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Administrators: Senior Survey results don't cause significant change

October 2

Every year before seniors receive their diplomas, the University asks them what they think about their college experience in the annual senior survey. The results of the senior survey, however, do not have direct implications on University policy, administrators say. Both Dean of the Colleges Charles Inouye and Dean of Student Services Paul Stanton said it would be a mistake to make significant changes based only on the results of a survey. "For example," Inouye said, "what seniors feel about their education can be very different from what alumni feel five years down the road." The survey asks graduating seniors a variety of questions in order to gather consistent data dealing with various aspects of the Tufts experience. The Senior Survey "is a very important document because it is the one source of information that we gather consistently, year to year, so we're asking the same questions over a long period of time," Inouye said. Over the years the survey has evolved considerably. The first version was administered to the class of 1984 and dealt only with their plans for the future. The current version of the survey, which was first distributed to seniors in 1986, has a much broader range of questions. Administered online this year, the survey asks the equivalent of 18 printed pages of questions dealing with student perceptions of life at Tufts. The annual senior survey helps the University determine its strengths and weaknesses. The results of these surveys have contributed to important changes around the University in the last ten years. Both construction of Dowling Hall and the Tisch Library resulted from the opinions voiced in past surveys. Stanton calls the senior survey "a USA Today approach to finding out what needs to change at Tufts." "With the senior surveys there is no lateral movement _ the only real tracking is going up and down," he said. Some of the questions on the survey are too broad to draw inferences about student satisfaction, Stanton said. The surveys do have invaluable data for determining how Tufts measures up to the schools administrators compare it to. The survey's questions are the same as senior surveys administered by other universities, so the data gathered can be used to make comparisons between Tufts' students' perceptions and those of other universities' students. "This gives us the ability to gather comparative data," Inouye said. In conjunction with other research initiatives, Stanton said the senior survey can help the Tufts administration "get underneath the surface of what's going on." Those other tracking mechanisms and research initiatives play a key role in informing the University's leaders about what needs to change at Tufts. Last spring, in order to register for classes, sophomores had to fill out a sophomore survey. A survey two years into students' careers gives the University a better framework within which to analyze the senior survey, Inouye explained. "We've started the sophomore survey so that we have a better way of tracking changes between the second and fourth year," Inouye said. Director of Institutional Research Dawn Terkla said the Freshman Orientation Survey, the Residential Life Survey and Analysis, various focus groups, and periodic alumni surveys are other ways the University researches student opinion. Tisch Library also administers surveys periodically that "give very significant data in terms of facets that need to change," Stanton said. Administrators are however, "absolutely" interested in what the senior survey has to say, especially "whether a Tufts education enhanced certain skills and abilities" of students, Inouye said One encouraging trend apparent from the survey results is that Tufts is "doing a better job of teaching our students important skills and abilities," according to Inouye. "Over the past five years," he said, "students have indicated a steady increase in how well we've helped them become critical thinkers and better writers; increased their ability to communicate orally and do research. It's a good sign." A unique aspect of the Senior Survey is its final component, which asks seniors to identify faculty members, administrators, and staffers who have "contributed significantly to [their] intellectual and/or personal development during (their) time at Tufts." Students nominate between 500 and 700 different people every year. "These are people from all over: coaches, professors, deans, dining service workers, counselors...just incredible," Terkla said. The responses say "something about diversity _ having all kinds of people available to meet the needs of all different kinds of students...That so many people are named means everyone is appealing to somebody," Inouye said.

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News

Progressive band entertains students

October 2

Doug Fell Down exploded onto the forty-strong crowd at Oxfam caf?© last Friday night with their distinctive blend of psychedelic-laced, slightly agitated rock, and down-home country blues. Oxfam provided an intimate venue with a good heart for the band's performance. Cries of, "Do it Doug!" and the less inventive, "Doug, fall down!" were bellowed from the loyal Dougists in attendance. The students sprawled about the couches to listen to the band were also in for a treat, as the Band never hesitated to surprise their audience. One of the first surprises in store was Andrew Kambour's combined performance as the band's lead singer and drummer. "He's a real multi-tasker!" said Krissy Katzenstein, an Oxfam volunteer, as she watched Kamour wail away on a bluesy track. Kamour also plays the guitar, but it was behind the drum set that he really shone. His powerful, fast-tempo, pounding contrasted with his lyrical style, which some compared to the more aggressive, sullen, and philosophical style of the Barenaked Ladies. Kambour felt extremely positive about the show. "We played tight, the crowd was into it," he said. "This bodes well for the rest of the year." The concertgoers echoed his enthusiasm. Fellow musician senior Even Fishbein, was very impressed. "These guys ignore presumptions about how rock music is ordinarily played, or how musicians are expected to alienate themselves from the audience," Fishbein said. "The band's genuine nature is their music and personality _ it's really [expletive] appreciated." Doug Miller accompanied Kamour on guitar and Evan Chakroff assisted on the bass. Miller's guitar style exercised breadth and ingenuity ranging from slide guitar that evoked feelings of turn of the century Mississippi Delta blues, to formless free-expression, Ornette Coleman style. At one point, Miller played a solo with his feet. Chakroff on the bass, and occasionally guitar, provided the rhythmic glue that kept Doug Fell Down cohesive. He also stepped up to the microphone for a few strong tracks. All of the songs were originals, with the one brief exception being a short interlude adapted from The Beatles' Sgt. Pepper's Lonely Hearts Club Band. Halfway through the set the band called up a student named Dave, the loudest contributor to the "Doug fall down!" chant. Dave contributed an impassioned reading of a Nietzsche passage on sin to an instrumental accompaniment that began in a fashion reminiscent of the Doors, before blowing up into a climax of sheer aggression. Though the reading received varied opinions, some, like Laura Gutierrez, manager of Oxfam Caf?©, really appreciated the tone the reading set. "[The song] added a new dimension because, although I couldn't quite hear what was being said it sounded quite moralistic," she said. Not everybody, however, was "feeling it," and some had few kind words to say of the performance. "You don't have to tell me about the concept of sin," said Linus Paolantonio, a visiting student from Wesleyan."Get off the stage." Paolantonio's criticism was the exception though, as the remainder of the crowd could not get enough of what Doug Fell Down brought to Oxfam. It was clear that a majority of the patrons were acquainted with the band and were fully enjoying the music. Throughout the performance, the crowd pleaded with the band to play "Shallow Grave." When the band finally played it, the crowd erupted in applause. Kambour bellowed his lyrics for all to hear: "I get drunk but you get depressed; you thought naked lunch got undressed. I thought I was being so blessed; you traded your soul for your perfect breasts." Another crowd-pleaser was "Amsterdam," a song that is about one man's relationship struggles. His difficulties with the opposite sex lead him to burn out his brain in a certain Dutch city. "I'm chasing windmills in an absinthe haze; I'm out of guilders losing track of days. I'd fly to Rome if I could find my way; I'd stumble drunken down Parisian lanes. These women call me from behind red lights; I've been seduced by the perpetual night," the band members sang. The show also received praise for bringing students into Oxfam, a non-profit organization whose profit goes to the eradication of world hunger and starvation. John Meckler, a newly won-over fan and senior at Georgetown University, thought they were extremely progressive and "very brave to perform" their brand of innovative and sometimes experimental material. Kambour attributes the free ability to "play what (they) want" to their relative obscurity on the Tufts music scene. Perhaps Doug Fell Down will not remain obscure after a few more performances.

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News

Casus belli: a justification for war?

