SOPHIA DOESN’T THINK FOOD GOES OUT OF SEASON. (AND WE AGREE!) CHECK OUT HER PUMPKIN SOUP RECIPE! PG. 3
NEED IDEAS FOR KEEPING BUSY THIS WINTER? LOOK NO FURTHER!
LAST SEMESTER: DOES IT FEEL LIKE YESTERDAY, OR A YEAR AGO? WE ASKED FIVE STUDENTS TO WEIGH IN.
PG. 2
PG. 6, 7, 9
WE’VE HIDDEN SOME GREAT POETRY IN THIS ISSUE. READ ON TO FIND IT! PG. 9
LIFE WITHOUT A PRACTICE ROOM (SATIRE)
THE PENGUIN
PG. 10
N E C ’S S T U D E N T - R U N N E W S PA P E R
ISSUE 81
FEBRUARY 7TH, 2017
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JULIAN UNWRAPS THE POST ELECTION ATMOSPHERE PG. 11
IT’S A NEW SEMESTER. WHY NOT TRY WRITING FOR THE PENGUIN? CHECK OUT THE BACK PAGE TO SEE HOW YOU CAN GET INVOLVED!
PG. 4, 5
PG. 5
PG. 8
DOES THE BISTRO OFFER NEC THE VERY BEST OPTION FOR THE PRICE? JAY WEIGHS IN WITH HIS OPINION.
THINGS TO DO IN BOSTON FEBRUARY EDITION
BY AMANDA EKERY
Chinese New Year Parade Saturday 2/12 11am, Chinatown Beacon St
A huge parade to celebrate the chinese New Year, replete with fireworks, costumes, authentic events, Lion Dances, and music! It’s free to attend, so get yourselves down there!
The Boston Bruins Saturday 2/12 11am, Chinatown Beacon St
Stay indoors and watch a hockey game! Tickets range in price, but there are student discounts depending on the game. There are plenty of things to do and places to eat around the stadium too, so be sure to check out the neighborhood!
Boston Sci-Fi Film Festival 2/10-2/18, Somerville Theater
The 42nd annual Boston Sci-Fi festival features 11 days of movies from all over the world, 24 hour marathons and short films. Depending on how many days you want to attend tickets range from $8-$130.
Boston Wine Expo Saturday & Sunday 2/18-19, 1 Seaport Lane
It’s a wine festival with over 200 wineries. ‘nuff said. It’s free admission, must be 21 years or older.
African American Patriots Tour Sat & Sun throughout Feb 12:45pm, Boston Common
To celebrate Black History Month, the Freedom Trail Foundation offers this special tour where you’ll learn about famous revolutionaries. $10 for students.
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penguin RECIPES The Taste of Fall
by SOPHIA SZOKOLAY 2nd Year - BM Violin
NOT ALL RECIPES NEED TO BE SEASONAL
Fall’s not over until I say so, and I say it’s still pumpkin-flavored food season. What could be more comforting than a steamy bowl of rich, creamy and healthy vegan pumpkin soup? Pair it with PB&J, croutons or oyster crackers, use it as a starter or entrée- the possibilities are endless!
Vegan Pumpkin Bisque Serves: 4-6
Ingredients 1 medium size yellow onion 1 clove of garlic 2 large carrots 2 large stalks of celery 2-3 medium-size white potatoes 1 can of pumpkin purée 1/3 cup of brown sugar 2 tablespoons of coconut oil 1 1/2 cups of vegetable broth Spices: curry or cinnamon, sage, salt, pepper Utensils: Cutting board, knives, potato peeler, medium-large soup pot, blender (either hand-held or smoothie), can opener
Instructions 1. Start by chopping the onion and garlic in small chunks. In a medium or large sized soup pot, melt the coconut oil and add the onion and garlic, allowing to fry on medium heat for 10 minutes or until the onion is translucent.
2. Peel and chop the potatoes and carrots, and add them to the pot together with the vegetable broth. Let it cook for 5 minutes, then add chopped celery and spices to taste. Let this cook for another 5-10 minutes.
3. Add the pumpkin, then slowly add the brown sugar, stirring continuously for 1-2 minutes. Let the soup cook for another 5-10 minutes, or when the carrots and potatoes are soft.
4. Turn off the stove and allow the soup to cool for 10-15 minutes. 5. Smoothie blender: carefully pour the cooled soup in the blender and pulse on a low setting, until the mixture is even and creamy. You might have to do this in 2 steps if your blender is not big enough- be sure to have a separate container or bowl ready to pour the blended soup in!
