Main StreetIssue 3 2013

Local Revolution: New Hampshire Beer

Editor’s Note

On The Cover

Power to small New Hampshire breweries, including North Hamp-ton’s own Throwback Brewery, which works with farmers to en-sure sustainable, local taste.Photographer: Raya Al-Hashmi.

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New Hampshire Beer

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Find Main Street

This winter has been one for the record books, but here at Main Street Magazine, we’d rather not think about all that snow. We’ve set our sights ahead to spring, and whether you want to get your life in order health-and-fitness-wiseafteraboozybreak,ditchthat Keystone Light for better made, better tasting local beer, or mix up your wardrobe with vintage pieces from seacoast stores, we’ve got you covered.

This issue, it’s all about local. Our profile on North Hampton’sThrowback Brewery will hopefully inspire you to learn more about your local brewers and try some newflavorswhen it comes to your springand summer beer selection. The idea of a Blue Moon or Shocktop pales in comparison to the taste of a chocolate mint stout or a jalapeño pilsner (a Throwback variety I plan on buying lots of this summer). Besides a preview of local taste locations including Throwback, and our reviewed restaurants of this issue, Portsmouth’s Book and Bar and Ceres Street Bakery, we’ve also got lots of local music variety with our interview of UNH student band Heads and Tales, as well as Jake DeShuiteneer’s interview with popular indie artist Youth Lagoon. We’re keeping you ahead of the latest trends in swimwear, and our fashion spread with Newmarket store Concetta’s Closet may spark your interest in adding some vintage pieces to your spring wardrobe. For someunknown reason, spring semester always seems toflybymuch faster than fall. The days are getting longer and warmer, and pretty soon we’ll be shedding our winter layers for dresses, sandals, t-shirts and sunglasses. But while you wait for the snow on T Hall lawn to melt, take a break from those essays and exams, and enjoy this issue. -Ella Nilsen

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Ella Nilsen: Editor-in-Chief, Contributing Writer and Photographer

Raya Al-Hashmi: Photo Editor

Peter Cloutier: Editor, Contributing Writer

Jake DeSchuiteneer: Editor, Contributing Writer

Taylor Lawrence: Editor, Contributing Writer

Arly Maulana: Design Editor, Contributing Writer

Brian Morin: Web Editor, Contributing Writer

Katie Wisniewski: Layout Editor

Jack Callahan: Business Manager, Contributing Writer

Brady Brickner-Wood: Contributing Writer

Maggie Dana: Contributing Photographer

Melisa Donovan: Contributing Designer

Graham Hayslip: Contributing Writer

Emma Huntoon: Contributing Writer

Hannah Marlin: Contributing Photographer

Tim Meehan: Contributing Writer

Heather Ross: Contributing Writer

Annah Todd: Contributing Writer

Olivia Whitton: Contributing Writer

Printed by our friends at UNH Printing Services, 10 West Edge Drive, Durham, NH

The opinions expressed within Main Street Magazine are solely the opinions of the attributed writers and are not necessarily shared by Main Street Magazine, Student Press Organization, Student Activity Fee Committee, the University of New Hampshire, or anyone else, for that matter.

Main Street Magazine is funded entirely by your student activity fee and we would like to thank the Student Activity Fee Committee for continuing to fund this publication.

www.mainstreetunh.com @mainstreetmagazine

Main StreetSpring 2013 Issue 3

Internet Freedom

Featured Article

How free should today’s Internet be? The recent suicide of Internet activist and computer genius Aaron Swartz has brought this question back into the minds of many. We take a look at questions of copyright and freedom in an age of increasingly open Internet.

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Gun ControlUNH DivestmentInternet Freedom Defending Hip-Hop

Features

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FilmBook: “Billy Lynn’s Long Halftime Walk”MusicRestaurants: Portsmouth Eats

Reviews

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Vintage Finds at Concetta’s ClosetSpring Fitness: Get Fit, Get HealthySpring Trends: SwimwearInterview: Youth Lagoon

Arts & Style

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Online DatingIrrational Senior Fears

Satire

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Abaco DinghiesFlorence on Film

Travel

22 Portsmouth Street ArtPhoto Spread

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InMemoryof HeatherLaflammeBeerTiesto Snapshots Portsmouth ShakesBEERienceStudent Spotlight: Dani Olean

Local

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1 Melisa Donovan. 2 Heather Ross. 3 Emma Huntoon. 4 Arly Maulana. 5 Tim Meehan. 6 Olivia Whitton.

7 Taylor Lawrence. 8 Peter Cloutier. 9 Jack Callahan. 10 Maggie Dana. 11 Brian Morin. 12 Brady Brickner-Wood.

13 Hannah Marlin. 14 Annah Todd. 15 Raya Al-Hashimi. 16 Graham Hayslip. 17 Katie Wisniewski. 18 Jake DeSchuiteneer.

1 2 3 4 5 6

8 9 10

CONTRIBUTORS

7 11 12

13 14 15 16 1817

Staff PicksThings MSM Staff Love Right Now

Jennifer Lawrence is beautiful, insanely talented, and super hilarious (watch her interviews). She just recently won an Oscar and she's only my age. What's not to love? -Arly

This semester I’ve been writing letters to friends acrossoceansandacrossthestate.Ifindit’sbeena great complement to phone calls and texts because it allows for more contemplation. In addition, I love receiving letters, holding them in my hands, and feeling that much closer to those I care about. I highly recommend finding timeto reflect and share with friends through thismedium of expression. -Peter

I am addicted to Libby’s Bar & Grill Nachos. For $10 you get a sinful amount of blue and white tortilla chips, chopped red onions, diced tomatoes, sliced jalapenos, and cheddar jack cheese. You will have leftovers, and if not that, then a heart attack coming your way; they are so deadly delicious.

-Raya

Itwas loveatfirstsightwhenIsawmy Bart’s winter hat at Nevis Sports in Glasgow. It’s unique, adorable, and most importantly, has kept me warm throughout all of the extreme winter weather N.H. has gotten this year. -Ella

The Office is one of my all-time favorite TV shows, but recent seasons have shown a steady decline in the quality of writing. So I’ve been enjoying seasons one through five on Netflix;remembering when Jim and Pam’s love was still star-crossed, and the show was still the best comedy on TV. -Jake

Lately I have been kicking my coffee habit and heading for the tea section instead. Blackberry Sage black tea is my all-time favorite. -Katie

MorningStar Farms Buffalo Wings:Back in the days when I ate meat, real buffalo chicken never tasted this good. Try these out and you'll never want real chicken again. -Brian

Aloe Vera, because if you went away for spring break like I did, this will quickly become your best friend. -Taylor

FILMS“We Need to Talk About Kevin,” based on

the novel of the same title, is a heartbreaking and tragic movie. British actress Tilda Swinton stars as Eva, a successful travel writer who has to give up her ambition to explore the world in order to raise her son Kevin (Ezra Miller) along with her hus-band Franklin (John C. Reilly). In “We Need to Talk About Kevin,” Swinton delivers one of the best performances of her career. She manages to bring subtlety and complexity to her character, a woman who grapples with the idea of mother-hood and struggles to form a bond with her son, who begins to develop hatred towards her.

Both Swinton and Miller use minimal dialogue, relying more on facial expressions to successfully depict the chilling development of their characters’ contemptuous relationship, as Kevin grows into a manipulative teenager with violent tendencies to hurt others around him, including his family.

The movie has potential to generate a discus-sion about psychological concept of “nature ver-sus nurture.” Does Kevin exhibit that kind of so-ciopathic behavior because that is how he naturally is? Does Eva’s lack of enthusiasm to have a child contribute to Kevin’s behavior? Or is it some of both?

“We Need to Talk About Kevin” also manages to show a refreshing perspective of motherhood. Instead of portraying motherhood as something that will make you happy like most Hollywood movies tend to do, it depicts motherhood as something that can make your life miserable. In

Eva’s situation, being a mother requires her to give up her freedom, hopes, and dreams, creating re-sentment toward everything around her. Women in Eva’s position do exist, and it is interesting to watch a movie that can show some of the harsh complexities of motherhood.

We Need to Talk About Kevin (2011)Directed by: Lynne RamseyStarring: Tilda Swinton, Ezra Milller, John C. Reilly

-Arly Maulana

The Last Stand (2013)Directed by: Kim Ji-woonStarring: Arnold Schwarzenegger, Johnny Knoxville

In “The Last Stand,” Arnold Schwarzenegger’s secondmoviesinceleavingoffice,theGovernatorhasanitchytrigger-fingeronceagain.Afterleavingthe Los Angeles Police Department, Ray Owens (Schwarzenegger) decides to settle down as sher-riff in a small, quiet town just north of the Mexican border. The aging Austrian isn’t concerned when he is told that an escaped convict may be attempt-ing to cross into Mexico through his town, but the situation becomes serious when two of his young deputies stumble intoafirefight. Owensquicklyfindshimself onafast-pacedandviolentrideasheattempts to protect the residents of his town and prevent the criminal’s crossing. Luis Guzman and Johnny Knoxville play supporting roles as locals who help Owens secure the town. Withinthemovie’sfirsttenminutes,aSmith&

Wesson Model 500 and a Camaro ZL1 give good cluesastotheviolent,flashypatternof thestory.Jee-woonKim, the film’s South-Korean director,is generous with the movie’s use of fast cars and big guns. Kim may exaggerate the laws of phys-ics a few times, like when the antagonist barrels across Texas in his souped-up Corvette ZR1, but thefilm’swell-constructedsenseof self-awarenessmakes this an easy feature to accept. Whilethefilmmaylackinitsphysicalaccuracy,

it certainly offers its audience a healthy dose of gratuitous violence. Of course, like all of his other films,itisimpossibleforSchwarzeneggertoblowup a car or shoot a baddie without a hilarious one-

liner. These archetypical Arnie catchphrases are not

the only source of comedic relief in “The Last Stand.” Whether it’s Knoxville’s shenanigans or the uncooperative townspeople, the movie devel-ops a dry kind of humor that compliments the set-ting and the characters.

This is an exhilarating addition to the action genre,andIwoulddefinitelyrecommenditif youarelookingforahigh-energyflickthatdoesn’tre-quire a lot of thinking.

-Tim Meehan

Ezra Miller as Kevin.

Arnold.

“Billy Lynn’s Long Halftime Walk,” a novel by BenFountain,wasafinalistforthe2012NationalBook Award, and has been the subject of countless glowing, five-star reviews. And, I can assure you;this one will be no different. The book – a blistering and honest story in which nothing really happens, but everything happens – follows nineteen-year-old former soldier Billy Lynn, a specialist in the Bravo Squad, as he and seven of his fellow heroes are put on display at a Thanksgiving Day football game in Dallas.

After a rushed two days home with their families, BillyandtheBravoSquadareprimpedandshuffledall around Texas Stadium, home of the Dallas Cow-boys, as they meet with the team’s head honchos before being introduced to the stadium’s crowd as “the best our nation has to offer.”

The novel starts out with a chaotic cloud of words, meant to represent the never-ending stream

of patriotism coming from the mouths of the red-blooded Americans at Texas Stadium as they congratulate the men of Bravo on their heroism. The words show up as they are spoken, with a true southern lilt: terrorist is terrRist, 9/11 is nina levin, and courage is currj. Also showing up in the cloud areGodandsacrificeandGeorgeW.Bush,butBillyand the Bravo crew don’t hear much beyond white noise—partly becauseof thefive Jack andCokesthey’ve each had by 10 a.m., and partly because they’ve learned to tune these types of monologues out for the sake of self-preservation.

Though the book takes place all in one long day at the Cowboy’s Stadium, Billy manages to drunken-ly do pushups next to a beer cart, meet the franchise owner of the Cowboys, get high with a Spanish-speaking server at the fancy lunch buffet, question the entire meaning of his young existence, and fall in love with a Cowboy’s cheerleader.

Did I mention that the game’s halftime show fea-tures Destiny’s Child?

“Billy Lynn’s Long Halftime Walk” is a hilarious but brutal glimpse at American society, and holds everyone from former President George W. Bush to a nice-looking elderly couple accountable for war-time bloodlust.

However, let me be clear. The book’s subject matter is heavy and at times will make you think. Hard. But when it’s all over, it’s just a funny story about a kid named Billy that likes to drink and look at cheerleaders, and just happens to be a lauded war hero. Whether you’re a Democrat, a Republican or a member of the I-don’t-care party, I am positive you’ll find something to enjoy in Ben Fountain’squickwitandintelligentwriting,andthatyou’llfin-ish the novel wanting to pat a soldier on the back and buy them a drink.

Author Ben Foun-tain.

BOOK

-Olivia Whitton

MUSIC

Trevor Powers

Intervals

vL̀ocal Natives

In Time is the second EP released from the instru-mental progressive metal band Intervals. This fivesong EP takes a unique approach to this subgenre of metal, commonly distinguished by its combination of heavy metal elements such as high-distortion guitars and rapid, harsh rhythms with a rhythmic writing style closer to that of classical music compositions. This EP, devoid of vocals, focuses much more on the technical skill of the guitarists, rather than distract-ing audiences by forwarding drums or singing and screaming.

The song titled “Tapestry,” which appears third on the album, presents a bluesy, heart wrenching solo inthefirstminute,andreprisesthesoloinahigherkey toward the end of the song. This, in combina-tion with exploratory melodic sections in the middle of the piece, make the song feel as if it has classical

movements more than verses or choruses, and truly takes listeners on a musical journey.

Intervals has often been categorized into another style known as “djent,” which is characterized by a method of guitar playing using lots of low, chugging riffs (for which “djent” is an onomatopoeia) and elec-tronic video-game-like sounds. However, In Time con-traststhegroup’sfirstalbumThe Space Between, which utilized these elements heavily. This album favors a more intelligent and all-around beautiful writing style, and should be on the playlist for anyone who wants to hear a very artful and emotional approach to pro-gressive metal.

