NICOLE SAVAGE/THE CHRONICLE

Sophomore Lauren Silverstein tries her hand at a carnival game at the N.C. State Fair Wednesday night.

Good aim Business fraternity disbanded

Early voting kicks off today

from Staff ReportsTHE CHRONICLE

The Duke athletics department has received a $10 million gift from Dr. Ste-ven and Rebecca Scott, the largest gift of its kind in the University’s history.

The gift will support a new three-story, 35,000 sq.-ft. building that will house ticket offices, department offic-es, a team store, training rooms and a larger weight room for Olympic sports. It will be built next to the Murray Building and is expected to accommo-date Duke’s more than 600 athletes.

“The tremendous generosity of Ste-ven and Rebecca Scott for this magnifi-cent investment is, in fact, unmatched in the history of Duke Athletics,” said Kevin White, vice president and direc-tor of athletics, in a press release. “The facility will serve as a showplace for the standards of excellence exhibited throughout the entire institution.”

The gift marks a step closer to the University’s $250 million goal for ath-letics—$100 million of which will be dedicated to facility enhancements—as part of the Duke Forward capital cam-paign. Additional facilities to be reno-vated with the funds include Wallace

by Caroline Michelman THE CHRONICLE

The Duke chapter of Alpha Kappa Psi officially disbanded Friday, when all but one member resigned after the co-ed

business fraternity was put on probation this summer.

The national AKPsi organization put Duke’s chapter on probation in May due to alcohol and hazing violations—im-plementing several pro-bationary terms includ-ing increased fees and

additional policies. These terms caused all but one unnamed member to drop out. After most of the remaining members of-ficially resigned Friday, AKPsi was formally disbanded on Duke’s campus, leaving the status of the 41-member residential house in question.

“They resigned because they were put on probation,” said Brian Parker, manag-ing director of operations for the national AKPsi organization. “The students were not willing to put in the work to change the culture and their behavior.”

SEE AKPSI ON PAGE 4SEE GIFT ON PAGE 12

Athletics gets $10M donation

by Jack MercolaTHE CHRONICLE

The North Carolina early voting period begins today, and Durham County residents are able to vote on campus.

Duke Student Government and administrators have taken measures to make voting in the 2012 general election in North Carolina con-venient for the Duke community. Those who are already registered to vote in Durham County may cast their ballot in the Old Trinity Room in the West Union Building at the one-stop early voting site.

SEE VOTING ON PAGE 4

Alpha Kappa Psi

ON-CAMPUS EARLY VOTING SCHEDULEAlthough regular voter registration closed several days ago, there is a one-stop early voting site on campus where people can register and vote in one visit. The site—located in the Old Trinity Room in the West Union Building—will be open between Oct. 18 and Nov. 3.

HOURSOct. 18: 9 a.m. - 5:30 p.m.Oct. 19: 9 a.m. - 5:30 p.m.Oct. 20: 9 a.m. - 5:30 p.m.Oct. 21: 12 p.m. - 5:30 p.m.Oct. 22: 9 a.m. - 5:30 p.m.Oct. 23: 9 a.m. - 5:30 p.m.Oct. 24: 9 a.m. - 5:30 p.m.

Oct. 25: 9 a.m. - 5:30 p.m.Oct. 26: 9 a.m. - 5:30 p.m.Oct. 27: 9 a.m. - 5:30 p.m.Oct. 28: 12 p.m. - 5:30 p.m. Oct. 29: 9 a.m. - 7 p.m.Nov. 1: 9 a.m. - 7 p.m.Nov. 2: 9 a.m. - 7 p.m.Nov. 3: 8 a.m. - 1 p.m.

Courting mice learn to sing new songs

by Imani MoiseTHE CHRONICLE

Language has traditionally been accepted as an all or noth-ing trait, but new research sug-gests that there may be a con-tinuum of vocal learning.

Male mice, who were previ-ously thought to be incapable of vocal learning, can change their ultrasonic mating songs after hearing the songs of other mice, according to a recently published Duke study. The

findings could be used to better understand speech disorders in humans.

Previous research in vocal learning focused on songbirds, but the discovery of mice as vocal learners could have sig-nificant implications for un-derstanding communication systems in humans, given that both are mammals, said Gusta-vo Arriaga, a doctoral student

SEE MICE ON PAGE 3

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2 | THURSDAY, OCTOBER 18, 2012 THE CHRONICLE

Russel Targ: The Reality of ESP: A Physicist’s Proof of Psychic Abilities

Russell will be offering his last workshop on Saturday, October 20. Please call for details.

919-309-4600 or www.rhine.org/event

October 19, 2012 7:30-9:00pm Stedman Auditorium Duke Center for Living Campus 3475 Erwin Road, Durham, NC 27705

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the chronicle on-line: anytime, any place, classes not required.

Senate amends walk-up policy for basketball

by Carleigh StiehmTHE CHRONICLE

Duke Student Government passed legislation to change the walk-up line policy for the 2012-2013 basketball sea-son at its Senate meeting Wednesday.

Head line-monitor Jackson Lind-sey, a senior, introduced the modifi-cations—which include a decrease in the number of people responsible for representing a group and an increase in the maximum large group size, not-ing that he hopes the changes will encourage more students to attend games. The Senate passed the legisla-tion unanimously.

“Our goal for this year is to get as many people as possible for every sin-gle game,” Lindsey said.

In previous years, at least one-half of a group was required to register and maintain the group’s place in line. Beginning with “Countdown to Crazi-ness,” which will take place Friday, only one-third of the group will now be re-

quired.The new legislation also increased

the maximum number of students that can register with a large group from 50 to 100.

The rest of the rules regarding con-duct in the walk-up line will remain the same, including that groups must be registered by midnight on the night before the game.

In other business:Vice President for Social Culture

Neil Kondamuri, a junior, announced safety concerns regarding the football game against the University of North Carolina at Chapel Hill, scheduled for Saturday.

“It is very important that people know not to bonfire,” Kondamuri said, adding that an unsanctioned bonfire after the game would put the permit for a bonfire following the UNC bas-ketball game in jeopardy.

SEE DSG ON PAGE 12

PHILIP CATTERALL/THE CHRONICLE

Head line-monitor Jackson Lindsey, a senior, talks to Duke Student Government Wednesday about modifications to the basketball game walk-up line policies.

DUKE STUDENT GOVERNMENT

Thomas Petes, Minnie Geller profes-sor of molecular genetics and microbiol-ogy at the Duke University Medical Cen-ter, received the Thomas Hunt Morgan Medal for his achievements in the field of genetics.

Conferred annually by the Genetics Society of America, the award recognizes an individual for their life-time contribution to the field of genetics. Petes received the award for using yeast as a model to understand chromo-somal abnormalities and genetic instability in cancer cells. His re-

search has given new insight into how normal cells become cancerous.

“Dr. Petes’ rigorous work over the years in a model organism, in this case, yeast, is a wonderful example of how studies of model organisms can inform us about mechanisms of human disease, in this case, cancer,” Dr. Michael Kastan, executive director of the Duke Cancer Institute and William W. Shingleton pro-fessor of pharmacology and cancer biol-ogy, said in a press release.

Petes’ research uncovered similarities between the structure and function of proteins responsible for DNA repair and protection of the chromosomes’ tips in both yeast and human cells. The paral-lels between proteins found in yeast and human cells allowed the scientists to un-derstand how issues with these proteins play a role in creating cancerous cells.

When Petes and his colleagues were looking at yeast cells, for example, they saw that cells lacking particular enzymes responsible for DNA mismatch repair demonstrate similar genetic instabil-ity to that in human colon cancer cells. The findings suggest that these repair defects play an important role in the dis-ease process.

Petes has applied these findings to patients with hereditary non-polyposis colon cancer—an inherited, high-risk colon cancer where 80 percent of pa-tients develop intestinal tumors. His research predicted that patients might have mismatch repair mutations.

His research also gave greater insight to patients with ataxia telangiectasia—an inherited, neurodegenerative disease that causes severe disability. Petes’ lab discovered a gene in yeast responsible for the maintenance of the tips of chro-mosomes that is closely related to the human gene that is mutated in patients with this disorder. People with ataxia te-langiectasia are cancer-prone.

“[Petes’ research] is a powerful ex-ample of how the most fundamental, basic science research can have tremen-dous importance for understanding and treating human diseases,” said Dr. Nancy Andrews, dean of the Duke University School of Medicine, in a press release.

Petes served as president of the Ge-netics Society of America in 2002 and was chair of the department of molecu-lar genetics and microbiology at Duke from 2004 to 2009.

—from Staff Reports

Prof wins award for his genetics research

Thomas Petes

Follow us on Twitter @DukeChronicle @ChronicleSports

@DukeShutter @ChronicleRecess

THE CHRONICLE THURSDAY, OCTOBER 18, 2012 | 3

... draws on cultural anthropology, science studies, feminist theory, and literature to consider the concept of the human and its implications for scientific, political and social discourse. We will focus on various forms of human and non-human interfaces in order to ask how the human has been constituted in relation to the non-human, including figures of difference who have historically been defined as not fully human, such as the figure of woman, black, Jew, the child, the mentally insane and colonized people, and the figure of the cyborg. We will examine how the concept of the human shapes and is shaped by the claims of science and of the political frameworks of liberal democracy. CULANTH 290S, LIT 390S (SS, CCI, STS)

Netta Van Vliet TTH 3:05–4:20 PM WST 290S.05

THE HUMAN NON-HUMAN INTERFACE

... examines the social, historical, ethical, and political issues surrounding reproductive technologies. It explores the ways in which medical technologies have intersected with cultural constructs of gender, sexuality, and race to produce ways of controlling the pregnant and reproducing body. Topics include: egg and sperm donation, birth control, abortion, sterilization, prenatal testing, assisted reproduction, and adoption. We will look at the ways in which these technologies

have been used to conform to, subvert and expose social norms about reproduction, as well as interrogating the means by which medicine and science are implicit in the cultural construction of those norms. HISTORY 390.0 (CZ, SS, STS)

Shannon Withycombe WF 11:45 AM-1:00 PM WST 290.02 REPRODUCTIVE TECHNOLOGIES: RUBBERS, PILLS & OCTOMOMS

... explores forms of sexual labor in relation to questions of consent and coercion, labor contracts and work values, sexual practices and intimate relations, trafficking and migration. The course seeks to trouble some of the conventional distinctions between sex work and other forms of both economic exchange and sexual practice in order to think more rigorously about the current organization and meaning of sex work, as well as its experiential and institutional specificities. LIT 390S, SXL 290S (CCI, SS)

Kathi Weeks MW 1:25 – 2:40PM WST 290S.06 SEX WORK: THE POLITICS OF

SEXUAL LABOR

Rare cells can combat autoimmune diseases

by Georgia ParkeTHE CHRONICLE

Regulatory B cells could be used to combat severe autoimmune diseases in the near future, thanks to researchers at Duke University School of Medicine.

Although scientists have long known that B cells have the potential to inhib-it autoimmune diseases, a new study introduced a method for harnessing a special type of regulatory B cell, or B10-cell, to more effectively combat the diseases without causing harm to the body. When an autoimmune dis-ease is present in the body, B10 cells—a type of white blood cell that works as part of the immune system—often at-tacks healthy tissue as well as diseased tissue because it cannot tell the dif-ference between the two. Researchers removed B10 cells from the bodies of mice with autoimmune diseases and manipulated them so they would only attack substances foreign to the body. The study was published in the journal Nature on Sunday.

“This is a new therapy,” said Dr. Thomas H. Tedder, professor of immu-nology at Duke and one of the authors of the study. “It provides a molecular basis for understanding how new cells regulate other cells.”

B10 cells were extracted from the mice involved in the study and were exposed to receptor signals that al-lowed them to interact with T-cells—the “helper cells” of the immune sys-

tem. This reaction caused the B10 cells to be able to solely target diseased tis-sue rather than healthy tissue. It also accelerated the reproduction of the B10 cells by four million times, thereby developing enough cells to effectively combat autoimmune diseases once the manipulated cells were reinjected into the body.

“This is taking a cell out of the body, expanding it, making a million copies, and putting it back in,” Tedder said.

This method could potentially com-bat autoimmune diseases such as mul-tiple sclerosis or rheumatoid arthritis.

“Dr. Tedder’s paper shows B cells are important in what stimulates immune responses,” said Dr. Bill St. Clair, chief of rheumatology and immunology. “It is a conceptual advance because it gives more detail about how B cells suppress and stimulate immune responses.”

St. Clair said he was excited about the potential of the findings, describ-ing the research as a new avenue for treatment.

Tedder expressed similar optimism, but was conservative in his estimates about when treatment would be avail-able to patients, adding that it could take as long as ten years, or more.

“Having it ready in three to five years would be a miracle,” Tedder said.

He added that getting a drug from the research stage into a clinic could

SEE CELLS ON PAGE 12

in neurobiology and lead author of the study.

“Having a mammalian model of vocal learning is going to provide new path-ways for scientists who are trying to un-derstand communication disorders such as Parkinson’s and even speech loss after stroke,” Arriaga said.

