The Daily Princetonian
Thursday october 15, 2015
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PAGES DESIGNED BY LIN KING :: STREET EDITOR
PUMPKIN & GLASS SCULPTURE ON PRINCETON’S CAMPUS This week, Associate Street Editor HARRISON BLACKMAN stumbles upon a sculpture - and goes on a journey that leads him to discover the role of modern sculpture on Princeton’s campus.
I
t was after class when I stepped out of the ScheideCaldwell House and was confronted with the pumpkin. Seated in between the picturesque crossroads of Scheide-Caldwell, Chancellor Green and Henry House was this enormous sculpture of a gourd cloaked in black and brass-gold polka dots. Like some sort of magical occurrence, it appeared to have sprouted in a spot where I had most certainly had lunch just a few weeks before. Questions possessed me. Where did the pumpkin come from? Who had designed it? Was it a gesture to the harvest season, the time for hot apple ciders and feasts among relatives? To answer these questions, I began with the pumpkin, but ended with a deeper investigation into the sculpture of Princeton’s campus. To start, I contacted James Steward, director of the University Art Museum. “Our primary goals are to place art in the path of everyday life on campus; to continue enriching the visual environment of the campus; [and] to incorporate art in the context of the architecture and landscape of the campus,” Steward said in an email interview, also emphasizing a desire to acquire work from the best contemporary artists and juxtapose them with the work of past masters. Incidentally, the pumpkin sculpture is the work of a contemporary master. After my initial encounter with the pumpkin, I found my first clue as to the artist’s identity from a website forwarded by a friend,
who gave me the name of the artist: Yayoi Kusama. As you scroll down Kusama’s uber-modern home page, you can find the small icon of a pumpkin nearly identical to the one by Scheide-Caldwell. Fascinated, I searched further. When I found an article from “AnOther” titled “Yayoi Kusama’s Pumpkin Obsession” a massive image of the same style of pumpkin-art loaded before me. It was unmistakable — this was the pumpkin I sought. Yayoi Kusama, as I learned, is an 86-year old artist, a preeminent Japanese artist and part of the avantgarde movement. According to the “AnOther” article, Kusama suffers from hallucinations and obsessions, and found that one of the ways to cope with them was through her art. The AnOther article quotes from her autobiography, in which she states, “I would confront the spirit of the pumpkin, forgetting everything else and concentrating my mind entirely on the form before me.” One mystery was solved — and ironically, the pumpkin of my fascination happens to have been the coping mechanism for a brilliant artist’s illness. But how did this work of art find its way to Princeton? According to Steward, Kusama’s “Pumpkin” is on a short-term loan from alumnus Bill Fisher ’79. A quick search on Forbes Magazine reveals that Fisher is one of the heirs of the Gap fortune and currently the managing partner for Manzanita Capital, a private equity firm based in the United
LIN KING :: STREET EDITOR
Outdoor installation by Doug and Mike Starn, identical twins and New York-based artists.
Kingdom. “[The pumpkin sculpture] was installed in early September, at a site chosen for the intimacy of its scale, the dynamic relationships with Joseph Henry House and the ScheideCaldwell House, and the fact that it’s an area that doesn’t yet have a public art presence,” Steward said. The pumpkin’s origin explained, I realized I had more questions about campus sculpture, especially in reference to the project in front of the Art Museum, its summer construction and progress obscured — like many things Princetonian — by a massive tent. As school resumed, it was unveiled, revealing six panels of stained glass that stand in front of the art museum like translucent dominoes. Designed by Mike and Doug Starn, Beacon, New York-based artists and identical twins — the sculpture will be on display for an indefinite period of time, unlike some of the more temporary exhibitions that have occupied the museum’s front lawn. “We originally invited the Starns to campus to consider making something for another site, but they became fascinated by the site in front of the Art Museum,” Steward said. “We had been working on several commissioning ideas for the front of the Museum for a few years, and so the time was right.” Like the pumpkin or many of the works of art on campus, the sculpture was intended to be experienced from a pedestrian perspective. “The work has been described as ‘an outdoor chapel of glass’, through which viewers are invited to walk,” Steward said. “Part of its beauty, I think, is in its scale, and the way in which these heavy panels lean into and are propped by each other, but without obvious means of sufficient support.” In creating the commission, the Starn brothers utilized a glass-dyeing technique developed in Germany, a process that Steward considered to be reflective of the typology of Princeton’s campus, recalling gothic architecture in front of a modernist-designed wing of the Art Museum. “This contemporary version of stained glass — its techniques are both old and completely new — certainly finds a historic context when we consider the history of stained glass in the Gothic and Gothic Revival movements, or the rich collection of stained glass in the University Chapel,” Steward said. While Kusama’s “Pumpkin” and the Starns’ work are new, I also found myself interested in Beverly Pepper’s “Thetis Circle,” the sculpture by Whitman College installed last fall. “We sited this work near Whitman College because it, too, was an area largely lacking in public art — apart from the tapestries we recently commissioned for the dining hall,” Steward said. Sandra Bermann, the Master of Whitman College and professor of comparative literature professor, said reception to the piece has been positive. “I think people like it,” Bermann said. “I’ve heard a lot of people ask, ‘Well, what is that sculpture? It’s beautiful, or it’s surprising’ … It’s a beau-
LIN KING :: STREET EDITOR
‘Pumpkin’ by Yayoi Kusama, located between Scheide-Caldwell and Henry Houses.
