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Letter to the editor: Anti-Semitic comments on Facebook

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In a Feb. 28, 2012 discussion on the official Facebook page of the UC Davis chapter of the Students for Justice in Palestine (SJP), members directed anti-Semitic slurs at me.

One member referred to me as “shitstein.” Clearly the use of “stein,” since it has nothing to do with my name, is a direct reference to Jews.  This epithet, which was “liked” by several members, followed an exchange where members discussed efforts to identify me and then ridiculed my name. One member commented, “his last name is Siegel. WHO WOULDA THOUGHT.” To which someone responded, “what kinda last names did you think i (sic) was looking for lol.” Another went on to comment that “they,” in apparent reference to Jews, “all look WAY too similar.” One person referred to me as an enemy, “spewing his crap.”

I consider this threatening behavior. Since SJP members appeared to have a number of questions about my identity and academic rank, on March 20, I sent an e-mail offering to meet with SJP. So far, they have not replied.

The Facebook discussion followed a Feb. 27 presentation at UC Davis by two young Israelis meant to convey some of the realities of living in Israel. That event was disrupted by several UC Davis students who attended the lectures and heckled the presenters. Particularly notable were comments made by one student who accused the speakers of turning “Palestine into a land of prostitutes,” and called the presenters “rapists and child molesters.” I quietly attempted (my actions are well documented on YouTube) to get this student to stop his disruption of the meeting. Several members of the audience appealed to the UC Davis police. All to no avail.

On March 8, 2012, University of California President Mark Yudof issued a strongly worded letter to the UC community condemning the disruptions during the event and calling the comments reprehensible.

Unfortunately, these kinds of anti-Semitic slurs are all too common on college and university campuses and, clearly, UC Davis is no exception. What appears to be challenging is to motivate UC Davis administrators to take strong action and do what they are supposed to do (maintain academic integrity) in the spirit of President Yudof’s comments.

I wrote an e-mail to UC Davis Provost Ralph J. Hexter, asking the university to take action against SJP for their hate speech directed at me, which I believe has no place on the official Facebook site of a UC Davis-sanctioned student organization. Provost Hexter referred my complaint to Courtney M. Robinson, Asst. Director for Policy and Conduct at UC Davis. She e-mailed me in response.

“(I) have thoroughly reviewed it in the context of the UC Standards of Conduct for Students. While the comments posted on the Facebook page are understandably offensive, the actions of the students that posted them do not violate any of the standards. Additionally, such speech is protected under the First Amendment, and although the comments are not consistent with the campus’ Principles of Community, those principles do not constitute a policy,” she wrote.

I am deeply troubled by these findings. If they do not violate UC Standards of Conduct for Students, then there is a serious problem. UC Davis administrators should not shrink from their responsibilities. When faculty are the target of racist and threatening behavior from students, university administrators should not hide behind misguided notions of “First Amendment” rights. If analogous comments had been made about any other minority or LGBT individuals, Ms. Robinson’s findings certainly would have been different. It appears that Ms. Robinson and the UC Davis administration do not take hate speech and threats seriously when directed against Jews. An intolerable precedent has been set.

David Siegel MD, MPH, FACP, FAHA
Chief of Medicine
VA Northern California Health Care System
Professor and Vice Chair
Department of Medicine
UC Davis School of Medicine

Column: Foreign freak-out

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When I landed in Sacramento Airport seven months ago at the beginning of my exchange year at UC Davis, I was all confused. I didn’t lose my luggage on the trip halfway across the world, I wasn’t interrogated when entering the U.S., my flights weren’t delayed and I even managed to let my parents know about my safe arrival (although I had to borrow a phone from a very nice Canadian person as mine didn’t work). I was confused because I wasn’t freaking out. Not enough, that is.

If you are friends on Facebook with a foreign exchange student, the endless location updates from different places in California and the constant stream of pictures from house parties, football games and picnics on the Quad might make you think that we do nothing else but travel, party and sunbathe. Obviously, this is only the tip of the iceberg as there is so much more to studying abroad: It’s about meeting new people, being immersed in a different culture and experiencing a new learning system. For many, it’s also the first time living on their own.

It doesn’t sound that much different from a normal college experience, though. So what is so special about being a foreign exchange student in America? After all, thousands from all over the world choose to come for a year abroad nowhere else but here, the U.S. While as students we might be very similar, our time here is nothing but normal. Try squeezing four years of the (American?) college experience into one extraordinary year — or one quarter! No wonder that there are plenty of reasons for freaking out.

