Milton Magazine, Fall 2014

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2014

MiltonMagazine

storytellers are

game changers

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table of contents

Features

Departments

6 The Moonshot Evangelist

4

Claire Johnson ’90 is steering Google’s self-driving car.

31

Across the Quad

50 On Centre

Head of School

56 Board of Trustees

The Gift of an Oral

10 New Americans Will Power Chicago’s Future

Tonantzin Carmona ’08 includes immigrants in the city’s vision.

60 Retiring Faculty

Legacy

by Todd B. Bland

64 Messages 32 Sports Golf at Milton in 9 Holes

65 Alumni Authors

by Liz Matson 67 Class Notes

14 Landing the Viewer Inside the Story “A documentary is not a visualized lecture,” says Llewellyn Smith ’72.

34 Faculty Perspective Visual Arts Faculty, Past and Present, Exhibit and Explain

76 Post Script “When It Comes to Movies, Everyone Has an Opinion.”

18 Worth a Thousand Words Nick Clark ’65 blurs the lines between fine art and your favorite childhood picture books.

22 At the Console, Nick Makes Productions Sing

Ambitious performances push Nick Mehlman ’16, Milton’s sound guru.

26 What Should We Know About You? Milton’s eighth graders tell their own stories.

30 A Wider Lens, A Deeper Look Milton launches eight new interdisciplinary courses.

38 Commencement 2014 43 Reunion Weekend

48 In Sight

by Ty Burr ’76

Zion, March 2014 Photograph by Matt Magann ’17

Editor Cathleen Everett Associate Editors Erin Berg Liz Matson Design Stoltze Design

Photography Mehrdad Azemun Erin Berg Matt Bingham Chris Diers Michael Dwyer Misty Enright John Gillooly

Matthew Gilson Matt Magann Liz Matson Clif Stoltze Greg White

Milton Magazine is published twice a year by Milton Academy. Editorial and business offices are located at Milton Academy, where change-ofaddress notifications should be sent.

As an institution committed to diversity, Milton Academy welcomes the opportunity to admit academically qualified students of any gender, race, color, handicapped status, sexual orientation, gender identity or expression, religion, national or ethnic origin to all the rights, privileges, programs and activities generally available to its students. It does not discriminate on the basis of gender, race, color, handicapped status, sexual orientation, gender identity or expression, religion, national or ethnic origin in the administration of its educational policies, admission policies, scholarship programs, and athletic or other school-administered activities.

Printed on recycled paper.

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Storytellers are game changers.

Nothing matches a story’s power to connect, to create empathy, to expand our individual worlds. Irresistible and engrossing, stories can be wily messengers that deftly turn assumptions upside down. We can find ourselves on new terrain after some stories, thinking and feeling acutely. Master storytellers seem, almost effortlessly, to rivet our attention on our shared human condition.

They artfully usher in the realizations that allow us to grow and to change. We focus this Milton Magazine on the story, on the art and the skills that bring narratives to life and change the world.

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across the qua d

Walter McCloskey Names Eight to Remember Stories that moved him, and might move you

“The Old People”

“The Swimmer” by John Cheever

by William Faulkner “Young Goodman Brown”

by Nathaniel Hawthorne

Hawthorne’s perverse sense of

Perhaps Cheever’s most brilliant

In this story, which anticipates the

story, “The Swimmer” takes

much longer and more complex

place in a recognizable suburban

“The Bear,” Faulkner introduces

world that moves into nightmare

humor gives this allegory of

one of his major themes: the

as former master of the universe

universal guilt a distinctively

multiple ways in which the past

Neddy Merrill navigates the

comic undertone.

inhabits the present.

swimming pools of his neighbors and revisits his self-destroyed life.

“Good Country People” and “The Displaced Person” “Bartleby the Scrivener”

by Flannery O’Connor

by Herman Melville

In these two stories, O’Connor “Calling” by Richard Ford

Melville’s Bartleby, the lawyer’s

uses her slam-bang irony to

scribe who practices a ferocious

expose the kinds of false pride

passive resistance, has taught

that underlie truly disastrous

the narrator recalls his terminal

me one of life’s most useful

prejudices.

reunion, decades before, with

phrases: “I would prefer not to.”

In this story that truly haunts,

his estranged father, an upper“A Memory” by Eudora Welty

Flannery O’Connor once said, “If nothing happens, there’s no

class New Orleanian with the kind of secrets no child would want to uncover.

story.” In Welty’s “A Memory,” something memorable does happen, but only in the divided imagination of the narrator.

Their Shortest Assignment Ever!

Short-shorts by students, like @VeryShortStory, in 140 characters or less.

She was wild, sassy, but imaginative; so, when

I love how you can think you’re at the top

She was there. Her stare was oblique. “I’m

she told me she lived in an island in the sky, I

with every bend in the path. “False summit,”

sorry.” “For what?” Again, the oblique look.

thought she was insane. But no, there it was, just

I think it’s called. You’re not yet, but you

The wind shook her hair into her eyes. “Never

like she said. — Sophia Greenaway, Class III

will be. — Claire Huffman, Class I

mind.” — David Mercier, Class I

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Admission Stats 2014–2015

20 14 43%

New boarding students come from 20 states.

Upper School Applications for 2014–2015 — 1,100 New students enrolled — 141 (92 boarding, 49 day) K–8 Applications for 2014–2015 — 413 New students enrolled — 52 K–12 total enrollment — 1,034 Vitals Male — 54% Female — 46% Sibling or legacy — 35% Receive need-based financial aid — 28%

New day students are from 48 surrounding cities and towns.

The Admission Office hosted 1,400 families visiting for interviews last year.

And 14 countries.

Of our new students,

43% are self-defined students of color.

from the archives

Was D. H . Lawrence’s Sons and Lovers “the” story of the ’70s, or was the real story the hair?

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chapter one

C l aire H ughes J ohnson ’ 9 0

The Moonshot Evangelist Claire Johnson ’90 Is Steering Google’s Self-Driving Car. On May 28, at the Code Conference in Palos Verdes, California, Google co-founder Sergey Brin revealed a surprise. The tech world already knew that Google has been developing self-driving cars that use laser scanners, cameras, and radars to map nearby terrain, track cars and pedestrians, and even identify construction zones. The vehicles avoid swerving cyclists, stop at traffic lights, and move around Google’s Mountain View neighborhood as naturally as a humandriven SUV. The computer-controlled cars have already logged more than 700,000 autonomous miles. Until

revolutionary concepts. In 2012, the group released a

recently, they’ve also had a few features we’ve become

video of a self-driving Toyota Prius squiring a blind man

accustomed to since the advent of the horseless carriage.

around town. Since then, however, they have kept their

Steering wheels, for instance. Gas pedals. Brakes.

Mr. Brin explained that Google has cast aside these

advances quiet. Claire, a Google veteran who helped launch flagship products like Gmail, had been following

accouterments. Onstage, his hosts showed off a video of a

the project internally, but it wasn’t until last year that

two-seat electric prototype with an emergency stop button,

Google[x] director Astro Teller and engineer Chris Urmson

but no steering wheel or familiar pedals. Brin compared

convinced her to join them. Her mandate is to bring the

the experience of driving in one of the prototypes to sitting

technology to market, but she can’t divulge how Google

in a chairlift. And while he broke the news of this radical

intends to do that. So, in the meantime, one of her roles

new prototype casually, punctuating his armchair presen-

is to act as an evangelist for the technology, showing

tation with the occasional chuckle, the unveiling took

regulators, politicians and the general public how self-

months of intense planning, according to Claire Hughes

driving cars could benefit the world.

Johnson ’90, vice president of Google[x] Self-Driving

After joining the team, she noticed a disconnect between

Cars. “It’s a nuanced story,” she says. “One of the hardest

the national conversation around self-driving cars and

things was that this was not a launch.”

what was happening inside Google[x]. In 2013, the National

At this point, Google isn’t selling a product. The com-

Highway Traffic Safety Administration (NHTSA) defined

pany is selling an idea. So Claire and her colleagues wanted

five different categories for these smart cars, from a level

the story to center less on the physical prototype than on

zero, which is controlled entirely by the driver, to an entirely

the broader technology developments and their implications.

“It’s going to take some time for the technology to realize its

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The self-driving car project is part of the Google[x] division — the so-called moonshot factory that pursues

autonomous level four. Most automakers appear to be progressing gradually away from zero, slowly introducing

potential,” she says. “So it took a series of steps to make sure

new and more intelligent features, such as adaptive

people had an opportunity to think through all the angles.”

cruise control.

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YouTube.com > search for “A First Drive”

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Google decided to go straight for the fully autonomous, no-human-in-the-loop automobile. The logic was simple:

the new, steering-wheel-free prototype was still a secret,

If, according to NHTSA, 93 percent of accidents are results

but the media were given a glimpse of how far the technology

of human error, why not get rid of the human and let the

had come. A few years ago, for example, the car would

computer drive? Google’s cars can see out to 200 meters in

have recognized a cluster of pedestrians as an amorphous

all directions. They don’t have blind spots. They don’t text.

blob. Now its software can distinguish, and track, each

The only accidents logged during those 700,000 miles

individual person in a group.

were the result of other cars knocking into a Google-mobile at a traffic light.

Still, the idea of getting rid of the controls was ground-

Two weeks after the press day, Mr. Brin made his announcement, and Claire’s team also released four videos.

One focused on the people who would benefit from self-

breaking, so Claire and her colleagues decided to let people

driving cars, including the elderly and the disabled. The

know what they were doing. “We felt we should share,

other three videos featured the engineers developing

as early as we could, the concept that we’re going to skip to

the technology. The first video soon went viral, but Claire

level four,” she says.

wasn’t sitting at her desk, tracking view counts. For all

After months of planning, they began the reveal by

the potential reach of a video or a well-placed news piece,

re-stoking interest in the technology. On May 14, her team

she makes an effort to tell the story of the self-driving

hosted a press day at Google. They invited members of

car in person. Sometimes, this involves meeting with state

the media to ride in earlier versions of the self-driving cars —

regulators, city officials, and other business leaders on

a fleet of Lexus SUVs with updated software that allowed

Google’s campus, and arranging for brief rides in the car

them to drive on surface streets, not just highways.

so they can experience the technology firsthand.

Then they brought in a panel of academics to discuss how self-driving vehicles could change mass transportation,

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alleviate parking problems in cities, and more. At this point,

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The day of the announcement, though, she was in Washington, D.C., discussing some of the potential uses for

the vehicle with an unnamed White House official. Claire,

A few years ago, for example, the car would have recognized a cluster of pedestrians as an amorphous blob. Now its software can distinguish, and track, each individual person in a group.

who worked briefly in politics after graduation from Milton, was talking about how a self-driving car would help her grandmother, who had to give up her driver’s license, and her freedom, because of a degenerative eye condition. The official, it turns out, was about to face the same problem with her parents. “Her eyes lit up,” Claire recalls.

After Mr. Brin’s reveal, some stories focused on the prototype itself. People asked desperately curious questions about when these vehicles would be available to the general public, how they’ll be used, and how much they’ll cost.

For the most part, though, the conversation shifted toward broader implications. The conferences, announcements, videos, news stories, and face-to-face meetings had the

her chance. When she was recruited to join the effort, she

above

effect of nudging attention away from the actual prototype

wasn’t sure she was a good fit. “I’m not building lasers,”

and turning the public’s eyes to the question of how these

she jokes, and there was not yet a product to sell. But she

Map data © 2014 Google, INEGI.

vehicles will impact our world.

has found her role, and she believes that she will help

Claire thinks this impact will be significant. Since her

make self-driving transportation a reality. Until then, she’ll

Milton days, she has had an eye toward leaving an imprint

continue commuting like so many of the rest of us, with

on the world, a legacy. At first, she thought she might do

both hands on the wheel and her eyes on the road.

so through writing or politics. Now, though, she sees this technology, and her role in guiding it into the world, as

by Greg Mone

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chapter two

T onant z in C armona ’ 0 8

New Americans Will Power Chicago’s Future Tonantzin Carmona ’08 In midmorning, the light reflecting off North LaSalle Street’s towering buildings pours into Tonantzin Carmona’s small office in Chicago’s City Hall. Poised and welcoming, Tonantzin clears the Starbucks cup to one side and ignores the steady ping of incoming emails. She looks every bit her age — 24 years. Last April, Mayor Rahm Emanuel named Tonantzin director of his Office of New Americans.

While rancorous debate about immigrants surges across

Mexican neighborhood. She was “vocal” as an elementary

the United States, Mayor Emanuel has declared that

schooler, she says, and competitive: “a nerd who was not

Chicago “will be the most immigrant-friendly city in the

afraid of being smart.” She loved sports. Her dad encouraged

country.” Some view Emanuel’s line in the sand as smart;

his two daughters to be tough and opinionated; he was

others are enraged; nearly everyone sees it as bold. His

adamant that they take an upfront role, never behind the

rationale is succinct: “Chicago can accelerate its economic

scenes. Tonantzin’s mother, aunt and grandmother were

growth over the next decade by supporting businesses

all activists on that front. Her grandparents, “second parents”

and ensuring that its workforce is ready to fill employers’

according to Tonantzin, drove her and her sister to school,

needs,” the mayor writes in his Chicago New Americans

even though they could see the schoolyard from their home.

Plan. “The city’s immigrant population will be a key component of both of these economic growth strategies.”

To succeed, Tonantzin has to stand in the immigrants’ shoes, bring their lives to light, and convince the skeptics that including immigrants in the city’s vision helps everyone.

relentlessly focused on education as the vehicle for success.”

Teenage pregnancy, violence, gangs and drugs, typical urban forces, were part of the neighborhood’s cultural fabric.

You’d be safe in saying that without a motivation

It’s her responsibility to put pragmatic policy to work and

unusual for any 13-year-old, Tonantzin would not have left

deliver progress.

her tight neighborhood for Milton. “I wanted to open doors

Emanuel’s 50-member advisory committee, drawn from Chicago’s business, academic, civic and philanthropic

for Latino and immigrant youth,” she says. “Even when I was new at Milton, I was making videos in English and

communities, named the plan’s strategies over the course of

Spanish to send home, so more kids would apply.” Milton

his first year in office. Tonantzin helps the mayor realize

was “huge, strange, filled with people walking around

those target priorities.

using these polysyllabic words,” says Tonantzin. It wasn’t

Tonantzin grew up in Little Village, Chicago’s prominent

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“They were strict and protective,” she says. “My family

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easy, but she kept her footing and “devoured and absorbed

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this spread

Photo by Matthew Gilson.

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we convened and managed 15 cross-department teams,

“Picking up angry voicemail messages and hearing personal insults is hard.

I do understand where they’re coming from. So many people don’t have opportunities; so many are intensely worried about their future.”

helped them come up with action steps to move the mayor’s and the Cook County board president’s agenda. We ended up with a $70.9 million savings, just through conversations — collaborating, reducing redundancy, targeting the delivery of services better.”

Absorbed in the city, but still passionate about her neighborhood, Tonantzin regularly badgered Adolfo Hernandez — a Little Villager who preceded her as director of the Office of New Americans — to bring her in on projects that affect immigrants. When he moved on, Tonantzin was the perfect internal candidate for his position.

Economic growth is the lead issue in the Mayor’s New

everything,” including running for office and serving.

She wanted to be closer to home for college. “At

would prove the underlying argument: that providing

Northwestern I could gain experience and exposure, see

immigrants with equal access to opportunities ultimately

where in Chicago I could put my foot,” she says. She majored

benefits everyone.

in political science and Latino studies, preparing explicitly

The plan moves on to initiatives that serve youth and neighborhoods. Perhaps because they emerged from

to serve.

Tonantzin immersed herself in the activities of

the broad-based advisory group, the goals often seem

Northwestern’s Latino community. Working for her father’s

to be small in scale, pragmatic, accessible, common-sense

management consulting firm at the same time, she learned

changes. If you want to support small-business entre-

about research on a deadline; problem solving; and the

preneurs, for instance, make food cart licenses easier to

range of issues that confront businesses and organizations.

get. If you want to increase naturalization applications,

She was known and primed for action when she learned

provide help to pay the $680 application fee, a barrier for

about a policy associate’s position in City Hall.

Putting aside preparation for the medical school exam, Tonantzin took a shot at the position and was rewarded.

“They needed a generalist,” Tonantzin says. “You name it —

most immigrants. To connect new immigrants with key city services, adopt a policy that makes sure all city departments have a plan for providing services in the top languages spoken in Chicago neighborhoods — Spanish,

affordable housing, transportation, public health, sustain-

Polish, Mandarin, Tagalog [Filipino], Russian and Arabic.

ability — I researched and worked on whatever policy

Throughout the city, promote alliances and connections,

needs came up. City/county collaboration became my project.

sensitize agencies, improve processes.

With the city’s chief of policy and my county counterpart,

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Americans Plan, mainly because success in that domain

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Support for undocumented youth excites Tonantzin

more than anything else. These are high schoolers whose

“about who they are. Yet they say, ‘This is my home, and

older brothers and sisters may well have been among

I want to contribute. I might not be a citizen of the United

Tonantzin’s friends in Little Village. While she has been

States, but I’m a citizen of Chicago.’”

able to develop her own talents, and follow an ambitious

Supporting immigrants, particularly undocumented

plan, these kids feel invisible and live with the abiding

youth, is difficult, Tonantzin admits. “Picking up angry

fear that their parents may be deported.

voicemail messages and hearing personal insults is hard.

She talks about partnering with staff from the Chicago

people don’t have opportunities; so many are intensely

for young people to work toward college and play a role

worried about their future.”

Frustrated by Washington’s inability to craft compre­

counselors about students’ eligibilities can clear up

hensive immigration reform, Tonantzin points out how

confusion and put options into play. Students need not be

much is left to local governments with limited resources and

documented — or show documentation — to apply to college,

so many needs to meet. “Without national policy, we struggle

for instance. They do qualify for instate tuition, but not

with loopholes and gaps,” she says. “Talented individuals

state or federal aid.

The city established nearly 23,000 volunteer, internship and job opportunities for, “DREAMers,” undocumented

Images of Chicago’s Little Village (far left) by Mehrdad Azemun and (all others) Chris Diers, via flickr.com.

I do understand where they’re coming from. So many

Public Schools, building awareness, clearing the pathway in the city’s future. A move as obvious as educating school

above

are held back. We have to get creative; we could be much more productive focusing money and energy in other ways.”

By convening, narrating and navigating, Tonantzin

youth, brought to the United States as children. Because of

thinks she’s made connections that may not have happened,

President Obama’s DACA program (Deferred Action for

or that wouldn’t otherwise have been as frequent or effective.