-Graham Hayslip

Indie rock band Local Natives hit the public eye in 2010 with a strong debut album, Gorilla Manor. It con-tained the same appeal and beauty as bands including FleetFoxesandTheNational,yetfeltunfinishedandslightly underwhelming. It was the work of a promis-ing band attempting to make too big of an album. Hummingbird, Local Natives’ second studio album, is the sound Gorilla Manor was searching for, and is a complete and memorizing project.

Front man Taylor Rice’s songwriting has improved tremendously on Hummingbird, as well as the band’s overall sound and production. The evolved sound and lyrics is pleasing and gentle, Rice at his best when he beautifully and desolately glides over soft pianos and guitars, the drums strong and echoing in the background. “Three Months,” “Mt. Washington,”

and “Columbia” showcase the band’s ability to dive deeper into their sound, creating a presence they pre-viously lacked. The slower songs are matched with the pleasant sweetness of tracks such as “Ceilings,” and “Black Balloons.”

Local Natives’ growth and talent is on full display with Hummingbird, as they move from promising and slightly one-dimensional to thoughtful and complete. Hummingbird is a bouquet of delicate but powerful songs, an impressive and brave album from a band with an exciting future ahead of them.

-Brady Brickner-Wood

Local Natives “Hummingbird” Infectious, Frenchkiss Records

Overall Rating: 8/10

Intervals “In Time”Self-Released

Overall Rating: 7/10

Youth Lagoon “Wondrous Bughouse” Anti Records

In 2011, Trevor Powers, the one-man band behind Youth Lagoon, released one of the year’s most me-lodically and emotionally powerful indie records of the year, The Year of Hibernation. With that album’s echo-y, minimal vocals, and touching but simple song compositions, it felt as if Powers had invited you into his own garage to listen to some of his most intimate thoughts sung over the ambience of slow building keyboards and guitars. With his follow up, Wondrous Bughouse, Powers takes us out of the garage and into his brain, which is a less welcoming, but more soni-cally daring place.

The album opens with the aptly titled “Through Mind and Back,” an instrumental track driven by its dissonant ambience. It sounds like Powers’ brain is warming up, as instruments tweet and slide into tune before the album’s second track, the glorious “Mute” explodes to a start with booming, triumphant three-note riff. The song moves through a screeching mid-dle section before coming to a close with an extended coda, driven by an epic repeating guitar part.

Powers then takes the listener to weird new places with the perplexing circus music of “Attic Doctor,” before coming back home with “The Bath,” a slow moving song. Of all the album’s tracks, this is most

reminiscent of his debut album. Wondrous Bughouse’s fifth track, “Pelican Man” builds from a minimalcomposition of Powers’ vocals and keyboards to one of the album’s most melodically grand moments.

“Dropla,” the album’s most immediately catchy tune,findsPowerscontemplatingmortality. “You’llnever die, you’ll never die,” he sings repeatedly over hauntingbutinfectiousinstrumentals.Westayfirmlyplanted in his psyche as the album moves into the fittingly titled “SleepParalysis,”which starts like aninnocent daydream before we get stuck in Powers’ hypnotic musical fever dream.

The album moves toward a close with a duo of strongly melodic tracks, “Third Dystopia” and “Rasp-berry Cane,” which both show Powers putting some of the album’s weirdness aside to create beautiful songs driven by catchy instrumental melodies. And then, Powers leaves us where we started, an extended instrumental journey. The album’s closer, “Daisy-phobia,”beginswithPowersbrieflysingingbeforeheallows a warbled, gorgeous waltz to usher us to the end of our tour through his mind.

What a strange, beautiful trip it is. -Jake DeSchuiteneer

Overall Rating: 9/10

Editor’s PlaylistTaylor 1. “Sweet California Can’t Stop” When you mash up Tupac, Aerosmith, and Chingy, to name a few, it’s hard to not eargasm.

2. “This Is How We Do It” – Montell Jordan I don’t care if it’s Friday, Saturday, or even Monday night, this classic never fails to get your “hands all in the a-ir.”

3. “Idiot Boyfriend” – Jimmy Fallon An unlikely song for a playlist, but met with a hilarious video and a tune that will never leave your head, Jimmy Fallon proves why he is one of the most talented people in the industry... and a terrible boyfriend.

Raya 1. “Sunshine” – Atmosphere Sometimes you just don’t know how great a day can be until you step outside.

2. “Dysfunctional”– Tech N9ne We are all a little dysfunctional, right?

3. “This Life I Lead”– Konu Inthislifewelead,sometimesafifthof Hennessyisallwe need.

Arly 1. “Grammy (Soulja Boy Cover)”– Purity Ring Megan James and Corin Roddick somehow managed to turn this garbage song into something worth playing over and over again. Swag.

2. “Everything is Embarassing”–Sky Ferreira Ferreira's lovely voice makes listening to this song about strugglingwithyoursignificantotheraverypleasantexperience. The fact that it sounds like it was made in the '80s with a cool backbeat ands dreamy synths makes it even better. So sweet it hurts.

3. “Hollywood feat. Penguin Prison”–RAC Known for creating sick remixes of other people's songs,RACfinallymadeanawesomeoriginaltrackthathas a catchy chorus and great vocals. It was released last year and I haven't stopped listening to it ever since.

Katie 1. “Come As You Are”- Nirvana NirvanamusicfloodsmyiTunes,andthissongspeaksfor itself. It reminds me not to judge so much, and let people come as they are.

2. “Feather on the Clyde”- The Passengers This song is on my '2 a.m.' playlist and is perfect for when you can't quite fall asleep.

3. “Hopeless Wanderer”- Mumford & Sons This is my favorite song off their most recent album, titled Babel. I consider myself a hopeless wanderer, and this song represents that extremely well.

Jake 1. “Cardinal Song”– The National The Brooklyn band is releasing a new album in May, but I’ve been enjoying this throwback cut off of their second album, Sad Songs for Dirty Lovers, from way back in 2003. A chill groove laid down by the band topped by lead singer Matt Berninger’s deep vocals and deeply sad lyrics make for a relaxing listen.

2. “Juicebox”– The Strokes This is one of my all-time favorite songs, making its way back into my rotation. A gripping, aggressive vocal performance from Julian Casablancas, and heavy, surf-inspired instrumentals from the rest of the band make this one memorable.

3. “Wakin’ on a Pretty Day” – Kurt Vile From his upcoming new album with a confusingly similar name, Wakin’ on a Pretty Daze, Kurt Vile turns in a nine-minute track of pure folk-rock relaxation. You’re guaranteed to loosen up when you hear it.

Peter Although at present my musical repertoire is primarily modern and electronic, it is often the throwbacks that are most powerful.

1. “Mr. Tour le Monde”– Hocus Pocus Hocus Pocus is a French hip-hop artist especially adept at poetic nuance and catchy cadence.

2. “Retrograde”– James Blake

James Blake is a brilliant English musician with a knack for bridging experimental with experiential.

3. “A.M. 180”–Grandaddy Grandaddy’s A.M. 180 transports me into the dream of my past, of the great outdoors, and of the smell of teenage spirit. Enjoy.

Ella1.“I Found a Body”– Tan Vampires Tan Vampires are a local seacoast band, and this single off of their 2011 album For Physical Fitness is haunting, subtle, and beautiful. I am constantly rediscovering this song, and it never fails to disappoint.

2. "I Love It (feat. Charlie XCX)"– Icona Pop School not going well? Job troubles? Boy troubles? Swedish girl duo Icona Pop will solve all your problems with the most enjoyable and danceable "I-don't-give-a-fuck" song out there. Best for impromptu dance breaks in the kitchen, in your car, in the library...wherever you damn well feel like it.

3."Watch Out for This (Bumaye)"–Major Lazer feat. Busy Signal, the Flexican, and FS Green Major Lazer's second album doesn't drop until April, but "Watch Out for This (Bumaye)" provides enough of Diplo's characteristic Jamaican dancehall/moombahaton bliss to see you through the next month.

Brian 1. “International Love”– Pitbull ft. Chris Brown It’s honestly embarassing, but I like this song a lot for the beat. I don’t even like Pitbull, but let’s be real...Chris Brown kills it.

2. “Firefly”– The White Panda I don’t usually like mashups with rock songs, but when I do they involve “Snow” by Red Hot Chili Peppers and Kendrick Lamar.

3. “Heaven”–DJ Sammy You may or may nor remember this Eurodance song from 2002. It’s an absolute classic for house music in the early 2000s.

Book and Bar40 Pleasant StreetPortsmouth, New HampshireHours: Mon-Sun, 10 a.m.-10 p.m.(603) 427-9197

Newly opened this fall, Portsmouth’s Book and Bar is a hybrid. Part used bookstore, part living room, part bar; the place is a perfect conglomeration of eating, drinking, reading and relaxing. Housed in the old bank building on Pleasant Street, Book and Barisnestledinafirstfloorcornerof theimposinggray stone building just outside the main radius of Market Square. Nodding to its ornate history, the restaurant is updated in both creature comforts and style. A dark wood bar lies below a sleek faux ceiling housing lights and ventilation, but not hiding the original high ceilings or the crown molding. BookandBarbenefitsfromanopenplan.Low

lying bookshelves like counter tops demarcate the dining area, as does a group of simple sturdy tables worthy of a library. Enclaves of armchairs and cof-fee tables are tucked away in various corners, but the bookshelves and bar are what stand out. With sections from ‘Music’ to ‘Photography’ to ‘Fiction,’ there’s more than enough reading material to keep a diner busy through even the longest lunch. And with am impressive local beer selection on tap, there’s enough to drink to keep a reader occupied through even the dullest book.

The pesto sandwich was excellent, with the roast-ed eggplant, zucchini, and peppers taking prece

dence and the pesto taking a backseat. The bread was lightly toasted and fresh and the sandwich came with a side of lightly dressed greens, but the roasted vegetablesdominatedtheflavortomuchapplause.Other vegetarian options include the Polenta Tri-angles, which came garnished with kumquats and included a mixture of capers and sweet chutney to spread on the polenta. For carnivores, the Charcuterie Board figures

prominently in the menu, and for good reason. A wide selection of meats come sliced thinly and ready to be stacked in countless variations. While some of the meat stood out as dry and grizzled, the various spreads and toppings that came with the plate more than made up for it. Whether spread on bread or crackers, the choices between honey and Dijon mustard, pickles or pickled onions, and pep-pers or chutney made the assembly process half the fun. Whether deciding what spread to pair with what meat, what entre to pair with what drink, or what meal with what book, Book and Bar makes the choice yours, because they’ve got a little bit of everything.

Restaurant ReviewsBy: Jack Callahan

Ceres Bakery51 Penhallow StreetPortsmouth, New HampshireMon–Fri: 7 a.m.-5 p.m.Sat: 7 a.m.-4 p.m.Sun: 7 a.m.-3 p.m.(603) 436-6518

Originally located on Ceres Street, the bakery is now tucked away on Penhallow Street. A pastry and sandwich counter, Ceres Bakery does breakfast, lunch, and desserts. Boasting a great cup of coffee and a wide selection of soup and sandwich options, the little shop is packed throughout the day.

The pastry display case is full of cookies and pas-tries of every shape and color. The menu is written on various chalkboards that hang behind the coun-ter and take a minute to decipher. The kitchen is open to the counter and customers can stand back and watch their food be prepared while they wait.

The build-your-own sandwich combinations seem to be endless. Choices need to be made be-tween types of meat, types of spreads, mixtures of vegetables and types of breads. I decided on oven-roasted turkey, whole grain mustard, with sprouts and lettuce on whole-wheat poppy seed bread.

Ceres also offers a selection of soups, quiches, and pizzas along with their sandwiches. And while they have plenty carnivorous choices, there is always a vegetarian special, along with many vegetarian op-tions on the regular menu. Their dessert offerings include cookies, cakes, tarts, and pies.

Little tables are scattered about the shop, café-style,andthoughtheyfillupquicklythereismorespace in the little dining room. Consisting of mis-matchedkitchenchairs,afireplace,andcafé-appro-priate chandelier, the room is a great spot to nurse a coffee with a good book, watch the crowd come and go, and attempt to create the perfect sandwich from the endless options.

Panini and brews at Book and Bar.

Pastries at Ceres Street Bakery.

UNH Senior Austin Lord bemoans, “I don’t even know how to flirt in person, let alone online,” and oh, how tricky it can be...•The history of the Internet is thought

to have begun with the development of elec-tronic computers in the 1950s, however much wedoubttheancientflirtingcapabilities.

•The creation of the Internet coincided with the creation of the email, home to so many regret-ful pictures and suggestive statements.

•NASA was the first to use video chat in the1960s. The amount of cybersex that occurred in outer space is still unknown.

•Emailflirtingisinitsmostsubtleformasmileyemoticon (wink face if you’re forward) and in its most aggressive form a series of attached “pics.”

•AOL Instant Messenger blew up in 1997. Eve-ryone was frantically trying to produce a screen name by combining their hair color, sport they played, initials, and the number 69 in one clever way or another.

•AOLChatroomswereoneof ourfirstopportu-nities to chat with strangers somewhere besides

the mall. Much easier than guessing an email ad-dress, AOL Chatrooms were a mess of people, most trying to be someone besides themselves.

•The conventional web cam was invented in 1991, and changed the game of home videos forever. Now even your closest companions could live stream their very own homemade love-fest right to your screen.

•UNH Junior Brady Filonov remembers the tune of love that vibrated over her desktop’s speak-ers. “Your crush had a specialized sound that notifiedyouoncetheysignedon…minewasabell for my beloved Dylan.”

•Video dating offered by dating sites allow 3-5 minute webcam interviews. Just prop a cup of coffee on your desk and enjoy a casual bistro date all over the streaming web.

