The Daily Princetonian
Thursday march 24, 2016
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PAGES DESIGNED BY HARRISON BLACKMAN :: STREET EDITOR
UNFAMILIAR STREETS
Spring break travels, cold and warm ‘Unfamiliar Street’ is a travel column in which we take you around the world and introduce you to a cool STREET far from the well-trod gravel of Prospect Avenue. Over spring break, Street Editor HARRISON BLACKMAN visited an ‘Unfamiliar Street’ in a cold place and Staff Writer ANGELA WANG visited an ‘Unfamilar Street’ in a warm place. Incidentally, both places were part of the British Commonwealth.
COURTESY PANORAMIO.COM
ANGELA WANG :: STAFF WRITER
WEST GEORGIA STREET IN VANCOUVER, BC
AN UNNAMED STREET IN HAMILTON, BERMUDA ANGELA WANG
HARRISON BLACKMAN
Staff Writer
Street Editor
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o enter and leave Vancouver, you have to pass through its heart. Crossing the Lions Gate Bridge over Vancouver’s harbor (the namesake of the Canadian film company Lionsgate Entertainment), you enter Stanley Park, a wooded landmark of walking paths, shores and a display of Totem Poles. It’s there that you enter West Georgia Street, a major avenue that cuts through some of Vancouver’s major landmarks: The Fairmont Hotel, of the famous Canadian hotel brand based in Toronto; the Vancouver Art Gallery, a world-class museum inside a repurposed city hall; and Rogers Arena and BC Place, the home of the Vancouver Canucks NHL team and Whitecaps FC, respectively. West Georgia Street is something akin to New York’s 5th Avenue, home to many high-end retail locations, such as the Vancouver outlet of Hudson’s Bay Company, the Canadian department store that got its start with fur trapping in 1670. It also hosts the public amenities such as Vancouver’s massive public library, and across the street, its post office. Closer to the sports arenas, West Georgia Street is defined by sports bars and pubs. West Georgia Street transitions into Prior Street when it intersects with Main Street, and its counterpart, East Georgia Street, is more residential. As I walked along the puddles of Georgia Street over spring break, I marveled at a city so inviting, walkable and clean. It was the stuff that American urban planners’ dreams were made of. How did it come to be? Founded in 1867 as a logging town named the enticing-sounding “Gastown,” the settlement was renamed “Vancouver” after the Canadian transcontinental railroad was built. Today, Vancouver is the fourth most densely populated city in North America. Vancouver is well-known for its strong urban planning. It even has a name for it: “Vancouverism.” Urban planners in the 1980s pursued a policy of high-rise residential developments along with mixed-use retail and resi-
dential uses. The result is a city ranked with the 5th highest quality of life in the world, (behind Vienna, Zurich, Auckland and Munich) and perhaps unsurprisingly it is the priciest city in Canada. Vancouver’s hosting of the 2010 Olympic Games motivated its expansion of its subway and transit system, known as SkyTrain. Coming from my experience with the generally effective but notorious Washington, DC Metro, (the entire system was closed Wednesday last week for a decidedly non-routine, emergency safety inspection), I was impressed at the Vancouver system’s cleanliness and timeliness. Vancouver is also as diverse and culturally vibrant as it is well-planned. When the United Kingdom transferred governorship of Hong Kong to the People’s Republic of China in 1997, it led to a large migration of British Chinese to Canada, particularly Vancouver. Today, Vancouver’s population is about 20 percent Chinese, lending itself to a city with some of the best Chinese cuisine in North America. The demographics are also reflected in the Vancouver’s signage: many public signs are subtitled in Chinese, rather than Greater Canada’s more common emphasis on French. Like its Pacific Northwest cousins, Seattle and Portland, Vancouver has the climate of a “temperate rainforest.” That is to say, it rains a lot. Statistically, it rains every other day from November to March, so if seasonal affective disorder were a problem for you, it would be unwise to live there. As for regional prominence, Vancouver places you close to nature and its associated recreation — the ski resort across the bay provides easy access to winter sports, while the famous Whistler Mountain is just a two hours’ drive away. A ferry in nearby Tsawwassen can take you to Vancouver Island and British Columbia’s capital of Victoria. Vancouver truly lies in the heart of BC — and West Georgia Street is in the center of all of it.