Childhood Arrivals), young people with work authorization

Some people don’t view policy as a solution to problems,

can build work experience and a college education. Students

but Tonantzin feels that municipal governments are the

at Curie Metro High School established a “DREAMer club,”

laboratories of innovation. “I’ve seen firsthand how an idea

linked up with other high schools, and held a statewide

can come about and turn things around.”

“DREAMer conference” with more than 200 participants.

“That was what drove me to venture from Little Village

They pulled together resources for students and families,

in the first place,” she says. “I am a young, brown woman,

to help them get to college.

and people underestimate me. I should not question or

Tonantzin tells about having heard several of these stu-

be apologetic about who I am. The women I’ve known, in

dents who came to City Hall and talked with Mayor Emanuel

immigrant communities, get things done. They begin by

about the internship program. Why was it important? They

looking out for their children; they get involved and take

essentially said, in Tonantzin’s words, “It feels great to feel

off from there. I want to get more involved in policy, in law,

welcome, to be openly acknowledged. I feel like I have at least

to be a role model for other Latinas.”

one foot in society, even though one is out.”

“They deal with constant backlash,” Tonantzin explains,

by Cathleen Everett

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chapter three

L l ewe l lyn S mith ’ 7 2

Landing the Viewer Inside the Story Llewellyn Smith ’72 “I’m attracted to the consequences of big ideas shaping people’s lives,” says Llew Smith, summing up what drives his filmmaking. His film legacy over nearly 35 years shows a diligent historian, a fearless visual artist, a sensitive and ambitious chronicler of identity and experience in the United States. Llew is alternately, or sometimes simultaneously, a writer, director, producer, series editor and “especially rainmaker, if you know what I mean.”

Llew “backed into filmmaking,” by seizing a number of seren-

knew about as much as I did about what they were doing,”

dipitous opportunities that cropped up in Minnesota, in the

Llew says.

late ’70s, after his undergraduate days at Carleton College.

A tentative teenage conversation with his first girlfriend predicted the arc of Llew’s career and its challenges. He

cinematographers. Arriving as an associate producer,

was 17 and the two had come around to projecting the future —

Llew could observe how documentary storytelling takes

what they hoped to “be.” Llew’s girlfriend laughed incredu-

shape as an entity that dictates its own tone and direction,

lously when he reflexively said, “I want to direct films.”

and demands technical and aesthetic care. The eminent

“I understood later that she was not really laughing at me,

Callie Crossley, and legendary executive producer Henry

work at the post office, or as a teacher, or even a politician,

Hampton.

There were no black filmmakers we knew of in the 1970s.”

In fact, Llew did have to invent himself as a filmmaker.

says, “not just the technical work, but the process of discovering and defining the narrative itself. That happens not just within the film team, but also with experts who

nication at the University of Minnesota when Reginald

work with us to build the most compelling story. I depend

Buckner, a legendary pianist and professor of music,

on the historians, the social scientists, the economists,

approached him about creating a TV course on jazz; Llew

the sociologists and others to help us clarify our vision and

leapt at the chance and they produced Jazz: An American

test the veracity of the narrative we’re presenting. It can

Classic. On the strength of that, Llew says, he was able

be a tough and humbling process.”

to “struggle my way into this business.” He was hired by

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“Filmmaking is so powerfully collaborative,” Llew

In the late ’70s, he was working on a master’s in commu-

WETA to write for a series called From Jump Street: The

Photo by John Gillooly.

documentary team included Jon Else, Orlando Bagwell,

but more at the idea,” Llew says. “If I’d said I’m going to she could see how that was possible. But a filmmaker?

right

Not until he joined the production team for the series Eyes on the Prize would he gain the mentoring of seasoned

“A successful film is rooted in the narrative,” Llew says, “Facts alone can’t create an inspiring story. A documentary is

Story of Black Music, hosted by Oscar Brown Jr. The show

not a visualized lecture.” Often, experts have done publicly

presented an amazing range of American black music

funded research in a field for years, he points out. While their

in live performances. “Everyone around me at that point

work advances knowledge, their findings usually live in a

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peer-reviewed, nearly inaccessible world of professional journals and conferences. “I like to take important insights

Llew wants to share insights that may be new to people,

and translate those into a provocative public conversation.”

and even alarming or unsettling, but so compelling and

he says. “If you help me understand your research, I can

urgent that they don’t turn away; at the same time he aims

help make it more widely available through storytelling to

at accuracy, so experts in the field are able to say, “this does

national audiences — not ‘dumbing it down,’ but rather

represent our knowledge at this time.”

getting these ideas into the public imagination, where they can provoke change.”

The PBS series Unnatural Causes: Is Inequality Making Us

Each person comes to a film with a preformed idea of what that film is going to be about, Llew believes, and where it might go. He likes to “meet audience assumptions exactly

Sick? (2008) is a case in point; Llew was co-executive director.

where they are, and then do a jiujitsu number: flip it — turn

In seven episodes, Unnatural Causes relies on individual

those expectations on their head and land the viewer inside

stories to anchor a growing body of uncomfortable but

the story, with an emotional connection they didn’t expect.”

important data. The first takes us to Louisville, Kentucky,

Gunnar Myrdal, the Swedish economist and Nobel

where the lives of a CEO, a lab supervisor, a janitor, and

laureate, is Llew’s agent for catapulting you into the center

an unemployed mother “show how class shapes opportun-

of his new film, American Denial. In 1938, the Carnegie

ities for good health,” says the series’ description. “Those

Corporation chose Myrdal to conduct a five-year investiga-

on the top have the most access to power, resources and

tion of American life and values. They selected Myrdal

opportunity — and thus the best health. Those on the bottom

because of his international status as a researcher and

are faced with more stressors — u npaid bills, jobs that

theorist, and as a non-national from a non-imperialist coun-

don’t pay enough, unsafe living conditions, exposure to

try. Myrdal was interested in America’s core longing for

environmental hazards, lack of control over work and

equality, contraposed with the reality of our racial inequality.

schedule, worries over children — and the fewest resources

Moving freely throughout the South, for a time by him-

available to help them cope.” The series showed that health

self and then with the assistance of scholar Ralph Bunche,

outcomes (and their costs) are inexorably tied to social

Myrdal questioned hundreds of Americans. “I am a Swede,”

conditions that we create in our communities. It triggered

he would say. “I’m new to your country. Who are black

a national discussion, especially in public health circles,

people? What are they like?”

that continues today.

The scholarly discourse supporting “the social determin-

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complex reality, and create a meaningful public dialogue.

Answers — from people who lovingly espoused our public values — defined black Americans as second-class citizens,

ants of health” was “about 100 years in the making,” Llew

distinctly inferior. Was denial a critical psychological exercise,

says. As he built the plan for this series, Llew was exactly

Myrdal wondered, that enabled Americans to avow certain

where he liked to be: using powerful stories to illustrate a

beliefs and act in opposition to those beliefs every day?

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A Select Filmography AMERICAN DENIAL Front

Llew Smith’s 35 years of documentary work includes: • Eyes on the Prize (1987) • Africans in America: America’s Journey Through Slavery (1997) • The American Experience — multiple episodes (1998) • Race, The Power of an Illusion (2003) • Nova, Forgotten Genius (2007) • Unnatural Causes: Is Inequality Making Us Sick?

(2008)

• Herskovits at the Heart of Blackness (2010) • Gaining Ground: Building Community on Dudley Street (2012)

Overwhelmed by these findings from the country he so revered,

• Independent Lens, American Denial (2013)

Myrdal became profoundly depressed. He began to lose confidence in himself. His marriage with his confidante and professional counter-

After more than a decade with PBS’s American

part, Ada, seemed on the verge of collapse. In personal crisis, he worried

Experience, Llew founded Vital Pictures

whether he had uncovered the same thing within himself that seemed

(www.vitalpix.com) in 2005, and in recent years

deeply entwined in the American character.

launched a new venture: BlueSpark Collaborative.

Ultimately, Ada did help her husband complete his report for the Carnegie Corporation, An American Dilemma, and the film shows how its insights are as relevant now as when he completed his study in 1944.

Watching the film without feeling Gunnar Myrdal’s visceral pain is impossible. Witnessing his intellectual and personal struggle leads you to new and highly uncomfortable awareness about its source.

Immersed as you find yourself in Myrdal’s story, you cannot avoid exploring the issues of racism and white supremacy that affected him, and those issues playing out today.

The important thing, Llew says, in a film like this, is that people recognize and deal with the discomfort of where they find themselves when the credits roll. “I’ve succeeded when a person engages in a conversation with himself about what he is now struggling to understand. If we avoid acknowledging what we see,” Llew asserts, we must understand ourselves as complicit in “the inequality and racist structures that continue to inhabit our democracy.”

As Llew says, “good storytelling, especially the detail in stories, reveals universality. It’s in the story details that we see ourselves and connect with the human condition; and the meaning of that human condition doesn’t change, no matter our individual backgrounds.”

by Cathleen Everett

Filmmaking honors: • The Council on Foundations Henry

Hampton Award

• Alfred I. duPont-Columbia Award • The National Academy of Sciences 2009

Communications Award

• The John O’Connor Film Award of the

American Historical Association

• The Eric Barnouw Award • The George Foster Peabody Award • Hollywood Black Film Festival Best

Documentary Award

• The American Association for the

Advancement of Science (AAAS) Award

• The National Association of Science

Writers Award

• Multiple Emmy and Writers Guild nominations

American Denial will be aired on PBS’s Independent Lens on February 23, 2015.

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chapter four

N ick C l ark ’ 6 5

Nick Clark ’65 blurs the lines between fine art and your childhood favorites.

Four wide, welcoming murals — eight feet by 16 — warm the airy central hall of The Eric Carle Museum of Picture Book Art. The textured swaths of red, green, blue, yellow, are stunning tone setters — contemporary collages, you think. But then each painting tugs at a deep-seated visual memory — something familiar, nostalgic — stemming from hundreds of turns with The Very Hungry Caterpillar. The murals showcase Eric Carle’s signature tissue-paper technique writ large. Blurring the lines between fine art and illustration art is the goal of The Carle Museum.

Achieving that goal is the responsibility of Nick Clark ’65, founding director, and now chief curator, of The Carle.

The museum is the first in the country to feature children’sTyvek murals created for display at The Eric Carle Museum of Picture Book Art were created by Eric Carle in the style of his collage illustrations using acrylic paints. He primed the Tyvek with a matte medium. Tyvek is the same material used to wrap buildings under construction.

Images of murals by Eric Carle © 2002 used with permission from the Eric Carle Studio. l eft page

(bottom left) Photo © The Eric Carle Museum of Picture Book Art. (bottom right) Photo by Andrew Greto © 2010 The Eric Carle Museum of Picture Book Art.

book illustration seriously and comprehensively.

During a trip to Japan in the early 1980s, award-winning

“I could take an illustration by Maurice Sendak and connect it to Albrecht Dürer or Winslow Homer,” Nick says.

“Eric understood that I saw illustration in an art historical context.” At the outset, Nick wanted to honor the “titans of the trade” — Leo Lionni, Virginia Lee Burton, Mitsumasa

picture-book artist Eric Carle, and his wife, Barbara,

Anno. The Carle, which opened its doors in 2002, has

learned that more than 20 museums in that country are

mounted more than 100 exhibitions, including thematic

dedicated to the art of children’s-book illustration. The

and group exhibitions. It has showcased favorite artists,

Carles decided to establish just one — the first — in the United

including E. H. Shepard, Nancy Ekholm Burkert, Dr. Seuss,

States. The architectural benchmark became, “What do

Chris Van Allsburg and Mo Willems. “We use that which

we need to accommodate three school buses full of children

is familiar to prove that appreciating art doesn’t have to be

a day?” The Carle, located in Amherst, Massachusetts, is

intimidating,” Nick says.

43,000 square feet — home to three galleries, an auditorium, an art studio, and a reading library.

Eric Carle had connected with Nick informally in the

The Carle’s expansive art studio is a distinguishing feature, available to visitors of all ages, whenever the museum is open. Everything is hands-on, eyes-on, ears-

past, and he decided that Nick was the right person to bring

on at The Carle, which relies minimally on technology.

the museum’s programmatic vision to life. Nick studied art

The building is wired and prepared to “boot up” as needed,

history at Harvard, earned his Ph.D. at the University of

but families typically appreciate the refuge.

Delaware, and had devoted many years to educating people

Well before The Carle’s inception, Nick was a devotee

about art. He was both prepared and enthusiastic about

of picture-book art. In 1996, he and his late wife, Trinkett,

honoring the art of picture-book illustration, and creating

with fellow curator Michael Patrick Hearn, launched an

a welcoming environment for children, and for adults.

exhibition of American children’s-book illustration at the

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Chrysler Museum in Norfolk, Virginia, where Nick was

In the late ’90s, Nick learned about Visual Thinking

curator of American art. The exhibition was bold, bucking

Strategies (VTS), an approach in museum education.

the disparaging attitude toward children’s literature and

The learner-centered method of examining and finding

illustration art at the time. “Guests entered that exhibition

meaning in visual art relies on three open-ended questions: What’s going on in this work of art? What do you see that makes you say that? What more do you see?

“Many of the most enduring and powerful stories come to a child through the lenses or voices of humble animals, so children find them manageable.”

“The parallels between visual and verbal learning are potent,” says Nick. “This open-ended approach requires good listening, good paraphrasing, and — most importantly — suspending judgment. If you’re part of the conversation, you validate even the most elementary or awkward observation, because it’s about the conversation. We want the novice to feel comfortable talking about a work of art.”

Around the world, every museum exhibition tells a story — about a person, a culture, a moment in time. The Carle’s recent exhibition was a visual biography of Bernard Waber

with a very different attitude,” says Nick. “They were

(Lyle, Lyle, Crocodile) through his books. The artist never

coming to see friends. If you give people a way to relate, they

gave up his day job. He would come home from an eight-

will embrace the opportunity in a very meaningful way.”

hour day in the office and set to work on his books. “We

Before his curatorial days, Nick taught art history at Exeter, and he was shocked that his very bright students above

(left and center) Kristin Angel © 2011 The Eric Carle Museum of Picture Book Art; (right) Paul Shoul © 2003 The Eric Carle Museum of Picture Book Art/Paul Shoul.

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wanted people to understand that about him,” says Nick.

“Waber created a book called A Firefly Named Torchy; the

were essentially visually illiterate. They didn’t understand

artwork is abstract expressionist, like a Jackson Pollock

that decoding a visual image was comparable to decoding

painting. That’s because the Time Life offices, where

a written text. “We all see things differently,” he told his

Waber worked, were around the corner from the Museum

students. “If you have a good reason for what you see, your

of Modern Art, and he had a press pass.

point of view is valid.” The conversation becomes increa-

“We’re trying to tell the story of the artist, but by showing

singly sophisticated, Nick explains, but at the outset, you

people Torchy, and then looking at Jackson Pollock, we’re

just want people sharing.

also elevating the status of illustration art. In another of

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Twenty Books Nick Clark Says You Must Read to a Child You Love Peter Rabbit by Beatrix Potter Millions of Cats by Wanda Gág The Story of Ferdinand by Munro Leaf Madeline by Ludwig Bemelmans Pat the Bunny by Dorothy Kunhardt Curious George by H. A . and Margret Rey

Waber’s books, a couple looks out a window from the façade of a building — a visual riff on Grant Wood’s American Gothic. These illustration artists have immense visual libraries they bring into play.”

Why do some children’s books endure, becoming treasures for generations of readers? Peter Rabbit, Goodnight Moon, Mike Mulligan and His Steam Shovel, Make Way for Ducklings, Where the Wild Things Are. “These stories share profound and sophisticated messages, couched in extraordinarily engaging and accessible ways,” says Nick. “The Very Hungry Caterpillar teaches numbers and days of the week, but it’s a story about growing, and transformation. The story helps a boy or girl going off to school know that he or she is going to be OK. Many of the most enduring and powerful stories come to a child through the lenses or voices of humble animals, so children find them manageable. Finally, these books engage the parents as well as the child.”

Nick fondly recalls reading Esphyr Slobodkina’s Caps for Sale to his daughter when she was 18 months old.

(Slobodkina’s illustrations were in the spirit of French

Swimmy by Leo Lionni Sylvester and the Magic Pebble by William Steig Make Way for Ducklings by Robert McCloskey Charlotte’s Web by E. B . White Harold and the Purple Crayon by Crockett Johnson Eloise by Kay Thompson The Cat in the Hat by Dr. Seuss The Velveteen Rabbit by Margery Williams The Snowy Day by Ezra Jack Keats Where the Wild Things Are by Maurice Sendak Frog and Toad by Arnold Lobel Snow White by Nancy Ekholm Burkert George and Martha by James Marshall Jumanji by Chris Van Allsburg

painter Henri “leDouanier” Rousseau — flat and simple shapes.) “I hammed it up, which I love to do,” says Nick, “and when we finished, she looked at me and said, ‘Again.’

My daughter is 29 now, and we still read that book together once a year.”

by Erin Berg

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at milton

N ick M eh l man ’ 1 6

At the Console, Nick Makes Productions Sing Ambitious performances push Milton’s sound guru.

Nick Mehlman ’16 folds his long body into a seat behind an analog sound board and puts on a headset. It’s Wednesday night at the dress rehearsal of For Colored Girls. In the black box studio down the hall, a student band is warming up. For the first time in a Milton production, the musicians are not seated in the orchestra pit; in King Theatre, the play’s staging and set extends to the far corners of the room, bisecting the audience.

How can live musicians accompany actors several rooms

They’re seven musicians who answered the call of

away? Nick makes that work. New to Class III last year,

Dar Anastas, performing arts faculty and the show’s

Nick brought sound-engineering skills that he started

director, when she asked students to come up with

honing in his middle school theater department, and then

a live soundtrack for the show. For two months, the

acquired on his own, as he explored the world of electronic

band rehearsed together two to three times a week,

house music. Nick’s fearless innovation lends freedom

and only this week, production week, does Nick join

for remarkable invention to Milton productions.

levers up and down, adjusting the tone of the various

involved without knowing how to play an instrument,”

instruments that are miked into his console. “Could

says Nick. “A lot of what I know is really from playing

I have just the trombone play something please?” he

around with the sound equipment. There is only so much

asks into his headset. He concentrates, listening closely,

you can read about in a book or have someone tell you.

making a few adjustments. Running a sound check

Ninety-nine percent of the learning experience is sitting

every night is important, Nick says, because the

behind the console. I have had so many opportunities

instruments’ sound can change when the musicians

at Milton to try different things. I love the variety of shows

assemble or tune them.

here, and each show is its own challenge.”

The student band performing the music in For Colored Girls call themselves Chee Chee Coal and the Trambones.

