March 1, 2012 issue by Duke Chronicle

T H E I N D E P E N D E N T D A I LY AT D U K E U N I V E R S I T Y

The Chronicle

THURSDAY, MARCH 1, 2012

Global health major being considered

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ONE HUNDRED AND SEVENTH YEAR, ISSUE 109

Nicholas School building to be the greenest facility at Duke

by Julia Ni THE CHRONICLE

Students interested in global health may soon be able to pursue a major in the field. A Duke Global Health Institute committee, which draws 16 senior faculty and administrators from various schools and departments, is currently considering the future of the University’s undergraduate global health education. Among the changes being proposed is the creation of a global health major, said Orin Starn, chair of the undergraduate global health education faculty committee and chair of the cultural anthropology department. A proposal for the major would next go before the Committee on Curriculum of the Trinity College of Arts and Sciences. “Interest in global health has grown nationwide in the last few years, though no other university yet has a global health major,” Starn wrote in an email Tuesday. “Developing [one such program] could put Duke at the cutting edge of undergraduate education in global health.” Randy Kramer, DGHI associate director for strategy and a professor of economics at the Nicholas School of the Environment, said the growing student interest in global health and the success of the certificate program to date are the primary impetus of the proposal. Strengthening educational training in global health may help the next generation of leaders better tackle domestic and international health disparity challenges. The possibility of establishing a new major in a budding field is exciting, he said, though the process is complicated and involves discussion with numerous stakeholders. Although the specific requirements have not yet been determined, the global health major—keeping up with the spirit of the field itself—will be interdisciplinary, Starn added. Students will be required to have a concentration in a particular department, such as cultural anthropology or biology and to complete substantial fieldwork in an existing field. The concept is early in the planning phase, so no specific timeline has been established for its implementation. The committee is also considering whether a major in global health can measure up to majors in more traditional and established disciplines, Starn noted. “We don’t want to establish a major in a flash-in-the-pan field, and one worry is that global health may not have the lasting kind of weight traditional fields [have],” he said. Many of those worries though, will hopefully be addressed in the major guidelines, which emphasize technical training and collaboration with established departments, Starn added. SEE MAJOR ON PAGE 4

Senate proposes DSG restructuring, Page 3

SPECIAL TO THE CHRONICLE

A rendition of Environment Hall, a $36.2 million dollar project scheduled to be completed in November 2015. by Jack Mercola THE CHRONICLE

A new building for the Nicholas School of the Environment will soon be the most eco-friendly structure on campus. The $36.2 million Duke Environment Hall, which was approved by the Board of Trustees Friday, is slated to begin construction April 2013 and open November 2015, said Project Manager

Myron Taschuk. The 70,000 sq.-ft. addition to the Levine Research Center will house classrooms, study spaces and faculty offices, as well as a green roof and an environment-themed art gallery. The hall is being designed by Payette, a leading architectural firm based in Boston. Environment Hall will be certified as platinum under the Leadership in Energy and Environmental Design stan-

dards, Taschuk said. A platinum certification is the highest honor offered by LEED—an initiative administered by the United States Green Building Council that promotes sustainable construction and operations in the American building industry. “Through achieving the platinum standard, we are striving to have the SEE HALL ON PAGE 5

Court case challenges affirmative action by Michael Shammas THE CHRONICLE

In a move intensifying ongoing debate regarding preferential admissions, the United States Supreme Court recently news decided to hear a case analysis that could potentially limit or even ban racebased affirmative action policies at universities. White student Abigail Fisher is challenging a University of Texas policy that gives black, Hispanic and Native American students preferential treatment in admissions. The Supreme Court decided to hear the case—Fisher v. University of Texas—Feb. 21, and it is the first time since 2003 that the court will consider the future of affirmative action. The court’s decision has stirred some debate among members of the Duke community about whether affirmative action policies are fair and about whether a decision by the

Supreme Court could change Duke’s admissions policies. Black Student Alliance President Nana Asante, a senior, said that though she understands why affirmative action is contentious, the policies are still needed. “Affirmative action is complicated, understandably jarring to some, beneficial to all and overwhelmingly necessary,” Asante said. “It is not a black and white policy but rather a complex and dynamic approach that aims to rectify years of deeply rooted oppression and racism faced by minorities such as blacks and women.” She added that historical wrongs have far-reaching consequences that still plague certain minorities and previously subjugated groups today. Measures to guarantee that these populations receive equal opportunities today must be taken. The question of affirmative action is raised at a time when members of the Duke community are re-evaluating minority groups’ role within the campus

ONTHERECORD

“I guess he was getting his mack on better than he appeared to be (poor girl looked terrified)...” —Mia Lehrer in “You’re a feminist, aren’t you?” See column page 12

climate. The Black Student Alliance issued the Black Culture Initiative to the administration in January. The initiative included recommendations to equate the black community’s experiences with the rest of Duke’s and suggested a renewed University commitment and expansion of the Black Student Alliance Invitational weekend and an explanation of the role of special considerations in the admissions process. Asante declined to comment on the status of the Black Culture Initiative until a later time. Although the Supreme Court upheld affirmative action in 2003, the result could be different this time because the makeup of the Supreme Court has changed, said Peter Arcidiacono, professor of economics. Chief Justice John Roberts—a conservative—has replaced the more liberalleaning voice of former Justice Sandra SEE ACTION ON PAGE 4

Pick up The Chronicle’s women’s basketball supplement

2 | THURSDAY, MARCH 1, 2012

THE CHRONICLE

worldandnation

Santorum attack on college conflicts with wage gains

WASHINGTON, D.C. â&#x20AC;&#x201D; Republican candidate Rick Santorumâ&#x20AC;&#x2122;s attack on President Barack Obamaâ&#x20AC;&#x2122;s promotion of a college education conflicts with the broad appeal and economic value that higher education holds for young Americans. With the economy still struggling after emerging from a recession, more than two-thirds of U.S. adults view a college degree as essential for getting a good job, according to a Gallup Poll published in August. And 94 percent of parents with children under 18 expect them to go to college, said Paul Taylor, a pollster with the Pew Research Center in Washington. â&#x20AC;&#x153;Itâ&#x20AC;&#x2122;s a near universal aspiration,â&#x20AC;? said Taylor. It pays offâ&#x20AC;&#x201D;the median annual pay of those 25 or older with a bachelorâ&#x20AC;&#x2122;s degree was $56,472 in 2009, 70 percent more than those with a high school diploma, Census Bureau figures for 2009 show. A record 30 percent of adults have a four-year degree, the Census shows.

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In the Land of Blood and Honey Griffith Film Theater, 9:30-11:30 p.m. This film is written and directed by Angelina Jolie and depicts a love story during the Bosnian War.

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Edgar Meyer, double bass Reynolds Theater, 8-10 p.m. Edgar Meyer, the master of the double bass, performs a lively suite of the material to this rare solo show.

Thirsty Thursday at The Roxy The Roxy (802 W. Main Street, Durham), 9:30 p.m.- 2 a.m. The live jazz band (Remedial Math Quartet) features four Duke graduate students.150 drink tickets are available to graduate students. â&#x20AC;&#x201D;from calendar.duke.edu

TODAY IN HISTORY 1692: Salem Witch Hunt begins.

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National Independence Day Bosnia-Herzegovina

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THURSDAY, MARCH 1, 2012 | 3

DUKE STUDENT GOVERNMENT

Study calls for increase in immigrant health care

DSG considers restructuring of committees, adding forum

by Ashley Mooney THE CHRONICLE

by Patton Callaway THE CHRONICLE

The Senate debated a proposal to restructure Duke Student Government at its meeting Wednesday night. After discussion about the future of the student government, the rules committee found that DSG committees do not accurately reflect the division of issues on campus. Members reported that current committees instead encompass

multiple, unrelated issues. As the University converts to the house model, the rules committee proposed a complementary addition to DSG—a new “community forum” comprised of representatives from each new house. “This would improve the outreach aspect of DSG,” said sophomore Patrick Oathout, senator for athletics, services and the environment. “It makes campaigns more pow-

erful, because people in your neighborhood know who you are, so voters can select their candidate based on more substantial issues.” The community forum would be a separate body from the Senate but still affiliated with DSG. The forum would convene monthly to discuss key issues, and every house would have one representative with one vote. Unlike the Senate, the forum would only have the power to pass resolutions. The Senate supported this proposal as a way for DSG to accommodate the house model in its own structure. The rules committee also proposed a reconfiguration of the Senate itself, beginning with new committee categories. The rules committee challenged current committees that span unrelated issues such as the athletics, services and the environment committee and proposed instead to create new committees. “We could have more focused conversations and bring students into the conversation than with our current system,” said DSG

Disparities in immigrant health may reflect larger problems in U.S. health care, including a need for more preventative care. A study from Duke contradicts the assumption that immigrants become less healthy while living in the United States. Providing a reinterpretation of data from surveys by the National Institutes of Health, the research demonstrates that immigrants who may have been healthy at their arrival in the United States do not always prioritize finding preventative health care—health problems diagnosed in the United States may have been developing all along. This leads to complicated and potentially dangerous problems down the road, said Jen’nan Read, the study’s author and associate professor of sociology and global health. “Helping people understand their health care needs early is so important because by the time we see people—especially immigrants—in the health care system, they’re in the [later] stages [of a disease or medical problem], and they didn’t need to be there,” Read said. Immigrants are less likely to seek medical help because they may be preoccupied with settling into a new home in a foreign country, Read said. For some, getting the help they

NIHIR PATEL/THE CHRONICLE

DSG President Pete Schork speaks at the weekly meeting Wednesday evening.

SEE DSG ON PAGE 5

want or need may be a difficult task to navigate. Other obstacles to seeking health care include language barriers, lack of insurance, expenses or difficulties in understanding the U.S. health system. The data in the study shows that 3.6 percent of U.S.-born men surveyed had not seen a doctor for a period of five years. This number only grows when analyzing immigrants—6.3 percent of male MiddleEastern immigrants and 16 percent of male Mexican immigrants had done the same. Twenty-four percent of MiddleEastern men and more than 46 percent of Mexican men surveyed reported to have no usual place to seek health care. This compares to 16 percent of men born in the U.S. Mexicans and people from the Middle East represent the largest groups of immigrants in the United States. Read said she chose a relatively affluent Middle-Eastern group to compare to the less affluent Mexican demographic in order to discover how socioeconomic background affects access to health care. The study also considered the difference between illnesses that require diagnoses and those that do not, said Megan Reynolds, a doctoral candidate in sociology and study researcher. They controlled for patient SEE HEALTH ON PAGE 4

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4 | THURSDAY, MARCH 1, 2012

THE CHRONICLE

MAJOR from page 1

ACTION from page 1

Lisa Croucher, DGHI assistant director of education and training, said the committee will reconvene this month to discuss curriculum changes. She said faculty members

Day O’Connor, who was involved in the 2003 decision. Moreover, Justice Elena Kagan—an Obama nominee who supports affirmative action—has recused herself for this case due to the fact that she will be unable to reach an unbiased decision on the issue due to her previous writings, which have expressed explicit support for the policy. If the court banned race-based affirmative action in a manner that applied to both private and public universities, the enrollment of minorities at elite universities could be severely affected, Arcidiacono said. “Virtually all selective universities practice affirmative action, including Duke,” Arcidiacono wrote in an email Monday. “Estimates suggest that enrollment by African Americans at elite universities would fall by 50 percent absent of affirmative action.”

