(04/22/13 4:00am)
This week, JustArts sat down with Victoria Cheah, a Ph.D candidate studying Music Composition, to talk about her project for the upcoming Festival of the Arts. JustArts: Can you explain to me "Mirror, Mirror," your Festival of the Arts project? Victoria Cheah: This installation consists of two designated places for communication-each one contains a parabolic dish that reflects sound to the other. In front of each "whisper dish" is a specially made instrument, which a visitor can make sounds with and communicate non-verbally with someone at the other dish. JA: Where did you get the inspiration for the project? VC: I've always been interested in indirect communication and weird monuments of mammoth scale-I was up late one night wasting time online and found a site about these gigantic concrete sound mirrors in Britain, which they built during the war in order to hear any enemy approaching. Something about these leftover devices struck me and I started thinking about how to use that kind of technology in a smaller-scale piece. As a musician who has terrible stage anxiety, the issue of performance, in public or in private, is also very interesting to me-I wanted to explore modes of performance that called to attention the line between private communications and public proclamation, both intentional and not. JA: What do you hope the Brandeis community will take away from the artwork? VC: I hope that those who choose to spend time with the work will have some kind of moment with it, whether a positive one connecting with a stranger or a friend or a negative one. JA: Have you been part of the Festival of the Arts in previous years? VC: Yes-last year I built a large white wooden corridor that involved sound outside the Rose Art Museum, taking a cue from the Ellsworth Kelly piece "Blue White." It was about a physical relationship with sound and form. I wanted to change an arbitrarily defined space into something different, a guided experience. JA: How would you describe the purpose of the Brandeis' Festival of the Arts and its significance on campus? VC: The Leonard Bernstein Festival of the Creative Arts is an amazing thing. The Festival is when art of all kinds really takes over the campus and becomes part of campus life for a few days. It's so important to support emerging art-when I say art, I refer to all artistic disciplines-music, dance, visual arts, etc.-and to encourage people to interact with art, especially if they don't make it. JA: As an artist, what kinds of works would you say represent your artistic style, either something you created or like? VC: I'm not sure if I have a style yet, but I am drawn to works by artists like Ann Hamilton, Doris Salcedo, Yayoi Kusama, Richard Serra, Caravaggio, Olafur Eliasson and composers G?(c)rard Grisey and Salvatore Sciarrino. JA: How have your studies at Brandeis influenced your project? VC: I have been so lucky to have had the chance to take sculpture classes with Prof. Tory Fair (FA) and Prof. Deb Todd Wheeler (FA), and to learn from Prof. Jon Koppel (FA). When I was a kid I actually thought I would go into visual arts, not music, so it has been really gratifying to close the loop, so to speak. My studies in Music at Brandeis have been key to my development as an artist, especially since music is my primary medium. In my studies so far, I realized I want to develop different methods of communication and connection, which this project directly addresses. JA: Do you have a favorite class or professor at Brandeis? VC: All the professors I've worked with at Brandeis in the Music and Art departments have been fantastic. I've particularly enjoyed working as a TA for Prof. David Rakowski (MUS)-teaching is an integral part of my development as an artist and it's been great learning from Davy. JA: What in your life has influenced you most as an artist? VC: Everything! But especially a handful of special aesthetic moments with other work, and my relationships with specific people. JA: How did you get started making art? VC: I think I've always made things-I desperately wanted to be a fashion designer when I was in high school. I studied piano since I was little, and really decided to get into music through my high school choir. I think I've never been satisfied with one discipline or tradition and have been working on my skills in several disciplines in order to find some way between them. Interdisciplinary anything begins with a deep exploration of a discipline! I've decided to make music my home base, but I'm interested in learning much more. -Jessie Miller
(04/22/13 4:00am)
First book in the thrilling trilogy hits it off in movie form In the summer of 2010, I became obsessed with Stieg Larsson's Millennium book trilogy, the first of which is The Girl with the Dragon Tattoo. I quickly devoured the books and, shortly afterward, heard the producers were starting production on an American movie version of the first book. David Fincher (The Social Network) donned his director's cap for this movie, which came out in 2011. I was simultaneously looking forward to and dreading this adaptation. One of my favorite parts about the book was that Larsson described the scenes he wrote in such great detail that I was able to easily imagine exactly what was going on, but with my brain filling in the tiny, unmentioned details-something I love about books. So, I worried about how the detail-rich text would translate into a movie-a problem all book-to-movie adaptations face. Fincher's interpretation of the book was spot-on: He captured the anxiety-ridden and eerie setting created by Larsson's words and perfectly altered them to suit his medium. Because the novel was lengthy, there were some plot points and details left out of the movie, but I did not find myself wishing that a specific part had been represented that wasn't. Also, I found that I cared more about Fincher's adept representation of the feel of the novel than every tiny detail being exactly the same as the book. This was one of the best book-to-movie adaptations I have seen. -Marielle Temkin Classic romance novel evolves well into movie A Walk to Remember, a 1999 romance novel by Nicholas Sparks, tells the story of an unexpected love that blossoms between two high school seniors from complete opposite ends of the social spectrum. Landon Carter (Shane West), who is class president and considerably popular, is required to ask a girl to the school dance due to his position. He asks Jamie Sullivan (Mandy Moore) and after she changes Landon's life and priorities, Landon learns that she is terminally ill with leukemia. The 2002 film, directed by Adam Shankman, was based on Sparks' best-selling novel. Due to the fact that the film takes place in the 1990s and the novel takes place in the 1950s, Landon's character becomes more delinquent and troubled in the film, but Jamie is more similar to her original character. Moore plays the role perfectly with a shy yet confident air; she is quiet and sweet, while also being poised and determined. "Only Hope," a song by Switchfoot, was performed by Moore, whose vocal performance is incredibly touching lyrically-listening to her dulcet sound adds to the experience. West's performance is just as convincing. West is able to transform himself from a teenage boy trapped by social expectations of high school to a young gentleman who would do anything for the love of his life. The extent to which Jamie changes West's life in the film is more exaggerated due to his previous actions and family situation, making it a more touching experience. I suggest either reading the novel or watching the film to see how the story pans out. Your perspective on what is most important in life will change. Take it from me. I am not a fan of romantic novels, specifically those by Sparks such as The Notebook. For me, however, the film was certainly more effective in getting the point across, specifically due to the use of a score and the musical choices throughout the film. -Marissa Ditkowsky Hunger Games venture fails to adapt into an action-packed film The movie The Hunger Games, based on the first book of a popular trilogy by Suzanne Collins, does an excellent job representing the grim, dystopian world described by the novel. The makeup and special effects are fantastic and the fight scenes got my heart racing in a way that I wasn't necessarily expecting from a movie rated PG-13. However, the movie is brought down a rung by poor acting and a lack of character development. While Jennifer Lawrence has been rightly awarded plaudits for her roles in other movies like Silver Linings Playbook and Winter's Bone, her portrayal of Katniss-the protagonist-falls flat on the big screen. Lawrence gets the fighting and action right, and she looks great while doing it, but when she tries to push through the emotion that is a big part of the character in the novel, she seems monotone and unengaging. Lawrence's co-stars, Liam Hemsworth and Josh Hutcherson, seem similarly emotionally detached; Katniss and Peeta's (Hutcherson) relationship just doesn't pop with the same level of melodrama that the book showcases. Gale (Hemsworth) seems slightly more authentic, but it still seems like Hemsworth is there more for his good looks than his acting ability (after all, we're talking about an actor who's previous biggest role was in Knowing-a Nicolas Cage movie.) Overall, I found that the bad acting made it hard for me to enjoy the movie, despite the fact that the filmmakers successfully created a beautiful and haunting world that mirrored the novel well. -Sam Mintz Film adaption still entertains I read the book version of It's Kind Of A Funny Story in my rebellious, lost soul days of high school, and I immediately connected with the main character, Craig. Written by Ned Vizzini and based off of his own psychiatric hospitalization, the book chronicles Craig's rehabilitation after being hospitalized for depression, among other things. While in the hospital, he meets an array of other patients-all of whom have their own psychological issues. Vizzini develops the characters with expertise and precision and I was completely consumed by the novel. Not only did I love the storyline, but the novel also reveals themes about mental illness, growing up and problems we face that I have kept with me since then. When I saw that the movie version was coming out, starring Emma Roberts, Keir Gilchrist and Zach Galifianakis, I could not wait to see it. I watched the movie with my little sister and though the performances of all the actors were