The ChronicleTHE INDEPENDENT DAILY AT DUKE UNIVERSITY

THURSDAY, OCTOBER 4, 2012 ONE HUNDRED AND EIGHTH YEAR, ISSUE 31WWW.DUKECHRONICLE.COM

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Clinical trials omit childrenRomney surprises in debate performance

CHRONICLE GRAPHIC BY ELIZA STRONG AND ELYSIA SU

Of 60,000 research trials entered into the clinicaltrials.gov registry from 2005 to 2010, the analysis revealed that around 5,000 of them—about 8 percent—were designed for children younger than 18 years old.

by Gloria LloydTHE CHRONICLE

A study conducted by Duke researchers empirically shows for the first time what many pe-diatricians have suspected for a while: children are largely

underrepresented as subjects in clinical trials.

Published Oct. 1 in the jour-nal Pediatrics, the study ana-lyzed more than 60,000 clinical trials from 2005 to 2010 listed in the public database clini-

caltrials.gov. The researchers found that, although children under 18 make up nearly 25 percent of the overall popula-tion, clinical trials used chil-dren in only about 8 percent

SEE DRUGS ON PAGE 4

by Callie GableTHE CHRONICLE

A crowd of some 40 students headed to Lilly Library Wednesday night for a expert talk before the presidential debate.

Public policy associate profes-sors Don Taylor, a health policy ex-pert, and Mac McCorkle, a former Democratic campaign consultant, framed the key issues in the first debate between President Barack Obama and GOP presidential can-didate Mitt Romney before the event was streamed live from the University of Denver.

McCorkle began the talk by framing the debate in terms of his career as a consultant in 29 states and highlighted the importance of Romney’s success in convinc-ing voters that he is the future of America. Much like Obama’s 2008 campaign, the Romney campaign can reach undecided voters with a message of change.

“One way for Romney that would be really important in this debate is to prove that he wants to go forward, that it’s not just Bush, not a Bush redo,” McCorkle said.

Taylor traced the history of sup-

port for the individual mandate, a highly controversial part of the Af-fordable Care Act. Contrary to pop-ular belief, the Republicans played a paramount role in the birth of the concept as an alternative to President Bill Clinton’s employer mandate plan.

As governor of Massachusetts, Romney implemented the indi-vidual mandate as a means for ex-panding coverage at the state level. Taylor also highlighted that in his 2008 election campaign, Obama did not support such a law.

“In the 2008 Democratic prima-ry, who was against the individual mandate was President Obama,” Taylor said. “What Governor Rom-ney would have said four years ago is the individual mandate is the responsible way to do health re-form.”

Attended predominantly by freshmen, the pre-debate talk had to be moved to a larger room with-in the library to accommodate the attendance. The event was the first of six in a series called Lilly Presents Election 2012—Debates, Election

SEE DEBATE ON PAGE 2

African students enroll in scholarship program

by Ryan ZhangTHE CHRONICLE

Five freshmen brought together by a com-mon scholarship are determined to create change in their home countries in Africa.

The MasterCard Foundation granted Duke $13.5 million to fund scholarships to eco-nomically disadvantaged African students and provide them with resources to improve their home countries. There will be seven classes with five scholars each, the first of which start-ed class this Fall. The students said they plan on using the opportunities generated by the program to give back to their home nations.

Scholarship recipient Olaotan Awoyomi,

SEE SCHOLARS ON PAGE 3

SPECIAL TO THE CHRONICLE

The new MasterCard Foundation Scholars Program brings students from Sub-Saharan Africa to Duke.

Swain introduces year-long agenda, priorities

DUKE STUDENT GOVERNMENT

by Imani MoiseTHE CHRONICLE

The Duke Student Government Sen-ate met Wednesday evening to discuss its year-long agenda.

President Alex Swain said her priori-ties for the year include addressing the statute of limitations policy, revamping the DSG website, continuing to improve football tailgating and finding a sustain-able way to support Senior Sendoff, which replaced Beer Trucks, because the Duke Alumni Association has pulled most of their funding from the event. Each vice president who was present took the floor to present priorities to the senate. Many presentations focused

on building better communication on campus.

Sophomore Tre’ Scott, vice president for services, said he hopes to enhance student awareness of on-campus events through the institution of a mobile app called “Campus Quad.” Scott said he believes many events are not well at-tended—not because there is a lack of interest, but because current methods of promoting events are unconsolidated and inefficient. Campus Quad is a mobile app that allows users to post electronic flyers and search events based on time, location and category, Scott said. Scott

SEE DSG ON PAGE 3

2 | THURSDAY, OCTOBER 4, 2012 THE CHRONICLE

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Students gather in Lilly Library Wednesday night to watch the first presidential debate of the year, which took place at the University of Denver.

and Beyond. True to Taylor’s predictions, health care

took center stage in the evening’s debate. The tax increases or cuts that accompany each candidate’s health care policy were also a key issue. A third issue, job creation, tied directly into tax rates. Obama believes the federal government has a pivotal role to play in the expansion of health care, whereas Romney supports state-based re-forms like the one he orchestrated as the governor of Massachusetts.

“The right answer is not to have the federal government take over health care and start mandating to the providers across America,” Romney said.

How each candidate proposes to ap-proach the federal deficit was also a strong talking point. The candidates could not reach agreements about the facts of Rom-ney’s alleged $5 trillion tax cut and $2 tril-lion increase in defense spending. Each candidate claimed the other’s plan would increase taxes on the middle class, a key segment of voters.

“Independent studies looking at this said the only way to meet Gov. Romney’s pledge of not... adding to the deficit is by

burdening middle-class families. The aver-age middle-class family with children would pay about $2,000 more,” Obama said of Romney’s plan.

The overarching theme of the post-debate chatter in Lilly was surprise at each candidate’s unusual self presenta-tion. Both Democrats and Republicans commented that Romney dominated the discussion and ultimately won the debate while Obama seemed less confident than in past debates.

“I thought Gov. Romney did the best,” Taylor said.

He added that he was surprised that the president “stayed general” on some impor-tant issues.

Students present also shared what is-sues will affect their votes in the upcoming election. The important issues to these first-time voters were both social and fiscal.

“I wanted to see their health care sides, and education is definitely a big one for me. I was actually kind of disappointed because neither of their health care plans are going to cut it for me,” said freshman Briana Jackson.

Freshman Samit Patel said his vote is “more based on the economy over every-thing,” and particularly on cutting the deficit.

EMMA LOEWE/THE CHRONICLE

A child participates in an activity outside of the French Family Science Center Wednesday as part of Science under the Stars, sponsored by the chemistry department.

Pyrotechnics for tots

DEBATE from page 1

Tensions over Iranian currency spark clashes

by James BallTHE WASHINGTON POST

WASHINGTON — Tensions over the plunging value of Iran’s currency sparked clashes between protesters and security forces in the capital Wednesday, the most significant unrest there in two years and a possible prelude to a more serious threat to political stability.

Increasingly stringent U.S. and Euro-pean sanctions against Iran have driven the value of the rial down for years, but its fall has accelerated dramatically over the past week, forcing a run on hard currency and anxieties over the skyrocketing prices of food and other staples.

Protestors, apparently including many shop owners, clashed with riot police Wednesday in the area around Tehran’s foreign-exchange markets in what experts described as the most significant Iranian protests since the popular uprising in

2010.Police deployed tear gas to disperse

crowds and closed off neighboring streets, and in an apparent bid to prevent any spread of unrest, the government deployed satellite jamming to block TV networks, in-cluding the BBC, from airing in the coun-try.

There were conflicting reports on the initial cause of the unrest, with some news reports from Tehran suggesting they were sparked after security forces attempted to close foreign exchange traders in the ba-zaar.

The clashes came a day after Iranian President Mahmoud Ahmadinejad ac-knowledged that Western sanctions were exacerbating the country’s economic prob-lems and urged Iranians not to exchange their rials for foreign currencies, saying

SEE IRAN ON PAGE 10

THE CHRONICLE THURSDAY, OCTOBER 4, 2012 | 3

who attended the African Leader-ship Academy in South Africa, said she hopes to improve health care in her home country, Nigeria.

“The problem right now is mismanagement of resources—[Nigeria] has lots of resources, but the government is corrupt,” Awoyomi said.

Awoyomi added that she wants to utilize her passion for dance to teach young girls in Ni-geria so that she can help those who have not yet received oppor-tunities like this scholarship.

Zimbabwean scholar Clive Mudanda said his focus is on envi-ronmental problems such as waste management and pollution.

“I won’t wait until I graduate to start working on this,” Mudanda said. “Thanks to the program, I’ll have the funds to work on this problem right away.”

Education in Africa needs a major overhaul, said Sbusisiwe Sibeko, from South Africa. Her ultimate goal is to work for the United Nations.

Sibeko said she sees education as the only way to liberation.

“Even though politics in Af-rica are very corrupt, as long as people remain uneducated and unaware of what’s happening, the problems will simply continue,” she said. “My hope is to change the way education is utilized in my country. It can be used to maintain the oppressive social structure, or it can be used to liberate.”

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Rock the casaSCHOLARS from page 1

Allan Kiplagat also wants to im-prove education in his home coun-try, Kenya. Having attended Kenyan schools his entire life, Kiplagat has considered which areas need im-provement, such as the lack of depth in high school curricula. He said he is also interested in combining elec-trical and computer engineering, with entrepreneurship, which he said Kenya desperately needs.

