Second graders buzzed with curiosity and excitement after harvesting honey from the Hutchison farm during their study of bees. They were mesmerized by the process, from scraping beeswax o the hive frames to harvesting the honey and bottling it to take home.
Photograph by Nina Wurtzel, NYC
“
FOLLOW
PASSIONS, BECAUSE IT’S SO FULFILLING. ”
— EBET ROBERTS ’63
I once heard a recording of musicians in a studio. Before they began playing, they were tuning up and one musician asked: “Is this practice?” To which another musician answered, “ ey’re all practice.”
When I was in college at Wake Forest, I considered myself a skilled eld hockey player. It also took a lot of practice. ese days, I am committed to yoga, but it requires me to get up every day, way too early, and practice. at’s not to say that we can’t master certain skills and recognize that everyone has di erent talents and strengths.
I hear similar ideas when I talk to our alumnae. Ebet Roberts ’63 didn’t consider herself a professional photographer at rst, but the more she worked—another word for practice—the more she learned. You’ll see how that practice paid o when you read her story and see her amazing photos. Similarly, every time Laura Sanderson Healy ’77 reported on a story for People magazine, whether it was about Princess Diana or Madonna, she learned something new. It was practice for the next story. Both of these alumnae mastered their respective skills.
ere are other skills that require continual practice. Living as a responsible citizen is one of these. It isn’t because we aren’t competent or that we’ve failed in some way. It’s because the issues surrounding being a responsible citizen are complicated, nuanced, and ever changing.
Teaching girls to become responsible citizens is part of the Hutchison mission. It’s something that we discuss with our girls throughout their time with us. We recently produced a video describing how we approach teaching the subjects of history, government, and civil discourse. Two of our teachers, Ronnie Robinson in upper school and Will Askew in middle school, as well as a few of our students, explain how they balance ideas and viewpoints in the classroom. You can watch the video by scanning the QR code below. Life is practice. With practice comes learning and growth. I believe we are lucky for the opportunity.
Warmly,
Kristen Ring, Ed.D. | President and Head of School
MISSION
Hutchison School is dedicated to academic excellence and to the parallel development of mind, body, and spirit as it educates young women for success in college and for lives of integrity and responsible citizenship.
HUTCHISON MAGAZINE
DECEMBER 2021
PRESIDENT AND HEAD OF SCHOOL
Kristen D. Ring, Ed.D.
EDITOR
Max Maddock Director of Communications mmaddock@hutchisonschool.org
CONSULTING EDITOR
Lori Guy Director of Strategy lguy@hutchisonschool.org
ALUMNAE DIRECTOR
Mary Aubrey Landrum Stafford ’10 mstafford@hutchisonschool.org
DESIGNER
Barbara Himber
To view the video, open the camera on your phone and scan this QR code.
PHOTOGRAPHY
Cathy Barber, Brandon Dill, Mark Harlan, Danielle Katz, Ebet Roberts ’63, Caroline Schaefer ’08, Margie Woods, Nina Wurtzel, and various Hutchison constituents.
Hutchison Magazine is published by the Hutchison Communications Office.
Please forward address changes to: HUTCHISON SCHOOL 1740 RIDGEWAY ROAD MEMPHIS, TN 38119 or khouston@hutchisonschool.org
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Annabelle Bridgforth ’22, Shubhi Singh ’22, and Wylly Willmott ’22 (pictured left to right) have been named National Merit Semifinalists based on their junior year PSAT scores. They will now advance to compete for finalist status and some 7,500 National Merit Scholarships that will be offered in the spring.
Faith Egedegbe ’22 Named Scholar
The College Board named senior Faith Egedegbe a National African American Recognition Program Scholar. This program recognizes academically exceptional African American students who have scored in the top 10 percent of the state on the PSAT or earned a score of 3 or higher on two or more AP exams by their junior year. To qualify, they must also have a cumulative GPA of 3.5 or higher.
The National Civil Rights Museum and International Paper recently awarded a Keeper of the Dream Award to senior Rheagan Crenshaw. She was recognized for her acts of compassion, leadership, commitment, and service through her volunteer initiative, Rheas of Hope, which creates volunteer opportunities that connect teenagers and senior citizens at various local nursing homes.
courtesy of Demarcus Bowser, IP
President and head of school Dr. Kristen Ring now serves as the president of the Tennessee Association of Independent Schools and on the executive board of the Memphis Association of Independent Schools. She was also named to The Memphis Business Journal’s 2021 Super Women In Business cohort. The MBJ described the women voted as Super Women this year as “the area’s own mountain movers” and “among the city’s savvies … both awesome and awe-inspiring.”
Fifteen Hutchison faculty members presented at the Tennessee Association of Independent Schools (TAIS) Biennial Conference in Nashville in November. The largest independent school conference in Tennessee brings together hundreds of teachers and administrators for professional development sessions and events. Faculty members’ presentation topics included Helping Each Student Discover, Explore, and Share Her Story and Building Community Through Civil Discourse. Alumna Kiya Brown ’21 joined Hutchison faculty for the Civil Discourse session and discussed the impact those seminars had on her as a student.
Hutchison students in She Leads, a pilot program with Girl Scouts USA, worked with Memphis potter Kristi Duckworth to create a mosaic mural for the memory care dining room at Trezevant Manor, a retirement community in Memphis. The mural illustrates Memphis history from 1930 to 1960 and is based on images from the Perre Magness Mid-South and Memphis history collection in Hutchison’s library. The Hutchison girls interviewed residents and listened as they recounted stories about their early years. Most of their subjects grew up in the surrounding rural areas before coming to Memphis as young adults, so the mural depicts how “all roads lead to Memphis.”
Memphis historian Perre Magness, Kristin Nunn ’22, artist Kristi Duckworth, and Caroline Brickey ’22 at the unveiling of the mural at Trezevant Manor.
Two groups of upper school girls each received a $1,000 Kemmons Wilson Family Foundation Impact Grant to help them implement service projects in the Memphis community. Seniors, above from left to right: Zoe Borkowski, Mariam Husein, Madison Borkowski, and Hamna Tameez, who started the Gold Star Girls, will work with the Refugee Empowerment Program. Juniors, above from left to right, Juliet Tayloe, Claiborne Collier, and Lucy Chiozza, the GPS (Give, Pray, Serve) VolunTEENS, will plan different events each month for the children who live at the Purdue Center of Hope, a longterm residence for women affected by trauma.
The Hutchison-sponsored Murphy’s Law Destination Imagination team placed first in the DI Global Finals. For the challenges, the team had to create a video game with prescribed elements. Team members from Hutchison include Zoe Ford ’23, Betsy Grimes ’22, Ann Grimes ’22, and alumna Irene Keeney ’19 (Muhlenberg College).
