October 11, 2012

Volume XVI, Issue three

October 11, 2012

The Scripps Voice Why our new res hall won’t be LEED certified

By Sara Cores ‘13 SAS Sustainablility Chair

Inside...

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his week, SAS collected responses of students’ opinBut what is LEED and what would it mean for Scripps ions regarding LEED certification in a new residence College to achieve LEED certification for the new resihall through a brief survey. The results were overwhelm- dence hall? Leadership in Energy and Environmental Deingly in favor of certification. Out of the 230 students that sign (LEED) is an internationally recognized certification took the survey, 91.2 percent agreed or strongly agreed that was developed by the U.S. Green Building Council with the statement: “Achieving LEED Silver, Gold or Plati- (USGBC) in March of 2000. Its purpose is to promote num certification for the new residence hall should be a “sustainable building and development practices through priority for Scripps College.” Similarly, 69 percent agreed a suite of rating systems that recognize projects that imor strongly agreed that LEED certification should be a pri- plement strategies for better environmental and health ority for Scripps College even performance” (source: USif this leads to a redesign or GBC website). LEED certireallocation of funds. When fication is divided into three presented with the data from different levels: Silver, Gold, the other Claremont Coland Platinum. Meeting the leges in relation to LEED California building codes is certification, the number of the equivalent of achieving students who strongly agreed LEED Silver certification. that LEED certification However, in order to reshould be a priority rose by ceive the certification, 7 percent, bringing the total Scripps would have to subof students who agreed or mit an application docustrongly agreed to 91.5 permenting compliance with cent. The numbers do not lie. Graph 1. Responses to the statement “Achieving LEED Silver, Gold or the LEED requirements for Platinum certification for the new residence hall should be a priority for Scripps students want to see Scripps College” before reading the statistics about the other Claremont Silver, as well as pay applithe new residence hall become Colleges. cation and registration fees.

LEED certified. In fact, the comments written at the end LEED Gold certification would require supplementary of the survey included very positive feedback. One student sustainable measures such as dual flush toilets, waterless wrote, “YES YES YES! The choices colleges and universities urinals, LED lighting, and a minimum of 75 percent day make around the country tend to influence the rest of the lighting. LEED Platinum certification additionally requires country.” Another wrote, “I would be very disappointed solar water heaters, photovoltaic panels, lighting, and power if sustainability wasn’t a priority of a building project at controls ,and high performance windows. Although LEED Scripps” and yet another stated “If it’s not LEED certified certification would lead to an overall increase in the budget it shouldn’t happen!” for the project, LEED initiatives have a high investment

Are male feminists silenced? page 3

CLORG Spotlight: SWEET Bakery page 3

continued on page 8

The new Scripps Intranet: how it impacts you

By Dagny Lu ‘15 Staff Writer

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re you tired of navigating the labyrinth of link tabs on the Scripps website to access what you are looking for? Do you want to view the campus calendar next to today’s lunch menu?

The first week of October, the Office of Communication and Marketing launched the Scripps Intranet to serve as the new online home for members of the Scripps community. Emails, posters, and bookmarks invited students, faculty, and staff members to explore this new online resource center.

Marylou Ferry, Vice-President of Communication and Marketing, recounts that the idea to create the Scripps Intranet stems from concerns regarding web-based campus communication. “When I came to Scripps College last year I did a lot of listening, and two of the messages I heard most often related to campus communications and the web site,” said Ferry. “That led the Marketing

and Communication team to create homes for both the Scripps community and those trying to access Scripps College from outside our walls.”

Development of the Intranet began last fall and continued throughout the 2011-2012 school year. Several focus groups were held to obtain input from students, faculty, and staff members of the Scripps community during the development period. “Their feedback was essential in determining content directions and getting the Intranet in the shape it is today, ” said Matt Hutaff, associate director of Digital Communications.

Hutaff explains that the new Intranet is designed to free the main Scripps website from the double role it was serving previously. “We’ve created a place for students, faculty, and staff to share news and easily access information meant just for them, preparing the way for our office to build a website [the main Scripps

website] that meets the needs of those looking for information about the college,” said Hutaff.

While a lot of students haven’t had the opportunity to fully explore the Intranet, some who have spent time on it responded positively. “I really like the idea of it!” said Sharmishtha Gupta (’14), “I hope it can be developed further to include some aspects that allow for open student dialogue.”

“The Intranet is built to serve students,” stressed Hutaff. “We plan to work with Scripps Associated Students so that updates for students play a prominent role. It’s our hope that students will find opportunities to contribute stories and photos and help shape the narrative of Scripps College online.”

Check out the Intranet at inside.scrippscollege.edu and let The Scripps Voice know what you think by visiting us online at voice.scrippscollege.edu

The ABCs of HVZ: zombie survival tips page 12

Upcoming concerts: who to see where and why pages 6-7

1030 Columbia Avenue | Claremont, CA 91711 | Box 892 email: scrippsvoice@gmail.com | website: voice.scrippscollege.edu

2•News

FIVE academic journal open to CUC TFH self-defense

By Megan Petersen ‘15 workshop: They’re Copy Editor Not Asking For It C laremont Undergraduate Consortium (CUC) students now have the opportunity to publish their academic writing in “FIVE,” a new journal publishing undergraduate work, sponsored by the Claremont Colleges Library.

The journal, which is available exclusively online, premiered last semester and featured six papers whose topics ranged from French history to determinism and free will. Though essays from Pomona students dominated those published, essays from students of all class years (freshman through senior) made the cut. A Scripps student, Dana Shaker (‘14), had her essay “Uniting to Win: What Special Olympics Fandom Can Teach Us” published. Gale Burrow, a librarian and the assistant director for educational services, said that the six essays were selected from around 40 that were submitted.

Burrow said that the idea for the journal stemmed from the philosophy that libraries are not only a place where people come to get information, but also a place that can “create an outlet for the use of that information.” Burrow, who is a managing editor of the journal along with fellow librarians Allegra Gonzales and Alexandra Chappell, said that the library began planning for the journal last fall, working closely with the campuses’ writing centers.

“Undergraduate work has just

been kind of discounted” traditionally, said Gonzales, adding that she thinks the journal gives students a tool to think of themselves in a new space. “They have an opportunity to affect change beyond the colleges,” she said. “They have a voice.”

Scripps College Writing Center director Glenn Simshaw served on the editorial board for the last issue of “FIVE,” and said that he supported the project because he feels committed to working with student academic writing. Simshaw hopes that students will take the opportunity to read scholarly works written by their friends. “I hope students will be inspired by the breadth of subject matter and by the sophistication and grace of the writing … and gain courage to submit their own work.”

Burrow said that major challenges the journal faced were coming up with a name and working with citation issues. Because they often write papers to be read only by their professor, students are generally unaware that they need to get permission to use certain kinds of sources, graphics, and pictures, among other things. “Not only do you cite the thing, you actually have to get permission to have these things online and open,” Gonzales said. “It’s very different from an essay published on paper and left on somebody’s desk.”

Additionally, Burrow said reviewers ran into issues with context.

“A lot of these papers … are written as assignments for classes. …

Sometimes the paper wasn’t really understandable if you didn’t know what the assignment was,” she said.

Students have been heavily involved throughout the process. Burrow said Emily Miner (PO ’12), the student editor for “FIVE,” did a lot of advertising, which may explain Pomona’s heavy representation in the first issue. All submissions are read by a review board, which, Burrow said, is composed almost entirely of undergraduate students, and then sent to an editorial board consisting of a librarian, a faculty member, and an undergraduate student for the final decision.

Burrow noted that all of the essays show up on Google Scholar, and Gonzales said in an email that all but one of the published essays have been downloaded more than 100 times since the journal went live on June 25. The most popular essay, “She’s Got the Power” by Tim Reynolds (PO ’15), has been downloaded over 300 times.

Submissions to “FIVE” for the fall 2012 issue closed last weekend, but students should watch for the journal’s release in the coming months, and should consider preparing essays for the issue next semester.

For more information on “FIVE” and to read the latest issue, visit scholarship.claremont.edu/five.

Motley campaign against sexual violence

By Julia Howard ‘14 Contributing Writer

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n Friday, Oct. 5 the managers of the Motley Coffeehouse debuted the educational campaign “Talking Back: A Movement to End College Sexual Violence.” The campaign was developed in reaction to recent warnings about the sale and distribution of date rape drugs at the Claremont Colleges.