“The key is innovation,” Kiplagat said. “We need to train people to think outside the box. They cannot go to school and learn just to work for someone else—they need to learn so that they can start their own companies and create jobs.”

The fifth scholar, Tian Chan Dong of South Africa, could not be reached for comment.

Although the transition from Af-

rica to America has been challenging at times for these students—Kiplagat said food has been the most difficult adjustment—it has been eased by the community-wide bonding between international students begun during international orientation. The five students have also learned to lean on each other for friendship and sup-port, Mudanda said.

“Six weeks ago, none of us knew each other,” Mudanda said. “Now when I’m with these guys, I feel like we all have something in common.”

Kiplagat called the relationship shared by the five students a family.

“We all understand the value of higher education, coming from aca-demically challenged backgrounds,” Kiplagat said. “Each of us knows that we wouldn’t be here if it weren’t for this program.”

and representatives from the Duke Innovative Design Agency are leading the charge to spread the app to Duke students.

“I’m excited to see Duke stu-dents have control over their social environment and to have one place to go to for events from free food to frat parties,” Scott said.

Junior Marcus Benning, sena-tor for Durham and regional af-fairs, said he is looking forward to the opportunity to exchange ideas with neighboring student governments.

“I’m most excited for the upcoming Unity Dinner,” Ben-ning said. “This dinner brings the student governments of [University of North Carolina at Chapel Hill], [North Carolina Central University] and Duke together to discuss potential op-portunities for collaboration.”

Representatives from NCCU will be a new addition to the 2012 Unity Dinner, which previ-ously included just two schools. Benning recalled that the 2011 dinner inspired Executive Vice President Patrick Oathout, a junior, to bring UNC’s “Fix My Campus” project—designed to allow students to voice their suggestions and concerns about campus life—to Duke.

Sophomore Derek Rhodes, vice president for Durham and regional affairs, said he is plan-ning to place Durham’s local

newspaper, The Herald Sun, in more newsstands around cam-pus. In addition, he is working with the Office of Durham and Regional Affairs to start a Duke-Durham internship program designed to to expand intern-ship opportunities for Duke stu-dents.

Nikolai Doytchinov, vice president for academic affairs, said he hopes to cultivate more dialogue between students and faculty. He proposed the insti-tution of “Bookbag Sunday,” a catered event that would involve students and faculty discussing engaging class material. He also hopes to form committees that will address inconsistencies in the designation of Modes of In-quiry and Areas of Knowledge.

Senators for equity and out-reach are working on a cam-paign to improve accessibility on campus by giving adminis-trators insight into the experi-ence of a student with physical disabilities, alerting them to the difficulty these students have navigating through campus.

In other business:Oathout proposed that DSG

change its dress code for meet-ings, eliminating the manda-tory business casual dress. The senate failed to approve the amendment after a 20-minute debate.

Junior Daniel Strunk, a col-umnist for The Chronicle, was named chief justice after run-ning unopposed.

DSG from page 1

4 | THURSDAY, OCTOBER 4, 2012 THE CHRONICLE

of the studies.“It’s something we knew qualitatively

and that we talked about, but this really quantifies for the researcher the nature and the scope of the problem,” said Dr. Danny Benjamin, principle investigator at the Pediatric Trials Network, which is based at Duke.

Clinical trials are the best way doctors can learn how to best treat their patients, said Dr. Alex Kemper, a pediatrician at the Duke Clinical Research Institute and author of the study. Doctors learn what treatments are safe and what amount of drugs are effective through clinical tri-als, but children are underrepresented in these studies. He added that even if children are included in clinical trials, there are often too few of them for the results to be conclusive.

When there is no specific clinical trial data on which treatments work best in children, Kemper said, pediatricians try their best to interpret how a treatment affects children by looking at data from adults.

“It can be dangerous when we make these assumptions,” Kemper said. “Chil-dren are not little adults—if you’re ex-trapolating a study that was done on a 70-kilogram adult to a two-kilogram baby, there’s a chance that you’re either not dosing appropriately or that you’re going to have unexpected side effects.”

Using children in drug studies poses several problems that could account for the disparity.

One such issue is that children can-not give informed consent to being used in a study. Instead, parents must decide whether their child can enroll in a trial.

Getting informed consent from fami-

lies can be difficult, Kemper noted, but it is “too easy” to blame that factor alone for low child representation in trials.

“I can tell you from talking to many families of children with serious health conditions that they would love the op-portunity to participate in a clinical tri-al,” he said. “But we haven’t made the opportunity available for those kinds of important studies to be done.”

Historically, companies and federal agencies running complicated, expen-sive drug studies have had little incen-tive to study the effectiveness and safety of drugs in children because they get sick less often than adults, Benjamin said. Before 1998, there was no law that required drugs to be tested on children in order to be approved by the Federal Drug Administration.

Congress expanded the focus on pediatric trials in 2007 with the Best Pharmaceuticals for Children Act, which gives pharmaceutical companies longer patent protection for drugs in exchange for testing how those drugs work in children.

Despite addressing monetary con-cerns, pharmaceutical companies still find it difficult to recruit enough chil-dren to enroll in trials because illnesses are often rarer in children than they are in adults.

Clinical trials that do include chil-dren are often so small that the data from them is unclear, said Dr. Micky Co-hen-Wolkowiez, a pediatrician at PTN.

To find enough patients, researchers have to recruit children from multiple hospitals or networks of clinics, which adds costs and makes trials for children more challenging than studies for adults, Kemper said. Still, doctors must strive to provide appropriate care for children despite these barriers, he added.

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DRUGS from page 1

SportsThe Chronicle

www.dukechroniclesports.com

THURSDAYOctober 4, 2012

>> THE BLUE ZONE Visit the blog for our Behind Enemy Lines feature, where we interview a football writ-er from the Virginia student newspaper for the inside scoop on Saturday’s game.

WOMEN’S SOCCER

CHRIS DIECKHAUS/THE CHRONICLE

Natasha Anasi and the Duke defense will need to keep pace with their counterpart that has nine shutouts.

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The big question for Virginia en-tering Saturday’s contest is who will line up under center. Mi-chael Rocco has been the starter thus far, but has thrown just six touchdowns compared to eight interceptions. Phil Sims appears poised to get the nod against Duke. In limited action this sea-son, Sims has completed 28-of-46 passes, notching five touchdowns without throwing a pick.

Top offense and defense square offby James Sanderson

THE CHRONICLE

While Duke is averaging 3.1 goals per game this season, the team is coming off its second scoreless performance this year after falling 1-0 to No. 6 Virginia.

The high-powered Blue Devil attack will look to rebound against one of the

nation’s premier defenses, as No. 7 Duke (8-3-1, 2-2-1 in the ACC) faces No. 18 Virginia Tech in Blacksburg, Va. to-night at 7 p.m.

“[Virginia] gave a lot of people some time to reflect and look at themselves in

the mirror and ask: Am I doing everything I can to help this team win?” junior defend-er Natasha Anasi said. “It was one of those games that was in reach and to let a game like that slip away is never fun.”

The Hokies (10-2, 2-2) come fresh off their nation-leading ninth shutout, when they defeated No. 12 Maryland 1-0 this past Sunday.

“It’s going to be a real challenge for our offense. You have one of the top of-fenses in the country going up against one of the top defenses in the country,” Duke head coach Robbie Church said. “I

UVA struggles amid three-game skidby Karl Kingma

THE CHRONICLE

There is no way to sugarcoat it—the Cavaliers (2-3, 0-1 in the ACC) head into Wallace Wade Stadium this weekend with their backs against the wall.

Virginia began its season with two en-couraging home wins against Richmond and Penn State. Unfortunately for Wahoo nation, the Cavaliers have not been able to translate their opening momentum into success on the road.

Week three’s trip to Atlanta ended in a humbling 36-point trouncing at the hand of Georgia Tech, followed by another road loss to Texas Christian which was not much closer. The team returned to Charlottes-ville Saturday, hoping to prevent an unde-feated Louisiana Tech offense from scoring more than 50 points for a fourth consecu-tive game.

Virginia held the Bulldogs to a modest 44 points, but the shaky Cavalier offense could not keep pace. Starting quarterback Michael Rocco threw three interceptions in the 44-38 loss, and Virginia was penalized 16 times—just one short of the school’s all-time record. If the Cavaliers hope to right the ship this Saturday against Duke, the troubling accumulation of turnovers and infractions must be addressed.

Quarterback struggles have played a ma-jor part in Virginia’s offensive woes. Rocco’s

play has been inconsistent at best, though the Cavaliers may have found a silver lin-ing in backup Phil Sims. Sims, an Alabama transfer, has thrown for five touchdowns this season without a single interception.

In his press conference Monday, head coach Mike London was initially somewhat elusive regarding who would get the nod against Duke.

“It’s not about one individual—it’s about the team and about who gives us the best chance,” London said. “And that deci-sion will be made very soon.”

During his radio show just hours later, London was more candid about Sims’ get-ting snaps, though a leg injury could hold him back and give Rocco another chance.

“If he’s 100 percent ready to go, [Sims] will get snaps with the first unit,” London said.

Sims dismissed concerns regarding his leg injury in a conference call Wednesday afternoon.

“It’s early in the week, but I really haven’t had any trouble with it,” he said. “It hasn’t kept me out of any practices, any reps, or anything like that.”

Sims, who began taking reps with the first-team offense Tuesday morning, has not started a game since his senior season at Oscar Smith High School.

