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The Setonian
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Send in Mr. Sondheim

"You just made my afternoon!" theater legend Steven Sondheim exclaimed to a thrilled audience in the Balch Arena Theater on Monday. Sondheim was responding to a student's complement of his work, but the sentiment was definitely reciprocated. Sondheim is one of the most well known in the world of musical theater. He has written the music and lyrics to over 20 shows. Barbara Grossman, Chairman of the Department of Drama and Dance, introduced Mr. Sondheim as "the premier musical theater artist alive today." He wrote the lyrics for "West Side Story," and three of his shows, "Assassins," "Into the Woods," and "A Little Night Music" were recently performed by Tufts theater groups. Rather than simply lecturing, Sondheim fielded questions about his art and career, and about the theater in general. At a reception following the question and answer session, Sondheim signed autographs and took more questions. Sondheim became interested in theater as a child under the influence of neighbor Oscar Hammerstein ("Oklahoma!"). Sondheim wrote and acted during college (although he admitted freely during Monday's lecture that he was a "terrible actor"). After writing the lyrics for "West Side Story," he wrote such plays as "Gypsy," "A Funny Thing Happened on to the Forum," "Follies," and "Sweeney Todd." Although Sondheim wrote both the music and lyrics for his productions, he stated in response to a student question that he thinks of himself as a "musical dramatist." Sondheim spoke of the need to find both a "lyrical language" and a "musical language" which inform and build off each other when creating a piece of musical theater. He also stressed the importance of teamwork in his creative endeavors. "It's not inspiration, it's collaboration," he said, describing the hours of "endless discussion" that go into the creation of a show. Among the many topics he touched on, Sondheim addressed the future of American theater, which he feels lies largely in regional theater. Sondheim noted that Broadway today relies on spectacle rather than narrative or other theatrical elements that are the core of his own work. Sondheim also spoke about the difference between a theatrical production of a musical and a movie. "I have never seen a movie musical that I thought told a story well ... the stage is a poetic medium, while film is a repertory one." The techniques of storytelling used in each are therefore different, so musicals don't translate very well to the screen. Speaking candidly of his successes and failure, Sondheim said that "Today, most of 'West Side Story' makes me wince. It's just so 'written' with a capital 'W.'" He went on to stress the need to "let music underwrite the poetry" -- to do the job for it. Sondheim's lyrical style has evolved over the years, but it remains one of the strongest, most captivating aspects of his shows. When asked what appeals to her about Sondheim's work, Senior Jenn Henriksson pointed to his skill with words. "I think it's his lyrics ... I think he's brilliant," she said. "I like the way the words and the music work together." Sondheim's talk was formatted as a question and answer session. As a result, he did not focus on any particular subject area, but let the questions direct the discussion. Senior Amanda Haley appreciated the opportunity to question Mr. Sondheim freely. "It's hard to have any focus when you do question and answer, but I think it was really cool for everyone who got to ask questions." The Department of Drama and Dance presented Monday's lecture, the event was supported by the President and Trustees of Tufts College.


The Setonian
News

Postel has an unbelievable penchant for planning events

The Tisch Library is the last place you'd expect to find senior Caroline Postel -- not because she shies away from things academic (in fact, she's a math major), but because the library requires quiet. And quiet is something that Postel, who goes by Carrie, is most definitely not. "She's creative, organized -- and fantastically loud," said Postel's housemate, senior Nina Schwartz. "Her personality and enthusiasm for everything she does is nothing short of infectious," friend and sophomore Anita Sinha added. In Postel's case, "everything she does" is an awful lot. During her four years at Tufts, Postel has used the characteristics cited by Schwartz and Sinha to establish a vibrant presence. "Carrie makes me look bad," said her sister Amanda, a Tufts freshman. "We go to family events and people ask her what she is doing, and she just has lists and lists of things to say!" Postel is now the executive co-chair of Tufts Programming Board (PBoard), the umbrella organization under which all class councils, entertainment and concert boards, lecture and film series, and the Tufts University Spirit Coalition function. As a freshman, Postel served as vice president of academic programming for the Freshman Class Council and coordinated a hypnotist show. During her time on the Sophomore Class Council, she helped to organize an a cappella concert. In her current capacity as co-chair of PBoard, Postel has planned events like the Nighttime Quad Reception and the campus winter carnival, A Tid Bit Nippy. Postel also served as vice president of the Tufts Culture Festival 2004, which took place at the campus center on April 3 and featured performances and food from on-campus culture groups. "I have never met a person who is so good at combining efficiency with personality," said sophomore and Tufts Community Union (TCU) Senator David Baumwoll, who served as president of the Culture Festival. "I don't know whether to shake her hand or kiss her." Through organizing such events for the Tufts community, Postel realized her love for coordinating events. "I love doing project-oriented things," she said. "Making lists and checking things off makes me feel so good." Postel's varied PBoard responsibilities have prepared her well for pursuing her career goal: "My dream is to plan the Grammys," she said. Though math and the Grammy Awards may not seem immediately compatible, Postel said that her major remains useful in her future plans of becoming an event coordinator. "The way my mind works, I'm really good at solving problems," she said. "When planning events, things that you did not expect to happen will happen, and I'm really good at dealing with different variables." In order to fulfill her dream, Postel is trying to find a job as corporate event planner. She has already talked to the vice president of corporate relations at Viacom, which organizes the Grammys and other musical events. "[A job at] Viacom would be incredible!" Postel said. Math and event planning aren't Postel's only passions. Postel, who grew up in Mamaroneck, New York, a small part of Westchester that's close to trendy New York City, has always had an affinity for fashion. "Some people use music, but Carrie expresses herself through her clothes," sister Amanda said. Postel's friends agree with her. "When it comes to fashion, Carrie is queen of it all," sophomore Cho-Yau Ling said. "Her style is beautiful and elegant, but simple. And when anyone takes a look at her color coordinated closet, beware: you'll realize you have a professional at your hands." In addition to being a fashionable PBoard co-chair and mathematician, Postel works with Leadership Series, which operates through the Office of Student Activities. She organized the Emerging Leaders Conference through Leadership Series, and plans to organize other leadership oriented events in the future. Although the Grammys would be the perfect event for her, combining fashion, leadership, problem-solving and event- planning, Postel has also been looking for more realistic places to begin her career. She is currently considering a position with the 92nd Y in New York City, a non-profit organization which often invites famous people to speak to New York's youth. Postel's friends, however, have no doubt that she will eventually achieve her lofty goals. "Carrie is amazing," freshman Lisa Berger said. "She is one of the most dynamic people I have ever met. She does so much and yet it truly seems like she enjoys everything she does. Her energy is contagious." "After I spend a day with Carrie, I find myself using her flailing hand motions and interspersing 'otay' in my speech," said Sinha of her friend's distinctively enthusiastic communication style. "You wonder where she gets her endless energy from, and soon realize it's because she has such passion for what she does." "Carrie is going to be an amazing event planner," Schwartz added. "The world has got to know about her, because they certainly can't ignore her - and that's very lucky for them."


The Setonian
News

Use of quote is inappropriate

The Daily's recent editorial "AA meetings a step in the right direction" (April 13) spoke of the positive effects of having an Alcoholics Anonymous group on the Hill. The article took an inappropriate turn, however, in mentioning George W. Bush's former problems with alcohol abuse. The inclusion of a Brit's quotation "Can you trust a man who can't trust himself with just one pint?" can be construed as insensitive and unnecessary in the context of an article heralding the fight against alcoholism. Alcoholism is in fact a disease, and can dominate the lives of some, but it is a rude generalization to question whether recovered alcoholics are trustworthy. I think it was in poor judgment to use the quotation, although it may have simply been a tactic to lash out at Bush (however unconnected to the purpose of the article). A personal agenda and the opinion of a random Brit can be (unintentionally) insulting and demoralizing if used inappropriately. David Crowe LA '04