As activists, leaders, and students, the managers of the Motley Coffeehouse are urging administration from all 5Cs be more forthcoming about their efforts to prevent sexual violence on our campuses, as well as how they care for or respond to those who experience such violence. The managers argue that it is the responsibility of these educational institutions to engage the Claremont College community in an open dialogue about the pervasiveness of sexual violence on college campuses, on our campuses. They want to discuss how we can put an end to sexual violence and educate students on how to protect themselves and others against paradigms of abuse.

The intentions of the Talking Back movement are as follows: 1) Gain more information from the Pomona administration and the other college administrations about what they are doing in reaction to the sale and distribution of date rape drugs on campus. 2) Inform and expand student knowledge about what constitutes sexual violence, rape, coercion, and consent. 3) Educate students about how to protect themselves against

sexual violence, where to seek help if they or someone they know has experienced sexual violence, and how to work outside of traditional strict gender norms to stop sexual and gendered violence.

The educational campaign kicked off with the dissemination of informational posters around the Claremont Colleges, which explicitly provided definitions of the terms “sexual violence” and “consent” and made suggestions as to how students can get involved in the Talking Back movement. The Motley managers then invited students to join the conversation by stopping by the coffeehouse on Friday, Oct. 5. There, students were encouraged to write letters demanding the Pomona Deans of Students take action and engage in a community-wide discussion of what is being done to adequately respond to the sale and distribution of date rape drugs, as well how to address and justly react to sexual violence in our college communities.

The letter writing campaign is only the beginning of the movement. The Motley managers have already written a personal letter to the Pomona Deans of Students inviting them to meet to discuss the measures the college is taking in response to the information about the presence of the date rape drug on their campus. The Motley managers hope that other student groups on the 5Cs will feel inspired to participate in the dialogue on how we can address issues that affect us all. What

By Kehaulani Jai ‘16 Staff Writer

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o we’re at Scripps. Some would say this automatically marks us as driven and liberated young women. None would say that this makes us impervious to sexual assault.

With this in mind, at orientation we’re given a rape whistle, a brief lecture on what is considered sexual assault, and a warning that we’ll find it extremely expensive if we unnecessarily blow the whistle (take that either way). What we’re not given are the skills necessary to defend ourselves if we are in a situation where we find ourselves physically threatened.

Still, to what extent is equipping ourselves with selfdefense skills our personal responsibility? Also, is there any

merit in blaming victims of sexual assault for irresponsibility? Perhaps you yourself have caught yourself thinking that a person is victimized in part because of how they dress or act. The Scripps CLORG It Ends Here works to address these misconceptions surrounding sexual assault. For Vice President Emily Hampshire (’15), though survivors should never be held accountable for being sexually assaulted, sexual assault itself is “complex” and “multi-faceted.”

To Hampshire, “responsibility is the key term.” It is our responsibility to “understand that self-defense isn’t just physical,” but it is the responsibility of others to understand “boundaries and consent,” and the fact that victims weren’t “asking for it.”

Indeed, many mistaken beliefs stem from a misunphotos | Pink Chutrakul derstanding of what constitutes sexual assault and what indicates actual “consent” to sexual interactions. For instance, an intoxicated person may agree to intercourse, but intoxicated individuals cannot truly give consent. In this way, it is imperative to reemphasize the complex nature of sexual assault and the importance of supplementing self-defense workshops with preventative efforts, educating potential victims and perpetrators about the complexities surrounding interpersonal violence.

Fortunately, the Sexual Assault Awareness and Resource Committee, SAARC, recently created by Dean of Students Rebecca Lee, works to recognize and prevent sexual assault continued on page 8

happens at Pomona doesn’t just impact Pomona students. We have to ask ourselves: What kind of progressive educational environment or “safe space” are we operating in when there is demand for and potential use of date rape drugs here on campus? The goal of the campaign is for the administration to openly engage with students to discuss this pressing issue, strategizing collectively about how to get the community involved in the discussion. Stand with the Motley and talk back against sexual violence here at the Claremont Colleges!

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

Opinions & Editorials • 3

The Scripps Voice Editors-in-Chief Rosemary McClure & Lauren Prince Advisor Sam Haynes Design Editors Lily Comba Aidan Harley Hannah Webster Copy Editors Megan Petersen Star Schneider Alexandra Vallas Photo Editor Caroline Novit Business Manager Jasmine Kusumowidagdo Web Assistant Jane Condon Staff Writers and Columnists Pambana Bassett Lily Foss Rachael Hamilton Rachel Hennessey Stephanie Huang Kehau Jai Elizabeth Lee Hannah Long Dagny Lu Caroline Nelson Kara Odum Priya Srivats Stephanie Steinbrecher Abby Volkmann Staff Photographers Pink Chutrakul Tianna Sheih Comments and letters can be sent to Scripps College The Scripps Voice, 1030 Columbia Ave, Box 892, Claremont, CA, 91711. You can also email The Scripps Voice at scrippsvoice@gmail.com or visit our website at voice.scrippscollege.edu.

If you want to contribute to The Scripps Voice send your articles or photos to editor.scrippsvoice@gmail.com. The Scripps Voice is a student forum and is not responsible for the opinions expressed in it.

photo | Pink Chutrakul ‘15

Male feminists: a silent minority Anonymous

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n auditorium of 300 high school students direct their attention to a speaker giving a talk about woman’s rights both domestically and internationally. At the end of the discussion, a question was raised: “Who considers him- or herself a feminist?” Approximately thirty people stood, including myself. As I stood, people looked at me strangely. The reason: I am a guy.

People often wonder why and how a cis-male can be a feminist. We do not go through the same physiological and psychological traumas and pains women do. In addition, we are not subjected to unfair pay solely on the basis of our gender. Finally, males do not have to work as hard as women do to earn a high place in the work- force. No, as a guy, I do not understand these hardships. However, what makes all the difference is that I know that these hardships exist, and I do not agree with the second-class treatment that women receive.

To be fair, it is often strange to me that I am a male feminist, because sharing that with others has produced mixed results. Some guys have questioned my masculinity. One of my peers called me a faggot. Some girls have told me angrily that I had no right to refer to myself as such.

In a specific case, one girl said that only women can be feminists and ranted that feminism arose from the tyranny of men. Thus, I have resorted to keeping my feminist beliefs quiet, only to have those closest to me know where I truly stand on this tough topic.

Let me explain how I became this unique male feminist. My mother is a second wave feminist who fought to give women a voice and express herself however she pleases. I was raised in a family where I was firmly taught that everyone should have the right to express him- or herself, even if we do not agree with what they say. I became a self-proclaimed feminist as a result of a single song, which is the most obscure reason behind my rationale. Tupac Shakur, before his “California Love” days, was an advocate against social inequality, especially within the black community.

But one song, titled “Keep Ya Head Up,” had a

strong effect on me. Some of the lyrics go as follows: “And since we all came from a woman/ got our name from a woman and our game from a woman/ I wonder why we take from our women/ why we rape our women, do we hate our women?” He goes on to to say “So will the real men get up?/ I know you’re fed up ladies, but keep your head up.” From the moment I heard that verse it sealed the deal.

To say that I support a woman’s freedom of expression and right to choose does not scratch the surface as to what I believe. To say that I believe that women should be paid at the same rate as a man is not enough. And to say that I believe that more women should hold political power and hold higher positions in businesses and corporations cannot do me justice. I hope to be a father one day, and if I have a daughter, I do not want her to struggle in this modern society where a women is disrespected solely on the basis of her gender, instead of her character, her credentials, and her experience. In order for me to fight for my future child, I have to fight for the same things my mother and countless other women in my life continue to fight for. However, I know that there should be others to assist in this fight.

I am part of a silent minority of men who firmly believe that women must be treated equally, but I fear that my voice will be silenced based on the ideals of both extremes.

I want to let the public know that male feminists exist, but because we are silenced by different beliefs on both sides, I have to wait before I have the courage to put my name on a movement that is controversial and very personal to many.

However, that does not stop me from fighting.