SEE W. SOCCER ON PAGE 6

SEE SCOUTING ON PAGE 6

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Is it all in the shoes?Basketball is a diverse sport, with players

of all shapes, sizes and nationalities, but they all have one thing in common—they wear shoes. And in the world of college

basketball recruiting, the companies that make those shoes are exerting an ever-greater influence on recruits and their college decisions.

Last year, despite efforts that included

a last-minute trip to Shabazz Muhammad’s hometown of Las Vegas, Duke basketball head coach Mike Krzyzewski watched with the rest of the world as Muhammad, the No. 2 recruit in the class of 2012 accord-ing to ESPN, committed to UCLA. On the surface, it was an astounding decision. Muhammad’s other two finalists were Duke, where he could play for arguably the best coach in the world at arguably the most storied program in the nation, and Kentucky, where John Calipari has recently displayed unmatched success in developing top recruits into NBA first-round picks.

He opted for a UCLA program in com-plete disarray. The team finished just 19-14 in a weak Pac-12 conference, and as March Madness began—without the Bruins—Sports Illustrated ran a hugely embarrassing piece about discipline and substance use issues in the basketball program.

But the explanation for Muhammad’s decision is simple. Adidas sponsored Muhammad’s AAU team, and after what is almost certain to be just one season in the college ranks, Muhammad will be a top pick in the NBA draft and sign a lucrative endorsement deal with the shoe giant. Although he cannot technically receive any personal benefits while in college, his team is sponsored by—you guessed it—Adidas, who is the exclusive apparel supplier of UCLA athletics.

Muhammad is not a unique case. Today, phenom twin brothers Andrew and Aaron Harrison, who both rank in the top four of ESPN’s class of 2013 recruiting rankings, will make a decision between NCAA basket-ball powerhouse Kentucky and Maryland, which has not reached the Sweet Sixteen since 2003.

The twins’ father, Aaron Harrison, Sr., has kept his sons’ recruitment under tight control. USA Today’s Eric Prisbell reported Wednesday that just one person in the re-cruiting process actually has direct access to the twins’ cell phone numbers. That privi-leged person is Chris Hightower, the head of basketball marketing for Under Armour, which just happens to be a Baltimore-based company founded by a Maryland alum.

Oh, and Under Armour also just hap-pens to be the sponsor of the Harrisons’ AAU team and of Maryland athletics.

The sneaker war is just one arena in which big money and bigger egos are wreaking havoc with the integrity of col-lege basketball. Top recruits, coddled and hyped from the time they hit puberty,

SEE GIERYN ON PAGE 6

TomGieryn

6 | THURSDAY, OCTOBER 4, 2012 THE CHRONICLE

have developed prima donna complexes of Terrell Owens proportions. Even once they get to college, they rely on their handlers and agents more than on their coaches and teammates.

And all this makes me wonder how the future of Duke basketball will look given that its coach has long been known as one of the most principled and respected men in sports. I don’t for a second believe that NCAA leg-end and Olympic champion Krzyzewski has lost even an ounce of his respect and gravitas. In fact, it has probably only increased among recruits given the rave reviews he’s gotten from the likes of Kobe Bryant and LeBron James, who most of these prep basketball stars have grown up idolizing.

But whereas no other school could previously offer anything comparable to the experience of playing for Krzyzewski, now new carrots can be dangled in the form of fu-ture shoe contracts, and in some cases, even more nefarious incentives. Muhammad, for example, is still technically ineligible to play as the NCAA investigates his recruitment and the recruitments of two other UCLA recruits for improper benefits.

How will Krzyzewski balance honor and

winning in a climate that increasingly makes it impossible to foster both? As the climate has changed over the years, Krzyzewski has shown some willingness to make minor changes without compromising the overall integrity of his program.

For example, Krzyzewski had a long-stand-ing rule that none of his players could wear No. 1. The team, after all, was number one, not any individual player. But when Kyrie Irving, a hotly contested top recruit between several elite programs, arrived on campus two years ago, it was announced that the Duke head coach had backed off his demands and Irving became the first player under Krzyze-wski to don the No. 1 jersey.

It will be fascinating to watch one of the most brilliant leaders in the sporting world continues to adapt to a changing environ-ment. Despite No. 3 recruit Julius Randle unexpectedly cutting Duke from his list yesterday, Duke still has good chances with two of the top recruits in the class, and the decisions of Jabari Parker and Austin Nichols could be a strong indication of how well the adaptation is going.

If there is any man who can navigate the new college basketball world while keeping his hands clean, I believe it’s Mike Krzyzewski. But as the stories get more and more sordid by the day, do the good guys stand a chance?

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“It does help that you know you’re go-ing to be the guy that’s going out there to take the first snap, but really that’s all you’re guaranteed,” Sims said.

This will be the first time in 18 months that Rocco will not be starting for the Vir-ginia, but Sims praised his teammate for handling the situation professionally.

“He supports me. I supported him. We’re teammates, and we’re going to help each other until the end of this,” Sims said.

Regardless of who is under center, Vir-ginia can also look to its potent receiver corps for big play potential, led by Darius Jennings and Jake McGee, who have com-bined for 521 yards and four touchdowns on the season.

“I think the receiver group is a posi-

tive group for us, is a play-making group for us, but we have to utilize their abilities and skills,” London said. “We have a lot of respect for our opponent in Duke, but it’s probably more about us and getting the ball to those individuals that can make plays happen for us, and it was good to see some explosive plays occur for those guys.”

Beyond the passing attack, Duke’s de-fense will have to be wary of the Cavaliers’ two-pronged rushing game led by Kevin Parks and Perry Jones.

It will take improved focus on both sides of the ball for the Wahoos to secure a win Saturday. According to Sims, they have both the talent and hindsight neces-sary to do so.

“I feel we have very good talent on this team,” Sims said. “We’ve shot ourselves in the foot sometimes with penalties and things like that. We can’t afford to do that. That’s not how you win football games.”

believe in our attacking players. I know our attacking players were disappointed because they were shut out for only the second time this year.”

Church highlighted combination play, changing the point of attack, and finish-ing in the final third as keys to the game. Duke took 19 shots against Virginia,

though just four of them were on goal. The Blue Devils will be without sopho-more Kelly Cobb, last season’s leading scorer, for the second straight game as she nurses a leg injury.

“I think it’s going to take a collective ef-fort, and it’s also going to take us to focus on not only our defensive game but also our offensive game,” Anasi said. “I think that we’re putting bits and pieces together in different places, but we’re not able to formulate a full 90 minutes.”

SCOUTING from page 5GIERYN from page 5

CHRONICLE FILE PHOTO

Last year, Duke fell 31-21 at the hands of the Cavaliers, who gained 178 yards on the ground.

W. SOCCER from page 5

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Alright, you’ve seen movies so you know the drill. You found the magic lamp. You, for some reason, rubbed it, and

now a window to your future self has opened. I’m not a genie, so I don’t grant wishes. I only an-swer questions. Regulation only permits three questions, so I’d be sure to avoid “yes or no” ques-tions.

Jesus, age was not our friend. And … are you wearing jorts? Ok, anyway, ummmm let’s see. Well, right now, as a college senior, I’m standing at a crossroads, the in-tersection of infinite realities. I take it you are one of those realities. So I’m standing there, in the metaphorical sense, trying to decide which path to take. How do I decide?

Alright, alright, no warm up questions then, straight into the big ones. Well, the answer to that question is lost somewhere in the unex-plored abstractions and intangibles that make up your thoughts. You could try to use logical constructs to find the answer, asking probing questions like, “Will this make me happy?”, “How much money is enough money?” and “Am I going to be content with myself?” But what does it even MEAN to be happy? Your questions beget even more questions that have even less to do with your perceptions 10 or 15 years down the line.

What kind of an answer is that? I mean, you decided on a path. You’ve done this. Do you like where you are in life?

I don’t know, I guess. What does that matter to you? Can YOU even answer that question? Feelings about your life, job, friends—it’s all in a constant flux. Plus, an infinite number of choices exist between you and me. We are different people. I’m just someone with ad-vice, but that doesn’t mean you should take it. You are trying to compare my intangibles with your intangibles, and I don’t even understand

my own intangibles. And stop trying to think about it like an end game, as if I’m at the fin-ish line coaching you. I’ve got my own stuff

going on. It’s not like you are currently moving up a plateau of curiosity and creativity, and I’m up here on top. I still ask myself what I want; I’m just as restless as you.

So you are saying, I can’t know if any of the potential futures I see for myself are going to make me happy, or even what happi-ness is. I think I was better off without the lamp. So, what do I

do? How do I go forward along whatever path I end up on?

Look, dude, I’m future you, not all-knowing you. Everyone is different. For some people, the destination is important, but for others it is the path itself that matters. Will you ben-efit more from following the crowd and taking the comfortable path, or from taking a chance on a riskier path, and traveling alone? Let’s be honest, we both know you were pre-med for all of about half a semester. We’ve never been one for making short-term sacrifices for long-term benefits. And that’s fine, who knows which is right? I’d just look for the path laden with a handrail and a complimentary guide-book if I were you, which I was. If you do what you love every step of the way, I feel like you’ll end up somewhere you want to be.

Well sweet, I feel exactly as far from the an-swers I was trying to find as before we talked. I wish I had just asked some nice, concrete question I could have actually benefitted from knowing. Does someone ever make fetch hap-pen?

No, fetch is just never going to happen.

