Tuesday, February 22, 2011

Garrett Turner ‘Dreams a World’


originally written for The Emory Wheel: Arts & Living (www.emorywheel.com)

15 February, 2011

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Langston Hughes was a poet, an essayist, a novelist, an activist and, to College senior Garrett Turner, “an outright mystery”. Throughout the last year, Turner has lived Langston, writing and producing I Dream A World: The Life and Work of Langston Hughes, a play which premiered this weekend to a packed audience in Harland Cinema.

The play blended a variety of creative mediums — film, theater and song — to present a taste Hughes’ work in the span of one hour. Each section of the play dwells on a different aspect of Hughes’ life such as childhood, the Harlem days and finally, death. Turner doesn’t ask us to create a concrete image of Hughes but instead presents us with pieces of his life and works.

“It’s an innovative theater venture,” Turner said. “The reputation of poetry is the main vehicle for the show. It can be difficult to make dramatic action out of poetry.”

Yet, Turner’s script manages to do so by showcasing the stories behind Hughes’ poetry. One of the most interesting scenes in the play takes place in a Harlem club. The six cast members become different characters from Hughes’ poems about Harlem. They laugh, dance, drink and talk. The only dialogue in the scene is a series of Hughes’ Harlem poems, recited from one character to another as pick-up lines. Rather than create much new material, Turner presents his audience with a context for Hughes’ poems, creating scenes in which Hughes’ words would have been spoken.

Turner began dreaming his world of Hughes more than a year ago, as he searched for a suitable senior project.

“I’m a music major, but I’m also a spoken word artist, and I was really interested in creating some sort of pwoetry performance,” said Turner. “I was organically led to Hughes because his poetry is so musical, it really wants to be recited.”

Turner began to form a script, writing in and out of the blues and jazz idioms that were ever present in Hughes’ work.

“Originally it was going to be a one man show,” said Turner, “but after being encouraged to do so by Dr. Flannery, my advisor, I started reaching out to other people.”

Turner was awarded the SGA Cool Project Grant to fund the production. SIRE, Office of Multicultural Programs and Services, Emory College Center for Creativity & Arts and the Ethics and Arts Society also supported the project.

“I was really looking for a project that melds together all of my artistic outputs and creative skills — music, theater, poetry, playwriting, singing and there’s even a point in the show where I dance,” said Turner.

As he delved into various mediums, Turner began to work with other creative Emory community members. Fellow cast member Breanna McDaniel brought the support and talent of AHANA Theater. Jazz pianist Michael Clanahan contributed a score to the production. Filmmaker Chris Rhodes produced a video of Hughes’ “Let America Be America Again,” where five diverse Emory students perform the poem.

“The production honored the unique spirit and legacy of a wonderful American novelist, poet, playwright and short story writer by integrating poetry, prose, music, film and drama to create a magical piece of art,” said audience member and College senior Noor Najafi.

Turner’s choice of works is as diverse as the ways he presents them. The production doesn’t confine itself to Hughes’ poetry.

Short stories were read, with characters on stage performing the dialogue. Turner included excerpts from Hughes’ essay, “A New N---o,” grounding the audience in facts as well as fiction.

“I wanted the audience to walk away being thoroughly intrigued and wanting more,” said Turner, “and hopefully, they’ll get a glimpse of the real essence of Langston. He’s a very complex figure, and often times we peg him as Harlem renaissance, blues and jazz, a symbol for black America. But there was much more going on with the man. And that’s what I want them to see.”

Dawoud Bey Captures Campus Diversity


originally written for The Emory Wheel: Arts & Living (www.emorywheel.com)

7 February, 2011


Emory’s population is filled with people from all walks of life and all corners of the world. Over the past year, photographer Dawoud Bey has worked to capture the Emory community on camera in an exhibition titled “The Emory Project” on display in the Visual Arts Gallery from Feb. 1 till March 5.

Last spring, while Bey was an artist in residence on campus, he spent four weeks compiling 36 double portraits, each containing two diverse members of the Emory community. The exhibition consists of 20 portraits of 40 people with two contrasting members of the Emory community in every photo. Each piece features two captions; personal statements written by the subjects answering the question, “Who Am I?”

“I think what this does is give a visual representation of the community that is Emory and its diversity,” said Associate Professor of History Leslie Harris. “In that way, it’s a visual record, a permanent record, in photographs that we hope will end up around campus.”

The Emory Visual Arts Department and the Transforming Community Project commissioned the photographs to celebrate the culmination of their five-year exploration of Emory’s historic and current experiences of race, gender, sexuality and other forms of human difference.


One of the most campus-capturing photos in the series features University President James W. Wagner and Carlton Mackey, assistant director at the Ethics Center. Bey cleverly displays two very different facets of Emory’s campus, contrasting the artist and the administrator. Their personal statements reflect this duality. President Wagner’s is authoritative yet reflective, thankful for being “offered the privilege to share this frame with Carlton.”

Mackey, on the other hand, wrote a poem for his caption, ending with his own summary of diversity.

“I am coming to understand the infinite possibilities of what it means to accept the fact that you too are a part of me,” he writes.

Bey also brought his project to the virtual world setting up a website for the project, which features all 36 portraits. A few of the online photos feature recordings of the personal statements read by the subjects. The ability to hear a wide-variety of Emory’s voices adds another diverse dimension to the pieces.

Art Showcase Celebrates Creativity


originally written for The Emory Wheel: Arts & Living (www.emorywheel.com)

1 February, 2011

Emory’s artistic community shuffled into Emerson Concert Hall last Saturday for the 2011 Emory Arts Showcase Gala event. Eighteen artists waited in their seats, excited and nervous to share their work with an audience full of students, faculty, friends, family and, most importantly, three judges.

SGA President Beth Brandt, Assistant Director of the Visual Arts Department Mary Catherine Johnson and Director of Wind Studies Scott Stewart played the menacing roles this year, deciding who would win the $150, $75 and $25 prizes.