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still don’t know the name of the street, but I fell in love with it on my first night in Bermuda. I walked out of dinner with my friends around 8 p.m., and it was dark outside already. Feeling overly stuffed, we decided to walk around a lovely little town called Hamilton. Unlike New York City, there is no street light every five feet. The whole town is dim with staggering lights coming from the households uphill and f lickering candlelight from oceanside restaurants. We took a turn, and suddenly we came across a little alley illuminated by Christmas lights. Due to the unexpected brightness, I shut my eyes for a second and then opened them to what I now consider a wonderful surprise. It felt like walking in the dark and suddenly discovering a new territory — a welcoming, gleaming one. With the light, I could see the stairs clearly. Each step has a different color, and going up the stairs felt like going down a palette, or rather, a rainbow. Bermuda is an extremely colorful place, and driving from the airport, I did not see two houses next to each other with the same color. However, this unfamiliar little street outshone many others, with 30 steps and 30 distinct colors. What made it even better was the writing on the stairs. The lower part of the stairs read: “There is magic at your fingertips, look closely and see it, unfolding from weary bones.” Walking up the stairs and reading the lines step by step, these aphoristic comments warmed my heart on that slightly chilly night. I wonder who painted them: One person? Multiple people? Children? High schoolers? Artists on vacation? A myriad of questions popped into my head, and there was no answer to be found. The mystery behind the creator made me love the street even more. I went with two of my friends, and we were all taking it in silently. We met up at the top of the stairs around the same time. Needless to say, we
wanted a picture together. As we were wondering about who should take the photo, a cook named Bob from a restaurant by the stairs came out and offered to do us the favor. I thought he was just going take the picture and leave, but he ended up talking to us on the stairs for an hour. He passionately told us stories about the history of Bermuda: how the settlement began — from the Northern corner down to the South. This is why the forts are in the north and the malls are in the south. He then told us it is still a British territory, which explains why they drive on the left and have portraits of Queen Elizabeth everywhere. He told us about schools: ten elementary schools, five middle schools, three high schools and one university. Everyone has to wear a uniform. He told us there were about 600 taxis in Bermuda, so we should never worry about not being able to get one. At one point, he ran back into his kitchen and came out with three sundaes in his hand. He talked. I listened. We laughed. There is a Chinese proverb that goes: “The scenery is pretty, but the people make it prettier.” Indeed, that street left me with so many memories because of Bob, my honorary tour guide, and Bermy-pedia of the night. It’s true, not just Bob, but basically everyone in Bermuda seems approachable. They want to help you; they want to make conversation with you; they want to get to know you. I was in New York City the night before, and it was such a contrast between New Yorkers and locals in Bermuda. I learned something new about someone every day, and they never failed to bring a smile on my face. Three hours f lew by quickly, and we grudgingly said goodbye to the delightful street. It was a street full of lights, laughter and love. As the taxi was driving uphill, the brightness of the street became smaller and dimmer. It didn’t disappear, though — it’s still shining in my mind.
