4-8-2021

TH E

MU SI C

I SSU E

A CAPELLA ACTIVISM, 2

ORCHESTRA, 4

MUSIC MAJOR, 6

LO-FI, 9

A capella groups strive for inclusivity.

Alumni discuss role in Boston Symphony Orchestra.

Life as a CFA student midpandemic.

How gaming music soothes anxiety.

Boston remains soundtracked by protest Jesús Marrero Suárez Senior Reporter Billie Holiday first recorded “Strange Fruit” in 1939 — adopting a 1937 poem by The Bronx teacher and civil rights activist Abel Meeropol. She was consequently denied a cabaret performer’s license and the song made her the target of the Federal Bureau of Narcotics, which ultimately led to her death in 1959.

But in 1999, Time Magazine declared it the song of the century.

“If you look at the history of music dating back for decades and decades, artists and art have always had a very powerful effect on enacting change, bringing to light certain subjects,” said Susan Cattaneo, associate professor of songwriting at Berklee College of Music.

Cattaneo said prior to the 1960s, the industry fiercely pushed back against social issues in music, fueling the hostility Holiday faced.

“There were acceptable things that were allowed to be sung about and things that were not acceptable to sing about,” she said.

Artists draw from their own experiences to fight for social issues, she said, while music played at protests themselves have a different, yet nonetheless important, role.

The Boston Area Brigade of Activist Musicians is an organization composed of protest and activist bands around Boston. Kirk Israel, a regular performer and tuba player with BABAM, said the group is usually contacted by protest organizers.

“We’re there to add this musical energy to events that are going on,” Israel said.

Drawing inspiration from New Orleans street bands, Israel said the musicians work with the protesters to support and reverberate their message.

“A bunch of people, plus a band, has more power than just a bunch of people,” Israel said. “We do what’s called ‘chant backing,’ which means we’ll mold the baseline and the drums and some ornamentation from other instruments to back up the voice of the people.”

Israel said one of his personal tri-

umphs with BABAM was in 2017, when around four bands came together during a Black Lives Matter protest in Boston, countering an altright protest at the Boston Common.

An estimated 40,000 people marched in a counter-protest from Roxbury to the Common, dwarfing a “Free Speech Rally” featuring prominent conservative figures.

“Just the numbers and knowing that there’s so many people who really do understand the amount of racial inequality we have and that we were so able to swamp the alt-righters,” Israel said, “That was definitely one of the biggest and best memories.”

Outside individual protests, HONK! is an annual festival of activist street bands that usually plays out over Indigenous Peoples’ Day weekend, said Ken Field, a member of the festival’s organizing committee.

Started in Boston in 2006, HONK! has since spawned 22 similar festivals around the world, Field said.

From the outside it’s similar to Mardi Gras, he said, with its “boisterous music and outrageous costumes.”

Internally, the activist and community-based bands from all parts of the globe join and bring with them the causes they are passionately advocat-

ing for.

In the roughly 14 years he’s been in HONK!’s committee, Field said he’s been in HONK!’s committee, the festival has expanded rapidly. Originally 12 bands, it now boasts nearly 35 with some 600 musicians.

Field, who also performs with the Second Line Social Aid and Pleasure Society Brass Band, said protest art and music play a “crucial” role.

“Art and music express emotion,” Field said, “and protesting without emotion is not powerful.”

Field said his experience in a performance outside Boston’s U.S. Immigration and Customs Enforcement House of Corrections is one of his most memorable.

He said he and others believed the detainees were being held “for no good reason” and without the chance to receive representation.

“Many hundreds of the musicians from all the bands went down there, we had buses taking people down and we played outside the detention center,” Field said, “basically just to let the people who were being held know that we knew they were there.”

Robert Lagueux, associate vice president of academic affairs at Berklee College of Music, said music

ILLUSTRATION BY ALEXIA NIZHNY

has always served as a way to subvert injustice and push for protest — a tradition that remains firm in the modern day.

Such would be Janelle Monáe’s six-and-half minute song “Hell You Talmbout,” he said, in which she lists the names of 18 Black people killed by police and in other acts of hate.

Monáe mentions Walter Scott, Eric Garner and Aiyana Jones, among others, repeating each four times.

“Say her name, say her name, say her name,” Monae sings of Sharonda Singleton, one of the victims of the 2015 shooting at the Emanuel African Methodist Episcopal Church in Charleston, South Carolina.

Lagueux added that while not “overtly menacing” like Rage Against the Machine’s “Killing In The Name,” the repetition of the names in Monáe’s 2015 song comes across with the same power.

“It’s heartbreaking to hear the number over and over again,” Lagueux said, “and the constant admonition to not forget their names.”

Faculty musicians share challenges, upsides of a year without an audience Tanisha Bhat Senior Reporter A year after the initial onset of the pandemic, Boston University’s College of Fine Arts professors are finding new ways to perform despite ever-changing restrictions and conditions.

From meeting in person to creating digital recordings, CFA faculty continue to motivate their students during unprecedented times.

Terry Everson is an associate professor of music who has played trumpet with the Boston Pops Esplanade Orchestra and tours with the Rodney Marsalis Philadelphia Big Brass.

Everson said while he has been sustained by his full-time position at BU, this past year has been difficult for musicians whose income is solely performance-based. He last performed with the Boston Pops on New Year’s Eve in 2019 and with the Rodney Marsalis group in February 2020.

“My wife and I just figured out our taxes for last year, and between the two of us, we found a difference in $30,000 in our income for this year,”

Everson said. “But we’re doing a lot better than a lot of our colleagues around town who are only making money by performing.”

Using editing software such as Adobe Premiere Pro, Everson put together a video of the BU Trumpet Ensemble performing last spring and posted it on YouTube, where it received more than 2,500 views.

“I can’t say that any of us in the performance area is probably completely satisfied with what we’re doing compared to what we’d really like to do with our students,” he said.

“However, we are trying to find our best ways of really helping our students navigate the future.”

Brass and woodwind musicians in student ensembles were not allowed to perform in person following a decision made by BU at the beginning of the semester, which was later reversed.

Everson said the one positive aspect of the online experience is that his students learned early on how to create a digital portfolio for future job applications, something Everson said he finds valuable and has emphasized more to his classes.

Associate Professor of Viola Steven Ansell, who has been a profes-

sional musician for 46 years, is the principal violist of the Boston Symphony Orchestra and co-founded the Muir String Quartet in 1979.

Ansell said his quartet has not performed a concert in more than a year, and the BSO has been releasing live recordings for online listeners.

“We’ve been recording performances, but there’s no people in the audience at all,” he said. “We’ve all been socially distanced when we’ve been playing and wearing masks and so forth. We sort of got used to it, but it’s not the greatest circumstance, shall we say.”

Because students are living in different in time zones, quartet members use an app called Soundtrap to record tracks separately and compile them later.

“They each record a track and then they put it together,” he said.

“It’s a very poor substitute for even getting together as a group, just the four of them in the same room, and rehearsing and playing for me from that room. But that’s all we can do.”

Rob Patterson, an assistant professor of clarinet, said he had recordings and premieres scheduled in Hong Kong last year that were canceled

COURTESY OF LELAND CLARK

College of Fine Arts Professor of the Practice Musicology and Ethnomusicology Leland Clarke performing in a 2017 concert. While CFA faculty musicians’ performance careers have been challenged by the pandemic, instructors are finding ways to assist their students virtually.

due to the pandemic.

“Little by little, I think all the musicians saw just one after another after another,” Patterson said, “then all of a sudden, we were all left with totally blank calendars for performances.”

In June 2020, Patterson launched a 10-week online program for clarinet players called The Clarinet Sessions.

He brought in professional musicians from the New York Philharmonic, Los Angeles Philharmonic, Berlin Philharmonic and other performance groups to give lessons on the instrument.

“That’s been a really big part of

what I’ve been doing during the pandemic,” he said, “trying to create a sense of community, inspiration and give people something to hold on to during these difficult times.”

However, Patterson said virtual performances and lectures have allowed people from all over the world to connect with each other via Zoom.

“It’s been remarkably okay, and even a plus,” Patterson said. “This last weekend, we were able to have a guest artist from Helsinki, Finland Zoom in and give a master class for all the students. So, there are some advantages, shrinking the globe is certainly one of them.”

2 NEWS

Drum circles bring rhythm, community to Boston residents Daniel Kool City Editor

The banks of the Charles River were kept alive by the heartbeat of djembe drums Tuesday afternoon — tying the soft rattling of bicycle spokes, the cries and laughter of children and the muffled ring of a rowing instructor’s megaphone into a new, strikingly normal spring symphony.

Alan Tauber, director of Arlington-based DrumConnection, led a group of three — two students and one student-teacher — in traditional tempos near the Artesani Playground in Lower Allston. Masked and distanced, they beat away with hands and sticks and tapped their feet.

Several times, the group paused as he pounded a new rhythm for them to try.

“I studied with the original guy who brought it here, so I want it to be at least a little authentic,” Tauber told the group. “The problem is the history doesn’t say that it’s supposed to be rigid, firm or only one way.”

All four members of the group had already been fully vaccinated. Two removed their masks as they spoke about how things felt somewhat normal.

Partway through the set, a mother invited her daughter to dance before

they resumed their walk. Tauber gave them a light drumroll and a wink, the others gave smiles while they kept time.

At 67, Tauber has been teaching drummers in the Boston area since the 1980s, he said.

Tauber said he usually runs in-person lessons out of adult education centers around the city, but classes went remote when the pandemic took hold. Although classes were able to continue, he said they were occasionally hindered by the distance and technical difficulties.

“It caused people to feel that they were disconnected from drumming,” Tauber said. “When the microphones feel that big, loud sound out of nowhere … that mic has a built-in processor that cuts out the sound.”

He added that the group kept up outdoor drum circles alongside virtual classes until the weather began to cool in October of 2020. Crowds ranged from three to 30 participants, Tauber said.

DrumConnection’s circles hibernated over winter before returning to the riverbank March 23, Tauber said. Since then, it has convened four times.

At Tuesday’s circle, participants alternated between learning traditional rhythms — copying Tauber’s movements — and improvising their own in time.

“Learning doesn’t have to happen out of a book, it definitely doesn’t

DANIEL KOOL | CITY EDITOR

DrumConnection drum circle near Artesani Playground in Lower Allston Tuesday. DrumConnection director Alan Tauber conducts socially distanced, outdoor drum circles to give participants a better learning and playing experience than they would receive in virtual lessons.

have to happen by someone telling someone what to do,” Tauber said. “It can happen just by someone showing you, so you can hear it and see it.”

Tauber added that the site along the river was one of several local spots he first learned to drum more than four decades ago.

“We still go to that same place,” he said, “that hallowed ground.”

Christine Stevens, an Arlington resident who attended Tuesday’s drum circle, said she first attended one of Tauber’s lessons in Lexington before the pandemic, having not drummed prior.

A life-long lover of music, espe-

cially rock ‘n’ roll, she said drumming was a great fit.

“It was great,” Stevens said. “Then COVID started, and that was the end of drumming for me.”

Stevens said when she heard about the riverside drum circle, she saw it as a chance to “get back into it.”

“It’s getting back into the world,” she said. “It’s very freeing. All of your problems go away and you just focus on something. It’s very meditative.”

