Susan Zieger


Anti-Playboy protesters did not 'force' women to not pose

To The Editor: Dan Richman '95 grossly misunderstood and misrepresented the arguments of the anti-Playboy protesters and those of the pro-choice movement in his narrow-minded comparison of the two ("The Double Standard of 'Choice,' " May 10, 1995). The purpose of Monday's protest was not to prevent women from posing for Playboy, but to persuade them not to.

Goldsmith's comments on Playboy issue are telling

To the Editor: I find it highly illuminating that two champions of Playboy's visit to Dartmouth, Playboy photographer David Mecey and Aren Goldsmith '96, interpret the function and effects of the "Women of the Ivy League" issue so differently. Mecey declared that the issue will celebrate "that whole mystique of [being] intelligen[t] and being sexy at the same time." That this is still mystifying to many men is evidenced by Goldsmith's comments, which imply that women cannot be smart and sexy at the same time, even in Playboy.

Walsh and Sommers are misinformed

To the Editor: Since I completely agree with Kevin Walsh's suggestion that "sound policy is based on truth," and that this is a dangerous message when "much of what one has been taught and believes is based on misinformation, false numbers and half-truths," I am compelled to correct some misinformation in his own commentary about gender feminism. I was among the students handing out information sheets at Christina Hoff Sommers's speech and they were not "drawn from FAIR" (Fairness and Accuracy In Reporting) as Sommers contended and Walsh restated, but rather were composed by students who also found her book "Who Stole Feminism?" riddled with the same sort of inaccuracies for which its author condemns all of gender feminism. As one can clearly see, anyone can misreport facts and statistics, but what is more reprehensible than such errors is a methodology based on anecdotes, which Sommers and Walsh pick up and recite as evidence of gender feminism's excesses.


Wind Symphony to perform

The theme of the Dartmouth Wind Symphony's concert tonight, "Variations," provides a tantalizing musical feast, a sort of smorgasbord of composers and styles. Under the direction of conductor Max Culpepper, the symphony will play such diverse works as "Variations on a Korean Folk Song" by John Barnes Chance, "Variations on America" by Charles Ives and "Theme and Variations, Opus 43" by Arnold Schoenberg. The symphony's guest artist is Michael Coburn, euphonium soloist, who will be featured on Ponchielli's "Concerto per Flicorno Basso" and Rimsky-Korsakov's "Flight of the Bumblebee." Coburn, who began studying the euphonium at age 10, is the principal euphonium with the U.S.


Natalie Merchant shows off new songs, new band

Natalie Merchant's sold-out Friday night performance was less a concert than an informal evening of music during which the singer, formerly of the 10,000 Maniacs, experimented with new songs. "You're the guinea pigs," she told the audience, who seemed more than happy to hear the unreleased work that Merchant has written since the dissolution of her band. Merchant, who complained lightly of a cold, sat at a keyboard and sipped tea through the first third of the show.


Pretenders rock Leede Arena

The Pretenders commandeered Leede Arena Friday night, reminding the crowd of more than 1,000 what hard-driving, melodic rock 'n' roll is all about.


Poet Gluck reads

Lousie Gluck, a poet highly acclaimed for the spare intensity of her work, enchanted an audience gathered in Rockefeller Center yesterday afternoon with a reading of her poems. Gluck, who teaches creative writing at Williams College in Williamstown, Mass., read from each of her books, culminating with "The Wild Iris" (1992) which won the Pulitzer Prize for poetry.


Tabling the truth

"The Table: A Play for Four Voices and Basso Ostinato" by Ida Fink was read Saturday night in the Warner Bentley theater in conjunction with this weekend's Holocaust conference, "Lessons and Legacies III: Memory, Memorialization and Denial." The work dramatizes the sort of inane scrutiny Holocaust deniers would impose on the testimony of survivors.


On the cutting edge of videocrit: Burr '80

Everyone, it seems, fancies themselves movie critics. How is it then, that a handful of lucky people watch movies all day and offer up their sanctified opinion to the benighted masses for a salary?

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