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

commentaries8 | THURSDAY, OCTOBER 4, 2012 THE CHRONICLE

The C

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editorial

A conversation with my future self

Dispelling myths about CAPS

Bored? Visit www.chronicleblogs.com for our news, sports, editorial and recess blogs.

”“ onlinecomment

What a great example of a student who is more inter-ested in learning for learning’s sake, than merely GPA’s and resume stuffers. Best of luck, we need so many more folks like you.

—“cville58” commenting on the Towerview story “Wannabeaner.” See more at www.dukechronicle.com.

LETTERS POLICY

The Chronicle welcomes submissions in the form of letters to the editor or guest columns. Submissions must include the author’s name, signature, department or class, and for purposes of identifi cation, phone number and local address. Letters should not exceed 325 words; contact the editorial department for information regarding guest columns.

The Chronicle will not publish anonymous or form letters or letters that are promotional in nature. The Chronicle reserves the right to edit letters and guest columns for length, clarity and style and the right to withhold letters based on the discretion of the editorial page editor.

Direct submissions to:

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

Wednesday, we explored the culture of invulnerabil-ity that often causes Duke students to become dis-tressed and lonely. On one hand, relief can be found in starting a con-versation about mental health just among students. On the other hand, Counseling and Psychological Services can offer helpful resources as well. Today we dispel sev-eral negative myths about CAPS that prevent students from using their services. In an ideal universe, the lines between CAPS and student life would be blurred, in-spiring formal and informal resources to work in tan-dem to improve students’ psychological well-being.

One common myth is

that getting an appoint-ment with a CAPS counselor takes too long, in the range of three to four weeks. This simply is not true. The wait time myth at CAPS is greatly

exaggerated. When Gary Glass, CAPS

assistant director for out-reach and developmental programming, became a counselor at Duke years go, the average wait time was about two weeks. Dr. Glass and other counselors thought this was already too long, and the average wait time has shortened since then. Although the wait time may be longer in some circumstances—for exam-ple, when requesting a par-ticular counselor or during midterms—CAPS will work

specially with students who have an urgent problem. In severe cases, students will have their needs moved to the top of the priority list.

Another common myth is that CAPS cuts students off after a specifi c number of visits. Rather than re-stricting sessions to a num-ber, counselors instead work with students indi-vidually to see how they are progressing and devise a workable plan together. If the student’s problems are beyond its scope, CAPS will make sure they get proper outside help.

Students may also hesi-tate to go to CAPS if they fear the consequences of telling a counselor they have thoughts of suicide. In reality, revealing suicidal

ideation to CAPS does not mean your thoughts will be shared with family or univer-sity administrators. In fact, suicidal ideation is quite common among students, according to Glass. Only if CAPS believes a student to be an imminent threat to himself or others—after a thorough risk assessment—will further action be taken.

Students also tend to view CAPS solely as a place to seek clinical help. Actually, CAPS provides a variety of services. CAPS offers many popular programs such as yoga, mindfulness medita-tion and stress workshops, all of which are a part of Glass’ “treating the water” approach to mental health outreach. At the very least, students should check out

the Being Well room in the Flowers Building. Supplied with poetry books and a massage chair, students can stop by for a quiet moment to relax and refl ect.

Finally, the most harm-ful myth is that only “crazy” people go to CAPS. The re-ality is that stress and sad-ness are acceptable parts of everyday life, and seek-ing help is acceptable too. In fact, going to CAPS is so normal at Duke that 12 percent of all undergradu-ate students go in any given year, and over the course of four years that number is 30 percent. Students should not allow common CAPS myths to prevent them from asking for help, especially the myth that they are strug-gling alone.

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travis smithand i was all like...

commentariesTHE CHRONICLE THURSDAY, OCTOBER 4, 2012 | 9

This column is not about my rape. It’s about the people who say they’re on my side.

This past Thursday, the entirety of West Campus became unsafe for me. Every bulletin board in the residen-tial quads, the Bryan Center and the West Union Building was plastered with fl yers quot-ing survivors of sexual assault. And I do mean every bulletin board. I know, because I was out fl yering for my own student group, and I saw all of them. When I was in the Bryan Center, I quite literally could not turn around without seeing the fl y-ers.

I felt as if I’d been sucker-punched. I struggled to breathe every time I saw a fl yer. My hands shook. I walked like an old woman. My shoulders hunched as if to ward off violence. Ev-erywhere I turned, I saw my own worst memories printed in big, bold font.

I wasn’t only triggered. I was furious. Who decided that it was a good idea to make the memory of rape inescapable? Who, after reading all of the pain, confusion and hurt in the words of survivors, decided it was a good idea to spring them on an unsuspecting student body?

The answer? I still don’t know. No student group was listed on the fl yers. The only online reference I could fi nd was a blog post on Develle Dish, which commended the fl yers’ role in pro-testing the new statute of limitations. My email to the author went unanswered. I wonder if it was the same for the anony-mous complaints of other survivors in response to the post.

On Friday, I avoided West Campus as much as I could. I planned out a route from the bus stop to a friend’s room so that another survivor could arrive on campus without being triggered. I heard reports of other people in pain because of the fl yers. And I made my own plans to avoid campus for the weekend.

On Monday morning, I returned to campus. Given the comments on the blog post, I hoped that whoever was respon-sible would have taken them down. But that wasn’t the case. As of Monday, there were still fl yers in the Bryan Center (spe-cifi cally the post offi ce, the ATMs, the restrooms, the pillars next to the Armadillo Grill and McDonald’s and the bulletin boards on the way to Schaefer Theater), West Union study spaces, Chik-fi l-A, Alpine Bagels, the indoor entrance to the LGBT Center, the women’s locker room at Wilson Gym, the Bella Union and outside some residential areas.

There was no apology. There was no move to fi x the prob-lem. There was, simply, silence.

That Monday night, I printed my own fl yers. They read TRIGGER WARNING and REPEAL THE STATUTE OF LIM-ITATIONS. I covered every single fl yer I could fi nd. It took three hours, more than 200 pieces of paper and two rolls of Scotch tape. It was almost certainly too late to prevent other survivors from being triggered. But I could make campus safe for myself again, and send a message to whoever had put up the fl yers in the fi rst place.

Anyone can make a mistake or underestimate the impact that their actions will have on vulnerable populations. The students who made the fl yers had good intentions and were working toward a good cause. I don’t fault them for the idea. However, once any group is informed that they are doing ac-tive harm, it is their responsibility to fi x the problem. Other survivors and I did our best to inform the people responsible. I still don’t know if we reached them, because no student group claims responsibility.

This lack of accountability is even more appalling when it comes to sexual assault. As a survivor, talking about what hap-pened to me is diffi cult. And attempting to fi nd a group of students that does not want to be found in order to confront them is nearly impossible. I cannot use social media to draw attention to this without outing myself as a survivor. I cannot make a complaint to any University offi ce, because no student group claims responsibility. I’m writing an anonymous col-umn alone in my apartment, and my hands are still shaking so much that I can barely type.

To the students involved in this campaign: If you are going to claim to be my ally, if you are going to act as if you are on my side as a survivor and a student here at Duke, act like it. Put a name on your fl yers. When members of a hurt, invisible and often-silenced group come forward, listen. Don’t make survivors into collateral damage, and then shrug off the pain that you’ve caused.

I would love for you to help me. But you have to stop hurt-ing me fi rst.

The author of this piece has chosen to remain anonymous.

Survivors shouldn’t be sidelined

It’s election season, and debates abound about the can-didates’ views on all matters. But what place do the arts have in all this? Well, Obama proposes a 5 percent

increase in funding for some of the ma-jor government-funded art organizations, whereas Romney says he will do away with such support. Maybe they should take a cue from FDR and Picasso and realize that art and politics go hand in hand.

Franklin D. Roosevelt recognized that art not only is vital to the cultural life of a society, but also can be a political and eco-nomic force. One aspect of Roosevelt’s New Deal economic programs during the De-pression was the Works Project Administra-tion (WPA). The WPA subsidized all forms of artwork, including post offi ce murals and staged theater productions. Funding the arts during the Depression was benefi cial because it both employed artists and brought people together in a time of hardship, increasing commu-nity productivity.

But some people don’t think government funding is the best way to fund the arts. Ian David Moss argues just this in a Huffi ngton Post column. Even if it’s not the “best” way to fund the arts, however, government funding of the arts sup-ports other aspects of society that the government should be concerned with. According to the National Assembly of State Arts Agencies, the arts are a good public sector in-vestment because they are economic drivers, educational assets, civic catalysts and cultural legacies. All art has the po-tential to act this way, but especially political art. Therefore political art is the type of art most relevant to any political candidate.

Let’s consider what actually constitutes political art. An easy defi nition would be anything with political content—for instance, a painting of George W. Bush. But Matthew Harrison Tedford, an art writer in the Bay Area, questions whether such a painting is automatically political. What makes it different from just a portrait of a historical fi gure, such as a painting of Abraham Lincoln? Both of these hy-pothetical works depict a political leader, but they aren’t necessarily political art. Tedford defi nes political art as art that can “function as a political phenomenon” rather than art that simply contains political content.

And art that functions as a political phenomenon is ex-actly what the government should be supporting. This kind of art sparks debate about our society and moves people to act—whether it’s to vote, to be civically engaged or to simply be more thoughtful.