Zoe Zerwig Ford ’23 Takes on Artifi cial Intelligence
After completing a summer intensive with Inspirit AI, Zoe Zerwig Ford ’23 was named an Artificial Intelligence Leadership Fellow, a program run by Stanford and MIT alumni. Ford is attending weekly webinars and sessions with global leaders from across the artificial intelligence field, which aims to program machines that can simulate human intelligence processes. From building a model that can detect human emotions to investigating the crop yields of farms in Australia, Ford is just getting started in the world of AI.
Isabelle Mansour ’23 and Loralei Forgette ’23 founded Hutchison’s mock trial team after they completed the Summer Trial and Advocacy Institute at the University of Memphis this summer. Attorney advisor Noor Obaji ’10 of Lewis Thomason and Professor Demetria Frank from the University of Memphis Law School will hold workshops to teach the girls specific trial skills, including persuasive public speaking, cross and direct questioning, and examining evidence.
Seven team members ran away with the Regional Championship for the Sting: Sarah Davis McAllister ’23, Sara Byrnes ’23, Kristin Nunn ’22, Meriel Rowland ’24, Katie Frazer ’23, Sarah Elizabeth Rowland ’22, and Annabelle Bridgforth ’22. Meriel Rowland won first place overall at the competition. Four of our girls placed in the top 10, and six had personal records.
Hutchison’s varsity golf team beat out St. Agnes in sudden death to win the Division II Girls Golf Regional Championship. Berklee Scifres ’23, Morgan Simmons ’23, and Arabella Hall ’23 brought home the win. Simmons also placed second as an individual and Hall placed fourth. It was the first time that Hutchison has won the Regional Championship in over 15 years.
Memphis potter Kristi Duckworth to create a mosaic mural to be displayed in the Trezevant Memory Unit. They interviewed Trezevant residents and listened as they recounted stories about their early years, the only vivid memories left for most residents in that unit. Most of their subjects grew up in the surrounding rural areas before coming to Memphis as young adults, so the mural depicts how “all roads lead to Memphis.”
The Basketball Coaches Association of Tennessee named Hutchison basketball coach Thomas Jones the Pat Summitt Coach of the Year for Division II. The award comes after our varsity basketball team had the best season in Hutchison history and won the state championship in March.
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Senior Layla Truitt signed her National Letter of Intent to continue her volleyball career at Santa Clara University in California. Truitt is receiving a four-year full scholarship, which her coaches said is rare for collegiate volleyball athletes. She plans to study international business.
What better way to finish learning about bees than to see what their busy work produces-and get to share it with your family? Second graders have been working on an in-depth study of bees this year as part of their unit on plant growth and development. The girls learned about the different body parts of a bee, how they construct their hives, and why their work as pollinators is a crucial part of nature. As a culmination of their studies, Alison Chesney, Hutchison’s farm director, demonstrated how to harvest honey from the bee hives that she cares for on the farm.
The girls poured honey into jars to bottle and take home to share with their families.
Farm director Alison Chesney brought frames with honeycombs from the hives inside and showed them to the girls before harvesting the honey.
Each second grader got a chance to scrape beeswax off hive frames.
To make it look more professional, the girls got creative and made labels for their honey, giving their jars a name and adding a fun fact.
The girls learned about the different body parts of bees and built models in the Innovation Lab using various materials.
Second graders studied honeycombs and created models of cells for their bees to live in.
Chesney put the hive frames in a honey extractor, which the girls spun to see how centrifugal force brings the honey out.
After a challenging year of creating and producing performances for an online audience, Hutchison’s theatre department is happy to be back on stage again with comedy, drama, and music. To bring a unique perspective to William Shakespeare’s comedy As You Like It, director and alumna Anne Marie Caskey ’80 decided to set Hutchison’s production in New Orleans and the outlying bayou. The show featured a jazz funeral, fierce stage combat, disguises, adventure tales, and music. Fourteen girls performed in the cast, with an additional 15 girls working on sets, costumes, and as technical crew. For a more intimate theatre performance, seniors Ann
Grimes ’22 and Sara Kate Burnett ’22 led a cast and crew in performances of Anton Chekhov’s drama The Seagull in Hutchison’s Lab Theater. The play helped the seniors fulfill requirements toward a Certificate of Arts award. To top off the fall season, our middle school girls had a blast singing and acting in a production of Junie B. Jones, The Musical, Jr. The show is an adaptation of four of Barbara Park’s best-selling books about the adventures of a sassy first grader. Nineteen girls acted in the show, and a crew of 17 girls worked behind the scenes. Bringing a favorite literary character to life was an exciting experience for all.
by
Hutchison appreciates the service of our retiring board members Erica Stiff-Coopwood, Anne Orgill Keeney ’85, Jeannie Sherman Tabor, and Sanford C. Thomas. The board welcomes the following new members:
e Hutchison board of trustees is the guardian of the school’s mission. In partnership with the head of school, the board sets the vision and strategy for the school and ensures sound nancial management and proper stewardship of resources.
Dr. Kristen Ring PRESIDENT & HEAD OF SCHOOL
Megan Wellford Grinder ’91 CHAIR
Will Deupree III VICE CHAIR
William R. Tayloe
TREASURER
Edward J. Dobbs SECRETARY
Emily Bryce Bowie ’00
Jenny Werner Carter ’89
Allison Cates
Dr. Reginald W. Coopwood
Chris Crosby
Melissa Conrad Grimes ’87
Dr. Shari Jefferies
Veazey Gully Krausnick ’78
Kim Crain Lowrance ’86
Ragan Crawford Magness ’88
Andrew R. McCarroll
Michelle Nelson Miller ’84
Richard C. Moore, Jr.
Amy Rolfes Poag ’92
Sequoia Taylor ’04
Muffy Farnsworth Turley ’88
Todd Watson
Craig L. Weiss
McLean T. Wilson
Paul A. Young
Great schools are distinguished by exceptional teamwork and collaboration across the organization. Our faculty and sta are led by a dynamic group of individuals known as our leadership team under the guidance of the head of school.
