(11/09/04 5:00am)
To the editor:I was disappointed to read that Brandeis has chosen to eliminate linguistics and cognitive science as a major (news article, Nov. 2).I graduated from Brandeis in 2002 with a degree in that field. At that time, few professors staffed the program, so I took classes with Joan Maling, Ray Jackendoff and Edgar Zuriff over and over and over again.Thank goodness they were good professors.I loved my major. The classes were fascinating, the readings intriguing and the professors insightful. The existence of the linguistics program was a key factor in my choosing to attend Brandeis. I can't imagine keeping professors like Jackendoff-a world-renowned, well-respected and accomplished linguist-is too expensive for a university that charges students more than $30,000 a year. Letting this program go because it's unpopular is poor judgment. Only a handful of students join the Linguistics program each year-and now that's no longer an option for them. I believe Brandeis should allow-and even encourage-its students to pursue their majors of choice, whether that choice is a popular one or not.The best thing I got out of Brandeis was my wife Lauren. But my linguistics degree was second.-Lex Friedman '02Los AngelesTo the Editor:As the father of a prospective student and someone who has been so impressed with the school that I've recommended it to others, I was saddened by many of Dean of Arts and Sciences Adam Jaffe's proposed changes, particularly the downsizing of physics and elimination of linguistics and Greek.I must confess to a personal bias-my son studies Greek (not Latin) and is interested in linguistics. But this also suggests that the more that is cut and the less broad the offerings, the answer to the question, "Why Brandeis?" becomes a bit more difficult to answer.However, with such a vibrant and intelligent community, perhaps, if the administration would state what it would cost to keep these subjects, the community--students, alumni, faculty-could work to identify and obtain funding. Perhaps the Hellenic Studies Center in Washington, D.C. could be approached to find out if there are potential donors who would be willing to help save the study of Ancient Greek; perhaps alumni who found that its study helped their cognition in other ways would be motivated. Alumni of linguistics would perhaps have a greater sense of "give-back" and so onward to avoid the "death of a thousand cuts-" albeit administered a few at a time.-Peter MunsingWyomissing, Pa. To the Editor:It is with great consternation that I discovered that Faculty Dean Adam Jaffe has put forward the motion to discontinue the teaching of Ancient Greek language and to dissolve the department of classical studies. For the dean to put forward this proposition he must assume certain fallacies about the contemporary significance and cultural depth of Greek. What the Dean does not realize is that eliminating the study of the language single-handedly destroys the study of the literature, the history and the culture of Ancient Greece at Brandeis. Language is the key to the study and research of a culture. Students who desire to pursue deeper understanding of the texts will be confined to the superficiality of translations. The central argument of detractors of classics is that they are unpopular with students, that Greek and Latin are unimportant compared to more practical studies such as economics or law. Nothing could be further from the truth. Greek and Latin are the study of humanity, intellectual cornerstones that inform and enrich any field of study. The Greek language is significant in and of itself. It illuminates and increases the comprehension of the English language, which shares its roots with Latin, German and French. The deeper understanding of English through the study of the classics can only aid a student. The rigors of Greek and Latin teach the student to enjoy and love learning for learning's sake; no other subject better conveys the joys and essence of study. To become acquainted with the classics is to glimpse a traditional world that lives beneath the surface of the contemporary. To study the classics is to observe the ancient world that still lives within the modern, and this fruit bears fulfillment, wisdom, and understanding. The classics department at Brandeis is a caring, nurturing and attentive one. It is a department fueled by passion; more importantly, it is a department that changes the lives of students. -Sean Signore '02
(11/09/04 5:00am)
I've come to the theory that one of the best ways one can tell whether a band's live performance hints at its overall quality is by watching the band's sound levels. In my experience, many opening bands have a muddled, ugly, over-distorted sound that drowns out the vocals and never reaches a quality level that would compel you to find out more about the band. Really good bands, however, have a defined sound in their live shows. This is true of Luna, who played Friday at the Middle East Downstairs to a sold out crowd. It was a victorious, fun show that played to all of Luna's strengths, maintaining their collective musical vision with a more engaged and immediate sound, while encompassing all the emotional ups and downs that distinguish their tunes.Luna are touring on the back of their seventh album, Rendezvous. Luna has been an incredibly consistent band throughout their career, and this album maintains their unusually high streak of very solid and very melodic albums: ringing chords, New York City-tough romantic lyrics, songs that drift over like sand across the shore. This album adds a hint of extra darkness to the band's quirky, tender images. Lead singer and guitarist Dean Wareham has said in interviews that this was their hardest record to make, and has revealed that this will be their final album. "Speedbumps," one of the album highlights, contains a lyric that points to this dissatisfaction: "I refuse to climb your walls/I don't want to ride your bus/I am tired of all of us." Wareham's lyrics have constantly followed characters drunkenly falling in and out of ardor and "blinded by lovedust," to quote a song on their previous album Romantica in which he sings "never before has there been such a drive to escape these conundrums." If this is Luna's swan song, then it is fitting that it is a great summation of their career and influences. "Astronaut" is about as loud and rockin' as the biggest songs from Penthouse; massive, delayed guitars swirl in the background, surrounding and cushioning the vocals and chirpy lead guitar. "Malibu Love Nest" invokes Television with its sinewy lead lines, while "Cindy Tastes of Barbeque," with its lovely lyrics and beautiful "doo-doo" chorus harmony, takes one back to the charming haze of Bewitched, by way of the Velvet Underground's self-titled album. There are two songs sung by lead guitarist, Sean Eddy, whose voice is higher and less froggy than Wareham's. "Broken Chair," in particular, successfully combines his steady tones with bassist Britta Phillips' lovely voice. Overall, the album is like one of those confused Wareham male narrators: hopelessly in love, mistaking beauty for reality, wafting among minute romantic situations that uncover some small truths but mostly repeat old inescapable patterns, yet still remain thrilling to slip into. The show on Friday night included two opening bands, Maplewood and Lockgroove, neither of which were very good or worthy of description, except to say that the Maplewood singer sounded like Alex Chilton and that Lockgroove-I'm pretty sure-are named after a Stereolab song. Luna went on at 11:30 to a packed house, including devoted fans who had come from as far as Ann Arbor, Michigan to see their favorite band on their farewell tour. The club was dingy, hot and a possible fire hazard in which people were trapped leaning up against each other; it was the perfect venue for a concert. Luna seemed pretty nonchalant when they first came on, revving up with "Slide," a lyrical feast ("You can never give/the finger to the blind") that sounds like it should have been a huge hit back in '93 when it was released on Luna's first album Lunapark. The newer songs from Rendezvous, five of which were played early in the set, sounded a lot more dense and even more assured then they did on the record. "The Owl and the Pussycat," in particular, sounded like a withdrawn paean to love on stage, with moving harmonies from Phillips and Eden.As the set went on, the band got a lot more relaxed, friendly and even talkative. Wareham, whose face was set into a stony, downward gaze for the first five songs, suddenly started to acknowledge the audience and playfully talked to Eden. Eden proved a constant beacon of entertainment with his odd grunts and facial expressions, looking like Vincent D'Onofrio from the first Men in Black movie. The crowd really got into it during "Sideshow by the Seashore," a live favorite that combines Fellini-esque images with a rolling, cyclical riff, "Lovedust," regarding "candles that light themselves" and creamy air, and "Pup Tent," a sexy, bouncy song revolving around "sneaking a kiss on the fire escape." The best songs of the set, however, were the ones where the band really broke out of their album arrangements and extended them into long, winding guitar passages and dynamic tempo changes that built and built upon themselves. In this respect, "Friendly Advice" from Bewitched and "Black Champagne" from Romantica were the most storming, passionate songs of the main set, finding the band really seducing the audience into their sordid little world.The band returned for two encores, playing fan-favorite "California" and oldie "Tim to Quit" in the first, sticking to their sing-along arrangements, then stretching out for the Television-inspired 10 minute epic "23 Minutes in Brussels." Originally featuring Tom Verlaine on guitar, the song is possibly the best example of everything Luna has to offer, combining their quirky romantic lyrics with complicated, structured interweaving guitar solos and thunderous drumming, while also opening the band up to experimentation and improvisation. During this song, the band seemed most happy and at ease, a culmination of an excellent band's last hurrah, and great sound levels.