Vocal learning is an animal’s ability to modify the sounds it generates, accord-ing to the study published in the scien-tific journal PLOS ONE. The scientific community used to view animals as either vocal learners or non-vocal learners, said coauthor Eric Zhou, a second-year medi-cal student at Tulane University.

The continuum hypothesis, however, posits that there is a range of vocal learn-ing, with basic imitation to creating new speech—like humans do.

“The trait of vocal learning is rare in the animal kingdom,” Arriaga said. “Before [this study] we had no clear ex-ample of an animal that was an interme-diate.”

Mice are such an intermediate. They require a template—such as another mouse’s mating song—and it appears that they cannot independently create new sounds.

Only a handful of mammals are known to possess this vocal learning trait, Ar-riaga said. These animals—dolphins, whales and humans—however, are im-practical subjects to study in a lab.

The researchers mapped brain activi-ty of the mice while producing their mat-ing songs and found that mice possess a rudimentary version of the neurological pathways associated with vocalization in humans and songbirds. Senior author Erich Jarvis, associate professor of neu-

MICE from page 1robiology, said he is excited to explore potential correlations between rodent and human vocal learning.

“The next steps would be to further our knowledge of similarities and dif-ference between human and mice path-ways, be able manipulate them and en-hance the pathways in order to advance vocal learning,” he said.

In the future, Jarvis seeks to use the grant from the National Institutes of Health Director’s Pioneer Award, which he received in 2005, to find a way to pro-duce the neurological structures needed for vocal learning in species that do not have them.

Richard Mooney, George Barth Geller professor of neurobiology and a re-searcher of vocal learning in songbirds, said the study is important because it maps structures for vocalization in mice, an area previously unexplored.

But he questions whether mice should be categorized as a species capable of vocal learning, adding that there are other possible ex-planations for the changes in the mat-ing songs such as envi-ronmental fac-tors.

“It is im-portant to de-fine what is learn-ing,” he said. “You can loosely define learning as change, or you can define it as adapting in order to improve.”

4 | THURSDAY, OCTOBER 18, 2012 THE CHRONICLE

The national AKPsi organiza-tion began an investigation last Spring when Duke’s chapter listed alcohol on a budget sent to the na-tional headquarters. Purchasing al-cohol using chapter funds is against AKPsi policy. As part of the investi-gation, AKPsi sent representatives to interview Duke’s members.

“It all came out in the inter-view process,” Parker said. “We discovered alcohol and hazing violations…. It was mental hazing, as well as forced physical activity—like exercises and calisthenics.”

Sophomore Ryan Bartoszek, a former AKPsi member, said he had no knowledge of the drinking violations or hazing.

The fraternity was notified of its probation a few weeks after the end of the school year, and their probationary terms included doubled dues, doubled insurance premiums, required attendance numbers at certain conferences, along with two more pages of stip-ulations, Bartoszek noted.

“When we got back to Duke, we came together as an [executive] board and decided that the pro-bationary terms would have ham-pered our ability to develop busi-ness leaders, which was the point of the fraternity,” Bartoszek said.

The members’ resignations have not only affected their extra-curricular involvement but also their housing. Previously, AKPsi was an affiliated house in Craven Quadrangle, housing 41 people. Housing, Dining and Residence

Life will conduct a formal review next week to assess whether or not the house can remain a selective living group, Dean for Residential Life Joe Gonzalez said. If AKPsi can no longer be deemed an SLG, Cra-ven House C will become an unaf-filiated house, though its members might not have to move.

“We will not force people to move unless there are community issues that would require them to move—vandalism, conduct issues, etc,” Gonzalez wrote in an email Wednesday.

Regardless of the former mem-bers’ decisions to resign, AKPsi plans to return to Duke in the near future.

The chapter needed at least five members to keep its affilia-tion, Parker said. The single stu-dent who chose not to resign—along with those studying abroad this semester and therefore not currently on the roster—will now have alumni status and will have the choice to rejoin when AKPsi decides to recruit and build a new chapter at Duke.

When exactly AKPsi will return, however, has yet to be decided. It could be as early as next Fall, but the national organization has to work out a plan with University administrators. In the meantime, some former members have cre-ated a business club called Scale and Coin, separate from AKPsi.

“They were a successful chapter until this,” Parker said. “It’s unfor-tunate that they weren’t living by the values of AKPsi, but we will come back and continue with the right group of people.”

AKPSI from page 1 VOTING from page 1

Voters are not required to bring identification if they are already registered, according to the state board of elections. It is recommended, however, that those who are voting for the first time at a given address—such as freshman living on East Campus —bring a valid form of identification. Student identifi-cation cards are accepted along with a document from the Uni-versity showing the student’s name and current address.

Although the regular regis-tration deadline has passed, stu-dents who are not yet registered or are registered in their home state but would prefer to vote in North Carolina, may register in Durham County and vote in the same visit to the one-stop early voting site, University Registrar Bruce Cunningham wrote in an email Tuesday. Students who wish to register in this manner must bring proof of University residence if they live on cam-pus or proof of Durham County residence if they live off cam-pus, as well as a valid form of identification, which includes DukeCards, he added.

“For many of you, this may be your first opportunity to vote in a presidential election,” said Larry Moneta, vice presi-dent for student affairs, in a September email to the student body. “Voting is one of the most important rights we hold as Americans. I urge you to exer-

cise your right and vote.”The one-stop early voting

site will be open from Thursday, Oct. 18 until Saturday, Nov. 3. Regular voting will resume on Tuesday, Nov. 6, but the cam-pus voting site will not be open on Election Day. Moneta added that the voting site makes it so there is “no excuse” for stu-dents to not exercise their right to vote.

An on-campus one-stop vot-ing site was first available for the 2008 general election, where approximately 9,300 votes were cast, according to the Durham County Board of Elections, the organization that has been re-sponsible for approving the site each time it has been present on campus.

Most recently, the on-campus option was available for the May 2012 primary elections, in which a controversial anti-same-sex marriage amendment passed in North Carolina despite heavy dissent in Durham County and on Duke’s campus. More than 2,000 ballots were cast at the on-campus site this May. Sopho-more Derek Rhodes, DSG vice president for Durham and re-gional affairs, said he worked with the county board of elec-tions in August to bring the ear-ly voting site to campus.

Because of positive feedback from the Duke community con-cerning the ease and efficiency of the on-campus voting site—as well as the high-profile nature of the general election—it has been brought to campus again

by a Duke Student Government effort, said DSG President Alex Swain, a senior.

Other student groups—including the Black Student Alliance, Duke College Repub-licans, Duke Democrats, Duke Partnership for Service, Duke Political Union and Duke the Vote—have organized with DSG to collectively host four non-par-tisan events to encourage Duke students to vote, Rhodes said.

“All of these student groups are really excited about the election and the role Duke stu-dents can have in determining its outcome,” he said. “These groups made a conscious ef-fort to bring the voting site to campus.”

Rhodes, who spearheaded the effort to bring the early vot-ing site back to campus, added that the coalition of organiza-tions will hold an early voting celebration event, another event that will facilitate and en-courage freshmen to register to vote on East Campus, a mock debate and a general election results viewing party. This is the first non-partisan alliance of student groups working toward voter registration and turnout in a general election at Duke, he said.

“Everyone should get out and vote early,” Swain said. “It’s very simple and easy to do. This is a really important election—and being civically engaged, something we talk so often about in our classes, means voting.”

by Karl KingmaTHE CHRONICLE

North Carolina’s 2004 trip to Wallace Wade left a lasting impression.

After a lopsided 40-17 victory, the Tar Heels rushed the Victory Bell and immedi-ately began spray-painting its base Caro-lina blue. The digital scoreboard was hastily extinguished as paint residues were washed from the stadium track. North Carolina’s domi-nance in the heated rivalry, though, has proved more resistant.

The Tar Heels re-turn to Durham this weekend looking to secure their 12th consecutive win in Wallace Wade and to prevent a darker blue from coating the Bell’s base.

Riding a four-game winning streak and re-ceiving growing atten-tion from national media outlets, North Carolina boasts a dangerous offensive arse-nal. The Tar Heel offensive line was recently named the “best in college foot-ball” by ESPN experts Mel Kiper and Todd Mc-

Shay. Junior offensive tackle James Hurst attributes the unit’s success to experience and cohesion.

“I think a big thing is that we’ve been playing together for a few years now,” Hurst said earlier this week. “Chemistry is a pretty

big deal on the O-line.”Hurst also discussed the front

five’s pride in earning national distinction.

“It’s kind of rare for an O-line to get any recog-nition, but we’re excited about it,” Hurst said.

Perhaps no one is more excited about the O-line’s success than Gio-

vanni Bernard. Carolina’s redshirt sophomore tailback is packing the stat sheet with a lit-tle help from the boys up front. Due to a week one knee injury, Bernard saw little action in the Tar Heel’s first three games, but

the All-ACC first teamer has still rushed for 652 yards this season and is averaging a whopping 8.3

yards per carry.Last week’s win against Miami

was the first college game Bernard’s busy father had the opportunity to at-tend in person. The young running back put on a stunning performance for his family and friends, carrying

SportsThe Chronicle

www.dukechroniclesports.com

THURSDAYOctober 18, 2012

>> THE BLUE ZONE Visit the sports blog to-morrow afternoon for Duke football’s injury re-port as the Blue Devils prepare to host North Car-olina Saturday at 7 p.m.

NorthCarolinaTAR HEELS

5-2 (2-1)

PPGRUSH/GPASS/GTDFG-FGASACKS-YDS

40.3 210.6276.03610-1317-123

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UNC OPP

Tar Heel running back Giovani Bernard has torn through oppos-ing defenses this year, averag-ing 130.4 yards per game on 8.3 yards per carry. In five games, he already has racked up five rush-ing touchdowns.

FOOTBALL SCOUTING THE OPPONENT

Tar Heels rush back to Wallace WadeDuke seeks first home win vs. UNC

WOMEN’S SOCCER

MEN’S BASKETBALL

Irving whips former teammates into shape

the ball 27 times for 177 yards and two touchdowns. He also caught four pass-es for 36 yards and owns 158 receiving yards with two touchdowns through the air on the season.

“I definitely highlighted that game as a game I wanted to do well in,” Bernard said.

by Matt Pun THE CHRONICLE

Last October, Kealia Ohai poked in an 88th-minute goal to give North Carolina a 1-0 victory against Duke. Eleven months

later, Ohai had an-other big game win-ner. Teaming up with Blue Devils Mollie Pathman and Kelly Cobb, Ohai scored to give the U.S. U-20 women’s national team the gold at the U-20 women’s World Cup this September.

When No. 7 North Carolina heads to Ko-skinen Stadium to play No. 6 Duke tonight at 7 p.m, it will certainly be the former goal that remains on the mind of Pathman and her Blue Devil teammates as they seek their first ever home win against the Tar Heels.

“We haven’t discussed the game,” Path-man said of her relationship with Ohai. “We know it’s part of the deal. I’ve been friends

by Andrew BeatonTHE CHRONICLE

At Duke, it’s easy to supple-ment the freshman 15 with a Durham dozen, surrounded by eateries such as Cosmic Cantina and Cookout. To get into shape this summer, two Duke basket-ball players turned to a former teammate for advice.

Josh Hairston and Tyler Thornton visited Cleveland and went on the Kyrie Irving work-out plan.

“I was just telling them that the perfect time to go to the gym is when you really don’t feel like it,” Irving said. “That’s when you’re getting better. When your body tells you not to, your mind is getting stronger.”

Irving, who left Duke after one season and was selected first in the 2011 NBA Draft by the Cleve-land Cavaliers, spent much of the offseason unable to play basket-ball after breaking his hand. But he was able to use his time on the sidelines coaching his two former teammates and classmates.

For Hairston, getting in peak-playing condition was the major priority. The junior forward aver-aged just 6.1 and 8.5 minutes per game in his freshman and sopho-

more years, respectively, a statis-tic he blames on his fitness.

“This is the first time in three years that I’m actually in shape. That’s one thing that’s really been my Achilles’ heel—there was no way for me to get in shape,” Hairston said. “I would never be in shape and honestly Coach couldn’t put me on the floor because I could only run up and down the floor a couple times here and there and I’d be tired. This is the first time I feel like I’m actually in game shape.”

As a freshman, his role changed from game to game, fluctuating between finding lim-ited minutes on the floor and riding the pine for entire con-tests, which he did 10 times that season. Not that Irving has spent much time on the bench in his life, but he saw how the fluctuat-ing role could inhibit his former teammate.

“It’s hard to stay in tip-top shape when you’re on and off the bench,” Irving said. “[Now] he’s one of the older guys so they need to play him.”

Hairston, who said he feels “stronger and faster” as a result of his summer workouts, also worked on his ball handling and

CHRONICLE FILE PHOTO

Former Duke basketball guard Kyrie Irving spent part of his summer helping Tyler Thornton and Josh Hairston develop their games.

jump shooting with Irving, saying he now repeats those drills since he has returned to Durham.