October 2

Why exactly is the United States about to wage war on Iraq? Is it because, as President Bush argues, Saddam Hussein is an evil-doer who tyrannizes his own people and threatens others? Is it because his regime seeks to acquire weapons of mass destruction that could be used _ directly or via proxies _ against this country and its allies? Or is it because Iraq is a state sponsor of "terrorism of global reach," the stated target of the Bush administration's current global campaign? None of these justifications is to be dismissed lightly. Saddam Hussein's is indeed a regime of extraordinary malignancy _ one that has mounted genocidal attacks on segments of Iraq's population, dropped chemical agents on Kurdish civilians causing death and gruesome deformities that continue to afflict babies born even today, tortures thousands of political prisoners, and sends dissidents abroad videotapes of their female relatives being raped by security personnel. It is also a regime that has sought to develop biological and nuclear as well as chemical weapons in the past, and will certainly continue to do so if given the chance. And it has been a major sponsor of international terrorism, including the Abu Nidal organization responsible for killing of hundreds of people, most of them citizens of neighboring Arab countries. Eliminating such a regime is evidently a worthwhile objective. But does it warrant a unilateral American invasion that may lead to high casualties, inflame the Arab world, and strain relations with other powers such as Russia, China, France, and Germany? After all, the critics point out, aren't there many vile regimes in the world? Doesn't the North Korean government, for example, brutalize its people, develop weapons of mass destruction, and sponsor international terrorism? Why focus on Iraq? Besides, they add, it is very unlikely that Saddam Hussein would target the United States under normal circumstances, because he would know that retaliation would be inevitable. Wouldn't setting out to destroy him serve only to remove any constraints on his use of whatever means are at his disposal? These are valid questions, and arguments focusing on human rights, counter-terrorism, and disarmament do not suffice to dispel them. If the United States is to shoulder the costs and dangers outlined above, it has to be for a more compelling reason. Such a reason exists. Saddam Hussein's regime is the culmination of a current in Arab political culture that has been gathering force almost since the collapse of the Ottoman Empire eight decades ago. Its growth medium is the humiliation Arabs have endured at the hands of Western powers and Israel. Domestically, it is manifested in a chauvinistic authoritarianism that subordinates every other consideration _ individual liberties, minority rights, socio-economic development _ to its ultra-nationalist cause. Externally, it evinces an aggressive militarism that aims at uniting the entire Arab world by force. It is, in short, an Arab version of fascism. Like its counterparts in Germany and Japan earlier this century, Arab fascism has the potential to mobilize great energies and achieve impressive results, at least in industrial and military terms. Like them, it is irresistibly drawn to war. If the Iraqi regime is left in place, it will find ways of acquiring a serious arsenal of weapons of mass destruction, and then it will feel confident enough to resume its aggressive behavior toward its neighbors. And at some point, whether because of a misstep analogous to Pearl Harbor or Hitler's invasion of Russia, or whether because a more incremental military expansion finally proves intolerable to the United States and other actors, an all-out conflict utilizing all the weapons at hand will become inevitable. Although it will end as World War II ended, with a defeat of fascism, millions of people _ mostly Arabs but also Americans and others _ will have died in the meantime. If a war is to be fought, then, it must be in order to preempt this scenario. But neutralizing fascism in the Arab world _ healing a political culture that celebrates the likes of Saddam Hussein and the Sept 11 terrorists _ will require more than an overthrow of the Iraqi regime. It will require constructing something better in its place. If another dictator emerges to replace the current one, very little will have been gained. The United States must foster and defend a more liberal and inclusive new order that can serve as a credible model for the rest of the Arab world. The Kurds will have to be given real autonomy and protected from their internal and external enemies. The new leadership in Baghdad will have to be propped up not only with military and economic support, but also with a genuine effort to resolve the Israeli-Palestinian conflict _ that incubator of regional radicalism _ in a manner that gives as much dignity and security to Palestinians as to Israelis. In short, the United States will need to display a level of commitment and skill comparable to what it did in Germany and Japan after World War II. If it succeeds, and in the process convinces the Arabs that there can be a convergence between its interests and theirs, then the entire region can be transformed from the crucible of war, repression, and terror that it is today. If it fails _ either through a failure of nerve or because the needs and aspirations of the Iraqi and Arab peoples are not taken into account _ then a true nightmare may await us all. Malik Mufti is an associate professor in the Political Science Department.

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News

The cinematic road less traveled at HFA

October 2

Sometimes we forget that going to the movies doesn't have to mean traveling to Loews to catch the latest Hollywood blockbuster. The Harvard Film Archive, conveniently located east of the Harvard T stop on Quincy St., is one of the area's prominent venues for independent and foreign films. From little-known productions to internationally-recognized endeavors, the brand of cinema offered at the HFA is a cut above what tends to dominate the movie scene. This weekend's screenings of Songs from the Second Floor and Ten are an example of just that. Directed by Swedish director Roy Andersson, Songs from the Second Floor was awarded the Special Jury prize at Cannes in 2000. The 98-minute piece is comprised of 45 vignettes depicting the barren and unsatisfying conditions of post-industrialized Europe. A commentary on the absurdity of the changes wrought by modern society, Andersson uses various mis-en-scene and surrealist techniques to capture the series of unusual events that paralyze an ordinary Northern European town and bring the film's protagonist (Karl, played by Lar Nordh) to a heightened social awareness. As Karl burns his furniture store in order to collect the insurance money, a variety of peculiar events take place around him: an immigrant is brutally assaulted in the streets, a magician's performance turns fatal, and the city is frozen by an atrocious traffic jam. The city is subsequently consumed by the ensuing chaos. In witnessing the events around him, Karl grows increasingly aware of the havoc of modernity and realizes the difficulty in simply existing. Andersson has been called "the unknown genius of contemporary film." He brings his unique perspective and sharp eye to Songs from the Second Floor, creating an element of dark comedy within the confines of a film that tackles a multitude of pressing social issues. Andersson pursued his cinematic studies at Swedish Film Institute, where he received his degree in 1969. He has directed four other films, one of which (Giliap) was screened at the Cannes Festival in 1976. Songs from the Second Floor is the first film for which Andersson has received extensive recognition from the international film community. The HFA will also be screening Ten, an Iranian film written and directed by Abbas Kiarostami. A simple film shot solely from two different camera angles, the production examines the lives of a divorced mother the emotional turmoil she experiences at various significant junctures in her life. The plot is laid out over the course of ten individual sequences that take place behind the closed doors of the characters' car as she chauffeurs her son, her sister, an elderly woman, a streetwalker and other individuals around town. Iranian traditions and customs feature prominently in the film, creating an excellent window to the subtle inner workings of this foreign culture and the way it impacts present-day Iranian women. It is a careful examination of the social conditions of contemporary Tehran, much like Kiarostami's previous film, Taste of Cherry. In addition to individual screenings, the HFA also features various special film events. Documenta11: An Accented Cinema, which runs through Oct. 30, is a screening featuring various film and video works that were previously presented at the Documenta11 exhibition this past summer. Held every five years in Kassel, Germany, the production is an influential arts exhibition that focuses on experiences of exile and diaspora. Also running through the end of the month is Close Encounters: Murder at Harvard. Directed by Eric Stange and based on a book by celebrated historian Simon Schama, the film documents the murder, police inquiry and trial surrounding the murder of wealthy Bostonian Dr. George Parkman. The HFA calendar is constantly changing, offering a new array of unique films each week. Ticket prices range from $7 for regular screenings to $10 for special screenings, making an outing to this eclectic film venue not only engaging but affordable as well. For additional information, call (617) 495-4700 or visit the HFA website at http://harvardfilmarchive.org

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News

Intramurals: a Play-by-Play

October 2

Matt: Hello everybody. Matt Bennett here along with John Madden for this week's featured intramural football game between the Dirties and Dearborn. On our first drive, Dirty quarterback Peter, finds number 85 Dave Baumwoll on an out pattern for the touchdown. But no conversion for these heathens as the point after pass falls incomplete. Six to nothing, Dirties lead. Madden: I'm wondering, what is Peter's last name? Here's a guy whose one of your good friends, uh, lives in your suite in Wren and uhhhhh you don't even know his name! This guy's gotta seriously start thinking about his journalism skills. Matt: That's the kind of thing that happens a lot when you put vodka on your Cheerios every morning, John. First drive for Dearborn here. Dan Schrieber drops back and heaves up a long one.... PICKED OFF by number 55 Eric Fuerstein. The Dirties have the ball back. Two quick screen passes from Peter to number 24 Adam Lasker and the Dirties find the end zone once again. Another failed conversion and we have a 12-0 ballgame here. Madden: Here's a guy who likes to throw the screen pass and uhhhh.... He completes two of them, one for the touchdown! Matt: Thanks John...Dearborn's driving deep in Dirty territory. Schreiber drops back and tosses one up toward the end-zone where it is tipped and intercepted again! This time its number 76 Nimrod Hashinovsky. The Dirties are picking everything except Schrieber's nose! Madden: This guy's got a great arm! Uh, but the receiver can't haul it in and then you have the cornerback looking for the big play.... Boom! Interception. Matt: Well the Dirties couldn't convert on fourth down, giving the ball back to Dearborn with just a few minutes remaining in the half. Schreiber drives the ball down the field and makes short passes like Webster at a strip club. Then, he finds number 23 in the back of the endzone and Dearborn cuts the Dirties lead to 12-7 at the half. Let's go to Mongoose McBeefcake in New York. Mongoose: Thanks Matt, John. In the 5:15 games today, Zeta Psi defeated Ill Sauce 28-14. Quarterback Jason Brovnan told me after the game that "We feel like Jason Brovnan as a player worked the field well." The other game featured the Cubans and the Indies in a real shootout. Cuban quarterbacks Javier Perez-Giz and Matt Senko lit up the Indie defense in a 70-28 victory. Team Spam also picked up a win in a thrilling forfeit against Team Destroyer. Back to you guys. Matt: Thanks Mongoose. We are ready for the second half here. Dearborn has the ball. Schreiber lobs a deep pass to number 29 who makes a spectacular catch on a tipped ball. But then out of nowhere, Peter comes up with another Dirty interception! He runs it halfway to Cambridge setting up a touchdown pass to Hashinovsky. This time the conversion is good, and the Dirties extend their lead. Madden: You uh don't have the names of the Dearborn team do you Matt? Matt: No. Madden: Here's a play-by-play guy who uh, I mean, I was better off sitting next to Pat Summerall propped up by a coupla two by fours. Matt: Then the two teams start trading scores like two swinger couples in Penthouse Forum. Trailing 19-7 Dearborn comes right back on a touchdown scramble by Schreiber to make it a one-point game. But then its Peter and the Dirties answering back with a touchdown of their own. Dearborn counters with a long touchdown pass to number 33, and the Dirties lead is only six, 26-20. Madden: This is a great football game! The team's are making good football plays, throwing the football well, catching the football well, and uhh otherwise making every football play that you would expect a football player to make! Matt: On the next drive, however, the Dirties ended the party like TUPD when Peter hit number 25 Philip Castro for the score. Madden: Uh, Castro Matt? Doesn't he play on the Cubans? Matt: Shut up John. Chris Cole converts the extra point with a halfback pass to number 85 Dave Baumwoll and the Dirties lead 33-20 with just minutes left to play. Adam Lasker then put the cherry on top of this bacon sundae with one final interception. John, any thoughts on this victory by the Dirties today? Madden: Well, uhhh, I'm a little surprised we didn't hear more from number 84 on Dearborn. Now here's a guy who uhh is the Khalid El-Amin of cover cornerbacks. And that offense just kept the ball away from him. Matt: It was a Dirty win any way you look at it. Stay tuned next for the Reading Comprehension Questions and 'What did we learn this week?'. Reading Comprehension Questions 1. Did you ever forget somebody's last name? Somebody whose last name you really ought to know? Don't you feel like a jerk? 2. What's the deal with John Madden's eyebrows? 3. Peter. It's got a ring to it. Like Madonna or Cher, don't you think? What did we learn this week? If your football team runs the football, throws the football, catches the football, and stops the football, then you've got a lot more than a football's chance in hell of winning the football game.