Seventy-three artists from all over the Emory community contributed their works, and the entries were narrowed down to 10 finalists in the visual arts category and eight musical performances. The musical performances were split into two groups: works written by others and original works.

As the night progressed, a wide variety of musical acts and visual works were presented. Some were true-to-classic works, like third-place winner Allison Rollins’ entry, which judge Stewart described as “reminiscent of the impressionists and Degas.” Other works took a more modern approach, like Todd Deveau’s “Vino,” a simple yet stunning photograph of a wine glass.

“There is beauty in the world around us,” said Deveau on stage.

Finalist Liling Iem, a College freshman and the youngest visual arts finalist, admitted that her entry began as a doodle in class, and advised other young artists to “start with a simple idea and out [will] grow masterpieces.”

The visual arts finalists worked in a multitude of mediums. “Graffiti Lock” — by second-place winner and self-described “photo tourist” Deborah Baumgarten, an associate professor in the School of Medicine — was a photograph of a lock she had taken on vacation, printed on a metallic aluminum canvas. Finalist Hannah Woebkenberg experimented even further, using pantyhose to make her webbed piece, which was one in a series of pantyhose-driven portraitures.

The musicians who performed at the gala were just as impressive. Third-place winner Hao Feng opened the show with his fingers flying effortlessly over the piano keys. Graduate student Kira Walsh displayed a touch of theatricality, performing “Somewhere That’s Green” from the musical Little Shop of Horrors, which won her second place.


After a side-splitting show by Emory’s improv troupe Rathskellar, the judges announced the winners. Todd Deveau’s sense of simplicity triumphed as he won first place in the visual arts category for his photograph “Vino.”

Adam Levinson, a College senior and host of WMRE’s “No Folkin’ Around” radio show, snagged first place in the best musical performance of another artist’s work category for his soulful rendition of Bob Dylan’s “Highway 61.”

“I felt like I was in a bar listening to some blues,” Brandt said.

Scott Stewart described Levinson’s vocals as “what Dylan would sound like if he hadn’t had other chemistry going on.”

“It felt really invigorating to win this competition,” Levinson said. “I really don’t perform very often, and the reaction to my performance last night was a very unexpected surprise. Winning the competition made me want to get out more and play my music for others.”

College junior Eduardo ‘Eddie’ Hazera won first prize for best original work for his performance of “Taksu” on the guitar. His performance blended a variety of guitar styles, mixing rapid riffs with complex strumming patterns. Each new section was reminiscent of a different style of music, leaving the audience at the edge of their seats anticipating which musical allusion Hazera would make next.

The way in which Hazera played the guitar was just as unique as what he played on it. He made use of multiple guitar techniques, from classical methods like finger picking to more distinctive methods like using his shoulder to bang the base of the guitar, adding his own percussion to the piece as he played.

“A year ago at about the same time I played that same piece for students at Colorado College,” Hazera said. “It was really a wonderful experience to remember how to play that piece and then play it for the students at my new school.”

Saturday’s gala also marked the creation of a new award in the Emory Arts Showcase. The Paladin Society, which originally suggested the idea for the event in 2008, unexpectedly announced the Courageous Artist Award through a note. The award is presented to an artist who “sheds convention, has a sense of daring and has a work of art that is presented with passion.”

In its inaugural year, the award was presented to College senior Ankit Bhargava for his charcoal and graphite surrealist drawing “Brett.” Bhargava dedicated the piece to his friend, who had recently been diagnosed with a brain tumor.

The piece, which Bhargava said took inspiration from Salvador Dali and MC Escher, depicted a surrealist skeletal figure with an ominous hand reaching down through the figure’s skull into its brain. In the background was the St. Louis Arch “because that’s where we met and spent so much of our time together.”

“You responded to something traumatic by creating art,” remarked judge Johnson.

There were some lows in the night. It was difficult not to notice that Emerson Hall was not as packed this year as it had been in 2010. Previously, students had piled in, filling almost the entire hall. This year, the auditorium was only about 1/3 full with mainly adults in the audience. The show also ran half an hour longer than scheduled, causing many to question the presence of the judges.

“They tried to make it American Idol style,” College sophomore Jake Krakovsky said. “It felt like they were just making comments because they had to. After a while it just got boring.”

But this night wasn’t about the judges. It was, as Master of Ceremonies and Vice President of Emory University Gary Hauk put it, about “celebrating the creativity that simmers out of sight under the crust of the Emory community.”

WMRE Gets Radio Frequency


originally written for The Emory Wheel: Arts & Living (www.emorywheel.com)

17 January, 2011

Whether it’s handing out “Turn Us On” prophylactics to incoming freshmen or convincing the student body to expose themselves in a Naked Calendar, WMRE has always found a way to be a core part of the Emory community. This semester, the station is moving on to the airwaves in the form of an AM frequency.

Before this acquisition, Emory students, faculty and family members could access WMRE online or watch it on Channel 26.

“In earnest, radio is a rare medium. Like many modern radio stations, most of WMRE’s listeners are viral,” said WMRE’s General Manager and College senior Geoff Schorkopf. “However, college radios are still vital to local communities. College radio serves as a means to start a conversation and popularize sub-cultures that national radio may ignore. Our AM frequency will expose Emory music and culture into the greater Atlanta area.”

“Like most other universities, we see having a college radio station as an indispensable part of college life,” said WMRE Promotions Director Madison Poche. “WMRE began as WEMO broadcasting on AM waves, so now that we have better funding, it seemed logical to first return to broadcasting on a frequency.”

Unlike Georgia State’s WRAS and Georgia Tech’s WREK, WMRE’s frequency will be an AM station rather than FM. “Any existing or aspiring radio stations have to go through the FCC,” said Tech Director, Logesh Dharmar. “There is a special provision in the FCC guidelines which allows colleges to broadcast to the limits of their campus without having to be licensed or regulated by the FCC. So, we chose AM over FM because of the availability of technology and the leniency in FCC guidelines.”

