The Dartmouth 02/05/19

TUESDAY, FEBRUARY 5, 2019

VOL. CLXXV NO. 127

CLOUDY HIGH 50 LOW 16

HANOVER, NEW HAMPSHIRE

Gage Young indicted on four new charges

Courtyard Café station to make Green2Go mandatory

B y SAVANNAH ELLER The Dartmouth Staff

Fouad ’21 and Samantha Newman ’22 spearheaded the initiative to bring Green2Go to the Courtyard Café.

Green2Go was first in initiated in ’53 Commons in 2017, and the program expanded to the Courtyard Café last spring.

Fouad said Dartmouth Dining Services waited two terms before making it mandatory in order to give students time to get used to the containers.

On Jan.18, the 22-year-old West Lebanon man charged with the non-fatal shooting of a visiting Providence College student near campus last fall was indicted on four new charges relating to the Nov. 2 incident. The man, Gage Young, has pled not guilty on all charges and is set to return to court for a pretrial hearing on Feb. 27.

The shooting has led the Department of Safety and Security to consider changes to the way it handles similar emergencies in the future, according to Safety and Security director Keysi Montás.

Young waived arraignment on Monday, allowing the new charges to be formalized. A court date will soon be set, according to the Grafton County District Attorney’s office administrator Alison Farina.

The new indictments add to the six already leveled at the defendant by a Grafton County grand jury.

According to court documents, Young is charged with second degree assault with a deadly weapon and other allegations stemming from events following the shooting in November, including a brief car chase with Lebanon police.

Thomas Elliot, a freshman at Providence College, was walking near the Christian Science Reading Room on School Street in Hanover with friends attending Dartmouth when he was injured in the shooting.

Because the incident spans both jurisdictions, in the hours following the incident, the Lebanon and

SEE GREEN PAGE 3

SEE SHOOTING PAGE 2

OPINION

SHI: THE LANGUAGE OF GRIEF PAGE 4

DAVIDSON GREEN: BUILDING A BETTER FOUNDATION PAGE 4

ARTS

REVIEW: ‘FYRE’ EXPLORES THE CONSEQUENCES OF WILLFUL IGNORANCE PAGE 7

OSCARS PICKS: HOW GOES THE KINGDOM IN ‘THE FAVOURITE’?

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Starting Monday, reusable Green2Go containers will be mandatory for all orders at the Courtyard Café grill.

B y GRAYCE GIBBS The Dartmouth Staff

The last disposable to-go container “walked out” of the Courtyard Café on Feb. 3.

Starting Monday, anyone ordering something to-go at the Courtyard Café grill station will be required to buy a reusable Green2Go container. For those eating in, paper plates will still be available. The permanent s w i t ch to G re en 2 G o i s

expected to reduce waste in the Courtyard Café by seven tons per year.

Anyone ordering take-out from the grill will be given their food in a Green2Go container. At the register, they will either hand in the Green2Go carabiner — the same ones used in the Class of 1953 Commons — trade in a used container or buy into the program by paying for the reusable container.

Abby Bresler ’21, Meriem

Alcohol incidents increase at College B y CASSANDRA THOMAS The Dartmouth

As part of its campaign to increase transparency when it comes to alcohol usage on campus, the Student Wellness Center released data from 2018 with revealing statistics about alcohol consumption among students. While most of the data stayed the

same or close to last year’s figures, alcohol-related incidents with Safety and Security and Residential Education increased by 49 incidences.

Many g roups and individuals on campus w at ch t h e s e nu m b e r s with scrutiny to improve Dartmouth culture and SEE ALCOHOL PAGE 3

Black Legacy Month kicks off B y ARIELLE BEAK The Dartmouth

Black Legacy Month celebrations kicked off on Saturday evening at Collis Common Ground with food, prizes and performances from student groups on campus. February marks Black Legacy Month at the College, and Dartmouth will be hosting celebrations and events throughout the month to honor black history and celebrate the continuation

of its legacy.

At the kickoff event, students lined up for food, f re e T- s h i r t s, bu t t o n s, African flags and raffle tickets. The prizes included a copy of “Becoming” by Michelle Obama, bus tickets to Boston and Fenty Beauty cosmetic products. After opening remarks by Dia Draper, interim Office of Pluralism and Leadership director and director of strategic initiatives at the Tuck School of Business,

hosts Olivia Marquis ’22 and Isaiah Briggs ’19 kicked off a schedule of high-energy festivities that included a Beyonce tribute, performances by student dance groups Soyeya and Ujima and spoken word poetry.

In her opening remarks, Draper expressed her pride in the black legacy that continues to grow at Dartmouth.

SEE BLM PAGE 5

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TUESDAY, FEBRUARY 5, 2019

THE DARTMOUTH NEWS

Q&A with physics and astronomy Gage Young will return professor James LaBelle to court on Feb. 27 B y ANDREW CULVER The Dartmouth Staff

Physics and astronomy professor James LaBelle is an experimental space plasma physicist who has been at Dartmouth since 1989. LaBelle was appointed to the inaugural Lois L. Rodgers Professorship at Dartmouth in 2010, and holds degrees from Cornell University and Stanford University. He currently teaches both introductory and higher-level physics courses and specializes in geophysics and radio emissions.

What is your primary area of research?

JL: My research is kind of divided into two parts. I do ground-based work where I basically deploy computercontrolled radios to listen for radio signals coming from near-earth space.

Again, the most interesting regions are the Arctic regions where the northern lights occur. The northern and southern lights are responsible for a lot of the radio emissions that we observe coming from near-earth space. Half of my research involves deploying arrays of antennas at various locations in the Arctic and Antarctic to listen for signals coming from space. For the other half of my research, we basically take these same receivers and make compact versions that you can put on a rocket and launch into space. NASA makes opportunities for university researchers to get to put their instruments on rockets, so every two or three years we get to put some of our receivers and antennas on rockets, launch them up into the Aurora and get measurements right in the Aurora where the radio signals are being generated.

Why do space exploration and research matter today?

