As a graduate of the University of Virginia and former member of the Greek system, I am troubled by the University’s response to the incidents of this past Halloween; specifically the lack of response to the Nov. 22 article in the Washington Post (“2 U-Va. fraternities suspended over photos,” Nov. 20). Although the actions of these individuals were foolish, in no way do they warrant the insinuations that the Zeta Psi and Kappa Alpha chapters promote such behavior and that their members are racist. The University has done nothing to stop these irresponsible suggestions of racism.

I commend The Cavalier Daily Managing Board for its editorial on Nov. 21, “The ignorance of a few,” stating that “we should be careful not to view the actions of some individuals at this party as representative of the attitudes and beliefs held by any particular group of people.” I only hope the University will see the wisdom of such a statement, and protect its students from the ignorance of some.

Robert McGrail

CLAS 2000

When you’re considered one of Brooklyn’s finest and name your album “Quality,” it can only mean one thing: It better be bangin’. Talib Kweli’s first solo album (not counting “Reflection Eternal” because it’s with DJ Hi-Tek) is just that and more, as “Quality” comes with a fresh flavor and original sound that not many artists have.

Kweli achieves a different sound here, not necessarily better, but different, unlike what he came up with alongside Hi-Tek. Kweli and Hi-Tek were able to feed perfectly off each other to make a cohesive, meaningful album in 2000. “Quality” feels more up-temp, with great songs that don’t always flow together.

Producers such as Kanye West, DJ Quik, Megahertz and Ayatollah make contributions on “Quality” — Hi-Tek is nowhere to be found. From what Kweli’s said, there’s no beef between the two, and this album is just Kweli’s effort to try different sounds. If that’s the case, then a “Reflection Eternal” follow-up should be due out soon.

“Joy” features longtime friend Dante Smith, also known as Mos Def. Before you get too hyped about this track, take a deep breath. Mighty Mos never actually spits a verse, he just helps in an interlude between verses. Speaking of the two collaborating, a “Black Star” album, featuring Kweli and Mos as a team, is more overdue than last year’s library book.

“Waitin’ for the DJ” is both a hot party track as well as a tribute to hip hop, as Kweli professes, “music is the air I breathe / the prayer I lead / rappin’ in the atmosphere up there in the breeze / stronger than the revolution that you wear on your sleeve.” Bilal makes the hook hot, and the fact that this is a party track with actual lyrics makes it a classic Kweli joint.

The M.V.P. (Most Valuable Producer) award on “Quality” goes without question to West, also known for doing Scarface’s “Guess Who’s Back,” as well as various Roc-A-Fella joints. On this album, West got behind the boards for “Guerilla Monsoon Rap,” “Get By” and “Good to You.”

“Guerilla Monsoon Rap” features The Roots’ Black Thought and Pharoahe Monch, one of the most unappreciated lyricists in hip hop. Pharoahe kills the track, but having all three dope emcees collab is almost unheard of these days.

Let’s face it, most of us have a lot on our plates, and just getting by can be a challenge. If you can relate, “Get By” should be your new theme song. Over a funky keyboard beat, Kweli raps, “every day folks wake up not to live, but to get by.”

“Good to You” has been out for more than a minute now, but it’s still one of the best lyrical cuts to hit radio. Kweli blazes over the West beat with cutting lines like, “you lyin’ like a politician / your proposition meets opposition like contradiction.”

Kweli turns into Angelo Crowell as he tackles a variety of issues on “The Proud.” Transitioning flawlessly between subjects, Kweli hits on Timothy McVeigh, the attacks of Sept. 11, police brutality and the government. This is one of those tracks you’ll keep listening to just trying to catch all the knowledge being dropped.

West Coast legend DJ Quik produces a bouncy beat and also rhymes on “Put It In The Air,” which first appeared on the “Soundbombing Volume 3″ compilation earlier in the year.

Appearances on this LP are plentiful, with artists like Bilal, Res, Mos Def, DJ Quik and Cocoa Brovaz. Normally appearances can slow down an emcee’s album because everyone comes through on different wavelengths. On “Quality,” though, the cameos enhance the overall “quality” of the album, because, for the most part, Kweli recruited artists to do what he can’t do. A real artist knows his limitations, then enlists the proper personnel to help out, which is where people like Bilal, Res and Vinia Mojica come in.