“I know a lot of people who are very global healthoriented and would be interested in pursuing a major in the field.” — Visakha Suresh, sophomore hope to make recommendations to administrators later in the Spring. Sophomore Visakha Suresh is doublemajoring in biomedical engineering and biology, but said she would consider a global health major if it existed. “[Post-graduate] institutions might see it as a somewhat glorified policy-oriented major with a concentration in global health, but I do think it is something you could bounce back on as an undergraduate degree,” Suresh said. “I know a lot of people who are very global health-oriented and would be interested in pursuing a major in the field.” Kramer said he is confident changes in undergraduate education will only strengthen the University’s leadership role in global health. “Duke has [already] established a reputation as a leader in the field of global health,” he said. “My hope is that [the University] will continue to be a leader in global health, not just through our research but also through our innovative education programs.”

HEALTH from page 3 interaction with the health care system in their statistical models, attempting to see if that made a difference in how healthy they appeared. Previous studies largely ignored the two considerations, she said. Reynolds noted that having more information, such as the date and status of a patient’s diagnosis, from the NIH surveys would be more helpful. The specific countries of immigrants’ origin, rather than world region, would have also helped with Read and Reynolds’ results. Immigrants, however, are not the only ones who suffer from health care disparities. Several other U.S. natives have troubles seeking preventative health care.

Blackburn Visiting Writer

Phillip Lopate

Arcidiacono added that without affirmative action, enrollment of minorities at top universities could drop, though universities could still give students preference based off of their socioeconomic background. “We know the U.S. Supreme Court will be taking up the issue of affirmative action in college admissions, and we will need to wait for the results of their deliberations to know whether our process might be affected,” Dean of Admissions Christoph Guttentag said in a statement. He added that the University considers a variety of factors when selecting students from the applicant pool and decides whether to admit or reject students on the basis of a holistic and thorough review of every application. Arcidiacono, who faced controversy regarding his affirmative action study in January, said differences between minority students’ academic backgrounds suggest that Duke practices affirmative action.

“You don’t get the large differences in average SAT scores across races without substantial racial preferences,” he said. “When the admissions officers say they take a variety of factors into account, race is definitely one of them. The whole reason we looked at racial differences [in our study] was because of affirmative action. Absent of affirmative action, the selection of Duke students would be such that variation in performance and major choice across races would be minimal.” Arcidiacono and Asante agreed that inequities exist between black students and their peers. “Affirmative action is just one approach in attempting to reconcile and rectify the grave inequities that exist and continue to persist as a result of this historical context,” Asante said. “People who lack an understanding of any of these components inherently fail to realize that affirmative action, when actualized, exists for the betterment and benefit of our entire society.”

“It may be an issue of perspective,” said Dr. Cynthia Moylan, assistant professor of medicine. “Maybe those of us who are used to seeking medical care, even when we feel good, assume it is the right thing to do. People who are not used to that may even think that they’re [healthy] or that there’s no reason to go to the doctor.” As patients age, they may develop serious health problems, Moylan added. If not caught early, problems that could have been easily treated can snowball into severe issues that are both expensive and difficult to treat. “High blood pressure is the number one silent killer: You can walk around with it forever, but you would never know you had it,” Read said. “Our point is that if you get diagnosed with it early enough, you can take medication. You can’t take medication for

heart attacks.” Making access to health care easier and more affordable would be a step in the right direction, Moylan said. Having more outlying clinics may also make people more comfortable going to their providers as patients may be nervous about going to larger health clinics like Duke. Moylan added that treating cases earlier could decrease the cost of health care in general. “We should be able to provide health care to the people of this country at an affordable cost,” she said. “It’s sad for such a wealthy country to have that as a problem. If we can’t get people more healthy now, then the cost of medical care will just keep going up.” The study will be published in the March issue of the Journal of Health and Social Behavior, according to a news release Feb. 21.

DURHAM EVENTS MARCH March 8, 2012

March 10, 2012

Live Music at Guglhulpf Cafe & Restaurant The Workbook Jazz Duo, FREE, live music from local musicians 2706 Durham-Chapel Hill Blvd, 7-9pm

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March 20-21, 2012, 7:30pm “Chicago” Musical Tickets are $11 and up, DPAC, 123 Vivian St. (919) 680-2787

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Brought to you by the Durham and Regional Affairs Committee of DSG Calendar information provided by the Durham Convention and Visitors Bureau’s Durham Events Calendar. For more information, visit the Ofﬁcial Durham Community Event Calendar at www.durhameventcalendar.com

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THURSDAY, MARCH 1, 2012 | 5

HALL from page 1 greenest building with the smallest possible carbon footprint,” Nicholas School Dean Bill Chameides said. “We also want to make a statement to our students, our alumni and people outside Duke that we’re serious about sustainability.” Environment Hall will join the Smart Home as one of two buildings on campus to hold this title, though the hall is the first large-scale project at Duke to pursue platinum certification. Among a long list of cutting-edge and environmentally-friendly features, Chameides emphasized several. Environment Hall will include solar voltaic panels as well as natural lighting and ventilation, which will greatly reduce the need for internal lighting and heating, he said. Students will be able to cultivate and experiment with different plants on the roof, which will a hold a larger and deeper volume of soil than standard green roofs. The building will also implement a greywater system that will recycle rainwater for toilet flushing and irrigation. Despite the high costs of constructing a LEED-platinum building, environmental features will reduce energy costs by about 50 percent when compared to non-LEED certified buildings, Executive Vice President Tallman Trask said. The building will also feature a computerized monitoring system that will provide live updates of the building’s water and energy consumption, said Tavey Capps, environmental sustainability coordinator for Duke Sustainability. This will allow for Environment Hall patrons to monitor their energy consumption—a practice that is necessary to ensure sustainability post-construction. He added that the hall will also serve as a “living

laboratory” where students and faculty will actively learn how to best utilize the facility’s sustainable infrastructure. “[That system] will be a teaching tool in itself because we’ll be able to see exactly how our energy is being used and how we can improve our methods to become even more energy efficient,” Chameides added. Sustainability Outreach Coordinator Casey Roe said the hall is part of the University’s larger climate-action plan. There are already 13 LEED-certified buildings on campus, most earning silver or gold certifications. Environment Hall’s LEED features will be a model for future University construction projects. “Because Environment Hall is a LEED building, students will have the opportunity to learn about and acclimate to how energy-efficient buildings run,” Roe said. “[Students] want an easy choice to be sustainable. With LEED-certified buildings, they don’t have to go out of their way to practice sustainability.” Additionally, Environment Hall will boast aesthetic features, Chameides said. There will be an environment-themed art exhibition, displaying both professional and student artwork in the interior and exterior of the building. “The art gallery will let people know in a fundamental way what this building is about—how we think about and interact with the environment,” he noted. “We want to facilitate experiential learning that can exist outside of the classroom and complement what is being taught in courses.”

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DSG from page 3 President Pete Schork, a senior. The presentation suggested a breakdown of committees as follows: academic affairs; Durham and regional affairs; facilities and the environment; diversity and equity; dining; residential life; social culture and services. “These committees would allow us to divide up issues in a more efficient way,” said Executive Vice President Gurdane Bhutani, a junior. With the foundation of eight new categories of committees, the rules committee posed three options for the Senate concerning elections and representation within those committees. Members could be elected either by class or by housing region, and they could either run for a designated committee or run in a general election. Each committee could either have a fixed number of members or the number of members per committee could vary. After considering combinations of these possibilities, the Senate concluded that only two options are feasible: class-based representation with committee assignment or regional-based representation without committee assignment. Senators voiced concerns about the possibility of regional-based representation. “Different regions on campus do not have different regional needs like U.S. states do,” said sophomore Stefani Jones, senator for athletics, services and the environment. Some senators were worried about too little or too much interest in running for DSG in houses, giving can-

didates in certain houses an unfair advantage. In a straw poll vote to gauge the Senate’s preferences, seven senators voted in favor of region-based representation, 12 voted against it and four were undecided. The Senate then weighed the pros and cons of candidates with committee assignment versus generalist candidates, taking into account that the latter will only be feasible with region-based representation. In another straw poll vote, four Senators voted in favor of no committee assignments, 16 were opposed and three were undecided. The final point of debate concerned whether to fix the number of each committee’s members or vary the number of members based on the prevalence of the committees’ issues. “We can’t always anticipate how many senators will be needed for each committee each year,” Jones said. In a final straw poll, seven senators voted in favor of a varying number of committee members, 15 were opposed and three were undecided. Moving forward, DSG will use Senate preferences in evaluating possible options for restructuring Duke’s student governance. The potential for new committee categories and a community forum will create a platform for a DSG that “sharpens the student voice,” according to the committee’s presentation. “[DSG] should be more representative and address the issues that people really care about,” Oathout said. “We need to shift from idea generation to problem solving—we are pre-empting a Duke that is about to radically change.”

6 | THURSDAY, MARCH 1, 2012

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THURSDAY, MARCH 1, 2012 | 7

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Recess

volume 13 issue 21 march 1, 2012

recess on recess next week

PROJECT X Recess interviews the anonymous stars of the house-partyon-steroids flick out this Friday

CENTER

CHELSEA PIERONI/THE CHRONICLE

fanfarlo

major label debut shows no signs of sophomore slump

PAGE 3

pina

why the Oscar-nom’d doc should’ve taken the statue

CENTER

occupations

MFA students’ exhibit hidden by East Duke space

PAGE 6

recess

PAGE 2

March 1, 2012

recess

March 1, 2012

carolina chocolate drops

[STAFFER’S NOTE]

his past Sunday, The Artist won the Academy Award for Best Picture. A film about the transition from one sstyle of cinema to another, The Artist starts off in the era of the silent film. It allows its o fform to follow its content, with black-andwhite production, 4:3 aspect ratio and siw lence persisting almost entirely throughout. le And as the film rolls, the growing presence A of the talkies starts to figure more promio nently, and to take control. In a way, The n Artist could not have been named Best PicA ture at a more appropriate time, for now the tu ssame sort of revolution is preparing to take place. p Yes, close to a hundred years after the rrise of the talkie, a new specter is haunting ccinema—the specter of 3D movie making. IIts seeds were sewn years and years ago and, like the talkie, it was relegated to fad-status li ffor much of its still young life; it has, however, picked up steam in recent years (concomitantly, as it were, with growing political unrest in the world—theorists never hesitate to refer to film as a “revolutionary” medium, and so I’m tempted to believe that much of the Arab Spring centered, in fact, on 3D

filmmaking). If you’ve seen Avatar, then you are probably as surprised by this rise in popularity as I am. The rationale for a film like Avatar, as I’ve been told time and time again by the veritable film scholars that walk the earth all around me, is that it’s a film that you have to see in 3D. But this explanation is troubling at best, and intellectually bankrupt at worst, not least of all because it fails to defend the film itself. It more or less concedes the initial point (which was probably something along the lines of “Avatar is an abortive cinematic disaster of unprecedented proportion”) and, instead of responding, simply asserts that a bad film can and should exist merely to justify the use of an invention that is purported to mitigate the negative feelings the film induces. This is like arguing for dinner at Chili’s in order to use Pepto Bismol: if you don’t shove a bunch of garbage down your throat, how else are you going to get s*** to fly all around the room for the next 2-3 hours? In its early stages, 3D was the diuretic that pushed bad screenplays through the bowels of the major studios. Since then, though, in the second phase of the 3D Solution, it’s been employed more as an emetic, bringing back films of the past that we thought we had digested and been done with. With the introduction of 3D, cinema has issued forth an impressive backwash,