One of the most famous pieces of political art is Pica-sso’s “Guernica.” The piece was created in response to the

bombing of Guernica, a Basque village in northern Spain, by German and Italian warplanes, on behalf of Spanish Nationalists during the Spanish Civil War. The mural-size

painting depicts suffering in a chaotic rep-resentation of people, animals and build-ings and takes a stand against injustice and the harming of civilians. Even though the inspiration and the message of the painting are politically driven, the events caused by the painting are what really make it politi-cal art. After being displayed at the Spanish Pavilion at the 1937 World’s Fair in Paris, “Guernica” traveled the world, spreading its anti-war message, ending up at the Museum of Modern Art in New York City. Eventually, Francisco Franco wanted the masterpiece

back in Spain, but Picasso refused, stipulating it was not to be returned to Spain until the country became a free re-public. The controversial subject matter of Picasso’s piece caused it to be involved in political discussions and inter-actions between countries, elevating it from the status of a piece about a political event to that of political art.

Politicians might be wary of political art and of support-ing it. This is a valid fear, as it could be used to question the government’s actions. “Guernica” did this in 2003. A tapestry reproduction of the work hung at the entrance of the U.N. Security Council but was covered up before of-fi cials stood in front of it to make statements to the press about the war in Iraq. Evidently the U.N. was aware of the hypocrisy of discussing unnecessary violence in front of a piece of art protesting just that. This situation was kind of embarrassing, but it exemplifi es the power of political art to prompt people to act. There was a huge backlash to the covering of the tapestry—proving that people were not only paying attention to what the U.N. was doing, but were also aware of the political implications of the piece. Despite the fact that political art isn’t always in line with what governing bodies want to do, it still can have an instrumental value for the government in terms of engaging with the populace.

So why should the government continue to fund the arts? First, the arts support economic growth and educa-tion. Second, the arts engage citizens in political and social issues. Both lead to a better democracy. Next time someone questions the validity of government funding for the arts, counter by asking if the government should support the economy, education and political awareness. My tagline was meant to be a joke, but maybe we really should be a state of the arts.

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

Politics and art: the perfect match

hannah anderson-baranger

state of the arts

anonymousguest column

Mariah Hukins, Trinity ‘13

10 | THURSDAY, OCTOBER 4, 2012 THE CHRONICLE

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IRAN from page 2

SANDY REN/THE CHRONICLE

The Duke Symphony Orchestra performs Haydn, Mozart and Schumann Monday night in Page Auditorium.

Here comes treblethat doing so would further the “hidden war” against the country.

U.S. officials said the Iranian currency crisis reflected the combined consequences of fiscal mismanagement by its government and economic sanctions imposed to force the country to negotiate over its nuclear program. The value of the rial has fallen roughly 60 percent over the past year but about 30 percent over the past week.

Asked about the fall of the rial Wednesday, Secretary of State Hillary Rodham Clinton said sanctions could be reconsidered if Iran moves to cooperate with the West.

“They have made their own government decisions— having nothing to do with the sanctions—that have had an impact on the economic conditions inside of the country,” Clinton said.

“Of course, the sanctions have had an impact as well, but those could be remedied in short order if the Iranian government were willing to work with the... international community in a sincere manner,” she said.

Analysts said the currency weakness spells serious politi-cal problems for the Iranian government.

“These are the biggest demonstrations we have seen in Iran since 2010,” said Barbara Slavin, senior fellow at the Atlantic Council. “It’s a reflection of pent-up frustration and anger with the economic problems of the country, which have gotten worse, particularly since the European sanctions came into effect in the summer.”

While the Obama administration has steadily imposed more severe economic sanctions on Iran, a European ban against Iranian oil imports did not take effect in July.

The E.U. is meeting again later this month to debate further tightening and refining the sanctions, which a Eu-ropean official says are likely to tighten its existing mea-sures on Iran’s financial and energy sectors.

The most likely additional penalties would close some loopholes in sanctions on the Iranian Central Bank, and make it harder for Iran to evade existing European and U.S. oil sanctions through shell companies and straw buyers.

The goal is to “bring the Iranian economy to its knees,” the European official said Wednesday, speaking on condi-tion of anonymity to discuss the issue frankly.

Banking sanctions, experts say, have had as severe an effect as those on oil imports and have caused substan-tial quantities of the Iranian regime’s overseas currency reserves to be frozen outside of the government’s reach. Among ordinary Iranians, however, the currency crisis is being felt most severely in shops and bazaars.

Iran imports substantially more food than it exports. According to figures from the World Trade Organization, the country imported $9.4 billion of agricultural products and $8.2 billion of food in 2010. Iran also imports substan-tial quantities of materials for industry, as well as consumer electronics.

“This is really calamitous in terms of how it affects pric-es for ordinary people. Iran produces a lot of its own food, but not all. It imports wheat, inputs for its manufacturing, medicine and medical devices and more,” Slavin said.

Anger over rising food prices have caused small-scale protests in Iran during the past year. In July, small-scale unrest broke out over the rising price of chicken, a staple food, in the northern city of Nishapur.

Such price hikes came despite Iranian efforts to stock-pile foodstuffs ahead of tighter sanctions, including the purchasing of millions of tonnes of wheat early in the year through international markets.

Iran’s economy could be approaching a state of hyper-inflation, where prices rise daily, said Karim Sadjadpour, an Iranian-born American and senior associate at the Car-negie Endowment for International Peace.

“When authorities concede an inflation rate of 29 per-cent, you can be confident that the unofficial rate is usu-ally much higher,” Sadjadpour said.

“So far, the slogans people are chanting are more eco-nomic than political, and they’re directed at the regime not Western sanctions,” he said. “The regime will try to nip these protests in the bud right immediately, before they start getting overtly political.”

Iran’s leaders have acknowledged that international sanctions are partly to blame for the country’s currency crisis, but economists and Iran experts cite other factors as well. Some, for example, fault a series of recent govern-ment decisions to phase out subsidies for basic commodi-ties, such as food and fuel, in favor of direct cash payments to low-income Iranians.

Despite worsening economic conditions for millions of Iranians, the country’s leadership has shown no sign of changing nuclear policies that triggered the sanctions. Mi-chael Singh, a former Middle East adviser to the George W. Bush administration’s National Security Council, said Iran’s ruling elites are largely insulated from the present economic turmoil.

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PAGE 2 October 4, 2012recessrecess

[recesseditors]secrets we tell our puppets

Michaela Dwyer.....................................................................................................ybttHolly Hilliard........................................................................it wasn’t the koala bearKatie Zaborsky.....................................................................................i’m a real boy!Dan Fishman........................................................i’m taking credit for your poemsTed Phillips........................................................................................you’re adoptedSophia Durand.....................................................you look as good as the real JGLAndrew Karim...................................................................i’m afraid to ride the busEmma Loewe....................................................................................strings attached

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DUKE

STAGGERING INDIE ROCK +EARLY MUSIC COLLABORATION

MOUNTAIN GOATS + ANONYMOUS 4TRANSCENDENTAL YOUTH BY JOHN DARNIELLE

SATURDAY, OCTOBER 68 PM REYNOLDS THEATER

INCANDESCENT PIANO VIRTUOSO

RAFAL BLECHACZ, PIANOBACH, BEETHOVEN, CHOPIN, SZYMANOWSKI

FRIDAY, OCTOBER 128 PM REYNOLDS THEATER

SEARING JAZZ TRUMPET

AMBROSE AKINMUSIRE QUINTETFRIDAY, OCTOBER 12 &

SATURDAY, OCTOBER 139 PM CASBAH DURHAM

(1007 W. MAIN ST.)

LUMINOUS VOCAL ENSEMBLE

ANONYMOUS 4LOVE FAIL BY DAVID LANG

FRIDAY, OCTOBER 58 PM FIRST PRESBYTERIAN CHURCH

(305 E. MAIN ST.)

this friday!!!

this saturday!!!

Who would have thought the day would come when a photographer would write an editor’s note?

Within The Chronicle, the photo department is known for our overwhelming lack of pens and pencils, the absurd number of Oreo boxes that lay throughout the hall and the ridiculous pictures that decorate our walls and ceil-ings. Some of these photographs depict our most memorable moments at Duke, which, as you can imagine, are 98% of the time sports-related. What you might not have predicted is our most popular photographs are not artsy portraits, concerts or even important speakers. I wish I were joking, but the truth is, we have more lemur pictures than we do any of any single be-ing, with the exception of Coach K. Needless to say we should potentially re-evaluate what we consider “cute.” The Chapel comes in second, with pictures from every conceivable angle, boasting the true Duke Dream. Last, but certainly not least, are photos of our staff as we slowly lose sanity, either during pro-duction or at social functions, making for awkward stares and questionable looks as freshmen stroll by toward other depart-ments. Some photos are more embarrassing—or compromis-ing—than others, but they bring a smile to my face. And then there’s the photographs we publish, the everyday artwork that might be overlooked, that is nevertheless art, my art, the mate-rial I’ve learned to love.

When I started at Duke freshman year, I had a dozen clubs

in mind that I was adamant about joining, more than I could name. Coming from an educational system where I had class for eleven hours a day, the freedom and opportunities that uni-versity presented were overwhelming. However, when I finally took the time to analyze how I wanted to spend my four years at college, I realized that what I was most interested in was not necessarily to join the ski club, or to be part of the debate team. These were passions that I had pursued in high school and in my free time, but I wanted something that would benefit and in-form my fellow students. Art was a field that I had never actually dabbled in, mainly because I had no platform to use, and little to no artistic talent to showcase. Yet as the idea of art took hold in my mind, I felt compelled to engage with it, even though I thought I had nothing to offer. Call it an existential crisis if you will, though temporary and short-lived. This was when photog-raphy caught my fancy. If I could not dazzle the world with my literary prowess, or impress it with my less-than-melodic voice, perhaps I could grab students’ attention through the photo-graphs they see in the newspaper every day.