(11/02/04 5:00am)
The feeling plagues many Brandeis students at some point: the transient sense of guilt that arises from discarding a recyclable item. Some excuse it because they are late to class and the trash can was closer than the recycling bin. Others use non-recyclable Java City coffee cups out of convenience. Still, others feel a sense of confusion about the program in general."I see problems with the system," Sean Patrick Hogan '07 said. "For example, I saw a member of the janitorial staff empty one of the bottle bins into the trash."Responding to such student sentiments, the Students for Environmental Action (SEA) said they are trying to increase awareness of the school's recycling program. They place overriding emphasis on the need for student support. "Brandeis does have an intricate recycling program," said Melinda Grodsky '06, head of recycling for SEA. "But it only works as long as students do their part."Grodsky addressed the often heard complaint that custodians mix trash and recycling together when they gather the trash. She said this mostly occurs when the recycling bins are contaminated with non-recyclable products, but that some custodians do need further training. Beckett Horowitz '05, the president of SEA, commented similarly. "Most of the custodians really want to help us. If the students do their part, things should go more smoothly. The custodians are not trying to thwart our efforts."Aramark and the recycling issueThe decisions of the dining services company Aramark strongly impact the Brandeis recycling program. SEA is stressing the need to avoid to-go containers because of the sheer numbers used. "I asked [Michael Newmark, operations manager of Dining Services] for specific statistics, and they were staggering," said Jacqueline Gordon '05, the SEA representative to Aramark. "Students use 1,600 to-go containers, 800 coffee cups and 4,000 utensils daily. That's pretty wasteful, in case it's not obvious," she said.Richard Rubini, food services director at Usdan, confirmed these numbers.Newmark offered further figures on the annual use of containers: 434,000 one-compartment containers, 162,740 three-compartment containers and approximately 8,525 small containers. Brandeis switched recycling companies at the beginning of this school year. Barb Laverdiere, director of dining services, said Aramark recently discovered that its new recycling contractor, the Institutional Recycling Network, does not recycle polystyrene. Polystyrene is a cheap, hard form of plastic that the to-go containers used at Brandeis are made from. Dennis Finn, a facilities worker who heads Brandeis' recycling program, explained that the material is chemically complicated to recycle, and that most recycling companies do not recycle it.Laverdiere said that Aramark is researching alternatives, but that most other containers are more expensive. "That's not a cost we want to pass on to students," she said. She also said that Aramark is examining the investment costs of adding deeper plates and bowls. Students supported deeper dishes as a good substitute; like to-go containers, they would be less messy and user-friendly. Using this alternative, Aramark would save money on to-go containers, but incur the cost of hiring additional employees to wash dishes.Laverdiere mentioned the frequency of theft from cafeterias as another impediment to improving dinnerware quality. Laverdiere estimated that $50,000 to $60,000 worth of dinnerware is stolen from Brandeis cafeterias every year. Newmark confirmed this estimate, and added that this expense is built into the cost of student meal plans."Regardless of the economics, [getting new dishware] is the right thing to do from an environmental standpoint," Laverdiere said. "The key will be to reduce the [number of] items that leave the dining hall so we won't have to constantly replace them."To encourage students to use dishes rather than to-go containers, SEA is trying to establish a new incentive program to replace last year's offering of free pizza in return for ten uses of non-disposable plates. Gordon said that SEA is urging a more widely appealing incentive such as dining points or WhoCash.Laverdiere noted that students are using more silverware this year, probably because of differences in display and accessibility. This year, the plasticware is not as prominently displayed as it was in the past. In Usdan Caf, it is located off to the side and only the silverware is kept near the cash registers.There are some additional areas, Gordon said, in which Aramark has taken strides. She said that Aramark will re-fill coffee in a large travel mug for the price of a small coffee, and has also begun wrapping sandwiches in the Boulevard in paper "because it's less wasteful" than using plastic containers. Those blue bins: not just pretty trash cansSEA is also urging students to recycle within their residence halls. Group members are currently surveying all the rooms on campus to determine how many are lacking recycling bins, and Horowitz said that SEA expects to provide a bin to every room by the middle of November.She added that Brandeis has had problems sustaining bins since students often damage the bins or take them home at the end of the term. SEA is working with Facilities and Residence Life to include the bins on the Room Condition Reports (RCRs), which will ensure that Brandeis fines students for the destruction or theft of bins.Students are expected to transfer recyclable material from their personal bins into the larger bins called "slim jims" in each hallway, or outside the building for suites. Custodians then transport these materials to dumpsters. Finn explained the ensuing routine. A vendor called Save That Stuff collects the recycling twice a week from "toters," massive bins located around campus, deposits the recyclables into larger dumpsters outside the Epstein building, and later transports the contents to a recyclable material handling facility. "Contaminated" recyclables Some students say that custodians lump together recycling and trash, essentially rendering recycling attempts futile. "I see our cleaning lady throwing all of our recycling into the trash," Jeffrey Roberts '07 said. "So even though I'm trying [to recycle], it's not happening."According to Finn, most custodians place trash bags on the same cart as recyclables and later separate them. He said that students see the bags on the cart and mistakenly assume they are thrown away together. Still, students say they see the contents of contaminated bins thrown directly into the trash. Containers must be empty of all food and liquid residue in order to be recycled. "The no-food aspect is especially hard to control in the dining halls and Shapiro campus center," Gordon said. Grodsky explained the serious problem this poses for the recycling program. Custodians must trash all of the bin's contents if it is "contaminated" by food or other non-recyclable products. She said that SEA is creating a new poster to hang by the recycling bins that explains what can and cannot go in the bins. "It does seem that there might be some custodians who throw away uncontaminated recycle bins," Grodsky continued. "For this situation, the only thing we can do is note where and at what time this happens, and [custodial services will] re-train them on the policies of recycling."SEA is currently creating a survey for custodians at Brandeis. It will ask what actions students can take to facilitate the process.SEA members are also working to join Recycle Mania, an inter-collegiate competition whose winner is the school that recycles the most waste. SEA is also coordinating with Student Activities to make recycling bins mandatory at all student events. Horowitz said she views Brandeis as a campus engaged in social issues and thinks that those ideals should translate to the environment as well. "Recycling is becoming an increasingly important issue," Horowitz said. "Brandeis prides itself on being socially conscious, so it needs to focus now on encouraging sustainability. There are more and more people in the world, and we're not creating more and more resources.
(11/02/04 5:00am)
It is with great consternation that I discovered that Faculty Dean Adam Jaffe has put forward the motion to discontinue the teaching of Ancient Greek language and to dissolve the Department of Classical Studies. For the Dean to put forward this proposition he must assume certain fallacies about the contemporary significance and cultural depth of Greek. What the Dean does not realize is that eliminating the study of the language single-handedly destroys the study of the literature, the history, and the culture of Ancient Greece at Brandeis. Language is the key to the study and research of a culture. Students who desire to pursue deeper understanding of the texts will be confined to the superficiality of translations. Should they not have the option of pursuing intellectual study to the depth they wish? How is it possible that the removal of advanced study in the Classics will benefit the Brandeis community in any way at all? The central argument of detractors of Classics is that they are unpopular with students, that Greek and Latin are unimportant compared to more practical studies such as economics or law. Nothing could be further from the truth. Greek and Latin are the study of humanity, intellectual cornerstones that inform and enrich any field of study. The Greek language is significant in and of itself: it illuminates and increases the comprehension of the English language, which shares its roots with Latin, Germanic and French. The deeper understanding of English through the study of the classics can only aid a student. The rigors of Greek and Latin teach the student to enjoy and love learning for its own sake; no other subject better conveys the joys and essence of study. The study of Ancient Greek and Latin fosters and nurtures this philomathean urge that, once obtained, can be applied to myriad pursuits. Greek and Latin illuminate an ancient culture that has continued for the last two thousand years to have a significant lasting impact on the literature, art, and culture of the Western World. To become acquainted with the Classics is to glimpse a traditional world that lives beneath the surface of the contemporary. To study the Classics is to observe the ancient world that still lives within the modern, and this fruit bears fulfillment, wisdom, and understanding. The Classics department at Brandeis is a caring, nurturing, and attentive one. It is a department fueled by passion; more importantly, it is a department that changes the lives of students. As a student who majored in Greek and wrote an undergraduate thesis with Professor Leonard Muellner, I cannot emphasize enough the academic excellence, the positive interaction and the genuine affection that Leonard, Anne, Cheryl and Patricia share with their students. The loss of such a department to the University would be the loss of the beating heart of a Liberal Arts education. Universities were founded with the express purpose of studying the Classics - how can we call ourselves a liberal arts university without the very soul upon which such institutions were founded?I am aghast that the Dean of Faculty would deny future students the wonderful experience of Greek Language and Literature. The motto of our University, "Truth even unto its innermost parts," is a lofty and noble goal. It implies a keen devotion to profound study and contemplation of its particular significance. To eliminate Greek is to eliminate the careful study of an ancient culture that resonates to this very day. To remove Greek from the curriculum is not only to betray our artistic, scientific, and humanistic heritage, but it is also to betray our intellectual mission. -Sean Signore class of '02
(10/26/04 4:00am)
To the Editor:The elections commissioners have said that the secretary of the Union is empowered to resolve any and all election disputes, which is what the constitution says (news article, Oct. 12). Danny Silverman, the Union Secretary, as well as Albert Cahn, an Elections Commissioner, acted in good faith in their agreement that was overturned by this Union Judiciary case. They decertified someone who was certified as senator for Grad Quad by Silverman after questions about the way that mandates were used in the elections were questioned. They didn't try to create an agreement that was beyond their power.If you take the point of view that the elections commissioners presented to the UJ, the secretary can do anything to solve disputes, so this would be well within his power.I have talked to Aaron Braver, senator for East Quad, and he believes that a student isn't a senator until he is sworn in by the president of the Union and that, until then, the Secretary has the ability to decertify people's positions. That's reasonable, but as Mark Samburg, Associate Justice of the UJ, pointed out, the swearing in is simply a formality. This is highly debatable and I'm not going to try to argue it because I don't feel that there are strong arguments on either side.Some people think that the UJ has overstepped its power with this decision. It hasn't. They made a decision as to when someone became a senator and unless you think that the secretary is allowed to do anything to resolve election disputes, it is within the UJ's jurisdiction to make that decision. There are limits to what the secretary can do to solve elections disputes and nowhere in the constitution does it give him or her limitless power when resolving elections disputes.-Sean Patrick Hogan '07Clerk of the Union Judiciary
(10/12/04 4:00am)