great, it was much less hard-hitting than I had hoped. But I think it comes down to the fact that the book had such a profound effect on me and had already left a powerful mental image that a movie version couldn't live up to. With that said, I still thoroughly enjoyed the movie version and appreciate its existence. -Jessie Miller * Chbosky's coming of age themed novel makes a powerful translation to film On the surface, The Perks of Being a Wallflower, a novel written by Stephen Chbosky and adapted for the big screen this past November, represents the typical coming-of-age narrative. Charlie, the protagonist, struggles to adapt in the "survival of the fittest" environment of high school, and along the way, overcomes adversity with a fiercely loyal friend group. Yet, as one embarks on this cinematic journey, it is anything but a cookie-cutter film. Even though I had read the novel three years prior, Chbosky reeled me in. Logan Lerman, acting as Charlie, stirringly displayed the rapid and troubling emotional growth of his character. I quickly became immersed, applauding Charlie's accomplishments while tearing up at his struggles. Yet, I also developed that intimate emotional connection with Sam and Patrick, Charlie's two "guardian angels," played by Emma Watson and Ezra Miller respectively. It is tough for any director to connect with a teen audience and depict the intricacies of high school life. I felt as if Chbosky, though, did just that. The signature track of the film was "Heroes" by David Bowie, and throughout the film, we see how the most familiar host of characters-the popular beauty, the Harvard-bound intellectual and the outspoken yet troubled gay friend-can be heroes in their own right. Yes, The Breakfast Club and Ferris Bueller's Day Off stand as the icons of a genre; however, for me, Perks and its powerful representation of the difficulties of teen life should stand right alongside both. -Adam Rabinowitz
(04/22/13 4:00am)
This week, JustArts sat down with Victoria Cheah, a Ph.D candidate studying Music Composition, to talk about her project for the upcoming Festival of the Arts. JustArts: Can you explain to me "Mirror, Mirror," your Festival of the Arts project? Victoria Cheah: This installation consists of two designated places for communication-each one contains a parabolic dish that reflects sound to the other. In front of each "whisper dish" is a specially made instrument, which a visitor can make sounds with and communicate non-verbally with someone at the other dish. JA: Where did you get the inspiration for the project? VC: I've always been interested in indirect communication and weird monuments of mammoth scale-I was up late one night wasting time online and found a site about these gigantic concrete sound mirrors in Britain, which they built during the war in order to hear any enemy approaching. Something about these leftover devices struck me and I started thinking about how to use that kind of technology in a smaller-scale piece. As a musician who has terrible stage anxiety, the issue of performance, in public or in private, is also very interesting to me-I wanted to explore modes of performance that called to attention the line between private communications and public proclamation, both intentional and not. JA: What do you hope the Brandeis community will take away from the artwork? VC: I hope that those who choose to spend time with the work will have some kind of moment with it, whether a positive one connecting with a stranger or a friend or a negative one. JA: Have you been part of the Festival of the Arts in previous years? VC: Yes-last year I built a large white wooden corridor that involved sound outside the Rose Art Museum, taking a cue from the Ellsworth Kelly piece "Blue White." It was about a physical relationship with sound and form. I wanted to change an arbitrarily defined space into something different, a guided experience. JA: How would you describe the purpose of the Brandeis' Festival of the Arts and its significance on campus? VC: The Leonard Bernstein Festival of the Creative Arts is an amazing thing. The Festival is when art of all kinds really takes over the campus and becomes part of campus life for a few days. It's so important to support emerging art-when I say art, I refer to all artistic disciplines-music, dance, visual arts, etc.-and to encourage people to interact with art, especially if they don't make it. JA: As an artist, what kinds of works would you say represent your artistic style, either something you created or like? VC: I'm not sure if I have a style yet, but I am drawn to works by artists like Ann Hamilton, Doris Salcedo, Yayoi Kusama, Richard Serra, Caravaggio, Olafur Eliasson and composers G?(c)rard Grisey and Salvatore Sciarrino. JA: How have your studies at Brandeis influenced your project? VC: I have been so lucky to have had the chance to take sculpture classes with Prof. Tory Fair (FA) and Prof. Deb Todd Wheeler (FA), and to learn from Prof. Jon Koppel (FA). When I was a kid I actually thought I would go into visual arts, not music, so it has been really gratifying to close the loop, so to speak. My studies in Music at Brandeis have been key to my development as an artist, especially since music is my primary medium. In my studies so far, I realized I want to develop different methods of communication and connection, which this project directly addresses. JA: Do you have a favorite class or professor at Brandeis? VC: All the professors I've worked with at Brandeis in the Music and Art departments have been fantastic. I've particularly enjoyed working as a TA for Prof. David Rakowski (MUS)-teaching is an integral part of my development as an artist and it's been great learning from Davy. JA: What in your life has influenced you most as an artist? VC: Everything! But especially a handful of special aesthetic moments with other work, and my relationships with specific people. JA: How did you get started making art? VC: I think I've always made things-I desperately wanted to be a fashion designer when I was in high school. I studied piano since I was little, and really decided to get into music through my high school choir. I think I've never been satisfied with one discipline or tradition and have been working on my skills in several disciplines in order to find some way between them. Interdisciplinary anything begins with a deep exploration of a discipline! I've decided to make music my home base, but I'm interested in learning much more. -Jessie Miller
(04/22/13 4:00am)
The men's and women's track and field teams were all over the map this past weekend. While the majority of runners competed at the Fitchburg State Invitational at Fitchburg State University Saturday, a contingent of four distance runners made their way to Princeton University to compete in the prestigious Larry Ellis Invitational Friday. Alex Kramer '13 headlined the Judges' performance at the Ellis Invite. The senior finished 36th out of 60 competitors in the Elite section of the men's 1,500-meter run, going the distance in three minutes, 52.92 seconds, besting competitors from notable Division I programs such as Brown University, Syracuse University, Georgetown University and Iona College. "Competing at night, when the temperature is nice and being in a line with a bunch of the best guys in the country is really exciting," Kramer said. "When you run against better competition, you're going to run faster, so it was a great experience." Mik Kern '13 competed in the second section of the 1500, placing 18th out of 54 competitors with a time of 3:59.95. On the women's side, Amelia Lundkvist '14 and Victoria Sanford '14, as they have done all season, pulled together back-to-back finishes in the 1,500. Lundkvist placed 21st out of 46 competitors in the event, crossing the line in 4:43.48. Sanford was right behind her teammate in 22nd, finishing less than a second back in 4:43.84. The Fitchburg meet also yielded some impressive performances. Ed Colvin '14 took fourth out of 42 competitors in the 1,500, clocking in at 4:07.13. Jarret Harrigan '15 wasn't too far behind, taking 10th in 4:13.78. In the women's event, Maggie Hensel '16 placed 10th, finishing in 5:04.13. She was followed by Nora Owens '16, who finished 13th in 5:18.23, and Rachel Keller '16, who finished 16th in 5:24.69. Michael Rosenbach '15 led the charge in the men's 800-meter run, taking seventh in 2:00.97. Grady Ward '16 placed ninth in 2:01.96. Greg Bray '15 and Mohamed Sidique '15 placed 11th and 20th, respectively, timing in at 2:02.47 and 2:07.05. Kelsey Whitaker '16 took seventh in the women's 800, crossing the line in seventh in 2:24.24, while Gabriella Guillette '15 took 25th in 2:45.52. The men's 100-meter dash featured a quartet of Brandeis runners. Jacob Wilhoite '15 took 27th in 12.11 seconds. Galen Karlan-Mason '16 placed 31st in 12.21. Kensai Hughes finished 34th in 12.32, while Chi Tai '16 rounded out the field, finishing 41st in 12.64. Tove Freeman '16 was the Judges' lone competitor in the women's 100, taking 27th in 14.53 seconds. Casey McGown '13 was the other female sprinter for the Judges, taking sixth in the 400-meter dash, timing in at 1:02.14. The Judges featured several other competitors as well. Brandon Odze '16 took 14th in the 400-meter hurdles in 1:07.49. Adam Berger '15 placed third in the triple jump with a jump of 12.62 meters and took 15th in the men's long jump with a jump 5.80 meters. Hudges placed 18th in 5.68 meters. Wilhoite took ninth in the javelin, throwing 46.48 meters, just ahead of Jonathan Gilman '15, who took 13th in 42.94 meters. As the University Athletic Association Championships approach this weekend, where athletes who competed in both meets will join together, Kramer is optimistic that the teams-and particularly the distance contingent-have been making steady progress and are reaching their peak levels. "We did a big block of training right after the indoor season ended," he said. "Our mileage was pretty high, and we did a lot of long workouts focused on building strength. In the next few weeks, we'll be doing more pace-focused stuff and tuning up rather than get significantly fitter. We'll freshen up; the mileage will come down a bit." Following a week of training, the Judges will travel to New York University for the UAA Championships this Friday and Saturday, and given that Kramer and Kern hold the UAA's top two seed times in the 1,500, he's confident that they will perform well. "I'm honestly more worried about Mik than I am about anyone else," Kramer joked.
