January 16, 2014

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MLK DAY CELEBRATION Spoken Verb brings Aja Monet for open mic

JANUARY 16, 2014

I Love My Hair Manbites Dog presents encore for “The Remix,” p. 4

After Tiller Motorco to sceen documentary, p. 4

Michael MccolloUGh/ the chronicle

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ess recess editor’s recess note ss recess r

r recess editors hair today, gone tomorrow

last spring, i realized how often i studied in Bean Traders on ninth Street when the barista greeted me one Saturday morning with this: “hey, blue headphones!” in a characteristic moment (sorry, to everyone who’s ever tried to get my attention on the quad—i seriously wasn’t trying to ignore you), with an equally characteristic tomato red cheek flush, i popped them off my head and said, “What?” handing me my usual coffee with milk, she replied, “i don’t think i’ve ever seen you without them.” it’s true that i always have them with me.

Walking to class, working in Perkins, even laying in bed thinking about nothing at all, i want my soundtrack. Music reminds me that someone, somewhere has felt exactly what i’m feeling, arcing across the full spectrum of emotion and situation. There’s Bon iver for rainy days and Kanye West for organic chemistry exams, Vampire Weekend for late afternoon sunshine and The Killers for remembering high school, and with the click of a play button, i can blast any of them in my head.

But then there’s live music.

There are few things in the world that make me as happy as going to a concert.

Seeing a band live completely transforms the experience of their music for me. i can watch the expression on their faces as

Lauren Feilich [editor]....................................................................purple on the ceiling Eliza Strong [managing]...........................................................................legally blonde MC Bousquette [music].............................................................................! the musical Megan Rise [film]................................................................................................brown Kathy Zhou [art]................................................................................................topknot Eliza Bray [photo]......................................................................................ginger mullet Prashanth Kamalakanthan [online]......................................................................moist

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Music reminds me that someone, somewhere has felt exactly what I’m feeling. they’re performing and hear special versions of songs. even if i don’t know anyone else there, i have the intimate and rare chance to listen along with a crowd of other people. obviously, the band has to sound good.

At the very least, their performance on stage needs to match what their album leads you to think they can do. At best, they blow your mind with how much performing live enhances each song and cause you to run home and listen to the album all over again with renewed appreciation. one of the most fun concerts i have ever been to was Capital Cities in london in September, at a seedy but very cool club called XoYo. i entered with a few friends through a back door, which opened into a red and black interior with living room light fixtures and a gigantic raven painted on the ceiling. We proceeded downstairs into a dim area with a small stage and found that, with a little effort, we could worm our way up to the second row. The two openers were decent but not particularly memorable, and it was 10 p.m. by the time Capital Cities took the stage in retro bowling jackets stitched with their names on the front. once they started playing, they trans-

The Chronicle formed the venue into a full-on dance party, leading us in the “Capital Cities Shuffle” (it involved hopping and spinning, a love child of the Cupid Shuffle and the Cottoneyed Joe). Their trumpeter proved to be one of the most talented i’ve ever heard, the two frontmen were witty and fun and it was abundantly clear that they were there simply because they loved to play music and wanted to share it with people.

That’s what makes a concert great. Music is a nearly impossible industry to break into, and it takes guts and grit to stick with it. The smallest shows can be the best because you can see how much heart the performers have, and though successful bands that can sell out three nights at a stadium are great, there’s something to be said for the nervous group with only a self-titled.

There’s a song by noah and the Whale called “Give it All Back” (listen to it now, if you can) that directly points to this idea. it’s about the lead singer’s first band and their first awkward show, when even though the audience laughed at them, their “passion was real and profound,” and for that reason he hangs onto it: “i know, for me, that performance lives and never grows old.” i’ve seen them in concert three times over two years and they’ve improved each time, most recently as an opener for Vampire Weekend at the o2 in london this past november. They played this song first, almost as a reminder of how far they’ve come from “practice every week in [his] bedroom.” And, as amazing as Vampire Weekend’s show was—they took the stage with Drake playing, ezra wore a fighter pilot suit and ray-Bans and they played every song of theirs i possibly could’ve wanted to hear—it was noah and the Whale’s set that i can’t get out of my head.