Dr. Kristen Ring PRESIDENT & HEAD OF SCHOOL
Melissa Baker
CHIEF FINANCIAL OFFICER
Beth Corley
DEVELOPMENT DIRECTOR
Catherine Chubb
ASSISTANT HEAD OF SCHOOL
Tracey Zerwig Ford ARTS AND COMMUNITY ENGAGEMENT DIRECTOR
Adrienne Forgette UPPER SCHOOL HEAD
Lori Guy
DIRECTOR OF STRATEGY
Eryka Jenkins
DIRECTOR OF STUDENT INCLUSION & BELONGING
Elizabeth Chisholm Jordan ’86 EARLY CHILDHOOD HEAD
Katharine Duerr Kent ’95 LOWER SCHOOL HEAD
Max Maddock DIRECTOR OF COMMUNICATIONS
Pam Patteson Shumake ’88 COUNSELING DIRECTOR
Laura Shy
ENROLLMENT MANAGEMENT DIRECTOR
Nick Simpson MIDDLE SCHOOL HEAD
Susan Steinkamp
EXECUTIVE ASSISTANT TO THE HEAD OF SCHOOL
Alyssa Villarreal ACADEMIC DEAN
Trey Wilson
DIRECTOR OF THE INSTITUTE FOR RESPONSIBLE CITIZENSHIP
It is a Thursday night, early March 1977. Ebet Roberts ’63 is at CBGB, a dingy club located at 315 Bowery in Manhattan’s gritty East Village. She’s here to photograph a band, and CBGB* is considered the venue to see the up-and-coming punk and new wave bands exploding onto the music scene.
by Max Maddock
Roberts only carries a few things with her: her camera, a lens, and several rolls of Kodak Tri-X 35-millimeter film. She also carries something intangible: her instinct for capturing a captivating moment. At CBGB, this requires being focused and agile because the club is small, dark, crowded, and loud. The walls and bathrooms are plastered with a variety of stickers and tagged with graffiti that creates an atmosphere of chaos. At the peak of a performance, the room is frenzied. The tiny 10-footsquare stage is a no-frills riser made of plywood, only about two feet higher than the main floor, which is also plywood and uneven in places, making it precarious to walk on. The ceiling has exposed wiring, pipes, and bare bulbs for lighting. The club smells of cigarette smoke and beer. CBGB is the definition of a dive bar, but the club isn’t meant to be glamorous. Quite the opposite.
Because she is shooting film, Roberts is judicious in the number of photos she takes. She won’t know exactly what she has captured on film until she returns home. When she does, around 2 or 3 am, she starts the second part of her job, developing the rolls of film she’s shot earlier in the evening and leaving them to dry. The next evening, when she’s making prints, she must work quickly before the sun rises because the makeshift darkroom in her apartment isn’t completely light tight. Despite the frenetic environment of the club, these quiet hours in the middle of the night are often the most rewarding. She edits her photos carefully to find the one or two perfect shots that illustrate the essence of the band.
As she’s making prints, an image begins to appear magically on the silver gelatin paper floating in the developer. It’s a black-and-white photo with dark darks and bright whites. It’s a quartet caught mid-song: two guitar players, a drummer, a female bassist, all in their mid-twenties. In the center is a young man, in front of a microphone, mouth open wide, singing with passion and playing guitar. His name is David Byrne. The band is Talking Heads. This isn’t the first time they’ve played CBGB, but because they haven’t yet released an album, they are mostly unknown.
who have defined different musical genres for the past 50 years such as Michael Jackson, Prince, Bob Dylan, Stevie Wonder, Willie Nelson, Bob Marley, Miles Davis, Johnny Cash, Aretha Franklin, and David Bowie.
Quite simply, Roberts has photographed pretty much everyone who was anyone in music. She’s been in the front row at clubs, concert halls, and music festivals, as well as backstage, on tour buses, in hotels, and at parties.
Thinking about her early work at CBGB or Max’s Kansas City, another popular New York music club at that time, Roberts recalled, “I wasn’t thinking about it. I was trying to photograph the energy and the excitement and put that energy into my photographs. I felt like that whole scene had to be documented. I had no idea that it would ever become anything so important.”
One of the Talking Heads’ popular songs, “Once in a Lifetime,” features the lyric: “And you may ask yourself, ‘Well, how did I get here?’ ” Roberts had no idea that she would become a photographer, much less a sought-after professional. Her route was indirect, but she found herself increasingly pulled toward it.
Fast-forward to the year 2021. CBGB the club is no more and its space is now occupied by a designer men’s store, and Talking Heads are no longer a band, but both the club and the band are world famous.
If you don’t happen to know CBGB or the Talking Heads, that’s okay. You’ll likely recognize a few of the countless musicians and bands Ebet Roberts has photographed over the past 40-plus years. Perhaps you’ve heard of The Police, The Cars, the Sex Pistols, The B-52s, The Cure, or the Ramones. They were relatively unknown bands in the 1970s, but eventually skyrocketed to fame. Or consider some of the iconic guitar players she’s captured: Pete Townshend of the Who, Keith Richards and Ron Wood of the Rolling Stones, Stevie Ray Vaughan, Eric Clapton, Mark Knopfler of Dire Straits, Kurt Cobain of Nirvana, Tom Petty, and Frank Zappa. Then there are the superstars she’s focused her lens on, the artists
Her early years were spent in Europe because her father was a brigadier general in the United States Air Force. When he passed away, her mother, Cornelia Henning Roberts Kimbrough, a 1932 Hutchison graduate, decided to return to Memphis. Ebet enrolled at Hutchison in the fifth grade when the school was located on Union Avenue.
To quench her interest in art, Roberts took classes on Saturdays with Billy Price Hosmer Carroll, a well-known Memphis artist and a 1939 Hutchison alumna. After Hutchison, Roberts studied briefly at a small junior college in Washington before transferring back to the Memphis Academy of Art, which was rechristened as the Memphis College of Art in 1985. Her concentration was painting. “The Art Academy was an amazing school,” she said. “There was an interesting balance of new instructors coming in from New York, as well as a lot of traditional artists. It offered the best of everything.
Opposite page: Ebet Roberts photographed the Amnesty International benefit concert called “A Conspiracy of Hope” at Giants Stadium in East Rutherford, New Jersey on June 15, 1986.
* Even though CBGB was the heart of the punk rock scene, the club’s acronymic name was somewhat ironic. The memorable white awning above the club’s entrance actually was emblazoned with two acronyms in bold red letters: CBGB and beneath that, OMFUG—which stood for “Country Bluegrass Blues and Other Music For Uplifting Gormandizers.”
“When I graduated from the Art Academy in 1968, I bought a camera to photograph my paintings,” Roberts recalled. “I always loved taking photographs, but never thought of it as an art form. I started taking photographs just for myself, and I continued after I graduated.” When the Academy recruited a young photographer named Murray Riss from the Rhode Island School of Design to start a photography department, Roberts decided to stay on in Memphis for a year to continue learning about making photos. Afterwards, she took a yearlong detour to Colorado, but Roberts said it lacked a vibrant arts scene and didn’t feel right to her. She gravitated to New York with the intention of continuing her painting. She worked part time at the Guggenheim Museum to pay her rent, and then started waitressing at a jazz club.
She began using photographs in her paintings, made paintings from photographs, and even painted on photographs. She was interested in exploring lithography, too, a printing technique that usually requires a large press, and applied to attend workshops at the Penland School of Craft near Asheville, North Carolina. While she was there, she realized, “I kept gravitating to their photography workshops. When I returned to New York, I felt that I should be painting, but I kept wanting to take photographs.”
