Diverse City - 2-6-09 - The Brandeis Hoot

Celebrating The Precious Human Tapestry

F e b r ua ry 6 , 2 0 0 9

Amid controversy, art speaks for itself

B.O.M.S. showcases explosive talents

Vo l u m e I I I , N u m b e r X V I I

BY ALIZA SENA Special to Diverse City

The shows currently at the Rose, spanning three generations of exceptional artists, highlight the incredible nature of the hotly contested jewel of our university. The Hans Hofmann exhibit focuses on a fascinating time in the artist’s life, deeply exploring the renowned painter and teacher of abstract expressionism. “Saints & Sinners” draws heavily from the stellar permanent collection, and includes some big-hitters like Rauschenberg, Warhol, and Alfred Jensen, a student of Hofmann. Finally, “Master of Reality” showcases some relatively new artists and their very personal cultural realities.

The year 1950 was fascinating for the famed abstract expressionist painter and teacher Hans Hofmann.

Although the artist turned 70, he was incredibly productive, creating a mural for architect Joseph Sert’s project for the Peruvian city of Chimbote. In the Lois Foster Wing hangs nine of these vibrant works, some of which have never been shown before in the United States. Suspended between the ceiling and floor by metal wire, the canvases jut out at various angles, mimicking the sharp geometry found within the paintings. Other works by Hofmann hang around the room and compliment his studies for the mural, including works that explore Hofmann’s push/pull spatial theory. Energy springs forth from Hofmann’s bright colors and abstract shapes, while the heavy brushstrokes sculpt the paint into motion. The exhibition was curated

by Rose Director Michael Rush and co-curated by Catherine Morris who hails from the New Museum in New York City.

“Saints and Sinners” showcases PHOTO BY Yuan Yao/The Hoot some of the gems from the perma- NEW ROSE ART EXHIBITS: Students meander through the Hans Hofmann exhibition, viewing painting that nent collection, including works are making their debut in the Rose Art Museum.

by Rauschenberg, Warhol, and Kandinsky. Utilizing the unique layout of human touch by leaving bits of stray paint. cultural realities. The works, all very large, the Rose Building, the exhibition begins The saints offer a much different per- manipulate previous awareness of gender, with the lofty “saints” upstairs, and winds spective. Cory Arcangel’s avant-garde video space, time, physics, cinema, and stereodown to the lair of the lower floor’s “sin- “Colors” uses cutting edge technology to types. Chie Fueki manipulates gender perners.” The difference between these two respond to modernism, by taking color ception by contrasting the masculine and groups is how the artists embrace mod- test bar patterns and creating shimmer- feminine themes of sports, flowers, and ernism; the saints explore lofty spiritu- ing lines of motion. Jim Lambie goes the eroticism. Other artists play with our grasp al meanings, while the sinners are held opposite route, recycling used objects to on the known world; Mathew Day Johnson’s back by their desires in the gritty physical create his colorful “Psychedelic Soul Stick,” totemic stacked buildings in “Endless world filled with lust, hunger, and vio- which takes on mystical meanings. These Column” borrows the familiar architecturlence. In the depths of the sinner’s area, artists have been released from their sinful al images of the tower of Babel to create an Oldenberg’s splattered papier-mache “Tray human cravings and have the opportunity unsteady and slightly unnerving structure.

Meal” is a congealed mess dripping to the to explore the realm of the unknown.

All of the works make the viewer slightly point of repulsion, while Picasso’s twisting The world becomes skewed at the Master uncomfortable because of the highly per“Nude” lustfully offers herself to the view- of Reality show in the Lee Gallery. The sonal nature of the show as well as the many er. Even Lichtenstein breaks his mechani- show highlights five New York artists that unique shifting realities that are presented. cal approach to painting, and shows his tell their individual stories of invented All shows will run until April 5th, 2009.

IN THIS ISSUE:

The evil side of pop music exposed.

Voices, page 9

Engrossing account of human compassion.

Chorus, page 10

BY MAXWELL PRICE Editor

Four days ago I hated spoken word poetry. And then, on Tuesday, I innocently wandered into the Castle Commons.

Anyone who lives near that wing of our beloved fortress knows that on Tuesdays the night belongs to the Brandeis Open Mic Series. B.O.M.S. (as it is commonly known), a subgroup of VOCAL, is a club created by Jason Henry Simon-Bierenbaum ’11 and Douglas Nevins ’11 that seeks to provide budding artists, particularly poets, with a supportive environment in which to share their talents. One of its goals is helping to integrate arts and social activism on campus through poetry outreach projects and fundraiser performances. Last week the club conducted a poetry slam competition to select members of a Brandeis’ first slam team.