John Keddie thinks that voting is for old people. And you know what? He's right."Voting, in the U.S. at least, is for all U.S. citizens aged 18 and over," he says. By that definition, voting is a right reserved only for Americans who have reached adulthood, placing all voters-including our generation-squarely in the beginning of old fogie-dom. Keddie and his T-shirt company Vintage Vantage have been steadily gaining notoriety since February, when he accidentally made news after allowing Urban Outfitters to distribute one of his T-shirts. The T-shirt was a fairly simple affair, with black and red lines, a dark blue picture of a hand placing a ballot in a ballot box and black disco-era lettering that said "Voting Is For Old People." The shirt was meant to be funny and ironic; instead, it caused instant outrage and was pulled hastily from Urban's shelves. Newspapers, consumers and pundits renounced it as damaging anti-voting propaganda. MTV News quoted one young woman in February as saying, "I saw young kids laughing at this shirt, and that's what hit me the hardest, the fact that those boys now probably will always disrespect the idea of voting in an effort to 'be cool.' "But Keddie says that reaction is the opposite of what was intended by the shirt. "We always felt the shirt was doing more good than evil in the whole 'youth voter turnout' arena," the 26-year-old Yale graduate said. "I mean, the shirt invites dialogue. We're not the kind of people who want to hit you over the head with a 'Vote Or Die' message [used in the rapper Sean 'P. Diddy' Combs' voting campaign]-we wanted it to be a bit more subtle, [to] actually inspire some thought as opposed to issuing an order."Keddie created Vintage Vantage in 2001 after he had been re-selling vintage T-shirts on eBay. Inspired by his favorite form of fashion, Keddie began making his own T-shirts with tongue-in-cheek logos and slogans like "Mammogram-o-rama!" to promote Breast Cancer Awareness Month, or "Caucasia Knows How to Party!" The slogans often are not politically correct, and are usually meant as a jab to the cultural establishment (like the "Drugs are Dope!" shirt), but also are usually understood as jokes, Keddie said. Other shirts, often bearing the names of U.S. states, are simply produced to look similar to vintage shirts that Keddie has seen in the past. Vintage Vantage is a very small company, comprised of Keddie, his wife Heather and younger brother James, as well as several other full-time workers and a few part-time helpers. The entire staff consists of about 10 people. The company primarily sells through its Web site, but by 2003, stores that catered to the sarcastic, vintage-obsessed youth (like Urban Outfitters) had begun marketing their shirts as well. "Voting Is For Old People" was born in the spring of 2003, during a late-night brainstorming session that Keddie says is the way his shirts are usually created. It was then marketed through his Web site. "We initially released it to our Web site audience in the summer of 2003, and it was a big hit. It wasn't until Urban Outfitters started carrying the shirt in early 2004 that it attracted any negative attention."Keddie admits that the outcry against his product surprised him at first, despite the fact that he understood that the shirt had the potential to be offensive."The fact that it would make some uptight people uncomfortable was definitely part of the shirt's charm. The shirt can be taken to mean several things-that's why we thought it was so funny," he said. But Keddie never expected the outcry to become as loud as it did. When asked if he thought the press or mainstream America was dim for not getting the joke, Keddie replied, "I don't think it's a matter of mainstream America being exceptionally stupid-I think it has more to do with mainstream media not giving young people enough credit."To prove that young people have a lot more intelligence-and a better sense of humor-than they are given credit for, Vintage Vantage has now launched a campaign to promote both voting and their T-shirt in this election season. The company has promised to send a free "Voting Is For Old People" shirt to anyone who promises to wear the shirt to the polls on Nov. 2 and take a picture of him or herself voting while so adorned. Then voters only have to send the photo to the Web site to be displayed. The reasons for doing this are twofold: "We realized about a month ago that we might be able to take some of the negative media attention and turn it into something positive, and make some sort of positive difference in youth voter turnout," Keddie said. "Of course there's also an element of redemption-we didn't think our shirt got a fair shake the first time around."But can young people appreciate the intended irony of this T-shirt without feeling offended?"I think it's funny," Rebecca Webber '08 said. "If it was sold somewhere like Urban, I would think that the people buying it are the people who can best poke fun at themselves, and at their political preferences. I think college students, especially, who are allowed to vote, should be able to understand and appreciate [the shirt's] irony."Kyle Turner '06 is a bit more pragmatic in his approach."It's definitely not something I find offensive, but I can absolutely see why some people would be offended by it." But of seeing the promotion in practice, Turner admitted, "Seeing someone at the polls wearing that shirt would make my heart smile. It's a good way for [Vintage Vantage] to quell the fire they started, but it's also a good way for young people to show voter solidarity at the polls."And that, ultimately, is Keddie's goal for his T-shirt: "If young voters make a difference in this year's election, I think it will have a double effect-inspire more young people to get out and vote next time, and inspire politicians to take young people's concerns into account. Our shirts are definitely part of that process and we're definitely making a positive difference."In an election that has become so polarized and important, no one at Vintage Vantage wants to confuse the public about their message. The 18- to 29-year-old demographic is the second largest age group dsin the country, and also the most under-represented in voting participation. The bracket comprises 22 percent of eligible voters, but according to the U.S. Census Bureau, only 36 percent of that group actually voted in 2000. Keddie is working to change that, through his shirts and also through himself. "Of course I'm voting!" he said. "The whole Vintage Vantage crew will be out at the polls, wearing the shirts and taking pictures.
(10/12/04 4:00am)
Knowing that the Elections Commissioners would likely have their opinion of the recent Union Judiciary case in the Justice this week, I thought that it would be good to hear the opposition as well.The Elections Commissioners has said that the Secretary of the Union is empowered to resolve any and all election disputes - which is what the constitution says. Of course, the constitution doesn't go into how he or she is empowered to resolve those disputes. Is he or she empowered to pay someone half of the union activities fee to solve their dispute? Is he or she allowed to offer them alternative positions (possibly of his making) in the Union? Is this power to resolve conflicts limitless?Of course it isn't and I would hope that no one would argue that it is. Mr Silverman (the Union Secretary) as well as Mr Cahn (an Elections Commissioner) acted in good faith in their agreement that was overturned by this UJ case. They decertified someone who was certified as Senator for Grad Quad by the Secretary after questions about the way that mandates were used in the elections were questioned. They didn't try to create an agreement that was beyond their power.The big question now is, when does the Secretary lose the ability to decertify candidates? Can he or she decide to decertify a candidate mid-way through the semester? That would be ridiculous, but if you take the point of view that the Elections Commissioners presented to the UJ, the Secretary can do ANYTHING to solve disputes - and so this would be well within his power.I have talked to Mr Braver, Senator for East Quad, and he believes that you aren't a senator until you are sworn in by the President of the Union and that, until then, the Secretary has the ability to decertify people's positions. That's reasonable, but as Marc Samburg (Associate Justice for the Union Judiciary) pointed out, the swearing in is simply a formality. This is highly debatable and I'm not going to try to argue it because I don't feel that there are strong arguments on either side.Some people think that the UJ has overstepped its power with this decision. It hasn't. They made a decision as to when someone became a senator and unless you think that the Secretary is allowed to do ANYTHING to resolve election disputes, it is within the UJ's jurisdiction to make that decision. Of course, if the Secretary is allowed to do anything, he or she could easily declare him or herself Dictator of the Union and pick whomever he or she wanted to win the election. There are limits to what the Secretary can do to solve elections disputes and nowhere in the constitution does it give him or her limitless power when resolving elections disputes.Sean Patrick HoganClass of 2007Clerk of the Union Judiciary
(10/05/04 4:00am)
A settlement over allegations of unfair elections filed by Andrei Khots '05 and Sarah Farhadian '07 against the Union Elections Commission was reached Saturday afternoon shortly before a scheduled Union Judiciary hearing.Farhadian was the candidate who lost the East Quad election in the final round after receiving a majority of votes in the primary round.The settlement appeased the plantiffs' main complaint that because those who won in the Village, Ridgewood and Grad Quads did not receive a mandate, another round should have been run with the option to vote for each leading candidate or to abstain on the ballot. Khots said a mandate indicates a candidate receiving over 50 percent of votes, as occurred in the North Quad election. The settlement stipulates new elections for the three quads will occur within ten academic days.Elections Commissioner and Class of 2007 Senator Albert Cahn said that precedent allows for large discretion in determining mandates. He said while Khots and Farhadian made a valid complaint in this matter, the scope of injury was negligible and elections for the three quads should not need to occur again."It has been the practice of the Union Judiciary to find that when all candidates are equally disadvantaged with an issue in an election, that election shall stand as valid," Cahn said.Khots said Miriam Sievers '06, who won the Village election as a write-in candidate, for instance, received four out of a possible 26 votes; he subtracted three abstentions from the tally. He said she won approximately 15 percent of the vote to beat the number of abstentions, which qualifies candidates to advance into another round. But he said this was not over half of the electorate.According to Khots, it was also wrong to allow a graduate student to vote in the Village election because the constitution states only undergraduates may cast a ballot in Union elections. In such a close race, he said this one vote carried more weight and could have swayed the election."This is just wrong," Khots said. "It is specifically stated that only undergraduates can vote to elect their representatives."Khots also blamed the Elections Commission for not having a link to vote for write-in candidates for the Village, Ridgewood and Grad Quad balloting system until midway through the election. He said the polls opened at noon on Sept. 24, but the link to vote did not appear until nine hours later."There is an obligation to rerun this election," Khots said. "Voters were disenfranchised because they did not think they were able to vote."Cahn said that while not having the link for the three quads contributed to possible lower voter turnout, it was still possible to cast a ballot. He said students could have selected additional positions on the balloting system, offering clear instructions on how to vote for their quad."Some students probably did not vote because of the confusion," Cahn said. "But some students still found the full elections page with all of the open positions."Since the Elections Commission originally declared candidates who received the most votes in these quads as winners, Khots said it did not follow suit for there to be a second round in East Quad, where Farhadian won the most votes in the primary round but lost in the final. Khots said it made sense for Farhadian and Aaron Braver '07, the candidate who came in second in the East Quad primaries, to advance to the finals. But he said the Elections Commission did not provide a reason as to why Sean Patrick Hogan '07, who also won more votes than the number of abstentions, also did not advance to the final round. Khots said Farhadian beat her two other opponents with the highest number of votes and could have been declared the winner had the Elections Commissioners set in advance the percentage of votes required to win an election in the first round."The constitution only states you must have the highest number of votes in an election to win," Khots said. But this complaint was not appeased because of the 1999 Union Judiciary case Schapira v. Peck, which stipulates that the function of the primary round is to narrow the number of candidates to twice the number of positions in contention. For instance, if two open spots for the same title were in contention, there would be four candidates in the final round."The function of the final elections is to ensure that one candidate will receive a mandate," part of the case summary states. "In order for this to hold true, the final ballot should include the top two vote-getters [both declared and write-in candidates] such that the ballot contains twice the number of available positions, as well as the abstention option [where one position is at stake]."The settlement also states that Khots and Farhadian will be appointed to the Presidential Balloting and Voting task force to decide the best way to help ensure fair elections.According to this clause, Khots and Farhadian will also have "broad discretion in deciding how to apply the power and authority of the executive branch to overcome the systematic defects and deficiencies of the Brandeis Student Union election procedure."Cahn said appointing Khots and Farhadian to the task force was the most effective and efficient way of reaching a settlement. "I believe Farhadian has a legitimate desire to improve the efficiency, advocacy and legitimacy of future Union elections," Cahn said.Editor's Note: Igor Pedan '05, the chief justice of the Union Judiciary, is also an associate editor of the Justice.
