Apr. 14, 2011 issue

The ChronicleThe independenT daily aT duke universiTy

THURSDAY, APRIL 14, 2011 ONE HUNDRED AND SIXTH YEAR, ISSUE 134www.dukechronicle.com

Football player composesmusic for Duke symphony, Page 7

Great Hall promotes eating green, Page 3

onTherecord“Not only do the United States and China have the two largest

economies in the world, they also have the most dynamic.” —Soph. Paul Horak in “Entrepreneurship and Growth.” See column page 11

DukeEngage reflects diverse student body

by Lauren CarrollTHE CHRONICLE

Students from many segments of the Duke community now volunteer through DukeEngage.

Statistics provided by the service pro-gram show that the demographics of Du-keEngage participants generally reflect the race and socioeconomic status of the undergraduate student body. The program consciously considers and values diversity, said Eric Mlyn, director of DukeEngage.

The participants who will volunteer in the United States and abroad this summer nearly identically mirror the program’s ap-plicant pool. A total of 8 percent of the stu-dents are black, 37 percent Asian, 6 percent Hispanic, 42 percent white and 7 percent selected other or did not specify their race. These rates also reflect the student body at large, which in 2010 was 10 percent black, 26 percent Asian, 7 percent Hispanic, 50 percent white and 7 percent other or not specified.

Mlyn said socioeconomic diversity is also a priority for the program, adding that Du-keEngage administrators do not want costs to discourage people from applying. Stu-dents on need-based financial aid make up 43 percent of all DukeEngage participants this year, which is equal to their representa-tion in the total student body.

“I think we’re doing very well,” Mlyn

‘Beer Trucks’ scratched from graduation week

by Caroline FairchildTHE CHRONICLE

For more than 20 years, “Beer Trucks” has been a fixture of Duke’s commencement week activities, but the Class of 2011 will have to make alternate plans for the night before graduation exercises.

Beer Trucks is a traditional event during the weekend of commencement, for which seniors congregate in the Blue Zone to drink free beer and socialize one last time before graduation. Kim Hanauer, director of young alumni and student programs for the Duke Alumni Association, wrote in an email that the DAA was forced to cancel the event this year due to additional budget constraints faced by the association. Beer Trucks, which cost ap-proximately $65,000, was terminated by the

DAA in consultation with all University depart-ments involved with Commencement.

“While we understand that for many... Beer Trucks was certainly a lot of fun, it was an expensive event and one that we thought was not as pivotal to the success of our overall programs as say Homecoming, Reunions or career/networking programs for students,” Hanauer said.

Currently, there is no event planned for Saturday evening in place of Beer Trucks. Hanauer added that the DAA hopes other commencement week events, such as the Kick-Off Cocktail Party Wednesday and the Back to East event Thursday, will serve as supplemen-tary opportunities for members of the Class of

SEE beer trucks ON PAgE 5

SEE dukeengage ON PAgE 4

Mangum likely faces murder charge after boyfriend’s death

from Staff ReportsTHE CHRONICLE

Reginald Daye, the man Crystal Mang-um allegedly stabbed April 3, has died.

Mangum, the Dur-ham woman who falsely accused three Duke lacrosse players of rape in 2006, was charged with assault with a deadly weapon with intent to kill in-flicting serious injury after the incident and has been in jail since

her arrest. Durham Police Department Chief Jose

Lopez told The Herald Sun Wednesday

that the charge against Mangum will like-ly be upgraded to murder.

When police responded April 3 they found that the 46-year-old man had been stabbed in the torso with a kitchen knife. Daye and Mangum had allegedly been ar-guing about rent money.

Mangum was previously arrested in February 2010 following an altercation with a different boyfriend, WRAL report-ed. Mangum was accused of assaulting the man in front of her children and setting his clothes on fire.

She was eventually convicted of injury to personal property, child abuse and re-sisting a public officer. The arson charge was dismissed because a jury could not reach a verdict.

Crystal Mangum

by Taylor DohertyTHE CHRONICLE

go ahead and google Anil Potti.No longer do the majority of top search results for the

former Duke cancer researcher detail allegations that he falsified his resume and produced faulty research that has been retracted from renowned medical journals and led to the termination of three clinical trials. Instead, more than a dozen websites and social media accounts created in the months following Dr. Potti’s November resignation contain solely positive information about his research and medical experience.

“During his time at Duke, he had a special interest in taking care of patients with lung cancer and contributed to the development of several programs in cancer,” reads a section of AnilPotti.com, which does not discuss the

terminated trials that a top Duke official has since said should never have been conducted.

In recent months, Potti hired Online Reputation Man-ager, a company that helps clients push down unfavorable content in search engine results. The effort has crowded out coverage of the scandal and retraction notices on medi-cal journals’ websites.

Still, for Potti, the results so far appear to be mixed. Searches for his name bring up articles about his missteps published by The New York Times and The Chronicle, though many of the newly created positive sites rank high as well.

Online databases show that between Jan. 14 and Jan. 17, at least five sites were registered that combine

Potti hires online reputation managerFirm seeks to remove unfavorable articles from top Google results

SEE potti ON PAgE 6

potti investigation

chronicle graphic by courtney douglas

2 | THURSDAY, APRIL 14, 2011 THe CHRonICLe

“ ”

worldandnation today:

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doha, Qatar — libyan rebels require further support that may include funding and equipment to defend civilians against the forces of Moammar gadhafi, allied na-tions said Wednesday.

a united nations resolution authoriz-ing a no-fly zone over libya provides for self-defense and Qatar would “look into” supplying equipment for this, Qatari prime Minister hamad bin Jasim al-thani told re-porters Wednesday. the so-called libyan contact group said it was looking into a “temporary financial mechanism” so the rebels can access government assets fro-zen abroad, in a statement issued in doha.

the group, which includes the united states, britain, France and other countries lending military support, agreed that “gad-hafi and his regime had lost all legitimacy and he must leave power, allowing the lib-yan people to determine their own future,” it said in the statement.

neW yorK — stocks rose Wednesday, halting the longest standard & poor’s 500 index slump since november, as a Fed-eral reserve report fueled optimism the economy can weather president barack obama’s plan to cut spending and raise taxes.

the s&p 500 snapped a four-day slump, rising less than 0.1 percent to 1,314.41. the dow Jones industrial average increased 7.41 points, or 0.1 percent, to 12,270.99. benchmark indexes fell earlier as details of obama’s plan emerged, then turned higher after the Fed’s beige book said the economy and labor markets improved.

“the economy is in good shape,” said Kevin caron, a market strategist in Flo-rham park, n.J., at stifel nicolaus. “the evidence of the last few years has been that whenever the government leads in spending money, the private sector fol-lows.”

Stocks rise in response to Obama’s spending cut

Obama proposes $4 trillion cut from deficit

Without labor nothing prospers.

— Sophocles

Michael naclerio/the chronicle

Colin goddard, one of the students who survived the virginia tech shootings, is at the center of the HBo documentary “gun Fight.” “gun Fight” deals with the current debate in gun control. it presented both goddard’s fight for gun control and the perspective of gun advocates. the documentary pre-miered Wednesday, three days before the fourth anniversary of the virginia tech shootings.

“a Firefox add-on for Mac and Windows called Firesheep is designed to allow any user to access Facebook, twitter, amazon, google, Wordpress and many other password-protected accounts of others on the same public Wi-Fi network. a sidebar appears listing the available accounts to hack, with the users’ name or username and often a picture.”

— From The Chronicle Blog bigblog.dukechronicle.com

Duke Free Storebryan center plaza,

10a.m.-5p.m. Duke Free Store allows custom-ers to donate and/or take gently

used items.

Marty Grosz, Jazz Guitarist and Raconteur

lilly library, 4-5:30p.m. Marty Grosz will perform, discuss himself and his father, and hold a

master class on jazz.

Who’s in Charge? Free Will and Science of the Brain

lsrc b101, 5-6:30p.m. Michael Gazzaniga discusses perspectives from Neuroscience,

Psychology and Philosophy.

Libyan rebels require more funds, equipment

onschedule...

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toDaY in HistoRY1865: Lincoln shot at Ford’s

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Duke Men’s TennisAMbler OuTDOOr Tennis CenTer

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2010 - 2011 GRADUATION WITH DISTINcTION IN THE ARTS THE PRESENTATIONS

The Graduation with Distinction program in Trinity College of Arts and Sciences recognizes academic excellence achieved by highly qualified advanced students who successfully complete a substantive

project demonstrating sustained effort and deemed distinguished by a faculty committee of review.

Vice Provost Office for the Arts g arts.duke.edu g 919-684-0540ARTWORK: Sarah Goetz, a gentle brain washing (details), sewn mesh, pages from the Encyclopedia Americana: Burma-Cathay, and guitar strings,

The Mary Duke Biddle Building, 2010, Photo by Marissa Bergmann

KRISTINA WARREN I MUSIC Who Cares If You Listen? Accessibility and Substance in James MacMillan’s “Veni, Veni, Emmanuel,” and Electro- Acoustic Composition - “Words (Yes)”April 16, @ 3pm in Nelson Music Room, East Duke Bldg., East Campus

CAROLINE XIE I MUSIC Liszt Transcriptions and Paraphrases A two-part project that includes a piano recital featuring several of Liszt’s transcriptions and paraphrases, and the Rachmaninoff Piano Suite I, Op. 5, for two pianos, and a research thesis that explores Liszt’s transcriptions and paraphrases of works by Schumann, Paganini, and Tchaikovsky. Faculty advisors: Pei Fen Liu, Anthony Kelley, Hsiao-Mei KuApril 16, @ 6pm in Baldwin Auditorium, East Campus

Bon Appetit celebrates Low Carbon Diet Day

by Matt BarnettTHE CHRONICLE

It’s easy being green—at least in the great Hall.

The venue, operated by Bon Appetit Management Company, has recently been the focus of several campaigns aimed at improving its sustainability. The great Hall is celebrating Bon Appetit’s fourth annual Low Carbon Diet Day today by offering a special lunch menu to highlight foods that are produced with low levels of carbon emissions.

