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TOWERVIEW
NOT ALWAYS A QUICK FIX
What in the world will Brodhead do? By Shannon Fang Contributing Reporter
It has been three months since former President Richard Brodhead left office—what’s he been up to since then? When he announced his retirement last April, Brodhead told the University community that he would take a oneyear sabbatical before likely returning to teaching or writing—“the passions that lured [him] to academic life in the first place.” The Chronicle reached out to Brodhead, but after 13 years of being in the limelight, he wanted to avoid the spotlight for the time being. But he will be back for President Vincent Price’s Oct. 5 inauguration. “You can report that I am doing unimaginable things in an undisclosed location!” Brodhead wrote in an email. How have prior Duke leaders adjusted to life after the presidency? Let’s start at the beginning.
specific quad. On East Campus, there are four mechanics. Frank Horner, the general maintenance supervisor for West Campus, said mechanics use laptops to access the EAMs each morning to prepare for their day’s work. “When we start our morning, the staff assistants enter all those calls in the EAM, and we send them to the owners,” Horner said. “So [the general mechanics] open their laptops and go onto EAM. They can open it up and see all the calls in their area.” Horner said that his mechanics average six to seven calls a day during this time of year, but sometimes carry out over ten requests per day throughout the beginning of the school year. He added that the mechanics attempt to fulfill all the work orders either the same day or the day after they are requested. “We try to get everything done in a day,” he said. “[These are] the student’s homes. We want them to be comfortable, so we try to get it done pretty quickly.” Beville said that just under 90 percent of work order requests are fulfilled within 24 hours, and that the others require parts that take time to acquire. “The 10 percent is entirely up to when we can get
Advancing education outside Duke Brantley York was the was first president of the Union Institute in Randolph County, which would eventually became Duke University. His presidency lasted from 1838 to 1842—four short, but important, years at the school. In “The Autobiography of Brantley York,” he describes his time as president as “truly onerous,” with his “faculties both mental and physical having been taxed to their utmost capacity.” He also began going blind during his time at the Institute. After leaving, he continued to work in education. He was a professor at Rutherford College in North Carolina, teaching English, rhetoric and logic. He helped establish three high schools and two colleges, while simultaneously publishing three books on grammar and one on mathematics and the law. York was also an avid preacher, traveling across the country to preach an estimated 8,000 times. In addition, he served as president of a temperance society and ministers’ conference. York never returned to the Union Institute, instead focusing on other aspects of higher education. Like York, Nannerl Keohane—who preceded Brodhead and served between 1993 and 2004—pursued her educational interests away from Duke after her term ended. She focused on education and leadership equality for women and minorities and became a distinguished visiting professor at Princeton University, where she chaired a committee on women’s leadership. This committee found that there were “differential rates at which women and men were going into leadership,” Keohane said in an interview with the publication “AboutCampus.” She and the committee worked to develop methods to improve mentorship at Princeton. She also continued to serve on many committees, including Harvard’s governing body despite not having a degree from Harvard. In 2008, Keohane became the chair of the board of trustees for the Doris Duke Charitable Foundation, which supports the performing arts and
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Duke has a special system to fulfill work orders, but some still take longer to address than others By Anthony Cardellini Contributing Reporter
Work orders are a persistent mystery to many Duke students. While some work orders may be fulfilled within a few hours, others seem to be forgotten and never fulfilled. Despite the apparent arbitrariness surrounding work orders, certain systems determine how and when work orders are carried out, said Andy Beville, director of facilities planning and operations for Housing and Residence Life. When a student sends or calls in a work order request, a staff member places the request in an online database, which categorizes the work order by location. The requests make up enterprise asset managements, or EAMs, which are essentially groups of work orders categorized by building and campus. “EAM is our database that houses all of the requests for each building, for each asset. It’s an asset management system,” Beville said. “The work order request will always end up in EAM.” Mechanics who are assigned to different buildings and locations on campus can access the EAMs. The mechanic who has jurisdiction over the location of the EAM is responsible for fulfilling the work order. Six mechanics on West Campus are each assigned to a
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DUSDAC asks Human ancestors were agile leapers, study finds Sprout for better labeling HEALTH AND SCIENCE
By Bre Bradham
University News Editor
By Ben Leonard Blue Zone Editor
Millennials can’t buy homes because they buy too much avocado toast, Australian millionaire Tim Gurner famously said. Now, the pricey snack is being served to Duke students at the Brodhead Center. Avocado toast—and more specifically, getting Sprout to improve signage for vegan and vegetarian options, like the toast—was a priority for the Duke University Student Dining Advisory Committee at its weekly meeting Tuesday. Sprout has been offering the toast delicacy every day for roughly two months as a special when avocado is in season, but few have heard of it because it is not on open display. DUSDAC members received a sample of the avocado toast offered by Sprout. The restaurant’s rendition of the toast is not traditional, as it features diced tomatoes, basil and an avocado sauce of sorts—not the spread most are accustomed to. “It felt more like an avocado dressing,” senior Julia Medine, co-chair of DUSDAC, said. “When I think of an avocado toast, I think of mashed avocado on top.” Medine pushed for more vegan options, more variety and better labeling of vegan foods at Sprout’s stand. However, she stressed that the lack of labeling vegan options was not just a problem at Sprout—the issue exists all over campus. See DUSDAC on Page 4
What could an ankle bone from a lemur ancestor tell us about human evolution? For Doug Boyer, assistant professor in evolutionary anthropology, it can say quite a lot. Boyer, along with two colleagues in France, used the talus bone from a specimen of Donrussellia provincialis—a primitive species in the lemur branch of the primate family tree—to find that the early ancestors of humans were skilled leapers. This new discovery by Boyer pushes back on an existing hypothesis in evolutionary anthropology about the evolutionary order of primate characteristics and suggests that primates evolved more to avoid predators rather than to become predators, he explained. “I think that agility is probably a reflection of predatory pressures,” Boyer said. “We see a lot of extinctions of primate-like animals around that time—60 to 50 million years ago—and I think one of the differences between those animals and primates was not what they were eating or whether they were in the trees or not, but how rapidly they could move in their environment.” If the earliest primates became agile leapers before they developed features to climb out on branches, then this would clash with the hypotheses suggesting that the earliest common ancestor of primates was specialized for navigating small branches. “One question that has been asked [in evolutionary anthropology] is why primate features evolved, and one of the answers to that question is that they evolved to stalk insects and prey in the trees,” Boyer said. “This find, in a way, suggests against that
because it shows that leaping was becoming important well before grasping and before some of the other features that were required for insect capture became important.” To reach these conclusions, Boyer looked not only at the physical features of the fossil itself but also at other recent developments in the field. Physical characteristics of the fossil— which extends less than seven millimeters at its longest stretch and is made up of a body and two protrusions called a neck and head— point toward strong jumping abilities. The body of the fossil is robust, or “deep,” which is common in species that run fast or leap because of the increased stability it provides in situations where a lot of pressure is placed on the ankle. Additionally, the bone’s head and neck are elongated, which indicates that the specimen may have had a long heel and, therefore, a long foot.
Looking beyond the fossil at hand, Boyer said that a recent discovery about the mobility of an ancestor in the monkey’s side of the primate family tree lends credence to his theory. A fossil showed that primitive ancestors of monkeys had long legs and short arms—two characteristics that point toward leaping as the most favored mode of mobility. “In a way, finding this new ankle helped us triangulate the features of the earliest primates,” Boyer said. Susan Alberts, Robert F. Durden professor of biology, wrote in an email that Boyer’s find is important not only because it deepens human understanding of our evolutionary history, but also because he developed new methods for measuring bones and used that information to infer their function. “This represents a big technical advance in See LEAPERS on Page 4
Courtesy of Duke Photography Doug Boyer, assistant professor in evolutionary anthropology, used primitive lemur fossils to find that primates evolved more to avoid predators than to become predators.
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BRODHEAD FROM PAGE 1 environmental conservation. She still serves as one of the board’s members. John Kilgo—president from 1894 to 1910— had a bittersweet relationship with Duke after his presidency. Following his tenure, Kilgo became a member of the Board of Trustees and was elected as its chair in 1915. However, an incident on campus impaired his relationship with Duke. A few sophomore
Ian Jaffe | Photography Editor Richard Brodhead stepped down as Duke’s ninth president July 1.