(09/14/04 4:00am)
Given its namesake, one would assume Brandeis University would conduct as many programs as possible with the highest levels of equity and justice. The case of student judicial hearings conducted by the University Board on Student Conduct (UBSC) should be very sensitive to this notion.Previously, students appearing before the UBSC were permitted to have advisers to ensure trials, often revolving around infractions of academic and residential codes, were conducted in a fair and judicious manner. Often, defendants and plaintiffs alike used advisers from the Office of Judicial and Academic Advocacy (OJAA), a group of students committed to offering counsel to students on trial.Advisers could question witnesses and give statements before the board with the instruction of their clients. This feature of student trials was not only uncommon among colleges; it was a strong example of social justice, an ideal this university holds so dear to its cosmetic appearance.Sean McGuirk, the UBSC administrator, suggests advisers were a time-consuming nuisance in the past. But revisions in the "Rights and Responsibilities" handbook have altered the parameters of legal counsel before the board. Now, students may only retain "passive advisers" that can neither vocally advocate nor question witnesses. By restricting advisers to only passing notes or whispering in ears, the University has weakened students' judicial rights and made the OJAA a legally impotent organization.There shouldn't be a fear of Mr. McGuirk and a vengeful UBSC handing down draconian sentences left and right, but prohibiting students from retaining active counsel sends the wrong message. For a student confident enough to defend himself, this is not a particularly fearsome situation, but for the rest of us, it could be.Justin Gelfand '05 and Josh Sugarman '05 founded the OJAA not to impede the judicial process, but to secure fairness and impartiality in UBSC proceedings. Mr. Sugarman spent much time pouring over charges to help his fellow students in order to give them a fair shake during trial, but can only do that now through a short whisper or scribbled note. The UBSC is an important body, and students must be held accountable for their infractions of University regulations, but not without a fair hearing. And if that process includes active counsel from another student, the University should be cooperative. Now, our system of student judicial action mirrors those of other schools. Though Brandeis once had a more unique system, it appears that vanity has prevailed over justice.
(05/25/04 4:00am)
Eerie swelling music. A pounding thunderstorm. "It's alive!" screams Dr. Frankenstein as lightning shatters the air. For a moment, one feels as if she is watching a 1920's style horror film, an effect solidified by director Steven Sommers' choice to shoot this sequence in black and white. Van Helsing tries to open with an homage to classic horror, yet fails miserably, making the audience squirm. Gabriel Van Helsing (Hugh Jackman, X-Men), wearing an Indiana Jones-like hat, is our mysterious, powerful hero. Slaying storybook terrors, such as Dr. Jekyll/Mr. Hyde seems to be his forte. Jackman plays the reluctant, misunderstood killer, whose battle is with evil, even though the world views him as a murderer. Employed by an underground Vatican operation (Oe la James Bond) that send him on missions even Sean Connery would be jealous of, Van Helsing's job is to rid the world of things that go bump in the night. The appropriately named "Gabriel" is sent on his latest task; to eliminate the immortal Dracula (Richard Roxburgh, Moulin Rouge) from a small, fearful, Transylvanian town before Dracula can wipe out the remaining heirs to an ancient, aristocratic family. And of course, the last daughter, Anna (Kate Beckinsale, Pearl Harbor), is sexy, stubborn and strong. A story of this clichd nature requires the hero to fall in love with his rescuee. With a docile monk (David Wenham, Lord of the Rings) in tow, Van Helsing takes his testosterone to Transylvania to save the city, get the girl and discover Dracula's secret.This typical big-budget extravaganza spent its money wisely on the special effects. In particular, the transformation of Dracula's brides, from seductive temptresses to shrieking vampires is quite impressive. Their faces are stretched fantastically, using some form of CGI, to allow these ladies to bare their pointy teeth and hiss all the louder. The acting leaves a lot to be desired, but one is so immersed in the graphics that the bad line delivery is almost (but not entirely) overlooked. Each fight scene is also carefully constructed with computer graphics, making them interesting to observe. However, the warriors are too one-dimensional for the audience to root for either the "good" guy or the "bad" guy, creating a great disconnect. The characters in Van Helsing are decidedly bizarre. Anna is a curious woman, landing somewhere between a dominatrix and a drag queen. She desperately wants to dominate something, an impression highlighted by many shots of her standing with her legs splayed, or wielding a heavy weapon, with a grimace upon her face. Van Helsing is attracted to her, yet there is absolutely no chemistry between the pair, making their eventual and expected kiss entirely unromantic. Anna is lonely and the audience should sympathize with her; she has built up defenses to control the immense pain she has suffered. The poor girl lost all her family and is stuck in a depressing, dirty town, with the constant threat of being carried off by a vampire. Yet some of her actions are erratic, leading the audience to be puzzled and slightly annoyed by her behavior. Dracula, however, seems to be just having fun. Roxburgh tries to make the character somewhat perverted and sexually repressed. This element of his personality does come out during his interactions with his brides and Anna. But overall, Dracula is a typical, power-hungry villain. It seems that, because Roxburgh often plays the villain, he has finally resigned himself to this typecasting, and has decided to enjoy and exploit it.Van Helsing is occasionally embarrassingly bad to watch. The music is overdone to the point of being hilarious, the plot never seems to end and some of the lines are so cheesy you want to eat them with crackers. This torturous 132-minute film would have benefited from far better editing and a new soundtrack. But seeing as the hot weather is coming, if one wants to escape into air conditioning for a good long time, this film is an excuse to sit in a comfortable seat, sip Diet Coke and bask in the cool air. Just remember to bring a pair of earplugs.
(05/25/04 4:00am)
In Troy, the greatest war of antiquity is reduced from a 10-year slog to a stylized expedition that ends in a fortnight. With constant deviations from the Iliad, which director Wolfgang Petersen (Air Force One) flimsily claims as a source, and a few cosmetic errors, this "epic"-a label suggested by its glut of publicity-struggles to meet Homeric proportions but still manages to deliver satisfying portions of bloody conquest and cinematic beauty.Visual accomplishments aside, Petersen's Trojan War is also laden with chest-thumping politicos, preening warriors and mindless soliloquies. When the Greeks and Trojans aren't hacking each other to pieces, which they fortunately spend much of the film doing, they are mired in addressing each other in soporific pleas and hackneyed battle cries. David Benioff's (25th Hour) script is heavy on the dialogue, but light on substance.The impetus for the Trojan War is, of course, the Trojan prince Paris' seduction of Helen, the stunning wife of the Spartan king Menelaus. Summoned by Agamemnon, Menelaus' brother and the king of Mycenae, an alliance of Greek states gather their armies and sail for Troy.Cinematically, these details are captured well, but they are not The Iliad, which focuses on the rivalry between Achilles, the greatest warrior ever, and Hector, the other prince of Troy, and hardly a slouch in battle himself.The film doesn't fail to highlight the bulk of The Iliad; much screen time is spent on Brad Pitt (Ocean's Eleven) as Achilles and Eric Bana (Hulk) as Hector. Pitt, affecting a bizarre half-Oklahoman, half-Mediterranean accent, presents Achilles as a godlike warrior wholly consumed by his celebrity. While appropriate to the original poem, Achilles' infinite egoism tires on film.What Troy does portray effectively are several of Achilles' subplots. There is no shortage of his dissatisfaction with Agamemnon, or his closeness to Patroclus (Garret Hedlund), although Homer's faithful will find that relationship altered for the viewing masses. In the text, Patroclus is Achilles' closest friend, tent-mate and possibly more; here they are cousins and Achilles' tent is seldom bereft of concubines.Bana makes Hector a convincing tragic warrior, and the most respectable character in the entire film. Prescient of the impending battle and not entirely confident in his country's ability to defend itself, Bana's Hector exemplifies battlefield duty, loyalty and bravery.Paris, on the other hand, is a cosmopolitan wimp. Orlando Bloom (The Lord of the Rings), formerly a bow-wielding elf with gifted foresight, is in Troy saddled with the inability to handle a sword and a penchant for absurd foreign policy speeches to the Trojan cabinet. Always by his side is Helen, played by the German bombshell Diane Kruger. She is stunning, but has so little to say in this movie that she is often emotionally distant eye candy. And although she is correctly a blonde, Kruger sometimes appears so Nordic, one might suspect the face that launched a thousand ships unleashed a horde of U-boats instead of triremes. Brendan Gleeson (Cold Mountain) is convincing in making Menelaus a jealous, raging buffoon. But the biggest fool in Troy is Agamemnon, played skillfully by Brian Cox (Adaptation). While it is Menelaus who demands the fight with Troy, it is Agamemnon who has assembled the other city-states-an Argive coalition of the willing. And like other alliances of similar billing, Agamemnon's is tenuous.Agamemnon's peninsular union is made complete with Odysseus. Sean Bean, another former member of Peter Jackson's fellowship has a small but refreshing role. He is also the most level-headed of the Greek kings; he is less Odysseus the great warrior and more Odysseus the foreign policy moderate set against Agamemnon the neocon.The more youthful characters are in top form, the blood hardly stops flowing, the battles are intense and the wooden horse doesn't fail to impress. But when the action slows down, Troy slows under the weight of droning monologues and tedious war-planning scenes. The conversion from the Iliad (and parts of the Aeneid) is rough, and the acting, with a few exceptions, is rather stodgy. Petersen knows how to make a good popcorn action flick, but it is hardly an epic worthy of Homer.