The Daily Princetonian
Thursday march 24, 2016
Q&A OUTDOOR ACTION PROGRAM COORDINATOR
Interviewed by CATHERINE WANG Staff Writer
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t’s almost college decision day, which means Outdoor Action’s frosh trips are just around the corner. Caroline Stone ‘14 graduated with a degree in Ecology & Evolutionary Biology and subsequently assumed the position of OA Program Coordinator. Staff Writer Catherine Wang contacted Stone to ask about Stone’s experience with OA, what she’s been working on as program coordinator and the big changes headed for OA this fall. The Daily Princetonian: What was your experience with OA like, as an undergraduate and then as an OA leader? Caroline Stone: I grew up spending a lot of time outside and have always been eager to try new things. I’d never been backpacking before coming to Princeton, but I was eager to go on OA. From singing silly songs to making pita pizza together, I knew by night three of my trip that I loved OA and wanted to become a leader. At the time, my decision was all about an opportunity to have fun and be outside; it was only later, after I went through leader training and took on other responsibilities with OA that I began to appreciate how much I learned and grew as a person from this experience. I’d held plenty of leader-
ship positions in high school, but leading an OA trip was the first time that I started to actually think about leadership and actively work towards improving. Through OA, I’ve learned to be intentional with everything I do and say. Something as simple as selecting a game to play along the trail can have a huge impact — either positive or negative — on a group’s dynamic. It’s my responsibility as a leader to be aware of that. DP: What’s your favorite OA game/song? CS: Definitely “Da Moose.” DP: Were there any particularly memorable experiences? CS: I have so many favorite OA memories! I love meeting new people and building new relationships with them. One of the most unforgettable experiences was leading a training trip down to the Shenandoahs during Fall Break a few years ago. We got a late start driving down, and ended up hiking in the dark for a few hours before making it to camp. While setting up camp, my co-leader and I discovered that we were missing half of our tent. Keep in mind that it is late October — it’s already in the low 40s and rain was predicted for the next few days, so it was very much not the kind of situation you’d want to be in without a tent. It was not our finest moment, but we eventually man-
CAROLINE STONE ‘14
aged to improvise a shelter for the night that kept us all relatively warm. In the morning, the whole group talked through possible decisions and agreed on a plan to meet up with another group and share their tents; like most OA training events, we turned our mistake into a teachable moment. And the rest of the week was great! DP: What is currently your role in organizing OA? CS: As program coordinator, I handle most of the day-to-day logistics with OA. I organize all of leader training, and work with our student instructors and coordinators to update lesson plans and gather teaching materials. In the summer, we start planning for Frosh Trip, and I work with our student coordinators who plan all of the routes and trip details.When you’re planning over 80 trips, every little detail — from identifying water sources to ordering dozens of cases of M&M’s — needs to be planned out ahead of time. During Frosh Trip, I stay back on campus as part of Command Center, responding to new problems that arise and managing all of the behind-the-scenes logistics for evacs. I basically live in the basement of Butler for five days straight, eating a lot of take-out Mehek and sleeping on the floor — in order to always
COURTESY OF CAROLINE STONE ‘14
be available to the students out in the field. The highlight of my job is certainly whenever I get to lead training trips, spending time outside and really connecting with students. I’m able to reflect on my own experiences as an OA leader, but also am always picking up new things from my co-leaders and trainees. DP: OA is having a lot of changes this year, with OA and CA becoming mandatory orientation programs. What does that mean for OA — have you guys had to include any major orga-
nizational changes? CS: OA Frosh Trip is going to look pretty similar to the past few years. The biggest change, and the one we are most excited about, is that Leader Training is now free! The University is now covering all costs associated with leader training, including the five-day backcountry Leader Training Trip. OA has always strived to offer leadership development opportunities to all students, so it’s great knowing that there are no longer economic barriers preventing people from learning these skills.
Q&A FRENCH PROFESSOR, AUTHOR OF ‘THE OTHER
SERIOUS’ CHRISTY WAMPOLE
VICTORIA SCOTT Staff Writer
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ntil the Inst a g r a m - w o r t h y, ‘Va lencia’-f i ltered, joyful existence Millennials envision materializes, our generation could use all the advice thrown at us. Princeton French professor Christy Wampole wrote “The Other Serious,” a book of essays published in July 2015 that strives to give advice to young people on how they should live their lives. The essays in “The Other Serious” explore defining themes of the Millennial generation, including Millen-
nials’ contradicting existences online and in private, exaggerated lives on social media, and materialism. The essays focus on a single question: “What should you do when you know what to do?” Street Senior Writer Victoria Scott contacted Wampole to talk about her book, the challenges the millennial generation faces, and the writing process. The Daily Princetonian: What inspired you to write “The Other Serious”? Christy Wampole: Since I spend a lot of time with undergraduates and get so much
energy from their presence, I wanted to offer them an uncynical book, one that acknowledges that they’ve inherited a tangled mess from us (earlier generations like Gen-X and the Boomers) and that suggests that there are ways to refuse a lot of it. It is a book of essays, not a self-help book or a user’s manual for life, but I hope young people find in it various strategies for refusing the unacceptable aspects of what we’ve saddled them with. DP: Did you have anything similar to “The Other Serious” growing up? CW: No, not at all. I had to figure things out on my own, mostly from listening to depressive music, reading dystopian novels and watching cult movies. DP: How did you begin the process of writing “The Other Serious”?