In addition to homesickness (the 10-hour time difference does not help either), we are freaked out by the sheer amount of work we need to do for our classes, by TAs giving unnecessary Cs, which will mess up everything back home, by planning weeks-long trips across California without a car and by the prices of textbooks and study materials. But most of all we’re freaked out by the thought of going back home and leaving everything and everyone (in America? Davis? California?) behind.

I’ve experienced this twice already. I am from Lithuania, but I chose to go to university in the UK as I found the quality of higher education at home insufficient. So for two years before coming to Davis I’ve been studying ecology at the University of Edinburgh. This makes my experience here both more exciting and challenging. Davis has a much better climate and the feel of a small town, which is new to me, but at the same time I am not only homesick but also Edinburgh-sick!

It’s not all doom and gloom, though. I could not be happier that EAP, the UC-wide Education Abroad Program, placed me in Davis even though it was once my second choice. Studying on campus in California has been just as amazing as I imagined it would be when watching the now-cancelled TV show “Numb3rs” and marveling at shots filmed on location at CalTech. A rather embarrassing reason for coming to California, but completely true!

During my seven months here I’ve traveled across beautiful California and taken a 20-hour train ride to Seattle to see the different landscapes of this vast country. I celebrated my 21st birthday, went to countless house parties, had s’mores, celebrated Thanksgiving and have been a proud Aggie — all while being a straight-A student.

Something that will stand out from this freakishly fast-paced year, however, is the friendships that I’ve made. Going to Burgers & Brew with fellow exchange students, ordering real cheeseburgers and sitting there for hours chatting, laughing, and listening to them speak in English in all these different and funny accents and then taking another hour to split the bill and calculate the appropriate tip — it’s a memory that for me will perfectly blend the international and American experiences.

Being on exchange is some sort of rite of passage: You get to do things you might have never done before and it is a scary but also very exciting and all-encompassing experience. I still have three months left to truly make it a once-in-a-lifetime experience. And I don’t mind some more freaking out along the way.

To discuss international living in Davis in more detail you can reach KRISTINA SIMONAITYTE at ksimonaityte@ucdavis.edu.

Column: Hunger Games

Okay, so can we all acknowledge the pure beauty of the Hunger Games music? Yes, I know all of you have probably willingly dragged yourselves to your local theatre to witness the “movie of the year” (don’t they call every action-packed popular book-turned movie that?), so you should be able to follow along quite nicely with my spiel.

With any high-profiting movie these days, Hollywood knows to put out multiple records. Hire a well-known and talented composer for the movie and build up the hype by adding a whole other list of songs written by famous chart-topping artists. Hey, it’s a formula that works both for me and for the record companies.

Let us delve first into the movie score itself. Composed by James Newton Howard. I have to confess my love for his work — I mean, my GOD. His beautiful creations for Peter Pan, The Dark Knight, I Am Legend and Blood Diamond already give him the credentials to last a lifetime. I’m not going to lie and say that I didn’t download the entire Peter Pan soundtrack when it came out in 2003 and that the songs don’t still remain in the Top 25 Most Played on my iTunes. I’m not going to lie because there’s no shame in appreciating the magic behind the emotions in a story.

Yes, many critics have complained that James Newton Howard didn’t create enough of a memorable soundtrack with a single song that distinguishes this movie from the rest. They just haven’t really realized that no movie will be able to do that after Harry Potter … and it hasn’t hit them that the Hunger Games series, sadly, won’t reach the literary greatness of the Twilight series.

Please tell me you understand that I’m joking with that last statement. I’m a die-hard Harry Potter fan for life — I just understand and have come to terms with the fact that other book series need to emerge and make their way onto the big screen. So naturally, I’ll check out the movie scores to add any emotional songs to my collection.

But let’s now venture into the more popular and mainstream music that we’re all aware of: the soundtrack of the credits and the songs that represent different scenes of the movie. Titled “The Hunger Games (Songs from District 12 and Beyond),” this album contains some of the most beautiful songs I’ve heard this year. With a folksy, country and indie vibe to them, the songs transport you back to the heart-wrenching scenes that you couldn’t take your eyes away from.

Boasting artists such as Taylor Swift, Maroon 5, Birdy, Arcade Fire and The Civil Wars, the album already sounded promising. But as soon as you reluctantly pressed play on the Taylor Swift collaboration with The Civil Wars, your jaw probably dropped. My friends who refuse to enjoy her music were surprised at the eerie sounds coming from headphones I had stuck in their ears. The music video itself is so different than her normal get-up of teenage angst, and I think it was a great choice that Swift’s team made to get her involved with something that would not only challenge her style but allow her to branch out to The Civil War’s fanbase.