(04/16/13 4:00am)
We're living in a pop culture world that is currently inundated with a pregnant Brit who is as well-known for her chic style as her royal hubby; a reality star who is struggling with maternity style; and the increasing transparency of celebs using in-vitro fertilization and surrogacy (think: Khloe Kardashian and Giuliana Rancic). So it's pretty rare to come across celebs who aren't jumping aboard the baby wagon. And yet, one of the hottest Hollywood couples is happily choosing not to create a "plus one." Just like she said, "Yes, I'm gay," Ellen DeGeneres and wife Portia de Rossi are saying N-O to having a child. To fans of the couple, who wed in 2008, this news isn't entirely surprising. DeGeneres has never hid the fact that she doesn't want to be mom material. Last year, the comic/talk show host set the record straight on The Tonight Show: "I've said it so many times; we're not going to have a child." But the tabloids aren't ready to give in just yet. Many, especially the National Inquirer, have reported that the ladies were shopping around for sperm, considering a man to father their child. DeGeneres, 55, scoffed at the rumors, telling host Jay Leno that a child with his sperm would "have a good shot at an NBC show," but ultimately putting the kibosh on the whole thing. Now, it's de Rossi's turn to give a thumbs-down to the idea of an addition to the famous family. She explained to Out Magazine that she's too busy enjoying life with her wife to even think about having a child. "We've settled into happily married life. We really support each other in whatever we're doing and we're incredibly happy." But the 35-year-old admitted she's been a little affected by the adult peer pressure to procreate: "Here comes some pressure in your mid-30s, and you think, am I going to have kids so I don't miss out on something that other people really seem to love? Or is it that I really genuinely want to do this with my whole heart? I didn't feel that my response was 'yes' to the latter." So it seems like the duo will be attending baby showers rather than throwing them, especially given the crazy baby boom. Just last week, 46-year-old actress Halle Berry announced that she is expecting a son with her fianc?(c), Olivier Martinez. And this past Thursday, Donald Trump's oldest daughter, Ivanka, let the Twitter-verse know that she is a few months along with their second baby. But that's not to say that the power couple is alone in their decision to keep their family small. Oprah Winfrey and long-time boyfriend, Stedman, have been together for over 25 years and don't have any offspring. Food-talk-show host Rachael Ray has explained that kids are not in her and her husband's future: "I don't have time. I work too much to be an appropriate parent." Nonetheless, it's sad to think that Ellen and Portia won't be pushing their own baby stroller down Hollywood Boulevard, don't ya think?
(04/16/13 4:00am)
This week, JustArts spoke with Jessie Field '13, who wrote and directed a musical production based on the life of environmentalist author Rachel Carson, Always, Rachel, for the Senior Theater Arts Festival. JustArts: Could you tell us how you chose the topic of Rachel Carson and her life's work as the focus of your musical? Jessie Field: That's a question I ask myself sometimes. I guess it was in some ways luck because I started reading a biography, and it just really got to me. I immediately thought that the arc was so dramatic and the issues were so strong that I just couldn't walk away from it. I started writing the play three years ago, right after I read the biography. JA: Do you have a personal connection to the material? JF: I think it's personal for everybody. I think the issues are very strong for me certainly-the biggest ones of environmentalism and feminism certainly. You feel them all the time but I think it's also about a love story and that's always what I'm interested in as an artist-just finding the connection between people and sharing it. JA: You said you've been working on it for three years. How has the work been spread out? JF: In the beginning I started very slowly at a very comfortable pace for me, which is too slow. And then as it got closer, I produced more than half of it in this last year. But it's hard to really say because the first half was so much research, was so much reading through all the biographies and all the letters and all the materials. It took me a long time to feel like I knew these characters or these people or this time period enough to dare to write a play before that. This year, especially last semester, was getting it done and then putting it into production. JA: How did the process of actually making this into your thesis project come together? JF: The process was crazy! I don't know why, but from the moment I started writing it, a couple weeks later, I was like this is going to be my thesis. And the department was very much like "Yes! Go do it!" And these wonderful, wonderful, crazy Brandeis people took this idea and made it their own and jumped on board this crazy train without so much as seeing a script. I got my actors. Some of them know me, some of them I had worked with before, but they hadn't seen the script! I was just like "I have this idea..." and they were like "We love to act, we love you, let's do it!" And I could cry just thinking about it. It meant so much that they were willing. My co-director is actually my best friend, Alisa Roznerita '14. But my advisor said to me, "Jessie, if you're going to direct this, go find someone who can look at it and tell you this looks like sh*t, this is awful, someone who is brave enough to tell you that. And so I picked Alisa, and she did every time. I needed that. The team of people who worked on it were the best. The way they took on the work, and made it their own, and loved it as much as I loved it. JA: This is your last official production at Brandeis; what have you learned with this production that is different from the others? JF: I've done so many productions here, and I really think that, in a way, every one has been a little bit safe. And I've been moving, through my time here, towards things that are less safe. The first show I did was Proof, a show that I actually directed, and it was very small, and it didn't require a lot of stuff. And I went further-I went to do Into the Woods and we went outside in the woods and it was a very risky production, but I knew the score, I knew the people. And so this was, for me, very much letting go of control. Because I didn't know how this was going to look, or sound, or work. It ended up meaning the most, by far. And I am changed forever... and all that stuff. JA: Do you hope to continue with theater as you move into the professional world? JF: I do! I do entertain that crazy fantasy. I'll be in the area, I'll be trying to work as a director or as a writer, trying to pursue this script, I think, first. And you know, eating rocks and living in boxes. It's scary for all of us! But you have to try. Because it means so much, and that's what brings you alive. You can tell-I never talk like this! JA: Is there anything that you hope that people who saw Always, Rachel will take away from it? JF: I'm grateful for anyone who came! I just wanted them to get what we're going for. Certainly, overall, I just want them to be inspired to recycle and care about our planet because it's really in trouble. And to think about other people. But the message overall, of that story, to me, is to have the courage to do what matters to you, no matter what. Even if it's hard, or scary or terrifying, and it is. Always! The most important things are the most scary things. But go do it! -Emily Wishingrad and Rachel Hughes
(04/16/13 4:00am)
* Tuition is going up! Next year, the price of attending Brandeis will be raised by 3.9 percent, to $58,170. Tuition is being hiked from $42,682 to $44,380. Brandeis University's sticker price takes the silver medal on the "Most Expensive Colleges in Massachusetts" list. If you're willing to sacrifice your free time to save yourself a semester of tuition by overloading courses, forget about it: that exit is barred, as Brandeis will now charge a per-credit fee of $1,375 for any credits above 23. * College education in general has become more expensive in the past few decades, and Brandeis is no exception. Understandably, people are outraged by the increasing unaffordability of a higher education. After all, when four years of college costs nearly $225,000, a degree is practically unattainable without a tremendous financial commitment. Regardless of how much of your tuition is paid by parents, grants or student loans, every student bears a heavy burden. * When making such a large commitment, it is important to step back and gain perspective. "Am I getting what I am paying for?" You might be willing to pay $60,000 for a BMW, but not for a Kia. Each of us ought to ask ourselves this sort of question about our tuition. * According to the Bureau of Labor Statistics, Americans aged 18 to 29 have 13.1 percent unemployment. Opportunity is drying up: the National Bureau of Economic Research says that wage prospects in the current recession are down more than 10 percent. Things don't look very good. To pile on more bad news, the average college student will graduate with $26,500 of debt, and given the recent trend in tuition rates, this number only bodes to increase. If we zoom in to a smaller scale, several experiences have made me second-guess the price of my education. Recently, I purchased 33 hours of MP3 recordings of a 12-lecture Introductory Philosophy class taught by Dr. Leonard Peikoff in the 1970s. It discusses the founders of Western philosophy, with detail and analysis comparable to-if not better than-similar courses that I've taken here. The price of the download: $11. * Modern college students can easily benefit from information and literature proliferating on the internet. A university library and a classroom are no longer needed to analyze and discuss ideas. The internet has transformed self-guided adult education and has begun to render the traditional university approach obsolete. While face-to-face access to a university professor can be an educational advantage, does this alone justify such a colossal expense? * In the past, having a college degree demonstrated a higher level of learning ability which employers still seek. Even humanities majors, who are not taught a specific marketable skill like science or engineering students, have always been considered to have this intellectual leg-up over non-college graduates. * Because of this historical advantage, people advocate for laws intended to make college more affordable. Such government programs are numerous: Pell Grants already give students up to $5,500, while Perkins Loans will allow students to borrow up to $30,000 at only five percent interest. Stafford Loans are similar, but with a higher interest rate. There are also PLUS loans, which are made to parents. * These programs, however well-intended, have actually served to bid the price of college to the current stratospheric high. They have helped to dilute the value of higher education to the point where a course priced in the thousands of dollars is no better than one which costs no more than a pizza. * The programs that were created to make college more affordable have inflated a bubble in higher education, not unlike the housing bubble which burst in 2008. According to FinAid.org, college tuition prices have increased at 1.25 to two times the rate of other prices in the economy since 1975. While price has steadily grown, quality has not kept pace. The government's programs have provided easy credit to anyone willing to borrow. There is no assessment of risk, so students can continue to borrow as prices increase, without considering how they will pay these loans off in the future. This artificially stimulated demand results in colleges being immune from the consequences of raising their prices-look at the throngs of admitted students. While our bills grow, the value of a degree shrinks. Class sizes have increased, and curricula are tailored to the average students rather than the exemplary ones. College graduates were once a rare commodity for employers, now they are a dime a dozen. With cheap, convenient access to information on the internet, non-college graduates can learn crucial skills on their own. Applying for a job with a college degree will no longer be a leg-up; it is currently a prerequisite, but an empty one, not unlike any Introductory class. * As a degree no longer signifies to an employee who will be more competent with technology, employers of the future will put less emphasis on that expensive bachelor's degree. Students who have benefited from government-subsidized loans may find themselves in deep water, if they are unable to afford their debts. If many people default on their debts, the bubble will pop, and the price will collapse to reflect the significantly lower true value of a college education. * Now that you are sufficiently depressed, I should remind you that your purpose here is still to learn and improve yourself. Don't rely solely on a curriculum to guide you in achieving your goals; blaze your own trail. Develop your own skills according to your strengths. Despite the fact that the old-fashioned university model is growing obsolete, some old-fashioned hard work, practical knowledge and computer savvy will put you far ahead anyone who treats a piece of paper called a "bachelor's degree" like a golden ticket.