tiful place for a large sculpture.” Dean of Whitman College Rebecca GravesBayazitoglu added that the juxtaposition of the modern with the neo-gothic style of Whitman provided an interesting balance. “For me that’s the crucial thing, is that interplay between varied and contempoLIN KING :: STREET EDITOR rary statue and organic form and ‘Thetis Circle’ by Beverly Pepper in front of Whitman College. buildings that were built to look as though they had angles and props to obscure some been built in the 1920s,” Graves-Baya- of the modern art on campus. This zitoglu said. made me think — what does it mean The interplay between modern to insert modern sculptures into an and traditional appeared again and architectural landscape so cloaked in again, from the discussion of the traditional forms? pumpkin to the stained glass to “Context can be understood as reso“Thetis Circle” — and it reminded nance, but also as point and counterme of the tension between Princ- point,” Steward said. “Consider, for eton’s campus as portrayed in the example, the Henry Moore near West media and its modern, eclectic fabric College and Nassau Hall. The legacy of of styles. Having recently re-watched the campus informs us, not because the 2001 film “A Beautiful Mind,” new works of public art should look concerning the life of the late John like what we inherit from the past, Nash GS ’50, I had observed that the but perhaps because they can also filmmakers employed clever film magnify it.”
The Daily Princetonian
Thursday october 15, 2015
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FALL FASHION LISA GONG Senior Photographer
Darshana Narayanan GS ’15 Psychology/ Neuroscience “Heroin chic”
Maranatha Teferi ’16 Wilson School “Chic, classy, scholarly”
Kat Giordano ’18 Psychology “Comfortable, cute and kinda weird”
Devyn Holliday ’18 Anthropology “Whatever feels best”
Olivia Bowins ’16 History “Vintage classic”
The Daily Princetonian
Thursday october 15, 2015
ASK THE SEXPERT This week, we discuss the internal (“female”) condom.
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UNFAMILIAR STREET
Zhongxiao East Rd, Taipei, Taiwan LIN KING
Dear Sexpert, My boyfriend and I have been using condoms for a while, and we’re interested in trying another method of contraception. The female condom seems the most appealing to me, but I really don’t know much about it. Can you tell me about it? How does it work?