But dribbling and shooting are more critical to the develop-ment of Thornton, who will com-

pete for minutes in a crowded backcourt that includes Seth Curry, Rasheed Sulaimon and Quinn Cook. Although Thornton started 19 of Duke’s 34 games last year, head coach Mike Krzyzewski

announced that Cook, who start-ed just four games, will begin the season as the starter.

Thornton joined Hairston

SEE IRVING ON PAGE 7

Thursday, 7 p.m.Koskinen Stadium

No. 7 UNC

No. 6 Duke

vs.

SEE W. SOCCER ON PAGE 8 SEE SCOUTING ON PAGE 8

6 |THURSDAY, OCTOBER 18, 2012 THE CHRONICLE

On a four-lane road in suburban At-lanta, lined with strip malls and apartment complexes, there is a strip club. It was there that my parents met.

Now that I have your attention, I can tell you that 25 years ago, when it still

had windows, it was a restaurant called Theo’s where in late March 1986, a crowd of Duke alumni gathered for nothing more than Mexican food and an evening of Duke basketball.

On March 31, Anne Marshall, Trinity ’78, and Rick Gieryn, Trinity ’79, each came and watched as Pervis Ellison and the Louisville Cardinals beat the Blue Dev-ils in a nail-biter, the first national cham-pionship appearance of Mike Krzyzewski’s career. Although they may not have known it at the time, the basketball game would turn out to be far from the most signifi-cant event of the evening for them. That night, they were introduced by a mutual friend who had also attended Duke, and 18 months later, my parents were married.

Brought together nearly 25 years ago by Duke basketball of all things, they have sent one of their two children to Duke—as a diehard fan of all things Blue Devil—and hosted fundraisers in Atlanta for the Duke Cancer Center, where my grandmother lost a heroic battle with pancreatic cancer in 1997.

But now, the Duke administration seeks to marginalize a force that has long brought together students and alumni alike and provided a reason for many ca-pable students to choose Duke over other schools of equal academic stature.

Last week, The Chronicle’s editorial board met with President Richard Brod-head and published a piece entitled “The new Duke,” in which they laid out Brod-head’s vision of the next step in Duke’s future. The culture change that Brodhead

by Staff ReportsTHE CHRONICLE

Redshirt freshman cornerback Tim Bur-ton has been dismissed from the team for vio-lation of program policy, head coach David Cutcliffe announced Tuesday. Cutcliffe would not specify which policy Burton violated.

Serving as Duke’s primary kick returner, Burton returned 13 kickoffs for 260 yards and a 20.0 yards per return average in 2012. Also appearing on defense for the Blue Devils, he registered seven total tackles and two pass breakups in the team’s first seven games.

Burton traveled with the team to last weekend’s 41-20 loss to Virginia Tech and participated in the contest, returning three kickoffs for 63 yards. His duties returning kicks will likely be given to freshman running back Jela Duncan, who saw his first action on the kickoff team for the Blue Devils last week-end, returning three kicks for 51 yards in the losing effort.

FOOTBALL

Cutcliffe dismisses Burton

Blue Devils need a signature winWhen Jordon Byas crossed the goal

line to give Duke a 20-0 advantage against Virginia Tech just 11:48 into Saturday’s game, more than 65,000 Hokie fans at Lane Stadium fell speechless. Forty one unanswered points later, it was the Blue

Devils who were unable to put a humongous col-lapse into words.

It was a loss that forced college football’s

pundits to rethink Duke’s early-season success. Af-

ter receiving its first votes in the AP Top 25 Poll in David

Cutcliffe’s tenure as head coach, the 41-20 loss in Blacksburg has brought the Blue Devils back down to earth. With a 20-point advantage on the road against one of the perennial powerhouses in the conference, Duke seemed assured of its first bowl berth in 18 years, a national ranking and a pretty convincing argu-ment that it was the favorite to win the ACC’s Coastal Division.

Now the argument has shifted from Duke’s legitimacy to contend for an ACC Championship to whether or not the Blue Devils can even win a sixth game to be-come bowl eligible.

Duke has taken care of business this year. The Blue Devils have fought through a couple of close contests, but it’s safe to

say they have won the games they were supposed to win and lost the games they were supposed to lose.

What this program needs is a state-ment game. It needs a win against a marquee conference opponent, either coming against a ranked team or on the road, but preferably both. Duke had the chance to accomplish this last weekend against the Hokies, the chance to prove to the entire nation that it deserved the national recognition beyond that of an upstart Cinderella story. And the worst part about it is, for the first quarter of the game the team succeeded, only to let it all slip away.

As horrible as last weekend’s implosion was, Duke has another chance at that elu-sive signature win this week when it faces North Carolina. Although the Blue Devils and Tar Heels account for the single great-est rivalry in sports, it has been awfully one-sided when played out on the gridiron in recent memory. North Carolina hasn’t lost to Duke since 2003 and has taken 21 of the teams’ last 22 meetings.

If the Blue Devils look remotely simi-lar to the team that played the last three quarters against Virginia Tech, the Tar Heels’ speed and athleticism pose a significant mismatch. North Carolina’s high-flying spread offense now features a revitalized ground attack behind the best running back in the ACC, Giovani Bernard.

If there’s a reason you haven’t heard much about the Tar Heels this season, it’s probably because they are ineligible to compete in the ACC Championship or postseason play because of academic violations. After posting back-to-back wins against Virginia Tech and Miami, North Carolina would likely be the favorite to win the ACC’s Coastal Division if not for their ineligibility.

Not to sound any alarms, but even with five games left in the season, Duke’s chances to reach the magical plateau of six wins seem to be running out. The Blue Devils close their campaign with arguably their five toughest ACC op-ponents: North Carolina, Florida State, Clemson, Georgia Tech and Miami. Although this team has definitely not stopped believing in itself, this season is certainly not getting any easier. If there were a time for a signature win, there’s no time like the present.

All negativity aside, there are many worse places to be than 5-2 right now, and bringing the Victory Bell back to Dur-ham would be the perfect way to cement Duke’s first bowl berth since 1994. At his weekly media luncheon Tuesday, head coach David Cutcliffe emphasized the im-portance of having a strong home atmo-sphere in a rivalry game. North Carolina will have more than its fair share of fans in

DanielCarpOn Football

The ‘new Duke’ isn’t Duke without basketball

TomGieryn

CHELSEA PIERONI/CHRONICLE FILE PHOTO

The experience of being a Cameron Crazie is vital to the Duke experience, Gieryn writes.

described will affect student life from top to bottom, but, in particular, the head of the school took a shot at basketball.

“When speaking with us,” the editorial board wrote, “Brodhead put the matter bluntly, calling basketball a ‘foolish’ and ‘disheartening’ reason to pick Duke.”

I understand the reasoning for empha-sizing the school’s academic prowess in recruiting new students, but I also struggle to see why such emphasis has to come at the expense of enthusiasm for the school’s storied basketball program. I don’t under-stand why the school can’t be just as proud of the Cameron Crazies as it is of its new focus on “interdisciplinarity.” I don’t under-stand why one of the oldest, most lauded and most recognizable institutions of this school is suddenly being pushed aside as a justification for students to come to Duke.

I know I am not alone in saying that I chose Duke because—while I don’t work as hard as some, or play as hard as others—I knew I could find a balanced life where I would be pushed to do both.

I don’t understand why, if Brodhead feels so strongly that basketball is not meant to be one of the core elements of the student experience, Duke spent more than $7 mil-lion in 2010 to pay the head coach, or why Krzyzewski was one of the keynote speakers when Duke announced its $3.25 billion capital campaign in September.

I want to be clear that the importance of basketball here actually has very little to do with basketball. There is nothing inherently useful to the school to have 13 particularly tall, athletic students —who constitute approximately 0.2 percent of the undergraduate population—dribble a ball up and down a court. The use comes in the sense of community that students can cre-ate at Cameron Indoor Stadium, the sort of large-scale unity that can be experienced in few other places on this campus, includ-ing—and perhaps especially—classrooms and labs.

According to the editorial board, “The administration proudly cites the fact that prospective students now mention Duke-

Engage more frequently than basketball as a reason for attending Duke.”

DukeEngage has turned out to be an admirable and wonderful program, and has had a remarkable impact on both the students here and on the world at large. But the basketball experience is crucial because it is precisely opposite in nature. Duke Engage is without a doubt a collabor-ative process for each student involved. Few endeavors of such profound import can be undertaken alone. But the immersive community service experiences are funda-mentally individual, at least with respect to the Duke community. The program allows students to pursue their own passions and make their own mark on the world.

In the fire-code-mocking crush of students in the Cameron Indoor Stadium bleachers, there is no individual. You can—maybe—pick yourself out in the crowd on a television shot if you’re in one of the front rows and happen to find a good freeze frame. You are just 1/1800th of a mass of blue and white and waving arms. And there would be nothing intimidating if everyone cheered individually—we chant together. No one voice stands out. All you hear, whether as a TV audience or an oppos-ing player or Mike Krzyzewski himself, is a single unstoppable thunderous crescendo of “LET’S...GO...DUKE.” It requires all of us, and only together can we reach 120 ter-rifying decibels of noise.

There’s something to be learned in those rickety bleachers that no academic or community service experience can teach you. There’s something about the way that only basketball can bring togeth-er 9,314 fans for a few hours of raucous excitement or a few hundred students for weeks of bonding in freezing tents. Or even just two people, with plenty in com-mon but no existing connection, for a life of showing their son his way in the world, disagreeing over plenty of things but never Sunday Night Hoops.

Trust me, I know.

SEE ON FOOTBALL ON PAGE 8

THE CHRONICLE THURSDAY, OCTOBER 18, 2012 | 7

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with Irving in Cleveland, but also spent a month at home in Washington, D.C. There he had the chance to work with another former Blue Devil and NBA first round pick, Nolan Smith, who currently plays for the Portland Trail Blazers and went to school nearby at Oak Hill Academy in Virginia.

“Kyrie and Nolan have two totally differ-ent games but they both do things very well. I was able to pick up things off both of them,” Thornton said. “I learned a lot from those guys. They teach me little things here and

there, little tricks here and there.”Thornton focused on both his physical

condition and his shooting. Although he hit notable 3-pointers in a couple games last season—against Kansas and North Carolina—Thornton spent this offseason trying to be-come more consistent from behind the arc.

“I’m a lot more athletic. I feel quicker, faster, and I’m definitely going to be able to use that this year,” Thornton said. “If I get the open shot, I’m going to knock it down.”

More than anything, Thornton and Hair-ston are happy to have such a wide-reaching network that they call the Duke family.

“You couldn’t ask for anything better,”

Thornton said. “Those guys could be off doing something else in another part of the world, but they choose to come back and hang out with us and give back to us. You’ve got to love those guys for that.”

And for Irving, he said the summer was an opportunity to stay in touch with two people he calls best friends, adding that they are the type of people he will always remain close with.

“I’m a Blue Devil for life no matter what…. It’s real important to me to have that connec-tion with Coach K and the Duke program,” Irving said. “I do miss it at times, but it’s not too bad being in the NBA either.”

Preseason polls begin

MEN’S BASKETBALL

by Andrew BeatonTHE CHRONICLE

Duke basketball head coach Mike Krzyze-wski may not place a lot of value in preseason polls. But for those who do, the Blue Devils are ranked No. 8 in the preseason USA To-day Coaches’ Poll.

The top 10 teams in order are: Indiana, Louisville, Kentucky, Ohio State, Michi-gan, N.C. State, Kansas, Duke, Syracuse and Florida.

The Wolfpack are the only ACC team ranked ahead of the Blue Devils and were ranked No. 1 in the conference in a poll of the league’s coaches this week. This was the first year the ACC has conducted a preseason coaches poll.

Krzyzewski did not attend the conference meeting in which it was decided the ACC coaches would conduct a preseason poll, but said—before the results were announced—that he disagrees with doing it.

“I would have never voted that,” Krzyze-wski said. “Why would we make predictions? I don’t understand that…. I would rather be praised for what we’ve done, not the expecta-tions of what we’re supposed to do.”

In the USA Today poll, rival North Caro-lina is ranked No. 12. The three schools in the Triangle, in addition to Florida State at No. 24, were the only ACC teams to make it into the top 25.

The Blue Devils are scheduled to play No. 3 Kentucky and No. 4 Ohio State and also have the chance to play No. 2 Louisville and No. 16 Memphis in the Battle 4 Atlantis.

IRVING from page 5

CHRONICLE FILE PHOTO

Hairston focused on his conditioning while training with Irving this summer. CHRONICLE FILE PHOTO

Thornton trained with both Irving and Nolan Smith to improve his game.

8 |THURSDAY, OCTOBER 18, 2012 THE CHRONICLE

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“I just wanted to make [my dad] proud and hopefully I did that.”

Another tenacious performance like the one Bernard delivered in Miami could be a game clincher for the Tar Heels.

North Carolina’s passing game provides a formidable complement to the team’s dangerous rushing attack. Quarterback Bryn Renner has thrown for 1,830 yards and 15 touchdowns this season. Downfield threats Eric Ebron, Quinshad Davis and Erik Highsmith will prevent the Blue Devil safeties from focusing too exclusively on the backfield.