B.O.M.S. is not solely a Brandeisian institution, as both audience members and participants (though the line between the two is rather blurred) venture here weekly from areas like Cambridge and Lowell.

Moreover, the club has featured numerous special guest artists such as slam poets Jared Paul and Erich Hagan, who have added to the club’s visibility. This week’s guest was Brian Ellis, a celebrated slam poet who claimed to reside in Jamaica Plain, although I wouldn’t have been a bit surprised if I learned he was visitor from a nearby galaxy.

Ellis has been showered with accolades that are sure to elicit veneration from slam poetry devotees: he has been a member of the Cantab Lounge Slam Team, which won fourth place in the nation in 2008, was the 2007 Boston Poetry Slam Champion, and enjoyed a long reign as Cantab Champion of Champions.

Of course, if you’re a slam poetry skeptic like me, those awards probably mean nothing to you. Yet the gloriously exuberant, whimsical, spastic energy exuded from every bone in the man’s rail-thin body was enough to make me a believer. He started off with a poem entitled “Shopping Carts” which began in a soft-spoken conversational tone and suddenly burst into a manic expression of wonder at the mystical power of quotidian objects.

Each poem he performed featured the two distinct modes, namely, hushed introspection and expansive vitality, though to say these extreme poles of emotion gave his style a monochrome quality would be a grave misstatement. Rather, he infused each extreme of feeling with beautifully subtle shadings that endowed each display with a unique subtext of meaning.

For example, in “Eleven to Seven,” Ellis adopted the persona of a convenience store See B.O.M.S. p. 11

DID YOU KNOW? Iceland just elected the first openly gay head of government of modern times, Jóhanna Sigurðardóttir.

February 6, 2009

VOICES

Diverse City 9

Peeved by popular music

BY SAMANTHA SHOKIN Special to Diverse City

Last Thanksgiving’s commute back home was particularly grueling. Those of you hailing from New York surely recall the sevenhour road trip home. Inching along through traffic, having nothing but the faint prospect of a decent four-day weekend and semi-palatable turkey dinner to look forward to, we desperately tried anything to pass the time and maintain our sanity (not to mention the feeling in our legs).

For my slow and steady wi-fi-free journey (no thanks to Mega Bus) I sat next to a girl about my age who managed to listen to her iPod for the entire length of the bus ride. While simultaneously texting madly, French-tipped nails pounding away at her Sidekick, this bubblegum blonde drowned out her thoughts to the tune of every Billboard Top 100 song of the past year and a half (yes, I could hear everything). The sad part? I knew every one of those annoying pop songs by heart, though I never once actively tried to accomplish this. In fact, I wish I could unremember the obnoxious earworms. They all somehow managed to creep their way into my subconscious via radio, TV, and other various means of pop culture propaganda.

It wouldn’t be nearly as offensive if the tunes polluting my memory were at least good. They are certainly catchy; that’s not the issue here. The issue is that hardly any of the tunes spewed into the masses by pop music stations have the slightest bit of talent or effort to show for their popularity. If by some chance a melody or lyric sounds half-decent and beyond the boundaries of “foot-tapping good,” you can bet money that it is the musing of some unknown songwriter working in the shadow of a famous artist who takes all the credit.

The popular artists of this generation have something else to show for their success: marketing. Oh, and plastic surgery.

There are stunning, digitally-enhanced music videos to accompany meager, digitally-enhanced tunes that are sung by average, digitally-enhanced voices com-

ing from very, very attractive digitallyenhanced celebrities. And if your judgment isn’t enough to determine if a particular “musician” is worthwhile, the media will certainly do it for you. The fact that you remember a mediocre performer’s name will be ensured by bombardments

of shameless plugs, ad campaigns, movie cameos and perfume lines promoted by skilled marketing teams that often have more talent in their field than the celebrities they’re endorsing.

