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SYRACUSE NEW TIMES MAY 25, 2005

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EMEMBER the headlines? The names and the faces? The topics that filled your conversations from the dorms to the classrooms and the Quad to M-Street?

Now you can make sure you never forget with September Through Spring, for the Syracuse University 2006 Graduating Class. Four years of stories that take you through the suspense and triumph of a National Championship freshman year, to the campus-wide HillTV controversy as seniors. 300+ pages of memories from your time at SU ripped from the pages of The Daily Orange.

Relive the changing of the guard when Chancellor “Buzz” Shaw passed the torch to Nancy Cantor, the characters like “Bird Girl” and Deshaun Williams, from the glory of Carmelo Anthony and Gerry McNamara to the firing of Coach P. Bursting with articles and photos, this is a must-have for any 2006 Syracuse University graduate.

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“I would be an honors graduate if not for that measure, which might not have happened without Summers,” he said.

Summers is also pushing a curricular review that would add minors, improve advising and revise the core requirements for undergraduates.

“It’s clear to many students that the faculty doesn’t care about curricular review,” said Meisel. “These are absolutely student-first reforms.”

Summers taught a popular course on globalization and scheduled question and answer sessions with free food every year at every residence hall (Harvard has 17 of them).

On the other hand, Cantor’s interactions with undergraduates have sometimes led to embarrassing results.

During the 2005 Homecoming football game, Cantor took the field to retire the No. 44. She was met by boos from the student section. During the same game, two students were removed from the Carrier Dome after they held up signs reading “Dump Cantor” and “Cantor Smells.”

They were met with cheers from spectators.

Though the sign-toting students said the controversy surrounding the chancellor and the former HillTV station was a factor in displaying the signs, it wasn’t the only one.

“It’s just the whole direction she’s taken the school in,” said Michael Isserlis, a senior finance major as quoted in the Daily Orange article “Public Safety removes 2 students from game” after the incident. “The whole element of the school has changed since we were freshmen.”

Jonathan Smyth, a freshman policy studies major and president of Undergraduates for a Better Education, said while he hears a lot of talk about diversity and community, “I don’t hear academics in her speeches.”

Year after year UBE has found the same student complaints about poor advising and frustration with the writing requirements, but the complaints fall on deaf ears, Smyth said.

“Students are the most oppressed segment of this community,” said Bill Coplin, director of the policy studies program at the Maxwell School of Citizenship and Public Affairs.

Coplin said the nature of higher education is not to necessarily make students priority No. 1.

Concerns about tenure, publishing and stature come first for many members of the faculty, but it’s a nature not unique to Syracuse. Coplin said former SU Chancellor Kenneth “Buzz” Shaw used what power he had to help steer faculty toward engaging with students.

“Undergraduates pay 75 cents out of every dollar and get about 25 cents on that dollar back,” he said. “To me, that’s stealing.”

While Shaw plastered the phrase “studentcentered research university” throughout SU, it’s a phrase the current administration has disavowed, Coplin said. Not to suggest the university is no longer concerned about undergraduate education, but it signals to faculty it’s no longer the top priority.

Coplin is quick to point out the chancellor can’t exert direct control on how things are run at the professor-to-student level.

“Faculty members have their fiefdoms, and a university is just hundreds of fiefdoms connected by telephone lines,” he said.

The breaking up of these fiefdoms was a

priority for Summers, who tried to instill more accountability in the School of Arts and Sciences at Harvard.

One prominent example (and one that quickly turned many in the School of Arts and Sciences against him) was a meeting with Cornel West, an African-American studies professor.

The two held a private meeting in fall 2001 in which Summers questioned West’s actions in advising Al Sharpton’s presidential bid, giving out easy A’s in his classes and producing a spoken-word CD. Reportedly, Summers told West to stop missing classes and spend more time on campus.

Meisel said Summers tried to re-evaluate different faculty members’ departments and activities, upsetting those told to change their ways. The problems were only compounded

by Summers’ style.

“He was not only not a very good people person, but a very poor Matt Meisel people-person,” Meisel CO-CHAIR OF THE HARVARD said.

CRIMSON’S EDITORIAL BOARD While the two eventually made up publicly (West nonetheless departed for Princeton University), the incident was one of many that would pit Summers against the Arts and Sciences faculty.

For Cantor (who is also a professor of psychology and women’s studies in The College of Arts and Sciences at SU), getting on the good side of the Arts and Sciences faculty was never a challenge.

“It’s her baby,” Smyth said. “There’s not the focus on undergrads in Arts and Sciences that there should be.”

The chancellor can use the bully pulpit to direct faculty to her priorities, Coplin said.

Priorities that any undergrad would (or at least should) say is undergraduate education.

“Shaw was like the levees in New Orleans holding the water back,” Coplin said. “She pretty much took the levees away.”

Today the phrase “scholarship in action” is the buzzword that appears across SU’s home page. It’s the title of Cantor’s official vision statement, which is divided into faculty excellence, diverse student population and engagement with downtown/world (in that order).