JL: One of the main elements that is driving this field of research is the effort to essentially predict the weather in space the way we currently predict the weather in the atmosphere. This is of great importance because of our reliance on GPS communication satellites in space. These satellites can be affected by weather conditions in outer space, so there’s a big push to try to be able to predict what the conditions are in space for two reasons. First, if we know that some adverse space weather event is going to happen, sometimes satellite operators can take mitigating actions to protect their satellites. The other thing is that by knowing the range and kind of space weather that can occur in these satellite environments, you can better design the satellites if you know what kind of environment they’re going to encounter. It can save money in terms of how the satellites are built. Our research on different things eventually folds into this picture of trying to understand and be able to predict the weather in space.

We are not yet at the point where we can predict the weather in space nearly as well as we can predict it here on the surface of the earth.

Besides your work, what are some interests or hobbies you have that most students don’t know about?

JL: Like most people here in the Upper Valley, I get outside a lot. I do a lot of biking, skiing, cross-country skiing and hiking. Those three sports take a lot of my time and are my main hobbies in-season. A lot of students will find me at Dartmouth’s cross-country ski center Oak Hill quite a bit. I also travel a lot both for my work and for adventure travel, so I’d say that that’s a hobby.

What is one of your favorite

teaching memories from your time at Dartmouth?

JL: One of my favorites is that every year for Physics 14, “Introductory Physics II,” I always give the last lecture on the theory of relativity. I just had a haircut, and in fact I just timed this haircut because I know that I’m going to be teaching Physics 14 this spring. What I do is time my haircuts so that my hair grows out by the end of Physics 14 for the relativity lecture. Then I can actually do a pretty good Einstein with my long hair! I have gray-white hair and it flares out, and you’ll notice I have some hair spray over there. Every time I teach Physics 14, I try to work in an Einstein lecture, and that’s always a lot of fun.

Dartmouth recently regained its “R1” classification as a research institution after losing it in 2015.

Have you noticed any changes over the last few years regarding the College’s support of your research?

JL: I haven’t noticed any local changes, but it is something that we care about quite a bit. I’m very happy that the administration was able to do whatever was necessary to check the various boxes to get us back to “R1” status. It heightens our visibility in the research world and ultimately helps us get external resources and attract graduate students. We all consider it to be an important status to have. If you don’t have “R1” status for a year or two it’s probably not that big of a deal, but had we not had “R1” status for a decade or two, that would have made a big dent and started impacting us. I think lapsing for a couple of years didn’t really have that big an impact, but it’s great that we were able to get it back.

This interview has been edited and condensed for clarity and length.

CORRECTIONS We welcome corrections. If you believe there is a factual error in a story, please email editor@thedartmouth.com.

FROM SHOOTING PAGE 2

Hanover Police Departments worked jointly on the case to demonstrate probable cause for an arrest warrant.

Hanover Police Chief Charlie Dennis said the investigation is ongoing.

“We’re still doing our job of working through the case,” Dennis said.

Young has been in custody since being denied bail in a Nov. 5 hearing. Defense attor ney Simon Mayo said his client was not the shooter in the Nov. 2 incident, implying that 17-year-old accomplice Hector Correa was responsible for the assault.

“The state’s case essentially … is that my client discharged a firearm that struck a passerby. And our position is that my client did not discharge that firearm,” Mayo said.

Police maintain that Correa was driving the car that night and that Young was a passenger and fired the shot that injured Elliot.

Correa, a minor, is not currently facing assault-related charges.

On Tuesday, Young’s attorneys presented motions to unseal Correa’s juvenile court records as well as personal and academic records. Mayo said the measure was intended to discredit Correa as a primary witness to the attack.

“Hector Correa is the shooter,”

Mayo said. “In a nutshell, that is the defense.”

Dennis said in a November interview that the motive for the shooting was “random.”

Montás said he was pleased with the department and law enforcement’s handling of the situation in November, given the benefit of hindsight.

However, he also said that time to reflect on the incident has prompted him to consider some changes to Safety and Security’s communication system for future crises. According to Montás, the department is considering the addition of employees to handle disseminating infor mation on unfolding situations.

He also said the department might be adding dedicated staff for callers asking for information instead of reporting emergencies.

He said calls by worried parents and students overloaded the department’s call bank during the November shooting.

“That’s a concern every time something happens,” he said. “911 gets it, we get it.”

Dennis said he was also happy with the joint law enforcement response on the night of the shooting, but said he had noticed a change in public perception.

“Anytime you have a significant event such as this, it does cause people to question safety,” he said.

TUESDAY, FEBRUARY 5, 2019

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THE DARTMOUTH NEWS

Good Sam calls drop to 117 in 2018 Switch to Green2Go will improve sustainability FROM ALCOHOL PAGE 1

the safety of students. The data compare alcohol-related incidents with Safety and Security and Residential Education, Good Samaritan calls, medical encounters with blood alcohol levels above .25 and medical encounters with Dartmouth-Hitchcock Medical Center or health services.

The Student Wellness Center began collecting data on alcohol consumption in 2011, when there were 62 blood alcohol concentration encounters above .25. For Caitlin Barthelmes, director of the Student Wellness Center, this high number of BACs above .25 was especially troubling, considering that a BAC above .25 approaches a lethal limit. That number now tends to stay under 1 percent despite some fluctuation year to year.

“2011 was the first year we started monitoring, and it was the first year that we recommitted to putting best practices in terms of alcohol prevention on our campus, and intervention and response,” Barthelmes said. “And so almost immediately we saw this number drop. And yes, it has been fluctuating over time, but the fact that we’re still hovering below 1 percent of the population in my mind is important.”

Another closely-watched statistic is the number of Good Samaritan calls made each year, which allow students to seek medical help without facing punishment from the school. Good Samaritan calls increased over the past three years

until 2018, when they dropped from 131 to 117 calls.

Hannah Hoffman ’19, director of Dartmouth EMS, said she was heartened that students are often using the Good Samaritan policy.

“These figures demonstrate that students continue to make use of the Good Samaritan policy, a trend that our organization certainly appreciates and will work to maintain,” Hoffman wrote in an email statement.

Barthelmes is not the only one who has noticed considerable changes in campus in the last few years. Hanover Police Chief Charlie Dennis has observed the ways in which policy has changed campus culture.

When the College announced the Moving Dartmouth Forward Initiative in tandem with the hard alcohol ban, the impact could be seen by the police department, he said, and added that their numbers are smaller than they were five years ago.

