The Tufts Daily - Tuesday, February 4, 2020 by The Tufts Daily

Students work on children’s TV research, reflect on experience see FEATURES / PAGE 3

WOMEN’S TRACK AND FIELD

Jumbos pull through with personal records in hosted invitational

Despite cinematic triumphs, plot of ‘1917’ leaves a lot to be desired see ARTS&LIVING / PAGE 4

SEE SPORTS / BACK PAGE

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T HE T UFTS DAILY

VOLUME LXXIX, ISSUE XI

Tuesday, February 4, 2020

MEDFORD/SOMERVILLE, MASS.

Sanders wins Tufts mock Iowa caucus, Warren close behind by Stephanie Rifkin Assistant News Editor

The Fletcher Democrats, the Tufts Political Science Department and JumboVote hosted a mock Iowa Caucus last night in Barnum Hall, during which students demonstrated support for their preferred choice of Democratic presidential nominee. Much like the real Iowa caucuses, students stood in designated parts of the room to show support for their candidate of choice. After tallying the first round, any student supporting a candidate that didn’t receive 15% of the self-reported vote could redistribute their support to a new candidate for the second round. After the first round, student organizer Sam Green announced the self-reported distribution of support between the candidates. Massachusetts Senator Elizabeth Warren was in the lead with approximately 33% of the vote, with Vermont Senator Bernie Sanders in second with 27% of the vote. The next two candidates were Minnesota Senator Amy Klobuchar, who almost made the threshold with 14.2% of the vote and former South Bend, Ind., Mayor Pete Buttigieg who had 12.5%. The other candidates that received student support were businessman and entrepreneur Andrew Yang and former New York City Mayor Michael Bloomberg, with 10.4% and 6.2% of the vote respectively. There were no students supporting former Vice President Joe Biden.

Green, a second-year graduate student at The Fletcher School and co-president of the Fletcher Democrats, also announced the self-reported distribution of support between the candidates at the end of the second round, which was also the end of the caucus. Sanders edged out the win at 34%, with Warren close behind with 33% of the vote. Buttigieg came in third with 18% of the vote and Klobuchar came in fourth with 13%. Green explained that this event was organized to help educate students about the inner workings of caucuses so they can have a better understanding of how our democratic system works. “For a lot of people, the caucus is this mysterious enigma that happens, but people don’t really understand how it works and how it’s really a lot like a town hall,” Green said. “It goes along with the mission of [ Jonathan M. Tisch College of Civic Life] to help support civic engagement and educating the student body and how it actually works. Plus, it’s also fun and it’s a way to get people together.” Lidya Woldeyesus, the student co-chair of JumboVote, coordinated the event with the Fletcher Democrats in the hopes of reaching graduate students on campus and encouraging them to vote. “We were really excited about this collaboration because graduate students are voting at a lower rate than undergraduate students,” Woldeyesus,

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Attendees are pictured at the mock caucus hosted by The Fletcher Democrats and JumboVote in Barnum Hall on Feb. 3. a sophomore, said. “JumboVote was designed in 2016 to be a university-wide initiative, but it has been very focused on undergraduates. There’s a lot of work to be done with undergraduates, but we need to do more outreach with graduate students, so when this opportunity arose we thought it would be a perfect fit because this is such an exciting time during the primary season.” While the results from this mock caucus are certainly informative, Green noted that they likely wouldn’t represent the overall political leanings of the country.

“I’m guessing due to the age of our average caucusgoer here, young folks tend to lean more progressive, so I image that the fact that 67% of the totals went to Bernie or Warren is higher than what will actually happen in Iowa,” Green said. “I imagine some of the more moderate leaning democrats will get a higher total.” Woldeyesus added that the demographic makeup was also heavily skewed. “It was a very white group,” Woldeyesus added. The results of the 2020 Iowa caucuses were not available at press time.

Lizarríbar joins Tufts as new dean of student affairs, chief student affairs officer by Sara Renkert News Editor

Camille Lizarríbar, dean of student affairs and senior associate dean of Yale College, was named the next dean of student affairs and chief student affairs officer for the Schools of Arts and Sciences and Engineering in a Jan. 24 email sent to the Tufts community. Lizarríbar will officially start in early July, filling the role vacated by former Dean of Student Affair and Chief Student Affairs Officer Mary Pat McMahon in July 2019 and held by Dean of Student Affairs and Chief Student Affairs Officer ad interim Nancy Thompson since September 2019. The search process for a new dean of student affairs was chaired by Sam Thomas,

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dean of academic affairs for the School of Arts and Sciences, and Chris Swan, dean of undergraduate education for the School of Engineering. Swan and Thomas both explained that Lizarríbar was a candidate with experience working across many different identities and student experiences. “Dean Lizarríbar brings experience leading improvements for the student experience across multiple areas of student affairs, especially with students from under-resourced schools and low-income backgrounds,” they said in an email to the Daily. Lizarríbar noted that her own identity translates into her understanding of the diverse identities in education. For breaking news, our content archive and exclusive content, visit tuftsdaily.com @tuftsdaily

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“As a Latina who has moved through many cultural and professional spaces, I bring a multi-faceted perspective and a unique voice to the role,” Lizarríbar said in an email to the Daily. Lizarríbar summarized the essential qualities she believes that she brings to the role. “In my experience, being accessible, collaborative, and creative are essential to accomplishing meaningful and substantial work in a University, and I’m looking forward to bringing those qualities to my work at Tufts,” Lizarríbar said. Dean of the School of Arts and Sciences James Glaser who, along with Dean of the School of Engineering Jianmin Qu, announced Lizarríbar’s

hire in the announcement to the Tufts community, spoke about the admirable impression Lizarríbar left on the search committee. “She has brought her expertise to bear on areas of great importance to us, such as financial aid, community values, health and wellness, and equity and inclusion,” Glaser said in an email to the Daily. “We’re looking forward to benefiting from her experiences on those topics, and to the new ideas she’ll introduce to Tufts.” Similarly, Qu recalled the characteristics he saw in Lizarríbar suited to the position of dean of student affairs and chief student affairs officer.