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penguin THOUGHTS by Julian Pozniak
Charles Ives and the Harmony of Dissent In the weeks since January 20th, many Americans have been affected by the malaise of political uncertainty and confusion. For some it has manifested itself in rage, for others, in sickness. Among all those who have experienced this weight, however, has been some element of resistance, either to the political climate or simply to despair itself. In this new militarized political climate, everyone is now fighting a battle of some kind or another, for governance, for ideology, or just for sanity. Having emerged from the darkness of 2016’s bitter tribalisms, 2017 offers the promise of a different model of political and social organization: solidarity. If 2016 allowed for the possibility of the politically minded to sit and fight as keyboard warriors, shielded from the work of real political progress, effecting no change beyond the likes and views on their social media pages, 2017 has shown us that real change happens through meaningful personal connection, activism, and mass movements. The old year disabused us of our ability to remain uninvolved, or casually interested in politics, forcing us to face an ugliness we could previously have ignored; the new year has given us a path forward to deal directly and meaningfully with our wounded politics. In this blossoming of solidarity, and the unification of previously parallel movements toward a political goal, Americans have rediscovered and reinvented something crucial at the core of our national character. At the recent Women’s March on Washington, protesters found themselves in a spirit of solidarity with people marching all over the globe, many of whom did not share their exact political beliefs but were nevertheless present to share in
CHARLES IVES
kind of recognition that propels meaningful change. People of color have found resilience in new modes of political organization (such as Black Lives Matter); LGBT organizations have fought to continue making progress and ensure that recently acquired recognition doesn’t slip away; immigrant communities have found support from all kinds of Americans who themselves have roots beyond this nation’s shores; people of all faiths have come together to defy religious persecution. People of all identities have increasingly found reason to stand in solidarity and celebrate the disparate backgrounds that have found a way into the patchwork of American culture. As we reconnect with our American character, the music of Charles Ives can serve as an example of how we might better understand ourselves and our relationship to each other in this unique country. In his “Essays Before a Sonata,” Ives wrote that “a true love of country is likely to be so big that it will embrace the virtue one
a spirit of common cause. There was no singular example of the average protester at the events. Those present represented a
sees in other countries, and is the same breath, so to speak. A composer born in America, but who has not been interested in the ‘cause of the Freedmen,’ may be so interested in ‘negro melodies’
diverse spectrum of experiences and identities, each individually wanting something unique, but speaking with a common voice.
that he writes a symphony over them. He is conscious that he wishes it to be ‘American music.’ He tries to forget that the paternal
This newfound form of political involvement, connection, and communication has given many a refreshing sense of involvement,
negro came from Africa. Is his music American or African? That is the great question which keeps him awake! But the sadness of it is that if he had been born in Africa, his music might have been just
relevance, and hope. People from privileged backgrounds have come to connect with many of the movements striving to gain the
as American, for there is good authority that the African soul under an X-ray looks identically like an American soul. There is a futility in
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selecting a certain type to represent a ‘whole.’”
upon the particularities of the constituent elements, but its whole
Ives knew that the American experience is one which is larger than that of any one person. The American character can only be created through the varied and different identities and
is far greater and far different than the idiosyncrasies of any one melody. This is the America that Ives knows, one that is as noisy and boisterous as the climax of his ‘Fourth of July,’ but one which
experiences which find themselves here, working together for the improvement of our society and our politics. In Ives’ music,
knows that each voice is important, and that without the noisy diversity of all its voices it is weakened in its expressive power.
there is almost always a plentitude of musical quotations, often of well-known popular songs of the era. Ives’ music is also often harmonically dense and full of thick polyphony, which can
For Ives, American democracy was a manifestation of this messy American character, where different ideas and interpretations find
render the music chaotic and difficult to follow. For Ives, these
themselves aligning, though not always in total agreement.
textures are a reflection of his childhood experiences and his vision of American democracy. As a child, Ives would often go with his father to camp meetings, where popular songs were shared among a crowd. These songs, sung by large gatherings of
In moving forward politically, we can remember that democratic action creates dissonance, but dissonance is still a form of harmony. We won’t tap into the true nature of our American
amateur musicians of varied skills, would often be fraught with
character if we can’t hear all its noisy interpretations. Our
wrong notes, different versions of the same melody, and singing off-key, but the total effect was still the song that everyone knew.
movements in solidarity host a breadth of values, and this is not a weakness but a strength, not something ugly but something beautiful.