COURTESY OF AMAZON.COM
CW: I wrote an op-ed piece in the New York Times in 2012 called “How To Live Without Irony,” which generated a lot of interest. I took some ideas implicit in that piece and spun them out into longer essays to see where they would go. Once I could see that a book was coalescing, I took the liberty of adding other observations about cultural phenomena – awkwardness, distraction, seriousness, self-infantilization – and some weird close readings of things like the national anthem, Richard Linklater’s film “Slacker,” and the movie “Labyrinth” starring our dearly departed David Bowie. “The
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Other Serious” is an arbitrary collection of thoughts that imitates the scattered thinking of our age and is thus a product of it. DP: In your opinion what is the greatest setback our generation faces? CW: It will at some point be necessary to devise new codes for what is permissible in speech and behavior now that the [Internet] has changed everything. Your generation will be the ones to negotiate the differences between free speech and hate speech, between enemies and allies, between innocuous forms of expression and dangerous ones. On our current trajectory, microcommunities with swift and changeable enmities will eventually pulverize any potential solidarities that could have formed. Hopefully, a new digital ethic will involve giving people the benefit of the doubt and being less quick to slaughter someone for some slip. Probably the idea of pa-
tiently considering the longer patterns of someone’s behaviors and speech will become necessary. Otherwise, everyone will eventually be seen as a hateful bigot by someone else. This seems pretty obvious to us all, at least subconsciously, but it doesn’t seem clear yet how to put brakes on this wild machine. Self-righteousness will become unpopular. Dogmatism will probably give way to all sorts of new relativisms, ambiguities and fuzzinesses like it did in the 1990s. People will need to regain their composure without losing their political will. DP: How did you overcome writer’s block, if you experienced it? CW: I didn’t have writer’s block for this project, but in general when I do, I put the project aside and work on another one. Or I play my ukulele or walk in the woods for three hours. This cures any writer’s block, bad moods, sad days... basically anything.
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Thursday march 24, 2016
‘Annie & Rose’ Two Sides of the Same Coin? CAROLYN BEARD Staff Writer
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he Lewis Center for the Arts’ Program in Theater’s “Annie & Rose” is a theatrical exploration of two musical theater staples. Through cutting, splicing and – at times – recreating, Katie Birenboim ’16 and Michaela Milgrom ’16 present complicated portraits of the two titular women. “Annie & Rose” draws from two classics in musical theater, both with strong female leads. “Annie Get Your Gun” spotlights vaudeville at its prime, focusing on the beginning of Annie Oakley’s career and her subsequent success and love life. “Gypsy,” in contrast, takes place when vaudeville is being
COURTESY OF THE LEWIS CENTER FOR THE ARTS
phased out, focusing on the life and work of the overbearing stage mother Rose and her two daughters. “Annie & Rose” follows the basic plot structure of each musical, alternating between the songs and scenes of “Annie Get Your Gun” and “Gypsy”. With a few exceptions, the cast is shared between the two plots. In terms of the roles themselves, “Annie & Rose” is perfectly suited for Birenboim and Milgrom. Birenboim pulls off the backwoods Annie convincingly, and Milgrom’s stellar voice excels in Rose’s many solos. Other casting is a mixed bag. Jared Brendon Hopper ’18 gives a spotty performance in the role of Herbie, Rose’s love
interest and talent manager. Despite Hopper’s excellent vocals and superb attention to detail in characterization, his performance does very little to materialize the complicated relationship between Rose and Herbie, who are both lovers and business associates. “Annie & Rose” does little justice to Robby Keown ’17, whose blocking and characterizations are clearly contrived and, though Ben Diamond ’19 gets laughs with his performance as the strip club manager Pastey, his other roles fall f lat. One of the greatest shortcomings of “Annie & Rose” is the underuse of strong performers. Kevin McElwee ’18, a newcomer to the Princeton theater scene, gave strong per-
formances in his admittedly limited roles. Melanie Berman ’18, though given a few good moments on stage, most of which are heightened sexual innuendos, lacks the opportunity to showcase her strong vocal capacity. Most notably, Alex Daniels ’17 and Emily Libresco ’17 are sorely underused in the production, nonetheless stealing the show with their ridiculous stripteases in “Gotta Get a Gimmick.” Other performers are hardly challenged in the production. Meagan Raker ’18 gives an excellent performance as June, Rose’s youngest daughter. Yet, her performance is nothing new, only a slight variation on the roles Raker has had in nearly every production she has been a part of at Princeton. “Annie & Rose,” as an educational exploration of two musicals, would have been the perfect opportunity for Raker to undertake a different and more challenging role. And yet, though few and far between, some actors simply excel in their roles. Sam Gravitte ’17 gives a stellar performance as Frank, Annie’s love interest and sharpshooting rival. Gravitte fulfills the vocal requirements of the role superbly and nails both the physical and personal characterization of the role. Most astoundingly, Emma Watkins ’18 gives a stunning performance as Louise, Rose’s eldest and least talented daughter. Watkins pulls of the lanky, uncoordinated Young Louise very well and goes on to give an incredible if not baff ling performance in her impromptu strip tease. Though featuring a number of the most popular songs
