January 16, 2014

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R VOLUME 15, ISSUE 16 JANUARY 16, 2014 recess MLK DAY CELEBRATION After Tiller Motorco to sceen documentary, p. 4 I Love My Hair Manbites Dog presents encore for “e Remix,” p. 4 MICHAEL MCCOLLOUGH/ THE CHRONICLE Spoken Verb brings Aja Monet for open mic

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Transcript of January 16, 2014

Page 1: January 16, 2014

rVOLUME 15, ISSUE 16 JANUARY 16, 2014

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MLK DAYCELEBRATION

After TillerMotorco to sceen documentary, p. 4

I Love My HairManbites Dog presents encore for “� e Remix,” p. 4

Michael MccolloUGh/ the chronicle

Spoken Verb brings Aja Monet for open mic

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2 | ThursDAY, jAnuArY 16, 2014 recess The Chronicle

they’re performing and hear special ver-sions of songs. even if i don’t know anyone else there, i have the intimate and rare chance to listen along with a crowd of oth-er people.

obviously, the band has to sound good. At the very least, their performance on stage needs to match what their album leads you to think they can do. At best, they blow your mind with how much perform-ing live enhances each song and cause you to run home and listen to the album all over again with renewed appreciation.

one of the most fun concerts i have ever been to was Capital Cities in london in September, at a seedy but very cool club called XoYo. i entered with a few friends through a back door, which opened into a red and black interior with living room light fixtures and a gigantic raven painted on the ceiling. We proceeded downstairs into a dim area with a small stage and found that, with a little effort, we could worm our way up to the second row. The two openers were decent but not particu-larly memorable, and it was 10 p.m. by the time Capital Cities took the stage in retro bowling jackets stitched with their names on the front.

once they started playing, they trans-

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hair today, gone tomorrow

ess recessrecess

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note

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

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

But then there’s live music.There are few things in the world that

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

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

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

There’s a song by noah and the Whale called “Give it All Back” (listen to it now, if you can) that directly points to this idea. it’s about the lead singer’s first band and their first awkward show, when even though the audience laughed at them, their “passion was real and profound,” and for that rea-son he hangs onto it: “i know, for me, that performance lives and never grows old.”

i’ve seen them in concert three times over two years and they’ve improved each time, most recently as an opener for Vam-pire Weekend at the o2 in london this past november. They played this song first, almost as a reminder of how far they’ve come from “practice every week in [his] bedroom.” And, as amazing as Vampire Weekend’s show was—they took the stage with Drake playing, ezra wore a fighter pi-lot suit and ray-Bans and they played every song of theirs i possibly could’ve wanted to hear—it was noah and the Whale’s set that i can’t get out of my head.

---Eliza Strong

Lauren Feilich [editor]....................................................................purple on the ceiling

Eliza Strong [managing]...........................................................................legally blonde

MC Bousquette [music].............................................................................! the musical

Megan Rise [fi lm]................................................................................................brown

Kathy Zhou [art]................................................................................................topknot

Eliza Bray [photo]......................................................................................ginger mullet

Prashanth Kamalakanthan [online]......................................................................moist

Music reminds me that some-one, somewhere has felt exactly what I’m feeling.

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Spoken Verb presents Unarmed Truth: MLK Day Celebration 2014 featuring Aja Monet

by Kathy ZhouThe ChroniCle

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

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

This Saturday, Spoken Verb will fea-ture a reading by poet and teacher Aja Monet in their open mic event, “Un-armed Truth,” in celebration of Martin luther King, Jr. Day.

The theme, while left up to the inter-pretation of the audience and the per-formers, focuses mainly on justice recti-fying inequity. it emphasizes the power of spoken word as an art form that is used for liberation and activism.

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

even more, the stage is open to any-one’s expression. The event is set up such that the audience is prepared to receive as individuals share in their ex- Special to the chronicle

periences. it harbors the necessary safe space to express truth, particularly when that truth might be uncomfortable else-where, or when the speaker otherwise would be silenced.

By drawing on the power of storytell-ing and the ingrained communal effort, there is a call and response, a give and take, to the open mic. An individual speaking about her experience has the opportunity to empower some, to in-form others and to shed new light on her subject.

“[Spoken word is] the ability to re-lease yourself to an audience or to the universe with an expectation of safety, that beauty will be the response, and you are becoming beautiful in the space you are speaking in,” Kimberly McCrae, pro-gram coordinator at the Women’s Cen-ter and advisor for Spoken Verb, said.