— Internally Curious Dear Curious, Congratulations on recognizingUsing a male (or external) condom is a great way to promote your sexual health, as condoms lower the risk of both pregnancy and Sexually Transmitted Infections. Luckily for you, the internal, or “female,” condom offers the same level of protection. The internal condom is a non-reusable pouch that is designed to fit comfortably in the average sized vagina, which is 3-6 inches long. Like its “male” counterpart, also known as the external condom, the internal condom can also be used for anal intercourse (which is why “internal” is a more suitable name than “female”). The internal condom, like the external condom, catches your partner’s sperm, but instead of being worn on the penis, it can be inserted into the vagina or anus right before intercourse. Some women prefer the internal condom because it makes them feel more in control during sex, and some men prefer it because its width makes it feel as if nothing’s there. Unlike the external condom, the internal condom is made of polyurethane or nitrile, so it
is ideal if you or your partner has a latex allergy. It can be used in conjunction with spermicide or other birth control methods. However, never use it with a male condom, because the friction could cause them both to tear. To use the internal condom, apply spermicide or lubricant to the outside of the closed end of the condom, and squeeze the sides of the inner ring together. Then insert it into your vagina, like a tampon, and use your index finger to push it as far as the ring can go; when you can’t push any farther, that means it has reached your cervix. Remove your finger and allow about an inch of the condom to hang out of your vagina. If you experience any pain or discomfort after insertion, the ring might not be properly in place; just remove and try again. Some users of the internal condom like their partners to insert it for them, as it can be very pleasurable. The outer ring (the one hanging out) prevents the condom from slipping all the way into your vagina. The condom may move from side to side during intercourse, but don’t worry — that’s normal. However, your partner needs to make sure that his penis stays inside the condom (otherwise, you’re both losing STI and pregnancy protection). When the sperm has been caught, squeeze the outer ring and twist the condom closed, then gently pull it out of your vagina and throw it away. The internal condom is not reusable. You can get internal condoms at several places. On campus you can get them at University Health Services for free at the
front desk or at the LGBT Center. You can also order them on Amazon: a 15-pack costs about $29. If the internal condom sounds appealing to you, or if you have any other questions about contraceptives, we strongly encourage you to make an appointment with Sexual Health and Wellness at UHS to discuss which method would be the best fit for you. The clinicians can help you decide on a form of contraception, and teach you how to use it properly, so it can provide the most protection. We also strongly encourage you to include your partner in your experimentation with the internal condom. Trying something new is both exciting and a break from routine, so communication is key. (Also, it is important to ensure that you are using the condom correctly). Check in about how the new method feels: Does it need some adjusting? Is it irritating? Should you try a new kind of lubricant? The more comfortable your communication about your bodies, the better the sex — no matter what contraceptive method you’re using.
— The Sexpert
For more information on internal condoms or other forms of contraception, see bedsider. org or plannedparenthood.org Interested in Sexual Health? The Sexpert is always looking for members of the community to join the team of sexual health educators who, along with fact-checking from University health professionals, help write these columns. Email sexpert@ dailypr incetonian.com for more information and questions about sexual health. Don’t be shy!
WRITE AND
DESIGN
Street Editor
‘Unfamiliar Street’ is a new column series in which we take you around the world and introduce you to a cool STREET far from the well-trod gravel of Prospect Avenue. o you have a place in your hometown that you can envision as clearly as your childhood bedroom — every color, every store sign — as though your mind had the capabilities of Google Street View? Mine is called Zhongxiao East Road — specifically, Section Four. Many “roads” in Taipei function as avenues do in New York: long enough to almost traverse the entire city. They are therefore often parceled into “sections,” of which Zhongxiao has a total of seven. Section Four is known for being in the heart of Taipei’s ever-bustling East Shopping District, with a mixture of old and new attractions that draw crowds of all ages. It has, for this reason, maintained my loyalty in all stages of my life. My acquaintance with Zhongxiao began in the first grade, when I attended elementary school on the cusp of Sections Four and Five, and would stroll down Section Four, munching on traditional egg cakes and gawking at the colorful pens and manga in Kingstone, a massive chain bookstore. Years later, I would be returning for the legendary nightclub OMNI, formerly Luxy, and cheap clothes from street vendors. (These upright citizens are technically illegal sellers and literally sprint away when the police come patrolling, a Tom-and-Jerry chase so frequent and entertaining that it has become something of a minor tourist attraction.)