(05/25/04 4:00am)
One reason students look forward to going to Shapiro Campus Center during the finals period is the Midnight Buffet, held each semester before the start of exams. This semester, the Midnight Buffet went tropical with inflatable palm trees and totem poles, along with a slew of streamers. There was certainly no shortage on the variety of food offered this semester. Pizza was served, along with traditional buffet favorites like Lizzy's sundaes and Dunkin' Donuts. There were bagels and fresh fruit for those who preferred to eat healthy and cotton candy and popcorn for those who love carnival-style snacks. Despite the diversity of food, students were upset by how quickly most of the snacks ran out and were also frustrated by the long lines and dense crowds. At the buffet, students were entertained by The State, comprised of Aron Glennon '04 and his bandmates Bill Lord, Sean Philbrick and Kyle Needham. Coming off their April performance at Madison Square Garden in the New York International Music Festival, The State performed original rocks songs that were well-suited to the lively atmosphere of the Midnight Buffet. The group's stirring sound on songs such as "The Afternoon" and "Track #3" made The State a pleasure to listen to. The great musical chemistry between band members helped improve the overall quality of their performance on such songs as "Ill at Ease." The group also performed some popular covers such as Radiohead's "Karma Police" and Travis' "Hit Me Baby," based on the Britney Spears song. The State is currently in talks with major music labels, which hopefully will result in a well-deserved record deal for the group. Unfortunately, the lyrics to almost all of The State's songs were impossible to hear due to the immense amount of noise in Shapiro. The WBRS sound system also did not appear to be adequate to accommodate the sound the band produced. While the State put on an entertaining show, the chaotic environment of Midnight Buffet did not give students the opportunity to hear how good the group really is. Overall, the Midnight Buffet this semester was a disappointment, with issues ranging from how quickly the food ran out to the space problems to sound issues with the performing group.
(04/27/04 4:00am)
Among the talented ranks of student performers on campus, sits the largely unrecognized lead singer and guitarist of The State, Aron Glennon '04. Along with his bandmates, Glennon is working hard to establish The State in the local rock scene, and on a national level in the near future. As one of 100 bands from around the world picked to perform at the esteemed International New York Music Festival at Madison Square Garden, he will hopefully have a chance to do just that.Hailing from a small town in New Hampshire, Glennon formed the band with his high school buddies Kyle Needham (guitar and keyboard), Bill Lord (guitar and keyboard) and Matt Plouffe (drums). They later added bassist Sean Philbrick, whom they met and hit it off with in a bar this past July.A physics major at Brandeis, Glennon started playing music his senior year in high school, but didn't consider it a career choice until he became more passionate about music in college. "Only in college did I have the free time to play more and write more. Now it just seems like the only place I want to be."Juggling music with his studies can often be a challenge, but Glennon has managed to do it for the past four years. Before this year, he wasn't as serious about his band becoming anything more than a hobby, so he was able to work out a system of doing homework during the week, and playing music during the weekend. Lately, though music and the band have taken up much more of his time, due to the effort to advance the band entirely through self-promotion. Since the band is relatively inexperienced in regards to the music business, promotional work is difficult and time consuming. "Because we are new at it, we don't take shortcuts we now realized we should have." Luckily, Glennon is a second semester senior who has already been accepted to graduate school. Glennon has had little professional musical training. While attending the University of California at Santa Barbara before to transfering to Brandeis last year, he took one semester of voice lessons. He also took one music theory class at Brandeis. Glennon taught himself how to play guitar because he wanted to be able to play Radiohead songs. "I started learning through [Radiohead] songs and through that I developed an understanding of chord progression, melodies, harmonies and whatnot. Soon after that I started writing my own stuff," Glennon said.Since all of his bandmates remain in Hampton, N.H., Glennon must commute back and forth between Hampton and Waltham to practice. He gets around the lack of practice time by making tapes of the music he writes and allows the rest of the band to add in their respective parts.The State has performed in several local venues in New Hampshire and the Boston area, including a few appearances on campus. Although they have performed in such notable venues as Harper's Ferry in Boston, The State focuses on playing in locals bars and venues in their home state because they need to make money to produce and promote their demo.Glennon describes their music as "very Bend's era Radiohead, before they got all experimental.... it very much straight ahead rock, kind of like Brit-pop." He also says he is influenced by bands like Nirvana and The Beatles, but he mainly draws his inspiration from Radiohead because he feels that "if you want to help music progress, you have to be influenced by the people [like Radiohead] who are pushing boundaries."As with most young musicians, Glennon draws most of his inspiration for songs from his "uncanny bad luck with women." He considers music "to be an emotional release, a kind of therapy in a way." While most of his songs stem from relationships gone sour or lack thereof, he doesn't worry that he will run out of material in the future. "When I actually do find someone and get married and have kids and I am happy in that respect, my music will probably go a little more political. Only because there is always stuff that needs to change," he said.Glennon feels that his band's music has developed and matured immensely in the short time that they have been together. At the start, each member was nervous of criticism from the others and was afraid to try different things. "Now we are getting a little more comfortable in our own skins. I think we are taking more risks," Glennon said. In their earlier stages, the band's main goal was to churn out songs without regard to product. Currently, they have worked toward refining their sound. "We have done a lot of stuff with new songs-we are adding parts, we are constantly changing and its a really organic process."After hearing about the New York Music Festival, Glennon researched it further and quickly sent in a demo tape. After hearing that they were one of the few bands chosen to display their talent, Glennon and his bandmates were ecstatic. The festival, founded last year, will give the band a chance to expose themselves to record executives from major labels such as Sony Music and Virgin Records. Glennon wants The State to get a record deal, but he is not getting his hopes up. "You need to be realistic. I guess my main goal right now is just to get contacts because I am moving to New York next year to try and pursue a career [in music]," he said. Regardless, Glennon plans to continue his education in music technology at New York University next year.After gracing the stage at Madison Square Garden, The State will return to the area for a special appearance at the Midnight Buffet at Brandeis on May 3.
