SGA, clubs kick off school year with campus activities fair

By Kyle Kern Contributing writer

What do Susquehanna students do in their free time? They pursue their passions, interests and academic skills and wade into new experiences and interests.

To do this, students at Susquehanna enroll in over 140 academic clubs, honors groups, student-run clubs, club sports, volunteer groups and media groups.

It is fairly easy to become involved in any extra-curricular group at Susquehanna.

On Sept. 6, the Student Government Association and the Office of Leadership and Development co-sponsored the annual university activities fair on campus.

The fair, held in front of Degenstein Camps Center, allowed clubs to display what they had to offer to students.

When students visited five or more tables, they received a free cup of Rita’s Italian Ice from the nearby Rita’s truck.

This event was helpful for those students looking for clubs to join or for ways to help out their community.

Elizabeth Winger, the coordinator of leadership and engagement, is tasked with coordinating this event every year. Winger said: “[The fair is] a great opportunity for students to become engaged in extra-curricular activities. Whether it be scholar oriented, academically geared, possibly a special interest or passion, it could be a part of Greek Life or maybe you’d like to do a club sport.” Winger added that the extra-curricular activities are a great way to gain leadership skills, use your passion and build upon knowledge gained in the classroom.

Josh Levesque, a junior who is starting the fall semester as the president of the beekeeping club, agrees that the fair is a great way to introduce students to extra-curricular activities.

However, he added that he believes something should be added to allow people who are more shy to be more comfortable trying to join a club.

While there are already a large number of current clubs, there are always students with new ideas for a new organization.

Archery club, rock-climbing club, skate club, League of Legends club and a club based on volunteering with animals are all among those attempting to become an official extra-curricular activity.

Anyone who has the dedication to their idea for a club can start one.

To start an extra-curricular activity, Winger recommends that the founder attend one of the two workshops that she will be holding in the month of September.

The first one will be held on Sept. 14 starting at 4:30 p.m. in the Benjamin Apple Meeting Rooms in Degenstein Campus Center.

The second workshop will be held on Sept. 15 starting at 11:45 a.m. in the same meeting rooms in Degenstein Campus Center.

Musician duo to play saxophonoe, piano concert

By Parker Thomas Staff writer

Internationally renowned French saxophonist Claude Delangle and his wife, internationally known pianist Odile Catelin-Delangle, will visit Susquehanna and perform in Stretansky Concert Hall on Sept. 12 at 7:30 p.m.

Delangle is considered one of the greatest contemporary saxophonists in the world, known for his enriching interpretation of classic works and collaboration with several prominent composers.

He is an invited saxophonist in the Ensemble Intercontemporain and has been featured with many prestigious orchestras around the globe.

Beyond his performances, Delangle teaches at the Conservatoire National Superieur de Musique of Paris, or Paris Conservatoire, which is where saxophone classes first originated. After inventing the saxophone in Paris in 1846, Belgian Adolphe Sax was the first to teach at the university. Following him, only four other professors have taught at the Paris Conservatoire, Delangle being the fourth.

Catelin-Delangle has performed with many other instrumentalists from across the world and has performed in 80 premieres. She has also worked with many composers as an interpreter and teaches interpretation along with master classes on French music at the Ecole Normale de Musique of Chile.

Before the concert, both musicians will have lunch with French majors from the level 201 and level 301 classes on campus in order to help them use their skills and host conversations in English, all the while learning about both French art and music.

The concert will contain three pieces that the pair will perform together, along with an additional piece, during which Susquehanna’s saxophone ensemble and Gail Levinsky, associate professor of music, will perform with them. The program consists of two pieces initially composed by Claude Debussy, whose pieces have become part of standard saxophone repertoire.

The second piece in the performance is Debussy’s “Rhapsodie,” a piece that was originally composed for a saxophone and orchestra but has been arranged for piano and saxophone by saxophonist Vincent David.

The other Debussy piece is “Prélude à l’Après-midi d’un Faune,” or “Prelude to the Afternoon of a Faun,” which will be performed last in the program. Like “Rhapsodie,” this piece was not initially composed for just piano and saxophone but has been arranged that way by Catelin-Delangle.