I will continue to fight, because I was raised to never take “no” for an answer and to believe that actions speak louder than words. And though I have fought here through words, don’t be surprised if you see me on the streets, standing up for the feminist cause. Perhaps one day, the silent minority will be louder and unafraid.

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

4 • Opinions & Editorials

I Am Scrippsie, Hear Me Roar

My lip gloss, and why it is poppin’

By Lily Floss ‘13 Feminist Columnist photo | Pink Chutrakul ‘15

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irst off, I want to apologize to those who read my title and now will now have that song stuck in their head for all of eternity. As someone who’s had it as her mental background music ever since she started thinking about what she was going to write in this issue, I sympathize.

Now that apologies are taken care of, I want to talk about something important: makeup.

I love makeup. I have a product for everything: daytime, nighttime, mock trial court time, times when for some reason you need to wear fuchsia glitter liquid eyeliner, everything. And let me tell you, you can have my mascara when you pry it from my cold,

dead, lipstick blot-covered hands.

But I can’t pretend that makeup isn’t problematic feminism-wise. I mean, isn’t makeup supposed to be a way to de-uglify your face? After all, as the media likes to tell women, “Everything about you is the worst!”

Well, I say “NO!” to this conception of makeup! Even if this was why makeup was first invented, times have changed, and I think makeup needs a makeover. Instead of thinking of makeup as a way to make yourself presentable, how about we redefine it as a form of self-expression? When preteen girls are first exposed to BonneBell Lip Smackers, what if they wore them because they wanted to

ROCK that purple cherry-berry flavored lip gloss, instead of thinking it would make them fit in with the cool girls? What if when high school girls applied their copious amounts of eye makeup in the morning, instead of thinking, “This eye-shadow will attract ALL THE BOYZ!!1!” they thought, “This is a smoky eye day.”

Why should makeup be any different than clothes, hairstyles, jewelry, or tattoos? It should be how we show the world, “My name is Lily Marie Foss, and I love when my lash-lines are glittery and fuchsia!” Or whatever your name is. But seriously, isn’t makeup just art that you put on your face? I think it should be.

Obviously, not everyone wants to wear makeup. And I get that. Not everyone wants to have hair or tattoos, or wear clothes, even. But if we change the idea of makeup to be something that lets you express yourself instead of something to make yourself pretty, then women and girls who don’t want to wear it won’t feel pressured to, and those who do won’t feel like they’re doing it to cover up their hideous visage, or that they’re bowing to sexist pressure to conform to restrictive gender norms. Makeup should be fun. Especially fuchsia glitter eyeliner, because that is such a ridiculous product—ridiculously awesome, that is.

Pandora’s M

Box

y last book club event was brunch and bloody marys followed by a trip to the local LGTBQfriendly sex shop. “That’s so unfair,” remarked my dude friend when he recognized the corner of a Babeland bag sticking out of my purse.

“I can’t go to a sex shop with all my guy friends. There’s something really creepy about saying, ‘check out my new Fleshlight.’”

Though I’m hesitant to concede to the existence of any “female privilege,” which I find is often an illusion that offers women no real power, I admitted he had a point. Why is it socially acceptable for women to discuss masturbation in detail, while for men it is seen as sketchy? Why are women generally punished accross the board for being sexual, but also generally able to speak more freely about sex toys?

This phenomenon may be rooted in the long-surviving myth that the female orgasm is elusive or even nonexistent. Sex research has sexist and racist roots. J. Marion Sims, the “Father of American gynecology” infamously performed many surgical experiments on his female slaves without the use of anesthetics, despite their availability.

Freud postulated that clitoral orgasms

The “M” word were characteristic of female adolescence and that adult women would naturally favor vaginal orgasms.

Perhaps this myth is the reason discussion of female use of sex toys is socially acceptable. It paints the pictures that female orgasms are impossible to achieve or at the very least, exceptionally complicated—and that’s what makes the use of technology okay.

Freud’s theories continue to privilege penis-in-vagina intercourse as central, to even defining of, what sex is. Because much sexual activity does not fit this mold, young people wishing to maintain their virginity operate under the misconceptions like “anal sex is not really sex” or “it’s just a blowjob it’s not like I’m having sex or anything.” This paradigm trivializes queer sexual experience. Women who do not experience vaginal orgasms can be made to feel that they are at fault.

America’s obsession with virginity as the defining element of a woman’s worth ends up punishing women who openly talk about or engage in sex. And our inability to talk frankly about sex both in and out of the classroom has a lot of drawbacks, most notably that we are grossly misinformed about sexual health and pleasure.

Procrastination Panda takes a break.

We need to redefine sex and divorce it from these fallacious conceptions of pleasure and virginity. Why not start by changing how we talk about sex toys? Masturbation is not a shameful pastime for those who can’t obtain “real” sex. Masturbation is a way of knowing yourself and your preferences in the bedroom—and this is not just a female issue. Do you dislike cunnilingus? Or do you just dislike the way your partner performs cunnilingus? Masturbation is avail-

able 24/7, and comes without risks of STDs, pregnancy, or the complexities of relationships. Interested in anal but nervous to try it with a partner? Using a dildo or butt plug gives you a greater sense of control than you may feel with a partner.

No matter your gender or sexual orientation, your sex life can be greatly enriched by your ability to say, “Why don’t you twist my nipples a little bit?”

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

Opinions & Editorials • 5

Tree Hugger • climate change • oil and gas production • environmental regulation Where do they stand?

Abby Volkmann ‘13 Environment Columnist

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he United States is experiencing significant changes in its energy outlook. Our next president will be forced to confront critical issues of climate and energy policy challenging our nation. Below is an outline of the varying perspectives of candidates Barack Obama and Mitt Romney regarding crucial issues of environmental policy.

OBA M A

•Supports international climate nego- supportive of the EPA’s power to sutiations that form binding agreements pervise hydraulic fracturing projects to reduce greenhouse gas emissions. and reduce the technology’s water and air pollution.

•Made huge investments in renewable energy programs as a part of the •Vowed to end the $4 billion in oil Economic Stimulus Act. The Brook- tax breaks. ings Institution estimates that green stimulus government spending was •Doubled the electricity generation $51 billion. from renewable sources since 2008.

Almost 6 percent of the United States’ •Implemented stricter fuel-efficien- electricity is made up of non-hydrocy standards, which require United power alternative energy sources.

States vehicles to average 54.5 miles per gallon by 2025. Has also helped •In 2011 the United States was a fund efficiency upgrades on more global leader in clean energy developthan 1 million homes and over 1000 ment, investing roughly $48 billion manufacturing plants. in green energy.

•Supports the Environmental Protection Agency (EPA) in creating harsher standards on fossil fuel-burning power plants and continue regulations setting stricter standards on carbon dioxide emissions and other toxins including mercury from power plants.

•Oil imports are the lowest they have been in 15 years. Obama hopes to cut current oil imports in half by 2020.

•He supports offshore drilling off Virginia’s coast and supports existing drilling leases in the Chukchi and Beaufort Seas in Alaska. However, Obama opposes expanded drilling in the Atlantic and Pacific Outer Continental Shelves.

•In favor of natural gas drilling using hydraulic fracturing (fracking). He is

•Set ambitious target for clean energy: 80 percent of electricity generated in the United States will come from renewable resources by 2035.

•Approved 17 solar energy installation projects on public lands. Obama favors the extension of the production tax credit for wind energy. His administration gave $535 million in federal loan guarantees to the solar panel manufacturer, Solyndra, after the company filed for bankruptcy in September of last year.

•Department of Defense vowed to incorporate biofuel elements into their fuel for ships, vehicles, and planes and also to bring renewable energy to the battlefield.

ROMNEY

•Skeptical about international climate negotiations and believes binding emission reduction agreements may disadvantage the American economy.

•Strongly opposes the Obama administration’s fuel-efficiency standards.

•Favors taking away the EPA’s power to regulate carbon dioxide emissions, which was given to them as part the mandates of the Clean Air Act. Romney told Fox News, “I think the EPA has gotten out of control for a very simple reason: It is a tool in the hands of the president to crush the private enterprise system. We need to have a federal government that sees its job as helping the private sector grow and thrive.”

•Wants to make the North American continent energy independent by the year 2020, primarily using carbon-based fuels such as coal, oil, and natural gas. As govenor, Romney criticized a coal plant in Salem, MA. He stated, “I will not protect jobs that kill people.”