(04/16/13 4:00am)
If elected as Student Union president, you will take over the reins of a Union that has both many strengths and weaknesses. What is the biggest flaw in the current state of the Union, and how do you plan to rectify it? David Clements '14 * The biggest flaw in the current state of the Student Union is the perception students have of both its role and its potential. The goals of the Student Union, according to its website, are to "improve University life, advocate for student needs, and protect student rights." Unfortunately, as of late, the Union has not succeeded in accomplishing these goals. As Student Union president, I vow to refurbish the image of the Union from being a governing body looking down on clubs to being a true service for the student body through which they can voice their concerns, propose initiatives and have a real voice. As president, I will accomplish this goal through a more aggressive approach to the administration and Board of Trustees-treating them as partners, not superiors-more advertisement of Union projects and accomplishments, increasing our co-sponsorship and support of individual clubs; promoting and advertising the accomplishments of individual students and clubs; and ensuring that I, along with the rest of the Union, is more approachable, open and responsible to student needs. I truly believe that once the Union gets more "out there," its image will change for the better, thereby improving student life and the trust that the student body has in us. After all, the Union belongs to the students. * David Clements '14 is the Student Union treasurer, the Undergraduate Departmental Representative for the Politics department and a former member of the Student Advisory Board to the Dean of Arts and Sciences.
* Ricky Rosen '14
* I would say that the most prominent flaw in the Union is that its mission has become somewhat unclear; we are not here to cater to the needs of the administration-the Student Union exists to represent students and act on their behalf. The Union president should not be afraid to speak up on behalf of the 3,500 students he or she represents. I would remedy this weakness by raising my voice on the things that matter most to Brandeis students: one, dining; two, housing; and three, tuition. I would advocate for more compromise in all of those areas; In dining, I would work on reforming the structure of the meal plans and push for more on-campus dining options during vacations. In terms of housing, I would speak up on behalf of those students who cannot afford to live on campus. Finally, I would fight for transparency in the budget process; students should know where every penny of the 59,000 we're paying for tuition goes-we should also know what changes are being proposed before it is too late to change them. I am not afraid to speak up for students on the issues about which they care the most. * Ricky Rosen '14 is the Student Union executive senator, Class of 2014 Senator, a Student Conduct Board member and former Vice-President of the Brandeis Libertarian Conservative Union.
* Daniel Schwab '14
* As the senator of Charles River/567 over the past year, I have been exposed to a number of major issues within the student government. The most important issue we can improve upon is transparency of the Student Union's role with the student body, particularly strengthening the role of the senate. The senate's role in the union is to voice the issues of their constituents. However, over the past year senators have been both ill prepared for their responsibilities and not fully informed of their capabilities. To prevent a loss of information between annual elections of senators, I believe that a one-week senate-training program should be instituted. This program will entail having elected senators sit down with more experienced senators to discuss past initiatives and the overall role of a senator. Through this program the legislative branch of the student government will be more effective in voicing the student body's concerns to the administration. These smaller changes will aid in creating a more cohesive Student Union. * Daniel Schwab '14 is the current Charles River/567 senator, a member of the Hunger and Hopelessness for Waltham Group, and a member of the Services Campus Operations Work group.
*
(04/16/13 4:00am)
Like many of my peers, the past few weeks and months have been spent editing r?(c)sum?(c)s, writing endless cover letters, eagerly awaiting responses and doing phone interviews. March and April is internship season, when many of us search for working opportunities and experience in fields we are interested in. Of the three government internships I applied for this summer, all of them are unpaid. Of the internships during the school year I have had, they too have been unpaid. As an intern, I did secretarial and research work, made copies, wrote letters, found background for upcoming legislation and I enjoyed my experience and found it incredibly worthwhile, regardless of pay. However, unpaid internships are unethical, and not because high school and college students work between 20 to 40 hours a week, doing work that an adult secretary or staffer would get paid to do. Unpaid internships give students and young people the experience they would otherwise not be able to get and also can help students get ahead faster. They are unethical for social class reasons. I am lucky enough to be from a family that can support me so that I can come home for summer break and take an internship for no pay. Not everyone is that lucky. Many young people who might want to intern at a law firm or a science lab or for a professor, cannot do so for financial reasons and must get a job in the service industry or retail instead. There is nothing wrong with holding a part- or full-time job during the summer. Summer and school year jobs provide students with work experience and money. However, there is a big difference between being able to put down on your r?(c)sum?(c) that you served an elected official or an esteemed scientist versus waiting tables or babysitting. In no way am I trying to say that one is superior to the other. Unpaid internships and paid work experience are equally beneficial and important, and I wish I had more of the latter. However, not every employer or graduate school will necessarily think so. Like it or not, some schools and employers will be impressed by work experience and work ethic, while others would rather see internships at big-name firms. I'm not saying that every single employer or grad school will feel this way, and many do look at work experience, but that cannot always be guaranteed. There are a few solutions I've come up with for fixing this problem with unpaid internships, and the inherent ethics issues that come with them. The easiest, and best, option for students, obviously, would be to pay students minimum wage or above for the time they spend working. Not only would young people get the necessary work experience that they need to get ahead in their fields, but everyone, regardless of socioeconomic class, would have the opportunity to pursue their passions without worrying about the financial cost. Students wouldn't have to give up on an internship because it is not financially feasible. Obviously, this is not the best solution for firms and employers, and therefore is very unrealistic. Companies have no legal reason to offer any sort of compensation for those who would be working for free. However, given that some of the best and brightest students cannot afford to work for free, companies should try to figure out some balance between profits and attracting young minds who otherwise could not work an internship over a paying job. A more realistic idea would be to provide unpaid interns with some sort of stipend for areas like transportation, food or other common necessities. For example, if a student wanted to intern at a bank, the bank could provide them with some money to buy work appropriate clothing, or if an internship requires public transportation, the intern would get a Charlie Card for free from the company. Alternatively, internships could only be part-time jobs. That way, students could work a paid job and still have the opportunity to try out something they are passionate about. It does not cost a business or the government or a hospital any extra to have two unpaid interns splitting a full work load than it would to have one unpaid intern doing the work by themselves. If anything, part-time internships could increase productivity. Unpaid internships are great, and I've enjoyed all the ones I've done. Employers and groups that offer unpaid internships can and should consider how to make the socioeconomic factors that restrict smart young people from pursuing such opportunities less of an issue. Anyone who can intern, should be able to take an unpaid internship and not worry about the financial burden. *
(04/16/13 4:00am)
The Union presidential candidates expressed their ideas and platforms to the Justice. Daniel Schwab '14 I consider myself ... very social ... I believe that I'm able to communicate very well and efficiently with the student body ... I'm not a candidate who's going to get stepped on by the administration, I'm going to be the voice of the students and push the administration to get what we need and make life more suitable and convenient for the students at Brandeis. [T]here's a problem on campus ... [T]here's not a lot of time to study ... I believe as a very academically-driven university, that 24/7 library hours is something that should be established year-round ... Also, the funds that can be diverted from Einstein's [Bros. Bagels] to EcoGrounds, in addition to keeping at least the green room open 24/7 ... Additionally, I'd like to open the bar on campus, at the Stein, as a sports bar, keeping it open throughout the week ... I feel like it would promote a safer environment if [the bar were] controlled by the University, in addition to the fact that it would have a nice place for the students to hang out and collaborate, talk and socialize. David Clements '14 I've proven myself as the treasurer, which is probably the hardest, most rigorous position .... As part of the Union, I was an assistant treasurer as a freshman and sophomore and then treasurer for this year ... I also understand that I was not able to do this alone. Thankfully, I have 10 assistant treasurers who were able to do a lot of the work with me. I was able to delegate and because of this, I understand the need to delegate in order to get things done but at the same time maintain a responsible and business-like atmosphere within the Union. I've proven myself to be not only accessible to student leaders and student clubs, but I've also been a past club leader ... I think the main issue with the Student Union now is that we're viewed as a governing body looking over the students, and looking over student clubs and controlling their finances ... I plan on changing the image of the Student Union to being a resource for students, to being the segue for students through which they can voice their concerns, propose an initiative ... I just plan on getting more out there, having a presence on campus, Ricky Rosen '14 In my two years in the Student Union, I have demonstrated that I am a proven leader and a proven representative who will not stop until the needs of his constituents are satisfied. As the Class of 2014 Senator, I achieved nearly all of my goals to reform dining, including creating the Senate Dining Committee, adding items to the [Provisions on Demand Market] meal plan, extending [its] hours on Saturday nights and Einstein's hours on Sunday afternoons. Students have come to me over the last two years with a multitude of issues, and they have trusted me to address their concerns with university officials ... I am driven and endlessly determined to carry out every single one of my goals. If elected ... [i]f Aramark stays the provider, I would push for students to have the ability to use more than one meal per meal period and allowing unused meals to carry over into additional guest meals until a limit of 15 guest meals is reached. If Aramark is not the service provider, I would fight for students to have a say in what dining options are available ... I would work to expand Brandeis's work-study program since there are a considerable number of students eligible for Federal Work Study who were not able to find on-campus employment (myself included). By working with the Provost, the Dean of the College of Arts and Sciences, and Hiatt, I would be able to create more jobs in offices across campus for which only Work-Study students are eligible. My other major goal is for the Union would be to find new ways to connect with the student body-this would involve working with BTV and Getz Media Lab on creating entertaining monthly video updates to inform the student body of Union initiatives.