A 2018 study by researchers at the Royal College of Music and the Faculty of Medicine at Imperial College London found that those who

participated in community drumming reported a general sense of uplift, greater feelings of personal agency and heightened feelings of connectedness to their group.

Tauber said it can take time for students to become technically skilled enough to express their feelings through the rhythm, but participants often improve within the time of one lesson.

“Their eyes close,” Tauber said.

“They sort of go inside themselves a bit, and it takes them inside to their feelings.”

BU’s a cappella groups continue to use their voices for activism in spite of the pandemic Jesús Marrero Suárez Senior Reporter Boston University’s many a cappella groups have gone through a wealth of changes over the course of the past year. With the tumult that started last spring, these groups took the opportunity to reevaluate their priorities.

College of Engineering senior Sadie Allen is a music director for the all-female identifying group Chordially Yours.

Allen said the last concert the group attended was the “Battle of the Babes” — an all-female a cappella concert that has raised funds for Planned Parenthood and Rosie’s Place, a community center for women experiencing homelessness and who are in need.

The concert directly preceded Spring Recess, she added, after which the University made the decision to continue the semester remotely due to the pandemic.

“It was sad,” Allen said, “because for that year, that basically meant everything was over.”

The group had been preparing for their final showcase when BU went remote. Since they were unable to rehearse together, Chordially Yours shifted gears to prepare for the Fall semester instead.

“There was really nothing else for us to do,” she said, “than look forward.”

College of Arts and Sciences juniors Kaileen Germain and Amanda Geist, co-presidents of the all-female identifying group BU Forté, said they took the pandemic as an opportunity to rebrand.

The group announced their name change, from the BU Sweethearts to BU Forté, Jan. 27.

“I think our name didn’t really reflect who we were and who we are now as a group,” Geist said. “As our group has evolved, we thought our name should evolve as well.”

Geist said the name “Forté” evokes the strength of the group’s voices, as well as the activism they now use their voices for.

The group, Germain said, has held fundraisers and advocated for Black Trans Femmes in the Arts and against anti-Asian violence, among other causes.

“We’re trying to cover as much as we can,” Germain said, “and try to be as conscious as we possibly can.”

Geist noted BU Forté has also turned its eye toward the longignored issue of diversity in the a capella community.

“We also are trying to create structural changes in the a cappella community itself,” she said, “to be more inclusive.”

Following conversations about racial diversity in a cappella, Geist said the BU a cappella community pledged to create an inclusivity council to function as a third party to address issues of microagressions and discrimination, as well as to develop a method of holding blind auditions

for the next semester.

ENG senior Vivek Cherian is a music director for BU Suno — A South Asian/Western fusion group.

He said BU’s a cappella groups decided together to create a “common application” for incoming members looking to apply to more than one group.

Cherian said the application asks for general information — such as name, musical experience, year and pronouns — but the attached video portion, which replaces the traditional in-person audition, was changed to be an MP3 track.

“Last semester, we had auditionees submitting videos,” he said. “This semester we decided to change it to MP3 for it to be a blind audition. That was in support of conversations we were having about inclusivity.”

Apart from all the changes implemented, it was still a particularly difficult year for BU’s a cappella groups.

“Specifically performance groups, we face a unique challenge because we are probably most at risk of spreading COVID because we’re singing,” said CAS senior Ed Kellerman, president of the co-ed BU BosTones.

Kellerman said the number of auditions for the group has seen a “significant drop.” Despite that, he said, those who did audition — and subsequently joined — are some of the most “motivated individuals” he’s seen.

“They’re doing it all in the middle of a pandemic, which is really cool,”

COURTESY OF BOSTON UNIVERSITY ALLEGRETTOS

Boston University Allegrettos. A cappella groups at BU have shifted online, but continue to advocate for social justice and work toward making the a cappella community more inclusive.

he said. “It’s something special.”

CFA School of Music junior Ryan Van Fleet is a music director for the all-gender group The Allegrettos. He said the group has had to become more creative with its rehearsals.

Van Fleet said they will sometimes hold practice on Zoom by splitting up members with different voice sections, such as altos and sopranos, into different breakout rooms.

“That way it’s more time effective,” he said, “rather than everyone meeting on one Zoom meeting, we just go into breakout rooms and that’s how we kind of learn the music.”

The Zoom meetings, Van Fleet said, are also paired with socially

distanced rehearsals with masks.

“We have done a few rehearsals in Warren Towers’ parking garage with masks and stuff,” Van Fleet said, “not really ideal but it’s definitely nice to finally be able to somewhat sing together.”

Allen said Chordially Yours has been working on a four-song EP, set to release this summer. Despite this being her last year with the group, she said she is excited for its release and for everyone to be back together again.

“To have something really, really great to have come out of such a hard time for all of us,” she said, “we made something really cool.”

NEWS 3

BU Bands discuss keeping up morale through constant changes, restrictions Molly Farrar Senior Reporter The social distancing guidelines put in place after the initial COVID-19 outbreak last spring included no large gatherings, face coverings and six feet of social distance from others.

For music ensembles at Boston University, these rules have affected more than their large performances.

BU Jazz Ensemble, BU Pep Band and the Marching Bands are non-music major ensembles that serve the

integral role of giving all students an opportunity to play in ensembles.

Michael Barsano, director of university ensembles, said strict social distancing measures must be observed when rehearsing inside.

He said the ensembles adapted as best they could to the new social distancing rules for wind and brass players, with the priority of keeping the ensembles active in a safe way throughout the year.

“Majority of our students are actually studying outside of the College of Fine Arts,” Barsano said. “By keeping this program going, that’s the School of Music’s dedication to

making sure that all students at BU, if they want to have music-making opportunities, it’s available to them.”

Amit Bhatia is a freshman in the Questrom School of Business and has been a member of the Jazz Band since he arrived on campus last semester. He plays drum kit and said the Jazz Band has been focusing on their collective work in light of no performances.

“We’ve kind of been playing mostly as a jazz collective,” he said. “We did some swing stuff and then we moved into some funk stuff and then some Latin stuff … our goal was to be able to run through the piece and

Boston University Pep Band performs in front of the George Sherman Union. Non-music major ensembles at BU have adapted to changing COVID-19 guidelines throughout the school year to continue performing and bonding as a group.

HANNAH YOSHINAGA | PHOTO EDITOR

play as though we were performing just for ourselves.”

Bhatia said in addition to the Jazz Band, other ensembles such as Pep Band and Orchestra were recently given the green light from BU’s Medical Advisory Group to resume in-person rehearsals with wind instruments while following strict COVID-19 guidelines.

After a semester of virtual meetings and assignments on SmartMusic — an online music learning platform — Pep Band clarinetist and College of General Studies sophomore Taylor Hill was excited to return to in-person rehearsals just a few weeks ago.

Before the change in practice guidelines, the Pep Band would watch hockey games together and participate in weekly Zoom meetings to maintain a semblance of normalcy.

On one occasion, they gathered at the George Sherman Union to replicate a rehearsal.

“We even brought our instruments, but we just weren’t allowed to actually play them,” she said. “We were just singing and fingering through and doing all the horn moves, talking about any traditions.”

Hill said during her freshman year, the weekly obligations of performing at men’s and women’s hockey as well as basketball games kept her integrated in the BU culture — an aspect she now misses.

“A lot of the reason why I do band is not just playing my instrument,” she said. “That’s something I could do by myself alone in my dorm room if I wanted to, but it’s the social aspect.”

She added having the opportunity to participate in these activities now has been good for her mental well-being.

“Now that I am on campus,” Hill said, “honestly for my mental health and having something that I can go to is really, really beneficial.”

College of Arts and Sciences sophomore Julia Hu is a member of the Marching Band, playing marimba and xylophone in the front of the ensemble.

While the band would typically perform throughout the year with a complex routine, she said distancing guidelines have prevented the band from incorporating movement.

“It’s really hard to make a show with moving formations when everyone has to be six feet apart,” Hu said, “and there are so many people and there’s only so much space on the field.”

Unlike other ensembles at BU, the marching band was able to rehearse outside, allowing wind players to participate. The band also maintained a similar practice schedule of two to three rehearsals a week during the season.

Hu is currently a member of the Spring drumline, which has only one wind player in the ensemble.

“This is our escape,” Hu said.

“Most of the time we spend doing problem sets or I spend a lot of time coding. So, two or three times a week, I get to just think about music and focus on just that.”

All of the ensembles will finish the semester with in-person rehearsals provided there is proper distancing. For Barsano, the return to in-person playing is something he said he believes will benefit students.

“I think a lot of our students see it as a way to relieve stress,” he said.

“With everything going on, anything that can do that, I think was important to keep going as long as possible.”

Boston’s music students stay busy during pandemic Sam Trottenberg Senior Reporter As COVID-19 transformed Boston into a virtual and socially distanced world, the city’s music students kept on playing.

The North End Music and Performing Arts Center closed its doors before the city shut down officially, said Executive Director Sherri Snow.

“We were one of the first organizations to actually close,” Snow said.

“We halted all of our programs and were fortunate enough to launch a virtual platform within three days.”

She said about 70% of NEMPAC’s students continued to take lessons during the pandemic. The organization oversees more than 1,500 students every week through its community music school and its partnership with Boston Public Schools.

Even before COVID-19, Snow said NEMPAC was working on a virtual platform in order to stay competitive with other music schools that were already making that move. Still, virtual lessons aren’t without their difficulties.

“The one thing about music is that it unites us all, it gives us these personal human experiences,” Snow said, “and I think that sometimes it’s hard to convey or relate to someone through a screen online.”

Snow added that the pandemic made it difficult to maintain equity of access to lessons among students.

Internet access has been a challenge-point for Boston families since the start of the pandemic.

“You’re only making school music accessible via a computer or a screen, and not every child or teen in Boston has a computer,” Snow said. “We

tried to really support accessibility at home, realizing that every student may not have an instrument, so we created an instrument fund last year.”

Along with the instrument fund, NEMPAC awarded more than $19,000 in need-based financial aid from 2019 to 2020.

NEMPAC returned to in-person instruction in September, adding COVID-19 safety protocols such as screening students and taping off sitting areas in practice rooms to ensure social distancing, Snow added.

But Snow said vocal, brass and woodwind instruction remains remote due to the increased risk of COVID-19 transmission.

“So much about vocal technique is having our instructor see how they’re producing their vowels and see the tension on their jaw and their lips and their mouth,” Snow said. “With a mask on, it’s impossible to do those things.”

In addition to its music school, NEMPAC operates a performing arts center that Snow said usually hosts up to 30 events every year, but there aren’t many in-person events currently.

“We had to get creative,” Snow said.

From May through October, NEMPAC partnered with Tresca, a North End restaurant, to present “Opera from the Balcony.” Each week, opera singers sang down on Hanover Street from the safety of the restaurant’s balcony.

“People were just stopping and in awe,” Snow said, “and some people were crying, just so moved by hearing this live vocal music.”

“Our YouTube has exploded,” said Sarah Spinella, chief advancement officer at Community Music Center

of Boston. “Our subscribers, I think, have tripled in the past year.”

CMCB moved to remote programming last March, and similar to NEMPAC, it was already working on remote instruction, Spinella said. She cited other advantages of the virtual format, some of which she’s experienced as a vocal student herself.