•Skype was created in 2003, and is one of the lead-ing online video chat providers.

•“1 in 5 relationships begin online.”•It is estimated that the annual revenue from the

online dating industry in 2012 was $1.049 bil-lion. About 40 million people are on eHarmony alone.

•Social networking sites like MySpace, Facebook,

andTwitterhavemadeflirtingandgetting re-jected fast.

•Facebook was created in 2004 and is currently said to have over 1 billion users worldwide. And with this creation, poking got a whole new meaning.

•“Sometimes the overusage of winky faces [on Facebook messenger] makes you feel like they want to take your clothes off,” UNH Junior Chad Becker.

•Twitter came out in 2006.•“The way to know if the girl at the bar really liked

you is if they added you on Facebook, Twitter, Instagram, and left you a Snapchat all before you wake up the next morning,” says UNH Sen-ior Nate Paitchel.

•In 2012 the Tinder craze gave every bar-goer an ice breaker with, “aren’t we a match on Tinder?”

It is difficult to know how far these online flir-tations will go. Will there be a legal marriage app, a proposal social networking site? Nothing seems impossible in the virtual world that has no end.

The Evolution of Internet Flirting By: Taylor Lawrence

In Memory of HeatherBy: Ella Nilsen

This summer, 21-year-old UNH student Heather Laflamme was killed in a carcrash on Martha’s Vineyard on the Fourth of July. Her friends are now working hard to establish a campus memorial in her

name and organize a ceremony to honor her. The celebration, set to happen on May 4 at 1 p.m., is to be a time for UNH students to gather and celebrate Laflamme’slife.Alocationforthememorialhasnotyet been announced.

“Our goal that we set over the summer was to have a memorial with her name on it,” said Katie Lemay, a UNH graduate student and Laflamme’sformer roommate and best friend. “We wanted to make sure it was on campus so that students could see it.”LemaynotedthatLaflamme,aRecreationMan-

agement and Policy major and native of Berlin, N.H., was incredibly attached to the UNH campus.

“She was obsessed with UNH,” Lemay said, “es-pecially football and hockey. She loved them. She was a huge football fan in general and loved the Patriots.”Laflammewasanhonorsstudent,andthefirstof

her family to attend college. Within her Recreation ManagementandPolicymajor,Laflammefocusedher studies and internships on event organizing, but also had a passion for helping the disabled. She had participated in a project on campus looking at how accessible UNH was to disabled people. LemaydescribedLaflammeasthetypeof friend

who gave unconditional support. “I could always rely on her,” said Lemay. “She was very understand-

ing. She would drop whatever she was doing if you were having a bad day.”

During the late summer and early fall, Lemay and other UNH students Laura Klui, Marissa Lee, Jackie Pham, Chelsea Walker, and Brooke Rallis, all friends of Laflamme,cametogethertostartfundraisingfora UNH memorial in her honor.

During the 2012 Parents Weekend on September 28 and 29, the group organized a car wash fund-raiser to help raise money with the help of frater-nity Phi Beta Gamma and sorority Kappa Delta. “It poured,” Lemay said. Even with such poor weath-er, the group raised $1,200 simply by going around town and asking for donations.

With the money they raised from the carwash, the group believed they would have enough to pay for a stonebenchortreeengravedwithLaflamme’snameon it, however, they recently discovered that they need a far greater amount of money to do so.

To establish a memorial at UNH, one has to go throughtheOfficeof Campusplanning.Toplanta tree, the cost is $1,900 and to set up an engraved six-foot bench, the cost is $3,500.

As spring semester draws to a close, the group is now weighing their options and trying to decide how to get a permanent memorial set up by early May.

“Right now, we’re looking at engraving a bench that’s already on campus,” said Lemay, which she added would be more within the group’s price-range.

Locations the group is looking at currently include benchesoutsideof CongreveHall,Laflamme’sfor-

mer hall of residence.Laflamme’sfriendsarealsoplanningmorefund-

raisers for the spring semester, and encourage any-one who is interested in contributing volunteer time or ideas to reach out to them. Currently, the group is putting out jars for people to donate to in down-town locations such as DHOP, Mama Macs, Village Pizza, Wildcat Pizza, Hayden Sports, and the Irving gas station.

According to Lemay, the biggest goal for estab-lishingamemorialforLaflammeistogiveHeath-er’s friends and family a physical place to go and remember her.

“I thought it would help her family to have some-place to go,” said Lemay. “There’s no place for people to bring flowers or go to.” AsLaflammewas cremated following her death, there is currently no permanent memorial site for her.

A memorial ceremony is currently being planned for Saturday, May 4 at 1 p.m., but the location is yet to be determined and preparations for the memorial service are still underway. According to Lemay, the ceremony will be open to everyone. It is a chance for any UNH student or community member to speakinremembranceof HeatherLaflamme.

Lemay noted that the best way for students to keep track of memorial service updates was through the open Facebook group, “UNH Remem-bers Heather.”

If any UNH organizations, Greek or otherwise, wish to contribute volunteer efforts to fundraising or to the memorial itself, they may contact Katie Lemay at kjc55@wildcats.unh.edu.

UNH student HeatherLaflamme.

UNH grad student Katie Lemay.

Local Taste: Throwback BreweryBy: Tim Meehan

At the Throwback Brewery in North Hampton, Annette Lee and Nicole Carrier are fascinated with the con-cept of local taste, and have playfully adapted the wine community’s concept

of “terrior” to illustrate their own vision with beer. ‘Terrior’ is a term used to describe the soil, grapes,andgeneralenvironmentthatcaninfluenceawine’sflavorandcharacter,but inNewHamp-shire, it takes on a new meaning with local brews.

“We came up with the term ‘beer-ior’ to mean a beer that represents its taste of place, that the flavorof itreflectsthelocalingredients,”saidCar-rier. “It’s sort of a fun way to describe what we are doing here.”

Because of this interest, Annette and Nicole fo-cus on buying most of their ingredients from local farms. This has proved to be a challenging task, however, because the New England climate is not suitable for the growing of many types of hops and fruits that can be used in beer. Although this may limit the variety of the beer, it ensures quality and local ingredients.

According to Carrier, the practice of growing grains locally is just starting to re-emerge in the States.

“Brewers traditionally, or for the past many years, have not focused on making local beers and I think that’s more of a revolution,” she said. “Traditionally, most malts come from the U.K. or big factories in Canada, and also the Mid-West. People haven’t really been growing grain around here but it’s starting to come back.”

The team at Throwback believes that through their dedication and optimism, they will be able to buy 100 percent of their ingredients from farms in the area. Brookford Farms in Rollinsford N.H., and Valley Malt in Hadley, M.A. are two of the farms that the brewery works with as part of this endeavor. Throwback also supports nearby farms by giving them all of their spent grain.

Lee and Carrier have constructed a comfort-able, social atmosphere in their brewery, currently located at a warehouse in North Hampton. The bar,whichismadeof darkwood,reflectsthetra-ditional principles of the brewery. The tables near the bar offer visitors an area to enjoy their beer and socialize with other beer enthusiasts.

Carrier emphasized the brewery’s environment. “It’s great because people get to meet each other and new friendships have been made,” she said, adding, “for me, it’s all about the sense of com-munity we have created; meeting all the people has been the most invigorating aspect of owning a brewery.”

In the next year, the brewery will see many changes. Carrier and Lee recently purchased Hobb’s Farm, located across from the brewery’s current space.

“When we started, we always wanted to move the brewery to a farm and really incorporate us-ing local ingredients,” Carrier said. “We thought

it would be great to also grow the adjuncts we use in the beer.”The unique flavor of the beer is not the only

benefittobrewinglocally;thistypeof productionis also instrumental for the reduction of Throw-back’s carbon footprint. The transportation of ingredients across the country is costly, both eco-nomically and environmentally. In addition to buy-ing locally, Annette and Nicole promote recycling practices and give reusable growlers to their cus-tomers. The brewery is also investigating the use of solar power to heat the water.

“The barn at Hobb’s farm is huge and it’s per-fect for solar panels,” said Carrier. “We are also looking into alternative energy sources, like having a small windmill there to make some energy.”

Before moving to her position as head brewer, Lee worked as an environmental engineer for 20 years. A decade ago, she found her love for brew-ing after borrowing some buckets and ingredients from her friends. In 2008, Lee completed the World Brewing Academy Concise course in Brew-ing Technology from Chicago’s Siebel Institute. During the same year, she worked as an intern at the Smuttynose Brewery in Portsmouth.

Carrier manages the marketing, technology and “people stuff ” that is involved in the management of the brewery. She has also been brewing for a decade, and continues to help create recipes for her partner to craft. When asked about her fa-vorite brew, she explained that “it is hard to pick because it’s kind of like choosing between your children.”

At Throwback, Lee and Carrier seek to cap-ture the crafting practices used by brewers before Prohibition, when local raw ingredients were pro-cessed before brewing. This affection for tradi-tional brewing makes the brewery a “throwback” to the past. The name also refers to the social and comfortable taste of their beer that makes it easy to ‘throw back.’

With the help of a Maine-based welder, Throw-back built their “Franken-brewery” out of tanks they discovered in the neighboring states. They produce about three barrels (93 gallons) during ev-erybrew,andhand-bottletheunfilteredbeer.

As Carrier explained, “It doesn’t take much to go through three barrels of beer so we know if we make something, it’s pretty easy to sell at that size,itgivesusmoreflexibility.”Thesmallsizeof the tanks compliments Throwback’s creativity and willingness to incorporate uncommon seasonal in-gredients.

Such a small operation demands near-constant work from Carrier and Lee, as well as their small staff.

“It’s constant work; we are always working,” Carrier says. “It’s a cliché to say that doing what you love doesn’t feel like work…but it’s one of those things that is very rewarding because people in the community seem to enjoy what we’re doing. I guess we knew it would be work, but the work

is worth it.”Throwback’s selection offers a healthy variety

of beers for customers to choose from. Whether you are a hop-head or a more casual beer fan, the brewerycanofferyoutastyflavorstoquenchyourthirst. When I asked Carrier what brew she would recommend, she named off countless options.

“If someone likes IPAs, I would tell them to try our Hopstruck which is our Red IPA,” she said. “If someone typically likes dark beer, we have a Maple-wheat Porter that is a little on the lighter side with some Maple Syrup from Taylor Farms in Meriden, N.H. Or if someone likes more robust flavorswehaveasmokedporterthatwedo.”

For the beginners, Carrier recommends going light. “If someone is just getting into beer, I would recommend our Hefeweizen because it’s lighter and fruitier and approachable for people who might not be beer drinkers.”

In addition to their staple brews like Oma’s Trib-ute Black Lager, Hopstruck IPA, and Dippity Do American Brown Ale, they also craft unique sea-sonals, including a Chipotle Porter, Rhubarb Wit, Chocolate Beet Stout, and a Red Rover Coffee Mint Stout. The options are endless, creative, and most importantly, always locally based.

Be sure to check visit the brewery during their “growler hours” on Thursdays and Fridays from 4-7 p.m. and Saturdays from 1-4 p.m.

We Recommend: The Campfire Smoked Porter - The malt used

in the production of this beer was hand-smoked on local apple wood, which gives the dark porter astrongsmokyflavor.Justasacampfireradiateswarmth and security, the thick taste of the porter will give the drinker a comfortable feeling to sink into at night. This beer would nicely compliment a steak or a hamburger.

Dippity Do American Brown Ale - The name reflects the energetic, American taste of the ale.Made with ingredients from New Hampshire, Maine, New York and Massachusetts, this beer’s regionalflavor isgreat formostoccasions. Thiswouldbeperfecttodrinkwhilefishing,orspend-ing time outside.

Hopstruck IPA - This red IPA is a must-drink forpalealelovers. Theflavorcontainsahealthydose of hops that does not overpower the other ingredients, making this a well-rounded beer. The warm amber color suggests the approachable qual-ities of the IPA. This beer would go very nicely with crackers and cheese, or a sandwich.

Double IPA - Carrier offered me a taste of this strong pale ale after I told her that I enjoy IPAs. This hoppy beer has a powerful taste that is sure to please IPA lovers, as well as hop-heads.

Maple-Kissed Wheat Porter - This is the eas-iest-to-drinkof theThrowbackflavorsItried.Itis not hard to recognize the hint of maple hidden in the balanced porter. The sweet taste makes this beer a perfect, social drink for after dinner.

“We came up with the term ‘beer-ior’ to mean a beer that represents its taste of place, that theflavorof itreflectsthelocalingredients.It’ssort of a fun way to describe what we are doing here.”-Nicole Carrier, Co-Owner at Throwback Brewery

Channel classic nautical with blue and white lines and crisp accents of red.

Intricate,floraltex-tiles give a feminine flairtobasicblack.

Add an air of sophis-tication to sailor pants with accents of gold jewelry and woven wedges.

Local Vintage: Wear the PastBy: Emma Huntoon

While some clothing from eras past will remain in your grand-mother’s closet, not to be worn again, many vintage pieces re-main timeless. Whether it be

the classic silhouettes of the 1950s, mod dresses from the 1960s, or gauzy flowing garments fromthe 1970s, these looks have not only remained staples of time’s past, but continue to influenceclothingthatisproducedinthetwenty-firstcentury.

The ability to navigate a vintage look in 2013 is a skill that must take into account the context of a gar-ment from its unique era, as well as a clear view on how to make it relevant to one’s own personal style. Concetta’s Closet, opened in Newmarket ap-proximately two and a half years ago by owner Dana Hanson, boasts garments that scream origi-nality and class. Hanson, who lived in New York City before making the move to New Hampshire to harness her love for vintage, is passionate about

clarifying the meaning of vintage and styling the garments that she lovingly collects and sells. Whatever your fashion inspiration, Concetta’s Closet speaks to many era’s past that remain rel-evant with flattering cuts and intricate textiles. If you are not interested in limiting your wardrobe to wears from the mall, then take a peak into the New-market store and begin your own style story.