In his greatest and most massive compositions, such as the Concord Sonata or the Fourth Symphony, Ives saturates his music with such a wealth of quotations that the effect can be nearly overwhelming. Strains of American hymns, layered over with street music, traditional songs, and themes from great classical masters, create a mass of sound that is simultaneously familiar and foreign. The character of the composite sound is dependent
A YOUNG CHARLES IVES LEFT, AND AN ELDERLY CHARLES IVES RIGHT
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Semester Reflections MEMBERS OF THE NEC COMMUNITY SHARE THEIR THOUGHTS ABOUT LAST SEMESTER As we embark on another semester at New England Conservatory, some feel that the fall is just a distant memory, while for others, it was only yesterday. We asked some of NEC’s undergraduate students to reflect on their Fall semester to tell us what they loved, what they miss, what they regret, and more.
Matthew Ehier
Elise Kolle
My semester was great. Going into it, I had many goals that I wished to achieve. With auditions on the horizon and all summer to practice, I was determined to improve upon my playing and achieve a new level of musicality. Looking back on everything that has happened, I am happy with how everything fell into place and how the semester went as a whole. With good grades, good life, good friends, and good music, I really couldn’t ask for more.
This semester’s most exciting experience for me was the first Philharmonia concert. We played Mahler Symphony No. 1, which was super nerve racking for the orchestra, especially the winds and brass. The hall was completely full, and the energy from the audience was incredible. I was more nervous than I think I have ever been for an orchestra concert; the counting in Mahler is really tricky for the harpist! The audience was wild at the end of the piece; I think Mr. Wolff came out four times to bow! Almost every section got a standing bow, which was nice. That concert reminded me why NEC is such an amazing place to go to school. Your peers are supportive and excited to hear you perform, you get to play the best repertoire with the best conductors, and the orchestra is top notch. I can’t wait for next year’s opening concert!
Moira Loh This semester, like the ones before, flew by before my eyes. It was also my first semester in the Tufts/NEC Dual Program and this brought a whole slew of new challenges [re: scheduling]. There were times when Elementary German and Intro to Sociology had to take precedence over several friend’s recitals, master classes and coffees at Panera and I questioned the choices I had made. Occasionally I wondered if splitting myself into two had consequences; was I selling myself short as a musician by not throwing myself completely into music? Missing the shuttle was the most frustrating because it often meant skipping a class or having to fork out $ for an uber. Honestly, a lot of the semester felt like I was chasing down the shuttle on its loop back around Huntington Ave, just missing it by a little bit. That being said, this semester was also one of the most memorable ones in my time at NEC so far. Amidst all the busyness, there were some really great things - The valuable friendships that have grown deeper over this year and a half, the incredible talent and dedication that breathes through the three (but soon to be four!!) buildings and my favorite new addition to this list, catching the sunset over the Charles from the 4:05 shuttle as it crosses the bridge.
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Matthew Henson Of the numerous opportunities that my first semester at NEC gave me to grow as a musician, Philharmonia’s concert pertaining to works of visual art stands out to me as not only the greatest of those opportunities, but perhaps, to this point, the most influential experience in my journey as a musician. Although the hype around campus leading up to the concert gave me expectations of greatness, I had no idea that this concert would be responsible for wholly recreating my perspectives on music and the arts. However, between Schoenberg’s Finding Rothko and Tan Dun’s haunting personal dialogue with the paintings of Klee, my beliefs were challenged even before intermission. After hearing Mussorgsky’s famous Pictures at an Exhibition, one of my all-time favorite works of art, I left Jordan Hall full of feelings which would later become ideas, that reshaped what art means to me. Beyond their relations to works of visual art, the three pieces performed that night were written with a similar purpose; to show what the painters’ illustrations had inspired in the composers. Schoenberg’s Finding Rothko, attempts not to recreate the images of Rothko’s paintings, but to express the response those paintings inflict upon Schoenberg. Similarly, Death and Fire reflects the exchange of ideas between Tan Dun and the art as he sees it. Lastly, Pictures at an Exhibition, which I had failed to realize for so long, focuses not on the paintings to which it pertains, but through its various promenades, on the transformation of the man interacting with them. It is from listening to and learning about these pieces and works of art that I sensed a musical awakening within myself. I realized that the true purpose of art goes beyond the product that the artist creates. It is the interaction between art and those that it reaches that provides its meaning. There is no passive interaction with art; active and undivided engagement is the only way in which art’s purpose can be effective. Since that night, I have viewed all works of art differently. Now, I see every work with which I interact in a new way. From music to visual art, literature, and beyond, I push myself to consider what that particular work means to me. Since the formation of this habit, I have seen vividly how art has influenced my life, always in a positive way. As I continue moving forward through my time at NEC, I will remember the many lessons that my first semester taught me, but among those many lessons, the true purpose of art, to engage those that it reaches, and to encourage deep contemplation of what it means to them, will remain at the front of my mind.