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students hoisted a pendant with their graduation year ‘17 up a campus flagpole, which Kilgo considered “treasonable” and a defilement of the U.S. flag. He publicly denounced these students, but many people believed Kilgo’s reaction was too severe. Following much conversation back and forth with the Class of 1917, Kilgo refused to offer degrees to the students who committed the offense, but the Board of Trustees overruled his decision. Soon after, Kilgo resigned as a trustee and president emeritus. However, he continued to pursue a career in education and as a preacher. He was a member of the education commission for the Methodist Episcopal Church South, which founded Emory University in 1915. Kilgo served as vice chair of Emory’s board of trustees from 1917 until his death in 1922. He was also a bishop for Annual Conferences—a regional meeting for the Methodist Church— and continued to attend the conferences even in faltering health. Other presidents, however, interacted more significantly with the University after leaving office.
Carolina politics. He began his political journey while still in office, campaigning for the Democratic presidential nomination in 1972. Knowing that winning the primary was a longshot, his goal was to contest Alabama governor George Wallace and his segregationist ideas. Sanford eventually came up short and finished fifth in the primary race. Two years later, Sanford bounced back. He began campaigning for the presidential nomination for 1976, all while still at Duke. But a medical condition, a heart murmur, forced him to withdraw from the primaries. Sanford’s difficulties continued after he stepped down from the presidency. He lost the election for chairman of the Democratic National Convention in 1985. It was not until Republican Senator John East committed suicide in 1986 that Sanford ran and won the North Carolina senate race. As senator, he focused on anti-poverty reform, education improvement and equality for minorities. Sanford also lead the Duke-based International Commission for Central American Recovery and Development, which Coming full circle wrote a report promoting peace and equity in Terry Sanford—president from 1969 to Central America. 1985—became very involved with North After his time as senator, Sanford returned
WORK ORDERS
There are also times when mechanics simply cannot fix the problems cited in the FROM PAGE 1 work orders. In such cases, the mechanics contact specialized experts in the Facilities the replacement part, or the piece needed,” and Maintenance Department. Beville said. “We work with several providers “FMD have shop specialists, so they have that can typically have stuff within a couple the plumbing shop, the electrical shop, high of days.” voltage electrical, Duke utilities, the steam He added that some work orders are not shop,” he said. “These are experts in a small fulfilled due to the unusual nature of some area of focus.” requests. Such orders ask for help hanging Sophomore Vinit Parekh, a resident televisions or request soundproof dorms or assistant on East Campus, has mixed opinions new equipment. about the work order process.
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He said the work order requests are easy to access and fill out. However, he has experienced instances when it’s taken more than a day for his work orders to be fulfilled. “Because I’m an RA in Brown, I had to get the dorm ready before residents came here,” Parekh said. “There were many issues, and I turned in work orders three weeks beforehand. They fixed it a week later, which is totally fine because they get a lot of backup.” Beville acknowledged that work orders occasionally slip through the cracks. “It’s easy for stuff to fall through the cracks
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See BRODHEAD on Page 4 with this system,” he said. “If we’re given the wrong information, it makes it difficult for us to provide the level of service that we always want to provide.” Parekh said he understands the difficulty in fulfilling so many orders. “Often they get clogged up with so many work orders, or they get a work order and don’t come and fix it, which is understandable,” he said. Still, Beville said his goal is to continue making the process better. “It’d be cool if we didn’t have anything to do one day,” Beville said.
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to Duke to teach political science and law. He was a major factor in the campaign for a performing arts center in the Research Triangle. Like York, Sanford was a prolific author, publishing three books about about education, aging and government. Brodhead’s political agenda may not be as ambitious as Sanford’s, although “President Brodhead” has a nice ring to it—of the United States, of course. Arthur Hollis Edens, who served as president from 1949 to 1960, also continued to contribute to Duke after his term ended. The University persuaded him to remain a consultant at Duke for 10 years at a salary of $18,000. According to the Duke Archives, “Dr. Edens had continued to maintain his residence in Durham after giving up his post at Duke. He had continued active in Durham civic and educational affairs until going to Atlanta earlier for treatment at Emory Hospital.” During his time as consultant, he was the first executive director of the Mary Reynolds Babcock Foundation, which awarded grants of up to six million dollars for charities and educational institutions to fight poverty in the South. Robert Flowers—president from 1941 to
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BRODHEAD FROM PAGE 3 1948—assumed a new role at the University after his tenure as president. He became the first chancellor of Duke, in addition to acting as an advisor and being awarded lifetime tenure. “Dr. Flowers will be enabled to enjoy a well-deserved rest and still remain active in the affairs of Duke,” wrote the Duke Alumni Register. Flowers continued to be a leader in the Durham community, serving on the board of five different institutions—including colleges, orphanages, and hospitals. He was a director for the Durham Chamber of Commerce, Durham YMCA, Durham and Southern Railway and Fidelity Bank of Durham. Flowers was also a member of Rotary International–a charitable society of business professionals—and served on the board of education for the Methodist Church. Another president Keith H. Brodie—who served between 1985 and 1993—returned to work as a full-time professor at the University, teaching psychiatry and behavioral science. He developed a behavioral science course for the Duke
Law School, worked with students doing independent studies and taught a first-year seminar in psychobiology. He also wrote a book compiling his speeches and his reflections as president.
I would definitely take a class with him. It’s nothing much more than his reputation as very well spoken and academic. PABLO VIVAS
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“This is a great place. I return, almost in a parabolic way, to the faculty trenches I left,” Brodie told the Herald Sun. What Brodhead will do after his sabbatical is anyone’s guess. Some students said they were excited about the idea that Brodhead could return to teach. “I would definitely take a class with him,” senior Pablo Vivas said. “It’s nothing much more than his reputation as very well spoken and academic.”
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LEAPERS FROM PAGE 2 a field that deals with almost entirely single bones or bone pieces from 55-60 million year old fossils,” she wrote. To study the fossil, Boyer used high-resolution scans of the bone, which are available online through the website morphosource.org. This allowed him to view a 3D model of the fossil’s external surface and take measurements of its dimensions and features, though he did bring the fossil to Duke for two months, which enabled him to study parts of it that were difficult to see in scans. “It actually needed a little bit of cleaning, and I took photographs of it. Even though the scans extend our ability to do research in a lot of ways, it’s always good to have the original specimen,” he said. The particular bone he used for this study was discovered about 30 years ago in Rians, France by Marc Godinot, who is one of Boyer’s co-authors on the paper. Godinot, who also found the teeth that allowed for the original identification of the Donrussellia provincialis species at the same site, originally did not realize that the ankle bone was from a primate so primitive. The fossil was dated to around 52 million years old using biochronology, a complex process of dating that compares undated fossils to previously dated fossils. Boyer’s work with the ankle fossil ties in closely with his overall focus of better understanding human evolutionary history by determining the last common ancestor of primates. Many of the tendencies and histories seen in primate species that are living today—the majority of which are arboreal—are influenced by what that first primate looked like, he explained.
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“We’ve heard feedback that if things are vegan, [students] want them clearly labeled,” Medine said. “It’s for most things on campus, and specifically with West Union because it’s one of the most central dining places on campus.” Medine also suggested a larger breadth of vegan options and more variety in Sprout’s salads. She noted that the kale salad at Sprout has cheese in it, which might be appealing to some vegetarians but would exclude vegans. Medine also said that Sprout doesn’t advertise its specials, which aren’t under the display case, leaving vegans with fewer readily apparent options. “Maybe we need to a better job of presenting things and doing things,” Ferris Hannah, who operates Sprout, said. “Sometimes our menu board doesn’t help us to be able to change things and do things differently. Although the Sprout menu board is a nice board—don’t get me wrong—how much information can you put up there and still keep it clean and clear to understand?” Hannah also pushed back against the idea that there weren’t enough vegan options, noting there were roughly 20 choices of vegan platters that would be available. “You can go the whole week and not eat the same thing,” Hannah said. But he was open to efforts to better display the vegan options and label them more clearly, as DUSDAC members suggested. Committee members also said it would be easier for vegans to understand all of the options if given a paper menu with strong graphics listing out their choices. Hannah also noted that the restaurant is considering adding one or two smoothie options to its menu. “That’s what I want to hear from you people, to see how we can make it easier,” Hannah said.
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Kevin Zheng | Associate Photography Editor DUSDAC members suggested that Sprout should more clearly label vegan and vegetarian options, such as avocado toast.
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recess
VOLUME 19, ISSUE 18
OCTOBER 4, 2017
Hoof ‘n’ Horn presents ‘The Producers’ Musical opens next weekend, page 7
Sunday Salon series
MFA students screen experimental film, page 6
Mac DeMarco
A night at the Carolina Theatre, page 8
R 6 | WEDNESDAY, WEDNESDAY,OCTOBER OCTOBER4, 4,2017 2017
recess editors Better names for PricePalooza?