Rap cats like Pharoahe Monch, Black Thought and Cocoa Brovaz are good emcees that break up Kweli’s flow in certain points and give “Quality” some vocal diversity. Kweli could hold down a full-length album by himself if he wanted to, but the help he was able to get here will be tough to beat for other artists in the near future.

Artists like Talib Kweli don’t come through often, so when an artist with such a high lyrical ability drops a near-classic, if not classic, it’s important to check it out. Kweli is one of the few true lyricists in the spotlight. That’s ridiculous, because there are a lot of hot emcees putting out important work and getting no shine. But regardless of the attention Kweli gets, as long as he keeps putting out quality music, he deserves a look, no matter what music you listen to.

The 1950s — how perfectly marvelous. A decade of illusion and suffocating attention to the nuclear family, a decade in which everything seemed as bright and sunny as the Technicolor that characterized its movies. At least, according to Todd Haynes’ “Far From Heaven,” which dismantles the illusions and turns the American dream into a nightmare. Aw, jeez.

The 1950s defined America with cheery suburban family life. The reaction? Two decades characterized by hallucinogens and aggressive rock and roll. An oversimplification, certainly, but clearly the goody-goody illusions of the 1950s left a deep impression on America’s psyche.

Following the cue of 1950s throwback “The Man Who Wasn’t There,” the picture-perfect family crashes from its pedestal to its grave in “Far from Heaven.” Unlike the Coen brothers’ homage to film noir, Haynes’ film is inspired by the sociocritical American melodramas of the 1950s, particularly Douglas Sirk’s films, and especially Sirk’s “All That Heaven Allows” (1955). Whereas “The Man Who Wasn’t There” has a ball deadpanning its genre, “Far From Heaven” focuses more on an accurate revision of its inspiration, but not without its own tongue-in-cheek fun.

Julianne Moore (“Safe,” “Boogie Nights”) stars as Cathy Whitaker, the perfect mother/wife/upstanding citizen of Hartford, Conn. Her husband Frank, played by Dennis Quaid (“The Rookie,” “Traffic”), is a closet homosexual finally tuning in to his repressed desires. The couple, known in the community as “Mr. and Mrs. Magnatech” thanks to Frank’s role as successful business executive, seem as happy as can be, with two preteen kids, a beautiful home and a respected position in the community.

As Frank withdraws increasingly from his wife, she pursues a friendship with her black gardener, Raymond (Dennis Haysbert from “24″). The community shakes its head in indignant disapproval and make Cathy’s, Frank’s and Raymond’s lives miserable, as well as the lives of their children. It’s a downward spiral, as Frank’s “treatment” for heterosexual conversion fails to work effectively and Cathy and Raymond become even closer.

The movie takes great care in accurately mimicking the tropes of the original 1950s melodramas, particularly in cinematography and acting. Moore does an impeccable job with her dramatic close-ups, frequently gazing into the distance in desperation, and her character is dead on, right out of a Sirk film. Keeping a cheery smile on her face at all times, even after being physically hurt by her husband, Cathy maintains the illusion of contentment as competently as her maid maintains the Whitaker house.

Kudos to Haynes for attempting a critical melodrama in an age of critical cynicism, but whether the film is effective or not really depends on the viewer. “Far From Heaven” does its job, but it does it self-consciously, and it’s hard to know how to take it in the cultural landscape of the 21st century. Just as film has changed since the 1950s, so has its audience.

Why this displacement into 2002? Interestingly, “All That Heaven Allows” depicts a relationship between an older woman (a widow) and a younger man (her gardener) wreaking havoc on the town community. But homosexuality and race have no place in the Sirk classic. Either one would have been too much for the movie’s audience.

“Far From Heaven” explores both issues extensively, using 1950s-era mentality. Unfortunately, perceptions have not changed much since then, and taboos, although constantly challenged, still are, for the most part, in place. Thus, “Far From Heaven” remains very relevant to the 21st century.

Haynes’ film is by no means a parody of 50s-era film, which often subtly criticized its subjects; rather “Far From Heaven” uses 50s-era attitudes to examine some of the problems faced by Americans today. Audiences may cringe as they listen to a doctor list of methods (e.g., shock treatment) to overcome homosexuality; they may snort in disbelief as they hear good-hearted Cathy condescend to Raymond, “Because you know, I’m not prejudiced

.” But these moments beg the question of just how much more informed and tolerant we as a society are today.