The Setonian
News

A Jumbo Musical Choice

At an institution where academic, social, and musical interests change from dorm to dorm, room to room, and even person to person, the latest release from the Jumbo Audio Project offers something for everyone. In its third year of production, the Jumbo Audio Project's CD has lived up to its reputation for bringing Tufts' music scene to the forefront by releasing an album that features tracks created solely by Tufts students. Junior Jack Schilling is the leader of this year's Jumbo Audio Project. "I'm really happy with [the CD]...it provides the artists with tangible results," Schilling said. The results Schilling speaks of are evident on the songs chosen for this year's CD, some of the best in recent memory. This year's album consists of twenty tracks from twenty different artists. Each group has a unique, well-conceived, and solid sound which is well executed from both an artistic and production standpoint. Right off the bat, the CD's music reels you in with lil' Sinskee's track "Jumbo Thug." With a dose of Lil' Jon and a barrage of campus-wide shout-outs, lil' Sinkee's effort provides a summary of Tufts you will not hear from any tour guide. From "sippin' on hypno in West [Hall]" to "reppin' Larry Bacow," everyone has something to get excited about on this opening track. Lil' Sinkees' flow tops a fun "club banger" track that offers a satirical verse dedicated to the only type of music that didn't find its way onto the CD: a cappella. But if hip-hop isn't your thing, have no fear: instead vibe out to the smooth vocals of artists such as John Burlock and Katie McD. If you are in need of some personal time to sort your thoughts out, John Burlock's "Comfort Me" will serve as a great musical backdrop. The twenty-year-old singer/songwriter provides smooth vocals with provocative guitar-play to bring peace to a troubled situation. Tuning in on the same love-charged wavelength is Katie McD's track, "Gift From God." McD brings a style to the CD that any fan of Michelle Branch or Jewel would adore. Her ranging vocals mesh beautifully with a well-chosen melody. For a more in your face feel, look no further than tracks from theMark and Idealty. With a win at this year's Tufts Battle of the Bands already under their belts, theMark offers "Coffee Stains & Cigarette Blisters" for your listening pleasure. The band's upbeat, energetic style is captivating thanks to well flowing vocals, strong guitar, and drum play. On the musical "flip side," Idealty brings the listener face to face with the current trends of the rap game, with his Hip Hop track "Pledge Alligiance." Idealty flows over a fantastic, head-bopping beat, while bringing up his concerns with the volatile state of affairs in the genre. Throughout his well constructed track, Brooklyn-born Idealty leaves no time for second-guessing judging from his emotionally charged, quick-flowing lyrics. Aside from more traditional genres, the CD showcases a unique assortment of skills and sounds hard to find anywhere else. A multilingual flow is provided by Power Trio Jackson on the track "One With the Funk." The track features a strong lyrical presence over a solid, entertaining beat. Another diversion from the English language is Pablo Olmo's "La Musica Revienta." Infused with Pablo's Latin American roots, the track adds irreplaceable diversity to the sound selection on the CD. To tie up the musical diversity, The Alan Cohen Experience and DJ White Label offer their best efforts of sound manipulation. Alan Cohen's cut "Osiko" is light on lyrics but high on an array of "original sounds" that compose a truly unique beat. DJ White Label puts his mixing and DJing skills on display with "Here We Go." Both tracks offer a fun alternative on an album full of a wide array of powerful and effective lyrics. The Jumbo Audio Project will be holding free concerts in Hotung Caf?© Tuesday, April 20 and Wednesday, April 21, beginning at 8:30 p.m. both nights.


The Setonian
News

Atrocities of the TCU Senate

On April 4, the Students for Intellectual Diversity, a subgroup of the Tufts Republicans, presented the Tufts Academic Bill of Rights to the Tufts Community Union (TCU) Senate, seeking their support in the form of a resolution. This bill, based off Students for Academic Freedom's (SAF) Academic Bill of Rights, is a non-partisan document which outlines the necessary commitments of the University to "secure the intellectual independence of faculty and students and to protect the principle of intellectual diversity." In short, the bill stipulates the following: students are not to be graded based on their ideologies, curricula in humanities and social sciences should represent a variety of viewpoints, professors may not use the classroom as a soapbox for their own ideologies, speaker selection and fund allocation must promote ideological diversity, and ideology must not be taken into account in hiring practices and when considering tenure. A full-text of the Tufts Academic Bill of Rights is available in the April 8th issue of The Primary Source. In a cowardly move, the TCU Senate not only failed to pass a resolution regarding the Tufts Academic Bill of Rights, but refused to even consider it on what it claimed to be constitutional grounds. TCU President Chike Aguh contended that since a congressman has introduced a version of SAF's Academic Bill of Rights to a congressional sub-committee, the TCU constitution forbids the Senate from discussing the Tufts Academic Bill of Rights. When asked to point out where in the TCU constitution this appears, Aguh deferred to senate parliamentarian Dave Baumwoll, who named Article II Section A Part 1 of the TCU constitution. Baumwoll was then asked to highlight the actual wording that would render Aguh's claim true, but a bumbling Baumwoll was unable to do so as he weakly cried, "but it's in the spirit of the constitution!" Let's consider the TCU constitution. Article II, Section A, Part 1 states that "the members of the Tufts Community Union Senate shall represent the needs and interests of the TCU, as a whole or the constituent groups thereof, before the faculty of the undergraduate colleges, the administration, and the Trustees of Tufts College" (emphasis added). It is the duty of the TCU senate to represent the needs of the students, not its privilege to shirk on them. Nowhere does it state that if a TCU concern happens to also be of a concern to some congressman, that therefore the Senate cannot pass a resolution regarding that concern. Of course, our senators acknowledged that since the constitution says nothing about the national arena, they couldn't so easily weasel out of voting on the Bill. So, our crafty senators devised a cop-out: "We act in the spirit of the constitution." I pose this question to every senator who voted against overruling Aguh's decision: in what way does this phantom "spirit" of the constitution enable senators to act contrary to the written words of this same document? The constitution requires senators to represent their constituents, but they have instead chosen not to do so on constitutional grounds that don't exist! Aguh, as chair of the senate, made the executive decision for the governing body not to exercise their right vote on the bill. Even though he mentioned that the Senate could overturn his decision, he more or less dared the Senate to oppose him. This is the same senate that had turned in their papers for re-election only hours prior, many of whom were nervous about pissing off influential people, costing themselves precious votes. TCU freshman senator Brody Hale objected to overturning Aguh's decision because, "in the national government chairs make decisions and Chike is our chair and I ask you all to unite with me and support his decision." Let's be thankful that Mr. Hale never served under Adolf Hitler's command, or by his logic he'd ask the TCU senate to unite with him and stand by The F??hrer's genocide of ten million people since, after all, Hitler was chair. Perhaps Senator Hale has never before been made aware of the dangers of following political authority. Notably, the only TCU senators with the balls to speak out against Aguh's authoritative abuse were freshmen Andrew Caplan, Harish Perkari, and Simon Sassenberg. Only four other senators had the backbone to vote simply for their right to vote: Freshmen Mike Abare, Jamil Ludd, and sophomore John Valentine. Ironically, Abare and Ludd are not seeking re-election, and Valentine ran uncontested. The remainder of the senate either actively supported Aguh's blatant disrespect for the constitution, or abetted it by abstaining from the vote. Imagine, for a moment, that Aguh's constitutional fabrications were true. If, indeed, the constitution stated that the TCU Senate must refrain from discussing national policy, then the senate would be prohibited from passing a resolution denouncing or supporting the War on Iraq. For the same reason, the senate could not debate the merits of Don't Ask, Don't Tell. There's no contention there -- neither of these issues have anything to do with Tufts University or administrative policy, and is therefore not the business of the senate. But, the issue of the Tufts Academic Bill of Rights is no different than the recent resolution regarding assigning academic credit to ROTC courses -- they concern the University and the University only. The scope of the Tufts Academic Bill of Rights begins and ends at Tufts University. Congress is not looking to pass the Tufts Academic Bill of Rights, and the TCU senate was not asked to pass a resolution regarding congressional actions. It is important that freshmen support the senators that will really speak on their behalf, and not let one person's abuse of power reconstruct the TCU constitution. Adam Hoffman is a sophomore majoring in Computer Science and Economics.


The Setonian
News

Our working conditions are your learning conditions

For the last four years I have worked for Tufts in the English Department as graduate student lecturer. This means that like the other 30-plus PhD. students in my department, and many other graduate students on this campus, I have taught a series of full-credit, required undergraduate courses -- specifically English 1 and 2 -- while pursuing my own studies at the same time. My responsibilities as a grad student lecturer have included researching for course ideas and texts as well as pedagogical strategy, developing and adapting course schedules and syllabi, discussing and debating classroom ideas with my fellow English lecturers and professors, constructing thoughtful essay assignments, preparing and running class-room discussions, meeting with students during (and often outside of) office hours, returning email from students at every odd hour of the day and night, as well as commenting in writing on student papers, and yes, of course, grading student work. All and all, the work of preparing, teaching, and evaluating that teaching involves, has run around 20 hours per week over my graduate career (with some weeks more intensive than others). For this workload -- and though I love many aspects of teaching, especially challenging students to think deeply about their own writing and the world around them, I still recognize it as the necessary, intensive, and highly skilled work that it is - I have been paid an annual salary of around $10,000 (for two courses/year). This rate held until last year, when, in response to the graduate student union movement, of which I've been a member, the Tufts raised this 'minimum' pay level for PhD TAs to $12,600 yr. Master's candidates who TA, however, continue to make far less than this, while PhD. students in other departments, such as drama have been handed a dramatically increased workload to go along with their $12.6K. Such salary levels have been difficult-to-impossible to live on, especially in the Boston-area, which has been rated the country's third most expensive city. Even with full-time summer work, I have rarely cracked $20,000/yr. at any time during the last five. Like many graduate students I have responded to this economic pinch in a variety of ways. I have budgeted; lived with multiple roommates in often cramped quarters; lived on pasta sauce and leftover pizza from departmental functions, going without the recommended servings of fresh vegetables for months at a time. Unable to afford the insurance package which Tufts offers (with Tufts health fee included this package comes in around $1500/year, or more than 10 percent of my total Tufts income), I have gone without health insurance for as long as a year, before -- on a doctor's advice -- I got smart and filed for free healthcare from Boston Medical Center's "Boston Healthnet." (That's right, as a graduate student employee at Tufts -- perhaps your hardworking former TA! -- I actually qualified for a government subsidized program aimed to help the working poor of Boston!) In addition to this cost-cutting, like hundreds of other graduate students, I have taken out student loans, around ten thousand dollars worth -- on top of $40K in debt from undergrad years -- to allow myself such luxuries as fresh veggies, an occasional night out, car repairs, a new pair of shoes -- in the hopes that after finishing my dissertation here at Tufts, I will quickly slip into full-time, full-benefit, even -- dare I dream -- tenure track work as a university professor of literature, and hence be able to pay off my mounting loans. Of course, such full-time, full-benefit positions are growing ever more difficult to find, especially in the humanities, in part because -- surprise! -- nationwide, universities are getting "low-cost" grad students and part-time adjunct faculty to do a growing share of the work, without healthcare or childcare benefits. In addition, I have also supported efforts in my own department, and at times in the GSC, to lobby for additional graduate funding, only to find again and again that the good intentions and hard work of faculty graduate directors and GSC reps, though they are met with 'sympathetic' eyes from the administration, fail to convince Ballou to increase support for graduate student teaching at Tufts. In addition to all of this, however, I have also done something else, something that goes beyond individually "coping" to address the collective nature of the difficulties graduate school employees face at Tufts: I have worked alongside many of my fellow grads to form a graduate student employee union at Tufts. As a member of the ASET, The Association of Student Employees at Tufts, (see our website at www.tuftsgrads.org.) I believe that by organizing into a union of student employees, we, the graduate students employees of Tufts, can dramatically improve our working lives at this university. Thousands of graduate student teachers and researchers, at places like NYU, U-Mass-Amherst, University of California, University of Michigan, and dozens of other schools, have already unionized, gaining a powerful voice in their work-places. Through collective bargaining with their university administrators, these graduate employee unions have won great benefits for their members, including free healthcare coverage, free childcare, higher and more equitable teaching salaries, clarified job descriptions, transparency in department hiring selections, and guaranteed access to the tools that grad students need to do our jobs well -- such as access to free-of-charge computer printers and adequate teacher training. With a union, I believe that we can replicate some of these victories at Tufts. Above all these specific material benefits, however, forming a union is about gaining a collective, democratic voice in the workplace. How we at Tufts as graduate student employees will decide to use our collective voice -- what issues we work hardest to win in negotiation at the bargaining table with our administration -- will be up to us grad students to decide, through internal processes that are rational, open, and democratic. This is, for me, what makes forming a union such an exciting and energizing idea. Our union will be what we make it. "I believe it is important," said Albert Einstein upon joining his faculty union, "indeed urgently necessary for intellectual workers to get together, both to protect their economic interests, and to secure their influence in the political field." In the spirit of Einstein, ASET continues to work at Tufts to organize graduate student intellectual workers. I welcome grad students reading this Viewpoint to contact ASET and get involved. After all, Tufts works in part because you do. Joseph Ramsey is a PhD. candidate in the English Department, and a member of ASET, the Association of Student Employees at Tufts.



