The Harvard Crimson - Volume CXLV, No. 113

The Harvard Crimson The University Daily, Est. 1873 | Volume CXLV, No. 113 | Cambridge, Massachusetts | TuesDAY, october 30, 2018

editorial PAGE 8

sports PAGE 10

Professor Xiaowei Zhuang won the Breakthrough Prize in Life Sciences.

Harvard needs more spaces that challenge the pressure we face.

Football lost to Dartmouth for the first time in over a decade on Saturday.

Madison A. Trice ‘21

Catherine H. Ho ’21

Sally Chen ‘19

Thiang Q. Diep ‘19

Naomi S. Castellon-Perez—Crimson photographer

News PAGE 7

Four Tickets Vie to Lead UC Two of the tickets will be UC outsiders, two will be veterans.

See testify Page 7

Students Testify in Admissions Trial Eight current and former undergrads testified in support of affirmative action.

By shera s. avi-yonah, alexandra a. chaidez, molly c. mccafferty, and samuel w. zwickel Crimson Staff Writers

For the past two weeks, Courtroom 17 in the John Joseph Moakley United States Courthouse has been pretty quiet.

Lawyer after lawyer took the stand in the wood-paneled, fifth-floor chamber to ­

argue for or against affirmative action in the high-stakes and high-profile Harvard admissions trial — but the attorneys typically spoke in muted voices. Audience members conferred in whispers, if at all. Often, the only noise was the clicking of reporters’ keyboards or the occasional whoosh of a door swinging shut.

On the first day of the trial’s third week, the silence

broke.

When Harvard senior Thang Q. Diep ’19 stepped down from the witness stand around 2:40 p.m., scores of spectators — many of them College undergraduates — broke into loud applause.

Diep, who was born in Vietnam, had just spent 40 minutes spilling his life story to explain why Harvard must keep its race-conscious admissions system. He re-

Students brave heavy rains Monday to witness their peers testify on behalf of diversity.

Amanda Y. Su—Crimson photographer

counted an at-times difficult childhood — noting that elementary school peers “made fun of my accent” — and said he reclaimed his Vietnamese heritage when he applied to the College.

“I wrote about my Vietnamese identity on my application because it was just a big part of myself,” Diep said. “I was tired of erasing my identity for so long... so I brought the power back in

my college essay.”

He said he wouldn’t have made it to Harvard without the College’s race-conscious admissions policies.

“I personally benefited from affirmative action,” Diep said. “It allows my immigration history to be taken into account, my own experiences taken into account.”

Diep was one of eight current and former Harvard undergraduates who stood to

Students board the T early Monday morning to go down to the courthouse in order to support their peers. Amanda Y. Su—Crimson photographer

IOP Surveys Youths on Politics, Voting By camille g. caldera and simone c. chu Crimson Staff Writers

Forty percent of respondents to an Institute of Politics poll of 18- to 29- year olds said they are likely to cast a ballot in the midterm elections in one week, and 26 percent said they approve of President Donald Trump’s performance in office.

The IOP released the resuts of its biannual National Youth Poll Monday; it surveyed approximately 2000 individuals nationwide.

At 40 percent, the propor­

tion of likely voters is up 3 percentage points from the IOP’s spring 2018 poll, and is double the recorded turnout of 19.9 percent for 18- to 29-year-olds in the 2014 midterm elections, according to census data.

IOP Director Mark D. Gearan ’78 said he thought taking the pulse of this demographic group “could not be more relevant” ahead of these historic elections, considering both the political stakes in certain battleground state and the potential power of the youth voting

Trump Approval Rating

26% Approve 68% Disapprove 5%

Didn’t answer

See iop Page 7

katherine e. wang—Crimson Designer

HMS Professor Discusses DNA, Migration By edward w. carr and aurora e. straus

By tamar sarig and ema r. schumer

­

See dna Page 7 Inside this issue

Harvard Today 2

Contributing Writers

Members of the History Department and the Crimson Key Society gave a “Ghost and Skeleton Tour” of Harvard Yard on Monday evening, two days before Halloween, offering participants spooky stories of haunted Harvard buildings as well as a more somber window into the University’s past “skeletons.”