Red lips and a leather jacket give this tailored shift and ornate jew-elry an edgy vibe.

High waisted pants and large brimmed beach hats? Check.

Sharpen up your look with a leather-accented, structured bag.

Spring FitnessBy: Annah Todd

Addie Berglund sits cross-legged with 14-inch wooden needles in her small hands and a ball of dark blue wool between her feet. It rolls off the couch at the end of every row. Addie is nine years old and

spent the past New Year’s Eve in New York City with her family. Although she did not stay up until midnight, she resolved to “knit everyone scarves” in the New Year, and is now six inches into her second one. Not only is Addie an avid knitter, she is also a competitive swimmer. “I want to win more swim meets this year,” Addie said, “and improve my but-terflystroke.”

Although many people do not make resolutions to give all of their friends and family hand-knit scarves, Addie is not alone in wanting to improve herfitness.According tohealth.com, one in three Americans makes resolutions at the turn of the New Year. Seventy-four percent of those who do maintain them for about a week. Six months later, only46percentarestillontarget.Improvingfitnessand losing weight are some of the most common resolutions made.

Justine Young may have the opposite problem. Young, a student at the University of New Hamp-shire makes time for “an hour of so” of activity a day. As a student, Young has access to the uni-versity’s recreation center, but she prefers the pri-vately owned gym, Wildcat Fitness, in downtown Durham. “It’s still super busy in the afternoons,” Young said, “but Wildcat Fitness isn’t as insane as the recreation center is.”

Young is allowed one guest a day, unlimited tan-ning, and discounts on towel rentals and cooler

drinks for $25 a month at Wildcat Fitness, where she has been a member for three-and-a-half years. The locker room inside the gym is clean and spa-cious with full-length mirrors, showers and benches. Young piles her two coats and enormous backpack inherlocker.Insidethefitnessroom,sherunsthreemiles, walks for a few minutes, and then proceeds to lift weights for 15 minutes.

“I do this pretty much every day,” Young said. “I’m pretty much right where I want to be with my fitness.If anything,myresolutionwouldbetoruna bit less so I don’t get injured again.”

But Young has an advantage. Statistically, she has better chance than the average American at suc-ceeding in her resolution goals. Sixty-one percent of people in their twenties that made resolutions willfulfillthem.AperfectexampleisNatalieCol-lins, a sophomore student at the University of New Hampshire who has ambitious goals for herself. A month-and-a-half after the ball dropped, Collins has stuck true to her resolutions.

“My resolution was to eat healthy and try to stay away from dairy and gluten as much as possible,” Collins said. “Mainly because I want to eat food that processes through my body with ease, making me feel better and look better.” Easier said than done, as Collins has run into some challenges. She still lives in an on-campus dorm, has limited ability to cook meals for herself, and is at the mercy of the dining halls. “When I don’t have my own kitchen it’s harder, but I’m succeeding in my mind so far,” Collins said optimistically. “I eventually want to be-come fully dairy and gluten free by 2015.”

Though common health resolutions range from

consuming less alcohol to loosing weight to drink-ingmorewater,“findingfitness”isthemostpopu-lar resolution across all age brackets. Ryan Gulla, a supervisor at the university campus recreation cen-ter, described January as being “unreal busy.”“Thefirstweekof classessetrecordseveryyear,”

Gulla said. It’s no surprise that of the 250-350 people that come into Wildcat Fitness on a daily average, 50 percent are students. New membership sign-ups in January at Wildcat Fitness are triple compared to every month.

“Most people stick to their resolutions for two to six weeks and then start to get bored and then absolutely start to loose motivation,” Joe Melan-son, general manager at Wildcat Fitness said. “They either stop coming or hire a personal trainer.” As such, January and February are the busiest months for personal trainers.

Before spring break rolls around in mid-March, numbers increase at campus recreation again, Gulla said. It gets busy at Wildcat Fitness too, but mainly because of tanning.

Looking to shape up quickly? “Well, a week or two before break, it’s too late,” Melanson said. “So don’t switch it up much. Stick with your plan, de-spite the time constraints and what you think you look like.”

Melanson, who spends enough time at the gym to know “every single person’s name,” sheds some light into the workout abyss. To develop a healthy, long-term habit, he recommends setting goals. “The more you achieve the goals you set, the more confidenceyouwill receive. If youwalk inwithapositive attitude, you will walk out with one.”

Sleeves required here.

Raquetball courts at the Whit.

For some, spring break may be a well-de-served week on a familiar couch catching up on months of reality television, but for the even luckier ones, this week can offer an escape from the frozen New

Hampshire tundra that generally lingers into March. The eager spring breakers who are able to fast-forward to a week in the summer sun, heads filledwithimagesof fruitycocktailsandfitstran-gers, often pack their bags with some variation of sunscreen, towels, and shot glasses. Regard-lessof whetheryourflightisheadedforMiamiorMexico,oneitemisessentialtofitintothatoverstuffed suitcase: the perfect swimsuit. Luckily, runways across the globe have set the tone for this coming swimsuit season so that you can stay hot in the spring break heat.

In terms of prints, designers are taking their tropical inspiration and splattering it across suits. Images of palm trees and water mirroring tropical destinations are displayed on suits of all shapes, styles, and sizes. These prints are exotic and eye-catching, with color schemes that encompass a lot

of blue, green, yellow and orange hues. If you prefer palm trees on the beach rather

than plastered across your chest, the runways have also been pushing beach-goers to take a walk on thewildside.Leopard-printhasleaptfromslim-fitcardigans to the swanky swimsuits of the season as this classic print takes on a whole new form. Look for it to appear in a range of colors uncharacteris-tic of the beast it was inspired by, like neon greens and electric blues.

Beyond the prints, this season is all about the details. Embellishments like ruffles add a flirty,unexpected touch to a classic string bikini, while crisscross detailing add sex-appeal and edge to this season’s simpler looks.

The styles taking shape this season have not veered away much from the runways of 2012. The one-piece cutout suits, or monokinis, are continu-ing to shatter stereotypes that one-pieces must be modest. Monokinis feature daring skin peaking out from every natural curve of a woman’s body. These trendy suits carefully highlight a womanly shape by accentuating hips and waistlines as fabric

carefully weaves to compliment the female frame.As we look at two-pieces, tops are continuing

to shrink as a bandeau style reigns supreme on the runways this spring. This strapless style is perfect for a small bust-line, however, if your cup-size falls somewhere later on the alphabet, a more support-ive top is probably the better choice. Try Victoria’s Secret’s Beach Sexy Line, which allows you to se-lect tops according to bra size for the best possible fitandsupport.

Unlike bikini tops, which continue to perform a designer disappearing act, bikini bottoms are gain-ing inches of fabric as they mimic the high-waisted bottoms of the 1950s. These retro bottoms not only wink at fashion history but also offer a layer of modesty that works to highlight a curvy hip and a small torso. How high the waist is can vary from just below the belly button to a few inches above it.

Choose what makes you feel the most comfort-able,andremember,confidencenevergoesoutof style.

By Taylor Lawrence

Spring into Swimwear

Kayla Lennon wear-ingarufflesdsuit

Leopard print suit on Kayla Lennon

Blue bandeau suit on Naomi Odlin

Tropical print suit on Naomi Odlin

Portsmouth Street ArtBy: Raya Al-Hashmi

At the New Hampshire gun rally in Concord.

Gun ControlBy: Ella Nilsen

January 31, 2013: my first time coming faceto face with a man carrying a semi-automatic rifle.

It’s not as bad as the image suggests. The man, whoever he is, is simply attending a pro-gun rally at the New Hampshire State House in Concord. He’s exercising his right to publicly bear arms, as validat-ed by the second amendment of the United States Constitution. He’s also glaring at me as I point my camera towards him, making me rethink the deci-sion to snap his picture.

In the United States today, there are two sides to the gun control argument, personified bymy en-counter with this man and his semi-automatic. The firstsideof theargumentisthatit’ssafetoassumehe is a licensed gun owner who has been trained in the safety and proper use of this weapon. In all likelihood, this person is a law-abiding citizen with nointentionof firingintothecrowd.

The second side of the argument has less reason to it. It’s as simple as the clench in my stomach and the sudden apprehension I feel as I stare at the gun, with a chorus of ‘what ifs’ resounding in my head. It’s the legacy of Columbine, Virginia Tech, Portland, Aurora, and Newtown. It’s the reality of scanning Twitter for news and seeing at least one multiple-victim shooting per week being reported by media outlets.

Is this the new normal in America?

Gun culture is intrinsically entwined with Ameri-can identity. Guns are everywhere you look, in the language of our Constitution and ever-present in our history. They prominently feature in the re-gional culture of multiple parts of the country, es-pecially in rural areas. As reported by USA Today, rural Americans, counting for one-sixth of the total population, are more than twice as likely to have guns than their urban counterparts.

This statistic has something to do with the fact that hunting is a large tradition in rural America, but really, pro-gun rights and pro-gun identity have much more to do with a belief that guns are es-sential tools for with which American citizens may protect their Constitution-bestowed liberties.

Those who stand against control measures have a number of concerns that have to do with a fun-damental mistrust of big government and an over-arching fear that the current administration will ‘take the guns away.’ Taking the guns away is highly unlikely, but making them more difficult to pur-chase is an increasing possibility.

The change in the national conversation on gun control started after the Sandy Hook massacre in Newtown, Connecticut. Even with a country so accustomed to violence, the shooting of 20 first

graders and six of their teachers and administrators could not be forgotten as easily as previous inci-dents.

The horror that was Sandy Hook actually gar-nered more sustained media attention than any shooting before, and also received a much faster political response from the Obama administration. Three weeks after Newtown, the President passed 23 executive actions to start moving on gun control reform.

In the weeks that followed, Congress took ac-tion as well. Multiple bills are being considered in Washington D.C. right now, but one of the most important ones would expand background checks to private gun sales and nearly all other forms of gun purchase. The bill would also force stricter measures on states that fail to enforce checks.

New Hampshire has its own extremely colorful history with gun laws. N.H. House Democrats re-cently repealed a long-standing state law allowing representatives to carry concealed guns and other deadlyweaponsontothefloorof thestatehouse.While lawmakers are no longer allowed to pack heat while debating, (the ban also extends to the State House gallery and ante-room), they and members of the public can still carry weapons elsewhere in the building.

The N.H. State House weapons ban, enacted by a Democratically controlled state legislature in January, was met with both praise and scorn. Re-publican Representative John Burt from Goffstown told members of the New Hampshire press that he planned to blatantly ignore the law, as the State House rules bar security guards from searching rep-resentatives.

Justifying his stance, Burt stated, “If we become a gun free zone, we are telling every nut in the state we are a gun free zone. I will not be a victim in this House, and I want all the crazy nuts out there in this state to understand that.”

Some Democratic lawmakers pointed out that the State House regularly hosts New Hampshire el-ementary school children, and that the impetus for the ban revolved around concerns for their safety in such an armed environment.

In addition to concealed weapons in the state house, the N.H. House of Representatives consid-ered a number of controversial concealed-weapons bills last year, including one that would have allowed anyonetocarryconcealedweaponsandfirearmsonNew Hampshire state university campuses, includ-ing the University of New Hampshire.

The bill was met with an outcry from public uni-versityofficials,campuspolice,professors,andstu-dents, not least due to the fact that UNH has seen its fair share of assaults, including a stabbing in the 2011-2012 school year.

It’s been fourteen years since 1999, the year of

the Columbine massacre. Since then, 2002 is the only year that has gone by without a mass shooting (definedby theF.B.I. as fourpeoplekilled atonetime, not including the shooter) in the nation. Since 1999, the U.S. has experienced 31 school shootings and since 1982 the country has witnessed approxi-mately 61 mass murders.

The Washington Post recently reported that as of January, there are far more licensed gun dealers than postofficesintheUnitedStates,31,857postofficescompared to 58,344 gun dealers.

Mother Jones Magazine has found that the amount of guns owned in the United States has jumped considerably in the last decade. In 1995, there were an estimated 200 million guns owned privately. To-day there are approximately 300 million. To put that in some perspective, there are approximately 314 million people total living in the United States.

2012 is by far the deadliest year of gun violence on record.

The January afternoon that I go to the gun rally at the New Hampshire state house is sunny but bit-terly cold, like any biting New England winter day. The anger in the crowd that has gathered is just as palpable. Of the approximately 500 people there, most are over 50 years of age. Many are carrying Americanflagsand‘Don’tTreadonMe’flags.Oth-ers hold up signs proclaiming their second amend-ment rights. And then there’s the most bold state-ment of all: those that are carrying guns.

One of the speakers, an older man who describes himself as a former Marine, takes the podium. His voice, tinged with a rugged New Hampshire accent, rings throughout the crowd.

“We’re at a crossroads in our country!” he booms. “The second amendment protects our entire con-stitution!” He states that this is a peaceful demon-stration, that the pro-gun advocates are collecting signatures, stating their opposition to gun control legislation... nothing more. But then comes a warn-ing.

“We don’t want to have to wheel a cannon up to the governor’s house like we did two hundred years ago!” he shouts.

“But we will if we have to!” the crowd responds.Over the next year or more, the legislators will

debate. The pundits will yell. The six-year-old sur-vivors of Sandy Hook will attend therapy for post-traumatic stress disorder and continue their young lives. The families of the victims will mourn and press for change. Gun advocates will argue that we need more guns instead of less.

The debate in the United States has just begun to get serious.

UNH students protest for divestment on campus.

Lecturing on divestment.

A message for the president.

By: Peter Cloutier

The word “divestment” is not commonly found in the college student’s jargon, but UNH’s Student Environmental Ac-tion Coalition (SEAC) is trying to change that. I recently sat down with Fiona Get-

tinger, SEAC Coordinator and former intern at Greenpeace, and Kaity Thomson, a current SEAC member.Iwantedtofindoutwhatdivestmentwasall about.