WMRE members are excited about the prospect of finally being back on the airwaves. “Before, we were kind of just a ‘radio group,’ a bunch of students getting together and playing the music we love,” said WMRE DJ Kassle Molinar. “Now, it feels like we’re an actual station. Having a frequency makes everything feel more legit.”

Moving WMRE to the radio opens up many listening possibilities for Emory community members.

“Radio holds a niche for some people and is an excellent option for people driving around campus,” said Dharmar. “We feel that by expanding our listening and opening to radio we are increasing exposure. It is also the first step to a full-out radio station like WRAS and WREK.”

Over the break, the WMRE team set up a DJ booth and software in the studio, allowing real-time mixing and scratching on dual record plays. Dharmar also adds that he anticipates the station moving to FM in the near future.
WMRE has had a busy year, having just finished the Naked Calendar last semester, an attention-grabbing project aimed at bringing together student organizations. The proceeds so far have all gone to a variety of charities, chosen by the organizations involved.

“We’re only halfway through January, so we are hoping to sell more calendars before they become outdated,” said Schorkopf.

Students can still purchase calendars by sending a Learnlink message to “Nekkid Calendar” or by contacting any one of the many clubs and organizations that contributed to the project.

Currently, WMRE is expanding its online presence. “The Media Council is creating a full website for all of it’s organizations,” said Poche. “Expect music updates, concert reviews, and general musings, while being able to tune in to live programming effortlessly.”

Later this semester, WMRE members will be planning the annual “Spring Band Party.” While this year’s artist has yet to be confirmed, former appearances by Ghostface Killah, the late Jay Reatard and last year’s headliners Matt & Kim, guarantee a good time.

Stay tuned in.

The Return of the McRib


originally written for The Emory Wheel: Arts & Living (www.emorywheel.com)

2 December, 2010

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McDonald’s munchers have always remained deliciously dedicated to their brand. Every few years, this McMob mentality reaches its peak as the restaurant re-releases, for a limited time only of course, the McRib. This creative culinary concoction consists of a rib-shaped pork patty squeezed between a six-inch roll with barbeque sauce, pickles and onions.

Like most cult classics, the initial release of the McRib was commercially disappointing. McDonald’s first added the sandwich in 1981, but poor sales figures resulted in the sandwich being removed as a permanent menu item. Instead, the McRib became a promotional menu item, appearing annually for a few weeks.

Even with its limited exposure, the McRib managed to integrate itself into fast-food pop culture. In 1994, when the live-action movie “The Flintstones” was released, McDonald’s brought back the McRib with Flintstones characters decorating the box. The sandwich was even featured in the movie, served at “RocDonald’s.”

In 2003, McDonald’s gained a marketing idea from another American institution: Homer Simpson. In a “Simpsons” episode, Homer becomes a “Ribhead,” following Krusty Burger’s “Ribwich” around the country. Two years later, in 2005, the McRib was back on a “McRib Farewell Tour.” McDonald’s created a “Save the McRib” petition on the McRib website, sponsored by the fictitious “Boneless Pig Farmers Association of America.” In 2006, the McRib began its second farewell tour, confirming for frantic fast-food fans that the McRib was not gone for good.

This year, for the first time in 16 years, the McRib became available nation-wide on Nov. 2. This release date, coinciding with the biggest midterm elections of the decade, garnered some negative attention from parody pundit Stephen Colbert. In his Oct. 28 broadcast, Colbert said, “Clearly this is a calculated political ploy by McDonald’s. The return of the McRib on election day is a concerted effort by liberals to suppress Republican turnout. If you’re waiting in line for a McRib, you can’t be waiting in line to vote.”

Whether the McRib is a “tool of the liberal agenda” or just a slab of misshapen mystery meat, its promotional release will be ending on Dec. 5. Grab one soon because at 48 percent saturated fat and 23 percent cholesterol, you’ll have just enough time to work it off before the McRib is back next year.

In 2006, FoodFacts.info deconstructed the McRib, revealing that massive amounts of pressure are applied to the McRib patty to create its shape. Maybe I’m the only one, but pulverized pork doesn’t really sound that appetizing (or edible). The website also lists the “nutritional value” of the product: 500 calories, 240 calories from fat, 26g fat, 10g saturated fat, 70mg cholesterol, 980mb sodium, 44g carbohydrates, 3g fiber, 22g protein, 11g sugars. Frequent fast-food followers would remind me that most fast-food tends to be ridiculously unhealthy (KFC Double Down anyone?). So what is it that keeps us going back to these “restaurants”?

It’s because fast food is as much a part of our pop culture as anything else. Anyone who knows the lyrics to a Lady Gaga song can just as easily sing you “Five Dollar Foot Long.” We grew up playing with the toys from our Happy Meals. When we learned how to drive, we learned how to drive through. Fast food even managed to slip into our education. Economics classes explain purchasing power through the Big Mac Index. Political science classes study Thomas Friedman’s Golden Arches Theory to explain the relationship between development and war. It’s even hit the Twitter-sphere, with tweets ranging from “The best thing since cell phones and Nintendos” to “Worst heartburn I ever had.”

Then there’s the patriotic side. There’s something oddly American about a Big Mac. It’s comforting to know that whether you’re President Obama or on the White House janitorial staff, you can share in the joys of rapidly-refried food.

So, as you line up for the newest “Harry Potter” or eagerly await Kanye’s new album, make sure you grab a McRib to finish that perfect pop-culture picture. You’re sure to love it.

Cast Reunites for ‘Furious’ Fourth Film


originally written for The Emory Wheel: Entertainment (www.emorywheel.com)

2 April, 2009

Dominican Republic, 2009: A five-car oil tanker is on an open highway with Dom Toretto close behind, smiling behind the wheel of a 10-speed.

With fast cars, big heists, huge explosions and a clever story line, “Fast & Furious” is a solid sequel that will please new viewers as well as die-hard fans of the franchise.