If you haven’t heard of Birdy’s cover of Bon Iver’s “Skinny Love” then I don’t know who you are. Seriously, it’s a beautiful cover that I would contest is better than the original. She performs the song “Just a Game” on this soundtrack — I can’t be the only one when I say that I was super excited to see more work from this up-and-coming young girl.

I was disappointed that these songs weren’t actually incorporated into the actual movie, and I have no doubt that they would improve (if possible) this awesome movie. But I’m totally satisfied with listening to both soundtracks on repeat when I can’t afford to go see the movie every weekend. Every emotion and story line is displayed perfectly with every song on both records that all I need to do is close my eyes and pretend that I too am being fought for by Liam Hemsworth and Josh Hutcherson.

You know you want to torrent both of these records now. ELIZABETH ORPINA can be contacted at arts@theaggie.org.

Column: Real world hunger games

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The blockbuster film The Hunger Games, based on the novel by Suzanne Collins, depicts a post-apocalyptic country in which 24 teenagers are chosen by lottery each year and forced to participate in nationally televised blood sports. Everyone must submit their name to the drawing once, but the most destitute can put their name in multiple times in exchange for additional food. As a result, in Panem, the poorest citizens are also those most likely to fight and die in gladiatorial combat.

Despite all its science fiction trappings, I would argue that The Hunger Games is not a cautionary tale: it’s an allegory. We already live in a world in which the risk of injury and premature death is distributed unequally.

As Ulrich Beck has demonstrated, our probability of suffering misfortune is closely tied to our socioeconomic positions. While no one is totally safe, the most affluent are able to rely on risk management strategies like health insurance or preventative care while the working class and the poor have become increasingly exposed to risks.

We can see this quite clearly through statistical measurements like mortality rates. On a global scale, the differences in life expectancy between the richest and poorest countries are shocking. The average American will live a quarter of a century longer than the average citizen of a country in sub-Saharan Africa.

Part of this discrepancy can be attributed to world hunger. Though we currently produce more than enough food calories to feed the world, 925 million are undernourished, with the vast majority in developing countries. As in Collins’ dystopian future, food is rationed unequally between geographic regions.

But even in America, class plays a significant role in mortality, determining things like access to health care, nutritious food, reliable protection from violence and a safe working environment. According to the Congressional Budget Office, the average white male born into the highest socioeconomic category in 2000 will live 4.5 years longer than one born into the lowest. Life expectancies are even worse for African American men who, on average, die six years younger than their white counterparts.

When we get into the details, though, the chasm between rich and poor becomes even wider. One Gallup poll discovered that those with the lowest income level were more than four more times more likely to report significant health problems than those at the top.

Meanwhile, one in seven households in the bread basket of the world is unable to afford enough food for a healthy diet.

If some totalitarian government decided to withhold adequate food rations from one-seventh of the population, many would sure rise up, but when the markets decide so, it’s business as usual.

Moreover, there’s something about the nature of risk that makes it difficult to appreciate and grasp. Most people seem willing to accept that those who earn the least are much more likely to die because it seems like pure randomness, individual failings or the work of some invisible, unknowable fate.

But the genius of The Hunger Games is that it takes abstract statistics and renders them concrete. Dramatizing bloodless numbers, The Hunger Games turns statistical risks into deadly games of chance, giving them greater emotional and moral force.

Nevertheless, many are willing to tolerate massive inequalities in risk distribution because, like the citizens of Panem, they still believe the poorest still have a chance to win. Rather than face these realities, they fantasize about winning the Mega Millions jackpot or climbing up the income ladder. These daydreams play out on shows like “America’s Next Top Model,” which suggest that if you work hard and have ambition, you’ll make it.

But the numbers reported by the Pew Economic Mobility Project reveal the American Dream to be more of a delusion: Class mobility is considerably lower in the U.S. than in most other developed countries. A mere 6 percent of those whose families were in the bottom fifth income category will make their way to the top fifth. Statistically speaking, your parents’ socioeconomic status is a far greater determinant of financial success than the amount of work you do.

The Hunger Games travesties these false hopes, revealing them to be part of the system that maintains wealth and power inequality. As the dictatorial President Snow suggests, far more than fear, it is the insignificant chance of beating the odds that keeps so many in the exploited class cowed. Sure, the impoverished live miserably and die young, we are told, but you can’t win if you don’t play the game.

JORDAN S. CARROLL is still reading the second book in the trilogy, so no spoilers. He can be reached at jscarroll@ucdavis.edu.