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News

Coed sailing captures Hood Trophy

October 2

Last weekend, the coed sailing team raced at home capturing the Hood Trophy for the third consecutive year, while the women's team took fourth in the President's Trophy at Boston University. The Hood Trophy included 10 races per division. Seniors Pete Levesque and Caroline Hall sailed in division A and accumulated a total of 38 points, which put the team in first place. Levesque finished first in five of the ten division A races. Division B consisted of juniors AJ Crane and Kristin Tysell, senior Rob Pascal, and sophomore Rory Giffen. The team finished with a total score of 90, which put them in front of second place Boston College (97) and College of Charleston (134). The women's team at the President's Trophy finished fourth overall (41), while Harvard took first, Brown second and Dartmouth third. Squad A consisted of seniors Clare Dooley and Taylor Fallon. In the four races, they finished first once and placed in the top three twice. The team placed third along with Harvard in division A (17). In group B, sophomores Lindsay Shanholt and Katie Shuman finished second once and placed in the top five twice, en route to tying Bowdoin (24) for fifth place. Overall Tufts finished with 41 points, 11 behind first-place Harvard. Tufts made an unusual roster move over the weekend, as women's skipper AJ Crane was placed in the coed Hood's Trophy, leaving the women's team without its skipper for the President's Trophy. Looking at both teams, Legler thought that seniors Pete Levesque and Caroline Hall were the most dangerous duo. "Pete Levesque should be the College Sailor of the Year," Legler said. On the Sept. 17 polls, had the coed team ranked third, the same spot it was in last spring. Harvard stayed at number one, and Dartmouth came up from fifth to second. The Tufts women ranked fourth, up one spot from last spring. Old Dominion changed spots with St. Mary's and is now first. Brown is steady at third. Harvard has struggled in recent weeks, but cannot be counted out. "They're sort of lying low," Legler said. "They have not surfaced yet but they will." The two main skippers for Harvard, who are both All-Americans, have not competed in many significant events yet. Harvard's roster is subject to many changes as the team tries to get a feel for its new talent. With its significant depth, Harvard can afford these changes. In terms of surprise teams, Legler sees Hobart making a move to the front of the pack, as the Mid-Atlantic may be creeping up on New England teams. Georgetown is one of the dangerous Atlantic teams that could come out in the second half of the season. In discussions of disappointing teams, Old Dominion's name has come up. "They have run a little dry of talent," Legler said. Old Dominion is typically ranked much higher than their current spot in 19th place. Next week the Women's team races at the New England Women's Single handed Championship at MIT, while the Coed team travels to the Coast Guard Academic to do battle for the Danmark Trophy.

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News

Beer: it's what's for dinner

October 2

Fenway Park is known for its many unique features and traditions _ but good beer is not one of them. Those interested in beer, however, should not despair. A post (or mid-game) trip to Boston Beer Works on Brookline Street will help erase memories of another erratic Tim Wakefield pitching performance. Though great homemade beer is what defines this venue, beer alone cannot make a brewpub. Fortunately for Boston Beer Works, it also offers atmosphere and food that rises above pub fare. The brewpub is dimly lit but not to erotic levels. Unlike many despised Davis Square bars (okay, really just Orleans), Beer Works does not try to create an image for itself. It is straightforward, from the window into the brewery when you walk in the door to the simple furniture to the walls lined with growlers and beer bottles. Upfront is the non-committal bar, for those pre-gaming or testing out the singles scene _ wait, Boston has one of those? The rear dining area is flanked by the larger beer-lovers bar, the epicenter of trendy townie minglers escaping the suburbs for an evening. On a busy weekend night, the atmosphere was chill _ no flashy lights, no bad techno music, just people hanging out and enjoying the tasty beer. Leave the black Capri pants and sparkly halter tops at home. And then God said, let there be beer. We drank a little too much to count how many they had on tap, but believe us, it was a lot. The selection ran the gamut from light to dark, ambers, alts, stouts, and seasonal favorites, like Haymarket Hefeweizen and Watermelon Ale. For those with unconventional (read: bizarre) taste, the Pumpkinhead ale had a nice cinnamon flavor and an aftertaste of pumpkin. It was kind of like Thanksgiving in a glass but without the stuffing and annoying relatives. The Centennial Alt and Nine Alarm Amber were nice medium-bodied beers, though we were disappointed that Beer Works was out of the classic fall seasonal, Oktoberfest. The Back Bay IPA has a nice hoppy tint to it, though the Curly's Irish Stout was a little too bitter and not creamy enough. If you're a little more adventurous, try the Bluebeery Ale, which is served with a handful of blueberries in it. After you've had a few, it's quite entertaining to watch the carbonation make them bob up and down. Beer Works loses points for a waitstaff that was not quite sure of the difference between a lager and an ale. In a restaurant serving homemade beer, it is essential that the servers be able to offer accurate descriptions of the taste and bodies of the brews. The menu at Beer Works can be described as "fries with a flare." The menu is centered around meat with sauces (hey, it works with a brewski) but it adds interesting spices and styles of preparation. Sandwiches are your best bet if you're looking for a cheap bite, and the menu has creative offerings like the Dreaded Green Monster (pesto chicken and mozzarella) and the Napa Valley Chicken Salad Sandwich. Also excellent were the seafood and pasta dishes, probably the most unique items on the menu. The Rajun Cajun, a dish consisting of shrimp, ham, and chicken with vegetables over jasmine rice, had a distinct flavor but was not too spicy. The Southwestern Sweet Potato Ravioli is not your typical pub fare, and seafood dishes with side dishes like banana-sweet mashed potatoes made the menu distinctive. Prices were a bit high, but they were nothing compared to the $4 we had just paid for a Coke at Fenway. Though the food and beer were excellent, the waitstaff seemed to be sampling a few too many beers in that secret lounge near the bathrooms. The hostess was content to let guests hang out at the front and examine the brewing paraphernalia. Our waitress had little knowledge about the beer or the restaurant itself and seemed like she would rather be out clubbing on Lansdowne Street. We tried to ask what the special college night was, and we got the impression that it had to do with free appetizers on Wednesday nights, but it also might have had something to do with the Cosmo cover article on "85 hot things to do with your man." Though Beer Works has two other locations (Canal Street near the Fleet Center and Salem), it did not feel like a chain. The beer names are based on local people, places, and events, like the Curse of the Bambino Pale Ale. Boston Beer Works rises above your typical dimly-lit brewpub by combining gourmet beer, a varied menu, and a lively but chill atmosphere. The Red Sox may have choked this season, but the beer goes down smoothly across the street at Boston Beer Works.