To be sure, some moments of the film are hokey and dripping with melodrama. All of them are intentional, though some come off more silly than convincing, which is regrettable.

As a movie, “Far From Heaven,” while beautifully filmed and very well made, is not especially interesting or emotionally gripping. As an object attempting to parallel two very different moments in American culture, however, the film is relevant, provocative and largely successful. Unfortunately, that does not automatically translate into a memorable film-going experience, and so “Far From Heaven” fails to live up to the potential it creates for itself.

Two short years ago, limp rap-rock hybrids were poised on the verge of global domination. At the very moment when his country needed him most, the incomparable Zack de la Rocha, patron saint of heavy metal hip-hop, announced his break from musical and political revolutionaries Rage Against The Machine, citing communication breakdowns and newfound faults in the band’s decision making process.

Soundgardener Chris Cornell had been cultivating their work from behind the mixing board, an unseen and largely uncredited force in the Rage studio prior to his outright assimilation. The music industry was set abuzz when word began to spread that he had been recruited and might soon be return to the mic. He required a name change to accompany the inevitable stylistic differences that would take shape. The result was an intriguing stylistic juxtaposition of two of the most groundbreaking bands of the 1990s, released last week as the self-titled debut from the newly christened Audioslave.

They have rather pretentiously chosen to bill themselves as a “supergroup.” While the band was built from the remnants of what clearly were two of the most important rock bands of the decade, this moniker isn’t quite appropriate. For starters, the term brings to mind collaborations in which the best and brightest artists of a generation come together to form a union that is more than the sum of its parts. Bassist Tim Commerford, however, is known more for his oddball antics than for his playing abilities, and drummer Brad Wilk certainly is no superstar either.

Furthermore, Audioslave pretty much is exactly what you’d expect to hear from a blend of Rage and Soundgarden, because the two groups don’t mesh terribly well. You probably won’t really hear Audioslave in any of the songs; instead, you’ll hear bits of Rage in some places and bits of Soundgarden in others. This might just be a listener-manufactured shortcoming resulting from the legendary status of each band, but that doesn’t make it any less distracting.

Audioslave is not as experimental as Soundgarden, a fact that seems rather backward and quite unexpected given guitarist Tom Morello’s reputation for six-stringed innovation. A sizable number of Soundgarden’s songs were rather peripatetic, meandering around enough to make you forget where you started. Rage provides a more monochromatic backdrop for Cornell. That’s a welcome change in many ways — he has one of the best voices to shake up rock music in a very long time, and it deserves to be in the spotlight.

There are a few twists in the formula here, though. One might expect a consistent combination of Cornell vocals lying atop raging metal riffs. However, although the Soundgarden influence is present only through the singer, a good deal of the background music is far too reserved to be drawn from RATM’s bag of tricks. While likening it to Soundgarden’s instrumental backing is both inaccurate and predictable, this absence of RATM techniques clearly is Cornell’s doing, because the other band members all hail from the same shared background.

In addition, Cornell clearly is driven harder and faster by his new band than by his last. On the whole, the vocals here tend to be more energetic than those he lent to Soundgarden, often struggling to keep up with the other instruments.

Therein lies one of the biggest flaws with the record, and indeed with the entire Audioslave approach. The Rage crew hasn’t really changed direction to adapt to their new frontman. While de la Rocha was by no means the sole reason for the former band’s success, his presence was absolutely crucial because of the symbiotic manner in which his lyrical delivery and the band’s thunderous riffing facilitated one another. With Rage, the repetitive din of distorted instruments was constantly punctuated by the piercing starts and stops inherent in a rapped performance. These days, Cornell finds himself in the same situations time after time, but his vocal style consists of gritty wails that stretch one or two syllables over several measures. Now, within the same stretches of time, there just aren’t enough changes of flavor to make up for the lack of variety in the instrumental parts, and frequently the music feels a bit forced.

That said, Audioslave’s debut is a very good record. It is nowhere near incendiary enough to please Rage fans looking for a replacement, but these boys have made some fine rock here. Surprisingly, many of the best tracks on the album, such as “Like A Stone,” “I Am The Highway” and “Getaway Car,” are those that slow down and placidly trade distortion for poignancy. The decision to release “Cochise” as the lead single obviously was made by an imbecile — even when drawing only from the heavier anthemic pieces that could be used to sucker Rage cravers into buying the album, “Gasoline” would have been a far better choice.