Divestment is a movement that has spread pri-marily through 350.org, a website created by author and environmentalist Bill McKibben and fellow colleagues. McKibben is credited with writing one of thefirst andmost recognizedbooksonglobalwarming and climate change. His success at mobi-lizing grassroots activism has swayed political lead-ers, including President Barack Obama, to cut car-bon emissions 80 percent by 2050.

Along with some political leaders, many citizens have been inspired to start outgrowth environmen-tal groups. UNH SEAC not only works closely with 350.org, but the groups Better Future Project and Responsible Endowment Coalition, social organi-zations focused on building public awareness on climate issues and supporting positive individual actions.

Divestment is the opposite of investment. Eco-logically speaking, divestment carries deeper mean-ing—making sustainable economic choices by relocating university investments from fossil fuel companies to socially responsible companies. Di-vestmentisnotaspecificreinvestmentstrategy,butan investment screen.

Last November, over 1,000 UNH students signed a petition to divest. SEAC members were among the signatures. Although there is strong student al-legiance to the idea of divestment, the process of institutionalizing the concept will take much more than student action.

SEAC has struggled to open lines of communica-tiontoexplaindivestment’sbenefits.Gettingerhascontinually been denied the opportunity to meet with the UNH Foundation’s Board of Directors. Not to be disheartened, it was with enthusiasm and genuine concern for both the university and social and ecological systems that Gettinger and Thom-son explained the concept of divestment, touching upon issues of sustainability, fiscal responsibility,ethical integrity, and the state of transparency be-tween the student body and the administration.

UNH, nationally known as leader in university sustainability, is not normally hesitant to research potential green investments. Divestment may only need a little more support and a serious examina-tion by the President and board of directors to de-termine its viability. The board of directors, how-ever, has been apprehensive to listen to students. By ignoring the students’ concerns they are ignoring their most fundamental and valuable resource, but SEAC remains undeterred.

On March 4, 2013, NH Listens sponsored a uni-versity dialogue on divestment. The UNH Founda-

tion’s Board of Directors attended, as well as the students, faculty and community. After two hours of small, round table discussions, a general consen-sus became apparent. There must be more trans-parency between the public and the university en-dowment, and the values of UNH must match our investment agenda. SEAC believes this is a step in the right direction, but it will take more education and quantitative analysis to galvanize divestments plausibility.

The University of New Hampshire’s students, faculty, administration—and hopefully the board of directors responsible for allocating the univer-sity endowment—pride themselves on a commit-ment to sustainability and green initiatives. It is not surprising that the university discloses information about its numerous socio-ecologically responsible actions online. Sustainableunh.unh.edu categorizes all actions/initiatives into four categories: C.O.R.E., or Curriculum, Operations, Research, and Engage-ment. Under“Operations,”onecanfind the link to a

program titled the Climate Action Plan. WildCAP, as the plan is abbreviated, is a decision to substan-tially lower UNH’s anthropogenic greenhouse gas emissions, which have consistently gone down since 2003. WildCAP’s various achievements are credited to two other organizations within the university, the Climate Education Initiative (CEI) of the Sustain-ability Institute and the Energy Task Force (ETF), a subsidiary group of the aforementioned, created in 2006. Other programs and initiatives of the univer-sity include the Ecosystem Task Force (EcoTF), the Local Harvest Initiative, and the UNH Revolving Energy Fund (EEF).

On a moral basis, fossil fuel divestment at a uni-versity level means supporting a collegiate com-munity that recognizes the intrinsic value of nature and does not blindly accept exploitation of the natural environment. Although fossil fuel is one of the most viable sources of energy, it is also one of the least efficient. Its production undermines thenatural environment, which humans and businesses alike rely on.

The “greenhouse effect,” of which the burn-ingof fossil carbon isa significantcontributor, iscausing earth’s global temperature to increase. In addition, the ozone layer has already depleted to a dangerous level. Intensified radiation from thesun is now reaching the Earth’s surface. Currently, global temperatures have increased 0.8 degrees Cel-sius. Scientists warn that we cannot afford to reach a global temperature increase of 2 degrees Celsius.

Fossil fuel companies’ oil reserves, cumulatively, contain approximately 2,795 gigatons of carbon. Accordingtothescientificcommunity,thisismorethan enough carbon, if burned, to push global tem-perature change past 2 degrees Celsius. At this criti-cal number the earth’s climate will suffer irreversible changes. To avoid this, divestment seeks to recog-nize higher education’s responsibility to make en-vironmentally prudent decisions, emphasizing the

moral value in not investing in fossil fuels. Divestmentisfinanciallyfeasible.Itisnotaspe-

cificreinvestmentplan,butratheraproposaltocutout the largest 200 publicly traded fossil fuel com-panies from the university’s investment portfolios. Although UNH has made agreements to not dis-close all of its holdings, there is no doubt that the university has stake in the oil industry – an industry whose product and processes kill tens of thousands of people each year from health effects, according to SEAC’s Proposal for Fossil Fuel Divestiture.

Studies have been conducted on whether or not avoiding these ethically worrisome companies and investing in sustainable companies is fiscally re-sponsible. A study by the investment management firmPhillips,Hager&Northcomparestheperfor-mance of Domini, a leading socially and environ-mentally screened fund, to that of the traditional S&P 500 stock index. The report concludes that,‘thechief findingof thisresearchisthatsociallyre-sponsible investing does not result in lower invest-ment returns.’” Moreover,manyinvestmentfirmshaveadopted

similar screens, including Green Century Funds, Portfolio 21 Investments, Green Revolving Funds, andPaxWorld.If successfulinvestmentfirmssup-port divestment, it should not be so radical to be-lieve a progressive public university could make a similar commitment.

In fact, other colleges and universities have found divestmentasbothamorallyresponsibleandfinan-cially feasible option. In November 2012, the Unity College Board of Trustees voted unanimously to divest the school’s $13.5 million endowment “from every industry that is polluting this planet.” Unity has also been joined by Hampshire and Sterling col-leges in divesting.

Why not UNH? UNH is still a leader in university sustainability, being ranked by several lists as one of the greenest campuses in America. Over two de-cades ago, the university helped write the Talloires Declaration, described as “the most bold and de-finitivestatementonhighereducationandsustain-ability.” A section of the declaration states, “The university heads must provide the leadership and support to mobilize internal and external resources so that their institutions respond to this urgent chal-lenge.”

Maybe it is time, even simply from a leadership perspective, for the Board of Directors at UNH to bring more resources to the discussion table. Be-ingoneof thefirststateuniversitiestodivestwouldcertainly send a resounding message of the UNH community’scommitmenttomakingethical,fiscallyresponsible, and environmentally cognizant endow-ment decisions throughout the higher education system.

Divestment can be a sticky process for an endow-ment, whose goal is to reach its yearly return objec-tives and to sustain its capital over the long-term. The UNH Foundation is not normally a high-risk taking entity. According to the foundation, approxi-

Are We Burning Our Future?

Continues on page 43

Adventures of the Abaco DinghiesBy: Jack Callahan

In the northern part of the Bahamas there is an archipelago of cays called the Abacos, a group of islands that sprout up from one of the lon-gest continuous coral reefs in the world. The Abacos and their barrier reefs enclose a protect-

ed body of water called the Sea of Abaco. One of those little cays is called Elbow Cay, and just outside its main settlement, Hopetown, is a small inlet lined with mangroves, where three of the last seaworthy AbacoDinghiesfloat,suspendedintranslucentwa-ter.

The inlet itself is accessible only by water, sur-rounded by dense tropical underbrush too thick to allow a path over the hill into Hopetown. The boats are expertly restored and true to their original de-sign, hardly ever leaving their moorings. Once the main mode of transportation in the Abacos, these dinghies are now being forgotten and close to dis-appearing.

Hopetown is the village that sprang up around the northern harbor on Elbow Cay, where a group of British Loyalists fleeing the newly foundedAmerica landed in 1785. A plaque commemorating their landing is engraved on a small rock found on a tiny beach that stretches along the harbor.

This grubby plaque is nestled under a palm tree and surrounded by the brightly colored cottages that dot the beach. It often goes unnoticed by the touristswhoflocktoHopetowninweeklyintervals.Tourism is the lifeblood of the Bahamas, especially Hopetown. Though tourism is increasing with each passing season, some of the area’s rich history of-ten goes unnoticed.

Thankfully Elbow Cay hasn’t completely been taken over by sunburnt Americans looking for the next Bob Marley. The area is still best known for its lighthouse, famous for being one of the last hand-operated lights in the world. The locals on the seven-mile island rely on their VHF radios for communication and their vegetable intake largely depends on what food arrives on the grocery boat each week.

In this ever-nascent tourist economy, little de-

tails of an earlier life can be found in the closed-up houses of retirees or modest local dwellings. One such detail of that earlier life is the Abaco Dinghy, vital and completely suited to its environment.

Traditionally, the Abaco Dinghy is a small, wood-en sailboat with unique construction. Although small in size, usually 12 to 16 feet, the boat has a keel,which isaheavyweightfixedunderneath tokeep the boat stable and is traditionally found on larger vessels. While the keels on those larger ves-sels are oftenmassivemetal fixtures, the keel onthe Abaco Dinghy is a thin wooden rib down the center, like an elongated surfboardfin.This longthin keel, coupled with an extenuated rudder (the boat’s steering apparatus), creates a boat that can be sailed in very shallow water.

This feature evolved out of a local need because coral reefs in the Bahamian environment are often just feet below the surface and massive sandbars block passage for larger boats with a deeper draw. Now considered a collector’s item, the original Ab-aco Dinghies were built as workboats and were the main mode of transportation in the islands until the diesel motor was introduced to the Abacos after World War II.

Traditionally, Abaco Dinghies were hand-built from local materials like Madeira Mahogany or Caribbean Pine. Man O’ War Cay, an island even smaller than Elbow Cay and slightly to its north, has always been a home to this style of boat build-ing. Local families, generation after generation, built these boats in the traditional style, often with-out power tools. They sometimes harvested the wood themselves from the limited supply their is-lands provided.

As the decades passed, the boats evolved. Some boats were built to be larger in order to carry more supplies while others were built smaller for faster travel. But no matter how heavy the wind, the keel style of the Abaco Dinghy prevented it from point-ing too high into the wind, and long distance travel was cumbersome and slow.

With the introduction of the powerboat, the

Abaco Dinghy lost prominence to the point that my grandfather, Tom Callahan, found one deserted in the mangroves outside Hopetown and paid the nearest boat yard a mere $400 for it. Tom’s Folly was the name he gave the boat, inspired by the constant restoration and maintenance the dinghy required.

Tom’s Folly is one of three restored dinghies that float unused in Frye’s Mangrove. The boat wentthrough a variety of restoration projects, but as the years went by and Abaco Dinghies fell further out of the public eye, the boat builders capable of re-pairing these dinghies became few and far between.

Before my grandfather passed away he left the boat in the protection of a friend on the island, with the agreement that any family members could use the boat free of charge when they happened to be on the island. That friend now owns all three dinghiesthatfloatintheinlet.

I spent some time in Hopetown in January, but I could not sail my grandpa’s old boat because it wason shorebeingfixed.Finding itunder repairwasnotasurprise,andinhindsightitfeelsfitting.The boats are not used for work any longer and are rarely raced. At least it got off the mooring, even if it was just to go in to shore.

The Abacos are a very small section of islands where life moves slowly. Still, the old details are gradually being forgotten. With each new arrival of tourists at the beginning of the week, the dock bars and bantam restaurants start over again. T-shirts are sold, hotel rooms are expanded, and gift shops seemingly spring out of the sand, all on the grow-inginfluxof thedollar.Andasthetourismindustryprospers, so do the locals.

But it is still nice to know, as another multi-story rental home is erected and paid for by hurricane insurancemoney,thatthreewoodendinghiesfloatquietly each night in Frye’s Mangrove as a hand-operated lighthouse sweeps across the starry sky above them.

The Woman in the Blue RobePasseggiata

Pigeons

Snapshots:Florence By: Hannah Marlin

Last semester, I spent four months living and studying in Florence, Italy.ThiswasmyfirsttimetravelingtoItaly.Iamastudioart major in the education program with a concentration in photography.LatelyI'vebeenworkingalotwithfilm,inpartbecause I believe that you can't become truly good at anything

withoutgoingbacktoitsroots.Ifellinlovewithfilm,andnowit'sallIdo.Alotof myworkinItalywastrialanderror,tryingtofigureoutmystrengths and weaknesses. I work a lot with timing, whether that is getting the perfectly timed shot or shooting at the time of day when the light it most desirable. I hope my photographs inspire you to travel while you're still young, because there is a lot more to see that might not be apparent.

Gesù

Flea Market

Photoautomatica

The Whittemore Cen-ter transformed.

There is nothing in this world quite like a college rave in the dead of New England winter. It may be a frigid 15 degrees outside, but that doesn’t matter to UNH students. Just throw on your day-glow shorts and shredded tee, rip shots, and run to the Whittemore center as fast as your legs can carry you. It’s that magical night of the year when girls discard their heels and black miniskirts for beaded white tees, pastel pink shorts, and lime green Converse. UNH bros simply swap out their white Wildcat cut-off tee with one that is bright orange or yellow. Everyone inevitably gets caught trying to sneak in glowsticks.

The turnout for world-famous Dutch DJ Tiesto didn’t disappoint, as around 4,500 people showed up to dance to Tiesto and open-ers DJ Joe Bermuda, Quintino, and Tommy Trash. The night saw four-and-a-half hours of solid dancing from students, and featured the incredible music and lights that Tiesto is known for. Main Street Magazine cameras were there to document the madness and trans-formation of the Whitt from hockey arena to rage central. We hope you enjoy these pictures as much as we do. If you like this spread, head over to our Facebook page, www.facebook.com/MainStreet-Magazine, and check out all of our crowdshots from the show.