Bon Appetit Marketing Manager Sarah

Mcgowan said the event is designed to in-form students of ways they can reduce the carbon footprint of the food they eat.

“Is it feasible to totally eliminate beef and cheese every single day?” she said. “No, but we can educate consumers [on] why decreasing consumption of those items could impact the environment in a positive way and hope that they elect to make those choices outside of our operations.”

The meals offered for lunch at the event will follow Bon Appetit’s “Top Five Low

eliza bray/the chronicle

the great Hall is offering a special lunch menu today in celebration of Bon appetit’s fourth annual Low Carbon Diet Day. the goal of the event is to educate students on ways to eat with a minimal carbon footprint.

Group votes against steep budget cuts for yearbook

Duke stuDent goveRnMent

SEE green eating ON PAgE 5

by Anna KoelschTHE CHRONICLE

Students eager to reminisce about their Duke years with a yearbook can temporarily breathe a sigh of relief.

At its meeting Wednesday, Duke Stu-dent government came close to cutting more than half of the budget of Duke’s yearbook, The Chanticleer, during a discussion of the 2011-2012 Student Organization Finance Committee bud-get. A proposal to cut the publication’s budget by $41,000 ultimately failed by a vote of 17-20.

A smaller cut of $30,000 also failed, and the Senate tabled the discussion of The Chanticleer’s budget—but not without debate.

“There is no reason why we should be giving $80,000 to the yearbook when we have things like Facebook,” said senior Ben Bergmann, a senator on the athlet-ics and campus services committee.

Bergmann proposed cutting The Chanticleer’s budget to eliminate unnec-essary spending for a publication that he said was obsolete and geared only toward the senior class. He added that there is a significant number of yearbooks left over each year because of a lack of student in-terest in the publication.

Others agreed about the diminish-ing value of the yearbook, with one sen-ator suggesting that The Chanticleer should only be free for seniors.

But sophomore Chris Brown, vice

president for athletics and campus services, said The Chanticleer fills an important need for Duke because it documents events and issues for every student regardless of their class year.

“The only thing that makes it signifi-cant for senior year is the small section in the back with senior portraits,” Brown said. “I got a yearbook earlier, and it is awesome. They do a fantastic job.”

DSg President Mike Lefevre, a senior, threatened to veto the proposal to cut the publication’s budget before meet-ing The Chanticleer’s staff to talk about plans to “modernize” the publication.

Lefevre said a part of his plan for The Chanticleer includes discussing the option of charging students for the publication.

“There are so many nuances to a budget... [but] there are benefits to pursuing a volume,” he said.

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PRESIDENT RICHARD BRODHEAD INVITES MEMBERS OF THE DUKE COMMUNITY TO THE HERTHA SPONER PRESIDENTIAL LECTURESHIP

Hertha Sponer was the first woman full professor in the natural sciences at Duke University, invited to join the faculty in 1936. Seventy years later, a group of women faculty in the sciences recommended this lectureship to President Brodhead to highlight the research of prominent women in science, engineering, mathematics, and medicine. phy.duke.edu/history/DistinguishedFaculty/HerthaSponer

Jeanne Altmann, PhDEugene Higgins Professor of Ecology and Evolutionary Biology Emeritus and Senior Scholar Princeton University

Monday, April 18, 2011 at 4:30 pm

Fitzpatrick Center, Schiciano Auditorium, Side B Reception will follow outside of the Schiciano Auditorium

LIVINg ON THE EDgE SUCCESSFULLY: From womb to grave with friends, family, and physiological flexibility

said, noting that the numbers are in line with national trends.

Mlyn in part attributed the high repre-sentation of Asian students to the fact that there are “heritage students”—undergrad-uates who do DukeEngage in their coun-tries of origin. For example, DukeEngage in China-Beijing often attracts many Chi-nese students, as the program requires par-ticipants to speak Mandarin Chinese.

One such student is freshman Sarah Wang, who moved to the United States from Beijing nine years ago and hopes to improve her language skills this summer. Wang said she is excited to work on the service project—which consists of teach-ing migrant children from rural areas—because of her family’s ties to the rural regions of China and her connection to the project.

Wang noted, however, that she believes this should not discourage non-Chinese students from applying.

“We reach the same benefits—there’s no advantage [to being Chinese].”

Some segments of the student body do remain underrepresented in the program, however.

Men made up half of the student body in 2010, but just 40 percent of students par-ticipating in DukeEngage this summer are

male. Similarly, although student-athletes make up 12 percent of the student body, they will represent just 6 percent of Duke-Engage participants.

The imbalance reflects national sta-tistics about volunteering, Mlyn said. As of September 2010, 42.7 percent of civic engagement nationally was performed by men, according to the U.S. Bureau of La-bor Statistics.

Mlyn said the program nonetheless tries to attract both sexes. Some programs attract higher male turnouts, including projects that focus on entrepreneurship, like the programs in Nicaragua and gua-temala.

Mlyn attributed the lack of varsity ath-letes to the fact that many of them are unable to participate because they are re-quired to train over the summer.

Some students do put their training on hold to participate. Junior Chris Tweed-Kent, a member of the men’s varsity soc-cer team, said even though he could not practice for all of last summer he does not regret spending the summer in Santiago, Chile.

“Being an athlete has enhanced my overall experience at Duke, and sometimes two great things compete with each other for time,” Tweed-Kent wrote in an email Wednesday. “DukeEngage was an unbeliev-able experience that I wouldn’t have trad-ed for anything.”

the distrubution of applicants and participants in Dukeengage programs by background nearly mirrored the percentages of the student body, with asian students as the only group overrepresented.

Dukeengage from page 1DC officials to allow online gambling in city hot spots

by Justin JouvenalTHE WASHINgTON POST

WASHINgTON, D.C. — City offi-cials in Washington said they are plan-ning to set up 20 to 30 online gambling “hot spots” in hotels, bars, clubs and other venues by September, marking a major step in a bid to turn the nation's capital into a haven for Texas hold 'em and other potentially lucrative Inter-net-based games.

By the end of the year—if Congress doesn't revisit the issue and if the tech-nology works as promised—adults in Washington wouldn't even need to go such places to gamble. Instead, they would be able to key in their payment details on their home laptops to play a virtual hand or two of city-sanctioned poker.

The unprecedented wager has city officials facing difficult questions, in-cluding how much money the venture would make and whether it would even be legal.

City council member Michael Brown proposed the plan in December as a way to generate revenue. The measure passed as part of the 2011 budget, and Mayor Vincent gray signed it into law in January. Last week, a 30-day peri-od for Congress to object to the plan ended, setting the stage for the city to move forward.

But the recent deal to avert a federal government shutdown—which revived a provision that would bar city money

from being used to pay for abortion—shows the potentially perilous path for any local initiative that draws strong opposition in Congress.

Even after the review period, Con-gress can intervene, said Frederick Hill, spokesman for the House Committee on Oversight and government Reform, which covers city affairs. “If the com-mittee has a concern that a practice is either illegal or not in the interests of the federal taxpayers who support the District of Columbia, the committee could certainly raise a concern.”

Hill said, however, that the panel has no plans to introduce legislation or hold a hearing on the matter.

Brown insists that Washington is on firm legal ground, but the city's chief financial officer said in an analysis of the program that “no consensus exists” on whether federal statutes would pre-vent the city from implementing the program.

“We are trying to do as much in-novative stuff as possible to increase revenue,” Brown said. “We have com-petition around the region on gaming, so we had to do something. Also, the online, offshore poker companies are already here. “

The gambling program could gener-ate $13.1 million between the 2011 and 2014 fiscal years, according to the chief financial officer's analysis, although

SEE gambling ON PAgE 6

chronicle graphic by nicholas schWartz and courtney douglas

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2011 to come together before they don their caps and gowns Sunday, May 15.

But Alex Osmond, Trinity ’09, does not agree that the events are comparable. Osmond, who attended all three events two years ago, said the unique value of Beer Trucks is that it is scheduled for the night before graduation when the parents of all the graduates are in Durham and can meet and mingle with friends in a “very fluid space.”

“You come to Duke with your parents and with Beer Trucks you could leave with them... but also with the friends that you’ve picked up along the way,” he said.

Senior Scott Winkleman said once he started hearing rumors that the event would be canceled this year, he called DAA for some answers. Winklemen said he thinks that it was “pretty ridiculous” that the DAA choose to can-cel Beer Trucks as it was a highly anticipated event among his peers and classmates.

“I’ve talked to a lot of seniors who agree that it would have been better if they cut everything else from the week and just kept Beer Trucks,” he said.

Dean of Students Sue Wasiolek, who prefers to refer to Beer Trucks as the “Big Tent Event,” said that on a positive note, graduates will now be able to spend more

time with their families instead of rushing back to West Campus for Beer Trucks.

But Matthew Ogren, Trinity ’09, said Beer Trucks was special because of its ability to serve as a larger space for all graduates to meet before graduation.

“I think it is really unfortunate they decided to cancel it,” he said. “Otherwise, you just have individual parties... it was a great way to come together in the end.”

Winkleman said the cancellation of Beer Trucks is part of a larger trend of discontinuing events that are central to Duke student life.

“Of all the big special events at Duke like Tailgate, LDOC, personal checks and Beer Trucks, the administration has al-ready canceled two of them,” he said. “These are the events that define Duke and canceling them marks big changes in the social scene and the aspects that make Duke different from other universities.”

BeeR tRuCks from page 1

eliza bray/the chronicle

the Durham independent animal Rescue brought puppies, dogs, cats and kittens to West Campus Wednesday to raise awareness for animals in need.

Better than your roommate

Carbon Diet Tips,” which include not wasting food, high-lighting seasonal and regional foods and avoiding beef and cheese. Options will include brine-roasted pork and North Carolina rainbow trout.

Although the great Hall’s menu will go back to nor-mal after the event, Mcgowan said the event is part of Bon Appetit’s larger commitment to reduce carbon emissions.

“We have company-wide goals to decrease our cafe’s carbon ‘foodprint’ in the highest impact areas—beef and cheese reduction and food waste reduction—by 25 percent in 2012,” she said. “To date, Bon Appetit has reduced beef usage by 33 percent and food waste by nearly 25 percent nationwide.”