The other two pieces in the upcoming program are relatively contemporary.

The program will open up with Marilyn Shrude’s 2005 piece, “Fantasmi,” which translates to “ghost.” The song features two alto saxophones, along with multiple saxophones in the background and is “based on a series of multiphonics or staff-pitches and microtones all at the pianissimo level,” according to Levinsky. Susquehanna’s eight-member saxophone ensemble and Levinsky will be performing along with Delangle.

Levinsky said the piece is “Shrude’s interpretation as a memory to lost, passing souls. At the time that she wrote it there were a number of well-known composers who passed away, and she had some family members pass away. It’s a wonderful, beautiful and reflective piece.”

The other contemporary piece is Aurélien Marion-Gallois’ “IV f i 18, Variations,” which was written this past year. It will be making its American premiere first at Georgia State, where Delangle and Catelin-Delangle will be stopping prior to Susquehanna, and then at Susquehanna. The piece is described as being theatrical and will be performed by the two with Catelin-Delangle playing the piano and singing soprano throughout the piece.

The two musicians were initially contacted by Levinsky, a friend of theirs, who knew Delangle through “saxophone circles” and by studying his teaching during her sabbatical in the spring of 2007. Aware that the pair was visiting the United States, Levinsky got in contact with them and asked them to come to Susquehanna. Receiving support from the department of music, the dean’s office, the modern language department and Sellmer Paris Corporation, which provides the university with saxophones and paid for the musicians’ air fares from Atlanta to Harrisburg, Delangle and Catelin-Delangle’s trip to Susquehanna was made easy.

The committee that oversees this year’s university theme—passion—was also a huge supporter of the visit. Levinksy thought it was very appropriate to bring them in this year due to theme. She said: “There is nothing more passionate than those in the art department… Many of our majors are here because they are passionate about making music, they are passionate about teaching others, they are passionate about using the arts and everything we gain from the arts in whatever field or profession they, themselves, go in. So there is nothing more important for us to support than something like this.”

Gallery displays comic book exibit on second world war

By Megan Ruge Asst. living and arts editor

The Lore Degenstein Gallery opened a new exhibit on Sept. 3. The exhibit, titled “Victory for a Dime: The Fighting Comic Books of the Second World War,” displays a chronicle of World War II era comic books. These comic books show in their cover art how media was affected by what America was experiencing at the time of the war.

The gallery opened with a talk by Mark Fertig, the department chair of art at Susquehanna. Fertig spoke briefly about each piece in the gallery, giving a small overview of how each piece was affected by history from the 1930s to the 1940s.

Fertig started his talk by introducing comic books as a whole, talking about where it all began before showing the audience how it all changed during wartime.

“You wouldn’t have comic books [now] if you didn’t have the second World War,” Fertig said. He then spoke about the first serial comic, “Funnies on Parade,” which was released in 1933.

“‘Funnies on Parade’ was an eight-page comic book made primarily of Sunday comic strip reprints,” Fertig said.

The first superhero comics were released in 1938 with Superman and 1939 with Batman. This set the stage for extraordinary heroes in an ordinary time, opening the door to unique propaganda for the American war effort. In the summer of 1939, comics began to reflect war themes. Cover art began to display unmarked war machines and other war related violence, reflecting the way America felt about the unsettling turmoil in Europe.

“It’s interesting how closely tied comic books are to American history and propaganda,” junior Kathie Rodgers said.

When the war began, comics started to depict it as best as they could. They used these depictions as motivation for the public to get involved. At one point, comics began to depict what an attack on American soil might look like. They showed Nazi bombers invading New York City from the air, Nazi troops tunneling under the city and Hitler himself disrupting traffic flow in the Lincoln Tunnel.

Around this time, the war set up comic creators for a patriotic hero to arrive on the scene. The original big American hero was called the Shield, but he only stuck around for a little while until Captain America was created. Captain America blew the Shield out of the water and motivated kids to find out more about what Captain America was up to in Europe.

Eventually, comic book creators had to decide what to do with these heroes to keep kids and families interested in the war while also not taking any glory away from the real heroes, the deployed soldiers. It was a constant struggle to humanize superheroes and make them the supporting characters in their own comics. Heroes like Superman became America’s cheerleaders; Batman became a delivery man to the war front.