---Eliza Strong

The Chronicle

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Spoken Verb presents Unarmed Truth: MLK Day Celebration 2014 featuring Aja Monet periences. It harbors the necessary safe space to express truth, particularly when that truth might be uncomfortable elsewhere, or when the speaker otherwise would be silenced.

By drawing on the power of storytelling and the ingrained communal effort, there is a call and response, a give and take, to the open mic. An individual speaking about her experience has the opportunity to empower some, to inform others and to shed new light on her subject. “[Spoken word is] the ability to release yourself to an audience or to the universe with an expectation of safety, that beauty will be the response, and you are becoming beautiful in the space you are speaking in,” Kimberly McCrae, program coordinator at the Women’s Center and advisor for Spoken Verb, said.

In the same way, MLK and his words were at the forefront of the civil rights movement, captivating audiences outside of his typical religious venues or contexts as a preacher. McCrae hailed the power of his language, citing MLK as one of the greatest spoken word artists that we had.

“His articulation and presentation was such that it drew people in…He understood pitch, the power of actual words that are spoken…He was just very poetic in the way that he presented what he knew he needed to say,” she said.

Aja Monet, the featured per-

by Kathy Zhou The Chronicle

When Spoken Verb, Duke’s premier slam poetry and spoken word group, decided to honor the legacy and vision of MLK, they focused on the power of his language in capturing audiences and imparting truth.

“We felt that spoken word was a beautiful and appropriate way to [honor MLK], because not only did his actions have such a great impact, but his words also inspired people and propelled people to act,” Destiny Hemphill, junior and co-president of Spoken Verb, said.

This Saturday, Spoken Verb will feature a reading by poet and teacher Aja Monet in their open mic event, “Unarmed Truth,” in celebration of Martin Luther King, Jr. Day. The theme, while left up to the interpretation of the audience and the performers, focuses mainly on justice rectifying inequity. It emphasizes the power of spoken word as an art form that is used for liberation and activism.

“For me, it’s unguarded truth,” Hemphill said when asked about the event’s theme. “Truth that is bold and forceful…and not only that, but it also kind of alludes to a certain vulnerability that I think you must be willing to accept when you are invested in seeking the truth and the unarmed truth.”

Even more, the stage is open to anyone’s expression. The event is set up such that the audience is prepared to receive as individuals share in their ex-

Special to the Chronicle

See Spoken Verb on Page 6

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The Chronicle

Motorco screens Tiller to benefit NC Abortion Fund

by Stephanie Wu The Chronicle

To commemorate the 41st anniversary of Roe v.

Wade, Ipas, NARAL Pro-Choice North Carolina and the Durham People’s Alliance will partner to host a screening of “After Tiller.”

The anti-choice 2009 assassination of Dr. George Tiller in Kansas leaves only four doctors in the United States who continue to perform third-trimester abortions. The film pays tribute to the intense beliefs of both sides.

In his honor, the documentary film “After Tiller” avoids these fiery criticisms of abortion’s ideological controversy and instead offers an intimate portrayal of the lives of the four remaining third-trimester abortion providers. In chronicling their stories, we step into their shoes and walk through the complexities and agonies of each decision. Showcased at the 2013 Sundance Film Festival and an early favorite to receive an Oscar nomination for Best Documentary Feature Film, “After Tiller” artfully speaks to the heart rather than the mind. It showcases emotions that are often disregarded in the argument surrounding abortion.

“The film is intimate, personal and moving. I think it shows the deeply personal nature of the stories and struggles of providers, their loved ones and the women and families who seek abortion care,” said Adrienne Anderson, the Development and Programs Coordinator for NARAL Pro-Choice NC. NARAL ProChoice NC serves as a voice for women and families in North Carolina, fighting to protect and advance their reproductive rights through politics and activism.

“There has been a lot of critique and labeling in this country, but I think even for those on the more liberal end of this issue, it adds a very human element to decisions,” said Garrett Dixon, coordinator for the Durham People’s Alliance.

“People have maybe heard a lot of awful or stigmatizing things…but no matter where you are on the spectrum, everyone takes something away from the film,” Dixon said.

Regardless of one’s political leanings, the film provides an honest lens into the realities of abortion through the stories of the late Dr. Tiller’s fellow physicians. Rather than encourage the adoption of particular ideologies, the screening is an effort to allow the public to revisit their understanding of abortion care and reproductive rights.