“You look at our numbers from 2016 to 2017, we had 41 [alcohol related offenses] and 2017 to 2018 we had 44,” Dennis said. “So, fairly close together, but if you looked at numbers back in 2010, 2011, or 2012 they were significantly higher than that.”

Barthelmes said that the Student Wellness Center is watching closely to see how alterations at the institutional level play out on campus.

“It is necessary and important to consider a variety of data in order to better understand the full

picture of the landscape of drinking behaviors and initiatives on our campus,” Barthelmes said. “No one data point can tell the whole story.”

The alcohol-related incidents with Safety and Security and Residential Education, for example, do not necessarily indicate high risk drinking, according to Barthelmes.

“People sometimes look at alcohol-related incidents with concern when they go up, but I actually don’t feel that way,” she said. “Sometimes when alcoholrelated incidents with Safety and Security in Res Ed are increasing, that might be an indication that we might be catching things earlier in the drinking process. It could be, not always, but it could be an indication that our prevention efforts are actually going in the right direction.”

While these figures are used to alter policy and rules on campus, real change is fundamentally determined by students.

“Culture change ultimately does, when we’re talking about student behavior ... come from students,” Barthelmes said. “I’ve been very encouraged in my time here by the fact that the majority of students actually engage in positive, healthy behaviors more often than we think. Something that can happen, especially if you’re in a very fast paced culture, is we [act] without thinking. To take time to pause, reflect, connect and have some intent can actually help us live lives that are more in accordance with who we want to be.”

better understand the program, the Green2Go team spent three The containers in the Courtyard evenings tabling at the Courtyard Café are smaller than the ones Café and Novack.

“We’ve had a few people be like, used in the ’53 Commons, though the two types of containers can be ‘Oh thank God I’m leaving next exchanged for a clean container semester,’” said Sophia Greszczuk or a carabiner at either location. ’22, one of the volunteers at the Students can also return Green2Go table outside the Courtyard Café. containers to Collis Café or Novack “Having to remember to return the container and bring the carabiner Café.

DDS currently has 5,400 total is a little harder than just throwing containers, which they sell to it out, but I think most people students at a break-even price of understand that we can’t just keep $4 each. Assuming every container consuming plastic like we do.”

Although Green2Go has seen gets sold, the program should be cost-neutral. According to Plodzik, some success at ’53 Commons, there are “some savings involved” the program has run into issues with students not returning their with the switch to Green2Go. Plodzik said that before the containers.

“What we’ve discovered over reusable containers were instituted the last year in ’53 Commons, and a half DDS w e n t “Any money that of doing this through 400 to we’ve saved in is that these 500 non-reusable containers are to-go containers packaging is good for very high in a day, with each the department and demand and container costing good for the program they don’t up to 25 cents. always come “Any money because it gives me back to us,” that we’ve saved more money to pump Plodzik said. in packaging H e is good for the into food and events.” added that department and because the good for the price is so low, program because -JON PLODZIK, DDS the containers it gives me more DIRECTOR almost become money to pump disposable into food and because the cost is not enough to events,” Plodzik said.

Bresler, Fouad and Newman said make people want to return it.

“If you don’t have a container, they worked closely with DDS to bring Green2Go to the Courtyard oftentimes you’ll just buy another,” Café. Bresler and Fouad began Plodzik said.

In order to incentivize more working with DDS in January 2018 and have been meeting weekly with people to return their containers, the Courtyard Café offered a free DDS employees.

“We went into the first meeting drink in exchange for handing in not sure how on board they would a Green2Go container last week.

“One of the challenges and be with the idea of an expansion so soon after rolling out the original potential dangers at the Courtyard one in [’53 Commons], but they Café is if people keep the smaller containers and don’t return them, brought it up first,” Bresler said.

Plodzik said that DDS’s role is [then] this Green2Go program to be good recipients of student might go quicker than we think,” Plodzik said. feedback.

As employees at the Courtyard “I see my role as trying to use [students’] money as wisely Café grill are unable to use a as possible to create the best permanent marker to write orders program possible,” Plodzik said. on the Green2Go containers, DDS “Sustainability is one of the core had to figure out how orders would components of a great program. be taken so that the cashier can We’ve tried to think about how we accurately ring students up.

Not wanting to use pieces of can operationalize their ideas.”

According to Fouad, initial paper, DDS purchased semistudent reactions to the compulsory erasable markers that will come use of Green2Go containers at the off in the dishwasher, according to Courtyard Café grill have been Plodzik.

Bresler and Fouad said they are mixed. Some students have been very receptive and excited about the now looking at how to improve change, whereas others are unsure the waste situation in other dining locations on campus like Collis and and confused, she said.

In order to help students Novack.

FROM GREEN PAGE 1

PAGE 4

CONTRIBUTING COLUMNIST KATIE SHI ’21

GUEST COLUMNIST SAMANTHA DAVIDSON GREEN

The Language of Grief

Building A Better Foundation

Why and when one should read “The Year of Magical Thinking.”

Joan Didion’s “The Year of Magical Thinking” is a thorough, painfully poignant exploration of grief. Didion constructs this memoir with the same clarity and precision she employed in the journalistic works that brought her to fame in the 1960s and 70s. She guides the reader through her year of “magical thinking” after the death of her husband, John Gregory Dunne. While the tone of her narration is objective, she indicates her route through the spiritual and fantastical by means of the vortex in her memories that always leads her back to her living husband and healthy child.

Didion picks apart the concepts of grief, mourning and death without skimming over any explanations. She describes the history of funerals, how modern society perceives sorrow as something shameful and prolonged grief as a form of self-pity. She goes through the literature of grief and relays Emily Post’s etiquette advice in times of bereavement. She learns the medical terms that doctors use regarding her daughter Quintana’s condition, which worsens after her husband’s death. And throughout that year, Didion returns repeatedly to the night Dunne slumps over at dinner, a movement so sudden that Didion initially registers it as a joke. “Life changes fast. Life changes in the instant,” she writes. “You sit down to dinner and life as you know it ends.”