In addition to their potent offense, the Tar Heels also have a stout defense, which gives up only 17.3 points per game. Al-though the team has struggled with penal-ties at times, head coach Larry Fedora is happy with the aggression and enthusiasm his team is displaying.

“There’s going to be some penalties in a game that are due strictly to you be-ing aggressive, you getting after people,” Fedora said in his radio show Tuesday night. “I would much rather have to tone [the players] down than to try to get them going.”

North Carolina is firing on all cylinders. If Duke is not prepared to fight for 60 min-utes on both sides of the ball, they may get their bell rung yet again.

the stands, and Duke students should be there to match.

This game marks one of the few times that Duke students have had the chance to attend a football game against North Carolina. The Blue Devils have faced the Tar Heels in the final week of the sea-son, which takes place over Thanksgiving weekend, all but four times since 1965. Students should take advantage of the op-portunity to see this game under the lights at Wallace Wade.

Shooters will still be there when the game is over, and chances are it won’t be overrun by freshmen by the time you get there, seeing as they make up most of Duke’s student section every week anyway.

There will be plenty of points and a lot of passion, but if Duke gets a lift from its fans this weekend, they could hear the Victory Bell ringing through the streets of Durham. And if the Blue Devils can pull off a signature win this weekend, put an exclamation point on the evening by storming the field at Wallace Wade—how many times have we had the opportunity to do that in the last 20 years?

with Kealia [and other Tar Heel players] way before we chose colleges… so we kind of separate that a little bit, but I’m sure I’ll be friends with them after the game. But during the game, it’s gametime, so they’re my competitors.”

Beyond the rivarly, Thursday’s match is also Duke’s last conference contest of the regular season, and home-field advantage in the ACC tournament is on the line.

The Blue Devils currently sit third in the ACC, but North Carolina, No. 11 Vir-ginia, and No. 12 Wake Forest all have two or more conference games to make up the difference. A win would give Duke a guar-anteed home-field advantage in the quar-terfinal round of the ACC tournament.

“This is our last shot at points in the ACC,” head coach Robbie Church said. “We’re one of the first teams to be finished. So it would be a booster.”

Duke (11-3-2, 5-2-2 in the ACC) will certain-ly face a tough test in the Tar Heels. Although North Carolina (8-3-2, 4-2-1) has played just two games in October, it enters Thursday’s match on a three-game winning streak.

The Tar Heels have outscored their op-ponents 11-1 in that span.

“They’re very quick up front,” Church said. “They’re very dangerous up front. They like to serve a lot of long balls…. We play different styles, but they play their style very well.”

In contrast, the Blue Devils have already played four October contests, and Church noted that the relative freshness of the two teams could be of concern to Duke.

With six players receiving regular minutes at the forward positions and a

number of Blue Devils playing multiple positions during the course of a game, however, Duke may be able to overcome potential fatigue.

“I definitely think our depth is one of our strongest assets,” Pathman said. “We can sub in a lot of people, and we will need to do that in the Carolina game. There’ll be a lot of running because we’re going to high pressure…. It’s awesome that we don’t really have a drop when we make the subs and that so many people are so versatile.”

So far this season, Pathman has rotated

between playing outside back and wing-for-ward, and against North Carolina she may see action at midfield, Church said.

And the Blue Devil sophomore is not the only one excelling in different places across the pitch. Freshman Cassie Pecht and redshirt junior Kim DeCesare have also played a variety of roles for Duke, earn-ing time at forward and midfield.

Playing primarily on the outside, Pecht has picked apart opposing defenses with her crosses and ranks second in the ACC with nine assists.

“She does a good job with her body,” Church said. “She shapes her body up well, gets her hips around it, [and] has a compact swing with her legs. And not only does she get balls in, she knows where she’s serving it. Some people just rip a ball in and hope it goes to somebody, but she’ll take a look. She’ll be composed. She’ll find them…. She has a great soccer sense about her.”

While Pecht is a big reason the Blue Devils lead the ACC in assists by 10, DeC-esare has helped Duke become the fourth-best scoring offense in the nation.

DeCesare, who had missed playing time earlier in the season due to an ankle injury, ranks third in the ACC in goals as well as points, and the redshirt junior’s 11th tally of the season earned Duke the tie against the Demon Deacons this past Sunday.

“Her strength is in the air, and a lot of the goals that she’s scoring are coming from great services on the flanks,” Church said. “We are a good serve-and-finish team, and she’s been on the end. But Kimmy al-ways works hard. She anticipates things.”

The Blue Devils will still need to over-come one of the nation’s stiffest defenses as North Carolina has shut out seven of its 13 opponents.

Nevertheless, with Pecht, DeCesare, and Pathman—as well as ACC-leading scorer, junior Laura Weinberg—Duke has the of-fensive weapons to defeat the Tar Heels in Koskinen Stadium for the first time and to secure a valuable tournament seed.

“Any time you play an athletic event against North Carolina, it’s always some-thing you remember after,” Church said. “So [a win] would definitely do that, but it would give us a huge three points and earn us a homefield game on Oct. 28.”

CHRONICLE FILE PHOTO

Duke, which has never beaten North Carolina at Koskinen Stadium, lost last year off an 88th minute goal.

KEVIN SHAMIEH/THE CHRONICLE

Duke gave up 6.9 yards per carry to Virginia Tech Saturday and now faces one of the nation’s top runners.

ON FOOTBALL from page 6

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Almost four years ago, I was sitting in my Duke alumni interview being told that Duke may not be in my future. My interviewer didn’t

really putter around the point of my denial from Duke, obviously frustrat-ed with my answer to her question, “Why Duke?” Apparently, my being drawn to the University because of its basketball tradition, beautiful campus and student culture wasn’t an adequate answer. Much like what President Brodhead and the Board of Trustees seem to be focusing on with their “new Duke” campaign, my particular interviewer was prob-ably hoping to hear that I was considering Duke because of its academic rigor, interdisciplinary research opportunities and the popularity of its partially Gates Foundation-funded DukeEngage programs. Now, just one semester from leaving the school in the midst of this transition, I’m be-ginning to feel that there may not be room for a student like me in Duke’s future.

Duke University, like any other educational institution, is a business. And like all businesses, Duke has competition—top Ivy League schools being among the most formidable. With an ambi-tious $3.25 billion fundraising goal aimed at “en-riching the Duke experience,” “activating Duke’s power for the world” and “sustaining Duke’s mo-mentum,” President Brodhead has entered an academic Cold War with our competitors that at the very best Duke can only hope to match, and certainly not foreseeably win. To clarify, in 2011 Duke only boasted a $5.7 billion endowment, sig-nifi cantly less than endowments at Harvard ($27.6 billion), Stanford ($13.9 billion), Yale ($16.7 bil-lion) and Princeton ($14.4 billion). Programs like DukeEngage are things that schools with four times our endowment can easily replicate. How-ever, the same is not true of the more intangible qualities of a unique campus culture, such as our unique love for Duke basketball, that Brodhead referred to as “foolish” and “disheartening.”

In a market of highly substitutable goods, like top tier education, it is critical to accentuate uniqueness, not take it for granted. I argue that the pursuit for improved academic excellence and the fostering of a vibrant and unique student culture are not and should not be mutually exclusive aims. DukeEngage isn’t a secret to our competition, and our immersive approach to volunteering abroad can be matched and surpassed at other universi-

ties, even if “StanfordEngage” doesn’t have quite the same ring. Although my inspiring alumna in-terviewer attempted to downplay the unique as-

pects of Duke culture that drew me to the school, claiming they were available elsewhere, this simply isn’t true. The combination of our cam-pus’ Southern charm, our students’ “work hard, play hard” attitude and our abounding basketball addiction is not easily replicated elsewhere, no matter an institution’s endowment. There is only one Coach K.

This isn’t to say that I completely disagree with the “new Duke” agen-

da. In 2011, a College Board report found that the growth rate of tuition is double that of infl ation. As the tuitions of Duke and other top tier private institutions become more and more expensive, the heightened cost of a “college experience” will be less justifi able to paying parents. Applicants will be shelling out the big bucks for the value of the diploma, not intangibles available for cheaper elsewhere. This is where I side with Brodhead; some day college athletics and student life may be a distant afterthought to academic rankings. And just as Brodhead appears to have taken our unique student culture for granted, our student body has taken Coach K’s era for granted. The man won’t be around forever and there is no guarantee Duke will fi nd a Roy Williams to our Mike Krzyzewski. In these terms, focusing on academics seems to be the safer bet.

My caution to Brodhead is that there is noth-ing benefi cial about pitting the ideals of sustaining Duke’s momentum against preserving and foster-ing its existing culture; future presidents and new politics may reverse the trend of tuition increases. If that is the case it would be a tragedy to have lost what has set Duke apart for so many years. When I applied to colleges, I was unsure of what I wanted in life, and I don’t think this is uncommon. This un-certainty led me to pursue a handful of academical-ly competitive liberal arts colleges, between which I ultimately decided based on aspects of the entire college experience. So as I move forward and soon away from the place that has been my second home for the last few years, I hope that there is a place for a student like me in Duke’s future.

Travis Smith is a Trinity senior. His column runs every other Thursday. You can follow Travis on Twitter @jtsmith317.

commentaries10 | THURSDAY, OCTOBER 18, 2012 THE CHRONICLE

The C

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The Ind

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editorial

Is interdisciplinarity even a word?

Sustaining advocacy

”“ onlinecomment

What happens to Duke when all the admits are outliers? [sic] I look around at all my highly successful classmates and wonder what “problem” Duke is trying to solve?

—“ForbiddenPlanet ” commenting on the editorial “The new Duke.” See more at www.dukechronicle.com.

LETTERS POLICY

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Direct submissions to:

E-mail: chronicleletters@duke.eduEditorial Page DepartmentThe ChronicleBox 90858, Durham, NC 27708Phone: (919) 684-2663Fax: (919) 684-4696

Duke Student Govern-ment has recently concluded two successful advocacy cam-paigns, convincing the admin-istration to repeal the statute of limitations for sexual mis-conduct and expand the size of the future LGBT center. DSG, though sometimes derided for its inef-fectiveness, has proven that it is capable of identifying issues that matter to students and crafting effi cacious campaigns to pursue them.

Effective leaders played a central role in ensuring the success of these campaigns. They were able to facilitate col-laboration among various or-ganizations, marshal research and heighten the visibility of the issues, approaching administrators with well-for-

mulated demands and strong arguments. Instead of relying simply on student pressure, they appealed to the cost-ben-efi t analysis that administra-tors often defer to and con-

vinced them that adopting DSG’s propos-

als would best serve the inter-ests of the University.

Given the importance of strong leaders in the recent pol-icy changes, there is a risk that, once these leaders move on, DSG will become less effective. In order to mitigate against this possibility, DSG should work to collect and institutionalize the knowledge it has gained from its recent successes so that, once its current leaders have graduated, a new generation of student activists is equipped with tools and techniques that

have been tried and tested. Each new batch of student leaders should not be forced to start fresh.

The perennial, and seem-ingly intractable, problem with activism on college campuses is that students only have four years to pursue an issue. These short college careers, stud-ded with long summers, sig-nifi cantly limit the effi cacy of student advocacy. This means that effective communication across generations, along with diligent recording and preser-vation of acquired knowledge, is crucial in ensuring that stu-dent advocacy can build on itself over time.

DSG has also revealed that the most effective advocacy originates with students. What distinguishes the recent DSG successes from past campaigns

is that the issues did not origi-nate in the senate chamber but in student organizations and conversations on campus. DSG, when it trades tooth-less resolutions for meaning-ful advocacy, can accomplish a lot, and we hope that DSG will continue to actively seek out issues that resonate with students and work with them to lobby administrators. DSG should view itself as an orga-nization whose primary duty is to identify issues that students fi nd meaningful and facilitate interactions between student groups and administrators to address those issues.

The success of the statue of limitations and LGBT cen-ter campaigns not only points to DSG’s latent power, but also illustrates the adminis-tration’s amenability to pro-

posals that are well-crafted and deftly articulated. Many students incorrectly perceive that the administration clings to beliefs about campus cul-ture that fundamentally differ from those of students. This is rarely the case. Administrators often have the same desires and goals as students, but are wary of change either because they feel it affords the Univer-sity no identifi able benefi t or exposes it to unnecessary risks. Administrators are concerned with rules and liability, not with quashing student freedom. Campaigns that understand this, and craft their propos-als accordingly, meet with the greatest success.

We applaud DSG’s accom-plishments and hope they will achieve equal success in future campaigns.

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travis smithand i was all like...

commentariesTHE CHRONICLE THURSDAY, OCTOBER 18, 2012 | 11

During this season of presidential debates, I can’t help but notice how many questions are left unasked, or how many questions that

are asked already assume the range of acceptable re-sponses. Our foreign policy toward Iran is one of the most glaring in this aspect and exposes our utter lack of concern for the humanity of the Iranian people.