•Would open all federal lands for oil and gas drilling, including the Atlantic and Pacific coasts and the Artic National Wildlife Refuge. He also plans to give states the power to issue permits for drilling in public lands within state borders, including national parks.

•Strongly supports the expansion of the Keystone Pipeline, which would

deliver Canadian oil to United States markets.

•Supports the expansion of gas drilling with the use of hydraulic fracturing.

•Opposes the extension of the wind energy production tax credit and plans to end subsidies on renewable energy projects.

•Romney strongly criticized the Obama administration’s decisions to invest in solar and wind energy. As governor of Massachusetts, he supported $24 million of investments to the state’s alternative energy projects.

•Would “facilitate private sector led development of new energy technologies.” Romney advocated publicprivate partnerships to develop clean energy during his governorship.

•Would open all federal lands and waters for drilling, including the Pacific and Atlantic outer continental shelves and Artic National Wildlife Refuge.

Also, he plans to give states the authority to allow drilling in National Park Service units and other public lands within state borders. The Interior Department would no long have the power to lease and issue permits for drilling on federal lands and waters.

•Would relax regulations on the nuclear power industry.

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

6•Features

Features•7

Concer ts & Criticism

Electronic dance music: the takeover

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to this specific genre. While a show typically takes place in a club style concert venue with an opener and a headliner, EDM festivals are often in outdoor venues with at least two stages and many great headliners playing sets one after the other. However, music has historically gone hand in hand with drug use, and this is no exception—EDM festivals significantly blur the line between festival and ‘rave.’

But trust me, if your interest is the music and not the drugs this aspect is easy to ignore and is handled impressively by most popular promoters (Insomniac! Goldenvoice!).

Free water stations, wide open spaces, strong security, and surprisingly clean and line-free porta-potties restore my faith in the situation and allow me to enjoy the music without having to worry about any underage teens passing out from heat exhaustion at my feet. If you chose to go, don’t feel pressured to do drugs. Take a moment to reflect upon your favorite producers…have you ever seen one wearing stacks of colorful bracelets or sucking on a pacifier at a show? Not likely. Rock and roll was once vilified as ‘the Devil’s music’ for similar reasons and now it is highly revered, so I don’t let the negative connotations stop me from loving the energy and experience of these massive productions and neither should you.

Ph o

By Cassidy Cavanah ‘13 Contributing Writer ery few cities across the globe could rival Los Angeles as the hottest spot for electronic dance music (EDM) in the year 2012. Hollywood seems to have gotten a tight hold of the broadly labeled genre and all signs point to the city never letting go. While many age-old fans may cry “sellout!” I will hold my tongue, raise my hands and dance my way through the constant flow of big names and bigger talent that pass by here instead. With Los Angeles only one episode of ‘Breaking Bad’ away, distance should never stop you from enjoying all that life in Southern California has to offer. If you are interested in exploring your EDM options, either for your first or hundredth time, the most important thing is to stay informed and make the trip. Nothing is worse than missing your favorite artist play due to mere negligence or sloth. Thus, we must discuss prevention.

First and foremost, you must discover and appreciate the great gift of MusicAlertsNow.com. This site lays out every upcoming EDM event and show onto separate calendars for Los Angeles, Las Vegas and San Diego, making it easier and faster than ever before to start planning your adventures ahead. Secondly, follow your favorite DJ/producers or music blogs on Facebook and Twitter to keep posted on upcoming tour dates, ticket releases, and the occasional competitions to win free entry or VIP access. For example, the blog GottaDanceDirty.com posted an opportunity to win free tickets to the added Swedish House Mafia show in March before tickets went on sale the following day (the first two shows sold out in minutes—depending on popularity you have to act fast).

The EDM experience varies drastically depending on the show type, artist, venue, and promoter. Be aware of the distinction between a ‘show’ and a ‘festival,’ which may seem self-explanatory but is particularly important in regards

Childish Gambino comes to Pomona College Nov. 10

By Tianna Sheih ‘16 Staff Photographer

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he rapper, comedian, actor, and writer also known by his given name Donald Glover wrote for “30 Rock” and plays Troy Barnes on the NBC sitcom “Community.”

Glover has made the actor-to-rapper transition more successfully than anyone but Drake. Glover explores similar topics to Drake on his full-length studio album “Camp,” but with a different twist. Drake’s persona is that of an adolescent with more power than he knows what to do with, seeking fulfillment through in a dark haze of codeine.

Like Drake, Glover has been accused of being gay. But Glover portrays himself instead as a painfully self-aware nerd seeking validation from the implacable Powers That Be. His moniker itself was chosen by a tongue-in-cheek Wu-Tang name generator online.

It seems this image has been difficult to digest for the public and completely rejected by some. Said Glover of “Community” co-star Chevy Chase’s accusations of homosexuality: “That’s the only way a guy like Chevy Chase has of processing a black guy who looks like me, talks like me, dresses like me.

That’s how alien I am to him.” In the song “All the Shine,” Glover takes a jab at hipster music review website Pitch-

fork—“Pitchfork only likes rappers who crazy or hood”—which proceeded to award Camp an insulting 1.6 rating out of 10. Black actor and comedian Keegan-Michael Key described Glover as a comedian with “a white sensibility despite [his] brown skin, the whole Wayne Brady thing.” Others, such as performer Lucas Zachary Hazlett, attribute his popularity to his time spent

dians, white audiences—and so it’s, like, focus-grouped, pre-approved.”

Glover’s “black nerd” reputation is no doubt influenced by his “Community” character Troy Barnes, who had accumulated a substantial cult following by the time Glover released the mixtape EP in 2011. Barnes has a magnetic sense of humor and a heart of gold, and his character arc is that of a prom king,

photo | Glassnote Records

in the improv group Upright Citizens Brigade: “Donald Glover is funny, and his funny is universal, but he got grown in the Upright Citizens Brigade, which is almost all white people—white come-

football quarterback steadily distancing himself from that personality while embracing a burgeoning geekiness. Glover has embraced this persona, creating the Twitter hashtag “#donald4spiderman”

in hopes that Sony would cast him to play Peter Parker in then-upcoming film The Amazing Spider-Man. But his race has been problematic for some people.

Glover describes receiving a letter from a fan: “‘I really like you, Donald, I like all the stuff you did…but we know there’s no black kids like Peter Parker.’

And that bothered me so much. I was, like, you don’t think there’s any black kid who lives in Queens, who is poor, who likes science?...That’s me! I am Peter Parker!”

Glover’s comedic talent is palpable in his music. He produces much of it by himself and virtually every line is a double or triple entendre–“made the beat then murdered it/Casey Anthony.”

He has earned a reputations as a great performer as well, famously shooting the music video for “Freaks and Geeks” in one take. Much of his music, including the very recent “Royalty,” is legally available for free online.

Those interested in seeing Childish Gambino live should make their way to Bridges Auditorium at Pomona College on Nov. 10. Tickets are available at the Bridges Auditorium box office to 5C students for $25 and to the public for $35.

Upcoming shows:

the Chec k c for once out the rt li on Mo neup pag tley e8

Halloween:

Porter Robinson & Zedd for Control at the Avalon Oct. 10 • Bassnectar at the Hollywood Palladium Oct. 18 • Benny Benassi at Exchange LA Oct. 27 • Wolfgang Gartner at The Hollywood Palladium Nov. 10.

‘All Gone Pete Tong’ is coming to Exchange LA on Nov. 24, competing with Dirty South at the Palladium the same night, followed by Simian Mobile Disco at The Music Box on Nov. 30.

Popular Nights Out:

If you prefer electro to popular house music, check out ‘Control’ at the Avalon on Fridays and Dim Mak Studios on Saturdays. Control consistently raises the bar with a calendar full of big names like Diplo, Crookers, Carl Cox and Nero.

Dim Mak Studios, previously known as Cinespace, is co-owned by Steve Aoki and has hosted Peace Treaty and Nada Storm with shows by Kid Cudi, Dimitri Vegas & Like Mike coming up soon. They also boast a solid set of resident DJs like Bones to keep it groovy at all times. For more truly underground sounds check out Gotta Dance Dirty’s Thursday night event ‘Versus’ at the Central Social Aid and Pleasure Club in Santa Monica.