The Setonian
News

AA Meetings to begin on campus

Students with drinking problems will soon have a safe environment to put down the bottle and begin the 12 steps to sobriety. Starting April 24 Alcoholics Anonymous (AA) will begin weekly meetings on campus. Liz Moore, the alcohol and drug treatment specialist at Tufts set up the meetings at the request of some students. She said the discussions have been going on for months. "Students have requested this because many of them don't have cars, so AA meetings would be more accessible." Though there are many formats in AA, the Tufts division will follow the traditional 12 step program, known as Step Meetings. The 12 step program revolves around student taking one step at a time and discussing the step at hand. Steps include admitting powerlessness to alcohol, taking moral inventory, and apologizing. Moore decided on the format after discussion with students. "I took a poll on the type of meetings students would want most and looked at what meetings were available at what time," she said. Meetings will only be closed, open only to AA members. One of AA's tenets is to provide anonymity. The founders, both self defined 'hopeless alcoholics' began the group to provide a confidential forum for alcoholics. According to Health Services, meetings are a matter of convenience rather than a sign of rising alcoholism on campus. Moore said the number of students who approached her was less than ten. Tufts is not the only university to have such a program on campus. "I think a lot of schools have [this program] on campus because it's convenient," Moore said. Boston College and the University of Massachusetts also have AA meetings on campus. Since college campuses are often havens for binge drinking it is important to recognize symptoms early. "It's good to recognize [alcoholism] at a young age," Moore said. "Having information helps to recognize the problem at an earlier stage. It's important." There are those on campus who see potential problems along with the benefits of on-campus AA meetings. "Even if I needed to go to a meeting, I don't think I would go to one at Tufts," senior Danielle Holmes said. "I just don't know how many college kids would take it seriously, especially at Tufts." Another problem with meetings being on campus is the possibility of familiar faces in the group. "Kids may be reluctant to go because they may know people at the meeting," sophomore Elizabeth Mendes said. For the most part, however, students are supportive. "It is totally necessary to have this program so people can get better," sophomore Stephanie Upson said. "Anyone who needs help should have a place where they can go, and the fact that it's low-key makes more people feel like they can go to the meetings." Moore does not see college alcoholics as a societal epidemic. "Every person responds differently. Some people are just more prone to addiction because of genetics," she said. AA meetings are Saturday mornings at 10:30. Services are also available to those addicted to drugs besides alcohol. Weekly Narcotics Anonymous (NA) meetings take place on campus every Sunday evening.


The Setonian
News

AA meetings a step in the right direction

The administration now has proof that students recognize the problems of alcohol abuse. Tufts Health Services, at the request of students, is initiating on campus Alcoholics Anonymous meetings. Alcohol overconsumption is a chronic societal problem. Though the administration seems to prefer targeting heavy social drinking with an enforcement approach, prevention and treatment of individual alcohol abuse is even more valuable. The addition of AA to the programs offered at Health Services is beneficial even for students who never drink, though it is not the cure-all for alcohol issues on campus. Alcoholics Anonymous, founded in 1935 by two recovered alcoholics, is not for every person with a drinking problem. Founded two years after the 21st Amendment repealed prohibition, the AA program synthesized modern medicine and psychology with religious values to create the now famous 12 step program. The primary goal of an AA member must be the desire to never drink alcohol again. Most other anti-alcoholism programs are much less stringent, aiming at teaching responsible drinking. If you think that you are dealing with an alcohol problem, then it is important to make a decision about how much alcohol you think that you can handle. This is one time that we can look to our president as a positive role model. One of George W. Bush's close friends told The Washington Post for a July 1999 profile of the then-presidential candidate that "Once he got started [drinking], he couldn't, didn't shut it off." Then, after his 40th birthday celebration, Bush decided to quit drinking because he needed to regain control of his life, he told the Post. Though he did not go to Alcoholics Anonymous, he followed AA's philosophy of giving one's life over to the care of God and going completely dry. He claims that he has not had one drop of alcohol since that day in 1986. However, as one Brit noted last November when Bush visited England, can you trust a man who can't trust himself with just one pint? It is up to each individual to make the decision whether ten, five, or one alcoholic drink is too many. Tufts Health Service offers a number of programs to help each individual control his or her alcohol consumption. Adding a recognized program like Alcoholics Anonymous, unique because it is an abstentionist movement highly based on a belief in God, will have positive benefits by providing another option for students with drinking problems. The more that students with drinking problems seek help and prove that they can deal with alcohol problems responsibly, the less the administration will have to interfere.


The Setonian
News

Who stole my toothbrush?

At 2:30 a.m., after watching the same episode of "Family Guy" I watched at 11:00 p.m., I decided to call it a night. I went through my usual ritual of getting ready for bed. I took out my contacts, shut down my computer, shaved my back hair, watered my plants, fed my poodle, and changed my baby's diaper. Then it was time for the final and arguably most important ritual: The brushing of my teeth. Before I go on with this thrilling tale, let me comment on the importance of having clean teeth. My teeth are my livelihood. If I don't have a sparkling white smile to flash at the ladies, then I don't get no fiddle-faddle. And if I don't get no fiddle-faddle, I get frustrated. And, when I get frustrated, people get hurt. So, I went to the bathroom to brush my teeth when I realized that my toothbrush HAD BEEN STOLEN!!! (Note to self: Change title of column so this will be more shocking) This wasn't just any toothbrush either. This was an Oral-B Plaque-Assassin 3000 with Double-Bristle Whitening Action. Do you know what I had to do to get that toothbrush? I don't really want to go into it but it involves a few things I'm not especially proud of. When I got to the bathroom and discovered that it had been stolen, I was devastated. This begged the question: "Who stole my toothbrush?" The toothbrush was there that morning and my housemates and I were snowed in all day so it had to have been one of them. I don't want to humiliate any of my housemates by revealing their names so let's just call them Bryce, Jon, Alex, Nishant, Doug, Matt, Andrew, Anand, and Pat. I decided to question each of them. "Bryce," I asked. "Did you steal my toothbrush?" "Someone stole your toothbrush?" he asked. That diabolical bastard. That's the oldest trick in the book. If a suspect acts like they don't even know about the prank then he is immediately absolved from blame. I knew I wasn't dealing with just any group of criminals here. Questioning wouldn't get me anywhere. It was time for some undercover investigating. When Nishant left his room to shower, the perfect opportunity presented itself. I snuck into his room and rummaged through his drawers. I didn't find my toothbrush but I did find a copy of "Lactating Mamas" and a jar of Lubriderm. This wasn't getting me anywhere. I took the magazine and went off for more investigating. A few days later, a revelation hit me. Since the incident, I noticed that Doug had been smiling a lot. When I looked closer, I saw that Doug's teeth were sparkling white. The light reflecting off his smile almost blinded me and his breath smelled like a fresh summer's morn. I was seconds away from giving him some fiddle-faddle. Of course it was him! He's been jealous of my teeth since the moment I met him. Sure, he never outright said it. But every time he said "What's up?" I knew he really meant, "Damn you and your beautiful smile." All I needed was proof. But I couldn't find any. So I just stole Doug's toothbrush. Yet, there is still a little doubt in my mind. Maybe it wasn't Doug after all. Maybe he's always had white teeth and fresh breath and I never noticed before. If that's the case, then I'm back at square one. If I can't get true retribution for my stolen toothbrush, I might never feel safe again. Recently, there have been a lot of reports about theft on this campus. Some people got their laptops stolen. There was also a robbery recently at the Wilson House. I thought Tufts University was a place where our personal belongings were protected from the criminal element. I used to feel secure in our little liberal utopian bubble. How wrong I was. To those of you who have had your laptops stolen or who have been robbed at gunpoint, I understand what you're going through. My toothbrush was stolen. But I'm not going to sit here and take it. I'm going to fight back. And I advise my fellow victims to follow my lead. So I'm sending this message out to the stealer of my toothbrush, whoever you are. I will exact my revenge on you; maybe not today, maybe not tomorrow, maybe not ever. But one thing is for sure. You will never see it coming.