“When we went online, it meant that I could just be in the comfort of my own home and not singing where my fellow staff members can hear me in my office,” she said.

On the other hand, Spinella said older, more advanced students adjusted better to virtual lessons than

beginners.

“I also took string lessons as a kid, I played viola” Spinella said, “and in those early years your teacher has to come over and physically touch your hand, and we don’t allow that anymore.”

To combat this, CMCB created instrument tuning videos and began allowing families to bring in instruments to tune during “office hours,” Spinella said.

As chief advancement officer, Spinella oversees CMCB’s fundraising.

She said some donors are able to give more because they didn’t spend as much money during COVID-19,

while others had to cut back because of financial difficulties.

Spinella said CMCB considered dipping into its endowment to avoid laying off staff, but the organization received a Paycheck Protection Program loan to cover costs.

She added that the staff now meets once or twice a month to check in and stay in touch, which wasn’t necessary before COVID-19.

“It used to be that we’d just pass each other in the hallway, and I could just step into a class,” Spinella said.

“Now it’s a lot harder to Zoom-bomb something and see and watch what’s happening.”

COURTESY OF THE COMMUNITY MUSIC CENTER OF BOSTON

Virtual performance of “He’s Got the Whole World in His Hand” by the Community Music Center of Boston. CMBC and the North End Music and Performing Arts Center are offering virtual lessons and performance opportunities to students.

4 FEATURES

ARTS

Where are they now: Boston University alumni reflect on the Boston Symphony Orchestra Colbi Edmonds Editor-in-Chief The city of Boston is a hub for history, sports and the arts. Notably, it’s home to the Boston Symphony Orchestra — a Grammy Awardwinning ensemble that has garnered international recognition.

Behind every crescendo and staccato is a musician who went through competitive auditions and training to earn their seat on the stage.

And Boston University alumni are certainly in the mix.

Todd Seeber earned his bachelor’s of music from BU in 1985. Now, he is a double bass player in the BSO. “If you’re talking about the BSO, you’re playing the greatest repertoire ever written,” he said, “in one of the greatest orchestras ever. Every week is fantastic.”

Seeber joined the Orchestra in 1988 — just three years after graduating.

Despite the intensity of the job, Seeber said he enjoys the “communal experience” with his colleagues, learning new music and mastering his repertoire.

He said he still remembers his BSO audition, which he compared to the rigor and focus of an Olympic athlete — playing at the highest level, but having to remain composed.

“What I remember is being almost a little unemotional during the process because there’s so much you have to remember to do,” he said. “It’s about actually going into that spot in your brain where you can focus.”

Seeber was a student in the BU Tanglewood Institute — a summer

principal training program for musicians aged 14-20 — where he now teaches.

“Going to a place like Tanglewood, going to a conservatory or a great university with a highend performance program, you get a sense of how good you’re going to have to be,” he said. “You have to develop that level of playing … it takes unbelievable amount of work at that period in your life, unbelievable amount.”

Gregory Melchor-Barz, the director of the BU School of Music and a professor of ethnomusicology, said BUTI is one the country’s best programs for young artists — if not the best.

“It’s another part of the equation of getting younger and younger students involved in orchestral playing and developing those skills,” he said, “and hopefully inculcating sort of a lifelong passion for the

arts, specifically regarding larger ensembles.”

Melchor-Barz said BU and BSO have formed an “organic” relationship that has allowed some of the orchestra’s talent to be faculty members at the School of Music.

“We have been fortunate to have our students mentored and educated by some of the best musicians in the world,” he said. “The BSO is just one of the finest orchestras in the country that has celebrated our students by accepting them into their ranks.”

James Cooke earned his master’s of music at BU in 1984, and is another alumnus who was able to successfully audition for the BSO — but his audition experience was not one and done.

Cooke began playing violin in fourth grade, he said, and by the time he was a junior in high school, he knew he wanted to pursue music as a profession.

“I certainly was no prodigy,” he said. “I simply worked hard, I think I had an innate musicianship, but it took me a long time to polish my playing.”

After graduating with his master’s, Cooke began freelancing and auditioning — along with his wife Lisa Crockett, a fellow BU student at the time and violinist — around Boston, which he said was “extremely stressful.”

“You cannot get worn down by not being successful, you have to be able to work harder and sort of have a memory for what you need to work on,” he said. “You have to be able to forget if you got nervous or if something didn’t happen the way you wanted it to happen.”

For Cooke, the third time he auditioned for BSO really was the charm.

“I’ve worked very hard, and I was fortunate enough to get into

BSO,” he said. “Auditions are a very strange thing, you can never quite predict what’s going to happen. And I was very blessed.”

Even after more than 30 years, he said the orchestra’s magic has never faded.

“I still enjoy it very much,” he said. “It is work, but it’s been a very fulfilling experience for me.”

Melchor-Barz said the School of Music remains committed to its curriculum that helps prepare students for a professional career, including education in large ensemble performance, section leadership and chamber music.

“They’re just getting so many opportunities, both at the undergraduate and the graduate level, to succeed not only in their degree programs, but also preparing them for their next step,” he said. “Many young students come here because they’re thinking they’re not quite ready, but by the time they’re done with their degree program, they’re ready to launch.”

Seeber said his education at BU certainly prepared him for his professional career. He added that the industry is much more competitive now than when he was auditioning 30 years ago, but having “musicianship and artistry” is key to success.

“I think people have to be an artist first and let the technique develop to keep up with your vision for what you’re doing,” he said. “Being technically perfect without being artistically compelling won’t get you the job.”

COURTESY OF MARCO BORGGREVE

Music director Andris Nelsons conducts a March 2018 Boston Symphony Orchestra performance. Boston University alumni say their music education taught them the skills needed to play in the internationally acclaimed BSO.

COMMUNITY BU Choral Society remains inclusive, dynamic in pandemic Giulia Lallas Contributing Reporter Music is considered a love language of sorts, through which people can express themselves while sounding beautiful, communicating through strings and chords that feel just right. For some Boston University students, music can soothe and put the world on pause — and it’s even better with their peers.

“Music to me is a form of communication, especially in ways that I cannot speak,” said Mariah Wilson, the director of BU choral activities and a lecturer in music.

“Sometimes it has immense power, where even the ground shakes when you hear the sound of music.”

The BU Choral Society embraces music’s power through its chorus that is centered around inclusivity and fun, according to its website. The all-gender, student-run choir is nonaudition and has been entertaining the BU community for more than 15 years at Parent’s Weekend, fall and spring concerts and other outreach events.

In August 2020, the BU Choral Society posted its first ever YouTube video: a mashup of club members singing from their separate Zoom screens to the song “A Million Dreams” from the 2017 film “The Greatest Showman.”

Their Spring virtual, mini recital took the place of the club’s annual

in-person performance and was just the start of their online transition and persistence in creating music.

Wilson said the first virtual concert was particularly moving because, for many members, it was their first time hearing the choir together again since early last year.

“The truth of it is, until recently we, as singers, never heard our voices blend with somebody else’s voice, and that is a huge travesty,” Wilson said. “Until you put your tracks together and you press play.”

Elizabeth Terilli, president of the BU Choral Society and a senior in the College of Arts and Sciences, said the club’s non-audition model makes it more accessible for prospective members who may not have extensive experience with singing.

“This club exists because in the midst of music at BU … clubs that involve music at BU, most of them are audition-based,” she said. “This club was founded for people who don’t want to audition, they just want to have something more relaxed and laid back and not have to worry about having prior experience.”

BU Choral Society Secretary Fern Bromley, a senior in the College of Arts and Sciences, said they joined the society because of its inclusivity.

“The reason that I joined, which I think pretty well encompasses the goal, is that anyone should be able to be in a choir if they want to,” Bromley said.

They said the group also incorporates a “really wide variety

of music,” spanning time period and cultures to represent everyone’s style.

“It kind of dispels some concerns or annoyances that people have about singing groups because they think that it has to be according to one theme,” they said. “We’ve always kind of tried to not do that, to make sure that there’s a little bit of everything.”

The BU Choral Society has created a community for non-music and music majors alike. But, COVID-19 has shifted the format of practices and created new challenges with online video performances.

“It went from six to eight songs in person to one online,” Terilli said.

“You’re listening to the music in one ear and you’re watching the music being conducted on video, and you’re singing while that’s going on.”

The online environment has also led to a reduction in choir size and recruitment challenges, she said.

“Things kind of got harder and harder as COVID’s progressing with the arts,” she said.

However, Wilson said Zoom can also present new opportunities, adding that options such as breakout rooms and the chat feature can be helpful for learning.

“Often we don’t have the capacity in School [of] Music to be like, ‘Let’s send you out and just work with two other people and make sure you know your part,’” she said. “We don’t have five or six rooms to split up and here we can.”

Wilson added that “in a chorus, sickness is always an issue,” even

before the pandemic, because colds and other illnesses easily spread.

Encouraging members to wear masks or attend rehearsal through Zoom if they’re not feeling well could be a game-changer in preventing the spread of illness while allowing people the opportunity to keep singing, she said.

The club extends outside of the singing world as well. When the sexual assault protest was held on campus in February, the BU Choral Society posted on Instagram in support. The club also canceled dues in light of the pandemic.

Terilli said at a recent BU Choral Society bonding event, the group held a game night on Zoom.

“This was what we all needed, some time to spend together and just laugh,” Terilli said. “It’s totally unrelated to singing, but we just had

fun.”

Bromley said the club has also hosted movie nights to further alleviate stress and bond as a group.

They said the primary goal was “still making the club active … but not in a way that’s highly demanding of anybody” as not to contribute to pandemic-related stress.

Future club plans remain openended, but more game nights and rehearsals are definitely on the horizon, Terilli said.

“I guarantee when it’s back in person, choir is going to be a lot better,” she said.

Wilson said Choral Society is an activity where any BU Terrier — regardless of major — can join in and engage with people who are just as passionate about music.

“It’s just because you love it,” Wilson said.

COURTESY OF ELIZABETH TERILLI

Boston University Choral Society. Despite having to perform virtually, the club remains committed to fostering an inclusive and fun environment for members.

BUSINESS

FEATURES 5

Orpheus Performing Arts Treasures classical music store isn’t going anywhere Ramsey Khalifeh Staff Writer Much like Orpheus in Greek mythology — taught to play the lyre by Apollo himself, as the legend goes — the classical music store by the same name has been the source of Boston’s musical opulence through live performance recordings, scores and rare memorabilia.

Hidden deep in the burrows of Commonwealth Avenue’s rounded townhouses sits Orpheus Performing Arts Treasures, an established retail space for a niche clientele. Although lyres aren’t played, Orpheus has offered a wide array of classical music products for more than 25 years.

Debra Portmann, an Orpheus employee who said she has worked there for 16 years and counting, finds the value of the store to be in its rarity and resources for collectors. “[We] provide them with something that you have a hard time finding in the world today,” Portmann said, “which is large collections of classical music all in one place.”

Though their inventory is composed primarily of classical CDs and vinyl, the shop also sells jazz and pop music, as well as movies, scores, sheet music, books and autographs.

With a background knowledge of music, Portmann, along with other employees, guides customers through Orpheus’ collection to help them to find what they’re looking for.

For Portmann, Orpheus is a trove of seemingly endless options and deep catalogues for its loyal and far-reaching customers, who travel miles to return for another in-person visit.

