I never understood the joy of running before. Running, to me, was work or punishment. If you failed to listen to coach, you ran laps. For fitness testing, you ran two miles. I equated the pleasure of running to that of homework. Three years ago I could never imagine running 26.2 miles as so many did on Monday as anything more than torture.
Bad news, loyal readers: the Lush was waylaid by a nasty cold for the entirety of this weekend, forcing her to abandon plans to attend (and probably not remember) that most holy of Boston holidays - Marathon Monday.
It has been a long road for Boise's Built to Spill. While nearly all of their Pacific Northwest, grunge-pioneering counterparts have either faded into irrelevance or overdosed on heroin, the permanent trio of Doug Martsch, Scott Plouf and Brett Nelson (recently joined by touring guitarist Jim Roth) have remained relevant post-Nirvana on the strength of broken, sprawling melodies and Martsch's confounding, inspiring, utterly incomparable song writing.
Samiyah Diaz is black and Hispanic, a single mother, the daughter of immigrants and a Muslim. She is a Tufts alumna (LA '99). She is also a Republican.
A late-night fire alarm on Tuesday caused all students to evacuate Aidekman Arts Center. Instead of complaining about wasted rehearsal time, students waiting outside to reenter the building were extremely entertained: Students in Torn Ticket II's production of "Hair," TDC's "Make You Sweat" dancers, Shir Appeal a capella members and other performing arts groups broke into song and dance in the courtyard.
There's a rich tradition of alternative hip-hop musicians who defy the blueprint of the genre in appearance, style and sound. Artists like Sir Mix-A-Lot, MC Paul Barman and, most recently, Matisyahu, both audibly and visibly do not adhere to hip-hop's narrow orthodoxy.
The baseball team turned the page on a frustrating four-loss weekend series against Middlebury and buckled down to secure a 7-2 victory against UMass Dartmouth on Tuesday, improving its record to 13-11.
After our brief foray into classiness and the 19th century, Arts has come back where it belongs - the 21st century and TV of questionable quality. Once again, we find ourselves swooning at the wonder that was "Friends"; this week, we're featuring Alison Savery, doppelganger of the lovable Courteney Cox Arquette (a.k.a. Monica Geller). Too bad we didn't figure this one out earlier: We could have run a brother/sister spread with our Ross Geller lookalike, Tim Garcia (see the Feb. 16 Daily). After we talked to Alison, we started to realize that the similarities were more than skin-deep. Alison admitted to some semi-obsessive organizational tendencies, and, as an SoC choreographer, could get her big break the same way Courteney did (dancing on stage with Bruce in his "Dancing in the Dark" video, in case you've never seen five minutes of any VH1 nostalgia show).
Just over a week ago, the Boston Red Sox appeared healthy and were firing on all cylinders. But in baseball things can change in an instant, and a number of Red Sox went down with injuries last week.
(Editor's note: To highlight the absurdity of Mr. McCloone's situation, we have decided to dispense with the standard format of our interviews.)
Last night, Pearson 106 hosted three speakers who discussed the varying contexts of impending climate change in the 21st century.
"Senate is the hardest job that I've ever loved." These words are not my own, but can be heard from many members of the TCU Senate who have dedicated their time to serving the student body. Having served on senate myself since September 2003, I can attest that while charisma, leadership skills, and dedication are all essential to serving as an effective senator, experience and knowledge of the inner-workings of the TCU are of equal importance.
In today's elections, students will choose their Tufts Community Union (TCU) president for the 2006-2007 academic year. Also included on this ballot are referenda to amend the TCU Constitution and to gauge support for wind power at Tufts. These three ballot items are explored in previous Daily coverage; respectively:
WMFO 91.5 FM, Tufts' freeform student-run radio station, is stepping out of the shadows and putting on a new, fresh face.