The stated fear is of an Iran with nuclear weapon capabilities. This fear has been reiterated for years and years, although there doesn’t seem to be much evidence to support it. Iran’s leadership has repeatedly stated that they are pursuing nuclear technologies for peaceful ends. The international community has reason to doubt their intentions, but the UN International Atomic Energy Agency and others have yet to see any concrete evidence to the contrary. While Benjamin Netanyahu is dis-playing cartoon bombs in front of the U.N. General Assembly, Lt. Gen. Benny Gantz, chief of staff of the Israeli Defense Forces, has stated that Iran “is go-ing step by step to the place where it will be able to decide whether to manufacture a nuclear bomb. It hasn’t yet decided whether to go the extra mile.” No one can rule out the possibility that Iran may at some point in the future change its mind, but if there’s no evidence, it is hard to justify a policy that causes so much harm to civilians in order to pressure a state away from a potential situation.

The fear of Iran’s nuclear capabilities isn’t that they’ll haphazardly use them. Both American and Israeli intelligence consider Iran a rational actor in the international sphere. Countries develop nuclear weapons as deterrence. The concern isn’t that Iran will “wipe Israel off the map” with a nuclear warhead, but that they’ll more aggressively pursue their poli-cies and gain greater infl uence in the region know-ing that an attack against them is less likely if they are a nuclear power. The concern isn’t a commitment to nuclear disarmament (Israel, along with India and Pakistan, are non-signatories to the Non-Prolifera-tion Treaty) and it is not a concern for the Iranian people’s access to a free and democratic state; the concern is over Iran being a stronger regional player that can threaten the United States’ economic (e.g., access to natural resources) and political interests.

But what are these sanctions actually accomplish-ing? According to Rep. Brad Sherman of California, “The goal of the bill is to drive Iran’s economy into a crisis and force its leaders to the negotiating table.” It’s a strategy that’s been used on regimes in the past in order to pressure them away from unsavory policies and practices, to varying success. Some have argued that sanctions pressured apartheid South Af-rica to fi nally hold democratic elections. Sanctions on Iraq during the ’90s did little to nothing to harm Saddam Hussein’s regime but instead, as stated by

writer Chuck Sudetic, “killed more civilians than all the chemical, biological or nuclear weapons used in human history.” When sanctions weren’t enough, the United States rushed into a baseless and expensive war that we are still paying the price for in dollars and international standing. Iraqi civilians are paying for it in blood.

Sanctions are already hitting Iran’s economy hard. Iran’s rial has lost 80 percent of its value against the dollar in the past year alone. Prices for staples like milk and bread have increased dramatically. Tens of thousands of Ira-nian children suffer as medicine short-ages threaten their survival. Though the poor and middle class of Iran are struggling, those in power are largely unaffected by the sanctions. The suf-fering of the Iranian civilian popula-

tion is so great that Blake Hounshell, the managing editor of Foreign Policy magazine, tweeted that he was “beginning to wonder if limited airstrikes on Iran may actually be the more morally sound course of action.”

Sanctions against Iran are not only unethical but also ineffective in pursuing the stated goals. The working class, who are struggling to make ends meet, aren’t joining democracy movements in protest of the regime but are more willing to rely on it as exter-nal forces threaten their well being. For this reason, leaders of Iran’s Green Movement and Iranian hu-man rights groups have come out against sanctions.

If anything, sanctions and increased talk of mili-tary action is only hurtling Iran, and the rest of the world, toward the proverbial red line and ensures further instability and insecurity in the region. U.S. actions against Iran only increase anti-American sen-timent in the region and validate the perception of the U.S. as an aggressor. If we wonder why the “Mus-lim world” is so mad at us, we only have to look at the continued suffering of civilian populations as we dehumanize and infl ict suffering through sanctions, military interventions, drone strikes and continued support of corrupt regimes as long as they are in line with our interests.

We should have no illusion that the United States is on any kind of moral high ground when it comes to foreign policy. As Glenn Greenwald asks in a recent Guardian column, “If ‘terrorism’ means the use of vi-olence aimed at civilians in order to induce political change from their government, what is it called when intense economic suffering is imposed on a civilian population in order to induce political change from their government? Can those two tactics be morally distinguished?”

Ahmad Jitan is a Trinity senior. His column runs ev-ery other Thursday. You can follow Ahmad on Twitter @AhmadJitan.

In my last column I wrote about how art can be political and why politicians should pay attention to it. It got me thinking about whether art is inherently political, regardless of whether its con-

tent is specifi cally political. Consid-ering that many visual art forms are very material-intensive, it seems like the politics of the materials them-selves automatically transfer onto the art piece.

As you probably know, materials and products are not always extract-ed, grown or manufactured in an environmentally sustainable man-ner. To try to encourage companies to be more socially and environmen-tally sustainable, the consumer can “vote” with his or her dollar—he or she can decide to consciously purchase, and therefore support, companies that uphold the values of sustainability in their practices. An artist is no different from an ordinary consumer; by choosing to work with specifi c materials, art-ists are voting with their dollars. But artists create consciously and purposefully, with intention. This intent assigns a certain amount of ethical responsibility to the artist, more than that of the average consumer. Therefore, we could say that artists have an increased re-sponsibility to consider the environmental and social impact of their materials.

One artist who does consider this is Nicole Dextras. She creates garments out of leaves, fl owers and edibles like vegetables and grains to express a desire for a more sustainable fashion industry. Dextras’ work is delicate and ephemeral, and easily decomposes back into the earth without major impact. Her work is defi nitely in line with the sustainability ethos, but it caused me to wonder whether work made from plants has to be about sustainability and whether work not made with plants can be about sustainability. Specifi cally, can artists consciously choose to not be sustainable?

Luckily for my column, I got a chance to think more about this question this weekend while I was helping the artists from the per-formance/installation piece “How to Build a Forest,” which you can experience this weekend in Page Auditorium. The piece is an in-teractive, complete experience of the building and taking down of a forest. The forest is constructed out of an assortment of ethereal alive-seeming objects, most of which are manmade and disastrous for the environment either while being produced or in disposal. While working on the piece, I was really struck by the oxymoron of how such a beautiful organic-seeming “forest” can be created out of materials which are anything but beautifully organic.

The artist Shawn Hall and the collaborative team Katie Pearl and Lisa D’Amour, the duo known as PearlDamour, are aware of this juxtaposition. A “fi eld guide” is given to audience members that at-tempts to trace the origins of the materials used to create the arti-fi cial foliage. “Forest” is an example of artists consciously working unsustainably in order to inspire thought on issues surrounding the environment and humans’ relationship to it.

Most sculptural and installation art, however, is not purpose-fully unsustainable, but rather unsustainable by default. Generally, the origin of materials is not considered at all, and neither is the decomposition of the piece. This becomes especially problematic when considering large sculptures and installations, both of which use large quantities of material, thereby increasing whatever envi-ronmental impact those materials have.

For instance, Jacob Hashimoto’s installation pieces are beauti-ful created-environments—that is, spatial experiences—yet I won-der about what happens after the exhibit. His piece “Silence Still Governs Our Consciousness,” shown in Rome in 2010, consists of hundreds of paper kites, creating an airy, cloudlike atmosphere. Pa-per need not be an unsustainable material, since in theory it can be successfully recycled and decomposed, but the problem with many materials often lies in the quantity being used. And for this specifi c piece, a whole lot of paper was used.

Maybe Hashimoto had a plan for the environmentally-friendly disposal of his piece. But if he did, he didn’t mention the after-life of his work on his website.

There are several possibilities for the relationship between sus-tainability and art. I just walked through examples of sustainable art about our relationship to the natural environment, unsustainable art about our relationship to the natural environment and unsus-tainable art not about anything related to sustainability. The fi nal iteration is sustainable art that is not about the fact that it is or isn’t sustainable. I’m not sure what this would look like, but with shrink-ing resources and the need to decrease our carbon footprint, per-haps artistic responsibility requires a future that consists completely of sustainable art.

Hannah Anderson-Baranger is a Trinity junior. Her column runs every other Thursday.

The politics of materials

Sanctions against humanity

lettertotheeditorResponse to “The feminine mystep”

I tried not to get too frustrated reading the Oct. 12 column “The feminine mystep,” because it’s been refreshing and enjoyable to hear femi-nism at the forefront of social discussions on Duke’s campus recently. In that respect, I truly appreciate the author’s words. But, frankly, the column was ironic. In critiquing feminism for making generalizations, the author made many generalizations himself.

Now let me get something straight: I don’t know any woman, or any person for that mat-ter, who prefers to be told she or he is dumb instead of being given flowers and support. But hey, everyone loves a good perpetuation of the hairy-legged, man-hating, lesbian feminist—it’s an easy go-to when critiquing a movement you know nothing about.

Feminism is not about emasculating men, making them uncomfortable or ignoring those sympathetic to its cause. Feminism is about au-tonomy. In a world where man is “A” and every-thing is measured terms of A—leaving women seen as not-A—feminists strive to be “B.” That

is the primary claim of feminist theory. And if you’re asking us to embrace the mainstream and “accept the majority,” you’re missing the point. A society shaped by phallocentrism and sexism cannot be changed by a pop singer in a neon bra-let telling us to let our true selves shine. I’m sorry, but that’s just not the way it works. Study intersectionality, look at your own privilege and get back to me.

Articles like this promote patriarchal thought, although perhaps unintentionally. Ar-ticles like this invite people to say, “I am not a feminist, but I support the equal rights of wom-en.” The fear of being associated with the femi-nist movement is disconcerting—many people don’t want to face the social stigma concomi-tant with feminism. Ultimately, the veracity of a claim is determined by its origin. And perhaps if the author had walked into the women’s cen-ter once before writing his column, he would understand.

Maya FlippenTrinity ’15

hannah anderson-baranger

state of the arts

ahmad jitanindecent family man

12 | THURSDAY, OCTOBER 18, 2012 THE CHRONICLE

WST 290S.02

Islam, Europe and Gender

Jeanette Jouili

MW 1:25–2:40 PM

WST 290S.04

Gendering MigrationLindah Mhando

WF 10:05–11:20 AM

WST 380S

Transnational Feminist ResearchFrances Hasso TTH 3:05 - 4:20 PM

This interdisciplinary seminar uses feminist and critical scholarship from many disciplines to examine how ways of knowing (epistemology), ways of being (a person’s identity and locations), power relations within and between countries, and different historical contexts impact the production, understanding, and circulation of knowledge. Open only to sophomores, juniors and seniors. No 1st year students. ICS 279S (SS, CCI, EI, R)

A look at current policies and debates on Muslims in Europe shows a shift from ethnicity and race towards religion, where Islam is increasingly utilized as

a category through which to perceive a diverse group of migrants and their descendants. Political discourses describe Muslim women as oppressed and demand political measures to free them from their subjected status. Muslim men are depicted as inherently violent and oppressive. We will examine the debate on Islam in Europe through its gendered nature from the headscarf to more recent niqab (veil) debates, from those on honor killings, to the infamous Zidane scandal. AMES 390S.01, CULANTH 290S.07, PUBPOL 290S.05 (SS, CCI)

This course invites us to peek through diverse theoretical

lenses as we entertain multiple complexities and contradictions in

women’s lives. We will explore how global inequalities, beginning with

colonialism, immigrants’ decisions to migrate, their new household set-up, men’s and women’s identities, and the second-generation’s fates, are gendered. The aim of this course is to introduce students to the various ways diasporic

migration as well as formations and experiences are gendered. ICS 290S.01; AAAS 290S.01; CULANTH 290S.01 (SS, CCI)

NICOLE SAVAGE/THE CHRONICLE

People gather on the midway to play games for prizes at the N.C. State Fair in Raleigh Wednesday evening.

Battle of the Midway

CELLS from page 3

cost as much as $1.6 billion and require the work of thousands of people. But the study outlines a course of action toward research that will bring scientists even closer to developing treatment options, Tedder noted.

“We provide a path to which [treatment] can oc-cur,” he said. “We are planning on moving forward as fast as humanly possible.”

Wade Stadium and Cameron Indoor Stadium, as well as a new track and field stadium.

“Becky and I strongly believe in the need to give back and do what we can to make an impact and a difference,” Steven Scott said. “After speaking with President [Richard] Brodhead and Kevin White and hearing more about their vision for the future of Duke Athletics, we decided we wanted very much to be a part of this effort.”

Steven Scott serves on the board of directors for the Duke University Health System as well as the steering committee for Duke Forward. He is the retired chair-man of Scott Holdings, LLC, a medical investment company, and currently serves as an assistant consult-ing professor of obstetrics and gynecology at Duke. He is president of the Scott Family Foundation and is on the board of trustees at the University of Florida.

After graduating from medical school at Indiana University, Scott completed his internship and resi-dency at Duke from 1974-1978.

Rebecca Scott graduated from the University of North Carolina at Greensboro before coming to Duke, where she earned an allied health certificate in nurse anesthesiology in 1979. She previously served on the boards of Durham-area educational organizations in-cluding Durham Academy, the Hill Center and the Lucy Daniels Center for Early Education, and on the board at the Saint Andrew’s School in Boca Raton, Fla.

GIFT from page 1

He added that the tailgating scheduled for the UNC game will be of particular interest to students because there will be free food and school spirit. If Duke wins this game, the team will be in contention for a bowl game.