Who knew that doing a favor for a friend could end up defining a career? Roberts certainly did not, so when a friend asked her to photograph his band, she initially declined. “I love music, but I had no interest in taking photographs of musicians or shows,” she explained. Her friend was persistent though, and she finally agreed. Then he asked her to come back and take more photos, which she did.
come backstage and take some photos. It was there that a woman approached Roberts and said, “I work for Capitol Records and these pictures are great. We have to see them.”
“I was standing there saying, ‘I don’t do this for a living. I’m not a professional photographer at all. These photos are an art project for myself,’ ” Roberts said. Fortunately, the Capitol Records executive would not take no for an answer.
“I didn’t want to show her the contact sheet [a positive print of the negative images from a roll of 35-millimeter film] because they had rejects on them,” Roberts explained. “I didn’t have confidence in my photography, but I finally called her.” Roberts printed only the photos she wanted to share. “They licensed some of those photos and started hiring me. I said to myself, ‘Well, this is interesting.’ ”
At the same time that Max’s Kansas City was buzzing at Park Avenue and 18th Street, so was the CBGB scene roughly one mile to the south. The two clubs had slightly different acts and vibes, and some would say a bit of a rivalry, but Roberts was able to glide easily between the two. Eventually, her waitressing job ended, and Roberts realized that if Capitol Records continued to hire her and she could do two or three jobs a month, she could support herself.
“My friend’s band was opening for a band called Mink DeVille. The lead singer’s name was Willy DeVille,” Roberts recalled. “When I saw that band, I was completely blown away, and I wanted to photograph Willy and his wife, Toots, who were real characters.” When she followed up with Willy and asked if she could photograph them on the street or in their apartment, he suggested that she photograph their show at Max’s Kansas City instead.
“It was not what I wanted to do, but I finally said to myself, ‘Okay, just go from A to B and maybe you’ll get to C,’’” Roberts recalled. While she was photographing Mink DeVille, Willy asked her to
“There was never a point where I said, ‘Oh, I want to be a photographer.’ I wanted to document the CBGB scene, but it felt like a detour from painting,” Roberts said. Nevertheless, she continued photographing bands at CBGB and then those bands might tell The Village Voice, a popular weekly tabloid newspaper, or Trouser Press, a monthly music magazine, to call Roberts for photographs, which resulted in those publications hiring her directly.
“My clients were growing. It escalated without me doing much. I mean, it was a lot of work, but at the same time, I wasn’t looking to expand it,” she said. “I was trying to support myself and do what I loved. I had one camera and one lens when I started. I would get paid for something and go buy another lens. I had no clue what I was doing. I learned everything from doing it wrong, making mistakes.”
She did continue to learn from those who excelled in the field. She recalled a workshop she took at the International Center of Photography with John Loengard, a photographer for LIFE magazine
and later its photo editor. “He gave assignments every week, and we would bring in photographs to critique. He said, ‘I don’t care about the technique. Don’t let the technique get in the way of the image. This class is about content. Nobody in this class wants to look at boring photographs, so please don’t bring them in.’ It was a great way to look at things. I mean, ‘why are you taking these photographs?’ ”
The more one looks at Ebet Roberts’ photographs, the more one realizes that they are not exceptional just because we’re looking at a famous face. Yes, subjects like Prince or Sid Vicious of the Sex Pistols or Michael Jackson had an aura that was uniquely their own, never to be seen again.
It is the decisive moment that Roberts captures.
“It’s instinctual. It’s timing,” she explained. “I knew when I got something and when I didn’t. There’s no lag in time. Somebody goes from looking one way in one second and the next second, everything has changed. It’s capturing a moment that conveys the emotion.”
These days, people may take dozens or even hundreds of digital photos on a camera or a smartphone to net a few good photos. When actual 35-millimeter film was being used, some photographers relied on a motor drive to automatically advance the film, but Roberts did not. She said, even with a motor drive, you could still miss that magic second. Or you could be changing film, which was why she shot sparingly.
What about all the distractions—the music, the lights, the unruly crowds? Interestingly, she believes that the waitressing job at the jazz club she took to pay the rent early on in New York helped train her for that challenge. Much like the clubs and concert halls she would later call her workplace, waiting tables in a jazz club could be chaotic. She believes that experience taught her to concentrate and focus on her work despite everything going on around her.
It’s also notable that a majority of Roberts’ subjects were men or bands made up entirely of men, but she said she didn’t find that intimidating. The only exception might have been Bob Dylan, but she attributed that to being a huge fan of his and always wanting to photograph him. “Other people who were just as famous didn’t faze me, but that made me nervous meeting him. I basically wanted to make whomever I was photographing feel comfortable so that they would trust me.
“I grew up confident in my own abilities. I had no awareness that things were different, or that women were considered inferior by some. I grew up with this feeling that everything was equal.
I think Hutchison had a lot to do with that. It gave me real strength as a woman.”
She knows that sometimes she got hired because she is a woman and might have been considered easy to work with, but that she also didn’t get asked to go on the road as much with bands. Soon after the band The Cars were signed and Roberts had finished a photoshoot with them, the lead singer, Ric Ocasek, called her. It was a Monday and he asked what she was doing on Thursday. He wanted her to travel with them on their European tour. “As much as I loved traveling with The Cars, it was bizarre, because I didn’t meet any women for a month.”
Despite living in New York, she has stayed in touch with Hutchison through the years. In 2014, she was awarded the Distinguished Alumna Fine Arts Award, and in 2017, she visited with Hutchison’s digital media class to talk about her career. Continuing the family tradition, her grandniece is a current seventh grader at Hutchison.
“Do what you love and just keep doing it,” she suggested. “Do what you can to support yourself while you follow your passions, because it’s so fulfilling.”
Roberts has spent over four decades photographing the biggest names in the music world. Her name is synonymous with immortalizing incredible musical moments.
She’s also proud of her work as the photographer for Farm Aid, which she has worked at since its inception in 1985. The annual benefit concert, founded by Willie Nelson, John Mellencamp, and Neil Young, raises money for family farmers in the United States. The first concert raised over $9 million for farmers.
Roberts has continued to work, although in the past few years she was choosing what she wanted to photograph. Like so many others, her work stopped in 2020 when the pandemic caused the cancellation or postponement of most concerts and public events.
The bright side is that she’s had some time to finally focus on putting together a book of her photos documenting the New York punk scene that she was so intimately a part of.
“I always thought it would make a great book, so I’m finally doing it,” she said. “I was always too busy, but someone approached me about doing the book, and I guess the pandemic helped because it gave me time to stop and focus on it.”
To view more of Ebet Roberts’ photos, visit: ebetroberts.com or open the camera on your phone to scan the QR code.