(04/16/13 4:00am)
At Thursday's faculty meeting, Provost Steve Goldstein '78 announced that Prof. Robin Feuer Miller (GRALL) has been awarded a prestigious Guggenheim fellowship to work on a book project. Dean of Arts and Sciences Susan Birren also named the winners of several teaching awards, as well as the five Student Achievement Awards given to current sophomores with impressive academic and extracurricular accomplishments. According to a BrandeisNOW press release, Miller is one of 175 academics awarded a 2013 Guggenheim fellowship out of 3,000 applicants. Her project will be about two 19th-century Russian novelists, Fyodor Dostoevsky and Leo Tolstoy, both of whom she has written books about previously. "I was deeply honored that my proposal ... garnered enough support to result in my becoming a Guggenheim Fellow," she said in an interview with the Justice. "I think what is most special to me is to receive an award that is shared by so many creative artists in fields like photography, poetry and fiction writing. It seems to me that the Guggenheim Foundation strives to honor creativity in a wide variety of fields. In our day and age that is especially affirming to the values which I most cherish." "I am so excited about tackling this project and by the Guggenheim Foundation's support of it-I can't wait to start," said Miller, according to the press release. Miller will be a Visiting Fellow at St. Edmund Hall next year at the University of Oxford, according to the press release. Teaching Awards Also at Thursday's faculty meeting, Birren announced the four 2013 winners of the teaching and mentoring awards for the School of Arts and Sciences. Prof. Don Katz (PSYC) won the Lerman-Nebauer '69 Prize for Excellence in Teaching and Mentoring. "My Brandeis students are the ones who inspire me to perform, ... which is enough of a 'gift' for me (my interactions with the Lerman Neubauer fellows, who carry the same name as my award, have been particularly inspiring)," he wrote in an email to the Justice. "The fact that they then turn around and give me ANOTHER gift-the gift of good evaluations-makes me feel ... lucky and well loved." Prof. Sara Shostak (SOC) was awarded the Michael L. Walzer '56 Award for Teaching. "I was absolutely thrilled to receive the Michael L. Walzer '56 Award for Teaching," said Shostak in an email to the Justice. "I love teaching at Brandeis. I am inspired by the students in my classes, and those with whom I've worked on independent research projects. So, receiving an award based on student nominations is deeply meaningful to me." The third teaching prize, the Louis Dembitz Brandeis Prize for Excellence in Teaching, was awarded to Prof. James Morris (BIOL). "I am very grateful to receive this award," said Morris in an email to the Justice. "My sincere thanks goes to all of the students I have taught over the years, as well as to my own teachers. Both have provided me with inspiration and guidance in and out of the classroom." Prof. ChaeRan Yoo Freeze (NEJS) received the Dean's Mentoring Award for Outstanding Mentoring of Students in the Graduate School of Arts and Sciences. According to Birren, one of Freeze's students said that "by mentoring others, she has trained many of us to be mentors ourselves." In addition, Heller School for Social Policy and Management Dean Lisa Lynch presented the Heller School teaching, mentoring and staff awards, which went to, respectively, Prof. Carole Carlson (Heller), Prof. Tatjana Meschede (Heller) and Norma DeMattos, program administrator for both the MBA and MPP programs. "I feel very honored and deeply touched by the comments students wrote about my work with them," said Meschede in an email to the Justice. As I often say, my work with students is one of the most gratifying job I can think of, watching them learn and grow right in front of my eyes, taking in what I can offer and make it their own, and at the same time myself challenged to learn and grow together with them." Prof. Laurie Lesser also won a teaching award from the Rabb School of Continuing Studies. Brandeis Achievement Awards Also at Thursday's faculty meeting Birren announced the winners of the Brandeis Achievement Awards, an annual scholarship prize given to "currently enrolled sophomores who have distinguished themselves by their outstanding scholarship and academic achievements at Brandeis." The students awarded were Gloria Cadder, Paul Kim, Iosefa Percival, Alva Stux and Dana Trismen, all '15. Cadder, who is majoring in English, Creative Writing and Politics and minoring in Legal Studies and Women's and Gender Studies, is the editor of the Brandeis Law Journal and a member of the Mock Trial Association. "I am very honored to be a recipient of this award and to be considered part of such a fantastic group of students," said Cadder in an email to the Justice. Kim, who is double majoring in Chemistry and Biology, works in a chemistry lab, rows on the crew team and is a co-founder of Education for Students by Students. "I definitely feel very blessed and honored to have been chosen," said Kim. "The whole experience has been really humbling, and if anything having now won the award, I feel motivated to work even harder now." Percival studies Environmental Studies and Economics, is president of the Brandeis Surfing Club, and works at the technology help desk. His recommenders said that he has "all the characteristics of a leader, he's personable, inquisitive, intelligent, responsive, empathetic, and wants to make a difference in the world." Stux, an Anthropology major and Legal Studies minor, is part of the Middle East Music Ensemble and a member of SCRAM. One of her faculty recommenders called her "one of the most rewarding students I have worked with over my 17 years of teaching at Brandeis." Trismen, a triple major in English, Creative Writing and Psychology, is an editor of both the Brandeis Hoot and Where the Children Play. Her faculty recommender said that she was "a leader, place her in a small room and she will organize it and make it better." None of the award recipients besides Cadder and Kim could be reached for comment by press time. -Tate Herbert contributed reporting
(04/09/13 4:00am)
I always thought I went to a bagel-and-lox type of school largely inhabited by a quirky mix of awkward dorks. So far, I have defined dancing in college as a less-sober version of my bar mitzvah year, choking on a cloud of body heat and alcohol sweat. Brandeis' hip-hop dance group, Kaos Kids, hosted its first-ever semester show on Thursday night in the Shapiro Campus Center Atrium and flipped my stereotyped idea of Brandeis dancing. In fact, it was a very well-executed flip followed by some break dancing and booty-pops. D'Andre Young '15, the convivial emcee of the event, introduced the four-year-old dance group to a sea of students. Its members have a variety of body types and ethnic backgrounds, and I could tell each performer had a different level of experience in hip-hop dance. However, all were able to seamlessly transition between complex formations, and I was stunned when all the female performers slinked into full splits. In this sense, I think "KAOS Kids" is a misnomer: The members' overall performance was not "Kaotic;" it was a polished, greased, ferocious machine. The first choreographed piece, "Kaos in Southeast Asia," was a powerful start to the show. The sharp moves of the dancers mixed with eclectic splicing of various hip-hop songs energized the audience. The group also performed "Kaotic Fairy Tale" and "Kaos in Suffolk," named after its debut performance at Suffolk University. Kaos Kids have also performed at other colleges in the Boston area, as well as Brown University. As a Kanye West fan, I particularly enjoyed the finale piece, "Kaos in Paris." The dance featured a compilation of a variety of contemporary hip-hop songs including West's "N****s in Paris." The dance set was interwoven with performances by two other musical groups. Guitarist and vocalist Ayan Sanyal '14 and saxophonist Bryan Le '14 played a funky duet including one improvisational jazz jam and an original composition written and performed by Sanyal called "Summer's Day." Sanyal's percussive strumming combined with Le's complex jazz riffs made me want to get up and dance. The live musical performance also featured the Brandeis R&B and soul a cappella group, Voices of Soul. The group sang "Hit 'Em Up Style (Oops!)" by Blu Cantrell and "F*ck You," by Cee-Lo Green. I had never heard Voices of Soul perform before and I enjoyed their fresh, groovy repertoire. However, the one microphone used to amplify the entire group of Voices of Soul and Sanyal and Le's act did not lend an easy listening experience. I strained to make out what the emcee was saying and what the musicians were singing due to the poor sound amplification and the echoing acoustics of the SCC Atrium. The public venue of the SCC attracted many passersby, but the quality of the performance would have been greatly enhanced if the event were hosted in an auditorium or theater with a stage with an in-house audio system. Overall, the show would have been much more powerful with some simple lighting effects. Despite these minor technical distractions, the KAOS Kids' performance d?(c)buted talent I did not know existed at Brandeis. The group shined particularly during the solo performances of class of 2013 KAOS Kids members. Zoe Shiovitz '13, David Robles '13, Shaquan Perkins '13 and Samantha Cortez '13 choreographed brief individual pieces to "strut their stuff" before graduating this spring. Shiovitz performed a modern piece to a slow song by Antony & The Johnsons, which was a refreshing alternative to the high-powered style that KAOS is known for. Robles danced like a liquid robot with lots of fluid body rolls and waves punctuated by sharp, fine-tuned gestures. Perkins appeared to be having the most fun; the crowd was responsive to his full splits and wild, uninhibited dancing style. I was particularly impressed by Cortez's edgy choreography and intensity on the floor. The baseball cap she wore that shadowed her eyes and the strength behind her polished movements gave her a fierce appearance, which resonated with her KAOS nickname: The Beast. The enthusiasm the audience showed for these senior performers expressed how much momentum KAOS Kids has gained over its short group tenure of four years. Undoubtedly, one reason why this group is so well rehearsed is its commitment to practicing. KAOS Kids' Artistic Director Mark Borreliz '14 explained, "We practice every Monday and Thursday night, 9:30 to 11:30 in the Gosman Dance Studio." I am now very tempted to drop in on one of their rehearsals and see if I can pick up any dance tips. In fact, everyone could benefit from a little KAOS in their lives. If only they gave workshops, more Brandeis students would be armed with creative alternatives to rubbing up against one another at dance parties. I am slightly disappointed that KAOS Kids' first semester show happened so late into the semester; however, I anticipate what KAOS will bring to Brandeis audiences for the rest of this year and in upcoming years.