Following the screening of the film, a panel of experts in the field of reproductive rights and health

The film is intimate, personal and moving. will speak. These experts will include Suzanne Buckley, the Executive Director of NARAL Pro-Choice NC. “After Tiller” is a poignant memento not only of the life of Dr. George Tiller, but also of the ongoing

civil war in abortion care’s backyard. In addition to honoring the 41st anniversary of the Roe v. Wade, the upcoming screening is intended to facilitate a greater understanding of the complexities that permeate the decisions made by those who seek abortion care.

“We hope people enjoy this powerful documentary and that it starts a conversation about the importance of access to abortion care in North Carolina and across the country,” said Anderson.

The “After Tiller” screening is Monday, January 20, from 6 to 8 p.m. at the Motorco performance venue in Durham, NC. Tickets can be purchased online at carolinaabortionfund.org/aftertiller. All ticket proceeds will go to the Carolina Abortion Fund.

SPECIAL TO THE CHRONICLE

I Love My Hair returns to Manbites, with a twist

by Georgia Parke The Chronicle

Durham locals will soon have a second chance to experience a director’s artistic expression of her love of hair.

“I Love My Hair When It’s Good: And Then Again When It Looks Defiant and Impressive” is returning to Manbites Dog Theater in Durham, two years after it originally premiered in the same location. This time, it carries the tag of “The Remix,” after writer and director Chaunesti Webb decided to bring it back in a modified incarnation due to its popularity when it first showed.

The play is about two cousins named Genevieve and Moni who have grown up together in the South and work through forming their own individual identities, frequently defined by the complex relationship each has with her hair. In addition to dramatic acting, the show incorporates original music, movement, video, poetry and interview text to tell the girls’ coming-of-age stories. The cast of five women— Aurelia Belfield, Lakeisha Coffey, Hazel Edmond, Sherida Mc-

Mullan and Yolanda Rabun—have all been frequently seen throughout the Triangle theater sphere at Manbites Dog, North Carolina Theater and other venues.

A Durham native and Manbites Dog Board of Directors member, Webb began working on the show— her first play—in 2008 when she was earning her MFA at Naropa University in Boulder, Colo. In 2009, she said she began developing material more specifically with a group of women in New York. She was inspired by the things they read, the common experiences they shared and her memories of living in a predominantly white environment throughout her formative years as a student.

“Hair was one of those experiences for me that was very much in contrast to the environment I was in,” Webb said. “Particularly for African-American women in that community in Colorado, my friends and my family, it was very much connected to us.”

Prior to studying at Naropa, Webb earned a B.A. in communication studies from the University of North Carolina at Greensboro. She also

works as performing arts coordinator for the Health Arts Network at Duke. Described on her website as a “teaching artist-writer-director-actormover-lover of language,” Webb said she has identified mostly as an actor and has done “quite a bit of work” at Manbites Dog, which she refers to as her home theater.

“They’ve been incredibly supportive of me and my work over the years,” she said.

The show was co-commissioned by St. Joseph’s Historic Foundation and Naropa University School of the Arts, and received funding through North Carolina Arts Council and Durham Arts Council grants.

Manbites Dog Associate Artistic Director Ed Hunt noted that due to the popularity of the show in 2012, many people who wanted to see it and share in the experience were unable to do so. It completely sold out, resulting eventually in the decision to play it again at Manbites Dog in 2014.

Webb said that at the time of the conclusion of the first showing she had started to move onto a new proj-

ect, but feedback and interest from community members who did not have a chance to see “I Love My Hair” motivated her to bring it back.

“I was really humbled last year by the response and support,” she said. “It has always been a community piece. Before we moved on and packed it up we wanted to be able to share it again.”

Webb explained that the “remix” designation this year is intended to show people that it is essentially the same play but new details have been incorporated to the original storyline. The cast and crew are composed of the same people and the play’s messages and meaning remain.

“We did some trimming up, the script is a bit tighter,” Webb said.

“There’s new elements to mix it up and enhance the work that we had already done.”