Ebet Roberts’ work has been syndicated and exhibited worldwide and is included in MTV/VH1 television specials, music anthologies, posters, advertisements, galleries, and private collections of rock, jazz, and classical musicians, including Bob Marley, Neil Young, Bob Dylan, R.E.M., The Ramones, The Cure, The Pretenders, Robert Plant, Bruce Springsteen, Miles Davis, Madonna, Michael Jackson, and Bon Jovi.
Roberts’ photographs have been reproduced in innumerable publications, including Rolling Stone , SPIN , GQ , The New York Times , Newsweek , Time , People , USA Today , and The Village Voice , and are also in the permanent collections of The Rock And Roll Hall of Fame, Seattle’s Experience Music Project, The Grammy Museum, and The Hard Rock Cafe. They are also featured prominently in these books: Blank Generation Revisited; This Ain’t No Disco: The Story of CBGB; Frozen Fire: The Story of the Cars; Punk 365; Farm Aid: A Song for America; The Rolling Stone Book of Women in Rock, and have been included in Rock Stars by Timothy White; Written in My Soul by Bill Flanagan; The Rolling Stone Illustrated History of Rock ’N Roll by Anthony deCurtis and James Henke; Empty Places by Laurie Anderson; Rock and Roll at 50 by Life Books; and Who Shot Rock & Roll: A Photographic History 1955–Present by Gail Buckland.
by Max Maddock
In the 1970s, Laura Sanderson Healy’s mother, Jane Sanderson, wrote stories about a king, so it seems appropriate that Healy, Class of 1977, ended up reporting about royalty as well.
Of course, her mother, a veteran entertainment reporter for the Memphis Press-Scimitar and People magazine, was filing stories about Elvis, who, while not technically royalty by blood, was christened the King of Rock ‘n’ Roll. Jane Sanderson’s review of a 1974 Elvis concert at the Mid-South Coliseum, nearly a half-century ago, still simmers with the spectacle and excitement of that night.
“Blaring of trumpets, rolling of drums, beating of kettles, flashing of lights, and the ruler of rock arrives. Momentum propels to such heights that the first glimpse of Presley sends the audience into a frenzy. Like a streak of white lightning, Presley darts on stage. He is dramatically clad in all white, which sparkles with jewels and nailheads with a jacket slit to the waist and a diamond cross hanging from his neck. He nods approval to the overwhelming hometown reception, and he begins to sing.”
A little over ten years after her mom rhapsodized about about Elvis, Healy was living in London and working as a correspondent for People magazine. “My husband and I arrived in July 1985. We stayed for nine years, and it was go, go, go the entire time,” Healy recalled.
One of Healy’s regular beats was keeping tabs on the House of Windsor, particularly the ups and downs of Charles and Diana, but she also went where assigned. One day, for instance, her editors asked her to jump on a plane and rush down to Cornwall, England, to interview Simon Le Bon, the lead singer of Duran Duran, who had narrowly escaped death after his yacht capsized and trapped him and his crew underneath. Another time, she was lucky enough to join a junket to Amsterdam with Boy George to report on the launch of MTV Europe. And then there was the day they begged her to trek out to Woodside, the name of Elton John’s countryside manor west of London, to report on the glitterati at his famous White Tie and Tiara Ball.
Someone had to cover those events, and Healy was more than happy to oblige. She was one of a number of correspondents around the world who were on the ground and responsible for feeding the publication with the most salient facts to create vivid stories. As a result, Healy often shared writing credit with other correspondents. This excerpt from People exemplifies Healy’s kind of storytelling:
April 25, 1988 — On a blustery day last January, England’s Prince William, 5, clambered to the top of a red antique fire engine, clamped on an old-fashioned fireman’s helmet,
clanged the bell and exuberantly yelled, “Where’s the fire?” The scene captured in microcosm the delights and drawbacks of perhaps the most extraordinary childhood in the world. For while many children dream of becoming firefighters when they grow up— and in the meantime would gladly settle for a rampage in a station house—the boy’s play was a privileged but hardly spontaneous romp. Wills and his companions that day, younger brother Harry, 3, and cousins Peter and Zara Phillips (Princess Anne’s children, 10 and 6 respectively), were clambering over a 1939 engine that once belonged to their great-grandfather, King George VI. And they were on display at a preplanned “photo opportunity” staged by Queen Elizabeth at her Sandringham estate in Norfolk for the benefit of a phalanx of photographers. The Queen’s hope was that the press, sated, would then depart her 20,000-acre spread, leaving the family to enjoy its holiday privacy. Her Majesty’s ploy failed, and she was roundly criticized for pandering to the press and for her naïveté in thinking she could rid herself of the paparazzi.
Like her mother’s story about the Elvis concert, this story evokes a sense of being at the Sandringham estate and watching the Prince from a distance.
Writing royalty begat writing royalty, it seems.
“I grew up at my mother’s desk at the Memphis Press-Scimitar. I was always down at 495 Union Avenue hanging out with her,” Healy recalled fondly. Her mother’s instincts as a reporter and skills as a writer rubbed off on her. After graduating from Hutchison, she was off to The College of William & Mary in Williamsburg, Virginia, chartered in 1693 by King William III and Queen Mary II. Healy studied English and also started an interview show at the college’s radio station. When she returned to Memphis in the summers, she accompanied her mother on her interviews.
“We’d go down to Jerry Lee Lewis’ farm in Mississippi, and mother would do her interview for the Press-Scimitar for the showbiz section. Then Lewis would give me an interview for the radio show.”
She got her first taste of covering the royals in 1981. “Two weeks before my graduation, the summer of Charles and Diana’s wedding, Prince Charles came to William and Mary, and I covered it,” Healy said. “That was one of my first assignments and my first press pass from the State Department.” In the year of the 200th anniversary of the Battle of Yorktown, the Prince of Wales was receiving an honorary fellowship from the college.
I grew up at my mother’s desk at the Memphis Press-Scimitar. I was always down at 495 Union Avenue hanging out with her.” Her mother’s instincts as a reporter and skills as a writer rubbed off on her.
After graduation, Healy’s father encouraged her to head to Washington, D.C., and apply for newspaper jobs, but she found herself competing with a sea of seasoned journalists in search of work. Never discouraged, she had an idea. She hopped on a train for New York City.
Some context: Healy graduated from Hutchison in 1977. Just before leaving for college, a defining Memphis moment occurred: On August 16, 1977, Elvis was found dead at his Graceland home. “My mom was at Baptist Hospital when they brought Elvis in because it was right down the street from the Press-Scimitar,” Healy said. Everyone was scrambling to figure out what had happened, and her mom called her in to help sort through photos as they put together the story for the newspaper.
“A year later, People magazine contacted my mom to help on a cover story about what had happened in the year since Elvis died,” Healy explained. “That’s how my mom started writing for People in 1978 and continued for 20 years.”