The great Hall is not the only dining venue to launch sustainability initiatives. The Refectory is one of the green-est venue on campus and the Marketplace will also be par-ticipating in Low Carbon Diet Day, serving similar emis-sion-reducing meals at lunch.

Junior Ben Soltoff, co-president of Environmental Al-liance, said the great Hall’s commitment to the environ-ment was commendable even before the initiative began.

“Although most students don’t realize it, the great Hall is one of the most sustainable eateries on campus,” Soltoff said. “It makes a dedicated effort to provide local, seasonal and organic food, often going above and beyond Bon Appetit’s fourth annual Low Carbon Diet Day today’s national standards.”

Soltoff added that there is more work to be done, how-ever, such as encouraging students to use the reusable clamshell containers currently available in the great Hall, which began as an initiative of the Environmental Alli-ance.

“There is always room for improvement—more food could come from sustainable sources, and waste is a huge problem,” Soltoff said. “It is ridiculous and unacceptable how many students get plastic to-go containers and then stay in the great Hall for their meal.”

Students are not the only ones who appreciate the great Hall’s environmental consciousness. Director of Dining Services Jim Wulforst said he approved of the low-carbon initiatives and confirmed the administration’s com-mitment to sustainability.

“You are what you eat, and people need to understand the ramification of what they’re consuming,” Wulforst said. “Everybody needs to be very conscious of everything they buy as a consumer and everything they eat.”

Students can continue to make low-carbon meal choices after the Low Carbon Diet Day by eating local, seasonal and organic foods and by cutting back on meat, Soltoff said.

“The most important thing students can do is eat less meat, especially red meat,” he added. “While vegetarian-ism is the ideal environmental choice, simply cutting down on meat consumption can have a large effect.”

gReen eating from page 3

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Potti’s name in different arrangements: AnilPotti.com, AnilPotti.net, DrAnilPotti.com, PottiAnil.com and PottiAnil.net.

A number of social media accounts have also been opened under Potti’s name since he resigned from the University. A Twitter account, @anilpottimd, which was created three-and-a-half months ago, mentions Potti in the third-person and links to sites about the doc-tor. Accounts on other sites—including LinkedIn and Facebook—have also emerged. The Facebook profile features a photo of Potti not posted elsewhere on the Internet and now has 126 friends.

Which accounts and sites Online Reputation Manager created remains unclear. The publicly available contact in-formation for AnilPotti.com lists an email account belong-ing to the firm. The social media accounts consist almost entirely of content from the recently created websites and links to them, a telltale sign that they were created by a

reputation management firm, said Andy Beal, an expert in the industry.

Online Reputation Manager declined to comment on Potti’s use of its services, saying that client information is confidential.

crossing the line?Potti’s hiring of a reputation management firm raises

ethical concerns. The content on his sites appears to be factually correct but avoids any mention of the missteps that now color the doctor’s legacy in the field.

Dr. Jerome Kassirer, former editor-in-chief of The New England Journal of Medicine, said that because Potti has withdrawn four papers—“an enormous num-ber of important retractions”—an acknowledgement of his past on the sites is in order. The retractions, one of which was of an NEJM paper, are available online but will not be as easy to find given the reputation manage-ment efforts, he noted.

“It sounds like he has... crossed the line by not giving

the whole story,” Kassirer said. “It seems to me inappropri-ate and unprofessional.”

Sheldon Krimsky, an expert on medical conflicts of interest and a professor at Tufts University, said trying to influence search engine results is not itself unethi-cal, but it can be if a doctor is attempting to alter the public record.

“If he says anything that has been disputed by an au-thoritative body, it would be unethical for him to promote himself in that way,” he said.

Online Reputation Manager is generally willing to work with clients as long as the intent is not to hide criminal activity that has not yet been reported, even if the individual’s past actions were offensive, said Ron-ald Smith, the company’s manager of business develop-ment, who agreed to speak about the firm’s methods generally but not about particular clients. The compa-ny takes on about 90 percent of clients who request the firm’s help, he added.

“Offline, a lawyer is hired to help them out, fight their case—I think we’re the online lawyers,” he said. “So it’s quite ethical, on our part, and I think quite right to help them out at a certain charge.”

a growing tradePotti’s use of this service is a part of an expanding on-

line phenomenon. The industry grew with the rise of so-cial networks, said Beal, who co-authored “Radically Trans-parent: Monitoring and Managing Reputations Online” and has helped businesses and individuals improve their online reputations. As Twitter and Facebook took off, indi-viduals not only shared more information online but also regretted sharing it, he said.

“Around 2006, 2007, the coffee shop and water cooler chatter found a home on the Internet, and that’s when reputation management took off,” he said.

Online Reputation Manager typically launches four-month campaigns for specific key phrases that specialists find drive the most traffic to unfavorable content—or, as Smith called them, “offensive listings.”

“We take these key phrases and write down highly posi-tive content that is in the form of articles and press releas-es and we send it to our clients in different batches,” he said. “Once our client approves of that content... we go ahead and publish it on some very authoritative and highly google page-ranked websites on the Internet.”

Although the company offers customized contracts, cli-ents of Online Reputation Manager are typically charged by the number of key phrases they wish to influence.

One key phrase—a name, for example—costs $500 a month for four months, Smith said. Specialists focus their efforts on the first page of search results, which is viewed by far more searchers than subsequent pages. Once the initial campaign ends, many clients pay for a maintenance plan, which costs 80 percent of the previ-ous monthly fee.

Online Reputation Manager will also create websites for clients for $550 each, Smith said. Once the firm has cre-ated the site, the client is given full control of the site and is able to update or alter its content.

Demand for services like that of Online Reputation Manager continues to grow. Smith said the company is tak-ing on 40 to 45 new projects a month.

potti from page1

the 2011 fiscal year is more than half over.Money would be collected from table fees to join the

poker games and from taxes on winnings of $600 or more, D.C. Lottery officials said. The city has signed a 50-50 revenue-sharing agreement with the greek com-pany Intralot, which would develop and manage the city's gambling site.

gray called Brown's effort "innovative.""We know that many of our residents are currently

engaged in online gaming, but are doing so with off-shore companies," the mayor said in a statement. "Our goal is simply to regulate the business in the District and to ensure that the District receives its fair share of the financial benefits produced by online gaming."

The gambling Web site would be rolled out within a few months of hot spots opening. The major techno-logical issue would be ensuring that the site was avail-able only within the city's geographic limits.

The hot spots set up to play for money would open in the fall and stay in operation after the broader roll-out, said Buddy Roogow, executive director of the D.C. Lottery. He said he hopes the city's convention center would be one of the places, though officials are still writing the rules for choosing venues.

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panda bearnoah Lennox expands his

psych-pop repertoirepage 7

Chelsea Pieroni/The ChroniCle

TV on the Radio shifts into slower gear

with new LPPAGE 8

IT’S GREENER ONLINE!

Recess volume 13issue 28

april 14, 2011

april 14, 2011recess

[recesseditors]what we’re cutting from the budget

Kevin Lincoln...........................................................................................lupe fiascosLisa Du......................................................................................................nacho fundRoss Green..................................................................................wed night shootahsAndrew O’Rourke.....................................................................................trips to LASanette Tanaka..............................................................................flights to chi-townNathan Glencer................................................................................non-wild pre-o’sLindsey Rupp.....................................................................only one budget matters

YouTube monologue artists are nothing new. The “Unforgivable” guy. Bo Burnham. The bespectacled runt kid who resembles Jim Carrey’s son in Liar, Liar and lip-synchs to “Like a G6.” They’re everywhere and they waste our collegiate time.

Dom Mazzetti is different. The musta-chioed, jacked guido defines your college experience. He is the guy you want to be or be on top of. Repeat these quotes when you’re in the relevant situation. If you’re actually from Northern Jersey, you have a verisimilitude advantage.

Trying to look fresh for Shooters:“Jersey Shore has GTL., Dom has

DOM. Deadmau5, Ovaltine, Muay Thai.”Last minute resume building:“You have to put your GPA though. I

have about a 4.0 plus. In addition to GPA, I like to add MPH. An estimation of how fast I can run. About 12 miles per hour.”

You have to make a spring break Face-book photo album:

“Facebooking is the most important part of vacation. I have a few possible titles for the photo album picked out. Popular

songs like, ‘I throw my hands up in the air sometimes, singing a-yo…Galileo!’”

Getting dressed for LDOC:“And it just so happens, my fitted

matches my Forces. Excessive matching is next to godliness.”

Overcoming racial anxiety from high school:

“Hit up the dining hall, black cafeteria dude likes my Weezy scarf...He hooked up me up with extra butterfly shrimp. Winning.”

Impressing the hipster girl down the hall:

“I’m a dubstep freak because it speaks to my soul. Not because I’m some con-formist. Dub equals freedom.”

Shopping for the internship:“I got a sick accounting internship in

NYC, you know I gotta dress like an adult now. I got my square-toed Bostonians from Burlington Coat Factory, pleated Dockers, double XL baby blue button-ups from Express.”

More at youtube.com/dommazzetti. —Jake Stanley

Final Editor’s Note of the year. Time for the first-annual Lincolns, awarded to the best album, film, book and TV show that came out during my tenure as Recess Editor. Although without any cash prize, trophy or recognition so to speak of, Lincoln winners can take com-fort in knowing that I probably talk about them far too much.

Best Album: Titus Androni-cus—The Monitor. Any regu-lar reader of Recess probably would’ve expected me to put Kanye West’s My Beautiful Dark Twisted Fantasy in this spot, and I wouldn’t blame them. But The Monitor, though an entirely differ-ent sort of album, gets the edge for its combination of earnest-ness, propulsion and the literate

fury of frontman Patrick Stickles. Despite a runtime of 65 minutes, the album never sags, and there’s enough shifting of tempo and cadence to dodge the exhaustion that large doses of punk rock can sometimes pro-voke. Functioning as a primer to the cultural history of New Jersey, Stickles’ lyrics toes the line between pathos and poetry enough to draw on the best virtues of both.

(Runners-up: Kanye West—My Beauti-ful Dark Twisted Fantasy; Mr. Dream—Trash Hit.)