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them. He starts by running a sound check, sliding

“I’ve always loved music, and this is a way I can get

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milton.edu

Theater tech crews, behind the scenes, build the sets, design the lighting, run the sound, and coordinate the costumes for all Milton productions. Performing

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better. One of the reasons he is so successful at what he

“Having live musicians perform during a show is better than recorded music, because they can react to what is happening on stage.

No software can do that.”

does is that he interacts with each performance.”

Milton chooses productions that present challenges of all kinds, and the performance lineup last year exceeded even Milton’s norm. One of the most ambitious shows of the school year was Avenue Q: School Edition. In addition to singing, acting and dancing, students mastered the art of puppeteering. Onstage actors managed and brought to life their life-sized puppets, which interacted with each other and with human characters. They learned to work with new technology — special microphones and headsets — a nd spent an afternoon training with Kevin Noonchester, a master puppeteer known for his work

arts faculty are the lead directors, and students are immersed in every aspect of a performance. Each member of the cast and crew is key to bringing the story to life.

“Nick loves doing the behind-the-scenes work,” says

“We never saw Nick sweat during Avenue Q,” says Peter Parisi, performing arts department chair. “Working with Nick is like working with a professional. He knew what

Kelli Edwards, who teaches dance and worked closely with

to do, and he was unflappable. He worked patiently with

Nick on the Winter Dance Concert. Last year’s concert

everyone involved, and I gave Nick complete authority

included 14 dances, 70 performers, innovative lighting and

to work with our sound consultant. During the production,

sound design, and a packed house every night. “He’s

Nick had his iPad, he was mixing the sound, and he was

proactive about making sure everything is all set. And

so conscientious about making sure that it was done right.”

when he has the opportunity to get creative, he’s even

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on stage and in film.

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milton.edu/arts

Nick shows that calm demeanor right away during the

For Colored Girls rehearsal, as issues arise from the start.

Nick’s first Milton production was the Class IV Play,

A video camera next to Nick is sending a live feed to a large

Midsummer/Jersey, a raucous modern twist on Shakespeare’s

screen in the black box studio, so the musicians can see

tale that called for upbeat and current music.

and hear what is happening onstage. But it’s not working,

“Nick is the reason the play worked,” says the show’s

and someone runs to tell Nick that the musicians can

director, Robert St. Lawrence ’07. “I worked with him

see, but not hear, the video feed. Not realizing the actors

as I would a professional sound designer. I gave him creative

have started to speak their lines, the band continues to

license to do what he thought best. He live-deejayed

play pre-show music, drowning out the first scene. From

during the show, and it was amazing. Nick doesn’t just

the front of the set, Dar turns to look back at Nick, and

execute; he creates.”

she is not happy. The purpose of the dress rehearsal is to

Peter and the other performing arts faculty are thrilled

perform the play without stopping, so the actors continue

that they and Nick have two years ahead to continue

on. Nick calmly rattles off a list of things to try back in

working together and break new ground. “Not only is he

the band room, and when those don’t work, he realizes the

a wonderful guy, but what he brings to the table is extra-

camera is causing the issue. He fiddles with the camera,

ordinary,” says Peter. “I’m sure he will pass his wisdom on

and the problem is solved. Unruffled, he sits back down,

to other students, as well.”

picks up the script he is following, and gets back to work.

“Having live musicians perform during a show is better

by Liz Matson

than recorded music, because they can react to what is happening onstage,” says Nick. “No software can do that.

But part of the challenge is making sure the audience can hear the actors when the music is playing. Moving the musicians out of the pit gives you a bit more control of the sound.”

above

(left and center) On the set of Avenue Q: School Edition.

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at milton

grade 8 ta l ks

What Should We Know About You? It’s Monday morning, and 145 middle schoolers gather in Ware 500. The faithful assembly space buzzes with 8 a.m. energy. Left of stage, an eighth grader flips through a collection of notecards a final time. She takes two deep breaths and steps onto the stage, where four weeks of preparation will culminate in her Grade 8 Talk.

On Mondays and Fridays for nine years now, eighth

Whatever the format, students share something personal

graders have shared themselves with their classmates,

and important.

and prepared through this experience for the traditional

that rite of passage and deep-rooted tradition, the Class IV

brainchild of Middle School director Will Crissman,

Talk. Every Class IV student delivers a personal, researched

combine storytelling and speechmaking, developing

and assessed five- to seven-minute speech to his or her

skills and broadening perspectives — of the speakers

classmates. While the practical value of learning to speak in

and audience.

public is an important tool, Will says the most powerful

Formal public speaking is new for many middle schoolers. “I tell students they need to give themselves at least three weeks,” says Debbie Simon, Grade 7 teacher and Middle School speech coach. “Preparation is the key to eliminating your fear of public speaking.”

During week one, students work with Debbie to develop

outcome of the Grade 8 Talks is stimulating empathy and appreciation for one another.

Though each Talk is a student’s own creation, themes do emerge: the value of hard work, learning from failure, the support of family and friends, taking risks, pursuing a passion. Some students talk in very personal ways about

their topics — perhaps a passion of theirs, or something

their families: growing up with two moms or two dads,

others might not know about them. Week two is devoted

growing up without a mom or dad, the role of grandparents

to developing a rough draft; Debbie helps students structure

and siblings.

that draft into a simple, informative speech. The final

“Without intending to, students convey our common

week is “all out loud,” which Debbie claims works to get

values,” says Will. “They articulate a set of ethical standards

over nerves.

that reflect what the School is trying to impart. And they’re

Most students do “talk” — that is, they deliver a speech

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For Milton middle schoolers, the Grade 8 Talk precedes

Class IV Talks that lie ahead. Grade 8 Talks, the

doing it entirely on their own. Delivering a Talk can be

to kick off the morning’s assembly. Sharing yourself is

transformative, too. A quiet student might use it as a means

the goal, however, so students might choose to showcase

of coming out of his shell. A girl might become an icon of

a talent or skill — playing an instrument, or demonstrating

something in a way that hadn’t existed before. It may help

fencing, karate, rhythmic dance techniques. One girl

a student to formulate an identity, and that can be really

recently exhibited her archery skills. (No arrows fired!)

powerful.”

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Imagine walking onto a tennis court expecting to play a small 10-yearold, and when you look across the net you only see the person’s chest.

This is the story of the tennis match I played in the local town tournament near my house in Maine. It started two summers ago when I played a 16-year-old who was 6' 4" and towered a foot and a half over me. I stepped onto the court for the warmup and he started to hit balls that whizzed by me. I started to panic, and when he got the first serve, I felt like a helpless gazelle in front of a lion at dinnertime. He served the ball and I shut my eyes in prayer muttering to myself, “I’m too young to die, I’m too young to die!” As I heard the racket hit the ball, I cringed. When I finally opened my eyes, I trailed the ball like an outfielder watching a home run go right past him. I heard a loud “THUD!” as the ball hit the back fence.

In my head I started to get excited: maybe his size doesn’t make his game.

In the end, I actually won! In the beginning I thought I should quit for mere survival purposes, but if I had bailed, I never would be here telling you this story.” — jack weiler ’18 In different cultures around the world, people have different ways of naming their children. In America, most names are chosen by the parents of the child. However, in Africa, the “Nandis

Debbie works as a “guide,” never changing a student’s

of the Great Rift Valley” in Kenya have a

topic. She describes her suggestions as structural, adding

particularly interesting way of naming their

transitions, or strengthening a thesis. “To be effective, your

babies. The baby naming takes place in the

speech can’t wander all over the place,” she says. “You

mother’s hut, where the mother and attend-

have to remember your audience. If you’re talking about

ing women call spirits’ names to watch over

something very technical, or very personal, you have to

the baby. The baby is supposed to squeeze,

make sure everyone can engage, relate to your topic in some

indicating which name has been accepted.

way. A story is the best way to bring your message to life.”

“Structure gives the students security,” says Debbie.

“Without structure you lose your audience, and you lose

In Nandi traditions, the original name given to a child does not get used until a substitute name related to the circumstances of their

your own place, too. With a sense of structure, if the

birth, selected by the mother, is given a few

speaker gets lost, he or she can get back on track with the

days later. In my case, before I was born, my

next point. In its early stages, this process can seem a bit

grandfather gave my parents a list of Nigerian

formulaic, but that formula allows people to take a baby

names to choose from. They chose Kalaria

step into public speaking.”

to be my first name. My first middle name is

The Grade 8 Talks help students, and adults, to see one another in different ways. Witnessing moments

Juliette, after my aunt on my mother’s side, and I have a second middle name, Nnenna,

of vulnerability and honesty in another person is a

which means “first daughter.” Some parents

memorable experience.

may choose their child’s name because it

“Talks are routinely a highlight of the day,” says Will.

“The students have delivered some of the most meaningful

is family tradition, others because it means something, and some choose it because they

and emotional messages that I’ve seen here at Milton.

simply enjoy the name. Whatever the process,

They respect each other for what they’re doing up there.

the naming of any newborn child is special.

The Talks have become an important part of our culture.”

— kalaria okali ’18

by Erin Berg

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gr a de 8 ta l k s, con t.

I’m sure we are all familiar with Walt Disney. Whether it is Disney World, a Disney production, or Walt Disney himself, we all marvel at the world Disney created by fantasizing. Walt Disney was a trailblazer in his field because he set out on a path unheard of before. He created worlds of nonsense, filled with cartoons and songs that redefined television during the early half of the 20th century. Characters such as Mickey and Minnie Mouse came from Walt’s brain, where everything that would be, wouldn’t, and everything that wouldn’t, would. He turned his imaginary reality into something tangible, and he turned his fantasies into a world where he could truly express himself. He showed us, “If you can dream it, you can do it!”

When I was younger I used to use my imagination all the time. I had multiple worlds that I lived in. I lived in worlds where my stuffed animals, Puppy and Kitty, could talk, and we would have tea parties together outside in my yard or on my bedroom floor. It didn’t matter where I was, I felt like I was in a dream.

Wearing a plastic tiara, I could become a princess. Holding a spoon, I was a chef.

At the time it didn’t seem silly to create forts or pretend my siblings were monsters coming to eat me. It just felt liberating, and fun! It was easy to let my imagination run wild and let myself go. I was free. I am fascinated by the way imagineers use their imaginations. What puzzles me is how today it is harder for me to believe in worlds that only I can see. And I worry that if I stop using my imagination, I won’t really see what my creativity can be. — soleil devonish ’18

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Three Lessons from “Talk” Veterans Veterans of the Middle School, with successful Grade 8 Talks under their belts, Kiana Mendes ’15 , Benjamin “Mack” Makishima ’16

and Jacob Atwood ’17 delivered Class IV Talks that people still remember. Their talks were among the “Best of Class IV Talks” voted by their classmates. Here’s what the pros have learned.

When I heard that the MIT Gilbert and Sullivan Players were putting on Into the Woods, and my voice teachers encouraged me to audition for the role of Little

“Being able to think deeply about one topic is a

Red Riding Hood, I thought to myself, “Sure! Why not?” I had

valuable skill. With social media and so many

worked with the company the previous summer, I knew and

other distractions, it’s easy to float on the surface

liked the directors, and I had always wanted to be in Into the Woods.

of things, never digging deeply into one topic.

I figured there was nothing to lose. I was less sure of myself walking

Focusing and researching one idea from different

into the audition. I found myself in a long, dark hallway deep within

angles is a skill you use in your Class IV Talk

the bowels of MIT. The hallway was lined with adults, warming

and throughout high school.” — j acob

themselves up, running scales, practicing monologues, and generally milling about in a highly professional and intimidating fashion. Then the auditions began. The noises emitting from that room were

“Hearing your classmates share a piece of them-

absolutely unbelievable. The most death-defying sopranos, incredible

selves gives you the confidence to do the same.

altos, and baffling basses I had ever heard. I began to panic. What

I was most surprised that I was actually good at

was I thinking?! What was I doing here auditioning for a role against

public speaking. I have always been a talker,

other adults in an entirely adult company for a role that is ALWAYS

but public speaking was foreign to me. Until I

PLAYED BY AN ADULT? I got goose bumps when I heard the woman

delivered my Grade 8 Talk, I hadn’t yet

next to me say how much she wanted to play Little Red. My knees

discovered that niche.” — k iana

began shaking when my name was called, and I actually broke out in a cold sweat as I walked in the door. There was the long table. There were the sleepy-eyed, fidgety-handed, spaced-out-looking people

“Some people will write their Talk as an essay,

I had to impress. Then I opened my mouth and began to sing. At the

and though it might be a very good essay, it’s

end of the audition, the directors did not seem noticeably changed.

not a speech. A speech has to conform to the voice

My heart sank as I looked up. I thanked them and scurried out the

of the speaker and keep the audience interested.

door, embarrassment hanging off of me like a garment. I went home

First, the speech has to sound like you. It

second- and third-guessing myself, wondering how I could have

shouldn’t sound academic unless you talk like

been so cocky, so presumptuous as to assume I had any hope of being

that. If you don’t write in your own voice, people

cast. Through some miraculous alignment of the stars, I got the part.

will be bored, because they’ll feel like they’re

I got to perform my dream role. It was one of the greatest experiences

talking to a human research paper. They don’t

of my life. If I hadn’t gone to the audition, taken the risk, I wouldn’t

want to hear your footnotes — they want to be

have gotten the part. — alexandra upton ’18

entertained. Most importantly, they want to have learned something about you.” — m ack

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at milton

new and interdiscip l inary

A Wider Lens, A Deeper Look

Eight new courses at Milton this year integrate disciplines in pursuit of a fuller under-

standing, and rely upon teachers working in collaboration. Last spring, teachers began preparing for their proposed course work through workshops with Veronica Boix Mansilla. A senior research associate at the Harvard Graduate School of Education, Veronica chairs the Future of Learning Institute. Her research examines how to produce quality interdisciplinary work addressing problems of contemporary global significance. Faculty are excited that these courses will allow students to think about relevant intellectual, social and cultural challenges in new ways.

Reading Consciousness

StoryCorps, Milton: Narrative Journalism

Documentary Filmmaking

This course considers literature, philosophy

and Performance

This course explores the research tech-

and religion that investigates our notions

This course will teach the art of storytelling by

niques, methods and skills used in creating

of humanity, from antiquity to the present.

coaching students to shape and share stories

documentary film. With room for creativity

Students will pose critical questions, lead

for both the page and stage. Students will

and invention, students will construct

discussions, and formulate writing prompts.

learn narrative journalism skills, performance

a documentary that is visually engaging,

Readings include writings by W. E. B. DuBois,

skills, and peer workshop practice; they will

as well as intellectually and emotionally

George Eliot, Toni Morrison, René Descartes

research, develop and present stories within

appealing to a broad audience.

and Thich Nhat Hanh.

Milton and beyond. *StoryCorps is a non-profit organization and

Creating Form and Space:

Neuropsychology: Influences of

national project that collects, broadcasts, and

the Brain on Behavior

archives the stories of ordinary people from

Students will learn about the art, science

Beginning with a study of the brain, its struc-

around the country. (www.storycorps.org)

and technology of both engineering and

explores neuronal communication. Students

Becoming American: Immigrants

courses include community engagement,

will learn about the psychology of sensation,

and Immigration Today

reviews by professionals, and field trips.

learning, memory, thinking, intelligence,

How has immigration shaped what it means

Projects will help students develop skills

motivation and emotion. We will explore the

to be and to become, “American?” How

of analysis, communication, collaboration,

concepts of neuroplasticity, its influence

does immigration influence our individual

and problem solving.

on basic human function, and new research

and national identity? This course will

Architecture and Engineering 2-D

in neuropsychology.

examine these questions through literary,

introduces sketching, orthographic

historical, sociological and personal lenses.

plan views, moment and shear diagrams,

tural areas and their functions, this course

Architecture and Engineering

architecture as an integrated whole. Both

The Omnivore’s Dilemma: Politics of

Google Sketchup and photography.

Food in the 21st Century

Math, Politics and Society

Architecture and Engineering 3-D

This course explores political and social issues

This course applies branches of mathe-

introduces physical and virtual model

through the lens of food, considering its

matics to current events. Drawing equally

building, structural studies, framing

production, sale, preparation, consumption

on mathematics and political science,

models and vibration modes.

and disposal. Students will build a common

using election analysis, conflict simulations,

understanding of these issues, then propose

games, independent projects, research

and execute independent projects, which

papers, and problem sets based on case

will be evaluated by a “food working group”

studies, we will explore questions of power

made up of students, faculty, and outside

and fairness, leading to a broader under-

experts.

standing of our society and our world.

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mi lton magazi n e

head of school

The Gift of an Oral Legacy

by Todd B. Bland

The Camp — built by my great-grandfather, Hiram

Bingham, as a retreat for his wife and seven sons — has been a family gathering place for more than five generations. So many of my childhood “firsts” happened during annual visits to the Camp; so many meaningful memories took root there. There, I learned through stories about my family’s intriguing adventures.

My mother and father, aunts, uncles, great-uncles and great-aunts told stories, but my grandmother’s and grandfather’s were the most powerful. In the telling, the two of them were surrounded by walls crowded with family portraits and historic people, places, events and documents significant to our family and to public history.

The most prominent photographs are some of the first photographs ever taken of Machu Picchu in Peru.

The Incas, I learned through my grandparents, did not have a written language. The largest and most advanced pre-Columbian civilization, with its intricate understandings of astronomy, medicine, architecture, agriculture, government and science, did not use writing to share who they were or to preserve their knowledge

military intelligence in World War II, to John Kennedy’s

and culture. The Incas relied on oral tradition to make

administration, to pivotal moments in civil rights pro-

sure all were aware of their beliefs, and knowledge, and

gress in our country. For 25 years I have told my students

story as a people. Incan “runners,” who ran a hundred

that this storytelling inspired me to become a history

miles or more in a day, were entrusted with relaying

teacher and ultimately to dedicate my life to education.

messages across thousands of miles of Incan civilization.

Though many of my friends’ encounters with history

One of the reasons that Machu Picchu had been unknown

classes had been dry and lifeless, my experience was full

as a historical treasure was because no historical text

of riveting events and exciting detail.

documented who built Machu Picchu, what led to their

Many characteristics come together in the art of

siting and creating this particular settlement, and what

teaching, but certainly one is the ability to tell stories well,

its central purpose was.

stimulating students to do the same. Stories help us to

A child growing up in my family inevitably developed

feel, not just know, the impact of the human condition.

an endless curiosity and appreciation for history. My

They help us come to grips with the past, and with one

forebears passed on to the younger people stories of their

another, in more personal terms. Stories connect us not

serving in very public roles over time — as elected leaders,

only with events affecting people all over the world today,

professors, explorers and inventors from one generation

but also across time. In telling stories to one another, we

to the next. As a result, history was lively and fascinating

fire up our memory bank, make new connections, and

for me from the start. I came to understand the study

stoke the desire to learn more, hear more, share more. All

of history through personal accounts of family members

of us, especially those who work with teachers, need to

involved in events that affected not only our family, but

cultivate and honor these person-to-person storytellers.

also the public at large, nationally and well beyond.