Will Atkinson ................vin-auguration Nina Wilder .......................west union Georgina Del Vecho.............. price tag Dillon Fernando ..............price is right Christy Kuesel ........... literally anything Jessica Williams .............. oktoberfest Likhitha Butchireddygari...london eye
On the cover: Robert Kushner, “After the Dance,” 1980. Now on view at the Nasher Museum of Art.
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I’m proud to say I was the secondchair saxophone in my middle school band. I like to conveniently overlook the fact that, as it happens, there were only two chairs to be had. My brief flirtation with the alto sax died an early death after just three years, partially because I’d grown weary of the smell of dried spit that seemed to permeate the very walls of the band room, partially because nothing seemed a worse fate to my social status than being branded a “band kid” and mostly because I’d long since abandoned any pretense of daily practice. (The first chair was getting all the attention anyway.) Years later, I find myself wishing I’d stuck with the saxophone at least a bit longer. Like the similarly brash banjo and accordion, the saxophone tends to get a bad rap. At best, it’s associated with the greats of jazz, like Charlie Parker and John Coltrane, who created definitive works of modern music with the horn. At worst, it’s a weapon of unbearable kitsch, an artifact of hotel lobbies and all the worst parts of the ‘80s: think Kenny G, think “Careless Whisper.” (For my part, I’m a fan of the George Michael track.) Courtney Love, ever the lightning rod of controversy, once went as far as to declare that saxophones “don’t belong in rock ‘n’ roll.” There’s no question that the saxophone is rather eccentric. Even in its make, the saxophone distinguishes itself from other instruments: It’s classified as a woodwind because of its reed, but it’s made of brass, bridging the gap between the two classes. The saxophone’s birthdate of 1846, when it was patented by Belgian inventor Adolphe Sax, makes it a true product of the industrial era, unlike some of its literally ancient counterparts. More than any other instrument, too, the saxophone seems to mimic the human voice. This quality lends the instrument a vast range of expression — in one instance it may sound smooth and seductive, but in the next it can function as a virtual noise machine. In the ensuing years I’ve spent exploring popular music, I’ve found that some of the most indelible moments for
me have been marked by the saxophone. Rock musicians have a long history of incorporating the saxophone alongside the traditional guitar, drum and bass, and to remarkable effect. (For the sake of word count, I’ve had to make a few notable omissions — sorry, Clarence Clemons.) In fact, the saxophone was a relatively standard component of early rock music. Rock and roll was just a scrappier version of rhythm and blues, the name given to the danceable, jazz-influenced music popularized by black artists. A typical R&B setup included piano and saxophone in addition to all the elements we now associate with rock. Jackie Brenston’s 1951 single “Rocket 88,” for example, often cited as the first true “rock and roll” record, features a blistering saxophone solo situated alongside the then-novel distorted guitar and the common 12-bar blues progression.
staff note Eventually, as the guitar-bass-drum format solidified thanks to the British Invasion, the saxophone became the exception rather than the rule. But the instrument stands out in some occasions — notably with The Sonics, a Seattle garage rock band whose aggressive, lo-fi style presaged the punk movement that would arrive a decade later. Their 1965 debut album “Here Are the Sonics!!!” (emphasis theirs) was recorded on a two-track tape recorder and presented a menacing, overdriven take on primitive rock and roll. Listen to tracks like “The Witch” and “Psycho,” and it’s no wonder they didn’t get played on the radio. Much is made of The Sonics’ fuzzed guitars and single-miked drums, but it’s Rob Lind’s saxophone, raging behind the rhythm section, that
pushes these songs to a darker realm. Perhaps the most iconic saxophone in punk rock came in 1977 with X-Ray Spex’s “Oh Bondage Up Yours!” Embodying punk’s spirit of amateurism, Lora Logic’s sax line, which kicks off the song after a spoken intro, is decidedly out of tune. But it’s no less effective for it, elevating vocalist Poly Styrene’s feminist rallying cry from its four-chord template. Like a second vocalist, the saxophone became X-Ray Spex’s trademark on “Germ-Free Adolescents,” the band’s first (and only) album released a year later: take the squawking instrumental breakdown of “Warrior in Woolworths” or the power pop hook of “I Can’t Do Anything.” Today, X-Ray Spex has found spiritual successors in groups like Downtown Boys and Priests, both of which have successfully incorporated sax into their respective brands of punk. By the 1980s, the saxophone solo had fully infiltrated commercial pop, and it’s likely for this reason that the sax has earned its tacky reputation. Keen on this trend was Haircut One Hundred, whose horn section and vaguely tropical theme deliberately played up the tackier elements of funk-inspired new wave. On “Love Plus One,” which peaked at no. 3 on the U.K. charts in 1982, an impossibly catchy, lounge-like saxophone riff opens the song. Since then, other artists have similarly reclaimed the instrument, including Destroyer’s Dan Bejar, whose 2011 album “Kaputt” reimagined lounge music as art pop, and M83’s hit single “Midnight City.” Meanwhile, garage rock-inspired bands continue to channel the spirit of The Sonics (see, for example, Deerhunter’s “Coronado”). The alto saxophone I owned in middle school is long gone — when a younger neighbor started up band, I was more than willing to give it up to someone who’d put it to use more than I would — but I sometimes wonder if I’ll ever pick up the instrument again. Until then, I’ll continue to enjoy those moments in pop when a saxophone is deployed just right. And that includes “Careless Whisper.” —Will Atkinson
Campus Arts
‘A labor of love’: Sunday Salons showcase experimental film By Alexandra Bateman Contributing Writer
When asked what Sunday Salons mean to her, MFA student and film curator Lexi Bass said, “For me, there’s an element of church in it. There’s a way to engage in spirituality with a group people, in the dark. [We’re] able to reflect on things that don’t necessarily lend themselves to words. Instead, we experience them together with moving image and light and sound and an immersive, quiet, dark, reflective environment.” Bass is a second-year graduate student in the Master of Fine Arts in Experimental and Documentary Arts program — often abbreviated simply as MFA — and one of three student curators of Sunday Salons. The Sunday Salon program is a free film exhibition that began three years ago as a student initiative to bring more experimental and documentary films to campus. Each Sunday, Bass and her curator counterparts, Summer Dunsmore and Laurids Sonne, host a public screening of experimental films they find moving or noteworthy. David Gatten, a world-renowned experimental filmmaker and former lecturing fellow and artist-in-residence in the Arts of the Moving Image program,
inspired then-MFA students Anna Kippervaser and Libi Striegl to begin the salon tradition. According to Bass, “[Gatten] hosted an experimental film class, and the students just couldn’t get enough. They wanted another occasion to continue that togetherness in the dark, to host and look at new things. They worked very hard to get more 16mm films [to screen].” Past Sunday Salon curators have also included Alex Cunningham and Jason Oppliger, both of whom teach courses in Arts of the Moving Image and Documentary Studies. While the idea of the salon and its tradition remain unchanged, the screenings themselves are more a reflection of each curators’ unique interests. Dunsmore’s first curation, entitled “Fugue Cinema,” focused on experimental representations of fugue and dissociative states and included Peter Tscherkassky’s “Outer Space.” Sonne, a Denmark native, curated “The Danes are coming!: The dumb, the smart and the wise,” a collection of Danish films that investigate American culture. Bass’s interest in the works of French filmmaker Patrick Bokanowski have inspired her upcoming curation where she plans to show his 1982 film “L’Ange.”
Courtesy of OpenDurham.org Every Sunday in the Carr building, MFA students curate “salons” where they screen experimental film.