(04/08/13 4:00am)
Cholmondeley's is usually a relatively mellow hangout spot where artsy music-lovers gather and crank up some tunes while sipping on vegan milkshakes. However, this past Friday night, the arrival of Ducktails, indie contingent Real Estate's Matt Mondanile's side project, turned the small venue into a bumping party house. Previously touring unaccompanied for his solo effort, Mondanile recently recruited keyboardist Dorian D'Angelo, Big Troubles' guitarist Alex Craig, drummer Sam Franklin and bassist Luka Usmani for onstage support. While the band set up for the show and hung out with the concertgoers in a wonderfully friendly fashion, D'Angelo informed me that, "Most of these guys have been playing together for a while. They all played on his [most recent] record, [The Flower Lane]." D'Angelo was asked to join as a replacement for Ian Drennan, who performed on the album. "I spoke to Matt a few times on the phone beforehand and was like 'Yeah, this is going to work out," D'Angelo concluded. Watching and listening to the quintet blast into its opening number, The Flower Lane's first track, "Ivy Covered House," it was hard to tell that this was a recent Ducktails incarnation and not a group that had been rocking together for years. The band's live renditions were both satisfactory representations of the album versions and possessed an added edge, supported by many extended jam intervals, as well as Franklin's powerful percussion grooves and rhythms. Mondanile sang in almost a whisper, which created an interesting, contrasting dynamic between the louder, harder music and his vocal performance. Despite the evident connection between the band members, Mondanile's control of the group was clear within the dynamic. His ability to lead the group while still interacting fantastically with the other musicians shined during what was perhaps the strongest number, "Under Control," the longest track on The Flower Lane by almost a minute. Though the tune stands as a mellow, yet trippy jam on the album, this third song was the hardest rocking, loudest blasting moment of the entire night, highlighted by Craig's raw guitar solo and Franklin's slamming drum fills. The band remarked on how full Chum's was by the end of the show; packed to the brim with a large, bouncing audience. After the concert, the party continued inside the venue, as the Chum's staff sustained the flow of dance tunes. I was able to speak to opening act, Monopoly Child Star Searchers, a.k.a Spencer Clark, for nearly an hour. He and Ducktails hung out with many audience members outside of Chum's and continued to chat, relax and have fun for several hours with some friends. As one might expect, one friend confessed to me his anti-corporate beliefs about society and government, which several members of Ducktails seemed to share, though much less strongly and passionately. Perhaps this type of interpretation was one that I am not necessarily accustomed to, hailing from the Upper West Side of New York City and attending a private collegiate institution. However, it was this attitude that dominated the 1960s and 1970s, an era during which rock 'n' roll music, in my opinion, thrived most prominently and magnificently. Thus, I welcomed his words. That being said, the concert wasn't just about the music for me, but about the overall vibe and community that was attracted to Chum's and the specific musicians who were playing there. The bands actively embraced the student population that swarmed their van after the show and had no issue talking politics, music, art and life for hours on end. That is cool-that's rock 'n' roll. It's not just about the music; it's about much more. It's about the lifestyle, which Ducktails certainly seemed to live up to.
(04/08/13 4:00am)
As the academic year nears its end, Brandeis' Fine Arts department is working hard to provide opportunities to showcase the work of every student, from first-years to graduate students. To share the works of the post-baccalaureate Studio Art students, the first of two exhibits, titled "Prospect I," opened on Wednesday. The exhibition is currently on view in Dreitzer Gallery in the Spingold Theater Center and will remain open for public viewing through April 14. The architecture of Dreitzer Gallery lends itself well to the spatial and aesthetic organization of the exhibit. Protruding sections of wall attached to the far, curved side of the gallery are used as separators within the exhibit, dividing one student's work from another's. The students whose works are not displayed in these nooks hold spaces along the wall of the gallery nearest the entrance, letting one collection of works flow into the next. Students' names are displayed in trendy black Helvetica decals high up on the wall above their works, and each work is identified by a small, black number decal. Exhibit guides lay in stacks on podiums near the entrance of the gallery so that viewers may guide themselves through the exhibit. The works themselves illustrate a wide range of use of color, medium, mood and message. Most of the paintings are quite large, some longer and wider than I am tall, filling up sizeable portions of the wall; but a few of the paintings are much smaller, taking up less than a square foot of wall space each. The exhibit boasts the work of eight post-baccalaureate students. Viewers can look forward to the works of Rachel Sevanich, Sam Riebe, Erin Bisceglia, Maya Anderson, Adina Geller, Sasha Parfenova, Rob Fitzgerald and Mark Farrell. Some of my favorite works within the exhibit were paintings, a medium which most of the works in the gallery employed. Five paintings created by Sevanich, staged in the nook nearest to the entrance, provided a strong introduction to the exhibit. Sevanich's paintings were all works of oil paint on canvas that layered paint so that parts of each painting were raised and three-dimensional. Sevanich's works used strong colors, many of which were bold primary shades, deepening into darker hues, forming abstract shapes. For example, the bold "Corn Husk Dance," one of the largest paintings in her collection, shows a swirling shape of rich mustard yellows, blues and greens formed upon the canvas. Not all of the works in the exhibit are paintings, however-media ranged from paint to sculpture to alternative pen and ink works. Anderson created several quite unique works using pitch-black pen and ink on waiflike, white Mylar, a thin, semi-transparent paper material. Her works are composed of layers of inked Mylar, so that some of the buried ink shows through the top layer of Mylar to add depth to works. Unlike the paintings in the exhibit, Anderson's Mylar creations use much negative space, contrasting with the highly detailed, dark depictions of people-shape-object hybrids that are the subjects of her works. Working through a much different medium, Fitzgerald's two sculpture pieces provide a helpful contrast to the numerous works hung flat on the gallery's walls. One sculpture is positioned on the ground in the middle of one of the nooks, breaking up the viewer's expectations of the exhibit. The sculpture, which is untitled, incorporates the metal grate of a grocery store shopping cart mounted on a white base, splattered with pink and red paint that drips over the edges of the mound to the floor, like a puddle. While each collection of works in the "Prospect" exhibit tells a different story and masters a completely different medium and mood from the collections next to it, the exhibit as a whole flows beautifully and captures what it means to be an artist at Brandeis: to be different. Students and enthusiasts of art alike would be well advised to make sure to see "Prospect I" before it is dismantled. *
(04/08/13 4:00am)