Through them, we come to a new level of understanding,

I was fortunate; my grandparents brought to life events and issues from the journey of the Mayflower, through

a new launching place for an even greater, always growing reach.

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31

sports

Golf at Milton in

Holes

by Liz Matson

hole In 1912, Milton Academy decides to establish a golf club.

Recognizing this endeavor could create logistical issues, the trustees label it “an experiment.”

“The game of golf is not to be introduced here to compete with the major sports of baseball and football, but to

hole

give a comparatively large number of boys and others in the Academy, who cannot participate in these games,

In May 1913, the club asks the trustees for an additional $137

an opportunity for some healthful athletic diversion.”

to cover additional labor expenses and miscellaneous items

— The Milton Orange and Blue, December 1912

such as seed and fertilizer. The course is completed and play

hole

commences. Over the next few years, numerous “ringer” and “serial” tournaments are played during the fall and spring seasons, culminating with a Graduates’ Cup Tournament

The trustees approve $150 in funds to build the nine-hole golf course on campus. However, there are concerns about the course layout as expressed in this unsigned letter

held on Graduates Day and open to both students and alumni.

hole

to Headmaster Frank Edwin Lane dated Nov. 29, 1912.

“In hole 2, it is suggested cutting down fifteen trees,

after the spring 1917 season. When the United States officially

trustees think this hole would be dangerous when the

entered World War I, the School looked for ways to contribute

baseball field is being used . . . I think we all feel that

to the war effort and decided to grow crops on the open land.

playing on the school side of Centre Street is more or less

be l ow

The schematics of Milton Academy’s golf course, 1913.

The golf club’s existence is short-lived and comes to an end

which none of the trustees approve of . . . Two of the

“In order that the School may do its share of farming, the golf

an experiment and we might want to stop it at a later

course has been encroached upon for the use of the five acres

date . . . The people who will use it most are inexperienced

that lie across the street from the school house. The students

boys who are learning the game and who might be as

divided into squads of twenty . . . are planting and caring for 3 ½

wild as hawks. I feel sure that if I used the course I would

acres of potatoes and 1 ½ of beans. During the summer, the

imperil the safety of everybody on the property.”

land will be tended by certain members of the school who live in this vicinity.” — The Milton Orange and Blue, May 1917 After World War I, the Academy’s enrollment doubled in size; Apthorp Chapel and Ware Hall were built; and the School focused on the expansion of the campus.

hole At some point in the 1970s, golf is resurrected as a club team, playing at the Milton Hoosic Club in Canton, Massachusetts, which is still the home course of the Mustangs. According to Ben Procter ’77, the league was loosely organized and for one match the team “joined forces” with Noble and Greenough in 1977 to play a visiting team from England and were roundly “crushed.”

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mi lton magazi n e

snowing at the eighth hole, and by the ninth it was snowing really hard. I remember pulling a tee from my pocket, and I couldn’t feel it because my hands were frozen. When I hit the ball on the green, it rolled into a snowball as it made its way to the hole. I remember thinking I will probably never

hole

see something like this again.”

Today, Emma Martin ’15 is a rising star. She played the number-three spot her Class II year. She has placed in

In the 1980s, golf becomes a varsity sport. The first official

the top 10 in many national junior golf tournaments, and

golf team photo (above) is from 1982.

she came in second for the 2013 Women’s Golf Association

hole

of Massachusetts Junior title.

hole

In 1990, the Joseph Procter Award is established as an annual award for the golf team’s most valuable player. Mr. Procter ’32

The 2014 season was a success. In a span of six days, Milton’s

was born and grew up in Milton. During his youth, he played

varsity golf team won eight straight matches without a single

an eight handicap until stricken by polio as a freshman at

defeat. They finished the season in fourth place. Co-captains

Harvard. Though his right arm was 90 percent paralyzed,

Sam Procter ’14 and Scott Majkowski ’14 (pictured below)

Mr. Procter never gave up the game of golf and maintained

played spots one and two, respectively. Coach Jay Hackett

a handicap in the midteens for most of his adult life. Mr.

said, “We were lucky to have strong, competitive players in

Procter loved all aspects of the game, especially the cama-

the first four positions; and in the next four positions, we had

raderie. In 2011, the award went to freshman Sam Procter

the ability to play any one of five golfers who are very close

’14, Mr. Procter’s grandson. Ben Procter ’77 was asked to

in skill. We also have an excellent relationship with and

present the award to his son at the M Club dinner.

support from the Milton Hoosic Club. We are lucky to have

“That was so special for me, and my father would have been thrilled. The inscription on the plaque speaks to what

members of this course who really support junior golf.”

Coach Hackett is proud of how the players conduct them-

the award represents: handling yourself correctly on the

selves on the course as they uphold the legacy of the original

course, and the importance of sportsmanship.”

club, which published a tiny pamphlet in 1917 titled, “What

hole

With so many interested, young players, there is a possibility

Constitutes a Real Golfer.” The future of the team is promising. of developing a junior varsity team.

In the late ’90s, the team officially becomes coed. Although male players outnumber female players, Milton has a history of powerhouse female players coming out of the program, even before it was coed. Amy Gibbons ’77 played the number-one spot on the club team and won the Women’s Golf Association of Massachusetts Mowatt Trophy in 1975 and 1977. She became a successful Division 1 golf player at Duke University.

In 2006, Claire Sheldon ’06 completed a stellar six-year golf career at Milton. During her tenure, she played in the number-one spot her Class II and Class I years; was the 2005 ISL champion; won the Priscilla Bailey Award; and was 2004 and 2005 Women’s Club Champion at The Country Club in Brookline. She was also a three-time recipient of the Procter Award. Claire is now an assistant golf coach at Harvard University.

“I remember playing in the snow in early April at the President’s Golf Club in Quincy,” says Claire. “It started

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Fr oz e nPe ga s usI nf e r no, ar c hi v ali nk j etpr i nt , 24i nc hesx52i nc hes , 2014

shane fuller Jump, bronze/marble, 8 inches by 8 inches by 18 inches, 1996 Bananas, acrylic on canvas, 36 inches by 24 inches, 1998 I have always thought of myself as an artist, from childhood sketches and cartooning; to studio painting, sculpting and ceramics; to theater set and lighting design, directing, and

jennifer hughes

writing; to screenwriting and filmmaking.

Hybrid Reptile I and II,

I have played around with most media, and

lithography, 11 inches by

I am always open to experimenting with

15 inches, 2014

new forms. I see art as choice and selection.

As a printmaker, I am attracted

Whether taking a picture, writing a story or representing a form in any media, the

to surfaces, methods and

artist makes a choice, makes a selection,

collections. I enjoy the tactile

and by doing so creates art.

quality of my work, working in series, and having that series come from multiple sources . . .

This series of images emanated from photocopies from a book

paul menneg

of illustrations. I wasn’t inter-

Inside Out, clay, 2014

ested in the animals themselves,

The strangeness of the world interests

and shape of the surfaces.

per se, but more in the texture me — its surprises and mysteries, the impossibility of explaining. I don’t go along with science when it looks for ironclad explanations of phenomena.

anne neely Squall, oil on linen, 60 inches by 80 inches, 2012 In 2004, I was imagining what an aquifer looked like, which led me to a decade-long search for ways to paint issues related to water, as well as expressing the fleeting, lost stillness of place in landscape. Since then, I have paid homage to water sources: oceans, aquifers and lakes. My paintings linger between beauty and foreboding, addressing water issues environmentally, ecologically and culturally in our time.

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fac u lt y pe r spe c t i v e , c on t.

larry pollans Peter, ceramic, 16 inches by 13 inches by 12 inches, 2012 Bill, pastel on slate, 55 inches by 45 inches, 2012 One by one, as our campus was renovated and renewed, the old sheets of slate blackboard were removed. Our old friend Bill Moore, who spent much of his teaching career at Milton, used those boards. His tracings were legendary. What better material for a Moore drawing than slate. As a Vermonter, Bill has a flinty, practical nature, but he is also driven by more exotic voices. His Ph.D. in French literature attests to that. From the stony to the ephemeral, from the practical to the romantic, from stone to pastel, the materials suggested themselves for the Bill Moore portrait. The imperative is to find a path, both formal and expressive. That was also the process I went through with Peter Haines’s ceramic portrait.

emilie stark-menneg ’02 American Baby, oil and mixed media on canvas, 80 inches by 48 inches, 2014 I paint on both 2-D and 3-D surfaces. I roam the streets collecting discarded objects: sinks, baby carriages, chalkboards, tents. I incorporate these elements into my paintings. I also enjoy painting from life, especially in conversation with abstraction. Endlessly impulsive, I throw paint, slap on tape, and model the surface to create vibrant juxtapositions. I am interested in being “wrong” — cutting up American flags, placing something highly rendered next to something shoddy. I also create images that conjure multiple readings.

maggie stark Word Play, neon, 10 inches by 36 inches by 4 inches, 2012 In 2009, I received a cultural fellowship from the Goethe Institute to study in Berlin, which coincided with the 2oth anniversary of the fall of the Berlin Wall. My observations of the public events and historical discourse surrounding the anniversary provided the catalyst for the two videos, Wall-Play and Still-Time. These films use playground play to examine the implications and associations of the wall before and after its fall.

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mi lton magazi n e

ian torney ’82 At the Horizon series, oil on board, 2014 I am interested in exploring the dichotomy between the social constructs of painting and humanity’s understanding of nature.

The importance of thick, impasto paint in the manifestation of the energetic mark has endured. Increasingly, as I experiment with a tension between realism and abstraction, I have abandoned the conventional horizontal landscape format in favor of the iconic square, with even the distinct horizon-line fading, as I attempt to create paintings with greater atmospheric ambiguity, paintings about the intrinsic impermanence of nature and the sublime.

julia von metzsch ’03 Alarm Sensors, oil on board, 31.5 inches by 62.5 inches, 2013 My ocean-scape paintings are both spiritual and practical. Verging on the abstract, they come from a dark fantasy world filled with curiosity. They provide the opportunity to record a specific narrative revolving around themes of love, death and hallucination. My inspirations come from beach walks, or childish fears having to do with the forces of nature. When I allow the water to take over, a significant story becomes a reality in paint.

pamela walker Atlantis Teapot, low fire ceramic, 2012 I first discovered ceramic sculpture during my undergraduate studies at the San Francisco Art Institute, and I have worked with clay on and off over the years. I am drawn to the non-functional vessel (primarily the teapot) as my vehicle to create a narrative or homage to people and places that are meaningful to me. I have traveled extensively in Mexico and Central and South America. These cultures and environments have been particularly inspirational.

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commencement 2014

Commencement Speaker Betsy Beers ’75 2. Doing what you love will never be a waste of time.

Even if you set out with one career in mind, and then change course, I guarantee whatever you learned will be useful. Despite my attempts to be the next Lucille Ball, it wasn’t to be. But when the opportunity emerged for me to work at the lowest level of the film development and production business, I tried it. I decided that if I didn’t miss acting, the new gig was meant to be. I never turned back. However, my acting training served me well in my new career. I got jobs initially because I was more entertaining than the average executive, and as an actor I learned how to listen and read a room. I gave up acting, only to act every day of my life in my new career.

3. Don’t be scared to admit you don’t have a clue what you’re doing. After working my way up finding movie

ideas and scripts for other producers for about eight years, I finally produced my first movie, 200 Cigarettes. I was stranded on the streets of Manhattan with a rotating cast

Five Things I Have Learned Since Graduating from Milton

of young actors, shooting all night, every night, for 35 days with about $3.95 to make the damned film. I started off trying to pretend I had a clue. Here is a tip: Pretending you have a clue does not go over well on the streets of New York with crews who have been doing this since before

1. You will always learn more doing a crap job than a great

you were born. And, let’s face it: I can’t drive a truck,

one. At some point, wait on tables, fold clothes at the Gap,

or do hair and makeup, or even understand what all those

or be a lowly assistant. Not what you expected to hear, right?

camera lenses are for. The difference between my surviv-

Take waiting on tables: You see people at their best and

ing, or ending up in a rubber room, was my learned

their worst, and you have to learn to negotiate between a

ability to go up to anyone and ask for help. People like

hungry public and a volatile guy in the kitchen who wields

to be asked for help. It is a sign of respect and strength.

knives as part of his job. Ten tables, all seated at once, all hungry? I still have a nightmare that I come back to a station

38

4. Choose passion, not fear. Fear is often the easier

and all the customers are dead. So why is this important?

emotion to access, but passion is the key to clarity and

Waiting on tables is making order out of chaos. It is deliver-

good work. For about 12 years, every movie I worked

ing something important with your own hands, on time,

on tanked. I couldn’t figure it out. Some were good movies,

and with a smile on your face. It’s keeping colleagues from

which I genuinely liked, but mainly we spent our time

killing each other and keeping your cool. It is a lot like

being sent out to imitate successful films. Everyone seemed

producing a major network television show. Once you have

afraid to take a risk. But I had a secret. I watched tele-

had that experience, it will change the way you think of

vision. It wasn’t fashionable then. It was considered the

those working around you. If you have already experienced

lower art, like pro wrestling. (To this day, at the Golden

any of the above, feel good that those years of scooping ice

Globe Awards, they make the television nominees sit

cream will pay off.

in the back of the room and the movie stars sit up front.)

mi lton magazi n e

Then an amazing thing happened: I got the opportunity

here to tell you that you can have

to pitch hour dramatic television shows to the networks.

a conscience and treat your

During that time, I met Shonda Rhimes, an incredible

co-workers decently and honestly

movie writer who was, like me, obsessed with television

and still become a success. For

and pop culture. Grey’s Anatomy came from a simple,

every phone thrower out there,

emotional place. Shonda and I both wanted to see a show

there is someone like Kerry

on television that reflected our lives. We were two strong,

Washington, who buys cupcakes

competitive women with dark and twisty centers who

for the crew to thank them when

did virtually nothing but work, who had complicated love

she wins an award. You can stand

lives and messy relationships with a diverse group of

up for the little guy, ask for help,

friends who were as screwed up as we were. So even

listen to people, and not lie like a

though we had never produced a television show, we just

rug, and you will do just fine. In fact, we have a policy at

made up the rules as we went along. And my fear of failure

Shondaland: zero tolerance of jerkdom. It hasn’t hurt our

went away, because I was so passionate about the show

business yet, and we hope it is catching on.

she had created.

Congratulations to the Class of 2014. Now go out and 5. Nice guys don’t finish last. It is a popular notion in my

make your own five things. You have received the best

business that you have to be a rabid, backstabbing animal

academic and humane preparation here at Milton, and

to succeed. These are the folks who — even after the menial

thus, you are walking into a world with a huge advantage.

job kept them humble and focused — get their first taste of

Use your power wisely, your fear sparingly, and your

success and become total jerks. We have our share of them.

curiosity enthusiastically. And never lose your sense of

I have watched famous actors make set hairdressers cry

humor. You won’t regret it, I swear.

when they didn’t like the way they looked. I’ve seen a wellknown producer throw furniture at an employee who

Excerpted from the speech delivered by television and film

was barely making a living wage. These people are bullies,

producer Betsy Beers ’75 to the graduating Class of 2014 at

and bullies are frightened people, not happy people. I am

commencement on June 6, 2014.

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com m encem en t 2 01 4 , con t.

Awards and Prizes alfred elliott memorial trophy For self-sacrifice and devotion to the best interests of his teams, regardless of skill.

Michael John Cronin III

modern languages prizes Awarded to those students who, in the

gorham palfrey

opinion of the department, most exhibit

faucon prize

the qualities of academic excellence,

Established in 1911 and awarded to

enthusiastic participation, and support

members of Class I for demonstrated

of fellow students, both in and out of class.

interest and outstanding achievement

Emeline Noelle Atwood

in history and social science.

Tiffany Kar Guan

Jade Ly Beguelin

Ashley Soo Jin Koo

priscilla bailey award

Mary Mayland Ellis

Patrick Michael McLaughlin

To a senior girl who has been a most valuable

John Vaughn Gilmore III

Victoria Hope Saunders White

asset to Milton Academy athletics and to the

Geoffrey Hulme Pottow

Milton Academy community — an athlete who

Samuel Ward Procter

milton academy art prizes

has demonstrated exceptional individual skills

Patrick John Sheehan

Awarded for imagination and technical

and teamwork, as well as true sportsmanship.

Helena Ruth Thatcher

excellence in his or her art and for an

Kaitlin Kim Gately

independent and creative spirit of endeavor. benjamin fosdick

Cin Yee Selina Cheah

henry warder carey prize

harding latin prizes

Tze Chen Chun

To members of Class I, who, in public speaking

Awarded on the basis of a separate test

Delaney Jean Harrop

and oral interpretation, have shown consistent

at each prize level.

Alaina Elisabeth Marangos

effort, thoroughness of preparation, and

level 5: Hannah Ilana Hoffman

Morgan Shaffer O’Connell

concern for others.

level 4: Alexander Cary Garnick

Brandon Lucas Rodriguez

Oluwayemisi Oluwakorede Olorunwunmi

level 3: Elina Thadhani

Helena Ruth Thatcher

Daisy Eliza Walker

head of school award robert l. daley prize

Presented each year to honor and

Created by his students of 1984 in his memory

celebrate certain members of Class I

and honor, this prize in Classics is awarded

for their demonstrated spirit of self-

to the student from Latin 4 or beyond who best

sacrifice, community concern, leadership,

exemplifies Mr. Daley’s love of languages.

integrity, fairness, kindliness and

Elana Rose Golub

respect for others.

Emeline Noelle Atwood

richard lawrence derby

Charles Thomas Blasberg

memorial award

Tapley Dane Eaton

To an outstanding student of Class II in

Valentine Kenechi Ora

mathematics, astronomy, or physics.

Sydney Wallace Park

Siyu Lu

John Patrick Urquhart

Neekon Vafa

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mi lton magazi n e

james s. willis memorial award

leo maza award

To the Headmonitors.

Awarded to a student or students in Classes

Cameron Young Park

I–IV, who, in working within one of the

William Gabriel White

culture or identity groups at the school, has

william bacon lovering award

community by promoting the appreciation of

To a boy and a girl, chosen by their classmates,

that group throughout the rest of the school.

who have helped most by their sense of duty to

Tze Chen Chun

perpetuate the memory of a gallant gentleman

Catherine Calabresi Oldshue

made an outstanding contribution to the

and officer.

Morgan Shaffer O’Connell

a. howard abell prize

William Gabriel White

Established by Dr. and Mrs. Eric Oldberg for students deemed exceptionally proficient or

louis andrews memorial

talented in instrumental or vocal music or in

scholarship award

composition.