If these curations sound timeintensive, it’s because they are. Bass, Dunsmore and Sonne have to track down and rent each of the films they want to show. When, inevitably, certain films are unavailable, they must improvise or revise their theme. What’s more, each Salon is entirely a “labor of love.” “It’s not an internship, there’s no money attached to it. We all just do it because it’s cool, because we want people to come, because we’ve got these great
ideas,” Bass said. This semester, the Sunday Salon has its own website — a website that, in addition to their curating duties, Bass and her peers update with information about future salons. Even though the website, mfaedasalon.org, has “MFA” in the title, Bass promises that undergraduates are not only welcome but encouraged to attend. See SALON on Page 8
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Campus Arts
The energy and talent behind Hoof ‘n’ Horn’s ‘The Producers’
By Sydny Long Contributing Writer
Nobody walked in the Sheafer Lab Theater on Thursday. As the cast and crew of Hoof ‘n’ Horn arrived for rehearsals of its upcoming show “The Producers,” people dashed across the level platform that serves as the stage or practiced dance steps in the corner or thundered down the stairs of the seating area. Even when the cast and ensemble gathered around the piano to warm up, they remained in motion — bouncing lightly on their heels and playfully pushing one another. Their energy never flagged, not even after running the choreographically demanding opening number and rushing around to construct the minimalist set for one of the show’s funniest songs, “Keep It Gay.” How does this student-run theater company find the time and spirit for rehearsal after a long day of classes and other extracurriculars? “It’s really fun,” senior Graham Jackson explained. “You need a lot of energy, but I’ve got it. It’s not stressful, it’s carefree.” Jackson plays Max Bialystock, an untalented theater producer whose musicals typically open to widespread criticism. His accountant Leo Bloom convinces Max to raise an exorbitant amount of money for another musical so that the two can collect on the profit after the show inevitably flops. Bloom is played by sophomore Tim Clayton, who has already starred in two other Hoof n’ Horn productions. Although this is only Jackson’s first show with the company, he
already feels at home with Hoof n’ Horn. “Everyone’s been really welcoming,” Jackson said. “You’re just accepted into the group.” “It’s something to look forward to at the end of the day,” Clayton said. When asked what he hopes the Duke students will gain from the show, he and Jackson exchanged knowing glances; “The Producers” is a famously irreverent musical. “I hope we make people laugh. ... School can be so mundane, sometimes people need a break. People will be shocked by how hard they’re laughing — well, they’ll be shocked by something.” This consensus was shared by freshman Multazem Oliver, whose first role with Hoof ‘n’ Horn is as the show’s only female lead, the Swedish bombshell Ulla. “People should just come to have a good time!” she said. “Putting on a show in five weeks is hard, but it’s a great community. … We have family dinners and always support each other.” Oliver is one of eight first-years who will star in the show, a staggering number considering “The Producers” has a cast of only nineteen. Director and junior Jackson Prince was not intimidated by the amount of new talent — in fact, he embraced it. “Twelve people [in the cast] have never done a show with us before,” Prince said. “I never thought I’d be the person teaching people the culture of Hoof ‘n’ Horn. … This is the first-years’ first community at Duke. We try to keep everything passionate and accessible for them.” “The Producers” is the first comedy that Hoof ‘n’ Horn has produced in three years — “The Drowsy Chaperone”
Selena Qian | Contributing Photographer Theater group Hoof ‘n’ Horn’s musical “The Producers” runs Oct. 12-15 in the Sheafer Lab Theater.
being their last comedic show — as well as Prince’s first time in the director’s chair. His perspective on his role perfectly encapsulates the philosophy of the program as a whole. “What I’ve learned is that everyone brings their own talents and skills to the theater — cast, crew, pit, techies,” Prince said. “Everyone knows what they’re doing better than me. It’s my job to unite everyone under one vision.” As a student-run program, Hoof ‘n’ Horn relies on the collective commitment and talents of its members in order to execute successful shows. With such passionate students at the helm, Hoof ‘n’ Horn promises to deliver yet another excellent musical. Producer
and sophomore Sharon Kinsella is just one of many members tackling the less glamorous aspects of rehearsing and putting on a show in the short span of five weeks. “My job entails a lot of oversight and logistical preparation, making sure everyone has what they need,” Kinsella said. “It’s challenging, but it’s great to be a main person in production.” Prince watched the cast hurry around in anticipation of a run-through of the opening number with a fond smile. He knew that nobody had time to walk, but with such an enthusiastic cast, a lighthearted musical and a strong sense of See PRODUCERS on Page 8
Local Arts
N.C. Latin American Film Festival directed by Duke professor By Ashley Kwon Contributing Writer
Last Sunday morning, Richard White Auditorium on East Campus was crowded with Duke students and members of the Durham community who came to watch the movie “La Jaula de Oro.” Translated as “The Golden Dream” in English, the movie depicts a Native American boy and teenagers from Guatemala on their journey to immigrate to the U.S. Through the protagonists’ struggles, the movie draws attention to the thousands of Latin American children who try to cross the American border for better opportunities. The screening was part of the 2017 North Carolina Latin American Film Festival, which started at UNCChapel Hill 31 years ago. Duke became involved in organizing the festival with UNC 25 years ago, creating the joint organization called The Consortium in Latin American and Caribbean Studies. Since then, the festival has been presenting different aspects of Latin American experiences through 20 to 30 movies, ranging from short films to documentary films, as well as opportunities for the audience to interact with Latin American filmmakers. Each year’s festival has a theme, which usually tends to a problem within Latin American societies that is worthy of attention. This year’s theme is Latin American children who try to immigrate to the U.S. on their own. Miguel Rojas-Sotelo, who has been directing the festival for the past nine years, said that “La Jaula de Oro,” the film screened on Sunday, is the perfect representation of this year’s theme. The film uses the documentary genre to to present fictional stories of young Latin American migrants. Sotelo said that the film, based on 600 actual interviews with young migrants, appeals to the viewer with strong visuals and narrative and shows the struggles specific to young migrants from different backgrounds. “We cannot put every single migrant to the same [group]. Here we have an indigenous person who doesn’t
Walter Tournier | Special to The Chronicle “Chatarra” (“Junk”) is one of three animated films playing Friday in Chapel Hill as part of the N.C. Latin American Film Festival.
speak Spanish, and two young [Guatemalan] men that represent the diversity in the background [of young migrants],” Sotelo said, referring to diverse protagonists of the movie. The festival also addresses problems that many young migrants go through regardless of their specific backgrounds. “Sin Nombre,” for example, depicts the stories of young migrants who are recruited by international criminal organizations. Eleven of the movies screened at the festival deal with the challenges of educating young migrants. The movies featured in the festival are not merely forms of entertainment. They often address problems of Latin American society, including inequality and migration, and feature real people who directly suffer from those problems, just as in documentaries. “In Latin America, there is a long tradition of cinema as a social tool for transformation and as a way to construct the ideas of nations that are in process of
development,” Sotelo said. Omar Foglio, a Latin American director, addressed his experiences as a Latin American director as well as a viewer. As a part of Dignicraft, a company that produces films and works on collaborative art projects with Latin American artists regarding human justice and dignity, Foglio, with other Latin American directors, mainly worked on documentary films about Latin Americans. One of their documentary films, “Tata Padrinos,” translated to English as “Godparents,” premiered Saturday as a part of the festival. The directors followed through the life of a Mexican family who had been living in North Carolina for 20 years and had managed to maintain connections with their Mexican community. Depicting the difference between the communal life in indigenous communities in Mexico and the more individualistic life in the U.S., the film presented both See LATIN on Page 8
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Local Arts
A night with indie darling Mac DeMarco at the Carolina Theatre By Sarah Derris Contributing Writer
7:00 p.m. After ascending the steps to the top of The Durham Hotel last Monday, I emerged onto an ornately decorated rooftop bar with charming Southern patio furniture, the setting for Murmur Radio’s live podcast event with guest Mac DeMarco. As the podcast began, host Robert Milazzo attempted to ease the audience’s jitters by cracking a few jokes and informing us of DeMarco’s whereabouts. Seemingly out of nowhere, Mac emerged, bobbing his head along to the clip of his single “One Another,” dressed in his signature laid-back style: a navy corduroy jacket, baggy Carhartt pants, grey vans and his infamous distressed baseball cap. Juxtaposed against the backdrop of the ritzy hotel rooftop, he stuck out like a sore thumb. The interview encapsulated DeMarco’s good-natured persona as he spoke on North Carolina’s hospitality, reminiscing over playing at the Duke Coffeehouse in 2014 and classifying Durham as one of the nicer cities he’s visited on tour. Despite DeMarco’s growing popularity, an aspect of his career that indie purists are not especially pleased with, he retained a humble perspective when asked about playing the coveted Radio City Music Hall just days earlier. “Radio City, I think, is a little too precious for my stuff,” he joked. “Pretty weird, pretty fancy, it was a good experience … maybe. I guess it looks good on your resume and my mom was proud of me.” When asked about which actors he would like to meet since his recent move to Los Angeles, he listed stars including Al Pacino and Robert De Niro and further noted his affinity for David Lynch and the show “Twin Peaks.” Wrapping up the podcast, DeMarco reluctantly agreed to perform one verse of “Still Together,” a song from his 2012 album “2,” before his departure. 7:45 p.m. Not bothering to wait for the elevator, I dashed down the stairs in a frenzy, hurrying out of the door toward the Carolina Theatre. Mac DeMarco was performing at the Theatre after the live podcast, and I was afraid that I wouldn’t be able to secure a decent spot in the pit. Out of the corner of my eye, I witnessed a scene straight from a ‘90s pop-punk music video, à la Green Day’s “When I Come Around” — three men striding alongside each other in baggy pants, the guy in the center with one hand in his pocket, the other gripping a pack of Marlboro Reds. It struck me that I was walking directly behind Mac DeMarco. “Hey Mac, it’s really nice to meet you,” I muttered meekly, shaking his hand. Smiling down at me, I noticed how tired he looked, the constant smoking not kind to his aging visage, but his eyes still gleaming with youthful mischief. Making trivial small talk on the way to the venue, my anxiousness was eased by his personability.