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The area is clustered with some of the best restaurants in the city, from dumplings à la Sichuan, China to traditional soup noodles from the south of Taiwan. None are fancy, and all are clean and affordable, even for college students. The street also produces some of the most famous desserts in the country, including Ice Monster, an extremely popular shaved-ice joint with a specialty in mango, as well as Dongqu Fengyuan (“East District Tapioca”), a longtime pilgrimage destination for Taiwan’s famed sweet tapioca ice. In recent years, the street has been sprouting more foreign imports than ever, but not of the ubiquitous and unattainable Paris-Fashion-Week boutiques. Instead, the sidewalks provide an extensive line-up of what is commonly known as “affordable fashion” from all around the world, including Uniqlo, Zara, Forever 21, Aldo, Mango (Spain), GU (Japan), SPAO (Korea) and other mid-range options with spacious, sometimes multi-story storefronts. If you’re not so into wearing the mainstream, fret not: Zhongxiao’s Section Four also spreads into many tributaries — smaller alleys and lanes that, for blocks on end, are seamlessly lined with smaller restaurants and shops with more East Asia-specific goods. To one side of the street is my favorite shopping district: an intricate
network of independent street-style stores that sell the latest Japanese, Korean and Hong Kong imports from unknown brands and young aspiring designers, along with Taiwan-designed and manufactured goods that have shockingly good quality for the cost. These are dotted with equally hip cafés, bars, beer houses and Japanese-style izakayas. (Note: underclassmen, rejoice — the legal drinking age in Taiwan is 18.) In addition, Section Four is bookended by larger institutions of vastly different natures: to one end, across from some of Asia’s famous cat cafes, is the Sun Yat-sen Memorial Hall, with a historical building where tourists gather to watch the ceremonial changing of guards and vast gardens that include a
fountain show that plays by the hour. Meanwhile, on the other end there are two massive department stores called Sogo, one of the most popular hotspots for families and businesspeople. This brings me to perhaps my favorite thing about downtown Taipei: There are very few districts explicitly designated for residential, business or consumer purposes. Rather, everything tumbles together into one giant brew of life. Even on a street as commercialized as Zhongxiao East Road, edgy bar-lounges can be found neighboring ancient electronics shops run by elderly couples; the largest 24-hour bookstore in the world is just down the road from decades-old noodle shops. Like the rest of the country, this street is a warm, welcoming mesh of the big and the small, the traditional and the original.
The Daily Princetonian
Thursday october 15, 2015
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ALL STRINGS ATTACHED: LA VIE EN CELLO JACQUELINE LEVINE Staff Writer
Student groups are created for a wide variety of compelling reasons at Princeton, but what better excuse exists than “Yale has one, so why don’t we?” Yale’s preeminent all-cello rock ensemble Low Strung was established in 2005, followed by Columbia’s String Theory Cellos in 2011. Street sat down with the president of Princeton’s recently established La Vie En Cello, DG Kim ’18, to discuss his role as president, the group’s brief but exciting history and the ensemble’s short- and long-term goals. Kim is a cellist and conductor, as well as a student in the electrical engineering department. He plays in the Princeton University Orchestra, runs Rockefeller College’s Classical Music Hour and serves as music director for the Princeton
Chamber Orchestra. Founding La Vie en Cello was just the icing on the cake of Kim’s overflowing list of commitments. La Vie en Cello is officially recognized by the Office of the Dean of Undergraduate Students and is working toward becoming a Princeton Arts Council-recognized group as well, in order to participate in events such as Tiger Night. Kim started gauging interest in the group this past March and found a great deal of enthusiasm and curiosity from members of the PUO cello section. A good amount of research about competing groups at other universities was required in order to get this project off the ground. Kim had a Skype call with the president of Columbia’s String Theory Cellos, during which he asked for advice and recommendations for starting a similar group at Princeton. Last year, String Theory Cellos was dismantled after all of its members graduated,
COURTESY OF LA VIE EN CELLO
leaving a significant void for La Vie en Cello to fill, as one of two Ivy League cello ensembles. Yale’s Low Strung tours around the world. Kim noted that touring is one of the group’s longterm dreams, and said he intends to push the ensemble to perform one arch and one more formal concert each semester, in addition to many small gigs and special events. The potential popularity of an allcello ensemble on a college campus might be questionable intuitively. Cello is typically a classically inclined instrument, making occasional appearances in rock and pop bands. At Princeton, while tickets for dance and a cappella performances almost always sell out, classical music groups have significantly smaller audiences. To resist the classical stereotype, La Vie en Cello maintains a wide range of repertoire, including classical, but also featuring jazz, rock and pop music. Kim humorously pointed out that there is something about a large group of bulky instruments on stage that draws attention. He recounted the ensemble’s rehearsal for their arch performance, which drew substantial attention from passersby. A performance of Meghan Trainor’s “All About That Bass” arranged by Kim is featured on La Vie en Cello’s highly polished website in the form of an exciting and even sentimental music video featuring several of the group’s 14 members, 13 of whom are members of PUO. Kim explained that the ensemble strives toward a high level of approachability by performing in the arch setting and maintaining a relaxed, fun-loving performance demeanor. Musically, an all-cello ensemble is advantaged in many ways. The cello has a deep sound, but can pose as a treble instrument, and can most definitely soar as a solo instrument. A cellist can successfully produce sounds