The film marks Vin Diesel’s (“The Chronicles of Riddick”) return as Dom, who heads back to Los Angeles to solve the mystery behind his close friend’s murder. Along the way he runs into Brian O’Conner (Paul Walker, “Eight Below”), the LAPD agent who tricked Dom in the first film, and who then helped him escape. Brian is now an FBI agent assigned to the same case Dom is trying to solve. The two reluctantly begin working together, and what follows is a high-octane ride as the two men put aside their differences to fight a common enemy.

Despite being the franchise’s fourth installment, “Fast & Furious” offers a fresh twist on a seemingly tired action series. The plot line, though not the most riveting piece of writing, is interesting enough to keep audiences absorbed. Scenes set in the FBI headquarters are intelligently juxtaposed with street racing scenes. This intriguing structure allows the audience to view the film as not just an action movie, but a murder mystery as well.

Still, the film’s action is definitely an achievement. “Fast & Furious” is filled with well-crafted scenes that keep your blood racing as fast as Dom’s car. Rather than the repetitive, nonsensical action sequences typical of other films in the genre, each of the movie’s action-heavy scenes is unique, with different obstacles like massive oil trucks and underground tunnels.

Walker manages to hold his own as Brian for the third time. Having him play a full-time FBI agent gives the audience a chance to see the character in a different setting. Before, Walker was mainly seen behind the wheel of a car or undercover on the streets but his role in the latest film showcases a different side of his personality, one replete with quirky moments that will keep audiences laughing.

Diesel’s character, however, feels a bit contrived at times. He repeats the same pensive stares and angry outbursts multiple times throughout the movie. The character doesn’t seem to change much and, although the script calls for a stronger performance from the actor than he provided in the first film, Diesel doesn’t fully deliver.

Director Justin Lin withholds the first confrontation between Walker and Diesel until about halfway through the movie, which amps up the excitement level when the characters finally meet.

The reunion of the original cast is dynamic and, like a call to an old friend from high school, leads to many trips down memory lane. Dom and Brian race each other and team up again, which makes the film feel, as Dom says, “just like old times.”

Overall, “Fast & Furious” manages to overcome a few poorly acted serious scenes and delivers a film that is far faster and a hell of a lot more furious than the series’ last two installments.

Not in the ‘Know,’ Film Falls Flat


originally written for The Emory Wheel: Entertainment (www.emorywheel.com)

20 March, 2009

“Knowing” is like a failed Evel Knievel stunt. The film builds the climax up, getting the crowd excited and hungry for more. As a stuntman revs his motorcycle, moving higher and higher up his jump ramp, “Knowing” artfully creates suspense and visual thrills.

But suddenly, the film, like Knievel, falls quickly and explosively into the Grand Canyon.

“Knowing” is the latest venture by director Alex Proyas (“I, Robot”). The movie offers an interesting mix of science fiction and action while exploring the age-old art of numerology.

The film begins in a classroom in 1959 as students prepare to bury a time capsule. Children are asked to draw what they think the future will look like and one disturbed little girl begins scribbling down numbers. Fifty years later, the time capsule is opened at the same elementary school and young Caleb Koestler (Chandler Canterbury, “The Curious Case of Benjamin Button”) receives the page of cryptic numbers.

His father John Koestler (Nicolas Cage), a professor of astrophysics at M.I.T., discovers a secret code within the numbers and realizes it predicts all of the major disasters that have occurred since 1959. He then turns his attention to the final three dates which have not yet taken place. With the reluctant help of Diana Wayland (Rose Byrne, “Damages”), the daughter of the original prophecy maker, Professor Koestler tries to stop the imminent disasters and figure out what will happen when the numbers stop.

During the film’s powerful first half, Proyas artfully unveils the mystery of the numbers with just enough suspense to keep it exciting. There is just the right mixture of fantasy and normality.

This balance allows the audience to believe that the numbers really do predict the future and keeps them rooting for Professor Koestler to solve the mystery. Even with a few cliché moments, including a particularly predictable scene with a creepy young oracle, the movie still manages to hold its own in the beginning.

However, after the secret behind the numbers is revealed, the movie takes a turn for the worse. The plot is quickly weighed down by unnecessarily lengthy action sequences that cut away from the main story line too often.

All sense of normality is lost and the film, which began with a relatively promising story, becomes too outlandish for even the experienced sci-fi viewer to tolerate. Those who were hoping for stellar special effects will be sadly disappointed; the CGI in “Knowing” doesn’t even come close to that of other films in its genre.

Cage, whose recent performances in “Ghost Rider” and “Next” have been heavily criticized, delivers a much better performance in this film. Despite the far-fetched script, he manages to create a believable character.

Unfortunately, his triumph is nullified by Byrne’s failure to perform. The actress attempts to portray a single mother concerned about her daughter but her overly shrieky emotional scenes make her performance completely unbearable.

Finally, Proyas reveals his “surprise twist.” But there is no surprise, as the ending is completely predictable and the only twist is how terribly it is portrayed by the filmmaker.

The climax of the movie is borderline ridiculous and is followed by at least three anti-climaxes that are wholly unnecessary. Each of these scenes would have made a perfectly suitable ending for the movie but Proyas instead chose to add all of them. These additions makes the already barely watchable “Knowing” last for an excruciating 15 extra minutes.

Although Proyas attempts to blend science fiction, action and religion in the film, “Knowing” ultimately falls short of the other side of the Grand Canyon, crashing and burning instead.

Puff

20
Twenty is an interesting age, with varying feelings depending on which side of it you’re on. For those who are on the older side of it, twenty is a youthful age; the beginning of what is, to most, a defining decade in their lives. Yet, when you’re on the other side, twenty takes on a different connotation. Twenty marks the end of teen hood, catapulting you from teenager to young adult in the span of one birthday. While most would choose to wallow in some imagined loss of youth, I spent the days before my 20th birthday caught in meticulous math, counting on nicotine-stained fingers. I was 15 when I had my first cigarette and, at the cusp of my 20th birthday, I realized that 25% of life had been spent as a smoker. That fact terrified me more than any stop-smoking statistic I have ever heard.