When Healy arrived in New York in 1981, she made a beeline for the People magazine offices and asked to meet with Hal Wingo, a pioneering reporter for Life magazine who was a co-founder of People magazine. Healy had met Wingo previously when accompanying her mom to New York. The next thing she knew, Healy was working as a freelance fact checker. To get closer to the stories she loved to cover, she moved into a secretarial position in the entertainment section. She was not content to just answer phones and file papers.
“I weaseled my way into getting assignments to do on my off time,” Healy recalled. MTV started that same year and helped spawn the Second British Invasion of music acts from the United Kingdom. Healy remembered doing stories about English bands like the Thompson Twins. She covered the opening of the Hard Rock Café with its Memphis connection in co-founder Isaac Tigrett. Healy’s sister, Lisa Sanderson, a member of the Hutchison Class of 1980, joined her for some of her adventures in New York.
Eventually, Healy was fed up with the banality of her “day job” as a secretary and resigned. By that time, she had accumulated enough stories with her “byline” that she had some street cred as a reporter.
In 1985, Laura Sanderson married John Healy, an Irishman. “I met John at William and Mary. He grew up with Irish parents and lived in Lima, Peru, Santiago, Chile, and Connecticut,” Healy said. “I liked the way he talked about travel and thought ‘I want to stick around with him.’ We continued to date, even after college; he went to Chicago, I went to New York, and we got married after I left New York.”
That same year, John was hired as the director of finance for the London Marriott Hotel, so he and Laura packed their bags. With his Irish citizenship, he could live and work in London and so could Laura. She decided to drop in to the London offices of People magazine. “I had left New York on good terms, and I had a letter from Hal Wingo. By the end of the week, I had a job. I was a London bureau correspondent.”
It was in August of that year that Healy found herself sprinting to Cornwall to interview Simon Le Bon about his yacht accident. Duran Duran was a supergroup at the time. They had performed at Live Aid in July, although in Philadelphia, and had recorded the theme song for the James Bond movie, A View to a Kill
“I’m getting the words from Simon, and I’m phoning it down the line to New York,” Healy explained about her interview with the rock star. “The People photographer comes and takes photos, and it became a cover story for the magazine. It was exactly a year after I had quit in New York. It was being fact checked by someone in the New York office where I once worked as a fact checker.” The article’s title, “A View to a Spill,” was a play on the title of the Bond movie.
At one of her gatherings with Hutchison alums about five years after they graduated, Healy recalled that they each
made predictions of what the others would be doing in the future. “Somebody said about me: ‘Laura will know every rock star on Earth.’ ”
“I was so lucky,” Healy said. “I reported stories in Ireland, Scotland, Wales, all over England. I covered the royal family incessantly, especially Fergie and Diana.” She also wrote stories about actors, writers, artists, musicians, and the London theatre.
In 1993, she had the meeting of a lifetime. It was the 300th Anniversary of the charter of The College of William and Mary, and Healy and her husband were invited to attend a reception at Drapers’ Hall in London. Queen Elizabeth II would be attending. Healy had reported on the Royals for eight years but had never met the Queen face to face. “I had
seen her at the Royal Ascot races, and you could roam around her and other people out by the horses,” Healy explained. “I did a lot of my reporting of the royals that way, just observing them like Jane Goodall did her chimpanzees in the jungle, studying them. That’s what it felt like.”
Having lived in Peru and Chile when he was growing up, John Healy was fluent in Spanish. In 1994, he was tapped to become the director of finance at the Marriott Plaza Hotel in Buenos Aires, Argentina. So, Laura and John picked up and flew south. Healy admits that at the time she was burned out from her nine years of running from story to story. She was still considered a People correspondent, but she didn’t plan to work full time.
Nevertheless, in November 1995, the BBC broadcast a bombshell interview with Princess Diana in which she admitted to having an affair and described married life with Charles as being miserable. Three days later, Diana arrived in Argentina on a goodwill ambassador trip. Healy followed Diana to the south for a whale watching trip in Patagonia. “I said, ‘I will be damned if I’m going to miss this trip!’” Healy
There were assignments that I could do when Diana died, and others that I just didn’t want to do … because she had been so much a part of my life.”
remembered. She recalled fondly how a whale came right up to Diana’s boat.
The following year, in February, Buenos Aires prepared for another famous visit. “My nemesis, Madonna, who I was always writing about and chasing but could never get an interview with in London, came to make the movie Evita,” Healy explained. The movie was a musical biopic about Eva Perón, the Argentine actress, politician, activist, and First Lady, from 1946 to 1952, to President Juan Perón. “I knew all the people she was working with because I wrote about them, such as director Alan Parker and his whole crew. I wrote a story for People about Madonna making Evita, and I did a story about Eva Perón herself for People in Espanol.”
While in Buenos Aires, Healy and her husband welcomed their daughter, Lucy, into the world in September of 1996. Healy decided to take a turn at being a mom. By May of 1997, they were back in London again after John was promoted. Healy popped by the People offices with Lucy in tow, and decided to work freelance. “I wanted to stay home with Lucy and do whatever stories I could from there,” she explained.
Once again, her timing could be viewed as either fortunate or unfortunate: on August 31, 1997, Diana died in a car crash in Paris, France. “It was 6 am, and I heard the terrible news about Diana. I asked my nanny to hang on to Lucy, jumped on the Tube with my Filofax, and went roaring into the People offices. We put together three magazines.
“There were assignments that I could do when Diana died, and others that I just didn’t want to do,” Healy admitted. “I didn’t want to go out and meet the plane bringing her body back, for instance, because she had been so much a part of my life.”
The Healys lived in London for another 10 years until 2007. “Lucy grew up in London. I loved being a mother and working only as much as I wanted.”
These days, Laura and John live in Marina del Rey, California, near her sister, Lisa, and nephew, Benjamin. Lisa owns her own production company, working as a film and television producer, writer, composer, music publisher, and philanthropist. “I came to California for auntie duties,” Healy said happily. She’s riding horses again, too, which she enjoyed when she lived in London and Buenos Aires.
Keeping her connection to Hutchison, Healy recently served as a virtual mentor for Hutchison senior Alex McVean ’22. McVean was comparing the way the media treated Diana with their recent treatment of Meghan Markle, the Duchess of Sussex and wife of Prince Harry. Healy offered McVean her own recollections of covering Diana and the royal family for so many years.
Healy also visits Memphis to see her daughter and mother, who recently celebrated her 96th birthday.
“My mom covered stories in 22 states,” Healy said with admiration. “I will never be able to touch her. She’s like the Energizer Bunny.”
We can’t wait to see what they do next!
wait in line with their classmates as they enter Idlewild Presbyterian Church for
The Hutchison Fund makes a difference in the lives of our students. Yearly giving ensures we can maintain our campus facilities, extend learning beyond the classroom, and offer professional development for faculty. Thank you to our generous donors.