[recesseditors] What we mean by alternative spring break: Ross Green..................................................................................................................................basement getaway Matt Barnett........................................................................................................................................no, seriously Michaela Dwyer...........................................................................................................brooding in her Moleskine Brian Contratto............................................................................................................................NAMBLA Cruise Chris Bassil..................................................................................................alone time in the Restricted Section Josh Stillman........................................................................................................................................GTL in NYC Chelsea Pieroni.............................................................................................................fitting in in Williamsburg Phoebe Long...................................................................................................................Zeta Alpha Booze Cruise

including Star Wars Episode I: The Phantom Menace earlier in the year and Titanic in the upcoming weeks. The message behind this is that something must have gone undigested the first time, and it’s worth seeing it all again to take another look, a look that will undoubtedly yield more when fictitious trade federation blockades or turn of the century cruise liners fly toward us in projectile 3D fashion. At the heart of all this is the insistence that 3D has value, that it is worth something, that it is not just the nonsensical upchuck of studio executives looking to turn a buck. Of course, that subtle suggestion is followed by ticket pricing so aggressive that it suggests that the technique is somehow worth an almost 50% increase in the price of admission. And all this to see movies that often don’t merit viewing in the first place—Nick Cage returns this month with Ghost Rider: Spirit of Vengeance in 3D and a 14% approval rating to boot. It is such a shamelessly transparent money-grab that the only reasonable conclusion at this point is that the Bilderberg Group is behind it, and that the whole thing is a conspiracy that is ready to be put into its third and final phase: the complete three-dimensionalization of all film, for now and forever. There will, of course, be stepping stones. We will witness, for example, the rise of the “Best 3D Picture” category within the Academy Awards, until the title eventually just becomes redundant and is changed back to “Best Picture.” Children will scoff for a time at their parents, who will sit and reminisce of the days of plot and character development, until they themselves become parents and the memories of a two-dimensional “cinema de papa” die along with the older generation. And the red diaper babies of the coming years, whose parents used to turn their backs during the national anthem, will sit in the cinemas by themselves, without their 3D glasses on. But this will be a small price to pay, and all in the name of added depth—a word that has never, ever sounded so ironic. —Chris Bassil

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fanfarlo ROOMS FILLED WITH LGHT ATLANTIC

With 2009’s Reservoir, London-based Fanfarlo invigorated a well-worn sound with powerful narratives delivered through symphonic ballads. Their cult following evolved after signing with Atlantic, a deal that gave Reservoir a major-label re-release and Fanfarlo a serious recording budget. It’s been put to good use: with their sophomore effort Rooms Filled With Light, they have equalled (or surpassed) their rep-launching debut. Fanfarlo continue to piece together their sets with control and craftsmanship; each song produces orchestral riffs to sink your teeth into while accentuating every instrument’s contribution. Taking cues from post-rock, the group’s climactic melodies transcend traditional indie pop sets. Unless you’re Zach Condon, it’s difficult to use such a wide array of instruments without seeming sloppy or superfluous, but the repertoire feels natural on Rooms. “Replicate” founds the record’s aesthetic with hurried

Grammy award-winning string band Carolina Chocolate Drops returned this week with their latest album Leaving Eden, singing old-time folk melodies reminiscent of songs like Johnny Cash’s “Jackson.” Leaving Eden delivers a similar spirit of authenticity and emotion that won people’s love in their previous album Genuine Negro Jig but appeals to a selective audience. Durham-based members Rhiannon Giddens, Dom Flemons, Adam Matta and Hubby Jenkins rotate between string instruments such as the banjo, fiddle, guitar, harmonica and kazoo. The album opens with a lively folk dance song, “Riro’s House,” affirming their strong traditionalist bent. Much of the album, including “Ruby, Are You Mad at Your Man?” and “Po’ Black Sheep,” is similarly uptempo and fiddle-heavy. The Chocolate Drops know their lane, and how to stay in it: wisely, they never make a kitschy attempt to give roots music a

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modern update. At the same time, the band shows they’re willing to engage other musical strands. Giddens, the Chocolate Drops’ main vocalist, gives an R&B-inspired turn in with the ironically named original “Country Girl,” and she pulls it off because her voice is, simply put, phenomenal. If Leaving Eden has any chance of transcending genre and breaking into the mainstream, it’s Giddens; hers is a soulful voice, deeply penetrating and emotive. Leaving Eden is a charming emblem of Southern string-based roots music, but it’s not an album that ever really lands in the present. It’s not difficult to see what standout “Country Girl” shares with the Chocolate Drops’ rendition of Blu Cantrell’s “Hit ‘Em Up Style,” a highlight of Genuine Negro Jig; the closer the Chocolate Drops come to contemporary elements, the more dynamic and compelling their performance becomes. There’s something to be said for the band’s devotion to their chosen genre, but it’s probably a bit overexuberant to say that Carolina Chocolate Drops are bringing string bands back. Leaving Eden won’t disappoint the band’s devotees, but, well-executed and uncompromising as it is, it’s a record trapped in a past era. —Jamie Moon

violin strokes that mirror lead singer Simon Balthazar’s urgent vocal delivery. The cut plays with mood and tempo, following Balthazar’s ominous solos with choreographed barrages of layered background vocals, synthesizer and clarinet. The construction is complex, as hooks are built up and subdued before flourishing into a chorus. Only after six iterations does the song reach its peak; you’ll be glad to have waited. “Deconstruction,” the album’s first single, lightens the mood with playful drums and a springy baseline. The track juxtaposes the frenzied “Replicate” with cheery female vocals and mild nods to the same Smiths-esque sound recently recycled by Pains of Being Pure at Heart, but Fanfarlo are by no means confined to the ‘90s alt-rock aesthetic. Maintaining a debut’s momentum through a sophomore album is no easy task. Rooms Filled With Light doesn’t drastically depart from Reservoir, but it’s a strong enough piece of work to preserve Fanfarlo’s relevance amid the hyper-hype of London’s breakneck-paced scene. The group’s “walk before you run” approach to stylistic progression strikes a balance between reinvention and conservatism, and the result is mesmerizing. —Andrew Karim

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DUKE PERFORMANCES SPRING 2012 SEASON DOUBLE BASS VIRTUOSO

EDGAR MEYER

BACH & EDGAR MEYER

THURSDAY, MARCH 1 8 PM REYNOLDS THEATER

GHT TONI

SONY CLASSICAL RECORDS ARTIST

SIMONE DINNERSTEIN, PIANO

BACH, SCHUBERT, CHOPIN BRAHMS, DANIEL FELSENFELD

FRIDAY, MARCH 2 8 PM REYNOLDS THEATER

T H IS

AY FRID

NASHER MUSEUM OF ART AT DUKE UNIVERSITY

ALEXANDER CALDER AND CONTEMPORARY ART

GARRICK OHLSSON, PIANO

FORM, BALANCE, JOY

FRIDAY, MARCH 16 8 PM REYNOLDS THEATER

FEBRUARY 16-JUNE 17, 2012

AVERY FISHER PRIZE WINNER ALL-LISZT PROGRAM

MUSICAL VISIONARIES

TYONDAI BRAXTON + COLIN STETSON

SOLO PERFORMANCES / DOUBLE BILL

FRIDAY, MARCH 23 8 PM MOTORCO MUSIC HALL

EXHIBITION OPENING AND ARTIST TALK FEBRUARY 16, 2012, 7 PM

JAZZ / R&B / HIP-HOP

Tickets are free to Duke students on same day of admission (1 per I.D.) Tickets are half price for Duke faculty and staff ($5, 2 per I.D.) Nasher Museum Members receive two free tickets per day.

BLACK RADIO

www.nasher.duke.edu

ROBERT GLASPER EXPERIMENT FRIDAY, MARCH 30 SATURDAY, MARCH 31 8 PM CASBAH DURHAM

Alexander Calder and Contemporary Art: Form, Balance, Joy is organized by the Museum of Contemporary Art, Chicago. The exhibition is sponsored by The Northern Trust Company. Lead foundation support is provided by the Terra Foundation for American Art and the Chicago Community Trust. Major support for the exhibition is generously provided by The Kenneth and Anne Grifﬁn Foundation. Additional generous support is provided by Margot and George Greig, Anne and Burt Kaplan, Ruth Horwich, The Broad Art Foundation, Gagosian Gallery, Lindy Bergman, Helyn Goldenberg, Sara Szold, and The Elizabeth F. Cheney Foundation.

TICKETS $5 TICKETS

DUKE STUDENT STUDENT DUKE

EVERY DUKE PERFORMANCES SHOW, ALL SEASON. TAKE ADVANTAGE.

At the Nasher Museum, major individual support for the exhibition is provided by Frances P. Rollins, Marilyn M. Arthur, Trent and Susan Carmichael, Drs. Victor and Lenore Behar, Kathi and Stephen Eason, and Mindy and Guy Solie. Additional generous support is provided by Deborah DeMott, Nancy Palmer Wardropper, The E. T. Rollins Jr. and Frances P. Rollins Fund, Jo and Peter Baer, Paula and Eugene Flood, Pepper and Donald Fluke, Kelly Braddy Van Winkle and Lance Van Winkle, Carolyn Aaronson, Diane Evia-Lanevi and Ingemar Lanevi, Caroline and Arthur Rogers, Angela O. Terry, and Richard Tigner. Major corporate and grant support for the exhibition is provided by the Mary Duke Biddle Foundation, NetApp, and the N.C. Arts Council, a division of the Department of Cultural Resources. Additional support is provided by Carolina Biological Supply Company, Duke’s Pratt School of Engineering, The Research Triangle Park, Parker and Otis, Sigma Xi, The Scientiﬁc Research Society, Clinical Ambassador, American Scientist magazine, and Tech Shop. ABOVE: Alexander Calder, Blue Among Yellow and Red, 1963. Painted sheet metal and steel wire, 43 x 63 inches diameter. Museum of Contemporary Art Chicago, The Leonard and Ruth Horwich Family Loan (EL1995.12). © 2012 Calder Foundation, New York / Artists Rights Society (ARS), New York. Photo by Nathan Keay, © MCA Chicago.

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carolina chocolate drops

[STAFFER’S NOTE]

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fanfarlo ROOMS FILLED WITH LGHT ATLANTIC

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SPECIAL TO THE CHRONICLE

DUKE PERFORMANCES SPRING 2012 SEASON DOUBLE BASS VIRTUOSO

EDGAR MEYER

BACH & EDGAR MEYER

THURSDAY, MARCH 1 8 PM REYNOLDS THEATER

GHT TONI

SONY CLASSICAL RECORDS ARTIST

SIMONE DINNERSTEIN, PIANO

BACH, SCHUBERT, CHOPIN BRAHMS, DANIEL FELSENFELD

FRIDAY, MARCH 2 8 PM REYNOLDS THEATER

T H IS

AY FRID

NASHER MUSEUM OF ART AT DUKE UNIVERSITY

ALEXANDER CALDER AND CONTEMPORARY ART

GARRICK OHLSSON, PIANO

FORM, BALANCE, JOY

FRIDAY, MARCH 16 8 PM REYNOLDS THEATER

FEBRUARY 16-JUNE 17, 2012

AVERY FISHER PRIZE WINNER ALL-LISZT PROGRAM

MUSICAL VISIONARIES

TYONDAI BRAXTON + COLIN STETSON

SOLO PERFORMANCES / DOUBLE BILL

FRIDAY, MARCH 23 8 PM MOTORCO MUSIC HALL

EXHIBITION OPENING AND ARTIST TALK FEBRUARY 16, 2012, 7 PM

JAZZ / R&B / HIP-HOP

Tickets are free to Duke students on same day of admission (1 per I.D.) Tickets are half price for Duke faculty and staff ($5, 2 per I.D.) Nasher Museum Members receive two free tickets per day.