Didion’s perspective is certainly privileged — one can sense it from the places she’s been and the people she knows — but as much as that might estrange the reader, she doesn’t emphasize those specific details. If her closest friends happen to be celebrities, or if her memories take place in glitzy cities, Didion only mentions these facts and moments for context before focusing on the topic at hand: her personal experience with grief, and mourning, and the warning signs she wishes she had heeded before her husband’s stroke on Dec. 30, 2003. In the book, Didion practices the anthropological version of “magical thinking” — she doesn’t deviate from her usual life routine, and she preserves her husband’s belongings (and therefore his presence) in the house.

She’s unwilling to donate Dunne’s shoes, for example, because if she did then he wouldn’t be able to wear them if he returned. There is always this irrational but pervasive hope that if

she performs the correct actions enough times, then Dunne’s death could be reversed.

As Didion studies everything she can find that’s been written about grief — not just novels, poetry and rituals, but also medical papers, psych studies and etiquette handbooks — she teaches the readers what she discovers from this process. Gerard Manley Hopkin’s poetry, which Dunne had referenced several times after his brother had committed suicide, returns to Didion as a talisman: “I wake and feel the fell of dark, not day.” She describes, with her trademark clinical style, how grief repeatedly and relentlessly strikes. “Grief is different. Grief has no distance,” she writes.

“Grief comes in waves, paroxysms, sudden apprehensions that weaken the knees and blind the eyes and obliterate the dailiness of life.

Virtually everyone who has ever experienced grief mentions this phenomenon of ‘waves.’”

She cites Eric Lindemann, chief of psychiatry at Massachusetts General Hospital in the 1940s, who had defined the phenomenon as “‘sensations of somatic distress occurring in waves lasting from twenty minutes to an hour at a time, a feeling of tightness in the throat, choking with shortness of breath … and an empty feeling in the abdomen, lack of muscular power, and an intensive subjective distress described as tension or mental pain.’”

This is a sensation that I, when grief-stricken, have been all too familiar with, yet I was still shocked to see how accurately described the emotions are on paper.

Didion has another famous essay, “On Keeping a Notebook,” in which she details her personal writing habits. For her, keeping a notebook has always been about preserving memories, both real and invented. “Keepers of private notebooks are a different breed altogether,” she declares, “lonely and resistant rearrangers of things, anxious malcontents, children afflicted apparently at birth with some presentiment of loss.” The sheer amount of documentation present in “The Year of Magical Thinking” is incredible. She and Dunne had recorded everything in writing — planners, notebooks, marginalia, kitchen books, Microsoft Word documents, a box with memorable quotes from a three-year-old Quintana. Didion combs SEE SHI PAGE 6

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ISSUE

TUESDAY, FEBRUARY 5, 2019

THE DARTMOUTH OPINION

LAYOUT: Rachel Pakianathan

SUBMISSIONS: We welcome letters and guest columns. All submissions must include the author’s name and affiliation with Dartmouth

College, and should not exceed 250 words for letters or 700 words for columns. The Dartmouth reserves the right to edit all material before publication. All material submitted becomes property of The Dartmouth. Please email submissions to editor@thedartmouth.com.

Title IX training unintentionally participates in inequalities it aims to redress.

Like all faculty, staff and postdocs, I received my email summons to complete mandatory Title IX training, as directed by College President Phil Hanlon and the College in response to the student lawsuit against faculty and the College stemming from alleged sexual misconduct of three male faculty in the psychological and brain sciences department. By a certain logic, this obligation makes me yet another link in the chain of the exploitative side of Dartmouth’s culture, in this case as it concerns labor practices. Exploring this link may point to deeper fixes for campus culture.

First, to be clear: I have no intrinsic objection to the Title IX training, nor to the College’s mandated participation; I understand their goal of increasing awareness and fostering a shared language for discussion, and I trust it will have value. However, as adjunct faculty contracted course-by-course, I am essentially an hourly employee without benefits or job security, barely earning a living wage when the hours are counted. By requiring the Title IX training without compensation, the College imposes a disproportionate impact on adjuncts, particularly those like me who are “off” this term. When I contacted the Title IX coordinator about this dilemma, she extended the deadline to spring when I’m back “on” — but compensation was not offered. To maintain employment, therefore, I must give my unpaid time in recompense for the sexual misbehavior of men of higher rank in the power structure than myself. Like others in this story, I will do what I have to do, but the irony is worth noting.

Left with the options of giving away time or short-changing my teaching to comply, I will give the time. Why? As faculty, we share the goal to serve our students. As the present lawsuit suggests, and I, too, believe, the misconduct of PBS faculty was representative of a campus culture that protected faculty at the expense of serving students — i.e. an institutional failure to prioritize this fundamental goal. How did this failure occur? And, as the Title IX training seeks to do, how can Dartmouth community members create meaningful change?

I believe the systemic undervaluing of adjunct labor within the university offers both a partial explanation and a solution.

If Dartmouth wants to do deep work on its culture, it should start by valuing the faculty and staff who place teaching and serving students at least equal to, if not above, their own career advancement. Adjuncts are more likely to be more motivated by teaching and serving than career advancement, given that student evaluations are the only metric by which they may be renewed. But it also makes adjuncts vulnerable to exploitation by the institution, as they often put in more hours than is economical out of concern for good instruction, student support via letters of recommendation, academic counseling and so on.

By contrast, the tenure ladder, when combined with Dartmouth’s ambition to position itself on the global stage, incentivizes faculty to value individual accomplishment and celebrity over relational ethics. This is our open secret, right?

Colleagues have told me teaching performance is weighted significantly lower than research in evaluating tenure-track faculty. This engenders a hierarchy among employees of the College that devalues the faculty and staff, such as

department administrators, who arguably give more to supporting student learning than their own advancement. Students lose again when these employees are excluded from hiring decisions and departmental governance where they might give voice to students’ needs. The PBS faculty’s conduct, therefore, while a grotesque extreme, fits into a cultural logic in which serving oneself is valued more highly than serving others. Sexual predation at any level of campus life is a further extension of this logic.