Best Film: True Grit. My consumption of last year’s films is woefully incomplete, but I managed to see a number of the top dogs: Black Swan was overrated, The Fighter surpris-ingly sincere and True Grit the best of the bunch. The Coen Brothers have long-since established themselves as among my most-admired filmmakers, and though True Grit isn’t the masterpiece of a Miller’s Crossing or

Barton Fink—one of the greatest movies ever made—I’d give it the edge over the lofty No Country for Old Men. I’d be curious to know if having seen the recently-released Source Code could’ve changed my vote here any; its director, Duncan Jones, made what stands as my favorite film of the last few years, the Sam Rockwell tour de force Moon.

(Runners-up: The Fighter, Winter’s Bone.)Best Book: John D’Agata, About a Moun-

tain. I’m cheating a bit here, because About a Mountain actually came out in Feb. 2010, but having read it this year I’m giving myself some leeway. The story of Yucca Moutain told through a prismatic flurry of fact and anec-dote—including musings, both personal and reported, on the city of Las Vegas, suicide hotlines and the complexities of communi-cation—D’Agata demonstrates why he’s been so integral to the recent resurgence of the es-say. D’Agata brings the economy and rhythm of a poet to journalistic nonfiction, and he also takes the contentious tactic of conflating and playing with the story’s chronology—a move that upsets some but, because he cops to it, didn’t bother me. Even more to his credit, About a Mountain has provoked debate as to how much liberty a writer can take with the truth in pursuit of art; in the crowded din of today’s literary conversation, any time a writer can get multiple people to concen-trate on the same concept at once, he’s doing something right.

(Runners-up: Joshua Cohen, Witz—which might have won, if I’d had time to finish it.)

TV Show: Justified. Crime noir meets Southern Gothic, fronted by the shockingly uber-charismatic Timothy Olyphant. Oh, and Mad Men.

It’s been fun, kids. —Kevin Lincoln

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by Kevin LincolnTHE CHRONICLE

There are tremendous titular possibili-ties for a sci-fi film on the kudzu vine.

But Josh Gibson’s film Kudzu Vine only takes its cues and aesthetic from sci-fi of the mid-1900s. Genre-spanning as it is, Kudzu Vine, which premieres tomorrow at the Full Frame Documentary Film Festival, still pro-vides a treatment of reality.

Gibson, Trinity ’95 and an instructor in the program of the Arts of the Moving Image and assistant director of the Film/Video/Digital program, has been making films since his undergraduate days at Duke. Since obtaining his MFA from the School of the Art Institute of Chicago, where he received a Fulbright Fellowship to work on his thesis Two Rivers, Gibson has worked not only in documentary but also in fic-tional and experimental film and what he calls “the gray area where these three things overlap.” Kudzu Vine is his third film to show at Full Frame.

As a presence in nature, the kudzu vine has long been a fixation of Gibson’s.

“To me, kudzu-transformed landscapes are one of the archetypical visual features of the South,” Gibson said. “These struc-tures and trees and sides of the road and rural environments that are just totally cov-ered in this vine, they take on these strange shapes.”

The concept of the vine as both “beauti-ful and terrifying” colors the entirety of the film. Shot in black and white in 35 mm Cin-emaScope film that Gibson hand-processed in his basement, the effect is meant to be one of a “sci-fi documentary,” he said.

With the widening gap between digital

and other methods of filmmaking, both the stock itself and the experience of hand-processing enabled Gibson to have an arti-sanal involvement in the project.

“For a long time I was sort of chasing technologies and figuring out the newest digital format, but at this moment I’m real-ly interested in thinking about the material-ity of film itself,” Gibson said. “The kind of look that can be achieved this way is much more organic—it shows the scars and the flaws, and to me it’s quite beautiful.”

Because of digital filmmaking, contem-

porary public showings are often no dif-ferent than watching the film on DVD or otherwise, but Gibson said the unique me-dium of Kudzu Vine—the 35 mm CinemaS-cope stock—meant that its showing at Full Frame will be a rare opportunity to experi-ence the work as it is truly intended.

The film’s strong chronological and the-matic consistency extends to the score of Kudzu Vine as well. Gibson asked Anthony Kelley, an associate professor of the prac-tice of music, to compose the film’s accom-paniment, and Kelley dug into ’60s pop

culture for a specific reference point.“There’s an old television series called

Dark Shadows that I used as one of the main inspirations for the theme,” Kelley said. “With the way that kudzu grows, I tried to turn up the eeriness of the sounds and use dark harmonic cues as well.”

Employing instruments like the ther-emin, Kelley worked to match Gibson’s use of black and white in its feeling of homage to the past. Creating a sense of historicity is something that Kelley said characterizes much of Gibson’s work.

Having lived in North Carolina since he was ten years old, Gibson also identifies himself as a Southern filmmaker. The inter-play of this notion with the geographic sig-nificance of the kudzu vine emerges when the film shows Gibson letting the vine grow in his basement. Seen in time-lapse, kudzu engulfs his children’s toys and devours the space of his home. Meanwhile, as the vine occupied one half of the basement, Gibson processed film in the other.

Paralleled with Gibson’s own story and past, the plant takes on a further signifi-cance.

“One of the recurrent themes in a lot of my work has been the outsider coming in to the Southern environment and having to reestablish oneself there,” Gibson said. “Kudzu is sort of the same way: It’s this out-sider from Asia that was transplanted into the American South.”

Kudzu Vine will premiere tomorrow at 4:40 p.m. in Cinema One as part of the Full Frame Documentary Film Festival. Tickets can be pur-chased at the Full Frame Box Office in the Dur-ham Armory.

Gibson’s Kudzu Vine blends sci-fi, reality

sPeCial To The ChroniCle

Duke graduate and professor Josh Gibson used traditional methods to film Kudzu Vine, which will premiere at Full Frame on Friday.


Both 2011 Sundance Official Selections, polemical domestic films Hot Coffee and How to Die in Oregon explore two hot-button issues: the frivolity of the American legal system and the right to euthanasia in Oregon. Hot Coffee explores the outcome of the infamous lawsuit against McDonald’s that netted Stella Liebeck millions of dollars for spilling hot coffee on her lap. Furthermore, it digs into the media’s role in the case and how leaders have used it to distort the public’s view of malpractice reform. How to Die in Oregon—winner of Sundance’s Grand Jury Award—follows a mother diagnosed with terminal cancer on her path towards her self-selected death date, showing her energetic run to the finish line of life as she works through her bucket list. A story of xenophobia and farmworkers in Finland, How to Pick Berries will resonate with U.S. audiences who have similar perceptions of the nation’s Mexican-based agricultural labor force. In Finland, Thai immigrants have been hired by a large food produc-tion firm to grow and harvest Finland’s most culture-steeped produce: cloudberries. Bobby Fischer Against the World follows the life of the world chess champion as his life dissolved into psychological chaos during the Cold War. After winning the champion-ship in 1972, he withdrew from the public sphere, only to emerge 20 years later for a match that landed him in prison and eventually pushed him to exile.

Page One: Inside the New York Times—which premiered at this year’s Sundance Film Festival—documents the evolution and inner work-ings of the new Media Desk at the New York Times, tracing the unfold-ing WikiLeaks debacle and its implications for democracy and free speech in a post-print journalism world. Opening night film Guilty Pleasures interweaves the stories of five people from disparate back-grounds and their one connection: romance novels. From using the books as advice for solving relationship problems to writing them as a source of income, the doc explores the private, guilty facets of love in the modern age. A powerful tale of dissidence in war time, Burma Soldier focuses on the tribulations of Myo Myint in his transformation from teenage soldier to political activist. The film is part of the fes-tival’s Career Award, spotlighting the work of Ricki Stern and Annie Sundberg, both of whom worked on the previously featured films The Devil Came on Horseback and Joan Rivers: A Piece of Work.

Full Frame Documentary Film Festival....presented by the Center for Documentary Studies, will screen a selec-tion of international documentary films in Durham and Chapel Hill from April 14-17. This year’s Festival features premieres of more than 60 documenta-ries and a thematic program on archival footage curated by filmmaker Rick Prelinger. Recess Film Editor Andrew O’Rourke discusses his top choices from the weekend’s festival.

FEATURED

POLITICAL


This year’s Full Frame lineup features several mystery documentaries, including Scenes of a Crime and Resurrect Dead: The Mystery of the Toynbee Tiles. The former takes audiences through a pseudo-crime investigation, mostly focusing on footage of the controversial ten-hour-long police interrogation of a man who allegedly killed his four-month-old son. The grueling interrogation eventually resulted in the father’s signing of a confession, but new evidence later surfaced that cast doubts upon the results of the process. Resurrect Dead maintains a lighter tone, investigating the whodunit mys-tery of tiles that have appeared on sidewalks and streets around the world reading, “Toynbee Idea/ In Kubrik’s movie 2011/ Resurrect Dead/ On Planet Jupiter.” Will the culprits be caught? You’ll have to watch to find out. I Will Marry the Whole Village is a rare entry in the genre of musical documentary. And by musical documentary, I mean the film itself—the story of a Serbian accordion player who tasks himself with marrying off the village’s surplus of single men—is actually a musical. He conceives a project in which the men of the village make video portraits of themselves to woo the elusive womenfolk. Sticking with the lighthearted films, Being Elmo: A Puppeteer’s Journey follows the life of Kevin Clash, the man behind the energetic red puppet featured on Sesame Street. The doc features rare behind-the-scenes footage of both Sesame Street and the Jim Henson Workshop.

Full Frame Documentary Film Festival....presented by the Center for Documentary Studies, will screen a selec-tion of international documentary films in Durham and Chapel Hill from April 14-17. This year’s Festival features premieres of more than 60 documenta-ries and a thematic program on archival footage curated by filmmaker Rick Prelinger. Recess Film Editor Andrew O’Rourke discusses his top choices from the weekend’s festival.