When people walk away from “I Love My Hair”—some for the first time and some for the second—Webb said she hopes new thought and conversation will be provoked, both See Hair on Page 7

The Chronicle

FILM

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SPECIAL TO THE CHRONICLE

Philomena Pathé, BBC Films Directed By Stephen Frears

by Jamie Kessler The ChroniCle

With an amazing performance from Steve Coogan and Judi Dench, the tragic true story of “Philomena” elevates the film from impressive to outstanding.

Chronicling an elderly woman’s search for the son who was stolen from her, the film follows Philomena (Dench) from

her days held captive in an old irish nunnery to her present traverse of the U.S. in a word, the movie is captivating. no one aspect of the film encapsulates this more than Dench. her ability to incorporate humor, convey soul-wrenching depression and maintain the enduring innocence of an old woman bound to her faith brings more significance to the story than any corrupt nun or fateful plot point. She intrigues you, and her desires become your own.

But what’s wonderful about “Philomena” is that the film is not reliant on its talented performers. There are corrupt nuns and dramatic plot points. Unless audiences are familiar with the film’s inspiration, then they will be anxiously awaiting the outcome as passionately as are the actors in front of them. Coogan plays a shamed journalist who takes his first ever crack at a human-interest story. like the real-life reporter, the film draws on human interest, genuinely getting the audience invested not only in the search

Perhaps there is no better humor to lighten the mood than that of quirky British actors. but also in the people who are searching.

Coogan’s acting is worthy of mention as well. not only did he co-write the screenplay, but the onscreen relationship between Philomena and Martin (Coogan) is full of such delightful nuances that their developing friendship becomes the most enjoyable part of the film. Constantly evolving and faced with emotional realities that few people come

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to encounter, both experience transformations that, individually and together, are profound. The end of the film pushes both to their emotional limits, and it is their reactions and shared understandings that allow the audience to walk away feeling as moved as the characters.

When a film centers on a story as dramatic as this one, humor is key. Perhaps there is no better humor to lighten the mood than that of quirky British actors. never reliant of shtick or knock-knocks, the comedy is organic, stemming from the complicated personalities of the characters and their ways of speaking and communication. Without making audiences cringe like a Ben Stiller movie would, the characters’ discomfort endears them, and while audiences laugh, the joke (if it can even be called that) never comes at the expense of the story. in the tradition of “based on a true story” that has taken over hollywood, “Philomena” shines, utilizing a spectacular cast to tell a remarkable story.

SPRING MAINSTAGE SHOW MACHINAL This spring’s mainstage show in Theater Studies, directed by resident dramaturg Jules Odendahl-James, is American playwright and journalist Sophie Treadwell’s “Machinal.” The work is loosely based on the true case of Ruth Snyder, who was convicted and executed for the murder of her husband.

Shown are cast members participating in a movement rehearsal with guest artist Kali Quinn, who also worked on “Uncle Vanya.”

The play opens April 3 and runs through April 13 in Sheaf -er Theater in the Bryan Center. Follow their Tumblr blog, featuring posts by actors and crew, at http://machinalclass.tumblr.com.

Victor Ye/ the chronicle

Victor Ye/ the chronicle

Victor Ye/ the chronicle

by Megan Rise The ChroniCle

FILM ALL PHOTOS SPECIAL TO THE CHRONICLE

Anchorman 2 Paramount Pictures Directed by Adam McCAy

SPOKEN VErB

from page 3

former, is a poet, performer and teacher.

She was the youngest ever winner of the nyuorican Poets Café grand slam, has published books and released records and serves as a mentor for at-risk youth in inner city new York. The immediacy of her stage presence, paired with the approachability of her work—which is at once soulful and surreal—has set her apart. her readings are conversational,

ron Burgundy (Will Ferrell) and his ragtag reporting team return for another shot at stardom in a new decade, in all their checkered suit glory, in “Anchorman 2: The legend Continues.” Co-anchor Brian Fantana (Paul rudd) is happily photographing inspirational cats. Sports anchor Champ Kind (David Koechner) has found his place serving chicken-like food to unsuspecting customers. Weatherman Brick Tamland (Steve Carell) is lost at sea. But after his wife and co-anchor, Veronica Corningstone (Christina Applegate), is promoted, ron is in a darker place than a glass cage of emotions: Sea World.

After a cry for help, ron gets the gang back together to work for a new all-news 24-hour network in new York City, a long way from San Diego. it’s crazy! it’s bound to fail! There can’t be that much news to cover ethically!