Try to keep an eye on Audioslave in the near future. A great deal of artistic growth is evident when the final product is compared to the early demos that were leaked onto the Internet a few months ago, suggesting that even better things may be on the way. Far more entertaining, however, is the prospect of a soap opera or two within the band. Several months before the record was released, Audioslave had already disbanded, dropped out of a major summer tour and then regrouped. Let’s hope they’ve got it in them to stick around this time.

Potential 2004 presidential candidate Sen. John Edwards, D-N.C., called for making the first year of school at public colleges and universities free and for ending early admissions policies, in a speech at the University of Maryland on Friday, Nov. 22.

Edwards said the federal government should offer a free first year of college to any student admitted to a public school or community college and who spends 10 hours a week performing community service or working at a part-time job.

Edwards spokesman Carlos Monje said the program would encourage more students to attend college.

“Once you get them in the system they start to see the opportunities for financial aid,” Monje said.

The chances of the proposal making it into law are not necessarily good.

Politics Prof. Larry J. Sabato said the free first year of college was “a great campaign promise” but had “virtually no chance of being enacted into law.”

“It’s just too expensive,” Sabato said.

In the speech, Edwards said the proposal would cost a total of about $3 billion per year if the government saved $2 billion by making student loan payments directly to students rather than through banks.

Dave Schnittger, a spokesperson for the House of Representatives Committee on Education and the Workforce, said President Bush and the Republicans would rather see money go to the Pell Grant program — a federal grant for undergraduate students.

“Money doesn’t grow on trees, particularly in a time of war,” Schnittger said.

Edwards also called for colleges and universities to end early admissions and “legacy” policies that give preference to relatives of alumni.

Edwards criticized these policies for benefiting the wealthiest and best-informed applicants, Monje said.

“Instead of valuing parents who have worked for years so their child could be the first in their family to go to college, these schools actually put that child at a competitive disadvantage,” Edwards said in the speech.

Edwards is asking colleges and universities to end such policies voluntarily for now, but has not ruled out the idea of offering legislation eventually, Monje said.

Legislation to end early admissions or legacy policies also is unlikely to pass Congress, Sabato said.

Edwards also proposed paying the entire tuition for any student who agrees to spend five years teaching in inner city or urban schools, and encouraging high schools to make college prepatory education standard for all students.

Pundits have mentioned Edwards for months as a potential 2004 Democratic presidential nominee.

Speeches like the one Edwards made Friday indicate he will run, Sabato said.

“He’s clearly running for president,” he said. “There’s no doubt about it.”

Edwards is among three or four frontrunners for the Democratic nomination, he added.

Edwards still is deciding whether he will run, Monje said.

The Charlottesville Redevelopment and Housing Authority, which provides housing for low-income families in the area, opened its Family Resource Center at 803 Hardy Dr., off 10th Street yesterday.

The Center aims to assist low-income families in setting and keeping their career goals and to help them gain independence from federal assistance programs. People can use the facility to search for jobs on the center’s computers, schedule classes and ask on-hand staff for help with housing eligibility and other financial plans.

“A lot of families don’t already have basic skills,” CRHA Executive Director Del Harvey said. “We want to help people brush up on skills such as time-management and budgeting to improve their chances of getting jobs.”

One service the center will offer individuals is an escrow account — when families receive an increase in earned income, that amount will go into the account, Harvey said.

“When you achieve the goals you set, like getting a GED, the money in the escrow is then paid out to you,” she said. “It helps families focus on their goal and stay on track.”

Potential future projects include classes in time-management, nutrition, budget planning, credit counseling, business planning and pest control.

Hundreds of families already use several Housing Authority sites in Charlottesville. A site on South 1st Street houses a computer lab and offers adult education, for instance, and a site on 6th Street is home to after-school programming and adult education.

Two thousand Charlottesville residents live in subsidized housing provided by the Housing Authority. There are almost 400 public housing units in the City of Charlottesville.

Formerly a maintenance garage, the Family Resource Center space is “right there in the community,” Harvey said. “It’s right there so folks can take advantage of the programs.”

Harvey said she anticipates that many families will feel compelled to visit the center, because of the number of low-income homes in the area.

Charlottesville City Council Kevin Lynch member applauded the opening of the new center.