Unlike other forms of art, which give the artist the opportu-nity to imagine something outside the world, photography give me the opportunity to immortalize a moment and show it to others from my perspective. There’s also the added advantage of press passes that allow me to attend amazing events such as basketball games, concerts and sold-out talks with famous

speakers. But if I could choose to cover only one type of event for

the rest of my life, it would be sports. While spectators struggle to keep up with the fast pace of players, with a camera, I have the power to slow time down. Though writers often focus on the sequence of events, photog-raphers must take the time to analyze the people they shoot. We notice little things that oth-ers may not, even if we can’t explain those things in words. There is a silent bond between

photographer and subject. These people trust us to portray them kindly. In the least cliché way possible, a photograph al-lows me to convey much more than I ever could in words.

One year later, my roommate jokes that she lives in a rela-tively big single, since I spend most of my waking hours out-side class in the Chronicle office. Though she grossly overesti-mates the size of our miniscule Edens room, she is right about one thing: The Chronicle does take up most of my time. Spending countless hours in an enclosed space and dealing with impromptu changes and the frustration that often en-sues only creates stronger camaraderie between us. By the end of the night, or the beginning of the morning, my fellow photographers have seen me at my best and worst, accepted my sometimes-bizarre music taste, eaten my Oreos and em-braced my singing, however off-key. Most times, I choose to stay in the office, not only because I have the opportunity to work with extremely talented photographers but also because I have found an environment that I am comfortable in.

When I look at my time at Duke thus far, I doubt that I would’ve done anything differently. Perhaps I should have taken the time to discover Durham while living on East, and not taken biology freshman year; other than that, I could not imagine myself spending this much time in any other office, room or eatery. It’s still my priority to go to law school, but I am relieved to have a space outside of the academic sphere that I can use both as a refuge and as a platform to transmit my personal form of art. Despite my occasional complaints and sarcastic remarks, the photog-raphy department and Recess have allowed me to discover parts of myself and of the university that I did not even know existed, and otherwise may never have stumbled upon.

I am trying to convey a simple notion: art is what you make it. You don’t need to be an “artist” in the traditional sense of the term to appreciate or even produce art. Any-thing can be artistic and enjoyable, if you put your mind to it. Anything but berry Oreos. Take it from someone who knows.

—Sophia Durand

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The trailer for Rian Johnson’s sci-fi thriller Looper distills American pop culture to two minutes of frenzied glory. We get Bruce Willis and Joseph Gordon-Levitt, made up with a Willis-esque putty Roman nose, running train, engaging in fighting rampages and blowing stuff up—all set to the frenetic, throt-tling wub-wub-wubs of dubstep. It’s the standard, romanticized, what-Hollywood-thinks-America-wants setup.

But Looper is not a movie that romanticizes its elements, its characters or its genre. It doesn’t preoccupy itself with the mo-tifs and expectations of Hollywood or pop culture. And none of it is set to dubstep.

The result is one of the best films of the year. Looper is smart, tough-minded, witty and unpredictable, with a surprising amount of heart.

Here is a film that richly explores many of the celebrated themes that make us human: love, loss, regret, revenge, sacri-fice, redemption. Yet Looper does not try to sentimentalize its characters. There are no clear-cut heroes or villains. There are only characters who, faced with a bleak, unpredictable, unyield-ing world, try to make do.

There are a few main players in this film: young Joe (Joseph Gordon-Levitt) the looper, a hired hit man who kills mob tar-gets from 2074 transported back to 2044; old Joe (Bruce Wil-lis), a hardened Joe 30-years-older, none too enthusiastic to be killed by his younger self; and Sara (Emily Blunt), a sexy single mom fiercely protective of her unusual son, Cid (Pierce Ga-gnon in an extraordinary performance). All are willing to go to great lengths to achieve their goal—to save themselves or protect the ones they love—and all make questionable choices in the process.

Time travel is introduced—something that “will have been invented 30 years from now,” immediately outlawed and used only by the criminal underground—but the how and why and mythology of it remains unexplained. It’s a wise choice; while we see the time-traveling victims and the machine that transported them, we ultimately engage with the results, com-plexities, loops and paradoxes. Joe’s mafia boss gets the gist of it when he tells Joe, “this time-travel sh*t just fries your brain like an egg.” Looper cleverly plays with the possibilities of time travel—drawing scars into oneself as a message for one’s future self, for example—but keeps it a “will have done,” a subjunc-tive, a catalyst that drives the plot rather than forms its basis. The film’s setup doesn’t jerk us around on a time-traveling ride; the action feels real and direct, and we are free to im-merse ourselves in the story that unfolds.

This all escalates to a finale that represents a four-way philo-sophical compromise between the main players. It is at once astonishing, poignant and ingenious—a conclusion that ties up all loose plot ends neatly. In its climax, Looper is ambitious enough to ask complex questions of human nature: how far will we go to protect, to save, to avenge those we love? Yet this is a film that does not ultimately emphasize who survives, but in-stead questions whose account, whose perspective, whose ver-sion of events we ultimately trust. At the end of the day, whose story endures?

These questions are up to you to answer. Looper is the kind of film that made me clap and cheer when it finished at the theater and stayed in my thoughts days after. It is worth seeing, and seeing again.

—Indu Ramesh

looperDIR. RIAN JOHNSONDMG ENTERTAINMENT

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In case you didn’t get enough of Maggie Gyllenhaal’s scintillating acting skills in The Dark Knight, watching her play the role of a dyslexic “parentrooper” in Won’t Back Down is truly a gem.

In this knock-off of Freedom Writers sans hot actors, Ja-mie Fitzpatrick (Gyllenhaal) gets pissed off when a fellow classmate berates her dyslexic daughter to read faster (t-t-t-today junior) while her teacher shops online for knee-high boots. Using her frustrations as an impetus to skulk around the school, Fitzpatrick watches Nona Alberts (Viola Davis) drowsily lecture her bored-as-hell class of students and logi-cally thinks, “Well, that’s way better than my kid’s teacher; Pikachu, I choose you!” The film then focuses on Fitzpatrick and Alberts’s quest to take on the failing school system, and if the ending isn’t wholesomely predictable to you, you’re probably a nice kid.

The producers of the film were kind enough to ensure that no moviegoer would leave confused as to what each scene in-tended to convey. Any scene meant to vilify the school system is shown in gray to convey the sadness that we feel by teach-ers who online shop way too often. On the flip side, passionate speeches about creating schools run by overactive, single par-ents with an affinity for denim jackets are colorful and vibrant. Snaps to director Daniel Barnz for his ability to find profession-als with basic iMovie skills.

The true issue with the movie, however, is that it strives to touch upon a meaningful topic and fails ev-ery single time. Barnz’s main point in the movie is that unions perpetuate problems within the public school system because they keep teachers who aren’t doing their job from getting fired. An assault on tenure and unions is contrary to the typical puff-pieces Hollywood produces about inner city kids succeeding with the help of a super-attractive English teacher—and this quality should, by default, make the movie somewhat captivating.

This theme, however, gets lost in a sea of terrible dialogue and poor character development. Through the entirety of the film we never actually learn of the other changes listed in Fitzpatrick and Alberts’s over 300-page document to change the school. The movie attempts to focus on the debate over teachers’ unions so much that there are literally no ideas men-tioned about how to fix the school. Not only does this reduce Fitzpatrick’s quest into a roundabout way of getting her daugh-ter’s teacher fired, it also makes the whole process completely meaningless.

Furthermore, the teachers move seamlessly from oppos-ing the dynamic duo tooth-and-nail to getting drunk in a nightclub with them and emphatically shouting their disap-proval of unions in the Board of Education meeting. Even Michael Perry (or Sexy Texy, Fitzpatrick’s witty name for a guy with no Texan accent) goes from absolute support of the unions to complete disapproval within two scene cuts. The complete unreality of this situation prevents the movie from having any real point. It’s clear that changing the bu-reaucratic nature of a school system would never be this sim-ple, and having everyone jump on board Fitzpatrick’s “screw the unions” train disallows any true debate or dialogue to enter the film.

—Danielle Muoio

won’t back downDIR. DANIEL BARNZ20TH CENTURY FOX

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There are three main groups of people who will listen to the new Flying Lotus album Until the Quiet Comes. There are those who have listened to his previous work and been pleased. These people liked his previous two albums for their thick textures, dense arrangements of an almost uncountable number of noises simultaneously and undy-ing hip hop electrojazz energy. There are those who have listened to his previous work and been displeased. These people might have been turned off by the chaos and noisi-ness of 2010’s Cosmogramma and 2008’s Los Angeles, FlyLo’s sophomore album. “Robot music,” they might have called it. And then there are those who are approaching Steven Ellis, the man behind the stage name inspired by an aquat-ic flower, for the very first time.

Until the Quiet Comes doesn’t replicate Ellis’ old music to please past fans. Nor does it respond to critics’ complaints. This album is in no way a sellout. FlyLo is still all robots and gizmos, but this time they have been programmed more efficiently. Ellis’s new music is a marriage of industry and elegance. It’s music that occupies a space somewhere be-tween the Shinkansen “bullet train” in Japan and the end-less array of turbines in central Iowa wind farms.