NEWS............................................1 FEATURES.................................3 ARTS & LIVING.......................4

see DEAN, page 2

FUN & GAMES.........................6 OPINION..................................... 7 SPORTS............................ BACK

THE TUFTS DAILY | News | Tuesday, February 4, 2020

THE TUFTS DAILY Ryan Shaffer Editor in Chief

EDITORIAL Alex Viveros Nathan Kyn

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Lizarríbar expresses excitement for transition to Tufts DEAN

continued from page 1 “She’s personable, open, innovative, experienced, and interested in engaging with students in order to improve student life at Tufts,” Qu said in an email to Daily. “Although we attracted many excellent candidates for the position, Dean Lizarríbar distinguished herself as the right person for this very important role.” Christopher Rossi, dean of student life and engagement, was similarly impressed by Lizarríbar’s experience and is excited for her arrival next fall. “She is someone who clearly enjoys spending time with students, identifying and amplifying their needs and bringing students into institutional decision making,” Rossi said. “Those were the real core

by Alejandra Carrillo News Editor

Maren Greathouse was selected as the new Associate Director for Diversity and Inclusion Education for the Medford/ Somerville and School at the Museum of Fine Arts (SMFA) campuses, announced in an email to the Tufts community on Jan. 8. She began her new role on Jan. 13. Her appointment follows that of Adriana Black, the inaugural associate director for diversity and inclusion education for the health sciences campuses, in November 2019. Provost and Senior Vice President Nadine Aubry, Associate Provost and Chief Diversity Officer for the Medford/ Somerville and SMFA campuses Robert Mack and Associate Provost and Chief Diversity Officer for the Health Science Campuses Joyce Sackey described in the email that Greathouses’s new role at the SMFA and Medford/Somerville campuses will be committed to the interconnectedness of race, culture and social justice in the Tufts community. They further outlined that her arrival and new role in creating educational programs will strengthen Tufts’ core values. Prior to joining Tufts, Greathouse was the Director of the Tyler Clementi Center at Rutgers University where she oversaw academic initiatives and operations. Among other accomplishments, Greathouse founded the LGBTQ and Intercultural Resource Center at Rutgers University-Newark, according to the Tyler Clementi Center’s website.

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being part of such a vibrant and caring community,” Lizarríbar said in an email to the Daily. “Of course, I’m also nervous about being at a new place and moving, just like anyone else, but in the end that adds to the excitement of starting a new chapter.” Lizarríbar brings to Tufts a wealth of knowledge in the academic, legal and student engagement fields. She holds a bachelor’s degree in comparative literature and in French language and literature from Brandeis University, a Ph.D. in comparative literature from Har vard University and a J.D. from Harvard Law School. Since 2016, Lizarríbar has overseen the student affairs division at Yale University.

Before serving as director of the Tyler Clementi Center, she was Rutgers University’s director of diverse community affairs, through which she designed diversity leadership training with partners of Rutgers. Greathouse earned her Bachelor’s Degree in Music and Master’s Degree in Social Responsibility at St. Cloud State University in Minnesota and will receive her Ph.D. in Higher Education later this year from Rutgers University. Greathouse’s dissertation is focused on the connection between mental health and campus environment for queer spectrum students; her research interests more broadly include equity, class dynamics and other topics in higher education, according to the Tyler Clementi Center’s website. Mack expressed his excitement for Greathouse joining the administration, ensuring the goals for diversity and inclusion are met. “Maren brings a lot of experience to this position — academic research, managing challenging conflicts, designing diversity education programs, and establishing community collaborations,” Mack said in an email. Mack also explained that the Tufts community will benefit from Greathouse working closely with the Office of the Chief Diversity Officer for the Health Sciences campuses as they pursue their shared goals. “She is a great addition to our team, and students, faculty and staff alike will benefit from her counsel and leadership,” Mack said. Aubry also noted that Greathouse’s appointment is part of a larger effort to

increase the strength and availability of programs throughout all campuses. Each school has completed or is completing the appointment of an assistant or associate dean who will dedicate part of their time to supporting diversity and inclusion, according to Aubry. “[They] will be members of a newly created university-wide cabinet on diversity and inclusion,” Aubry said in an email. Aubry said that Greathouse, along with other members of the administration, will aid the university-wide commitment to diversity, equity and inclusion. She noted that Greathouse will help bridge gaps so that all members of the Tufts community to experience a sense of belonging. Referencing his experience in Bridge to Liberal Arts Success at Tufts (BLAST), Brendon Bellevue discussed his hope that the appointment of Greathouse will be accompanied by efforts to increase funding for programs such BLAST and the identity-based centers. Bellevue, a sophomore, went on to explain that he believes supporting programs like these is important to continue fostering an inclusive environment at Tufts. Greathouse expressed her excitement for joining the Tufts community. She stated that she decided to come to Tufts, in part, because of the Tufts’ mission and its commitment to social justice initiatives. Greathouse added that she is excited to learn more about the current daily experiences of students before setting new strategic goals. “I intend to conduct a needs assessment to learn more about the wonderful initiatives already happening and to determine where it would be best to put my energy,” Greathouse said in an email.

Events on the Hill — Week of Feb. 2 Executive News Editor

Rebecca Barker Jillian Rolnick Anna Hirshman David Levitsky Hannah Wells Abigail Zielinski Cole Wolk Sophie Elia Tom Guan Makenna Law Grace Prendergast Mariel Priven Kate Seklir

qualities I know that I was hoping for in a candidate and that Camille really has all those things.” Rossi also emphasized the importance of Thompson’s experience, leadership and willingness to step in after McMahon’s departure last year. “To have Nancy for a year to set the stage for this recruitment to bring someone like Camille here, it is hard to overstate how important her contributions were,” Rossi said. “We would be lost without her.” Lizarríbar explained that although the decision to leave her position at Yale was particularly difficult, since it was her family’s home and community for many years, she looks forward to her future at Tufts. “Everyone has been welcoming and helpful, and I’m really looking forward to