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News

Seven Questions with Andy Katzenberg

October 2

Full Name: Andrew Scott Katzenberg Birthdate: April 6, 1982 Hometown: Baltimore, Md. Nickname: Dagoose Sport: IM Football and Track Zodiac Sign: Aries Favorite Jewish athlete: Ray Lewis (he's a Jew) Andy Katzenberg is making a mark in intramural football. After one touchdown catch in Tuesday's game, Katzenberg used his junior status to dominate freshman intramural soccer. This out of season track star sports a sleek 5'5'' height to complement his overworked biceps. With this specimen of an intramural football and soccer/track star at the Daily's disposal naturally, 7 questions followed. 1. Are you mad that you are so short? Only when I cant reach things in my cabinets. 2. With this recent IM success, any plans for varsity football next year? I don't know, I am still shopping myself around the league, since our kicker is black, why can't I play receiver? 3. Would you ever consider the use of stick-em like the black kid in Little Giants? How the hell else would a lil' white guy like me catch a ball. 4. With such little muscle, why do you wear underarmor (spandex) to games? Shows off my figure 5. Does your second-to last track speed help you run fly routes? Just call me lil' Jermaine Lewis >6. If you were partying in a frat, would you ever lie to a girl and tell her you were on the real football team? Any girl foolish enough to believe I was on the football team deserves to be lied to. 7. I've heard you think you are black. How many black people do you really know? (real names needed, no nicknames) Ain't black or white, I'm Semite ya heard....Lil Eric Mack, Ray Lewis, Craig (one black guy in DTD), Bubba Smith (from Police Academy)...I better stop now cause this paper can't hold the rest. _ Elliott Wiley, Jr.

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News

A step in the wrong direction

October 2

Do our government officials doubt that our founding fathers wrote the constitution in such a way that enabled it to endure conflict as well as to maintain order during peacetime? Steps taken by the Bush administration in reaction to the events of Sept. 11, 2001 not only directly defy the Bill of Rights, but also contradict and undermine the tenets of democracy itself. One of the most prominent, dangerous and self-defeating retaliations of the US government is ironically called the USA Patriot Act ("Uniting and Strengthening America by Providing Appropriate Tools Required to Intercept and Obstruct Terrorism Act"). Far from living up to its noble name, the Patriot Act blatantly denies the First Amendment to the Constitution. The First Amendment reads: "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances." The Patriot Act, however, redefines "domestic terrorism" in a way that threatens organizations engaging in civil disobedience, so that peaceful organizations like Greenpeace and Operation Rescue are suddenly categorized as "terrorist organizations." The act essentially declares civil disobedience itself illegal, thereby prohibiting the right to free speech and the right to petition the government when that free speech or petition contradicts the wishes or opinions of the administration (as petitions, by nature, do). This type of censorship by the US Government too closely resembles that of Communist Regimes; our government acts in a frighteningly hypocritical manner by denouncing Communism while passing laws so restrictive as to withhold the civil rights of the American people. The USA Patriot Act, besides broadening the definition of civil disobedience to the point of infringing on free speech, allows for the detention and deportation of individuals who provide assistance to groups not designated as terrorist organizations. This creates a serious risk that innocent individuals could be deported for innocent association with political groups that our government later chooses to regard as "terrorist organizations." So the Patriot Act not only compromises the rights of US citizens, but severely punishes non-citizens by making it possible for them to be detained without evidence of their association with a crime. The new law allows for the detention of a non-citizen based solely on the Attorney General's certification that he has "reasonable grounds to believe" that the non-citizen endangers national security. Our policies should be reexamined when the power of our Attorney General is reminiscent of the power of organizations so corrupt as the CHEKA in the former Soviet Union. The Patriot Act also directly endangers students and violates their right to privacy. According to the American Association of Collegiate Registrars and Admissions Officers, over 200 colleges and universities have disclosed private student information to the FBI, INS, and other law enforcement agencies since Sept. 11, 2001. The USA Patriot Act has nullified the 1974 Family Education Rights and Privacy Act that prohibited the disclosure of student records without student consent. The USA Patriot Act grants the US Attorney General the jurisdiction to collect personal information (including name, address, visa classification, academic status, disciplinary action or criminal involvement) about foreign students who are studying in the US. The Patriot Act becomes especially startling when viewed against the background of past wartime violations of the Constitution. The United States Government has an alarming history of threatening privacy and free speech/association in times of war; the Bush administration, rather than learning from the mistakes of its predecessors, has acted accordingly with the Wilson Administration during World War I and the Roosevelt Administration during World War II. The following examples are but a few of the many instances where the US Government has overstepped its Constitutional boundaries: Civil War: Lincoln suspends the writ of habeas corpus; innocent people wrongly imprisoned and held with no opportunity for trial. World War I: Wilson Administration organizes "American Protective League:" 250,000 citizens opening letters, tapping phones, and raiding German newspapers resulted in mob violence and lynching. Congress passes legislation declaring criticism of the war effort (and particularly of the draft) a federal crime Vietnam War: the CIA and the National Security Agency, as part of Operation CHAOS, spy on American citizens opposed to the war (including student activists) World War II: 120,000 Japanese Americans placed in "Concentration Camps" purely because of the ethnicity. (Not one Japanese American ever indicted or convicted for any crime against the United States) Evidence proves that no violation of the Constitution for the sake of promoting wartime efforts has actually helped the US to win a war. Each violation, however, has given the American people reason to doubt the sincerity of their "democratic" government, which, falsely it seems, prides itself on the preservation of civil rights. What is the difference between law and force? Pericles had a hard time answering this question when facing the Peloponnesian War, and the United States is having a hard time answering it now. Our forefathers struggled with the problem of preserving individual rights while still providing for the common good, and their grappling led to the composition of the United States Constitution. We must encourage our current leaders to trust more wholly in that Constitution, (particularly in the Bill of Rights), in order for our country to live up to its set ideals when those ideals are challenged in times of war. Jennifer Cantelmi is a freshman and a member of the Tufts chapter of the ACLU.

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News

A little poem about your life

October 2

This is a little poem about your life Education, that is, to be precise. Allow me to tell a little lay, Maybe funny and fairly gay, Of a conversation between A student who was quite keen And a professor, always shrewd, Often funny, and somewhat lewd. Pay attention to what they say And think likewise you shall someday. Our tale starts with the professor, A made up one, yet something more: "Hark! Where do you go, little young man? Why do you walk as fast as you can?" Than the good student did say: "To class, of course, out of my way!" "Do not brush me off so quickly, Even though I am old and sickly. I have a question, if I may?" "So tell me what you have to say; I have so little time to waste, Hurry old man, say it in haste!" "What is an education? Or is college a vacation?" Said the professor with a smile. The student thought only a while And did reply with confidence Albeit a slight and awkward wince: " 'Tis obvious, are you a fool, Course I know the point of school." "Pray, do tell me, I want to know, What thoughts, if any, in your head flow." "Education is for the world," So did his nascent thoughts unfurl, " ''tis of course the world of money, That's what makes my life all sunny. And 'tis to get a better job Than the rest of the unwashed mob. Silly man, you provoke laughter Education's for what's after! 'Excuse me while I go to Braker I've had enough, you trouble maker!" The sly professor did reply: "I see you want money, but why? 'Tis for a house, a car, a chair, T'impress a lady with golden hair? Perhaps you do enjoy fine things, Yet tell me the pleasure that they bring. Is money just for money's sake: The more you get, the more you make. Money may buy you a cute wife But do you think there is more to life?" "If not for money, than what for? I can't think of anything more." Replied the student with a blush, Eyes squinting and an awkward hush. "Why cause you all this strife, old man, I've given you more time than I can. I regret to say I cannot stay, Off with you, I must be on my way." Said the student while he lingered, Twisting a string round his finger. "Another question I must ask of you Responses so varied, answers so few. So linger around a bit more, Perhaps you shall see what 'tis for: A new way of life, a secret lure _ Come, let us make another tour, It may cause you toil and strife Yet in the end a better life. What is the greatest happiness, And how get you to such blessedness?" Now the student was quite surprised, All it took was a'look in the eyes. He was at first indignant _ Now leaning towards the complacent, His mind blank kn'ing not what to think, Yet from this task he could not shrink. He knew to this he must respond, Yet how live a'fish outside his pond? He can look at the land and balk, Or confront the darkness and walk. " 'Tis not money, that you have shown, Maybe this I have always known. I always thought money made life- Yet 'tis what 'thout a wife? I cannot make love to a car, Its cold, and my parts it would mar. 'tis a tough question that you pose, Beautiful and sharp as a rose," Thus spoke the student as he thought: "Surely know I not, I must be taught!" "Thus you have something in your head, Alive it is, formerly dead. You! Wake up from your mortal sleep, Now's the time the benefits to reap. My last question takes much longer, Yet already you are stronger. So let us return to the first, I'll ask again, you can't do worse," And this time with animation: "What's the point of education?" This is the charge that you shall keep, Talk again I will to you next week. Matt Holbreich has yet to declare a major.