Not all hope is lost, however. For every disappointing pop music outlet there is another source from which to find endless music possibilities and new talent. In fact, with innovative sources like YouTube and satellite radio now coming into play, the possibilities of finding original well-crafted music are endless. Genres and subgenres, and yes, even sub-sub-genres, exist now that weren’t even conceivable a decade ago, thanks partially to improved music technology but mostly to improved methods of distribution. For instance, I would never have even heard of many of my favorite bands had it not been for my nerdy efforts, prodding around through the depths of YouTube. Many average people who happen to be talented musicians make their way to the computer screens of thousands of happy listeners by means of word of mouth alone, without any help from record labels or talent agents to get them there.

If they’re lucky enough, they might even spark their own internet phenomena— need I remind you of “Chocolate Rain?” (If you don’t know what I’m referring to, consider yourself lucky—otherwise look this ditty up on YouTube if you want a laugh).

My point with this rant is to urge people to broaden their musical horizons. Yes, we all know that Jason Mraz’s “I’m Yours” is very cute and catchy, but come on, are you telling me that there aren’t a thousand others like him that could receive a Grammy were they given the opportunity? Give the masses a chance. If you dig a little deeper, you might find a gem buried deep within the vastness of muck out there that people insist on calling music.

Andrew Bird enchants audiences with casual genius

BY MAXWELL PRICE Editor

“When we recorded the new album this song had to have that warm, bubbly, reserved sound,” explained the spry, dashing gent with the violin. “But now when we play it on tour we’re like, ‘Who are we kidding? This is a party.’”

Of course, on Friday evening at the Orpheum theatre I discovered that

Andrew Bird’s idea of a party is probably better imagined as loosening a bowtie at a swanky cocktail reception. Despite his laidback temperament and offhanded delivery, Bird’s skill emerged in the icy precision of his musicality.

Andrew Bird is perhaps the greatest classically trained violinist to cut his teeth in a neo-swing outfit only to emerge as a solo indie rock musician. But if the term “rock” implies any degree of raw sexual abandon

or ostentatious misogyny, Bird might be better described as a pop auteur.

On Friday night he proved that, like violinist Stéphane Grappelli, he could spin webs of melody from his violin so effortlessly that audiences couldn’t help but blink in wonder. He also layered sounds from whistles to guitar chords into blankets of symphonic elegance. What his songs lacked in urgency and immediacy they made up for in blossoming grandeur.

He started off the set with a couple of instrumental soundscapes to warm up the crowd (and his fingers), revealing that process is as much a part of performance as the final product. He used loops and effects pedals to interweave scraps of melodies from his violin, guitar, and whistling.

When the cheering of the audience somehow got sucked into the mix, Bird listened in bemusement. “Huh, that sounds kind of cool,” he admitted. It was such small moments that made the event feel intimate despite the theater’s size, as if we were watching a home rehearsal.

After two opening instrumentals, Bird invited his four-member band onto the stage. While I expected them to burst open his sound, they served more as polite accompanists who bolstered the edifice Bird was creating rather than reshaping it.

The first part of the performance was dedicated to his new album, “Noble Beast.” As a first listen, most of that material sounded too staid and comfortable to really grab the listener.

Bird’s power to transfix his listeners comes not from the power of his warped

melodies, but rather through his energetic performance. So when his new songs seemed too reminiscent of older ones or treaded on the side of the derivative they lost all traction.

Luckily, his older material revealed a particular sharpness in the live context.

“Plasticities,” a standout from the last album, “Armchair Apocrypha,” benefited from a cathartic chorus that reverberated thunderously throughout the theater.

“Fake Palindromes” exploded with one of Bird’s strongest hooks, a sly, elliptical riff that serves as the song’s anchor. The audience responded most strongly, however, to “Imitosis,” a single from “Armchair” that burns with a searing Latin groove and sensual tone.

Bird’s lyrics have never been his strong point (although you can’t help but smile when the epic “Tables and Chairs” reaches its climax with the triumphant line, “There will be snacks!”). His words are pointlessly intellectual, describing microscopic biological processes as well as ancient civilizations. But the syllables seem to blend nicely into the ensemble without taking into account their meaning. Perhaps that’s precisely Bird’s intention.

So many indie artists today get tagged with terms like “genre-defying” that it seems senseless to apply them at all. Yet in ignoring any restraints on genres Andrew Bird seems to have created his own. I’m not sure precisely how one would go about naming this genre, but if Friday night’s performance was any indication, it probably includes the words “loose bowtie.”