Maybe that’s true, but the reunited news team is sure good at telling a new kind of news—nay, an American kind of news. “Anchorman 2” does a

though immediately rhythmic; her work transposes and widens the personal into heavier, and more wrenching topics; her voice is unwavering yet heartfelt and yearning. “i found myself very intrigued by her work because i can relate very closely to it,” McCrae said of Monet. “She has one poem…it starts out, ‘You are required to keep creating.’ And she talks about being broken by whatever life has produced and the fact that you still have the option of moving forward, of producing,

cosmic cantina

COSMO SAYS...

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fair job of satirizing what television deems “newsworthy”: cute animals, car chases, graphics, graphics and more graphics.

Additionally, a fantastic slew of guest stars weaves in and out of the movie (from James Marsden as suave Jack lime to harrison Ford as an overly touchy-feely network boss), culminating, as i’m sure you could have guessed, in a multi-network fight to the death.

The cast obviously enjoyed getting back together; it’s as much a reunion for them as it is for their characters.

The actors play off of each other brilliantly in scenes where they are all together. i’ll spoil one nonsensical improvised line, and one only: “By Gene rayburn’s bedpan!” Unfortunately, however, it’s not quite as fun to watch as it was to star. Yes, “Anchorman 2” is funny. in fact, it has moments of pure hilarity, but it fails to recapture the magic that the first film had.

The smallest moments are the most creative and fresh: awkward cuts midlaughter, one-liners ron throws at his son about what it means to “be a man”

(or a lace Man) and a STYnClSY license plate on ron’s Winnebago, to name a few. on the other hand, drawn-out scenes are more weird than funny. The humor comes once they’ve gone on for so long that there’s nothing left to do but laugh at how strange they are (hint: they bottle-feed a shark).

The whole movie is like a twohour Will Ferrell Greatest hits album. it pulls a little from “Blades of Glory,” remixes jokes from “Talladega nights” and recycles nearly every part of “Anchorman” for good measure. i laughed through the entirety of “Anchorman 2” both times that i saw it, but the film is just past its expiration date. Maybe 10 years is too long to wait for a sequel. This is the epilogue to “Anchorman,” and fans would do themselves a disservice not to see it.

That said, it is still a film that can stand on its own. it’s not an exemplary comedy by any means, and it won’t spur demand for a third “Anchorman,” but the movie still ranks highly in the Ferrell canon. And don’t worry—Baxter’s still around to save the day.

of creating. everybody can find some kind of entryway and see themselves in her work.”

Both McCrae and hemphill noted the continued relevance—even necessity—of artistic platforms in engaging justice.

“The words [MlK] put out, the spirit and energy he put out in speaking about justice and rights and equality and humanity and love, those things have returned even after his death,” McCrae said. “They continue to cycle and circle

and produce positive results and energy even for us today, two generations later.

That’s a powerful connection.”

The event takes place Saturday, Jan. 18, in the White Lecture Hall on Duke University East Campus. Email spokenverbcollective@ gmail.com to sign up for the open mic. Cost is $5 for Duke students (FLEX or cash), and $7 for non-Duke students. All proceeds benefit the Plum Blossom Foundation.

Six weeks.

Not too long.

Not too short.

Just right for one or more of those pre-med courses you need to finish up. (biochemistry, biology, chemistry, computer science, evolutionary anthropology, math, physics)

Meet the team: L-R Genaro (days and weekends) Leo (day manager), ‘Jorge’ (night manager) and Cosmos.

Menu Sampling

Old School Veggie Burrito Regular Chicken Burrito Cheese Quesadilla Chicken Quesadilla Veggie Nachos Chips & Salsa

$2.86 $5.65 $1.41 $3.59 $4.12 $2.06

1920 1/2 Perry St. at Ninth Street Just a block from East Campus Now served at JB’s hot dog stand

general info & projected course offerings @

summersession.duke.edu summer@duke.edu

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Hair

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from page 4

from the topics and themes contained but also by the way the show unfolds. She noted that the 2012 show had a very diverse audience, who may have not previously been a part of the intimate experience that “I Love My Hair” provides. This will hopefully allow for people to have the confidence to be able to start conversations, ask questions and walk away with plenty to think about.