Mary O’Keefe As a senior at NEC, I think I have finally mastered the Art of Winter Break and condensed these three awkward weeks into a predictable outline. After the warm-up days of sweat pants and the persistent double-combo of grease and frizz, my mother inevitably warns me that TheFamily™ will be visiting. This inevitable ordeal premeditates the ‘smile with no teeth’, ‘elbows off the table’ well-mannered reunion with relatives and return to pants without waistbands paired with a clasped bra. When all the ‘Last time I saw you you were THIIIIIIIS big’ and ‘You look just like your Mother at that age’ rituals are completed, I find that I’m always confronted with The Big Question. “So Mary, what do you actually DO at the conservatory?” (Of course, that’s only if I’m lucky enough to avoid the “So what do you plan to do after graduation?”) After the room gets quiet and the parading circus of cousins, aunts, uncles, and grandparents nab handfuls of appetizers to munch on, I’m left to the perilous task of explaining my existence. A task that is increasingly difficult, as the correlation between existential crises and graduation at NEC is a conclusive y=x2 function. This year I was prepared. With rolled up sleeves to show off battle scars and my very own throne (I was too slow to grab the good couch with cushions and 2 quilts), I smiled to my parents, who were already laughing. I get a sadistic pleasure out of revealing to the world of non-musical heathens that being a musician is just as much of a curse as a blessing. I begin with “I get to school around 9AM and leave around 11PM-12AM,” and watch gleefully as their faces turn white. “But why? What are you doing all day?” The game begins: “I make reeds” “Yes we actually do have class. Theory, history, singing, chamber music, Worshipping John Heiss 101, Liberal A(genda)rts classes, etc.” “I have a work study job so that my resume looks less sad” “Well there’s this bar called UNO’s right around the corner….” However, The Big Question is one that holds more weight when we hold ourselves accountable to respond and reflect beyond the hours locked in a practice room. In true existentialist contemplation, we must ask “what did I do this semester? Why am I a musician? Who am I? What the hell is a duckpipe?” The Big Question reveals different breeds of demons in every student, and I invite you to take this second semester as chance to multiply your experiences to gain new perspectives. If you haven’t been to the MFA, GO. (Continued on page 9)
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The Price of Nutrition: Opinion DOES THE BISTRO OFFER THE BEST MEAL OPTIONS?
by JAY HUTZLER 1st Year - BM Voice
There are two major problems that college students across the country are often faced with: money and food. What is perplexing and a bit disconcerting is the fact that, despite NEC’s resources and high tuition, our school does not adequately meet typical meal options that many other colleges have. It is worth noting that NEC is not your typical liberal arts college, and that there may well be reason for the current situation, but it is worth asking the question of why there is no proper meal plan that students can rely on. Many colleges in the U.S. run on a twenty meals per week plan. As the name suggests, the student pays for a meal plan for the semester which guarantees them twenty meals per week. This way the student is guaranteed a stable and accessible supply of prepaid catering. NEC takes a different approach. Instead, they supply each student with eleven hundred dollars to be spent throughout the semester for all their culinary needs. However the problem with this is that it is simply not enough money to last a dormitory resident an entire semester. As a result, students have to resort to paying the rest out of pocket, adding even more to the grand total cost of attending the conservatory. Assuming that an average meal at the Bistro is eight dollars and that a dorm student eats there twice a day, the bill after ninety days comes out to about fourteen hundred dollars, and that is an extremely generous situation. In reality many students rely on the Bistro as their main source of nourishment and spend more money more consistently. A more realistic situation is a student that spends nine or ten dollars a meal three or even four times a day which would of course set the price even further from the money allotted. Why is the school requiring students to pay for meals from pocket when there are better systems available and when the cost of tuition is already so high? Hopefully with the arrival of the new building next year there will be new changes in policy and lifestyle for the students here at NEC.