“Ch-asian”
The endless influx of international students to America has lead to a new slang term being formed on college campuses: “ch-asian” chain-smoking Asian. I’ve listened to my American friends use the term many times, but I’ve never heard them ask why it’s so common for Asians to smoke. It’s a generally accepted notion on college campuses that international students smoke more, with many campuses, including Emory’s International Student and Scholar’s Program, offering “quit-smoking” education specifically designed for foreign students.
Most of us ch-asians began young. There are many things that keep a country defined as developing rather than developed. Bombay, India, my home city and the city where I first began smoking, is a city of 19 million people, with 60% of them living in slums. It’s difficult for a government to prioritize monitoring tobacco consumption when 41% of the nation is living under the poverty line. There was a running joke between my Korean friends and me in high school, in our countries, if you could see over the counter you were old enough to buy cigarettes. We weren’t too far off. A 2002 World Health Organization report said, “between 80,000 and 100,000 children worldwide start smoking every day - roughly half of whom live in Asia”.
And here I was, foolishly hoping that “ch-asian” is just a temporary term.

Social Smoker
I have a friend who would always laugh at the term “social smoker”. His name is Justin Martin and he was the only other smoker in my high school friends’ circle. Through eleventh grade, we would frequently find ourselves outside, late on Friday nights, getting our nicotine fix. He’d tell me how “social smoker” was his favorite oxymoron, “It’s the least social thing someone can do with their time, creeping downstairs, away from the party, to light a cig,” he’d say. He’d rant for two or three cigarettes (a smoker’s favorite way to measure length of conversations) about how much of a vice it was, separating him from the “real” party. I always wanted to point out to him that there were two of us standing there, and it’s tough to feel that sickening solitude of smoking when there’s someone else there with you.
There’s this odd bond that forms between smokers. Sometimes, it’s a close friend who you frequently share cigarettes with. Other times, its that glance exchanged between two students puffing frantically on pre-class cigarettes at nine in the morning. I call it smokers solidarity, that comforting feeling you get when you realize someone else is slowly killing themselves too.
Another friend of mine, Jenny Soiffer, who I met my freshmen year of college, had mastered the art of being a “social smoker.” On Fridays, in preparation for the night’s Frat party, she would buy herself a fresh pack of cigarettes. She counted them in front of me once, “The pack has twenty, right? So that’s ten conversations,” she said. She would stand outside parties, till everyone had sufficiently forgotten sobriety, and waited for the drunken draggers to bum cigarettes off her. It was her favorite weekend activity, chatting with those who only inhale when inebriated, who would constantly tell her with every drag, “I only smoke when drunk.”
Of the approximately 45 million smokers in the United States, 19% have uttered that statement, or something along the same lines, and define themselves as a “social smoker”. It’s a common occurrence, particularly on college campuses. A few cigarettes over the weekend, a flirtation with nicotine rather than a concrete commitment. A 2008 study, conducted at the University of Georgia, explored the ramifications and found that even sporadic smokers were 36 percent less responsive to changes in blood flow as non-smokers. Lee Stoner, lead author of the study and researcher at the Christian Church hospital in New Zealand, said in a press release, ““We wanted to determine whether occasional smoking can impair flow-mediated dilation and found that repeated bouts of cigarette smoking — even if classified as occasional — appear to increase the risk for developing cardiovascular disease in otherwise healthy, young people.”
I shared this with one of my “social smoker” friends. His response was simple, “It’s college, you’re supposed to be doing things that are bad for you,” he said, “You’re only young once right?” I remembered seeing that same statement, “You’re only young once, right?” on a poster in a doctor’s office, next to a giant lit cigarette hanging ominously on a fish hook.


Icons

I get excited every time I find out someone famous smokes. It’s the same thrill, the same connection, but amplified. It’s like a crack of reality in their synthetic celebrity, a realization that even our idols are susceptible to addiction.
In 2008, when President Obama won the biggest campaign of his life, he tackled a more personal one, quitting smoking. I remember giggling at the New York Times article that said he was quitting with “a strenuous use of nicotine gum,” smiling at his word choice.
In June of 2009, Obama passed the Family Smoking Prevention and Tobacco Act, giving the FDA unprecedented power to regulate tobacco consumption and production. Before signing the law, Obama discussed his own struggles with smoking saying, “I know how difficult it can be to break this habit,” and emphasizing the effect the law will have on stopping the growth of smokers under eighteen.
President Obama represents a lot of different things to a lot of different people. But, to me, he will always be a symbol of smoker redemption, fixing for others what was broken in him.

Emory Healthcare
Like most college campuses, Emory has made a substantial effort in recent years to shift away from smoking culture. For the last two years, Emory has adhered to Dekalb’s smoke-free policy, prohibiting smoking within 25 feet of any public building. Knowing that enforcing such a policy is difficult on a college campus, the University also offers multiple programs on smoke cessation, including Substance Abuse and Risk Reduction consultations on tobacco.
What interested me the most about Emory Healthcare’s Tobacco Education was their focus on employees and faculty as well as students in the college. Emory offers Faculty/Staff Assistance and Wellness Program (FASP) and Freedom from Smoking classes that are “open to all Emory faculty, staff, students, patients, friends and family”.
As of January 2011, the health insurance plan for Emory employees will change to charge a higher premium if the employee is a smoker. When I first heard this, I had to fight my reflexive “smokers have it so hard” response. Later, I spoke to my friend Joe O’Geen, the Residence Hall Director in Harris Hall. He told me how many people in the Residence Life Office had begun to quit to avoid higher healthcare costs. “The policy stinks for smokers,” he said, “but if it encourages more of my friends to quit it can’t really be considered a bad change for anyone.”