Directed by Durham resident Rodrigo Dorfman, One Night in Kernersville is a 20-minute portrait of jazz bassist John Brown, direc-tor of the Duke Jazz Program and an associate professor of the practice of music. One Night delves into the heart and deep emo-tions required for recording an album. The Loving Story—which is also a featured pick by Full Frame—tells the tale of a young couple exiled from the state of Virginia in 1958 for their interracial mar-riage. A court battle ensued and resulted in the nullification of all anti-miscegenation laws in the country. Steve Milligan, a local film-maker and Arts of the Moving Image production teaching fellow, is a cinematographer of the film.

This year’s Full Frame selection is rife with environmental films. If A Tree Falls tells the story of the Earth Liberation Front, a domes-tic eco-terrorist organization responsible for millions of dollars in property destruction. It follows the story of Daniel McGowan, who is serving seven years in prison, and the path that led him to radical action. A story of more muted conflict, The Pipe details the struggle of a small Irish village to block oil giant Shell from constructing a gas pipeline that threatens to divide their community and ruin the landscape. Windfall puts an interesting twist on traditional commu-nity-corporation environmental disputes, as an eco-friendly wind farm causing problems in a rural New York community. The low-frequency whirs of the turbines have led to health problems in the local population, and the massive towers are ultra-visible scars on the landscape that have polarized debate in the town.

QUIRKY

LOCAL INTEREST ENVIRONMENTAL

THURSDAY FRIDAY SATURDAY- Force of Nature - At the Edge of Russia- How to Die in Oregon- Windfall- Guilty Pleasures

- I Will Marry the Whole Village- At the Edge of Russia - How to Die in Oregon - Page One:Inside the NYT- Windfall- Burma Soldier- One Night in Kernersville- Scenes of a Crime- Resurrect Dead- Being Elmo- Bobby Fischer Against the World

- If A Tree Falls- The Last Mountain - Kudzu Vine - The Loving Story - Hot Coffee- The Pruitt-Igoe Myth- How to Pick Berries


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Acclaimed director Joe Wright of Pride and Prejudice and Atonement fame takes a much darker—and somewhat Euro-trashy turn—with his new film Hanna.

Hanna is the story of a young girl (Sao-irse Ronan) who is raised by her father Erik (Eric Bana) in the wilderness of Finland. Erik, an ex-CIA operative, has spent years training Hanna for her inevitable con-frontation with intelligence agent Marissa Wiegler (Cate Blanchett). As Hanna fights and flees the cunning Ms. Wiegler, she comes of age through her first interactions with the real world.

If nothing else, the film is fairly unique to a Hollywood fixated upon sequels and productions of novels. Traditionally in American cinema, a blonde, fair-skinned child symbolizes all things pure. Hanna

offers this stereotype a roundhouse kick, and probably a few bullets for good mea-sure. The beautiful cinematography and fine acting evident in Wright’s past projects are here in abundance, but the violence and action have increased tenfold. Lights and techno beats effectively create a sense of disorientation during chase and fight scenes. Unfortunately, the pulsing score can at times overwhelm, distracting from the action and creating a Euro-club vibe. The thick eyeliner, bleached-blonde hair and tight shiny clothes worn by some of the cast also add to this regrettable impres-sion.

The most impressive part of Hanna is Ronan’s riveting portrayal of the title char-acter. This was undoubtedly a difficult role to tackle, and Ronan succeeds in being both fierce and surprisingly vulnerable. Though it may be uncharted territory for Wright, his foray into action reveals his ver-satility and makes spending two hours with Hanna worth your while.

—Sarah Zuk

andrew o’rourke/The ChroniCle

Hanna star Saoirse Ronan discusses the film at a question-and-answer session at the New York Comic-Con in October 2010.

Hanna in real lifehannadir. joe wrightfocus features

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Press your ear to the pavement above the London under-ground and you might just hear, rumbling distantly below, the ghostly sounds of Burial. As his name suggests, the music of the elusive British dubstep artist, née William Bevan, is pointedly somber. His first two LPs, 2006’s Burial and 2007’s Untrue, set forth an eerie, industrial minimalism that evoked a sense of dread and decay. But Burial and Untrue were particularly no-table for their rhythmic ingenuity, marrying epileptic syncopa-tion with deep grooves. His new EP, Street Halo, maintains their morose atmospherics but takes those grooves even further.

The title track is a din of tribal wood blocks, throbbing synths and ethereal vocal samples that sets the pace with its propulsive dance beat. Though it bears Burial’s unmistak-able signatures—ominous production, skeletal percussion—the sound is now expansive and persistent enough to pack a club. On “NYC,” the tone transitions to one of reflection, even meditation. Its sparse percussion, comprised of little more than a kick drum, high hat and rim taps, creates a cavernous space in which synths expand and contract as a solitary voice laments, “Nobody loves me.” In spite of the melancholy, its rhythm is a driving death funk that keeps your head nodding even as it lulls you into a wistful trance.

Unfortunately, the final song, “Stolen Dog,” is a throw-away. Built around an awkward, artificial horn hook, it fea-tures a barrage of distracting sound effects and a monoto-nous four-on-the-floor bass drum beat. It’s as though Burial picked up the scraps left over from the first two songs and carelessly threw them together to round out the album.

Though short (a mere 20 minute runtime), Street Halo ranks among Burial’s best work, and represents an intrigu-ing shift in direction for the producer that portends a more traditional dance-oriented approach. Next time we hear him, Burial may have emerged from the deep.

—Josh Stillman

burialstreet halo ephyperdub

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The momentum of critical con-sensus has given Animal Collective and its associated projects a pretty long leash, due in large part to their reputation as something more than the typical hipster-set flavor of the month. The oblique, experimental nature of their compositions belies their popularity and sets up the most onerous of critical tropes: If you don’t like it, you just don’t get it. So ever since the group changed focus from soundscaping to song-writing—an ambiguous paradigm shift that dates back either to Feels or Strawberry Jam—they’ve been lauded at every turn. Frontman Noah Lennox’s solo masterpiece as Panda Bear, Person Pitch, only in-tensified the perception of AnCo as indie pop’s most innovative lumi-naries.

So here we are with Tomboy, an album that was destined for lavish praise from its conception. On mer-it, it isn’t entirely undeserved. Len-

nox possesses a sublime talent—an angelic tenor whose blissful deliv-ery more than compensates for its lack of expressiveness—and an undeniable dedication to texture and studio effects. Tomboy, like its predecessor, depends on these two elements, albeit to different effect. The sample-laden Beach Boys har-monies of Person Pitch (referred to more than once as the Pet Sounds of the 21st century) are out; dron-ing guitars and an overdose of reverb are in. And there’s a lot to like about this new configuration, especially on the album’s first half. Opener “Know You Can Count on Me” plays Lennox’s refrain off of huge, doubled bass drums, which must have been recorded in a con-crete box, with tremendous results. And “Tomboy” is the album’s real standout, employing the kind of texture—a buzzing, legato key-board—that transforms Lennox’s pretty-but-pedestrian melodies into something transcendent.

His fascination with produc-tion, though, can often scan as little more than window-dressing. At his best, Lennox can make five-

minute tracks like Person Pitch’s “Comfy in Nautica” disappear all too quickly. It is this same procliv-ity for textural layering that makes a 12-minute epic like “Bros” so ap-proachable. But he can also make five minutes seem like an eternity, as on Tomboy’s second half, when the studio bells and whistles of-ten appear to substitute for actual songcraft. “Friendship Bracelet” and “Drone,” like the rest of the album, are best appreciated with headphones. But the extensive panning and intricate sense of space never fully takes your atten-tion off the distinct lack of dyna-mism and melody.

Ironically, one of the oft-used buzzwords for Tomboy has been “accessibility,” as though keep-ing tracks under seven minutes in length somehow makes the whole thing more appealing to a mass audience. But Person Pitch (actu-ally slightly shorter in runtime) demanded the listener’s attention, even during its most drawn-out mo-ments. Tomboy, for all its brevity, never does.

—Ross Green

panda beartomboypaw tracks

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FeatuReD Review


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Sometime during their year-long hiatus, it seems, TV on the Radio reached middle age. On their new album Nine Types of Light, they’ve left behind much of their scorching passion and lyrical venom for a sense of quiet romanticism. Though the mood is somewhat melancholic, the album is neither anemic nor listless. Lead singer Tunde Adebimpe has shed his trademark anguished howls for quiet contem-plation, which feels like natural evolution for a band that has earned the right to some mid-life reflection.

Lead single “Will Do,” is a slow burning brooder, an al-bum highlight and one of the best tracks of the year. The band’s characteristically processed guitars and syncopated rhythms take a backseat to Adebimpe’s impassioned pleas to an absent lover: “Any time will do, my love, any time will do/What choice of words will take me back to you?”

Occasionally, the band’s more manic tendencies arise. The frenzied “Repetition” is a catchy dance number that show-cases TVOTR’s considerable rhythmic talents and free-form, jazz-influenced instrumentation. But these are interspersed and bookended with introspective pieces like the lush, ele-giac “Forgotten,” a minimalist piece that centers upon soft vocals and a gradual, sweeping orchestral build. This empha-sis on string instrumentation colors the entire album with a sense of wistfulness, and is perhaps its most surprising aspect: the central ballad “Killer Crane” is dominated by a suite of woodwinds and, of all things, a delicately picked banjo.

In the process of making the album, TV on the Radio appears to have turned from hardened cynicism to at least cautious optimism. While it may lack the immediate, vis-ceral punch of their previous masterpieces Return to Cookie Mountain and Dear Science, Nine Types of Light represents a well-deserved catharsis following a career of unbridled fury and scorn.

--Jeff Shi

tv on the radionine types of lightinterscope

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by Brian ContrattoTHE CHRONICLE

Big River, the Tony Award-winning musical adapted from The Adventures of Huckleberry Finn, succeeds Angels in America to round out the PlayMakers Repertory Company’s 35th Anni-versary season. Unlike the more graphic Angels in America, this interpretation of Mark Twain’s classic novel contains suitable levels of depth and fun for audience members of all ages.

Big River’s treatment of the human condition and mo-rality is especially relevant in a modern context, apropos recent debate over the exclusion of the ‘N’ word from certain anniversary editions of Huckleberry Finn. Direc-tor Joseph Haj even defends the word’s inclusion in the playbill, stressing that its elimination would only “cost the story its ugly underside”—the unflattering aspects of hu-man nature that Twain explores in the novel.

