2.10.15

SPORTS

page

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Men’s basketball rises to No. 24 after weekend

A&E

Ayad Akhtar, Disgraced tackle Islamaphobia,

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Emory Life

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Emory professors discuss their published books

WILLIAM FOEGE, CLASS OF 2016 COMMENCEMENT SPEAKER NEWS | Word of esteemed epidemiologist’s selection intrigues community | p. 7 OUR OPINION | Size, lack of feedback of selection committee leaves much to be desired | p. 10

The Independent Student-Run Newspaper of Emory University Since 1919

VOL. 97 ISSUE 17 February 10, 2016

TABLE OF CONTENTS February 10, 2016

NEWS

NEWS

OPINION

4 sga revamps university-wide budgeting system

8 “dear white america” author discusses race, moral bankruptcy

10 our opinion: more resourceful selection process required

6 challenging societal divides with art in founder’s day lecture

9 news roundup

11 letter to emory 12 enough censorship by the majority

7 foege to speak at emory commencement

13 Responsibly not voting?

Impossible.

ARTS & ENTERTAINMENT

EMORY LIFE

SPORTS

14 ‘Disgraced’ seeks to raise the discourse but discourse at an alltime Low

18 Q&A: Professors between the lines of their new books

22 Eagels dominate tiger indoor invitational

21 Budnyk’s Best Brews

23 advertising at its most expensive

16 Hail, caesar! is a film fan’s dream, a casual filmgoer’s peril

24 two-win weekend propels men into the polls

17 finish ticket are “ones to watch”

FRONT PAGE PHOTO COURTESY OF EMORY NEWS CENTER

EDITORIAL BOARD DUSTIN SLADE | EDITOR-IN-CHIEF RUPSHA BASU EXECUTIVE EDITOR Copy Chiefs Shalvi Shah Benazir Wehelie Asst. Copy Chief Michelle Lou News Editors Anwesha Guha Emily Sullivan Asst. News Editor Namrata Verghese Opinion Editor Erik Alexander Arts & Entertainment Editor Julia Munslow

KARISHMA MEHROTRA EXECUTIVE EDITOR Emory Life Editor Samuel Budnyk Asst. Emory Life Editor Alisha Compton Sports Editor Jacob Durst Asst. Sports Editor Avery Yang Layout Editor Hayley Silverstein Photo Editor Ruth Reyes

ZAK HUDAK MANAGING EDITOR

Video Directors Hagar Elsayed Leila Yavari Senior Digital Editor Tarrek Shaban Digital Editors Brandon Fuhr Morgan Roberts Editor-at-Large Elana Cates Associate Editors Loli Lucaciu Annie McGrew Lydia O’Neal Ryan Smith

STEPHEN FOWLER EXECUTIVE DIGITAL EDITOR business and advertising

ALLEN HSIN | BUSINESS MANAGER BEN MOORE | SALES MANAGER BRYCE ROBERTSON | BUSINESS DEVELOPMENT MANAGER Assistant Sales Manager: Brittany Fales Design Managers: Dami Kim, Alyssa Polskensky Sales Associates: Ifrah Khan, David Schupper, Celeste Leonard, Junior Hailu, Chris Diglio Office Assistant: Justine Schoenbart Business / Advertising Office Number (404) 727-6178

EMORY JAZZ FEST 2016 FEBRUARY 6 - 13

Mental Health Research

JULIAN BLISS SEPTET:

The Mental Health and Development Program at Emory is currently accepting healthy volunteers for an NIMH research project concerned with identifying factors that contribute

to

mental

health

problems.

Participation

includes baseline and follow-up MRI scans, EEG, and blood tests,

which

are

conducted

on

the

Emory

campus.

Volunteers must be between the ages of 16 and 30 years of age.

There

is

no

charge

for

the

assessments,

participants are compensated for their time.

and

The program

is directed by Dr. Elaine Walker. For further information, call 404 727-7547.

A TRIBUTE TO BENNY GOODMAN February 6 at 8 p.m. $5 student tickets See all three shows FREE with WITH GARY MOTLEY TRIO the Emory February 12 at 8 p.m.

Arts Passport $5 student tickets

ANAT COHEN

BIG BAND NIGHT February 13 at 8 p.m.

Free, no ticket required

404.727.5050 arts.emory.edu

NEWS

ANWESHA GUHA AND EMILY SULLIVAN | EDITORS

Distribution of Funding of Student Organizations

revamps universitywide budgeting

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his year, the Student Government Association (SGA) reorganized the budget request system to promote transparency between divisional councils and organizations.

In past years, organizations often overasked for funds for their events and did not use all of it, leaving SGA with a flawed budget for the remainder of the semester, SGA Vice President of Finance and Goizueta Business School junior Jason Yu said. College Council, the division under SGA that oversees student organizations, attributed this disparity to their lack of a detailed budget.

Starting this year, the Student Government Association (SGA) will require a lineby-line, event-by-event funding request from each of its divisions at the beginning of each semester.

At the beginning of each semester, clubs and organizations must request funding for each programming event they intend to host.

From food to other supplies, items can be labeled as essential or nonessential, and item prices must be documented and verified.

This change resulted from the budget-

ing discrepancy last year, which forced both SGA and College Council to reevaluate the manner through which they distribute funding to their constituents.

Last year, SGA distributed money from the student activity fee, which is part of each student’s tuition, to College Council, which further divides it to student organizations.

The annual universal budgeting system was intended to increase transparency in handling money within the system, Yu said.

After the implementation of this new system, the 129 organizations in College Council collectively requested approximately $437,000 for programming events. However, College Council only had $300,000 available to supply these organizations, due to the way the student activity fee is split among divisional councils. Of the $300,000 available, nearly half went to 12 organizations of the 129 in the Council. Eight of the 12 are cultural groups.

To make up for the difference, College Council cut each organization’s budget by approximately 34 percent across the board, College Council Vice President of Finance

02.10.16 xx.xx.2015

5

Photos courtesy of Emory Hillel, ASO, SARAAS, BSA (Clockwise).

and Goizueta Business School junior Andrew Lee said.

Despite these new changes, SGA will keep emergency supplemental funding for programming events that arise throughout the semester.

OrgSync Changes OrgSync, an online platform used to organize departments, programs and member-based organizations, was used

by College Council last year to organize student organizations. This year, SGA requires all organizations and divisions to use OrgSync to centralize communication and processes.

Yu attributed SGA’s increased ability to deal with the demands of campus organizations to OrgSync’s clear recordkeeping system.

“There are real benefits to OrgSync,” Yu said. “[The system] will make budgeting and everything easier.”

Instead of previous paper records, all budgeting and actions of organizations will be recorded online. Organizations can deliver payments and reimbursements through the system, which can be accessed at any time.

College Council Budget Allocation Process

CC’s new budgeting process hopes to prevent over-asking and irresponsible spending, College Council Budget Chair and Goizueta Business School junior Shujan Valiani said.

Semester funding requests from organizations will be entered in the budget calculator, an Excel document embodying CC’s monetary policy. All organizations’ requests are processed through this calculator, which will output the maximum amount College Council can fund — up to 84 percent of the total funding the program will require. Organizations must raise the rest of the funds through self-generated funds or supplemental funding.

“From what I’ve seen, organizations have been a lot happier this semester,” Valiani added. “[Students] have even come up to me after and said, ‘I can’t believe we actually got that funding.’ ” The spending budget reflected the amount of programming and events each of these clubs produced.

Due to the new system and College Council budgeting, smaller organizations are now able to stage events of the same caliber as larger organizations, Lee said.

However, larger organizations with more members have more experience, and therefore continue hosting more events, Yu said.

NEWS Founders Day lecture challenges societal divides through art Lauren Balotin | Staff Writer lauren.balotin@emory.edu

E

mory students and faculty filled Emerson Concert Hall on Wednesday, Feb. 3, for the Goodrich C. White Lecture, given this year by University of Chicago Professor Theaster Gates, Jr. In the talk, which was part of Emory’s annual Founders Week celebrations, Gates spoke about racial and economic divides within society.

Gates, director of Arts and Public Life and a Visual Arts professor at U Chicago, is the founder of Rebuild Foundation, a non-profit organization that transforms abandoned buildings in run-down neighborhoods into renewed cultural sites, according to his website. In working to revive these buildings, Gates installs physical art displays, such as outdoor sculptures, that are intended to reiterate a sense of community, according to a Dec. 16 Chicago Tribune article.

In his speech, Gates discussed the relationship between societal divides and his art projects, through which he aims to revitalize the architecture and structure of run-down neighborhoods.

Gates continued by explaining “black space” in his artwork as an example of how members of society

physically segregate themselves based on their racial differences.

“It’s sad that we still haven’t found ways to share space,” he said. “There’s probably more gated communities today than there have ever been. In addition to the race divide, there are probably wealthy black folk that don’t want to be around poor black folk.”

Gates said that members of society could forgo these divisions by acting as “agents of change” who “create community” as a result of seeing and understanding society’s issues. Gates strives against divides, focusing instead on instigating positive change as he rebuilds neighborhoods and creates his art through sculptures and urban planning, he said.

“On some level, I really believe that the art that I’m trying to make has to do with just the ability to see and the willingness to imagine that there are things worth seeing,” he said.

Emory Vice President and Deputy to the President Gary Hauk said that Gates was the unanimous choice of a committee made up of students, alumni and

faculty with the goal of selecting an innovative and engaging guest speaker who could appeal to a broad range of people within Emory’s community. “[Gates] brings a rich experience of urban planning and artistry in a number of different media in creative ways and is able to engage people in thinking about how they can adapt their interests and their focus of work to new times, new demands and new challenges,” Hauk said. “I think students, in particular, will be energized and inspired by his creativity.”