For more popular house vibes: Fridays or Saturdays at The Music Box, Supperclub, Playhouse, or the Avalon will likely boast a big-name house DJ at some point every weekend. Keep your eye on the Hollywood Palladium and Exchange LA as the venues most likely to host the biggest shows coming through LA, such as Deadmau5, Pretty Lights, Pete Tong, and Booka Shade.

Hard Haunted Mansion presents Day of the Dead: Nov 3. One look at the line-up of this year’s annual Hard Haunted Mansion puts it at the top of my list for places to be this Halloween weekend. Featuring Justice, Knife Party, Diplo, Major Lazer and Dillon Francis, this festival line-up will serve a satisfying dose of electro, dub-step, and moombahton. Prepare for madness.

Escape from Wonderland: Oct 27.

The Halloween edition of Insomniac Events’ quarterly San Bernadino-based EDM festivals is looking to be a big one this year with headliners like Steve Angello, Laidback Luke and Calvin Harris.

While he may not have the name recognition amongst house lovers, do not miss out on the chance to experience techno master Richie Hawtin’s set at Escape. Expect hordes of questionably dressed attendees; try to avoid being one of them.

Monster Massive: Oct 27.

After a one-year hiatus, Monster Massive is back in full force this year. Although I have never attended this particular event before I have heard great reviews and know that they have frequently hosted some of the biggest names in the industry like Armin van Buuren. However, with Halloween only a few weeks away, the lack of a confirmed artist line-up is highly suspect. Additionally, I cannot vouch for the safety or sanitary factors of this event because I do not have much experience with the promoter (GoVentures) or the venue.

A critical analysis of Macklemore

By Pambana Bassett ‘13 Staff Writer

O

n Oct. 27 the up-and-coming white hip hop artist Macklemore, paired with the producer Ryan Lewis, will be performing in the Henry Fonda Theatre in Los Angeles. The Seattle-based rap artist has a loyal fan base from his north-western home state, but in recent months, with a nod from XXL Magazine who named him one of the “Freshman Class Artists to Watch,” multiple tour dates, an album out in stores, and a celebration from the equal marriage front, his audience has become national, if not world-wide.

Of course, it is the equal marriage front that has sparked special interest in Macklemore, specifically because of the song “Same Love” with beats made by Ryan Lewis, hooks sung by Mary Lambert and the accompanied video produced with Tricia Davis.

In the song Macklemore smoothly explores his experiences with socialization about gender and sexuality as a young boy (“I thought that I was gay/’Cause I could draw, and my uncle was/And I kept my room straight/ I told my mom, tears running down my face/...A bunch of stereotypes all in my head”) and raps out his current political stance on gay marriage rights. It is personal because people in his family are gay, and because he understands homophobia and gender norms as having affected him as an individual, although he identifies as heterosexual. It is personal and global. He challenges political forces: “right wing conservatives think its a decision/And you can be cured with some treatment and religion,” and mainstream nationalism: “America the brave still fears what we don’t know/And God loves all His children /is somehow forgotten/but we paraphrase

a book written 3,500 hundred years ago” a calculated jab at homophobia in the Catholic church with which he grew up. It is a call to question institutions and to respect and love one another.

Although I think hip hop is about as sexist and homophobic as any other pop genre, it is always refreshing to listen to counter-narrative lyrics confidently sung by any artist. We have all heard the arguments against rap music whose critics silence the anti-capitalist, anti-racist, anti-police brutality, pro-community rhetoric integral to the Black American working class art form. And, let us not forget, there are rap artists- and not just this particular white one- who have and are (not always perfectly) challenging normative gender roles, sexuality, and patriarchy. I am reminded of Tupac’s pro-reproductive rights “Keep Ya Head Up” (1993), Mur’s “Animal Style,” and currently listen to the Black queer hip hop artists Meshell Ndegeocello, Le1f, Azealia Banks and Angel Haze.

With his song, Macklemore challenges right-wing conservative politics, the institution of the Catholic Church, and the homophobia in YouTube comments by hip hop-lovers (a community of which he considers himself a part). Macklemore stands by gay marriage not as the final answer to rights for same-sex couples: “a certificate on a paper/ isn’t gonna solve it all/ but it’s a damn good place to start.” This type of language can be risky, perhaps erasing queer histories and movements that started eons ago. But the message is good: sup-

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

photo | Ryan Lewis Productions port marriage equality, and recognize it as connected to “the same fight that lead people to walk-outs and sit-ins,” not simply about institutional policy change, “no law’s gonna change us/we have to change us,” but the broader movement for peace and justice for all.

The music video, too, has a calm feel and a jubilant ending. I would argue that it is not perfect but a damn good place for his team to start. We follow the growing-up of a young Black man who deals with all of the awkwardness and social-exclusion of high school plus arguments with guardians, compounded by heteronormativity and anti-gay spaces. Later on he gets what looks like a well-paying office job and falls in love with a gay white man.

Continued on page 11

8 • Features

LEED continued from page 1

return rate long -term.

Those who oppose LEED certification argue that it is too expensive for the College and that “we cannot afford it at this time.” There also have been thesis projects produced by 5C students arguing that LEED certification does not encourage “community” or that its environmental impact is much smaller than most claim. So, why go LEED? Making the new residence hall LEED certified would go beyond the title of the accreditation. It would show, finally, that “Scripps College is committed to conducting all of its activities in a manner that is sensitive to the environment,” as stated in admissions materials. Similarly, it would hold the college accountable to sustainable construction standards throughout the development of the project. By committing to LEED, Scripps would be committing to something larger than LEED itself. It would become a leader and example of sustainable initiatives on campus.

It would put sustainability at the forefront of our actions and discussions.

Finally, it would demonstrate Scripps’ capability and willingness to keep up with the rest of the consortium We are the only one of the 5Cs without a LEED certified building and we will be the first school to engage in a new construction that is not LEED certified. After Pomona and Pitzer, Scripps has the largest number of students registered in the Environmental Analysis program, and student-driven initiatives like the Motley and the Student Garden are a reflection of our students’ commitment to sustainability. Isn’t it about time that the administration showed its commitment too?

So, why are we not going LEED? Well, the decision has yet to be made whether we will end up aiming for LEED or not. However, the administration is currently leaning towards NOT having a LEED certified residence hall due to financial constraints, even though a year ago the New Residence Hall committee suggested that

it should be LEED certified.

If the administration ends up going ahead with the project without aiming for at least LEED gold certification, the implications will be greater than simply not having a LEED certified building. It would show that our representative system has failed us as a whole.

The current SAS and Board of Trustees (BOT) bylaws only allow three students to be present at each committee meeting where all the decision-making happens. Out of those three students, only two are allowed to vote on any initiative, project, or proposal. The students who sit on these committees are supposed to be “representing” the student body at large, and not just their personal opinion on a particular topic.

Moreover, they are supposed to report back to the student body what is being discussed in these meetings and what decisions are being made. Yet without access to the student body, how are these students expected to represent us and report back to the student body? And in a room full of men and women with years of experience and powerful positions outside the room, how are three students supposed to voice the opinion of the student body on these matters?

The process of persuading the administration to move to a LEED certified building has shed some light on the current flaws of our “representative” system that the administration is so proud of (we are part of only a handful of colleges that let the students sit in these committees). Moreover, it is demonstrating that the pioneering education Scripps so proudly preaches in the classroom is left exactly there. We may have to modify our mission statement to read something like: “At Scripps, every woman has the chance to pioneer new paths: to engage her imagination, explore her own potential, and encourage her own style of leadership in an environment that supports independent thinking, creativity, and personal expression within the constraints of the academic setting.”

In fact, students will become increasingly complacent, realizing their

voice is trivial in these matters. The administration would fare better if they approached the students and engaged them in the decision-making process of all new initiatives. Scripps students are extremely well equipped to deal with financial constraints and challenges and we rarely set ourselves up for failure. After all, it was Ellen Browning Scripps herself who said, “The paramount obligation of a college is to develop in its students the ability to think clearly and independently, and the ability to live confidently, courageously, and hopefully.”

