel Jones’s future in the NFL. Come for the atmosphere, stay for the fries. Capricorn (December 22-January 19): Red Mango. Capricorn, you have a deep

inner fortitude and unwavering focus that I can only admire from a distance. I don’t know how you do it, but your selfrestraint and commitment to personal and professional growth is truly remarkable. Reward your hard work with a delicious smoothie—what the heck, even a smoothie bowl. You’ve earned it. Aquarius (January 20-February 18): Sprout. Have some deep, discerning conversations about late-stage capitalism and the shortcomings of Duke Engage with your closest friends over a plate of chickpeas prepared three different ways. Making the world a better place, one soy nugget at a time. Pisces (February 19-March 20): Divinity Cafe. The most compassionate and empathetic sign of the Zodiac, Pisces has internalized the highs and lows of the rest of the year and sometimes needs some time to work through it. You can be easily swallowed by emotions, but take comfort in the simple joys of life: grilled cheese and tomato soup. If Div can’t soothe your soul, I don’t know what else to tell you. Just Sami the salmon guy: JB’s. Every. single. day. Get some balance in your life: this month (and always), listen to the Zodiac/Cosmo magazine/me and eat at the place that works best for you. The stars want you to.

Gretchen Wright is a Trinity senior who simply refuses to call West Union the Brodhead Center for Campus Life. Her column, cameron cravings, runs on alternate Thursdays.

The children’s strike against the end of the world


his weekend I did what I do best. I watched the global climate strike from the apathy of my phone screen. I woke up on Friday morning and lay in bed, brain hazy with sleep. I fixed a dead stare at my Instagram feed, as I do most


mornings, and scrolled to infinity until I felt tired again. The strike was everywhere. Protestors waved funny signs that were actually terrifying and apocalyptic: “The Planet Is Hotter Than Shawn Mendes,” “Don’t Mine Coal, Minecraft,” “Too Bee Or Not To Bee, That Is The Question.” Hashtag #climatestrike. Greta Thunberg. Greta Thunberg. Greta Thunberg. It’s hard not to smile when a little kid with big round eyes carries a sign that reads “Don’t Mess With My Future,”— this was also one of Thunberg’s sternlydelivered directives during her UN speech this weekend. Thunberg is the kid/teen/ young adult with big, round, fearful eyes. It’s probably evolutionary instinct that compels me to coo at any child holding a sign bigger than herself, regardless of the fact that she holds a sign prophesying the end of the world. Donald Trump did it just the other day, calling Thunberg a “very happy young girl,” and came under fire for being extremely condescending. Soon after, Thunberg changed her Twitter bio to mock Trump’s rhetoric. We have turned to round-eyed young people for hope in a time where hope seems to be at an all time low—political stalemate, uncontrollable gun violence, border crisis,

climate catastrophe. It is redemptive to see hordes of children who want to save the planet. They’re lights for dark times. Yet it is unfair to lean on children for a climate crisis that was created by adults and whose

not. And above all, it is Goliath who damages the environment the most—Big Meat, Big Coal, Big Deforestation. Young people were the ones throwing stones into the eye of the giant last weekend. It

Posing kids—many of whom who have a simplified understanding of the stakes of their protest—next to the imminent end of the world made the climate strikes last weekend grotesque. Alice Dai Class of 2020

solutions require the immediate attention of adults. Capitalizing children and their innocence to appeal to policymakers just might work—the image of young people dying might be desperate enough to finally incite reformation—but it also doesn’t feel entirely right. Maybe that’s the point. I’m conflicted about the, well, childlike rhetoric that was brought to the protests. In a VICE video titled “These Climate Strike Kids Will Restore Your Hope In Humanity,” nine-year-old Luka Cavelli says, “I wish we had more solar panels instead of fossil fuels or electricity. Because those come from factories and factories make these gases that aren’t good for the hemisphere.” The linearity of thought is illusory—for a second, it feels like the solution is that easy. And maybe “hemisphere” is close enough to “atmosphere” to give the kid a pass. But the truth is that Greta Thunberg is exceptional in her awareness and her elocution. For every child who knows the difference between the hemisphere and the atmosphere at age nine, there are many more who do not. For every adult who believes in climate action, there are many more who do