Editorial: Potential for flaw

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The University of California’s plan to ask students their sexual orientations on their Student Intent to Register (SIR) forms is still in the works. The intention of the proposal is to collect data on the number of lesbian, gay, bisexual and transgender (LGBT) students at UC and to inform campus climate assessments.

Having this information is projected to allow the University to provide students with resources to make them more comfortable on campus.

Unfortunately, the main issue with this proposal is that since the survey is optional, there probably would not be accurate data. With potential inaccuracy, these statistics may not be entirely helpful in providing resources if not all students participated.

Unlike demographic studies asking about what ethnicity one most identifies with, sexual orientation is less concrete and is much more complexly defined. The question remains: How many options would be on the survey? Is it open to adjustment for students at later times?

If the school proceeds with the measure, it should offer more than just heterosexual and LGBT sections. Potential categories could also include queer, questioning, intersex, asexual and ally. Still, it may even be difficult for some freshmen to pinpoint what sexual orientation they identify with precisely. The plethora of options alone show one possible issue with asking students to self-define their sexuality.

Creators of the study acknowledged that including the survey as part of the admissions application could be awkward for some students working with their parents on application. Whereas in the SIR forms, students spend less time working with their parents. Officials said that they would revisit the issue of including this on the application in a couple of years. We encourage the UC not to do so, as they are correct that for some students it is uncomfortable to talk to their parents about sexual orientation. Sexual orientation should not play a part in admissions.

The purpose of the proposal seems noble, but the application of the survey lacks in practicality.

Technocultural Studies professor documents America

History and context are important to Jesse Drew. The director of technocultural studies here at UC Davis currently has a gallery of photos at SF Camerawork.

The photos are part of a series titled Winter in America, named after the Gil Scott-Heron album and song. At the age of 17, Drew moved throughout the United States starting in the winter of 1974 and on into 1975, making his way from protest to protest, taking photos of active participants during these demonstrations. He made his way from the East Coast to the Midwest, finally moving to California.

During this time, a young Drew witnessed the aftermath and response to the Attica Prison Riots while in Buffalo, NY. He was among thousands of working-class protesters angry over unemployment in Washington, D.C. In South Boston, he saw both anti-racism and racist demonstrators fighting over the last major segregated school district. He took photos of César Chávez talking to Latino farmworkers.

Drew describes 1974 through 1975 as “a time of great crisis in the U.S., with a strong recession, an energy crisis, a failed war and, increasingly, levels of poverty and uncertainty.”

The Winter in America gallery of photos draws numerous comparisons and parallels to political demonstrations today. While we can see and feel the uncertainty of the current economic climate, Drew was more interested in portraying the type of people who were at the demonstrations during this time.

Winter in America personifies the period of time after the 1960s,” Drew said. “After this revolutionary high and then in the 1970s, we fell into a depressed era. The U.S. lost its supremacy in the world, the nation was wracked by unemployment, there was oil and gas shortage, urban decay and the defeat in Vietnam. To be a protester during this time, you had to be a more committed person. It was a much more dangerous time.

“I was interested in the kind of people who would come out to events like that, to put their lives on the line,” Drew said. “There was this ethos of winter soldiers — these were people who were really committed to fighting for social justice even when it wasn’t popular. Through the ‘70s it wasn’t popular; I was interested in who was left here. If you look at the faces in the crowd, they’re not the well-scrubbed college student types; they were grittier people, people who were left behind.”

Drew describes the protests of the time as the people without anywhere to go. They included ex-prisoners, African Americans, individuals of developing nations, Native Americans, working-class whites, Vietnam veterans, runaways and fugitives. These were the Winter Soldiers of 1974 and 1975.

At the time, Drew lived as a vagabond, traveling and hitchhiking his way across America. He shot the photos using a hand-me-down Tri-X black-and-white camera, giving the photos a graininess, grittiness and character that poignantly evokes the mood of the time. One question that was brought up is how he was able to travel the country with little money.

“There was a lot less suspicion. People valued more personal experiences with others,” Drew said. “It was easier to meet people then. I traveled and stayed with a lot of these people. Back then, because of the communal network, it was much easier; it gave me an in to a lot of places. I had a notebook and people would tell me their friends’ names, organization and political collectives; I would call someone and ask if I could crash at their place and always I could.”

Besides the interesting faces, what Drew hopes most students take away from Winter in America and his recovered photos is the importance of history and the lessons it brings.

“I want to show students that these political struggles and movements were happening in the not-too-distant past. I want students to realize that it’s going to be a long haul; it takes time to change things,” Drew said. “Like the people of the time, it’s important for us to maintain humor and humanity through it all.”

The Winter in America photo gallery will be on display at SF Cameraworks in San Francisco until April 21. Drew has a home page at jessedrew.com detailing all his current and upcoming work.