10 Diverse City

February 6, 2009

CHORUS

THIS IS “AMERICA’s MOST WANTED”

BY MATTHEW FOWLER Staff

There are some events in life that for no particular reason leave me uneasy and anxiety stricken. These can be as simple as watching a college football player tear his ACL or as convoluted as listening to someone who has been single their whole life describe the emotional state they find themselves in after spending the night with a significant other (although perhaps that is uncomplicated as well).

Generally, I try to avoid situations that would lead to these feelings of discomfort.

I find it is better for not only myself but also for the select few who are privy to how my uneasiness is externalized (nail biting, heavy breathing, and a feeling that my pores are drowning in a sea of worry).

It is strange then to tell you that when I am channel surfing on Saturday nights (alone, naturally), and I stop on Fox to see the

host of America’s Most Wanted (the longest running show on Fox), John Walsh, that a certain calm overtakes me.

To be clear, I’ve never actually watched a full episode of America’s Most Wanted. To be even clearer, I am not calm because I know that there are people who are considered armed and dangerous running from the authorities (I promise I do not have such a wicked agenda.

Seriously, go catch bad guys now). America’s Most Wanted most reminds me of high school. Walking through the school hallways and hearing the same songs being blasted from computers and the mouths of students is not unlike sitting down and hearing the theme music to America’s Most Wanted being played every Saturday (except the music in the halls is a

little more catchy). High fiving my favorite English teacher in the hallways until I graduated is not unlike seeing John Walsh every week on my television set (except John Walsh has way better hair and probably a weaker grasp of Faulkner novels). Is it apparent yet as to why I, a person who easily falls into anxiety, can sit down and watch a full episode of America’s Most Wanted without changing the channel?

The tranquility that overcomes me when I look at the TV guide and see America’s Most Wanted airing in the same time spot it has for years is not linked to what the show is actually about. The significance is in the fact that the show is still

produced for the public. It is not calming to know there are dangerous people running around (far from it). The calm comes from knowing that long lasting memories (of high school perhaps) or long lasting television shows (as is the case with America’s Most Wanted) are both constants. Stability promotes a level of comfort no matter what form it takes.

Thus, the unease that hits me from seeing a sports injury or from hearing a story about a sexually active friend I’ve known all my life does not exclusively come from what I’m witnessing. Much of it comes from the expectations I have for these situations. If the football players get up, if my friend gets his heart broken, and even if I sit down to watch America’s Most Wanted, things feel routine, however paradoxical that may sound in the latter case.

While I long for the day when John Walsh’s show won’t be necessary, I know that when it finally does go off air, a chill may find its way up my back.

All it takes is a cup of tea

BY MYRA CHAUDHARY Special to Diverse City

What could a cup of tea have to do with education? You might presume that they have no connection. But this is not so in Greg Mortensen’s story, “Three Cups of Tea.” It is a powerful illustration of the possibilities that come to people with education.

But where does the cup of tea enter the story?

The author’s mission to build schools for poor village children in Pakistan, Afghanistan, and the entire world has nothing to do with tea. But sharing a cup of tea with the Balti people in a village called Korphe in the Karakorum Mountains in Pakistan may be what inspired him to embark on his journey to build over 60 schools in the most unlikely and forgotten parts of the world. If you turn that one cup into “three cups of tea” the effect becomes even more powerful: In Pakistan and Afghanistan at the “first cup of tea you are a stranger, the second you become a friend, and the third, you join our family, and for our family we are prepared to do anything.”

How could someone go to regions of the world which currently seem so unstable to us here at Brandeis and build productive schools? It still seems impossible, right?

Wrong! Greg Mortenson is an inspiration to us all because he did the impossible by venturing into places other people would be to afraid to go to. With all of the problems going on in Pakistan and Afghanistan, it may also seem like education is not everyone’s biggest priority, but when asked for one thing they wanted the most, the answer often would be: “Of all the things you have, learning is the one we most desire for our children.” And why not bring that education to them? Why should

any child not be allowed to achieve their dreams and true potential?

I think that many people at Brandeis will agree with me that education is essential to the prosperity of any community and nation, not only in Pakistan and Afghanistan, but all over the world. In times like these we may take our educa-

doing. In fact, the reason why he went to Pakistan was not to build a school but to climb K2, the second largest mountain in the world, in honor of his dead sister. He never reached the summit, got lost in the mountains, and was devastated when he failed. Upon finding his way to the village of Korphe, he is shocked to see that the

tion or something as simple as a book for granted, but we do not realize how lucky we are. It is up to all of us to make sure these children find a way to achieve their dreams. As one African proverb claims, “If you educate a boy, you educate an individual. If you educate a girl, you educate an entire community.” How true are these words! Any one who truly wants to bring education to all people must keep this in mind. Men and women are equally important, but women continue to be the foundation of society, making education even more crucial for any country.