University President James Wagner voiced a similar sentiment when he introduced Gates at the event. “[Gates] revitalizes our collective understanding of how art and community shape each other,” Wagner said.

The event helped Emory students consider how to “enact positive changes in [their] environments,” said College freshman Leigh Schlecht, who also noted that Gates was “an incredible presence — on stage and in person.”

College senior Claire Wang added that Gates’ lecture and work with urban planning, social justice and public arts impressed her.

Gates not only professed confidence in the ability of a community to transform and revitalize itself, but also acknowledged the importance of remembering the past and past issues while moving forward into the future, a prominent theme throughout Founders Week.The anniversary of Founders Day, which occurred on Feb. 6, celebrates the Emory College Board of Trustees’ first meeting in 1837, Hauk said.

The series of events throughout the week is a carryover of a tradition that initially celebrated Emory’s charter on Jan. 25, 1915 and continued into the 1960s.

Founders Week was then instituted in the 1990s when Emory undergraduate students Michael Skolnick and Robin Thomas found materials from the earlier celebrations and decided to recover the tradition.

Apart from Gates’ lecture, the week featured a “Feast of Words” that showcased books written by Emory faculty. a faculty lecture by Samuel Candler Dobbs Professor of Biology Bruce Levin, a septet that featured clarinetist Julian Bliss and “The Weeping Time,” a lecture about the identity of slaves, according to the University’s website.

Hauk said that the traditions that take place throughout Founders Week are “vital and very fun” ways to remind students of Emory’s history. “[Founders Week is] an opportunity for us to remember that, as current members of the Emory community, we inherit certain aspirations and expectations about the purpose of the University,” Hauk said.

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Foege to speak at Emory commencement Namrata Verghese | Asst. News Editor namrata.susan.verghese@emory.edu

T

his year’s commencement ceremony speaker will be William Foege, who developed a successful strategy to eradicate smallpox over 30 years ago, according to a Feb. 8 University press release.

Emory Emeritus Presidential Distinguished Professor of International Health William Foege, a world-renowned epidemiologist who won the Presidential Medal of Freedom in 2012, will deliver the keynote address on May 9.

Foege has served as the presidential distinguished professor of international health at the Rollins School of Public Health, the executive director and fellow for health policy at the Carter Center and as a senior medical adviser for the Bill and Melinda Gates Foundation. He was also the director of the Smallpox Eradication Program of the Centers for Disease Control and Prevention (CDC) in 1977, according to the press release.

In 1984, Foege co-founded the Task Force for Child Survival, which is an umbrella group for organizations such as the World Health Organization (WHO) and is headquartered in Decatur.

“In many ways, Dr. Foege exemplifies the best of what Emory strives for — high-wattage brainpower guided by a wise heart,” University President James W. Wagner wrote in an email to the Wheel.

Foege’s medical focus is centered on children’s healthcare in developing countries, according to the press release.

He has worked towards the eradication of Guinea worm disease, polio, measles and river blindness, and he has worked to foster public awareness of those issues with writings and lectures, according to the press release.

Nonetheless, Wagner wrote that he is most impressed by the speaker’s “depth of soul.” The son of a Lutheran minister, Foege moved to Nigeria in 1965 with his wife and three-year-old son to serve as a medical missionary, according to Wagner. “[Foege and his family] lived in a mud hut with no electricity or running water,” he wrote. “After two years, they were forced to leave when civil war broke out, but he has never lost that motivation for caring for the whole person in the most challenging circumstances.”

College freshman Wadian Massoud, who plans to attend medical school after she graduates, said that she has been inspired by Foege’s accomplishments.

“People like Dr. Foege are one of the reasons I stay motivated to keep going strong with my goal in mind,” she said.

“It gives us all hope that we can make a difference in the world that goes beyond ourselves. I personally can’t wait to hear what he has to say.”

College junior Evan Reilly added that Foege’s accomplishments have proved

motivational and long lasting. “[Foege] is inspiring and has done something great with his time on earth,” he said.

In addition to the honorary degree Foege received from Emory in 1986, he will be awarded Emory’s President’s Medal, one of the highest honors granted by the University.

“We at Emory have been graced by his impassioned and visionary leadership in several capacities,” Wagner wrote. “It will be good to have him back on campus.”

Courtesy of Emory News

NEWS

ANWESHA GUHA AND EMILY SULLIVAN | EDITORS

Courtesy of Louder With Crowder

‘Dear White America’ writer discusses race, moral bankruptcy Mengyao Yuan | Staff Writer mengyao.yuan@emory.edu

I

t’s not every speaker who calls out a major portion of his audience.

“You are the sight of the morally corrupt. You are a lie,” Emory Professor of Philosophy George Yancy said to the white audience members at his lecture, “A Gift to White America: The Power of Un-Suturing.”

The event, hosted at White Hall, focused on reader feedback from op-eds that Yancy had published in The New York Times.

In an interview with the Wheel, Yancy said that he received hate mail and physical threats in response to his articles.

“As you reap comfort from being white, we suffer for being black and people of color,” he wrote in “Dear White America,” his Dec. 24 Times oped. “But your comfort is linked to our

pain and suffering. Just as my comfort in being male is linked to the suffering of women, which makes me sexist, so, too, you are racist.”

Yancy said that in presenting his lecture, he intended to expand on his ideas that racism is deeply embedded in American culture.

“I asked all the Americans to face racism courageously,” Yancy said during his lecture. “I made myself vulnerable. At the end of this talk, I don’t want you to be happy. I don’t want you to feel hopeful. I want you to dare to interrogate what is wrong about racism in North America today.”

Yancy’s arguments were based on a series of interviews and discussions that he conducted about race issues.

“My aim was to engage, in this very public space, with the often unnamed

elephant in the room,” he wrote. That elephant was racial tension, which Yancy repeatedly identified and reiterated.

The continuation of racism about which he spoke was evidenced by the feedback he received from his articles.

Yancy said that most of the reader feedback he received came via hundreds of emails and even snail mail.

The feedback revealed that “the world is unsafe,” he said, specifically when race is brought to the forefront of conversations.

“I have been called the n-word over a thousand times,” he told the Wheel, recalling responses to his article that included name-calling, physical threats, and distortions of what he actually said.

Yancy chose and shared some of the messages that he received in response to his article.

Among the most jarring emails he said he received: “Dear Fucking N***** Professor, you are a piece of shit. You are a racist. You are neither African nor American.”

Yancy continued to read email excerpts from readers in his lecture.

“Black culture is obscenity,” he said another reader wrote. “It is a degraded generation of human beings, so go back to Africa together with your black mouth.”

Yancy invited his audience members to consider how it would feel to receive so many verbal attacks from readers denigrating an ethnical identity.

“What I really hope is to engage Americans to take the courage to openly discuss the ongoing intensified racism and face what is wrong about it,” Yancy concluded.

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NEWS ROUNDUP Namrata Verghese | Asst. News Editor

T

namrata.susan.verghese@emory.edu

he University will consolidate the control of Emory Police Department (EPD), Fire Safety and Emory Emergency Medical Services (EMS) under the new Department of Public Safety, according to a Feb. 9 University press release.

This department, which will be run by Emory Police Chief Craig Watson in his new role as assistant vice president for public safety, will create a “onestop shop” for campus public safety needs, said Vice President of Campus Services Matthew Early, as quoted in the press release.

Early believes that the transition to this system will be “seamless” and will maximize efficiency, the report said.

This organizational model, while new to Emory, is already in use in many campuses nationwide, according to the release.

The revamping at Emory was, in part, prompted by the change in requirements for campus compliance with the Clery Act, a “federal consumer protection law passed in 1990 that requires all colleges and universities that receive federal funding to share information about crime on campus and efforts to improve campus safety,” according to the release.

“When it comes to public safety, I want people to feel confident that nothing is changing — they can still come to expect great service,” Early said.

S

everal freshmen reported that an error in the Interfraternity Council (IFC) recruitment process led them to believe that they had received bids to fraternities when in fact, they did not.

One student said that he was ecstatic when he logged into Interactive Collegiate Solutions (ICS), which is used by IFC to inform potential members if they have been invited back to each house, and saw that he was invited back to Zeta Beta Tau (ZBT) for the Smokers’ Round, indicating that he had received a bid to the fraternity.

However, later in the day, he said he received an email from ZBT apologizing for the mistake and clarifying that he had not actually received a bid.

“I assumed I had been offered a bid and was seriously visualizing myself as a part of that fraternity,” said the student, who asked to remain anonymous.

The student added that most of the emotional distress he underwent was due to IFC’s poor management of the crisis. “[IFC] showed little care and attention towards how they managed

POLICE REPORT The crime report is a selection of police-related incidences that have directly affected the Emory community in the prior week.

Compiled by Brandon Fuhr | Digital Editor brandon.spencer.fuhr@emory.edu

On Feb. 3 at 10:35 a.m., Emory Police Department (EPD) responded to a call regarding suspicious activity at the Clifton Parking Deck. A driver parked a blue Honda in front of the teller booth and approached the teller. The driver told the teller that she owed him $150.

The teller looked down to make a call and when she looked up, the driver was walking away. The case is under investigation.

On Feb. 3 at 3:46 p.m., EPD responded to a call regarding a report of a missing student. Campus Life notified EPD of a student who had not attended class since Jan. 27. The EPD Criminal Investigation Division was able to contact the student

and directed the student to Student Intervention Services.

On Feb. 3 at midnight, EPD responded to a call regarding an altercation at Lowergate South Parking Deck. According to the complainant, two Emory staff members had been in a disagreement that became physical. One staff member jumped on and damaged the hood of the other’s car. The case has been turned over to an investigator.