RUDY SANCHEZ can be reached at arts@theaggie.org.

Arts Week

MUSIC
Ok Vancouver Ok, Hawk Jones & Magic Bullets
Saturday, April 7 at 8 p.m. and Sunday, April 8 at 11 p.m., free
Robot Rocket Rez, 633 M St.
These three groups are set to perform music that encompasses blues, folk, punk and rock music. Donations are encouraged and all ages are welcome.

DANCE
Jess Meets Angus
Tonight and tomorrow, 8 p.m., free
Wright Hall, Lab A
Part of the Just Between Us — The Generation Project, this show encompasses the work of UC Davis Ph.D. candidate Jess Curtis and Scottish performer Angus Balbernie. The show focuses on being men “of a certain age” through theatrical dance and dialogue.

THEATRE/MONDAVI
Davis Shakespeare Ensemble Presents: Relapse
Today and Saturday, April 7, 12 and 14 at 8 p.m.; Sunday, April 8 and 15 at 7 p.m.
John Natsoulas Gallery, 521 First St.
Friday, April 13 at 8 p.m.
Rominger West Winery, 4602 Second St.
$15/$12/$10
In a retelling of the Orpheus myth with Shakespeare’s Sonnets, Relapse emerges as a devised work by Gia Battista. The journey takes the audience to the Underworld through music, movement and sonnets.

Focus on Opera Film Series: The Elixir of Love
Monday, April 9, 7 p.m.
Vanderhoef Studio Theatre, Mondavi Center
$20/$10 (student)
During this specific Focus On Opera high-definition screening session, The Elixir of Love will be shown. Sung in Italian with English subtitles, the event includes a behind-the-scenes interview at intermission. Running 158 minutes, this comedy by Donizetti celebrates innocence in a small Italian-American community in the Napa Valley in 1915.

Sherman Alexie: The Partially True Story of the True Diary of a Part-Time Indian
Wednesday, April 11, 8 p.m.
Jackson Hall, Mondavi Center
$40/$20 (student)
Named one of The New Yorker’s 20 top writers for the 21st century, author, poet and screenwriter Sherman Alexie takes part in UC Davis’ Campus Community Book Project. The New York Times Book Review called him “one of the major lyric voices of our time.” He wrote and produced the film Smoke Signals based on his book, The Lone Ranger and Tonto Fistfight in Heaven. His first novel, Reservation Blues, won Booklist’s Editor’s Choice Award for Fiction, while The Toughest Indian in the World won the 2001 PEN/Malamud Award that honors excellence in the art of storytelling.

POETRY
Poetry Night Reading Series: Scot Siegel & Laurie Glover
Tonight at 8 p.m., free
John Natsoulas Gallery, 521 First Street
Professor Laurie Glover and poet Scot Siegel take part in the twice-monthly poetry event every month. Dr. Glover’s work has appeared in journals such as Feast, Nimrod, Terrain and Women’s Studies. Currently, she is completing her first full-length collection of her poetry, Three Worlds. Her most recent book, California (On the Road Histories) was published in 2011. Poet Siegel’s second full-length poetry collection, Thousands Flee California Wildflowers, was released in 2012. He was awarded a fellowship-residency from Playa in 2012 and has received awards and commendations from Aesthetica Magazine, Nimrod International and the Oregon Poetry Association.

Column: TV on the internet

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Should we watch another? I find myself asking this question often. Like many, I watch TV shows online. It seems obvious. All the shows I always felt out of the loop of are at my wireless fingertips, for either free or semi-free access. This may very well be the definition of the “on-demand” generation.

But while I love not having to wait a week to see Stringer Bell’s next move or if Carrie B. will actually dump Big, I often wonder whether watching these shows in marathon form is taking away from the meaning. That is, do we as an audience need that week to mull over and fully understand last episode’s events? How important is distance when it comes to television?

In regular conversation I and many others talk about these high-end HBO, SHOWTIME, AMC, etc. dramas with language that was previously saved for books. This is a result of higher-quality television, a smarter audience base and the internet’s propensity to analyze, overanalyze and .giffify. Even in premium escapist anti-reality shows such as “Game of Thrones” or “True Blood,” common discourse is centered around character development, motives and real-world motifs.  If we put extra meaning and significance on something like Walter White’s calculated rage, there are higher stakes when it comes to how we viewers consume such content.

I’ve watched “Mad Men” both ways. First, when it originally aired I watched it every week as each episode came out. The anticipation was both rewarding and annoying, yet I felt a connection with the characters that slipped to some extent when watching at will at my own fast pace.