To see our Report on Philanthropy, scan the QR code or visit: hutchisonschool.org/grateful
Members of our community share how Hutchison has made a difference in their lives and why they choose to give back generously.
Hutchison Alumna
Even though she lives in San Francisco, Sequoia Taylor ’04 is an engaged alumna and a member of the Hutchison Board of Trustees. Here’s why:
“As an alumna, I feel it is extremely important for me to give to Hutchison. The school has made a huge impact on my life and the person that I am today. Moreover, as a former student of color, I find it imperative to maintain a connection with the school. I feel one should always leave a place better o than they found it, and giving regularly, no matter the gift size, is the most e ective way to have your voice heard in an e ort to help make it a better place for all future Hutchison girls.”
Parents of a Hutchison Senior
David and Catherine Willmott describe how their daughter, Wylly Willmott ’22, was welcomed and supported when she transferred to Hutchison.
“We give to Hutchison from a place of awe and deep gratitude, and selfishly to give our family another connection to the wondrous hive! Our daughter came to Hutchison in the middle of her junior year and felt at home instantly. The magical combination of teachers who believed in her from day one, the many hallowed and super fun school traditions she got to join in on immediately, the kindness of classmates who graciously made room for one more, the truly excellent, welcoming, and supportive athletic program (Coach Gearhardt!), and the innovative, committed school leaders made the mid-year transfer a huge success. Priceless is the word that best captures our daughter’s experience at Hutch. Thank you!”
The Goods’ daughters, Sophie Good Edwards ’05 and Hannah Good Crowley ’08, who teaches at Hutchison, have benefited from a Hutchison education. Now their three granddaughters will, too.
“We have had 30 great years as part of the Hutchison family! The school’s academic excellence and nurturing culture have been key contributors to the growth both of our daughters and our granddaughters. Our grandson even receives much Hutchison love in the faculty nursery! None of this growth would be possible without faithful giving to the Hutchison Fund by parents, alumnae, and grandparents. Annual giving is our way of ensuring that the current and future generations of daughters and granddaughters will be able to reap the same benefits of the Hutchison education that our daughters and granddaughters have enjoyed.”
For all the reasons to give to the Hutchison Fund, Chris and Michelle Clothier can narrow it down to the smiling faces of their three daughters: Sophie ’27, Margo ’29, and Andi Rose ’33.
“Passion and promise. These two words define why we love Hutchison and are eager to support its mission. Our three girls have di erent personalities, interests, strengths, and weaknesses, yet each is met exactly where they are every day. They have so many opportunities to explore and find what they are passionate about, and then they are given the freedom and encouragement to grow. Equally as important to us is the potential promise of a strong, confident, well-rounded graduate in a few years. As that promise blossoms in our daughters, it is a real blessing to be able to give to Hutchison because it is giving so much to our girls. It’s our sincere hope that one day they will be inspired to follow our example of giving to the passion and promise of future Hutchison students.”
Giving at Hutchison should be celebratory and joyful. It should never feel transactional or obligatory. To help foster a culture of philanthropy, it is important that we explain the importance of the Hutchison Fund and the many ways the fund impacts each and every girl.
We often say that tuition only covers a little more than 80 percent of the cost of a Hutchison education. While this is true, it might lead one to wonder how this is possible, given that the tuition is not inexpensive. Additionally, while we have a healthy endowment fund, we only draw from that the small percentage that is allowed every year.
The Hutchison Fund supports the many areas that ensure a robust experience for the girls—the wonderful theater performances, travel to athletic events, curriculum, maintenance of the farm, social and emotional programming for all ages, and classroom libraries are a few examples.
Much of the magic of Hutchison—from community-building events such as Black and Gold Day to the special events at each grade level—is supported by the Hutchison Fund. We are a school dedicated to meeting the needs of each girl. We are not a school of 825 girls; we are a school of 1 girl, 825 times. Our learning specialists, the amazing counseling team, the high-quality teachers and coaches all have the resources they need to best serve each girl because of the Hutchison Fund.
Every gift matters. Each gift is a clear indication of your support and advocacy of our school.
Thank you for your commitment to Hutchison.
Sincerely,
Kristen Ring, Ed.D. | President and Head of School
$26,961,801
Back row: Claire Frisby Bell ’02, Mary Tabor Engel ’82, Lawrence Freeburg Zucker ’07, Morgan Jeffries ’15, LeAnn Glover Sommerkamp ’87, Nancy Edwards Bourne ’05, Claire Covington ’96, and Liz Early Gore ’83; front row: Ashley Norfleet ’07, Betsey Haight Hawthorne ’05, Betsy Dumas Gebhardt ’53, Maddie Prather ’21, Kristen Ring, and Porter Johnson ’17
From top of stairs, L to R: Elizabeth Saxton Inman ’99, Paula Ilabaca McGowan ’98, Elizabeth McNeill Sherrard ’00, Courtney Carlisle Bolton ’98, Allison Barnes ’02, Natalie Cuicchi ’99, Maggie Leavell ’12, Emily Howe Gianis ’09, Lauren Lorentz Wilson ’95, Tricia Thomas McCarter ’95, Ashley Martin Webster ’87, Lauren Lasseter ’11, Hardin Powell Meade ’04, Stacey Wilson ’95, Carrie Austin Playfair ’93, Katie Maples ’04, Morgan Lynch Ribeiro ’01, Kristen Ring, Mary Aubrey Landrum Stafford ’10, Mary-Katherine Phelps Prince ’00, Caché Truitt ’14, Margaret Shaul ’14, Lisa Patton Southard ’76, Kiya Brown ’21, Myra Fort Leathers ’76, Chandler Pera Pemberton ’04, Missy Flinn Sidney ’01
Standing: Susan Lee ’96 and Suzy Sullivan Edwards ’84
Sitting: Ivy Wagerman ’15, Kristen Ring, and Lindsay Stucker McDaniel ’96
Kristen and Mary Aubrey also spent some time with photographer Ebet Roberts ’63, who is well known for her photos of musicians in the New York punk music scene in the 1970s, her photos of Farm Aid since its inception in 1985, and many other famous musicians over the last four decades. See a profile of Ebet on page 14.