“I hope the show will cause people to try to explore some community building in Durham and the Triangle area,” she said.

Once the remix resolves and “I Love My Hair “ends for the second time Feb. 1, Webb will once again turn towards her new projects, which she said include collaborations with other local artists.

This year’s version looks to be as popular as the one in 2012, as the first weekend and final show are already sold out.

“We hope everything [at Manbites Dog] is different,” Hunt said. “It is a strong work, a new work.

The more theater, the better and the more people involved in it, the better.”

“I Love My Hair When It’s Good: And Then Again When It Looks Defiant and Impressive” runs Saturday to Sunday Jan. 17-19, Wednesday to Sunday Jan. 22-26 and Wednesday to Saturday Jan. 29 to Feb. 1. Shows are at 8:15 pm except Sunday shows at 2 pm. Tickets are sold online and by phone and are $18 for weekend shows, $12 for weekdays, $5 for students and $2 discounted for seniors or military.

recess online Check online tomorrow for coverage of Rock for Roe, the 41st Anniversary Celebration of the Roe v. Wade Supreme Court decision, which legalized the right to safe and legal abortion care. The sold-out celebration at the Pinhook on Sunday, Jan. 19, will benefit NARAL Pro-Choice NC and support their efforts to advocate for pro-choice North Carolinians. It will have performances by The Mountain Goats and Carrboro’s Some Army.

MICHAEL MCCOLLOUGH/ THE CHRONICLE

Howard Hughes Summer Research Programs Applications Now Open The Howard Hughes Research Fellows Program

The Vertically Integrated Partners (VIP) Program

For rising sophomore applicants in Trinity College and Pratt

For rising sophomores, juniors and seniors in Trinity College and Pratt

Research in all areas of the Biological and Biomedical Sciences including:

Research in select labs:

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$4,300 STIPEND HOUSING ON CAMPUS PROVIDED JUNE 2 – JULY 25, 2014

$5,500 STIPEND MAY 20 – JULY 25, 2014

Application Deadline: February 10, 2014

Application Deadline: March 7, 2014

Website: http://undergraduateresearch.duke.edu/programs Are you thinking about getting a PhD?

THE MELLON MAYS UNDERGRADUATE FELLOWSHIP PROGRAM AT DUKE IS CURRENTLY RECRUITING SOPHOMORES AND A SELECT NUMBER OF JUNIORS

WHO ARE SERIOUSLY CONSIDERING ATTENDING A PhD PROGRAM FOLLOWING GRADUATION IN ONE OF THE FOLLOWING DISCIPLINES: Anthropology and Archeology History Area/Cultural/Ethnic/Gender Studies Linguistics Art History Literature Classics Mathematics Computer Science Oceanographic/Marine/Atmospheric/Planetary Science Geography and Population Studies Performance Studies (theoretical focus) Earth/Environmental/Geological Science and Ecology Philosophy English Physics and Astronomy Film, Cinema and Media Studies (theoretical focus) Religion and Theology Musicology and Ethnomusicology Sociology Theater (non-performance focus) Foreign Languages and Literature The goal of the Mellon Mays Undergraduate Fellowship Program, funded by the Andrew W. Mellon Foundation, is to increase the number of underrepresented minority students (African American, Hispanic/Latino-a American and Native American) and others with a demonstrated commitment to eradicating racial disparities who will pursue PhDs in core fields in the arts and sciences.

Mellon Mays fellows recruited as sophomores receive two years of support, an annual stipend of $7,500 ($3,900 for the summer and $1,800 each semester), a $750 summer housing allowance, and an annual research travel budget of $600. Those fellows recruited as juniors receive one summer + one academic year of support. Additionally, each senior fellow receives a $400 research budget to cover project-related expenses and a $600 allocation for a GRE prep course. Each mentor receives a yearly award of $800.

For further information and application materials, visit our website: http://undergraduateresearch.duke.edu/programs/mmuf Special to the Chronicle

Questions?

Contact: Dr. Kerry Haynie, 660-4366 (klhaynie@duke.edu) Ms. Deborah Wahl, 684-6066 (deborah.wahl@duke.edu)

Application Deadline: March 3, 2014

8 | thursDAY, january 16, 2014

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The Chronicle

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