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

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

Aja Monet, the featured per-

See Spoken Verb on Page 6

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I Love My Hair returns to Manbites, with a twistby Georgia Parke

The ChroniCle

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

“i love My hair When it’s Good: And Then Again When it looks De-fiant and impressive” is returning to Manbites Dog Theater in Durham, two years after it originally premiered in the same location. This time, it carries the tag of “The remix,” after writer and director Chaunesti Webb decided to bring it back in a modi-fied incarnation due to its popularity when it first showed.

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

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

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

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

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

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

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

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

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

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

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

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

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

“We did some trimming up, the script is a bit tighter,” Webb said. “There’s new elements to mix it up and enhance the work that we had al-ready done.”

When people walk away from “i love My hair”—some for the first time and some for the second—Webb said she hopes new thought and con-versation will be provoked, both

Motorco screens Tiller to benefit NC Abortion Fundby Stephanie Wu

The ChroniCle

To commemorate the 41st anniversary of roe v. Wade, ipas, nArAl Pro-Choice north Carolina and the Durham People’s Alliance will partner to host a screening of “After Tiller.”

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

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

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

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

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

regardless of one’s political leanings, the film provides an honest lens into the realities of abortion through the stories of the late Dr. Tiller’s fellow physi-cians. rather than encourage the adoption of particu-lar ideologies, the screening is an effort to allow the public to revisit their understanding of abortion care and reproductive rights.

Following the screening of the film, a panel of ex-perts in the field of reproductive rights and health

will speak. These experts will include Suzanne Buck-ley, the executive Director of nArAl Pro-Choice nC.

“After Tiller” is a poignant memento not only of the life of Dr. George Tiller, but also of the ongoing

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

“We hope people enjoy this powerful documenta-ry and that it starts a conversation about the impor-tance of access to abortion care in north Carolina and across the country,” said Anderson.

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

The film is inti-mate, personal and moving.

See Hair on Page 7

SPECIAL TO THE CHRONICLE

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by Jamie KesslerThe ChroniCle

With an amazing performance from Steve Coogan and Judi Dench, the tragic true story of “Philomena” elevates the film from impressive to outstanding. Chronicling an elderly woman’s search for the son who was stolen from her, the film follows Philomena (Dench) from

FILMPhilomenaPathé, BBC FilmsDirected By Stephen Frears

her days held captive in an old irish nun-nery to her present traverse of the U.S.

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

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

but also in the people who are searching.Coogan’s acting is worthy of men-

tion as well. not only did he co-write the screenplay, but the onscreen relation-ship between Philomena and Martin (Coogan) is full of such delightful nu-ances that their developing friendship becomes the most enjoyable part of the film. Constantly evolving and faced with emotional realities that few people come

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

When a film centers on a story as dra-matic as this one, humor is key. Perhaps there is no better humor to lighten the mood than that of quirky British actors. never reliant of shtick or knock-knocks, the comedy is organic, stemming from the complicated personalities of the characters and their ways of speaking and communication. Without making audiences cringe like a Ben Stiller movie would, the characters’ discomfort en-dears them, and while audiences laugh, the joke (if it can even be called that) never comes at the expense of the story.

in the tradition of “based on a true story” that has taken over hollywood, “Philomena” shines, utilizing a spectacu-lar cast to tell a remarkable story.

Perhaps there is no better humor to lighten the mood than that of quirky British actors.

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

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

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

SPRING MAINSTAGE SHOW MACHINAL

SPECIAL TO THE CHRONICLE

Victor Ye/ the chronicle Victor Ye/ the chronicle

Victor Ye/ the chronicle

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

though immediately rhythmic; her work transposes and widens the personal into heavier, and more wrenching topics; her voice is unwavering yet heartfelt and yearning.

“i found myself very intrigued by her work because i can relate very closely to it,” McCrae said of Monet. “She has one poem…it starts out, ‘You are required to keep creating.’ And she talks about being broken by whatever life has pro-duced and the fact that you still have the option of moving forward, of producing,

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

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

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

and produce positive results and energy even for us today, two generations later. That’s a powerful connection.”