(04/20/04 4:00am)
With the current abundance of bands in the punk genre vying for recognition, ranging from the more radio friendly pop-punk of Blink 182 to the angst-ridden emo-punk of Taking Back Sunday, it can sometimes be difficult for a band to stand out from the masses. The two bands headlining Bentley's spring concert, Yellowcard and Something Corporate, are two prime examples of punk bands who are making a name for themselves in the industry with their talent and uniqueness.Close to 3,000 people of high school and college age squeezed into Bentley's Dana Athletic Center on a balmy Saturday night. Many were sporting a variety of punk band apparel; those who weren't eagerly milled around the table of paraphernalia to buy concert souvenirs.After two opening acts, Yellowcard took the stage amid the enthusiastic cheering of the audience. The band, based in Ventura, Calif., but originally from Jacksonville, Fla. consists of Ryan Key (vocals and guitar), Sean Mackin (violin and vocals), Ben Harper (guitar), Longinue Parsons (drums) and Alex Lewis (bass). With the inclusion of a classically-trained violinist, the band brings a fresh aspect to traditional punk sound.They began their set with an energetic song containing an up-tempo drum beat and swift guitar rhythms. The second song, "Miles Apart," maintained the aerobic pace of the previous song. Many members of the audience proceeded to sing along and dance or jump to the beat of the music, following the lead of the band as they leapt around the stage at a frenzied pace. Especially energetic was Mackin, as he bounded across the stage while playing his violin passionately. Before launching into their next song, Key proclaimed that they were "going to speed things up," and amazingly, they did. "Life of a Salesman," topped the previous songs with its rapid rhythm and proud lyrics about praising one's father. Inspired by the energy of the band, the crowd did its best to keep up. The energy of the gymnasium was so intense that a few of the audience members had to pause to use their inhalers. Other notable upbeat songs were the MTV-rotation heavy single "Ocean Avenue" and the harder sounding "Way Away," which was reminiscent of Finch.The band also mixed in a few slow songs, such as "Empty Apartment," which was more melodic and showcased an intricate guitar solo, a nice change of pace from many of the repetitious chords that characterize punk songs. Another slow song featured was the emotion-wrought "Breathing," with such lyrics as "And even though you are next to me I still feel so alone/I just can't give you anything for you to call your own." The only weakness of the band's presentation was succumbing to a few punk band stereotypes. Certain parts of the set had songs played back to back with almost the exact same rhythm, allowing only a loyal fan to notice the transition and evoking the dreaded criticism of "all their songs sound the same." Also, there was nothing distinctive about Key's voice, but fortunately he had enough talent and charisma on stage to counteract his generic punk sound. Ironically enough, Key's vocals were most impressive when Yellowcard performed a cover of a Nirvana song. But despite a few weaknesses, the band had a strong appeal and a solid sound.Like Yellowcard, Something Corporate needed no introduction-the dimming of the lights alone set the crowd into a frenzy of shrieks and swoons. Something Corporate, which also hails from Southern California, consists of Andrew McMahon (vocals, piano), Josh Partington (guitar), William Tell (guitar), Clutch (bass) and Brian Ireland (drums). Similar to Yellowcard, they also bring an unorthodox instrument to the punk genre in the form of a piano. They began their set with "Hurricane," an energetic song featuring a solid piano solo by McMahon. Not to be outdone by the previous act, Something Corporate made sure to rouse the crowd with their enthusiasm, inspiring occasional mosh pits, crowd surfing and lots of jumping. Again, the presence of loyal fans was evidenced by the amount of people singing along.They played several songs off of their first album, such as "Woke Up in a Car" and "Fall," in addition to tracks from their latest album North, including "Space," "21 and Invisible" and "Ruthless." The songs varied in tempo and tone, but each succeeded in engaging the audience. McMahon's captivating stage presence drew the listeners into the music, effectively portraying the emotion of each song. It was almost impossible not to be mesmerized by his performance. His impressive piano playing skills were reminiscent of the fervent stylings of Ben Folds.Unfortunately, the venue and the weather were not conducive to the number of people present, resulting in 10 fans being injured and taken to the hospital. Also, several people from the surrounding area phoned in noise complaints, forcing local fire marshals to call for an end to the concert half-way through Something Corporate's set. To the fans' delight, the band was adamant about staying for the entire performance, McMahon exclaiming, "they will have to take me away in handcuffs." The band was able to get through a moving rendition of "Konstantine" before the authorities started to turn on the lights and dismantle the equipment. The band played on in spite of the difficulties, encouraging the audience to sing the lyrics to "If You C Jordan," because the microphone had been turned off at that point. The fact that the audience stayed and sang the song loud and defiantly under the direction of McMahon is another demonstration of the band's devoted following.Both bands were successful at connecting with the audience and were able to put on a worthwhile show, despite the adversity they faced from the local authorities. While the fire marshals may have succeeded in shutting down the show, they were not able to dampen the spirits of Something Corporate, nor the audience, as both continued to enjoy themselves to the bitter end.
(03/30/04 5:00am)
Students for Environmental Action hosted an evening at the Stein last Wednesday featuring a broad range of music, from seasoned soloists to moody guitarists, complimented by a brief comedic stint from Josh Gondelman '07.To begin, Rebecca Katz '04 took the stage accompanied only by her guitar. As the crowd sauntered in, she sang "Hold My Hand" by Hootie and the Blowfish, but had to compete with the free food that was being offered. Half the audience was paying attention to the fine performance on stage, while the other half was revelling in the bliss of free food. She followed with "Paradise," a folksy original song about a beautiful day. Semisonic's "Closing Time" came next, with "Wonderwall" by Oasis rounding out her 15 minute set.Katz had a wonderful voice and was clearly a crowd pleaser. She seemed to be a seasoned veteran to performing and displayed no nervousness, despite having no backup. Her music and voice were clear and sweet. As a brief respite from the showcase of Brandeis musicians, Gondelman '07 took center stage with his best efforts at comedy. After a bit of apprehension, he turned to the number one weapon in any comedian's arsenal: self-deprecation. The highlight of his comedic set was the "Josh doesn't get laid jokes." When his friends asked him why he doesn't just have sex already, he tells them that he is waiting for something special-consent. His timing was excellent, his humor on target and he seemed to genuinely entertain the crowd. He even had some Seinfeldesque observations, wondering how a sandwich shop could have a size medium without having a small, as medium can only exist between small and large. Gondelman gave the crowd an amusing 15 minutes, and at 10:15 it was time for a friendly battle of the bands.The Nameless Band, dubbed That Guy for the night by one particularly loud audience member, was the first band to play. The Namless Band are Jason Prapas '06 on guitar and vocals, Brian Schon '06 on drums, Ryan Pressman '06 on bass and guitar and Richard Frank '06 on saxophone.The group's original music was upbeat and very well played. After its first fast-paced song, "Quarter Past," members played their only cover of the night, "Don't Look Back in Anger" by Oasis. This bit of nostalgia was made complete with an affected English accent. Prapas sang the song well, although he did not take many risks with his vocals. "Unresolved," a song expressing the uncertainty that comes after a graduation, was The Nameless Band's most soulful effort of the night. To conclude they played "The Instrumental Experiment" and a song called "Lost at Sea." These instrumental efforts were skillful, but ran on a little bit too long.Sadly, these talented musicians lacked any stage presence. They commanded no attention and would greatly benefit from some energy on stage. Perhaps it was its members' nervousness, but The Nameless Band has nothing to be nervous about. A little energy would have gone a long way.At around 10:45, another Brandeis band, named The Aesthetic, stepped up to the plate. Consisting entirely of first-years, with Daniel Duffy on guitar, Jan Hammerquist on guitar, Jake Daniels on drums, and Jeremy Sisselman on bass. They played five songs, some of the memorable ones were "Your Favorite Country Boy" and "You Don't Have to Die." Their music was very loud and very energetic. They put on a lively show that could have been viewed at a much larger venue than The Stein.Sadly, the vocals on the songs brought down the overall quality of the music. In "You Don't Have to Die," the song was slower and the music was fantastic, but the un-synchronized vocals brought down the song. With a more flexible singer, The Aesthetic could be a premier Brandeis band. They have the presence and the skill, but unfortunately the vocals are too weak to carry this high-energy group.To conclude the evening, The State, a polished act set to perform at Madison Square Garden for the New York International Music Festival in April, brought the night to a melancholy close with a 45-minute set. Sadly, a large portion of the crowd missed a daring performance by Aron Glennon '04, along with the rest of his non-Brandeis band mates, Bill Lord, Sean Philbrick and Kyle Needham.The song names themselves give an impression of the type of music, like "A Song Sung Over," "Ill at Ease" and "The Strangest Way to Die," songs with moody overtones that were punctuated by the moving vocals of Glennon. Despite their drummer's absence, their songs struck a chord with the audience, a refreshing musical voice in the midst of hard and loud music.Rather than fashioning themselves after typical rock and roll, their music was bold in its originality. Glennon said that their music is inspired by a wide range of bands ranging from Radiohead to Lata Mangeshkar. To conclude the set, Glennon launched into a moody and decisively original version of Britney Spears' "Hit Me Baby One More Time." Perhaps a testament to the level of sophistication in the remaining crowd, this song received the most fanfare Glennon told the crowd that he needed audience participation, so the audience began clapping and singing "Oh, no, the world is gonna' end tomorrow." Perhaps this was a demonstration of The State's savvy, but this apocalyptic refrain seemed increasingly less bizarre as the crowd got more and more into it. The SEA coffeehouse was a showcase of the fine up-and-coming talent that Brandeis has to offer. In the case of The Nameless Band and The Aesthetic, the talent is readily apparent, but needs to be refined. Sadly for students, The State's final Brandeis performance was seen by too few people, and they missed the best show of the night.
(03/23/04 5:00am)
Brandeis first-years shared mixed emotions with their first housing selection experience on Sunday in the Levin Ballroom.The greatest ease of the housing lottery went to number one recipient Robyn Goldstein '07, who, with seven of her friends, took the first Rosenthal eight-person suite of the day."[When I got number one] I was shocked," Goldstein said, "I didn't expect a good number."Goldstein had planned ahead with her friends. "Me and some of my friends planned it that we would get a Rosenthal if one of us got a good number," she said.Though Goldstein had to arrive early at 9 a.m., there was no waiting. "We were out by about 9:05," she said.Others were not as fortunate. By the low teens, the wait from start to finish was already over 30 minutes."It's like waiting in a line for a ride at Universal Studios," said Jonathan Mizrahi '07, who got pulled into a Rosenthal suite with lottery number 17, courtesy of Rebecca Gedalius '07."The whole system seems to be organized chaos," David B. Weiss '07 said regarding the housing system. "It seems there ought to be a better way, but I don't know what it would be."This year, Rosenthal Quad was broken up into 11 eight-person suites. Ten other suites were also divided four and four-students choosing a four-person Rosenthal will be living with four other students whom they may not know.Gedalius and her friends managed to grab the last of the eight-person Rosenthals, forcing those with a few higher numbers to rally."We were originally hoping for an eight person Rosenthal," Kate Kosstrin '07 said. "[But] we were OK with not getting the eight, because we had two numbers low enough to get two fours in the same suite."Not everyone wanted Rosenthal though. Weiss was pulled by number 12 into a four-person castle suite. "We wanted a smaller suite, with only four people, without having to worry about sharing it with other people," he said.While Rosenthal and Castle Suites were the first to go, many singles in Castle and East were still available. Annie Rosenberg '07 took one of the last singles in Castle overlooking the courtyard.With number 247, Annie says she feels "lucky." "I wanted to be on the other side of the Castle, in tower B or C with a view of Boston," Annie said. "I am in C, with two huge windows and a sink, it's awesome. And I'm in the Castle." The new neighborhood system this year allowed students to pull in friends to another room nearby.Jenny Feinberg '07 was pulled in by Sean Hogan '07 with number 89. Hogan took a single and Feinberg took a double in East.As of 9:31 p.m., all of Rosenthal, East,and the Castle were filled, and the remaining students had to take either singles in Massell or North Quads or be placed on the housing waiting list for other options.New this year was an online update system, developed by Adam Batkin, which allowed students waiting in Usdan, or anywhere else on campus to learn what had been taken and what was still available, allowing the higher numbers to change their plans as necessary.Juniors and seniors began selecting their housing last night. As of press time, no suites in Ziv Quad, two Foster Apartments and three four-person Ridgewoods remained. There are still 82 singles left in the Village. The housing lottery stopped for the night at number 1160.