The Doctor
Eager to try anything to help me quit, I visited Emory’s Student Health Services. I walked up the two-flight outdoor entrance way and counted seven cigarette butts on my way to the door, one located right under a “do not smoke within 25 feet of this building” sign.
I began with Dr. Michael Allan, who administered a physical examination to help me see the damage I had done to my body in five years of smoking.
Unlike most of his previous patients, I went in hoping that he would find something wrong with me. I wanted a physical reason to quit, something that has gone wrong with my body now rather than speculating about all the future health effects.
He checked all my vitals, my blood pressure, and nose and throat. I was nervous when he moved to my lungs, trying hard to “breath deeply”.
“Physically, you’re alright,” Dr. Allan said when he had finished, “What you will notice though, is that your lung capacity is not as great as your friends, you’ll probably have a tough time keeping up with them when running.”
I think about the boys on my high school basketball team in Bombay. I remembered watching them run suicides; half court, full court, half court, full court, again and again. You could always spot the smokers; they were the ones who’d lag a little behind the rest, constantly coughing.
I appreciated Dr. Allan for his visual metaphors, explaining the effects of smoking on lung capacity in simple terms. “Lung capacity begins to deteriorate around 20, everyone’s capacity turns into a downward slope, like a hill,” he said, “Smoking kills the cilia in the lungs. The more you smoke, the steeper that hill gets. And no one wants to be driving down too steep a hill.”
Dr. Allan went on to discuss all the diseases I am more likely to contract as a smoker. He began with cancer, as most doctors do on the subject, explaining that smoking causes 90% of lung cancer cases. He emphasized the risk of other cancers for smokers including bladder, pancreatic, kidney, cervical, and esophagus cancer. There was also cardiovascular disease, made much more likely because of the increase in cholesterol from nicotine. He then moved on to Obstructive Pulmonary Diseases, which included emphysema and chronic bronchitis, explaining that both are caused by a decrease in lung function. It felt like a compilation of all the crash reports, from the smokers who’d driven down too steep a hill.
When he finished, Dr. Allan said, “But you knew all that already.” He was right, I did. I knew every negative effect of cigarette smoking acquired from the wide variety of voices over the years. Smokers can make a multitude of excuses for why they smoke, but not one, in today’s smoking-educated society, can claim they didn’t know the consequences.

The Therapist
After my visit, Dr. Allan sent me downstairs to the Substance Abuse and Risk Reduction section of the building. I walked through the narrow winding hallways until I found the office of Virginia Plummer, LCSW, one of the two substance abuse counselors at Emory. The room, though the same size, looked nothing like the exam room I’d sat in before. Instead of expensive medical equipment, two towering bookshelves were against the walls with titles like “It’s Okay” and “12 Stupid Things that Mess Up Recovery”. There were motivational posters with picturesque landscapes on every available wall space; the entire room seemed to ooze positivity.
Virginia, as she later gave me permission to call her, greeted me cheerfully. There were two large chairs with a couch in between. Unable to let myself slip into a thearapy cliché, I sat on a chair. She began by asking me to state in a few words why I was there. I said simply, “I’m a smoker who doesn’t want to be a smoker anymore.”
Virginia smiled at my response, and congratulated me, a completely unexpected commendation. I could not help but feel out of place. I knew the type of people who had been in that room with her, people dealing with serious physical and psychological addiction to substances that are so much more severe than cigarettes. Of the hundreds of students Virginia Plummer sees in a year, only around ten are there solely for quitting tobacco. “But,” says Virginia, “If someone walks in here, and they’re smoking at all, we talk about it.” She tells me about all the marijuana smokers she’s met, who proudly proclaim, “at least I don’t smoke cigarettes,” as if it is a point of pride. Her response to anyone who claims one drug can be “better” than another is always, “any mood altering drug has negative effects on your body, I never indulge students who try and convince me they’ve chosen the right one.”
We return to my addiction. “I’m not here to tell you, or anyone else, what to do,” Virginia assures me, “What we do here is meet somebody where they are. Try and address the dissonance between what they are doing and what they want to do.”
We worked on my “Wellness Plan,” a sheet of printer paper on which we wrote strategies to help me quit. We wrote things like, “Tell my smoking friends I’m quitting” and “Carry gum to chew”. At the end of our session, Virginia handed me the paper saying, “It’ll be good to have something concrete in your hand.” We said our goodbyes, arranged a follow-up appointment, and I left.
There was nothing negative to say about that experience. Virginia had been more than welcoming, and genuinely interested in helping me quit. Yet, at the end of the session, I found myself waiting for the “but you knew all that already”. Her tips to help me quit were nothing I hadn’t heard before, or couldn’t find online. I found myself phenomenally frustrated, unable to understand why I didn’t walk out of there knowing my next cigarette would be my last.
That’s when it really hit me. Addiction, in any form, is one individual’s relationship with something they crave. They are as unique as the person they’re paralyzing. Support is always helpful, particularly when dealing with vicious withdrawals, but it’s not a surefire solution. In the end, I am the only person who can add that soul-satisfying “non-“ in front of smoker.
Everything I do until I get to that point just feels like I’m blowing smoke.