Greathouse hired as new associate director for diversity and inclusion education

by Robert Kaplan Aidan Menchaca

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Tuesday “Faculty Research Workshop — Leaving Money on the Table: Understanding Low Medicaid Participation Among Older, LowIncome Americans” Details: Associate Professor of Economics Melissa McInerney will be the featured speaker at the workshop designed to facilitate feedback on scholars’ research with a diverse and interdisciplinary audience. It will be hosted by Associate Professor of Political Science Eitan Hersh. Where and when: Jonathan M. Tisch College of Civic Life in Barnum Hall, 9–10:15 a.m. Wednesday “Stolen: Five Free Boys Kidnapped Into Slavery and their Astonishing Odyssey Home”

Details: Richard Bell, an associate professor of history at the University of Maryland, will give a book talk on his latest work published in October 2019, “Stolen: Five Free Boys Kidnapped Into Slavery and their Astonishing Odyssey Home.” In his book, Bell chronicles narratives from the “Reverse Underground Railroad,” a human trafficking network which operated on the kidnapping and sale of free AfricanAmericans from the antebellum North into slavery in the South. Where and when: CHAT Seminar room, 48 Professors Row, 12–1:30 p.m. Thursday “Pictures from an Expedition: A Search for a Personal Relationship with Wilderness” Details: Ralph Robinson, a candidate for the Master’s of Fine Arts degree from the School at the Museum of Fine Arts at

Tufts, will discuss his wildlife photography and other experiences as media for understanding and connecting with nature. Where and when: Multipurpose room, Curtis Hall, 12–1:00 p.m. Friday “Founders Workshop: Startup Fundamentals and Essentials” Details: The Tufts Entrepreneurship Center will provide a series of presentations on legal advice, startup considerations and planning strategies for aspiring entrepreneurs. It will also include a keynote question and answer session with Steve Herrod, managing director at General Catalyst, led by Executive Director of the Tufts Gordon Institute Kevin Oye. Registration is open in advance on Eventbrite. Where and when: Fourth floor, 574 Boston Ave., 2–7:00 p.m.

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Features

Children’s Television Project looks at discrimination in children’s media

BEN KIM / THE TUFTS DAILY ARCHIVES

The Eliot-Pearson Children’s School is pictured on March 8, 2018. by Amelia Becker

Executive Features Editor

Today’s children are consuming more media than ever before. Images in animated television have the ability to influence their young audience, according to Julie Dobrow, senior lecturer in the Eliot-Pearson Department of Child Study and Human Development and senior fellow for Media and Civic Engagement in the Jonathan M. Tisch College of Civic Life. “It’s really important to understand what sort of images children are seeing in this world of wall-to-wall media and multimedia content,” Dobrow said. The Children’s Television (CTV) Project analyzes children’s media in the United States. The idea for CTV came after Dr. Calvin “Chip” Gidney and Dobrow both saw “The Lion King” (1994). “When I saw it I was shocked that in the 1990s that this was acceptable, that they would take characters and very blatantly, to my ear, stereotype them as to what dialects they spoke,” Gidney, associate professor in the Eliot-Pearson Department of Child Study and Human Development, said. Gidney thought it was particularly troublesome that a movie about the circle of life showed a natural hierarchy in the dialects used, Ye Eun “Christina” Koo, research coordinator for the CTV Project, said. Dobrow noted that all the evil characters in the film had non-American accents. One part of the CTV Project relies on students using a method called content analysis to look at how characters are portrayed in children’s animated media. “A content analysis is a systematic way of looking at a set of recorded messages so that we can compare one against another, using some sort of structural basis,” Dobrow said. Using content analysis, students look at how characters are drawn, as well as what they sound like. “We look for the ways in which characters are depicted in terms of how they’re drawn and also in terms of how they sound,” Dobrow said. “We’re looking at issues of gender, race, ethnicity and age, and then this year we also started including images of disabilities. ”Students use coding sheets when they watch the shows outside of class to look for certain characteristics in each character. According to Dobrow, these categories are constantly being updated to make them less subjective and less ambiguous. In a special topics course offered by the child studies department, students meet with others who have watched the same episode to talk about their results. It is during

this time that students come to a final consensus, Anika Arditi, a student who has taken the course, said. “We fill out those forms and then in our class period we meet with other students who watched the same episode, and then we talk about our results to see if we got similar results” Arditi, a sophomore, said. Each year CTV codes 10 different animated children’s television shows. According to Koo, three random episodes are picked from the most recent season. CTV now has six years’ worth of data, with 180 episodes of all types of children’s television, Gidney said. CTV uses a stratified sampling method to include a variety of networks and genres of animated children’s television. “We want variety in the types of shows,” Gidney said. In the past six years, over 200 undergraduates have worked on the CTV Project, Gidney said. Gidney went on to say that the research is not reserved only for those interested in child development. Students generally work on coding animated children’s shows for CTV, but can also use the data in other projects. One student used CTV data to make graphs and other visual displays for a data visualization class, Dobrow said. “We’ve also had students who have taken some of the data and used it as a basis for an independent study or senior honors thesis, so there’s lots of things that you can do, lots of ways that you can get involved,” Dobrow said. Arditi got involved while taking Intro to Child Studies and Human Development (CSHD-0001). An interest in the field drew her into the research. “I’ve just always had an interest in children’s media considering that children spend so many hours a day watching TV and that they receive a lot of messages from the shows about how the world is and how people act and how they should act based on what they look like,” Arditi said. “A lot of those things are very stereotypical and inaccurate.” Stemming from her involvement with the project, Arditi wrote a research paper on socioeconomic status in animated children’s media. Arditi used data from CTV to find the patterns she wrote about. Writing the research paper allowed Arditi to learn new skills. “For me so far it’s just been a learning experience in that I’ve never written a research paper before, like a full one with a literature review and a methods section,” Arditi said.