ranging from percussive beats, to harmonic accompanying riffs, to flowing melodic lines. While the cello can serve all of these very different musical functions, the blend of an all-cello group can still be sublime when isolated from an 80-piece orchestra, completely together and poised. A musical ensemble made up of entirely cellos also poses some interesting challenges to both performers and audiences. While the advantages of an all-cello ensemble listed above make sense in theory, they are extremely difficult to achieve. Reaching an ideal balance between the percussive rhythms, accompanying motives and melodic lines is a difficulty that Kim and the other members of the group work tirelessly during rehearsals to overcome by taking tempos way down, and listening to one another with incredible concentration and intensity, watching and mimicking each other’s fingers and bow strokes when necessary. A skillful arranger can also help alleviate balance issues that arise for a homogenous instrumental group. Kim has been arranging for the ensemble with the aid of other group members. I was lucky enough to see a brief performance by La Vie en Cello during Rocky’s Classical Music Hour one Friday this October. After hearing an exciting rendition of La Vie en Cello’s signature piece, “All About that Bass,” I am convinced that this organization is only at at its very early stages of potentially widespread popularity. Within five minutes of the performance, countless heads had turned and a huge audience was gathered to listen, all fascinated by the strange visual prospect, many dancing and even lip-synching. So take a study break tonight around 10 p.m. and make your way to Blair Arch for not just another arch sing, but something new and refreshing: a cello arch. Let’s show Yale’s Low Strung who’s boss!
Q&A Working through the knots in ‘Gidion’s Knot’ Interviewed by
JENNIFER SHYUE Associate Street Editor
This week, Theatre Intime’s “Gidion’s Knot” closes out the last three performances of its two-week run. Written originally by Johnna Adams and directed on campus by Victoria Gruenberg ’16, the show features just two actors, Ugonna Nwabueze ’18 and Hope Kean ’18. Street sat down with Gruenberg and Nwabueze to talk about what it was like to be put on this short but emotionally high-stakes play. This Q&A has edited and condensed for clarity. Daily Princetonian: Tell us about “Gidion’s Knot”. Ugonna Nwabueze: The way that I’ve described the plot is that a woman’s son commits suicide after he’s suspended from middle school — so it’s a two-woman play, and the setting is a classroom during a parent-teacher’s conference where [the mother is] talking with the teacher, and she’s trying to figure out what happened. DP: What drew you to the show? Why were you interested in doing it and being part of it? Victoria Gruenberg: I was an educational policy concentrator in the … Wilson School, and I transferred to the English department. I’m really interested in political theater, and I went to a professor and said, “I really want to work with a political play.” He handed me this. I also felt it was going to be a huge challenge because the script is written [in a] way I’ve never seen any script written: It’s got lines, but it’s
also got pauses marked with ellipses, so you’ll have someone say a line, and then you’ll have “Heather,” ellipses. “Corryn,” ellipses. “Heather,” ellipses. And you have to figure out what is supposed to happen there, and why the characters are pausing, and what they’re doing instead of talking. Those were both big things for me. DP: It sounds like there’s a lot of very strong emotion in this play. Ugonna, how did you as an actor get into character for that? UN: It was definitely difficult. There were times where I didn’t want to do certain emotional scenes because it was just extremely draining. Also, the character that I play, Corryn, is very out there, and so just channeling her — it’s actually weird, because it was only the night before opening night, at the dress rehearsal, that I finally figured her out; it clicked. And I’d been working on this since the summer. That should tell you how difficult this character was. DP: How did having just two actors make the experience different from other plays you’ve been in or directed? UN: You’re feeding off of each other and you’re building off of each other. Victoria mentioned energy. Energy is so, so important, and so when you have only two people filling up the space, there’s a lot of energy required by each person to fill that up. That is definitely so different from a bigger ensemble. VG: I got very lucky because Hope and Ugonna actually have a relationship as human beings — they know each other as students. I didn’t know that when I was casting them, but I
KASPARAS SPOKAS :: CONTRIBUTING PHOTOGRAPHER
could tell that on stage, they had a good chemistry for the characters. UN: It’s funny because we didn’t know each other before. And I think Hope was very crucial in that, because there was a time after practice — this is late at night; she goes, “No, we need to work on our chemistry; come to the Chapel with me.” And she made us stand there looking into each other’s eyes for 15 minutes. DP: Has being part of this production made you think differently about these big-ticket issues that it touches on? VG: I think it actually hits some of the issues that you’re not expecting. I picked it originally because I thought it was going to be about the education system, which is something I’m very concerned about, but at the end of the day, it has a lot more to do with people.