Sarah Derris | Contributing Photographer Mac DeMarco played at Carolina Theatre Monday, Sept. 25, after recording a live podcast with Murmur Radio host Rob Milazzo.
Parting ways as we arrived at the venue, I stepped inside the Carolina Theatre, immediately noting how the intricate gold engravings that bordered the stage clashed with the throngs of fans. Ripped denim, “vintage tops” and Vans adorned almost every attendee — there was an almost humorous sense of irony in observing the homogeneity within a subculture that prides itself in individuality and anti-commercial values. Securing a spot in the second row of the sparsely populated pit, I waited for the opening band to take the stage. 8:15 p.m. The Garden, the flamboyant opening act, dominated the stage with their eclectic synergy of electronic and punk music. Thirty minutes after the Garden’s set, the house lights dimmed and fans raised their beers to cheer the long-awaited arrival of Mac DeMarco. Mac stomped onto the stage, greeting the fans with a hearty hello, a beer in one hand and a cigarette in the other. The set began with the mellow tune “On the Level” from his latest album, “This Old Dog,” the jangly guitar and hypnotic vocals drawing in the crowd and gripping its attention. “This Old Dog” has been regarded by critics as DeMarco’s most serious body of work yet, making his transition from the melancholic tune to the exuberant track “Salad Days” all the more exhilarating for the rambunctious audience. Throwing off his cap and tousling his bedhead, DeMarco epitomized the slacker-rock subgenre. Stringing together a diverse set of his works, Mac effortlessly transitioned from mystifying the audience with groovy riffs to entertaining us with his trademarked bizarre stage antics. Hurling his lighter onstage, opening a beer bottle with his teeth, screeching wildly into
LATIN
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Mexican and American parts of the family’s identity. Having worked with various members of Latin American societies in the U.S., Foglio emphasized the importance of actively interacting with the subjects of his documentaries and making personal connections with them. “We don’t do film just for the sake of being filmmakers,” Foglio said. “We do films to engage people and have conversations, open doors and give voices.” Foglio added that he also hoped to diversify the representation of Latin Americans in films. “I’m in my early forties, but since I was a teenager, I have never identified with the kind of content that was provided to us as a part of Latino community,” Foglio said, recalling his experience of watching Latin Americans represented in mainstream movies. Mentioning that 68 ethnic minority groups with different languages and customs are all classified as “Mexicans,” Foglio said he hoped the audience to discover diversity within a group of people generalized as “Latino.” With the opportunities to directly communicate with Latin American directors and watch different genre of films, the festival introduced new aspects about Latin American communities to the North Carolinian audience.
“We really want to get the undergrads there,” she said. “We’d love to have a bigger audience coming out and chatting together about films. Get our experimental film community to grow here at Duke and in Durham.” This past week’s Salon joined forces with Stacy Asher’s new exhibit in Smith Warehouse Bay 11. Asher, associate professor of art at the University of Nebraska-Lincoln, launched her installation “Meat/ Meet/Mete” last Friday with the help of Bass and a few others. Asher’s installation is, according to her own written synopsis, “a reflection on consumption, examining links between art, visual communications, identity, and social engagement, while posing questions about well being, the environment, and society.” The installation is interactive, encouraging participants to create their own meat art using meat images painstakingly clipped from grocery advertisements by Asher herself over the course of four years. A workshop was held before the Salon as a way for participants to reflect on their own meat consumption habits. The content developed in the workshop — meat landscape postcards and meat wallpaper — is now a part of Asher’s exhibit. The salon after the workshop, titled “Propaganda
the microphone and kissing bandmates and audience members alike, the 27-year-old did not disappoint in creating an outlandish stage persona that caused even his most avid fans to question his sanity. The stage was not equipped with fancy lighting or intricate displays. DeMarco’s music dazzled on its own with raw and uptempo takes on some of his softer tunes, including “Cooking Up Something Good” and “Freaking out the Neighborhood.” Perhaps the most shocking part of the night was the singer’s decision not to stage dive, often seen as the hallmark of his shows. Although attributing this to being “sicker than a fish,” DeMarco’s performance quality was not hindered, still smoothly belting out the haunting “Chamber of Reflection” and throwing in distorted renditions of classic rock tunes including Blue Öyster Cult’s “Don’t Fear the Reaper.” As his set ended, there was a clear sense of togetherness within the audience, a definite feelgood vibe that permeated throughout the venue. As DeMarco and his bandmates gave their final bows, there was a clear audible consensus from the audience: “That was amazing.” 11:30 p.m. There was no encore — another missing staple of a Mac DeMarco concert — but he did stick around after the show. Back in his go-to corduroy jacket and tattered baseball cap, DeMarco greeted the twenty-or-so of us with open arms, patiently signing autographs, cracking jokes and taking pictures. “You again?” he quipped as I approached. Tightly embracing as we took our picture, he turned to me, smiled warmly and said, “God bless you.”
Design: Curated Commercial Ephemera,” featured more of Asher’s work. The next Sunday Salon will be held, as usual, Sunday, Oct. 15 at 7 p.m. in Carr 103. Its theme: “Enter the 16 chambers, 16mm curatorial roulette.”
PRODUCERS FROM PAGE 7 fraternity, no one wanted to walk. He hoped that this high-energy environment will translate to the show and, eventually, to the audience. “This campus could use something that’s just fun with no message behind it,” Prince said. “I know people are going to be laughing.” The words had scarcely left his mouth when the cast erupted into uproarious laughter at a hilarious improvisation by one of its members. There is no business like show business, but Hoof ‘n’ Horn knows how to make business fun. Editor’s note: Jackson Prince is The Chronicle Editorial Page Editor. “The Producers” will run from Oct. 12 to 16 at 8:00 p.m. in Sheafer Lab Theater, with two 2:00 pm matinees Saturday and Sunday. There will be an 11:00 a.m. revue of the show Saturday, Oct. 21 in Nelson Music Room.
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WEDNESDAY, OCTOBER 4, 2017 | 9
THE BLUE ZONE
KEY NUMBERS FROM THE WEEK IN DUKE SPORTS sports.chronicleblogs.com
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WEDNESDAY, OCTOBER 4, 2017
FOOTBALL
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HOO ARE YOU?
Much-improved Virginia team has already surpassed 2016 win total By Daniel Landa Contributing Reporter
Although the past two and a half seasons have left Virginia with an abysmal 9-19 record, two of those six wins came at the Blue Devils’ expense. Duke will look to flip the script, however, when it travels to Scott Stadium Saturday afternoon to take on a hot Cavalier team. Virginia is off to its best start in a decade, picking up its third win with a 42-23 beatdown on the road at Boise State two weeks ago. The Cavaliers have already surpassed their win total from last year and bring a disciplined group coming off a bye week of preparation, making them more than capable of handing Duke a second consecutive loss. “Our players are aware that Virginia is much better,” Blue Devil head coach David Cutcliffe said. “[I’ve] heard a lot about Virginia being open and Virginia coming off a huge win over Boise State, which is a program that is consistently a winner.” The Cavalier offense is led by veteran quarterback Kurt Benkert, who is no stranger to Cutcliffe and the Blue Devils. Benkert threw for more than 300 yards and three touchdowns at Wallace Wade Stadium last year and looks comfortable in his second year starting, already accounting for 10 touchdowns and just one interception. The redshirt senior leads a potent aerial attack that has posted 312 passing yards per game, but if there is one thing that separates this 3-1 Cavalier team from last year’s 2-10 squad, it is Virginia’s ability to take care of the football. The Cavaliers closed last season with 26 giveaways, more than all but nine teams in FBS.