“A lot of people come in, and collectors come in and they have their booklet of lists,” Portmann said. “We have people that come in from other countries, like this one gentleman who comes from Israel every four or five years.”

She said watching travelers “take home a suitcase of CDs” has been a special part of her job.

“It’s a joy to work with those people,” she said, “because they know what they want, and they’re willing to scrounge for it.”

Ed Tapper, the owner of Orpheus, said working at the store means being dedicated to customers’ endeavors while fostering a deep passion for an interpersonal relationship with the music.

“We all understand music quite well,” Tapper said. “All of my employees either have degrees in music history or have been in the music business for a lifetime.”

Before opening the store, Tapper taught music history at the University of Massachusetts Boston and Suffolk University, he said. When the state cut back on arts programs and claimed his job, he opened the shop. Now, students from local conservatories come in to revel in and grow their music knowledge, he said.

Portmann, who previously worked as a nurse before attending UMass Boston to study music, had always dreamt of pursuing a music degree but never felt ready until she reached adulthood. After taking her own leap of faith, she received her degree in 2004 and has been at Orpheus ever since.

“That drive for music was always there,” Portmann said.

An immeasurable appreciation of classical music and the roots of sound itself seemed to be a consistent theme among Orpheus and its larger community. When Orpheus initially opened its doors, students would come in with their syllabusesi and buy recordings for their classes.

Jessamyn Gangi, a regular customer and Boston resident, said she has two music degrees and a keen interest in classical music.

“Conductors [are] really important to me and the actual recordings [are] important to me, so

Orpheus Performing Arts Treasures employee Debra Portmann. The Commonwealth Avenue store specializes in rare scores, performance recordings and other musical memorabilia.

RAMSEY KHALIFEH | STAFF WRITER

I’m able to find usually either what I’m looking for or something that’s a little treat,” she said. “I love it in there, it’s been a staple here.”

Gangi said she studied vocal performance at the New England Conservatory of Music, and has a master’s degree from Berklee College of Music. For her, Orpheus’ large, diverse collection and affordable pricing make the store special for avid classical musicians and fans.

“They’re basically responsible for my entire record collection,” she said.

Besides the many unique finds Orpheus possesses, Gangi said what also makes “the gem of a place” notable is how it holds its own, which she said has enhanced the neighborhood as it becomes more and more commercial.

“There’s nothing that I can think of in Boston that’s like it,” Gangi said. “You have this little oasis of classical music, which doesn’t really exist anywhere … it’s a magical experience.”

Fears of economic uncertainty that have loomed over small businesses in the past year have also reached Orpheus. With many local retailers forced to close their doors last year, the COVID-19 pandemic has introduced questions regarding the future of the space.

“COVID has changed things,” Portmann said, adding that Orpheus initially had plans to move to a larger, more organized store space,

but that fell through.

Now, their online store that is operating on Amazon is keeping the business running.

“The online store is great, I mean it’s like most small businesses, it really helps us a lot,” Tapper said. “It’s kind of essential, and certainly with what’s going on today, it’s crucial to have some kind of an online presence.”

Tapper’s passion, much like Portmann’s, is connecting with customers — whether well-established maestros or budding student musicians — in person over a common love of music.

“Seeing everything and having it at your fingertips … people really love that,” he said.

“It’s important to be able to have that kind of a place because there are fewer and fewer of them around.”

Orpheus has sustained its 25-year reign as a staple music store in the city of Boston for people like Gangi, who added that it has “maintained its integrity as a little gem.”

Orpheus hopes to continue to stand tall in the midst of ongoing change, Tapper said.

“We want to keep the purity of the business,” he said. “That’s been really hard work for all of us, but we all love what we do and we like to keep things going.”

SCIENCE

CFA students reflect on Alexander Technique courses Caroline Bowden Senior Reporter

Performers always need to be conscious of their physical presence on stage. The Alexander Technique, developed in the 1890s by Australian actor Frederick Matthias Alexander, helps actors immerse themselves in their work by adjusting the posture, breathing and movement habits that build up over time.

Alexander faced respiratory issues as a child that nearly threatened his theater career. He sought medical help for persistent hoarseness, but eventually found the key while looking into a mirror.

It was not the vocals themselves that were the issue, but how he was positioned.

The Alexander Technique is used today as a “mental discipline” of managing one’s movement to ease tension in the body, to promote balance, coordination and movement, according to the Harvard Health Blog.

Students in the Boston University College of Fine Arts can take courses to master the Alexander Technique in both theater and music.

Betsy Polatin, master lecturer in the College of Fine Arts, developed the courses as a combination of Alexander Technique methods and her own work and research in movement education and acting.

“You could call it a self-improvement technique,” Polatin said, “that you learn to pay attention to what you’re doing, and change the neuromuscular system, and decide to do something else.”

Neil Kelly, a senior in the College of Fine Arts, has taken courses in the Alexander program since his first year at BU. In a freshman year Alexander course, Kelly recalled the piano lessons he took as a child to perform a song for

Alexander Technique course hosted by the Florida Grand Opera. College of Fine Arts students can take classes to learn the Alexander Technique and improve their mental health, performance and coordination.

COURTESY OF LORNE GRANDISON VIA WIKIMEDIA COMMONS

a final exam.

After he worked on the piece in class, the professor helped him adjust his posture and Kelly found he had forgotten how to play the song entirely.

“I forgot it because I wasn’t doing my habitual tension that I had as a child,” he said, “and it brought me back completely to when I would force myself to play the piano and be very kind of uptight about it.”

Kelly said he realized in order to play the song without the posture and tension problems developed in his youth, he would need his body to relearn the song without that associated stress.

“It actually made me so curious about how the body and the mind and learning and nurturing and all of that works,” he said. “That

moment, specifically freshman year, was fascinating to me that the things we learn really are like in our bodies and how we learn them is in our bodies.”

Alexander Technique exercises also have the capacity to break down emotional barriers by addressing how that tension manifests in the body.

Fellow CFA senior Julian Manjerico described one moment during his Alexander Technique classes when he experienced this kind of emotional breakthrough.

Growing up in a community where athletics were highly regarded, Manjerico said he would “always clench [his] stomach” as a way to hide his physique at school.

“I just realized, being in [the] class, how much I still clench onto my stomach,” he said.

“There was a moment when I just released my stomach, and then all of my emotions came out with it.”

Manjerico said learning how to let go of both the emotional and physical tension he had been harboring through this habit was very impactful for himself personally and as an actor.

“It felt like I was holding on to just a bunch of trauma, and being able to release that was the first step in me feeling the things that I was trying to repress for decades really,” he said.

“It was a very big moment of me as a person understanding how to access my emotions then as an actor.”

He said now, after working his way through the Alexander courses at BU, the practices have helped translate to his professional career.

“Right before I’m about to go out [on stage], I do a full body scan of ‘am I holding tension anywhere? Is there anywhere I need to release?’” he said, “and then I just go out on stage and trust that that work is in me.”

Kelly said working Alexander Technique into his acting comes in more subtle ways, such as how the character he is playing drinks a glass of water.

“Maybe I pick it up with my left hand and I just start gulping it down, but then what if my character is a very indirect person, and they sometimes have to saunter over to the glass,” he said. “They’re very subtle things, but they really do make up a performance.”

While the Alexander Technique program courses are part of the curriculum at BU, Kelly said in his experience, the work students do in class is not so much focused on specific performances, rather taking a holistic approach to their habits and movement as people.

“I personally have found Alexander to probably be one of the most universally helpful things as an actor because it doesn’t necessarily have to relate to acting” he said. “It teaches you how to be a human being at the end of the day.”

6 LIFESTYLE

I N T E R R O B A N G

Which Taylor Swift album is every college?

CGS

CAS

LIFESTYLE A note on the music performance major Molly Farrar Senior Reporter

QST

ENG

COM

KHC

CFA

SHA

SARGENT

WHEELOCK

The College of Fine Arts at Boston University is anything but hidden. Before the lockdown last year, students had to walk under CFA’s scaffolding as they headed east or west along Commonwealth Avenue.

And it’s a little difficult to miss the Joan and Edgar Booth Theatre’s towering, slanted glass facade.

CFA students, however, are few in number and even fewer in outside clubs around campus. The pressures of performance and art are huge, and for many students, art was a hobby that turned into a career path.

I’m a sophomore in cello performance — a major many around campus don’t encounter very often. I’m a dual-degree student as well, and I always tell my CFA friends that my journalism classes can balance out the music ones. Journalism is fair, unbiased and straightforward. Music is artistic, expressive and objective.

Feeling confident about schoolwork and classes is something that helps cement your choice of study.

I’m sure many music students spend a semester here at BU and immediately know that this is their life calling. I am not so lucky.

Even with near-perfect grades in my music theory and music history classes, I don’t get the same validation as I would from receiving an A on my latest article for JO 200.

The first semester of the music performance degree for any instrument — winds, piano, vocal or string — begins with about 18 credits, but not really. These 18 credits are stretched and pushed to ac-

commodate a rigorous course load that masquerades as a basic freshman year.

Going into my fourth semester of school, my classes have improved my playing more than I would have ever predicted. As my ear has gotten better, so has my playing. But is it good enough? This is the question every artist in CFA — visual arts, theatre and music — has asked themselves at least once. If you’re me, it’s definitely been more than once.

Playing in ensembles is also an important part of our music education here at BU. Not only is it practice for the vast majority of freelance and long-term employment opportunities, but it is a principle aspect of our musicianship. Since COVID-19, ensembles have been scaled down, and so has the difficulty in the repertoire. Hopefully, things can go back to a new normal by next school year.

Weekly lessons are the main aspect of our education. I have been taking lessons since I was six, and even then, it is up to the student to get the most out of lessons. Self-motivation is a term that was thrown around my first semester here. I got many warnings before I arrived on campus about wasting my time — or worse, my tuition dollars — if I didn’t practice my instrument daily.

I, like my classmates at the School of Music, grew up with my instrument. However, the rigorous

courses and focused training changed the way I saw music. Before, I wasn’t a musician, and I for sure wasn’t an artist. Music school is about creating the distinction between being just a cellist and being an artist.

The community in the SoM is a small, supportive one. Each of us spends a fair amount of time hanging around the maze of practice rooms in CFA’s basement. With a small freshman class each year, I was excited to be in multiple courses with the same group of a dozen or so students.

The best part is that many of my music friends understand the pressure and the culture surrounding classical music. We all sit in our classes and lessons thinking about graduate school, jobs post-graduation and how to turn our musicianship into a profession. Some people will shoot for an orchestra job, some a teaching job. Others won’t end up in music at all.

As my journalism professor said, the only industry tougher than journalism is the arts.

ILLUSTRATION BY ALEXIA NIZHNY

If my life had a soundtrack Sophia Yakumithis Senior Reporter

You can’t tell me you’ve never imagined a movie about your life.

We’ve all entertained the idea of some hot actor playing the role of “me,” so just admit it since I’m giving you the opportunity.

What we often don’t fantasize about, however, is what that soundtrack of that movie would be.

I can’t watch a film whose soundtrack I don’t vibe with. Music, for me, is one of the most important aspects of a cinematic experience — it sets the tone of a story, making you feel something that humans aren’t capable of portraying.

Soundtracks are also more important to plot development than I think our brains give credit. For example, the entire “Shrek 2” movie goes hard

as f---- because it, undisputedly, features the best soundtrack of all time.