was a spectacle, definitely, but whether to feel hopeful or disquieted, I’m not sure yet. I don’t think the answer is clear. Posing kids—many of whom who have a simplified understanding of the stakes of their protest—next to the imminent end of the world made the climate strikes last weekend grotesque. An estimated four million protestors marched last weekend, the largest climate protest in history. Just the fact that the strikes happened is extraordinary. And yet, I imagine the enormous pile of paper waste that came from making those signs, of the toxins in those colorful markers and the cars stalled in traffic to make space for protestors. If I continue along my own fatalism and indulge irony, I imagine that the protestors who skipped school to march might’ve driven home, ordered takeout delivered to them in styrofoam containers, taken a long shower, forgotten to turn off the light in the bathroom. I’m thinking about these things because I am just as guilty. Of walking through West Union in a half-hearted attempt to find a non-plastic fork and giving up. Of Ubering off campus because walking is inconvenient. Of prioritizing my own

comfort, almost always. This guilt reminds me of the saying that death is a side effect of living. It’s impossible to exist in the modern world without damaging the environment. I wonder what it would be like to shirk hope for a more nihilistic view: the world is definitely ending. Nope. Despite my criticism, I am still hopeful. It’s a childlike hope I carry as we enter the sixth mass extinction. But practically, there are only two options: to have hope or to not have hope. Both are delusional in their own ways, but a choice between the two should be made. Choose whichever one compels you to act. Last summer, I listened to this TED Radio Hour on the climate crisis, I heard something that has helped sustain my hope: “To those who despair...that your limited actions on their own won’t solve global warming, I say don’t let the perfect be the enemy of the good.” I’m trying to eat less meat. I started following futureearth, a cool Instagram account that explains the climate crisis through infographics. I walked past a piece of trash on the ground the other day, stopped and thought for a second, walked back, picked it up, and threw it in the garbage. Nothing to rave about, but the world doesn’t need to be definitely ending in order for us to start caring for it. And last night, I watched the stars in an open-roofed barn off campus. The only time I’ve seen the entire galaxy was the summer I went to the Amazon rainforest, which is on fire right now. It’s freaky how brilliant the night sky can be when there is no light pollution, and I don’t know when I will ever have that sky again. But last night, I could see Jupiter—a bright dot at the center of my view. Alice Dai is a Pratt senior. Her column, “cultural q’s,” usually runs on alternate Wednesdays.

The Chronicle




“Composition 21” by Naama Tsabar Saturday, September 28 2 pm and 4 pm Nasher Museum of Art “Composition 21” by Brooklyn-based, Israeli-born artist Naama Tsabar features 21 musicians who standatop their amplifiers and play their instruments, like living sculpture, to create an aurally and visually immersive performance. Featuring 21 local musicians who identify as women and/or gender nonconforming. Outside at the new Nasher Museum Sculpture Garden. Free and open to all. Join us inside for a reception, 5-7 PM. Head across the street for an Open House at the Rubenstein Arts Center, 6-8 PM.





EXPERIMENTS FROM A BLACK QUEER FEMINIST FUTURE Through October 19, 2019 Center for Documentary Studies

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

ESCHER STRING QUARTET & DOVER QUARTET Saturday, September 28 8 pm Baldwin Auditorium

ARTIST TALK WITH KEITH CALHOUN & CHANDRA MCCORMICK Tuesday, October 1 | 6-8 pm American Tobacco Campus Power Plant: Power Plant Gallery

PHOTO: BYP100 2019 National Convening, photo by Christopher Jason






DOCUMENTEUR (1981) | TRIBUTE TO AGNÈS VARDA (1928-2019) Thursday, October 3 7pm Rubenstein Arts Center

DUKE UNIVERSITY WIND SYMPHONY: LET MY LOVE BE HEARD Thursday, October 3 7:30pm Baldwin Auditorium


AS YOU LIKE IT Thursday, November 7 – Sunday, November 17 Sheafer Theater

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