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News

Authentic Italian dining at popular restaurant chain

October 2

Papa Razzi, located within the Cambridgeside Galleria, is a needle in the haystack of area Italian restaurants. From bakeries to high-class restaurants, Italian food is something Boston is known for. But harder to find in this town than an Italian restaurant is a good Italian meal at a restaurant chain. That's where Papa Razzi comes in. An Italian aura pervades the entire restaurant, with soft lighting, a candle upon each table, soft Italian music playing in the background, and the scent of Italy that hits you upon entering. Adding to the eatery's authentic ambiance is its design; as is the custom at Trattoria bars, the kitchen is visible from the dining area. The restaurant makes its uniqueness known from the beginning. Rather than serving a basket of typical dinner rolls to patrons while they decide what to order, Papa Razzi provides tasty focaccia bread with spicy olive oil for dipping. If the bread doesn't suit your taste, the restaurant also offers breadsticks and butter for you to snack on while you peruse the menu. Whether you're in a rush or looking to enjoy a leisurely sit-down meal, Papa Razzi's menu offers options that suit everyone's needs. If you're looking to make it a quick eat, the Ziti Pomodoro ($9.99) is ideal. Not only is the price one of the most reasonable on the menu, but the dish requires only ten minutes of preparation time. It is a simple dish of pasta with tomato sauce, topped with some fresh, grated parmesan cheese, that is delicious enough to sell for twice the price. Another bonus to the dish is that the serving size is enough for two. If you're in the mood to take your time and splurge a little, the Bistecca alla Braccia ($22.00) is an excellent choice. This sirloin steak, served with braised spinach and crispy potatoes, is prepared to perfection. It is easily one of the better steaks available in the Galleria area. Another must try dish is the pizza. There is a list of eight or so different varieties, but you absolutely cannot go wrong with the Mezzaluna ($9.99). Be prepared: this isn't your regular Domino's pizza. It isn't deep dish or even thin crust. Served with prosciutto, mozzarella, arugula, and balsamic tomatoes, Mezzaluna is a tower of these delicious ingredients. It is like nothing else you have ever seen or tasted. Despite the fabulous Mezzaluna, the pizza section is not without its hidden traps. The Californian is described as being served with fresh tomatoes, sun-dried tomatoes, goat cheese, mozzarella, and fresh basil. It sounds tasty, but you might find yourself regretting your choice. This pizza is a bit soggy, and has way too much feta cheese. It does not compare to the quality of the rest of the food available at Papa Razzi. The dessert menu is perhaps the only thing really lacking variety and flavor at this Italian eatery. There are several choices, but none are too impressive. You can choose from ice cream, canolis, cappuccino, and other simple desserts, but none really suffice. This is without a doubt the one major downside to the restaurant. After a great meal, there's no better way to cap off the experience than with a tasty dessert. Maybe this is why the meal portions are so well-sized that there's little point to leaving room for a large dessert. In addition to offering a wide variety of dishes and prices, Papa Razzi is a convenient dining option. The 80 bus, which goes down Boston Ave and then turns on to College, will get you there in 20 minutes and costs only $.75. Adding to the convenience of the trip is the added bonus of the shopping mall itself _ if you aren't ready to eat after the thirty minute trip to the restaurant, you can walk around the mall, which offers stores ranging from Victoria's Secret to Best Buy. Other locations (Brulington, Hamilton, and Newbury St.) are not as accessible but worth the trip, as each Papa Razzi maintains a unique atmosphere. The Cambridgeside locale is the most open, whereas the one on Newbury Street is more isolated. It feels almost as if you are in a wine cellar. The different atmospheres make eating at Papa Razzi a new experience every time, another characteristic distinguishing the restaurant from other typical chains. All in all, there is something for everybody at Papa Razzi, from simple pasta to extraordinary pizza to top-of-the-line steak. You can't go wrong. It is a great place for romantic outing to dazzle that special someone or simply to relax away from campus. Either way, you cannot miss with Papa Razzi.

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News

George Gershwin comes back to life in Boston

October 2

Novelist John O'Hara once said "George Gershwin died on July 11, 1937, but I don't have to believe it if I don't want to." For Gershwin lovers and new fans alike, there is no need to believe. Actor-musician Hershey Felder reincarnates the musical luminary in his one-man play about the legendary American composer in the American Repertory Theatre's production of "George Gershwin Alone." The production combines original musical pieces composed by George and his brother Ira with anecdotal monologues by Felder in the role Gershwin. This fusion of music and words resurrect Gershwin and the golden jazz era which inspired his oeuvres. From the opening of the production until its grandiose finale, Felder's Gershwin infuses the Drama Center _ the Cambridge venue where it is being performed _ with such exuberance and life that one almost forgets the actor is not the brilliant composer himself. The actor's monologues highlight important aspects of Gershwin's fascinating history, from his development of Swannee River until his creation of the immensely popular Rhapsody in Blue. Between piano pieces, Felder recounts Gershwin's humble beginnings as the son of Russian-Jewish immigrants to his eminent rise to stardom as a famed composer and musical film writer. A poignant moment during the performance is when Felder rapturously details the history of Porgy and Bess, from its creative inception until its release and subsequent commercial failure, which caused the financial ruin of the Gershwin brothers. As paradoxical as the composer, Felder is at once joyous when reminiscing about Ira Gershwin and melancholy when recalling the dismal reviews he often received for his plays and the life long headaches that would eventually lead to his death by a brain tumor. The audience learns bits of trivia about Gershwin's life, such as the detail that his inspiration for his phenomenal Rhapsody in Blue came from the chugging of a train, and his belief that his mother was a "Russian mama with a vengeance." The play ends with a rousing rendition of Rhapsody in Blue that first leaves the audience speechless at its finale, then on its feet filling the theater with thunderous applause. Felder is simply phenomenal in his portrayal of Gershwin. A pianist and actor, Felder is a native of Canada and attended McGill University. He made his concerto debut at the age of 19 with the performance of, coincidentally, Rhapsody in Blue. "George Gershwin Alone" is based on a book by Felder and is directed by Joel Zwick (My Big Fat Greek Wedding). Felder's resemblance to Gershwin is uncanny; his jet-black hair is slicked back, he sports a pinstriped suit, and his voice projects loudly and energetically into the audience. Although his singing ability is pleasant enough, it is his piano ability that steals the show. At once powerful and melodic, Felder's agile renditions of much-loved Gershwin tunes are wonderful for old fans and newcomers alike. Such a combination of raw musical ability and acting talent is seldom found in one performer. At the end of the show, Felder entertains the audience with his account of how the play came into existence. He wittingly turns up a humorous, little-known Gershwin ditty about Boston entitled Back Bay Polka and amuses the audience with its performance. He also engages the audience in a sing-a-long of popular numbers like Summertime. Although the audience was an older crowd, for whom Gershwin tunes are more nostalgia than history, younger members in the audience also appreciated Felder's attempts to unite them in appreciation of the late composer. The set for "George Gershwin Alone" consists of a minimalist reproduction of Gerswhin's 132 East 72nd apartment in New York City. The room is sparsely decorated, its main piece a grand piano situated at the center of the stage. Throughout the show, photographic images of the composer's life are projected onto the set's walls. The lighting is mellow and affords the theater an intimate feel. The ambiance is at once electric and engaging, and one feels transported to Gershwin's enchanting era of Jazz and Broadway. The American Repertory Theatre describes "George Gershwin Alone" as an "imagination with music." This aptly depicts the magically inventive one-man play about the talented composer. Felder is both charming and engaging as Gershwin, and his authentic renditions of famous Gershwin melodies are both awe-inspiring and delightful to hear. The set and lighting create an intimate and cozy atmosphere. Gershwin once said, "True music must repeat the thought and inspirations of the people and the time. My people are Americans and my time is today." Thanks to Felder's play in tribute to Gershwin, the composer's spirit and music live on today, decades after his untimely death. The production will appeal to fans new and old. "George Gershwin Alone" is playing thru October 12 at the Loeb Drama Center, 64 Brattle St in Cambridge. For tickets and information call (617) 547-8300.