Tiesto Plays UNHPhotos by: Ella Nilsen, Raya Al-Hashmi, and Brian Morin

DJ Tiesto.Front row fan.

Waging the War for Internet FreedomBy: Heather Ross

Internet Activist Aaron Swartz.

On January 18, 2012, millions of Internet usersaccessedtheirbrowserstofindtheGooglehomepage masked by a quintessential censorship bar. The search engine’s daily thematic “Google Doodles” illustrate and educate users about obscure observances like Australia Day or the commemorative Last Day of the Canadian Penny. The January 18 doodle, however, was a sign of demonstration, calling attention to the chilling reality about the future of collaborative Internet in the age of SOPA and PIPA, two anti-piracy bills put forth by the U.S. government.

According to The Los Angeles Times, 4.5 million people signed a petition on the Google home page to protest the pending legislations. As a result, the two highly publicized and controversial bills, Stop Anti Piracy Act (SOPA) and Protect IP Act (PIPA), were postponed for reconsideration. The legislation was created to censor and destroy websites that contained copyrighted material. Popular sites like YouTube, Reddit, and Wikipedia are only a few of the many that would have been affected.

Eleven months and 11 days later, disputes about Internet freedom reemerged between a government system lagging in a pre-internet era and a generation of web modernization advocates. The topic inevitably spotlights the government

for its disputed prosecution policy for Internet law-breakersaswellasthehazydefinitionof whatan Internet law-breaker actually is. At the start of 2013, all of this controversy became relevant again because of the death of Aaron Swartz.

A self-proclaimed “applied sociologist,” Aaron Swartz was an esteemed computer programming prodigy who – at just 14 years old – helped create RSS: a format that automatically updates web content for online news feeds. He was also a prominent advocate for a free and open Internet. Swartz’s mission was to spread awareness on what he believed to be injustices in the current U.S. law, which prohibits copyrighted information from being free and available to the public.

He founded Demand Progress, a movement whose mission was to launch “[broad] social movements that would create fundamental, structural change,” according to its website. The group commenced its activist mission with a petition against the “Combating Online Infringements and Counterfeits Act,” which developed into 18 months of activism that helped bring down the SOPA and PIPA legislations in 2012.

In 2008, Swartz launched a “Guerilla Open Access Manifesto,” which eventually developed into his most notorious grassroots movement

to“fightback”againsttheinaccessibilityof scholarlyfileswithoutapaidsubscription.Swartzencouraged his followers to follow his objective, saying,“Weneedtodownloadscientificjournalsanduploadthemtofile-sharingnetworks.”

Swartz pursued his movement by targeting thescholarlycontentonJSTOR:anot-for-profitonline system of archived academic journals that is available by subscription only. JSTOR generally charges libraries, universities, and publishers a subscription fee that can sometimes exceed $50,000. Additionally, portions of the site’s subscription fees are shared with the journal publishers who hold the original copyrights.

As a research fellow at Harvard University’s Edmond J. Safra Center for Ethics, Swartz was authorized to access the JSTOR database from the university network. He instead procured unauthorized access to the computer network at The Massachusetts Institute of Technology through a restricted computer-wiring closet.

According to court documents, between September 24, 2010 to January 6, 2011, Swartz illegally downloaded more than 4.8 million articles by using two computers aptly named “Gary Host” and “Grace Host”: shortened to create the client names “ghost laptop” and “ghost Macbook.”

Swartz was subsequently arrested and charged

in July 2011 on four felony counts: wire fraud, computer fraud, unlawfully obtaining information from a protected computer, and recklessly damaging a protected computer. He faced up to 35yearsinprisonand$1millioninfines.

Swartz ultimately returned the hard drives to JSTOR that contained the articles, and the organization did not pursue the case any further. According to a statement made by the organization, however, prosecutors Steve Heymann and Carmen Ortiz of the United States Attorney’sOfficewerestillactivelypursuingacriminal case against Swartz.

At the time of his arrest in July 2011, Swartz was charged with only four felony counts. Yet,inSeptember2012,theprosecutorsfileda superseding indictment that held Swartz accountable for 13 felony counts, according to a letter written by the U.S. House of Representative Committee on Oversight and Government Reform. The role of this committee – which holds legislative jurisdiction over a number of government matters – is to secure the rights of theAmericanpeopleforanefficientandeffectivegovernmentworkingfortheirbenefit.

“It appears that prosecutors increased the felonycountsbyprovidingspecificdatesforeachaction, turning each marked date into its own felony charge,” wrote Representatives Darrell E. Issa and Elijah E. Cummings, two of the committee members.

The increase in felony counts substantially raised Swartz’s criminal exposure to a maximum of 50yearsimprisonmentand$1millioninfines.

A year after the nationwide protest against the SOPA and PIPA legislations, Aaron Swartz’s legal battle left a number of onlookers feeling disturbed by the government’s fanatical intent to impose a punishment more severe than some states’sentencesforfirst-degreemurder.

From an ethical standpoint, many individuals wonder if the expected punishment matched the severity of the crime, or if what Aaron Swartz did should even be considered a federal crime at all. Advocates saw Swartz’s punishment as a government tactic used to impede other Internet freedom crusaders from protesting the law.

Swartz was one of many advocates for a more balanced approach to a free and open Internet in today’s digital age. Websites that foster a creative, collaborative environment are also some of the most widely visited sites on the Internet today. Consider a site like Reddit, the “front page of the Internet,” that reaches nearly 2 billion page views each month. By establishing itself in an active Internet community of users, the site is at the axis of cultural and social affairs.

“Most likely some of the most important ideas yet to develop will emerge due in part to sites like this,” said Mike Soha, a lecturer in New Media Studies in the University of New Hampshire Communication Department.

The draw of Internet communities like Reddit is that users can contribute to the content and conversation on current events and ideas. If the site were required to start regulating shared content that violates any copyright infringement,

it would diminish the amount of information on the site and destroy the community.

“Our current copyright system is incompatible with the digital age, which thrives on the sharing of ideas and collaborative production of content,” said Soha.

The current U.S. copyright law provides protection for the life of the author plus 70 additional years; earning the author royalties on that property for a very long time. Lobbying corporations like Disney that want to continue earningcopyrightrevenueultimatelybenefitfromlonger and stricter copyright policies.

“Clearly our copyright laws have become more of amethodof generatingmassiveprofitsforcorporate rights holders, rather than protecting creators and ensuring that the needs of a creative society are met,” said Soha.

Advocates for an updated copyright law argue that today’s digital age requires a more balanced set of regulations that protect intellectual property but also protect the expressive, creative, and entrepreneurial potential of the Internet.

Aaron Swartz committed suicide on January 11, 2013 in his Brooklyn apartment. At the time of his death, the 26-year-old had spent a year-and-a-half collapsing beneath the unrelenting pressure of the Massachusetts U.S. Attorney’s Office.Despiteequippinghimself withastellarlegal team to reduce the charges against him, the prolonged indictment by prosecutors Steve Heymann and Carmen Ortiz eventually took its toll. Swartz’sfinancesweredrained,hewasmentally

exhausted, and he had been driven into a state of extreme isolation. Family and close friends argue that Swartz’s suicide was not a result of a preexisting battle with depression, as some sources have recently alleged. Instead, they insist that his suicide was a direct consequence of the incessant efforts of Heymann and Ortiz to lock Swartz up and brand him as a felon.

In a blog post titled: “Steve Heymann Should Be Fired,” Taren Stinebrickner-Kauffman, girlfriend of the late Aaron Swartz, described the prosecutor’s aggressive action in the case as a way of reviving his fading career.

“Heymann saw Aaron as a scalp he could take,” wrote Stinebrickner-Kauffman. “He thought hecouldlockAaronup,gethigh-profilepresscoverage,andwinhigh-fivesfromhisfellowprosecutors in the lunchroom.”

To his supporters, Swartz’s actions in the JSTOR situation appeared not as a malicious, feloniouscrime,butaselflesscrusadetobringabout social change.

“Aaron has never done anything in this context for personal gain – this isn’t a hacking case, in the sense of someone trying to steal credit cards,” said Lawrence Lessig, Director of the Center for Ethics at Harvard University. “That’s something JSTOR saw, and the government obviously didn’t.”

Instead, the government saw Aaron Swartz only as a criminal who committed 13 felony charges and should be punished accordingly. Prosecutor Carmen M. Ortiz, the Massachusetts

U.S. Attorney, declined to drop the charges following Swartz’s relinquishment of the JSTOR documents.

“Stealing is stealing, whether you use a computer command or a crowbar, and whether you take documents, data, or dollars,” Ortiz said in a statement announcing the charges.

According to The Wall Street Journal, Swartz was reportedly offered a plea bargain by prosecutors stating if he pleaded guilty to the 13 felony counts, he would receive a sentence of seven to eight months in jail, but have felony counts on his record for life. Swartz declined the offer.

In an initial blog post titled “Why Aaron Died,” Stinebrickner-Kauffman blamed prosecutors and government policies for the ultimate cause of Aaron’s death.

“I believe that Aaron’s death was caused by a criminal justice system that prioritizes power over mercy, vengeance over justice; a system that punishes innocent people for trying to prove their innocence instead of accepting plea deals that mark them as criminals in perpetuity,” she wrote.

According to Rolling Stone Magazine, some of Swartz’s advocates believe the intense punishment sought by the prosecution was a way of deterring other activists from attempting a similar protest movement.

However, Swartz’s death has only galvanized effortstofinishtheworkhebegan.“Formanypeople, Aaron represented the ethos of the net freedom community,” Soha explained. Many popular forums and websites have defended and celebrated him as a martyr for the pursuit of a necessary change for the greater good.

Fifteen days after Swartz’s suicide, the activist hacking group Anonymous temporarily assumed control of the U.S. Sentencing Commission Website. They left behind a lengthy manifesto of demands on the homepage, including reform to an American justice system threatening the free flowof information.“[Swartzwas]killedbecausehe was forced into playing a game he could not win – a twisted and distorted perversion of justice – a game where the only winning move was not to play,” Anonymous.

Claiming to target the home page of the Federal Sentencing Commission for “symbolic” reasons, Anonymous demanded that federal prosecutions must “return to the proportionality of punishment with respect to actual harm caused.”

In the pursuit of an Internet that is unrestricted by copyright law, Aaron Swartz was the Robin Hood who “stole” for the common good, not for personal gain.

In his honor and ultimate pursuit for a free and open Internet, Anonymous declared digital “war” on the U.S. government and made it clear that the activists will not be silenced. It is now obviousthatthefightforInternetfreedomisfarfrom over.

Defending Hip-HopBy: Brady Brickner-Wood Top to bottom: 2Pac, Chief

Keef, Kendrick Lamar.

Hip-hop is a beautiful form of art. It is unique, a truly genius genre that has woven its way into American culture. Yet for all of hip-hop’s bril-liance, its ugliness is just as prevalent,

andmodern society has had difficulty acceptingit as an art form. Rap supporters have constantly defended the genre as a legitimate expression of art,buttothisdayjustificationisstillneededwhendiscussing hip-hop’s role in America. Yet with hip-hop’s persistent evolution, criticizers and defend-ers alike must reevaluate their positions, for the way in which hip-hop is understood in a broad, societal view is different than it was ten, twenty and thirty years ago. By reviewing the controver-sy throughout hip-hop’s history, modern society can not only hope to better understand hip-hop’s extensive narrative, but also help clarify a debate around acceptance that has clouded hip-hop since its genesis.

Hip-hop was bred from the street corners of America. In the wake of rap’s creation, the new artists in hip-hop were representatives to a world of poverty and violence, a sub-culture of society America prefers to overlook. Early rappers like N.W.A. and Public Enemy helped hip-hop come to power in the late 1980s and early 1990s, and the government, media, and general public reacted with horror and anger to their violent and revolu-tionary message. The battle against this new con-tent went as far as the FBI warning N.W.A’s record label to be cautious of releasing such harmful lyr-ics to the general public, or consequences could ensue.

As rap continued to progress, the drama didn’t go away. With the widespread success of albums such as Wu-Tang Clan’s 36 Chambers, Nas’ Illmatic, The Notorious B.I.G.’s Ready To Die, and 2Pac’s Me Against the World, hip-hop was front and cen-ter in the mainstream and reactions were mixed. Most media outlets and journalists had a hard time understanding these violent and explicit albums, deemingthemunfitforthepublic.Eventheaca-demic world took notice, with a critical essay on hip-hop written by Anthony M. Giovacchini pub-lished by Stanford University in 1999. The essay noted,“thenatureof gangsterrapinfluencedsoci-ety in a negative fashion, yet there (is) nothing that could legally be done to stop this.”

Most rappers at this time were from inner cit-ies in New York and California, where violence, drug use, and misogyny were present. These artists were reflecting their lifestyles in a raw and hon-est way, using hip-hop as an outlet to paint a vivid and blunt picture of their reality. Many in America condemned these rappers for their provocative content, when perhaps the condemnation should have been on the societal factors that enhanced the creationof suchviolentenvironmentsinthefirst

place. The artists at this time didn’t rap about of-fensive issues to sell records or gain fame; they did so because these issues were what they knew. They portrayed the lives they were born into, lives still led by millions nationwide. As the genre expanded in more diverse and creative ways, Americans grew to live with hip-hop, but still shunned it as an art form.

It was well established in the late 1990s and early 2000s that gangsta rap sold records, prompting numerous artists to take on character personas or portray exaggerated violent experiences, including the rappers of Murder Inc., Def Jam and Bad Boy. Eventually, by the mid 2000s, street rap began to lose its mainstream popularity. Even in the eyes of hip-hop defenders, the raw and honest kids from the ghetto were no longer viewed as repre-sentatives of street life, but rather promoters of questionable and dangerous activity. According to a 2005 Time Magazine article, rap sales fell to 44 percent, and dropped to 10 percent of all music sales; the lowest either had posted since the early 1990s. Hip-hop was at a crossroads.