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

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SPOKEN VErB from page 3

Anchorman 2Paramount PicturesDirected by Adam McCAy

by Megan RiseThe ChroniCle

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

After a cry for help, ron gets the gang back together to work for a new all-news 24-hour network in new York City, a long way from San Diego. it’s crazy! it’s bound to fail! There can’t be that much news to cover ethically! Maybe that’s true, but the reunited news team is sure good at telling a new kind of news—nay, an American kind of news. “Anchorman 2” does a

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

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

The cast obviously enjoyed getting back together; it’s as much a reunion for them as it is for their characters. The actors play off of each other bril-liantly in scenes where they are all to-gether. i’ll spoil one nonsensical im-provised line, and one only: “By Gene rayburn’s bedpan!” Unfortunately, however, it’s not quite as fun to watch as it was to star. Yes, “Anchorman 2” is funny. in fact, it has moments of pure hilarity, but it fails to recapture the magic that the fi rst fi lm had.

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

(or a lace Man) and a STYnClSY license plate on ron’s Winnebago, to name a few. on the other hand, drawn-out scenes are more weird than funny. The humor comes once they’ve gone on for so long that there’s noth-ing left to do but laugh at how strange they are (hint: they bottle-feed a shark).

The whole movie is like a two-hour Will Ferrell Greatest hits al-bum. it pulls a little from “Blades of Glory,” remixes jokes from “Talladega nights” and recycles nearly every part of “Anchorman” for good measure. i laughed through the entirety of “An-chorman 2” both times that i saw it, but the fi lm is just past its expiration date. Maybe 10 years is too long to wait for a sequel. This is the epilogue to “Anchorman,” and fans would do themselves a disservice not to see it. That said, it is still a fi lm that can stand on its own. it’s not an exemplary com-edy by any means, and it won’t spur demand for a third “Anchorman,” but the movie still ranks highly in the Fer-rell canon. And don’t worry—Baxter’s still around to save the day.

ALL PHOTOS SPECIAL TO THE CHRONICLE

FILM

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The Howard Hughes Research Fellows Program

For rising sophomore applicants in Trinity College and Pratt

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

• MolecularBiologyandGenetics• EvolutionandEcology• CellBiology• Biochemistry• Neurobiology• AnimalBehavior• BiomedicalEngineering

$4,300 STIPENDHOUSING ON CAMPUS PROVIDEDJUNE 2 – JULY 25, 2014

Application Deadline: February 10, 2014

The Vertically Integrated Partners (VIP) Program

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

Research in select labs:

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Circuits

$5,500 STIPENDMAY 20 – JULY 25, 2014

Application Deadline: March 7, 2014

Website: http://undergraduateresearch.duke.edu/programs

Howard Hughes Summer Research Programs

Applications Now Open

Are you thinking about getting a PhD?

Anthropology and Archeology Area/Cultural/Ethnic/Gender Studies Art History Classics Computer Science Geography and Population Studies Earth/Environmental/Geological Science and Ecology English Film, Cinema and Media Studies (theoretical focus) Musicology and Ethnomusicology Foreign Languages and Literature

History Linguistics Literature Mathematics Oceanographic/Marine/Atmospheric/Planetary Science Performance Studies (theoretical focus) Philosophy Physics and Astronomy Religion and Theology Sociology Theater (non-performance focus)

THE MELLON MAYS UNDERGRADUATE FELLOWSHIP PROGRAM AT DUKE

IS CURRENTLY RECRUITING SOPHOMORES AND A SELECT NUMBER OF JUNIORS WHO ARE SERIOUSLY CONSIDERING ATTENDING A PhD PROGRAM FOLLOWING

The goal of the Mellon Mays Undergraduate Fellowship Program, funded by the Andrew W. Mellon Foundation, is to increase the number of underrepresented minority students (African American, Hispanic/Latino-a American and Native American) and others with a demonstrated commitment to eradicating racial disparities who will pursue PhDs in core fields in the arts and sciences.

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

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

Questions? Contact: Dr. Kerry Haynie, 660-4366 ([email protected])Ms. Deborah Wahl, 684-6066 ([email protected])

GRADUATION IN ONE OF THE FOLLOWING DISCIPLINES:

Application Deadline: March 3, 2014

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

“i hope the show will cause people to try to ex-plore some community building in Durham and the Triangle area,” she said.

once the remix resolves and “i love My hair “ends for the second time Feb. 1, Webb will once again turn towards her new projects, which she said include collaborations with other local artists. This year’s version looks to be as popular as the one in 2012, as the first weekend and final show are already sold out.