Twain introduces his text with a warning that persons attempting to find a moral, motive or plot in the novel will be persecuted, banished or shot. Big River starts with this same message, projected onto a stage display. And although it’s given tongue-in-cheek treatment in both cases, the “dis-claimer” highlights the way in which Big River renders the book’s thematic content. Emphasizing dark wit in the script and exaggerated earnestness in the actors’ roles under-scores the depravity present in much of the plot. Lines like, “I got mo’ money than I ever did. I owns myself. And I’m worth $800,” encapsulate this recurring duality of tone.

Given this M.O., Big River’s portrayals of Jim (David Aron Damane) and Huck (Jason Edward Cook) are dead-on. Damane is endearing and commanding on stage—his musical numbers tend to anchor the whimsy of the ensemble’s songs—while Cook’s role is less grave. The

resulting chemistry comes across easily, even without the benefit of novelistic detail.

The musical’s successful recreation of antebellum Americana extends to stage direction, led by managers Charles K. Bayang and Sarah Smiley. PlayMakers’ thrust stage at times transforms from the symbolic Big Muddy to accommodate a dancing cast of close to 20.

The musical numbers are led by the bluegrass-infused country music of the Red Clay Ramblers, who contrib-ute live fiddle, guitar, bass, drums and piano. Although the band is more than competent, they don’t shine in a theatrical context; apart from contributing an element of authenticity, they never pull equal weight with the acting or the lyrical content of the musical numbers.

But maybe that’s because the music, like the plot, is not given heavy-handed treatment. The success of Big River instead comes from its efficiency of song and dance as well as Haj’s ability to deftly intertwine elements of the novel, theater and music.

Twain’s opening note about the plotlessness—while sar-castic in the straightforward, Odyssean narrative of Huckle-berry Finn—is slightly more literal in this context. Seemingly any juncture, whether grave or frivolous, is reason enough for song. But this is inevitable—perhaps integral—to the musical form. After all, Big River is a family play, entertain-ing enough to sustain interest both for keen young people and those well acquainted with the inspirational source.

Big River will run through April 24 at PlayMakers’ Paul Green Theatre at the University of North Carolina at Chapel Hill. Visit www.playmakersrep.org for tickets and performance times.

PlayMakers bring Twain to the stage with Big River

sPeCial To The ChroniCle

Jason edward Cook plays Huckleberry Finn in Playmakers’ production of Big River, a musical based on Mark twain’s The Adventures of Huckle-berry Finn, at the Paul Green theatre in Chapel Hill.

by Bo TriplettTHE CHRONICLE

The Tobacco Road rivalry never fails to host intensely close matchups, and yesterday’s match in Chapel Hill was no

different. Duke took No.

19 North Carolina (12-6, 7-2 in the

ACC) down to the wire, but ultimately the Tar Heels snagged the 4-3 victory. North Carolina’s Jose Hernandez defeated the Blue Devils’ Henrique Cunha at No. 1 singles in a decisive three-set match.

“We got off to a bad start losing the doubles-point. We wanted to set the tone early and still feel good heading into the single matchups.” Duke head coach Ram-sey Smith said.

After losing the doubles point despite the pair of Cunha and Reid Carleton winning their match, No. 10 Duke (16-8, 7-2) bounced back quickly in singles. Three Blue Devils won their matches in straight sets, including freshmen Fred Saba and Chris Mengel. Junior Luke Marchese also contributed at the No. 6 singles spot, defeating Alex Rafiee 6-0, 6-2 to become 8-1 in ACC play.

Saba was able to grab the win over No. 90 Joey Burkhardt in the No. 4 matchup, 6-1, 6-4, marking Saba’s first win over a ranked opponent. Mengel provided one of the evening’s most exciting rallies as he came back to win 7-5, 6-2 after being down 5-1 in the first set against Stefan Hardy. Mengel’s victory put him at 8-1 in

ACC play this year. “I didn’t play well at first.” Mengel

said. “You could definitely feel the ex-tra pressure of the UNC matchup. Once I was able to get my legs under me, the pressure was on [Hardy].”

Duke didn’t see the same success from its top-seeded players, who both suffered upsets at the hands of the Tar Heels. No. 9 Carleton suffered a lopsided defeat to Brennan Boyajian, 6-1, 6-1.

The most exciting match of the day proved to be the most important as Cun-ha took on Hernandez. The Blue Devil suffered a tough 5-7 loss in the first set, but refused to let his momentum fall as he came back to take the second set 6-2. By that time, all the other matches were completed, drawing all of the audience’s attention to the duel of No. 1’s.

“I want Cunha out there everytime.” Smith said. “Hernandez played a great match and North Carolina played well. We were just outplayed on a few points.”

At 5-4 in the final set, Hernandez clearly had the crowd in his corner as he took the final set to earn a 7-5, 2-6, 6-4 upset over Duke’s highly-ranked player.

The Blue Devils will look to return to their winning ways after the loss to their rival as the team heads into its fi-nal weekend of ACC games with home matches against Florida State on Friday and Miami on Sunday.

“Playing UNC is always intense and we have no time to feel sorry as we prepare for this weekend,” Smith said.

by Andrew BeatonTHE CHRONICLE

During the football season, a torn rotator cuff didn’t stop starting center Bryan Morgan from taking the field. Tonight, though, it leaves him on the sidelines.

When the Duke University Wind Symphony performs at 8 p.m. tonight in Baldwin Auditorium, it will play—among others—a piece composed by the burly offensive lineman. Although the Symphony’s director pondered having him conduct it in front of ev-erybody, his injury leaves him unable to comfortably go through the neces-sary arm motions. Instead, he will sit back and relish the sight of his com-position being performed.

“Initially we talked about that be-cause he was in a wind literature class that taught some conducting,” Wind Symphony director Verena Möse-bichler-Bryant said. “Now it’s a good chance for him to sit in the audience and actually experience his piece, and not have to focus on conducting it.”

The piece Morgan composed is titled “Aaron’s Fanfare” and runs ap-

proximately 11 minutes in length. And while he began composing it over the summer, its roots stretch far deeper into his life.

The title is a tribute to Morgan’s close friend Aaron Truitt, with whom he first began composing music when they were 12 years old. The two were neighbors, football and basketball teammates, and members of the jazz band together. While Truitt is unable to attend the concert this evening, he will be able to watch it online via Duke’s UStream channel. Morgan has kept the piece’s title and mean-ing secret from his friend in order to surprise him.

“This piece has my personality in it—it is very pleasing to the public ear,” Morgan said. “I just took little snippets of compositions that either I made, Aaron made, or we made to-gether and expanded on them and made it into one melodic line.”

This process of growing those snippets into a full-on composition was easy at points and hard at others,

SportsThe Chronicle

www.dukechroniclesports.com

THURSDAYApril 14, 2011

>> ONLINE Philadelphia 76ers’ head coach Doug Collins advises his son, Chris, not to take over at Duke when current head coach Mike Krzyze-wski retires

The Maestro of Wallace Wade

Men’s Tennis

NO WAY, JOSEDuke falls to Tar Heels in final set thriller

Margie TruwiT/The ChroniCle

Henrique Cunha was topped by the Tar Heels’ Jose Hernandez in the final match, 7-5, 2-6, 6-4.

CourTesy of sTeven BryanT

The Duke Wind symphony will perform Bryan Morgan’s composition “Aaron’s Fanfare” tonight.

SEE Morgan ON PAgE 8

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but ultimately consumed a significant portion of his summer. For much of that time, mornings were spent at football workouts, with the rest of the day spent on writing.

When he began creating the piece, however, he did not know it would be performed on a large scale. Yet, he saw a call for undergraduate compositions and after working with members of the music depart-ment, he finished a first draft by the end of winter break. He com-pleted the final edition about a month ago.

T h r o u g h o u t his time in the wind symphony—this is Morgan’s third semester in the band—it has been sur-prisingly easy for him to balance his commitment to music with his dedica-tion to football. Because the football team practices in the morning and the symphony rehearses at night, the two rarely overlap.

The only time they did was during the season when team meetings were held on Thursday evenings to prepare for Saturday’s game. In those situations, the orchestra always took precedence. Cutc-liffe and the team treated the symphony rehearsals as a class.

“We are extremely proud of Bryan and what he accomplished on the field, and it is even more fun to be proud of Bryan for what he does off the field,” head coach Da-vid Cutcliffe said.

While it would be easy to imagine the

two commitments potentially detract-ing from one another due to the inten-sive amount of time each requires, that appears to be far from the case. In fact, many of the skills that aided Morgan throughout his Duke career in anchoring the Blue Devils’ offensive line translate to the concert hall. For previous perfor-mances, he was the concertmaster, a role traditionally assigned to the first clarinet player in a wind symphony.

“He is so committed to music and football, but he has been at ev-ery rehearsal, and he’s usually one of the first members there warming up,” M ö s e b i c h l e r -Bryant said. “He’s in such a key position in football—I think

that definitely translates into music.”Although April’s NFL Draft is rapidly

approaching, it is unlikely that Morgan will be selected. Yet, while his days of competitive football may be over, his days with the clarinet and music are only be-ginning.

In addition to being a music major, Morgan will graduate in May with a certif-icate in Early Childhood Studies. He will have a year to figure out exactly what he wants to do after college while spending next year earning his teaching license. He said he can imagine himself being a music teacher for kids, in addition to working as a conductor and composer.

“I just want to show children... some-thing they can hold onto forever,” Morgan said. “You can [only] go to school and play sports for so long, but music will always be with you.”

“You can [only] go to school and play sports for so long,

but music will always be with you.”

— Bryan Morgan

MorgAn from page 7

CourTney Douglas/The ChroniCle

Morgan has successfully split his time between football and first-chair clarinet for the Wind symphony.

the chronicle thUrSDAY, APril 14, 2011 | 9

DiversionsShoe Chris Cassatt and Gary Brookins

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Institutions of higher edu-cation are reforming their gender discrimination poli-cies in an attempt to make campuses safer for female students.