It's shaping up to be a great season for Tiger Woods on and off the green. On March 18, both Woods and Lindsey Vonn, an Olympic gold-medal-winning skier, confirmed their relationship via their respective official Facebook pages. Woods posted a series of professional photos, writing, "Lindsey and I have been friends for some time, but over the last few months we have become very close and are now dating." Vonn explained to fans, "I guess it wasn't a well-kept secret but yes, I am dating Tiger Woods." Let's be real: this marks the first positive headline for the 37-year-old golfer in a while. Toward the tail end of 2009, Woods' life seemed to unravel faster than he could hit a hole-in-one. It began with a gossipy story in the National Enquirer about an alleged affair with an NYC nightclub manager which, to be honest, seemed like just another run-of-the-mill fabricated story. Until things started getting fishy-and FAST. Two days later, Woods crashed his SUV into a fire hydrant and a tree at 2:30 in the morning while he was still on his own block. His questionable behavior skyrocketed when, days later, Us Weekly published a voicemail message reportedly left by the sports legend for a mistress. And then, in what seemed too unbelievable to be true, over a dozen women came forward in the next few days, admitting to having affairs with Woods. The public couldn't believe it-Woods was a young, athletic guy married to a gorgeous former model with two utterly adorable children. But, in mid-December, the pro announced he'd be taking an indefinite break from professional golf and it seemed that the ridiculous rumors might have some truth behind them. Sure enough, as we all know, Woods was, uh, sleeping around to put it gently. He went to rehab for sex addiction; lost huge sponsorship deals with companies like AT&T, TAG Heuer and Gatorade; and his wife filed for divorce. He gave a televised statement in early 2010 admitting to his indiscretions: "I thought I could get away with whatever I wanted to. I felt I was entitled." At the end of his heartfelt speech, Woods asked fans to "find room in your heart to one day believe in me again," but it seemed like his career would be a nearly impossible endeavor to rehabilitate. And now, with 28-year-old Vonn on his arm, it seems that Woods may be on the road to a successful comeback. Professionally, he's currently ranked number one after winning the Arnold Palmer Invitational. And personally, he's been courting Vonn for months. The two are carefully calculating every step of their courtship, including the deliberate plan to announce their pairing: "It's very simple," Woods explained to reporters. "We're very happy where we're at, but also we wanted to limit the 'stalkerazzi' and all those sleazy websites that are out there following us." So the duo released the information-and the pics!-on their own terms in hopes of stealing the thunder from gossip mags and television outlets. So, are you a Woods skeptic? Or will love between athletes conquer all? *
(04/08/13 4:00am)
This week, JustArts spoke with Rebecca Miller '13, who is a Theater Arts major, and talked about her production 'Amaranthine,' as part of the Theater Arts Senior Festival next week. JustArts: As part of the Theater Arts Senior Festival, you are putting on an original production entitled Amaranthine. Can you tell me more about this play? Rebecca Miller: Well first of all, Amaranthine is defined as: 1. Of, relating to, or resembling the amaranth. 2. Eternally beautiful and unfading; everlasting. 3. Deep purple-red. Amaranthine is a one-act play about love, loss, death and the control one may or may not have over his or her own destiny. It begs the question, "Is guiltless the same as innocent?" Amaranthine focuses on the lives and afterlives of Anne Boleyn, her brother George Boleyn and her first love, Henry Percy, the sixth Earl of Northumberland. JA: What inspired you to write Amaranthine? RM: I have long been enamored of Anne Boleyn and the mystery that surrounds her life. In an endeavor to combine my passions for both theater and history for my senior thesis, I first looked to dramatic literature. I was curious to research how Anne has been portrayed from Shakespeare's Henry VIII to Howard Brenton's Anne Boleyn which premiered in 2008... I came to the conclusion that I had something different to say about Anne and therefore, because I could not find the voice that I felt captured her, I decided to use my own. JA: How have your Theater studies at Brandeis led to your work in the senior festival? RM: Honestly, I've been thinking about my Senior Thesis since freshman year. An opportunity to present your specific vision as an artist is absolutely thrilling. As my knowledge of theater theory and practice grew, my aesthetic tastes have changed and I have made new discoveries. As a History minor, I have taken courses mostly focused on Britain in the later Middle Ages. This play feels like the final culmination of my passions and studies. As the actress playing Anne, as well as the playwright, I attempted to create a very dangerous, smart and compelling female lead, something that is often lacking in theater today. JA: Could you describe what the Theater Arts Senior Festival is and what it entails? RM: The Theater Arts Senior Festival is a week of performances showcasing undergraduate Senior Theater Arts majors' work. From April 9 through 14 there will be two to three performances every evening in the Merrick Theater in the Spingold Theater Center. Seven shows (and one presentation) are sharing the same space and are working collaboratively to create a cohesive and high quality group of work. JA: What was the process that went in to writing Amaranthine and preparing it for the stage? RM: First, a ton of research. Then, I sifted through the primary sources I had found and decided to incorporate Anne Boleyn's last words as well as a poem she may have written while a prisoner in the Tower of London. Then the writing began. It went through many drafts, 24 to be exact. ...In the fall, I spent my time on the research and writing. In late November, I had an informal reading in my kitchen. Then more rewrites. Over the winter break there were even more re-writes. We workshopped in January and early February. More rewrites. We began our rehearsals in earnest in mid-February and my cast has had to contend with an ever-changing script. They are fantastic. Not only is the writing so important to the process, but working with actors on their feet to determine if certain moments work is vital. JA: Who else did you work with to make the production possible? RM: My thesis advisor, Prof. Janet Morrison (THA) and pseudo-advisor Prof. Alicia Hyland (THA) as well as Prof. Adrianne Krstansky (THA) and Prof. Jennifer Cleary (THA) who are advising and producing the festival. Thank you to our professional lighting designer, Emily McCourt, my director, Grace Fosler '14, stage manager, Betty Ko '13, as well as my fellow actors, Levi Squier '14, Steven Kline '14 and Charlie Madison '15. And of course, thank you to the other Senior Thesis ladies who are working so hard to make it all happen! JA: What is your most memorable theater arts memory from your time at Brandeis? RM: Working with Scott Edmiston on the Brandeis Theater Company's production of Sunday in the Park with George. It was magic. JA: Have you taken classes at Brandeis that involved writing plays, or how did you get started writing them? RM: No! I mean, I really wish I had, but no, I haven't taken a playwriting class here at Brandeis. Playwriting used to be something I thought was beyond my capabilities. But once I made the decision to write my own interpretation of Anne Boleyn, I discovered how much I enjoy the process. JA: Do you hope to pursue work in theater after graduation? RM: Yes, I do. Although I am originally from New York, I plan to remain in the Boston area and pursue a career in the theater. -Jessie Miller
(04/08/13 4:00am)
Possibly the most anticipated arts event of the year, Liquid Latex performed its annual show on Tuesday, March 19 in Levin Ballroom. Approximately 450 students put midterm studying on hold to attend this unique and extremely entertaining performance.