It comes down more specifically to just, what do you when your world sort of flattens? I feel that the play ends up coming down to a line that Corryn has, actually, which is: “Cut it, or figure it out.” She’s talking about a Gordian knot presentation that one of the student does, and when we’re faced with these giant conflicts, do we cut ourselves off from it? Or try to work ourselves back out into a straight line? And it’s not a woman-only show. By far and away not. But it is really nice to watch two empowered women onstage, especially of minority races. That, I think, is a really, really important image that we don’t see enough on campus. “Gidion’s Knot” will be showing on Thursday and Friday at 8 p.m., and Saturday at 2 p.m. and 8 p.m. in the HamiltonMurray Theater.
DAILY PRINCETONIAN STAFF
U. collaborating with UVA to digitize Wilson’s papers, grocery receipts and racist letters featured in campus-wide campaign
Reasons to visit the Writing Center
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R2 is due.
First assignment for “Practical Ethics.” No motive.
No motive to write.
Writing is easier than COS 126.
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Emails to famous professors.
Post-it notes to your roommates.
That cute Writing Center Fellow.
Meet two of the Street editors.
CAMPUS PICKS POETRY SONGLINE SLAM POETRY PRESENTS ‘KIDZ BOP NEWBIE ARCH’ 1879 Arch Thursday, 11 p.m.
Even if you don’t think of yourself as someone who can appreciate slam poetry, we hope that you at least think of yourself as someone who can appreciate a reference to Kidz Bop. Do you really qualify as a millennial otherwise? Join Songline this Thursday night as it celebrates its kidz (read: new members and budding poets), be it on your way to Prospect Avenue debauchery, a latenight study break or just for the feels.
Friday, 5 p.m. at Dillon Multipurpose Room Saturday, 4 p.m. at Wilcox Dance Studio
headlines you didn’t read this week
Former U. postdoctoral researcher wins Nobel Prize in chemistry; U. had to really dig to find that connection
TOP TEN
DANCE BODYHYPE PRESENTS ‘GUEST WORKSHOPS WITH YOURAN LEE AND ESOSA OVIASU’
HEADLINERS AND HEADSHAKERS Public Safety to have access to rifles in emergencies, tanks and aircraft als o in works
STREET’S
E IN ECONOMICS; DEATON WINS NOBEL PRIZ THE ANGELS OF THE WORLD REJOICES AND WALL STREET SING
Students petition to open new food co-op, ever yone else still petitioning for Chipotle public Neither News nor Notes: Princeton ds, schools to start homework-free perio collective guffaw heard for miles
Good news: this weekend, you don’t have to be in BodyHype to dance with BodyHype. Join the company in the two workshops they are hosting: Friday with Youran Lee, artistic director of New York-based hip hop dance team The Neighbors; Saturday with Esosa Oviasu, who is also artistic (and executive) director of The Neighbors as well as a member of award-winning EPIC Motion dance company. Oviasu specializes in breaking, popping, house and urban choreography. No auditions required, obviously, just energy and good vibes.
EVENT ‘ARTS VS. DISEASE’ Taplin Auditorium Saturday, 7 p.m.
If you’re bummed out by the fact that you never manage to get into to those performing arts extravaganzas — featuring every singing, dance, instrumental, slam poetry and comedy group on campus — that are hosted for the frosh, then you might want to take a gander at Arts vs. Disease. Featuring 17 groups, including some we didn’t know existed, this particular arts extravaganza has one up on those twice-yearly Universitysponsored shows — all proceeds from the $5 ticket go toward the health organization designated by the group voted best-inshow by audience members.
MUSIC ‘AN HOUR WITH IDAN RAICHEL’ Taplin Auditorium Monday, 8 p.m.
For one single hour on Monday, Israeli musician, composer and producer Idan Raichel will be on stage at Taplin Auditorium. If you don’t know who he is, you can go armed with this knowledge: He speaks — or at least sings — in four languages (Hebrew, Arabic, Amharic and Tigrinya), has performed with artists from all over the world (Ethiopia, Yemen, Colombia, Rwanda, Sudan and more.) The event is co-sponsored by Tigers for Israel, Dorobucci, the International Students Association of Princeton, Koleinu, the Princeton African Students Association and Umqombothi.