Chloe Feinberg ('96) with her children Ava, Charlie and Oliver eating the frozen treat. Credit Tim Lienhart
It was hard to miss the line around the frozen yogurt machines when walking into Dewick last Monday and Tuesday. Herds of people gathered to sample Dewick’s new frozen dessert feature, Chloe’s Soft Serve Fruit. People were even heard in class commenting to each other on how long they waited on line to try this stuff. But what was it? A unique concoction of fruity deliciousness coming out of a frozen yogurt machine that looked like frozen yogurt, but it wasn’t.
Trigger Warning: this post discusses sexual assault and rape.
ASAP posted testimonials inside the Campus Center.
In the face of national incidents such as the Stuebenville rape cases, the Tufts community has come together to speak out against the rape culture on college campuses across the country.
Students may have seen the testimonials of sexual assault survivors in the Mayer Campus Center, and others may have heard the so called “consent vigilantes” outside the buses before they departed for Winter Bash.
Some of the leading voices in this educational and activist movement have been members of Tufts Action for Sexual Assault Prevention (ASAP) and the Consent Culture Network.
“We’re really trying to be a pressence for consent, promote awareness of it, and promote awareness of the resources on campus,” said freshman Bruce Bausk, a member of ASAP, told the Daily.
After their last nights dancing on the Cohen Auditorium stage, the seniors Spirit of Color (SoC) dance group were emotional and nostalgic. Take a look at their ’senior dance’ one last time and hear about their favorite moments dancing over the last four years:
This is the ninth installment of Madeline Hall’s column “Weird Love” which discusses the many oddities of affection as they appear in the year after the world didn’t end.
The first time I fell in love with someone was also the first instance that I lost love. I was just shy of 12, and I had fallen in love with a gap-toothed kid with a bowl cut, an aesthetic combination that I hope he grew into or out of. If anything at all was true in the world, it was that I loved him. This knowledge existed in tandem with the understanding that no one else would understand, though. I knew that. I knew that no one could take this blistering feeling seriously, despite its very real burn.
But I didn’t have physical proof that I loved him until my heart broke into perfect halves the day he moved away. It wasn’t until that moment that I understood the extent of my devotion, young as it was. So goes the story of the day I learned that absence made my heart grow fonder – February 27th, to this day, conjures faint shadows of the lamentation I entertained all those years ago.
Spring Fling in 1990 featured The Band and Barrence Whitfield and the Savages. According to the original Daily article by Janine Billy, The Band’s music was “cool and soothing, but warm and soulful.” Photo by Karl Schatz (LA ’92)
What’s wrong with the American theatre is producers asserting their creative “license” over directors. Or at least that’s what Derek Wills, the director of the fictional musical, Bombshell, yells as he quits the production on NBC’s “Smash.” “Smash (2012-),” the NBC musical drama follows Bombshell, a musical making its journey to the Big White Way.
In its second season, the series has featured an “edgy” list of underground musical theater composers that includes Benj Pasek and Justin Paul (Pasek and Paul) of Edges fame, Joe Iconis, and Drew Gaspirini. To justify incorporating this new musical sound, “Smash” conjured two cutting-edge composer characters into the storyline who are working on a musical ironically titled Hit List.