And that’s not just my opinion — that’s scripture.

Second, movies that don’t have soundtracks are a completely different experience, which just reinforces the leverage music has over emotions.

I learned this after putting on a historical drama when I couldn’t sleep one night. I anticipated conking out within seconds, but no. Instead, I didn’t sleep an ounce because I was so tense. The absence of music made the movie feel like real life, and there was some crazy stuff going down in whatever universe it was.

As you can tell, said-movie resonated with me deeply.

But let’s talk about my movie’s soundtrack. While I’d want to load it with the hard verses of street rap I work out to and cherish, I live in a suburb. I’m in college. Nothing happens to me. I buy coffee at the same place every day and take a shower before bed. This movie would be super

boring.

I’m also self-aware enough to know my shortcomings, and oh honey, I’ve got enough to go around.

That said, music will be a crucial vehicle in translating my mental instability so the audience can have an authentic picture of who I am. If anyone walks out of the theater thinking, “Wow, what a force. I feel uplifted and inspired,” this movie deserves a three out of ten on IMDb in terms of accuracy.

Our film will take on a day-inthe-life narrative. If we started at birth, everyone would be bored or depressed until I turned, like, 19, and then they’d be confused and depressed. That was my experience, at least.

With my current existence and the repetition of pandemic life in mind, we want this film to be simultaneously monotonous and chaotic. I wake up at 5 a.m. from lawless energy.

The biopic begins with Kanye West’s “Father Stretch My Hands Pt. 1.”

Kid Cudi’s pre-hook says, “Beautiful morning, you’re the sun in my morning,” which is a lyric involving the morning. So that. But overall, you’re suspicious as to where the beat’s going to go, and that is exactly how I feel the second I wake up, realizing I have to exist yet again.

Next are a frantic coffee run and an intense cardio workout. “Dirrty”

by Christina Aguilera is sexy and upbeat, which is how I envision Natalie Portman portraying me in this scene.

But after the hype montage, the endorphins crash and so will Portman.

She’ll crash hard.

It’s time to hit ‘em with that cringe “Whatcha Say” transition, which is enough to send anyone into a deep hole of contemplative hell, aka me no later than 10 a.m.

I’m pretty stable and productive for the next few hours as I distract myself from reality with work. A rapid-fire lineup of the depictions showing me simply existing, and you can let your imagination break it down,

includes, “Run This Town,” “Sittin’ on a Fence,” “Unpretty,” “If I Die Young,” “Big Girls Don’t Cry” and “I Am a God.” And then when my boyfriend — who will play himself in the movie, because he’s conveniently an actor — Leonardo DiCaprio calls to chat, the audience will hear “Thinkin Bout You.” The evening is when I reflect on the day and my entire existence, so “Free Fallin’” by Tom Petty feels like a good backdrop to Portman spiraling again. Then, I have ridiculous insomnia which prevents me from reaching REM sleep, so we’ll leave our audience in a more confused state than they entered in with “Margaritaville.” Because I want everyone to suffer with me.

I think that satisfies my creative mission of portraying confusion and calamity through a musical score.

And if you disagree, it’s time to get your head checked out.

Catch me at the Academy Awards.

LIFESTYLE 7

‘Mozart in the Jungle’: the hidden gem of Amazon Prime Video Emma Sánchez Lifestyle Editor

At the beginning of this year, I moved into an off-campus apartment for the first time. One show got me through the daunting moving process and allowed me to bond with my roommate over our shared passion for music: “Mozart in the Jungle.”

“Mozart in the Jungle’’ is an Amazon Prime original series loosely inspired by the autobiography of the same name by Blair Tindall. The show is an attempt to show the dysfunction of a professional symphony orchestra through its struggles with the union, an aging audience and performer population and new players coming to shake things up in the classical music world. This series is not so much about the music, but more so about the lives of those who make the music — the trials, tribulations and egos of the performers.

The orchestra members have a passion for what they do, but it doesn’t pay the bills. Each professional instrumentalist is tiptoeing the precarious line of their livelihood. Whether they aren’t as agile of a player as they were in their prime, or they have a more serious issue like carpal tunnel syndrome, even one little hiccup can put our beloved main characters out on the street.

This is especially apparent when new conductor Rodrigo De Souza threatens to modernize and change

the face of the orchestra. Conflicts of interest arise frequently, such as how to please the ever-important benefactors while also listening to the orchestra’s needs. But there are also many lighthearted moments, like Rodrigo’s frequent conversations with Mozart that only he can see.

I spent my first days in the apartment unpacking with the show on in the background. Whenever something interesting happened in the plot, I’d drop everything to sit down and watch. Once I was settled in, I introduced the show to my roommate.

We met during orientation at the School of Music and connected over being two of the very few women in the composition department.

I knew this show would be right up her alley. We’d plan to watch just one episode and end up binging five in a row. It became an obsession for us, until my parents found out I was putting off school work to watch it and changed the family Amazon account password.

Not everyone may like it, though.

You have to be into “cheesy lines,” as my roommate calls it. The cheesy parts of this show are exactly why it’s perfect to watch with other people and comment on. One of my friends who read the

book said it was hard to compare the two since they were so different.

They also said it was hard to focus on the show’s plot without trying to figure out which piece of classical music was playing in the background — but that might be an issue exclusive to classical music nerds.

It is a bit of an exaggerated take on concert musicians … who am I kidding, it’s extremely exaggerated.

But my friends and I in the classical music world like to think adulthood is going to be just like the show — after-rehearsal parties where people get drunk and face-off in classical music playing battles, where the percussionist of the New York Symphony Orchestra is a drug dealer, where the entire ensemble has relationship drama.

I love the show. So much so, I’ve seen each episode at least twice.

It also makes me happy to see onscreen Latinx representation, as renowned Mexican actor Gael García Bernal is one of the headliners of the show as Rod r igo.

And they don’t attempt to hide this fact — one important aspect of the plot occurs when the orchestra goes on their Latin American tour, where Rodrigo rekindles his roots and copes with being stuck in between Mexican and American cultures.

This adds a bit more to my connection with this show, especially since my parents and I can relate to and often joke about Rodrigo’s many accent and cultural faux-pas — one example being his endearing pronunciation of oboist Hailey Rutledge’s name as “Hai-Lai.” This show is the perfect gateway into the “rockstar” world of classical music. You’ll fall in love with every eccentric ensemble member, the music they perform and all their intricate plot points. You will also immerse yourself in the re-

al-world struggles of working musicians, such as low pay and long hours, competition for orchestra positions and taking up teaching and extra gigs for money.

I dare you to watch “Mozart in the Jungle” and not get stuck constantly humming Mozart’s Oboe Concerto in C major, K. 314, Hailey’s theme throughout the show. And I promise you won’t regret it.

ILLUSTRATION BY ALEXIA NIZHNY

Earn your M.S. in Athletic Training at Seton Hall University Learn cutting-edge techniques to prevent and treat injuries related to physical activities and sports.

New Jersey’s first CAATE accredited entry-level master’s athletic training program 30+ clinical affiliates State-of-the-art learning facility

Our comprehensive curriculum includes ground-breaking research opportunities, hands-on clinical training experiences, high-fidelity simulation and standardized patient activities.

Still accepting applications for Summer 2021 semester. To learn

more, visit www.shu.edu/AT

8 OPINION

EDITORIAL

TikTok perpetuates nepotism in the music industry

Before TikTok rose from the ashes of its predecessor, Vine, we didn’t know short, viral videos could create such sustained internet fame in the way it has. Now, TikTokers like Charli D’Amelio have all but become a household name.

Charlie D’Amelio’s older sister Dixie and another TikTok star Addison Rae have recently taken advantage of their celebrity status and set their sights on the music industry. With the far reach of their social media fame, these stars can unlock opportunities in practically any area they want to pursue, whether that be fashion, beauty, podcasting, modeling, acting or music.

Dixie D’Amelio and Rae have since released singles that have been widely critiqued as mediocre, but have still earned a spot on the Emerging Artists chart with millions of streams.

The artists were even given the privilege of appearing on prominent talk shows such as The Tonight Show Starring Jimmy Fallon.

Their talent is not the driving force behind their empire. Rather, their conventional beauty, wealth and familial connections — in the case of Dixie D’Amelio — paired with the alarming power of TikTok have guaranteed them success regardless of the quality of their content.

Dixie D’Amelio’s father was the one who helped her set up an appointment with

Grammy-nominated songwriter and producer Billy Mann to jumpstart her music career. As a result, Dixie D’Amelio then went on to work with established artists Blackbear, Lil Mosey and Liam Payne.

Though not through familial connections, Rae was able to capitalize on the fame she gathered from her looks and participation in TikTok dance trends to enlist the help of highprofile studios, songwriters, producers and agencies to expand into pop music.

Privilege is a lack of barriers, obstacles and disadvantages. In the case of Dixie D’Amelio and Rae, it’s also the ability to start their music careers at a considerable advantage — they were already famous, well-known and sought after.

It’s no wonder they were offered these lucrative opportunities.

Nepotism, pretty privilege and white privilege have pervaded the music and entertainment industry for a while, but bringing social media influencers into the fold so casually highlights these flaws.

Though artists such as Miley Cyrus, Willow Smith, Whitney Houston and Enrique Iglesias enjoyed the perks of having celebrity parents, their music careers seem to be based primarily on merit and talent. It’s hard to justify the same for Dixie D’Amelio and her songs “One Whole Day” and “Be Happy.”

But at least Dixie D’Amelio and Rae are transparent about their roots — perhaps because their rise to fame has been so closely chronicled.

The pre-existing nepotism and favoritism in the industry has been more hidden and well-guarded in comparison.

Especially in the indie genre, bedroom pop is marketed to be inclusive and approachable.

It’s a newer genre, and, as the name suggests, it doesn’t Colbi Edmonds appear to require connections, Editor-in-Chief recording studios or equipment — just your voice, Cameron Morsberger your passion, a microphone Managing Editor

EDITORIAL BOARD

Nick Kolev

Campus Editor

Daniel Kool City Editor

Lily Kepner

Features Editor

Abbigale Shi Opinions Editor

Charles Moore Sports Editor

Emma Sánchez Lifestyle Editor

Jackson Machesky Podcast Editor

Hannah Yoshinaga Photo Editor

Alexia Nizhny

Layout & Graphics Editor

Andrew Harwood Multimedia Editor

ILLUSTRATION BY ALEXIA NIZHNY

and a bedroom.

Sadly, many of the well-known, inspiring stories of bedroom pop artists aren’t telling the whole truth. Indie artist Clairo, for example, may seem like the personification of a “rags to riches” success story after one of her YouTube videos went viral prior to her emergence on the music scene. But in reality, she owes her success in part to her father Geoff Cottrill, who knew the co-founder of the label she signed onto.

Numerous other “down to earth” artists actually benefited from their parental connections or wealth, such as King Princess.

A lack of transparency from the artists we idolize — about the process and how they got to be where they are — only gives fans a false sense of inspiration and dismisses the very real obstacles most other musicians face. We need the artists themselves to acknowledge the issue and the nepotism they have benefited from before we can start fixing it.