(03/02/04 5:00am)
On Tuesday, Feb. 24-henceforth known as "Grey Tuesday -300 Web sites and over 10,000 Internet users protested the recording industry and current rules of sample use by hosting and downloading full copies of hip hop DJ Danger Mouse's The Grey Album. Released in January, The Grey Album is one of several underground remix projects of rapper Jay-Z's final endeavor, The Black Album. However, it is unique from its counterparts-and most other remix projects-because it places Jay-Z's vocal tracks over beats and music taken solely from the Beatles' White Album. Because of this, Danger Mouse was issued a cease and desist order from EMI, the owner of the rights to the Beatles' recordings, also making it perhaps the most controversial remix project ever.It is unclear what The Grey Album may mean for sample-oriented music in the future, but it has certainly raised the bar. While parts of the album sound rushed and slightly awkward (Danger Mouse was worried that another DJ might beat him to the punch), The Grey Album is still an expertly-crafted tribute to both the Black and White Albums. The beats are respectful yet not entirely derivative of the original Beatles' songs, and are molded perfectly, save an exception or two, with Jay-Z's raps.While found in the middle of The Black Album, "Public Service Announcement" serves as the perfect intro here. As the gentle acoustic strumming of The Beatles' "Long Long Long" fades in, Jay-Z heralds, "Allow me to introduce myself/ my name is Hov." It is refreshingly light compared to the organ-driven Just Blaze-produced version on The Black Album, transforming a battle anthem into a descendant of 90s jazz-rap la A Tribe Called Quest.The Black Album's originally hard-hitting mission statement, "What More Can I Say?" is interestingly matched by Danger Mouse with "While My Guitar Gently Weeps." Built around the song's haunting piano intro, George Harrison's famous verses are woven between Hova's rhymes and the original R&B chorus, forging a track surprisingly appropriate for its lyrical swagger. And thankfully, Danger Mouse does not include the pompously-placed sample from the film Gladiator found in Jay-Z's original. Taking the opposite approach, a fast beat makes The Grey Album's "Encore" more urgent and anthemic than the Black version, first replacing its 60s soul flourishes with the eerie strings and "oh yeahs" of "Glass Onion." And in a moment of pure genius, Danger Mouse switches beats halfway through the song, choosing the stinging electric guitar of "Savoy Truffle."It would be hard to improve on Jay-Z's triumphant "December 4th," but Danger Mouse isn't necessarily trying. Instead, he gives it an entirely different tone, with the sparse acoustic background of "Mother Nature's Son," providing a new intimacy for Sean Carter's most intimate tale-his life's story. However, he does manage to improve on the Timbaland-produced "Dirt Off Your Shoulder," staying true to its erratic electronic beat. Taking a cut-and-paste approach, Danger Mouse dissects "Julia" almost note by note, throwing in an arbitrary syllable from John Lennon every few seconds. It is the organic equivalent of the song's original beat, still functioning as a sequel to Jay-Z's earlier hits "Can I Get A..." and "Nigga What, Nigga Who."Few albums are perfect, and Danger Mouse is sometimes plagued by The Black Album's most off-kilter beats. This is most apparent on "My 1st Song," the final track on both discs. Danger Mouse seems to overestimate its experimental nature, and his unconventional beat-using "Cry Baby Cry"-doesn't quite work. He may have avoided a similar mistake with The Black Album's "The Threat," which is notably absent on Grey.On the whole, Danger Mouse seems to capture Jay-Z's versatility well, adjusting to his various personas throughout the album. Jay-Z the Rapper stars in "99 Problems," The Grey Album's best cut. Combined with the Beatles' precursor to metal, "Helter Skelter," "99 Problems" is Hov's hardest hitting song since The Blueprint's "Takeover," finding perfection in its organized chaos. Harrison's roaring guitars crash against the screams and "ahhs" of Lennon and McCartney as J-Hova rails against music critics, radio stations, and racial profiling. But most amazingly, it is the simplistic drumming of Ringo Starr that brings the song together. Danger Mouse also shows us Jay-Z the Pop Artist, and the staccato piano of "Piggies" is appropriately whimsical for the hit single "Change Clothes," originally produced by the Neptunes. Evident of his breadth as a producer, these are already among the year's best.Danger Mouse only released 3,000 copies of The Grey Album to stores, many of which quickly made their ways to eBay for as much as $100 a copy. But even before Grey Tuesday, it was widely available on the Internet and easily found on file-sharing programs. The Grey Album may not be the best remix album ever done, but it just might be the coolest, and it will likely reshape the role of samples in underground hip hop. Danger Mouse has crafted a nearly perfect homage to Jay-Z and The Beatles. It's a shame that most executives don't think so.
(03/02/04 5:00am)
It was 11:30 p.m. and the players came into the room, focused on the task at hand. They distributed chips and dealt the cards-it was time to play poker. However, this game took place neither in a casino nor at a tournament poker table. These players, sitting casually on the floor, were gathered in a Shapiro dorm room at Brandeis.This is just one of numerous groups of on campus swept up in the poker craze. Many students said they were unsure if University rules officially outlaw playing poker with monetary wagers. Either way, plenty of Brandesians have found a way to indulge their poker fetish. "We're not allowed to gamble. I think it's is illegal," Paul Rabinovich '07 said, "but nobody really cares."Still, he noted that students who play in the first floor lounge in Reitman are cautious."There's no money [out in the open] at all during the game," Rabinovich said. "The money is always in people's pockets." That means that should administrators come in, no one will see people gambling with real money.Students at Brandeis have different levels of poker expertise and bet with various stakes. "The most I ever spend in a game is five dollars," Adam Turek-Herman '06 said. Apparently though, Turek-Herman does not always stick to his own rule. "[Adam] played two hands with a 10 dollar buy-in," chimed in Andrew Katz '06, a fellow poker player. "The first hand, he lost one dollar, and in the second, he had lost the rest of it!" Turek-Herman and Katz, together with other members of their Ridgewood Suite 8, have no set schedule for their poker games, but they said they play about three or four times a month.Some students play for complete novelty stakes. No real money was put into the 11:30 game in Shapiro, but the winner would return to his or her dorm room with a fold-out Sports Illustrated poster of Anna Kournikova in a bathing suit. In Ridgewood 8, Turek-Herman and his friends have at times played with a twist in which the loser of each bet was forced to do pushups and drink lemon juice concentrate. "Instead of wagering money, we would wager pushups," Turek-Herman said. "[After] we wagered more than 30 pushups, it became 30 pushups plus one shot of lemon juice concentrate." For some of players, the game revolves around money, but others say the important part is having a good time with friends. "I'm not a serious player," Turek-Herman said. "I play for fun."The gambling, according to Katz, only serves to increase the entertainment. "We play for money. I don't think you can play for fun if you don't play for money," he said. However, Katz made it clear that the key component is the enjoyment. "Fun is what matters."Katz said that he disagrees with those who say that gambling is a waste of money. "Some people spend ten dollars on a movie or a beer," noted Katz. "We spend it on poker. That's our entertainment." In the Shapiro room, the co-ed group of players cracked constant jokes about the coveted poster. With the first hand won, the victor cheered with a smirk, "Kournikova is coming to me!" The last round, a close competition between boyfriend and girlfriend, was humorously heated. The cheerful game is a symbol of the lighthearted side of poker here. There is, however, a more competition-orientated side to poker. "There's got to be an incentive to play," Alex Thompson '04 said. "When you reach a certain point in skill, you decide if it's worth your time, which means the stakes and the competition have to be higher."Thompson plays poker in the Foster Mods about three times a week, with varying levels of competition. "[Our games range from] people just sitting around and playing, all the way up to nine to 13 guys, or even more," Thompson said."The stakes are typically 10 dollar buy in, tournament style," he said, though "sometimes more or less, depending on how big the game gets."Thompson said that he does play for enjoyment's sake, generally with the same group of people. "A lot of it is for recreation, so we'd rather play amongst ourselves, though we do let others in, depending on the game."For players like Thompson, the emphasis of the game is on who triumphs at the end. "I never go into a game not planning on winning," says Thompson, who added, "Winning is more important to me than the money."Among existing poker variations, the most popular on campus is Texas Hold 'Em, in which each player receives two cards face down while five cards sit face up in the middle of the table to be used by all players to make winning combinations. "Texas Hold 'Em gives us more opportunities to bet in a round," according to a first-year who wished to remain anonymous, "instead of other poker games, where you only bet once or twice."Thompson's crowd chooses its poker flavor based on the competitive atmosphere on a given night. When the mood is less serious, the group does not play Hold 'Em, but instead versions "that are more conducive to a social setting," Thompson said. "Texas Hold 'Em is more competitive and cutthroat," he said.Those who like an alternative to table poker can play via the Internet at sites such as pokerstars.com, empirepoker.com or partypoker.com. These online venues have options for both monetary and non-monentary games, and for players at all levels."