This is the first editorial in a series of two about gender issues at Duke. Today we will explore new federal guidelines on gender equity. Tomorrow we will dis-cuss the potential of campus culture to create change.

This wave of changes fol-lows a complaint filed against Yale University by a group of current students and recent graduates. The Department of Education’s Office of Civil Rights is investigating the complaint, which alleges that Yale has violated Title IX—the federal gender equality

law—by “failing to eliminate a hostile sexual environment on campus.” Examples of this hostility on Yale’s campus in-clude Yale fraternity mem-bers holding posters in front

of the univer-sity Women’s Center that

read “We Love Yale Sluts” and an incident last October where fraternity pledges went through residential quadran-gles chanting sexist slogans.

The developments at Yale have not gone unno-ticed. Earlier this month, Vice President Joe Biden announced new clarifica-tions to Title IX, adding that “when it comes to sex-ual abuse, it is quite simple: No means no.” These new clarifications include a rec-ommended change in the

level of evidence needed to find a person guilty of sexual assault.

Currently many colleges require “clear and con-vincing” evidence to find the accused party guilty of sexual misconduct. The Department of Education aims to lessen this burden of proof by recommending that colleges instead look for a “preponderance of evidence”—a standard that basically requires 51 percent certainty before finding a person guilty. In light of this change, Stanford University announced Tuesday that it has lowered its burden of proof to fit the preponder-ance of evidence standard. Duke will likely follow suit in adapting to the Title IX clarifications.

This transition in lower-ing the burden of proof is a good step forward. But Duke and its peer institutions can-not afford to wait for sexual misconduct to occur to take action. In addition to chang-ing their Title IX standards, colleges must address the as-pects of campus culture that objectify women and perpet-uate gender violence.

According to the Office of Gender Violence Preven-tion and Intervention and the Duke Women’s Cen-ter, of the 72 students who received service between July and December 2010, there were 17 sexual as-sault cases, 15 instances of sexual harassment and 12 instances of rape. Recent Department of Education data show that 20 percent

of women in college will be victims of actual or at-tempted sexual assault.

It is time that we stand together and combat perni-cious attitudes about women on Duke’s campus. Female students should not be afraid to report instances of vio-lence out of fear of being la-beled a “slut.” Students need to be aware of what qualifies as sexual assault and how they can report it. There is no rea-son that a female student at Duke should leave campus with lower self-esteem than when she entered.

Duke is taking a step in the right direction in follow-ing changes to Title IX. Now it is up to the campus com-munity to show that gender violence and misogyny will not be tolerated.

Have you ever seen a column in this paper that used the term “culture,” as in, say, “campus culture?” I sure haven’t.

With the help of my crack team of Deputy Dead Poets, I have spent the entire semester meticulously combing 25 years of Chronicle archives in search of any use of the word “culture” in the pages of this newspaper. Our search turned up... nothing. Before today, no one had ever described Duke as having an internal culture of any kind.

This absence is highly suspicious and is almost certainly the product of a nefarious cover-up perpetrated by the administration. I have dutifully taken it upon myself to shed light on the various cultures that thrive here at Duke. The Culture of Effortless Imperfection:

It’s 3 p.m. on a beautiful spring day. I pass by a West Campus bench and see a shirtless young man enjoying a cheap beer and scratching his navel. Nearby, his friends barbecue and blast either Tom Petty or a boldly mediocre Atlanta rapper.

This guy, with his farmer’s tan and his awe-somely battered boat shoes, looks perfectly happy. That’s what he wants us to think. Be-neath this seemingly chill surface, his mind is racing. He has to work hard to appear so completely indifferent to schoolwork, ideas, national and international affairs and pretty much anything that doesn’t come in a can and profess to be “beer.” The appearance of utter imperfection is never accomplished without both self-conscious effort and a pair of salmon-colored shorts.

How can we let this young man know that we feel for him, that it doesn’t have to be this way? We could start by finding him something in a nice earth tone.Experiencing Other Cultures:

During my time in a remote village somewhere you’ve probably never even heard of, I learned the value of being nice to other people, and it really hit home with me. It was like, “POW!”—an impor-tant kind of “POW.”

I will now have all kinds of perspective—we’re talking insight, kids—when I start my internship at a company you definitely have heard of (bet you can’t guess which one!) this summer. Tons of... sympathy, humility and other good words, too.

Actually, there’s nothing wrong with what I was doing in that village. It was all pretty much the op-posite of wrong. It changed my life. Which is why I felt compelled to tell you about it.

The Hook-up Culture:I don’t have a girlfriend. There’s got to be a

good reason for this, and it can’t have anything to do with me. Or with those villagers I met last sum-

mer. Because they were very, very nice. And poor. But also nice.

My singleness must be Duke’s fault. It can’t be my fault, and it can’t just be bad luck. People who learned as much as I did last sum-mer (when I was in that village, remember) don’t have faults, and we don’t get unlucky.

There’s only one solution to this troubling trend. We need to get to the bottom of this. We need to hold an open forum, immedi-

ately, with a mass Facebook invite and everything.Q-Ville Culture:

Duke’s club Quidditch team has become ab-surdly prominent on campus, with ordinary stu-dents living in awe of these young men and wom-en simply because they can run pretty well with a broom between their legs. Working from a tip given by a loyal reader, a Deputy Dead Poet discov-ered that a number of the Quidditch team’s play-ers were admitted to Duke despite unusually low Ordinary Wizarding Level scores.

Clearly, this abominable state of affairs calls for nothing less than a passive aggressive e-mail from the Allen Building. I’m counting on you, Larry.Online Commenter Playa-hata Culture:

They know what they did. Satire Culture:

Recently, this newspaper has published several columns that claim to be “satire,” a form of “hu-mor.” Any attempt at satire—or, “making fun of stuff”—is deeply offensive to those members of the Duke community who suffer from a chronic lack of a sense of humor.

I urge all such humor-impaired students, fac-ulty and alumni to write morbidly serious letters to the editor, expressing your displeasure. Be sure to mention your nostalgia for the old days, like the late 1960s, when students nationwide were more respectful of everything—especially administra-tive buildings.

Whom should we hold responsible for these destructive cultures, now that they have been brought to light? Basically, pretty much everyone but me deserves blame. So, we should blame my editors, my roommate, all administrators (TRIPLE BLAME) and your parents, who sent you to Duke in the first place. Oh, but especially: you.

Connor Southard is proud to call himself a feminist. This is his last column of the semester.

commentaries10 | THURSDAY, APRIL 14, 2011 THe cHRonIcLe

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editorial

Duke promotes many cultures, all bad

New guidelines alone cannot fix gender issues

”“ onlinecomment

Did some of you folks have meanie beans for lunch? There is nothing wrong with Scott’s article. School pride is a good thing.

—“DW Duke” commenting on the column “Why I love Duke.” See more at www.dukechronicle.com.

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

Direct submissions to:

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connor southarddead poet

I have spent this past week at Stanford Uni-versity attending the Forum for Ameri-can/Chinese Exchange at Stanford.

FACES is arguably the most prestigious of the many student conferences that have sprung up in the last decade devoted to U.S.-China relations. It is no surprise that business is a fre-quent topic at a conference like FACES. Not only do the United States and China have the two largest economies in the world, they also have the most dynam-ic. A lot of that dynamism is due to entrepreneurs.

Entrepreneurship and in-novation are the talk of our times. For the last century, they have been the greatest drivers of economic growth and development, the catalysts for 20th-century economist Joseph Schumpeter’s “creative destruction,” whereby the old and inefficient are cast aside and replaced by more competi-tive and productive ideas or technologies. The process is similar to Darwin’s theory of evolution by natural selection, in which or-ganisms best suited to their environments, “the fittest,” survive and reproduce, passing on their favorable traits.

Silicon Valley is the ultimate environment for testing new ideas, and it is something that people all over the world are trying to emulate with limited success. What gives? Institutional disparity among different countries is part of the answer. In the United States, we have a mature financial system that makes investing easy and straightforward. There are laws that protect intellectual property and make it easy to start a business. Perhaps most importantly, there are bankruptcy laws in place that allow entrepreneurs to fail and learn from their mis-takes. Most of the entrepreneurs I have talked to share more failure stories than success sto-ries, and they seem grateful for the second chance.

But institutions cannot be the only answer: There are a host of other nations that have banks, laws and traditions similar to the ones we have here. They consciously try to mix these ingredients together but seldom come out with anything like Silicon Valley. And to be fair, Silicon Valley was neither a planned nor expected center of innovation. California, now the global epicenter for innovation, owes its success more to chance than any true fore-sight on the part of its lawmakers or the U.S. government. It just so happened that a law passed in 1872—long before the innovators

of Silicon Valley roamed the earth—would provide a crucial foundation for sustained in-novation.

This law, part of the original California Civil Code, forbade the binding of workers

in the state to non-compete contracts. In passing this leg-islation, lawmakers sought to shift labor movements away from dying industries like gold mining.

The law is enforced today as it was legislated more than a century ago, and the inability to enforce non-compete con-tracts—whether they are from California or not—is a partic-

ular draw to highly skilled workers in search of the maximum return on their abilities. Some of the appeal of Silicon Valley, then, was not the product of design, but rather of chance.

But even to say that an institutional infra-structure is a necessary condition for great innovation is a stretch. Just look at China. Its banks are immature, its intellectual prop-erty laws are substandard and its tradition is hardly a risk-taking one. But China is growing, and a lot of that growth can be attributed to its entrepreneurs responding to a wider uni-verse of opportunities. Perhaps China has stumbled on a new model of innovation: It has government-designed centers for technologi-cal innovation in Chongqing, and Hangzhou is described as “a national experimental city” and “a key national base” for technology de-velopment. These could be a new parallel to America’s organic Silicon Valley.

For many, the success of companies like Google and Facebook represents the particu-lar institutional strengths of the American system: easy access to credit, an abundance of loans, strong venture capital activities and a culture that embraces failure as the first step toward success. Considering today’s eco-nomic reality, however, it may be time to criti-cally consider the strengths and weaknesses of American innovation. Our reliance on a fixed formula for entrepreneurship—even if that formula accounts for the possibility of failure—could trap us in a paradox of conven-tional (and unproductive) innovation. Now is the time to consider new models and new approaches that challenge our expectations, starting with those being implemented out-side our own borders.