The Setonian
News

Work & Home in Somerville

As a Tufts college student, I have lived in the city of Somerville for several semesters now. Until recently, I knew very little about this city and its historical background. Day to day I walk around campus and Davis Square. I merely glance around at the houses and buildings that comprise Somerville without really taking into account the setting which has now become all too familiar to me. We, as Tufts students, are a part of Somerville's community, even if it is only for the four years in which we receive our education here. As members of this community, I feel it is crucial that we all know a little bit about this cozy enclave in which we are all a part of. The architecture of Somerville is often overlooked yet it has had an important role in the foundation of this city. It has influenced the type of people who have been brought into the city when it was first incorporated in 1842 and continues today to give Somerville a unique and distinct flavor. According to Carole Zellie, author of "Beyond the Neck: The Architecture and Development of Somerville, MA," over 1,000 buildings in Somerville are considered "architecturally and historically significant." Presently, three-story, multiple family houses dominate the city. Data from the 2000 U.S. Census for Somerville shows that only 31 percent of the city's residents actually own homes in such buildings yet this situation has long been quite functional for the city's economy. Houses that were built from 1885 to 1910 were constructed primarily for the working class population and with the intention to rent to laborers. This tradition and frame of mind continues to be carried out today in that most of these family houses are rented out by floors to workers, although now increasingly to professionals and students. The few single-family houses that are still standing today have neo-classical details influenced by the Federal style. There is also a variety of Greek revival, Gothic revival, and early Italianate style. The variety of architectural styles found in Somerville makes this city diverse and characteristic in appearance. Ironically enough, even though brick-making was a major industry in Somerville around the mid-nineteenth century, bricks were not a popular building material for residential construction. Instead, it was the New England wood building tradition that came to define Somerville. Residential development in Somerville has historically had certain limitations: many buildings were quickly and cheaply constructed, especially during the economic depression of the 1870's. A Somerville Journal June 1882 editorial said that the "poor class of houses" that were built in the poorly drained industrial district of Ward II (now part of southeast Somerville, close to Inman Square) had done serious "material injury" to the city. The city's industries, including slaughterhouses and brick-makers, were viewed negatively as well, despite the employment and tax revenue they provided. "Industry generally has a tendency to vitiate the atmosphere, to endanger public health, and to keep away from the city a class of people whose presence would be very desirable," according to the same Somerville Journal editorial. Indeed, wealthier Somerville residents continued their gradual migration out of the city throughout the turn of the twentieth century. A public housing project involving the construction of row houses and single-family dwellings for returning World War I veterans, primarily of low income, also contributed to the influx of working and poor residents into Somerville. Much of Somerville's historical foundation and significance can be related back to the construction and architecture of when this community was first incorporated as a city in 1872. Current residents continue to be mostly of working and middle class and Somerville's houses still accommodate and reflect the population's economic situation. Somerville's homes are a reminder of the working class origins of this city. Next time you find yourself walking through the city, take a moment to appreciate the characteristic architecture that has made this community so distinct. Donna Hong is a junior majoring in sociology.


The Setonian
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Tufts takes out nationally ranked Bowdoin

As the New England Patriots can attest, when injuries hit, a team must persevere. After a tough weekend that included losses to two of the nation's top four teams, Middlebury and Williams, Tufts' men's tennis got it together this past weekend and secured some gutsy victories in spite of a depleted lineup. Most recently, the Jumbos played their final home match of the season on Saturday afternoon and closed down the Voute Courts with a 6-1 win over Colby. Tufts evened its record at 5-5 with the win, and the Mules fell to 4-7 with the loss. After a sluggish weekend, the doubles teams stepped up to the plate and secured the doubles point with wins at the first and second spots. At the second slot, sophomore Jon Rubenstein and freshman Sean McCooey were especially impressive, winning their match 8-2 over Colby's Tony Gill and Kevin Yardi. McCooey also shined in his solo performance with an easy 6-1, 6-2 victory at the fifth slot over Tim Stenover. In his final home match, senior tri-captain Jon Bram had a strong outing with a win over Steen Sehnert at number two singles (6-2, 6-4). Bram and his first doubles partner, junior tri-captain Rifat Perahya, were also victorious with an 8-6 comeback win over Sehnert and Marc Kassin after falling behind 0-4 early on. "It was my last home match, and I played really well," Bram said. "It definitely would have been sad to lose my last home match." The night before, however, was the weekend's main event. On a night where the Jumbos needed to take three of four singles matches that went three sets to claim victory, they prevailed with a 4-3 win over 13th ranked Bowdoin. Although he fell short in his three-set duel versus Pat Keneally at second singles (2-6, 6-3, 3-6), it was a shirtless group of Bram-supporters and the captain's vocal leadership during and after his match that helped fuel Tufts to victory. With Bram down in his third set, a raucous group of fans ran out and tore off their shirts to spell out "B-R-A-M-!" in the hopes of carrying the tri-captain to victory. The support was not enough, however, as Bram fell 6-2, 3-6, 6-3. "That definitely was able to give me a little boost," Bram said. "But it was just a little too late in my match." With the score tied at three, it came down to the fourth singles match-up of Jumbo sophomore Jon Rubenstein and the Polar Bears' Bucky Jencks. Rubenstein was able to break Jencks' serve multiple times early in the third set. However, things tightened up some when Jencks secured a break of his own. In the end, it was the Jumbo sophomore who was able to secure the match for the team with one more service break to win the set and the match (7-5, 3-6, 6-3). Tufts got three-set victories at the top and bottom of the singles lineup along with Rubenstein's triumph. At first singles, Perahya overcame a tough second set to defeat Mac Burke (6-4, 3-6, 6-1), and freshman Corey Keller earned a hard-fought win at sixth singles over Barrett Lawson (6-2, 3-6, 6-3). Sophomore Ben Alexander had the only two-set win of the day for the Jumbos with a win over John Carolan at number three singles (6-3, 6-4). Bowdoin fell to 6-4 with the loss. On Thursday, the Jumbos began the weekend home-stand with a 6-1 loss to 16th ranked MIT. McCooey was the sole victor for the Jumbos with a fifth singles victory over the Engineers' Derek Tsu (6-3, 6-3). McCooey was also the lone bright spot for Tufts in a 6-1 loss to Trinity last Tuesday. The freshman won a fifth singles against Csoba Godry (6-1, 7-5). The Jumbos return to action today as they travel to Wellesley to battle non-conference foe Babson. Despite the injuries the team has suffered this year, the team is impressed with its performance. "It's funny because the depleted lineup hasn't hurt us too much," Bram said. "Everyone has stepped up in place of the injured guys. We're getting wins in places we wouldn't expect to."


The Setonian
News

After a week, Oakland and Anaheim look solid

Only a week of baseball has been played so far in the American League, but even that short period reveals some important tidbits that may loom large over the course of the season. The first thing that jumps out is the Seattle Mariners' rough 1-5 start. Inside the AL predicted the M's would have difficulties, but they're not this bad. The problem for Seattle is that they're in the wrong division. The Mariners would be the favorite in the AL Central, but in the AL West, they'll probably finish third. Meanwhile, the Oakland Athletics and Anaheim Angels have both had relatively strong starts. The Oakland big three looks just as dominant as ever. Tim Hudson has already had two solid outings, and Barry Zito and Mark Mulder also looked excellent in their initial appearances. Jermaine Dye has played well so far for Oakland, which helps to answer some questions about the A's outfield. Following his disastrous 2003 season, Dye has come back to bat .333 with two home runs thus far. In Anaheim, the upgraded offense has been living up to preseason expectations. Outfielder Vladimir Guerrero brought his hot-hitting with him from the Montreal Expos. Third baseman Troy Glaus looks healthy with his .381 average and three early home runs. Second baseman Adam Kennedy and outfielder Garret Anderson have been their usual consistent selves. The pitching for Anaheim has been more of a mixed bag. New acquisitions Bartolo Colon and Kelvim Escobar have been good so far, but the Angels are going to need better performances from Ramon Ortiz and Jarrod Washburn at the back of their rotation. In the Central, the Detroit Tigers have gotten off to a hot start (5-1) but don't be fooled; they are not the 2003 Kansas City Royals. The Tigers have received an injection of energy from newly acquired catcher Ivan Rodriguez, and first baseman Carlos Pena is finally starting to display some of the potential he showed in the Oakland and Texas Ranger farm systems. Unfortunately for Detroit, however, its pitching is just not good enough. Jeremy Bonderman has potential, but he's still very raw at 21. The Central is certainly a wide open division. The Minnesota Twins have won the division the last couple of years with pitching and defense, and this year they will need that and then some to three-peat. After all, this is a team with Jose Offerman as its designated hitter. Most teams would pay not to have him on their team; instead he's a starter for the Twins. The Royals have a lot of young talent to surround Mike Sweeney and Juan Gonzalez. The Cleveland Indians could be the sleeper in the division with a large stock of young talent, and if the rookies like catcher Victor Martinez develop in time, the Tribe could beat out the rest of the division. With the way Pedro Martinez and Curt Schilling look so far, it's hard to believe that the loser of the Eastern division won't win the wild card. If the Boston Red Sox can't overtake the New York Yankees, who will buy whatever they need at the trade deadline, then the Sox should be able to pin their hopes on the wild card because of their consistent pitching staff. Keith Foulke has been solid as advertised, and he has stabilized the bullpen situation that has been a perennial disaster for Boston in the past. While the Toronto Blue Jays most likely won't compete for the playoffs, they should improve as the season goes on. Much like the Mariners, they are a good team stuck in an excellent division. They have a solid nucleus of young players in first baseman Carlos Delgado solid young pitcher Roy Halladay. Toronto also has a number of impressive pitching prospects waiting in the wings in its farm system.