Uyen Chu also got introduced to CTV while taking the introductory course after Chip came in to talk to the class. Chu, a sophomore, wrote a research paper looking at how female characters of color are portrayed in children’s animated television. Chu noted that working on the CTV project allows students to take part in research without a heavy prerequisite. Working on research early on served as a way for Chu to find that it was something she wanted to continue. “I think honestly it helped me find that I enjoyed the research process,” Chu said. The research skills from CTV have served Chu well in other endeavors, such as working in the Social Identity and Stigma Lab in the Department of Psychology and in applying to internships. “A lot of students have used some of the skills they’ve picked up at CTV to help them get internships and jobs after graduation,” Dobrow said. Students are also able to get academic credit for their work on the CTV Project. From the data collected, the CTV Project has found discrimination present in children’s animated television. “The main finding that we’ve had is that even today in 2020 the world of children’s animated programming is a very inequitable world,” Dobrow said. The cartoon world is very different from the real world. In reality, the male to female sex ratio is about one to one. “The cartoon world is 76% and 24% female,” Gidney said. Racial trends in cartoons don’t reflect the current demographics in the U.S. either, Gidney added. Stereotypes that are present in the real world can be persistent in the world of children’s animated television, Gidney said. “There’s some very deeply ingrained biases and stereotypes that are of our whole society that are also mirrored in the cartoon world,” Gidney said. “Then there are things that are complete distortions of the real world.” The CTV Project not only looks at the content being produced but also talks to some producers of children’s animated media to try to figure out why these stereotypes persist. “We’re talking to writers and directors and producers and vocal casting directors and some of the actors who voice characters, and asking them questions about ‘What are you doing?’ and ‘Why are you doing it the way you’re doing it?’” Dobrow said. One goal of the CTV Project is to make this data accessible. For that reason, the CTV Project publishes its findings in both academic journals and more mainstream sources. “We think that our results are really important, ultimately, to get into the hands of people who are regularly in contact with children,” Dobrow said. Gidney added that it’s also important for this data to be brought to the attention of producers of children’s animated television. With this information in hand, producers have the chance to recognize inequalities and potentially make changes. Both students and faculty involved in the CTV Project note that the data has the potential to be valuable in many aspects. “You know this is the kind of research that we think is fun to do, but beyond that we think is really important,” Dobrow said. “We think it can make a difference.” Additionally, through doing research as part of the CTV Project, students are able to reflect on their own media consumption. “What’s really interesting about this project is finding those stereotypes that often go unnoticed as a child because you aren’t aware of those types of things,” Arditi said.

Tuesday, February 4, 2020

Spencer Christiansen Get off campus guide

Cambridge comedy scene

he beginning of the semester can be a difficult time for everyone. There are plenty of reasons to be a little down at the beginning of 2020: returning to campus after a month without homework, gray February weather or maybe daunting future plans. The age-old cliché holds true — laughter is the best medicine. Luckily, there are abundant opportunities to venture off campus and enjoy comedy at very little expense. This past Friday I saw the “Indie Exposure” show at ImprovBoston. The show featured three up-and-coming “improv” comedy teams that each delivered a unique and refreshing take on improv that left me laughing and a little lighter-hearted on my return to campus. First to take the stage was “Bodega Comedy,” an improv comedy troupe made up of comedians of color. Bodega’s style was fast-paced and goofy. Their sketches were short and electric, with performers smiling and laughing as they bounded on and off stage. The chemistry among the improvisers was plain to see as I watched them form creative storylines out of thin air, and it seemed to surprise even themselves. Next up was “Fumble Bees,” a long-form improv troupe from Cambridge. Their performance featured slightly more structured improv centered on the theme of creating and switching between different worlds. Their opening sketch involved the crowd, who suggested the disparate phenomena of slasher film and the sensation of hunger. With these suggestions the Fumble Bees improvisers jumped into a hilarious back and forth between the two themes, switching every time a bell was rung. This sketch and those that followed incorporated the audience and showcased the group’s impressive versatility. The final act was “Camp Corndog,” an improv duo that incorporated witty songs into a more complex storyline. As the name suggests, Camp Corndog’s whole set was a series of sketches centered around the campers and staff of a cheese-themed summer camp. From Lola the dairy cow and Gretchen the nurse to the budding romance of two camp counselors told all through cheese-themed euphemisms, Camp Corndog’s sketches spanned a broad range of emotion and included catchy improvised songs that eventually pulled the audience into song as well. Each group showcased a style all their own, but all shared an infectious energy that the audience couldn’t help but reflect. ImprovBoston, where “Indie Exposure” took place is just around the corner from the Central station stop. ImprovBoston provides a cozy environment and holds events Wednesday through Sunday night. Enticing restaurants and late-night cafés are all a short walk from the club, making it a perfect piece of a fun night out. For food, I would recommend Shanghai Fresh for authentic Chinese cuisine or Asmara for Ethiopian and Eritrean dishes. If it’s something simpler you’re hungry for, Mainely Burgers is an elevated burger joint, focused on maintaining a fresh and hearty Maine style. For those readers of age, The Field Pub offers a traditional pub experience, nice environment and decor, and all of the bar food classics are done well. 1369 Coffee House is ideally positioned for a caffeine fill-up after a show and before a night out in Boston. If you’re looking to take your mind off of your homework and get off of campus, Indie Exposure offers the perfect dose of comedic medicine. Spencer Christiansen is a sophomore who has not yet declared a major. Spencer can be reached at spencer.christiansen@tufts. edu.