It was about this time that comics took a different turn in society. Parents were asking for more nonfiction comics about war heroes and others were asking for something different all together. Boys’ comics about young heroes, sidekicks and even about ordinary bands of boys became more violent.

Comic books started to introduce a large amount of violence along with sexual content for their next largest audience, soldiers. More themes of sex, violence and racism found their way onto the pages of the comics.

“It was interesting to see how the values and fear brought on by the war shaped the values and fears portrayed in the comics,” junior Caroline Miller said.

When the war ended, comic books joined the country in welcoming the heroes home. Many comic book superheroes were shown welcoming home soldiers and other war heroes from the war front.

The covers spoken about in the talk are on display in the Lore Degenstien Gallery. The exhibit is open to the public until Oct. 2.

Writer recommends ‘feel good movie’

By Megan Ruge Asst. living and arts editor

Hello movie enthusiasts, and happy fall semester. I am so happy to be back in my routine of sharing great films with you. This semester, I am taking my movie column in a new direction.

I will be sharing movies that are easily accessible and much more affordable for the everyday college student, including new additions and originals on Netflix, movies from places like the campus theater in Lewisburg and dollar movies from Redbox.

The first movie I would like to share with you this semester is called “The Fundamentals of Caring.” This film is a Netflix original that was released this year and is rated TV-MA for crude humor and language.

“The Fundamentals of Caring” tells the story of a man running from his upcoming divorce, who accepts a job as the care staff for a sarcastic young man with muscular dystrophy.

Both dealing with something difficult, they embark on a cross-country journey and meet people who change their lives forever.

“The Fundamentals of Caring” is a feel good movie about changing your destiny and allowing yourself to be open to new opportunities. Wait, isn’t that the theme for something else in our lives? Oh that’s right, college.

This is the perfect movie to share with friends or loved ones to kick off the fall semester and to get you into the life-changing semester mood.

The film sports an all star cast. Paul Rudd plays a man with no direction, and Craig Roberts is a lost disabled boy.

The film shares many themes across the board. These themes include, “people change people,” “create your own destiny” and “accept responsibility for your [insert cliché here].”

The “people change people” theme of the story comes in parts. It begins when the caregiver meets his charge; the bond formed between them is one that will aid each of them in the healing process from wounds that they carry.

The message is shown each time a new character is introduced to the pair. It comes when a young woman joins them on their journey.

“People change people” is shown again when they meet yet another traveler, a pregnant woman with a story of her own. It is shown when they meet a father who wants nothing more than to right his wrongs.

The theme of “create your own destiny” is introduced throughout the movie when each character shares pieces of their story or makes a decision that might change the path they have been following completely.

An example of this is the choice made by the caregiver and the charge to embark on their journey. Another example is the choice of the man to become a caregiver in the first place.

Each of these decisions drives the plot to where it ultimately resolves in a win for the characters involved.

The “accept responsibility for your [insert cliché here]” theme introduces itself in many places throughout the film, but it is a main theme in the resolution of the film.

In the end, we see the various characters accepting responsibility for many things.

These things include responsibility for their actions, like the main characters owning up to his struggle with his past. This also means responsibility to the people around us, like a girl to her father and a man to his charge.

There are many things we see the characters take responsibility for as the film resolves that will make them better.

This film is 97 minutes of pure enjoyment; there is never a dull moment. Every moment of the film is filled with an emotion of some sort.

This movie is good for get togethers. Watch it this weekend with a friend who has had a hard week. Invite your squad to watch it together, or even just to gather old friends.

This movie is for everyone and will not disappoint

Whether you are experiencing fear, happiness, sadness or excitement, every moment of the film keeps you involved and cultivated.

The humor is very well thought out and the film’s resolve will leave you wanting more. I give this film a grand five out of five stars.

Writer reviews ‘hot’ summer music hits

By Sean Colvin Staff writer

In the age of the Internet, it seems like there’s a never-ending stream of new music to sift through. My aim with this section is to bring to you selections of music as it comes out, from hip-hop to rock to D.I.Y. and in between. I hope that my descriptions and associations might spark your interest, leading you to discover an artist. For this piece, I will highlight some albums released during the summer .