On Feb. 4 between 2:30 a.m. and 3 a.m., EPD responded to a call from Emory Facilities Management regarding damaged shrubs near the Autism Center on Clairmont Campus. Several

their recruitment notifications,” he said.

Another student said that he faced a similar problem when he mistakenly believed that he had been invited back to Alpha Tau Omega (ATO) for the Smokers’ Round when he, in fact, had not been. The student also requested to remain anonymous.

ATO President and College junior Hugh McGlade said that he didn’t know about the errors in the system, but said that the ICS system is technologically outdated. “Whatever happened … is probably the fault of this system,” he said.

Although ZBT President and College sophomore Daniel Elchediak confirmed two cases of false bids given by his fraternity, Assistant Dean for Campus Life and Director of Sorority & Fraternity Life Marlon Gibson said that he was not aware of these claims. IFC Vice President of Recruitment and College sophomore Ryan Walsh did not respond to multiple requests for comment, and IFC President Taylor McNair wrote in an email to the Wheel that IFC had no knowledge of these claims.

bushes were stripped of leaves and there were tire marks on the grass in the surrounding areas. When officers responded to the scene, they came upon a Honda Accord that had grass stains consistent with the damaged area.

The vehicle was registered to an Emory student. When officers met with the student, he admitted to damaging the shrubs. The case has been turned over to conduct.

Between Feb. 2 at 6 p.m. and Feb. 4 at 3:45 p.m., EPD responded to a call regarding a theft at 11G Eagle Row. According to the complainant, $250 cash was removed from a purse in a cabinet. The complainant said that the cabinet was closed but the room was not secured.

Officers arrived on the scene and processed the area for latent prints.

The case has been turned over to an

investigator.

On Feb. 4 at 10:30 p.m., EPD responded to a call regarding suspicious activity in the vicinity of Eagle Row. An unknown caller claimed that there was a naked male running down Eagle Row. Officers responded to the scene but were unable to locate any suspicious individuals.

The complainant said the streaking may have originated from the Sigma Chi Fraternity house.

On Feb. 4 at midnight, EPD responded to a call regarding an underage student under the influence of alcohol at Raoul Hall.

When officers met with the underage student, they found fraudulent South Carolina and New York driver’s licenses.

Officers confiscated the fraudulent IDs. The student was transported to Emory University Hospital to receive medical attention. Campus Life was notified.

OPINION

ERIK ALEXANDER | EDITOR

Staff Editorial

More resourceful selection process required T

he ideal commencement speech resonates with members of the graduating class through words of wisdom that will guide them for years post-graduation. Think Steve Jobs at Stanford University, Stephen Colbert at Northwestern University and J.K. Rowling at Harvard University.

And in order for there to be an ideal speech, there must be an ideal speaker, chosen via an ideal process.

When it comes to selecting commencement speakers, we feel that the speaker who can satisfy the greatest number of graduating students ought to be selected. At least, that is how the process should be driven.

This year, the selection committee procured renowned epidemiologist Dr. William Foege. While we do not doubt his legacy nor his ability to give a satisfying speech, and we are honored to have Foege as our commencement speaker, we believe that the process that led to his selection does not include enough student input given the significance the speech holds to many graduating seniors.

We do not take issue with Foege himself as our commencement speaker, and we don’t know that a better selection process would not have chosen him regardless. But our contention is about the principles behind the selection process.

Each spring, about 20 to 30 Emory juniors are nominated by deans and faculty members to form the selection committee. The committee convenes several times over the semester, constructs a broad list of favorable speakers and, through a series of informal polls completed by each committee member, the list is narrowed down to roughly 10 potential speakers. After this

stage, it is almost entirely up to the administration to finish the selection process.

The process so far does not have any blatant problems, but the University has only successfully recruited somebody from this list about twice in the past nine or 10 years, and the past three speakers have had direct institutional ties. The problem is not only the lack of widespread student involvement in the final stage, it is also that the current amount of student involvement does not appear capable of generating a realistic list of commencement speaker candidates.

Last year, we made suggestions to improve the selection process. In response to Vice President and Deputy to the President Gary Hauk’s statement that the University would look to utilize the Emory Bubble to solicit more student opinion on the commencement speaker, we said that the University should instead use more popular channels like Facebook and email surveys — avenues that students more commonly use rather than the Bubble or OrgSync which are largely ignored by most students. In addition, we suggested that the selection process begin more than a year in advance and that personal connections of students and faculty be given stronger consideration. We can only repeat these suggestions while adding that the committee ought to be doubled to around 40 members.

Why are we so adamant that the process change? It is not just because we want to tell our friends how famous our commencement speaker is. It is because every graduating class at Emory deserves to be excited about their commencement speaker. And the only way to guarantee that is to broaden participation in the selection process.

The above staff editorial represents the majority opinion of the Wheel’s editorial board.

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letter to Emory The Phi Gamma Society is a reincarnation of the historic Phi Gamma secret literary society that was founded on the Oxford campus in 1837. Senior Director of Debate Ed Lee has confirmed that the secret society consists of four seniors and two juniors.

Its purpose is: To urge the Emory community to honor its heritage as a historic University; to create open and frank dialogue within both the Society and the community as a whole; to better its members intellectually; to promote the cause of science and truth by the cultivation of oratory and the art of debate; to honor members of the community who have helped the pre-stated purposes.

A

happy new year to you, Emory. 2016 has snuck up on us and while it provides endless opportunities, it also is the perfect window into the endless abyss of issues that have cropped up recently. Racism, the Black Lives Matter movement, the rise of the Islamic State, the Syrian refugee crisis, presidential politics, gun control, need we go on?

Do these issues make you uncomfortable, Emory?

Do they?

They should. College, and in particular our time at college, should absolutely make you uncomfortable. Whether that manifests itself in righteous anger, scared confusion, marginal apathy or active action, you should feel the discomfort. Cherish it. Let it flow through your veins. It is the first step to change.

There can be no doubt that tumultuous actions have taken place, and more are in store for the upcoming year. But through our time here at Emory, we have noticed something. To what extent is freedom of expression something of value to the students here? How do you define freedom of expression?

Is it merely democracy? Is it being able to say whatever you want? Or is it the collective agreement of those around you that you are allowed to have your own opinion, even if they don’t agree with you? When did freedom of expression become about what you say as opposed to the respect you get for having your own opinion?

You may not see it, Emory, but we do. It is a crisis. We argue not for what you should think, but how you should think. Think to our Alma Mater’s motto: “Cor prudentis possidebit scientiam” (The wise heart seeks knowledge). Think to yourself, Emory: have you embodied this? Have you sought knowledge? Or has it been blocked by your desire for Facebook likes, attention, the blissful anonymity of Yik-Yak or agreeing with the right people?

What do you define as knowledge? How do you know if what you know is truly knowledge? In the midst of everything, Emory, have you thought to yourself that perhaps you don’t know the right things? You may know how to express your opinion, but do you know how to do so in a way that relates to those who don’t think like you? You may know how to say all the wrong things, but do you truly know what effect that has on people around you?

When was the last time you tried to understand? When was the last time your wise heart looked for knowledge? When was the last time you truly embodied the heart of a liberal arts college and taught yourself a different way to think? Our problems will not be solved with a blanket declaration of what to think, but rather with an individualized process of how to think. No matter what the issue, it cannot be solved with your anger but rather with the collective consensus.

Easier said than done, correct? We are not arguing that the process is easy. It most certainly is not. In fact, it’s far too easy to not think and turn your brain off. Tap into your discomfort, Emory, it is the key to your success.

Respectfully yours,

OPINION

Enough censorship by the majority L

ast November, the Black Students of Emory University (BSEU) published a list of demands for Emory’s administration. Since then, many nonBlack students and Emory faculty have written op-eds debating the evidential claims, goals and tactics of Black activists on campus. Many of these op-eds have been frustrating, and it would be useful for those of us who are not Black to reevaluate how we talk about the demands and the activism surrounding them.

In the most recent op-ed, “A Chilling Silence,” Emory senior Alex Reibman criticized the demand to block Yik Yak from Emory’s campus. He argues that anonymous speech is an essential part of our conversations about race, free speech and democracy. Reibman claims that the BSEU represent “political correctness.” He also claims the demands infringe on others’ rights and are counter-productive to improving the status of minorities in our society.

Reibman assumes that Yik Yak is an app for uncensored free speech that can provide a useful platform for fighting racism (and other forms of oppression), but this assumption falls apart under scrutiny. One of Yik Yak’s core mechanics is that users can up-vote or down-vote posts they read, which generates a rating for each post (the number of up-votes minus the number of down-votes). If at any point a post has a rating of negative five, it is permanently removed. If one of the fundamental components of free speech is protecting unpopular opinions and giving individuals who hold minority opinions a chance to express themselves without fear of censorship, the whole concept of removing unpopular comments completely undermines Yik Yak’s ability to provide a space for free speech. It is essentially

Anais Hussung | College Junior |

censorship by majority rule.

Further, Reibman claims that we can’t “convince others of the faults of racism if there is no debate.” But convincing “others of the faults of racism” is only one approach. Many prefer to focus on changing systems; for example, most of BSEU’s demands focus on reallocating institutional resources in a way that better addresses the needs of the Black students, faculty and staff at Emory. The idea that Yik Yak is a useful platform for fighting racism is undermined by the way in which the app removes unpopular opinions because it is easy to down-vote and eliminate accusations of racism without fully engaging them.

I would further question the supposed centrality of free speech and intellectual discourse in combatting oppression and bigotry. Too often, “debate” is merely smokescreen.

For example, there exists an overwhelming consensus among climate scientists and the international community that climate change is caused by humans.

Despite this general agreement, the U.S. continues to “debate” (really, deny) this fact. This is not a debate in which all sides are seeking to move towards the truth.