The NEC 2050 Forum What is the Future of Music in a Rapidly Changing World? Tanya Kalmanovitch, Bob Labaree, Katarina Miljkovic, Tanya Maggi, Heath Marlow, Rachel Roberts, Umar Zakaria I will be __50ish __60ish__70ish in 2050 [check one]. What will the world be like then? What will the music profession be like then? Will I have paid off my tuition debt by then? Do I really have to think about politics? Climate Change? Race? The economy? I’d rather be practicing... Join the NEC conversation about the real world in which music will have to survive and thrive in the decades when YOU (at last!) will be in a position to call the shots. The signs of the future are all around us, but they are hard to read, and none of us can understand them alone. We need help thinking about them, which is why we are creating communal discussions which draw on the experience of many people, musicians talking with non-musicians. We get to ask questions and to reflect on how their knowledge and experience relate to us. Is this something that musicians really do? We think so. It is a conversation for anyone who thinks that music is important in a democratic society. The 2050 Forum, founded in 2013, is a group of faculty, students and staff who are trying to understand the role of music and musicians in American society at mid-century. For starters, we think that music-making two generations from now will be profoundly affected by large events out of our control, events like climate, changing demographics, technological innovation, and accessibility of higher education. We know that we cannot solve most of the problems we will face, but we can be prepared to think creatively about them. Who knows? We may even find new opportunities in them. Starting in 2017, look for announcements from the 2050 Forum, including: A weekly film and discussion series on the human impacts of climate change, Presentations by NEC graduates doing musical work in the world, including conflict zones Planning sessions for the 2050 Forum in the NEC 150th anniversary celebration—a multi-day “Symposium on the Future of Music” in the spring of 2018, drawing participants from around the U.S., and studentgenerated open discussions.
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(continued from page 7) If you have been to the MFA, GO AGAIN. Wander until you have a favorite painting and 3 artists that you plan to research (Wikipedia) later that night (If Yo Yo Ma uses Wikipedia, so can I). Go exploring downtown or in Jamaica Plain. GO TO THE BSO. I REPEAT. IT’S FREE. GO TO A DAMN CONCERT. Go to a concert that isn’t related to NEC. Go to an NEC concert in a different department than your own. I’ve found that I’ve gained just as much inspiration, enlightenment, and musical development from CI and Jazz concerts as BSO performances. Go to the Symphony concerts, and wish you sounded that good as a freshman. Schedule a recital with friends for fun or offer to help a peer with their own. Do some volunteer work. Stop scratching your knees and ask somebody on a date; maybe even an Outsider Not From NEC, like that one cute barista that you always see at Pavement. While I will miss mindlessly eating food just because it’s there and magically replenished) and reading books in between naps, I’m looking forward to The Big Question in May. This will be an important semester with the instatement of an unfriendly orangutang (is this karma coming back for the death of Harambe? RIP, dear friend), summer festival auditions, final expose concerts, and the looming deadline of graduation for seniors and second year Masters students (EverythingIsFineWe’reAllHavingAGoodTime). NEC and Boston can be wonderful places of opportunity, but only if you’re willing to take a risk, and put to use the creativity that they bring. Challenge yourself this year instead of letting NEC become a challenge for you. And hey, if it doesn’t work out, there’s always UNO’s.
split rails A Poetic Interlude by Ian Wiese in between the string instrument repair shop at the corner of the dump road and the main drag and the irish liquor store managed by Indians who let their pomeranian pee on the aisle floors runs two sets of parallel railroad tracks that cut through two main roads one of the lines was pulled up a few years ago at both of the crossings but the town never filled in the holes left from the rails so cars pass over them now and clatter twice once as needed twice for no good reason while the remaining tracks either disappeared over time for smelting or rusted away as they unceremoniously end in a age-soaked rouge metal buffer the other in-tact rails barely see trains pass over them now as one of the last trains quietly skipped down four years ago carrying a few stacks of cut lumber from the local lumber yard in five flat cars covered in tarp
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rt o P w e r d n A h t i w
penguin DISPATCH unverified, unvetted, unproven
President Trump Signs Anti-Practice Room Executive Order
A stunning series of executive orders have occured since President Donald Trump was inaugurated on January 20th.
and despair necessary to create great music.. While other, less conservative, institutions have built new wings or buildings that
Though many of his executive orders have been widely ridiculed on both sides of the aisle, many others went unnoticed by
included extra practice space for its students, these esteemed institutions along with other supporters have sought to limit the
Americans wondering how we would pay for The Wall with a
amount of practice rooms so as to encourage their students to
twenty cent increase on avacados. One in particular has caught
stop practicing and just “get good.”
the attention of conservatory and music students across the country, and the support of New England Conservatory.