With the slow way, the episodes did not mesh together the way they often can, and I learned to appreciate every scene equally, not losing focus during those that did not contribute to the advancement of the plot.  Most importantly I found myself with a real stake in the lives of the characters.

This is the part where you disagree and argue that “Mad Men” is good enough to still bring this feeling to all its viewers, nevermind the rate at which you watch. While true, the added distance allowed each episode to sink in. That week, I talked about the episode, focusing on one of Pete Campbell’s grievances instead of making sweeping statements about the character as he relates to the series as a whole. This ability to separate each episode into what it is — an episode — provided a view that was overlooked when cranking out an entire season during spring break.

“Dexter” is a show that I watched in all-at-once marathon form, once during a winter break, and once during a procrastination binge in the infamous Winter of ‘09. I found the show to be absolutely terrible mostly for the acting, but also because I gave under one fuck about any of the characters. Somehow the show made a psychopathic vigilante murderer with dream visions of his father boring, and also featured his sister Deb, the most unrealistic character in television history (with all due respect to Hank Moody — nothing but love, bro).

Trusted friends, however, loved the show because they watched the episodes as they originally aired, spacing a week in between their relationships with the characters and the plot. This time interval allowed them to focus less on the glaring character flaws that ruined the show for me, and more on the overall plot development and story arc of each season. In this instance, my close proximity to the show for sporadic periods of time made me hyperaware of such brooding characters instead of the plot, the most compelling part of the show.

Of course, our busy lives make it hard to adhere to a television schedule, and with thousands of legal and extralegal sites, it’s almost silly to think about not being able to watch any episode at any given time. Many of the “best-watched” people I know don’t even own a television.

Although the medium is becoming more and more suited for your computer, it still airs in its original form on the TV once a week, and this is the way the writers and directors originally meant for their art to be consumed.

Who knows, maybe you’ll learn something new, have a fonder appreciation for your favorite characters or realize that we need an Andy Botwin spin-off show.

If you want to talk about how quickly you watched the first season of “Homeland” or need to find practically anything for free on the internet, contact ANDY VERDEROSA at asverderosa@ucdavis.edu, although he prefers Twitter because this is 2012 after all.

What’s on the horizon

The Davis Feminist Film Festival is returning to town next week in what will mark its seventh annual showing.

Not to be confused with the UC Davis Film Festival – also on the horizon – the Feminist Film Festival fashions itself as a venue with thematic purpose. That is, if the name didn’t key you in already, the Feminist Film Fest operates with a design for social justice.

As explained by 2012 festival director Andrew Ventimiglia, the festival works to provide a space to show the films of underrepresented artists (particularly women and people of color) addressing important issues of gender, race, class, sexuality and other dimensions of social inequality.

On Thursday of next week, there will be a preview screening of UC Davis Professor Julie Wyman’s “STRONG!” which chronicles the quest of Olympic athlete Cheryl Haworth to be the strongest woman in the world.

Accompanying it will be a slew of short films from all over, all presumably under the umbrella of the festival’s thematic orientation.

“I think this year’s lineup is excellent,” Ventimiglia said. “But I am most looking forward to seeing ‘Ovejas Azules,’ a magical realist film from Spain about a filmmaker dealing with the death of his grandmother, and ‘On my Way to Villa,’ a really beautiful, almost meditative film from Iran.”

Ventimiglia went on to note that many of the films selected for the festival were chosen, alongside members of the advisory board, by students here at UC Davis, meaning much of the work in the festival comes with a student stamp of approval.

“Anyone can submit to the festival as long as their film meets two of the aforementioned criteria,” Ventimiglia said, referring to the festival’s general aim to adhere to its thematic guidelines. “We charge no entry fee in order to encourage as many filmmakers from all ranges of professional and technical experience to submit their films.”

The Davis Feminist Film Festival is April 12 and April 13 at the Veterans Memorial Theatre in Davis.

Tickets are available at the UCD Women’s Resources and Research Center, the UCD LGBTRC and the Davis Farmers Market for $5 to $15 per night, sliding scale, pay according to financial means. Tickets are also available at Armadillo Records in Davis at $7 for students, $10 for general admission per night. Tickets will be available at the door at $10 for students, $15 for general admission per night.

Anyone is welcome to attend and participate in the Audience Choice award for the favorite festival film of 2012.

JAMES O’HARA can be reached at arts@theaggie.org.

Track and Field Preview

Events: San Francisco Distance Carnival and the Stanford Invitational
Where: San Francisco, Calif.; Stanford, Calif.
When: Saturday and Sunday, all day
Who to watch: Sophomore Alycia Cridebring set a career best in the 5,000-meter at the Sacramento State Invitational.