The Setonian
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The Punisher puts down his weapons to chat

Thomas Jane, perhaps best known for his roles in "The Sweetest Thing," "61*", and "Deep Blue Sea," will soon be starring as Frank Castle, the anti-hero lead of the popular cult "Punisher" comic books. Jane recently took a break from his schedule and sat down with the Daily to talk about superheroes, Mickey Mantle, and the problem with the action movies genre today. Tufts Daily: You've mentioned the cult following that "The Punisher," and all comic books to a certain extent, carry with them. Did that add pressure for you, worrying that these people would really be upset with your portrayal of their icon? Thomas Jane: Well you're going to get that no matter what. No matter what you bring to the screen, some people aren't going to be happy and that's just the way it is; there's no way around that. So I just concentrated on making myself happy with what we were doing with Frank Castle, and my interpretation of that. I can't worry about making everyone happy because everyone has a different take on who he is. It's one of the interesting things about playing a fictional character that's loved by so many people. When I played [New York Yankee legend Mickey] Mantle, he was a real guy, and that's who he was, and so I had a template to draw from. You know, with Frank, he's got a bunch of different authors, and a bunch of different people drawing him, and a lot of generations that he changes and goes through, and everyone has their favorite period. But me and the director Jonathan Hensleigh drew from what we felt was the best and the most definitive Frank Castle that we had read, and we took that and brought that to the screen. We wanted to do an origin story because we wanted to do more than one ["Punisher" movie]; we set it up that way from the beginning. We don't make any apologies for it; we knew what we wanted to do with the particular kind of movie we wanted to make. The character was born in 1976, when the "Dirty Harry" movies were coming out, Charles Bronson was a big star, and it was the 200th anniversary of the right to bear arms and freedom from a regime. I think in the '70s, there was a celebration of that, and we wanted to bring that back in our movie. Our movie is a throwback film and Frank Castle is a throwback character. But given the condition of the world today, I think we're ready to revisit that. The anti-hero once again has a place in the social fabric of our country. It's a good time for Frank to come back. TD: Even though Frank Castle is a Marvel Comics character, I've noticed that he's really different; he's not Spider-Man. He's just a guy, a pissed off father. With a lot of guns. TJ: That's right. Yeah, he doesn't have any super powers. That was interesting to me. I don't see myself playing a superhero; per se. Frank Castle is the perfect kind of guy for me because I've always wanted to be in these kinds of movies. The movies they do today, with the over-use of special effects, under-use of character and story, really turned me off of the action genre for a long time. But it's that genre that got me into acting in the first place; watching those old movies on TV with my dad. So I was really excited about this movie. TD: You said it before; movies today have gone in a different direction. This movie certainly is more character based, it really is kind of old-school. TJ: The more you can identify with a character, the higher the stakes are raised; the more peril you experience as an audience member. That opens the door to just having a lot of fun. I hope that we get to make more movies like that. It takes a certain sensibility to get that done. I don't know if there's been a chance for that with our action stars of late. Some of the guys that have come up recently haven't been given the opportunity to expand upon a two-dimensional character. It's an evolution. You start out with Steve McQueen or Clint Eastwood, where there are a couple of car chases and some shootouts, then you get into Stallone, and there are a lot of car chases, a lot of people dying, and a lot of one-liners. Then you graduate to Schwarzenegger, where everyone dies, everybody blows up, and he says maybe four words in the movie. Then it just escalates. Now we've got movies like "XXX," where you don't know what the hell is going on. There are people flying out of cars, falling off bridges, windsurfing into Corvettes, and it's just totally ridiculous. It becomes eye-candy for the MTV generation. And it's just total crap. It's complete excrement. The balance is off. These movies insult my intelligence. Hopefully this movie will help bring the genre back the other way. TD: A good bad guy is essential to a good action movie. In John Travolta [who plays Howard Saint, a corrupt businessman], you have a great one. TJ: Yeah, which is really validating. Travolta has taken criticism in the past for being over the top and winking at the camera in some of his performances, which I think worked for what they were. But he needed a return to his great understated style because he's a fantastic actor. He's an icon; he's one of the best. To see him come back and turn in a solid, real performance was a genuine pleasure. He brings a real weight to the film. TD: It seems like you, as an actor, are more interested in the understated roles; you don't want to talk about how life is a box of chocolates. It's a Harrison Ford kind of thing. TJ: Well you know, Harrison Ford is a vastly underappreciated actor. He's never going to win an Oscar because you can't see him acting, whereas in actuality, that's the best kind of acting there is. Vincent Van Gogh didn't sell a single painting because people didn't see the skill; it looked like a child had spilled paint onto the page. It's artless.


The Setonian
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Before reality T.V., there was variety

Back when television was new and black-and-white was all that was available, variety shows ruled television rankings. The format, which functioned as a series of short sketches, musical acts, and drop-ins by guest stars, powered everything from "Carol Burnette" to "The Muppet Show," rising and falling all in a span of thirty years. Variety shows died in the late '80s; the format has given way instead to the much cheaper and much more easily produced reality television that now rules the airwaves. But as every fan of "Friends" or the "Terminator" franchise now knows, dead horses in the entertainment world exist only so they can be kicked, brought back once more to taunt us with the idea of what once was and what might still be, if only Hollywood could get its act together. And so the variety show has returned to our Technicolor television sets, this time in the form of "Nick & Jessica's Variety Hour," which made its debut last weekend on ABC Sunday night. The network, much too eager to cash in on the names of two of their hippest stars, brought the format back from the grave in a one-hour, supposedly one-time special intended to showcase its talent, amuse its viewers, and rake in far more than the network's share of the night's advertising profit and ratings. The hosts, Nick Lachey and Jessica Simpson, owe their recent popularity to their MTV reality series, "The Newlyweds," which revolved around the young married couple's home life. Lachey, formerly of 98 Degrees fame, starred alongside his wife, popular singer Simpson, who became well-known for her ditzy comments as she wondered whether the "Chicken of the Sea" was actually tuna or chicken and asked her husband if "camaraderie" was really a word. ABC was banking on the couple's popularity and personalities to carry a variety show in the same manner that the all-time classic "real life" celebrity couple, Sonny & Cher, did back in the 1970s. Nick & Jessica, who apparently aspire to be recognizable on a first-name, "&"-sign basis exactly like their predecessors, might not enjoy the same quirkiness that drove Sonny Bono into politics and his eccentric wife into her long-haired, raspy-voiced persona, but their "Variety Hour" was set in a format that anyone who has caught late-night reruns of the hit "Sonny & Cher's Comedy Hour" should find familiar. The show opened with a promise: no cheap gags, no gimmicks, and no celebrity walk-ons. This pact, however, was broken almost immediately, as Lachey and Simpson launched into a dance number straight off Broadway and were quickly greeted by once-popular singer Jewel. Simpson joined Jewel in a duet, Lackey launched into a song with Kenny Rogers, and the "Nick & Jessica's Variety Hour" was on its way. The variety show format faded out around the end of the 1980s, and for good reason. Rising salaries destroyed the show type, and in a genre that depends heavily on celebrity guest stars and well-known walk-ons, increased demands for higher pay means that the biggest names can't be covered in the show's budget. Today, shows like "Nick & Jessica" are forced to rely on celebrity has-beens who, while certainly recognizable in their day, are next to unknowns among the young teenagers who make up the majority of the hosts' fan base. "Nick & Jessica" may try its best, but stars from the late 1980s and 1990s can't boost the 2004 variety show back to the popularity that it enjoyed in its "Sonny & Cher" heyday. Younger viewers know "The A-Team" from 2 a.m. reruns as one of the shows that their parents used to watch; they're more likely to recognize Mr. T from detergent commercials than they are to remember him pitying fools. The genre needs popular, well-known figures to carry its format, and those very high-priced stars make the shows impossible to recreate decently as anything but one-shot specials. But even this supposedly one-shot special couldn't rise to its billing. The show certainly had its moments -- who couldn't help smiling as Kermit the Frog and Miss Piggy joined Lachey and Simpson in a duet? -- but in the end, the two hosts couldn't carry the format. Simpson looked more like Quasimodo than Cher while contorting her face during her musical numbers, and Lachey came across as little more than a handsome backdrop for his wife's jiggling chest. Variety shows need charismatic hosts as much as they do popular guest stars, and the young couple simply couldn't keep the momentum rolling. Whether or not the special returns again is up to ABC. "Nick & Jessica's Variety Hour" enjoyed high ratings for its time slot, and as long as 1980s personalities and 1990s pop stars can keep drawing in the numbers, you can bet that the network will keep milking its cash cow for all that it is worth. But even as they paid tribute to the pioneers of the format by closing their show with the Sonny & Cher standard, "I've Got You, Babe," Lachey and Simpson still came across as little more than cheap imitations, riding a wave of twentieth century nostalgia in order to further their own careers. Even if the hour-long show comes back for another run, your time would likely be better spent digging up old tapes of the "Sonny & Cher Comedy Hour" or the "Carol Burnette Show" than flipping the channel to find "Nick & Jessica." The variety show died a quiet death over a decade ago, and nothing, not even teenybopper popularity brought on by an MTV reality series, can bring it back.