from each musical, the highlights of “Annie & Rose” are the unique song mixes, when actors sing different songs from the two musicals simultaneously. The mash-ups of “There’s No Business Like Show Business” with “Let Me Entertain You,” “Moonshine Lullaby” with “Little Lamb,” “Sun in the Morning” with “Together Wherever” and “Anything You Can Do” with “Gypsy Strip” reveal the astounding continuities between the two shows. Perhaps this performance reveals a double-edged sword. In splicing the musicals, Birenboim and Milgrom draw mostly parallels between the two shows. Indeed, the format of “Annie & Rose” reveals that the two musicals, renowned for their strong female leads, are formulaic in nature. In attempting to demonstrate that Annie and Rose are not “archaic,” Birenboim and Milgrom reveal something worse – that the women are just two sides to the same coin, women who use men to move up in their careers and ultimately find themselves trapped between men and career. While one chose man and the other career, the careers of the two women bear an uncanny resemblance to one another. Both manipulated men to make it to the top and were ultimately more or less unable to make it there. Though casting is largely a mixed bag, with actors missing the mark or lacking adequate challenge, the content of “Annie & Rose” and, in broad strokes, its performance explores the intersection of womanhood and show business, raising more questions that it seems to answer.
WRITE FOR STREET features, theater, dance, essays, music, art, fashion, humor, health. For more information, email us at: streeteditors@gmail.com
The Daily Princetonian
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Q&A eXpressions Assistant Artistic Director Esin Yunusoglu ‘19 TAYLOR KANG Contributor
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aybe you’ve been to The Frick Collection, maybe you’ve been to The Phillips Collection, but you’ve definitely yet to attend “The Collection,” that is, eXpressions Dance Company’s Spring 2016 show, “The Collection.” Street sat down with Esin Yunusoglu ‘19, the assistant artistic director of eXpressions to learn more about this upcoming artthemed dance performance. “The Collection,” will run Friday, April 1 at 9 p.m. and Saturday, April 2 at 6 and 9 p.m. Tickets are available at Frist and online. The Daily Princetonian: For those who don’t know, what is eXpressions? Esin Yunusoglu ’19: eXpressions is an all girls dance company, and it’s actually the first dance company at Princeton. It was founded in 1979, and we mostly do contemporary but we’re very open to new styles and some other styles just like hip-hop fusion. We have two shows per year, one in the fall and one in the spring, and we also have two auditions per year. We rehearse during the week, during the night, and the weekend. DP: What can Princeton students expect from this upcoming eXpressions show? EY: So we’re actually really excited, particularly about the theme of the show. It’s called “The Collection,” and basically the theme is about getting inspired by a variety of images for each piece that we’re doing. Some of them are really famous artworks, like Persistence of Memory or some Jackson Pollock, and some of them
are very iconic photographs, some sculptures. But this time we actually tried to stick to the theme, and we’re trying to explore how those images are affecting our imagination. In some ways, very literally, and in some other pieces, they’re affected more abstractly. So we’re exploring some different themes with different artworks, different images. We’re excited about everyone’s interpretation, every choreographer’s take is very different towards each artwork or each image. I think it’ll be interesting to see the overlap between some different artworks for the audience because it’s interesting to explore how dance is a dynamic art form and can get inspired by a very still image or a very still art form and transform it into movement, so I’m very excited to show that to our audience. DP: How did the Company decide on the theme, “The Collection”? EY: We just realized that we have a lot of art history nerds in the company, and it was just one of the first themes we thought of, and it started as a joke, like, ‘Oh, let’s do the Ecstasy of St. Teresa, and we’ll call it Ecstasy — eXpressions presents Ecstasy!’ But then when we thought about it seriously — it just sounded like a good idea because it’s interesting to see the overlap of the art forms because I feel like a lot of the dancers are not only just interested in dance but they are people who are interested in a lot of forms of art, so why not just incorporate them? When the new officer board was elected, we really wanted the theme to actually be a part of the show and not just a name, so this was something that we could actually use because the previous theme — we had a lot of fun with it, but when you