Cardinal sins tarnish college game?
Cutcliffe described last year’s offensive performance as “erratic” and credited the loss to Virginia’s ability to make plays. For Duke to pick up a road win this time around, though, it will want to take a page out of Virginia’s playbook and prevent giveaways. “Defensively, they are as consistent with their system as anybody we will play.... Bronco Mendenhall is one of the best defensive football coaches I’ve ever talked to,” Cutcliffe said of the Cavaliers’ head coach. “They make
For a number of years, there’s been something about Louisville basketball that sucked me in and made me an honorary fan as long as the Blue Devils weren’t on the other side of the court. There’s a pretty good chance most of the people reading this haven’t travelled to Louisville, and with all due respect to the Midwest, there isn’t much of a reason to. But if there’s one thing I learned in my yearly trip to the KFC Yum! Center—the last two ending in Duke losses—it’s that the region is fiercely devoted to its Cardinals. All of this has made watching the Louisville program embroiled in scandal and shame (again) even tougher. Although the school wasn’t named in an FBI report last week that charged 10 people for fraud and corruption, the Cardinals are likely to be implicated due to evidence that recruit Brian Bowen was paid $100,000 to sign with the program. The most recent developments are another black eye for a sport that has been caught in the riptide of changing times. It’s especially saddening because the Cardinals have always epitomized college basketball to me. On the court, Louisville has embraced a tenacious,
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Kurt Benkert torched the Blue Devils for more than 300 yards last year and is averaging 312 passing yards per game this season. But they have committed only one turnover in four games this year, a number that only topranked Alabama can best. “Virginia is so well-coached that nothing’s going to come easy,” Cutcliffe said. “They make you execute.” The last time the Blue Devils traveled to Charlottesville, they allowed 21 points off three turnovers in a one-possession loss. That was followed by yet another head-scratching performance last year, in which the Blue Devils surrendered another 21 points off six Daniel Jones turnovers.
MEN”S BASKETBALL
Grayson Allen named Duke’s lone 2017-18 captain By Staff Reports The Chronicle
Duke head coach Mike Krzyzewski hinted at it for much of the offseason, and now he has made it public—Grayson Allen is a captain again. Seth Davis of The Athletic reported in a profile of Allen that Krzyzewski named the senior guard the lone captain of his 2017-18 Blue Devils. A team spokesman confirmed the news Monday morning. Allen was initially a team captain last year along with Amile Jefferson and Matt Jones, but he lost the honor after tripping Elon’s Steven Santa Ana Dec. 21, resulting in a flagrant foul and a one-game suspension. Allen will be Duke’s first solo captain since DeMarcus Nelson held the title alone for the 200708 team 10 years ago. As the Blue Devils’ lone senior and only player on the entire roster that has played significant minutes in college, Allen was a clear choice to lead a team with six freshmen and three sophomores. The Jacksonville, Fla., native is the only remaining Duke player that was on the 2015
national championship team, when he played a major role in the title-game win against Wisconsin. A year later, he had a breakthrough season with 21.6 points per game as a sophomore. Allen hoped to graduate a year early in preparation for a jump to the NBA when he elected to return for his junior season, but those plans changed when toe and ankle injuries and the tripping controversy impeded his progress. His shooting percentages dropped across the board and his scoring average fell to 14.5 points per game. Davis’ in-depth story details Allen’s decision to return for his senior year and says Krzyzewski instructed him to stay away from basketball for three months during the summer to rediscover his love for the game and get healthy physically. The Athletic is a subscription-based sports website that launched its national college basketball coverage Monday morning. After offseason surgery to clean out his ankle, Allen is healthy and ready for one more run as a captain that the Blue Devils hope will be more successful than last year.
Ian Jaffe | Photography Editor
Grayson Allen has been named Duke’s lone captain for his senior year after he was stripped of the honor last December.
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T H E I N D E P E N D E N T D A I LY AT D U K E U N I V E R S I T Y
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10 | WEDNESDAY, OCTOBER 4, 2017
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Welcome, President Price
his Thursday, October 5th, Duke University will officially inaugurate its tenth president, Vincent E. Price. Signs of preparation, both for the inauguration as well as for the extravagant celebration titled “Price Palooza,” have been springing up all over campus. However, as excited as we should be about Ferris wheels and DefMo performances, we should also be aware that this historic event represents a time of reflection on ourselves as a university forging into the future. While we celebrate the inauguration, we as a community of students should also be reflecting on the goals that we have for our university under the brand-new Price administration. Price’s inauguration represents a historical moment for Duke, especially at a time when both our university and the nation face numerous social challenges in the Trump era. The last time Duke inaugurated a new president—Richard H. Brodhead in 2004 —the university was in a much more different place than it currently occupies. When Brodhead succeeded Keohane nearly thirteen years ago, the country was in the midst of the Iraqi conflict, George W. Bush was in the White House and flip-phones were the hottest commodity among status-conscious Duke students. This year, Price inherits a university that
onlinecomment “Always fun to read about students involved in DSG (including SOFC) dressing up & playing pretend Government. The sad thing, though, is that it’s precisely these people that will spend their careers in politics and public policy.” —Kodos Tarsus, responding to “Duke College Republicans file petition against SOFC after being excluded from annual budget,” published Oct. 2, 2017
LETTERS POLICY The Chronicle welcomes submissions in the form of letters to the editor or guest columns. Submissions must include the author’s name, signature, department or class, and for purposes of identification, phone number and local address. Letters should not exceed 325 words; contact the editorial department for information regarding guest columns. The Chronicle will not publish anonymous or form letters or letters that are promotional in nature. The Chronicle reserves the right to edit letters and guest columns for length, clarity and style and the right to withhold letters based on the discretion of the editorial page editor.
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is much more global and diverse than it was in 2004. It is important that as we welcome President Price with celebrations and libations that we also acknowledge the huge amount of change that has taken place within our university since 2004. The inauguration represents a time for us to specifically reflect on ourselves as an institution. Who are we as Duke University and who do we want to be? These are questions that we need to
Editorial Board ask ourselves as a student community in order to ascertain the changes we want to see implemented by President Price. This is also a time for us as a community to review the past Brodhead administration and to consider what we want our new administration to contribute towards. It is our responsibility to reorient campus priorities and to focus on communicating our values to President Price. However, this is not only a moment to be critical and reproachful, but also to be optimistic as we look ahead to what the Price administration can bring to our campus. After his official inauguration, President Price shoulders many responsibilities besides serving on
The birth of Price-Palooza
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LIKHITHA BUTCHIREDDYGARI, Editor HANK TUCKER, Sports Editor KENRICK CAI, News Editor SAM TURKEN, Managing Editor VIR PATEL, Senior Editor ADAM BEYER, Digital Strategy Team Director IAN JAFFE, Photography Editor JACKSON PRINCE, Editorial Page Editor ALAN KO, Editorial Board Chair SYDNEY ROBERTS, Editorial Board Chair CHRISSY BECK, General Manager ISABELLE DOAN, University News Department Head JOYCE ER, University News Department Head BRE BRADHAM, Local & National News Head NATHAN LUZUM, Health & Science News Head SHAGUN VASHISTH, Health & Science News Head JIM LIU, News Photography Editor WILL ATKINSON, Recess Editor NINA WILDER, Recess Managing Editor SUJAL MANOHAR, Recess Photography Editor SANJEEV DASGUPTA, Sports Photography Editor MITCHELL GLADSTONE, Sports Managing Editor LEAH ABRAMS, Editorial Page Managing Editor CARLY STERN, Editorial Page Managing Editor NEAL VAIDYA, Audio Editor JAMIE COHEN, Social Media Editor JEREMY CHEN, Graphic Design Editor CLAIRE BALLENTINE, Towerview Editor JUAN BERMUDEZ, Online Photography Editor NEELESH MOORTHY, Towerview Editor NEELESH MOORTHY, Investigations Editor ABIGAIL XIE, Investigations Editor CAROLYN CHANG, Towerview Photography Editor CAROLINE BROCKETT, Recruitment Chair CLAIRE BALLENTINE, Recruitment Chair SHAGUN VASHISTH, Recruitment Chair SARAH KERMAN, Senior News Reporter KATHERINE BERKO, Senior News Reporter LEXI KADIS, Senior News Reporter MEGAN HAVEN, Advertising Director JULIE MOORE, Creative Director The Chronicle is published by the Duke Student Publishing Company, Inc., a non-profit corporation independent of Duke University. The opinions expressed in this newspaper are not necessarily those of Duke University, its students, faculty, staff, administration or trustees. Unsigned editorials represent the majority view of the editorial board. Columns, letters and cartoons represent the views of the authors. To reach the Editorial Office at 301 Flowers Building, call 684-2663 or fax 684-4696. To reach the Business Office at 1517 Hull Avenue call 684-3811. To reach the Advertising Office at 2022 Campus Drive call 684-3811. One copy per person; additional copies may be purchased for .25 at The Chronicle Business office at the address above. @ 2017 Duke Student Publishing Company
panels and enjoying the festivities. First, Price has to be receptive to student values and voices. He should prioritize open student communication in order to get to know us as individuals and as a community. His goals and agenda should be shaped by the personality of the students and institution that he serves. Secondly, Price should evaluate the failures of the last administration. In the past, the creation of various task forces has in some regards failed to adequately address the pressing issues of labor rights, racism and sexual assault on campus. By recognizing student voices on these issues and the failure of the last administration to properly address them, President Price will be better equipped to serve our university. As Duke students, we are both extremely loyal to and proud of our university. Consequently, we wholeheartedly welcome and support President Price as he officially becomes inaugurated tomorrow. However, the admiration that accompanies leadership must be earned. We can equip him with our voices and ideas but he must be responsible for actively listening and acting upon them. As a community of diverse and multi-faceted students, we welcome President Price and look forward to the many positive changes he can bring to campus life over the next few years.