4 Tuesday, February 4, 2020

ARTS&LIVING

Anna Hirshman Allie Morgenstern Hillside Story

Ewan’s Eyes

elcome to HillSide Story! We are two musical theatre nerds who will be sharing our hot and not-so-hot takes on movie musicals. As the Leading Player says from the musical “Pippin” (1972), “join us.” Anna Hirshman (AH): Today we are on the bohemian streets of Paris with “Moulin Rouge” (2001). We should start with some disclaimers. I had seen the movie before, and we saw the stage musical together in Boston. Allie Morgenstern (AM): I also saw it this summer when it came to Broadway after it had gone through some changes. AH: First, it’s important to understand that this movie exists in a kind of alternate reality, and I’m fully on board with that. Second, we cannot discuss this film without a deep dive into the character of The Duke. You think you know what the words slimy and cringy mean, and then you see Richard Roxburgh. AM: On the other hand, Tam Mutu, who plays The Duke on Broadway, is very attractive and suave. On stage, Satine’s choice between The Duke and Christian is less clear because The Duke isn’t creepy and totally awful. We are still meant to root against him, but it is easier to see why Satine struggles to choose. AH: Also, what is the deal with the treatment of Satine’s illness? She goes from being totally fine to fainting and spitting up blood to pulling off huge dance numbers. Consumption is tuberculosis. And it is super contagious. AM:Yeah, why are they making her do things with strange men who have germs when she’s ill? Also, wouldn’t Christian get sick? That’s inconsiderate. AH: My favorite scene in the movie is not a musical one, surprisingly. It is when Satine is trying to seduce Christian because she thinks he’s a rich duke, but Christian just wants to read her his poetry. AM: It will never not make me feel uncomfortable. I had second-hand embarrassment. AH: The writers do a remarkable job of creating sexual innuendos, and yet I still don’t understand what Satine thinks poetry means. AM: And yet I am still uncomfortable. AH: After seeing the stage production, I do miss the evolution of all of the supporting characters. AM: Yes, I think there are pros and cons to the ways the movie and the stage production develop the supporting characters. I really loved how characters like Toulouse-Lautrec and Harold Zidler had really strong, defined roles on stage. AH: However, the lack of supporting character development did allow for more chemistry to build in the movie. I found the relationship to be more convincing. AM: Except I don’t like when people breathe on me. And they breathe into each other’s mouths when they’re singing. AH: Ok. Let’s talk about Ewan McGregor. AM: He’s beautiful. His eyes, ugh. And it is like the voice of God is coming out of his mouth. AH: Now, whichever version you see first, be aware that the music choices are slightly different. AM: I like the “Elephant Love Medley” better in the stage show, but it’s a fabulous medley either way. But the movie does include “Silly Love Songs” (1976), a banger. It slaps. AH: It reminded me that my favorite thing about musicals is that we don’t question that everyone knows all the words and choreography. Also, the musical and movie made me want to try absinthe just to see what it’s like. AM: And to swing from chandeliers in real life. Like Esteban in “The Suite Life of Zack & Cody” (2005-08). Anna Hirshman is a senior studying psychology. Anna can be reached at anna.hirshman@ tufts.edu. Allie Morgenstern is a senior studying child study and human development. Allie can be reached at allison.morgenstern@tufts.edu.

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‘1917’ shows technical prowess with little substance by Christopher Panella Executive Arts Editor

This review contains spoilers. The stakes of “1917” (2019) are evident less than about 20 minutes into the film: General Erinmore (Colin Firth) tells Lance Corporals William Schofield (George MacKay) and Tom Blake (Dean-Charles Chapman) that they must get a message to Colonel Mackenzie (Benedict Cumberbatch) regarding an attack he is planning against the Germans. According to Erinmore, new aerial observations show that Mackenzie’s forces — 1,600 men — would be walking into a German trap. And for Blake, it’s personal: his brother, Lieutenant Joseph Blake (Richard Madden) is a part of those 1,600 doomed men. With the audience strapped in with Schofield and Blake as they race against the clock, “1917” takes off. It’s an exhausting introduction to a rather simple story. From a tense beginning, the plot then travels from point A to point B with some obstacles and feeble plot points — deaths, close calls, one woman who’s literally only there to clean Schofield’s wound and remind him of his family (who we don’t learn about until the last minute of the film) — that all lead to a completed mission. And throughout all of this, “1917” constantly reminds you of its stakes: 1,600 men, Blake’s brother. But it never makes these stakes feel palpable. In what might be the film’s most important moment — Blake’s death and Schofield’s newfound courage to carry on the mission for his fallen friend — we should feel some sort of weight. There’s none; it’s not upsetting or surprising. It’s lukewarm. Audiences learn very little about Blake before his death: he has a brother and likes to tell funny stories. These in no way make Blake feel relatable, interesting or worthy of carrying “1917.” At least Schofield undergoes some sort of growth, but even he feels foreign to us. He’s just a messenger. The audience is more worried about him as a plot device than him as a character. Rather than giving real depth to its story and characters, the film is a flex of technical prowess. And there’s nothing wrong with that. Director Sam Mendes isn’t focused on how we connect to the story or its thinness. He’s showing the audience what the camera can do. The biggest awards season conversation around “1917” is how its long takes make the film feel like one continuous shot. The long takes are broken up by clearly visible cuts and times when the camera veers away from Schofield and Blake. It would be irresponsible to say that the “1917” isn’t gorgeous or a technical feat. Its cinematography is nothing short of breathtaking and the long takes are immersive. Combined with the score, the film has many rousing moments. And Mendes certainly doesn’t hold back from showing war at its most gruesome (although that’s not very

VIA IMDB

A promotional poster for ‘1917’ (2019) is pictured. different from many films in the war canon). There are plenty of dead bodies, gross moments — it’s impossible not to wince when Schofield accidentally shoves his bleeding hand into a giant mushy wound in the back of dead soldier — and gunshots. But each of these moments just feels like a new level in a video game. When Schofield comes across a bombed village and has to kill a sniper, it’s almost like a mission in Call of Duty. This leads to a very important question regarding “1917”: what really makes this film compelling? Is it just its camerawork? What does “1917” do that a Call of Duty video game couldn’t do? This isn’t to say that every war movie needs to sell itself beyond being an Xbox game — although the war genre of media is arguably overstuffed nowadays — but it is to say that

this story could be far more engaging if given more time, space and character development. It’s approximately twohour runtime certainly prevents that. We leave “1917” satisfied because Schofield did his job and the camerawork is masterful, but with very little more to say about the film. It’s a spectacle that never really gives us substance. This is what keeps the film from being great rather than good: just because the audience follows Schofield and Blake every step of the way — thanks to the long takes — doesn’t mean we identify or relate to them. It’s immersive, but not investing. Impressive technical work can’t be the answer when we ask why a film needed to be made. And that’s the problem with “1917.” It can’t provide a reason for why its story needed to be told.