Hookah Smoking at Emory

A few weeks ago, after a couple years of nicotine stained fingernails and choking on clear air, I turned to my friend Shreyas and announced I was quitting smoking cigarettes. After a relieved congratulations he said, “Don't worry. We can smoke hookah at my place to get you through”. As good natured as Shreyas' suggestion may have been, trying to quit one form of tobacco smoking by replacing it with another didn't seem like a very good idea. Still, he'd said it so earnestly, making me worry that he wasn't really aware how bad hookah smoking can be.
Hookah, a water-pipe from the Middle East and South Asia used to smoke flavoured tobacco, has become a popular social activity with college students recently. In his CNN Money article entitled “Booming Hookah Biz Links China, Iran, Egypt, and Texas”, Justin Martin notes an increase of hookah lounges in the United States. He goes on to say that “while US smoking is at its lowest point in recorded history, US hookah smoking lounges have increased by 400% over the past 10 years”. Emory campus is no exception. When asked about hookah-related violations on Emory campus, Director of Student Conduct Eric Hoffman said, “it has remained fairly consistent in my two years here, but [violations] have increased from several years ago”.
Sophomore Gabriel Nahmias offers a reason for the popularity of hookah saying, “People, quite simply, need something to do. And hookah is a social activity for them to do”. Many Emory students who don't smoke cigarettes, say they do smoke hookah. Freshmen Nicki K explains that hookah is the only thing she smokes saying, “I like the taste, and all the bubbling”. The experience of smoking hookah is a pleasant one, even for those who aren't actually smoking. Junior Callie Moncus says she often joins her friends when they smoke hookah, not to partake, but because she likes the smell. Hookah smoking has become a widely acceptable form of smoking, mainly because of the social aspect having a multiple-hosed water-pipe brings. Gregory Borys, a sophomore who vehemently argues against cigarette smoking says “Hookah smoking is okay, because it's a social thing rather than about getting a buzz or a nicotine high. I always invite a group of friends over for a smoking session”.
As it's popularity rapidly increases, few people truly know the health risks of smoking hookah. Even at Emory's excessively health conscious campus, people seem unaware of the health ramification of smoking hookah. Sophomores Aashim Relan and Lakshmi Chandrashekar both said they think hookah smoking is better than cigarettes because there is no nicotine in hookah. In fact, according to Thomas Eissenberg's scientific study on hookah smoking for the WHO, a 45 minute hookah smoking session, “can deliver a substantial nicotine dose that may be equivalent to the dose delivered by approximately 10 cigarettes”. Upon hearing this statistic, Gregory Borys said, “I've heard 30 cigarettes and 5 cigarettes as well”, illustrating the lack of concrete scientific knowledge of college students when it comes to the subject of hookah Most Emory students say that they know “hookah smoking is bad”, but few are able to give specifics on the subject.
Moreover, hookah smoking displaced large volumes of smoking leading Eissenberg to conclude, “pulmonary dysfunction might be expected”, as a single one-hour water-pipe use episode “might exceed the smoke exposure of several packs of cigarettes”. Senior Faheem Khemani argues that these statistics are subjective because, “No one actually smokes for the entire time”. The social aspect of hookah, multiple people sharing on or two hoses, has people sharing more and puffing less, making it almost impossible to know how much smoke is actually being inhaled by each person. However, Eissenberg points out that “a single [hookah] puff may displace as much smoke as a whole cigarette” and “a typical smoking session consists of hundreds of puff cycles”. So, while time-period statistics may not accurately display the health risks of hookah for social smokers, it is clear that smoking hookah leads to large volumes of smoke inhalation; a definite health risk for anyone who decides to partake.
Eissenberg also tackles the difficult question of whether or not hookah is addictive. According to his findings, “while 96% of monthly users and 90% of weekly users reported that they believe that that they could quit using water-pipe at any time, only 68% of daily users shared this confidence”, showing the addictive potential of hookah smoking. Luckily, very few college students tend to be daily smokers, with constant academic demands that make it difficult to have daily hookah sessions. Since hookah is also a social activity, most Emory students say they only smoke hookah a few times a month with their friends, rather than on a daily basis.
When asked where he smokes hookah, sophomore Ishaan Sarna advised me to “bring your own to college”. Aashim Relan agrees saying, “It's more expensive to go off campus”. The closest hookah serving restaurant to campus, that is frequented by many Emory students, is Cafe Istanbul. According to their website, they charge between 12 and 15 dollars per a hookah. While this seems relatively cheap, at multiple visits a month, with more than one hookah for larger groups, the dollars begin to add up.
Gabriel Nahmias notes that most Emory students smoke in their rooms saying, “someone has one, we smoke in other people's rooms rather than go off campus”. This brings up the conduct issues associated with hookah smoking on college campuses. The official Emory conduct council policy on hookah smoking is “pipes, bongs, hookahs, and the like are not permitted. Residential staff may confiscate such items, regardless of their decorative purpose. Students are subject to judicial action if they are present in the room when any of the aforementioned drug violations take place”. While this policy is relatively easy to enforce in dorms rooms, it becomes more difficult in the apartments on the Clairmont campus.
Clairmont Tower RA Samantha Ehrlich says, “hookah rules are more difficult to enforce simply because in the tower it is very hard to localize smells. Typically hookahs are confiscated because they are seen by an RA or other member of the residence life staff when they are dealing with some other housing violation. It is possible that students are abusing their balconies”. Former Tower resident Eric Kosciuszko feels no apprehension when it comes to smoking hookah in Clairmont apartments saying “everyone knows they can get away with it”. McTyeire SA Vitaly Kats agrees saying, “It's way to easy to get way with smoking in The Tower”.
Still, many people have been “written up” for hookah and hookah-related conduct violations. Ehrlich also notes that “numerous hookahs have been confiscated this year from Tower residents”. Director of Student Conduct Eric Hoffman says, “we see students for smoking or possessing hookahs quite frequently”, showing that while most Emory students do not think they will get a caught smoking hookah, many do.
As for my attempt at a cigarette-free lifestyle, after realizing the negative effect hookah smoking can have on my health; my bank account; and, most important, my academic record; I think I'll try the patch instead.

An Ode to The 90s

originally written for Mohka Life Magazine (www.mohkalifemag.com)

To Power Rangers and pokemons, back when the Japense dominated out toy market and lead poisoning wasn't a problem.

To The Simpsons, the only animated voice of reason undermining Fox before Seth McFarlene's animation domination.

To my treasured Mary Kate and Ashley movies, before the Olsen twins became oversexed, supected drug dealers.

To Dawson's Creek and the original 90210, before sexting and gossip websites ran our teen dramas.

To Britney, before she was crazy
And Justin, before he was a man, being the "Golden Couple" of our childhoods.

To the barage of boy bands, in the time before one member in each, inevitably came out.

To Jennifer Aniston's Rachel haricut and leo's Titantic do, that everyone tried, and failed, to copy through the decade.

To Disney movies that wern't 3D, CGI-ed, or filled with A-list celebrities, but just simple stories, with songs you found yourself singing all day.