BLACK RADIO

www.nasher.duke.edu

ROBERT GLASPER EXPERIMENT FRIDAY, MARCH 30 SATURDAY, MARCH 31 8 PM CASBAH DURHAM

TICKETS $5 TICKETS

DUKE STUDENT STUDENT DUKE

EVERY DUKE PERFORMANCES SHOW, ALL SEASON. TAKE ADVANTAGE.

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m l i f n i . . . k e e w s i Th Recess Interviews: Project X stars Brown, Mann, Cooper by Dan Fishman THE CHRONICLE

You’ve probably seen the trailers—we certainly have. And after a long and relentless French Oscar season, now seems a better time than ever for a good party flick. Enter Project X, a faux documentary-style take on a larger-than-life house party. Recess’ Dan Fishman spoke with stars Jonathan Daniel Brown, Thomas Mann and Oliver Cooper about auditions, filming party montages and what sets Project X apart.

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wanderlust

DIR. DAVID WAIN APATOW PRODUCTIONS

Aristotle, in his oft-quoted wisdom once said that “the whole is more than the sum of its parts.” This maxim holds true for many things: Arrested Development, the Wu-Tang Clan, lasagna. The adage, however, proves elusive for Wanderlust. Despite its comedic muscle—a director (David Wain) with a sketch comedy background, a producer (Judd Apatow) with a penchant for raunchy, gut-busting humor and a cast that is so damn likeable you could rename them all Anderson Cooper—Wanderlust comes alive only in a few brief moments, creating a lackluster film unworthy of the talent behind it. The movie follows George (Paul Rudd) and Linda (Jennifer Aniston), a Manhattan couple forced to relocate after George is downsized from his job. On the way to Atlanta to stay with George’s brother, the couple discovers Elysium, a hippie commune that also functions as a bed and breakfast. The commune is full of bearded, tie-dyed free spirits that seem lifted from our collective imagination: Eva (Malin Akerman), the beautiful blonde who advocates free love; Seth (Justin Theroux), the scraggly hunk full of granola platitudes; and Carvin (Alan Alda), the commune patriarch who is either on the verge of senility or just really stoned. The couple leaves Elysium the next day, but after a brief, nightmarish stay with George’s brother, decides to return. Giving Elysium a twoweek trial run, George and Linda will then decide if they want to permanently abandon their chaotic lives in favor of a community that doesn’t believe in doors, or discarding placentas.

Recess: There are a lot of films nowadays about extraordinary parties—Superbad and The Hangover come to mind. What makes Project X different? JDB: The movie stands on the chemistry between the three of us. And then the party becomes a beast—its own organism. TM: The movie also has its own very distinct style. Director Nima Nourizada—famous from Nike commercials and music videos—gives it a very music video-style feel that’s never been presented in this format. It works perfectly for a party. It really captures the raw aspects of a party. At one point, there’s this girl peeing in the driveway—that’s the real stuff you have to deal with at parties. OC: Project X isn’t like Superbad at all. I mean, there’s always buddy comedies. But Project X grounds its ridiculousness. It’s not cliché. The three of us behave the way real people would behave, in really weird situations. R: The three of you were selected from an extensive, na-

tionwide audition. What was that experience like? JDB: It was crazy and brutal, but it was extremely rewarding. There were nine auditions—which is really long for this sort of thing. The whole time, I’m thinking I’m probably going to work at Walmart until I die. And then when it worked out…it was an unique experience, kind of like getting into a first-choice college. TM: They were trying to find the best chemistry between all of us reading. One day it was just the three of us, and we were like, “Is this it?” The next day they told us, and it felt like a weight was lifted. R: What was your favorite moment on the set? TM: It’s hard to pick. It was a party environment on the set for five weeks straight. But if I had to choose—the first time after the cops leave, and all the partygoers are corralled, and I raise my hand and say, “To the break of dawn!” The energy on the set right then was unreal. JDB: My favorite parts were when we filmed the montages. They would tell us, “Go have fun!” and we’d run around doing whatever. Sometimes we didn’t even know where the camera was. R: Why should Duke students see the movie? OC: This is a one-of-a-kind film. The marketing does not really make it seem original. But, the way it’s directed, the awesome soundtrack—it’s an experience. And then it’s just a really fun movie. It’s funny. There are plenty of explosions. There’s lots of nudity. TM: There are some good looking dudes, too.

Instead of a film that takes full advantage of the cast’s comedic timing, Wanderlust forces characters into their dialogue, which is uncomfortable for both the actor and the audience. There is one moment, however, that feels completely natural and is, in turn, absolutely hilarious—George is trying to convince himself to sleep with Eva as a part of the commune’s free love philosophy, and while practicing his dirty-talk in the mirror, he somehow devolves into what sounds like Will Ferrell’s impersonation of Harry Caray, complete with cringe-worthy facial expressions. But again, Paul Rudd is only a part of the whole. It would be satisfying, and not without precedent, to blame the film’s tedium on Jennifer Aniston, who at this point is so actively trying to present herself as one-note that I barely have the energy to defend her. But she isn’t the problem. In fact, no one person seems to be at fault. Wain, who previously directed Role Models and the cult hit Wet Hot American Summer, has proven that he can guide a comedy to success; similarly, Apatow has single-handedly catapulted the careers of comedic actors under his direction, Paul Rudd included. The biggest flaw, then, can be attributed to the whole—the idea that having an urban couple transported to an unfamiliar surrounding full of off-beat characters would be enough to power the movie. The interactions between polar opposites are amusing, but overall, the movie runs like an over-extended joke, certainly not enough to sustain 100 minutes of plot. Somehow the mash-up of so many funny forces cancels each other out. Wanderlust would benefit from taking the advice of another Jennifer Aniston movie: break up. —Katie Zaborsky

pina

DIR. WIM WENDERS NEUE ROAD MOVIES

Over the weekend, I voluntarily neglected the roughly Siberia-sized number of obligations I had for this week and chose to watch the Oscars. I produced only a handful of genuine, if trite, reflections: I like Jessica Chastain’s dress; Meryl Streep and Christopher Plummer are total dreamboats; I should stop pretending I don’t like Woody Allen, etc. One moment, however, led me to a level of excitement and anxiety similar to when I stopped caring about all the plotlines on Downton Abbey except for those involving Sybil and Branson. Pina, an unexpected, gorgeous, quirky art film/documentary about the German choreographer Pina Bausch, was pitted against, among others, the documentary with a suspiciouslyfamiliar-uplifting-sports-team-narrative called, prosaically, Undefeated. And Pina lost. I haven’t seen Undefeated, nor do I want to reduce this into a diatribe positioning the arts against athletics (mostly because it’s an argument I don’t really believe in). After viewing Pina twice (once in 2D and later in 3D) I simply want to make the case that this film— which I fear much of the population may write off because it has to do with That One Art Form That Scares Almost Everybody, Dance—is relevant, necessary and, perhaps most importantly for cinematic audiences and culture-fiends alike, entertaining. Wim Wenders, the German film di-

rector known for films like Paris, Texas and Buena Vista Social Club, began the documentary project in 2009 but cancelled production after Bausch died at 68, five days after receiving a cancer diagnosis. Her dancers—who compose the Tanztheater Wuppertal, Bausch’s company grounded in dance-theater works informed by German expressionism and surrealism—convinced Wenders to finish the film as an elegy to Bausch. More than a reflective exploration of some of Bausch’s most well-known works, Pina is an evocative testament to the idea of documenting dance and movement—practices that are, at their core, ephemeral. It seems eerie though somewhat fitting that Merce Cunningham, another dance stalwart and cultural innovator, passed away almost a month after Bausch, initiating controversy over his Legacy Plan to disband his company but preserve his archives. Wenders’ film, which alternates between footage of Bausch’s dancers in interview format and in her pieces (staged both inside a typical theater and outdoors around Wuppertal, Germany), engages the viewer in what feels like a living, breathing tribute to the creative potential of Bausch’s works. I admired Wenders’ commitment to showing long excerpts of the pieces rather than packing in an overabundance of flashy snapshots to appease the short attention span of 21st century viewers. Such a fragmented rendering would forego the sense of narrative and trajectory that Bausch’s pieces evoke. Wenders instead lets us mull around in the dirt-covered stage of The Rite of Spring, Bausch’s hos-

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tile interpretation of Igor Stravinsky and Sergei Diaghilev’s 1913 ballet collaboration, or Cafe Muller, an unsettling drama in an empty cafe in which women plod around, eyes closed, in white dresses while men manipulate the chairs, tables and eventually the women’s bodies in a series of frustrated, seemingly pointless embraces. Gender is a key element in Bausch’s performative investigations of ritual and social behavior, though her statement isn’t so easy to tease out. In all of the pieces Wenders features, female dancers are clothed in evening gowns and male dancers in suits or business-casual attire. In a departure from the rest of their appearance, though, the women frequently abstain from wearing makeup and leave their hair loose, dominating the space with a femininity that, while powerful, is undefinable at best. The men, often sans-formal footwear, utilize stoic facial expressions to suggest both hyper-masculinity and bewildered impotence. Even the film’s lighter moments hint at more serious undertones: one older male dancer dons an elaborate white tutu while repeatedly collapsing atop a moving trolley in an underground, graffitied tunnel; a figure in exaggerated cardboard bunny ears riding public transport is un-

gone

DIR. HEITOR DHALIA LAKESHORE ENTERTAINMENT

SPECIAL TO THE CHRONICLE

If there is one thing Amanda Seyfried is good at, it’s looking nervous and swishing her blonde hair back and forth. She perfected the skill in Jennifer’s Body, Red Riding Hood and Chloe; Gone serves as the latest vehicle for her wide-eyed charm. Seyfried plays Jill, an emotional young woman who is convinced that her sister Molly (Emily Wickersham) has been kidnapped by the same man who abducted Jill herself two years ago. We quickly learn that she’s a little crazy, and begin to question the truth in her accusations. The police see her as the girl who cried wolf, and refuse to take on her sister’s case. So, she does what anybody would do—she decides to take on the task of finding her sister by herself, equipped with a gun. Rather than devoting resources toward a missing persons investigation, the entire police force of Portland, Oregon foregoes any attempt to rescue Jill’s sister in favor of trying to catch Jill herself instead. The whole thing quickly devolves into an elongated chase scene that involves a lot of bad

fazed when a woman enters, making Transformers-esque noises while beating a pillow, her hair shrouding her face. In the interviews with the dancers, who interestingly sit speechless while their words are played over their tableaus, statements are thrown around that praise Bausch’s artistry and ability to, through performance, elevate the idea of being human through an incisive adaptation of the everyday. Between these dialogic inserts and the film’s resplendent cinematography, Pina expertly mixes similar ideas of truth and fiction, spontaneity and prescription, the casual and the decadent. Many critics have praised Wenders’ use of 3D, citing Pina as the first satisfying 3D movie that uses the medium to the material’s advantage. I agree: the effect emphasizes the phantasmagorical effect of some of Bausch’s pieces, while at other times makes us feel like insiders who can almost touch the wavering stage curtain in front of us. And this, in my view, is Pina’s greatest achievement: it is a film that takes a potentially unfamiliar subject, fleshes it out truthfully and provocatively and encourages viewers to ascend to a different, higher level of artistic engagement. —Michaela Dwyer

driving and Seyfried angrily hanging up on the police on her iPhone—there’s a Portland joke to be made here, but we’ll leave it to Fred Armisen. Gone’s premise is fine—hardly revolutionary, but not a handicap, either. The script, though, is what holds it back. The conversation is stilted at best: something like ten different red herrings fail to develop, a good-cop love interest never pans out. Past that, about 90% of the movie is spent watching Seyfried look worried in her car or concluding that someone must be a kidnapper on the basis of a purchase of duct tape. The frequent car chases are boring and unconvincing, and Seyfried is repeatedly able to escape because a random stranger gives her his keys. The last half hour of the movie, which consists of Seyfried driving through a creepy forest far away from any hint of civilization, is laughable. And after all that, the climax is generic and predictable. Gone delivers exactly what its trailer promises: dark, creepy chase scenes and a lot of Amanda Seyfried. Unfortunately, there isn’t a whole lot in between. —Phoebe Long