Two concurrent 90-minute tours, led by Zachary B. Nowak, a College fellow in history, and Crimson Key Society tour coordinator Anna C. Henricks ’20, respectively, touched on a num­

Audience watches David Reich deliver a talk entitled “Why DNA Has So Far Failed to Provide Clear Insights About Distinctively Human Traits.” Karina G. Gonzalez-Espinoza—Crimson photographer

News 7

Editorial 8

Sports 10

Today’s Forecast

Crimson Staff Writer

Four tickets will compete for the Undergraduate Council’s presidency and vice presidency in the student body’s 2018 election in November, according to the UC Election Commission.

Two of this year’s tickets are composed of UC veterans.

Treasurer Nadine M. Khoury ’20 is running alongside Arnav Agrawal ’20, chair of the Council’s Student Life Committee, while Education Committee Chair Sruthi Palaniappan ’20 is running with Lowell House Representative Julia M. Huesa ’20. On the flip side, the other two tickets are composed entirely of non-UC members: Currier House resident Daniel K. Ragheb ’20 and Lowell House resident Samyra C. Miller ’21 are vying for Council leadership, as are Leverett House resident John T. Ball ’20 and Dunster House resident Sabrina Wu ’20.

Prospective candidates needed to gather 150 signatures from fellow students by Monday evening to appear on the ballot.

Voting for this year’s UC president and vice president will run from Monday, Nov. 12 to Thursday, Nov. 15.

Three tickets ran for the Undergraduate Council’s top jobs last year, while four pairs competed in 2016.

UC Vice President Nicholas D. Boucher ’19 said in an interview Monday evening that he hopes for a “fruitful” and “healthy” campaign.

“I think when we allow an election to be focused on the issues and the beliefs of the candidates, we end up having the best discussions, the best debate, and ultimately arrive at the best candidates,” Boucher said.

In keeping with tradition, Boucher and UC President Catherine L. Zhang ’19 said they do not plan to endorse a candidate in the race.

Recent UC presidential elections have experienced declining voter turnout, including a record-low 2,074 ballots cast in last fall’s election. Last year’s lower turnout, representing less than one-third of College undergraduates, was likely caused at least in part by issues with the voting software. In January, the Council debuted new election software — created by an external organization called ­

See uc Page 9

Harvard Offers ‘Ghost Tour’ Through Yard

Contributing Writers

Harvard Medical School Professor David E. Reich ’96 spoke Monday night about how ancient DNA can shed light on aspects of human behavior, patterns of migration, and decreasing biological diversity.

Reich’s lecture, titled “Why DNA Has So Far Failed to Provide Clear Insights About Distinctively Human Traits,” was part of a lecture series hosted by the University’s Mind, Brain, and Behavior interfaculty initiative.

Reich, a genetics professor, explained how he uses

By jonah s. berger

partly cloudy High: 50 Low: 34

ber of Harvard’s most significant landmarks in the Yard. At each stop, guides told two kinds of spooky stories — paralleling supernatural tales of alleged hauntings with discussions of fraught events in Harvard’s history.

Nowak, sporting a 19th century-themed costume and skeleton makeup, said he hoped the tour would demonstrate that history is “something that’s outside the classroom, and all around you, and also has a lot of relevance to your daily life, especially your experience at Harvard.”

See tour Page 7

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THE HARVARD CRIMSON |

octoBER 30, 2018

Page 2

Harvard Today

For Lunch Chicken Vindaloo Philly Cheese Steak Sub White Bean Ragout

For Dinner Coq Au Vin Red’s Best Mussels with Pesto Vegetable Quinoa Paella

Today’s Events Brittany Packnett Study Group IOP, 4:30-5:45 p.m.

in The Real World

Hosted at the Institute of Politics, guests Chikesia Clemons and Cleo Wade comment on the different pathways to activism, how to remain authentic to yourself while making a stance, and how to use your own personal power amongst all the voices in society.