Have you ever wondered what it was like to experience the 1960s firsthand? Torn Ticket II brings the decade to life tonight with the opening of "Hair," a spring musical that invites you to be "a visitor from another generation." Led by director Jess Fisch, a senior, and musical director Bridget Reddington, a sophomore, the cast and production staff have truly created an atmosphere to transport the audience to a bygone era and make them believe they are living in 1968 with a tribe of hippies that fight for what they believe in. Created by James Rado and Gerome Ragni with a score by Galt MacDermot, "Hair" was originally produced on Broadway in 1968. The musical chronicles the life of a tribe of hippies in contemporary New York City. The group of teenagers it follows is an appropriate example of the youth of America at the time, and their story is a social commentary on the time period that touches on issues of race, anti-war protests, free love and the drug movement. Upon their entrance to Balch, audience members will be immediately immersed in the world of "Hair." A brightly painted bus on stage, psychedelic designs on the floor, colorful lights and full-fledged vintage costumes transform the space into a 1960s hippie world. The set's central visual focus, the 1972 Volkswagen Type 2 Transporter bus, was found on craigslist and had to be cut in two before it was painted and transported to the Arena, explained technical director Jason Karp, a senior. The plotline circles around the characters of Claude (played by senior Greg Fujita), a conflicted hero who has been drafted to fight in Vietnam, Sheila (junior Stacy Davidowitz), a political activist and NYU student, and Berger (sophomore Joel Perez), the leader of the tribe. A love square emerges as unwed mother Jeanie (senior Lauren Murphy) pines away for Claude, who loves Sheila, who loves Berger, who loves everyone and no one. The show is all about believing; the characters believe in love, in the time, in a cause and in themselves as a tribe. The cast and production staff put a lot of work into creating a true tribe mentality. Throughout the play, the tribe acts as one, loving each other and working together. "Every production of 'Hair' has their own tribe name; ours is Monemali. It is documented online, and you can submit your production so people will be able to track it and go see it. It's almost like a cult," explains Davidowitz. Freshman Josh Altman, who plays a tribe member and is a soloist, explains the meaning of Monemali: "It is a phonetic synthesis of the words 'peace,' 'love,' and 'happiness' in Cherokee." Fisch encouraged her cast to collect stories from their parents' generation, bringing in clippings from her own father's college newspaper that documented protests as well as inviting a student to speak to the cast about being involved in a war protest. "We, as a tribe, had to figure out how to be in the mindset and be in the 1960s and still be able to ask ourselves what this play means now," Fisch explained. Decades after it was first written and produced, the show still has meaning today. Said Perez, "Given the social climate, it is still pretty current. We kept the script exactly how it was written; we didn't add any modern anachronisms." Fisch said that though the musical worked well at the time, "they didn't have the retrospect that we do now. We have a lens that is thirty-plus years; we can see what worked and what didn't." Said Fujita, "Our generation didn't have to experience the Vietnam era, but as a period piece, ['Hair'] does a good job of putting people into that mindset." Fisch agreed, saying that she wants the audience to be able to feel a part of the historical setting and to be "entertained and invigorated. Think about the 1960s and the notion of protest and believing in a cause." To that end, Fisch uses "groupie seats" to connect the audience with the show. This was accomplished by taking out the first row of seats in the arena and replacing them with "pillows and blankets, so [that] the audience becomes part of the tribe," explains junior Brian Smith. Davidowitz agrees with the choice of this unorthodox seating arrangement because it "breaks the fourth wall, clarifies moments, and includes the audience." Fisch describes the production as a "fun, happy, campy musical with a political edge" with "something for everyone," while Fujita encourages people to "come for the hippies and stay for the great feeling that the show gives."
We've all heard the stereotype: A college athlete with all the athletic credentials but none of the academic ones is handed an admission to play for a big-time program. And while the admissions process remains something of a mystery to those outside Bendetson Hall, Tufts Director of Athletics Bill Gehling says that Tufts and the 10 other NESCAC schools have avoided this stereotype.
The Tufts Dance Collective (TDC) aims to make you sweat tomorrow night. This year, the theme of TDC's spring show, "Make You Sweat" was chosen, in part, because the choreographers' dance is to the song of the same title (more commonly recognized as "Everybody Dance Now" by C + C Music Factory).
The modern 26.2 mile marathon race was inspired by death.
This article is the second in a four-part series on the many ramifications of Judith Miller's saga. Part I appeared in yesterday's Daily and can be accessed at www.tuftsdaily.com.
This article is the third in a four-part series on the many ramifications of Judith Miller's saga. Parts I and II appeared in Tuesday's and yesterday's issues of the Daily and can be accessed at www.tuftsdaily.com.