Artists Kanye West and Drake were introduced to mainstream America in 2005 and 2009 respec-tively, and both became pioneers in the genre. West was considered a musical mastermind and helped create a sub-genre of rap, primarily known as “alternative hip-hop,” which focused more on advanced production and realistic, relatable con-tent. Meanwhile Drake, a biracial, middle-class Canadian, became an established rapper with the release of his mixtape So Far Gone. Although heav-ilyinfluencedbyWest’salbum808s and Heartbreak, Drake’s project was groundbreaking. Besides ex-perimentingwith the blending of R&B and rap,Drake was outwardly personal and emotional, treating the microphone as a diary.

With the success of both West and Drake, the violent content of old began to phase out, and content surrounding materialism and the accumu-lation of money became the predominant subject matter. Although this new generation of rappers is a far cry from the violent personas of the old, the trials and tribulations of street life is still a major factor in hip-hop.

Kendrick Lamar was born and raised in violent and gang-ridden Compton, California, but his mu-sic neither promotes nor represses the violence and danger that he experienced. Rather, he ad-dresses it as if he were a narrator to the disturbed lifestyle of the ghetto. J. Cole and Big K.R.I.T. are similar, providing thoughtful and intuitive insights into the life of young black men in a lower socio-economic class.

Even with today’s new approaches and dynam-ics to hip-hop, controversy still looms. Waka Floc-ka Flame and Chief Keef are examples of rappers that provide a new wave of diverse and sometimes

negative attention to the genre. Besides the notion that these rappers lack the talents or skills of tra-ditional rappers, their content is almost solely cen-tered upon excessive materialism, drug, and gun use. The Associated Press said Chief Keef ’s album contains “topics including his menacing character and large stash of cash, (and) is borderline unbear-able,” and BBC says that Waka won’t “wow you with overly insightful wordplay or pause-worthy one-liners.”

Chief Keef has acted as an incidental case study in hip-hop since 2011, as the 17-year-old Chicago rapper has made more headlines off of the mi-crophone than on. With a record of distributing heroin,aggravatedassaultwithafirearmtowardsapoliceofficer,beingamurdersuspect,violatinghisparole for attending a shooting range, and address-ing most of these issues in his music, Chief Keef raises many concerns.

Today, there appears to be a split in how the public perceives hip-hop. Artists such as Kendrick Lamar and J. Cole are deemed thoughtful and tal-ented, in contrast with artists such as Chief Keef and Waka Flocka Flame, who are regarded as rep-resentatives of negative aspects of street culture. The question is, should the latter be chastised be-cause of their content, quality and backgrounds, or accepted as faces in a genre with a multitude of diversity?

All of these rappers are voices and narratives into lifestyles bred from different cultures all across the country. No matter how uncomfortable they make audiences feel, they are a part of the art, and a part of the genre that continues to be mis-understood. To overlook this segment of hip-hop would be to overlook all of hip-hop, and the cul-tures and environments that molded these rappers.

Defending the violent legacy of hip-hop has always been a challenge, yet ignoring or suppress-ing certain artists or sub-cultures within hip-hop would hinder the art and the culture, repressing the voices that help narrate a broader image of race, violence, drug use, and gender roles in America. This is not to say that questioning the content shouldn’t take place. The discussion and criticism of quality and content contributes to the overall growth of art. Yet the repression, or attempted dismantling of content and artists is harmful and is not a successful tool in approaching hip-hop’s serious subject matter.

All forms of hip-hop are part of a larger nar-rative, different realities tackled through rhymes and laced over beats. It would have been conve-nient for hip-hop defenders to write off the mid-90s gangsta rappers as “thugs” or “criminals,” men that shouldn’t be associated with music. But by embracing all forms of hip-hop, we not only learn about the music, but also about the reality of American society.

The local indie-rock band Heads and Tales has recently released their debut EP titled Carousel. The band has been present on the UNH campus for some time now, and all five members are current UNH stu-

dents. Previously known as the Sam King band, the line-up for Heads and Tales includes Charlie Wein-mann (drums and percussion), Ian Sleeper (guitar), Corey Persson (guitar), Tom Sattler (bass guitar), and Sam Johnson (vocals).

Main Street Magazine: How long have you been playing together and who formed the band originally?

Ian Sleeper: We’ve been together since January 2012. Corey and Charlie and I were a blues trio and we played at the Grind. Sam saw us there and asked if he could play with us sometime. The next day, we formed The Sam King Band, which has evolved into Heads and Tales.

MSM: Any lineup changes along the way?IS: Originally, Corey was the only guitarist, and

I was the bass player. We picked up Tom Sattler, a freshman. He and I were in several bands in high school. That makes up the current lineup. We oc-casionally see guest appearances by Kevin Ashley (USMC) on the piano.

MSM: How long have each of you been play-ing music, and have you always played your re-spective instruments?

IS: Charlie’s been playing since the third or fourth grade and has always been a drummer. I started sax in fourth grade, guitar at end of fourth grade, and bass and drums in middle school. Corey started playing guitar in middle school. Sam has been sing-ing since he was very young. He played the violin for nine years and also plays guitar. Tom learned guitar in middle school, and bass in high school.

MSM: How would you describe/define your

style of music? Is it a specific genre or a blend of several?

IS: We tend to go with indie-rock. We like to blend our favorite parts of rock, indie, post-rock, pop, and folk to make our sound. It comes out sounding kind of like Death Cab for Cutie, Radiohead, Young the Giant, or Coldplay, so we go with indie-rock.

MSM: How has the process of exposure been at the university level? What sort of de-mographic do you look to entertain with your style of music?

IS: When we played regularly at Wildcatessen, we had a pretty decent following. Recently, we’ve been limited in our exposure around the university due to few opportunities. We’ve played at every major musical event around campus that we could and continue to seek shows out to grow awareness on campus. Unfortunately, most of our shows have been off-campus and age-restricted by the venues.

MSM: Since arriving at the university, you have undergone one band name change. Has this affected your image at all?

IS: When we were the Sam King Band, the focus seemed to be more on Sam. In a group, we’d be stopped in the dining hall by some girls, who would say, “Oh my god, it’s Sam King!” With the name change, we hoped to focus more on our sound as aband,andlessontheinfluenceof justthefront-man. It was actually Sam’s idea to change the name.

MSM: With the upcoming release of your EP, how much of the UNH student body do you realistically see purchasing it?

IS: By our estimate, only about one percent of the student body has even heard of us, let alone seen us live. We hope that with the advent of the UNH Coalition of Organized Musicians, opportu-nities for exposure around campus will grow.

MSM: How would you reflect on the process of writing this EP?

IS: Writing the EP was an interesting process. Originally, we set out to record four songs: “1942 (PacificTheatre),”“Brushfire,”“TheseAretheBestNights,” and “Moonlit Jetstream.” After we’d re-corded these songs, we felt that four songs really weren’t enough to capture our sound for fans or potential record labels. So we resurrected one of our other early songs, “Cry Me an Ocean,” and gave it a Temper Trap/Walk the Moon feel to match the other songs.

It wasn’t until last week that we decided to add Charlie’s song “Airport,” from Charlie and I’s old band, Good Places. Sam and I re-recorded the song and rounded the album out to seven songs. The process has relied on the whole band and features lyrics by all three of the lyricists in the band.

MSM: Who in the band typically writes melo-dies and the music for songs? What about lyr-ics?

IS: Sam and I typically write the lyrics, though Charliehaspennedfiveof the26originalsonourlist. Ian writes about 75 percent of the music with the other 25 percent covered by the other musi-cians. Each member has liberty of his own parts unlessthesongcallsforsomethingspecific.

MSM: How would you reflect on the process of recording this EP?

IS: We recorded Carousel at HM Recording Stu-dios in Canterbury, N.H. It started in July with “1942”andendedinearlyFebruarywiththefinalmastering. The process was arduous at times due to the time commitment, the long hours, and the travel distance between many of us and the studio, especially during the school hours. Through it all, it’s been worth it. We’re really proud and pleased with the product, and we think it really encapsulates thesoundof Heads&Tales.

By: Graham Hayslip

Heads and Tales

Clockwise from bottom: Ian Sleeper, Tom Sattler, Sam John-son, Corey Persson.

Seven Stages Shakespeare Company: The Ultimate ShakesBEERienceBy: Olivia Whitton

If you’ve ever been hopelessly confused by Shakespeare—lost in the seemingly endless loopof thy and thine and thous—there is fi-nally something better than SparkNotes to help you out. Every month, from September to Feb-

ruary, the Seven Stages Shakespeare Company pres-ents ShakesBEERience, a drunken performance of one of Shakespeare’s many famous plays. Don’t let the alcohol fool you, though. These actors mean business, and most of them are professionals, heav-ily involved with other theater productions in the Greater Seacoast area.

The ShakesBEERience program was launched in September with a reading of “As You Like It” and has grown substantially since then, each perfor-mance proving more popular than the one before. This month’s performance of “Romeo & Juliet”markedtheseason’sfinale,andwhatawaytoendthe season. Held at the Press Room in Portsmouth, the play featured several skilled actors, each of whom started the performance with a hearty glass of beer in one hand, and a script in the other (they only rehearse twice before go-time).

The Press Room is a cozy, two-level venue that,

in addition to being the home of ShakesBEERi-ence, often houses live bands. For ShakesBEERi-ence, the venue’s tables are organized into a circle that the actors perform. This arrangement makes for virtually no bad seating in the house. Admission is free, though they offer a decent pub food menu and an extensive and frequently updated beer list that I suggest taking (and did take) full advantage of.

As they perform, the actors become increasingly drunk, swapping out their empty glasses with new full ones, and taking shots whenever they feel like it. And, in the common event that a character dies—which is six total in “Romeo& Juliet,” for thoseof you counting—a toast is said in their name and generous sips of beer are taken by each actor on stage.Atonepointduring“Romeo&Juliet,” thebar was even incorporated into the show, as Romeo (Joel Colodner) asked the apothecary for poison and was rewarded by the bartender—who recited the apothecary’s lines—with a glass of scotch.

Shenanigans aside, the performances are excel-lent. The play’s Nurse, portrayed in this production by a man (James Sears), provided the sassiness that

the character calls for, delivering lines with a sar-castic bite as he tended to Juliet (Alexandra Bor-rie). Equally powerful were the actors playing the title characters, both of which were sobbing as they actedouttheirfinalscenes,eventuallydyingineachothers’ arms.

ShakesBEERience was, overall, a very excit-ing, very good time. The food at the Press Room was excellent and watching the actors grow more and more intoxicated was hilarious. And, unlike SparkNotes, the performance was extremely engag-ing and allowed for an increased appreciation of Shakespeare’s famous plays.

While this was the last event of the season, Seven Stages will hold a (presumably alcohol free) produc-tionof “Romeo&Juliet”thissummeratPrescottPark in Portsmouth. They have also posted a ten-tative lineup for next season’s ShakesBEERiences, which begin in September and include, among oth-ers, “Henry V” and “Twelfth Night.” Check out their Facebook page for more information, and check out pressroomnh.com for a list of upcoming Press Room events.

Fears lie within all of us. Some are em-bedded deep within us while others are more difficult to suppress. Maybeyou shriek at the sight of a spider, or your stomach turns in unison with the

wild twist of a rollercoaster, but there comes a time in college when an entire class of students finds thatone fearaligns themall. Ithasseniorsseeking refuge in the bunker of Scorps basement and creating freshmen friendships just to anchor themselves back in the safety of Christensen. We all know it is coming, the expiration date of this taken-for-granted wonderland we call college. It’s the dreaded, the inevitable, and the inescapable college graduation.

On this year of 2013, seniors are rejecting the month of May just as millions have before us. But the question remains: what exactly are we all so scared of? What are we hiding from beneath our wildcat-print pajamas? Just how scary is this “real world” we have created in our minds? What ex-actly does it mean for our future, and most impor-tantly,wherewillwenowfinddollardrinks?

The real world is the last remaining myth once the bad news about the Easter bunny, Santa Clause, the Tooth Fairy, and your Uncle Bill’s toupee are

revealed. We have been warned about this obliga-tory mysterious place ever since we could see the end in the long line of books, biddies, and bad be-havior. We have heard about the responsibilities, the serious relationships, and the smog. It is a life consumed by taxes and the lack of reckless behav-ior. Happy hour really only lasts an hour and hun-gover mornings can no longer be nursed amongst a herd of equally hungover peers in the dim light of a crowded dining hall. We can no longer stare at our peers in the familiar sexual tension of the libraryquietrooms.Wemust…emerge.

Despite the fact that a strange man once told me he would “kill a baby” to go back to UNH (not recommended), I don’t think the real world will be all that bad. Here’s why.

The real world may open our eyes to an entirely different culture where people use Wagon Hill for sledding, a blackout references a loss of electricity, and Ramen Noodles no longer qualify as a basic food group. In the real world, a gentleman is dis-tinguishable not because he buys you a dollar drink but because he buys you an eight-dollar drink (a serious display of chivalry).

After a long day of work, you take home a pay-check instead of an essay assignment. A professor

is only someone you interact with if you pop in a Harry Potter DVD, and subtle sex appeal of of-ficeattirebecomesappropriateoutsideof a“CEOandOfficeHoe”party.Thechancesof youbeingswept away in a current of yoga pants, UGGs, and NorthFacesweatshirtssignificantlydecreasesand,if you are lucky, you are paying off debt, not col-lecting it.

In the “real world,” walks of shame still ex-ist, but instead of unsuccessfully clicking around in heels under a pair of male XXL sweatpants, you can hail a taxicab in the privacy of your own shame. You can always drive to the gym, and food exists beyond the buffet-style dining halls. The weekends are yours to spend with little regret and hopefully lots of cash.