Pittsburgh Shooting Suspect Appears in Court; Prosecutors Vow to Pursue Death Penalty

Queer Intimacies Sever 306, 4:30-6 p.m.

Trump Sending 5,200 Troops to the Border in an Election-Season Response to Migrants

Head to Sever 306 for this Sex Week event! Led by student interns from the Office of BGLTQ Student Life, Consent Advocates and Relationship Educators, and Harvard ACEs, this will be a facilitated discussion about queer intimacies and all the different forms they can take.

Swipe Right: Racial Preferences and Dating 8-9:30 p.m.

Robert Bowers, the suspect in the Tree of Life Synagogue shooting, appeared in court yesterday and will potentially face the death penalty. Bowers posted anti-semitic content on social media and was said to belong to white nationalist groups.

The fourth floor of Lamont Library is currently a construction site. Who knew?

Joshua Y. Chiang—Crimson photographer

Daily Briefing Eight current and former Harvard undergraduates stood to testify on the 11th day of the Harvard admissions trial. Drawing on personal experience — including tales of childhood bullying, fears over Harvard’s whiteness, and comfort found in College affinity groups — they offered an emotional and impassioned defense of race-conscious admissions. In other news, four tickets will compete for the Undergraduate Council’s presidency and vice presidency in the student body’s 2018 election in November.

Led by the Harvard Foundation for Intercultural and Race Relations, this Sex Week event talks about the relationship between race and sexuality in relationships. There will be free fried dough, safe sex supplies, and sex toys, and we don’t know which one we’re most excited about. As always, all identities welcome.

Calling it “an invasion of our country,” President Donald Trump has retaliated against a caravan of migrants from Central America, sending over 5,000 troops to the southern US border to stop them from entering the country. Trump repeatedly cited reports from Fox News as evidence for the growing threat posed by the caravan.

Merkel Won’t Seek a Fifth Term as German Chancellor The “leader of the free world” and the EU’s longest-running leader Angela Merkel of Germany will give up her position in December. Rumor has it she’s going to Cape Cod to read some books.

Officials are worried as Merkel, a member of the Christian Democratic Union, is stepping down while alt-right parties continue to rise to power in Europe and other parts of the world.

Around the Ivies Yale Rumors of a violent gang initiation targeting the New Haven nightclub Toad’s Place swept across Yale’s campus over Halloween weekend, the Yale Daily News reported. The rumor claimed that the gang planned to kill 30 individuals. The New Haven Police Department stated that there was no truth to the story and that the nightclub will remain completely safe. Still, student organizations and group chats across Yale’s campus have been abuzz with the news since the rumor started on Saturday.

Cornell According to the Cornell Daily Sun, a little rain didn’t stop the fantasy fans who attended Ithaca’s annual Wizarding Weekend. The event was originally Harry Potter themed, but it became rebranded after Warner Brothers sent a “cease and desist” letter earlier this year. Now the weekend embraces all kinds of fantasy enthusiasts, offering live owls, handmade crafts, and celebrity guests.

Wizarding Weekend also works closely with several nonprofits — allowing Ithaca patrons to do good in the human world while celebrating the wizarding one.

Brown The date has been set for a vote on whether Brown graduate students will unionize, according to the Brown Daily Herald. On Nov. 14 and 15, graduate students will be able to cast their ballots to determine whether the University will recognize a union. An election petition was filed by Stand Up for Graduate Student Employees and American Federation of Teachers on Oct. 25. In April, Harvard’s graduate students voted to unionize; Brown’s students will decide by the middle of next month.