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News

Location of music building causes musical chairs

October 2

The new music building project, which appeared stalled for much of last year, is moving ahead now following a decision by the University about the future of the Zeta Psi fraternity. The Zeta Psi house at 80 Professors Row will be demolished to make room for the music center. The University recently agreed with the fraternity to relocate it to 128 Professors Row. A building on that site is currently occupied by the Institute for Global Leadership, which will be torn down so that a new Zeta Psi house can be constructed, according to Vice-President of Operations John Roberto. Though members of Zeta Psi prefer their current location to the proposed site at 128 Professor's Row, some of the younger fraternity brothers are excited about having a new house, Zeta Psi President Ken Kozlow said. At least the fraternity will not just be "thrown out on the street," he said. "We're pretty bummed about having to move," Kozlow said. "There are definitely other places on campus that they could've put a new music center." Zeta Psi has retained a legal team made up primarily of the fraternity's alumni to handle most of the negotiations with the University. The current brothers, who meet twice a year with Zeta Psi alumni, have made some preliminary suggestions for the design of the new house. Tufts hopes to begin construction on the new music facility next June, but this is contingent upon receipt of $2.5 million more in gifts and pledges, according to Gary Lowe, senior director of development. The original deadline for breaking ground passed last spring. A total of $10.5 million has been raised for the project, but the University needs $13 million before it begins construction. Last month, Tufts announced that two alumni, Stephen Distler (LA '74) and his wife Roxanne Kendall (LA '75), pledged $2 million toward the project. Although moving Zeta Psi has ironed out one wrinkle in music building plans, it may start a chain reaction of displacing organizations. Tufts has not yet finalized plans to relocate the Institute for Global Leadership, which houses the Education for Public Inquiry and International Citizenship and several other academic initiatives. "We've been put on alert that this could happen at any time," the Institute's Director, Sherman Teichman said. "We are confident that the University would give us every bit of support and find us an appropriate space." The Institute's leadership is experiencing a "mixture between apprehension and anticipation" regarding the move." "The University cares deeply about what goes on here. We will do whatever the administration requires of us," he said. "We knew from the very beginning that we were tenants at will." This will not be the first time the Institute has packed up and moved across campus. Two years ago, the Institute was moved from its first location in the basement of Miller Hall to the house at 128 Professor's Row. Another move, although inconvenient, could actually benefit the Institute, which is "bursting at the seams," Teichman said. "Our space is fully utilized." The move, however, could be disruptive to the programs run by the Institute if it occurs during the year. Aside from having the largest EPIIC class ever _ close to 50 students _ the Institute has a number of other projects in progress. Teichman is also concerned about moving the building's delicate contents, including an archive of tens of thousands of files. In the construction of the music building and the new dorm, some of the University's oldest buildings will be destroyed. The Dearborn House between Zeta Psi and Metcalf Hall, which houses the Center for Academic Excellence (CAE), will be demolished, and the music building at 20 Professors Row will be destroyed when the new dorm is built. The Dearborn House was built by a professor in 1857. The current music house dates from 1854 and served as the residence for Tufts' first president, Hosea Ballou II. Zeta Psi also was Tufts' first fraternity, and the brothers have lived there since 1900. The house was built in 1868 by a Tufts professor. "The buildings have a certain significance in their relationship with the evolution of the university, [however] architecturally they have not been deemed to be historically significant," Roberto said. "The city of Somerville and the University have looked into it." While none of the properties in question are listed on the National Park Service's Register of Historic Places _ which catalogs houses deemed worthy of preservation _ virtually dozens of other houses of a comparable age in the area can be found on the Register. But because of difficulties in expanding into Medford and Somerville, "we have to look within the confines of the traditional University," Roberto said. Tufts' neighboring towns have resisted construction projects in recent years, and the University would face a political struggle if it tried to build on Boston Ave. or anywhere nearby. There has also been some opposition to the proposed size of the new music building, as some feel the design will ruin the small-town feel of the campus. The new music building will encompass 33,000 to 35,000 gross square feet, Roberto said, which is "not overwhelming in terms of overall size or in relation to its surrounding buildings." The music building will be "consistent in design in location with the university's master planning efforts," he said. The music building also must be located in the center of campus because of a stipulation by an anonymous donor who gave $4 million to the cause several years ago. When people are donating large sums of money, Kozlow said, they have leverage over where the building is placed. "That's the way private universities work; we were left with nothing we could do," he said. The University's plans for building the music facility are still not finalized, however. The building has already gone through several phases of design and development. Past construction plans have divided the building's construction into two phases, although "ideally, both phases of construction will be accomplished at the same time," Lowe said. According to McDonald, the new music building will have three floors. The third floor will contain the music library and technical facilities, including a multimedia center. The second floor will house faculty offices and classrooms, which will double as practice rooms in the evenings. The first floor will hold the Distler Recital Hall, which will seat slightly less than 300 people. The recital hall would host a large number of the Music Department's events, especially near the end of each semester. Non-departmental groups like the Beelzebubs, who have also donated funds toward the project, would be able to use the recital hall for concerts. "The President wants [the new music building], the University wants it, and the students and faculty deserve it," McDonald said. "The music department is really anxious to work in a positive way with the administration to make it happen."

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News

Barber of Seville' offers cutting-edge comedy

October 2

Though it was written nearly two centuries ago, Gioacchino Rossini's Il Barbiere di Siviglia (The Barber of Seville) remains one of the most popular titles in the pantheon of opera. And with good reason. The comedic antics of Figaro, the title character, make for some of the most memorable moments in classical culture. Figaro uses his wit throughout the opera to help Count Almaviva woo and win the heart of fair Rosina (while taking her away from the clutches of old Dr. Bartolo), creating an entangled plot filled with romance, humor, and unparalleled musical finesse. Which are just some of the many reasons why the Boston Lyric Opera (BLO) selected Il Barbiere to headline its 26th season. The production, which opened last night at the Shubert Theater and continues through Oct. 15, directly follows BLO's hugely successful "Carmen on the Common" extravaganza, which brought opera appreciation to a crowd of thousands on Boston Common. The juxtaposition of these two classic operas back-to-back will hopefully help to solidify opera's place in the Boston cultural scene. Even Figaro himself, baritone Keith Phares, acknowledges the growing popularity of opera in today's society, explaining that its rise is no accident: "Opera is trying to appeal more to the masses," he said. "They cast less on voice than they used to and more on look/personality... you generally see a lot of good looking young people in the operas." Carmen had just that, and now Il Barbiere takes the stage with an equally young yet seasoned cast. In addition to Phares, the opera stars mezzo-soprano Margaret Lattimore as Rosina, who has performed her role to great acclaim with several other companies, tenor Lawrence Brownlee as Count Almaviva (fresh from his debut at Italy's Teatro alla Scala), bass-baritone Terry Hodges as Dr. Bartolo, bass Chester Patton as Basilio, and baritone Levi Hernandez as Fiorello. Lattimore, Brownlee, and Hodges are all making their BLO debuts with this production. "It was a great set-up," Phares explained. "Beginning the season with TheBarber of Seville, people know that opera...the Carmen thing had to have helped." Though Phares has had extensive operatic experience across the country with companies such as the New York City Opera and the Opera Theatre of St. Louis, he admits to being a little nervous about making his debut performance as Figaro _ especially because all of the other cast members have previously performed their respective roles in other cities. "It's really scary," said Phares, who received his operatic training at the New England Conservatory. "There's so much expectation on this role in particular. It's a role everyone knows and if you don't do it just right it can be a disaster." But Phares says he felt better once BLO began rehearsals for Il Barbiere in early September, in part because of what he described as "good chemistry" amongst the production staff and the cast. The company generally rehearses six hours a day, three hours in the mornings and another three in the afternoons, with the singers often marking through the music so as not to strain their voices. The singers come into the rehearsal process with their parts already learned and memorized, enabling most of their energy to be devoted to character development and staging. "Psychologically it's tough because you feel like the weak link, but I came in memorized and prepared... In terms of the initial prep I've done my job," Phares said. "It's working out really well; [Figaro's] a good role for my voice. I'm very comfortable singing higher stuff." The fact that the opera's Italian stage director, Stefano Vizioli, has previously mounted this particular version of Il Barbiere all over Italy has also helped Phares come to terms with some of the challenges that come along with singing the part of Figaro. "Yeah, it's my first time but I'm in the hands of an Italian who knows what he's talking about," Phares said. "Especially because he's Italian, I trust him... he's done this a thousand times" Vizioli's influence been particularly helpful to Phares because it has allowed him to maintain much of the tradition intertwined within the role of Figaro. Phares, who began singing in high school musical theater productions, admits that he is "not totally comfortable in opera." But this has more to do with preserving integrity than with musical styling, and how he feels his own personality fits into that of the characters he plays. "I sometimes feel like I'm not doing it justice just because I didn't live in Verdi's time," Phares explained. "I feel I can bring more of myself into contemporary style." But the world of musical theater is changing, to the point where lyrical singers are often being turned away. Phares explains that opera singers at musical theater auditions have been told that "they're singing too much" and that they "need to talk more." And on the other side of the spectrum, Phares says that he finds that many people have a misconception of opera, and define anything that's completely sung _ even musicals like Les Miserables and Phantom of the Opera _ as fitting into the genre. "The way [musical theater] is evolving is it's becoming more of a pop idiom," Phares said. "That's what it's been for the people, the masses...the evolution has been geared more and more to what the people want to see; it's almost become a tourist attraction." And as opera finds its niche with the modern audience, Phares explains why he is personally drawn to the more classical genre, particularly to Mozart's comic operas _ though he admits an affinity to twentieth century pieces by composers like Benjamin Britten. "Musical theater is more often miked; it's a little more casual, and seems to be a little more spontaneous," he said. "Opera is more planned out, which sort of relaxes everyone on the production end.... And using your own voice to that sort of level _ there are few things that satisfying." Phares and the rest of the cast of BLO's Il barbiere di Siviglia will deliver just that to Boston audiences, leading off an operatic season filled with both spirited comedy and high drama. "People should realize the caliber of the singers they're getting, it's a really strong cast, Stephen Lord's a really incredible conductor," Phares said. "I think people will really enjoy the production." Boston Lyric Opera's 'Il barbiere di Siviglia' opened last night at the Shubert Theater, 256 Tremont Street, Boston, where it will play until Oct. 15. Ticket prices start at $32, with half-price student rush tickets available two hours before the show. The >Daily will feature a review of the production next week.