When faculty on the tenure ladder do choose to prioritize building strong relationships with students, they must buck the reward system and jeopardize their own advancement to do so. Nowhere is this conflict of values more clearly illustrated than for young faculty who invest in the most empathy-building work of all: parenthood. Title IX obligates “any education program receiving Federal financial assistance” not to exclude from participation or activity, deny benefits, or discriminate “on the basis of sex.” Given the disproportionate career penalty of parenthood for tenure-track women and the history of adjunct instructors as a feminized work force — arguably both lingering forms of genderbased discrimination in education — Dartmouth’s effort to meet Title IX goals would benefit from consideration of how the College values (or doesn’t) the work and learned skill of caring.

The tenure system offers the fulfillment of faculty members’ highest purpose: to reward excellence in scholarship with academic freedom for the advancement of human knowledge.

Recent revelations have exposed the corruptibility of these noble goals, however, to a self-serving mindset and power protecting itself. This crisis begs three (at least) fundamental questions that no online training will sufficiently address: How has this hierarchical system created a culture of silencing dissent in order for participants to ascend to its protected upper echelons? Who are the humans whose knowledge faculty are trying to advance if not their students? And lastly, how might a revaluing in Dartmouth’s labor practices, rewarding excellence in teaching and commitment to students, help re-balance self-promotion with service to others, creating a more trusting, relational campus culture?

A final irony worth noting: In their filmmaking, my students often grapple with complex identity and power issues they experience at Dartmouth — including sexual and racial violence. To handle production of such content, I must first foster trusting relationships among the students and with me. Students need a class culture of listening, taking an interest in each other and reciprocity to do their best work as filmmakers, as in life. In different words, these are the goals of the Title IX “Building Bridges to a Supportive Community” training, as I understand them. This community can build a more supportive environment by listening to voices from ranks lower in the campus hierarchy, foremost the students’. Their films offer an accessible place to start. They are guaranteed to open eyes, minds and hearts to students’ lives and entertain in the process.

Davidson Green is a lecturer in the film and media studies department.The Dartmouth welcomes guest columns and letters to the editor.

TUESDAY, FEBRUARY 5, 2019

THE DARTMOUTH NEWS

Black Legacy Month brings festivities FROM BLM PAGE 1

“Black legacy doesn’t just survive, it thrives,” she said. “It refuses to be less than excellent.

Black legacy doesn’t hear the words ‘no,’ ‘you can’t,’ or ‘you aren’t.’”

Torrance Johnson ’19, the costudent coordinator for the opening ceremony and a performer in the Beyonce tribute, is also a member of the Black Legacy Month planning committee. Johnson emphasized the importance of celebrating all ethnicities and backgrounds of every nature during Black Legacy Month.

“I just want to make sure that it’s clear that [while] this does focus on black history, black culture, black excellence and the celebration of black people, everyone’s invited to be a part of it,” Johnson said.

Other events taking place this month include an Afro-Diasporic Food Festival and Cookoff on Feb. 19 at Collis Common Ground from 6-8 p.m. The food will be from “Only One,” a catering company from Boston that also catered the same event last year. The spread is expected to feature Caribbean and Southern food, including food ranging from oxtail, curry chicken and plantains to fried chicken, mac and cheese, and collard greens.

Nai-Lah Dixon ’21, the primary student coordinator for this year’s Black Legacy Month celebrations, saw last year’s food festival as one of the month’s most successful events in terms of turnout.

“It was really nice to see everyone commune and come together,” she said. “We had it near midterms week so it was a nice way for people to decompress, eat great food and learn about everyone and

different cultures.”

On Feb. 11, activist Ron Davis, who participated in a lecture last year in an event called “His Music Was Not a Weapon: Black Noise, Breakable Skin, and the Plundered Voice of Jordan Russell Davis,” will be coming to the College again as a keynote speaker. Davis is the father of Jordan Davis, a 17-year-old high school student who was shot in Jacksonville, Florida for playing his music too loudly at a gas station.

Other events taking place throughout the month include a “Self Love Day & Wellness Workshop,” black hair care barbering services and a film screening of “For Colored Girls.”

In addition, all throughout the month, students on campus will be able to use the Black Legacy Month 2019 filter on Snapchat to spread the word and showcase their pride.

For Jaden Oliveras ’21, the Black Legacy Month sentiments should continue beyond February.

“There’s amazing black people that we never talked about or got to hear about when we were kids,” Oliveras said. “Coming here and realizing all the black people that I’m surrounded by is this greatness that I love so that’s exactly why Black Legacy Month should be bigger and continue every year.”

The campus-wide celebration and acknowledgment of Black Legacy Month is a relatively new occurrence — until February 2015, “V-February,” the campus’s yearly campaign to “end gender-based violence and promote gender equity,” was the sole focus of the month. In response, Dartmouth students Thery Badin ’18, Marcus Gresham ’18 and Marley Peters ’18 applied for funding from the

Afro-American Society to host the College’s first Black Legacy Month event.

While the event in 2015 was only planned on a $400 budget, the present festivities include funding from the Special Programs and Events Committee and have greatly increased in programming.

Many students echoed the sentiment that the College’s acknowledgment and celebration of Black Legacy month creates a positive space for the black community on campus to come together.

“It brings together all the black people on campus that may not really be aware of other people, or go to all of the events, so it’s a month of events that allows everyone to come together and express blackness and what it means,” said Caleb Jackson ’21.

For Nate Giffard ’21, the festivities are a way to share “everyone’s culture and experience in one place.”

“For me personally, I’m Latino, but I think it’s definitely a good thing to continue celebrating diversity at our school,” Giffard said.

The festivities will come to an end during closing ceremonies on Feb. 28, with a speech from keynote speaker and trustee Laurel Richie ’81.

While this month is a time to reflect on the past and celebrate unity, Draper said it is also a time to be mindful of the future.

“Take this black legacy month, and think of the life and legacy that you want to create, and what kind of person do you want to be,” she added. “What side of history will you stand on?”

FRESH START TO FEBRUARY

DIVYA KOPALLE/THE DARTMOUTH SENIOR STAFF

While most of campus is still blanketed in snow, Monday saw an increase in temperature in Hanover.

PAGE 5

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GREEK GRIPES

TUESDAY, FEBRUARY 5, 2019

THE DARTMOUTH EVENTS

RACHEL LINCOLN ’20

DARTMOUTHEVENTS TODAY 5:00 p.m. - 6:15 p.m.