We have developed our critical and independent thinking and we believe that the new residence hall should be LEED certified. We have asked the administration to follow the necessary steps to make sure Scripps obtains its first LEED certification, demonstrating its committed to sustainability in the long term. Now, we confidently and courageously hope they will move

ahead with the student perspective in mind. If Ellen Browning Scripps were here today, she would demand it so.

It will be LEED or it will NOT be ours.

Sara Estevez Cores is the SAS Sustainability Chair for the 2012-2013 academic year. She has been a member of the sustainability committee for two and a half years. Her project “Seeds for Change” was presented at the Clinton Global Initiative University 2011 as “as an exemplary approach to addressing a specific global challenge.” She is also the recipient of the Davis Project for Peace grant and the Strauss Scholarship for the 2011-2012 academic year. Any questions, comments or concerns should be emailed to sas.sustainabilitychair@ gmail.com. These will be addressed in next week’s video blog.

TFH Self-Defense

continued from page 2

on campus. Just a few weeks ago, SAARC sent out an email promoting upcoming self-defense workshops. Seeing as students are bombarded with emails, ranging from mail digests to upcoming flu shot locations, it’s very easy just to delete it and move on. However, this may just be an opportunity worth revisiting (or retrieving from the trash folder). “They seem like well-rounded classes that will address both the verbal and physical components of self-defense,” says Hampshire.

Though a three-hour class may not put an end to sexual assault, it can defi-

nitely be what Hampshire refers to as a viable “starting point.”

Scripps students can sign up at the Sally Tiernan Field House for these one-session workshops, offered on Sunday, Oct. 14, or Sunday, Oct. 28 from 9:00 a.m. to 12:00 p.m. Also, if you are interested in becoming involved in discussions surrounding sexual assault, please contact It Ends Here through President Lily Foss (’13), Vice President Emily Hampshire, or Secretary Anna Marburger (’15).

Fall Semester Motley Concert Calendar 10/11 A Cappella Night!

7:30 pm

10/18 Julia Price 7:30 pm 10/25 Anna Walton & friends 7:30 pm 11/01 Jill Cohn 7:30 pm 11/08 Katie Clover & Olivia Buntaine

7:30 pm

11/15 Open Mic Night

8:00 pm

11/29 Emmeline 7:30 pm 12/02 ELLIS

8:00 pm

12/13 The Novelists

Graph 2. Responses to the statement “Achieving LEED Silver, Gold or Platinum certification for the new residence hall should be a priority for Scripps College” after reading the statistics about the other Claremont Colleges.

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

7:30 pm

arts & entertainment • 9 Keep it Reel This week’s Netflix Instant fix:

Movie night solutions for the 5Cs: where and how to rent

“You and Me and Everyone We Know”

By Caroline Nelson ‘16 Film Columnist

By Rachael Hamilton ‘16 Staff Writer re you and your friends in the process of planning a movie night?

Short on movies you want to watch?

Feat not! Thankfully, there are several places around the 5Cs where you can borrow or rent fims.

Right here at Scripps is SARLO, the Student Activities and Residential Life Office, which is located right across from Routt and Frankel dormitories. SARLO offers a collection of over 300 movies for the taking!

To borrow a movie, just walk up to the front desk, ask to rent a movie, and they will direct you to the drawers of movies, which are in the black file cabinets on the left as soon as you walk inside. There is no deposit for borrowing the movie, but you will have to provide SARLO with your name and contact information. You can borrow the movie for three days, but if you fail to return it on the third day, there is a late fee of $1.00 for each day that it is not returned. Be warned! They will not send you an e-mail reminding you to return the movie, so keep track of how long you have it, since you won’t be able to take out another movie until you return the first one.

Only Scripps students can borrow movies from SARLO, so you won’t have to worry about some CMCer borrowing SARLO’s copy of “The Notebook” the same night that you want to watch it (although a fellow Scrippsie very well may). An interesting fact about the movies at SARLO is that while most of them are purchased by SARLO out of their budget, some of them are donated. For more information about the movie rental process, a list of movies SARLO has, and other services SARLO offers, check out www.scrippscollege.edu/students/sarlo/what-sarlo-offers.php.

Honnold-Mudd Library also offers a huge collection of movies, approximately 3,854, although most of them are documentaries. The collection is located behind the 2nd floor Help Desk on the Mudd side of HonnoldMudd behind closed doors, as it is not open to students to browse through on their own. However, all you have to do is give the Help Desk the title of the movie or the ID number (which can be found online or at the computers next to the Help Desk) and they will happily go get it for you. If you don’t know what movie you want ahead of time, there are browsing notebooks at the Main Desk.

The check-out process is the same as that for checking out a book, and you can check out up to two movies for seven days. Late returns will cost you $1.00 per day.

All 5C students have access to HonnoldM u d d ’ s movie collection.

For more information about DVDs ei Sh at Honnold-Mudd, a a n n check out libraries.clap h o t o | Ti remont.edu/help/media.asp, and check out newvideo.pomona.edu for a list of movies available at Honnold-Mudd.

Pomona and Pitzer do not have movie collections for student use. Each academic department at CMC does have its own collection of movies related to that field, but these are only available to CMC students for educational purposes. Harvey Mudd has a collection of about 300-400 movies that Mudd students can borrow at the Linde Activities Center (LAC); however, this video resource is only available to Harvey Mudd students.

So, now that you know where and how to get movies around the 5Cs, get your friends together, break out the popcorn and snacks, and enjoy movie night!

6

photo | IFC Films

Christine’s love interest is Richard, a shoe salesman whose wife recently decided to kick him out of the house (which prompted him to engage in the previously mentioned act of self-immolation). His insanity makes a kind of sense because of the phenomenally talented John Hawkes. Hawkes is one of the most riveting and emotionally honest actors on the screen, whose subtlety requires careful attention to fully appreciate. Richard is almost incapable of dealing with normality and often gives the impression that he might be from another planet (figuratively speaking— this movie isn’t that strange). But this discontent and desire to invest meaning in the banality of the everyday is what ultimately brings Richard and Christine together.

In addition to the leads, there is an elderly couple who have just found love (only to have too little time to enjoy it), Richard’s distant sons (who spend all their time on the computer), a cold art gallery owner, and a little girl obsessed with compiling her hope chest.

One of the nice things about this film’s clear status as independent is that it liberates the characters from big-budget blandness or the acceptably low level of idiosyncrasy that gets branded as “quirky.” Of course one of the consequences of this is that the film is often uncomfortable. Two teenage girls engage in a bizarre, possibly illegal flirtation with one of Richard’s coworkers and a young boy wanders into an Internet chat room where a silly comment of his is mistaken for a sexual kink. Furthermore, much of the characters’ odd behavior is grounded in their desire to overcome alienation or create a counter-narrative to their lives. The little girl with the hope chest, for instance, creates a fantasy of her future and the happy family she will have to escape her present: her absent father, her distant and cold mother, and her maturity beyond her years.

“Me and You and Everyone We Know” is about modernity, community, sexual mores, art, and “the digital age.” While it is interesting and thoughtful, it is not fully realized. A piece of art that spends so much time reaching for profundity is bound to touch it every now and again, and that makes up for any awkwardness getting there.

A

‘1

he opening of Miranda July’s “Me and You and Everyone We Know” effectively sets up the tone of the rest of the film: a conceptual artist records a pretentious voice-over and a newly divorced man sets his hand on fire. That is to say, this picture is simultaneously deeply sincere and deeply affected—sometimes at the same time. This is probably the result of its high ambitions, which it can’t always live up to. Still, as a portrait of a collection of lost souls connecting and interacting, it succeeds quiet brilliantly.

Chief amongst these lost souls is Christine (the alter ego of Miranda July, who wrote, directed, and starre in the film). Christine is a charming mess of insecurity and sincerity brought to life by Ms. July’s soulful performance. If only her art wasn’t included.

Not only would she be a more interesting and endearing character, but it would also significantly improve the quality of the film.