If you are determined, it is possible to do anything to help the people of the world, even build a school. But what makes Greg’s story remarkable is that in 1993 he never even planned to do what he is

children have no suitable school. Seeing the simplicity and kindness of people who had rescued him, he promised to build a school. Even though he did not achieve his initial goal, he reached a higher summit which will multiply a thousand times over and of which his sister would have probably been even prouder. One promise to build a school spread to other communities and improved the lives of so many people who had access to education before and felt like they had been forgotten. He is an example that even when things don’t turn out like you expected, they can be more wonderful than you imagined.

He is a compassionate soul who sacrificed the little that he had. He lived in his car for a long time just so he could raise money to build a school for children from

a distant land. He had no obligation to help them, but he did. Not only does Greg Mortenson teach the children, but he also teaches his readers about a place that is often misunderstood. The biggest lesson he teaches us is that though different, we all share common values and desire. These innocent faces of the children and the joy and self confidence that they experience when they receive educations are what inspired me to write this article.

Perhaps you can get a better idea from a statement that a first girl to go to school made: “When I was a little sort of girl and I would see a gentleman or a lady with good, clean clothes I would run away and hide my face. But after I graduated from the Korphe School, I felt a big change in my life. I felt I was clean and clear and go before anybody and discuss anything. I feel that anything is possible, I want to be a…’Super lady.’ Every girl should be able to become a Super lady. If we can ignite that energy it will be our biggest source of strength.”

Step by step, one school or tea-cup at a time, peace is possible. It won’t be easy but it also won’t be impossible.

Much of the money for schools came from children who donated their extra pennies. One Jewish boy donated all of his bar mitzvah money. If children can do this for people they never met, nothing is impossible.

How beautiful will the world be if more people can truly realize: “I had no idea what education was. Now I think it is like water. It is important for everything” For more information about Greg Mortenson see the Central Asia Institute or Pennies for Peace Program, or see my blog, Hope within Pakistan.

February 6, 2009

Diverse City 11

END-NOTE Celebrate the Chinese New Year with Chinese Meat & Veggie Dumplings

BY JENNIFER LIN Special to Diverse City

If you like the food at BC3’s annual Dumpling Workshop Night, you’ll love this sized-down recipe for dumplings that you can try at home. It’s traditional to use ground pork in this recipe. However, beef or chicken also work wonderfully for a more kosher option. Dumplings are eaten year round in China but are a special treat during the Lunar New Year when families traditionally gather to make and eat them together. Happy Year of the Ox! - 1 package round wonton skins - 1/2 pound ground beef, chicken, or pork - 1 large egg - 1 tsp cornstarch - 1 tbsp sesame oil - 1 tbsp soy sauce - 1 tsp finely chopped ginger - 2 tsp sugar - 1/2 tsp. salt - 1/2 tsp ground black pepper - 1/2 tsp white pepper (optional) - 2 tsp Asian fish sauce (optional) - 1/2 head bok choy (Chinese, or Napa cabbage), shredded PHOTO BY Sophie Silverstein/The Hoot

B.O.M.S. enthralls B.O.M.S. (from p. 8)

clerk describing the different categories of customers, from the high school kids to the truck drivers, who inhabited his world, punctuating each definition with just the right amount of sneering contempt or pathetic admiration. And as quickly as his words rose to a crescendo climax, they sunk into subito piano coda that resounded with the potent final lines, “My retinas scoured/by all the tiny unrecorded movements/ of humans.”

Although Ellis’s performance was by far the highlight of the event, Tuesday night also featured a brief open mic period as well as a cover poetry slam competition. The former included half a

dozen Brandeis students as well as a couple of local amateur poets reciting original work as well as that of other poets. The latter, which proceeded in elimination rounds, featured only interpretations of other poets, including authors as diverse as Billy Collins, Sylvia Plath, and Brandeis professor Franz Wright.

“In the slam we’ve had people who never did it before who just went in and tried some crazy things— good crazy…and decided, this is something I might like,” explained Simon-Bierenbaum. As a new convert to the world of slam poetry, I can only hope that “good crazy” continues to run rampant through and our campus and remains thoroughly undiagnosed.