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m l i f n i . . . k e e w s i Th Recess Interviews: Project X stars Brown, Mann, Cooper by Dan Fishman THE CHRONICLE

SPECIAL TO THE CHRONICLE

wanderlust

DIR. DAVID WAIN APATOW PRODUCTIONS

pina

DIR. WIM WENDERS NEUE ROAD MOVIES

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DIR. HEITOR DHALIA LAKESHORE ENTERTAINMENT

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March 1, 2012

East Duke hosts MFA exhibit LUCY DICKS-MIREAUX/THE CHRONICLE

by Holly Hilliard THE CHRONICLE

If you’ve been wondering what Duke’s MFA students have been up to all year, now is your chance to find out. Occupations, the inaugural exhibition by students in the new Masters of Fine Arts in Experimental and Documentary Arts program, is now on display in Corridor Gallery of the East Duke building. Inspired by the various Occupy movements that have swept the country, the students came up with their own interpretations of “occupation,” resulting in a group of pieces diverse in subject and medium. From silent video montages of political turmoil to vibrant still shots of everyday objects, the exhibition provides a unique look into what the experimental and documentary arts really are.

The corridor of the East Duke building, however, is dark, cavernous and dismal; in short, not the best place for an art exhibition. This proves true with Occupations: the tall ceilings and the poorly lit hall space neither emphasize nor enhance the art. In fact, there’s a good chance you’ve been in the building recently and never noticed the exhibition was there. The art manages to shrink into the spaces between offices and classrooms, taking on the role of decorative wallpaper. For this, I don’t blame the art, but the venue. Though Occupations is small (it doesn’t take more than 20 minutes to see every piece), it isn’t insignificant. Each piece, whether a moving image or photograph, contributes to the cohesive whole of the exhibit, reflecting the students’ societal concerns as well as their individual artistic viewpoints and styles. The art deserves your attention, and it works hard to get it, especially the pieces that flash across giant flat screens with unflagging energy. And yet, even as I walked around the exhibition, students wandering into the building between classes stared at me as if I were

Review: Playmakers’ Henry V by Brian Contratto THE CHRONICLE

A quick audience scan at PlayMakers Repertory Company’s Tuesday night rendition of Henry V: largely polarized between the 50-plus and college-aged crowds. The senior audience is equipped with superior Shakespeare comprehension and alacrity to respond to the brain whorl of historicism, sexual double entendres and severe rhetorical wit. The younger audience brought notebooks or dates—indications of ulterior, not-purely-dramaturgical motives—and expressions of transfixion and puzzlement. This is how live Shakespeare operates in 2012: as some sort of evolutionary victory over short attention spans. A woman next to me followed along with the play on a SparkNotes page pulled up on her iPad, which struck me as a novel idea, despite the pre-show announcement of electronic prohibition. Anyhow, it’s pleasant to imagine that the over-the-hill attendees were once (advertently or not) captivated by Shakespeare in a similar fashion. It’s not as if his theater and especially his language were contemporary to anyone living. But in the spirit of the contemporary, a logical touchstone for co-directors Joseph Haj and Mike Donahue’s Henry IV and

V is the Lord of the Rings trilogy, and in this final installment, its relation to The Return of the King. Mind you, Shakespeare’s historical epics are much more related to actual historical events, both works pack in an incredible amount of immediately classic action and speech. Shawn Fagan as King Henry is even Aragorn-esque is his kingly depiction—one can mistake a knack for speaking with constant monologic bravado for intense physical attractiveness. Naturally, Fagan as is the vessel for most of the melodrama, including the St. Crispin’s Day speech, famous for its moving homosocial militancy (“We few, we happy few, we band of brothers”). Still, Shakespeare’s transformation of the reckless Prince Hal in Henry IV to the regal King Henry of Henry V yields diminishing returns in Fagan’s unerring heroism (astute inquisitions of aspiring traitors, courageous summonings to arms). Fortunately, supporting characters like Falstaff (played wryly by Michael Winters, formerly of Gilmore Girls) shift the dramatic load to cleverer, more consistently amusing roles. As the French princess pursued by the young king, Katherine Didion is fantastic. In a most hilarious scene, she ascends to the stage in a bubble bath and is tutored in the English words

doing something wrong. Some of them even did double takes, as though they had never seen artwork here before. As I examined “Commuter Portraits”—a series of photographs taken with a cell phone on the D.C. metro—I realized how ironic it is that Occupations fades into its surroundings at first glance. Many of the pieces in the exhibit focus on things that often go unseen: the commuters on a train, the clutter on a desktop, the graffiti on a city wall and the faceless protestors at a Charlotte, N.C. courthouse. To create this artwork, the students had to take the time to stop and observe their surroundings, to see beauty in the most ordinary of places. And that is what Occupations requires. The art is there for us to admire, if only the Corridor Gallery made us want to stop and appreciate it. Occupations runs through Mar. 15 in the Corridor Gallery in the East Duke Building. for various body parts, until she arrives at Shakespeare’s favorite synonym for vagina. Mark Lewis’ live score, which provides more of a dramatic luster than bona fide soundtrack, and wowing tech details, including simulated rainfall and an elevator stage platform, add pizzazz unknown to 17th century audiences. For the uninitiated, these performances may side more on spectacle than true engagement, but fortunately the mix of seasoned Anglophiles and newcomers that sold out Tuesday’s show give PlayMakers due cause to run a three-part, six hour play that attracts enthusiasm and not just deference. PlayMakers Repertory Company will present Henry V at the Paul Green Theatre at the University of North Carolina at Chapel Hill Thursday through Saturday at 7:30 p.m. and Sunday at 2 p.m. Visit www.playmakersrep.org for ticketing information.

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Affirm affirmative action The Supreme Court has There are at least two justifirecently agreed to hear a case cations for the consideration of that may result in the overturn race in the college admissions of affirmative action policies process: justice and diversity. in college admissions. The Proponents of the justice arnew case, Fisher v. University gument claim that affirmative of Texas, has a action policies editorial number of idioare legitimate syncratic details because they that may weaken the scope of help to correct for the past opthe Court’s final decision, but pression of minority groups. it is nonetheless the first af- While the intent to calibrate firmative action case that the for systemic inequities in the Court has heard since Grutter college admissions process v. Bollinger in 2003—which al- has substantial ethical justilowed for but did not require fication, race is not the best that colleges take race into criteria to use in practice. One account when making admis- reason is that, in any given sosions decisions. ciety, the relative social statuses In light of the Fisher case, of different races change over we should consider not only time. The better indicator is possible justifications for af- socioeconomic status, which is firmative action, but also how not well captured by race. The these justifications must shape justice argument gives us reaits eventual practice. son to pay special attention to

“

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LETTERS POLICY The Chronicle welcomes submissions in the form of letters to the editor or guest columns. Submissions must include the author’s name, signature, department or class, and for purposes of identification, phone number and local address. Letters should not exceed 325 words; contact the editorial department for information regarding guest columns. The Chronicle will not publish anonymous or form letters or letters that are promotional in nature. The Chronicle reserves the right to edit letters and guest columns for length, clarity and style and the right to withhold letters based on the discretion of the editorial page editor.

socioeconomic status, but not race, in admissions. The Asian-American case shows the short comings of the justice argument. AsianAmericans have been subject to discrimination and social inequities many times throughout this country’s history. Yet, in past years, Asian-American students—with SAT scores higher than any other racial group, including whites—have been disproportionately successful in gaining admission to elite private universities. In fact, many critics now believe that reverse discrimination against Asian-Americans is now common practice. Asian-Americans should not face discrimination in admissions, but justice is no reason to favor an already well represented group. The justice argument can-

not get race into admissions. But another justification—and, we believe, a sufficient one— is the diversity argument. In Grutter v. Bollinger, the Court cited diversity as a source of lively classroom discussion and cross-cultural inquiry and relations—a sufficient justification for affirmative action. Though valid in principle, this line of reasoning warrants scrutiny. Broad racial identifications—like “White” or “Asian”—are a weak proxy for diversity. Race is a useful proxy for diversity only insomuch as it reflects one’s links to cultural practices and traditions or plays an important role in one’s identity. To that end, the handful of race-identifying boxes on the Common Application is hardly adequate. How, then, should uni-

versities—and, in particular, Duke—tailor their admissions processes to maximize both justice and diversity in a sensible way? This is clearly a difficult question; were it not, the Supreme Court wouldn’t have heard two cases on the topic in the last decade. One option, which may be most sensible for small or medium sized private institutions like Duke, is to allow for—or make mandatory—additional application supplements that focus on the uniqueness of applicants’ backgrounds. While this is a topic fraught with difficult questions, one thing is clear—universities should strive for justice and diversity when admitting students in ways that go beyond the boxes checked on the Common Application.

You’re a feminist, aren’t you?