This is a debate constructed because massive corporate interests will cling onto the idea that climate change isn’t real for as long as possible. The debate is merely for show. On the individual level, the problem with bigots who use slurs (or commit other acts of oppression) isn’t that they haven’t heard a good argument about why using slurs is wrong. The problem is, in spite of hearing those arguments and the continuous requests of marginalized groups, they don’t care. And if people don’t care whether or not they’re a bigot, what’s the point in arguing with them?

This is not to say free speech is unimportant or that it does not play some role in the struggle against oppression, but — especially in academia — we have a misguided tendency to view intellectual discussion and debate as the answer to all of our problems. Too often, we are guided by our attachments to certain

Jefferson City, Tennessee

ideas such as “free speech” to the extent of seriously neglecting the experiences of the oppressed. Focusing on rationality, debate and traditional Western concepts like free speech can tie us to established ideologies and numb us to the pain of those around us. It can easily be a way, consciously or subconsciously, of imposing the will of the powerful upon the oppressed. The fight against anti-Black sentiments must begin with, and remain centered on Black people and their experiences, desires and political vision. An attempt by white people to ignore the work and will of Black people and set the terms for the fight against racism is still an attempt to keep structural power in white hands. Essentially, it is just a rebranding of racism.

There are a multitude of ways we could talk about free speech on campus and the way in which it often does not exist for those seeking to fight oppression. One of BSEU’s demands is greater protection for Black faculty and administrators who choose to speak out about racism on campus rather than forcing them to stand by racist colleagues or face sanctions. Last year, when I put up a display as part of Emory Students for Justice in Palestine on the ways in which Israel violates Palestinians’ human rights, it was torn down within three hours. Additionally, workers at Emory have historically not been in a position to talk freely about how they are they are treated or about the difficulty of unionizing due to threats of punishment if they organize. These abuses were well documented under Sodexo, Emory’s food service provider until last spring, and we need to have a serious conversation about whether anything has changed. These are examples of free speech being violated, hindering the pursuit of justice in much more direct and substantial ways than a ban on Yik Yak ever could.

Instead of beginning our conversations with ideological allegiances to concepts like free speech, and employing those concepts to defend the status quo, we must start centering and caring about the people who are suffering most. We must respect their decisions and let our ideologies grow from there.

If we define free speech in a way that would defend Yik Yak, in spite of the immense harm it has caused Black students, then I’m not interested in free speech.

If, however, we understand free speech in a way that is actually about defending the views of the oppressed, pushing our campus to seek greater justice and moving towards being an inclusive community that cared for all of its members, then I support free speech completely.

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02.10.16

? g n i t o v t o n y l b i Respons . e l b i s s o p Im A s Emory Associate Professor of History Judith A. Miller beautifully stated in her November editorial to the Wheel following the tragic terrorist attacks on Paris, “Wherever you stand, whatever you believe, your voice is vital. If you are fortunate to live in a country where elections count, let your presence at the polls and the wisdom of your vote each year be an enduring and positive legacy…”

Among other things, that’s what Americans represent to our government — a positive legacy. A legacy of growth, of contribution, of progression. It’s frightening that people would want to silence their own voices. If we were to cease our political participation, we would just be giving more political power to the people who made us want to stop participating in the first place.

In a recent op-ed titled “Should Voting Be Mandatory?” Zack Ashley makes some valid points about democracy and the voting process, but his overall argument is disagreeable and discomforting. He believes that you shouldn’t vote just because you can, even though that’s a valid reason in itself. Indeed, because you can vote, you should vote.

Ashley’s argument represents a serious problem that afflicts America today — voter apathy. And he embraces this apathy almost as a form of protest, holding that if we are presented with poor candidates, it is acceptable to assert our political power and refrain from voting.

But not participating in the democratic process doesn’t help our nation — a nation which was founded upon the very principle of people’s sovereignty.

Elections are not a universal phenomenon. Many people cannot exercise the right to vote that we, as American citizens, are guaranteed. I have close friends who were not born in the United States, and they (and their parents) worked tirelessly for the rights and privileges that I was born with. They wouldn’t just decide not to vote, and neither should we.

And frankly, we don’t need another editorial or lecture or ignorant friend telling us, “You know your vote doesn’t matter, right?” Unfortunately, discussing how little the

avera g e c it i z e n matters is now similar to telling the punch line to a corny joke — everyone expects it.

Ashley discusses the responsibility of the voter and then goes on to suggest that we do the most irresponsible thing a voter can do, saying that it is possible to “responsibly” abstain from voting. Not voting due to a poor choice of candidates may excuse me from personal guilt, but it doesn’t wipe my hands clean of the responsibility to my nation.

If I don’t vote in this upcoming election, and the next four years are the worst this country has ever seen, how can I sit back and think to myself, “Well, I had nothing to do with this ‘cause I didn’t vote”? Is not voting a way of escaping the diffusion of responsibility among American voters? If so, that’s not very democratic.

We vote not because it’s a game. We vote not because we like to stand in long lines at the local library. We vote because we need representatives. We vote because 300 million people cannot convene to make important decisions. We vote because our government reflects the values of our society.

We vote because we are a part of this living organism called government. We are its cells, organs and oxygen, and it cannot function without us.

Ashley says that come Election Day, if he were to responsibly decide not to vote, he would “sit back and enjoy the spectacle of the electoral process without feeling the slightest tinge of guilt.”

Although the numerous scandals, debates and TV shows might tell us otherwise, democracy isn’t for our entertainment. Democracy is for us, the people. We do matter. We cannot sit back and enjoy the spectacle — this isn’t a circus.

Right now, a lot of Americans probably feel like it is.

But that doesn’t absolve our responsibility to our nation or to our fellow Americans.

If we don’t vote, we are giving up our power.

If we don’t vote, we accept that our votes don’t matter.

Elena Margarella College Freshman Tampa, Florida

We give up the opportunity to participate collectively, losing a greater sense of community and further isolating the political individual. We perpetuate and create more problems than we solve, because we certainly can’t solve anything by not doing anything.

Ashley makes an interesting point when he says that “voting for the sake of voting isn’t true democracy.”

But it is incorrect that such voting “isn’t an accurate representation of what the country wants.” If those who want to vote vote, and those who don’t want to vote don’t vote, then it actually would be an accurate representation of what the country wants. It just wouldn’t be an accurate representation of a healthy, functioning democracy and citizenry.

People will vote for whom they want in government, and that political concept is one of the fundamental blocks of America.

A poor selection of candidates is a poor excuse. We have multiple political parties for a reason, so that candidates can differ, disagree and debate. None of them are the same in that they all believe or stand for the different platforms.

Important questions a voter should consider before voting include: What is most important to me? What policies do I find significant to our nation and to me personally? Which candidate best represents my values or beliefs?

The system is developed so that voters can ultimately choose the candidate that most appeals to them.

It is almost guaranteed that over the course of a lifetime one will come across a presidential election that consists of less than favorable politicians. But guess what? That’s politics. Our system delivers unfavorable and favorable politicians alike. Sometimes, it might feel like we must choose between the lesser of two evils, but we must choose nonetheless.

By not voting, we risk possibly electing the greater evil. When we vote, at least we have the opportunity to decide who we want to represent us.

American citizens over the age of 18 have a duty to follow the presidential campaign. Make an effort to stay informed. Watch the debates. Think, reflect, decide and then vote.

Come Nov. 8, every citizen should have reason to prefer one candidate over the others.

ARTS & ENTERTAINMENT

JULIA MUNSLOW | EDITOR

Disgraced

seeks to raise the discourse, but discourse at an all-time low Peter Witzig | Contributing Writer pwitzig@emory.edu

“[Humans] don’t become slaves out of mere calculating self-interest.

Slavishness is in the soul, as Gorky complained.”

— Ernest Becker, Denial of Death

Courtesy of Disgraced on Broadway

D

isgraced, now showing at the Alliance Theatre, specializes in the unsayable. The drama, penned by Ayad Akhtar and featured on Broadway, has come to Atlanta, finding its time one month before what promises to be a polarizing and xenophobic presidential primary.

The action centers around two elite New York couples — Amir and Emily, Jory and Isaac. Amir Kapoor (Andrew Ramcharan Guilarte) has risen to prominence in a mostly-white law firm, making his name in mergers and acquisitions. However, it is his name that gives him the most trouble. Amir

hopes for partnership, but some of the stakeholders are unreasonably suspicious of him despite his best efforts at assimilation, symbolized by his metamorphosis from Abdullah to Amir when he emigrated from Pakistan to the United States.

Amir’s wife, Emily (Courtney Patterson), is an up-and-coming artist who draws from the Islamic tradition and is painting a portrait of her husband inspired by Velazquez. At the start of the play and in between scenes, huge images of her sketches and final work are projected onto the interior walls of Amir and Emily’s luxe Upper East Side apartment

— itself a gorgeous set design — establishing the painting as a centrally recurring symbol.

Velazquez, an artist of the royal Spanish court, painted his assistant, the young Juan de Pareja, around 1650. The painting is now considered a masterpiece. Early on in the play, the identity of the subject is up for debate — slave or servant? moor or national? — and the audience is allowed to wonder if there are any meaningful differences between these categories. By referring to Juan de Pareja as a moor, Akhtar ties in Othello and The Tempest and old questions of darkness, otherness

02.10.16 and enslavement.

The audience is prompted to ask the same questions of Amir, transposing themes from the European royal court to the elite playgrounds of twenty-first century New York City. Akhtar constantly reminds us of this landscape — mentions of vacations in the Hamptons are casual, the couples drink the priciest scotch, Amir brags about his $700 Charvet shirts. Even in moments of controversy, Akhtar threads in pauses to highlight this insular world, like when Amir and Isaac (Andrew Benator) realize they go to the same gym in the middle of an argument.