Homework assignments no longer loom over your heads and library Sundays turn into lazy Sun-days. Frat boys disappear in a sea of corporate suits and for girls, long walks to Young Drive in short skirts become a thing of the past. But regardless of whether graduation brings you success, puts the fear of God into you, or lands you squarely back in your parents’ basement, pride yourself in the fact that you can always call yourself a Wildcat.

What’s Graduating Got to Do With It?By: Taylor Lawrence

Student Spotlight: Dani OleanBy: Brian Morin

Everyone on the UNH campus is familiar with Campus Special: the pale green coupon books handed out at the beginning of each semester. Campus Special is a large national organization

found at dozens of schools across the country, dedicated to promoting coupons and deals in the local area of each university. It also boasts a competitive, hands-on internship program. An incredible amount of effort from student interns factors into bringing deals to their peers. For Dani Olean, a UNH Communications senior from Stratham, N.H., the summer of 2012 was anything but a break as she walked into countless local businesses to meet with owners and her prospective clients. Who would have guessed coupon books could bring a student so far? Olean says she has learned priceless marketing and selling skills while exploring job opportunities as far away as California through her exciting and trying internship with Campus Special last summer.

MSM: What is the internship in a nutshell?Dani Olean: Well, I’m a communications major

so the fact that I went into a sales internship... people don’t really think about it like that, it’s mostly business majors. But it goes to show you just have to have good people skills.

I got it last April. It’s a grueling interview process. I had to do three or four phone interviews. I remember one of my phone interviews, I ended up having to call and talk to the CEO. I called him and he didn’t pick up so I was like, “Oh my gosh, what do I do? Do I call again?” He ended up picking up after the third call and told me that I passed the test of persistence.AfterIgotthejob,theyflewusall

to Atlanta for three days for training.MSM: How did you hear about it?DO: I found it on Wildcat Careers. I checked out

their website and their career partners. They have outstanding Glass Door reviews. I was excited to dive into it.

MSM: Do you have any particularly strange stories about going and pitching to businesses? Anyone really weird you dealt with?

DO: I dealt with someone who told me to mail him a letter. I walked in and he was like, “Mail me, this is my address.” I told him, “I’m not going to mail you, that’s ridiculous.” I fought with someone for three hours over a renewal once during my second week. It was a tattoo parlor on campus. We battled over $100 for the longest time.

I had two old ladies make me cry. They literally went at me. I told them they had a nice trinket store and they told me, “These are not trinkets, these are handcrafted goods.” They just laid into me. I just crumbled and cried. One of my teammates who was also there in Portsmouth that day went in after I had and started throwing coupon books around their store. We have each other’s backs.

MSM: Top 3 skills you’ve gained from all of this?

DO: Being assertive. It’s something we’re not used to at this age. This really taught me how to assert myself and show that I was the expert on marketing to college students. Being adaptable. You can’t just memorize a pitch and go in and do that pitch to every business. They aren’t all the same. You have to adapt to their personality, how receptive they are and how pissed off they are. Being responsible. It’s not like you just sign a contract and run off, you have to create the ad and make sure the clients are happy. You have to keep in touch with them and keep all of the reporting straight. It teaches you to be responsible and manage your time well.

MSM: What’s your plan when you graduate?DO: I’m an International Affairs major too so

I’m trying to go abroad for a bit. I’ve had a few job interviews and I should be getting offers by the end of the month. I really want to live in California. I’m ready to spread my wings a little more. I’d really like to be out there and have a new breath of air. I’m interviewing with News America Marketing soon. They’re probably my number one because it’s less sales and more marketing. A lot of their clients are already established. I think it’s important to never get caught up in the corporate atmosphere. It’s about the community and if you’re helping people. It’s a tough line to straddle. I don’t want to just be part of a machine; I want to be part of a team.

MSM: What’s the plan for your News America internship?

DO: Their headquarters is in New York City, sothey’reflyingmetoNYC.I’vealreadyhadtwoother interviewswith them.Igeta roundof fiveinterviews then theyflymeback. It’sonaFriday

and I’ll know if I got the job or not the following Monday.TheyhaveanofficeinSanFranciscothatI’d really like to go to.

MSM: Do you have anything you would recommend to other students doing an internship?

DO: If you’re serious about your career, this is probably the best internship you could do, but you have to be serious. It’s not like you’re entering data into Excel sheets. They give you the reins and tell you to make it happen.

MSM: Tell me a little about distribution. How do you get other people to help you hand out the coupons?

DO: I’m the president of Lambda Pi Eta and it’s an honors society so I know they’re all responsible. I just posted on our Facebook group and said it would be $10 per hour. In the spring it’s a lot better because we can be outside. It’s funny because it’s good for students and for businesses, but we get a lot of teachers and administration trying to make it difficultforus.Forexample,wehadapermitsignedby the Durham Police and the director of the MUB to distribute. We were handing out in front of the door of HoCo and they made us leave. They made usgotoUnionCourt.Fourorfivetimessomeguycame and told us we couldn’t be there. We had to call the police to back us up.

MSM: What was a typical day for you this past summer?

DO: I would wake up at 7 a.m. We were expected tobeatourfirstbusinessat9a.m.Iwouldplanoutall my lists, spreadsheets and maps. You don’t want to be driving from Newmarket to Portsmouth to Dover. I would plan for at least an hour. I would go tomy first few leads and I would talk tomymanager a few times a day. I’d go to about 40 businesses. Some days I was out at seven, eight, or nine. Scorps doesn’t open until then. Out of all 40, I would talk to ten owners and nine would reject me. Two or three days a week I would write a detailed report of every business I talked to. Once a week we had a conference call with our whole team. At night, I would email everyone I talked to and email everyone I closed a deal with. I would eat dinner and sleep. It took a toll on my relationship and my friendships, but in the end I’m glad I focused.

MSM: Do you think your communications classes were useful?

DO: I’d like to say my two biggest learning experiences were my study abroad and my internship. I had a few classes that were revolutionary in my mind, but they were after the internship. A lot of the communications classes are theory and kind of dry Ph.D. stuff. Some of the classes we’re practicing dialogue and community building. That’s really useful, but you don’t really get that until your senior year.

In 2011, Boise, Idaho dream-pop wunderkind Trevor Powers released The Year of Hiberna-tion,thefirstalbumof hisYouthLagoonproj-ect. That recordwasfilledwith the intimatebeauty of melodic keyboards and subtle gui-

tars topped with deeply personal lyrics and echo-ey vocals. With Wondrous Bughouse, Youth Lagoon’s second album, Powers pushes that formula to new heights with a decidedly weirder, more developed sound and songs that explore the dark side of the human psyche. On the eve of Wondrous Bughouse’s release, Powers took time to chat with Main Street Magazine about the new album, life on tour.

Main Street Magazine: So, your new album comes out tomorrow. How are you feeling? Excited?

Trevor Powers: Yeah dude, I’m so excited. It’s one of those things, like even when you hold onto something like that for just like a little while and you have to like keep it to yourself, I guess. It’s exciting to just get it out there.

MSM: The new album has been streaming on npr.org since last week. What has recep-tion been like? What have you heard from

people?TP: For the most part it seems good. I guess

my whole mentality is trying to avoid it. I’m on my Twitter sometimes, but for the most part I don’t really read much as far as what people are saying. I think it’s good, based on the reaction of people I know.

MSM: How much do you care about what people say? How do you feel about reactions from fans and critics?

TP: I actually care a lot, probably a little too much, and I think that’s why I try to avoid it, you

One Last Look:MSM Interviews Youth LagoonBy: Jake DeSchuiteneer

Youth Lagoon’s Trevor Powers.

know? It’s really exciting when you see like posi-tive things about something that you’ve done, but I feel like seeing one negative thing has so much weight, it kind of bums you out.

MSM: The album’s title is Wondrous Bughouse. Is there a story behind that?

TP: Yeah, I wrestled with the title for a long time because I wanted something that really applied to the record. I kind of just got wrapped up in the idea of people who are kind of deemed crazy by society. ‘Bughouse’ is a term for an insane asylum. People that are deemed crazy, in a lot of ways, can see so many different things that sane people can’t see. They experience a whole different type of life. And, not that it’s always a good thing, because sometimes those people live in a nightmare.

I guess sometimes I kind of relate to that be-cause my mind tends to wander and have weird OCD-type stuff. There’s something about that idea that really just applies.

MSM: How do you feel this album shows a progression, musically and lyrically, from The Year of Hibernation?

TP: My mentality was similar in some ways go-ing into this record, but in other ways it was com-pletely different. I really approached this one from a vantage point of trying to eliminate any kind of filter,andstripdownanysortof agendas.Mostof it started as a stream-of-consciousness thing. I’d go back later and shape and clean up and stuff. It’s trying to get certain things out of my system, if that makes any sense.

MSM: The song “Mute” seems grander, a little more ambitious than anything on your last album. What went into writing that song?

TP: I would start off a certain kind of idea, and then go back and stack and build and create layers and things on top of it. That song was actually oneof theveryfirstonesIstartedwritingforthisrecord. I probably started writing that song maybe like a little over a year ago or something like that. So it’s had a pretty long history as far as how long I’ve been working on it. There’s something special to that as far as how long I’ve been holding onto it.

MSM: Another track on the album, “Drop-la,” has a lyric, “you’ll never die,” that repeats several times throughout the song. Is there a story behind that? What kind of place were you in when you wrote it?

TP:Thatsongjust…ittoyswiththeideaof thatsort of mentality that I think we all live in where it’s like living in complete ignorant bliss. There’s justcertainthingsyouwanttothinkabout…espe-cially things like death.

I had an experience actually, a long time ago, wheretherewasaclosefriendof mine…Iwasinthe hospital and had to watch as he passed away,

and it was this very eye-opening and just weird, weird experience. It’s trying to, I guess, just em-brace the inevitable but at the same time try to deny it.

MSM: How would you describe your per-sonal songwriting process? Do lyrics come first, or music? How does it work for you?

TP: It’s something that’s usually combined. I’ll start off with a certain idea. Sometimes I’ll just mess around on guitar or on piano or a synthe-sizeroranythingandstartcreating…Usuallylyricsdon’t come right away but I’ll make up things, like whatever I’m feeling in that moment. It’s some-thing that happens in union. And that’s when I go back and start shaping things and turning it into something.

MSM: On the album, it seems like a lot of the themes you are dealing with lyrically are sort of heavy, like the psyche, death, etc… Where do you draw inspiration for lyrics?

TP: I guess usually from a lot darker things. I’m really inspired by dark things and things that are kind of haunting. I don’t know why that is. I just finditmore inspiringthanthingsthatarehappy.There’s something that turns my brain on as far as being inspired when it comes to things like that. I think it’s just the way my mind wanders.

MSM: You’ve got a tour coming up, and at the end you’re playing a show with [indie rock band] The National in June. How did that come about? Do you know the guys in the band personally?

TP: Well, they curated All Tomorrow’s Parties (ATP) Fest outside of London at the end of last year. They invited me to be a part of it and while I was there I got to meet a couple of them. Super rad dudes. It was one of those things where we had met and then our booking agents started talk-ing and worked that out, so I was pretty ecstatic.

MSM: Are you a National fan?

TP: Oh, I’m a huge National fan. Are you?

MSM: I am, yeah! Thanks for asking.

TP: (Laughs) Do you ever feel like you’re being interviewed? Do people ever ask you questions?

MSM: No, you know what, in my experi-ence, I’ve never had someone turn the lens back on me, but it’s nice for once. I really ap-preciate it. It’s nice to feel like someone cares.

TP: (Laughs) For sure, dude.

MSM: How do you like touring?

TP: I really enjoy it. It’s one of those things. When you get used to it, and you get used to per-forming and being on stage, when you’re not doing

it you feel weird. It’s nice to have breaks, but at the same time when you’re back home for a couple weeks you feel weird not being on a stage. I think it becomes kind of a comfort thing after a while because it becomes what you’re used to.

MSM: Which artists would you consider some of your biggest musical influences?

TP: One of my favorites has always been Townes Van Zandt. I’m a really big Townes fan because I’m fascinated by his lyrics and his story-telling.Andhe’ssominimal,butit’svery…Idon’tknow…beautiful, straightforward songwriting.I’m also a big Brian Eno fan. I’m a really, really big fanof ThisHeat.A.R.KaneIlove.…Alotof different styles, even some hip-hop stuff, just kind of everywhere.

UNH Divestment:Continued from page 26

mately 5 percent, or $6.5 million of the endow-ment fund, lies in fossil fuels.

This is an almost negligible amount; thus it low-ers the risks associated with divesting. Screening has also become common practice. According to a Boston portfolio manager and UNH Alum who attended the March 4 dialogue on divestment, many investors now commit to investing in spe-cificsectorsandtailoringtheirportfoliostomatchtheir lifestyles. UNH should do the same.

UNH accepts large donations from corpora-tions including Exxon Mobil, Shell, BAE systems, and Dow Chemical. According to the UNH Foun-dation’s Board of Directors, we cannot afford to turn our back on these economic powerhouses. That the university must cater to the whims of big business seems wrong on to UNH SEAC on many levels.

According to Bruce A. Montville, EE, President and CEO of LifeWise Community Projects, Inc. the identity of socially responsible investing will increase the volume of donations the university receives. It is of paramount importance that the values of sustainability UNH proudly touts are matched by environmentally cognizant investing practices.

President Huddleston believes that divestment is a “complex issue.” It certainly will take more criti-cal dialogue, as well as quantitative analysis, to de-termine the viability of fossil fuel divestiture. The role of students is now to educate one another and work towards a sustainable future together. It is time for the university to be owned by responsible, environmentally conscious individuals, instead of big corporations.