Cartoon by Daniela Flamini, a Trinity junior.
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Time to step up to the plate, men
O
ur society’s sexual assault problem centers around the way in which we educate men, and in order to solve it, we must prevent acts of violence rather than teach victims to avoid risk. Conversations surrounding gender violence often frame it as a “women’s issue”–a label that puts the burden on women to
Ethan Ready DUKE MEN’S PROJECT solve the problem and absolves men from taking responsibility. This paradigm ignores the fact that, regardless of the victim’s gender, perpetrators of rape and sexual assault are overwhelmingly male. Violent behavior stems from the perpetrators rather than the victims, and thus our strategy for ending gender violence must focus on teaching men to both not commit violence and to construct a positive, inclusive male community. Our world, especially at Duke, faces a destructive gender violence problem. A Spring 2017 survey found that 40 percent of Duke women and 10 percent of Duke men experienced sexual assault since enrolling at Duke, with other identities such as race and sexual orientation corresponding with even higher rates of violence. Globally, one in five women experience sexual assault. In the United States, one in six men will be sexually abused in their lifetime. Too many people of all genders experience gender violence, and it is imperative that we find a solution. When I first heard the term “rape culture” and its supposed implication that society encourages men to rape, I resisted the idea. I denied having ever been told that rape is acceptable, and concluded that rape culture was a myth. I reacted defensively because I understood the destruction of rape but didn’t understand how I contributed. I didn’t understand that rape culture also includes “locker room talk,” when people make or tolerate statements that trivialize sexual violence or objectify potential victims. Furthermore, blatant encouragement of rape does happen. Men commit sexual assault for a variety of reasons, but simply blaming biology is grossly inadequate. Anyone frequenting male spaces knows that “locker room talk” is all too pervasive, that culture is immersive and hard to see, and that implementing change can be hard. In male spaces, masculinity and prestige is often measured by heterosexual activity. Defining masculinity through sex leads men to feel that they deserve sex, sometimes validating the use of violent measures to engage in sex. Men often treat sexual pursuit as a game or conquest, a notion that diminishes the importance of female consent and encourages men to take advantage of women. Treating rape as a joke trivializes sexual assault. Violent pornography normalizes sexual domination. Sexually objectifying people of any gender reduces their humanity, and accordingly, the moral consequences of sexual violence. Behaviors like these often seem like isolated incidents, but their accumulation and combination with other harmful acts create a culture in which sexual violence is not unusual:
exactly what “rape culture” refers to. Conversations that center around “false accusations” or focus exclusively on the wellbeing of privileged peoples also contribute to a culture of sexual violence. When confronted with sexual assault, many men point to false rape accusations–even though only 2-8 percent of reported assaults (most assaults go unreported) are untrue. This narrative, unfortunately furthered by the Duke lacrosse case, intimidates survivors and paints white men as victims, absolving them of responsibility to fight sexual assault. The conversation should instead center around preventing sexual assault and changing the culture that permits it. While all men exist in rape culture, it is true that not all men commit sexual assault. It is also true that not all men engage in “locker room talk.” Lumping all men together as equal contributors is both wrong and unfair, leaving no room for personal growth. The argument that “Not All Men” contribute to sexual assault, and therefore only rapists bear responsibility, however, is woefully wrong. This argument makes rape seem exceptional and absolves men from the responsibility of fighting rape culture. We as a community of men have an enormous problem: 98 percent of rapes are committed by men. Something is inherently wrong with the way that we exist as a community and we must each acknowledge the role that we play in order for anything to change. Our identity as men gives us a responsibility to fix this culture. We have exclusive access to the male-only spaces that foster toxic masculinity, and to be true opponents of sexual assault we must use this access to confront and deconstruct harmful ideas. Silence conveys implicit approval and makes bystanders complicit. How, then, do we as men fulfill this responsibility to prevent sexual violence? It starts, of course, with not committing sexual assault. That means taking the initiative to learn about consent and not placing the burden on women or a partner to do the labor of teaching. We must also teach other men about consent. This is how men can best contribute to gender equity: taking the labor burden off of oppressed groups. We must use our access to male spaces to encourage healthy culture and amplify the voices of the oppressed. We must actively deconstruct rape culture by not engaging in it ourselves and by calling other men into the gender equity movement: this means engaging in conversations about violent language with other men and teaching them how to communicate in a productive way. Lastly, as men, we must actively prevent sexual assault in our daily lives and lend our unconditional support to survivors. If you see someone clearly unable to give or receive consent, step in. If a situation looks dangerous, step in. Taking initiative to intervene can be awkward but the potential to prevent violence is infinitely more important. This isn’t about being an activist or being affiliated with a political party; it’s simply about being a decent human. Ethan Ready is a Trinity sophomore and member of the Duke Men’s Project.
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Submit a letter to the editor on www.dukechronicle.com or a guest column to jackson.prince@duke.edu.