Isaac, a Jewish art dealer, takes an interest in Emily’s work, prompted by a favorable reviewer and a gentle push from his wife, Jory (the brilliant Tinashe Kajese), one of Amir’s co-workers. He decides to include Emily in his next show at the Whitney. The plot picks up momentum when the couples meet for dinner so Isaac can deliver the news in person.

At dinner, Akhtar introduces a second motif when we learn Emily is reading Ernest Becker’s Denial of Death, a work of psychological theory perhaps best known for its short cameo in Woody Allen’s Annie Hall. In it, Becker expounds on Soren Kierkegaard’s theory of the philistine — the person who lives in a “certain dull security” satisfied by society’s triviality. Becker speaks of the choice between community and isolation — one offering a form of enslavement to “others,” the other offering personal dignity and freedom, but certain isolation.

While Becker provides this psychological backdrop, Akhtar sets a distinct political context. He manages to have Jory bring up her unusual role model, Henry Kissinger — former national security advisor and secretary of state under the Nixon administration. Jory tells the party about a Kissinger quote she keeps above her bed: not the infamous Vietnam War bombing order, “Anything flies on anything that moves,” but the recent, “If I had to choose between justice and disorder, on the one hand, and injustice and order, on the other, I would always choose the latter.”

No stranger to accusations of war crimes, most of Kissinger’s human rights record is, at the least, troubling. But most relevant to Disgraced may be the way in which the Khmer Rouge used the U.S. atrocities Kissinger oversaw to recruit and then unleash new horrors on their own people.

In light of current U.S. anxieties about ISIS, it is fitting that Kissinger gets an extended reference.

It is doubly relevant considering Hillary Clinton’s recent identification with the statesman in a presidential debate.

The dinner builds tension toward its climactic moments of controversy. When the debate moves from Emily’s un-ironic use of Islamic tradition in her art, which she endlessly defends, to Islam itself, things get heated. Amir, a self-proclaimed apostate, is the most vocal critic of his abandoned religion, the others preferring a more inclusive, tolerant

15 tack. The argument comes to a head when Isaac accuses Amir of self-loathing and then asks plainly how he felt during the September 11 attacks. In the response comes the unsayable — Amir felt proud.

“For once,” he says, “we were winning.” The audience sat in nervous silence, with a touch of the shock that comes with taboo. The dinner falls apart here, all parties too upset to carry on.

Amir declares he is going out for champagne, in hopes of saving the night. Jory offers to accompany him but with plans to tell him that she has been offered partner before him. In their absence, we discover that Isaac’s interest in Emily is not so distant after all. They had a one-night stand at the London Frieze Art Fair, and he pressures her to keep it going.

“What is represented on stage, then, is a sort of fantasy of free speech — which is a stark commentary on the state of our actual public dialogue.”

When Amir and Jory return, Jory comes in the door first, only to catch Isaac and Emily in a kiss.

She wastes no time, asking Emily, “Are you having an affair with my husband?” Once Amir catches up, he takes a moment to gather his pain and rage, then turns the blame on Jory. He accuses her of ruining his marriage and career, lists the reasons he should have been promoted — especially his superior work ethic — and explodes, “You think you’re the n***er here? I’m the n***er! Me!” Here the audience is entirely still. Isaac and Jory take their exit, and Amir turns to his wife, asking for the truth. She confesses, and moves to him, looking for forgiveness, but is met with the back of a hand, then a closed fist.

Jory comes to embody her favorite Kissinger quote, accepting an unfair promotion to preserve the order of the office. Amir, imploding ever faster as the play nears conclusion, arcs towards disorder.

He and Emily separate. He drinks more and ignores his nephew’s pleas for legal help, even after he is unfairly profiled and picked up by the FBI. When the curtain falls, we are left to ponder if Amir found any justice at all, or if there is any such thing as justice to find.

It is clear why the play has won so many awards — a Pulitzer, an Obie, a Regional Tony. The dialogue is superb, the pacing is always on time, the

humor sincere.

It is an intellectual play, laden with references from the literary and artistic world. And yet, it is direct and simple in its most relevant moments, almost obviously so.

And this is where I have most of my questions.

The play openly critiques U.S. imperialism, American racism and U.S. intolerance of Islam. In doing so, it goes where we are not allowed to tread: any alternative view of 9/11 and any hard look at the heart of structural American discrimination — specifically, the n-word with all of its legacy of enslavement.

However, following the play, there is no language to actually talk about how the rest of the world views 9/11 or the implications of the n-word being applied to or deployed by an immigrant group.

What is represented on stage, then, is a sort of fantasy of free speech — which is a stark commentary on the state of our actual public dialogue. And while Becker and his questions of personal enslavement serves as a soft, indirect comment on capitalism, the play raises its critiques within the U.S. logics of “Us vs. Them” and love for winners. In short, it questions our intolerance but not our fear of weakness.

However, I do not think this is a failing of Akhtar, as much as it was a factor of how much discomfort he felt his audience could handle. For U.S. citizens, to look in the mirror means to see a suspicious face, the face of the neighbor who locks the door when a new neighbor comes to introduce themselves.

Disgraced does important work in elevating the discourse around Islamophobia, but it is a shame that most of the discussion around it — including in its public accolades — has stayed in this one dimension. Akhtar has so much more to offer, if only a U.S. audience were ready for it.

Courtesy of Disgraced on Broadway

ARTS & ENTERTAINMENT

Hail, Caesar!

Courtesy of Universal Pictures

is a film fan’s dream, a casual filmgoer’s peril Brandon Wagner | Film Critic bhwagne@emory.edu

Grade: A-

I

’ll confess that, for the longest time, my biggest sticking point with Hail, Caesar! was its February release date. A prestige picture about the good old days of Hollywood by Hollywood darlings the Coen Brothers seemed ripe for awards glory, yet the studio pushed its release past the point of consideration. What made the studio put it out in the no man’s land of February?

And for about half this picture’s running time, I thought my worst fears were being realized — that the Coen Brothers had made a film bending and breaking under self-indulgent weight. The story was shaggy and all over the place. I was laughing, but it was largely just the critic’s section cracking up along with me, while the popular audience sounded absolutely dead, barring a few undeniably big, comedic moments.

Then Channing Tatum was in a Gene Kelly musical number where a sailor’s crotch was being swung into his face. I saw a couple clips from the film being made within the film, also called Hail, Caesar!, a prestige pic rip-off of Ben-Hur that seemed to be a complete and utter disaster, and I started to get what this film was doing.

Hail, Caesar! is a film where plot is explicitly secondary to entering and exploring the world and the people within it; the philosophical implications therein and who these people are are far more important than what they’re doing. It’s a film that celebrates and mocks classical Hollywood in the same breath, yet understands the meaning that the world gives to those within it and to those who have come since.

Our guide through classical Hollywood is Capitol Pictures Head of Physical Production Eddie Mannix (Josh Brolin), a man of faith and morals in a world that praises neither. He’s a fixer, a man who protects the investment that the studios make in their stars by keeping their dalliances out of the public eye; after all, Hollywood is all about the brand.

We join him on a particularly bad day — at least it seems that way from the outside. Mannix’s deadpan

demeanor makes everything seem dire and trifling in equal measures. DeeAnna Moran (Scarlett Johansson), a star of aquatic musicals, is pregnant but without a husband. Hobie Doyle (Alden Ehrenreich) is a star of Westerns that the studio has decided to shift to starring in classy, dialogue-based pictures that has put poor hillbilly Hobie completely out of his element, leading to conflict with director Laurence Laurentz (Ralph Fiennes).

And worst of all, Baird Whitlock (George Clooney), Capitol Pictures’ biggest star, has gone missing, kidnapped by a group calling themselves “The Future,” disrupting the production of Hail, Caesar: A Tale of the Christ, the shlocky, purposely inoffensive picture that seems to be in huge trouble thanks to this development.

I’ve laid out a lot of plot, and if you’re scared right now, that’s reasonable. There’s entirely too much going on. But don’t worry, the film is entirely content to wrap up its plot as soon as it can, as it’s pretty much entirely a vehicle to move through this world.

It’s a world that the Coens have, on every level, crafted perfectly. It’s a glamorous world with just the right amount of scuff to make things feel mysterious and impenetrable. The clips from the films Capitol is making, barring advances in camera technology, look and feel remarkably like classical Hollywood films, with the aforementioned Channing Tatum-doing-Gene Kelly sequence feeling absolutely authentic and enjoyable in every way, a lost joke from some obscure musical.

And it’s a world with people who feel entirely authentic. Every actor is perfectly cast and playing their role to the rafters. I’ve alluded to how great Brolin is in this role, but it must be restated. Brolin perfectly deadpans every moment, anchoring us with the calm center of this exceedingly bizarre world. He portrays perfect conviction and sells every moment.

And Alden Ehrenreich, perhaps the most obscure member of the main cast, ends up stealing the show. His sweet stupidity portrays a host of skills and an impressively charismatic hold on the audience as a hillbilly

thrust into the glamorous Hollywood world.

In fact, much of the strength of this cast simply seems to have been finding the right person and letting them loose.

Channing Tatum as a Gene Kelly-type with a twist, Ralph Fiennes as a preening director and Tilda Swinton as a set of busybody gossip columnists all seem such a natural fit.

This is what really begins to get into what the Coen Brothers are doing with Hail, Caesar! While the influences of classic filmmakers rest across this film, the biggest influence seems to be a contemporary: Wes Anderson. The Coens are borrowing his immaculate sense of production design and straight-faced sense of humor to turn Hail, Caesar! into a clockwork world, set up for the two to get into and explore. Every movement and moment is perfectly timed to cut into their concerns with this film, which is filmmaking itself.