One might argue that the music industry’s barrier to entry has lowered in recent years, and that anyone with a computer and a voice can achieve stardom. All you need to do is upload your songs to SoundCloud, Bandcamp, Spotify or TikTok. TikTok in particular, given its ability to circulate songs and sounds that go viral, can boost an unknown artist’s platform and reach the For You Pages of thousands of users.

With this in mind, we might even conclude that nepotism is changing forms: familial

influence is being replaced by social media’s influence.

However, the issue with this logic is that even if the barrier to entry is lowered, effectively giving prospective singers a shot at fame, there clearly remain a prioritization of the already famous or connected and unequal obstacles for artists of color: the way colorism directly impacts the success of female artists of color, the whitewashing of prestigious awards, the stigma of music venues and every microaggression or ingrained racism that discourages new musicians every step of the way.

Ultimately, the successes of Dixie D’Amelio and Rae are merely symptoms of a larger problem with how we “discover” new talent.

We shouldn’t send them hate for capitalizing on their recognition and privilege to explore new passions — after all, wouldn’t you do the same?

Furthermore, that criticism is easily conflated with internalized misogyny that everyone must overcome.

Expending energy by criticizing their songs is counterproductive and only serves to give them more press and attention. Instead, we could use our collective power to uplift as many smaller artists as we can by actively seeking out and supporting those who are producing music on well-known platforms such as Spotify — or even those who are getting started at your local open-mics post-pandemic.

CROSSWORD ACROSS 3. ‘Hey Batter, Batter’ 7. Longest running Broadway show 12. Chicago’s biggest music festival 14. ‘I am a rich man’ 15. Decrease in loudness 16. 100% that b**** 17. ‘Leave ___ alone!’

DOWN 1. Small, colorful chocolate 2. Half and whole 4. A repeating rhythmic pattern 5. A heavy blow 6. Kick off the Sunday 8. This invertebrate gets stuck in your head 9. Mattel lost a lawsuit over this song 10. Where this famous stairway leads to 11. ‘Keep planting to find out which one grows’ 13. Stuck in Sweden

CROSSWORD BY ALEXIA NIZHNY

OPINION 9

Philosophy Soup:

Like the art, hate the artist Max Ferrandino Senior Columnist

Should I like the art if I hate the artist? Consider the case of Kanye West, arguably one of the best rappers in the game. I disagree with many of West’s public statements, but I would say his music is still valuable.

In the aftermath of Hurricane Katrina, he said, “George Bush doesn’t care about Black people,” which has been proven true through Bush’s policies on the reduction of the Federal Emergency Management Agency’s funding and disregard for the Black communities that were impacted by the natural disaster.

In 2018, however, West said slavery was a choice. This is not a statement that I can justify as a fan of his. Later that same year, West had an Oval Office meeting with former President Donald Trump. Regardless of his justification for the meeting, Trump still labeled him as a friend, and it was a clear show of support for Trump’s racist policies.

West’s art tells a different story though. By sharing his own experiences through his music, West has brought mental health to the front of the conversation. While there certainly were rap songs about mental health before West came onto the scene, his openness about his bipolar disorder on the album “Ye” has helped destigmatize and increase awareness surrounding the subject.

Is it ethical for me to enjoy his music if I am not a fan of him as an artist and the statements he makes? To answer that question, it is important to consider if the art West produces can be separated from his real personality.

In my understanding, West the person and West the artist are the same. All the mistakes he made as a person were made, too, by the phenomenal artist. Because art and music are such personal, intimate endeavours, the content he produces is evidently not neutral or separate from his identity.

But this does not necessarily mean his work should be hated.

Consider the popular philosopher Plato: His work shapes the modern philosophical understanding of the world despite his support of slavery. Plato’s work has cultural and intellectual value that holds true in the face of his racism — even though his biases were prominent in his philosophical beliefs.

To provide another example of a musician who receives a lot of hate for their work, consider Montero Lamar Hill, whose stage name is Lil Nas X. He recently released the song “MONTERO (Call Me By Your Name).” In the music video and song, he is very forward about his homosexuality. He pole dances to hell, gives

Satan a lap dance, kills him and takes his place as the prince of hell.

With this, he proves that his personality and identity are not separate from the music that he produces. It isn’t surprising that such an explicitly gay music video set in hell has been targeted by homophobic and uber-religious people across the United States.

Yet there have been many songs referencing hell that have not gotten the same level of hate.

Billie Eilish’s “all the good girls go to hell” referenced similar religious themes but received a much less intense response. I wonder if this is because the artist Eilish is a white woman or because the song itself did not reference being queer.

Lil Nas X certainly should not be receiving hate for his work simply because it exposed the complex relationship between queerness and modern religion. His example only serves as a demonstration of how the public also views art as an extension of the artist.

The most extreme example of when an artist should rightfully be vilified is when artists spread neo-Nazism in the 1980s. Punk rock groups created Rock Against Communism, a series of concerts in the United Kingdom. RAC is a sect of neo-Nazi white supremacy, and this music is explicitly based on hate — it cannot be separated from the artists’ ideologies.

In instances such as these or when the artists have crossed a line, they and their art should not be supported at all.

Ultimately, artists such as West are put on a pedestal and their mistakes are magnified by the media.

In West’s case, his everyday struggles with his bipolar disorder are much more public than the other millions of people who struggle with this condition, and he helps amplify these voices by sharing his own.

Though ILLUSTRATION BY YVONNE TANG art cannot be separated from the artist, I believe artists like West can be valued for their contribution to music — or whatever medium they work in — and at the same time be criticized for their statements and behavior. But if their art is saturated with inappropriate and bigoted beliefs or if their behavior is based on hate or violence, we should not support them in any way, shape or form.

COLUMNS Editor-in-Chief

WANT ME BACK BENEE

Feature Editor

Managing Editor

Campus Editor

INSTANT CRUSH Daft Punk

GOOD DAYS SZA

City Editor

Opinion Editor

SHAKE IT OUT SAVE THIS FOR NEVER SUMMERTIME Florence + The Machine Generationals Public Library Commute

Sports Editor

IF YOU DON’T KNOW NOW YOU NEVER WILL Drugdealer

Lifestyle Editor

Podcast Editor

DO IT Chloe x Halle

MY SWEET LORD George Harrison

Photo Editor

Layout & Graphics Editor

Multimedia Editor

17 No Rome

SHUT UP Ariana Grande

OXFORD COMMA Vampire Weekend

Gaming the System:

Explaining YouTube’s lo-fi and video game music craze Nick Speranza Staff Columnist In his 1989 book “America,” renowned postmodernist philosopher Jean Baudrillard claimed that Americans have a unique unwillingness to turn electronics off, from neon signs to light fixtures to televisions.

“The arrival of night-time or periods of rest cannot be accepted,” he explained, “nor can the Americans bear to see the technological process halted. Everything has to be working all the time, there has to be no let-up in man’s artificial power.”

At the risk of sounding annoyingly self-important, this quote seems to describe the YouTube cottage industry of 24/7 lo-fi hip hop livestream that has cropped up in the past few years. The format, pioneered by a user formerly known as ChilledCow, is simple: an animation of a cartoon character plays on loop as the video cycles through a massive playlist of relaxing instrumental hip-hop.

Now that the fad is a few years old, these

streams have accumulated staggering amounts of uptime. In 2020, when a YouTube glitch temporarily brought ChilledCow’s channel down, the livestream displayed a total length of 13,165 hours — that is, one-and-a-half years.

As the streams’ titles and studying imagery indicate, they have a close nexus to productivity.

Their purpose is to provide ambient background noise for viewers and keep them focused while they complete schoolwork or other tasks.

Just like instrumental hip-hop, video game music has been ushered into the realm of study music.

While some video game soundtracks are fast-paced and cinematic, many are relatively simple and ambient, and progressing through any game is probably more enjoyable than math homework. Regardless, game soundtracks can command your attention all the same, so the music often works to keep the player’s focus on the task rather than redirect it.

Premade videos such as “75 Minutes of Relaxing and Calming Nintendo Music Compilation” and “Video Game Music for Studying Special” compete with endless livestreams like “Video Game Study Lounge.” The similarity

of the two genres even led to crossovers: video game music remixed with hip-hop drum beats, also available in hour-long compilations of “The Legend of Zelda” or “Final Fantasy” lo-fi mixes.

What does the spread of this relaxing music have to say about our society, especially as it affects the young people who consume the most YouTube? A lot of things, actually.

To begin, Baudrillard was correct to observe constant connection to our electronics as an expression of a triumphant artificiality — a desire to stay forever in an insulated, simulated world.

For the studious girl in the ChilledCow livestream, the seasons never change, she never goes to sleep and her work is never done. The sun does rise and set outside her window, but it conspicuously doesn’t affect her concentration.

It’s as if she has taken some kind of deal: She never rests, but there is no anxiety about anything — no alarms and no surprises. Perhaps this is what we want. After all, the other genre of music people use to study comes from video games, which we use to escape into a virtual world.

We are supposed to identify on some level

with the character shown in these playlists and compilations. The lo-fi girl takes notes in front of a laptop that looks like the MacBook most of my fellow Boston University students bring to class. The “zelda and lofi” compilation shows protagonist Link as a wanderer above a sea of scenic video game fog, which is supposed to calm the viewer as much as it calms him.

The relaxing rhythm — literally — of the study-music genre soothes anxiety, the condition of a generation in a financially precarious position in the job market, still working through an endless heap of schoolwork and now gradually exiting a global pandemic to boot. As one journalist wrote for Vice, the lo-fi radio phenomenon is a “holistic alternative when the Xanax isn’t cutting it anymore.”

At least the silver lining is that video game music is finally getting the respect it deserves. Outside of obvious favorites such as “Pokémon” or “Minecraft” soundtracks, I recommend the masterclass in drum-and-bass put on by “Bomberman Hero” for the Nintendo 64 — or maybe the bubbly “shibuya-kei” pop of “Katamari Damacy,” which is as fun and esoteric as the game itself.

10 OPINION SPORTS

Red Corner:

COLUMNS

UFC 260 Recap: Ngannou triumphs over Miocic to capture heavyweight title Peter Moore Contributing Reporter

New UFC heavyweight champion Francis Ngannou (16-3) defeated incumbent champion Stipe Miocic (20-4) Saturday night with a vicious second round knockout. Ngannou is the first Cameroonian UFC champion and African heavyweight title holder.

Ngannou entered the title bout on a devastating tear of four-straight first round knockouts over the likes of Curtis Blaydes (14-3, 1 NC), Cain Velasquez (14-3), Junior Dos Santos (219) and Jairzinho Rozenstruik (11-2). The run amounted to a total fight time of 2:47 across the four bouts, and earned Ngannou a second crack at the heavyweight belt.

Miocic, of whom many consider to be the greatest mixed-martial arts heavyweight of all time, recently capped off a trilogy with former champion, Daniel Cormier (22-3, 1 NC), in August with a convincing decision victory. Miocic cruised to a unanimous decision over Ngannou back in January of 2018 and marked a record third-consecutive defense of the heavyweight title.

Ngannou flexed a full arsenal of improvements in the first round of action against Miocic. A patient and measured approach allowed Ngannou to control the pace, land a combination of body and head strikes and even unleash an impressive head kick that landed on Miocic.