“When I look at the lines outside our practice rooms on the fourth floor, I have
The “Make Music Great Again” executive
to wonder to myself if I’m not doing enough to encourage our students to
order issued just three days ago by the President of the United States requires all schools of music, conservatories
stop practicing,” The President of Juilliard, Joe Pelosi said in an interview with the Penguin. “What gives me hope is that we
and any other institution where people sing songs to repurpose or destroy
now have a President who’s willing to take a stand on behalf of Juilliard and the
every practice room on campus. “When it comes to musicians, we don’t win anymore - why do they have to practice
one or two other schools in the country that teach music - there aren’t more than that, are there? - and agree that our
anyway? I listen to Yo-Yo Ma, Lindsey Sterling, Jackie Evancho - these people
students should either be good enough not to practice or get good enough not
don’t need to practice, why does
to practice.”
everyone else need to practice?” the President asked before signing the order flanked by Vice President Mike Pence and
There has been an expected level of dissent from other musical
President Betsy DeVos of New England Conservatory who, after failing to be confirmed by the Senate, submitted her name to be
institutions as well as students from across the country, who argue that available practice rooms are essential to hone their
President of NEC and was chosen. But even without DeVos’ presence at New England Conservatory,
talents. Despite there being little emperical evidence to support such claims, you can still find hundreds of music students across the country spending hours practicing their instruments daily -
it’s clear that the institution has long held similar positions to the President on this matter. NEC, along with dozens of other
sometimes ending only when they realize they still have bodily functions to attend to.
music education institutions including The Juilliard School, The Curtis Institute, and Eastman School of Music, have all attempted to maintain the lowest possible number of practice rooms available to its students at any given time in order to encourage
President Trump’s executive order also offered the Army Corps of Engineers to institutions that paid undisclosed sums of money to his business to help repurpose the practice rooms into
that special sense of competition among musicians, without which they would not be able to access the feelings of panic
miniature stores from which Trump branded clothing, jewelry, steaks, reeds, mouthpieces and bows could be sold.
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N I U G N E P E TH ! U O Y S D E NE
NEC’s student newspaper can only continue to thrive with your help. ANYONE is welcome to join! Perks of contributing include: * The opportunity to publish your writing, poetry, photography, and/or illustrations * Meeting other people who share your interests * No commitment! Submit whenever you have time. * A great addition to your resume * Warm & fuzzy feelings knowing that you have improved the NEC community
The Penguin publishes eight issues each school year. For more information, come along to our Penguin Party or contact anyone you see in the Penmen’s column to find out more! Ideas for our March issue include: Winter: Snow Optional * Spring Break! *How to Wait for Audition Results*
THE PENGUIN N E C ’S S T U D E N T - R U N N E W S PA P E R
PENGUIN PENMEN Andrew Port, co-editor Julia Cohen, co-editor Julian Pozniak, contributor; copy editor Suzanne Hegland, faculty editor Jay Hutzler, contributor Amanda Ekery, contributor Sophia Szokolay, contributor NEC’s 2050 Forum, guest contributor
SUBMIT SOMETHING! If you'd like to contribute an article, illustration, or idea, email a 1-2 sentence proposal to: thepenguin@necmusic.edu We’d love to hear from you! Please limit articles to 650 words for one page, and 1200 for two pages.
SUBMISSION DEADLINE FOR NEXT ISSUE :
THURSDAY FEBRUARY 16TH!
WE'RE ONLINE! FACEBOOK: www.facebook.com/penguinnewspaper INSTAGRAM: /ThePenguinNEC TWITTER: @ThePenguinNEC WEBSITE: NECMUSIC.EDU/STUDENT-LIFE/PENGUIN
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penguin PHOTOS Here’s just a small selection of what’s being posted by some of the NEC community. Get in on the action by following us @ThePenguinNEC!
Hey guys,? I’m back!
? to some jams! And I went to the?Science Museum! I’ve been listening
? And to Cambridgeside Mall!
? for Christmas! AND I was a reindeer
? traveling... I did some great
? away for long ...but I couldn’t stay
(SERIOUSLY it?looks so nice)
? See you after audition season!