Since July got her start as a conceptual artist, though, it isn’t entirely surprising, but it does mean that many of the scenes involving an art gallery, which she tries to convince to show her work, feel like a “take that” to the art world for July’s own past rejections.

h

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October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

10 • arts & entertainment

Free tour of Mapplethorpe: “XYZ” exhibit at LACMA

By Rosemary McClure ‘13 Editor-in-Chief

O

art | Lyle Ashton Harris

n Oct. 21 “Robert Mapplethorpe: XYZ” will open at the LA County Museum of Art. The exhibition contains Mapplethorpe’s infamous homosexual sadomasochistic photos (the X portfolio), his flower still lifes (Y), and nude portraits of black men (Z). These prints have never been shown together before. LACMA has cooperated with Scripps photography teacher Ken Gonzales-Day to offer a free tour of the exhibit for students of the 5Cs on Nov. 3.

Mapplethorpe (1946-1989) was an American artist known for his controversial black and white photos. Mapplethorpe photographed celebrities, documented the BDSM/leather scene, and showed magnificent homoerotic portraits depicting his friends and lovers in the late 70s and early 80s. Some of these controversial photos portrayed art | Robert Mapplethorpe fellatio and various objects inserted into, well, just about anywhere, including Mapplethorpe’s own anus. The confrontational photos sparked debates about censorship, obscenity, and what should or shouldn’t be funded by the National Endowment for the Arts.

Mapplethorpe’s portraits of African-American men have also been criticized as racist. Penis close-ups such as Man in a Polyester Suit (1980) were accused of reproducing racist iconography constructed around erotic desire for black men, reducing them to their sexual prowess. Passionate critiques connect Mapplethorpe’s work to colonialism, erotic objectification, white supremacy, and black subordination.

In 1989 Lyle Ashton Harris, a black gay artist, responded to Mapplethorpe’s work in a series of selfportraits (many of them nude) called Constructs.

By exposing the artificial studio environment in which they were shot, Harris drew attention to the idealistic, fantasy-like quality such a backdrop lent to Mapplethorpe’s photos. As a black male artist himself, he bypassed the objectification inherent in white creation of images of the black body.

Defenders of Mapplethorpe’s work often insist that Mapplethorpe was not racist but rather fetishized and celebrated the black male body. Many of his models were also his lovers and had a certain amount of control over how they were photographed. Such was the case in Man in a Polyester Suit; Mapplethorpe’s model and lover refused to show his face and penis in the same frame.

A Mapplethorpe portrait of Andy Warhol sold in 2006 for $643,000, becoming one of the most expensive photographs ever sold. Mapplethorpe died of AIDS complications in 1989.

5C students interested in critically discussing Mapplethorpe’s work should bring their student IDs to the Ahmanson Building at LACMA at 11:45 a.m. on Nov. 3 for a free tour of the “XYZ” exhibit. For more information or to organize carpools, RSVP to the Facebook event or email Rosemary McClure at rmcclure4736@scrippscollege.edu.

High-Stitched Voice

The Not-So Glamorous Life of an Intern

By Stephanie Huang ‘16 Fashion Columnist

A

s the fashion industry becomes neutral and pastel person. Not only increasingly competitive, the did they want me to compromise my importance of building a laundry list aesthetic, they did not even formally of unpaid internships before actually introduce themselves to me. After securing a paying job is becoming a five hours, I felt used. I’m a blogger, necessity. While it is great to gain not an intern, not an employee, and experience from major publications, I was there as a favor to them—it was media moguls, and online retailers, not the other way around. So wheththese companies have also been ac- er they were looking for free styling, cused of exploitfree labor, or ing interns to another unpaid obtain free labor. intern to boss Former Harper’s around, I was Bazaar intern Dieager to return ana Wang recently home to Clarefiled a lawsuit mont. against Hearst Of course, Corp. for a violathis is not how tion of state wage all people in the and hour laws, fashion industry claiming that her are. I met amazphoto | Stephanie Huang internship was the ing graphic deequivalent to the job of a full-time signers and a photographer at the stylemployee. Wang stated that she was ing, who were much kinder than their even paying out of her own pocket for employers. I can happily say that company commuting expenses. every other unpaid fashion internship Recently, I was called in to be a I’ve been a part of has paid off in both guest stylist for an online retailer’s experience and perks—and thankphoto shoot. Needless to say, I was fully, with fantastic bosses. Alexander excited to have the opportunity to Rosario, (PZ ‘15), who interned for share my aesthetic with a brand that Teen Vogue this past summer said, “I seemed to appreciate it. Though I think it’s based on the company itself. was expecting nothing in return, the I had a very positive experience with fact that I had skipped lunch, strug- my internship. Although it would be gled to find a friend from at least best if you had a better stipend if you one of the 5Cs that could actually came from out of state, because living give me a ride, and worked for five expenses aren’t cheap.” While Rosario hours straight should have at least does not think that these internships warranted a “thank you” from the are mandatory to entering the fashbosses that I had pitched my styl- ion industry, he stresses the way that ings to. Instead, there I was feeling “they put you in connection with a lot like a completely pathetic employee of people” and how they can be used when they shot down my idea, de- “to help get you further to where you manding more variety and “color,” want to go.” even though I happen to be a very

Tale Of Genji at Ruth Chandler Williamson Gallery

By Kara Odum ‘15 Staff Writer

T

he upcoming “Tale of Genji” exhibit in the Ruth Chandler Williamson Gallery will feature an array of 60 Japanese woodblock prints pulled from the Scripps collection, which currently holds over 2,000 such prints, and some from a private collection in Pasadena. Japanese woodblock prints were made in the ukiyo-e period of Japanese art from the 17th to 20th century. The ukiyo-e process for making woodblocks consisted of three artists working together to create a print, beginning with carving an image into a block, then applying colored vegetable pigments to the block, and finally pressing the inked block onto paper to form the print. Due to the low cost and quick production method, prints were readily available to the Japanese populace and many survive today.

The exhibit will focus on a re-telling of “The Tale of Genji,” a classic of Japanese literature, written by Japanese noblewoman Murasaki Shikibu in the 11th century that has since inspired theater, manga, fiction,

operas, and movies. The story is centered on Genji, an emperor’s son raised as a commoner, and his adventures through life and in romance. The prints on display date back to the 1820s to 1850s and offer a more updated re-telling of Genji through the eyes of 19th century Japanese artists by using a widely popular traditional hero. A full-color illustrated book cataloging the exhibit and the Scripps collection, edited by Dr. Andreas Marks, will be available for purchase.

Professor Bruce Coats of the Scripps Art History Department has organized this exhibit as well as a concurrent exhibit in the Clark Humanities Museum. He has been teaching “The Tale of Genji” for 25 years as a Core III class, and more recently as an art history class. The Clark Humanities Museum exhibition will offer a different look at “The Tale of Genji”—this one was created by students who chose a main set of 54 and several auxiliary prints. On Saturday, Oct. 27 at 4 p.m., there will be a

lecture at the Clark Humanities Museum on “The Tale of Genji” and the chosen prints by the foremost authority on Japanese prints, Dr. Sarah Thompson, who is the curator of the Museum of Fine Art in Boston. The official exhibit will open with an evening reception on Oct. 27, from 7 p.m. to 9 p.m. at the Wilart | Utagawa Kunisada II liamson Gallery.

If you are interested in seeing more Japanese prints, Scripps has one of the largest collections outside Japan that focuses of “The Tale of Genji.” All students are welcome to talk to Professor Mary MacNaughton about viewing the prints in Baxter Hall.

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

Student Life•11

CLORG Spotlight: SWEET Bakery

By Stephanie Steinbrecher ‘16 Staff Writer

B

lowing out the candles on a cake every year has become a classic rite of passage in the US, and many probably consider it an embarrassing tradition. There are people, however, who do not even have the luxury of deciding whether their celebratory cake is chocolate or vanilla or red velvet, simply because they do not have a cake, or any treat, on their birthday at all. That was until Scripps students got involved.

SWEET (Scrippsies Who Endow Edible Treats) Bakery was started in 2009 as a club aimed at baking birthday goodies to benefit children participating in Foothill Family Shelter’s after-school care program. On campus, SWEET bakers sell baked goods to the students and faculty of the Claremont colleges to subsidize the cost of these birthday treats. The family shelter has access to a fund that they use to purchase the cakes, which are often the only ones these children receive on their birthdays.

Senior Mary Hershewe, current co-president, said, “We believe every child should feel special on his or her birthday. Baking treats with SWEET also

offers a way for us students to chill out, de-stress, and share our love for baking delicious things.”