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t was late Friday night, on a lonely eastbound feminists.” At this point, the girl he’d been hitC-2 that I would ride all the way to West, be- ting on asked him what was wrong with a woman cause I didn’t want to make my gallant male standing up for her rights; I knew I had won, and friend wait with me at the cold bus didn’t give it much more thought. stop any longer than he had to, alBut there was something left that though I appreciated the gesture. bothered me; I’ve just now begun The bus was quiet; a freshman to define it. couple curled up together across If I weren’t drunk at the time, the aisle, refugees, like me, from a I probably would have felt bad for Christmas party. The girl’s reindeer the kid. I mean, I did just ruin his earrings jangled when we hit a potchance, however slim, of getting hole on Oregon. Further down the any. But the word choice of his conmia lehrer bus, a gangly freshdude loomed over descension made it difficult to be but actually a first-year girl, spouting pseudoinsympathetic. tellectual bullcrap about Duke’s Let’s start with his assumption “culture” and how even though everyone ostensi- about my major. It’s true, I’m kind of little, and bly started out on an “equal footing,” some people in certain lights, I can pass for pretty (don’t worhad more “natural ability,” blah di blah; I read Ayn ry; I’m not letting it go to my head). This immeRand in high school, too, broski. It was when he diately set off two “dings” in his Duke Culture started prodding the girl to “prove, for example, Understanding Matrix: Pretty girl spotted. No that pi equals negative one”—presumably as a way intellectual threat. Has what I consider a bullto prove his own superior intellect—that I started crap major. Does not deserve to giggle. Lesson giggling. I admit, folks, I was a little in my cups at time. this point. He was trying to engage in the same faux-intelWhat happened next would make me a lit- lectual bullying with which he was intimidating his tle ashamed of myself until weeks later, when I female friend. When that backfired, he defended started thinking of the way he chose to insult himself with the only insult he had left: pretty girl me. See, freshdude was displeased. I guess he is smart. Pretty girl humiliated me. Pretty girl is, le was getting his mack on better than he appeared gasp, a feminist. to be (poor girl looked terrified), and he didn’t Why is this an insult? I understand that the appreciate me giggling at the thick, creamy load word “feminist” carries all kinds of connotations of wisdom he was laying on this chick. Total promoted not by the people who practice it themmood killer. So, bless him, he got up, planted selves, but by the people who want to undermine himself across from me and challenged me to a it. By citing a loud minority, it’s easy to make it battle of wits. look ridiculous. We see the same thing happen “What’s so funny?” “Sorry. This conversation is on political scales. Being a Republican doesn’t just kind of adorably freshman.” “Oh yeah? I know mean being an evolution-denying racist. Being a what you are.” I was intrigued. It occurred to me, Democrat doesn’t mean being a drugged-up combriefly, that he was a fan—this was the week I had munist. And being a feminist doesn’t mean burn“come out” as Monday, Monday and I was finding ing my bras, castrating men and never shaving my all kinds of new friends in strange places. “You’re legs again. It means believing that women deserve a sociology major.” Or not. “Cultural anthropol- the right to be pretty and smart at the same time. ogy, then.” No, science. Sorry. I play with biiiiiiig Or just plain smart—a guy’s looks don’t affect his microscopes. intellect. Why should mine? It means women deChallenge accepted, apparently. “I did re- serve to have opinions without being harpies or search, too, you know.” Oh, did you. “Carcinoma, b******. It means I don’t have to show you my tits you know what that is? I know you don’t. I’ll tell or GTFO. you. It’s cancer. Cancer that will f— you.” He was No one should be afraid to call him/herself right. I had never heard this definition of carci- a feminist. If you’re intimidated by the connotanoma before. Scientist fail. Of course, I had to tell tions, that’s fine. Just say you believe in equality of him what I knew would never f— him: girls. the sexes. (You do, right?) But don’t contribute to I’ll admit, I felt like a butthead at this point, making it shameful. And don’t try to insult me by especially when the sleepy freshcouple high-fived calling me a feminist. You’re just going to make me. He looked as though I’d slapped him. But he me proud. wasn’t going to give in just yet. So he mustered up what seemed at the time like a charming non-seMia Lehrer is a Trinity senior. Her column runs evquitur: “You’re a feminist, aren’t you?” Yes. “I hate ery other Thursday.

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Ars gratia Palestine

never thought I’d be doing art criticism in one of my columns. Recent controversy surrounding advertisements for Israeli Apartheid Week, organized by Duke Students for Justice in Palestine (DSJP) (of which, I’m a member), however, has made me one lucky humanities student. When I first saw the poster, its representations and implications were abundantly clear. I saw a Palestinian woman disappointedly, but calmly plucking an Israeli soldier from a tank. Her black skirt is stylahmad jitan ized to include the outlines of many indecent family man faces, representing the collective power of nonviolent resistance to a brutal military occupation. The woman dwarfs the soldier and even the tank, a testament to her true power in the face of military aggression. Structural and systematic forms of oppression and discrimination, represented by Israel’s separation wall in the backdrop, loom large but we are given the hope that they, too, will be overcome. The red and black of the woman’s dress easily identify it as the traditional Palestinian thawb. Once a costume associated with Palestinian peasants and Bedouins, the thawb has become a representation of cultural heritage and an assertion of national identity. The presence of a tank is closely associated with disproportionate force of the Israeli military power. The wall and the tile “Israeli Apartheid Week” give the images their immediate context. The very presence of the woman is a cue to women’s increasing role in the public sphere of Palestinian society, especially in nonviolent resistance. For instance in Budrus, Palestinians and Israeli activists made the conscious decision to collectively and nonviolently resist to prevent the separation wall running right through their village. Of course I didn’t expect everyone to make all of those associations upon a single glance, but I was surprised just how many of the cues were missed and how varied the interpretations of the art were. I was hurt that my fellow students, instead of assuming there was a misunderstanding and seeking clarification, would rather assume that a group was anti-Semitic. More than anything, the responses indicate that I had underestimated the need for Israeli Apartheid Week on Duke’s campus. I had underestimated just how under-informed the general population was about Palestine/Israel. I also underestimated the power of art, in this case political art (or protest art or propaganda or agitprop), to elicit strong responses and to give insights into humanity. The reaction to the art speaks to sentiments already present in our society. Consider how quickly the conversation turned from the question of Israel as an apartheid state to the representation of a woman on a poster. Now consider the suffering of women in political conflicts all across the globe, how quickly a conflict over ownership of land becomes a competition over ownership of women’s bodies. The offense came long before any flyer was posted. In gaining recognition for DSJP, some Duke Student Government senators took offense to the word “Palestine” in the title of the group. For some, the very existence of the Palestinian people and the possibility of legitimate political representation of those people is offensive, threatening or, at the very least, uncomfortable. Education is a very strong political force. In fact, one of the reasons art is such a powerful political tool is its ability to teach us, especially in the conversations and investigations it inspires. Our schooling is one of our most intimate political experiences. Our time at Duke is largely defined by the space we share, the people we share it with and the information we pass along. Disruptions of the regular order, through protest or through art, force us to become aware of our own place in the scheme of things. A poster or a film or a poem can make us acutely aware of the suffering of the Palestinian people: the displacement, the intimidation, the demolition of homes, the lack of free movement, the second class citizenship—all going on for more than half a century. “The first mistake,” a friend of mine told me in discussing the controversy this week “is that someone thought putting art on a flyer was a good idea.” If all that arose from this week was misunderstanding and pain, I might have agreed. But what we also gained from this week was a reassessment of our own existence in relation to others’ suffering. Sometimes that happens in a lecture, and sometimes it happens as a result of art. The truth is the two aren’t as far apart as we may think they are. One thing I am sure of is that I won’t stop singing freedom songs anytime soon. A Palestinian folk song says it better than I ever could, “The bird cries when it is thrown out of its nest so how is the homeland that has its own people?” Ahmad Jitan is a Trinity junior. His column runs every other Thursday. Follow Ahmad on Twitter @AhmadJitan

THURSDAY, MARCH 1, 2012 | 13

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travis smith it’s all in the game

Online only today: “Wasted breath” Read @ www.dukechronicle.com

Defining apartheid

preface this essay by acknowledging that I am quench my emotional discord by contradicting facts biased. How can I not be? I was raised in a Jew- with facts, statements with statements. I am defendish household with Israeli parents, Israeli grand- ing my parents and my honor, I think to myself. I parents, Israeli aunts, uncles, cousins, am repaying the debt I owe them for friends and even my sister, who lived my upbringing, vindicating myself by benjamin in Israel for a year. My upbringing proving someone wrong. I have sucmaimon included multiple lessons about how ceeded, I tell them. I stayed true to my guest column dangerous Palestinians are, how Yasir honor. Arafat was a terrorist, the magnitude of But I don’t. I don’t say one word. the atrocities committed against the Jewish people, I don’t quote a single speech nor reference a single the Israeli people, our people. I know of all the wars, document. What will it accomplish but further inhave heard Netanyahu speak, have spent hours dis- crease tensions in a subject already too full of them? I cussing political tactics, weeks personally in training see the apartheid poster plastered on my non-Palestinwith the Israeli military. I was about 15 when my fa- ian, non-Israeli neighbor’s door and I think to myself: ther hung up the phone to tell us all that his high If only she knew how this word affected me, maybe school in Beer Sheva was just bombed with a missile she would not be so quick to advertise the event. That from Gaza. I was 19 when I learned my cousin barely now my proverbial homeland is seen as a governescaped death defusing a bomb planted by Hezbollah ment equated to a crime against humanity. And I am in a Lebanese school. I am emotionally attached to a supposed to be at peace with that? Perhaps I should country that breathes war but how can I not be given scream out against it. Right here in the middle of the my upbringing? Any of you would be the same. Kilgo hallway. Right now! Or even more satisfying, rip To say that Israel is an apartheid state unnerves down the poster with one satisfying tear. Straight down me emotionally. I am not one to consider a coun- the green line. Or more likely, silently resent myself try I oft considered my “second home” equivalent to for saying nothing about that damn poster, instead the magnitude of the oppression I associate with the wishing, pleading that these events never happened word. Apartheid. The word itself invokes imagery of in the first place. And realizing there was never any steel bars cemented high in cracked concrete just be- need to take the three hours out of my exam-packed yond which lies a land of acrid discordant “justice” week to write this essay anyway. and within which lays a restless soul. This cannot be But I did. I needed to let someone know that this my home, I say to myself. I could not fathom living means more to me than a word on a wall. That this in such a space. word is a symbol of a government I knew not. That In a manner similar to the psychological principle when associating my home with apartheid, you are asof cognitive dissonance, I find my emotions are al- sociating my past with immorality and my future with ready encouraging me to find refuting facts to the ambiguity. That this is not a casual word used for a students who initiated the Israeli Apartheid Week conversational advertisement. This is a serious word, programs at Duke. You are all misguided, I want to an intentional word, one that provokes a gut-wrenchscream, you are all wrong. My instinct leads me to ing emotional detachment among those of us who ctrl+t my 20-tab browser and type fervently. I search: were raised to associate Israel with home. I therefore apartheid, Jewish state, haredi, history of Jewish pop- encourage you to think twice when advertising your ulations, Balfour declaration, Noam Chomsky, Nel- event through “eviction” notices and apartheid decson Mandela. I attempt to minimize my “emotional larations that only serve to increase tensions between dissonance,” shaping my thoughts to match my child- friends. And knowing that a word on a wall between hood attachment to the idea of a Jewish state. Then neighbors can sometimes hurt just as much as a wall I move to act on those thoughts. I begin to draft constructed between neighbors from a word. Facebook responses. I bring up numbers, dates, letters, stories, histories, speeches. I feel a deep need to Benjamin Maimon, Pratt ’12

lettertotheeditor We, the Duke Students for Justice in Palestine (DSJP), are extremely concerned with Tuesday’s editorial “No student funds for ignorant rhetoric.” The Chronicle Editorial Board misinterpreted our poster without any framework of factual basis and uses this interpretation to question our motivations and intentions for holding Israeli Apartheid Week (IAW). We also note with concern that not a single member of DSJP was contacted regarding the editorial prior to its publication. This calls into question the journalistic practices of the board. The chief effect of The Chronicle editorial has been to derail productive and insightful discussion. The goals of IAW include raising awareness and fostering a discussion on Duke’s campus regarding Israel’s discriminatory policies toward Palestinians. To accuse or imply that DSJP or its members are in any way anti-Semitic or that they would fail to recognize anti-Semitism is not only insulting, but highly inflammatory and dangerous. Programming and advertising this week have highlighted opinions held by both Israelis and Palestinians that are rarely represented in the U.S. media and on our campus.