For sauce: - 1/2 cup soy sauce - 1 tsp sesame oil - 1/2 tsp sugar - 1 tsp rice vinegar or white vinegar - Garlic, chopped OPTIONAL: - 1 stalk green onion, chopped - 1 tbsp rice wine 1. Squeeze all excess water out of shredded cabbage. Discard water, place cabbage in bowl, and set

aside. This step ensures that your dumpling filling will not turn out soggy.

2. In a bowl, combine the pork, egg, cornstarch, oil, soy sauce, ginger, sugar, salt, peppers, and fish sauce. Add drained shredded cabbage and combine well for at least 3 minutes, until mixture is sticky.

3. Have a small bowl of water at the ready. To fill dumplings, place a wrapper in the palm of one hand. Place filling by spoonfuls into the middle of the wrapper. Take care not to overfill, or the dumplings will burst while cooking! Moisten the edges with a finger dipped in water and seal in one of the following ways: a) Tightly pinch the edges closed for a smooth edges, or b) Fold the wrapper in half and pinch tightly at the top center to seal. Follow up by pinching three small pleats on the top half of the wrapper on either side of the center. Press the edges together to create a pleated edge. As you create dumplings, set them aside on a baking sheet or plate.

4. Bring a large pot of water to boil. Add dumplings - do not overcrowd the pot. Cover and boil for about 3-4 minutes, or until dumplings float and are cooked all the way through. Remove with a slotted spoon to a bowl and cover to keep warm. Continue until all dumplings are cooked.

5. Create the dipping sauce by mixing together the soy sauce, sesame oil, sugar, vinegar, garlic, rice wine and green onion. Serve with warm dumplings.

Note: If you have leftovers, you can make delicious fried potstickers. Heat a frying pan over high and add 1-2 tbsp of vegetable oil. Tilt to coat. Place uncooked dumplings in a single layer in the pan, turn heat to medium-high and fry until the bottoms are golden brown. Add water (1/2 cup per 12 dumplings, or halfway up their sides), and cover pan with lid. After water has evaporated (about 10 minutes), dumplings will be steamed. Allow them to crisp in the remaining oil for about 1 more minute before you remove and enjoy!

A D V E RTI SE M E N T

-Showtimes-

Embassy Cinema 16 Pine Street Waltham, MA Telephone: (781) 891-0911 Feb 6 – Feb 12 only

ICC Calendar Brandeis Chinese Cultural Connection: Lunar New Year 2009, Year of the Ox Sat. Feb. 7, 6:00 p.m.

Shapiro Theater

There will be drum troupe, yo yo and erhu acts by outside, professional troupes. In addition, the event will feature student acts including modern dance, Chinese songs, skits and a traditional dance. There is no charge for admission, although there is a suggested donation for the China Care Foundation, an organization that helps orphans in China get vital medical procedures. All are welcome to join in on the celebration!

Mixed Heritage Club: Valentine’s Day Interracial Dating Event”

Title Rating

THE CLASS

REVOLUTIONARY ROAD

THE READER

MILK

THE WRESTLER

PG-13

GRAN TORINO

Sat Mon

Tues Thurs

(12:50) (12:50) (2:10) (3:40) 3:40 (5:00) 6:40 6:40 7:50 9:30 9:30

R

(1:10) (4:10) 7:10 9:45

(1:10) 4:10 7:10 9:45

(2:30) (5:10) 8:10

R

(1:00) (4:00) 7:00 9:45

(1:00) (4:00) 7:00 9:45

(2:20) (5:10) 8:00

R

(12:45) (3:50) 6:50 9:40

(12:45) (2:00) 3:50 (5:00) 6:50 7:40 9:40

R

(1:30) (4:30) 7:30 10:00

(1:30) 4:30 7:30 10:00

(2:50) (5:20) 8:30

R

(1:20) (4:20) 7:20 9:50

(1:20) 4:20 7:20 9:50

(2:40) (5:20) 8:20

Mon. Feb. 9, 9:00 - 10:00 p.m.

Polaris Lounge, North Quad

Come to the Mixed-Heritage Club’s second meeting of the semester! We will be having a fun activity followed by a discussion of interracial, inter-ethnic and multicultural dating and relationships. Pink lemonade and Valentine’s Day treats will be served!

Friday

Coming Soon THE INTERNATIONAL on 2/13 SUGAR on 4/10 EVERY LITTLE STEP on 5/8