WEDNESDAY, WEDNESDAY,OCTOBER OCTOBER4, 4,2017 2017 | 11
Of grandfathers
I
t has been a year. The sense of the right words has faded in the chaos, making it a chore to see the whole beauty of a moment, of a blank space after a chapter’s end. These “stops to smell the roses” are, more often than not, standstills that are scheduled by self-enforced signage, scripted with a detailed olfactory account of what the sense has long since sensed. When the weight of living feels just as heavy as the weight of not living. Yes, “life is long” and yes, “it gets better,” but life has a way of reminding us that, no matter what it’s length, it’s still intensely short. And in getting better, we still lose a lot along the way. It has been a year in which I lost my three grandfathers. First, my mother’s father, Popsie, in August. Second, my father’s stepfather of 40 years, Grandpa
Jackson Prince BACK TO WORK Mike, in April. Third, my father’s father, Papa Marty, in September. They were, together, the cement that bound together so much of the reason and the will that shaped and supported my faith in the big picture. They held wisdom in their palms for show-and-tell, yet they managed to keep the magic behind the trick to themselves. They rationed out moments of their own lives to their grandchildren: for us to learn from, for us to follow or deviate from, for us to dream up anew for ourselves. They were big men to a growing boy. Their certainty in a mercurial world and the comfort they found in the core principle that things were good and that things would always be good—these inspired me to romanticize moments in otherwise ordinary days, to explore the possibilities in everything. To be confused and bewildered and lost and unafraid in strange wide forests of thought. To be still in time, nothing but time. Because we had nothing but time. Popsie played the piano, composing musicals for Broadway stages and for living rooms. Grandpa Mike read shelves of books and sailed the seas, first as a soldier in a war, then as a suitor vying for my grandmother’s affection. Papa Marty fixed people’s eyes, and himself envisioned an attainable future for his city, once in public office. They were married once, twice and three times respectively. They had worked and played and dreamed and lived and loved and lost all well before I came into the world. The marathons these men ran were recorded on tape measures they stretched across generations. They made my life feel small, fitting beautifully into each present moment, as if time was ticking to a beat that was mine to keep. And then, their big lives become small, and their time ticked out. Their heft fell with their health. Their size was downed to messy puddles of wordy translations expressed in eulogies that merely scratched surfaces of experiences and only measured inches of miles of emotions. I grew too big. I lost my sense of what mattered most. I found fear in the corners of the unknown that my grandfathers had once informed with their time-earned stories and with their long survival through great trials. Their fight was fought; their battles not necessarily won or lost but battled all the same, put away in the past. They had passed. And my context disappeared. My current troubles became my life’s work. After just a couple of decades of life, I felt that I was far behind. Without the presence of their scale, without the tape measure they had provided, my life made me feel small in the littlest way. It buried me in ant-holes that I treated like inescapable caverns. I couldn’t latch onto tangible points of reference, so I had none, and I created a system in which everything was a microcosm for something else. With no time to spare, I forgot to get lost, to be bewildered, to be unafraid. I forgot so much. I forgot spontaneity and surprise. I forgot karma and fate. And without their phone calls, handwritten notes and newspaper clippings, I forgot some of the essentials about my Popsie, my Grandpa Mike and my Papa Marty. I forgot who they were to me, and who they were to themselves. They lived for 87, 89 and 87 years, respectively. Each of these men had lived for over three-fourths of their lives, long before they first held me in their arms. They had time to search, wander, discover, lose, and begin to search for something else, long before I knew them. They had carved a timeless wisdom by paying attention to the moments as they happened, day by day, noting what their senses told them, and marching forward. Playing an old tune and shifting the key. Looking to the horizon and jibing the sail. Writing a memo and incorporating the compromise. They mused upon the present, and used what they learned to improve the future. Now, they’re gone. But still now, they remain. They’re butterflies, felt in my stomach when I don’t see what’s ahead of me and nearly visible when they flutter over me in quiet times. They’re bull elephants, too, charging through my memory with the constant challenge to “get back to your work, boy.” They’re barely perceptible and profoundly present. Soft in sound and loud in voice. So big and so small. But mine. Always mine. They’re forces that hold me in their arms, pushing me into the deep end of an emotion or an experience or a strange wide forest of thought with the knowledge that I will rise above and float on with time to spare. Time for the good things. Time to get lost. Time, once again, on my side. They’re harmony in a sad song. They’re troops in ongoing personal battles. They’re a pair of glasses in cases of situational blindness. My grandfathers. Gone, yet still, grand company to keep. Jackson Prince is a Trinity junior. His column, “back to work,” usually runs on alternate Fridays.
SCANDAL FROM PAGE 9 full-court press defense that thrives off of turnovers and only makes sense in the college game. The same aggressiveness is present on offense, where the Cardinals ditched a conventional offense— occasionally frustrating their own fans—for a drive-and-kick game facilitated by often undersized guards. Combined with a raucous home crowd, the team has proven to be a tough matchup for almost anyone who faced them. As the line between college basketball and the NBA continues to blur in the one-and-done era, Louisville has been built on the shoulders of players dedicated to staying in school and improving their game. Guard Donovan Mitchell became the program’s first lottery selection since 2009 when he was chosen 13th in this summer’s NBA Draft, and the Cardinals have not had a former player make
Juan Bermudez | Sports Photography Editor
Rick Pitino was fired last week with Louisville embroiled in scandal.
an NBA All-Star Game since 1975. Yet Louisville has been one of the most successful programs in the sport, racking up six Elite Eight appearances, three Final Fours and a national title since 2001, when Rick Pitino took the helm. No story about the Cardinals would be complete without mentioning Pitino. He landed at Louisville five years after coaching rival Kentucky to a national championship, but fresh off an unsuccessful NBA stint with the Boston Celtics. Sleazeball, cheater, jerk—all those terms are valid for a head coach with questionable character that somehow escaped termination during two earlier scandals before he was fired last week. There’s also no question that Pitino—who remains the only coach ever to win an NCAA title at two different schools—was one of the great minds in the college game. With his coaching career likely over, the 65-year-old will go down as a coach who was always capable of extracting more from less. The Cardinals only signed two five-star recruits during Pitino’s 16-year run, instead relying on lower-ranked players that would fit into their system. In his time at Kentucky, Pitino resurrected a program that was recovering from its own NCAA recruiting scandal. Although Pitino tried his hand in the NBA, he brought an intensity and fire to the Louisville sidelines that distinguished college basketball from its professional counterpart. College basketball is a game of emotion, and you’d be hard pressed to find someone who believes Pitino did not bring emotion to his team’s huddles. This is the same guy that had to be restrained in an argument with a North Carolina fan last season. But the most sobering reality of Louisville’s predicament in the light of the FBI’s investigation is the fact that the pay-for-play scandal symbolizes college basketball as much as anything we’ve seen on the court. Any college basketball fan will tell you that deep down, the results of the investigation are
SCOUTING
not shocking. Dirty recruiting tactics have always been the sport’s version of steroids in baseball. With the NCAA making hundreds of millions FROM PAGE 9 of dollars off of collegiate athletes, there is money you earn everything.” to be made in the sport. Whether players should The past two matchups against the Cavaliers get paid is a discussion for a later time, but have not been occasions to remember for there’s no question that the current system leaves defensive coordinator Jim Knowles, but he athletes short of the share they deserve. But the brings in a far more confident group this year prominence of the AAU circuit and the access that boasts arguably the best rushing defense it gives athletes to financial managers and shoe in the ACC. Cutcliffe has seen his squad companies has helped players and schools skirt continuously win the battle at the line of the sport’s bylaws for years. scrimmage, accumulating 18 sacks, creating an “The landscape of basketball for a player from interesting matchup up front—Duke’s potent middle school, high school, college, pros, keeps defensive line will go up against a team that has changing,” Duke head coach Mike Krzyzewski said only allowed six sacks this season. during Tuesday afternoon’s media session. “We in In the defensive backfield, a vulnerable college have not changed as much as the landscape Duke secondary has the tough assignment of has changed. We don’t have a model that fits what’s containing Benkert’s go-to target, Andre Levrone, happening in basketball. We are not running this who has racked up 268 receiving yards and three the way a billion-dollar industry should be run. touchdowns in his last two games. We’re putting a circle into a square.” “They do a lot of shifts and motions, and I There are definitely teams out there that have think they like to play with teams a lot with that recruited the right way, but it has never been and confuse them,” Blue Devil safety Alonzo more apparent that the NCAA is in need of Saxton II said. “We’re simplifying our defense so systemic changes. Within the ACC alone, Syracuse, that we don’t get distracted and confused.” Louisville and North Carolina have faced NCAA Virginia will also bring a premier passscandals, and Miami could be next after also rush to the table, led by preseason secondlanding in the FBI report. team All-American linebacker Micah Kiser, “Nobody has the solution, but a whole bunch who ranks second in the ACC in sacks and of people have the ideas,” Krzyzewski added. could have a big day against a Duke offensive “How do we figure it all out and who figures it line that has struggled for the last three weeks. out? There’s no who, there’s a group called who, The Cavaliers’ secondary does not take a step but they don’t figure out this particular thing. The back either, featuring first-team All-ACC safety NBA has to be involved, the players union, the shoe Quin Blanding, and they return eight defensive companies, college.” starters in total from last season. It remains to be seen how aggressively the “They’ve played together, and when you play FBI will pursue other programs now that it has together for a while, you just continue to get made its message clear. Pitino could go down as better. you get a feel for the other players and how the tip of the iceberg or the martyr who fell on they think,” Blue Devil wide receiver Johnathan the FBI’s sword and forced the NCAA to clean Lloyd said. “They’re a better team than they were, Corporation up its act. The New York Times Syndication Sales so we know it’s going to be a tough game.” 620 Eighth Avenue, New York, N.Y. 10018 For Information Call: 1-800-972-3550 Mitchell GladstoneFor contributed reporting. Michael Model and Ben Feder contributed reporting. For Release Release Wednesday, Tuesday, October October 3,4,2017 2017
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Student Advertising Manager: ������������������������������������������������������������Megan Bowen Student Marketing Manager: ���������������������������������������������������������������������Lizzy Pott Account Representatives: ������������������������������Brittany Amano, Griffin Carter, TJ Cole, Paul Dickinson, Jack Forlines, Matt Gendell, Francis L’Esperance, Jack Lubin, Gabriela Martinez-Moure, Jake Melnick, Lauren Pederson, Brendan Quinlan, Levi Rhoades, Rebecca Ross, Jake Schulman, Matt Zychowski Creative Services: �������������������������������������������������� Rachel Murthagh, Myla Swallow Student Business Manager ���������������������������������������������������������������������� Dylan Riley
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