Lecture: “Instability and Inequality: American Capitalism after the Volcker Shock of 1980,” with University of Chicago history professor Jonathan Levy, sponsored by the Rockefeller Center for Public Policy, Rockefeller Center 003

6:00 p.m. - 8:00 p.m.

Festival: “Lunar New Year Celebration,” sponsored by the Office of Pluralism and Leadership, Collis Commonground

7:00 p.m. - 9:00 p.m.

Film & Discussion: “Voice of America: Lowell Thomas and the Rise of Broadcast News,” with director and producer Rick Moulton, sponsored by the Hopkins Center for the Arts, Loew Auditorum, Black Family Visual Arts Center

TOMORROW 5:00 p.m. - 6:00 p.m.

Lecture: “Hetero-functional Graph Theory for Interdependent Smart City Infrastructures,” with Thayer School of Engineering professor Amro Farid, sponsored by the Institute for Security, Technology, and Society, Life Sciences Center 201

5:30 p.m. - 7:30 p.m

Lecture: “When Did Black People Lose Their Indigeneity? Reimagining Black & Indigenous Histories,” with University of California, Los Angeles assistant professor Kyle T. Mays, sponsored by the Society of Fellows, Alumni Hall, Hopkins Center for the Arts

5:45 p.m. - 6:30 p.m

Dinner Discussion: “V-February: Critically Examining Feminism at Dartmouth,” sponsored by the Office of Pluralism and Leadership, Carson Hall 060 FROM SHI PAGE 4

through these records of their shared life in an attempt, almost, to resurrect Dunne through text. This gives “The Year of Magical Thinking” the intimacy of published diaries that personal essays, in their formality, seem to lack.

“The Year of Magical Thinking” is a wonderful read, objectively, but it becomes a necessary one for those who have experienced devastating loss themselves. Didion voices precisely what it feels like to lose what was once most important to the reader. When I experienced a great deal of personal loss, I experienced the same kind

of magical thinking as Didion’s. What does one do with their life when there’s now a giant hole made freshly in the center of it, exposing one’s most vulnerable self to the rest of the world? How does one navigate the incident just before the loss occurred; how does one stop oneself from returning to it over and over again? This book gives the most to those who are in the process of grieving, offering not closure (“I realize as I write this that I do not want to finish this account,” Didion says) but an exploration of an experience the bereaved alone feel.

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TUESDAY, FEBRUARY 5, 2019

PAGE 7

THE DARTMOUTH ARTS

Review: ‘Brooklyn Nine-Nine’ reveals the goodness of humanity B y Joyce Lee

The Dartmouth Senior Staff

There was a moment of collective solidarity on the Internet — which is really rare, considering it’s the Internet — when Fox announced the cancellation of “Brooklyn Nine-Nine” in May of 2018. Fans of the show, from Lin Manuel-Miranda to Guillermo del Toro, all tweeted their outrage, leading to the show’s resurrection at NBC a mere 31 hours after the announcement of its cancellation.

It was a dramatic moment for a television sitcom, and it might be curious to those who don’t follow the show as to why it became so dramatic. What’s the big deal with “Brooklyn Nine-Nine”?

Season six of the sitcom is currently airing on NBC, and its recent episodes highlight, perhaps, why it was so important to fans that this show continue. At its core, “Brooklyn NineNine” is a sitcom about good people doing good things for each other and their community, even in the face of somewhat ridiculous adversities.

This approach is hardly a surprise, considering showrunners Dan Goor and Michael Schur are both alumni of “Parks and Recreation,” which Schur also co-created with legendary “The Office” showrunner Greg Daniels.

“Brooklyn Nine-Nine” is thus only the latest in a long line of shows about

normal, goofy humans who work his stoic and unchanging expressions. together and hit major life milestones In the first episode of the new season, in a somewhat grimy office setting.

“Honeymoon,” viewers see a change Despite being a show set in a police in the “Robot Captain,” who ends precinct, “Brooklyn Nine-Nine” only up deflated and uncharacteristically uses the procedural format of most depressed over the loss of a promotion crime shows as a backdrop for its more to police commissioner. Braugher is character-driven plotlines. Crime- excellent at balancing his portrayals fighting is only another way to become of Holt as a completely humorless better friends, to establish heartwarming authority figure and a robotic man mentor-mentee relationships and to who is often oblivious to social cues; show how intrinsically flawed people this is great fodder for the episode when can become he inadvertently better through “Crime-fighting is cr a s h es Ja k e the help of their and Amy’s only another way friends and cohoneymoon. The workers. Jake to become better iconic moment is Peralta, played friends, to establish when he stands by a wonderfully over them in a w a r m A n d y heartwarming mentor- ghastly pink tank Samberg, begins mentee relationships, top that reads, the show as a “ W h a t ’s u p, and to show how definitive version beaches,” his face of a “man-child,” intrinsically flawed as stoic as ever. who became a people can become Unlike detective because “Parks and of his love of better through the Recreation” or “Die Hard.” His help of their friends “The Office,” foils include his there is no real romantic interest and co-workers.” straight-man in Amy (Melissa “Brooklyn NineFumero), a Nine,” which Hermione-esque police detective, provides a greater opportunity for and the precinct’s new police captain comedy as the show plays the various Ray Holt (Andre Braugher), who gets exaggerated eccentricities of the nicknamed the “Robot Captain” for characters off of each other. This trait

also gives them room to be flawed and to correct those flaws without losing a source of comedy. Braugher, in the initial episodes of season one, seemed to be slotted to play the straightman, but it has become increasingly obvious that all of the characters take their turns playing the straight-man for each other. The result is a well-rounded cast that is able to grow together to form a somewhat functional police precinct, and an even better example of good people who are able to outgrow their flaws.

The overall good humor and minimal cynicism of “Brooklyn NineNine” proves that a show does not have to be dark or weighed down by political commentary to be relevant. The cast is incredibly diverse, with a black gay man as police captain, a bisexual Latina woman as a terrifying detective and a black man as the precinct’s sergeant, among other examples. The show doesn’t assume that representation alone means diversity; it takes care to include the particular concerns of minority groups within the plotlines without being tokenizing. It shows women having ambitions of becoming police captain, black policemen working to problematize police brutality and educate their fellow officers, and LGBT characters having tender and healthy relationships that face their own hurdles.