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Tuesday, February 4, 2020 | Arts & Living | THE TUFTS DAILY

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Dillon Francis’ fun-oriented formula wins support from Boston fans by Geoff Tobia Jr. Arts Editor

Los Angeles-based DJ Dillon Francis is well-regarded among fellow EDM artists and fans as being one of the most entertaining producers in the world. Not only famous for his notoriously entertaining Instagram and Snapchat posts, Francis is also known for making hard-hitting moombahton — a mix of reggaeton and house music. His heavy synths and bass lines are practically designed to be played in a concert setting, so it’s no surprise that he shook the floor at Big Night Live in Boston on Thursday night. Opening the set was DJ Costa, playing a collection of his own remixes of popular songs, along with some other high-energy EDM cuts. One of the more interesting moments of the concert occurred near the start of DJ Costa’s set when no one was on the lower general admission floor, where fans can get as close to the stage as possible. Instead, fans lounged around with their drinks on the raised section surrounding the lower GA floor, either bobbing their heads along to the music or making conversation with friends and strangers. One curious fan asked a staff member why no one was on the lower floor yet, and the response was “I don’t know, but you could be the first.” In a strange collective nervousness, the GA section stayed empty for another 10 minutes. Suddenly, a couple of bold fans (myself and my friends) went down, followed by nearly a hundred other people. DJ Costa was now performing in front of a sizable crowd that had emerged from the shadows. Following DJ Costa’s set was house duo Ship Wrek, a pair of young lads dressed in casual clothes with sailor hats on. Tripp Churchill and Collin McGuire have been making music as Ship Wrek since late 2018 and have gained support from the likes of Skrillex, Diplo, Jauz and Zedd, to name a few. Opening for Dillon Francis was fitting, as their music matches the audacity and boldness of Francis’ music. At this point, the venue is packed and a couple of balloon aliens were being passed around the floor. Certainly one of the highlights of their set was their deep-house spin on Santana & Rob Thomas’ “Smooth” (1999), a song that has aged over 20 years and remained enjoyable. Dillon Francis then took the stage and was met with uproar from the crowd as he kicked off the set with “DFR,” the first song off his latest EP “Magic Is Real” (2019). Suddenly, hundreds of long balloons appeared, and they were tossed around the crowd in frantic and chaotic patterns. Francis continued to play

VIA WIKIMEDIA COMMONS

Dillon Francis is pictured. some fan favorites, including “Coming Over” (2015) with Kygo, “Bun Up the Dance” (2015) with Skrillex and arguably his most famous song “Get Low” (2014) with DJ Snake. Another staple of live Dillon Francis shows is his ability to remix and incorporate vocals from classic songs into his set. Bordering on the line between insult and fascination, the words “Is this the real life? Is this just fantasy?” began to play, and a griffin-like drawing appeared behind Francis, donning the words “Dillon Francis” beneath

it, in place of “Queen.” You could feel the crowd collectively feel a mix of excitement for the song and curiosity about whether or not Francis would put a moombahton spin on “Bohemian Rhapsody” (1975). It ended up being a segue into a remix of his song “Bawdy” (2019) with TV Noise and featuring Big Freedia. Further interpolations and remixes got the crowd even more excited, including his remix of “I Like It” (2018) by Cardi B & J Balvin. Perhaps the biggest uproar

came from playing ABBA’s “Dancing Queen” (1976) without any edits or interpolations, a recurring theme Francis has been keeping since 2019. Overall, regardless of whether Francis was bringing his pummeling drum sounds to the table, or not, his set always radiated positive dance-worthy energy. Fans left the venue, covered in a sea of confetti and balloons, more than satisfied. Later this year, Dillon Francis will be touring with Yung Gravy on their “Sugar, Spice, and Everything Ice” tour starting in March.

THE TUFTS DAILY | Comics | Tuesday, February 4, 2020

F &G FUN & GAMES

tuftsdaily.com LATE NIGHT AT THE DAILY Brendan [on bottoming]: “I only found what that was two months ago.”

SUDOKU

LINDA C. BLACK ASTROLOGY

Aquarius (Jan. 20–Feb. 18)

Go for no-frills fun rather than clinging to worn-out fantasies. Let go of romantic expectations and focus on what and who you love.

Difficulty Level: The first exam of the semester

Monday’s Solutions

CROSSWORD

Opinion

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OP-ED

The importance of reevaluating Tufts’ world civilization requirement by TCU Senate Education Committee According to the Tufts University website, the world civilizations foundation requirement, a graduation requirement for all students in the School of Arts and Sciences, “focuses on an in-depth study of a non-Western civilization or the interaction of non-Western and Western civilizations with equal attention given to both.” Although the intent of Tufts University’s world civilization foundation requirement is to increase student awareness of non-Western cultures, we believe that it fails to create skills that foster dialogue around diversity, equityand inclusion. Currently, the requirement can be fulfilled by taking a class from an approved list of courses that focus on the study of an aspect of a non-western civilization. While students can learn about a new country or culture, these classes often do not teach students how to interact and work with people whose experiences and social conditions may differ from their own. Many of the classes that currently fulfill the world civilization requirement teach meaningful topics, but do not address issues of diversity, equity, marginalization and the distribution of power in society. Nowadays, it is more critical than ever that our curriculum includes these topics. With the exception of the world civilization requirement which was added in 1986, Tufts essentially has had the same curriculum model since the 1930s, according to classics Professor Anne Mahoney. However, what it means to be an informed global citizen has vastly changed since 1986. Today, as global citizens and students, it is imperative to not only be aware of cultural and social differences, but also to understand how these differences pertain to the experiences of marginalized groups and the distribution of power within our own communities. This is not to say that the study of cultures outside of the typical western aca-

demic canon is not important. Instead, it is to add that it is equally as important to equip students with the knowledge about past and present injustices that divide our society, and the tools to be able to engage in challenging and often uncomfortable issues. Universities are the training grounds for future change makers; Tufts University would not be doing its students justice if it did not provide them with the resources to be able to engage with difficult topics about inequality and justice. Many of Tufts’ peer institutions include a requirement that is centered around diversity, equity and inclusion in their curricula. University of California Los Angeles (UCLA)’s College of Letters and Science has a diversity requirement which consists of courses built to provide “students with the analytical skills needed to develop critical and reflective perspectives on difference within both domestic and global spheres, and to prepare them to function, thrive, and provide leadership in multicultural, multiethnic, transnational, and interconnected global societies.” Courses at UCLA include “Working in Tribal Communities: Introduction,” “Indian Identity in U.S. and Diaspora”and “Social Organization of Black Communities.” The variety of courses allows students to choose a class that personally interests them while emphasizing the importance of diversity and inclusion. Similarly, Cornell University’s College of Agriculture and Life Science requires its students to take a “Human Diversity” course that aims to “explore the challenges of building a diverse society, and/ or examine the various processes that marginalize people and produce unequal power relations.” In order to make Tufts an inclusive campus, there must be an active effort to educate students on issues related to diversity. Incorporating such a requirement into the academic curriculum is one of many possible measures to make the campus a more inclusive space.