call the show APEX it’s actually hard to implement it in some of the pieces because it’s maybe too abstract, we wanted [it] to be more concrete. DP: Could you describe the upcoming show in more detail? EY: I can talk about my piece that I’m choreographing as an example, which is Persistence of Memory by Salvador Dalí. I’m trying to interpret it more abstractly, but I was also more inspired by the visuality of the piece. So you know it’s a melting clock — so at first I started off with the idea of movements that look like melting or look like you can’t control your body, but then I worked with some contrasts, how you can actually try to control it, and then I’m even just inspired by the name of the piece and the sense of time in movement, so in the piece I think you’ll be able to see similar moves done in different timings, so I was just using the concept of time that got me inspired from the artwork, but I know for some other pieces, someone’s using, you know the iconic image of the V-J Day image with the sailor [V-J Day in Times Square by Alfred Eisenstaedt]. And she’s inspired by the whole concept of war, but you know how the girl is leaning back, she’s just inspired by that pose and exploring that throughout the piece. And someone’s using Gustav Klimt’s gold paintings — she’s using the piece Nothing Can Stay Gold and using it more at a costume level, so it’s a different way of getting inspired by the pieces. Editor’s note: eXpressions President Claire Egan ‘17 was also contacted for an interview, but deferred comment to Yunusoglu due to scheduling conflicts.
This week, we discuss “hook up apps.” There are a lot of preconceived notions about Tinder and Grindr, and similar “matchmaking” apps. With all the hype surrounding Tinder and Grindr, I’m interested in trying them out. I think I know how these apps all work, but have concerns about their impact on my sexual wellness. Do you have any tips before diving in?
— Looking for Someone
Dear Looking for Someone,
I’m happy that you’re reaching out before testing the waters of something you’re not completely confident about. These applications are often known as “hook-up apps.” The term “hook-up” is ambiguous but can refer to a sexual encounter and entail a wide range of activities. That being said, the expectations of these apps might vary for each user. Tinder, for example, is a matchmaking app that advertises “friends, dates, relationships and everything in between.” It uses your profile on Facebook and takes pictures and information to create a profile that other users can like (swipe right) or dislike (swipe left). This app pairs you up with another online profile if there is a match, allowing you or the other user to message one another. There are many other matchmaking apps (e.g., Grindr, Bumble, Tingle) that follow the
same sort of logic, but have variations on the services offered. Since many of these apps are intended for “hooking up”, I’m going to address them as one group, although there may be variations among them. Before using any of these apps, there are actions you should take in preparation to protect your health and safety. First, be clear about your intentions. While some people use these apps to find a romantic dating partner, others are just looking for sexual relationships. So, communication with potential matches is key. Be clear with your match about your intentions — what you do and do not want to do — and be respectful of theirs. You should not feel obligated to do anything that makes you uncomfortable. Plus, being clear about what you want before doing anything can limit hurt feelings. Second, focus on safety. Online profiles can be deceiving, so first and foremost, it is vital to always be cautious before meeting someone you don’t know, even if you share a mutual friend. If you choose to meet, try meeting in a public place, and always have an exit plan if you feel uncomfortable. For safety purposes, it may also be a good idea to bring a friend with you so that you’re not alone, or you can let a friend know where you are going and who you are meeting. Third, come prepared. If you choose
to be sexually active with another app user, protect yourself from risks such as sexually transmitted infections or pregnancy. Avoid making assumptions — you can’t tell whether or not someone has an STI just by looking at them. Take your sexual health into your own hands by bringing your own barriers (e.g., dental dams, internal condoms, external condoms). Using barrier methods during sexual activity can decrease your risk of contracting STIs through bodily fluids or skinto-skin contact. If you are concerned about pregnancy, make sure you are using a form of contraception such as a condom, an IUD, pill, patch, implant, etc. You can get any of these contraceptive methods at McCosh Health Center. Remember, only condoms protect against both STIs and pregnancy. In the end, it’s your choice whether or not to use these apps, but considering and addressing the above issues could help ensure your health and wellness.