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News

Tufts may escape effects of slow economy

October 2

Consequences of the recent downturn in the economy have begun to reflect in budgets of colleges and universities across the country, according to recent economic statistics. Many schools, including private colleges like Tufts and Dartmouth, have been forced to cut back their budgets, even though tuition costs have risen steadily at an average rate of 4.5 percent annually. But the severity of these effects differs between schools. The economic downturn has more far-reaching effects on public universities than their private counterparts, according to Economics Chair Gilbert Metcalf. The budgets of public colleges depend heavily on state subsidies and, in times of economic turmoil, the states rarely hesitate to slash college funding. Metcalf cites the situation at the University of Massachusetts-Amherst (UMass) as an example. The university recently withdrew an expected $30 million raise for faculty because it lost some state funding. "In addition to the pay cut, I predict that UMass will raise student fees and other charges in an effort to balance their budget while claiming that they're holding the line on tuition," Gilbert said. Although tuition costs may seem static, students still pay the university more in other service charges. Executive Administrative Dean of Finance Wayne Bouchard echoed Metcalf's sentiments. He also mentioned UMass and explained that "it is extremely challenging to build and maintain a system with huge budget swings" caused by the state's lost tax income. Both Metcalf and Bouchard agreed that private institutions such as Tufts are better equipped to deal with fluctuations in the economy because of its revenue sources. "Private universities of Tufts' caliber are better insulated from economic downturns by their endowments," Metcalf said. A university's endowment allocates a fixed percentage each year to the University's budget. This amount, called the "payout rate," is based on the endowment's value over time, usually three years. Therefore, a private college's budget is better protected from shorter-term fluctuations in the stock market. Tufts' endowment is currently valued at $677 million. UMass reported an endowment of $72 million last month. "But a sustained downturn in the market, as we're currently experiencing, can cause real problems," Metcalf warned. Such problems have not yet materialized at Tufts, but Dartmouth College was forced to cut $1.6 million out of its budget this year due declines in the value of its endowment. Even if the economic situation became desperate, Bouchard said that the annual increase of Tufts' undergraduate tuition will never be more than five percent a year. At Tufts, revenue shortfalls affect expenditures, particularly financial aid, before tuition. "A weakened economy will put pressure on that discount rate and make it harder for us to attract excellent students who cannot attend Tufts without financial assistance," Metcalf said. "Pressure" was also used by Bouchard to describe the economic situation in relation to tuition costs. In the economy's current depressed state, the University is struggling with the gap between tuition revenue and budget costs, while families are finding it harder to come up with the money to pay for college. "When costs are increasing three, four, five percent a year and a family's income is flat or shrinking... this is our most immediate concern," Bouchard said. He cited the increase of financial aid expenditures as his highest priority. Like University President Larry Bacow, he has a strong desire to introduce a need-blind admissions policy at Tufts. Due to lack of funding in this current economy, however, a need-blind admissions policy is not immediately feasible, Bouchard said. A downturn in the economy also increases demand for the University's resources because many people decide to go to graduate school rather than entering the job market. "Less growth in terms of jobs means an increase in graduate study," Bouchard said. He explained that recent graduates and employed adults had decided to enroll in graduate schools so they can get higher-paying jobs. But the effect of more graduate students is not widely appreciated at Tufts because the University focuses on undergraduate education.

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News

Interim LGBT Center Director comes to Tufts

October 2

Morgan Mead has temporarily replaced Judith Brown as the director of the Lesbian, Gay, Bisexual and Transgender Center (LGBT) after the former director moved to Brown University over the summer. Mead will serve as the interim director of the Center for the next six months, until a search committee makes an offer to a permanent director. Mead is one of the candidates for the permanent post. "I'd be delighted to have the job," he said. "I've really enjoyed this month, and I've been impressed with the students and the atmosphere." The students have been equally impressed with him. "Morgan is doing a great job so far," said David Rosen, a member of the Tufts Transgender, Lesbian, Gay, Bisexual Collective (TTLGBC). "He has a lot of innovative ideas and wants to bring people into the Center who wouldn't otherwise come. It's a pleasure working with him." Mead left his position of fifteen years as dean of students and English teacher at Buckingham, Brown and Nichols (BBN) School to come to Tufts. While at BBN, he founded the school's Gay-Straight Alliance. Under his stewardship, Mead wants to make the Center more accessible. "The challenge is for students of all sorts to feel comfortable coming in," he said. "If you're questioning, or not ready to talk, or heterosexual, it might not occur to you to come in [to the Center] or you might feel apprehensive," he said. His interest in working with college students, contacts with Tufts faculty members and the fact that he knows Brown led Mead to Tufts. He also admitted that the directorship position held some personal appeal. "In this job, I advocate for students. In my last job, I represented the institution," he said. Mead was also impressed with what he considered the University's commitment to supporting the LGBT community. "The fact that Tufts cares enough about students' emotional and psychological health to invest in resources [for them] speaks to me," he said. The LGBT Center serves a dual purpose at Tufts. It produces programs for the benefit and education of the entire Tufts community. It is also a resource for the LGBT population by helping groups such as TTLGBC and offering a book and video library for student use. The Center also sponsors men's and women's groups, a graduate student group, a faculty and staff group, and confidential peer counseling. "These programs are important," Mead said. "In the past, people who struggled with being different in a very significant way _ i.e. sexual orientation _ did it alone and without resources." Mead feels that Tufts has a tolerant climate. "My sense from being introduced to people as the LGBT Center director is that... [Tufts] is very accepting." He said that many LGBT students "express enthusiasm about the atmosphere" and that "as campuses go, this seems to be a supportive one." However, Mead emphasized that while "Tufts is not a homophobic place, this is a homophobic world." Every year, there are incidents of graffiti and intolerance, and many LGBT students and faculty remain closeted. "One would hope that this would be an ideal atmosphere where people have a better shot at being themselves," he said.

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News

Golf team keeps pace with NESCAC rivals

October 2

On a windy day at Middlebury's Ralph Myhre Golf course, the Tufts golf team quickly distanced themselves from the competition at this weekend's NESCAC Championships, but tripped up on the second day of the tournament. Led by upstart freshman Dan Weinbeck, who shot a 72 on Saturday, the team amassed a 303 and a seven-stroke lead over its nearest competition on the first day. But the team stumbled on Sunday, posting a third-place score of 617, behind Middlebury (613) and Williams (614). Freshman Dan Weinbeck, who overcame difficult conditions, was a major contributor to the team's success on the first day of the NESCAC Championships. The freshman plays the number three spot on a very talented Tufts squad. "I really wasn't hitting all that long, but my short game went really well," Weinbeck said. "On the second-day I put a lot of pressure on myself; I really wanted to win the tournament. I wasn't concentrating on the right things," After shooting 72 on the first day of competition, Weinbeck fell to an 87 on the second day. "He pressed a little... he got nervous. He really wanted to win," coach Bob Sheldon said. Led by senior co-captain Elliot Barr's two-day score of 152 and 7th place individual finish, the Jumbos surpassed some expectations over the weekend. During their dramatic first day, the team enjoyed a very well-rounded performance. "At all of the other meets two or three guys played well," Weinbeck said. "[In the first round this weekend] all five guys played well. Even if we'd taken the fifth player's score, we would have been in first place." The performance gave Tufts a sizeable lead and serious pressure to maintain its top spot. "We knew that other teams were going to make a run," said Kramer. "We still only finished four strokes out of the lead. It was a nice message to send... third is respectable, but I still wanted something more." The success on the first day almost surprised the squad. The Jumbos made a run at the championship, proving they can contend with their NESCAC rivals. "I think we proved ourselves on day one," Kramer said. "We have not been in that position before, or in 10 years. We showed some inexperience." Sheldon, the coach, explained that the team is usually 20 strokes off the lead. "Our 303 was the best round since I've been here," he said. "We were tied with two guys left. Our goal was to be in the top three... we averaged a 77. This third place finish in the NESCAC was a tribute to the seniors." It wasn't the team's first impressive performance this semester. Last Thursday, the Tufts team finished in second place out of 15 teams at the ECAC Qualifier, and secured an invite to this weekend's ECAC Golf championship in New York. The squad shot a solid score of 308 at Holden Hills Country Club outside Boston to place second to Western New England. Junior Brad Hawes led the team with a 74 and Senior Arun Lamba shot a 77, his first round of college play under 80. "I'm really happy [with our performance], especially because of the hard conditions," Weinbeck said. "It gave us a lot of confidence going into the NESCAC Championships. I think we can do really well at the [ECAC] Championships." "We beat nationally-ranked teams. I wasn't the man but everyone else was," Kramer said. "That's the kind of performance that turns heads."