“We hope everything [at Manbites Dog] is dif-ferent,” hunt said. “it is a strong work, a new work. The more theater, the better and the more people involved in it, the better.”

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

Hair from page 4

Michael MccolloUGh/ the chronicle

Check online tomorrow for coverage of Rock

for Roe, the 41st Anniversary Celebration of the

Roe v. Wade Supreme Court decision, which legal-

ized the right to safe and legal abortion care. The

sold-out celebration at the Pinhook on Sunday,

Jan. 19, will benefit NARAL Pro-Choice NC and

support their efforts to advocate for pro-choice

North Carolinians. It will have performances by

The Mountain Goats and Carrboro’s Some Army.

recess online

Special to the chronicle

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8 | ThursDAY, jAnuArY 16, 2014 recess The Chronicle

Michael Acra • Zoila Airall • Nancy B. Allen • Nancy Andrews • Steven R. Asher • David E. & Claudia C. Attarian • Roger C. Barr • Katharine Bartlett • Sarah M. Bean • Charles M. Becker • Phillip Benfey • Rex C. Bentley • James O. Berger • Pamela & Geoffrey Bernard • James R. Bettman • Manjushri Bhapkar • Robert Bigelow • James Bjurstrom • Leigh Bleecker • Tolly Boatwright • William Boulding • Ann Bradley • Stephanie Brinson • Richard & Cindy Brodhead • Ann J. Brown • Tony & Teddie Brown • Daniel V. Bruno • John & Stacey Burkert • Nell B. Cant • Blanche Capel • Patrick J. Casey • Kyle Cavanaugh • Jennifer Chamberlain • Blair & Laura

Chesnut • Dennis Clements & Martha Ann Keels • Harvey J. Cohen • Barbara Collins • Philip Cook • Harris M. Cooper • Karen M. Courtney • David B. Covington • James Cox • Coleen K. Cunningham • David Cutcliffe • Richard Danner • Ellen F. Davis • Elizabeth DeLong • Preyas Desai • Sarah Deutsch • Brett Dickinson • Paula Ecklund • Helena Ellis • Dr. & Mrs. Richard B. Fair • John M. Falletta • Ruth Z. Fleishman Foundation, Inc. • Jeffrey R. Forbes • Bradley A. Fox • Courtney Frankel • Mary Ann Fuchs • William & Mary Fulkerson • Kathleen B. Galbraith • Stephen L. George • J. Scott Gibson • Jose A. Gonzalez • Tracy K. Gosselin • Alice Gould • Henry & Virginia Grabowski • Margaret Gradison • John R. Graham • Christopher Granger • Alice L. Gray • Christy M. Gudaitis • Steve & Lynn Guerrant • Susan Ross & Tom Hadzor • Cartenia Hamm • Elizabeth Hauser • Billy T. Herndon • Chris Hildreth • Diane Holditch Davis • Russell Holloway • Emily F. Honeycutt • David K. Howard • David N. Howell & Sara E. Miller • Remi Hueckel • George W. Jackson • Mary B. Jacobs • Deborah L. Jakubs • Nancy James • David W. Jamieson-Drake • David J. Jarmul • Jennifer Jenkins • Deborah A. Johnson • Thomas Katsouleas • Samuel Katz • C. Ann Keefe • Geoffrey & Selena Keegan • Thomas Keller • Richard C. & Char Kennedy • Robert E. Kielb • John P. Kirkpatrick • James R. Korol • David & Vivian Kraines • Corinne M. Krupp • Michael Krzyzewski • Bruce Kuniholm • Helen F. Ladd • Anand Lagoo • Peter Lange • Hilmar Lapp • Richard P. Larrick • Keith S. Lawrence • Michael Lazar • Mark Leary • Jill S. Lemke • David M. Len • David F. Levi • Edward Levin • Daniel Lew • Joseph Lo • Kenneth W. Lyles • Michelle J. Lyn • William Marchese • Jonathan B. Mark • Marsha L. Marquess • John J. Martin • William J. Mayew • Dana M. McDonald • Ross McKinney • Gloria McNeil • Vanessa Meireles • Nancy W. Metzloff • Lloyd Michener & Gwen Murphy • Sam & Sheila Miglarese • Laurence Moneta • John Moore • Ira Mueller • Brian C. Murray • John & Nancy Murray • Grace D. Mutz • Elisabeth Nadler • Robert Nau • Robert J. Newlin • William H. Nichamin • Kathy & Roger Nightingale • Caroline A. Nisbet • John J. Noonan • Stephen Nowicki & Susan Peters • Lynne O’Brien • Timothy O’Donnell • Jane Pleasants • Joan Podleski • Stephen Pomeroy & Pamela Mears • Dorothy Powell • Diane Pruett • Devavrat Purohit • Richard Riddell & Deborah Wong • James S. Roberts • Susan H. Rodger • David W. Rohde • Lou Rollins • Deborah A. Roth • Judith Ruderman • Michael Schoenfeld • Deane E. Schweinsberg • Burton L. Scott & Marianne Bouvier • Scott Selig • Robert S. Shepard • David & Cynthia Shumate • James & Mary Siedow • Ilene C. Siegler • J.H. Pate Skene • Kathleen K. Smith • Stephen R. Smith • H. Gilbert Smith • John Stuart & Trudy Smith • Michael L. & Rosemary W. Somich • Kevin W. Sowers • Thomas A. Spragens • Herman Staats • Richard & Julie Staelin • John Stover • Warren Strittmatter • Keith & Kristine Sullivan • Cheryl Thaxton • Patricia Thibodeau • Robert J. Thompson • Russell Thompson • Kathy Tobin • Georgia Tomaras & Jason Stout • Cynthia A. Toth • Tallman Trask • Margaret Trauner • Neal Triplett • Debara L. Tucci • Elizabeth Vandyne • Renee J. Vaughan • Neil J. Vidmar • James T.Voyvodic • Pamela Sutton-Wallace • Michael & Lise Wallach • Timothy Walsh • John S. Wiener • Mark Wiesner • Marilyn Beth Wightman • Dorothy S. Williams • Jane R. Winsor • David B. Wong • J. Michael Woodard • Barbara E. Woolley • Raymond G. Wrenn • Justin Wright • Phail Wynn, Jr. • Lawrence Zelenak