To a student who has best fulfilled his or

Sydney Ololade Adedamola

her potential in the areas of intelligence,

science prize Awarded to students who have demonstrated

self-discipline, physical ability, concern for

harrison otis apthorp

genuine enthusiasm, as well as outstanding

others and integrity.

music prize

scientific ability, in physics, chemistry and

Helson Jose Taveras

Awarded in recognition of helpful activity

biology.

in furthering in the School an interest and

Neil Yash Chandra

frank d. millet

joy in music.

Tiffany Kar Guan

scholarship award

Charles Burgess Janeway

Nicholas Cheng-Wei Jiang

To a student who demonstrates moral

Sydney Wallace Park

Geoffrey Herrmann Owens Cameron Young Park

integrity, supports classmates, and has established meaningful relationships

george sloan oldberg

Mykayla Lexi Sandler

with peers and faculty. The Millet scholar,

memorial prize

Victoria Hope Saunders White

by virtue of character and deeds, is an

Awarded in memory of George Oldberg ’54,

integral member of his or her class and

to members of the School who have been

wales prize

shows great promise as a leader.

a unique influence in the field of music.

Awarded in honor of Donald Wales, who

Anthony Michael Scurto

John Vaughn Gilmore III

taught Class IV science for more than 36 years. It recognizes students in Class IV who have consistently demonstrated interest and excitement in science.

Anne Gardner Bailey Julian James Batt Elliot Waterman Burnes Hei Tung Claudia Chung Gabrielle Choi Fernandopulle Te Shelia Palandjian Tyler John Piazza Elina Thadhani

above

Valentine Ora, Class of 2014 speaker l eft

Sydney Park, Class of 2014 speaker

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com m encem en t 2 01 4 , con t.

robert saltonstall medal

donald cameron duncan

richard price ’50 prize in

For preeminence in physical efficiency and

prize for mathematics

technical theater

observance of the code of the true sportsman.

Awarded to students in Class I who have

Awarded for unusual contributions of

Drew Tyler Jacobs

achieved excellence in the study of

time, energy and ideas in theater production

mathematics while demonstrating the

and in technical assistance throughout a

a.o. smith prize

kind of love of the subject and joy in

student’s career.

Awarded by the English department to

promoting its understanding that will

Theodore Alastair Bastian

students who display unusual talent in

be the lasting legacy of Donald Duncan’s

Solana Rose Czwakiel

non-fiction writing.

extraordinary contributions to the

Alexandria Elaine Hanyok

Jonathan Daniel Chang

teaching of mathematics at Milton.

Titania Thanh Nguyen

Theodore Alastair Bastian

kiki rice-gray prize

Nathaniel David Bresnick

Awarded for outstanding contributions

critical essay prize

Neil Yash Chandra

to Milton performing arts throughout

Awarded by the English department for

Tze Chen Chun

his or her career in both performance and

the best essay about a work or works of

Nicholas Cheng-Wei Jiang

production.

literature.

Victoria Hope Saunders White

Solana Rose Czwakiel

Emeline Noelle Atwood

Daisy Eliza Walker

performing arts award markham and pierpont

Presented by the performing arts

stackpole prize

department for outstanding contributions

Awarded in honor of two English teachers,

in production work, acting, speech,

father and son, to authors of unusual talent in

audiovisuals, and dance throughout his

creative writing.

or her Milton career.

Victoria Hope Saunders White

Emeline Noelle Atwood Oluwayemisi Oluwakorede Olorunwunmi

dorothy j. sullivan award

Theodore Alastair Bastian

To senior girls who have demonstrated good

Shonnese Theresa Reid-Bailey

sportsmanship, leadership, dedication and

Rebecca Elizabeth Chernick

commitment to athletics at Milton. Through

Corey Jacob Schwaitzberg

their spirit, selflessness and concern for

Patrick Michael Mclaughlin

the team, they served as an incentive and a

Daisy Eliza Walker

model for others.

Cameron Young Park

the talbot baker award Created in 1968 to honor Talbot “Bake”

Nicole Colson (English)

memorial based on a confidence in the

Jenn Katsoulis (Grade 5)

humanity of teachers and the quality

Peter Parisi (Performing Arts)

of teaching” that Mr. Baker experienced

Thomas Troy (Grade 8)

as a student at the Academy and as parent to Nick ’51, Toby ’53 and Ben ’57.

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mi lton magazi n e

John Banderob (Math)

Baker ’25, this award “provides a living

reunion weekend

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caption

Caption

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mi lton magazi n e

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in sight

Zion, March 2014 Images by Matt Magann ’17, render views of Zion National Park during Milton’s Outdoor Program trip in March 2014.

Milton’s H. Adams Carter Outdoor Program was founded to honor the

Milton graduate (’32), teacher and world-renowned mountaineer, who, in 1947, established the Program’s precursor, the Ski and Mountaineering Club. Through the Program, Milton students learn about the backcountry for sport, beauty, contemplation and camaraderie. These outdoor experiences teach students to take responsibility, meet challenges, take intelligent risks, and to trust themselves and each other. Trips include sea kayaking, day hiking, overnight backpacking and kayaking, winter hiking, snowshoeing, cross-country skiing, mountaineering, ice climbing and rock climbing. The Outdoor Program provides technical equipment, food, transportation and basic instruction. These trips are free and are open to all Upper School students. One of Ad Carter’s former students, Gil Butler ’55, is the main benefactor of today’s program, contributing his time and resources to continue the tradition of involving students in outdoor experiences.

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milton.edu

facebook.com/MiltonAcademy1798

@MiltonAcademy

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on centre The Art and Media Center Old Science Repurposed as High Functioning Art Space (like the meteorologist broadcasting a weather

For the first time, at least in “modern” history,

the lines between two- and three-dimensional

students can pursue any and all of Milton’s

arts. The building’s loading dock now has

forecast in front of a relevant map). The AMC

visual arts programs in one building, the Art

electrical power to accommodate outdoor

lower level also provides dedicated space for robotics and computer engineering projects,

and Media Center (AMC). This summer,

welding, and electrical outlets hang from the

changes that will not strike some as dramatic

ceilings in various locations throughout all

in addition to Greely Auditorium, the Nesto

have nevertheless prepared all three levels

the studios. New Smartboards in all four main-

Gallery, and photography darkroom facilities.

of the AMC for unparalleled opportunities and

level studios support teaching.

The AMC is now fully code-compliant and

collaboration in the arts. Ian Torney, visual

On the AMC’s top floor, the former Weld

accessible to persons with disabilities, as well.

This upgrade and reworking of AMC space

art chair, used the relocation of sculpture,

Library has become a technology and design

ceramics and woodworking from Robert

studio; Bryan Cheney (Visual Arts) and Brad

looks to maximize capability and functional

Saltonstall as a chance to rethink how spaces

Moriarty (Science) teach their new collabora-

ease for all types of imaginative projects that students and faculty typically devise. Class-

are outfitted and aligned, not only for today’s

tive course in this studio, Creating Form and

world of arts, but in anticipation of how the

Space: Architecture and Engineering. A

rooms are flexible; technology, which “is one

field will develop over time.

digital imaging MAC lab is located on the west

of the key drivers in visual arts growth,”

side of the top level, along with a lighting

according to Ian, is ubiquitous. “We haven’t

The two studios on the AMC’s south side are now all dedicated to 3-D art, including

studio for photography. The east side of that

precluded doing more in and for the arts,” he

sculpture and ceramics. The two north-facing

level features a MAC moving-image lab and

says, “and the enhancements in this building

studios will serve drawing, painting and

viewing studio.

printmaking. All four main-level studios are

Not to be left out of the action, the AMC

are not only effective today; they look quite deliberately to a future that we regularly work to anticipate.”

flexible enough to support any studio art

lower level now includes an office and work

foundations course. A new machine tool shop

space for Milton’s busy Audio Visual depart-

located in the center now connects both

ment, and a film and moving-image production

banks of studios, making projects of all kinds

studio, with a “green screen,” a prerequisite for

and wellness programs, and create needed

shots that involve actors and imposed imagery

meeting, office and storage space for Athletics.

possible as contemporary art making blurs

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mi lton magazi n e

Note: RSG’s vacated spaces now accommodate two classrooms for Milton’s health, fitness

Seminar Day in its Fourth Decade: Economist Sam Bowles Was Keynote Economist Sam Bowles was the Sally Bowles Keynote Speaker, leading the student-organized Seminar Day in May. More than 20 other experts and activists followed, covering a wide range of publicly debated domestic and international issues. Many alumni were among the guest speakers, stimulating great questions and discussions.

Called the Keyes Seminar Day, this lively event has been one of Milton’s most important traditions since 1977. It is named in honor of its founder, former faculty member Peter Keyes, a legendary promoter of student interest in the political process as well as public and governmental affairs and service. In the Milton spirit of developing students’ confidence and competence to live by our motto, “Dare to be true,” Seminar Day brings to campus individuals who have made compelling choices. They are scholars, business people, scientists, educators, writers, political leaders and artists making a difference in the world.

Speakers this year included a string theorist; two experts on the crisis in Ukraine; social entrepreneurs working on issues such as educational reform and sustainable food policy; environmental activists; an inventor of medical devices; a member of the Massachu-

Milton Tennis Dominates

setts National Guard; social justice and political activists; and the

With ace serves and slicing backhands, the girls’ varsity tennis team

chief of trauma at Massachusetts General Hospital, who discussed

dominated the courts of the Independent School League, going

lessons learned from the Boston Marathon bombings.

Mr. Bowles’s talk was titled “The Origin and Future of Economic Inequality: The Good News.” He is a research professor and director of the behavioral science program at the Santa Fe Institute. He is also professor of economics at the University of Siena.

undefeated (15–0) and earning the title of ISL Champions after beating Nobles in the last match of the season. The team also earned the NEPSAC Championship trophy over tough competitors.

Coach Troy Crichlow ’99 described the season as a perfect culmination of the team’s strong results over the past few years. The team’s

He taught economics at Harvard from 1965 to 1973 and at the

top-ranked player, Maddie DeWire ’16, had an outstanding season,

University of Massachusetts, where he is now emeritus professor.

winning all of her singles matches.

Bowles’s current research includes theoretical and empirical studies of political hierarchy and wealth inequality and their evolution

“Tennis season is the most fun time of the year for me,” says Maddie.

“We are such a close team, and we were excited and confident this season.”

over the very long run. He has served as an economic advisor to the

Co-captains Kaitlin Gately ’14, Abby Lebovitz ’14 and Ilve Bayturk ’14

governments of Cuba, South Africa and Greece, to presidential

led the team, which included three freshmen. Semi Oloko ’17

candidates Robert F. Kennedy and Jesse Jackson, to the Congress of South African Trade Unions and to South African President Nelson Mandela.

Surrounding the keynote speaker, students chose from among

and Te Palandjian ’17 were ranked second and third, respectively, on the team.

“Our youngest players fit right in right away,” says Coach Crichlow. “They had a good

many presenters during three time blocks in the day. Exchanges

understanding of what we were trying

that occur on Seminar Day stimulate ideas and conversations over

to accomplish this season.”

weeks to come. Held every other year, Seminar Day alternates with

The boys’ varsity team also had a standout

Community Service Day — another occasion that encourages students

season (16–1), winning the ISL Championship

to think beyond their immediate community and concern them-

under the leadership of captains Alex Lee ’14

selves with the complexity and opportunity afforded by the world.

and Andrew Hahm ’15 .

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Ruting Li ’15 A Poet Who Wins Prizes When Ruting Li ’15 sits down to write, she doesn’t know quite what will make it to the page. “I don’t set out to write about a particular topic,” she says. “Sometimes I start my writing from a prompt, or an

Villanelle for Madrid

image. Most often I write about something I’ve seen or experienced, which sparks an idea.”

In the spring, Ruting’s poetry earned her a finalist spot in many regional and national writing contests, including the Smith College High School poetry contest, the Naked Truth/PEN New England High School writing contest, and the Oxbridge Edge poetry contest.

Ruting completed a year of the Advanced Creative Writing course, a workshop for student writers looking to hone their craft. “Taking Creative Writing has made me see myself in a different way,” says Ruting. “I’ve always leaned more toward math and science, but taking this class has made me a better writer, and it has helped me see myself that way.”

Ruting’s poem that earned her Smith Prize recognition is titled “Ode to Summer Storms.” As a Smith Prize winner, Ruting was invited to campus, hosted at the Poetry Center, where she met and worked with the contest’s guest judge, poet Alicia Ostriker. With three other finalists, Ruting spent the day with Ms. Ostriker, talking about the writing process, attending a Q&A with the author, and being invited to share her award-winning poem, onstage, at the author’s reading that evening.

“Villanelle for Madrid” — one of Ruting’s favorite poems — earned her recognition in the PEN New England and Oxbridge Edge contests. As part of the Oxbridge award, Ruting was invited to attend an Oxford-Cambridge summer writing program, for which she earned a partial scholarship.

“Having my work recognized in this way is so exciting.

Writing is very personal, so sharing it can make you feel a little exposed,” she says. “However, workshopping my writing in class, with my teacher and classmates, has made me more comfortable sharing my poems, and it is such a helpful way to improve your writing. My classmates and teachers always offer great advice to help me refine my work.”

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You taught me to love sound, rolled soft r’s into my ears like humming street lamps.

Listen. This is where I like to be found.

In the heat of flamenco, toes, heels, hands pound like rain on Calle Velazquez. Women and men sweat and breathe tears.

They teach me to love sounds.

Like a nation’s blood, Jamón Serrano is striped red.

Horchata, too sweet, yellowed under the sun for a year.

Look. This is where I’d like to be found.

In between besos on my cheek, thick lisps settle like the age-old stones in cathedral floors, almost too quiet to hear, teaching me to love sound.

A city pumped on sangria, squid-ink paella, shrimp whiskers tangled in cracked black mussels — no fears, just taste. This is where I’d like to be found.

This is a city where the streets hunch together, keeping secrets of the people, where 3 euro Marlboros curl, smoky, into your hair, where I learned to love sound, here, Madrid, I am found.

Lisa Donohue ’83, a Leader in Media and Technology, Will Succeed Brad Bloom as Board President Head of School’s Council, a group that provides

Lisa Donohue, Milton Academy Class of 1983,

2009, the company has won more than 100

will succeed Brad Bloom as president of

honors for its clients, spanning disciplines,

perspective and expertise to the head of school.

the Milton Academy Board of Trustees when

including digital, print, TV, mobile, out of

Lisa chaired her 25th Reunion Committee,

his term concludes in 2015. Milton trustees

home, event, social and branded content. For

and she also established an endowed fund that

voted in May to elect Lisa as the president,

the past three years, Starcom has been named

supports a female scholar-athlete.

effective July 1, 2015. Since she joined the board

the most effective media agency network in

in 2008, Lisa has taken a leadership role,

North America by the Effies, and was selected

handle what I do every day,” Lisa says. “I

particularly in the areas of external relations,

as MEDIA’s 2011 Creative Media Agency

learned how to think, how to assess situations,

strategic planning, campaign preparation, and

of the Year.

how to look at all the information and come

developing the membership and practices (or processes) of the board.

Lisa was named Chicago Advertising Federation’s Advertising Woman of the Year

“I am thrilled that I will be able to build

in 2011 and Adweek’s 2011 Executive Media

“I credit Milton for giving me the skills to

to [my] own conclusions. I learned these core skills at Milton.”

Brad Bloom, current president, and Todd

on Brad’s strong leadership over the last five

All-Star. At the time of the award, Adweek

Bland, head of school, had planned for some

years, and the board’s work to strengthen

described Lisa as an executive “who has

time to implement a smooth and gradual

Milton’s tradition of excellence in education,”

transformed Starcom from a stodgy numbers-

transition to new leadership of the board. They

Lisa says. “I look forward to making sure

crunching conglomerate into a taproot of

are both looking forward to working with

that the exciting momentum at Milton, as we

innovation. Since assuming her role in June

Lisa as she gains increasing responsibility and

implement our bold Strategic Plan and build

2009, she invested in bleeding-edge analytics

connection with Milton constituencies over

the campaign to dramatically increase Milton’s

tools, bolstered the company’s entrepreneurial

the coming year.

endowment, continues at a brisk pace in the

culture with internal social networks and

years to come.”

Lisa Donohue is CEO of Starcom USA, a media agency focused on the convergence of media, technology and creativity.

Since she became CEO of Starcom in

Lisa graduated from Brown University.

events, and hammered home her message of

She serves on the Advertising Women of

‘experience planning.’”

New York (AWNY) Board of Directors, the

Prior to joining Milton’s board, Lisa worked

4A’s Board of Directors and Media Leadership

effectively as a volunteer for the School in

Council, and is a member of The Chicago

a number of areas. She was a member of the

Network.

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Jazz at Milton Is Forty Years Young Playing one of the signature tunes of hard bop, musicians spanning five decades of Milton Academy jazz gathered onstage to perform “Moanin’” as part of a free concert event to celebrate the 40th anniversary of the jazz program on April 4, 2014.

Since 1974, Milton’s jazz program, founded and directed by music faculty member Bob Sinicrope, has grown to include more than 75 students involved in the study and performance of jazz in nine different jazz groups.

Current jazz students and alumni filled the evening with a range of musical performances. Special guest Horace Alexander Young, a former music director and saxophonist, led the group in a set of South African music. Jazz pianist Aaron Goldberg ’91 sent along a video performance that was played for the audience, which included Bill Zildjian ’75, one of Bob’s first students. The concert concluded with a jam session of more than 40 students playing penny whistles.

Milton’s student jazz musicians have toured South Africa nine times, during which they have performed with T. S. Monk and for Archbishop Desmond Tutu, delivering more than $135,000 worth of donated materials to township schools. Students regularly play at popular and esteemed local venues, such as the Ryles Jazz Club in Cambridge, Massachusetts. They have performed on NPR’s nationally broadcast quiz show “Says You,” and at the inaugural ball of Massachusetts Governor Deval Patrick ’74.

Matt Bingham Extends His Science Classroom by 2,000 Miles Practicing what he preaches and teaches, science faculty member Matt Bingham spent two weeks in Greenland this spring with a group of fellow researchers, studying how ocean conditions on the west side of Greenland affect the vast ice sheet covering roughly 80 percent of the country. Milton students supported the trip stateside, writing content for a blog documenting the trip and conducting experiments on samples brought back from Greenland.

“The Arctic is warming much faster than the rest of the planet, and this ice sheet is showing evidence of a complicated, or nonlinear, melting process,” says Matt. “[The glacier] is not simply turning from ice into water. Our goal was to understand what is happening during this process.”