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News

Seniors scramble to take GRE before format changes are implemented

October 1

As of yesterday, seniors preparing for the graduate school admissions process face a reformatted Graduate Record Examinations (GRE) General Test. The exam now includes an analytical writing section and has eliminated the analytical section. The content of the test's verbal and quantitative sections remains unchanged. Until now, the test has consisted of the verbal, quantitative, and analytical sections. A separate writing assessment has been an option for the past two years. The newly-incorporated analytical writing section is identical to the writing assessment. The change comes at a time when more Tufts students, and undergraduates nationwide, are showing interest in applying to graduate schools, according to the Tufts Career Services office. Test adjustments are a result of feedback acquired over the past few years by the Educational Testing Service (ETS) about "the kinds of information that is valued in graduate admissions decisions," said Dawn Piacentino, program director in the GRE program office. ETS gathered information from graduate school deans and faculty through surveys and interviews held on various campuses, which indicated that analytical writing skills are valued in admissions decisions, according to Piacentino. The name of the segment was changed from "Writing Assessment" to "Analytical Writing" to reflect that it is not simply aimed at testing knowledge of the English language, such as grammar usage, syntax, and spelling. The segment, she said, attempts to better "provide an assessment of a person's ability to make and critique arguments," highly pertinent skills for graduate school candidates. Although many institutions approved of the standalone writing assessment, ETS found that some were hesitant to require it in addition to the general test. But because feedback about the format and contents of the writing assessment were positive, Piacentino said, the segment was not altered when added to the General Test. The writing assessment will be particularly useful when looking at international students' applications. "For somebody whose first language is not English the score is helpful because if they have trouble understanding English they don't do well" in the graduate program, said Computer Science professor Anselm Blumer, who is in charge of graduate admissions for the Computer Science department. Even in technical disciplines like computer science, "writing and communication skills are still central." Validity of an applicant's GRE results is especially important because admissions departments have no way of verifying the authenticity of personal statements, according to Tufts economics professor Yannis Ioannides, who is in charge of graduate admissions to the economics department. The new format is also a move in "a desirable direction because writing skills are very important at every level," Ioannides said. Universities have reacted positively to the changes, according to the ETS, especially in the wake of debate over the ease of cheating on entirely multiple choice tests. In China and India, the GRE Computer Science subject test was cancelled this year because of numerous reports of cheating. The test has been limited in its administration worldwide. The standard GRE test will continue to be given in India and Asia. The GRE is now given completely by computer, which many have said facilitated the cheating scandals in Asia. But, the new format allows for more testing dates to be offered and tests to be graded quicker, helping students meet varying application deadlines. But many students chose to take the test before yesterday's changeover so as to avoid the changes. There were "higher than expected test volumes up through the end of September," Piacentino said. She attributed this trend in part to the simple fact that students were more familiar with the previous version and therefore felt more comfortable taking it. "It really depends on what a person thinks about how they write," Piacentino said. "From an examinee's point of view, if I was going to take the test and I was a good writer, I may think it was to my benefit to take the new test because it would reflect my ability." But some students, such as Tufts senior Sharon Milewits, say they were more comfortable taking the strictly multiple choice test. "I felt like [the analytical multiple-choice section] would play to my strengths more than writing," said Milewits, who took the test Sept. 30 to avoid the new format. The video cameras monitoring all test takers heighten the pressure on students who might already feel uncomfortable writing the two essays required in the new section, Milewits said. "I would prefer to not have to sit down and write a whole paper but to just answer questions," she said. Some test takers have also voiced concern about the subjectivity of essays and essay scoring. "I don't really know how they are going to grade it," Milewits said.

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Nutrition school study may change dietary practices of elderly

October 1

A recent study by a Tufts nutrition school professor may shed some light on several health problems of the elderly, and the nation is taking notice. The research project is one of many conducted at the Friedman School of Nutrition Science and Policy to receive recent international media attention and work to further the school's mission of improving people's lives. In a study of 342 men and women over age 65, Dr. Bess Dawson-Hughes found that calcium and vitamin D supplements had significant positive effects on bone density among the participants who took them. Dawson-Hughes is the chief of the Calcium and Bone Metabolism Laboratory at the nutrition school. The study may have positive outcomes for the elderly, including the possibility of high protein diets as an option for older people to lose weight and the abatement of bone decay with calcium supplements. High protein diets have long been considered to have adverse effects on elderly people, causing bone loss and fractures, but in a recent news release Dawson-Hughes said that her results indicate otherwise. "Our results suggest that a higher calcium intake is going to be protective against any adverse effects of protein on bone, and may allow protein to have a positive effect." While the full effects of dietary protein on bone density are still uncertain, this study provides some evidence that low protein diets may be based on a misconception. The results suggest that calcium may in fact help the absorption of protein into the bloodstream. Bone decay is also a serious health threat for the elderly, often leading to serious injury and immobilization. If addition calcium could prevent or delay bone deterioration, it would be a major medical advancement. But the study results do not mean that people should rush to the pharmacy to buy supplements, according to Executive Associate Dean at the Friedman School David Hastings. "Nutrition is about the entire diet," Hastings said. It is better to have a balanced diet than to be constantly taking supplements, he said. The Friedman School, though physically small, makes a great deal of noise in the research community and the media in general. It accounts for a significant percentage of university media coverage, said Hastings, and is the only graduate school dedicated solely to nutrition research in North America. The main goal of the school, according to Hastings, is "to affect people's lives." Although the majority of its research takes place in Boston, the school has several field operations in Africa. The school communicates information about studies like Dr. Dawson-Hughes' through several publications. By informing physicians of new experimental developments, the school hopes to improve dietary practices and problems worldwide. The nutrition school's primary journal, Nutrition in Clinical Care, consists entirely of research done at Tufts. Researchers also have their studies published in national journals, such as The American Journal of Clinical Nutrition, in which Dawson-Hughes' research appeared. Dr. Dawson-Hughes is one of the leading researchers in her field, having focused on bone density research for the majority of her career. She received her MD from the Tufts University School of Medicine, where she is currently a professor.

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News

Twenty-ones plus a killer calf workout

October 1

Twenty-ones are an intense training method aimed at forcing the maximum amount of blood into the muscle; this gives you a better "pump," so you should be cautious delving into them. This technique can be used with various exercises, but for the sake of argument, I'll describe it in terms of standing barbell curls. Grab the bar, hands about shoulder width apart. The weight should be probably 50-60% of your usual working weight. Curl the bar all the way up, and lower it until your arms are at right angles. At this point, stop, and curl it back to the top again. Repeat this motion for seven reps. On the seventh rep, continue the motion to the bottom, then raise it only until your arms are ninety-degrees. Go through this partial motion another seven times. After the seventh rep, do seven more through the full range of motion. By using the training principle of partial motion, this exercise places a greater workload on the individual fibers of each part of the bicep (or whatever muscle you're working). As far as always doing twenty-ones at the end of a workout, it can indeed be beneficial. However, doing the same thing every workout is a quick way to plateau. Therefore, I would advise against using twenty-ones to finish up every arm workout. Save them for once or twice a month. Substitute other finishing movements for you arms in between the times when you use twenty-ones. My calves are stuck. What can I do to shock them into new growth? I looked online for a truly intense calf workout, and I came up with this one from musclemaster.com. Here it is, in a six-week program, assuming you train calves twice a week: Day 1: Warm up calves thoroughly. Get on the standing calf raise machine (or the Smith machine in Gantcher), and put about 1/3 of your normal working weight on the bar. Do 100 reps at this weight. It will burn like crazy, and at a point you won't be able to continue because of the searing pain in your calves. Rest for ten seconds or so, and continue until you reach 100. After this intense set, go over to the seated calf raise machine. Do 3 sets of 20 reps, being sure to stretch between sets (by this time, your calves may be cramping up). Day 2: The first exercise is toe-presses on the leg press machine. The rep scheme should be heavy, with rep ranges going from 20, 10, 8, to 6. As always, don't sacrifice form for weight. Make sure your form is good, or you will not gain as much benefit. Next, go to the standing calf raise (or Smith machine). Do 20 reps with moderately light weight, then go really heavy for 6 reps. Follow that with a set of 15, then a final heavy set of 8. Stretch, and finish off the workout by doing calf raises with your body weight (one leg at a time) until failure. Stretch again, to keep your muscles from seizing up. If you follow this program for the six weeks prescribed, you should see significant development in your lagging calves. My workout consists of mostly cardio, followed by about half an hour of weight training. However, a lot of times I can't get on a machine in the gym. What else can I do that is cardiovascular and would benefit me without having to wait for the treadmill or stairmaster in the gym? I see this problem in the gym frequently, but the solution is pretty simple. If the bikes/treadmills/stairmasters in the main gym are all occupied, just go into Gantcher. There are a good number of spinning cycles in there, as well as a few rowing machines. All of these machines will give you cardiovascular workouts similar in intensity to the machines in the main gym (plus, you won't have to deal with people asking you if you're going to be finished soon).

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