The Pleasant Hill, Calif. native also finished eighth in the Big West Conference Cross Country Championship meet in October as a part of UC Davis’ league-title winning women’s cross country team.

Did you know? With their most recent meet, the Fresno State Invitational, canceled due to weather, the Aggies haven’t been in competition for almost three weeks.

“Last week’s cancellation was unfortunate because we had a bye week before due to finals week,” said coach Drew Wartenburg. “But on the positive side, it gets people healthy and more time for training.”

Preview: All season Wartenburg has been talking about the importance of early track meets to prepare for the important ones later. Now April has arrived, and the UCD track team is set to partake in the San Francisco State Distance Carnival and the Stanford Invitational this weekend.

“The meets in April will have tougher competition and this will force us to step up to the table,” said Coach Wartenburg.

The Aggies will first partake in both competitions on Saturday and then finish their two-day Stanford Invitational on Sunday.

“I’m expecting big things this weekend,” said Wartenburg. “No excuses this time about travel or rest. The stage is set for a big performance.”

JASON MIN can be reached at sports@theaggie.org.

News-in-brief: Santa Monica City College students pepper sprayed while protesting tuition increases

At a Board of Trustees meeting at Santa Monica City College Tuesday night, 30 student protesters were pepper sprayed after attempting to storm the boardroom during the meeting.

Two people were transported to the hospital for evaluation. A 4-year-old was also pepper sprayed.

A group of about 70 students was protesting the $180-per-unit increase that would add sections to classes that are in high demand. The measure, called Contract Ed, would be the first fee plan of its type in California.

Before doors opened, some students were given numbers that would allow entry to the boardroom.

Santa Monica City College president Chui L. Tsang issued a statement yesterday that said the use of pepper spray was to “preserve public and personal safety.”

The program, Tsang said, would result in an increase of 25 percent more classes than last summer.

“The intent of the program is to immediately increase the number of total classroom seats available and provide a way for students to make progress towards their goal,” he said.

The college is currently investigating the matter and will pay for all medical bills of those treated for injuries.

— Muna Sadek

“Just Between Us — The Generation Project” presents Jess Meets Angus

Jess Meets Angus is the eclectic performance piece anchored by dancer Jess Curtis and actor Angus Balbernie. The show, part of a greater project called “Just Between Us — The Generation Project,” examines the progression of dance through the perspective of different age groups.

Jess Curtis is both pragmatic and precise in his movements; the actions show the blossoming of youth and the transition into age. Opposite of Curtis is Angus Balbernie, whose background in acting serves to scale Curtis’ dancing. The combination of acting, dancing, movement and dialogue adds to the theme of generation in the performance.

Obtaining his dancing shoes at a dance competition with his girlfriend eventually led Curtis to become the dancer he is today. Through a casual mixing of Saturday night dance fever and an occasional dance class, Curtis’ curiosity now has him preparing to perform at UC Davis.

“Movement of our bodies is the very nature of human interaction and that has become an important fixture in shaping my overall guiding philosophy regarding dance,” said Curtis.

The show explores the nuisances separating each generation, dividing them among language and physicality. With Jess Meets Angus, the performance will center on the two 50-year-old men. Exploring the far removal of the men from UC Davis’ own young population, the performance will show glimpses of dialogue and movement present also in the younger audience.

As older and more tenured men, Curtis describes himself and Balbernie as “older and crankier than the young guys.” By this, he talks of the years of living and the wear it has inflicted on their bodies. He goes on by saying that “there is more history in our bodies at work,” and that the younger generation has concerns of their own.

Balbernie’s skills as an actor allow his role to contain more dialogue, seeking to show the men’s experience through language. Through language comes the history and lineage of the men before it. Every word in Jess and Angus’ vocabulary adds to the performance’s emphasis on the inclusive nature of age.

Jess Meets Angus wants to bring back a tradition of theatre that seems to have been lost as each year goes by. “The practice of live theatre is what a lot of us don’t do anymore,” Curtis said. “There is really something about being in space, sweating and breathing. I hope that we turn people into the idea that live performance can really engage and have many different outcomes other than the traditional fanfare.”

The performance will be shown at UC Davis on April 5 and 6. Both performances will take place at Wright Hall Lab A, offering free admission as seating permits.

PETER AN can be reached at arts@theaggie.org.

Suspect arrested for residential burglaries in Davis

On March 29, Davis police arrested 37-year-old Kyle Frank of Placerville, Calif. for a residential burglary on Layton Drive. The police responded to a call from one of the residents, a 12-year-old boy, who was home when the robber broke into the house.