“I think it’s a great program,” Lynch said. “I’m supportive of it.”

Seventy percent of families in Charlottesville public housing earn less than $10,000 per year, and 13 percent make less than $3,000 per year.

The number of households with children headed by a single mother in Albemarle County is 1,803, 5.7 percent of the total number of households, according to the Census Bureau.

The Authority was established in 1954, and set up its first public housing site in 1965. It operates under the Department of Housing and Urban Development, and is governed by the Board of Commissioners, appointed by the City Council.

Construction on the space began in June and was finished in early November. The $133,000 center was primarily funded by HUD, as well as through a $10,000 grant from the city.

More than a year and a half after Physics Prof. Louis Bloomfield initiated the 158-case plagiarism investigation that drew national attention to the University’s honor system, committee members announced yesterday that the last of the resulting honor trials have been completed.

Of the 158 students whose cases were processed, 59 were formally accused of an honor offense. Twenty students, some of whom had graduated, were found guilty in trial, while the remaining 28 chose to forgo a hearing and withdraw from the University.

“The completion of the Bloomfield cases is a significant milestone for the honor system,” Honor Committee Chairman Christopher Smith said.

The incident began in December of 2001, when a student in Bloomfield’s Physics 105 and 106 “How Things Work” class met with him to complain about receiving a low grade on the course’s final paper assignment. During their discussion, the students mentioned that others in the class had received higher grades by recycling the papers of past students.

The following April, Bloomfield wrote a computer program that would analyze six-word strings within the papers and report which ones were suspiciously similar.

At first, 122 students out of roughly 1,400 who had taken the course over the prior two years became suspects. That number grew to 158 as further computer analysis turned up more suspicious papers.

But a class policy allowing students to refer to old papers as examples led investigators to vindicate the original authors of the copied papers. This and other findings reduced the number of formal accusations to 59.

“The sheer volume of cases tested the ability of the honor system to efficiently process cases, and the honor system passed the test,” Smith said. “It is stronger today than it was a decade ago.”

Bloomfield agreed, saying that he was “immensely impressed with how [the Committee] handled the situation.”

When the investigation caught the attention of the national media in May of 2001, it sparked widespread debate over the justice of a single-sanction honor code. Many opponents of the system argued that Bloomfield had gone out of his way to trap students in a system in which honor and integrity ought to be presumed.

Bloomfield said that while he “felt bad for the students convicted,” the investigation was both fair and necessary.

“I can only give students this assignment in an honorable climate where they put education in front of trying to get good credentials,” Bloomfield said. “But they broke the promise, or trust, that they agreed to when they came here.”

The number of students found guilty of cheating represented approximately 2 percent of the total number of students whose papers were examined, a statistic which Smith calls compelling proof of the efficacy of the honor system.

“When compared with survey research which shows that roughly a third of college students admit to cheating, the 2 percent of U.Va. students found to have plagiarized in this class seems extremely small,” Smith said.

Nevertheless, the incident represented what Smith estimated to be the typical caseload for about two years’ work.

“It was a massive load that came as a shock to the system,” said Duncan Brooks, the Committee’s vice chairman for education. “I think the cases brought a lot of publicity, which is a good thing. It forces us to look at the system.”

The pharmaceutical company Aventis Pasteur Inc. issued a nationwide recall yesterday of its meningococcal vaccine, which may have been administered to University students who received the vaccine after Jan. 1, 2001.

All students received information about the recall via e-mail from the Department of Student Health.

The meningitis vaccine administered Nov. 7 at Newcomb Hall was not among the recalled lot, according to Student Health Executive Director James Turner.

Turner also stressed that the 192 students who received a recalled vaccine from Student Health already were notified by mail.

“Any student who received a recalled vaccine would have received a registered letter from Student Health,” he said. “If a student received a meningococcal vaccine from Student Health and did not receive a registered letter, then they did not receive a recalled lot of the vaccine.”

The recall was the result of data that indicated the Menomune-A/C/Y/W-135 vaccine may have the potential for reduced protection against the disease caused by serogroup A, according to Aventis Pasteur Spokesman Len Lavenda.

“Every vaccine has a shelf life, and we keep a sample of vaccine from every batch we produce and test it periodically to make sure it is still effective,” Lavenda said. “Some doses from the lots lost potency after a year, and as a precaution we recalled all remaining lots administered up to one year later.”