David Bennett, a Maxwell history professor, cautions while such buzzwords have substance, they’re employed for other reasons.

“When there are fewer applicants, you need something to market to students to say, ‘Hey, you’re special,’” he said.

Maria Russell, a public relations professor at the S.I. Newhouse School of Public Communications, said there’s a public relations tactic to help reconnect with students that Cantor could take note of: listen.

“It sounds so simple, but hearing and listening are two different things,” she said. “Listening takes time; it takes a lot of work.”

But getting a chance to speak to the chancellor isn’t so easy.

“Superficially at least, President Summers made himself accessible to students,” Meisel said.

Summers met multiple times during the semester with The Crimson editorial board, student government and other student groups.

He sponsored pub nights. Muhammad, the Harvard senior, said a friend of his danced with Summers at a freshman year event.

At SU, students can schedule 20-minute sessions with the chancellor, but an assistant in her office said many of these one-on-one sessions have been consolidated into group sessions because they are in high demand.

“Summers looked critically at the role of the university in society in a way that no other Harvard president had examined.”

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Musician fuses jazz, folk sounds to create unparalleled style

By Jennifer Sricharoenchaikit CONTRIBUTING WRITER

Contemporary folk may turn some instantaneously away, but Lisa Moscatiello’s sultry voice and incredible range is refreshing amid our current and stale top pop hits.

Folk diva Moscatiello, accompanied by cellist Fred Lieder, performed Friday night at the May Memorial UU Society off East Genesee Street. The concert was sponsored by The Folkus Project, an organization For more informathat presents folk and tion about Lisa acoustic music in SyraMoscatiello, visit cuse and Central New her Web site at lisamoscatiello.com York.

The coffee house venue was appropriate for Mocatiello’s acoustic performance and audience of no one younger than 40. However, an ideal venue would have been a Lillith Fair or Berkfest, where there is plenty of space for free-spirited dance.

While neo-folk doesn’t have the same appeal and familiarity as the ever-popular hip-hop, dance, rock or indie genres these days, gen-Xers who appreciate Bob Dylan and Simon and Garfunkel would most likely embrace Moscatiello’s bewitching songs.

Influenced by folk, jazz, pop, R&B, rock and even techno, Moscatiello’s spine-chilling voice is reminiscent of 1940s jazz goddess Sarah Vaughan, whom when asked was one of Moscatiello’s favorite artists.

Moscatiello is very well known amongst contemporary folk circles, but it’s a wonder she hasn’t seen more commercial success. Without exaggeration, her voice is akin to iconic jazz divas like Eva Cassidy, Ella Fitzgerald and Vaughan.

Perhaps if she sang more jazz numbers she would have a larger following greater than that within folk circles. So why doesn’t she?

“I just love folk music,” Moscatiello said.

“I grew up with folk music, my mom always listened to folk music. But I do try new things.”

Moscatiello points out there are plenty of

ARTIST INFO

songs on her latest and past albums that are reminiscent of 1940s jazz. Additionally there are other samplings of Celtic, Italian, Scottish, Blues and traditional folk songs. Her latest fusion of techno turned acoustic is part of her self-titled genre “acid cabaret.”

The latest media coverage implies that one would be introduced to this new genre of techno-turned acoustic. I was extremely interested in hearing this marriage. When asked why her performance didn’t include more of these “acid cabaret” songs, Moscatiello replied, “Look at the audience.” Indeed her point was well-taken as virtually all audience members were around the same age that Bob Dylan would be.

While I’m still trying to understand everything that “acid cabaret” would consist of, I was dually impressed by the voice of Mosciatiello and accompaniment of cellist Fred Lieder. Lieder was just as extraordinary and took playing the cello to a new level, one that would make one regret quitting orchestra in middle school.

Her latest album, “Trouble from the Start,” exemplifies her eclectic influences as well as keeping the album interesting. She covers Jerry Butler’s R&B hit “Brand New Me,” incorporates an Italian classic, “Come Sinfonia,” and turns a techno song acoustic in “Ashtray.” My personal favorite, “You’re Crying,” is a seductive, melancholic jazz classic.

Just last month, Moscatiello was awarded album of the year, best contemporary folk recording, and best female contemporary folk vocalist at the Wammies, a music award ceremony by Washington Area Music Association.

The audience’s standing ovation brought about an encore presentation of Dylan’s classic “Girl from the North Country.” The small venue and relaxed environment had many shouting to Moscatiello conversationally from the audience, asking, “When will you be back?” and, “Where are you playing next?” She will be touring throughout Maryland during the month of April, but as expressed by everyone in the audience, she is eagerly welcomed to return.

rachel fus | staff photographer LISA MOSCATIELLO, a nationally known folk singer, sings to an intimate crowd with accompaniment from cellist Fred Lieder on Friday at the May Memorial.

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The Daily Tar Heel’s Dining Guide

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Coming Wednesday, January 25, 2006

Winter 2006

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