Ellis has stripped down his style (“elegant” isn’t an ad-jective that I’d use to describe Cosmogramma). He blends the same genres—trip hop, jazz, science fiction, IDM, fan-tasy—but whereas his last two albums nearly burst at the seams attempting (in my opinion, succeeding) to contain layers upon layers of instruments, Until the Quiet Comes pars-es through FlyLo’s library of noises and chooses only the appropriate ones. As the tile suggests, this is the “Quiet” album.

Ellis’ new work has range and narrative. The listener is first introduced to a few tracks that borrow heavily from jazz, an inviting welcome to the body of the LP. Next are tracks like “Tiny Tortures,” “Sultan’s Request” and “Putty Boy Strut,” that could be placed directly on a video game soundtrack, 8-bit or High-Def, and give the gamer a com-pulsion to drop the controller and dance. The developers at WiiFit should talk to FlyLo’s agents.

The gut of the album folds in outside talent as Ellis has done in the past, and this is a facet of the work that cannot be ignored. Thom Yorke, Erykah Badu and Niki Randa are among the voices he morphs into heavenly instruments. Until the Quiet Comes is sparse of many traditional vocal sec-tions, but Ellis does wonders to his accomplices’ voices by reverberating them like silken echoes. They are the rain-bow “sprinkles on top” every child wants on his sundae.

FlyLo lovers, haters and newbies can unite over Ellis’s latest mindchild, a whimsical yet deliberate experiment that sets Flying Lotus for a larger fanbase.

—Jack Mercola

flying lotusUNTIL THE QUIET COMESWARP

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Duke Performances to feature leading figure in Kathak dance

by Megan RiseTHE CHRONICLE

Pandit Birju Maharaj is an undisputed master of In-dian classical dance, and he is among the many talented international performers coming to Duke for the first time through Duke Performances this season. Maharaj, who comes from a long and celebrated lineage of Kath-ak dancers, is world-renowned not only for his accom-plishments in the dance form, but as a singer and per-cussionist as well. At 75, he is the foremost living figure in Kathak dance, performing and teaching the classical dance around the world.

Kathak dance is one of eight classical North Indian dance forms. Since its origins in the sixteenth century, it has developed from a sacred ritual dance to a secular performance that tells a story; one of Maharaj’s most popular renditions is “Romeo and Juliet: An Immortal Love Legend of Shakespeare.” Kathak is almost always accompanied by live music, which provides a dynamic, organic relationship between the performers and mu-sicians. The music in a Kathak dance relies mostly on various percussion instruments and usually features one string instrument that provides the overarching melody. In addition to singing and dancing, Maharaj plays sev-eral types of drums throughout, almost always juggling two out of his three performance skills at any given mo-ment.

Duke Performances has made a commitment to pre-senting Indian classical artists, as evidenced by Maha-raj’s upcoming concert and the spring season’s inclu-sion of Indian instrumentalists Amjad Ali Khan and his sons. Director of Duke Performances Aaron Greenwald said that part of their increased focus on Indian classi-cal music and dance is because “there is a community at Duke and in the Triangle that is familiar with the

form.” Artists like Maharaj in particular promote a con-nection with the culture because of the rich history and tradition associated with his form. International perfor-mances usually attract an audience already somewhat connected with the material, and their enthusiasm can, as Greenwald said, “enhance the experience for some-one not familiar with the form.” He recalled a gospel performance at the Hayti Heritage Center in Durham, where audience members unfamiliar with gospel music could experience it not only through the performance itself but also through the reactions and moods of the audience.

Hasita Oza, director of the Kathak Dance Academy in Raleigh, lauds Maharaj as a master of his technique, both in precision of form and emotive expression. “The well-used hand gestures and facial expressions and the drama he creates with his body language during story goes beyond the cultural boundaries,” Oza wrote in an email. Oza expects Maharaj, whom she calls “spontane-ous” in his approach, to be captivating in his perfor-mance.

“This makes the performance [come] alive and goes beyond just a well-rehearsed show,” wrote Oza.

Pandit Birju Maharaj’s extensive touring has made Kathak dance more accessible to audiences beyond In-dia. He has modified the style and brought it into a new era without losing the spiritual connection the classical tradition.

“We have an opportunity to present artists who are real masters,” said Greenwald of the Duke Performanc-es season.

Duke Performances presents Pandit Birju Maharaj & Com-pany in Reynolds Industries Theater this Thursday, October 4, at 8 p.m. Tickets are $10 for Duke students.

This week in arts

SPECIAL TO THE CHRONICLE

If there’s one word to describe The Mountain Goats, it’s pielle, the one-man tour de force behind the Mountain Goats msingles, EPs, anthologies and collaborations over the last twenup after a few tours, the Mountain Goats keep pushing on. Trelease music consistently, but consistently release good mustransition to hi-fi on 2002’s Tallahassee ruined the band, Darremarkably broadened and diversified from his early days recscendental Youth, the band’s thirteenth full-length album since 2Mountain Goats album in years.

Each of the twelve tracks follows a different protagonist tothe fringes of society in Washington state. Darnielle himself st“outcasts, recluses, the mentally ill and others struggling in ordvignette come alive by coupling vivid imagery with effective acoThe second track, “Lakeside View,” takes us to a drug haven wline.” On the more upbeat “Cry for Judas,” he follows a rebel whcatch us when we fall.” The well-timed horns in “Judas”—reallythe story an emotional jolt. Frenetic acoustic number “Harlema live show staple. It’s an imagined monologue given by forgowhere he solemnly declares the “loneliest people in the whole wto see again.” With each song, the album’s desperation builds, one of the most beautiful and poignant tracks you’ll hear thistories recalls great classics such as “The Best Ever Death Metal many of TY’s songs could achieve similar stature in a few yearthe way he always has, these ones convey nuanced tragic charintimate and humane.

But what really separates this album from others in the Mouinstrumentation. Matthew E. White was brought in to arrange liant move. The full horn sections freshen the guitar/drums/Mountain Goats fare. “Cry for Judas” even relies on the orchestdecision which no one would’ve expected, but it works. The gplex than it was 10 years ago, but it’s purposeful and allows Jalbum that requires headphones to reveal the nuances of the p

On previous efforts, the lyrics were what gave the recordsbums have stripped down the music so much as to leave Johnthere’s a productive symbiosis between the lyrics and the instruor The Sunset Tree, but Transcendental Youth is the work of a band

—Suvam Neupane

the mountain goatsTRANSCENDENTAL YOUTHMERGE

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by Thomas KavanaghTHE CHRONICLE

There’s an intentional deception behind the work of Hoof’n’Horn’s publicity team in their advertisements for their fall semester musical, Avenue Q; posters guilefully market the show as something innocent and blissfully immature. On their main playbill, a row of Sesame Street-style puppets hover above a banner, arms around each other, flashing open-mouthed smiles. Since the aesthetic of Avenue Q takes implicit inspiration from the Sesame Workshop and Jim Henson’s Muppet franchise, it’s easy to imagine that Hoof ‘n’ Horn’s production will be a gleeful, innocuous jaunt down PBS’s memory lane.

But students unfamiliar with the tone of Avenue Q can set aside concerns about the comedy’s emotional depth. The triple-Tony-win-ning musical, co-written by Robert Lopez (notable for his contribu-tion to the recent Broadway smash, The Book of Mormon), shocks and disturbs, but nonetheless delights the uninitiated. That is, Avenue Q isn’t so much a perversion of the children’s television theme, but a maturation of it. The musical imagines the puppets of the Henso-nian ensemble as if they’ve gone through puberty, finished college and are now having quarter-life crises.

The production also demands an additional layer of expression not inherent in Sesame-style theater; the show calls for live actors to emote alongside their puppets. Freshman Will Gallagher, who con-trols “Rod,” born out of Sesame’s “Bert and Ernie,” speaks to the challenge of integrating puppetry with ordinary stagecraft. Since much of the cast had little to no experience with the new theatrical medium, the learning curve was steep.

“It was really difficult at first,” Gallagher said. “But you get to a point where you start acting through your puppet, as if you are your puppet, making eye contact with someone through your puppet’s eyes.”

It wasn’t hard to note from Tuesday night’s dress rehearsal that the entire cast had warmed up to their characters in much the same way. Even when I interviewed Gallagher offstage, the connection be-tween actor and puppet was clear; with his right hand, he instinc-tively matched the motions of his hand to his own dialogue.

Yet the fruits of such strong puppeteer-puppet relationships were clear. Sophomore Melanie Heredia, who works with “Kate Monster,” the hopeless romantic protagonist, discusses a number of advantages to interacting onstage via puppet. As the counterpart to the ironical-ly-named, unemployed “Princeton,” controlled by freshman Robbie Florian, Heredia found that acting through Kate allowed her new communicative modes.

“Robbie and I [as Princeton and Kate] have all these intimate mo-ments, though as actors we never make physical contact,” Heredia noted. “At times it makes it sillier; the puppets can do things that we cannot.”

Yet there’s no loss to honesty in character relations just because the ensemble donates the use of their hands to the puppets (some puppets are managed by two actors at once, a true feat of coopera-

tion that the cast performs effortlessly). Counterintuitively, the use of puppets doesn’t limit the emotional weight of dialogue or its be-lievability.