Although there is little direct contact between SWEET and the children their work benefits, Hershewe said that they are “hoping to collaborate more closely with the kids and the program this year.”

Hershewe and Bayley Clarke ‘13, co-presidents, want to encourage other members of the Scripps community to share in their excitement for baking and helping make children’s special days special by joining their organization. They are also looking to fill leadership positions. The presidents view their work as a fun way to take a break from the grind of classes and homework. Said Hershewe, “Bayley and I love cooking and baking. We are hoping that this year we can make SWEET a little more laid back. We may pick movies to watch while we cook, have some kind of study break hangout thing. We’re super interested in what you all want

Macklemore continued from page 7

The homophobia they experience is alluded to— walking hand in hand on the street a group of young men make nasty comments, and the meeting-the-parents dinner is tense and uncomfortable. But mostly the montage depicts their happy “normal” moments: this is not the more-visible sad story of being gay in a society that rejects us. And, in the end, amidst confetti, smiles and dancing, the two get married (and not by a cis-gender male priest), a loving and political act that, photo | abiggshmail on Flickr unlike firing people for being queer and/or transgender, remains illegal in most states.

Of course, in this moment we are reminded that inter-racial marriage was illegal until the Virginia v. Loving case in 1967 (for 17 years my black grandfather and white grandmother could have been imprisoned, or worse, in multiple states for their union). And we know that until 1865 most Black people were enslaved and could not legally marry; and, along with all people of color they were legally assured that their individual rights and livelihoods were not to be respected. In the “Same Love” video we see clips of marches for civil rights and an impassioned Martin Luther King Jr. speaking to largely black crowds. So, with a video montage of a good-looking, monied, monogamous and otherwise ‘normal’ samesex couple, it seems a pity that Macklemore does not address how state economic support of certain types of relationships and the exclusion of others has historically impacted hip-hop lovers of color in particular ways. So photo | Ryan Lewis Productions

photo | Caroline Novit

us to be making and we’re excited to try out some new ideas!”

With big aspirations to expand its direct contact with children off campus as well as its organization on campus, this is going to be an exciting year for SWEET Bakery. Contact Mary Hershewe or Bayley Clarke to get involved today: mhershew3860@ scrippscollege.edu or bclarke8948@scrippscollege. edu.

he misses the mark a bit when he depicts Civil Rights marches while announcing that he doesn’t “think that homophobia has been really addressed in the hip-hop community.” It comes across as preaching to black people to support gay marriage because we were oppressed. Of course, some of us are queer and black, and most of us realize that the civil rights laws did not give us access to many civil rights because of our race, class, gender, and sexuality. Also, most consumers of mainstream rap and even his cohort’s independent music, are mostly white.

So, my criticisms of the video are actually also criticisms of the mainstream movement for marriage equality which are shared by many queer folk who don’t necessarily see state involvement in our romantic lives and recognition of what relationships are valid as a locus for the dismantling of white-capitalist-hetero-cis-patriarchy. But we know that while demanding marriage rights we are also demanding human rights such as health and life insurance, right to visit loved ones, adoption, inheritance and our visibility in popular culture, which are all meaningful and can be necessary for our survival. And so we support these movements. We can be critical of the capitalism, and we can also enjoy the music and watch the sweet, heart-warming love story. And as Macklemore raps, “We press play/Don’t press pause/Progress, march on!” looking forward to how Macklemore will use his music for social change on stage and off.

And it seems that Macklemore will keep making more music his fans love, rapping for social justice and having lots of fun. In an interview with Music Mix he says of his artistic process, “I never hit the studio thinking in the back of my mind, ‘Okay, I need to write a song about drug addiction, I need Irish Celebration,’ when Ryan makes the beat, then I’ll write it.

It’s more just what the beats immediately bring out with me.”

Natural and unplanned, there is a photo | Jordan Nicholson mix of serious and care-free, with topics ranging from musings on drug addiction, consumerism, and looking good in the club while rocking thrift store clothing. And he will also continue to sit down and intentionally write songs like “Same Love” discussed above, deliberate in their support social justice. Fans who click onto the Macklemore homepage, will find front and center, the video, which has garnered almost 3 million YouTube views accompanied by the tagline “We support civil rights, and hope WA State voters will APPROVE REF 74 and legalize marriage equality.” His music is obviously political, and he encourages people to challenge the system, capitalist consumerism, vote, dance, and bob our heads to the sweet beats.

If you are looking to do so, tickets to the Santa Ana performance on Oct. 26 and the Los Angeles performance on Oct. 27.

October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three

S t u d e n t L i f e •1 2

Memoirs of a survivor of the Zombie Apocalpse

By Alexandra Vallas ‘15 Copy Editor

ed is better,” he says. “It’s quieter and more personal.” This makes sense to me. After all, anyone who’s spent even one day in the middle of the zombie apocalypse knows that noise is the last thing you want when fleshhungry ex-humans are staggering after your sorry, living carcass. I write his words down in my notebook.

“But how do you conserve ammo most effectively?” I wonder. It turns out Z knows the ropes better than I had expected, because the answer comes quickly.

“Don’t shoot,” he replies, as if it is the most obvious fact—though in a way it is. Sometimes I find myself questioning how I’ve managed to survive at all; I credit most of this to my defensive strategy of never leaving my base.

“If you use a gun that’s one-shot spring-loaded, you’re not going to go around shooting—one shot and you’re done,” he continues. There is a faraway look in his eyes, one that makes me wonder who he has lost.

Maybe he lost a close roommate to the virus or necromancy or whatever it is causing this zombie hell. I take a moment to breathe a sigh of relief that my cardinal rule, the Rule of Solitude and Antisocial Behavior, has served me so well in the course of the war.

In the vein of my previous questions, I turn the conversation toward shot accuracy, the best friend of ef-

ficient resource allocation. Thank goodness for that Macroeconomics course I took before the world ended—and we all thought we would never use what we learned in our classes for real world application!

But my question seems to puzzle Z, who responds straight to the point as I am starting to realize he does.

“You aim at them,” he says slowly. “It doesn’t matter where you hit them.”

This response catches me off-guard.

I was convinced up until that zombies were only vulnerable to headshots, but surely as grizzled a veteran

as Z would know better than me. What can I say?

If I were a character in a pre-apocalypse zombie movie, I would probably be the one that survived on sheer dumb luck. But I decide not to tell that to a certified badass like Z. “So how do you survive?” I ask him. “What does it take, in this environment, to keep your extremities out of a zombie’s mouth every day?”

He thinks about that question for a long moment before answering.

“Cardio, double tap, check the back seat…”

He shrugs. “Though honestly, people just live underground around here.

To survive you stay in groups, so you have to be nice to people.”

‘Be nice to people’ gets added to my notes. I’m starting to get really into it, and I think Z can feel it too.

photos | Caroline Novit ‘14

T

he first time we meet it is for Crations, the Spartan rations that remain in Collins Dining Hall on the Claremont-McKenna Campus.

A mutual—surviving—friend has arranged the meeting, which takes place in the shelter of a decrepit building on Harvey Mudd College. When he speaks—which happens rarely and briefly, I come to find—he calls himself only ‘Z,’ like the ‘z’ in ‘zombie.’ I decide this is fitting.

He owns more than five guns, he tells me: two electric and the rest spring-loaded models. “Spring-load-

We have a connection—we’re two survivors bonded by the trauma of our experiences. Maybe, just maybe, he would be on my team. All I have to do is prove that I, too, can be as strong and kickass as he is. I know my next question will take me to that level. So, mustering all my courage, I lean back as cool and nonchalantly as I can against the wall, wearing my devil-may-care attitude like a pair of really intense sunglasses in a very dark room.

“So, Z. Zed. Can I call you that?

Good.” I never have been one to wait around for answers. “Say I want to perform a long-distance kill. What kind of gun do you most recommend for that range?”

He blinks, obviously surprised.

Clearly I am more of a proactive killer than he thought. We should get jackets for our two-man wolf— “A sniper rifle. They don’t make them for NERF guns, but that’s what I’d suggest.” …NERF guns? When did we start talking about those?

The Scripps Voice wishes you all happy hunting and thick skin during the 5C HvZ game! Also thanks to ‘Z’, for providing the interview for this story.

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October 11, 2012 • The Scripps Voice • Volume XVI • Issue Three