The Setonian
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Miller's offensive barrage leads Jumbos to victory

The women's lacrosse team got back on track in the NESCAC on Saturday afternoon, trouncing the Bates Bobcats 19-8 at Kraft Field. The win moved the Jumbos to 5-3 overall on the season and improved their NESCAC mark to 2-3, good for a tie for sixth place in the conference with Colby and Wesleyan. The loss dropped the Bobcats to 4-8 overall, including a dismal 0-7 in the NESCAC. "We played very well as a team," sophomore attack Dena Miller said. "We finally pulled it together, and the offense played really well. We started strong, and we finished strong." The win also snapped a three game losing streak, both overall and in the NESCAC for the Jumbos, who started off the season an impressive 4-0. Tufts' 2-3 mark may be deceiving, however, because the team's three losses have come against three of the NESCAC's top four teams, and realistically speaking, the Jumbos should win three of its next four games to earn a fifth seed in the upcoming conference tournament. Nine Jumbos found the back of the net against the Bobcats, contributing to Tufts' biggest offensive outburst this season. Miller led the team with six goals and an assist, while senior tri-captain Kristin Saldarelli and junior Megan Doughty chipped in with three apiece. Junior Willow Hagge and sophomore Meredith Harris added two goals each, while senior tri-captain Christie Langenberg and freshmen Lauren Murphy and Danielle Vardaro each tacked on a goal. "The fact that we had nine goal scorers really epitomizes our team," Miller said. "We have incredible depth both on and off the field, and everyone contributes to the team equally; there is no star player." Both teams came out hot in the first half, scoring a combined total of eight goals in the first eight minutes. With 12:17 left to play before halftime, Miller notched her third goal of the period to put the Jumbos up by three. Bates senior Lori Jessup answered Miller's goal to bring the Bobcats back within two with ten minutes left in the half, but that would be as close as Bates would get. The Jumbos went on to score three more goals in the final five minutes of play to bring the score to 9-4. Unlike last season, when the squad squandered many halftime leads, the Jumbos continued their strong play through the second 30 minutes to earn the victory. The two teams went goal for goal for the first nine minutes of the half, making the score 14-8 Tufts with 11:26 left on the clock. The Jumbos then proceeded to put the game away, scoring five straight times to secure a 19-8 victory. Included in those scores was Murphy's first career collegiate goal. "Last year, one of our big weaknesses was letting down in the second half," Miller said. "Everyone on the team knows that one of our major goals this season is to come out and dominate the first ten minutes of each half, and we really did a good job of that on Saturday." Junior Sarah Lipson and freshman Jaime Hartman-Boyce split time between the pipes for the Jumbos. Lipson got the win, playing more than 53 minutes and allowing eight goals while recording seven saves. Hartman-Boyce spent the last 6:30 in the net for Tufts, allowing zero goals without recording a save. This week will be one of the most important stretches of the season for Tufts. The squad faces off against NESCAC foes Wesleyan and Colby, and the outcomes will be crucial in determining the Jumbos' playoff seed. Tufts takes on Wesleyan on Wednesday afternoon at home at 4 p.m., and Colby on Saturday at home at 1 p.m. "This is our time to pick up the momentum," Miller said. "We're coming off hard losses against three of the top teams in the NESCAC. We're going into a week against teams we know can be beat, and we have every intention of beating them.


The Setonian
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Queer Eye for the Straight Guy - Tufts Style

The letter Boy do I have a nominee for you, My neighbor, Josh Kupershmidt, is a lovable guy that needs a divine intervention from the fashion gods to save him. Josh, hailing from Nashville, TN, is an engineer major whose interests include computer programming, 2pac, crew, and dancing. And I mean dancing in the lightest sense of the word, since he often resorts to doing his own mixture of c-walk/running man. Josh's fashion sense is notorious among his peers, and he is known for wearing his duck-shoes, old jeans, computer company or Sponge Bob shirt tucked in (without a belt), and a one-size fits all beer hat. While he may be found sporting a collared shirt from time and again, it is usually a promotional one from Gatorade or obscure internet corporations. This proud Tennessean looks like a color-blind mother dressed him with leftovers from a Microsoft Convention. Daily, please turn this kind but sloppy soul into a fashion aficionado. Sincerely, Michael Ghory In an effort to makeover Tufts "one straight guy at a time," senior Tyler Duckworth agreed to work with the Daily to perform a much needed makeover on freshman Josh Kupershmidt. The popular Duckworth is known around campus for his numerous activities -- they range from swimming, to SOC choreography to reigning homecoming queen. With a few tips, some gel, and a little dancing, Duckworth turned Kupershmidt from a socks and Birkenstocks computer nerd to a confident button-down-shirt-wearing ladies man. FASHION When the Daily arrived at Kupershmidt's room the victim was dressed like an eighth grade chess player. Duckworth took immediate action by opening Kupershmidt's first drawer. With a slight chuckle, Duckworth picked up a pair of pastel green boxers. "These have got to go," he said. Although a fan of boxer briefs himself, Duckworth told Kupershmidt that if he still wanted to wear boxers he should stay away from solid colors and veer towards plaids -- and no cartoon designs whatsoever. Kupershmidt: What about my Star Wars Boxers? Duckworth: The Star Wars have got to go! In Kupershmidt's second drawer, Duckworth encountered a multitude of shirts. The first was one of Kupershmidt's favorites -- an olive green T-shirt with a picture of Sponge Bob Square Pants on its front. "This could be actually cool," Duckworth told Kupershmidt. "Put a long sleeve white waffle shirt under it. You look angsty and hip. You're going to be My-So Called Life," Duckworth said, referring to Jared Leto's character in the '90s hit. series. Deep down in Kupershmidt's shirt drawer, Duckworth unearthed more stylish items such as a gray William & Mary T-shirt. "Hey, you should wear this, "he said."It says I'm in college; I'm cool." Besides these few gems, however, Kupershmidt's collection mostly consisted of shirts that he got free of charge. "Anything you can obviously tell you got from a marketing campaign, don't wear - unless you're going to the gym," Duckworth said. "And Rule number one about polos: collar up. It makes you think cool and confident." The few polo shirts free from advertisements that Kupershmidt did have were crumpled into his drawers. "Clothes are like people -- they have feelings too," Duckworth told Kupershmidt. "Don't abuse them." Duckworth: You should iron the collars of your polos. Kupershmidt: I don't have an iron. Duckworth: What a surprise. Things worsened as Duckworth opened Kupershmidt's third drawer. There he unhappily found a pair of navy shorts. "Faded pleated shorts are like the anti-Christ of fashion," Duckworth said. Also in the navy family was a pullover that Kupershmidt promised he had only worn once. "Did grandma give this to you?" Duckworth asked. "This is like out of 'Mona Lisa Smile.'" As for jeans, Kupershmidt had three pairs -- all the same color. "You need some different color jeans," Duckworth said. "Experiment with colors." Even worse than having no color variation, Kupershmidt's jeans were all tapered. "When you buy jeans you are not allowed to have them tapered," Duckworth insisted. Shoes were one category where Duckworth was pleasantly surprised. Kupershmidt had a hip pair of black shoes with brown leather detailing. Duckworth liked the fact that the shoes had both black and brown since it would be easier for Kupershmidt to match with belts. "Leathers always have to match," Duckworth said. For some final advice on fashion, Duckworth recommended that Kupershmidt invest in three staple items: new non-tapered pants, belts -- one black and one brown, and V-neck sweaters. According to Duckworth, the best places to find these clothes, or any clothing for that matter, is at Goodwill or on the sale racks of the Banana Republic and J. Crew. GROOMING Although Kupershmidt was clean, especially for being a college male, he still needed some help in the grooming department. "Who cut your hair?" Duckworth asked Kupershmidt. "Was it a joke?" Duckworth told Kupershmidt that he was jealous of his hair color. "You have great black hair," Duckworth said. "Notice who some of the biggest stars are these days? Jake Gyllenhaal and Tobey Maguire. And you have really pretty eyes. They're kinda blueish-greenish so you need to bring them out. So draw attention away from the hair on your forehead and back to your eyes." To accomplish this task, Duckworth first styled his own hair so Kupershmidt could watch and imitate his techniques. He taught Kupershmidt how to work gel through hair -- starting in the back and working his way up. "Bring it to life, make it kinda shaggy," Duckworth said. "What you don't want to do is have it in one area and one motion. You want it crazy all around. Girls love messy." Duckworth also tried to push Kupershmidt's hair toward the middle of his head creating a mohawk effect. "It's this new thing having your hair spike up in the middle kinda crazy," Duckworth said. "The faux-hawk is big right now." Kupershmidt: I look retarded Duckworth: I think it's cute. Although it looked very stylish, the "faux-hawk" was not Kupershmidt's forte. But the messy look worked and Kupershmidt's eyes stood out, just like Duckworth predicted. To maintain the messy look in the future, Duckworth recommended that Kupershmidt shy away from washing his hair every day. "You need natural greases in your hair," he said. Duckworth also helped Kupershmidt with the hair on his face. "There's nothing worse than random facial hair," Duckworth said. He insisted that even if Kupershmidt has to shave every day it's worth it. Kupershmidt, however, waited until after Duckworth and the Daily left to begin shaving since he needed to shower first. Duckworth suggested waiting to shave until right after a shower since it lets the pores open, allowing for a smoother shave. CULTURE With style underway, it was time to work on culturing Kupershmidt. This involved brushing up on the social skills of dancing, interacting with other students outside of academic boundaries, and entertaining guests. Duckworth turned on Usher's "Yeah!" and the culture lesson began. According to Duckworth, a person's entrance to a party makes a lasting impression. He had Kupershmidt exit and re-enter the room until his awkward saunter turned into an easy-going stroll. Next came dancing. "Most all guys -- and girls -- look awkward on the dance floor," Duckworth encouragingly told Kupershmidt. He then started going over dance moves with him such as the simple "Step-Touch." Aware that with dancing, practice makes perfection, Duckworth suggested that Kupershmidt dance in his room by himself when his roommate was gone. "Once you learn how to dance, girls will be all over you," Duckworth said. As for dancing with a girl, Duckworth warned, "do not hump her like you're a dog." He added that girls like it when a guy is a little goofy. "Don't take yourself too seriously on the dance floor and if you don't like dancing, be confident. Look around like you know people." Conversing at parties can be difficult, especially as a freshman. Duckworth proposed using a can of beer, or other drink of choice, as an accessory at parties. "You can always take a sip if you don't have anything to say," Duckworth said. Sometimes, having nothing to say means the conversation should stop. "You never want to engage in too long a conversation," Duckworth advised. Duckworth believes that mingling is key. "The worst thing is guys with their friends pointing out hot girls. It's not a big penis party," Duckworth said. Since approaching girls at parties can be intimidating, Duckworth told Kupershmidt to "try and confront girls that are realistic. Know who's in your range." INTERIOR DESIGN Although commendably neat and organized, Kupershmidt's side of his room was horribly bare. Even though the Daily couldn't fund a dorm room makeover, Duckworth provided tips to avoid any future decoration disasters. Almost tripping over an empty box, Duckworth recommended that in cramped quarters, Kupershmidt should utilize space to the fullest. He told him to lift his bed to hide suitcases and empty boxes, allowing additional room for chairs and couches. He then told Kupershmidt more was needed to hide the white cement walls. "Throw people a bone when they walk in the room," Duckworth said. "Give them a conversation piece." Since Kupershmidt's favorite movie is "The Shawshank Redemption," Duckworth told him to "get a huge poster [of the movie]. It makes people think you're interested in film. Then you can start talking with people about the movie, which is an easy conversation starter." When selecting decoration pieces, Duckworth advised to "force people's attention to something you want them to know about you." Duckworth glanced at Kupershmidt's roommate's flag and said, "I knew right away that [your roommate is] Turkish. It's important to draw the attention to your side." He added that if you're not of foreign descent, pictures are an easy way to let people know about your personality. Duckworth told Kupershmidt that his poster collection was a good start. The beer ad and the teamwork poster Kupershmidt had on his wall showed that he was a normal college student while the Tupac poster displayed his interest in music. However, his the anime poster was all wrong. "This poster says, 'instead of masturbating to real women, I masturbate to Japanese cartoons,'" Duckworth said. "Take down Sanrio and put up Pam Anderson." Duckworth told Kupershmidt that he could still have cartoons, just not anime. "If you're into Sponge Bob, that's cool," he said. "Just don't wear it around all the time. If you have a poster you'll show girls you're sweet and sensitive." As the "Queer Eye for the Straight Guy" makeover came to a close, Duckworth parted with encouraging words for Kupershmidt, stressing the freshman's potential. Kupershmidt thanked him and later expressed his gratitude to the Daily and Duckworth via e-mail. "I am really in your and Tyler's debt for the makeover," Kupershmidt wrote. "I had no idea what a terrible sense of fashion I have. It really helped to get a frank appraisal of all the things I need to change. I'll try to make major improvements to my scant wardrobe and spruce up my room when I have time." Ladies, get ready! There's a new man on campus: Josh Kupershmidt. Here's to a successful makeover. As they say on Bravo, "Cheers Queers!"