Jonathan Abels • Camitta Abraham • Billy Abrams • Gerly Ace • Yvonne Acker • Joann Adams • Justus Adamson • Linda Addison • Diana W. Adkins • Shyama Agrawal • Tejumade Ajasa • Betsy Alden & Mark Rutledge • John Aldrich • Jim & Susan Alexander • Darrell Allen • Barbara Allen • Karen Allen • Sally Allison • Kara Anasti • Kavanah Anderson • Suzanne J. Anderson • Phyllis K. Anderson • William Anderson • Robert Anderson • Carol Apollonio • Andrea Archibald • Michelle Arlotto • Jobiel Arocho-Lopez • Garlinda Arrington • Derek Arrington • Stephen Arrowood • Winston Atkins • Ashley Atkins • Julia Aucoin • Janis Ayers • Uzoma Bailey Ayogu • Constance Badger • Auguste Badiabo • Shatone P. Bailey • Bryan D. Baines •

Lee Baker & Sabrina L. Thomas • Iola Baker • Peter Balbirnie • Khaula Baloch & Rafiq Shahid • Leslie Bard • Matthew Barr • Susan Barrella • Gary Barrow-West • Rhonda M. Bartley • Elizabeth Barton • Sharon Bass • Janet A. Bassett • Karl L. Bates • Laura Baumeister • James T. Beale • Jean Beaman • Natalie Beauchaine • Kerri Beck • Robert & Sue Ensor Behringer • Viola Belcher • David Berberian • Henry Berger • Frances Bermudez • Johanna C. Bernhardt • Pakis Bessias • Randall Best • Staci Bilbo • Debra M. Bittle • Amy Blackmon • Todd Blandford • Katherine Bloedau • Jonnie H. Blount • Volker Blum & Chiara Mecagni • Violette F. Blumenthal • Pamela Boatwright • Jemma Boler • Joshua Bond • Lori Boodee • Carolyn A. Boone • Stephanie Booth • Susan F. Booth • Blythe Boquist • Martha S. Bordeaux • Mairo Bori • Melissa Bostrom • Lisa Bourget • Angela Bowling • Debra Boxill • David Bracken • Wendy L. Branson • Melissa Brasington • Natasha Bray • William Brewer • Misty Brindle • Laura Brinn • Nacole Britt • Kimberly Brock • Cynthia Broderius • Martin A. Brooke • Elizabeth Brooks • Pamela Brown • Joan Browne • Pat Bryan • Ebony F. Bryant • Amy Buchanan • Phillip & Katharine Buchanan • Eleanor Bullard • Jarrett L. Burch • Carol A. Burdette • Sarah Burdick • Kristin Burel • William K. Burig • Barbara Burig • Carol Dank Burk • Melanie Burke • Ann Burnette • Monica Burney • Mary Burris • Kim Burrucker • Norris E. Burton • Paul Bush • Michael W. Butler • Ann Buzenberg • Ellen Byars • Patrick Scott Byerly • Sara Calvert • Susan Camp • Udobi C. Campbell • Curtis Campbell • Dorian Canelas • Karen Carmody • Nicholas Carnes • Alison Carpenter • Mark Carpenter • Paul D. Carrington • Susan Carroll • Aneika J. Carroll • Denise Carson • Michael Case • Rosemary Castro • Charles Catotti • Tiffany Cervi • Mary Catherine Cesarini • Biju Chacko • Geetha Chandran • Patrick Charbonneau • Rhonda Charles • Jeffrey Chase • Patricia S. Cheng • Mary Sue Cherney • Dona Chikaraishi • Vladimir Chituc • Allan Chrisman • Yichun Chung • Debra Church • Elizabeth Cirulli • Julie C. Clayton • John E. Clements • Bobbie Clinkscales • E. Matthew & Sarah Cloues • James W. Coble • Karen Cochran • Deborah & Thomas M. Coffman • Lisa Brown Cole • Dorianne L. Coleman • Tandy Colling • Carolyn S. Colsher • Mary Compton • Susan Conder • Barbara P. Condit • David T. Connelly • Henrietta Cooke • Susan Coon • Alexandra L. Cooper • Joyce Copeland • Rev. Jennifer Copeland • Teresa & Bruce Corliss • Renee Corsi • Laurie Cousart • Susan M. Cox • Kevin Cox • Brian Coyne • Trisha Craig • Mary Crawford • Ludmila Crenshaw • Angela E. Crews • Ashley Crowe • Mirjana Dalsing • Catharine Cummer • Julia Currin • John F. Curry • Lynda W. 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Dubay • Heather Duhart • Charles Dunlap • Tracie Dunn • Melanie Dunshee • Sylvia Durant • Julie Easter • Beth Eastlick & Tom Earo • Dalia Patino Echeverri • Kevin Edelen • Frederick & Alison Edie • Lila Edwards • Tobias Egner • Nancy Eisenson • Barbara Eldredge • Landy Elliott • Deirdre Ellis • Sharon L. Ellison • Donald Elsner • Sara L. Emory • Amanda English • Arleen R. Eppinger • Maria Dykema Erb • Harold P. Erickson • Kevin Erixson • Lisa Eskenazi • Mileny Espinal • Terrie Evans • Stephanie Evans • Michael Evans • Karen Fischer Factor • Jay Fearrington • Keith A. Feather • Claire Fefer • Clyde Fernandez De Castro • Maxie Figgs • Peter Filardo • Gerda & Samuel Fillenbaum • Sarah K. Fish • Sandra K. Fisk • Samantha Fiske • Jan Minnic Fitch • Colleen Fitzpatrick • Harvey Fletcher • Bonnie C. Flinn • Matthew Floding • Margaret Flournoy • G. Lee Fogle • Joanna S. 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Greenblatt • Margaret R. Greer • Jeffrey Greeson • Nicole Greeson • Barbara Gregory • Anita Gregory • Victoria Grice • Barbara Griffith • Margaret & Mark Groves • Julie Grundy • Ron Grunwald & Lorisa Seibel • James V. Gudaitis • Catherine Guldner • Michael Gulley • Elizabeth Gulley • William S. Gunter • Robin Gurwitch • Kathryn Gustafson • Mark & Elizabeth Gustafson • Christoph Guttentag • Christina Guyer • Douglas Haas • Deborah H. Hackney • Malachi Hacohen • Susanne Haga • Dawn Hails • Edith Hall • Susan M. Hammond • Charles & Peggy Hammond • Edward Hanson • Jean Hanson • Donnetta Hanson • Daffney Hardiman • Martha Hardison • Elisabeth Hargrove • Elizabeth Hargrove • Lynn Harrington • Krista Harris • Susanne M. Harris • Sharon J. 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