Accusations or insinuations of the nature made by the 12-member Chronicle Editorial Board have no place in an educated discourse on this issue. While anti-Semitism should be combatted at every level, false accusations of anti-Semitism have long been used to intimidate and stifle pro-Palestinian voices. Such rhetoric is used to distract from the facts and issues. Creating an environment in which students are afraid to express political opinions due to the potential of being labeled racist is antithetical to the ideals of free speech and a free press. DSJP is committed to a just and lasting peaceful solution to the Palestinian-Israeli conflict and moving past ignorant rhetoric on both sides is the first step. We recognize that Palestine/Israel is a heated issue for many, but we encourage and invite members of the Duke community to participate in civil and respectful discussion that we are aiming to promote. Ahmed Alshareef, Pratt ’14 President, DSJP

14 | THURSDAY, MARCH 1, 2012

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WOMEN’S BASKETBALL POSTSEASON PREVIEW the chronicle march 1, 2012

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Womenâ&#x20AC;&#x2122;s Basketball Postseason Preview

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Table of contents Andrew Beaton and Steven Slywka debate Dukeâ&#x20AC;&#x2122;s chances of advancing to the Final Four

With only eight scholarship players, Duke adjusts for a small postseason rotation

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Tricia Liston expands her game inside the 3-point line

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Can the Blue Devils reach the Final Four? Fifth season is McCallie’s time to shine

Depth issues too much to overcome in March

When Joanne P. McCallie replaced then-AP coach of the year Gail Goestenkors in 2007, it did not take long for the new head coach to revamp the culture around Duke women’s basketball. In her first season on the job, the program sold more than 1,100 season tickets compared to the previous year. Her immediate efforts to interact with the Duke community—both fans and colleagues— have characterized the transition Blue Devil fans Andrew have experienced from Coach G to Coach P. But, in her 15 years at Duke, Goestenkors regularly did something that McCallie has yet to do in her time with the program—go to the Final Four. Goestenkors took the Blue Devils to four Final Fours, making it to the national championship game twice. This will be the year McCallie changes all of that. Get ready Blue Devil fans—this year’s team is heading to Denver. She may play down

It’s been ten years since the Blue Devils reached the Final Four behind the rallying cry “Eight is Enough.” That 2001-02 team lost two players to December transfers, leaving the team with just eight players heading into the conference season. Yet behind All-American Alana Beard, that team still managed to reach the Final Four. This year’s Blue Devils are faced with the same predicament, as injuries to Amber Henson and Richa Jackson, Steven along with the suspension of Chloe Wells, have left the team with just eight scholarship players. Unfortunately the similarities end there, and inevitably, so will the outcome. There are simply too many factors working against Duke for the team to replicate the 2002 trip to the Final Four. Whereas the 2001-02 team had most of the season to adapt to a new rotation and proceeded to rip off 22 straight wins, this year’s team lacks that luxury. The Blue Devils first lost Wells and Henson in January, and just two weeks ago saw Jackson go down with a torn ACL. In the three games since, Duke has struggled to adjust. The Blue Devils lost their first game sans Jackson

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the notion, but a coach’s fifth year is a big deal. It is the first year when a former coach’s footprint is completely gone. The players on this year’s team are all McCallie’s recruits, and they are good. Final Four good. And they will be for this year, next year and the year after. Why? McCallie has recruited Chelsea Gray and Elizabeth Williams, a pair of underclassmen who are already one of the best guard-post combos around, and they are only getting better. After Gray spent her freshman season dealing with an ankle injury that regularly held her out of practice and limited her minutes, she has shown in her sophomore year how efficiently she can run the point. Even before Gray played a college game, she earned high praise from her head coach, who said the thenNo. 4 recruit in the nation is a “Magic Johnson-type passer.” In ACC play, Gray is averaging 12.1 points, and her 6.3 assists per game lead the conference by 1.4. Like Johnson, she is a deft rebounder for a ballhandler, averaging 4.9 boards per regular season contest, the third most on the team. McCallie previously coached at Johnson’s alma mater, Michigan State, where she took the Spartans to a national

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to Maryland, their first ACC loss this season. Next, Miami nearly defeated Duke at Cameron Indoor Stadium, when with less than five minutes remaining, the Hurricanes cut a 14-point lead down to just three. Finally, last Sunday, against the same North Carolina squad Duke had beaten by 40 with Jackson a month ago, the Blue Devils barely edged out a victory after blowing a 17-point lead. Additionally Duke’s rotation isn’t even eight players strong. While the 2002 squad had all eight players averaging at least 17 minutes a game, this year’s team essentially can go only seven deep. Little-used freshman Ka’lia Johnson has only played seven total minutes following Jackson’s injury. Come postseason play, who is head coach Joanne P. McCallie supposed to turn to when Duke finds itself in foul

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POSTSEASON PREVIEW THE TEAM

Will eight be enough to succeed in the playoffs? The Blue Devils enter the postseason with just eight scholarship players on the active roster by Brady Buck THE CHRONICLE

At the beginning of the 2011-12 season, Duke head coach Joanne P. McCallie’s last concern was her team’s depth. Against then-No. 13 Purdue Dec. 1, all nine of Duke’s players to see action scored. Since then, though, Duke has lost three major contributors. First, the Blue Devils lost freshman forward Amber Henson in early January, who chose to have surgery after being limited in games and practice by nagging knee problems. Shortly after, sophomore guard Chloe Wells was suspended from the team for the remainder of the year due to a violation of university policy. Most recently, Duke has lost sophomore forward Richa Jackson, who is out for the year after tearing her ACL against Virginia Tech Feb. 15. “I’ve never had a year like this in twenty years of coaching,” McCallie said. Without the three, the shorthanded Blue Devils still managed to finish the season 2-1 to win the ACC regular season

outright, with the lone loss coming at No. 6 Maryland. Unlike the regular season, though, tournament play allows for little rest time between games, meaning depth and fatigue issues will likely be one of the Blue Devils’ primary concerns. In Duke’s regular season finale at North Carolina, lack of depth almost cost the Blue Devils. Sophomore forward Haley Peters missed a substantial portion of the game after taking an elbow to the mouth. Consequently, the Blue Devils were forced to utilize a tight six-player rotation, which appeared to be a nonissue until midway through the second half when the team’s fatigue became apparent. By the time Peters returned to the court, Duke appeared to be a step slower, which helped the Tar Heels cut the Blue Devils’ 17-point lead down to just five in the closing minutes of the game. Heading into postseason play, the Duke coaching staff will likely make some minor schematic adjustments to help keep the team fresh.

“[Less full-court pressing] is possible,” McCallie said. “I don’t think there are a lot of changes, but there might be small ones, like the use of timeouts.” On the flip side, the loss of three players has also provided chances for new players to step up. “I think there is tremendous opportunity for growth on our team with the players that we have fulfilling their roles,” McCallie said. In Duke’s last two games, Allison Vernerey and Tricia Liston have averaged a combined 22 points to help fill the void. Similarly, Haley Peters, Elizabeth Williams and Chelsea Gray, who each earned All-ACC accolades, have elevated their games, collectively averaging 40.3 points per game over the final three regular season matchups. Ultimately, though, the same major concern exists for McCallie, regardless of how many players suit up— rebounding. SEE SHORTHANDED ON PAGE 10

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THURSDAY, MARCH 1, 2012 | 5

POSTSEASON PREVIEW THE SHARPSHOOTER

Liston emerges as more than a deep threat 42.3 percent from beyond the arc, the best percentage in the ACC and eighth best in With guard Tricia Liston, Duke enters the nation—though she does not have the the ACC tournament with the conference’s requisite number of made 3-pointers to most accurate 3-point shooter. In her sec- qualify—Liston ranks in the top 15 in the ond year as a Blue Devil, however, Liston ACC in overall field-goal percentage and has developed into far more than just an averages 11.0 points per game. outside shooter, becoming Duke’s third “I worked on my conditioning, but highest scorer and a threat on both ends more to my skill set,” Liston said. “I worked of the court. on doing more off the bounce, like creatAs a freshman, Liston shot 38.9 percent ing for my teammates, but also creating my from beyond the arc. Moreover, she record- shot instead of just catching and shooting ed the fourth-highest season 3-point total from the outside. Now, I can one-dribble for a Blue Devil freshman, making 38. pull-up and get all the way to the basket After averaging just 5.5 points per and draw the foul.” game, Liston knew she would have to Although Liston’s high 3-point field goal elevate her ofpercentage has fensive game to earned her even “She’s a Larry Bird-type of fill the gap left tighter defensive by the departure along player. She can shoot it, she coverage of three of the the perimeter, the Blue Devils’ four can pass it, she can handle sophomore has top scorers going succeeded in beatit and she has great court into the 2011-12 ing her defenders campaign. in other ways. savvy.” “She made a “She’s pretty — head coach Joanne P. McCallie crafty,” McCallie commitment—a huge commitment said. “If you run to her conditionat [her], that’s ing and strength over the summer,” head a mistake. She’ll ball-fake and go by with coach Joanne P. McCallie said. “I think that the best of them, and she has more to her really has fortified her in a way that she game than just shooting three-balls. So you [has become] so diverse as a player now.” have to fully guard her, and I think she’s As a result of her offseason work, Li- taken full advantage of that.” ston has not only improved her long range Although listed as a guard, the 6-footshooting percentage but also has become 1 Liston has seen action at nearly every one of Duke’s top all-around scoring threats this season. In addition to shooting SEE LISTON ON PAGE 10 by Matt Pun THE CHRONICLE

TYLER SEUC AND CHELSEA PIERONI/THE CHRONICLE

Tricia Liston ranks in the ACC top 15 in field-goal percentage, while making 42.3 percent of her 3-pointers.