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sQ! to sing anthem at Fenway tonight

Tufts' co-ed a cappella group sQ! will sing the national anthem at Fenway Park before the Red Sox-Orioles game this evening. The thirteen members of the singing group sent in a demo tape of themselves singing the anthem to the stadium's entertainment office before the Major League Baseball (MLB) season started. According to sQ! Outreach Coordinator and Manager Michael Caselli, "We wanted to get [our demo tape] in early so we could get try and get a gig early in the season." The Red Sox's first home game was last Friday. "I know that the entertainment section [of Fenway Park] receives a lot of demo tapes each year," said sQ! member Caitlin Rouse, who sang solo at Fenway last semester. "When I sang last semester I was told they receive hundreds of applications for the 80 games each season -- and a good portion of those are celebrities." Among the many celebrities that have sung the "Star-Spangled Banner" at Fenway are Joey McIntyre, Donna Summer and Steven Tyler. The group is not new to singing at large venues. Last semester sQ! sang at Gillette Stadium, home of the New England Patriots, before a New England Revolution Major League Soccer game. This will be the group's first time singing before a Red Sox game. "This is going to be an incredible experience for all of us. It's Fenway Park -- the most historic park in all of baseball, with the best fans in the world," said self-professed Sox fan Caselli. He said more than half of the a cappella group are devoted fans of the Red Sox. Rouse has also been invited to repeat her solo performance at the ballpark before tomorrow night's game. "It was something I had wanted to do for a long time," Rouse said of her solo Fenway experience last year. "It was crazy -- I got to go on the field about an hour before I sang, right next to the players during batting practice." When asked if the group was nervous about performing on such sacred baseball territory Rouse said, "I think there is more excitement than nervousness. It'll be a great experience." * by Daniela Perdomo


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Some news is good news

Rock has always had its share of alluring dangerous types -- the misunderstood juvenile delinquent, the fast-riding and fast-living motorcycle outlaw, and the volatile and misogynist (but secretly just insecure) partying bad boy . But now there seems to be a new one surfacing: the unassuming introverted rocker whose childish obsession with dying is (hopefully) ironic. This new type is the one channeled by Modest Mouse on their new album, "Good News for People Who Love Bad News," whose joyful good humor is marred at times by its own self-awareness. After the critical acclaim of 2000's "The Moon & Antarctica," Modest Mouse, which consists of singer/guitarist Isaac Brock, bassist Eric Judy, and drummer Jeremiah Green, have been taking a break from recording new music. In these last four years, they have released a "lost" album, "Sad Sappy Sucker", put out an EP, "Everywhere and His Nasty Parlor Tricks", and recorded bonus tracks for "The Moon & Antarctica." The band has thrown its hat back into the rock ring with the release of "Good News for People Who Love Bad News," a pseudo-concept album about death and the ocean. It's true: aside from death, the idea that extends throughout "Good News" is the ocean (especially the idea of drowning in it), which is a fitting metaphor for the album. The seas start off calm with the listener sailing over bouncy pop songs like "The World at Large" and the aptly named "Ocean Breathes Salty" and basking in the warmth of "Float On." Then suddenly, the ship hits waves and crashes into rocks, evoking the demonic middle section that includes the songs like "Devil's Work Day" and the cleverly-titled duo of "Dig Your Grave" and "Bury Me with It." Shaken, the crew drags themselves onto shore and collapse to the soothing strains of "Blame It on the Tetons" and "The Good Times Are Killing Me." Sounds a little too dramatic? Well, it is. And that's what hurts the album. If Modest Mouse could commit to the satanic growling of the middle section, or the airy whisperings of the beginning and end, "Good News" would be a lot more consistent. In fact, the first and last sections of the album are the best parts, if only because they don't send the listener into catatonic shock. "The World at Large" features bells and whistles that sound as if they were fed through a staticky old radio. Similarly, "Interlude (Milo)" has strings that are so reverberant they sound like an idling car. The lo-fi sound of these two songs is sweet and nostalgic, but in the context of the other stylized tracks on the album, their rawness sounds like just another effect. "Float On," the album's first single, allows Modest Mouse to sound like a real band, not one at a costume party. While Brock plays around with rock-star posturing on his vocal emphasis ("I ran my mouth off a BIT too much"), Green keeps a steady backing crash of drums and cymbals. In the middle, the beats deteriorate to the point that they sound as if they were sent through an arrhythmic drum machine. Green's beats, along with Brock's clear, close vocals at the end, provide a bit of unexpected freshness in the track. Alternatively, the album's weird middle section has a dark jazz feel to it which is interesting for a while, but goes on for too long. The best song from this section is "Bukowski," which sounds more like a seedy club than "Dance Hall" ever does. The track features some very creepy banjo playing combined with shrieking vocals to provide a background to Brock's maniacal demands: "Evil home stereo, what good songs do you know?" By the time "Devil's Work Day" croaks, "all the people that you know floating in the river are logs," it's about time for this nightmare to end. And it does -- the end of the album is a welcome return to the happier times of its beginning. Judy finally gets his chance to shine on tracks like "One Chance" and "Blame It on the Tetons," which is one of the better songs on the album. Brock's vocals are so closely mic'ed that you can hear his every breath, lending an earnestness to his worn out English-major style laments of "language is the liquid/that we're all dissolved in/great for solving problems/after it creates a problem" and "blame it on the weekends/God, I need a cola now." Modest Mouse is perhaps most well-known for the band's single "Gravity Rides Everything" off of "The Moon & Antarctica," which appeared in a Nissan commercial. If you're expecting this album to sound like that song, with its groovy ambient effects and acoustic strumming, there's some bad news. But if you're able to imagine a world outside a Nissan minivan ("Devil's Work Day" would probably have it drive off a cliff into a river), this album is indeed "Good News."