With research scientists from Woods Hole Oceanographic Institution, Clark University, Wheaton College and University of Washington, Matt traveled to three sites. The group focused its study on the Jakobshavn Glacier, where part of the western side of the ice sheet drains into the ocean. This glacier is the subject of many scientific studies and was featured prominently in the documentary Chasing Ice. The team looked at the structure of the ice with ground-penetrating radar; they dug snow pits, collected layers of snow, and drilled shallow ice cores. They sent snow and ice samples back to the United States for study, and Milton students will experiment on a set of samples this fall.

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mi lton magazi n e

Art and Science, Teacher and Student, a Collaboration at the Museum of Science Artist Anne Neely’s large canvases, filled with

influential to me,” she says. After reading

who created an audio composition that

rich hues of blues, greens and browns, hang

Water by Marq De Villiers, she began a

accompanies the paintings.

in an exhibit hall in Boston’s Museum of Science. “decade-long search to find ways to paint The paintings in Water Stories: Conversations

unseen aquifers, rivers, oceans and streams.”

“I didn’t want the paintings to look like what you would see if you were looking

in Paint and Sound reflect Anne’s interpretation

She began researching water-related issues,

at a photograph of an algae bloom or a

of water cleanliness and water access issues

such as droughts and fracking, and began

drought,” Anne says. “I wanted to paint from

plaguing the United States. This merging of art

to incorporate what she was learning. She

imagination, emotion and interpretation.

and science developed from a collaboration

arranged a meeting with David Rabkin to

I want different things to bubble up when

between teacher and former student.

explore her idea about a water exhibition at

someone looks at the painting. Some will

the museum. Coincidentally, David had been

see beauty and foreboding; others will conjure

Anne was new to the visual arts faculty in 1974, and David Rabkin ’79 was one of her

thinking about mounting a water exhibit,

up their own memories or experiences about

students, whom Anne describes as “inquisitive

as well.

water. I hope that each painting raises their

and full of ideas.” They kept in touch on and

“At the museum, mixing art with our more

awareness.”

“Working with David has been a memorable

off over the years. David earned his doctorate

typical educational approaches works well,”

in technology and innovation management

says David. “The art opens people to ideas,

collaboration,” says Anne. “His visits to the

from MIT and is now director for current science

emotion and scale, in ways that more explicit

studio to see the progress of the paintings and

and technology at the Museum of Science.

techniques may not. Art broadens the audi-

our conversations were a wonderful exchange

Anne retired from Milton in 2012 and focused

ence, welcomes all kinds of learners, and adds

of teaching and learning for both of us. Bringing

on her art, specifically the phenomena of

dimensions of experience that are otherwise

the public into a visceral experience was our

water, a subject of her paintings since 2004.

unavailable.”

goal for Water Stories. I’m so fortunate to have

“I am an ocean-loving person,” says Anne,

Anne interviewed residents around the

this opportunity.”

who has studios in the South End and on

country about their experiences with drought,

Water Stories: Conversations in Paint and

the coast of Maine. “The shifts and subtle

fracking and pollution. She gave her recorded

Sound will be on exhibit at Boston’s Museum

changes of water patterns have been

interviews to sound artist Halsey Burgund,

of Science until January 2015.

this page

Former visual arts faculty member, Anne Neely, with David Rabkin ’79.

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board of trustees Joining

which plans events and supports

School in Michigan. Randall

admission and development work.

returned to campus in January

Ted Wendell ’58

Kevin has more than 23 years of

2013 as the Martin Luther King

Edward “Ted” Wendell Jr. ’58 was

investment banking and equity

assembly speaker; he talked with

elected to the board during the

investment experience in the Asia

students about how Dr. King’s

summer of 2013. Ted is a founding

Pacific region. He is vice

talent as a facilitator made him

partner and principal of Northern

chairman and managing partner

an effective leader and agent

Cross, LLC. During the 1960s,

of NewMargin, which focuses

of change.

Ted served as a math teacher,

on growth private equity

head of admissions, and dean of

investing in Greater China in the

Randall came to Milton through

students at Marlboro College, in

consumer, financial services,

A Better Chance program. At

Marlboro, Vermont. He graduated

resources and clean-tech sectors.

Milton he was a co-head monitor,

outside her interest, and she is

Born in Kingston, Jamaica,

from Harvard College and earned

He is also a member of General

participated in community

consistently both constructive

a master’s degree in mathematics

Oriental’s global investment

service, and was a three-season

and supportive.

from the University of Washington.

committee and sits on the main

athlete, setting several track and

Kitty is a model for saying

Ted served as a Milton trustee

board of GO’s holding company.

field records. Randall is co-chair

“yes” and then meaning “yes.”

from 1974 to 1986 and has been

Kevin’s son, Cameron, is in Class

of the National Advisory Board of

Asked to spend gorgeous summer

active on reunion committees. Ted

II and lives in Goodwin House.

the Principals’ Center at the

mornings here on campus, she

and his wife, Mary, have been

Kevin himself lived in Forbes

Harvard Graduate School of

and Warren and the faculty

generous and supportive to many

House; he is a graduate of

Education. He earned a bachelor’s

carefully crafted the charter of

Milton students, particularly to

Harvard University, where he

degree from Brown University

that organization that secures

classmates of their children,

was named a John Harvard

and a master’s degree in education

communication between the

Liddy ’94, Ellie ’98 and Macky ’01.

Scholar.

from Harvard University. He and

board, the administration and the

his wife, Elizabeth Hopkins Dunn

faculty: the Faculty Council. She was an astute listener and key

Ka-Kay (Kevin) Yip ’83

Randall Dunn ’83

’83, live with their two children

In February 2014, Milton trustees

Randall Dunn ’83 was elected to

(Chase and Hunter) in Chicago.

elected Kevin Yip ’83 to join the

the board of trustees this spring.

Council Liaison Committee. Kitty

board. Kevin is a devoted Milton

He is head of school at the Latin

is a champion of excellence and

volunteer and president of the

School of Chicago and previously

Milton Association in Hong Kong,

served as head of the Roeper

Retiring

a deep understanding of — and empathy for — the very human

Milton Academy Board of

tendencies of adults, children and

Trustees, 2006–2014

organizations, all striving to

During her eight years on Milton’s

become better at what they do.

We all listened carefully (it

of her deep school experience to

was always worthwhile) to Kitty’s

serve — generously and graciously —

carefully composed, beautifully

the head of school, all of us as

rendered reports from the Enroll-

trustees, and the adults and

ment Committee, which she

children at Milton today, and

chaired in its earlier life, and now

through the importance of her

from Academic Affairs, Student

work, for years to come.

Life and Enrollment, which she

Kitty is reliably open and consistently positive. Her appreciation for how myriad

mi lton magazi n e

accountability, coupled with

Kitty Gordan

board, Kitty brought the wisdom

56

participant on the Trustee Faculty

co-chairs.

Kitty may know more about Milton than most of us do. She

pieces contribute to a whole bigger

served on at least one long-range

than the sum of the parts is

financial planning effort; she

always evident in her comments.

chaired the Enrollment Capacity

No aspect of school life has been

Study, analyzing the factors that

affect the size and character of the School and how they intersect; and thanks to her son John, who graduated in 1996, Kitty knew residential life at Milton, and she could mark our progress over the last decade in real terms.

She helped us learn about ourselves, by situating Milton within the encompassing world of independent schools: how our faculty work, and how they feel about their work; how we navigate the complex “dance” involved in enrolling students; how we’ve progressed as a board and a school; and how significant and bold a plan we’ve adopted.

Kitty always expressed genuine delight and joy about the work of educating young people.

We’ll honor her spirit and do our best to honor her amazing work ethic. Thank you, Kitty, for your friendship, and your inspired and devoted service to Milton.

Og Hunnewell ’70 Milton Academy Board of Trustees, 1993–2014

We’ve long joked about Og really being on staff at Milton. It’s no joke. Og’s style — and the results surround us — is “hands-on.”

Og has been on task for every project from 1993 until today: of long-term planning, and those

from brainstorming through

some valuable classroom space at

in which we realized that our

dedication, from architectural

the top of Warren Hall as long as

facilities need to support the

that emerge “overnight” on a

studies through value engineer­

we were renovating.

excellence of our program; that

campus of 125 acres and 52

shabby gentility may have been

buildings. Old buildings and grounds present problems, of all

ing, from issues of capacity

In 2004, he pondered how to

and function and cost, through

design a doorway through

our signature, but that providing

small-scale finishes that set a

Hallowell that connected it to the

a quality educational experience

sizes and varieties, without

look and feel.

new quad but didn’t risk severing

for students is our responsibility.

warning. New administrations

In 1996, Og led the questioning about what kind of space the

a unified house.

In 2006, Og led the team that

Athletic and Convocation Center

built our now-beloved Pritzker

should be.

Science Center.

In 2002, at midproject, he asked why we wouldn’t render

Og ushered in Milton’s “modern era,” that period of time

At once attentive to function,

find that exciting new programs

aesthetics, tradition, scale and

urgently need well-purposed

cost, Og thinks like a planner and

space.

a problem solver. He is completely

And he’s reluctant to let a

responsive to Milton’s needs:

valuable opportunity pass.

those that are known, the subjects

It was Og, many years ago, who

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t rust ee s, con t.

suggested that the old science

as Milton Academy’s visual

sense of place without losing the

began with a department-wide

building might serve the visual

iconography and memory bank.

Milton we love.

self-study, and Warren set the template for the kind of assess-

Hunnewell history and Milton

arts department very well.

Warren McFarlan ’55

ment that is a strategic priority

inglorious problems as he is

Og’s brother Bob and cousin Meg

Milton Academy Board of

today: It had a wide scope —

on sparkly, dramatic solutions.

graduated from Milton, as did his

Trustees, 2001–2014

facilities, curriculum, resources,

He has diligently studied faculty

uncle Tom and his father, James.

For 13 years, we have counted

teaching, impact over time. The

housing, ADA implications,

Og’s trustee years preceded and

on Warren’s willing agreement

department was fully involved;

lighting and way finding, among

continued beyond his sons’ time

to share every challenge that

alumni opinions figured in; a

many other things.

at Milton: Brad graduated in ’05,

confronted Milton, from recruit-

visiting team reviewed; and the

Nick in ’08, and Will in ’09.

ing our head of school, to

report provided the roadmap

resolving the abatement issue,

for the Pritzker’s architectural

Og is just as focused on gnarly,

He is the guardian angel of deferred maintenance, educating

history are woven together.

How fitting that Og’s role in

us, exhorting us, sometimes

the life of the School connects his

to setting strategic planning in

design, for growth in teaching,

successfully, about the impor-

father’s Milton years, his own, his

motion.

curriculum expansion, and

tance of tending to our assets

sons’ experiences in classrooms

prudently.

We shouldn’t be surprised to

enhanced student experience.

and on the fields, and Milton

find, then, that at several pivotal

Later, Warren was among

students’ lives today. We hope, in

points, Warren’s unique leader-

the team of diplomats who built

two decades of institutional

years to come, Og’s grandchildren

ship skills helped orient us and

connections among faculty,

history, is alive in the physical

will enjoy the Milton campus he

define our future.

campus, so well used by faculty

helped so much to realize.

Og’s legacy, and more than

In 2002, Head of School Robin

administration and the board.

He helped draft the Faculty

Robertson asked Warren to

Council charter, a living symbol

and parents — the campus that

attention, devotion and skill. You

launch our drive to put Milton

of his belief that a thriving

many carry in their minds’ eyes

have helped us develop a new

science on the map. That effort

institution understands and

and staff, students, alumni

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mi lton magazi n e

We are so grateful for your full

milton.edu

facebook.com/MiltonAcademy1798

@MiltonAcademy

back to Milton a measure of what she felt she had received.

Erika was on everyone’s short

with graduates, she highlighted exactly those values and qualities we hope we develop in students,

list for every project-based

and we hope they sustain over

trustee committee. When asked,

a lifetime: the ability to live a life

she willingly agreed to join the

that dares to be true to who you

Institutional Brand Council,

are; the desire to set and meet the

the Enrollment Capacity task

highest expectations; the eager-

force, the Trustee Committee

ness to use every opportunity you

and the Technology Advisory

can to keep learning.

Council, even though she

We are very grateful for

honors the respective roles of all

intellectually and emotionally

sometimes needed to be a player

Erika’s contributions to Milton’s

the people who are part of the

present.

on a conference call at 6 a.m.,

great progress over her time as

whole; and that communication —

Warren has been a wise

her time.

Erika’s commencement

a trustee, and we look forward to her continued participation on

high in quality and plenty of

counsel, a diligent trustee, and

it — sustains that mutual respect.

a loyal, passionate supporter

address to the Class of 2009 was

of his School, and we thank him.

a particularly important gift to

and in the life of the School in

the School. In sharing her story

years to come.

As chair of the Trustee Faculty Council Liaison Committee, Warren set its course — with

Erika Mobley ’86

openness, accessibility, fairness

Milton Academy Board of

and balance. He was a trust-

Trustees, 2007–2014

worthy emissary for everyone,

Erika is one of those special

listening intently, sharing,

trustees who enthusiastically

appropriately registering or

agrees to serve despite the

diffusing concern. Warren helped

distance between two coasts, the

the faculty, and the board, gain

challenges of an intense career,

awareness and experience about

and having very young children.

the roles we play and our discrete

She simply asked us to wait a bit

responsibilities. A guardian of

while she lived in Australia,

good governance, he appreciated

until she moved back to California.

its value and its impact on our credibility.

With roots in teaching, business, technology, Asia, and

A true utility infielder who brought broad competence, insight and intellectual energy to all of her work on the board, Erika was

donor relations, Warren under-

tapped for committees where her

stands the intersection of

expertise was especially valuable.

business and education, of goal

On Enrollment (in her earlier

setting and fund raising. He is

years) and External Relations, her

the model “big picture” guy.

creative ideas for communication

Always well read and well prepared, Warren was ready to offer perspective — with humor,

the Technology Advisory Council

and connection elevated our sense of what was possible.

On Academic Affairs, Student

humility, anecdote and even

Life and Enrollment, Erika

an apt homily now and then. He

explored the life of the School

entertained us, educated us,

today, and she affirmed her great

and exhorted us, with a signature

love for what Milton gave her.

smile and a twinkle in his eye.

Erika was refreshingly open and

Regardless of what we asked of

expressive about her powerful

him, he was physically,

urge to honor Milton and to give

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59

r e t i r i n g fac u lt y

Gordon Chase, Visual Arts Department Member of the Faculty, 1978–2013 In 1978, Gordon Chase brought to Milton his

requirement that centers art in the academic

energy and passion for students making

core. Milton students now routinely pursue

Gordon sought to integrate art and science with proposals for Milton to build a design

art. Milton’s walls have highlighted student

art in successive years. Their high achieve-

center, to start an inventor’s camp, to honor

self-expressions for more than three decades —

ment distinguishes them in the college

Bucky Fuller with an integrated approach

witness to Gordon’s idea that art is about

process. Gordon’s commitment to creative

to solving the world’s problems with innova-

thinking and to self-expression, shared by the

tive ideas. He organized the New England Design Olympics in the ’90s, which showcased

“identity” — where students have tested their assumptions and declared their beliefs.

department and the School, elevated Milton’s

With long hair and cowboy boots, supported

art program to the top of the independent-

applied design long before today’s innovation

in his creative quest by Head of School

school world.

labs. Gordon still believes this integration is

Jerry Pieh, Gordon’s energy for new ideas was colorful and constant.

Gordon chaired the visual arts department

Two “big ideas” informed Gordon’s work on professional events: the idea of art with a social conscience, and the idea of design as the

possible at Milton.

Gordon was a soccer coach, a Nesto Gallery assistant director, a Cultural Diversity Com-

for more than 25 years. His goal was building

integration of art and science. As head of the

mittee member. He and Marky Kauffmann are

an arts center that included within it all of the

Art Association of New England Preparatory

parents to Milton graduates Greg ’06 and Corina ’08, and they are grateful for that edu-

arts. He initiated the effort to create the Kellner

Schools, Gordon organized workshops and

Arts Center, explored R. Buckminster Fuller

worked with Facing History and Ourselves on

cation from devoted and passionate colleagues.

as a potential designer, hosted two multischool

social-justice art projects. He co-created a

As he leaves, Gordon’s hope is that Milton

Bradley Arts Festivals, and dramatically

New England event called “Art with a Social

will continue to embrace the ideals of creativity and social justice.

increased student enrollment in art by intro-

Conscience” for students to focus on identity,

ducing semester courses, now common in

social issues and diversity. Two years ago,

many departments. These courses built on the

Milton hosted “Classrooms with a Conscience”

by Paul Menneg

important foundation of the arts program —

to highlight the idea that we teach “students

Visual Arts Department

Milton’s long-standing and pioneering arts

first and subjects second.”

60

mi lton magazi n e

Missy Manzer, Director of Cox Library Member of the Faculty, 1998–2014 As a librarian, Missy is an ace researcher. A

the speech team collection and the history

webinars and local meetings, and by forcing

horticulturist at home, Missy enjoys weeding

department collection, as well as CD collections

us to prepare for research season with rigorous

in the library, and (unlike some softies) is able

for jazz and general music. Missy introduced

training exercises. Missy cultivated a spirit of

to discard books without weeping over each

routine consultations with departments and

customer service, routinely bending over

one. Perhaps that is because she is a master of

teachers to determine how the library could

backward to obtain resources for our patrons.

collection development, and she can always

contribute to their curricular needs. As one

find the ideal choices to broaden or rejuvenate

history faculty member said, “With librarians

David ’02 and Jonathan ’07, who not only

our holdings.

and teachers working together, research pro-

appear for family holidays, but actually enjoy

jects are more rewarding experiences for

vacationing with their mother!

As director of Cox Library, one of Missy’s

As a parent, Missy launched two sons,

We wish Missy a long and happy retire-

cardinal accomplishments has been to oversee

students and teachers alike.” Even when they

the incorporation of digital resources. During

need not be in Cox, many students appreciate

ment, whether contentedly digging in her

Missy’s tenure, we have moved from present-

the peaceful and productive environment.

garden, or intrepidly traveling the world. Her

ing information limited to the physical library

Missy created this atmosphere.

to presenting online offerings, including

As a supervisor, Missy insisted that her

legacy of collaboration and support is one we will endeavor to continue.

the catalogue, research guides and electronic

staff cross-train, learning about each other’s

databases. We have gained relevant, new

work. Missy encouraged our professional

by Diane Pierce-Williams

material by including in the library’s holdings

development by allowing us to participate in

Cox Library

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61

r e t i r i n g fac u lt y, c on t.