[Online poker] is good for when you can't find a game [elsewhere]," Nathan Kaplan '07 said.Turek-Herman, however, said he dislikes online poker. "I don't do it. I don't like being in a situation where I can't see the other person's face."His suitemates said they disagree with him, and play online regularly. Sometimes, Katz said, he and his suitemates compete in the same online tournament and "shout back and forth between [their] rooms." Online bets take multiple forms, either with money-free points given on the Web site, money paid through credit card or a direct link to one's bank account. Thompson urged caution, saying that linking one's personal bank account to a poker site "could be dangerous." Legality issues limiting regular gambling have yet to be extended to online poker, though a series of bills recently addressed the issue. According to the CATO Institute, a non-profit public policy research foundation, such legislation is unlikely to pass since many online gambling operateions are located outside the United States. Underground poker at Brandeis, though lauded by the players interviewed, is somewhat controversial and even confusing. Though the Rights and Responsibilities handbook has nothing written on gambling, Massachusetts law does declare the activity illegal. Several students declined to comment on their game play, worried that the administration would stop them from having their fun.Lori Tenser and Sean McGuirk, assistant dean of Student Life and director of the Department of Student Development and Judicial Education, respectively, were originally set to comment on Brandeis policy regarding gambling, but were unable to comment in time for this article. "Last year, we asked the Administration if we could have a poker tournament in Ziv Commons," says Thompson. He said that the permission was not granted. However, the Vietnamese Student Association held a poker tournament in the Shapiro Campus Center Atrium this semester. Surrounded by Vietnamese food and good company, Brandeis students played poker freely with permission."There were 70-plus people at the tournament this semester," according to tournament winner and Senator for Rosenthal Quad Ezra Stark '06. "We played from 7 p.m. until two in the morning."Stark won a $40 gift certificate to Best Buy after seven grueling hours of competition. "It started out with people divided into groups of ten at different tables," he said. "As time progressed and people dropped out, tables consolidated, until there was only one left."A self-proclaimed avid poker player, Stark plans to start up a Brandeis poker club with Senator-at-Large Donnie Philips '06 in the near future. "There is a high interest in poker playing here at Brandeis, so we feel we should accommodate this demand by creating a poker club," Stark said.He noted that the club could not play for money due to legality issues. "The only reason the VSA tournament was legal," Stark said, "was because it was not a cash prize, and because most of the money [to enter the tournament] went to a charity benefitting Vietnamese children."No matter what the rules may be, it is clear that poker has seeped throughout the campus. "Me and my friends could be talking about a hand from last night," commented one anonymous senior, "and someone next to us will say 'You guys play poker?' and that's how we end up getting more people to play with."But gambling on campus certainly can't be all that bad. After all, someone got to go home with a poster of Anna Kournikova.
(03/02/04 5:00am)
After a month of celebration, Thursday night's closing ceremony marked the end of Black History Month. Utilizing the theme, "How Rich is our Black Culture?" the Brandeis Black Student Organization (BBSO) decided to showcase a lesser celebrated aspect of black culture: fashion. The elegantly decorated Sherman Function Hall not only brought together members of BBSO for the event, but attracted several members of the community of varying ethnicities in support of their fellow students as well.After opening remarks from BBSO co-presidents Shalwah Evans '05 and Alana Hamlett '06, the evening commenced with the inspirational words of speaker Jimmie Davis. Currently an engineer, Davis is a graduate of Morehouse College and Georgia Tech with a Ph.D. from the University of Massachusetts-Lowell. He began his lecture by defining the word 'black' with a quote from former black activist Steven Bikko-"Black is not a matter of pigmentation. Black is a reflection of a mental attitude." Along the lines of Bikko's message, Davis went on to say how every black student in the room was here to make a difference, a change in the world. He structured his speech like a church sermon, encouraging the audience to respond to his enthusiastic questions and statements. At first, most were quiet, used to the usual manner of audience participation in a lecture, mainly listening quietly. After a lot of urging for interaction from Davis, the crowd was much more relaxed and willing to chime in with responsive remarks.His lecture focused on taking advantage of the opportunities given to black students at Brandeis. He insisted that the audience respect how many African-Americans struggled before them to pave a path for today's students. He urged students to make the most out of their time at Brandeis because not only is it a way to gain a valuable education but it is also a way to discover one's self. He stressed the importance of learning, stating it is time for black people to be known for something other than entertainment-it is time for them to be known for their intelligence as well. Davis finished his speech with a comment on the reality of existing intolerance. He encouraged students to not buy into hurtful words and rise above the prejudice instead. Davis received strong applause, and judging by the facial expressions of several crowd members, his words struck a chord with many of the students in attendance.Following Davis' lecture, Evans introduced the fashion segment of the ceremony. The fashion show was meant to display another aspect of black culture and to prove that black people can be creative and successful in any endeavor. All of the clothes modeled were created by black designers including Sean John, Enyce, Rocawear, Akweevyah Yisrael, Moshood and Akademiks. The show also featured the BBSO:RBG line, created by Evans herself. Evans explained that RBG stands for Red, Black and Green. The red represents the blood and struggle of the people, the black represents the people and the green represents the land of the people, whether the origin is Africa, Jamaica, America or any other country. Evans included her own work in the show to demonstrate "how easy it is to get creative with your own self."With lively hip hop music playing in the background, compliments of DJ Mark Brescia '04, the models began to strut down the "runway" in the middle of the function hall. The models, all members of BBSO, hammed it up for the audience, as each model flirted with another model of the opposite sex in passing. Each model received enormous support from the audience, including a few cat calls and hollers. The models sported a wide variety of vibrant and colorful clothing. The outfits ranged from trendy track suits to classy sweaters for men and chic dresses for women to traditional style African tunic-like dresses and suits. Among the outfits were a few of the BBSO designs, which featured a few colorful tops with the letters "RBG" and ribbon sewn into the shirts to give them a unique flare. Another RBG design was a khaki skirt slit in several places and held together with gold colored chains.The ceremony ended with dinner, dessert and a toast thanking everyone involved with Black History Month. The event was an appropriate end to a month celebrating the richness of black culture. BBSO was successful in bringing together members of the community along with its own club to demonstrate the obvious impact black culture has made and will continue to make in modern American society.
(02/24/04 5:00am)
Clinging to the coattails of monumental teen cult successes such as American Pie and Road Trip, comes Eurotrip, a movie shameful in its attempts at capturing the hearts and minds of adolescent movie-goers across the country. Written and directed by Jeff Schaffer (Road Trip), this movie has virtually no redeeming qualities, depending instead on its redundant exploitation of stereotypes and graphic nudity. This movie will only elicit a few cheap laughs, as it hardly stacks up to other gratuitous comedies of the same genre. Featuring a cast of relative unknowns, Eurotrip will not do for these aspiring stars what American Pie did for the likes of Jason Biggs, Chris Klein and Sean William Scott. Despite being made with the failsafe formula of other rite-of-passage teen comedies, this movie just isn't very funny. The movie comences at the high school graduation of Scott Thomas (Scott Mechlowisz), and within seconds the story tailspins into ridiculousness. Exploring every clich, the movie transfers predictably from the ruthless dumping of Scott by his girlfriend Fiona (Kristin Kruik) at graduation to a raging "kegger" celebration. This scene features a cameo by Matt Damon as 'Donny,' a rock and roll vocalist taking centerstage as he sings an ironic pop punk jingle entitled "Scotty Doesn't Know." The unoriginal plot, not surprisingly reminiscent of Schaffer's work in Road Trip, then begins to fall into place. Scott unintentionally mistakes his German pen-pal Mieke for a perverted man, and under advice from his whacky friend Cooper (Jacob Pitts), puts an end to their communication. After finding out that Mieke is in fact a woman, and a beautiful one at that, Scott decides to pursue his love and visit Mieke in Berlin. With his best friend Cooper at his side, Scott begins his makeshift adventure through Europe. Without warning, the movie thrusts head first into a world of predictable "European" behavior. Within moments of arriving in England, the two boys find themselves in a bar surrounded by crazed Manchester United football fans. The maniacal behavior and dialogue of this gang, appropriately led by "Mad Maynard" (Vinnie Jones), is unfortunately just about the most entertaining part of this flick. Jones, better known as "Bullet-Tooth Tony" from Snatch, turned in a stellar performance in his typecast role as a crazy British thug. The predictable adventures continue from the Louvre in Paris, the Red Light District in Amsterdam, and the Vatican in Rome. No possible mischief is left unturned as the group, now comprised of Scott, Cooper, and "the twins" Jenny (Michelle Trachtenberg) and Jamie (Travis Wester), traverse across Europe. Although one will have no problem sitting through this movie and being at least slightly entertained, I would give serious thought before spending any kind of money to witness this load of bunk in the theaters. The abundance of beautiful naked women in the movie, clearly aimed at securing the money of the adolescent male movie-goer, is at least partially nullified by a horrendous scene of entirely naked old men basking in their flatulent glory. Overall, Eurotrip is just a watered down version of more well thought out and better written shock-value comedy. There is virtually no legitimate content in this movie and apparently no underlying theme or lesson learned. If you see this movie in theaters, you will be setting yourself up for disappointment.