Perhaps most impressive in this 10-9 round for Ngannou was his ability to neutralize Miocic’s wrestling. With the fatal flaw in Ngannou’s game during their first meeting, Miocic’s single-leg attempt was stymied with ease. After stuffing Miocic’s head to the canvas and sprawl-

ing to safety, Ngannou deftly took the champion’s back and landed a takedown. Ngannou then unleashed a torrent of ground and pound that would leave Miocic with a gash below his left eye.

Ngannou would pick up where he left off in the second round, firing off a slew of strikes against Miocic — who continued to have no answer offensively. Ngannou landed a massive left hand that sent Miocic to the ground and followed up with a flurry of head strikes. Miocic was able to survive, reaching his feet and landing a solid head strike of his own that put Ngannou on his back foot.

Miocic tried to follow up his punch with another, but Ngannou remained in the pocket and launched a short left hook to Miocic’s jaw. The strike sent Miocic to the canvas unconscious, folding over his left leg in a grisly display.

Ngannou followed Miocic to the ground and landed one final strike as referee Herb Dean crashed in to protect the fallen champion.

Ngannou’s ascension to the heavyweight throne is finally complete, a march that overcame undreamt-of odds both in and outside of the Octagon. At just 10 years old, Ngannou labored in the sand mines of his native Batié, Cameroon to support his family and education.

Seeking a better life and dreaming of becoming a world champion, Ngannou successfully completed a dangerous aquatic border crossing into Spain in 2013 after a year of trying from Morocco. From Spain, Ngannou made it to Paris, where he began his MMA training while experiencing homelessness. Ngannou would impress in his first professional fights and would sign to the UFC in 2015.

Ngannou’s first run at the title similarly featured his trademarked power and allowed him to claim six-straight UFC victories, despite owning a less-than-polished skill set. Ngannou

would reach new heights of stardom after his viral uppercut knockout of Alistair Overeem (47-19, 1 NC) in December 2017, and found himself staring down a championship bout against Miocic just 49 days later.

Miocic exposed Ngannou’s greenness in the sport and took the hulking fighter down at will for five rounds. Ngannou would follow up his first UFC loss with an embarrassing performance against Derrick Lewis (25-7, 1 NC), where the pair combined for a paltry 31 total strikes across three rounds.

Facing an early exit from the UFC, Ngannou would begin a new camp led by Eric Nicksick and Dewey Cooper at Xtreme Couture in 2019.

The switch w o u l d prove to be fruitful, for Ngannou found his confidence

and knockout stroke again, laying waste to four top contenders between 2018 and 2020.

Only one man remained in Ngannou’s path: the reigning champion Miocic.

Ngannou’s victory over Miocic Saturday makes for the first time since May of 2016 that a heavyweight champion not named Cormier or Miocic reigned over the division. Ngannou’s victory infuses a once-stagnant weight class with new blood and sets up a possible super fight against former light-heavyweight champion Jon Jones (26-1, 1 NC). A rematch with Lewis, or trilogy with Miocic would also figure to be on the table for Ngannou’s first title defense.

ILLUSTRATION BY PETER MOORE

The Fast Break:

The Good, the Bad and the Ugly from the NCAA March Madness Tournaments Ethan Biddle Staff Columnist The NCAA basketball tournaments have finally come to a close. Congratulations to both the men from Baylor University and the women from Stanford University for winning their respective championships.

After the tournaments were canceled in 2020 due to the COVID-19 pandemic, the NCAA realized how much money it lost and apparently couldn’t come to terms with canceling it again.

Because without the tournament this year, how would they manage to pay all the players? Oh wait.

In all seriousness, the NCAA tournaments were a joy to watch. It’s become an unofficial nearly three-week holiday throughout the past few years due to the massive storylines that consistently develop. With that being said, let’s look at what went well, what could have been better and what was just straight up ugly.

The Good The upsets: There isn’t much that beats an underdog story. Given everything the world has been through the past year, we all needed to see some true underdogs in the men’s tournament. Teams like No. 15 Oral Roberts University, No. 12 Oregon State University and No. 11 University of California, Los Angeles all put on some magnificent Cinderella stories — UCLA specifically was a Gonzaga University buzzer-beater away from the championship game.

Also, a quick shout out to No. 8 Loyola University Chicago. The Ramblers gained the

hearts of basketball fans across the country by making the Final Four in 2018, and flirted with another Cinderella run this year, before losing in the Sweet 16 to Oregon State.

Just one canceled game: You got to give credit where credit is due.

After numerous canceled and postponed games throughout the season, and after a few teams dropped out of their conference tournaments due to positive COVID-19 tests, the NCAA managed to only cancel one game. The game was a matchup between the University of Oregon and Virginia Commonwealth University, where VCU experienced “multiple positive tests” for COVID-19, according to ESPN — granting the Ducks a round-one victory. But no other games — including any from the Sweet 16 and on — were canceled, which was certainly impressive. Even more so when you consider how several professional leagues such as the MLB and NBA are struggling to contain the virus themselves.

The Bad The commentary: Maybe it was just me, or the limited fan attendance, but I just did not get the same energy from the commentators this year. I understand how hard it is to get excited in a basically empty arena, especially if you’re used to being surrounded by thousands of fans, but if I see a game-winning shot in the final seconds, I need some energy from the people calling the plays.

But the reality is, the game felt like it was on mute for a majority of the contest. Lulls in conversation and a lack of energy made for a brutal combination, making the watching experience much worse than it typically would be.

The Big 10 Conference:

ILLUSTRATION BY ALEXIA NIZHNY

For as much hype as the Big 10 garnered the last year, the fact that none of their teams made the Final Four is just a disgrace. The conference led the nation with a total of nine teams making the tournament, including two No. 1 seeds in the University of Illinois and University of Michigan, and two No. 2 seeds in the University of Iowa and The Ohio State University.

Ohio State ended up losing in the first round, and Iowa and Illinois didn’t do much better, losing in the second. Michigan definitely put the conference on its back by making the Elite 8, but losing to an 11-seed in UCLA is still embarrassing. Every year this conference is consistently labeled as one of the best, but after this year’s showing I’m done with the hype.

The Ugly The unequal amenities for men and women: There’s not much else to be said: Seeing

this hurt. I understand the men’s tournament generates more revenue than the women’s, but the NCAA is a nonprofit organization, is it not?

Its athletes aren’t being paid and aren’t even allowed to make money off their likeness or through brand deals. So then, where is all the revenue going? The schools? The sponsors?

The coaches?

The answer should be: back into the game. If you aren’t going to pay athletes, at least make their situation in a bubble city as comfortable as possible. Just after the beginning of the tournament, numerous photos depicting the difference in the male and female facilities surfaced, showing concrete differences in how they were treated in their respective bubbles. Seeing the clear unequal treatment between the men and women tainted this tournament, and it better not happen again.

SPORTS 11

BU men’s lacrosse loses in 2-OT thriller Seamus Webster Contributing Reporter The BU men’s lacrosse team lost a gut-wrenching 11-10 game to the University of Utah Saturday at Nickerson Field. In one of the most competitive games of season so far, the Terriers came back from a 9-6 deficit in the fourth quarter to tie the game with just under two minutes to go. Despite the comeback, the Terriers were edged out in the second sudden-death overtime.

“It’s a 60-minute game, and I don’t think we made enough plays in the middle part of the game,” BU head coach Ryan Polley said in a press conference Saturday. “We just got to be better in our execution.”

The novel matchup with the Utes quickly proved to be a defensive fight. After the Terriers — who came in riding a three-game winning streak — put up two quick goals in the opening three minutes, the offensive efficiency stalled. The Utes responded with two goals of their own, and the home team didn’t score again until the final seconds of the quarter.

In the second, both teams were held without a goal for nearly 13 minutes. After the rare flurry of scoring in the final minutes, the Utes were able to tie the game at 4-4 before the end of the half.

The Terriers’ top goal-scorers, attackmen junior Timmy Ley and sophomore Louis Perfetto, were held largely in check for most of the game. The Utes played brilliant defense behind their own net and on the wings, preventing the attack from getting into the crease and forcing most of the Terriers offense to generate up top with the midfielders. Ley and Perfetto combined for just two goals and an assist in the game.

“It was hard to create offense,” Polley said. “[Utah] did a really good job on the ball. I think we struggled to win some of our short sick matchups, and when you’re not doing that … it can be difficult.”

In the second half, Utah was able to take a critical lead. They scored three goals off of transition plays and limited the Terriers to a single goal in the third quarter. After a man-up goal to start the fourth quarter, the Utes were up 8-5, in a game where goals were proving hard to come by.

The Terriers stormed back in the final stretch of regulation play, just as they did in tight-fought games against Army West Point and Colgate University. Perfetto scored a goal off a transition turnover, and on the following faceoff, long-pole freshman defender Dane DeGoler scooped up the ground ball and carried it downfield to score unassisted.

The crucial tying goal came on a man-up possession from junior attackman Matt Baugher, who had a showcase game with three goals.

“I thought Baugher played great today,” Polley said. “He scored a goal against Lafayette, had a really good week in practice, scored three goals I thought were huge … Louis, [Vince D’Alto] and Timmy have been great this year, they really carried us offensively, unfortunately, they can’t be great every game.”

Utah was able to net another goal following the Terriers’ surge, but BU freshman attackman Christian Quadrino responded for the home team — completing a hat trick of his own — to tie the game again at 10-10 forcing sudden-death overtime.

Although the comeback wasn’t enough to completely turn the game around, Polley said he was pleased with his team’s response to adversity.

“There’s not a lot of ‘die’ in this team,” he said. “This team really fights, and they have shown that in multiple games … I told the team

I was proud of them.”

The Terriers couldn’t quite carry the momentum into overtime. Utah won both OT face offs, which are critical when a single possession can end the game. About half a minute into the second overtime, Utah sophomore midfielder Branden Wilson ripped a shot from the high slot, which bounced off the turf before slipping past BU junior goalie Matt Garber. The shot by Wilson was his second goal of the day and ended the game.

The out-of-conference loss will not affect the Terriers’ standing in the Patriot League.

The team is still seeded at second in the North

Division — behind Army and ahead of Colgate and the College of the Holy Cross. In its two losses this season, the Terriers have trailed at the final whistle by a total of three points.

“At the end of the day, it was a non-conference game, so it doesn’t have Patriot League ramifications,” Polley said. “But, certainly we wanted to keep this winning streak going. It was unfortunate that we couldn’t make a play at the end.”

The Terriers now stand at 5-2 on the season.

The team will travel to Hamilton, New York this Saturday, returning to Patriot League competition against the Colgate Raiders.

LIBBY MCCLELLAND | DFP FILE

Boston University men’s lacrosse team in a game against The Ohio State University Feb. 8, 2020. The Terriers were defeated by the University of Utah 11-10 in double overtime Saturday.

Women’s lacrosse opens April schedule with home-win over Lafayette Robin Kim Contributing Reporter

The Boston University women’s lacrosse team cruised to its second-consecutive win of the season Sunday. The Terriers pulled off a 18-7 victory over Lafayette College at Nickerson Field, improving the team’s record to 3-4 overall on the season.

The Terriers had remained undefeated in its past seven matchups against the Leopards before coming into Sunday’s game. BU’s staggering offense and defense proved to be too much for this Leopards unit and the streak continued.

“Just a group that believed and fought really hard … which has been a big goal,” BU head coach Lauren Morton said in a press conference Sunday. “Top to bottom, I think this was just such a phenomenal team win for us.”