In the fall semester of the 2019–2020 academic year alone, Tufts has had three bias incidents targeting specific communities on campus. Although nothing can undo the pain these hateful acts have inflicted upon our communities, reevaluating the world civilization requirement is a step in the right direction in examining the education the student body should be getting in order to be inclusive of all people. Since most students would take this course early in their college career, it would help students foster a safer and more inclusive Tufts community. While this is not the end-all-be-all solution, this is a step in the right direction. Tufts Community Union (TCU) Senate’s Education Committee urges that the world civilization foundational requirement be reevaluated as it stands and replaced with a course focused on understanding and appreciating diverse viewpoints. The reworked world civilization requirement would be ideally structured similarly to UCLA or Cornell’s diversity requirement, where the focus of the course would be around differing perspectives, histories and lived experiences with an emphasis on understanding marginalized communities. One way the current world civilization requirement could be adjusted is to include a substantive diversity and inclusion component in the foundational writing requirement, which is often completed during a student’s first year. A focus on diversity, inclusion and justice is needed to adequately understand world civilizations and to succeed in an increasingly interconnected world. There is no better time to include these issues in our curriculum than now. Respectfully submitted by TCU Senate Education Committee: TCU Senators Iyra Chandra (A’22), Ayden Crosby (A’21), Rabiya Ismail (A’22), Ibrahim AlMuasher (A’23), Andrew Vu (A’22), Charlie Brogdon-Tent (A’20), TCU President Shannon Lee (A’20).

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Tuesday, February 4, 2020

Riya Matta Shades of Gray

Separating art from artist

e’ve all done it: listened to a Chris Brown classic, rapped along to R. Kelly’s “Ignition” (2002) or watched a Harvey Weinstein masterpiece, thinking “I know he’s a bad person and did __ but this [song/art/movie] is just so good!” Pop culture is, it seems, incessantly plagued by the recurring trope of the brilliantly talented and extraordinarily popular artist who committed some despicable crime or simply turned out to be a bad person. And though perhaps few deny the validity of allegations made against their beloved celebrities or attempt to excuse their actions, most of the divisiveness comes from a pressing moral issue: should we separate the art from the artist? On one hand, there are those who believe that we shouldn’t “blame” the book for its author, the song for its artist or the movie for its filmmaker. On the other are those who believe that it is entirely unethical for us as consumers to continue to “consume” art made by those whose actions are inexcusably terrible, unlawful and generally contradictory to our sense of morality. The former perspective is certainly tempting — I cannot deny that I find XXXtentacion’s lo-fi rap is calming or that Kanye’s “Heartless” (2008) made it on my 2000s throwback playlist. But it has become impossible for me to listen to such artists without at least a twinge of guilt — the feeling that, for less than three minutes of enjoyment listening to X’s “changes” (2018), I’m supporting an artist accused of battery and the domestic abuse of his pregnant girlfriend and who glorifies violence in his own music. That is not to say, of course, that consuming the work of those who have done terrible things means you support their actions — watching “The Cosby Show” (1984–92) or “Roseanne” (1988–2018) reruns doesn’t make you an apologist for sexual assault or racism. But try as we might, it is both unethical and illogical to completely separate the art from the artist. Art is often seen as “other” than, or inherently above the paltry troubles of the mortal world, but the reality is that art — whether it is music, movies, books or paintings — is undeniably influenced by factors from the world around us. Any work an artist creates is inextricably intertwined with everything in their life, from political inclinations and morals to their drug use, upbringing or disastrous romances. The same artistic genius who created such blockbuster films as “Annie Hall” (1977) and “Manhattan” (1979) also allegedly sexually abused his daughter; the same person behind arguably television’s most iconic depiction of black middle-class families, Bill Cosby, was accused of assaulting and raping 60 people. There are not two Bill Cosbys, Woody Allens, Roseanne Barrs, XXXtentacions, Kanyes, Harvey Weinsteins, R. Kellys or Chris Browns — for all of the aforementioned artists, the same mind that engineered the inspired works of art that we all know and love committed the heinous and abhorrent crimes that we condemn. And so begs the question: if artists don’t separate their art from themselves, why should we? Riya Matta is a first-year who has not yet declared a major. Riya can be reached at riya.matta@tufts.edu.

The Tufts Daily is a nonprofit, independent newspaper, published Monday through Friday during the academic year, and distributed free to the Tufts community. The content of letters, advertisements, signed columns, cartoons and graphics does not necessarily reflect the opinion of The Tufts Daily editorial board. EDITORIALS Editorials represent the position of The Tufts Daily. Individual editors are not necessarily responsible for, or in agreement with, the policies and editorials of The Tufts Daily. OP-EDS The Op-Ed section of The Tufts Daily, an open forum for campus editorial commentary, is printed Monday through Thursday. The Daily welcomes submissions from all members of the Tufts community; the opinions expressed in the Op-Ed section do not necessarily represent the opinions of the Daily itself. Opinion articles on campus, national and international issues should be 600 to 1,200 words in length and submitted to opinion@tuftsdaily.com. The editors reserve the right to edit letters for clarity, space and length. All material is subject to editorial discretion and is not guaranteed to appear in the Daily. Authors must submit their telephone numbers and day-of availability for editing questions. ADVERTISING All advertising copy is subject to the approval of the Editor-in-Chief, Executive Board and Executive Business Director.