He heard someone knocking on the door but didn’t answer. Minutes later, he noticed a suspicious person in the backyard and immediately called 911 from inside a locked bathroom. The suspect managed to break into the house through the side door leading into the garage. He was arrested in Slide Hill Park and the two responding police officers found items from the victim’s residence in Frank’s possession.

According to the Press Release by the Davis Police Department, there is evidence that connects Frank with another burglary earlier that day on Albany Avenue in South Davis. He was found in possession of items from this residence during the arrest as well.

“There were three [burglaries] that day. One at Layton Drive, which is the one that lead to his [Frank’s] arrest, and another on Albany and one other. We discovered those happened after we had arrested him and found items from those homes,” Lt. Paul Doroshov said.

Frank was in custody of the Yolo County Jail on Saturday and his bail is set at $50,000. He was accused of burglary charges this past Tuesday in the Yolo County Superior Court.

It is unclear whether Frank is responsible for any other residential burglaries in Davis. Doroshov stated that Frank is also suspected to be the man captured on a surveillance camera earlier in March when two residential burglaries occurred in North Davis around Anza Avenue. However, there is not sufficient evidence to link Frank to those. Police are still investigating to find evidence that would connect him to other local robberies.

“We have active investigations work on that right now, but we really can’t release that information. We are backtracking and looking at this latest string of burglaries,” said Doroshov.

Due to the recent string of residential burglaries occurring in Davis in the daytime, the Davis Police have been implementing additional resources in residential areas.

Dennis Dingemans of the Old North Davis Neighborhood Association stated in an e-mail that there have been about 22 residential burglaries in Davis over the last month, which is not significantly higher than the average. However, it is still troubling and it is important for people to be aware and take precautions.

“This was a residential area, but typically students take up a large bulk of our victims for getting things stolen because the things that get stolen a lot now are Mac products,” Doroshov said. “We like to make sure people are aware and that they take precautions and protect their valuables.”

Doroshov further states that there is always some level of burglaries, so this robber is not necessarily linked to all the burglaries, but police are still investigating.

PAAYAL ZAVERI can be reached at city@theaggie.org.

Groundskeepers clean up Quad

Yesterday afternoon UC Davis groundskeepers were seen cleaning up remaining tents and objects left by the Occupiers on the Quad. The groundskeepers will also be rehabilitating the grass on which the tents were pitched.

Baseball Preview

Teams: UC Davis at No. 14 Cal State Fullerton
Records: Aggies 11-13; Titans 18-10 (2-1)
Where: Goodwin Field — Fullerton, California
When:  Friday 6 p.m.; Saturday 7 p.m.; Sunday 1 p.m.
Who to watch: Freshman outfielder Kevin Barker leads the Aggies with a .349 average and seven doubles.

Add in a .414 on base percentage, and it’s no surprise he’s settled into the leadoff role.

Did you know? At least one Aggie was hit by a pitch in each of the first 21 games of the season. UC Davis has recorded a total of 49 HBPs in 2012, led by Brett Morgan who was hit eight times and Ryan Allgrove and Nick Lynch who have each been hit twice.

For head coach Matt Vaughn, the high number of HBPs shows his team’s strength.

“Our system is get to first base,” Vaughn said. “It shows toughness and buying in to a team philosophy. It’s an old cliché, but they really do take one for the team. We call it a 90-foot victory.”

UC Davis was hit a total of 63 times in all of 2011.

Preview: The UC Davis baseball team hits the road again this week to begin Big West Conference play against the two-time defending league champions, No. 14 Cal State Fullerton.

The Titans are favored to win the Big West again this year, and head coach Matt Vaughn knows this is the toughest team his Aggies will play in the conference.

“You see what you’re up against right away and the kind of team you have to place against in our conference,” Vaughn said. “They’re perennially a top-30 program in the nation, and it’s a good test for us right off the bat to find out where we’re at in relation to the conference.”

The pitching staff has been a major strength for UC Davis this season. Senior starters Dayne Quist, Anthony Kupbens and Tom Briner have all been pitching lights, totaling 97 strikeouts with only 14 walks between the three.

On the offensive side, the trouble for UC Davis hasn’t been getting runners on base, but knocking them home.

Vaughn stressed the importance of stringing base hits together and not leaving men on base.

The balance on the roster and the emergence of freshmen contributing regularly has the Aggies excited for the conference season. If pitching truly wins championships, then UC Davis is primed to make a run in the conference.

The journey begins Friday in Fullerton, first pitch at 6 p.m.

Russell Eisenman