The home team entered Sunday’s game missing 15 players from its roster. Morgan said she believed the victory was still possible knowing her squad would have the key players on the frontlines.

The presence of BU’s pivotal players was felt from the opening face off, as sophomore midfielder Jennifer Barry –– who currently ranks No. 10 nationally in draw controls per game –– was able to snatch the opening draw.

However, after two minutes of grit and grind between both teams, Lafayette sophomore attackman Meghan McLachlan was able to find the back of the net, putting the away team on the board with the game’s first point.

The Terriers responded with an offensive surge, led by the team’s leaders in points, goals and assists: seniors midfielder Emily Vervlied and attackman Makenzie Irvine.

Irvine had a total of six goals in the first half alone and accompanying her was Vervlied, who had three goals and six assists by the end of the first half. The aggressiveness initiated by Barry, Vervlied and Irvine allowed the team to dictate the pace of the game, despite it being neck and neck at 5-4 about midway into the first half.

Key players from the Leopards unit, junior attackman Olivia Cunningham and senior defenseman Mia Magarro, were able to anchor an effective response of their own. Cunningham found the back of the net twice in the first half, keeping her team afloat. Magarro and the Leopards’ defense attempted to capitalize on the Terriers’ aggressiveness by pushing them into foul trouble that forced Morgan to make some adjustments at halftime.

The Terriers opened the second half with an air-trapping defense anchored by senior attacker Megan Hickey, who debuted as goalkeeper Sunday, holding the Leopards to only one goal on six shot attempts throughout the half. The

defense held the Leopards scoreless in the first 20 minutes of play, and BU senior attackman Bridget McCarthy would eventually score two consecutive goals to seal the game for the Terriers.

Morton highlighted some of the adjustments made at halftime that eventually sparked the second-half defensive triumph.

“Defensively we did a great job, I mean, limiting seven shots in the second half is just great team defense,” Morton said. “I think that we had talked about just at halftime just giving up some of the three second calls and some of our fouling … that was a big goal for us.”

The offensive impact of Barry, Irvine and

Vervlied was felt throughout the entirety of the game, as they combined for 12 goals.

“Ultimately our goal is for our players to be dynamic,” Morton said. “I think to be able to feed and to be able to dodge, so that they’re not necessarily one-dimensional. I think it also allows us to be able to just offensively have a number of different threats.”

Despite missing those 15 players, the Terriers managed to come out with a win in home territory. The Terriers now sit third in the North Division of the Patriot League and will have a week of preparation for their next match in Worcester, Massachusetts against the College of the Holy Cross.

ROBERT BRANNING | DAILY FREE PRESS STAFF

Senior attacker Makenzie Irvine in a March 27 game against the College of the Holy Cross. The Terriers defeated Lafayette College 18-7 Sunday.

Sports Thursday, April 8, 2021

BU softball sweeps Colgate, improves to 17-1 Sonja Chen Contributing Reporter Boston University softball swept Colgate University in a doubleheader Sunday. The Terriers won game one by a score of 6-1 and game two by 5-4 in an extra innings walk-off victory.

The team has now won 16 straight games and extended its active 27game home-win streak.

The Terriers (17-1, 6-0 Patriot League) and the Raiders (3-9, 1-5 PL) also faced off in a doubleheader Saturday, when BU again took both games.

Senior pitcher Ali DuBois tossed a gem for the Terriers in game one Sunday, notching seven strikeouts in seven innings. Her sole blemish was allowing a solo home run to sophomore outfielder Steph Jacoby in the second inning, which put Colgate up 1-0.

BU answered in the second half of the inning. Senior outfielder Jen Horita tapped a single down the first base line, then stole second. She scored on junior infielder Nicole Amodio’s opposite-field base hit, tying the game 1-1.

The Terriers added two runs in the third inning on a single by Horita, taking the lead to 3-1. BU had seven hits in three innings against Colgate sophomore pitcher Bailey Misken, who had allowed just five hits in 6.2 innings the previous day.

Head coach Ashley Waters said the team showed better plate discipline Sunday.

“It was a better day approach wise,” Waters said in a Sunday press conference. “When you’re facing the same people over and over again, you got to make adjustments, and I thought today we actually made adjustments.”

In the top of the fourth inning, DuBois gave up a walk to junior infielder Morgan Farrah with no outs.

Sophomore outfielder Bailey Burns, who pinch-ran for Farrah, was thrown out when sophomore catcher Audrey Sellers fired a strike to second base.

Sellers followed her stellar play with a leadoff double against junior pitcher Kaitlyn Borruso, who entered the game in the fourth inning. Sellers scored on sophomore infielder Caitlin Coker’s third single of the game, putting the Terriers up 4-1. BU added two additional runs in the sixth inning, one on a solo home run that Sellers hammered to left field.

In game two, the Raiders again struck first. Graduate student catcher Virginia Irby wasted no time hitting a leadoff home run off sophomore pitcher Lizzy Avery, giving Colgate a 1-0 advantage. Junior pitcher Emily Gant then stepped into the circle for BU, and Avery did not get the chance to retire another batter.

Gant and Raiders senior pitcher Bella Crow dueled until the fourth inning when junior outfielder Aliyah

Huerta-Leipner ripped a two-RBI triple with no outs to put the Terriers on the board. A sacrifice bunt from senior designated player Marina Sylvestri increased the Terriers’ lead to 3-1.

Two innings later, the Raiders took back the lead when Jacoby belted a three-run homer to left field to put Colgate up 4-3. Jacoby went 3-for6 that day, with a double, two home runs and four RBIs. The Terriers were down to their final out in the seventh inning when freshman outfielder Kayla Roncin came through with a pinch-hit home run to tie the game at 4-4. BU would eventually win on a bases-loaded single from Amodio in the eighth inning, but Roncin’s clutch hit was a thrilling moment for her teammates.

“I couldn’t have yelled louder,” DuBois said Sunday. “It was insane.”

Waters had praise for the freshman’s big moment.

“She’s been working out of a slump, but I’m telling you, that kid can absolutely crush the ball,” Waters said Sunday. “I thought she was the right person in that moment.”

After committing five errors the previous day, the Terriers played a clean defense in both games Sunday.

Waters said this past weekend’s series against Colgate helped expose areas the team needs to work on, such as base running and continuing to improve on defense.

“This was probably a great series

COURTESY OF ROBERT BRANNING VIA BU ATHLETICS

Boston University freshman Lauren Nett at the plate against Colgate University Sunday. The Terriers swept their four-game series against Colgate last weekend.

to see where our weaknesses really were and what we need to fine-tune,” Waters said Sunday.

DuBois entered game two in the seventh inning to hold the Raiders to four runs and earned another win, her second of the day and 12th of the season. DuBois said the Terriers’ defensive strides have helped her build confidence in facing the same lineup multiple times.

“For me to be able to just trust my defense and say, ‘Okay, I just have to throw a strike and the defense will

take care of the rest,’” DuBois said.

“That really calms me down.”

The Terriers will host Army West Point (4-5, 2-2 PL) at BU Softball Field for a pair of doubleheaders Saturday and Sunday. BU is undefeated in conference play this season, which DuBois said puts a target on the Terriers’ backs.

“The target’s still there, and it’s always going to be there,” DuBois said. “We have to show up every single day because anyone can take a game from us any time.”

BU men’s hockey falls in NCAA regional semifinal Charles Moore Sports Editor

ALBANY, N.Y. — The Boston University men’s ice hockey team faced St. Cloud State University Saturday in the NCAA men’s hockey championship at the Times Union Center in Albany, New York. The Huskies bested the Terriers 6-2 in the Northeast Regional Semifinal, ending BU’s season.

The first period of tournament hockey began with neither team able to establish a rhythm. But at 9:08 of the first, BU freshman forward Dylan

Peterson was sent to the box for a hit from behind and charged with a fiveminute major and game misconduct — Peterson was not allowed to return.

Despite the major, BU’s power play kill held strong behind freshman goaltender Drew Commesso’s nine saves through the five minutes. St. Cloud ultimately outshot BU 14-10 through the first 20 minutes of play.

The second period opened with an immediate shot on goal by sophomore forward Wilmer Skoog, good for the first lead of the game. Skoog’s goal at the 19:52 mark of the second period was just the beginning of an eventual five-goal period.

BU held the momentum for the majority of the period. Then, a bizarre miscue turned the tide for the Huskies. While players of both squads were vying for the puck behind the crease, the rubber popped out from the scramble and landed at the stick of St. Cloud junior forward Micah Miller, who put the puck past an unsuspecting Commesso and evened the score at one.

“Their first goal was one for the ages,” BU head coach Albie O’Connell said. “That was about as strange as you get … I don’t think any goalie in the world would have saved that one.”

A little more than a minute later,

COURTESY OF ROB SIMMONS

Boston University Sophomore defenseman Domenick Fensore guards the puck from St. Cloud State University junior defenseman Nick Perbix. The Terriers fell to the St. Cloud Huskies 6-2 in the NCAA regional semifinal.

St. Cloud scored another goal on the back of junior defenseman Nick Perbix. The Huskies went up 2-1 with 6:31 to go in the second.

Skating with its first lead, Huskies sophomore forward Jami Krannila committed a slashing penalty, setting up a power-play advantage for the Terriers. Boston junior forward Jake Wise skated into BU’s offensive zone and found the back of the net on a one-timer.

However, the once-again tied game was short-lived, as St. Cloud senior forward Easton Brodzinski responded for his squad 32 seconds later.

Entering the third period, and down by a score of 3-2, the Terriers attempted to close the gap with offensive opportunities. Huskies sophomore forward Chase Brand tossed an elbow to the face of Terriers sophomore forward Jay O’Brien. The major penalty was called, and Brand was ejected.

In the opening minute of the fiveminute man advantage, Krannila found himself on a breakaway opportunity. When his chance was obstructed by senior forward Logan Cockerill, Krannila was awarded and capitalized upon a penalty shot.

“The fourth goal, I don’t know, it looked like a good play by our guy to be honest with you,” O’Connell said.

“I think that was the turning point of the game, 100 percent. I thought Cockerill made a good play on it.”

The Terriers ultimately could not

take advantage of the five-minute man-advantage and hemorrhaged another goal by Brodzinski as the third period reached the halfway mark. Freshman forward Veeti Miettinen joined in on the offensive onslaught with less than five minutes left in the third.

“I think our guys have had a very difficult challenge,” O’Connell said.

“I told the guys I was really proud of the way they handled themselves on the ice, off the ice, and trying to keep themselves in a spot where they could play when we had so many times where there were some ups and downs.”

The 6-2 scoreline would hold for a St. Cloud victory. The Huskies will face No. 1 seeded Boston College, whose first-round regional matchup against University of Notre Dame was canceled after the Fighting Irish withdrew with Tier-1 personnel positive COVID-19 tests.

The Regional Semifinal is BU’s first NCAA Tournament appearance since the Terriers fell to University of Michigan in the 2018 Northeast Regional Finals. The Terriers concluded their season at 10-5-1, falling to University of Massachusetts Lowell in the Hockey East Tournament Quarterfinals March 14.

“We really look forward to the future,” O’Connell said. “I know it’s tough to say that right now, the loss will sting for a bit. But I’m proud of the way we battled through all the adversity.”