So how do inanimate representations evoke a potent sense of humanity? Avenue Q is too thematically relevant to its cast and tar-get audience of Duke undergraduates to go unheard. Many of the numbers directly relay the post-university narrative: The show opens when Princeton asks, “What Do You Do With a B.A. in English?”; In the second act, the ensemble laments, “I Wish I Could Go Back To College.”

Heredia explains that drawing on her experience as a sopho-more, especially with an undeclared major, helped her connect to the show’s message to everyday life: “The show touches on things that are real: what it’s like to figure out what you’re supposed to be doing with your life, having that feeling of being a little lost.”

Challenges brought by the use of puppets weren’t limited to the actors. Sophomore Mary Kate Francis, who choreographed the show, described the distinct approach she took to blocking dance num-bers.

“You have to think in different terms,” explained Francis. “I feel like I’m choreographing two different people. I think about the legs of the puppeteer and the upper body of the puppets.”

Hoof ‘n’ Horn’s production, then, steps into uncharted territory for Duke drama. Torry Bend, an assistant professor in Theater Stud-ies and puppet artist, marked the importance of Avenue Q for Duke’s theatrical development.

“Avenue Q is definitely new for Duke,” Bend wrote in an email. “Most of the puppetry so far in Theater Studies has been in forms such as marionette, bunraku and Toy Theater. The Henson-style hand and arm puppets have a tendency to speak to childhood more directly.”

Other elements of the production’s technical framework have pushed the envelope in terms of Duke’s theatrical exploration. The show makes use of projected media content onto a hanging screen in Shaefer theater. Sophomore Austin Powers, light and video designer for the play, recounts the shift towards use of integrated media.

“There’s a trend of plays being written more cinematically; this trend has been enabled by the use of multi-media in theater,” Powers said. “For Hoof ‘n’ Horn productions in particular, we are breaking new ground.”

Ultimately, the rehearsal process was personally transformative for Hoof ‘n’ Horn participants. Sophomore Mike Myers, who directed the cast of ten (and a much larger crew), recounted how the rela-tionship between actors and their roles was especially strong.

“After the first four weeks or so, we started to meld the two perso-nas, actor and puppet, together,” said Myers. “Then we realized that everybody’s puppets looked like them, and people looked like their puppets.”

Hoof ‘n’ Horn presents Avenue Q October 5-7 and 18-21. Check www.hoofnhorn.org for show times.

Hoof ‘n’ Horn breaks new ground with puppet production Avenue Q

SPECIAL TO THE CHRONICLE

prolific. Singer-songwriter John Darn-moniker, has released over 67 albums, nty years. Whereas most bands break hey are the rare group who not only ic. Although some purists insist the

rnielle’s singing and songwriting has cording songs on a boombox. Tran-2000, stands out as one of the freshest

o offer a glimpse into the struggle on tated that the album would focus on dinary society.” Darnielle makes each oustic, piano and horn arrangements. where days are “like dominoes, all in a ho comes to realize there’s “no one to y throughout the whole album—give m Roulette” has a chance to become otten 1950s sensation Frankie Lymon world are the ones you’re never going reaching a climax on “White Cedar,”

is year. The abundance of underdog Band in Denton,” a cult favorite, and

rs. Although Darnielle writes lyrics in racters, and each description is both

untain Goats discography is the added the horn sections, and this was a bril-/bass trio that has become standard tra for much of its melody—a musical guitar playing isn’t much more com-John’s voice to shine through. It’s an production. s staying power. Whereas previous al-’s voice bare, on Transcendental Youth, umentation. It’s no All Hail West Texas d that’s as lively as ever.

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PAGE 6 October 4, 2012recess

A Duke Tradition for over 30 years

SATISFACTIONR E S TAU R A N T & B A R

Full Bar and Great New Wine List!Come Enjoy Our Outdoor Seating!

by Abhi ShahTHE CHRONICLE

Sometimes Carolina should not go to hell. Hear me out: Duke’s rivalry with UNC-Chapel Hill can overshadow some of Duke’s collaborations with the neighboring university.

In fact, the Consortium in Latin American and Carib-bean Studies at both UNC-Chapel Hill and Duke has ex-isted since 1990 and has been combining the resources of both universities to develop enriching learning experi-ences about Latin American culture. This month, in honor of Hispanic Heritage Month—which spans September and October— the Consortium is proud to host the North Car-olina Latin American Film Series. Now in its 26th year, the festival celebrates Latin American film and exposes Latin audiovisual production to a wider audience.

The Series is beginning its run tonight at UNC’s Varsity Theatre at 7 p.m., screening Nostalgia por la luz, a critically ac-claimed Spanish documentary exploring the effects of the Chilean political coup in 1973. The Series screens a film every

UNC, Duke collaborate with Latin American film series

night at different locations at both UNC and Duke, concluding next Friday on October 12. All of the screenings are free to the general public.

Every year the Series has a theme. Last year it was “Unfin-ished Visions,” focusing on drug trafficking and the related themes of violence, corruption and environmental degra-dation in Latin America. This year’s theme is “Water and Revolutions.” The water theme not only connects to UNC’s campus-wide academic theme of “Water in our World,” but also explores the water crisis in Latin America, the world’s most water-rich region. The “Revolution” aspect focuses on several leaders who shaped the Latin American political landscape such as Jose Martí, the Cuban revolutionary, and Lula da Silva, a beloved Brazilian president. All movies are in Spanish, but do not worry—for those who are unable to understand Spanish, there are subtítulos.

Miguel Rojas-Sotello, special events coordinator for the Center of Latin American & Caribbean Studies at Duke, is excited about this year’s collaboration with UNC.

“The films this year are especially interesting and shed light on certain leaders that shaped Latin American history as well as essential problems the region faces concerning water,” he said. “The selection and breadth of the films are a result of this col-laboration between departments, and it is a beautiful thing.”

Some of the highlights of the film series are scheduled for this weekend. At 7 p.m. on Friday in Duke’s Richard White Lec-ture Hall, filmmaker Daniel De Vivo will present Two Americans, his acclaimed documentary about illegal immigrants in Amer-ica and answer questions about the documentary process. On Saturday at 4 p.m. in White Lecture Hall, documentarian Elva Bishop will screen her film about the Oaxaca area in Mexico; after that, the film También la lluvia will play at 7 p.m., exploring the water crisis in Latin America.

SPECIAL TO THE CHRONICLE

by Taylor JohnsonTHE CHRONICLE

Victor Hugo once said, “No one ever keeps a secret so well as a child.” And no child protects a secret better than from their mother. In the ultimate creative collaboration, Secrets I Never Told My Mother examines the connotations and conse-quences of secret-keeping through the memoirs of Durham community members. The show incorporates video design, audio documentary and dance in a display of local talent from every artistic background.

Development of the show’s background material took many months. Videographer Jon Haas employed Isadora, a trailblazing real-time manipulation software that allows him to interact with the stage activity. Leah Wilks created choreog-raphy from audio interviews she conducted, beginning with the question, “What is a secret you never told your mother?” Wilks used their secrets to explore how society influences even our most personal relationships. These include the phys-ical and emotional tolls of keeping, exposing and spreading secrets.

“A lot of the source material and topics we’re exploring have been drawn from audiences and people in our com-munity,” Haas wrote in an email. “This show is a collection of what people are going through and living with.”

Inspired by these interviews, over twenty art-ists—including professional dancers, original composers and behind-the-scenes architects—came together to create a collaborative produc-tion centered on a near-universal experience. Wilks intentionally selected these team members from Durham and the surrounding Triangle area to take advantage of face-to-face interaction. To

further foster the locally based creative atmosphere, all of the proceeds from ticket sales will be put toward financing future homegrown productions.

“A big part of my long-term goals is to create a professional performing arts community here, in Durham, and that means hiring artists who live here,” Wilks wrote in an email.

When listening to Wilks’s recordings, members of the pro-duction team individually interpreted the fortunes and misad-ventures of secret-keeping. Also drawing on their own experi-ences, the team members were tasked with contributing to the performance through distinct elements.

As the project’s premiere neared, the artists synthesized their creations into one collective show that the audience could experience on multiple dimensions.

“The aim is as much creating a space for an audience to ruminate on what we’ve been exploring as it is telling people what we’ve learned and what we think about it,” Haas said.

The show’s creators aim to represent the diversity of circumstances that govern secrets and secret-keeping. The most salient, however, is the complexity of mother-child re-lations.

“Secrets [kept] from someone who gave birth to you, who brought you into this world and knew you from your inception, are particularly compelling and worth explor-

ing,” Haas added.In the video preview for the performance, dancer Nicola

Bullock comments on the unique feeling of owning a secret as a child.

“One of the most powerful things you can have when you’re a kid is secrets because they’re yours and they’re not anybody else’s,” she says. “Everything else is given to you or done for you.”

Whether devastating, like those that separated Hugo’s Co-sette and Fantine, or more harmless everyday confidences like protecting the name of a crush, secrets affect our bodies, con-sciences and interactions. Their incredible variance deserves a closer look, and Secrets I Never Told My Mother intends to do just that, along with presenting that which words cannot ad-equately express.

“The most important part of the show is what it makes audi-ence members think about,” Wilks said. “Whatever they walk away questioning, thinking and feeling is important.”

Secrets I Never Told My Mother will run October 4-6 at 8 p.m. at the Trotter Building (410 West Geer Street in Durham).

Durham artists share ‘Secrets’

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