To Nirvana and Nine Inch Nails, who created genius while two decades later we must suffer through Justin Bieber and Miley Cyrus.

And, finally, to you internet dial-up noise.
(you know you still know the "tune" by heart)
You, I think I'll miss least of all.

90s, I salute you.

Kick Ass Movie Review

originally written for Mohka Life Magazine (www.mohkalifemag.com)

Walking out of the theatre after watching Kick Ass, two words formed on my lips, “Fucking Awesome!”. As an avid fan of fast paced action (I've seen the entire Fast and Furious franchise multiple times) and lover of anything that decides to include McLovin' (real name: Christopher Mintz-Plasse) Kick Ass was right up my alley.

Kick Ass follows Dave Lizewski, an average teenage nerd who wonders why no one has ever tried to become a superhero. Dave decides to be a pioneer for all philanthropic comic book lovers and dresses up as vigilante Kick Ass to fight crime. After multiple failed attempts as a vigilante, including one that ends with the entire school thinking he is a gay prostitute, Dave becomes a Youtube sensation after his first victory is filmed. He then meets Hit Girl and Big Daddy, two REAL superheroes trying to take down drug lord Frank D'Amico. Frank mistaken blames Kick Ass for Hit Girl and Big Daddy's slaughter of his men. With the help of his son, Chris as faux superhero Red Mist, Frank attempts to trap Kick Ass.

Christoper Mintz-Plasse (a.k.a. McLovin) is perfectly cast as Red Mist, adding the perfect amount dorky teen comedy to the film. Another shining star in the film is eleven-year-old Chloë Moretz as Hit Girl. Moretz's character has the fighting skills of vengful, Vendetta filled "V" with the creepy evil child genius factor of Stewie in Family Guy. Moretz balances childlike and voilent as hell phenominally, making her performance a riot to watch.

Also, I'm pretty convinced now that Director Matthew Vaughn is the undiscovered love child of Judd Apatow and Quentin Tarrentino. He combines Tarrentino's stylized violence with Apatow's understanding of teen comedy's. Kick Ass is literally a mash-up between Kill Bill and Superbad, with a touch of Spiderman thrown in for plot.

The best part of this movie is how current it makes being a superhero. Kick Ass uses eBay to buy his superhero costume and makes a MySpace page to connect with his fans. Showing us how much easier Peter Parker would have had it, if he'd chosen to be a superhero in 2010.

Kick Ass, quite simply, kicks ass! Watch it!


Emory and CollegeACB

originally written for Mohka Life Magazine (www.mohkalifemag.com)

In the age of People Magazine and E! News, gossip culture is everywhere, and Emory is no exception. Like most large college campuses, we have a campus gossip site on CollegeACB.com. For all you confused upperclassmen out there (like me) that's the “new” Juicy Campus after the original was forced to shut down.

Since December 2009, our school has stocked up 35 pages of posts. That's right, there's 35 pages of slut jokes, homophobia, and down right douchebagary out there on the internet under Emory's name.

When asked why she visited the site, freshmen Mallika Haldar says, “I wanted to check if my friends or me were one it”. This seems to be the reason for most Emory students; curiosity and self-preservation rather than genuine interest. Still, if everyone's only CollegeACB-ing themselves (It's like Google-ing yourself but 20% more pathetic), where are all of these riveting revelations coming from? “A bunch of assholes hating on each other,” says Jake Krakovsky, “And it's those same assholes who post glorious things about themselves”.

Response to the site seems pretty similar between upperclassmen. “It's funny. I mean, it's sad, but it's funny,” says sophomore Vitaly Kats. Like most Emory students, he seems to consider CollegeACB something to be laughed at, rather than something you laugh with. Fellow sophomore Gabriel Nahimas agrees, calling the site, “stupid mindless gossip and ranting”. Junior Luka Anic says simply, “I find it despicable”.

While upperclassmen openly mock the site, most freshmen reluctantly admit to having visited it multiple times. Most posts on the site are Freshmen focused with topics like “Hottest Freshmen Ass” and “Biggest Freshmen Slut” being popular post titles, forcing freshmen to constantly check if they're mentioned. Like Natty Light and blacking out at Maggie's, College ACB seems to be another one of those things Emory students outgrow after their first year.

YOU(tube) TWIT(ter) FACE(book)!

originally written for Mohka Life Magazine (www.mohkalifemag.com)

It started with MySpace (remember Tom? Everybody first friend!) which, in 2005, had more daily page views than Google. Since then, social networking had become like oxygen to our generation. Today, we have Twitter, Facebook, Youtube, Chatroulette, and thousands of other ways to get ourselves into the online world. According to The New York Times, “young Americans from the ages of 8 to 18 spend more than seven and a half hours a day on average using a smart phone, computer, television or other electronic device”. Seven and a half hours. Let's put that into perspective. Seven and a half hours; the equivalent of two finals at Emory, two and a half weeks of class-time, a flight to the UK, and, most important, half a season of Glee.

Even if only half of our internet use goes to social networking sites (highly unlikely), we're still spending about 4 hours a day Tweeting, posting, commenting our lives instead of actually living them. While I am the first to argue for internet use and the endless possibilities social networking gives us, even I think that's a bit extreme.

I'm not undervaluing social networking. I think Facebook is great, it lets us stay in touch with old friends and “reconnect with” anyone Mark Zuckerberg chooses worthy in our friends list. And Youtube gives us endless amounts of entertainment late on weekend nights. Sites like Text From Last Night and FML have become the bonding factor between people under 30. It's fun, it's like a little joke we play on all the adult in the world. The ability to connect with each other over the internet has defined our generation in a lasting way. Still, I worry about what exactly that definition is going to be ten years from now. Are we going to be known as the decade that created “Dramatic Look Gopher” and had 500 Facebook users as fans of “Don't you just hate it when people become fans of irrelevant things" (actually a fan page on Facebook)?

The first step to recovery is admitting there's a problem.

Hi, my name is Simran Khosla and I am an internet addict who is actively seeking recovery. Join me, won't you?