It’s an obvious focus, with the film’s discussion of the worth that comes with “[serving] the picture.” But I don’t think it’s as simple as another story about how great film storytelling is and how great Hollywood is.

There’s a remarkable amount of aspersion cast upon the world of Hollywood, a lot of questions about how ridiculous this world is. Mannix is ready to leave it behind. The Coens raise the question of why the hell they’re making a world like this and reaching further into the beating heart of us all, asking why the hell we do what we do.

The twists and turns through Hollywood reveal its good and its bad, and it is for the Coens to see what they can find within this world. Turns out, for all its flaws, it’s what gives them worth — it’s the purpose they’ve discovered.

And that’s the true strength of Hail, Caesar! It’s beautiful and funny, even if it takes the film quite some time to reveal those qualities. But more importantly, it’s these amazing filmmakers cutting very deeply into questions of who we are and finding a pleasant answer on the other side.

02.10.16

Finish Ticket

17

are

“ones to watch” Maya Nair and Ilana Berghash | Contributing Writers maya.santosh.nair@emory.edu and ilana.berghash@emory.edu

C

alifornia’s Bay Area is home to some of the biggest names in music: Grateful Dead, Journey and Green Day, just to name a few. Finish Ticket, an indie rock band also native to the Bay Area, seemed to draw inspiration from their predecessors and subsequently have taken the music industry by storm.

Twins Brendan and Michael Hoye and their close friend Alex DiDonato formed the band when they were still in high school. Their dynamic live shows and catchy guitar-driven pop songs helped them build up a solid fan base in their hometown and caught the eye of Elektra Records, who re-released their debut album, Tears You Apart, in 2013. The three members then brought on brothers Gabe and Nick Stein who play drums and piano, respectively, to complete their sound, which gears toward reflective, memorable arena rock. The group is now getting ready to take this new sound all over the country with their new EP, When Night Becomes Day. Finish Ticket will be performing with Vinyl Theatre on Feb. 19 at Terminal West. The Wheel spoke with the band’s guitarist Alex DiDonato over the phone about touring, their love of NorCal and the band’s overall experience in the music industry thus far.

Ilana Berghash: You started playing together in high school. What made you decide to put a hold on education to pursue music?

Alex DiDonato: I went to college the year before the Hoye brothers [Brendan and Michael] did, so I would just come back on the weekends. But we kept the band going throughout that year, and the next year when the other two guys went to college; it was a little bit harder because everybody was spread out more. We were all still in California, but Brendan was in Southern California, and Michael was in Davis and I was in Santa Cruz, so we were hours apart from each other. We were still trying to keep the band going, because it was our passion, but we realized that we were half-assing both the band and school. We knew we could be doing better if we had not been doing the band, but we also knew we could be doing the band better if we weren’t doing school. We all made the choice together that we could put school on hold, because we knew that if we wanted to go back to school, we always could. We felt like we only had one chance at making the band a career, and it was right then and now. So we all dropped out together, and here we are, [still] not in school.

IB: It’s admirable that you pursued your passions. Maya and I are trying to reconcile our passions with school and luckily we have the opportunity [to do so].

AD: Thank you! Yeah, it’s tough. The whole world wants you to do school so if you do anything but that, it’s not an easy path. One of the main deciding factors of making that decision was [that] the READ UNABRIDGED AT EMORYWHEEL.COM

second year I was in college and the first year the Hoye twins were, we won a local radio show competition that our radio station puts on every year to open for their annual winter concert where they have a bunch of big, huge famous bands in this arena in Oakland.

We were just a local band, but we won the opening slot. Then we got to play with Phoenix and The Black Keys and My Chemical Romance, and that was mind blowing for us as teenagers. We realized from then on that we needed to keep doing this no matter what. Seeing that and being given an almost in-yourface look at what music really could be if we tried really hard was a huge factor in our decision.

IB: Finish Ticket has opened up for many big acts, and you have said that was huge [for the band]. Is there any advice you got from the acts you performed with or anything you learned while on the road that you think will stick with you throughout your own musical career?

AD: Totally. I think we try to pick up as much information and knowledge as we can from every big, successful act we play with. We were lucky enough to open for Ed Sheeran a couple times, once in San Francisco and once in New York City. That was really cool to see Ed, who’s just one person and only him on stage, but he’s so ridiculously famous and huge.

It was cool to interact with him and get to know him, because he’s also the most humble, nice[est] person we’ve ever met.

It was cool for us to see that even on that scale of fame and popularity, you can still be really humble and nice and cordial to

everybody. And we toured with twenty one pilots a couple months ago, and that tour was mind blowing. Just to see the full scale of their production, because they’re a band that has everything together in a well knit package. Their road crew and everybody they bring on tour are the most professional people we’ve ever worked with. The two guys [in the band], Josh and Tyler, they’re so at the top of their game. They’re really professional, super humble and nice. It’s cool to get all of those reminders that you can keep your integrity even if you’re at the top of the music scene. Those are always important things for us to remember.

Maya Nair: If somebody who has never listened to your music was going to listen to only one song, which song do you think would sum up who you are as a band and why?

AD: It’s hard for me to choose anything other than the song, “Bring The

Courtesy of Finish Ticket

Rain” because [of how much] we pride ourselves on our live shows. I think it’s the most fun aspect of being in a band for all of us, just to go and play out and connect with people across the country. And that song, we keep it as a staple of our show. We ended with it [in] pretty much every set we’ve done in the last couple of years. It’s a really powerful song, because it conveys a lot of the emotions that we convey in a lot of songs with our band, and we like how it’s got [that] emotional power without trying to sound too self absorbed.

No matter if it’s the worst show we’ve ever played or the best show we’ve ever played, when we’re about to play “Bring The Rain” — we’re all in the zone, and we’re just ready to shred. It’s a way for us to get out our emotions, like no matter how we’re feeling about that show or day, we all get it out together on “Bring The Rain.”

Q&A

EMORY LIFE

SAMUEL R. BUDNYK | EDITOR ALISHA COMPTON | ASST. EDITOR

Professors discuss their recent books Mengyao Yuan | Staff Writer mengyao.yuan@emory.edu

Pragmatic Fashions: Pluralism, Democracy Relativism, and the Absurd

ment of Philosophy.

Arts and Sciences Distinguished Professor of Phil os ophy John J. Stuhr recently published Pragmatic Fashions: Pluralism, Democracy, Relativism, and the Absurd (Indiana University Press, 2015). The book’s chapters, paintings, photographs and poetry set forth an expressivist account of philosophy and address broadly pragmatic themes of pluralism and difference, experimentalism and fallibilism, radical democracy and alternatives to war and this-worldly meaning and love, according to the Emory Depart-

EW: What was your initiative in writing this book?

JS: I want to describe and suggest both a politics and a way of personal life that is pluralistic rather than myopically universalist, genuinely democratic rather than uncaring or despotic, sometimes under the banner of merely formal democracy, relativist rather than absolutist or smug and focused on this world and finite lives and loves rather than some hereafter.

EW: How long did you spend working on this piece?

JS: I want to say “two or three years” but at the same time I realize that this book has been interrupted by many other projects and by life many times, such that its earliest parts stretch back almost a decade.

EW: What are some interesting facts about this book or its publication?

JS: Both the form and the aim of this book are rare in philosophy. It contains a lot of references to popular music, about 50 paintings, a dozen of my photographs and ends in my poetry. And, I do not argue for a conclusion, that must be accepted by all intelligent readers, but instead evoke sensibilities and describe and suggest ways of living. I view philosophy as an art.

EW: Is the style of this book consistent with your other works? If not, what is different?

JS: Yes, this is a bolder and more fully self-conscious style that I have been fashioning in my last couple of books. I am very pleased by the very positive early reviews and reactions that I have received from other scholars and from non-expert readers because they all have commented on the accessible and lively style of the book.

EW: Did you get any support from Emory while finishing up your work?

JS: This is not the result of any particular sabbatical leave or fellowship from Emory. That said, all Emory faculty receive support in myriad ways — from teaching loads that enable original research to a strong library, some travel support and some supportive colleagues and sharp students.

EW: How do you see your work aligning well with your research/specialty/ teaching at Emory?

JS: This book stands at the core of my research and teaching at Emory: ethics, social and political philosophy, aesthetics, contemporary culture informed particularly by a lineage of multiple traditions, including pragmatism, in nineteenth and twentieth century thought. It is right at the heart of what I do at Emory.

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EW: [Do] you expect this book will take you to your next piece of work?

JS: This book takes me to my next projects — I have three book contracts on very different topics all with manuscript delivery dates nearer than I would like — in ways that will surprise me and are mostly opaque to me

at present.

My thinking in this book has inclined me more and more to view philosophy as literature, as art and as cultural criticism marked by particular times and places.

Graphic by Olivia Shuler

Orientation and Judgment in Hermeneutics Charles Howard Candler Professor Emeritus Rudolf Makkreel has just published a book titled Orientation and Judgment in Hermeneutics with the University of Chicago Press. He presented a paper on some aspects of this book at the last annual meeting of the North American Society for Philosophical Hermeneutics as well as at a Kaplan Institute seminar in the Philosophy Department of Northwestern University. Makkreel is currently a Heilbrun Fellow and working on a new book that explores how Kant’s epistemology can integrate the informal ways we assimilate information with the formal ways we acquire cognition, according to the Emory Department of Philosophy.

EW: What are some interesting facts about this book or its publication?

RM: I was surprised by the enthusiasm of the readers chosen by the U of Chicago Press.

EW: What was your initiative in writing this book?

RM: Multiculturalism: My goal was to bring together my work on the two philosophers that I wrote about before, the great Immanuel Kant and the not adequately recognized Wilhelm Dilthey, and thereby push their thinking further to deal with current issues in hermeneutics or interpretation theory. The issue I attempt to deal with is how to understand the life-styles and creations of people from different traditions.