We Can All be Sorry is a three-piece rock outfit from Boston that combines a Sonic-Youth-like dissonance with the pop-sensibility of 90s era Weezer in a refreshing and original blend of quick and angular pop songs. Equal parts slacker rock, twee pop and grunge, their latest ep, “Weekend Sorry”—a likely pun—sounds a bit like veteran and fellow Bostonians Speedy Ortiz, with other discernable influences like Pavement, and even Dinosaur Jr. “Weekend Sorry” can be heard on the band’s Bandcamp page.

Chris Cohen, who broke out in 2012 with his debut folk-rock album “Overgrown Path,” has delivered a follow up four years later with this year’s “As If Apart.” In his sophomore album, Cohen seems to dive deeper into his psyche, exploring loss, fantasy and the surreal. His songs elicit images of serene places and thoughts that wander like paths through the thick Vermont woods to where Cohen retreated to record the album. “As If Apart” is rich with horns, piano, flanged guitars and catchy hooks that seem to fall out of verses unpredictably, like plastic toys from cereal boxes. Melancholy but uplifting, the album sounds like a hazy and bright first morning of autumn. You can find “As If Apart” online on Cohen’s Bandcamp page.

At first listen, the Avalanches “Wildflowersounds like a hip-hop album, but what sets the music of the Avalanches apart is that it is comprised primarily of samples taken from a diverse range of music from the last half of a century. The Australian duo broke out with their 2000 plunderphonics album “Since I Left You,” which still sounds fresh in 2016. With “Wildflower,” the Avalanches pushed further by collaborating with dozens of artists like Danny Brown, Biz Markie, Father John Misty, David Berman and Kevin Parker of Tame Impala. “Wildflower” features samples of hundreds of hip-hop, funk, disco, rock, pop, jazz, blues and world music artists along with field recordings and dialogue from films.

“Wildflower” taps into summer’s nostalgia with the upbeat “Because I’m Me,” which begins with street sounds and the tuning of a radio. The album starts hype-heavy, with in-your-face hip-hop beats and 70s funk bass lines, but it chills out as you move through its 21 tracks. Immersive and playful, “Wildflower” flows from one scene to the next like a dream. “Wildflower” is kids playing in a fire hydrant. It’s fireworks, it’s getting stuck in traffic on the way to the beach, it’s an instant classic. Play this record with company, or listen to it in your car with the windows down. Rarely does a record come along with such versatility as as “Wildflower.” “Wildflower” is truly an album of summer,so get it while it’s hot.

Guest artist uses music, video and poetry in multimedia concert

By Danielle Bettendorf Staff writer

Musician Mark Snyder presented a multimedia performance on loss and the passing of time in Stretansky Concert Hall on Sept. 6.

He was accompanied by fellow musicians Becky Brown and Paige Naylor on harp and vocals respectively.

Snyder performed six works, which featured the use of multiple instruments and devices. All of the pieces were composed by Snyder with the exception of one.

The performance was composed of music, video and poetry aspects. The recital included the usage of a harp, accordion, theremin, tuba, clarinet, guitar, singing, synthesizers and video.

“I think it was really mind-blowing,” first-year Hayden Stacki said. “I haven’t been exposed to a lot of electronic music, and seeing how his life had influenced his music and how his music had influenced his life was really something incredible.”

Patrick Long, professor of music, brought Snyder to campus.

“I know him from music festivals,” Long said. “I’ve performed in festivals where he’s also performed, and he hosts the festival at Mary Washington University. I got to know him that way, and I know that he is capable of showing up and doing a whole concert that has a lot of variety and interest.”

In Snyder’s multimedia performance, imagery played a supporting role to the music, which Long said is an inversion of what audiences are used to.

“Almost every movie we watch has music, but the music is subordinate to the image,” said Long.

Snyder’s performance was the first of the “21st Century Tuesdays” series, which will take place on the first Tuesday of every month.

“When I started this series, it was just going to be things on Tuesday nights, and it was going to be things that, for whatever reason, could not have been done before the 21st century,” Long said.