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Awards season is upon us

In an online analysis of postseason awards, ESPN's Ric Bucher named Erick Dampier as a candidate for Most Improved Player, writing "People are not voting for him because they suspect he's been motivated by the chance to become a free agent and land another long-term contract, but so what? Trust me, that's commendable compared to what motivates some players." This begs the question, what exactly motivates some players that is worse than playing for money? Are they playing for drugs? Are they playing for sex? Are they throwing games so gamblers will murder the groupies trying to get child support from them? Regardless of what Dampier is playing for, Bucher is right; the Golden State Warriors center is a qualified candidate for Most Improved Player. Dampier boosted his averages of 8.2 points per game (ppg) and 6.6 rebounds per game (rpg) a year ago to 12.3 ppg and 11.9 rpg this season. His field goal percentage is also up, but so are his minutes (meaning his scoring and rebounding averages should be up), and his blocks per minute are down. People have been naming Carlos Boozer as a potential candidate, and he'll probably end up winning, but he really hasn't been that much better than last season, particularly the second half of last season. If the award is really supposed to go to someone who has improved their game, not just someone who got more minutes, than the prize should go to the Philadelphia 76ers' Samuel Dalembert. Yes, the Port-au-Prince native has been getting more minutes, but that's because of how hard he has worked to get better. He has developed a consistent short baseline jumper, and is finding a balance between playing with energy on defense and not committing stupid fouls. Dalambert averaged 5.2 minutes in 34 games last year with 1.5 ppg, 2.0 rpg, and 0.4 blocks per game (bpg) while shooting 44 percent from the field and just under 39 percent from the line. This year, he has started 50 of 79 games (he's the only Sixer to play every game this season), averaging 7.8 ppg, 7.6 rpg, and 2.2 bpg while shooting 55 percent from the field and 64 percent from the charity stripe. The Sixth Man of the Year award is really a four-horse race between Manu Ginobili, Atawn Jamison, Desmond Mason, and Al Harrington. Ginobili has started almost half of the games that he's played; I really think that ought to disqualify him. All of the candidates have similar statistics, but in the end, it comes down to the fact that if Jamison had refused to come off the bench, the Dallas Mavericks might have imploded. Really, if he had whined and complained, this team could easily have ten fewer wins than it does right now. He didn't just accept coming off the bench, he volunteered to be a sixth man. Could you see Antoine Walker doing that? Jamison has learned to take advantage of his limited opportunities, bolstering his field goal percentage and rebounds per minute while crafting himself into more of garbage points player rather than the one who was a featured star in Golden State. He deserves the award. Coach of the Year seems to be a toss-up between Jerry Sloan of the Utah Jazz and Hubie Brown of the Memphis Grizzlies. Both deserve it, but come on: Brown has Mike Miller, Jason Williams, Shane Battier, James Posey, and Bonzi Wells, Sloan has Andre Kirilenko surrounded by Carlos Arroyo, Raja Bell, and Greg Ostertag. Other worthy candidates are Mo Cheeks, just for having to interact with Zach Randolph, Ruben Patterson, and Damon Stoudamire on a daily basis; and Terry Porter, who has the Milwaukee Bucks in the playoffs when everyone thought they were going to be in the lottery. But if the Jazz make the playoffs, it will be one of the biggest surprises in the history of mankind. And even if they falter, Sloan is still the Coach of the Year. For Rookie of the Year, the hands-down winner should be Darko Milicic. He's really shown it all this season: outside range, great ball handing, deft passing, soft hands, and deceptive strength. Actually the April Fool's edition was two weeks ago. The real winner is obviously Lebron James, mostly because of that well-edited Nike commercial where it looks like he's making full court shot after full court shot. That's hot stuff. The MVP decision is one of the toughest in recent years. Jermaine O'Neal is the best player for the best team (record-wise, at least), but Ron Artest is probably more valuable to the Indiana Pacers. Kobe Bryant has finally proved that he is more valuable to the Los Angeles Lakers than Shaquille O'Neal, but with all the off-court press he's gotten and distractions he's caused, there's no way he's winning. As it did last year, the award will probably come down to Tim Duncan and Kevin Garnett. KG definitely deserves to win it; he trumps Duncan in points (24.3 ppg to 22.4 ppg), rebounds (13.9 rpg to 12.4 rpg), assists (5.1 apg to 3.1 apg) and steals (1.48 spg to 0.9 spg), and the Minnesota Timberwolves are just ahead of the San Antonio Spurs in the standings. However, it seems weird giving the MVP to Garnett this year and not last year -- last year, he carried the T-Wolves to 51 wins with Troy Hudson and Kendall Gill as his sidekicks; this year they Wolves are going to win seven or eight more games than last year with Sam Cassell (19.8 ppg, 7.3 apg) helping KG out. Still, KG's numbers are just too good, the spirit with which he plays the game is infectious, and the all-important media is behind him. And once the rock that is good press gets rolling, it's harder to stop than Shaq in the lane.


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Forgiving Fallujah

Two weeks ago, in the city of Fallujah, Iraq, four American security contractors were ambushed and killed in their vehicles. A mob quickly formed and burned the bodies, then ripped apart the charred remains. Two bodies were strung up over a bridge amid shouts and cheers. Forgiveness is not the first thing that comes to mind. "Forgiveness" always sounds like a great, nice idea until something happens that actually needs forgiving. It is times like these that forgiveness just sounds like a fluffy, pious fantasy. Or, at the other end of the spectrum, forgiveness is considered cheap and given away easily and thoughtlessly. Those on the extreme 'left' say the people of Fallujah obviously should be forgiven, and so we should forgive. Those on the 'right' say they do not deserve forgiveness, and so we shouldn't. I think they are both half-right. Forgiving is often confused with forgetting. It is thought that to forgive something, we must pretend it never happened. But this is very implausible. Who could simply forget mutilated corpses? To ignore the crime is to ignore the victim. Justice is meant to be blind, but not towards injustice. Moreover, we know even from our everyday life that when we forget rather than forgive the wrongs done to us, they do not really go away. They are swept under the emotional carpet only later to come bursting up in a collective fury during some petty argument in the future. The "forgiveness" did not take. Some people might think that to forgive someone you must say that what he did really was not so bad, or that she really is a good person after all. But this is worse than ignoring the offense -- this is actually lying. To say falsely, "there is nothing to forgive" does not solve anything. Forgiving cannot mean downplaying the wrong done. I think we all know instinctively that to use the language of forgiveness at all is to recognize that a real wrong has been done. Just think how you might react if, in all the times and occasions in which you found yourself saying you were "sorry" you heard in reply, "I forgive you." I have heard a story of a photographer who was told she must absolutely be on time for a photo shoot with a busy CEO. She was, but the CEO was 45 minutes late. When he arrived, he casually said, "sorry to keep you waiting." The photographer replied, "I forgive you." The CEO stopped short, turned to her and said, "Who are you to forgive me?" He was never really sorry for what he did; for he did not think what he had done was wrong. But he knew that she thought so. We all know that forgiveness is not given for accidents, but for wrongs. The way we seek forgiveness also reveals this. When we know that we have truly and willfully done something wrong, if our apology is met with a weak "don't worry, it doesn't really matter," don't we leave deflated? We are not satisfied, and we do not feel forgiven. By trying to de-fang our offense, the person we wronged has not taken away the bite of our guilt. We know in our hearts that forgiveness is something more. Forgiveness cannot be dishonest; it must look the wrong in the eyes and accept it for just what it is. Once this is done it becomes clear why no one should "obviously" be forgiven, or be able to demand forgiveness as a right. If the magnitude of the crime is not lessened, than the fact that it deserves punishment is not changed. Forgiveness, then, cannot be deserved. It can only be given. What, exactly, is given in forgiveness? Contrary to belief, it is not the remission of all punishments. We do not have to empty all our jails to forgive our criminals. But once they pay their time, we should not deny them an honest job. Because what is given in forgiveness is our good will. When we forgive someone, we are saying that, despite the wrong they have done, we still choose to wish them well. Forgiveness does not require you to "like" the person or feel fond of him. But it does mean you desire the best for him. In forgiveness you are separating the person herself from the things she has done, and thereby excluding her from the rage you feel at her offense. You hate the crimes, but love the criminal. This separation is not as strange as it seemed to me when I first heard of it. It became easier to understand when it was pointed out to me that I was already quite used to distinguishing actor from acts with respect to one person -- myself. I may hate or detest some things that I do, but does that prevent me from wishing my own best? If I am mad at myself it is precisely because I wish for myself better things than what I have been doing, not that I have hatred for myself. What does this mean for Fallujah? I think it means that we do not have to ignore it. In fact, we should not just go home as we did after Somalia. We should pursue justice and arrest those responsible. But we can not hate them. We should forgive them before we should pursue. In ancient times, a powerful state like Sparta or Athens would respond to such atrocities by simply massacring the whole city. We cannot do that. We cannot just "nuke 'em." We should forgive the people who cheered the murderers on, and forgive those who let filial loyalty prevent them from turning in the rebels. We need to stay in with a strength tempered by gentleness. We need to wish them well and desire their good, and the best way to do that is to help them as far as possible to govern themselves. They can not do that if most of their citizens are dead or in jail. But they also can not do it if several citizens are running around with grenades. To avoid both will be costly. But forgiveness is always costly. If you owe me a hundred dollars, to remit your debt I must deprive myself of that money. I know that to forgive Fallujah, or Tikrit, or whatever atrocity in whatever city is next to come, it is not myself who will most feel the cost. But for what it is worth, I must say that I think forgiveness is worth it. Jack Grimes is a senior majoring in Philosophy. He can be reached at grimes@tuftsdaily.com