Menomune-A/C/Y/W-135 is given in both single-dose vials and 10-dose vials. Only the single-dose vials were affected by the recall, Lavenda said.

“There was something in the single-dose vials that made them lose potency, and we are trying to find out what that was so we can fix it and distribute the vaccine again,” he said.

The recall likely will not endanger most college students and will only effect those travelling to parts of the world where serogroup A is prevalent, Lavenda said.

“Serogroup A virtually does not exist in the U.S. — only in Africa and certain parts of the Middle East,” Turner said. “If you received the vaccine simply because you are a college student in the U.S., then you don’t have to worry about the recall.”

Only those intending to travel to high-risk areas should be concerned with revaccination, he added.

“I received the meningitis vaccine from my doctor at home, but I’m not too concerned about the recall since the risk in the U.S. is so small,” first-year Engineering student Jorge Rodriguez said.

Lavenda advised anyone with further questions to contact their health care provider.

The Inter-Fraternity Council announced its decision yesterday to bring both Kappa Alpha Order and Zeta Psi fraternities to trial for charges of racially offensive acts.

Allegations of improper conduct first surfaced Nov. 18 with the discovery of photographs taken at the fraternities’ joint Halloween party.

The photographs, which revealed students dressed in blackface, prompted the IFC Judiciary Committee’s week-long investigation.

With the conclusion of their investigation, the IFC-JC determined the need to hold a trial proceeding instead of dropping the case or holding a hearing panel which would have expedited the process, said Zach Terwilliger, IFC vice president for judiciary.

Terwilliger made the decision to hold a trial after his examination of investigation reports.

According to IFC President Phil Trout, trials for the two fraternities will be held separately during the week of Dec. 2.

The most severe sentence that can be invoked in a trial is recommendation for a chapter’s expulsion, Terwilliger said. The fulfillment of such a recommendation would require a three-fourths approval of the IFC Presidents’ Council.

Terwilliger could not comment on other possible sentences, so as to avoid influencing the jury’s decision.

Other institutions facing similar problems — such as Auburn University, which issued charges against fraternities last year for racial offenses — responded by enforcing community service requirements and agreements to advocate diversity.

“I trust the IFC-JC will handle this professionally and thoroughly,” Trout said.

During the trials, the investigation report for each case will be presented to the jury, which includes comments and statements issued by the involved parties, Terwilliger said. The jury will consist of six men from IFC chapters.

Members of Kappa Alpha and Zeta Psi will not be permitted to sit on the jury, he added.

In addition to taking judicial action, the IFC has responded to this incident by contacting minority groups and facilitating communication about diversity issues.

During a meeting held last night, presidents of the IFC, Inter-Sorority Council, Black Fraternal Council, Multicultural Greek Council and Student Council — as well as representatives from other groups, such as the Asian and Latino Student Unions — convened to discuss the current state of diversity in the Greek system.

“I wanted to initiate a dialogue about race and the Greek system and get ideas as to where the IFC needs to go from here,” Trout said. “Diversity is definitely a long-term issue. This incident has only accelerated our efforts.”

Both Kappa Alpha and Zeta Psi will remain temporarily suspended by the IFC, pending the completion of the trials, Trout added.

The ISC continues to conduct a separate investigation against two of its own chapters — Kappa Kappa Gamma and Kappa Alpha Theta — which allegedly were involved with offenses at the party.

U.Penn students granted right to form a union

A Nov. 21 decision by the National Labor Relations board will allow 1,000 graduate assistants at the University of Pennsylvania to form a union.

Dorothy L. Moore-Duncan, the Labor Relations Board regional director, concluded that the students should be considered university employees.

Eleven months prior to the decision, the Organizers of Graduate Employees Together-University of Pennsylvania filed a petition to form a union but was the university declined the request.

The union would consist of teaching and research assistants. Students still have to approve the union, and elections will be scheduled during the 2003 spring semester.

The university plans on appealing the decision, University of Pennsylvania spokesperson Lori Doyle said in a Chronicle of Higher Education article.

“We don’t believe the decision makes sense for graduate students at Penn and are confident that the students themselves, like their counterparts at Cornell, would come to the same conclusion,” Doyle said.

Cornell University graduate students recently voted against forming a union of graduate assistants in Ithaca.

–Compiled by Deirdre Murphy