Tuesday, February 4, 2020

Sports

Women’s track and field takes 2nd at Brawen Smith-King Invitational

Sports Editor

In the third annual Branwen Smith-King Invitational at the Gantcher Center over the weekend, the women’s track team placed second out of 22 teams in team scoring. Several individual athletes placed in the top five, including victories in the 600 meters, 800 meters and 3,000 meters races. At the end of the day, Massachusetts Institute of Technology (MIT) won the meet with 143 points and Tufts placed second with a total of 114 points. Other than losing to the local rival Engineers, the Jumbos were pleased with their performance in the meet. “The team is always disappointed to lose to MIT,” sophomore Danielle Page, who placed at the NCAA Div. III Cross Country Championships in November, said. “We rested a lot of our jumpers this week who always heavily contribute to our team’s overall score. Place aside, lots of people had personal bests in their events and so that is what we celebrate.” In the 3,000 meters, Page ran a 10:06.80 to win the race. Her time ranks No. 17 nationally. Racing for the first time since December, Page was excited to get back on the track. “It felt good to take first in the 3K,” Page said. “I haven’t raced since December so it felt a little strange to be running on the track again, but all things considered I am certainly happy with how it went for an opening race.”

Arjun Balaraman Off the Crossbar

Young players fighting for their futures

MADELEINE OLIVER / TUFTS TRACK AND FIELD

Senior Lydia Heely passes a pack of competitors at the Branwen Smith-King Classic on Jan. 29, 2019. by Liam Finnegan

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Senior Sabrina Gornisiewicz, who placed 27th at the NCAA Div. III Cross Country Championships, also competed in the 3,000 meters and ran a 10:10.19 to finish in fourth place. Tufts dominated the 600 meters, as sophomore Hannah Neilon, senior co-captain Julia Gake and sophomore Luana Machado all placed in the top four. Neilon won with a time of 1:38.27, as Gake finished in 1:38.71 for third place and Machado finished in 1:39.93 for fourth place. In the 800 meters, sophomore Tara Lowensohn took first with a time of 2:20.04, which currently ranks No. 37 in the nation. And, in the 1,000 meters, junior Emily Murray took third with a time of 3:09.53. In the one mile run, senior co-captain Rhemi Toth finished in fifth place with a time of 5:09.03. Following directly behind Toth was sophomore Anna Slager, who ran a 5:09.52 for sixth place. Their times are currently ranked No. 26 and 28 in the nation, respectively. The Jumbos also saw success in the 4 x 400 meters relay. The relay squad, consisting of Gake, Machado, Neilon and first-year Campbell Devlin, took second in the race with a time of 4:04.38. In the field events, the Jumbos also excelled. Sophomore Kathryn Ezeoha posted a 36’ 6 ¼” leap for third place in the triple jump, a personal record. “At first I didn’t even realize that I set a PR, but I’m happy to see that I’m still improving and hope to improve even more this season,” Ezeoha said.

First-year Lia Rotti placed second place in the pole vault at 11’ 1 ¾”, while junior Nkem Aduka set a personal record in the weight throw with a distance of 42’ 7”. Ezeoha echoed Page’s sentiment, but believes the team could have placed better in the team scoring if they invested more athletes into the field events. “I know the team is proud of our achievements, but many of us believe that we had a good shot at coming in first if more of our athletes had competed in the field events at this meet,” Ezeoha said. “Many competed in the pentathlon or short sprints events and did not want to wear themselves out, which I think was a good choice in the long run.” With their strong performances so far during this indoor season, the Jumbos are satisfied, but are also looking towards the bigger goals at the end of the season. “I think the season is going well,” Page said. “We brought in a lot of talented first years and our returners have been improving. It’s still early, but I think we are looking good to place high at our championship meet later in the season as well as hopefully send a sizable group to the NCAA national championship in North Carolina over spring break.” Next week, the Jumbos are back in action as they host at the Gantcher Center for the second weekend in a row, with the annual Cupid Challenge.

TRASHING ONE EGG WASTES 55 GALLONS OF WATER

ander Berge shocked the soccer world late last month when, despite being sought after by many of Europe’s elite, he decided to sign for Sheffield United. A newly-promoted side, United has vastly surpassed expectations sitting in sixth place, perched in between Tottenham Hotspur and Manchester United in the English Premier League standings. Breaking their transfer record to sign Berge was a real signal of their intent. After starring during the group stage of the Champions League, which saw his Genk side eliminated from a tough group featuring Liverpool and Napoli, Berge leaving Belgium seemed inevitable. Without the allure of Champions League soccer, Berge had outgrown Genk and the Belgian league, and it was time for him to move on to a bigger challenge. But, rather than opting for one of the more glamorous clubs where he could have been paid more handsomely, Berge opted for United, where his odds of landing a regular first-team role were far higher than at some of his bigger suitors like Tottenham, Sevilla or Arsenal. Just two days after his signing, the 21-year-old Norwegian made his debut as a starter and played an impressive 68 minutes for the Blades. Berge’s decision to choose a club that guaranteed him a spot in the starting 11 follows those made by the likes of Jadon Sancho and Erling Haaland and it’s an encouraging trend for young soccer players. After impressing in the Manchester City youth set-up, where he signed on at 14, Sancho left the club in 2017 after failing to get playing-time assurance. He moved to Borussia Dortmund, a club renowned for their willingness to give young players a chance, and has seen his career take off. Rather than going to Real Madrid, Barcelona or staying at City, Sancho valued getting experience by playing at a high level in a competitive league. Now, despite only being 19, Sancho has made over 60 league appearances in the German Bundesliga and has been capped 11 times by his country while cementing his status as the world’s best teenage player. Contrast Sancho’s last couple of years with those of Phil Foden, his ex-teammate on the Manchester City youth team. The duo was considered the most promising English youth product, but while Sancho left to pursue firstteam football, Foden stayed at City. Despite Pep Guardiola’s frequent praise, Foden has spent most of his time languishing on the bench. He’s started just five champions league games and has yet to be called up to Gareth Southgate’s England side. Recently, teenager Erling Haaland joined Sancho at Dortmund amidst interest from Manchester United and Juventus and has already scored seven goals in his first three games. It’s a win-win situation for both club and player. The players get first-team soccer while improving on their game by playing at a high level, while the club reaps the benefit of having talented players and makes a healthy profit when they sell a more finished product to the bigger clubs in Europe. Just as Sheffield United capitalized on Berge’s desire to play in a top league, other mid-level sides in Europe’s bigger leagues would do well to act as a stepping-stone for young players. Arjun Balaraman is a junior studying quantitative economics. Arjun can be reached arjun.balaraman@tufts.edu.