— The Sexpert
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@dailyprincetonian.com for more information and questions about sexual health.
HEADLINERS AND HEADSHAKERS headlines you didn’t read this week DAILY PRINCETONIAN STAFF
U. to revise course evaluation system, but rest assured: Polly Griffin will still email you about them
STREET’S
TOP TEN The End
1 3 5 7 9
This is the end
2 4 6 8 10
Marco friend
Not only Jeb, the end
Of Bernie’s elaborate plans, the end
Of everything that Hillary stands, the end No safety nor Kasich, the end I’ll never look into Ted’s eyes... again
Can you picture what will be
So huge the wall will be This is the end
CAMPUS PICKS COMEDY PRINCETON TONIGHT PRESENTS DAVE COULIER McCosh 50 Tuesday, March 29, 9:30 p.m.
ASK THE SEXPERT Dear Sexpert,
Thursday march 24, 2016
E IAS, SAVE PRINCETON ARGU ABOUT THE FUTURE OF MAXWELL’S DEMON
U. will not discipline students for controversial political opinions, Eisgruber notes, unless they support Donald Trump
U. affiliates sign statement denouncing Donald Trump as “man with tiny hands”
MASJID petition calls for U. trustees to denounce Christie’s endorsement of Trump
Raja Krishnamoorthi ‘95 aims to join 115th Congress, first political headline somehow not related to Donald Trump
Dave Coulier, famously known for his role as Joey Gladstone on “Full House” and now on “Fuller House” on Netflix, is coming to perform his standup comedy! On Tuesday, March 29 at 9:30 p.m. the event, hosted by Princeton Tonight, the University’s premiere broadcast television show, will take place in McCosh 50. Fuzzy Dice Improv Comedy will also perform, and tickets are free to those with PUID and available at the Frist Box Office.
DANCE MÁS FLOW DANCE COMPANY PRESENTS “A TELENOVELA” Frist Theater Thursday-Saturday, March 24-26, 8 p.m.
Princeton’s premiere Latin dance group, Más Flow, presents their Spring show, “A Telenovela!” Get ready for a dramatic show with love, loss and passion! The performances are in Frist Theater on March 24-26 at 8 p.m. Tickets are available at Frist for $8 for students and $10 for the general public.
POETRY ELLIPSES SLAM TEAM PRESENTS “MISSED CONNECTIONS” Theatre Intime Thursday-Saturday, March 24-26, 8 p.m. The University’s first spoken word team, Ellipses, has their Spring show “Missed Connections” this Thursday to Saturday in Theatre Intime. The performances will take place at 8 p.m. and will make you ponder all the connections and relationships you could have had.
EVENT PRINCETON CARIBBEAN CONNECTION PRESENTS “A TASTE OF CARNIVAL” Carl A. Fields Center Friday, April 1, 6:00 p.m. (dinner and performances), 10:00 p.m. (after-party)
Next Friday, Princeton Caribbean Connection will be hosting a Taste of Carnival in Carl A. Fields. Free Caribbean food will be served and performance groups, such as DoroBucci, Princeton’s premiere African dance group, will perform. The dinner and performances will take place at 6 p.m., and an after-party with all soca and dancehall music starts at 10 p.m.
MUSIC PRINCETON PIANISTS ENSEMBLE PRESENTS “NIGHTFALL” Richardson Auditorium Saturday, April 2, 8 p.m.
Next Saturday, the Princeton Pianists Ensemble will present a concert focused on everything night, such as the stars, dreams, nightmares, etc. The show will have complete audiovisual effects and guest performers from La Vie en Cello (Princeton’s acclaimed cello ensemble) and Princeton University Ballet. The concert will take place in Richardson Auditorium at 8 p.m., and tickets are $8 for students, $15 for the general public and available at Frist.