Paul Horak is a Trinity sophomore. This is his final column of the semester.

commentariesTHe cHRonIcLe THURSDAY, APRIL 14, 2011 | 11

lettertotheeditorOpening the dialogue

We commend Brandon Locke, Trinity ’13, for his courage in raising the issue of minority recruitment weekends for campus debate, and for doing so in such a personal and public way.

Clearly race continues to be the subject of heated and pas-sionate debate at Duke. Such conversations are controversial because they are important; they capture disagreements over our deepest beliefs. But it is only through engaging those dif-ferences without fear that students learn and grow.

Still, we are dismayed by how this debate unfolded on The Chronicle’s editorial page, and particularly The Chronicle’s online comment boards as we watched from afar as recent Duke alumni. Too often disagreements with Locke were couched in personal attacks, at times racially tinged. Students are certainly entitled to oppose Locke’s views, but to question his “personal identification” as a black student or to suggest that his experience as a black student is illegitimate, as some have done, should not be tolerated in the Duke community.

Although online Chronicle comments may fail to reflect popu-lar discourse, these types of dismissive insults have long been a com-mon experience for minority students on campus with differing

views on certain volatile subjects. During our own past involvement calling for greater integration of minority recruitment weekends, several minority students on campus reached out to us to express support—but with the caveat that they could not speak out publicly for fear of being ostracized by minority peers. That Duke students hold those fears should lead us to reflect on whether the Duke community truly is a welcoming place for all voices to be heard.

As this valuable discussion over minority recruitment week-ends continues on campus more broadly, we hope that it does so with a greater sensitivity to the diversity of opinion among minority students. While ethnic affinity groups certainly speak for a number of minority students, they do not speak for all of them. Let not those voices be ignored.

Vikram Srinivasan,Trinity ’10

Natalie FiguereoTrinity ’10

Anthony LeeTrinity ’10

Co-Founders, One Duke, United

Entrepreneurship and growth

The key to understanding the Civil War, which began 150 years ago this week, is to realize that

it’s still being fought. Indeed, it’s be-ing fought now more in-tensely than at any time since the 1960s.

Then, African Ameri-cans and white Northern liberals and moderates battled Southern white segregationists and Goldwater con-servatives to establish equal racial access to the ballot, housing and public facili-ties. Today’s battle more closely resem-bles the one that inaugurated the Civil War, which centered on the expansion of slavery to the lands west of the Missis-sippi. As in 1861, we are again divided over whether Southern or Northern la-bor systems, and Southern or Northern versions of government, shall become the national norm.

In the private-sector economy, the Southern labor system—in which work-ers are paid less and have fewer rights—has been winning for decades. Despite their huge growth in members during the 1930s and 1940s, unions never suc-ceeded in penetrating the South, where white racial animosity toward blacks thwarted efforts to build working-class solidarity. The gap between Northern and Southern wages remained vast—so vast that many Northern companies began relocating facilities there, par-ticularly after the civil rights revolution of the ‘60s made the South seem less culturally foreign.

With the arrival of Walmart in 1962 and the company’s expansion into Amer-ica’s leading private-sector employer, the Southern labor system came north. Fero-ciously anti-union, and bitterly opposed to President John F. Kennedy’s decision to extend the minimum wage to cover retail workers, Walmart developed a business model— documented by histo-rian Nelson Lichtenstein, among others —that was premised on low-wage work-ers being economically compelled to shop at the lowest-priced chain—which, not coincidentally, was Walmart. As Wal-mart grew, it used its market power to compel manufacturers and companies along its supply chain to lower their wag-es. When Americans could no longer be found to make products as cheaply as Walmart wished, the chain turned to China, where labor was cheap and

workers had no rights. Not slaves, to be sure, but not really free, either.

In the United States, everyday low wages and the diminution of worker

rights spread north, abetted not just by Wal-mart’s growth but also by the growing mobility of capital and the South-

ern domination of the Republican Party. With Ronald Reagan’s election as presi-dent, the Republican right, centered in the white South, took control of the GOP and hostility toward unions became the norm for American business. The incomes of American workers, which previously had risen as the economy grew, began to flat-line. Low-wage jobs abounded; mid-wage jobs decreased.

Nationally, the South’s low-wage, no-union labor system has prevailed, though in many Northern and Western cities that remain bastions of liberalism, governments have enacted living-wage ordinances and blocked the entry of Walmart into their markets.

In the public sector, the battle be-tween Republicans’ radical anti-gov-ernment agenda and the Democrats’ (semi-hemi-demi, alas) defense of gov-ernment’s role in nation-building is just the latest version of the sectional conflict that has divided America since the early 19th century, when Northern Whigs such as Abraham Lincoln favored gov-ernment investment in canals, roads and rails against the opposition of Southern agrarians. Today, under Republican bud-get constraints, the traditional Southern underinvestment in infrastructure and education threatens to become the na-tional norm.

The division between Republicans and Democrats over government’s proper role has been deepened by the re-sectionalization and heightened ra-cialization of American politics. In the Deep South today, there are almost no white elected Democrats (just one white Democratic U.S. representative in all of Louisiana, Mississippi, Alabama, Georgia and South Carolina).

Moreover, as the share of Americans who are white continues to shrink, Re-publicans are doubling down on identity politics. In Texas, Wisconsin and other states controlled by Republicans, legisla-tion designed to diminish minority par-ticipation in elections is advancing. Re-publican lawmakers’ almost-universal opposition to the Dream Act, which would grant citizenship to the children of undocumented immigrants who have served in our military or gone to college, displays a refusal to acknowledge the humanity of minority youths that would have done a segregationist proud.

With its paranoid misreading of Obama as a socialist (echoing the 1860 South’s misreading of Lincoln as an abo-litionist), with its zeal for confrontation and its utter disregard, evident in its 2012 budget proposal, for the minority poor, today’s Republican right betrays a mind-set that hearkens back to the secession-ists who fired on Fort Sumter. Shutting down the government isn’t comparable to shooting it down, of course, but the South’s war on egalitarian government and labor standards threatens again to diminish our country.

Harold Meyerson is editor-at-large of Amer-ican Prospect and the L.A. Weekly. This col-umn originally appeared in The Washington Post on April 13.

An ongoing Civil War

paul horakthe road ahead

harold meyersonL.A. Weekly

12 | THURSDAY, APRIL 14, 2011 THe cHRonIcLe

studentaffairs.duke.edu 919-684-3737 twitter.com/duke_sa www.facebook.com/#!/pages/Duke-University-Student-Affairs/5536709183

studentaffairs.duke.edu/eventsCareers in Writing and Editing for Digital and Print Media for Graduate Students and Postdocs4/14, 12-1:15 pm, Smith Warehouse, C105, Bay 4, 1st FloorRegister at studentaffairs.duke.edu/career

Career Corner in the Women’s Center 4/14, 2-5 pm, Women’s Center

Wild Edibles - Outdoor Adventure Series4/14, 3-5 pm, The Outpost

11th Annual Unity Through Diversity Forum: Asian/American4/14, 5-6:30 pm, Perkins Library, Gothic Reading Room

Duke Marketing Club CEO Speaker Series: Bob McDonald, P&G CEO4/14, 7:30-8:30 pm, Social Sciences 136

Day of Silence4/15, all day, The Center for LGBT Life, 2 West Union Building

Global Café4/15, 9-10 am, International House

Graduate Student Resume/CV Review on West Campus4/15, 11:30am-1:30pm, Bryan Center, Meeting Room A

Jummu’ah - Muslim Life Weekly Worship Service4/15, 12:45 pm, York Reading Room, Gray 229

Nags Head Trip - Outdoor Adventure Series4/15 - 04/17, Nags Head, NCMore information and registration at studentaffairs.duke.edu/osaf/outpost- adventure-series

Shabbat with Jewish Life at Duke - Reform & Conservative Services and Benenson Family Shabbat Dinner4/15, 6:15-8:15 pm, Freeman Center for Jewish Life

Passover - Jewish Holiday4/18-20, More information at myjewishlearning.com/holidays/Passover.htm

Summer Self-Care4/20, 12-1 pm, Bryan Center, Center for Multicultural Affairs

Jazz at the Mary Lou 4/20, 9:30 pm-12:30am, Mary Lou Williams Center

11TH Annual Unity Through Diversity Forum: Asian/American

The Duke Center for Multicultural Affairs and the Duke International House invite students, staff, faculty, and other community members to attend the 11th Annual Unity Through Diversity Forum: Asian/American.

As the presence of Asian international students and Asian-American students on cam-pus grows and as the University seeks out new partnerships with Asian countries, it is important to think about the linkages between Asian and Asian-American issues. This year’s Forum will unpack this diverse demographic and make a case for how to think about Asian identity in a global context.

To register, visit studentaffairs.duke.edu/mcc/events and click on the Forum entry.

National Day of Silence

The Day of Silence, a project of the Gay, Lesbian, and Straight Education Network (GLSEN), is a student-led day of action when concerned students take some form of vow of silence to bring attention to the name-calling, bully-ing, and harassment —in effect, the silenc-ing—experienced by LGBTQ (lesbian, gay, bisexual, transgender, queer) students and their allies.

Visit studentaffairs.duke.edu/lgbt for more info.

Passover

Celebrate Passover at the Freeman Center for Jewish Life.

Jewish Life at Duke offers two Seders at the Freeman Center and also provides Seder plates, haggadahs and assistance for students who would like to host their own Seder. Kosher for Passover meals are served throughout the entire holiday.

For a Passover schedules and other information, visit studentaffairs.duke.edu/jewishlife/passover

Wellness Wednesdays!Summer Self-Care

Once a month, the Duke Student Wellness Center provides educational sessions on health, wellness, and campus life, designed to create a healthier com-munity. With only a few weeks left until summer, come and learn ways to take care of yourself and stay

healthy over your summer break! This dynamic program will provide answers to your questions and information you can share with your friends! Refreshments provided.

Visit studentaffairs.duke.edu/duwell for more info.

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Apr. 14, 2011 issue

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