There are no overt messages in the

sitcom, no specific references to what’s going on in the world post-2016, but by maintaining this dedication to its diverse set of characters, the show provides a relief for those of us who are sometimes lost in the endless stream of cable news.

As hilarious as it is to see Holt crash Amy and Jake’s honeymoon, the episode also deals with a black, gay police captain losing a chance at a promotion because he refused to play into the status quo.

The show is a sitcom, but it’s not one to mislead people into thinking that diversity can always win. There are repercussions as much as there are successes, and the show works because there is not only time to acknowledge this fact, but to also show how people can overcome their setbacks through the community they have built for themselves.

In some ways, the cancellation of “Brooklyn Nine-Nine” revealed how important the show has become for those who are always looking for positive representations of humanity — perhaps because it sometimes is the most accurate reflection of the world we live in. There are terrible things that happen, but by and large, many of our friends and neighbors are good, kind people who sometimes need to work through some flaws. Even if that’s not the case, it is the kind of world we can not only hope for, but work together in building.

Review: ‘Fyre’ explores the consequences of willful ignorance B y Willem Gerrish The Dartmouth Staff

It was one of the greatest marketing campaigns of all time: a pristine launch video showing supermodels swimming in bikinis on an island once owned by Pablo Escobar, a series of cryptic orange tiles posted online by celebrities and Instagram influencers and the promise of an immersive music experience in the Bahamas called Fyre Festival. In reality, it was an utter disaster; gourmet meals became two slices of cheese on soggy bread, luxury villas became disasterrelief tents and Fyre Festival became a colossal failure of the millennial age.

Such is the subject of the new Netflix documentary “Fyre,” written and directed by Chris Smith, the man behind the well-received documentary “Jim & Andy: The Great Beyond.” In this documentary, Smith sets his sights on one of the most spectacular scams of the modern era — Fyre Festival — and the result is a fantastic and engrossing movie that captures the terrible consequences of millennial wealth and willful ignorance.

I find the story of the Fyre Festival so interesting because it is perfectly indicative of society’s fixations on celebrity and the veneer of wealth as exacerbated by social media. It

was an event born and bred online, spread via the Instagram pages of celebrities such as Kendall Jenner and Emily Ratajkowski, who were paid exorbitant sums for their support.

Wealthy millennials perusing their iPhones immediately picked up on the advertising campaign, and it became an unmissable opportunity: the chance to party with celebrities on a private island in the Bahamas, drinking liquor and lounging on the beach with money as only an afterthought. It’s that Gatsby-like fetishization of wealth brought into the modern age, and to see it all implode has that poetic feeling of inevitability that seems closer to fiction than reality.

But just how did Fyre Festival manage to fail in such utter and grandiose fashion? That’s the question that Smith sets out to answer in “Fyre,” and the heart of his conclusion lies in one man: Billy McFarland. McFarland was a college dropout-turned-entrepreneur who made his first stream of wealth on a company called Magnises that offered a black card experience to young urbanites willing to pay a yearly fee. He was capitalizing on his sense that millennials wanted luxury and exclusivity, and he was right — people ate it up. But McFarland had the problem of promising more

than he could ever procure, and Magnises began to fail when much of what it offered was revealed as a pipe dream. When he then thought up Fyre Festival, McFarland carried with him the same tendency to forget about reality. He sold people on the idea that lustrous and elusive dream of a tropical bacchanal filled with celebrities and music. No one seemed to realize that an event of this magnitude would require massive investments of time and money, not to mention infrastructure, transportation, catering, housing and all of the other factors that go into making a getaway festival a reality.

But McFarland was positive and electric, and so people kept following him along until they were in too deep.

“Fyre” does an impressive job of working around McFarland to get an idea of what it was like on the inside as Fyre Festival began to collapse.

The man himself is currently in prison serving a six-year sentence for fraud, so Smith interviews those around him to piece together a picture of destruction from the inside out.

More than anything, the underlying problem for Fyre Festival was an ignorance of reality. McFarland and his team seemed to operate under the idea that they could live in their own universe, a place without limitations or consequences. In one

stunning example, they acquired the Bahamian island of Norman’s Cay on the strict stipulation that they not mention its ownership by Pablo Escobar. But then, in the promotional video for Fyre Festival, there was direct reference to “Pablo Escobar’s private island,” and McFarland’s contract to hold the island was immediately terminated. This was just the beginning of a great scramble of incompetence that sent Fyre Festival hurtling toward disaster. To make matters worse, McFarland was operating with about two months’ time before festivalgoers would start arriving. As one organizer explains in the film, festivals typically require about 12 months of planning and preparing, and McFarland had six to eight weeks.

Some of the most revealing footage in the documentary are the shots captured on iPhones and security cameras that show McFarland exuding incompetence and scrambling to keep his tepid dream afloat. There’s him passed out on the sand in broad daylight holding a beer; him telling his team that “we’re selling a pipe dream to your average loser”; him pacing nervously in his first sign of weakness as the festival is disintegrating around him. And in a sickly comedic twist, Ja Rule is there

the whole time providing support, at one point telling McFarland and his team after the festival, “That’s not fraud. That is, uh, I would call that false advertising.” Yet what they did was fraud, and a federal court in Manhattan agreed.

The scary thing is that McFarland apparently didn’t learn his lesson.

After the Fyre Festival disaster and the collapse of Fyre Media, Inc., McFarland immediately started a new scam called NYC VIP Access that offered impossible luxury ticket options to would-be Fyre Festival attendees. It’s astonishing how easily this man will lie, cheat and steal to make his next dollar, and it only makes me wonder what sort of scheme he is getting ready to employ the day he walks out of jail.

“Fyre” proves to be an engaging and necessary portrait of all that can go wrong when one fixates on wealth and celebrity without the requisite integrity to back it up.

McFarland’s story is really one of a tragically flawed character, a man who believed in the dream of pure pleasure and excess without a sense of the cost that sort of lifestyle incurs.

He hoped to go down in history as the entrepreneur of a generation, but now he’s building the legacy of a scam artist lost in the never-ending party of his imagination.