Long also emphasized the importance of new technology on the spread of multimedia performances.

“Most of the concerts [have] very freshly written new music, and it’s very often music that’s not even in traditional forms,” Long said. “It’s in new forms: live multimedia performance is very new, [because] people didn’t used to have computers fast enough to do live multimedia.”

“It’s a kind of music or performance that could really only happen now,” Long continued. “This is the world of experimental computer music and multimedia.”

Despite the emphasis on new technology, Long said the music presented is not the popular type that those in attendance may commonly hear in other areas.

“This kind of music generally occurs in classical concert halls like Stretansky. This is not music for clubs, it’s not music for the radio, it’s definitely music for the kind of concentrated listening that goes along with the classical concert hall,” said Long. “Usually when we think of the classical concert hall, we think of string quartets and piano pieces and acoustic things, but this is the attempt to bring the computer and video into that realm.”

Long also said the music presented will be different in style than what attendees may be used to.

“In almost every concert they will hear something that they’re unlikely to have ever heard before: something that is very, very new and something that is not pop,” said Long. “Pop music is great, but in that realm there’s so much money and style and coolness, and that’s fine, but this is the kind of music that doesn’t traffic in those things.”

Editor contemplates issues in education

By Justus Sturtevant Editor in chief

Last year I wrote an editorial for this publication in which I attempted to communicate an issue I had with the educational system in our society.

The central point of the piece was this: in the classroom setting we are not focused on learning for the sake of learning anymore; we have become so preoccupied with knowledge and success that learning itself has lost its wonder.

Let me clarify for a moment what I mean. Think about it this way: if I were to sit in the basement of Degenstein Campus Center and poll students as they walked by with the question, “Why are you at Susquehanna?” what do you predict the results would be?

Perhaps I am wrong, but over the past three years here I have gotten the impression—from both students and professors—that very few people are actually convinced we are here simply to learn.

It seems to me that we are here primarily for the degrees and the power they hold in our society.

Let’s go back to my hypothetical survey for a minute. Can anyone honestly tell me that if I were to ask you why you are here you could say with any conviction that you are here to learn?

Maybe there are a few people out there that could answer in such a way, and if you are one of them then please tell me how you reached that conclusion, because I certainly wish I could say the same.

It seems to me that a more realistic answer for many of us would involve grades, degrees and career implications.

Now, I’m not saying there is anything wrong with that—well, maybe I am—but whatever happened to the wonder of learning? I’m guessing ancient philosophers never looked up at the night sky and thought, “Man, if I just understood how that worked I could make some good money.”

Obviously I’m being quite hyperbolic here; ambition has always played a role in studies, and it’s not like we never get caught up in the joy of learning anymore.

Still, I think it is safe to say that, lately, our society has become more-and-more caught up in the benefits associated with knowledge and less-and-less with the actual acquisition of knowledge.

Let’s assume for a moment that my theory is true. How would this trend manifest itself in the classroom?

I think we can see this in a lot of different ways, but there is one in particular that I would like to focus on: pointed questions from professors.

While most people would agree that a professor who asks questions of his or her class is preferable to one who lectures uninterrupted for the entire class period, lately I have become more aware of the types of questions professors ask.

A question that is open ended forces the student to engage with the material and to apply their own experiences and ideas to the issue. That, to me, is evidence of real learning.

A question that has a defined answer, as many math problems do, can still create opportunities for learning if the student is given the chance to work through it.

Those are not the types of questions that bother me though.

What bothers me are the questions from professors that seem on the surface to be open-ended but are not actually so open-ended.

We’ve all been in conversations where we can tell the other person is not really listening to what we have to say, but instead is just waiting to share their next, predetermined, thought.

Most of us find this kind of behavior rude and condescending in everyday conversations. What makes it any more acceptable in the classroom?

I understand that professors are more knowledgeable in their field than any student they teach, but it seems to me that asking questions they will eventually answer themselves, regardless of what the student says, discourages any creative thought from the student.

To me, being taught with leading questions is like being blindfolded and led through a maze; sure, I’m going to get out of the maze, but I’ll have no idea how I got to the end, or if in fact there was another, possibly better, way out.

