Speakers to perform stories about ‘body issues’

By Danielle Bettendorf Staff writer

A storytelling event titled “Skin I’m In: Stories About the Body” will take place at Isaacs Auditorium on Sept. 20 at 8 p.m.

The event is based off the “Stories on Tap” series, which originated in Lewisburg with Director Julie Louisa Hagenbuch.

“‘Stories on Tap’ held its first event just over five years ago in Lewisburg,” Hagenbuch said. “[It began] with the idea that even small communities can benefit from gathering together and sharing our stories of struggle and surprise, of love and perseverance.”

“‘Stories on Tap’ is open to anyone who wants a space to perform and tell a story,” Hagenbuch added. “We try to keep it light and fun, usually taking place at drop-in venues like bars and cafes so people can come and go.”

Karol Weaver, professor of history, said, “It brings together storytellers around a specific theme, so I partnered with [Hagenbuch] to bring ‘Stories on Tap’ to Susquehanna.”

According to Weaver, a maximum of ten speakers will each present a five-minute-long story without prepared materials.

There will be a moderator for the event, and one storyteller will be awarded first place for the best story. There will be musical intermissions between stories.

“The musicians also serve as time keepers for our storytellers,” Hagenbuch added. “They play a few notes when each storyteller hits the four-minute mark, and then another set of notes to play the storyteller off the stage at the five-minute mark.”

Weaver said that the theme of “skin I’m in” and body issues relates to the medical humanities, and women’s studies.

“Medical humanities is a program that looks at how humanities disciplines can inform ideas about the body, or ideas about medicine and health,” she said.

It’s also tied to women’s studies because of the importance of body issues in relation to women’s issues, but also issues related to gender,” Weaver added.

“The parameters of ‘Stories on Tap’ both allows people a venue to tell their own stories related to the body and to issues of health,” Weaver said. “It could be autobiographical, but it also could be stories someone has told them, or fictional.”

“It provides an opportunity for storytelling [for] that specific art form,” Weaver continued. “It relates to events we’ve already done where people tell their stories tied to the body, like theatrical productions that students run like ‘The Vagina Monologues’ or ‘The Good Body.’”

Weaver expects Susquehanna students, faculty and staff to attend, but also hopes the event will attract members of the community as well.

According to Weaver, the purpose of the event is to “really draw together a university community with the larger public community and hopefully to bring together storytellers on campus in contact with storytellers in the community.”

“There are regulars that attend these events and that present at them, so [the purpose is] to bring those regulars in contact with other storytellers and other people who are interested in this topic,” Weaver added.

Hagenbuch said “Stories on Tap” filled a similar purpose.

“The goal of ‘Stories on Tap’ is to draw people together,” Hagenbuch said.

“With the intense political polarization we’re experiencing in the United States, it feels especially important to build bridges to each other and show how common our experiences, desires and emotions are,” Hagenbuch said.

“The world is becoming a more democratic and less violent place, but we still have major work to do, and there are very real battles that will be much more easily worked through if we are able to share our stories, respect each other’s experiences and stand up together,” Hagenbuch added.

Alumni bring Susquehanna objects to ‘history harvest’

By Parker Thomas Staff writer

As part of the 2016 homecoming weekend, Susquehanna hosted its first “history harvest” in Blough-Weis Library on Sept. 10.

Initially started by the University of Nebraska, a history harvest is an event in which the history of a particular topic is gathered in the forms of physical objects and oral reports from the people that lived and experienced it.

In this case, Susquehanna librarians and students collected history of the campus, particularly artifacts surrounding the Crusader nickname in recognition of the changes that the university has been undergoing since last year, including the transition to the River Hawk nickname.

Alumni were invited to bring in Susquehanna affiliated and non-Susquehanna affiliated items that they treasured during their years here on campus. Items brought to the event were scanned or photographed, depending on if they were three-dimensional or not, and then returned to the owner. The photographs and scans are to be later added to the library’s digital archives, while items that were permanently donated to the library will be stored in the archives of the Blough- Weis Library.

As part of the process, students also interviewed participants and asked them to describe the history and the importance of the items they brought.

The student volunteers handled most of the operations of the history harvest, including the scanning and photographing of items.

The concept of holding a history harvest this September originally came to Rob Sieczkewicz, an instruction and digital scholarship librarian and head of the archives, during a conference last year where he observed people from the University of Nebraska presenting a lecture on their history harvest. Intrigued by the idea, Sieczkewicz told Ryan Ake, the outlook and collection development librarian, about the presentation. Ake liked the concept and, with the recent mascot name change from the Crusaders to the River Hawks, thought that this year would be a great time to institute the idea.

“We thought that with the major changes that have been happening with the university, particularly with the name and the mascot, this was a really good opportunity to do a harvest, specifically on the Crusader and the university history and how we evolved through time since we were the Missionary Institute,” Ake said. “Hopefully it’s an opportunity for the folks that were not particularly in favor of the change to showcase why the university is so important to them, why their time here was so important and why they might disagree with the change.”

A lot went into preparation for the event. “We coordinated with Alumni Relations and University Relations to help promote this event,” Ake said. “The bulk of work was in promotion, letting people know about the event and know what they could bring and then also coordinating the students’ schedules because they are such a prominent part of this process,” he added.

Among the items brought to the event were on campus photographs from people when they attended the university and athletic uniforms, which included a baseball uniform from the 1970s, a wrestling jacket, letterman football jackets and a cheerleader uniform.

Additional items included old cups from the university’s bookstore, Susquehanna ties, a glass mug given to a student after completing his biology capstone, shirts and hats from the university’s radio station, perspective notebooks for first-year students and a Build-a-Bear like Crusader Tiger from the mid-2000s.

Rarer items included a woman’s personal letter dating back to the mid-1960s from the president of the campus thanking her for her role in keeping the peace at a football game, where a particular incident occurred between a football player and his coach.

One man brought in his diploma from 1966, which was written on sheep skin and fully in Latin. On the back of his diploma was a translation written down by his Latin professor. Another item brought in was a program from when The Doors played at Susquehanna in 1967.

Some impressive materials where brought in by local history collector and alumni, Charles Fasold. Fasold’s father, two of his aunts, his grandmother and great-grandfather all attended Susquehanna. His grandmother’s uncle, John App, donated his farm land for Susquehanna to build on.

Fasold brought in some of the oldest items, which included broadsides advertising for football games. One was from 1919 for a game against Mt. Carmel. The other was from 1918 for a game between the Susquehanna Student Army Training Core, who went on to help within the medical fields in World War I, against Lebanon Valley. He also brought a poster from 1920 advertising a play put on by the all-men Student Varsity S Club called “Hello Cootie,” which featured a live jazz orchestra.

Fasold also brought in a picture of his grandmother along with some of her classmates holding their diplomas in 1893 when the university was still a missionary school. He also had with him her diploma for Latin Science, which was well preserved because it had remained unrolled until Fasold got a hold of it and framed it. Even older than that was an invite for a picnic on May 27, 1882 that Fashold acquired. The invite was for a picnic on Blue Hill, for which the students were transported up river by boat.

In the near future all of these items will be on display digitally with old video footage of the campus on a website that Sieczkewicz is creating with help from some the students that helped at the history harvest.

Other objects will be displayed according to topic every month in the library’s display case.

Both Sieczkewicz and Ake said they are hoping to continue with history harvests in the future, with one already planned for next month based on the community of Selinsgrove and Snyder county.

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.”