Sophomore Derek Rhodes, vice president for Dur-ham and regional affairs, announced that he is con-tinuing to work with University and Durham officials to reform the Knock and Talks policies, which have been in flux since the beginning of the academic year. As part of Knock and Talks, Duke police officers visit off-campus student residences to discuss housing poli-cy and regulations.

“Knock and Talks has definitely drifted from its in-tended purpose,” Rhodes said.

Senator for Equity and Outreach Adesuwa Giwa-Osagie, a sophomore, presented a request for $1,500 on behalf of the National Association for the Advance-ment of Colored People. The funds will be used to pay the honorarium for poet and activist Nikki Giovanni. who is scheduled to speak on campus on October 24. The event is open to all students.

Giovanni’s speech will focus on the “new civil rights,” said Giwa-Osagie. The proposal was passed by a Senate vote, following a failure to approve the fund-ing at last week’s meeting.

Executive Vice President Patrick Oathout, a junior, presented amendments to the Young Trustee bylaws. First year students are now able to apply to the posi-tion of young trustee. Nominees are selected by the Young Trustee Nominating Committee to serve on the Board of Trustees for a three-year term.

Oathout noted that by extending the opportunity to all students, age-based discrimination is eliminated.

The Senate voted to approve funding for Phi Beta Sigma fraternity’s Casino Royale Charity Ball. The ball, scheduled for Oct. 27, will support March of Dimes, an organization dedicated to improving the health of mothers and their babies.

DSG from page 2

perkswallflower adaptation fails

to blossomPAGE 3

soviet artNasher goes back

to the USSRCENTER

allelujah!godspeed you! black emperor

returns with new albumPAGE 6

SOPHIA DURAND/THE CHRONICLE

BUILD A FORESTBUILD A FORESTand prune your

wallflowersCENTER

(RE) MI FA SOL LA TI DO

RecessRecess volume 14issue 8

october 18, 2012

how tohow to

SPECIAL TO THE CHRONICLE SPECIAL TO THE CHRONICLE SPECIAL TO THE CHRONICLE

PAGE 2 October 18, 2012recessrecess

[recesseditors]TSwift songs that describe our lives

Michaela Dwyer..................................................................................................MeanHolly Hilliard........................Back to December (the one about Taylor Lautner)Katie Zaborsky......................We Are Never Ever (EVER) Getting Back TogetherDan Fishman...............................................................................................TiK ToK?Ted Phillips.......................................................................................FREEBIRD!!!!!!Sophia Durand........................................................................Today Was a FairytaleAndrew Karim.......................................................................................Tim McGrawEmma Loewe............................................................................................Speak Now

EDITOR’Snote

DUKE PERFORMANCESDUKE PERFORMANCESIn Durham, at Duke, a City Revealed.

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MESHELL NDEGEOCELLOA DEDICATION TO NINA SIMONE

FRIDAY, OCTOBER 198 PM • REYNOLDS THEATER

SOULFUL ICONOCLAST

MESHELL NDEGEOCELLOVENTRILOQUISM: A NIGHT OF COVERS

SATURDAY, OCTOBER 209 PM • MOTORCO MUSIC HALL

(723 RIGSBEE AVE.)

SUBLIME STRING QUARTET

EMERSON STRING QUARTETMOZART, THOMAS ADÉS

COPLAND, SHOSTAKOVICHSATURDAY, OCTOBER 20

8 PM • REYNOLDS THEATER

LEGENDARY PERFORMER

MEREDITH MONKARTIST TALK: ARCHEOLOGY OF AN ARTIST

THURSDAY, OCTOBER 257 PM • NASHER MUSEUM OF ART

this friday!!!

this saturday!!!

this saturday!!!

November 4, 2012 – February 10, 2013THE CONE SISTERS OF BALTIMORE

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NASHER MUSEUM OF ART AT DUKE UNIVERSITY

“…a fascinating look at the Cones’ evolving relationships with Picasso and Matisse…”

Tickets on sale now 919-684-4444, nasher.duke.edu/matisse or in person at the museum.

Nasher Museum Members receive two free Matisse tickets per day.

– The New York Times

Collecting Matisseand Modern Masters

This exhibition is organized by The Baltimore Museum of Art, The Jewish Museum, New York, and the Vancouver Art Gallery. In Durham, the exhibition is presented in collaboration with the Nasher Museum of Art at Duke University.

At the Nasher Museum of Art, lead foundation support is provided by the Crow Creek Foundation. Lead corporate support is provided by Wells Fargo. The media sponsor is NBC17.

A couple of months ago, some of the other Recess editors and I sat down and watched High Fidelity, a movie I’ve probably seen at least half a dozen

times since I rescued it from a Wal-Mart discount movie bin a few years ago. If you’ve ever seen High Fidelity, you know that it’s entirely quotable from beginning to end: the movie is narrated by Rob Gordon (John Cusack), a hyper-reflexive, misanthropic music snob who consistent-ly doles out gems such as, “Liking both Marvin Gaye and Art Garfunkel is like supporting both the Israelis and the Palestinians.”

There’s one quote of Rob’s in particular that I have carried around in my back pocket for a long time, and until recently, used it as a quasi-maxim for relation-ships—romantic, platonic, and that delicate hybrid beast that threatens our sanity. In one scene, Rob is at the bar with Marie de Salle (Lisa Bonet), a beautiful bohemian singer with the ability to turn a cover of Peter Framp-ton’s “Baby I Love Your Way” into a religious experience. As he’s talking with Marie, the scene is spliced with Rob delivering the following wisdom: “A while back, Dick, Barry and I agreed that what really matters is what you like, not what you are like. Books, records, films, these things matter. Call me shallow, it’s the f*****g truth.” Then, the scene cuts back to Rob and Marie discovering

their shared love of The Prisoner, a short-lived 1960’s cult TV show that is the perfect esoteric symbol for what Rob is trying to say.

On the surface, Rob’s philosophy makes a lot of sense. Out of the millions of albums, novels, paintings, etc. that have been produced, we choose to covet a small fraction and call them our favorites. And if some-one else has likewise sifted through the same heap of artistic output and plucked a select few to be their fa-vorites, doesn’t that mean something? At the very least, shouldn’t two people have an easier time talking to each other since you’ve already established a common ground?

Not necessarily, and it was only when re-watching High Fidelity and hearing Rob say those words that I real-ized how much I disagreed with that way of thinking. In Rob’s world, we all come with a deck of cultural cards we’ve collected over the years, ready to lay them on the table in hopes that someone will match our Dostoyevsky or Marc Chagall with their own collector’s edition. The more matches, the more compatibility, theoretically. But this is a dangerous way of thinking that, if anything, is antithetical to being card-carrying members of these ex-clusive clubs.

Deciding that a movie or book is your “favorite” is no light declaration—it’s a committed relationship that has been cultivated over a long period of time. With that comes a responsibil-ity to defend, to praise, to explain the significance of that particular work. The danger lies in the fact that when we tell others about the “books, records, films” that we like, we are only presenting an end result that’s rendered meaning-less without personal con-

text. These cultural markers have merely become shal-low inroads into forming relationships that we believe are based on substance, when really substance is the long and beaten path that’s often left untread. And to blanket this entire notion that people can be grouped together in this way, we’ve come up with a wildly super-ficial term to justify it all—“taste.”

If I told you that Michael Chabon’s The Amazing Adven-tures of Kavalier & Clay is my favorite book, what does that say about me? That I have “good taste”? “Bad taste”? Need to read more books? Taken by itself, it should say nothing. And if that happens to be your favorite book, too? Well, that may be even worse, because in so many interactions, we’re often blinded by the initial excitement of discover-ing a similar interest that we never dig deeper; we omit the second question that makes our likes and dislikes so powerful—“Why?”

For some reason, we are all too content to know that another person has the same tastes without wondering how they got there, as if they exist in a vacuum that’s re-moved from our life experiences. Rob’s philosophy is cer-tainly convenient—if someone also likes Firefly and agrees that Dharma Bums is indeed the superior Kerouac novel, aren’t they a good person because you’re a good person and believe the same? And if not “good,” then at least “cool,” “fun,” or a dozen other vague adjectives? Inevita-bly, this fallacy is what keeps people at arms’ length when it should be the ideal opportunity to start a real conversa-tion. Let’s not replace discussions about the role fiction plays in our lives with the empty conclusion that “Tolstoy rocks!”; don’t be complacent when someone calls Woody Allen a “genius,” even/especially if you think the same thing. Our likes and dislikes are certainly meant to bring people together, but they aren’t the be-all, end-all of com-patibility. If that sounds obvious, it is. But if you don’t automatically like a person more when they reveal that they’ve actually seen The Prisoner, you’re a better person than I am.

—Katie Zaborsky

October 18, 2012 PAGE 3recessrecess

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It’s rare for me to be in social situations where I am uncomfortable, and so determinedly correct in my feeling uncomfortable, that I address the public about it. An ex-ample: over the weekend I sat in a movie theater, high-tops flexed atop the empty chair below me, happily downing an Icee that cost more than most meals I ate in Berlin this summer. It was capitalism and fall break in full, lazy glo-ry, and I rested on several judgments (laurels?)—betting my friend that “everyone coming to see this movie would resemble the characters in it,” squirming after a few sec-onds of generic acoustic strums during the opening cred-its, which were rendered in typewriter Courier—but I was at peace with an open mind. Emma Watson portraying a complicated American high schooler who, like Zooey De-schanel in (500) Days of Summer, screeches that she “love[s] The Smiths!” couldn’t be that bad. Especially considering the big-budget context of a film adaptation of Stephen Chbosky’s epistolary novel The Perks of Being a Wallflower, which, being big-budget and all, supposedly necessitates cute-ification.

Until it was that bad. Somewhere between the scenes where Sam (Watson) and Patrick (Ezra Miller, the sole bea-con in a filmic sea of miscast teens) toast protagonist Char-lie’s (Logan Lerman) wallflower status (“You see things, and you understand. You’re a wallflower.”) and Charlie passes out in the snow after taking LSD, I turned toward the rows behind me and wondered aloud—with passive-aggressive inflection—why everyone thought these parts were laughable. Unless this was part of some meta-narra-tive intended by the filmmakers to force moviegoers out of their own wallflower tendencies and into the realm of “participation” that Chbosky elaborates on so beautifully in the novel, I wasn’t buying it.

The movie’s plot is easy enough to follow and to de-scribe, and maybe this is the problem. Circa 1991, Charlie, a high-school freshman dealing with (suggested) mental illness and that damning overly-analytical approach to so-cial life, falls in with a crew of seniors (among them Sam and Patrick). They introduce him to an idea of fun that I can’t really argue with: Smiths-and Beatles-heavy mixtapes, brandy-filled house gatherings and tunnel drives that make everyone “feel infinite.” In the novel, all of this plays out via letters Charlie writes to an anonymous “Friend,” whom he addresses from the get-go: “I am writing to you because she said you listen and understand and didn’t try to sleep with that person at that party even though you could have.” The film begins with Charlie speaking this text, but immediately it feels wrongfully distorted. The book version of The Perks of Being a Wallflower, while in my mind a rough cross be-tween Stargirl, Go Ask Alice and The Catcher in the Rye (which, incidentally, Charlie re-reads obsessively in the novel and not in the movie), is no ordinary bildungsroman. Charlie’s impressionistic observations in the novel meander from

vulnerable to befuddled to mundane to prescient. There’s a bit of eccentricity in his voice that’s hard to define, un-like Holden Caulfield’s unilateral cynicism and angst. No matter the entry, Charlie’s letters show how crucial it is to understand himself and his surroundings through writing. When reading, we feel like Charlie is really living through all he describes, sure of nothing save for the unsureness of his own conclusions. This isn’t narration to be performed, and certainly not atop a score of sentimental instrumenta-tion and early-90s indie songs, as well as the blasé Disney Channel movie-style cinematography. All of this gives me pause because Chbosky wrote and directed the film him-self. I’m curious about the intentionality behind the film’s generally chipper monotone—excepting the final five min-utes of headspinning montage, the closest the film comes to honoring the book’s tone and content—which ensures easy narrative digestion in accordance with the film’s big-budget bloatedness. It seems serving up a glazed-over tale of quirky teenagehood overrode the challenging prospect of honoring the novel’s wandering and often very intense —but always honest—essence.

So why is it that I still get chills when I re-watch the trailer for this film? There’s something in me that wants so badly to like it more than I do, a part of me strongly defensive of my identification with Perks’ themes. Moreso, though, I feel icky about people pledging allegiance to this film without having read, and felt something, about the book. And this isn’t coming from Michaela the elitist bookmonger, wav-ing the chartreuse paperback over a crowd of pubescent girls as they trample her en route to Urban Outfitters. It’s coming from someone who took the book up again this past week after a seven-year gap and was a little freaked out—first by how nuanced the text actually is; second by how I wanted everyone I know to read/re-read the book at this point in our young adult lives; and third by how eerily discordant the book and film feel.