The editorials of The Quill reflect the views of individual members of the editorial board. They do not necessarily reflect the views of the entire editorial board or of the university. The content of the Forum page is the responsibility of the editor in chief and the Forum editor

Chaplain’s Corner

By the Rev. Scott M. Kershner, University Chaplain

The summer we have just been through has been full of more tragedies and sorrows than anyone cares to count. Many of us are part of identity groups who have found themselves targets of terrible crimes.

In addition, we are in the midst of an election season where polarization and a sense of enmity toward the opposing side are as high as they have ever been.

For a great many Americans, it’s not only that we disagree with the other side, but that we see them as dangerous, un-American, even evil.

Here is a little qualitative study any of us can undertake that will tell you just how far apart we are. If you have a candidate for a president you support, listen to the language the other side uses to describe your candidate. There’s a good chance you will find your candidate described in ways you hardly recognize, that sound to you crazy, paranoid and just plain wrong. The distance between your description of your candidate and the opposing side’s description of the same person is the distance of our estrangement from each other.

It doesn’t have to be this way, of course. There are lots of factors that have brought us to this place, but our work as people dedicated to learning and responsible citizenship is to find connections, seek understanding and affirm that despite any disagreements we may have with our fellow citizens, we are all in this together. The demonization of one side or another distorts this simple fact.

As we begin this year, in this highly charged political season, let us commit ourselves to building human connections across the divides. This, dear reader, is my charge and challenge to you:

Seek out people who disagree with you.

Talk about—gulp—politics.

Listen.

Make understanding your goal.

Look for places of common ground, however small.

Remember: despite our disagreements—they are many and not to be glossed over—what unites us is always bigger than what divides.

Remember: we are each other’s keeper. We are all in this together

Chaplain’s Corner reflects the views of an individual member of the religious field. They do not necessarily reflect the views of the entire university. The content of the Forum page is the responsibility of the editor in chief and the Forum editor

Writer thinks back to high school paper

By Jess Mitchell Managing editor of content

I once wrote an article for my high school newspaper about our marching band, and I think the story backfired.

The article itself was an informational piece about our marching band, what they did and the work and hours they put into performing. I wrote at the end of the piece that people should not just watch the football players but also the band. I titled the article “Who Let the Football Team Onto Our Field?” or something like that, based off a comic I read. I thought it would be a funny way to start. After all, how many people read our high school newspaper?

A few days later, my friend in the marching band told me he was approached by some of our high school football players. They demanded to know who this Jess Mitchell was, but my friend didn’t tell them. After that, I was told that our teacher-adviser for the newspaper received angry emails from people in the community. Then she was called into the principal’s office.

Frankly, that was the most attention our high school newspaper ever received. The article itself wasn’t anything special. The piece was amateur. If I had to do it over again, I would have changed the title to something else.

What was amazing was the feedback it received. Past the article’s humorous title, there was nothing in the piece that suggested the football team was worthless or inferior to the marching band. But the reactions said differently.

The angry emails, the angry football players, the frustrations our teacher-adviser had to wade through, all came from our community. A community that supported so many aspects of our high school. But when something came along that differed from their point of view, they bit back. I know my town has a history of intolerance, but to watch people blow up after something so small was an awakening to me.

After the issue died down, I wondered how many people actually read the article, or if most of them had stopped after the title. I wondered how many people even picked up the paper or had just jumped to conclusions after hearing something second-hand.

The point of journalism isn’t to make people angry, and it isn’t to please others, either. It is to reveal truth. If that truth sparks reactions in readers, I think that’s when it becomes interesting. In writing, in performance, in teaching, in speech, when we reveal truth or a new way to look at something, the reaction to what we present is just as important as the material itself.

As I head into my senior year, I look back on my experiences with writing for newspapers. I’m excited to write for one more year for The Quill and find the truth on campus.

But maybe I should stay away from writing about marching bands.

The editorials of The Quill reflect the views of individual members of the editorial board. They do not necessarily reflect the views of the entire editorial board or of the university. The content of the Forum page is the responsibility of the editor in chief and the Forum editor