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Now healthy, Gray raises her game to the next level by Daniel Carp THE CHRONICLE

Numbers can only tell so much about a player. It does not take more than a glance at an ordinary box score to tell that Chelsea Gray is an important member of her team. As the Blue Devils’ second-leading scorer with 11.6 points per game and the ACC’s leader in assists at 6.2 per game, her contributions on the court are significant, but what does not show up on the stat sheet makes her one of the most valuable players in the country. For Gray her role on this team is simple. “My job is to make everyone else better,” she said. “As a point guard that’s what you’re supposed to do.” Gray, a sophomore from Stockton, Ca., has made significant strides since her arrival at Duke. After starting 18 games during her freshman season and posting 8.7 points and 2.5 assists per game, Gray had two assignments this offseason—to rehab from an ankle injury that hobbled her much of last year and to establish herself as Duke’s next great point guard. She accomplished them both. After extensive rehabilitation to strengthen her surgically repaired left ankle, Gray quickly noticed improvements in her game. “I just think I got into better shape. I’m able to play harder for a longer period of time,” Gray said. “That was a key point especially after my injury that I stressed over the summer.” With restored confidence, Gray was ready to take on the 2011-12 season, not only as her team’s starting point guard, but also as one of its more experienced players. This year’s team features just one junior and two seniors along with nine freshmen and sophomores. In a year when Duke has battled numerous injuries and two suspensions for off-court issues, Gray has stayed healthy and present all year, starting all 28 games this season. It is unmistakable that Duke plays with a different sort of energy when Gray is running the point. Her poise sets the tone for the Blue Devil offense when she steps foot on the court as the floor general for head coach Joanne P. McCallie’s team. “I think it just comes with playing and having a rhythm throughout the game,” Gray said. “My team is right there behind me in everything I do out there so feeding off the energy of my team gives me confidence.” Gray’s size makes her an atypical point guard. At 5-foot-11, she is one of the bigger point guards in the country, and the physical nature of her game makes her increasingly dangerous. She is not afraid to back her defenders down in the post or go up against larger players to grab rebounds. In the Blue Devils’ win over Pittsburgh on Dec. 4, Gray recorded the fourth triple-double in the history of Duke women’s basketball with 14 points, 11 rebounds and 13 assists. She also added six steals. Gray’s contributions on the defensive end nearly match what she brings to the Blue Devils on offense. She ranks in the top five in the conference, averaging 2.7 steals per game, but is adept at getting in opponents’ faces as a part of Duke’s full-court press. Her ability to put opponents in uncomfortable situations helps to force more turnovers than the ones she gets her hands on. With 13.1 steals per game, Duke ranks 6th in the nation. Great players step up in big games, and Gray has done just that for Duke this year. Her scoring, rebounding, and assists totals have all increased during ACC play. She has not shied away from marquee opponents either, notching 17 points and 11 assists in Duke’s win over No. 8 Maryland on Jan. 22 and adding 12 points and nine assists in the Blue Devils’ victory over No. 5 Miami SEE GRAY ON PAGE 9

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Women’s Basketball Postseason Preview

THURSDAY, MARCH 1, 2012 | 7

Williams draws on international experience by Mike Schreiner THE CHRONICLE

Freshman Elizabeth Williams was ordinary in her collegiate debut. She put up eight points, grabbed five rebounds and committed four turnovers. She played slightly over half the game, but still almost fouled out. Yet head coach Joanne P. McCallie left Provo, Utah confident she had an elite player on her hands. “She was doubled on the first possession of her career,” McCallie said. “I knew she’d [have an] impact—I didn’t even think about how. I simply knew.” Twenty-seven games after the opener against Brigham Young, Williams is an All-ACC first team selection. Her 14.4 points and 8.4 rebounds per game lead Duke, and her 3.6 blocks per game rank third in the nation. The Virginia Beach, Va. product ranks in the top 10 in the ACC in scoring, rebounding, shooting percentage and blocks, and was named ACC rookie of the year Tuesday after receiving conference rookie of the week honors a record-tying nine times. She was also voted ACC defensive player of the year, setting the ACC freshman record for blocks in a season with 102, including a conference-record 12 in a triple-double effort against Wake Forest. And, most importantly to the 6-foot-3 center, she and sophomore guard Chelsea Gray, a fellow ACC firstteamer, have led the Blue Devils to their first conference regular season title since McCallie’s arrival in 2007. Beyond her impressive accolades, the double and triple teams Williams draws open up opportunities for her teammates. Opposing coaches are forced to assign extra defenders to the center in order to limit her scoring around the rim. “Teams don’t know how to play us when [Williams] is on the floor,” sophomore guard Tricia Liston said. “If they double her, she’s going to find the open player and they’ll knock down those shots, and if they don’t double her, she’s pretty much going to beat anyone one-on-one.” Williams credits her time with USA basketball with preparing her for the collegiate level. A three-time youth gold medalist, Williams learned the difference between high school and Division I basketball after playing for college coaches on teams consisting almost entirely of NCAA athletes. “In high school basketball you can get away with slacking off plays or not playing defense,” Williams said, “but in college you can really get exploited.” A game-changer on the court, Williams is unassuming off it. While admittedly quiet, Williams leads the team in a prayer before each game and is the first to laugh in postgame press conferences. Having graduated from Princess Anne High School with a 4.19 GPA, she downplays her decision to follow a demanding pre-medicine track in her undergraduate studies, crediting mandatory study hours and flexible professors with helping her balance the demands of an elite basketball program with those of an elite university. Her family’s continued support has been integral to this transition. Her parents are able to attend almost every game, something she took into consideration when she chose Duke. Her nine-year-old brother, whom she calls her biggest fan, sports her sister’s No. 1 jersey when he watches her play. “They sacrificed so much for me during AAU days with all the traveling they had to do,” Williams said. “I thought it would be nice if I was close to home and made it easy for them.” Williams has made it easy for her coach as well, starting every game this season and averaging over 30 minutes per contest without fouling out once. Her game is still a work in progress, though. She is working on developing an SEE WILLIAMS ON PAGE 9

TYLER SEUC/THE CHRONICLE

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Women’s Basketball Postseason Preview

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CHRONICLE GRAPHIC BY CHRIS DALL

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Women’s Basketball Postseason Preview

THURSDAY, MARCH 1, 2012 | 9

GRAY from page 6

POINT from page 3

Feb. 24. For Gray, however, who she is playing against does not affect the way she approaches a game. “I was just going out there and giving it my all any game,” she said. Despite these individual successes, Gray’s aspirations for this season were all team-oriented. “I want to try and win another ACC championship and get to a Final Four,” she said. “Those have been my goals all year.” She accomplished the first of those goals when Duke defeated North Carolina to capture its third consecutive ACC regular season title, registering 12 points, seven assists, and seven steals in the win. Gray will look to lead Duke to its third straight ACC Tournament championship this weekend, before setting her eyes on the big dance.

championship game. In Johnson’s freshman year, he took Michigan State to the Elite Eight and as a sophomore to the national championship game. Gray’s Blue Devils made it to the Elite Eight in her freshman season, and she appears similarly poised to take the next step in her second campaign. Williams’ impact on the flow of this year’s team has been even more apparent than Gray’s. Few post players can run the floor the way Williams can, combining excellently with Gray’s court vision and Duke’s arsenal of outside shooters. The 6-foot-3 center averages 14.4 points, 8.4 rebounds and 3.6 blocks per game, becoming the first-ever freshman to receive ACC defensive player of the year honors. And, if there was any doubt left as to her ability to take over a game, just look to Jan. 6 when she led Duke over Wake Forest with a triple-double, swatting an ACC-record 12 blocks. There may be no more dynamic pair in the country than Gray and Williams, the type of duo who can carry a team to a national championship. And, with McCallie in her fifth season, the program is all hers. These are her players, and it is her time to fully step out of Goestenkors’ shadow by taking the team to its first Final Four during her tenure. When she first replaced Goestenkors, McCallie stated one of her primary goals was to fill Cameron Indoor Stadium on a regular basis. Despite setting an average home attendance record her first year, attendance has dropped significantly since then. But, once she takes this team to Denver, that goal of packing Cameron might become a reality.

WILLIAMS from page 7 outside shot and her teammates often ask her to be more vocal—but no one could have expected a more successful rookie campaign from the 18-year-old. McCallie lights up when talking about Williams, the nation’s top recruit out of high school, happy that the extraordinary talent she saw in Provo is now evident to all observers. Going forward, the head coach does not have specific goals for Williams, nor has she laid out a set path for her star center to follow as she continues to mature and develop. “Elizabeth is one of the very best players in the country,” McCallie said. “I’m not into expectations. I’m into her being what she can be. She’s just that good.”

CHRIS DALL/CHRONICLE FILE PHOTO

ACC assist leader Chelsea Gray helps four of her teammates average double-figure scoring.

10 | THURSDAY, MARCH 1, 2012

Women’s Basketball Postseason Preview

SHORTHANDED from page 4 “I feel like the same issues are there [that were there when we were healthy],” McCallie said. “Consistency in rebounding was an issue before Richa went down and it’s still there and we need to solve it regardless.” Although Henson is the only post player Duke is missing—and she averaged just 1.9 rebounds per game when

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healthy—the team has performed worse on the glass over its last three games, albeit against two ranked teams. Duke has outrebounded its opponents by an average of 7.7 boards per game this season, but over the last three matchups the team has grabbed 11 fewer missed shots than their opponents. With just seven players that regularly see minutes left on the roster, though, only time will tell if the Blue Devils have the legs to get through March.

DAN SCHEIRER II/THE CHRONICLE

Duke cannot beat one of the nation’s best four teams, as evidenced by its loss to the Huskies, Slywka writes.

COUNTERPOINT from page 3 trouble? McCallie must already be holding her breath every time a Duke player hits the floor, especially after forward Haley Peters needed 20 stitches to close a gash on her lip Sunday against the Tar Heels. One more Duke injury will almost certainly cripple any Final Four dreams. Furthermore, there is the problem of the bracket. The 2002 team earned a No. 1 seed, allowing the Blue Devils to avoid another elite team until the Final Four. This year’s squad won’t be as lucky. No. 5 Duke is widely projected to enter the tournament as a No. 2 seed, setting up a potential matchup with one of college basketball’s top four teams in the Elite Eight, either Baylor, Stanford, Notre Dame or Connecticut. Freshman Elizabeth Williams may well be one of the best post players in the country, but even the most optimistic fan can’t relish a matchup with Brittney Griner and the undefeated Bears. Being placed in a bracket with Stanford would likely mean having to

travel out west to Fresno, essentially giving the Cardinal home-court advantage. Skylar Diggins and Notre Dame, fresh off an appearance in the title game last season, have already beaten a full-strength Duke team once this season back in November. Finally of course, the Blue Devils could see the Huskies, a familiar foe, in the Elite Eight. Duke and Connecticut have met four times in the past three seasons, although most Blue Devil fans would likely prefer to forget those memories. The Huskies have won all four games by an average of 30 points, including last year’s 35-point rout with a trip to the Final Four on the line. At Cameron earlier this season, Duke put up its best fight in recent years, losing by just 16. Pick your poison with the NCAA elite —in the past Duke has proven unable to get past Connecticut, and the No. 4 Huskies are a clear step below the other three teams. This year’s squad has faced a lot of adversity this season. Unfortunately for Duke, eight just won’t be enough for a trip to the Final Four this year.

TYLER SEUC/THE CHRONICLE

Haley Peters was named to the All-ACC third team after averaging 10.8 points and 5.5 rebounds per game.

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position on the floor and can use her size and skill set to match up at a variety of positions. With only eight scholarship players still active for the ACC tournament, Duke will rely heavily on her to fill a number of roles. “She’s playing the point, the two, the three,” McCallie said. “She can even play the four, so I call her ‘the point-four’…. She’s a Larry Bird type of player. She can shoot it, she can pass it, she can handle it and she has great court savvy.” While Liston has made a huge impact on this year’s squad through her individual improvements, the development of sophomore Chelsea Gray as a playmaker has enhanced Liston’s threatening presence. With both guards on the court, the Blue Devils thrive on drive-and-kick opportunities. “[Chelsea’s] always looking to get you a pass,” Liston said. “Sometimes

you don’t even expect it and she’ll hit you right in the hands. So it’s always fun playing with Chelsea, especially in the open court. When we have fast breaks, she’ll always find me coming up the side.” With Duke’s lack of depth, Liston has become an increasingly large part of the Blue Devil offense as the season has gone on, highlighted by her 16 first-half points at home in a victory over then-No. 22 North Carolina Feb. 6. Although she has struggled a little against other ranked opponents, only averaging 5.4 points per game, Liston proved she can still step up for the big games by leading Duke with 15 points in the rematch against the Tar Heels at Carmichael Arena Feb. 26, which the Blue Devils won 69-63. Scoring a combined 38 points in the two games against North Carolina bodes well for Liston as Duke enters the postseason. “She’s just an important part of what we do, in all areas though—to get the offense going, to get the defense going, to get the team ready to play, to have a focus, all areas,” McCallie said.

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