—Michaela Dwyer I think about electronic dance LPs in the same way I think about baseball lineups. The opening track is equiva-lent to a leadoff hitter: great dance albums start quickly but don’t overwhelm with too much power. The job of the sec-ond track is to maintain momentum: in baseball terms, it moves the runner into scoring position. Around the ten-to-twelve minute mark is a dance record’s heart-of-the-order, its most memorable and high-energy tracks. From then on, songs need to preserve accumulated energy, wind down slowly but not too slowly, so as to position the lineup for another go-around.

That may sound too formulaic, but dance albums that deviate from this procedure tend to be less successful. Start off a dance album with too much volume or with too much throbbing bass, and it will be either monotonous or lethar-gic within fifteen minutes. Start too slowly, and the dancing will be half-hearted when it should be strongest.

With the nine tracks of Jiaolong, Daphni (a.k.a. Caribou

the perks of being a wallflowerDIR. STEPHEN CHBOSKYSUMMIT ENTERTAINMENT

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daphniJIAOLONGMERGE

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by Thomas KavanaghTHE CHRONICLE

For the media-soaked American viewer, the incisive humor behind Alexander Kosolapov’s 1988 screenprint Lenin-Coca-Cola is its ambiguity of target. Part of the Nash-er’s new Education Corridor exhibition, The Subverted Icon: Images of Power in Soviet Art (1970-1995), Kosolapov’s work sweeps satire across two nations and cultures. The Marxist revolutionary and the icon of capitalism face each other, both stenciled in the Coke/communist-red-on-white decor of classic ‘50s billboards, to create a bizarre contrast. An uncharacteristically informal quote by Lenin promoting the soft drink—“It’s the Real Thing”—gives the fake-ad the explicitly dissident comedy the artist intended.

The politically charged farce is part of a sixteen-piece installation organized by students of Professor Pamela Kachurin’s “Soviet Art After Stalin” seminar. Using works previously collected in Nasher storage, the students assembled their own series, noted Kachurin, and were responsible for selecting individual works, writ-ing label texts and arranging them to create thematic unity.

Senior Julia Rayis, a student who contributed to the exhibition, describes the criterion for cura-tion: “We chose representations of power because we felt that every person would get to work with a piece that they were really inter-ested in, and all of the pieces tie into that one way or another,” ex-plained Rayis.

The class’s efforts to unify a group of works was not in vain; the installation has an immedi-ate sense of tonal harmony. The collection of etchings, sculptures and prints all typify the non-con-

formist period of Soviet art. Their importance, of course, is best understood in historical context: having been granted new expressive freedoms under Krushchev leniency and Gorbachev’s glasnost (“openness”) policies, the late 20th century Slavic intelligentsia was eager to break the Social-ist Realist mold. Each work communicates its criticisms of the party regime uniquely, but all approached the icons of the Soviet state with suspicion. The installation descrip-tion summarizes their sociopolitical effects, that through displacement of symbols of power, the “three major insti-tutions of Soviet culture—communism, architecture, and

the media—[were] confronted and challenged.”A representative work captures the essence of the exhi-

bition: Oleg Vassilev’s Leaders, a tweaked issue of the com-munist bulletin Pravda, exemplifies Soviet artists’ pent-up criticisms of the regime. Vassilev’s lithograph overlays black silhouettes of KGB officers across a Pravda front-page. An isolated, small, white figure sprints away from the viewer into the depths of a large dark mass. An unidentified set of legs approaches the viewer menacingly, surrounded by a wash of red that connotes “blood” as much as it does “The Party.” Such a deliberately sinister portrayal of Stalin-ist communism was only feasible under glasnost; thus, Vassi-lev’s 1992 work arrives in the wake of growing artistic bold-ness.

I say “growing,” because freedom of artistic expression was only nascent in the 1970s, and for Russian artists it is still maturing. Vitaly Komar and Alexander Melamid’s work Onward to the Final Victory of Capitalism —an ironic fusion of socialist propaganda with James Bond as an American-flag-waver —is also featured. The collaborators made history when they took part in the notorious 1974 “Bulldozer Ex-hibition.” The unofficial, underground installation in Mos-cow was disbanded by the secret police force, who used bulldozers to destroy all the works and water cannons to attack the artists and spectators.

On its own, memory of the incident demonstrates the historical gravity behind the works in The Subverted Icon, but recent reminders of the country’s artistic restrictive-ness add to the exhibition’s relevance. In 2010, curators for the “Forbidden Art” exhibition in Moscow’s Sakharov Museum were jailed for unveiling Kosolapov’s new work This is My Blood/Body (the piece rendered Coca Cola and McDonald’s as substitutes for the Eucharist). Just last week, members of the punk-rock group Pussy Riot were sentenced to two years in a labor camp for “hooliganism motivated by religious hatred” after their non-violent pro-test concert in a cathedral.

Yet what makes The Subverted Icon especially exciting, in a youthful, rebellious way, is that it’s not just Soviet idols being overthrown. The United States and consumerism are as much the butt of Komar, Vassilev, and Kosolapov’s jokes as are Lenin and Soviet architecture. Upon viewing Leonid Sokov’s Untitled (Bear and Marilyn Monroe), which shows the gleeful, swimsuited pop icon being chased by a lustful Russian Bear, I found it hard to stifle laughter at the unusual juxtaposition. When I described my reaction to the work (I thought the scene was “funny”) Kachurin retorted, “It is, until you realize that bear is Stalin.”

The Subverted Icon: Images of Power in Soviet Art (1970-1995) will be on display at The Nasher Museum of Art until December 23rd.

Students curate Soviet protest exhibit at Nasher

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‘How to Build a Forest’ installation combines visual arts and science

or Arts

by Lauren FeilichTHE CHRONICLE

If you thought one forest was enough for Duke University, think again—another will be sprouting up this weekend inside of Page Auditorium.

“How to Build a Forest” was created by PearlDamour, an interdisciplinary theater team, in collaboration with visual artist Shawn Hall. Countless ele-ments are carefully orchestrated to create a hybrid somewhere between instal-lation and performance. The interactive, multi-sensory experience lasts for an eight-hour period, during which time a forest of fabrics and fibers is gradually built from scratch and then dismantled entirely.

Katie Pearl and Lisa D’Amour have worked together as PearlDamour since 1997. The duo won an Off-Broadway Theater Award for their 2003 play Nita and Zita, a true story of two New Orleans showgirls, through which they met Hall, who did the set design. “It was sort of obsessively painted, with sequins everywhere,” said Pearl of Hall’s interpretation. The two appreciated her dis-tinct visual style, and the development of “How to Build a Forest” progressed naturally.

“Once we started talking, the piece really started to take its own shape based on our mutual interests,” Hall said. “It changed the way we think as true collaborators. It’s not the ‘theater model.’ I’m not designing for them, I’m designing with them.”

The idea had evolved for two years before its debut at The Kitchen in New York City in June 2011, and will next head to Brown University in Providence, Rhode Island.

PearlDamour and Hall par-ticipated in a panel at the Nasher Museum of Art last weekend along with Megan Granda, executive di-rector of Duke Center for Civic En-gagement, and Marjorie Pearson, a Durham-based fine arts photogra-pher. Pearson, who has taught and lectured at Duke’s Nicholas School of the Environment, focuses on the natural beauty of southern wet-lands in photographs that range from the realistic to the abstract. In capturing her surroundings on film, her overlying objective is to bring attention to the disappear-ance of these stunning landscapes.

“Environmental arguments tend to put people on the defen-sive,” she said. “When faced with the idea of loss, people become paralyzed, but association with visu-al imagery can build bonds before words are ever spoken. Your mind becomes more open to discussion on these complex subjects.”

In its attempt to build these bonds, “How to Build a Forest” goes beyond the presentation of an appealing aesthetic.

“The way to really engage with people is to make with, not make for,” said Pearl.

Attendees will have the opportunity to walk onstage and look closely at the elements of the forest, and even sit down within it, and members of the performance will occasionally venture offstage and incorporate themselves into the audience.

“There are several elements that are theater performance,” said Mao Hu, a Duke sophomore who has been working as an assistant to the directors.

Rather than tell viewers to “sit there and we’ll tell you a story,” which Pearl observes as the norm in more traditional American theater, the trio have de-signed a truly immersive experience. They seek to “create a space, or personal relationship, before a message is delivered.” Within this theme of the nontra-ditional space, viewers are encouraged to come and go throughout the piece’s duration to view the forest in its many stages of development.

Attendees will be handed field guides that contain specific and detailed information about the materials that comprise the forest, including their for-mer uses and potential toxicity. The statement is fairly clear: we, as a society, do not sufficiently consider sustainability in our acts of consumption. The artists, however, have carefully refrained from delivering one specific message through the piece.

“How do you bring someone into an experience? You can’t force them,” D’Amour said. “You have to create the circumstances so they can engage in their own way.”

Jules Odendahl-James, resident dramaturg and visiting lecturer in Theater Studies, appreciates the ambiguity of the collaboration’s meaning.

“The work is so open on its own, open to lots of ways to enter in. A par-ticular chord is struck, but it’s not directing. It’s coming out of a very specific place, but the audience will define it and bring it to fruition,” said Odendahl-

James, who first initiated the bond between Duke and “How to Build a Forest.”

“It just seemed like it must come [to Duke],” she said. “We were a place where a forest was attached to our university. It was a right space for a lot of environ-mental science work that was happening. This was sort of my way to connect that in a piece that would also push the bound-aries in terms of what people had thought of as a ‘science play,’ something in the theater having to do with scientific research.”

“How to Build a Forest,” in its previous incarnations, has relied heavily on what Lisa D’Amour calls an “ecosystem of volunteer help and paid help.”

“This is about community involvement,” said Hall, in refer-ence to the vast requirement of effort in the preparation and ex-ecution of the piece. The Duke community has certainly risen to this challenge. A broad range of students and faculty from a vari-ety of academic disciplines have been working tirelessly with PearlDamour and Hall to bring the forest to life.

“It’s a model for the way the-ater and environmental science students could work together on something that intersected in

terms of the learning component,” said D’Amour. Recalling the ongoing “Art+” lecture series about the intersection between

art and mathematics, there seems to be an exciting new movement toward interdisciplinary arts involvement on Duke’s campus, proving that creativity and reasoning are not mutually exclusive.

“How to Build a Forest” will take place on Friday, October 19 through Sunday, October 21.

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by Madeleine RobertsTHE CHRONICLE

Sometimes what begins as class topic can result in pas-sionate exploration. So the story goes for Jean Rheem, a Duke senior who took the entirety of last year to pursue the story of autistic youth for her Certificate in Documen-tary Studies senior capstone project.

A psychology student graduating this winter, Rheem was inspired in her junior year to pursue this story after a friend made a documentary on another social issue—a North Carolina murder trial.

“I wasn’t interested in filmmaking until that time pe-riod in my life,” Rheem recalls. “It took a whole year for me. Duke had everything I guess I needed.”

Jean has been passionate about the individual experi-ences of those labeled with autism for some time

“It’s something that, once you find out about it, kind of stays in your heart,” she said. “I kept taking classes about autism and then volunteering.”

Her final 40-minute film, The Social Group, chronicles the experiences of five remarkable autistic teens that have been meeting as a group—run through a private family house in Chapel Hill—every Friday for ten years.

Rheem weaves inter-views with the teen and their parents with candid shots of their interac-tions within the social group. But what sets it apart from other documentaries is the focus on, as Jean describes it, “what autism and social skills and friendship look like.” Although she does explicitly discuss autism and its effects, Rheem also focuses on the normalcy of the group’s interac-tions. One of the first scenes depicts a lighthearted de-bate about whether Chuck Norris or Bruce Lee would win in a fight.

In one interview with the parents of Julian, one of the teens in the group, his father explains how “it is difficult to be in those shoes and operating in our society.”

Exposing the complexity of the condition was impor-tant to Rheem in producing the documentary.

“I wanted to show the human side of these individ-uals—even though they are labeled with autism. I just want people to see beyond that,” Rheem said. “I hope the viewers see how lovely and awesome these individu-

als are.” What’s immediately clear in the film is the indi-

viduality of each of these teens. Julian, the oldest at age 19, has a talent for art and a zeal for ani-mals. Courtney is the only girl, an aspiring film-maker with academic ambition. Jordan is a fan of zombie novels and has a passion for acting and writing. Will is incredibly friendly, well read, a talented electric guitarist and an avid collector of Transformers. Joey is quiet but expresses himself through the stories that he writes.

Joey’s mother is the leader of the social group, and in a later scene discusses with the five teens

some plans to celebrate the holidays: “Courtney’s mom suggested that you guys do some cooking…you know, once you turn 18, there are certain things you’re accountable for.” Later in the film she continues, “a lot of kids with autism really don’t want to grow up.” The film culminates with the five teens making Thanksgiv-ing dinner together for the first time, and sharing the meal together.

“This film is about the transition into adulthood,” Rheem said, emphasizing that this is never a simple tale.

Rheem’s work was recognized by the New York City Independent Film Festival, and a shortened (20-minute) version was chosen to debut in the 3rd annual festival on October 21. The film can be watched in its entirety on YouTube.