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THE DARTMOUTH ARTS

TUESDAY, FEBRUARY 5, 2019

Oscars Picks: How goes the kingdom in ‘The Favourite’?

the Star Wars sequel trilogy are for a somewhat satiric approach to them. However, the aforementioned tapestry, yet another interplay of some of the most successful films the drama in Queen Anne’s court. distortions are too distracting, too light, shadow, movement and color. in recent memory, and both employ But whereas “Barry Lyndon” is obvious to be anything other than All is visual for the sake of pure In light of the 91st Academy Awards extravagant mises-en-scène. What lightly amusing, “The Favourite” an authorial intervention on the part visuality.

Such an unusual approach is by coming up this month, a few of our film makes costume dramas any different? revels in the surreal and the of Lanthimos. Such an intervention reviewers are looking at the Best Picture This may be pure speculation, grotesque. Likewise, the film opts is the hallmark of an art film, and it all means interesting. Nevertheless, nominees to see what might be the best but there seems to be a certain for modern filmmaking techniques, is precisely what distinguishes “The part of me can’t help but wonder pick for the film industry’s most prestigious e x p e c t a t i o n but takes them Favourite” from “Barry Lyndon” if this screenplay, what with its award. Today, Sebastian Wurzrainer looks that these films “This may be pure to the extreme. or “A Royal Affair.” Like those two complex examination of gender, at “The Favourite.”

What w a s films, “The Favourite” clearly wants sexuality, power and politics, distance the speculation, but there “The Favourite” is directed by audience from immersive in “A to do something different with the might have been better served by Yorgos Lanthimos, who has recently the characters. seems to be a certain Royal Affair” costume drama, but its approach is an approach that focused more on content and less on form. To gained a reputation for surrealist The set design, becomes even entirely its own. expectation that works like “The Lobster” and “The make-up and more distancing But does this approach have be clear, none of this is to deride Killing of a Sacred Deer.” At first w a r d r o b e s these films distance in “ T h e any true purpose? Auteurs of art art cinema or a focus on form. glance, “The Favourite” might seem don’t enhance the audience from Favourite.” The cinema have a particular fondness These things have their place; if like an odd choice for Lanthimos’ a u d i e n c e most obvious for drawing attention to themselves nothing else, they tend to ignite sensibilities, given its period setting e n g a g e m e n t the characters. The e x a m p l e o f within their own films. In response, conversations — or an overwritten and storyline. Yet the final product is w i t h this is the film’s audience members tend to gush review for The Dartmouth. At the t h e set design, make-up exactly what you might expect from story; instead, constant use of about their brilliance as artists. end of the day, though, some art and wardrobes don’t a surrealist filmmaker taking on a t h ey b e c o m e a fisheye lens, Yet as often as not, such works are films that value form over content fairly standard, if rather intriguing, h i s t o r i c a l enhance audience an ultra-wide- the product of pure hubris. Can are enjoyable both to watch and costume drama screenplay. angle lens that the same be said for Lanthimos discuss, while others are only b a r r i e r s , engagement with the The film takes place during the markers of a d i s t o r t s t h e and “The Favourite”? Perhaps, enjoyable once you start talking story; instead, they reign of sickly Queen Anne, circa time long since edges of the but I’d like to suggest that his about them after the fact. For better 1708. Sarah Churchill, the Queen’s p a s s e d . T h e become historical f r a m e . O n e techniques — such as the fisheye or for worse, “The Favourite” falls closest friend and occasional lover, a c c u r a c y o f might initially lens — signal to the audience into the latter category. For all its barriers, markers has successfully amassed immense these elements b e i n c l i n e d that the focus is not truly on the efforts to upend its genre, the film political power by taking advantage i s u l t i m at e l y of a time long since to search for characters or the story. Rather, the elicits much the same response of Anne’s maladies and unstable secondary; they passed.” a n a r r a t i v e film’s mise-en-scène transforms while watching it as many other mind, serving essentially as a de are a trope of explanation for into this sort of observational so-so costume dramas. It may be a facto ruler. Yet Churchill’s power the genre that such an odd visual tapestry. For instance, the fascinating film to talk about once becomes increasingly precarious as must nonetheless be circumvented choice. After all, the use of such a frequent usage of close-ups doesn’t you’ve left the theater, but if you she vigorously promotes Britain’s if the film is to stand out. Over the wide-angle does strand the characters encourage audience identification. want to be engaged, you may be war with France, much to the years, many filmmakers have tried in the frame, emphasizing the Instead, the actors’ faces become wise to stick with the likes of “Barry displeasure of the Tory party. Enter to do just that with varying degrees gaping, empty spaces that surround yet another component in the Lyndon” and “A Royal Affair.”

Abigail Hill, Sarah’s cousin brought of success. If you want to go back low by an infamous father. Shortly to the 1970s, Stanley Kubrick’s after her arrival at court, Sarah takes solution was to take the staid style of her cousin under her wing, giving the costume drama to the extreme, Abigail easy transfor ming access to the “Barry Lyndon” Queen. Soon “Here’s a blunt, into a borderline Abigail gains overgeneralized, satiric piece. favor with the More recently, frail monarch, yet largely accurate the excellent m a n e u ve r i n g statement: costume “A Royal to push Sarah Affair” opted dramas are shockingly aside, all the for a simpler while using the hard to pull off, but no less support of the especially in this day brilliant tactic: Tories to her employing and age.” advantage. m o d e r n H e r e ’ s filmmaking a blunt, techniques that overgeneralized, yet largely feel more real and immediate. The accurate statement: costume film doesn’t dispose of absurd wigs dramas are shockingly hard to pull or fancy dresses, but it makes clear off, especially in this day and age. that there are real human beings At first glance, one might assume beneath them. that this is because the stories and I mention all of this because characters can so easily get buried “The Favourite” almost takes the beneath the costumes, make-up lessons of “Barry Lyndon” and and sets. Yet such an assessment “A Royal Affair” to heart before DIVYA KOPALLE/THE DARTMOUTH SENIOR STAFF seems incomplete. After all, the discarding them entirely. As with Marvel Cinematic Universe and “Barry Lyndon,” Lanthimos opts “Book Arts Across Disciplines: Work Made in the Book Arts Workshop” is currently on display at the Strauss Gallery.

B y sebastian wurzrainer The Dartmouth Staff

BOOK ARTS AT THE HOPKINS CENTER