Mary Aubrey Stafford ’10 and Kristen Ring met up with 1972 classmates Ann Hoehn and Corinne Dimou Welsh at the Teatro LATEA in New York City. They all attended the play Thirty Days, which is based on Hoehn’s memoir Smell the Raindrops, written under her pen name BA Austin. The play was presented as part of the New York Theater Festival’s Fall/Winterfest.
and
back row: Hannah Mims ’12, Mary Aubrey Landrum Stafford ’10, Kristen Ring, Anna Lane ’11, Amelia Brown Williamson ’10, Ann Thompson ’10, Corinne Mestemacher ’10, Lawrence Jones ’12, Claudie Wilder ’12, Shelton Wittenberg ’14, Tayloe Lowrance ’15, Neely Leavell ’12, Elizabeth Oxley ’15, Mary Margaret Moore ’15, and Katy Nair; front row: Mary Crockett ’10, Carolyn Dellinger ’12, Danielle Rassoul-Alexander ’10, Maggie Donoghue Zambetti ’10, Meredith Taylor ’10, Kendra Powers Hooper ’10, and Claire Tenent Murk ’10
Right: Class of 2010 gathered for a photo: Claire Tenent Murk, Danielle Rassoul-Alexander, Meredith Taylor, Mary Aubrey Landrum Stafford, May Todd, Amelia Brown Williamson, Maggie Donoghue Zambetti, Ann Thompson, Kendra Powers Hooper, Corinne Mestemacher, and Mary Crockett
Back row: Caroline Robertson ’21, Josephine Redd ’19, Blair Threlkeld ’18, Alyssa Hausmann ’19, Mary Demere ’19, Anne Grinder ’19, Madison Grinder ’19, and Ellie Weeks ’19; front row: Katie McBride ’19, Elizabeth Pierotti ’19, Ainsley Holliday ’19, and Haley Clift ’19
Top: Caroline Gibert ’24 with parents Janice and Jason Gibert
Above: Mary Franklin Williams ’21, Anne Grinder ’19, Izabella Moore ’22, and Sarah Chandler ’21
gathered virtually to discuss Next Year in
Lillie Flenorl, Class of 2004, is Hutchison’s Alumnae Association Board (AAB) president for 2021-2022. Flenorl works for FedEx Freight as a Senior Communications Specialist. We asked her a few questions about why it’s important as an alumna of Hutchison to continue to engage with the school.
Q: What inspires you to give back to Hutchison?
A: I received a phenomenal education. I learned so much about myself from both an academic and personal standpoint. A lot of those things I still carry with me to this day. It is important that we stay engaged and support the school that has given so much to us. Additionally, these last few years have not been easy for anyone. I want students and faculty and staff to know that they are supported, and that we appreciate everything that they are doing.
Q: What is your priority as the AAB President?
A: It is simply to get as many alumnae involved as we can. We have a supportive network, but if we can even grow that network even more, it will be beneficial for the students and the school. For alums who haven’t been back on campus in a while, we’d love for you to visit. So much has changed, in a good way. There’s an expanded farm. There’s a new athletics facility. There are many more leadership and service opportunities available for students. When I saw all of these new additions, it made me so excited.
Q: Before COVID how were you staying engaged with Hutchison?
A: I am an advocate of mentoring. I will take any opportunity to speak to students about my experiences and the things that I’ve learned, because that was done for me. I always had people who supported me throughout my life in anything that I wanted to do. It’s important to give back and encourage other people.
Q: Why is it important for Hutchison students to interact with alumnae?
A: One thing I think about a lot is what would I tell my younger self? We’ve been in their shoes, and we can provide insight. Even though I don’t have it all figured out, I do have some advice that I can share with someone younger that could be beneficial to them. It’s about helping them see all the many possibilities available to them. If a student is interested in a particular career field and we can pair them with an alumna who works in that field, it’s so valuable. Sometimes it’s about exploring and finding out what you’re not interested in too. You won’t know unless you have an experience and someone to teach you and guide you. It’s important to find those networking opportunities, even if that is virtual.
Q: With COVID, it’s hard to know what we’re doing the next minute. How do we plan around that?
A: COVID has forced us to think of ways to do things differently. It’s forced us to be more innovative and think outside the box. I have noticed over the last year or so, during the pandemic, that some alumnae who maybe weren’t engaged before are engaged now because they can join virtually or mentor virtually. Alumnae from New York or California or Europe can join a Zoom call and be here to support our girls.
Q: What are your hopes for current Hutchison students?
A: I hope current students realize what a great education they’re receiving. What they are learning now they will be using 20 years from now. I hope they have the confidence to pursue what they are interested in, and know that they can do whatever they want.
Lillie Flenorl ’04 | President
Caroline Johnson Crosby ’91 | Events/Programming Chair
Meredith Taylor ’10 | Career/Mentoring Chair
Lane Patton Patikas ’88 | Annual Giving Chair
Allison Blankenship ’12 | Regional Planning Chair
Dabney Coors ’69 | Golden Bee Chair
The 2021 Tennis Round Robin was a grand slam thanks to all of our players and sponsors. We truly appreciate everyone who came out to support Hutchison! Overall Champion: Jennifer Magee
Section winners: Jennifer Magee, Caroline Hopkins, Sandra Horn, Eleanor Mascoli, Melissa Reddoch
PRESENTING SPONSOR
COURT SPONSOR
Belly Acres
Christy and Eddie Murphey
Hammons Investment Group
Hollis and Burns Insurance
SILVER SPONSOR
The Dabney Nursery
Independent Bank
Jim Keras Automotive
Nancy Smith
String ’n Swing ZupMed
LUNCH SPONSOR
Wild Beet Salad Company
Hutchison alumnae gatherings are held in di erent regions of the country throughout the year. These events provide alumnae with opportunities to learn about current happenings at Hutchison, to meet other alumnae in the area, and to reconnect with classmates and friends.
Hutchison in San Francisco Tuesday, January 25 | 6 pm
Hutchison in Los Angeles Thursday, January 27 | 6 pm
Hutchison in Atlanta Thursday, February 17 | 6 pm
Hutchison in Dallas Thursday, March 3 | 6 pm
ALUMNAE WEEKEND 2022 Friday & Saturday, April 1 & 2
For location information and to RSVP, please email Mary Aubrey Landrum Sta ord ’10, Alumnae Director msta ord@hutchisonschool.org.
1740 Ridgeway Road
Memphis, Tennessee 38119 (901) 761-2220
PARENTS of ALUMNAE: If your publication is addressed to your daughter who no longer maintains a permanent address at your home, please notify the Alumnae Office of her new mailing address at (901) 762-6664.
ADDRESS SERVICE REQUESTED.
DATED MATERIAL—PLEASE EXPEDITE
©Hutchison School 2021
Hutchison accepts qualified female students regardless of race, color, religion, sexual orientation, disability or national origin.
Returning to campus this year!
Celebrating 100+ years of friendships!
Friday & Saturday, April 1 & 2
Return to Hutchison and reconnect with your classmates. All alumnae are welcome with a special emphasis on reunion years ending in 2 and 7 as well as the past two years of reunion classes. More information coming soon.
We can’t wait to celebrate with you in 2022!
Saturday, April 2 | 10 am–4 pm | Goodlett Gym | free
Shop goods such as jewelry, art, food, textiles, stationery, pottery, and fashion from local artisans. Proceeds contribute to Hutchison’s Community Service Endowment Fund. is fund is managed by the student-run Philanthropic Literacy Board and serves as a way for girls to learn about philanthropy and the grant-making process.