How philosophical thought about the tasks of interpretation [can] deal with the problem of multiculturalism.

EW: What do you think is the most successful part of your book?

RM: In chapters three to six, I develop and refine aspects of Kant’s three Critiques that have been overlooked. In chapter nine, I propose a new way of contextualizing the contemporary arts.

EW: How long did you spend working on this piece?

RM: More than 10 years with interruptions for other projects such as the translation of Dilthey for Princeton U. Press.

EW: Is the style of this book consistent with your other works? If not, what is different?

RM: This work differs from my earlier work in reformulating positions in my own terms. Thus the work not only interprets and analyzes the contributions of many earlier philosophers beyond Kant and Dilthey, but tries to develop a new perspective.

EW: Did you get any support from Emory while finishing up your work?

RM: Yes I received support from the University Research Committee and a Heilbrun Fellowship.

EW: What do you think is the new or essential perspective that your book brought to your field?

RM: I develop the theme of orientation as a way to deal with the historical problem of properly judging subject matters that stem from different contexts. It suggests a way of bringing together the different discourses that stem from everyday experience, from scientific inquiry, from artistic reflection about life and today’s medial world of the internet. We need orientation to move amongst these different contexts and judgment to assess their relative value.

EW: How do you see your work aligning well with your research/specialty/teaching at Emory?

RM: Yes it is [in] line with material I have taught in both my undergrad and graduate courses, especially aesthetics and the philosophy of history.

EW: Do you expect this book will take you to your next piece of work?

RM: My next book will give a comprehensive reinterpretation of Kant.

Continues on next page ...

EMORY LIFE David, King of Israel, and Caleb in Biblical Memory Associate Professor of Hebrew Bible Jacob L. Wright has received a second honor for his most recent book, David, King of Israel, and Caleb in Biblical Memory (2014, Cambridge University Press). The American Schools of Oriental Research (ASOR) has announced that Wright is the recipient of the 2015 Nancy Lapp Popular Book Award. The prize is awarded to the author of a book that offers a new synthesis of archaeological data intended to reach a broad audience of scholars, students and the general public, according to Emory’s Candler School of Theology.

EW: What was your initiative in writing this book?

JW: As a biblical scholar, I want to portrait King David [as a] central character in [the] Bible to draw attention of the society [to] his sacrifice. Also I want to attract more audience in my field. And with new technology, I believe it will appeal a broader audience — undergraduate students and graduate scholars.

EW: What are some interesting facts about this book or its publication?

JW: Previous writing mostly focused on my own field, this is along with all kinds of works, iPad features that are accessible for different users, very efficient.

Graphic by Olivia Shuler

Great Environmentalist English Professor Benjamin Reiss will spend the 2015-2016 academic year working on his third book, a cultural and literary study of modern sleep and its almost-obsessive management by society and the medical profession, according to Emory News Center.

Great alist t n e m n o r i v En not r (cover

elease

d)

EW: What was your initiative in writing this book?

BR: The new book is called Great Environmentalist. I have always had the interests to combine literature, medicine and health in my work. I noticed people are not sleeping in the right way. Very few people have addressed how sleep is relevant to history. I worked with Professor Gilman who has been my inspiration.

EW: Did you get any support from Emory while finishing up your work?

BR: I did research at Emory in the FOX center. Every year they choose 3-4 faculty members and some graduate students [and] a few scholars around the country, to spend a year to work on their projects. I have [full] time to do research and writing, meet every Wednesday to discuss about the writing, what different angles to tell the story and to tell a compelling story. There were scholar[ly] interactions between humanities, medicine and science to put things together in an interdisciplinary perspective.

EW: What do you think is the most successful part of your book?

BR: Since it is not done yet, I can’t tell what’s most successful. However, I can say that I stand in more of an audience’s perspective.

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Budnyk's Best Brews Samuel Budnyk | Emory Life Editor sbudnyk@emory.edu

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or those that have reached the legal drinking age, it becomes quickly apparent that beer should have a special place in your fridge -or on the bartop in front of you.

Natural Light and Pabst Blue Ribbon fall by the wayside and your tripels and saisons spend far more time weighting on your wallet.

But for those that are not into solitary drinking, one thankfully has a number of fantastic options within walking distance of campus to sit down on a high bar stool and enjoy the nicer beers, including some drafts that you will have trouble finding on the shelves in any nearby stores.

Broadly speaking, one has three distinct categories of bar nearby: the bar-brewery-pizza place of Slice & Pint, the burger and (artisanal/ local) brew pub of Lucky’s (both located in the Emory Village) and the upscale bar that stretches along the main facade of The General Muir (situated way up at Emory Point). To avoid comparing ales and lagers, I will take a look here at the two low-key, beer-centric establishments and save The General Muir for another day and a different discussion.

We will begin with the older of the two establishments, Slice & Pint, which has been in the Emory Village since mid-2013 when it took over the building formerly

occupied by Everybody’s. On any given day the pizza restaurant has over a dozen housemade beers alongside a number of delicious, housemade sodas.

But for those that are not into solitary drinking, one thankfully has a number of fantastic options within walking distance ...

The brews are adventurous and usually quite delicious; last week’s “Throwdown Thursday” (a weekly special in which a unique beer is rolled out until it runs dry) featured cherries and blackberries in the tank and it was amazingly satisfying. A dark beer with a hint of natural fruitiness in it proved well-balanced and drinkable while still retaining the strength of its quad base.

The bar also features a well-stocked list of spirits as well as some “guest beers” available by the bottle or on tap, but if you go here and order anything other than Slice & Pint beer, you have missed the point royally. Their beers are that which the bartenders and server find themselves most familiar and most ready to offer advice on. Want to know what goes with

your loaded french fries? They can help with that.

To sum up the genius loci, its your neighborhood bar and you can get a bit of a Cheers thing going on, especially if you bring your crew. It isn’t uncommon to see a healthy mix of graduate students, community members and assorted undergraduates mingling on the dangerously tilty mounted stools and a given person can be there for hours and it is no problem whatsoever. Slice & Pint has been my social spot.

Lucky’s Beer and Brew, on the other hand, has a decidedly different vibe. It is certainly restaurant first, bar second, but it has the best selection of good craft beers, local and otherwise, on tap, canned and bottled, of all the bars in the area excepting Brick Store Pub in downtown Decatur.

Lucky’s burgers, however, reign supreme.

They are exciting and varied, with strong representation of cheeses, meats and sauces from all over the place. The German Shepherd is easily my favorite, with a candied bacon jam spread over cambozola cheese on top of a four ounce burger all in a fresh, toasted challah roll. But I digress.

Lucky’s claim to brew fame rests in its rotating taps -they swap out around every week and showcase primarily local craft beers. This week, for instance, one could order a draft Creature Comforts Athena sour beer or a Dogfish Head IPA, whereas last week I enjoyed a Three Taverns Brewery’s Night on Ponce. If you want exposure to a variety of beers and want to be able to walk home safely after putting a few back, Lucky’s is definitely the choice, bar none.

In summary, if you want new beers and great food swing by Lucky’s -they have a great staff and will be glad to help you pick something you will like even if you do not recognize a single one on the menu. If you want a stable, steady club-like community and are not afraid of ending up like Dr. Frasier Crane, go to Slice & Pint.

SPORTS

JACOB DURST | EDITOR

Eagles dominate Tiger Indoor Invitational

Aiello, Young and Lembersky among many who impress as team gears up for UAA Championships.

Oliver Rockman | Senior Staff Writer

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oliver.m.rockman@emory.edu

he Emory track and field teams continued their indoor season this past weekend at the Tiger Indoor Invitational hosted by Sewanee: The University of the South (Tenn.). The women’s team earned a first place finish after a strong performance, and the men’s squad took fourth place overall.

Coach John Curtin was pleased with the performance of both teams, and explained how the meet’s track adds a new challenge.

“I felt pretty good about our weekend,” Curtin said. “We look at meets at the University of the South as developmental since they have a small 160 meter track, making it difficult to run really fast times. It can be an opportunity for some of our kids that don’t get a lot of opportunities to compete and to come through and show what they can do.”

Many Eagles took advantage of said chances on Saturday. Curtin told the Wheel that many members of the team were running in an effort to qualify for the UAA conference championships and finished with good results.

The women’s team had strong performers across the board. Freshman Dilys Osei finished first in the 55m hurdles with a time of 8.74, in addition to a second place finish in the 400m dash (1:01.07). The Eagles took the first six places in the 800m event, with junior Alexa Young setting the pace with a first place finish and a time of 2:27.24. Sophomore Gabrielle Rudolph won the mile run with a time of 5:30.38.

Two women’s relay teams also turned in solid showings. The distance medley team made up of sophomores Erica Fisher and Hanna Saadegh-Vaziri and freshmen Sarah Cardwell-Smith and Paige Lasslauer took first, and the 4x400m team of and juniors Elizabeth Magno and Alexa Young, sophomore Lindsay Wilson and freshman Radhika Shah came in second place.

Curtin was proud of the performance of the women’s team, and told the Wheel that “they really came through in a big way.” In addition to the track events, Curtin was pleased with the women’s performance in the field events, and shared with the Wheel that he believed sophomore Valerie Linck was the “star” of the meet.

“We were really impressed with Valerie Linck.

She had an amazing personal record in the shot put, [with] over two feet of improvement, where improvements usually comes by inches or less.”

— Head Coach John Curtin “We were really impressed with Valerie Linck,” Curtin said. “She had an amazing personal record in the shot put, [with] over two feet of improvement, where improvements usually comes by inches or less.”

Linck’s personal best of 11.60m in the shot put earned third place, and she also placed fifth in the high jump. Freshman Anne Marie Simoneaux pole-vaulted 2.99m, the second best at the meet, and classmate Jordan Small placed third in the high jump at 1.60m.