Duke senior’s film explores autism

Ever since the release of their titanic debut F#A#Infinity, GY!BE has cemented itself as one of the premiere post-rock bands. The Montreal collective is acclaimed for its use of wide dynamic ranges, unusual instruments, anarchic found sounds, and Satanic album-packaging. The intensity of the music is made more pronounced by their use of classical composition tech-niques and many tracks have multiple movements. After a 2003 tour supporting new LP Yanqui U.X.O., the nontet went on indefinite hiatus until 2010 when they reunited for a world tour. In typical Godspeed fashion, the band released ‘Allelujah! with absolutely no publicity, selling them quietly at live shows this month. ‘Allelujah! is the band’s first record since 2002’s Yanqui U.X.O., which emphasized concise songwriting rather than their usual lengthy build-ups. ‘Allelujah! represents a strong return to what made Godspeed famous—music that traverses several distinct emotions in a single track.

Unlike the four huge pieces of Lift Your Skinny Fists, two

godspeed you! black emperorALLELUJAH! DON’T BEND! ASCEND!CONSTELLATION

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“main” songs and two “drone” tracks make up this release. Twenty-minute behemoth “Mladic” opens the album shows Godspeed at its most cinematic. The track begins with a sample of a radio conversation and then patiently builds to an ominous, cathartic climax. The drums beat faster and faster and menacing strings come in to give the song an ex-otic, Middle Eastern sound. The guitar riffs are aggressive and continue to get louder and more explosive. “Mladic” is as heavy a track as any in their discography and its bru-tal, repetitive riffage recalls the best of Swans and Melvins. After the exhausting “Mladic,” “Their Helicopters’ Sing” comes as a refreshing breather. It bisects the two larger pieces and its formless, eerie sounds transition seamlessly into “We Drift Like Worried Fire.” A show stealer, “We Drift,” is Godspeed at its most jubilant. Patiently plucked strings give way to a flurry of instruments that accrue for almost eleven minutes of gorgeous bliss. Then, mid-song, the tone shifts to something much more foreboding. Per-cussion becomes more prevalent and the song veers into a rapid tempo that is surprisingly restrained. Its final mo-ments, much like “Mladic’s,” are stunning. After almost 46 minutes of intensity, “Strung Like Lights” ends the album with an eerily calm grace. Thick curtains of sleepy, gauzy sound collapse quietly, and place the listener in a world

that’s both desolate and beautiful. Even though the album doesn’t reach the emotional

highs and lows of Lift Your Skinny Fists or F#A#Infinity, every-thing from cheer to despair can be felt through the album. At a time when post-rock is more a joke than a reputable genre, Godspeed You! Black Emperor return from Valhalla to show the world how it’s done.

—Suvam Neupane

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by Christina MallirisTHE CHRONICLE

Puppets, paper hats and a lot of magic: these are the elements behind Manbites Dog Theater’s newest show, The Paper Hat Game, premiering this Friday. Promoted as a unique combination of theatrical techniques, the play brings the city of Chicago to life using only five puppeteers, videos and an intense soundscape—all on a stage two feet wide and just under four feet long.

Director and writer Torry Bend, also assistant professor of the practice of Theater Studies, based the story on the life of her good friend: the play follows Scotty, a man who begins giving out paper hats on the Chicago train he rides every day. Scotty has a love/hate relationship with the city of Chicago due to his problems with mugging and other violent crimes, which he tries to counteract with his child-like gesture. Eventually, he becomes known as “the paper hat guy.”

“The ‘hatting’ was a way to have a lovely relationship with Chicago, but on the other hand he was afraid of just walking down the street,” says Bend.

In the end, Scotty’s paper hat prank comes back to help him through his hard times, with those he inspired return-ing the favor. This sense of whimsy and playfulness led Bend to consider puppetry as her medium of storytelling.

“I feel like there’s something very magical about pup-petry and video. And to me, Scotty’s story has magic to it,” she said. “It’s the kind of thing you hear people say, ‘it could only happen in this city…I am sort of blessed to be a part of this moment.’ And to me that’s what puppetry

Duke professor brings puppet show to Durham

a.k.a. Dan Snaith) keeps with common managerial wis-dom. Opener “Yes I Know” paces the album beautifully. Whereas most of the songs written under the Daphni mon-iker resonate with artists like Four Tet and Matthew Dear—contemporary electronic musicians known more for their intricate and restrained song structures than for heavy dance tunes—“Yes I Know” channels the extroverted, sam-ple-heavy house music of J Dilla. Second track “Ne Noya”—Daphni’s masterful remix of a yet-to-be-sourced African musician—sounds more like something DJ/rupture would create than anything Snaith has previously produced. But the highlight of the album is the third track, “Ye Ye,” one of the most flawlessly constructed dance tracks I’ve heard this year. Brooding and dark like the best of Oneohtrix Point Never, the song is propulsive without relying too heavily on either the bass or the drums. It’s the sort of track that most UK bass artists can only dream of.

After the first three tracks, however, Jiaolong stag-nates. Daphni stops using vocal samples, preferring in-stead to focus on particular sonic whirls and synthesized atmospherics. The results are unexpectedly spare—this isn’t the Caribou of The Milk of Human Kindness—and the songs’ pace and volume become more ambient than dance-worthy. There are some gorgeous moments—e.g. the hook to “Light,” the looming whistle of “Ahora” and the swarming static of “Long”—but most songs slip in and out of consciousness. It often sounds as if Daphni is using his turntable as a crutch, improvising sounds as a DJ might during a live set, leading to music with some interesting minutiae but not enough narrative arcs to maintain attention.

For an artist who has just recently started to produce dance music, Snaith has already shown the talent and the vision necessary to create fresh and new-sounding rhythms. The transitions between tracks are done with the chops of a career DJ. Though Jiaolong doesn’t have enough material to always maintain interest—it doesn’t have enough talent to fill the bottom of the order—there’s enough here to justify Daphni as worthy of the big show.

—Dan Fishman

and video do. They have a similar quality…you can’t quite believe your eyes, even though you know you can.”

The show was originally workshopped at Duke, where it saw two runs and received a warm reception. But Bend wasn’t fully satisfied with the final product.

“After the run at Duke it became clear that there were a lot of things that needed fixing, and that we weren’t really finished yet,” she said. “We wanted to remount it and really polish it up and get the number of puppeteers down.”

Eventually, Bend hopes to bring the show to bigger au-diences in Chicago or New York, and the original number of seven puppeteers was too many to travel with.

Downsizing, however, poses some new challenges. With around an hour of runtime and only five puppeteers, the actors are kept busy.

“There’s just so much happening backstage,” Bend said. “There are moments when you look backstage and there’s one puppeteer crouching under another…it becomes like a jungle gym.”

Monet Marshall is one of the puppeteers involved in the behind-the-scenes playground. After recently moving to Durham from New York, she was looking for fun activi-ties when she saw an advertisement for auditions to be in a puppet show. The experience, she says, has been incred-ible, allowing her to learn about the body’s capacity for storytelling through her job as a puppeteer.

“Individually we’re not really doing anything…every-thing works together,” Marshall said. “Being in a puppet show, you learn a lot about yourself and about how your own body works. You take something that’s inanimate and breathe life into it and that’s really exciting.”

For Bend, The Paper Hat Game is all about connections—including the one between Duke and the Durham commu-nity. Because the show was born at Duke and originally per-formed within the Theater Studies department, she hopes Duke students will come see the show and increase the arts connection between the school and the city.

“It means a lot to me that this started at Duke and is moving into Durham,” she said. “I love seeing that con-nection. Getting students out [into the community] is fantastic, and hopefully that’s what will happen with this show.”

The Paper Hat Game will run from October 18-November 3 at Manbites Dog Theater.

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liberal artsDIR. JOSH RADNORSTRATEGIC MOTION VENTURES

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Liberal Arts, at first glance another charming love story, examines difficult topics of sentimentality and the reality of life. Writer/director/actor Josh Radnor crafted a well-written screenplay with relatable and well-acted characters. Jesse Fisher (Radnor), now thirteen years removed from college, returns to his alma mater for the retirement reception of his beloved pro-fessor, Peter Hoberg (Richard Jenkins). He is reinvigorated by

his memories of the unlimited opportunity offered by the col-lege experience. He falls for Zibby (Elizabeth Olsen), a sopho-more at the unnamed college, and is forced to grapple with the complexities of their sixteen-year age difference.

This movie initially seems like the standard love story we’ve heard before—boy meets girl, boy loses girl, boy gets girl back. But Radnor takes the film in an unexpected direction, explor-ing the divide between nostalgics and cynics. There’s Jesse, who wishes he was back at college, a place of infinite poten-tial. There’s Hoberg, who feels it’s time to leave, but soon real-izes that teaching is the only thing that keeps him young. But then there are people who don’t love college or want to be there, like Professor Judith Fairfield (Allison Janney), Jesse’s adored Romantic poetry teacher who has nurtured an ironi-cally “un-Romantic” pessimism, and Dean (John Magaro), a student who wants college to end so he can move on.

Radnor masterfully weaves these storylines together, making the audience contemplate such issues as apprecia-tion of the here and now and reminiscence of the glory days. The vagueness of some plot devices, especially the nameless school, makes the film relatable to all. He delves into the sig-nificance of age difference, questioning the point at which it becomes inappropriate to love someone. The film is well-stocked with memorable one-liners, and humor is well-ap-propriated. Radnor includes countless details that make the settings authentic, such as Zibby’s too-often sexiled room-mate or Hoberg’s classic, ugly, college-professorial shirts.

The actors bring already well-wrought characters to life. Ol-sen is fantastic enough to make us forget about her washed-up sisters, and she enriches her character with believable manner-isms. Janney’s portrayal of an unhappy, middle-aged professor establishes a healthy dose of hatred towards her character. Zac Efron brilliantly and humorously reveals the complexities of Nat, a pot-smoking, philosophizing spirit-guide for the pro-tagonist.

Liberal Arts’ unexpected turns and departure from rom-com standards made me fall in love with the film. The plot success-fully materializes a major theme, entrenching Radnor’s motifs in the minds of the viewers. The audience falls in love with relat-able characters, and a complex ending spurs a cathartic release of both sadness and joy. Liberal Arts charmingly, philosophically and beautifully explores life, and is especially relevant as we en-ter and depart from Duke.

—Cord Peters

If you have seen Atlas Shrugged I, chances are Part II will immediately make you feel uncomfortable. Because straight off the bat it seems as if Eddie Willers—protagonist Dagny Taggart’s long-suffering right-hand man—seems to have suddenly grown a foot, bulked up a good 50 pounds and lost all of his hair to male pattern baldness. And, before you start to wonder what kind of statement the film is making about its token black character, this is mostly due to the fact that the entire main cast has been swapped out between the two films—some more noticeably than others.

But, clumsy casting changes aside, most of the film’s awk-wardness come from its insistence that you get its message, message, message. Even the most commonplace scenes—a wedding toast—become set pieces for lectures. Its attempts to strike emotional chords are mostly heavy-handed.

Part II picks up after the previous film leaves Dagny (now played by Samantha Mathis) disheveled and scream-ing the word “Nooo!” in front of a burning oil field. Since then she has regained her composure. In a world of inept people, Dagny operates like a cold one-woman efficiency machine, solving her company’s problems as the COO of the Taggart International Railroad Company. Meanwhile she’s also chasing for the answer to the overarching mys-tery of why “good men” (and they are all men) have been spontaneously vanishing all across the country.

In what seems to be a nod to the recent Occupy movement, there is a smattering of protestors everywhere. Although their purpose is unclear—they protest things seemingly at random—they operate as a sort of overused, clumsy cinematographic ex-clamation mark whenever there are major plot events.

When Ayn Rand was approached about a film adaptation for Atlas Shrugged in 1972, she described the love story between Dagny and steel magnate Henry Rearden as “all [the story] ever was.” And the movie does become much more interesting when it considers the relationship that underpinned the books. The most complicated relationship, however, is not the one be-tween Dagny and Henry, like Rand thinks, but the one between Henry and his wife. Whereas the Dagny-Henry relationship is so filled with business-like conversation that it seems more like a corporate merger than an extramarital affair, Henry and his

atlas shrugged pt. iiDIR. JOHN PUTCHHARMON KASLOW, JOHN AGLIALORO, JEFF FREILICH

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wife have a strange and yet human relationship.For a film that mostly takes place in twentieth-floor of-

fices, Atlas Shrugged II has a more bright and modern look compared to the dark, wood-paneled sets of the previous film. There are also some decent CGI set pieces that are mostly believable. Overall, if it weren’t based off a novel that happens to be politically relevant right now, AS II would be another forgettable, superficial film with a pretty good-looking cast of forty-somethings.

Many people have strong reactions to Atlas Shrugged, one way or the other. But I see the film as something like a more politicized Hunger Games, if you will—except Peeta is a married man and there are long speeches criticizing dependency. Like The Hunger Games, the film has a sim-plistic moral and the occasional unrealistic sci-fi throw-in. To watch the film, suspend your disbelief: at least it’s not as out-there as having children fighting to the death on what is basically PBS. It’s the kind of mediocre film that shouldn’t have—but almost certainly will have—a Part III.

—Linda Yu

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