Gordon Sewall, Assistant Head for Development and Alumni Relations, 1996–2014 For 18 years, Gordon has been an institutional

creativity, flexibility, and resilience. Gordon

to the School, and understand how their Milton

leader who helped Milton come alive for

dependably adapted and stayed centered. He

and today’s Milton form a single treasure.

donors. He has been a teammate who put his

embraced the situation at hand; he emanated

shoulder to the common wheel, a problem

optimism, and his optimism was contagious.

solver, a can-do person.

Under Gordon’s leadership, Milton evolved

With donors, Gordon was as passionate

Gordon was a superb advisor-at-large.

Always engaged, ready to help with any issue, he invariably contributed wise and

Reunion Weekend from a paper-plate, rubber-

balanced perspectives, always with humor.

as he was honest about Milton. That’s a perfect

chicken, heavy-on-the-microphone day to

He’s a schoolman: a great listener, respect-

combination if your job is to build authentic

an attractive, multi-level weekend that draws

ful, resourceful, and willing to put in his oar.

relationships and keep them lively. Perhaps

hundreds of alumni to activities geared

And despite the overwhelming challenge of

that is why he was such a successful fund

for them, no matter their ages or interests.

raiser. He led Milton’s first comprehensive capital campaign. The goal was $50 million —

Gordon and his team made Milton’s

his wife Elizabeth’s illness and death, Gordon did not falter in his dedication to the School.

campus transformation possible. We celebrat-

We all have a great and kind friend in

a major stretch for Milton in the ’90s — and

ed together the dedications of the Athletic and

Gordon. We hope he leaves his official duties

he raised $60 million. Overall, Milton donors

Convocation Center, including the Fitzgibbons

at Milton as a proud father of graduates

gave nearly $194 million to the School during

Center; a fully renovated Wigglesworth and

Scott ’10 and Duncan ’13, and with the rich

Gordon’s years.

Warren halls; the Schwarz Student Center;

gratification of having moved a living

Norris House and Millet House; and the

institution forward.

Gordon partnered with four heads of school: Ed Fredie, Robin Robertson, Rick Hardy and Todd Bland. That gave him plentiful opportunities to model some core Milton competencies:

62

mi lton magazi n e

milton.edu

Pritzker Science Center.

Because of Gordon’s stewarding, many of Milton’s families with deep roots are now closer

facebook.com/MiltonAcademy1798

by Cathy Everett Chief Communication Officer

@MiltonAcademy

Mickey Steimle, English Department Member of the Faculty, 1982–2014 Arriving in 1982, a daughter of teachers, a

the Williams College Outstanding Teacher

teaching appears as natural as it is vigorous.

mother of two girls under eight, and already

Award. Unwilling to rest, she became a class

Was 30 years of commuting onerous? No, it

an experienced teacher herself, Mickey

dean, shepherding students with a gentle,

was an opportunity to talk to her girls and

Steimle had two connections to the School:

firm hand. Can’t you see her now, 25 years

reflect. Were a few shoulders colder and chauv-

her sister Sheila in the English department,

later, sitting on the bleachers with Larry,

inistic when she arrived? No, she accepted

and her beloved husband, Chip, a graduate

clipboard in hand, each “Good morning,

her colleagues, and they her, in good time.

from 1965 with strong ties to Milton. Her first

honey” as bright as the next? Her students

The only way to sway Mickey from her big-

weeks were a tad overwhelming: teaching

can write librettos about her tough standards

hearted daily rounds is to dangle some

Middle School boys grammar in the then

but also the fun they had with Ms. Steimle:

injustice nearby; if she senses unfairness

language skills department. Mickey entered

her annual Othello hoax and her love of

or impropriety: Annie, bar the door!

the room each day to find a new boy hiding

scavenger hunts, dramatic performances,

behind the door or stuck in a trashcan. From

and laughter in all weather.

the start, Mickey enjoyed her Milton school

Despite this interviewer’s best attempts

Hers is a career to be admired, and if we are lucky, imitated: Mickey gave her smarts freely and never applied conditions to her

ties, but she equally enjoyed the challenges

to shake her from her contented, retrospective

affections. From the start, she heard the call

of teaching.

perch, she remains clear-headed and sunny:

of the classroom and, knowing its amazing

She gave much and received much from Milton

demands, answered it happily. That happiness —

found a vintage of dear colleagues, including

She soon joined the English department,

in an exchange always willing and generous.

its own legacy — is now ours. Mickey, for

Fran McInnis and the Fitzpatricks, and

In the department’s hallways, we will forever

these 32 happy years, we thank you from the

saw her daughters flourish in the Upper

hear her calling to students: “I am free third,

bottom of our hearts.

School. After 13 years, Kim ’92 and Erin ’95

fifth, sixth, and eighth if you need help . . . and

had graduated, and Mickey was a fixture

I am free after that, too!” For her, the hard

by Tarim Chung

in Class IV English and a recent nominee for

work of teaching was never too hard; her

English Department Chair

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63

messages

Jennifer Pozner Journalist and media critic Jennifer Pozner spoke to students this winter about how women and girls are treated in the media and the effect this coverage has on female leadership. Ms. Pozner was the 2014 Margaret A. Johnson Speaker, a series that brings noted female leaders to campus each year. Ms. Pozner is executive director of Women In Media & News (WIMN), a media analysis, education and advocacy group. She is also managing editor of WIMN’s Voices, the popular group blog on women and the media. Her work has appeared in Newsday and the Chicago Tribune.

She has appeared as a media commentator on NBC, CNN, Fox News, MSNBC, NPR, and Comedy Central’s “The Daily Show with Jon Stewart.”

“Media literacy is the strongest weapon we have against propaganda and manipulation in today’s media-saturated culture. There is also really interesting and diverse journalism happening. There has never before been a time when media and communications tools are as cheap and easy to use. You can create your own media, and you can change the conversation.”

Naomi Shihab Nye Award-winning poet Naomi Shihab Nye read a selection of poems and spoke about the writing process to students as last spring’s Bingham Visiting Writer. Ms. Nye’s books of poetry include 19 Varieties of Gazelle: Poems of the Middle East, a finalist for the National Book Award; A Maze Me: Poems for Girls; and You & Yours, a bestselling poetry book of 2006. She has written several prize-winning poetry anthologies for young readers, as well. Ms. Nye has held several fellowships, including Guggenheim, Lannan, and Witter Bynner. She has received several major awards, including four Pushcart Prizes and the Neustadt Prize for Children’s Literature.

On writing poetry: “People often ask, ‘What can you do when you are utterly blank?’ The two things I tell them are eavesdrop and babysit. If you listen to other people talk, you will hear interesting language that isn’t like your own. If you spend time with little children, you will be refreshed by the majesty of their inquisitive metaphorical wonder.”

Dr. Eric Jay Dolin Dr. Eric Jay Dolin is an environmental scientist, a researcher and a writer. Dr. Dolin, presenter of the 2014 Hong Kong Lecture, told students the story of how America’s trade relationship with China began. His most recent book, When America First Met China: An Exotic History of Tea, Drugs, and Money in the Age of Sail, chronicles the period following the American Revolution through the mid-19th century with tales of the tea, fur and opium trade, clipper ship travels and life in the seaport of Canton.

“During this period, trading between the United States and China was significant, but not particularly important economically or to American policy makers. Things could hardly be more different today.

China is the second-largest trading partner behind Canada to the United States. Once measured in tens of millions of dollars, today the China trade is measured in hundreds of billions of dollars, and it’s one of the critical policy issues of the United States.”

a lumn i authors

Addiction on Trial: Tragedy in

Duck & Goose Go to the Beach

Drop It, Rocket!

Downeast Maine

by Tad Hills ’81

by Tad Hills ’81

by Steven Kassels ’68

Schwartz & Wade Books,

Random House Children’s Books,

AuthorHouse, October 2013

April 2014

July 2014

When Downeast local Annette Fiorno is found

Duck and Goose have shared, explored,

Rocket, the beloved dog from the New

at the bottom of a ravine, outsider and relapsed

learned and quarreled in a long series of

York Times bestselling picture books How

drug addict Jimmy Sedgwick is accused of

picture books, every time returning to

Rocket Learned to Read and Rocket Writes

murder. Unassuming Maine lawyer Rob

the importance of their friendship. Duck &

a Story, is back in a Step 1 leveled reader.

Hanston and big-shot attorney Shawn Marks

Goose Go to the Beach is the tenth book in

Rocket is ready to find new words for

form an unlikely legal team as they attempt

the New York Times bestselling Duck & Goose

his word tree with his teacher, the little

to discredit the overwhelming evidence.

series. Duck wants to go on an adventure.

yellow bird. He finds a leaf, a hat, and

Addiction on Trial, the first in a series of Shawn

Goose doesn’t. He doesn’t see the point. After

a star . . . but when he finds a red boot, he

Marks thrillers, sends a powerful message of

all, why would they go anywhere when

doesn’t want to let go. What will make

societal discrimination toward drug addicts

they’re happy right where they are? But then

Rocket drop it?

and explores common misperceptions about

Goose sees the ocean and loves it. Who

what drug addiction really is — a chronic

doesn’t? Well, Duck, for one!

illness requiring a similar treatment approach

“Hills’s illustrations are rendered in

With predictable patterns, simple words, lots of repetition, and bright, colorful illustrations, this Step into Reading

as other chronic diseases. Medical and

bright oil paints that capture meadow and

book is perfect for children who know the

behavioral aspects of addiction are woven

sea with equal vivacity. Duck and Goose,

alphabet and are eager to begin reading.

into the thriller, which culminates in a riveting

of course, are their usual comically at-odds

murder trial.

selves, this time nicely illustrating the

Dr. Steven Kassels is an author and physician, board-certified in addiction and

benefits of both adventurous and cautious personalities.” — Booklist Review

emergency medicine. He has served as chief of emergency medicine at an inner-city hospital and is now the medical director and founder of Community Substance Abuse

Tad Hills is author and illustrator of the highly acclaimed bestselling picture books How Rocket Learned to Read,

Centers. He is a member of the American

Rocket Writes a Story, Duck & Goose, and Duck, Duck, Goose. His board books include the ALA-ALSC Notable

Society of Addiction Medicine, and shares his

Children’s Book What’s Up, Duck?; Duck & Goose: It’s Time for Christmas; and, most recently, Duck & Goose:

time between Boston and Downeast Maine.

Goose Needs a Hug. Tad lives in Brooklyn with his wife, their two children, and a real dog named Rocket.

fa l l 2 014

65

Gifts with Global Reach Nate Bowditch ’62 My wife, Susie, and I spent many years in the Peace Corps.

We lived in Thailand, the Philippines and Malaysia as volunteers, volunteer trainers and overseas staff. We then decided to make Maine our home, still continuing multiyear family adventures in Sri Lanka, Ghana and Macedonia.

Crossing cultures — learning how others work, grow their families, play, and practice their religions — while viewing our own country through others’ eyes, has been formative in our lives. Watching our children, Windi and Sean (’95), grow and become marvelous global citizens has been equally rewarding.

In 1990, the Bowditch family created the Ebenezer Francis Bowditch ’31 Scholarship Fund for Global Education in honor of my dad. It supports Miltonians learning abroad, as well as foreign students or faculty members coming to Milton.

Citizens from all corners of the world live and work more closely every day. Our schools must guide students to become active, effective and responsible global citizens. For that reason, we have made a substantial contribution to my dad’s scholarship fund. We chose a charitable gift annuity because we appreciate the quarterly annuity payments and want to savor our contribution to a Milton Academy that has meant so much to the Bowditch family.

For information on gift planning, contact Suzie Hurd Greenup ’75 at suzie_greenup@milton.edu or 617-898-2376.

66

mi lton magazi n e

milton.edu

facebook.com/MiltonAcademy1798

@MiltonAcademy

class notes 1944

trustee to the Manchester Essex

Sam, Lilla Lyon, Liz Biddle Barrett,

William Weeks and his wife,

Conservation Trust, and as the

Sally Sprout Lovett.

Frances, are “in reasonably good

director and past president of

health” and celebrated their 60th

Friends of Manchester Trees, Inc.

wedding anniversary last year.

He also sings with the Yale Russian

1959

William sends his best wishes

Chorus and two church choirs.

After a hectic few months, which

he reconnected with at Reunion

Elizabeth Barrett and her

“a vacation in France seemed

Weekend in June.

husband moved to Dover,

like a good idea!” says Kitty

to his classmates, some of whom

1953

included the sale of her house,

Massachusetts, to be near family.

Blodgett Winter. She also had a

Although they miss singing in

wonderful time visiting her four

the Oratorio Society of New York,

grandchildren in K–8 this spring

Bob Freeman published the book

they certainly keep up music

during Grandfriends’ Day at

The Crisis of Classical Music in

(cello for Rud and piano for Liz)

Milton.

America: Lessons from a Life in the

and greatly enjoy the Cambridge

Education of Musicians in August

Musical Club. The Barretts

Ellen Gross Miles retired as

2014. He says the book “envisions a

joined the Manomet Center for

curator of painting and sculpture

whole new ecosystem for studying

Conservation Sciences. “I’m

at the National Portrait Gallery

music in a nation that produces

passionate about gardening and

in 2010 and now volunteers doing

more than 22,000 collegiate

raising blue birds, 12–15 fledglings

research for the curatorial staff.

degrees in music annually, but

every summer,” Liz says.

where too many professional

She remarried in 2009, after the

“I’m passionate about

death of her second husband in

gardening and raising blue

musical organizations are failing

▼ The Girls’ Class of 1954

2004. Ellen gives an occasional

birds, 12–15 fledglings

fiscally.” The book includes many

celebrated their 60th reunion

lecture in the Washington, D.C.,

every summer.”

positive references to Bob’s five

on Friday, June 13, at the home

area, and has been traveling in

years at Milton. Bob is the Susan

of Jean Childs. Front row (L to

the U.S. and Europe with her

Menefee Ragan Regents Professor

R): Duffy Royce Schade, Jean

husband, Neil Greene.

of Fine Arts at the University of

Cutler Whitham, Sally Chase

Texas at Austin.

Flynn, Cynthia Hallowell,

Deborah Webster Rogers is

Kadie Maclaurin Staples, Jean

content in retirement and is

1954

Worthington Childs. Back row (L

involved in Scottish country

to R): Connie Trowbridge, Martha

dancing, Bible courses, and with

Jean Worthington Childs enjoyed

Mayor Smith, Martha Fuller

mental health with Recovery

catching up with classmates

Chatterjee, Cynthia Kennedy

International. Debby has two

Elizabeth Barrett ’54

while encouraging them to attend Reunion Weekend in June. “While some live abroad and could not join us, others traveled from afar,” she says.

Following the graduation of his three children from Milton, George P. Smith moved to the

house in Manchester where he grew up summering, near Singing Beach. For retirement income, he offers short-term rentals of the cottage part of the house.

George stays busy serving as a

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67

cl a s s no t e s, con t.

and John Bihldorff. Not pictured: Peter Burling.

Catherine Bradley Sayers.

Back row: Christine Mussells, Jane Burley, Hanne Blom-Bakke,

1964

Emily Fuller Hawkins, Emily

Nick Hinch retired from

Vincent MacKay, Eleanor King,

commercial flying three years

Betsy Auchincloss.

Burr, Margaret Pierpont, Vicky

ago and thought he could finally sit back and relax. (That didn’t happen.) “You just can’t go from

1974

flying along 500 MPH for 45 years

Anthony and Leslie Will cele-

daughters: One is living in her old

to a complete stop overnight,” says

brated their 40th Milton reunion

home in Milton with her family;

Nick. He now works for Boeing

this spring. Leslie is working for

the other is in Minneapolis

as B-787 simulator instructor and

Coldwell Banker in residential

working as a flight attendant.

1962

Friendship Award.

and professional sailor; Laura (26), in geriatrics; and Amanda (22),

Koplan was honored with the

▼ Ms. Jean McCawley gathered

with 23 fans from the Class of 1969

an education major at Lesley

is the highest award that the

for the Alumni Glee Club Sing

University in Cambridge.

Chinese government gives to

during Reunion Weekend. Front

foreign experts who have made

row (L to R): Dixie Brown, Eliza

outstanding contributions to

Kimball, Kirk Emerson, Jean

1975

the country’s economic and social

McCawley, Mary Feather, Susan

Teacher and author Sally Paine

progress. Jeff was involved for

Francis Putnam, Melinda Saxton

won the Richard W. Leopold

more than 30 years in the creation

White-Broson, Nancy Roberts.

Prize and the 2012 PROSE award

and development of the Chinese

Middle row: Molly Quinby Eberle,

for best book in European and

Center for Disease Control and

Sara Greer Dent, Nancy Madden,

world history for The Wars for Asia,

Prevention (China CDC). Jeff is

Kay Dickersin, Lisa Lloyd

1911–1949. The book was also long-

the vice president for Global

Hobson, Laura Robinson Roberts,

listed for the 2013 Gelber Award.

the Emory Global Health Institute from 2006 until 2012. Prior to joining Emory in 2002, he was Control and Prevention.

1963 ▲ Classmates celebrated the life

of dear friend Jim Sise in New Hampshire in late May. Jim passed away in January 2014. L to R: Charles Stillman, Walter Page, Bill Vanderbilt, John Grandin, David Taylor, Roger Feldman,

mi lton magazi n e

a nurse practitioner specializing

China Friendship Award. This

director of the Centers for Disease

68

children: Kit (29), an entrepreneur

1969

served as founding director of was honored with the China

real estate, and Tony is a feng shui coordinator. They have three

In Beijing last September, Jeffrey

Health at Emory University and Jeffrey Koplan ’62

travels around the world teaching pilots from many countries.

Laura Appell-Warren ’78 has published her second book, titled Personhood: An Examination of the History and Use of

1978

in Chicago. They were there to

CEO of Nonprofit Finance Fund, a

honor Dr. John J. Bergan, Betsy

national nonprofit and financial intermediary. Tracy is CEO and co-

Laura Appell-Warren has

and JB’s father, who in 1964 led a

published her second book, titled

team through the first successful

founder of Social Finance, Inc., an

Personhood: An Examination

organ transplant. Dr. Bergan

impact investment firm in Boston.

of the History and Use of an

passed away in June 2014. L to

Anthropological Concept. Laura

R: Emily Barton, Toby Altman,

teaches at St. Mark’s School in

John Bergan ’81, Dr. Michael

Southborough, Massachusetts,

Abecassis, and Betsy Altman ’71.

1996

and is the school’s director of the

Steve Lehman received a 2014

Global Citizenship Institute.

1984

Doris Duke Artist Award, an

1979

Lucie Greer is excited that

awarded to “American performing

her niece, Rosamond Carr ’14 ,

artists of exceptional creativity.”

Jim Sitrick is living in Santa

graduated from Milton this spring,

Fe near his nine-year-old son,

and that they will be on the same

Thane, and working as a tutor and

reunion cycle!

an Anthropological Concept.

unrestricted prize of $275,000

teacher while seeking work as a public health consultant.