Junior Alexa Young finished first in the 800m, ahead of five of her teammates who finished second through sixth. | Courtesy of Emory Athletics

Senior Alexandra Aiello took over the UAA lead in the triple jump with a fifth place effort of 10.77m. Aiello won the UAA Athlete of the Week in women’s indoor track for her performance. She joined fellow Emory sophomores Daniel Pietsch and Max Brown and seniors Spencer Koh, Max Hoberman and Julie Williamson as a winner during the indoor track season.

The men’s team finished in fourth despite several impressive individual performances. Sophomore Benjamin Rogin took third in the 55m hurdles and seventh in the 400m dash with times of 8.01 and 53.68, respectively. Sophomore Robert Wilhelm III and junior Brandon Cromer came in fourth and fifth in the 800m event with times of 2:03.31 and 2:04.98, respectively. Junior Brandon Cromer’s mile run time of 4:40.03 was the sixth fastest at the meet, and junior Kyle Veator placed 10th in the 200m dash with a time of 23.68.

In the field events, freshman Zachary Lembersky placed sixth in the weight throw, with a personal best of 13.48m. Senior Spencer Koh placed second in the pole vault with a height of 4.29m.

Curtin felt the team’s performance at Sewanee bodes well going forward. Next weekend the team will return to the Birmingham Crossplex for the Samford Invitational before the UAA championships at the end of the month. Curtin is pleased with the team’s progression at this point in the season, and believes the Samford Invitational is just what is needed to prepare for the championships.

“Samford is primarily a Division I event,” Curtin said. “It is a really strong event, which is what we need to get us ready for the UAA. The UAA is loaded this year, and it is among the strongest conferences in the country, so we are going to need to perform well.”

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Advertising at its most expensive We all know the real reason people watch the Super Bowl is for the ads. Here’s a somewhat serious review of the best the game had to offer.

Elana Cates | Editor-at-Large elana.cates@emory.edu

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hen a 30-second time slot at Super Bowl 50 has the hefty price tag of $5 million, a company better be sure about their ad’s success. While 2016 won’t be hailed as a great year for Super Bowl commercials, there were some gems, as well as plenty of head-scratchers.

Heinz “Weiner Stampede” Heinz proved to us all that you don’t need fancy celebrities or a high budget to produce a great commercial. A bunch of dachshunds in hotdog costumes running towards their owners dressed in Heinz bottles? Genius, and extremely cute. This advertisement brought a smile to all viewers, guaranteed. Plus, “Meet the Ketchups” is a great slogan.

GRADE: A+ Avocados from Mexico “#Avos in Space” Who knew a company that produces one simple product could make such an extraordinary commercial? Every line is a joke, and they’re funny. Satirizing “the bounty of Earth,” aliens walk through a museum displaying the Rubik’s cube, the “torture device” that is commercial airline cabins, communication using emojis,

Prices of a 30 second TV ad during the Super Bowl since 2000. | Graphic by Jacob Durst, Sports Editor

Scott Baio and the infamous white/gold or blue/black dress. The tour finishes at avocados from Mexico, “the most amazing of all.” While we can all agree that we don’t want The Dress to cause the next civil war, there’s no argument that guacamole might very well be one of the most amazing things on Earth.

GRADE: A Audi “The Commander” Right off the bat, this ad scored major points for using David Bowie’s “Starman.”

Audi has always had a knack for designing commercials with a storyline, as if they were minute long movies (a favorite will always be 2013’s “Prom Night”). While I can imagine driving an R8 is undoubtedly thrilling, is it truly similar to operating a rocket into space? Hardly. However, the commercial is sentimental, nostalgic and brings a smile to faces, so we are willing to overlook the minor difference in speed: a rocket’s 17,500 mph vs. the R8’s 205 mph.

GRADE: AMINI USA “Defying Labels” At first, seeing Serena Williams elicited a cloud of confusion. The black and white portrait of the athlete seems obvious: this is a Super Bowl commercial and Serena is an athlete. However, what does Serena know about cars, yet alone a MINI? She went on to talk about defying labels throughout her life, which were all valid and earned her respect as an athlete. Then, she shifted to talking about MINI defying labels, not trying to be like any other car brand, but don’t all car brands try to be themself? 55 seconds in, Serena then revealed that she actually was a MINI owner; she shows off a yellow MINI with a checkered roof. If this information had been placed at the beginning of the ad, the message would have been much clearer.

GRADE: B Bud Light “Bud Light Party” Bud Light hit it out of the park in the humor game, but that’s what happens when you hire Seth Rogan, Amy Schumer and Paul Rudd. The commercial was relevant from parodying campaign commercials to a Matthew McConaughey look-alike farmer talking about the importance of emojis. Schumer was even able to add in her classic raunchiness by emphasizing the size of her and Rogan’s caucus. All around, the commercial doesn’t make one think Bud Light tastes better than a watered-down cheap beer, but it generated laughs.

GRADE: BPrius “Getaway Car” Someone somewhere in the world will make a remark about Toyota supporting illegal activity by having their Prius as the getaway car for a bank robbery, but despite that, it was cute. Still would not want to drive a Prius, though.

GRADE: C Mountain Dew “Puppymonkeybaby” This was terrifying. Enough said.

GRADE: F.

SPORTS The men’s basketball team celebrates a basket during their game against the University of Chicago on Friday night. | Jillian Alsberry, Staff

Two-win weekend propels men into the polls Avery Yang | Asst. Sports Editor avery.yang@emory.edu

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Wins against Chicago and Wash U (Mo.) rocket team into the rankings (No. 24) for the first time this season.

he Emory men’s basketball team extended their winning streak to six, with two wins this past weekend. The Eagles’ beat the University of Chicago (Ill.) 61-53 and defeated Washington University in St. Louis (Mo.) in a 74-73 nail biter. The Eagles put together a strong performance on Friday, beating a 21st-ranked University of Chicago team by a score of 61-53. Senior forward Will Trawick continued to build on his already great season. Trawick led the team in scoring, with 19 points and five rebounds. Senior forward Davis Rao finished with a double-double, posting 17 points and 10 rebounds on the night. Sophomore forward Adam Gigax was the third and final Eagle to put up double digits in scoring, recording 10 points in addition to four rebounds. Sophomore point guard Whit Rapp struggled in shooting the ball (one for seven) and finished with only two points, but he managed to distribute the ball well, notching seven assists.

The Eagles won the game from behind the arc. Despite the fact that the Eagles and Maroons essentially shot equally as well from the field overall, 36.2% (21 for 58) and 36% (18 for 50), respectively, the Eagles drastically outshot Chicago from beyond the arc, shooting 37% (10 for 27) compared to a dismal 24% (six for 25). The win against the University of Chicago extended the Eagles’ win streak to five games. Head Coach Jason Zimmerman credited the team’s success from three-point range to their ability to space the floor.

“We have five guys on the court most of the time who can shoot the three,” Zimmerman said. “We like to utilize the three and play fast.”

On Sunday, Emory beat Washington University in St. Louis for the second time in seven days in a tight 74-73 contest at the Woodruff Physical Education Center. The Eagles remain undefeated at home this season, and were able to extend their win streak to six. Sixth man junior guard Jonathan Terry stole the show, recording 21 points and five rebounds while going seven for 13 from the field, as well as a perfect four for four from the free throw line. Rao (15 points, five rebounds, five for 11 from the field) and Trawick (14 points, four rebounds, three assists) were also able to contribute solid performances. Junior forward Austin Dague joined Trawick, Rao and Terry in double digits on the night, scoring 10 points. Rapp ended the night with 11 assists to go with three points.

“We really have six starters this year,” Zimmerman said. “I mean, [Terry] doesn’t start but he plays his 30 minutes. He’s basically a starter. We don’t really care about who starts or who finishes, we just worry about who helps us compete and gives us a chance to win.”

The game was close from start to finish. No team held a lead larger than six points, and there were 13 lead changes throughout the game. In a game with many short four to five point runs, no play stood out more than Terry’s four point play with 5:44

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Senior forward Davis Rao shoots a free throw against the University of Chicago. | Jillian Alsberry, Staff

remaining. With the Eagles down 61-60, Terry caught a pass from Rapp and drew contact as he was pulling up from three. Terry’s shot went in, and with a successful free throw, Emory took a 64-61 lead. After a WashU turnover on the other end, Terry hit another three-pointer to extend the lead to 67-61. In a span of 25 seconds, Terry scored seven points.

However, the Bears showed their resolve, cutting the lead to just one with 1:45 left in the match. Coming off a timeout, and with the shot clock expiring, Trawick’s desperate three went through the net to make the score 72-68. St. Louis would again force the lead back to one with a three-pointer in the waning seconds of regulation, but it was too little, too late. The score remained 74-73, and the Eagles held on to win.

“We need to do a better job at finishing the last four minutes of the game,” Zimmerman said. “We just couldn’t put them away at certain points, and a lot of that is credit to [WashU]. We gotta be better at holding that six to 10 point lead down the stretch.”

As a result of their two win weekend, Emory is now the 24th-ranked team by D3hoops, making their first appearance on the poll this season.

When asked about what the rankings meant to the team, Zimmerman said, “It means a lot. If we’re gonna have rankings, we may as well be in them.”

The Eagles return to action on Friday, Feb. 12th when they host New York University (N.Y.) at 8:00 pm.

RECENT GAMES M Basketball W Basketball M TRACK AND FIELD W TRACK AND FIELD

W, 74-73 vs. Wash U (Mo.) L, 69-72 vs. Wash U (Mo.) 1st of 10 at Tiger Indoor Invitational 4th of 11 at Tiger Indoor Invitational