(03/19/13 4:00am)
My knowledge of stringed instruments is strictly limited to the few guitar lessons I took in fifth grade and listening to the screeches as my sister attempted to learn how to play violin. Why am I at Fiddle'Deis, a weekend dedicated exclusively to the great variety of fiddle music? I had no clue what I was getting myself into, but despite the lengthy four-hour runtime, the Saturday night performance in the Slosberg Recital Hall was an eye-opening experience to the enchanting music of fiddles. Each of the four performances that took the stage had its own distinctive style, and I was pleasantly surprised by the diversity a seemingly monotonous instrument could create. I had really only heard the classical drone of violins and the Southern drawl of country fiddle music. The first performance featured visiting performer Meena Kothandaramen on the violin who was accompanied by her brother on a simple, two-sided drum. Kothandaramen explained that much of the Southeast Asian music she played honored the Lord Ganesha and another specific song was a sort of preemptive apology to the Mother Goddess in case the musician made any mistakes. Kothandaramen was more than just a performer-she interacted with the audience and educated them about her musical style, which was especially important because many members were violin players (toting their instruments around). Though completely foreign to me, she taught about the rhythmic cycles that form the base of any song and were embellished with fancier overlays. Overall, her music had a mystical and deeply moving quality that was relaxing and melodic. After a brief intermission, Lousiana-based duo David Greely and Chris Stafford took the stage to perform energetic, authentic Southern fiddle songs and even featured Stafford playing the accordion in one piece. Recently, I've been listening to country music so this set filled my country fix, though it was more reminiscent of the Charlie Daniels Band's "The Devil Went Down To Georgia" than Toby Keith's or Brad Paisley's latest hit. Compared to Kothandaramen's performance, Greely and Stafford were equally engaging, though much more lively, with Greely telling several anecdotes about his experiences in fiddle music. I really enjoyed the song they played which, as Greely explained, was about two lovers who can't make things work, despite how much they love each other. Like many of the songs Greely sang along to, it was entirely in French, but this language barrier did not detract from my amusement. The emotionally charged tune conveyed a sense of romanticism laced with tragedy. It was followed by a song titled in English "You'll Never See Me Again" about a man who goes to prison that was part of what Greely described as "family music." It was surprisingly happy and upbeat for a song about being incarcerated. Stafford, who is in his mid 20s, was incredibly talented at both the accordion and fiddle, and the duo played a cover song of an old Creole singer off of Stafford's album. Up next was the Ben Powell Jazz Quartet, led by violinist Ben Powell who came to Berklee College of Music from his native England after becoming enchanted with jazz music. He was accompanied by Tim Ray on piano, Prof. Bob Nieske (MUS) on bass and Bob Tamagni on drums, all of whom excelled at their respective instrument. The tone of this piece transported me to a swanky jazz club with the soulful crooning of a live band. Powell was incredibly animated when interacting with the other musicians, especially during Ray's piano solos, in which Ray's passion for music exploded out of the keys. The songs were generally violin and piano based, but the last song they performed had a highly deserved drum solo. In a particularly touching moment, the quartet played a song called "Judith" that Powell wrote for his godmother. In my opinion, the last musician was the most unique. Casey Driessen took fiddle playing to an entirely new level by using several music pedals to overlay different tunes while he played them live, essentially composing a song on the spot. It was incredibly innovative and I enjoyed watching how Driessen went through this process. I especially appreciated how he referred to the pedals as "his band," which was accurate because it allowed him to "play" multiple parts of a song at the same time. As he began this process for one particular song, I started to recognize the beat. Was that really "Billie Jean" by Michael Jackson or was my obsession clouding my judgment? I was right-Driessen explained that he had first composed this song the summer that Jackson passed away and it was one of the many covers that he had in his repertoire. Besides covers, Driessen performed amazing improvisational songs that were more traditionally upbeat and energetic. It's hard to describe his unique sound, but it is like Greely and Stafford's music with a modern, edgy technique spin-taking the fiddle to a whole new level. One of his most innovative ideas was a song that he built around a recording of his unborn child's heartbeat. Despite the overwhelming musical diversity that consumed the recital hall, I did leave with one overall theme-the intensity of interactions between the performers in each piece, including Driessen with his mechanical counterparts. There was a passion that flowed between each of them, whether it was Kothandaramen and her brother's rhythmic drumming; the complementary notes of Greely and Stafford's fiddles; or the bonds that tied together Powell's quartet. *
(03/19/13 4:00am)
This past Wednesday, the long awaited white puff of smoke rose from the Sistine Chapel, signifying the selection of the 266th Pope, Jorge Mario Bergoglio, now known as Pope Francis. Francis was born to Italian immigrant parents and was raised in the Argentinian capital, Buenos Aires, where he has served as the archbishop. What do you think of Francis' appointment? What do you hope to see from the new leader of the Catholic faith? Reverend Walter Cuenin I think the fact that this is the first Pope from South America has deep significance for the Catholic Church globally. It is very important for American Catholics as we are about 40 percent Hispanic presently. I love that he took the name of Francis, a saint dedicated to the poor. I also am pleased that he is a Jesuit with their history of involvement in higher education and that he is a scientist. Rev. Cuenin is the Catholic chaplain and coordinator of the Interfaith Chaplaincy at Brandeis. Mathew Kuruvinakunnel '15 One can always wonder about the politics behind Jorge Mario Bergoglio's election to the Papacy. But perhaps asking why he was elected is less important now than asking what he can (and is willing to) do? Above the mire of speculation, the Catholic Church's selection of Pope Francis is also the selection of his stance on numerous contemporary issues- austerity, economic equality, openness to interfaith dialogue and perhaps most controversially, opposition to homosexuality but respect for homosexuals-and I think this is a good representation of what the Catholic Church is willing to do today. Mathew Kuruvinakunnel '15 is a Politics major with a focus in International Relations. Prof. Maura Jane Farrelly (AMST) As someone who was educated by Jesuits -and takes the idea that the purpose of a Jesuit education is "to create men and women for others" quite seriously-I was delighted to learn that Francis is a member of the Society of Jesus. The Jesuits were actually suppressed by the pope in 1773, in part because the work they were doing with the indigenous poor in South America did not mesh with the exploitative agendas of the Spanish and Portuguese monarchs who had colonies there. Make no mistake: Francis told us something when he chose to take the name of one of the greatest advocates for the poor the Church has ever had (Francis of Assisi). I have high hopes that this pope will be a man who is "in the world," so to speak, getting his hands dirty as he works to combat the effects of the global polarization of wealth. Prof. Maura Jane Farrelly is the director of the Journalism Program and an Assistant Professor of American Studies. Genevi??ve Zucchetto de Oliveira '15 Having a Latino pope for the very first time in history represents a huge achievement for Catholics in Latin America, as the region is home for 40 percent of all baptized Catholics. Even though the choosing of a new pope is a time of happiness for the Catholic community, there is significant controversy surrounding Pope Francis. Unfortunately, even though his Jesuit background and nationality are unique to his Papacy, his views on controversial issues such as abortion and gay marriage remain the same as his predecessors. Hopefully, with time, his policies will reflect the changing mentality of many Catholics across the world and engage the Church in healthy dialogue. As a Catholic woman, I would like to see more gender equality in the Catholic Church, allowing anyone that wishes to take on important roles, despite their gender. Moreover, hopefully Pope Francis will create an environment of transparency and fairness, allowing us Catholics to remain proud of our church and its leadership. Genevi??ve Zucchetto de Oliveira '15 is an International and Global Studies major and a citizen of Brazil.
(03/19/13 4:00am)
In the year 2012, the United States experienced two mass shootings barely six months apart. On July 20, James Holmes killed 12 and injured 58 at a midnight screening of The Dark Knight Rises in Aurora, Colo. On Dec. 14, Adam Lanza killed 20 children, seven adults and himself at Sandy Hook Elementary School in Newtown, Conn. Both men were young, in their early 20's, and were described as incredibly intelligent by their families and friends. Both men used semi-automatic weapons that were legally purchased. Both men had mental disorders. It is hard to define what a mental disorder is. The most recent version of the Diagnostic and Statistical Manual of Mental Disorders includes everything from anxiety and depression to attention deficit hyperactivity disorder and dyslexia to paranoia, schizophrenia and bipolar disorder, as well as brain injuries, post-traumatic stress disorder, and autism. There is no one consensus of which disorders should qualify as mental illness and which should not. Each of these disorders is serious, but in varying degrees. The National Institute for Mental Health estimates that more than one in four Americans over the age of 18 suffer from at least one mental disorder. Nearly half of those afflicted have two or more mental disorders. I am one of them. I have depression and severe anxiety and am currently on medication. I am not comparing myself to Adam Lanza or James Holmes by any stretch of the imagination. I was fortunate enough to receive help and medication for my mental problems, and now I am fully in control of my anxiety and depression. Adam Lanza and James Holmes are very disturbed young men with violent fantasies and intense mental problems that had not been seriously addressed, magnified by their easy access to guns. The United States needs to have a serious discussion about mental illness and how to help the 26 percent of Americans who suffer from mental disorders. I can attest from my own experience how hard it is to tell people, even my friends, about my depression and anxiety, and how sometimes people will treat me differently once they find out. Medication, such as Prozac, is not considered to be preventative, and is not necessarily covered by health insurance. Some insurance companies, including Harvard Pilgrim Medical Care, used to put a cap on how much patients could spend on mental health care in a single year. Individuals with serious mental disorders, who are a danger to themselves and others, can easily purchase guns. Congress needs to pass legislation to make sure seriously mentally ill individuals are not able to purchase guns. However, this legislation is not enough. There also must be gun control laws that do not only target members of the mental health community, but also would make sure assault-style weapons and armor-piercing ammunition cannot be easily bought or sold in the United States. Mentally ill individuals are not the only ones who commit violent gun crimes. Last August, in Oak Creek, Wis., a Sikh temple was attacked by Wade Michael Page. Page killed six and wounded four before he killed himself. Page was also a white supremacist who had ties to two white power music groups that the Southern Poverty Law Center considers to be hate groups and are under investigation by the Federal Bureau of Investigation. He was able to legally purchase the gun and the 19-round magazines he used at the shooting, and he was never formally diagnosed with a mental disorder. Thousands of other people who commit gun violence, be it in a gang shooting or in a drunken disagreement, do not have mental disorders either, and yet they too are dangerous and should not have easy access to guns. Congress should pass laws that make background checks stricter, so people on terrorist watch lists or who are members of groups investigated by the FBI cannot easily purchase guns. Congress should require background checks and waiting periods for all gun purchases, without exception, and should require stricter penalties for those who violate gun laws and not just punish people who suffer from a mental disorder. It goes without saying that we need to make sure that those who are at risk to both themselves and others cannot, and do not, have access to weapons. However, limiting the mentally ill's access to guns is not the only answer to the growing gun violence problem. We have to make sure our gun control measures target everyone, not just the mentally ill. *