1992

1981

▶ Antony Bugg-Levine and Tracy

▲ In April, John Bergan and

stock exchange floor after ringing

Palandjian ’89 are pictured on the

his sister, Betsy Altman ’71,

the closing bell on behalf of the

celebrated the 50th anniversary

U.S. National Advisory Board to

of Northwestern Medicine’s

the G8 Impact Investing Taskforce

Organ Transplant Program

(which Tracy co-chairs). Antony is

fa l l 2 014

69

cl a s s no t e s, con t.

with Pitbull, Sony Television and

and will be moving to Louisville,

SonyATV Music Publishing. Dan

Kentucky, next year to work in

was in Japan last summer and

corporate strategy at HUMANA.

caught up with Kelly Grimes. He

He would love to connect with any

spends time with Leo Evrivriades

Milton alums in the area!

’99 on Cape Cod during the summer,

and his sister, Margaux Weisman ’05 , came to see Capital Cities at

Coachella in April.

Colleen Ritzau Leth enjoyed time

spent with faculty and friends at reunion and is living in New York City. She spent a year in

Shannon Gulliver Caspersen ’00

Cairo, completing her master’s in

and her husband, Sam, welcomed

art history and archaeology. In

their daughter, Greer Gulliver

2013, she joined the Metropolitan

1998

“G. G.” Caspersen, on March 12, 2014.

Julia Morgan married Tim Martin

▼ Jane Innis Crawford ’00 and her

Museum of Art as an associate in the director’s office.

in May 2014. Four of Julia’s class-

husband, Tyson, welcomed their

mates attended the wedding: Emma

daughter, Emily Grace “Millie,” on

2006

Doggett, Lila Dupree, Morgan

February 4, 2014.

▼ Oliver Pechenik married

Bradylyons, and Liz Jalkut, along

Ardea Thurston-Shaine in a

with faculty member Linnea

meadow overlooking Puget

Engstrom.

Sound, Washington, in July 2014.

In attendance from Milton were

1999

Oliver’s mother Linde Eyster

▲ Leanne McManama ’99 and

Moffett ’05 .

(science department) and Jeff

David Conyers eloped in February 2014. They were married at the John and Mable Ringling Museum

2010

of Art in Sarasota, Florida.

During his senior year at Brown,

Daniel Weisman ’00 launched a high-end sneaker company called Buscemi last year.

2000

2003

in club hockey. Harvard beat

Daniel Weisman lives in Los

studio, Atelier de Geste, in New

Brown, but Ross made some good

Angeles and manages recording

York City in 2012 after completing

saves on Connor!

artists, including Wale (who

her M.F.A. at the Haute école d’art

performed at Milton in 2009) and

et de design (University of Art and

Capital Cities (who toured with Katy

Design) in Geneva, Switzerland.

joined Jay Z’s company Roc Nation

“My Milton experience enriches me to this day. Some of my greatest

and is part of Kanye West’s manage-

friendships and formative creative

ment team. Last year he launched

years sprouted there and keep

a high-end sneaker company called

growing . . . Vive Milton!” she says.

Buscemi (available at Barneys, Colette and The Tannery) as well as a wet-toilet-paper company

mi lton magazi n e

Johnson ’11 (a senior at Harvard)

Beau Rhee launched a design

Perry this summer). He recently

70

Ross Lerner played Connor

2004

called “One Wipe Charlies,” which

Scott Motejunas recently com-

he sold to the Dollar Shave Club.

pleted his M.B.A. at the Darden

He’s developing a reality show

School (University of Virginia)

◀ C l ass of 1 9 3 9

(l to r): Evan Calkins, Head of School Todd Bland and Galen Stone.

▲ C l ass of 1 9 4 4

(l to r): Ted Reynolds, Stan Bourne, Bill Weeks, Sam Adams, Tom Wales. ▶ C l ass of 1 9 4 9

(l to r): John Hewett, Bill Thorndike, Katharine Baker, George Baker, Myles Richmond.

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cl a s s no t e s, con t.

◀ C l ass of 1 9 5 4

front row (l to r): Martha Fuller Chatterjee, Jean Cutler Whitham, Duffy Royce Schade, Liz Biddle Barrett, Cynthia Hallowell, Sally Sprout Lovett, Sally Chase Flynn, Jean Worthington Childs, Kadie Maclaurin Staples. middle row: Tom Gregg, Ed Ofgant, Ross Sherbrooke, Kit Bingham, Jon Beecher, David Ehrlich, Jack Cannell, George Smith, Ned Crosby. back row: Jim Perkins, Lindsey Durant, Ben Williams, Bill Hartmann, Dick Beckwith, Larry Altman, Marshall Schwarz.

▲ C l ass of 1 9 5 9

front row (l to r): Ellen Miles, Steve Jones, Bonnie Akins. back row: Steve Parker, John Coburn, Tom Claflin, Henry Davisson, Phil Kinnicutt, Sissel Falck-Jorgensen, Sandy Greene, Tim Clark, David Ames, Brin Ford, Chris Lehman, Dave Brown, Fred Churchill, Nick Bancroft, Tim Williams, Dave Wheatland.

72

mi lton magazi n e

◀ C l ass of 1 9 7 4

front row (l to r): Felicity Myers, Cathy Jay, Deirdre Dempsey-Rush, Susan O’Hara Riley, Cassandra Perry, Sarah Lincoln Trafidlo, Brian Driscoll, Linda Rice. back row: Jon Gifford, Bob Sinicrope, Nick Nichols, Mark Panarese, John Moot, Annette Buchanan, Jay Brooks, Robert Altschuler, Eric Finke, Dan Gregory, Mark Evans, Sam Dennis, Mary Carton Gregory, Rick Wood, Steve Kinnealey, Jeff Hurst, John Hemenway, Michael Bleakie.

◀ C l ass of 1 9 6 4

front row (l to r): Casey Murrow, Isabel Barzun Parfit, Frannie Sykes Moyer, Peter Reed Pavan, Lindley Greenough Thomasset, Lola Atwood, Sarah Satterlee, Deborah Myers Strzepek, Meg Estabrook Cooper. second row: Fred Douglass, Jeffrey Gray, Rachel Sullivan Berlin, Jesse Kornbluth, Jannie Williams O’Conor, Liza Ketchum. third row: Charlie DeLorme, Nick Hinch, Anthony Forbes, Susan Davidson, Tudy Stebbins Bartlett, Carson Custer Taylor, Dave Schoyer, Charlotte Cherington Burrage, Maeve Kinkead Streep, Judy Field Laing, Rick Meadow. back row: Jim Pappas, Bob MacKay, Finley Perry, Peter Holmes, George Hilton, Chris Hallowell, Ed Brown, John Straus, Phil Lehman, Bob Bradley, Don Paige. ▲ C l ass of 1 9 7 9

front row (l to r): Paula Goodrich, Tedd Saunders, Bill Weyerhaeuser, Todd Saunders, Beth Zonis, Gene Reilly. back row: Philip Higonnet, Ben Simeone, Richard Fitzpatrick, Eric Schwarz, Geoff Bok, Nick d’Arbeloff, Bryan Austin, Peter Nawrocki, Sam Gordy, Glenn Allen.

◀ C l ass of 1 9 8 4

◀ C l ass of 1 9 6 9

front row (l to r): Nancy Roberts, William Perkins, Melinda White-Bronson, Sam Harrington, Sara Greer Dent, Laura Robinson Roberts. middle row: Kay Dickersin, Lisa Lloyd Hobson, Emily Burr, Christine Mussells, Nancy Madden, Catherine Bradley Sayers, Betsy Auchincloss, Joe Glaser, Susan Putnam, Eleanor King. back row: John Goodhue, David Fitz, Emily Hawkins, Kirk Emerson, Nick McDougal, Margaret Pierpont, Georgia Pappas, Alex Felton, William Nesto, David Dudley.

front row (l to r): Chris Morrow, Barak Rosenbloom, Erik Singer, John Koltun. back row: Ligia Brickus, Doug Cabot, Frank Quinn, Melissa Glen, Jerry Godes, Sally Wright Waxman, Sue Mahanor, Paul Higgins, Helen Bronk, John Bisbee, Celeste Vega, Sid Whelan, Christine de Vegvar Parsons, Neil Godfrey, Lucie Greer, Flynn Monks, Theo Spencer.

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cl a s s no t e s, con t.

▶ C l ass of 1 9 8 9

front row (l to r): Ethan Burns, Emily Fenster, Rachel Hong, Bill Hanson, Martin Zinny, Hadley Rierson, George Papageorge, Mark Paresky, Jason Downie, Ann Diedrich, Ka-Hay Yip, Ethan Fenn, Katie Bacon. middle row: Brian Martin, Jessica Fortunato, Anna Weymouth Nicholas, Rachel Powers, Jenny Ford Barrett, Peter Barrett, Justin Campbell, Amy Dine, Josh Everdell, Jake Upton, Greg Quinn, Robert Rosenthal, Peter Sahlin. back row: Matt Kane, Neil Bray, Lewis Robinson, Christopher Schell, Rich Corcoran, Liesel Euler, Alex Donahue, Adam Berrey, Jay Sullivan, Mark Driver, Perry Cabot, Kevin Henderson, Jonathan Travers.

▲ C l ass of 1 9 9 4

front row (l to r): Hillary Lombard, Devon White, A.J. Simon, Laura Newmark, Ali Johnes, Susannah Bancroft, Ethan Sigman, Mollie Webster, Dune Thorne, Heidi Felago, Sam Drohan, Ian Zilla, Doug Sigourney. second row: Bob Collins, Elizabeth Wilder, Yolande Goodman, Sadio Desmond, Rachel Saxton, Caroline Cornish Kmack, Vera Zieman, Peter Cervieri, Ku Asare, Gabe Heafitz, Nika Mone, Ashley Fouts. third row: Jonathan Kohler, Kate Middleton, Mary Lisio, Andrew Bonney, Andy Topkins, Peter Scott, Andy Katzman, Emily Groom, Nat Hennigar, Sam Douglas, Jesse Baer, Lynn Rasic, Hilton Marcus, Lisa Walker, Ben Fawcett. back row: Jeff Kurson, Julie Barnes, Kathryn Maguire, Jess Lubitz, Leslie Garrett, Peter Garran, John Serafini, Charlie Everett, Dan Sarles, Sam Sezak, John Collins, Ian Burnes.

▲ C l ass of 1 9 9 9

front row (l to r): Pat Donovan, Kevin Bennett, Joanna Ostrem, Kristin Ostrem Donelan, Amelia Shillingford, Sarah White, Shira Milikowsky, Mike O’Neill. middle row: Ben Leslie, Morgan Gray, Kelly Menice, Amanda Conley, Beth Pierson, Jamie Perkins. back row: Conor French, Chris Chao, Caroline Page, Rob Higgins, Tatiana Lingos-Webb, Kiran Singh, Greg Schwanbeck.

74

mi lton magazi n e

▼ C l ass of 2 0 0 4 :

front row (l to r): George Gregory, Elspeth Macmillan, Emily Tsanotelis, Emily Ebert, Scott Motejunas, Joanna Chow, Suzanne Levy, Dina Guzovsky, Dan Adair, Nick Lazares, Abby Wright. second row: Emily Phelps, Jackie Kelly, Leonard Mazzone, John Donahue, Sophie Suberman, Emily Oatis, Helen McCarthy, Justin McIntosh, Joanna Berliner, Haley Smith Kingsland, Stephanie Shui, Colleen Ritzau Leth, Sarah Wooten, Jordan Raphel, Kika Pyclik, Amanda Duncan, Megan Bailey. back row: Jeff Marr, Andy Mittelman, D.J. Mauch, Josh Krieger, Bennet Hayes, Catherine MorrisseyBickerton, Rachel Newman, Ashley Phillips, Andrew Baird, Lindsey Moran Dashiell, Sam Wheeler, Emma Clippinger, Alfred Chan, George von Metzsch, Nate Danforth.

Deceased Class of 1933 Bradley Dewey Jr. Class of 1937 Winslow W. Wright Class of 1938 Frances P. Field Class of 1940 The Honorable Franklin S. Billings Jr. Class of 1941 Ruth Jones Andrews Class of 1942 James G. Wheeler Class of 1944 Stephen M. Stackpole Miriam Jeffries Whitney Class of 1949 David B. Jenkins Suzanne Jaques Runton Class of 1951 Richard Carden Class of 1952 Daniel Pierce Class of 1963 James G. Sise Class of 1972

▲ C l ass of 2 0 0 9 :

front row (l to r): Amara Warren, Caroline Palmer, Matthew Trammell, Sarah Diamond, Gemma Soldati, Sam Rosen, Wyatt Cmar. second row: Douglon Tse, Will Hunnewell, Brady Caspar, Julie Shapiro, Neelum Wadekar, Gabi Starfield, Mike Baldino, Michelle Su, Samara Bliss, Bora Kim, Holly Mawn, Eliza Dryer, Niya Desai, Melissa Mittelman, Emily Bartlett. third row: Will Trepagnier, Abbott Cowen, Brian Mason, Sam Schuffenecker, Chris Sperandio, Jay Haseley, Chris Fan, Samara Oster, Jenna Brickley, Breanna Dance, Anthony Garrity, Abby Bok, Will Hutchings, Ryan Edwards. fourth row: Dan Reynolds, Armide Storey, Chloe Cole, Loreen Watts, Kimberlee Chang, Kelsey Jost-Creegan, Hillary McNamara, Angela Baglione, Alli Rubin, Sarah Konowitz, Caitlin Hickey. back row: John Nimmo, Charlie Cabot, Alex Harris, Nick Hurst, Bikrum Chahal, Alec Seymour, James Keefe, Will Sullivan, Keller Henderson, Ryder Stroud, Mohammed Alkhafaji.

Francis P. Magoun IV Class of 1981 Alexandra F. Sichel

To read the obituaries of deceased alumni, you can log in to Milton’s alumni web pages and visit: alumni.milton.edu/alumni-deceased

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post script

T y B urr ’ 7 6

“When It Comes to Movies, Everyone Has an Opinion.” faculties. So what does paying someone to do this in public bring to the party? And can it ever be said to make the world a better place?

I didn’t use to think so, but now I’m not so sure. First of all, no art or artifact can change the world — only people can do that. But people are affected by what they see and absorb, and they’re profoundly affected by experiences that take them outside the parameters of their lives. I’ve come to think of movies as magic windows onto other, less familiar realities; while too many of those windows overlook our modern pop circus, others reveal different countries, cultures, kinds of people and ways of being. They can broaden your sensibilities without your being aware of it.

Back in 2005, I reviewed a documentary called Mad Hot Ballroom, about a New York City program that sponsored ballroom dancing lessons and competitions in 60 public middle schools. It was a good movie, and my daughter, then 10, thought it was a great one, and I used the review to talk about how you could see the effects of the program on the faces and in the behavior of even the toughest kids.

The movie, I wrote, will speak most loudly to audiences the same age as its subjects.

About three years later, I was giving a talk at a local library, and afterward an older man came up to me and Ty Burr ’76 is a film critic for the Living/Arts section of the Boston Globe and a criticallyacclaimed author of several books about the movie industry.

Being a movie critic can be a strange way to make a living.

started telling me about that Mad Hot Ballroom review. How

For one thing, everyone wants to talk about my job, but

reading what I’d written convinced him to see a movie

no one quite respects it. This occasionally includes me. I’ll

he’d never heard about, and how seeing the movie con-

meet someone at a party, ask what they do, and he or

vinced him to start his own ballroom dancing program for

she will say “cardiac surgeon” or “third-world food bank

disadvantaged school kids on the South Shore. How that

coordinator,” and then I have to admit I spend my days

program had flourished, letting boys and girls interact

watching movies about heavily digitized superheroes while

within the safety zone of beautiful, timeless steps.

taking illegible notes in the dark. And then someone else will walk up and want to talk about the new Hunger Games

turned that window into a door. Through that door into

movie when we should really be asking the doctor what it’s

new territory were streaming dozens, maybe hundreds of

like to massage a human heart back into working condition.

children whose lives would never be the same.

But that’s the thing: When it comes to movies, everyone

76

In other words, I had pointed to a window, and he had

This is why I do what I do, I tell myself whenever I’m

has an opinion. We all know what we think of The Departed

slogging through the latest CGI action-fantasy spectacle.

or The Grand Budapest Hotel, whereas not many of us can

It’s not heart surgery, obviously, yet movies and the other

speak with authority on the subject of ischemic cardiomy-

arts do operate on the spirit, for better and sometimes

opathy. The fact is, everyone is a critic. When you come

for worse. My job, I guess, is to urge you toward the former

out of a movie and discuss it on the drive home with your

and warn you off the latter. Once you look through those

significant other — parsing its meaning and effect, per-

windows, you’re on your own. Who knows? Maybe you’ll

formances and punch lines — you are engaging your critical

start dancing.

mi lton magazi n e

bostonglobe.com/staff/burr

@tyburr

board of trustees George Alex

James M. Fitzgibbons ’52

Yunli Lou ’87

Dune Thorne ’94

Cohasset, Massachusetts

Emeritus

Shanghai, China

Lincoln, Massachusetts

Chestnut Hill, Massachusetts Robert Azeke ’87 New York, New York Bradley M. Bloom

Stuart Mathews

Erick Tseng ’97

John B. Fitzgibbons ’87

Vice President

San Francisco, California

Treasurer

Waban, Massachusetts Kimberly Vaughan ’92

Bronxville, New York Chris McKown

President Wellesley, Massachusetts

Margaret Jewett Greer ’47

Bob Cunha ’83

Chevy Chase, Maryland

Dorothy Altman Weber ’60

Emerita Milton, Massachusetts

Boston, Massachusetts

Milton, Massachusetts Wendy Nicholson ’86

Boston, Massachusetts

Vice President Franklin W. Hobbs IV ’65

Mark Denneen ’84

Emeritus

Boston, Massachusetts

New York, New York

New York, New York

Ted Wendell ’58 Milton, Massachusetts

Caterina Papoulias-Sakellaris Milton, Massachusetts

Ronnell Wilson ’93

Elisabeth Donohue ’83

Harold W. Janeway ’54

Vice President

Emeritus

H. Marshall Schwarz ’54

Chicago, Illinois

Webster, New Hampshire

Emeritus

V-Nee Yeh ’77

New York, New York

Hong Kong

Randall Dunn ’83

Claire Hughes Johnson ’90

Chicago, Illinois

Menlo Park, California Peter Kagan ’86

Jersey City, New Jersey

Frederick G. Sykes ’65

Kevin Yip ’83

Secretary

Hong Kong

Rye, New York

New York, New York Stephen Lebovitz Weston, Massachusetts

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