The University Daily, Est. 1873

The Harvard Crimson Derek G. Xiao President Hannah Natanson Managing Editor Nathan Y. Lee Business Manager

Associate Managing Editors Mia C. Karr ’19 Claire E. Parker ’19 Associate Business Managers Dahlia S. Huh ’19 Max W. Sosland ’19 Digital Strategists Jamie D. Halper ’20 Caroline S. Engelmayer ’20 Editorial Chairs Cristian D. Pleters ’19 Emmanuel R. R. D’Agostino ’19

Staff for This Issue Arts Chairs Mila Gauvin II ’19 Grace Z. Li ’19

Design Chairs Morgan J. Spaulding ’19 Simon S. Sun ’19

FM Chairs Marella A. Gayla ’19 Leah S. Yared ’19

Multimedia Chairs Amy Y. Li ’20 Ellis J. Yeo ’20

Blog Chairs Lydia L. Cawley ’20 Stuti Telidevara ’20

Technology Chairs Nenya A. Edjah ’20 Theodore T. Liu ’20

Sports Chairs Cade S. Palmer ’20 Jack R. Stockless ’19

Copyright 2018, The Harvard Crimson (USPS 236-560). No articles, editorials, cartoons or any part thereof appearing in The Crimson may be reproduced in any form without the express written permission of the President. The Associated Press holds the right to reprint any materials published in The Crimson. The Crimson is a non-profit, independent corporation, founded in 1873 and incorporated in 1967. Second-class postage paid in Boston, Massachusetts. Published Monday through Friday except holidays and during vacations, three times weekly during reading and exam periods by The Harvard Crimson Inc., 14 Plympton St., Cambridge, Mass. 02138 Weather icons made by Freepik, Yannick, Situ Herrera, OCHA, SimpleIcon, Catalin Fertu from flaticon.com is licensed by CC BY 3.0.

Night Editor Kenton K. Shimozaki ’19 Assistant Night Editors Iris M. Lewis ’21 Katherine E. Wang ’20 Story Editors Brittany N. Ellis ’19 Joshua J. Florence ’19 Hannah Natanson ’19 Brian P. Yu ’19 Phelan Yu ’19

Design Editors Margot E. Shang ’21 Katherine E. Wang ’20 Photo Editors Karina G. Gonzalez-Espinoza ’21 Caleb D. Schwartz ’20 Editorial Editor Caleb J. Esrig ’20 Sports Editor Eamon J. McLoughlin ’21

Corrections The Harvard Crimson is committed to accuracy in its reporting. Factual errors are corrected promptly on this page. Readers with information about errors are asked to e-mail the managing editor at managingeditor@thecrimson.com.

The Harvard Crimson | OCTOBER 30, 2018 | page 3

ARTS

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A Probe into How Machines See Art

the week in arts

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Stephanie X. Yao Contributing WRITER In an event on Oct. 23, Director of Digital Infrastructure and Emerging Technology at Harvard Art Museums Jeff Steward revealed that the museum staff uses a surprising method to classify their massive art collection: artificial intelligence. With a collection of over 250,000 pieces, the museum is looking for a more efficient way to categorize their art, and as a result, make art more accessible to a wider audience. The goal, Steward said, is to find “a new way to engage people with art collections who just might not have a way in.”

How does using artificial intelligence do this? Steward said that the answer lies in using AI to describe the artwork without any other context besides the work itself. “[The AI] are forced to just tell me what they see. It’s like someone going to the museum for the first time,” Steward said. This process humanizes the cataloging process by describing the artwork in terms more similar to what an average person, instead of an expert, might use.

“I’m not interested in training machines to think like I do,” Steward said. “I want to know what they think on their own, unpainted by the art history, art appreciation perspective.” The goal is to eventually use these AI-generated descriptions as keywords or search terms for people searching for art on Harvard’s databases.

To demonstrate how exactly this process is done, Steward started by introducing some basic terminology to the audience, including definitions of “machine processing,” “computer vision,” and “artificial intelligence.” He spent the rest of the talk showing examples of pieces of art from the Harvard Art Museums collection and how four different image recognition AI softwares — Microsoft Cognitive Services, Google Vision, Clarifai, and Imagga — describe the art.

One such example is of the painting “Random Patterns” by Hungarian painter Gyorgy Kepes. Google Vision described the work with terms such as “art, wall, modern art, wood, texture, artwork, tree,” while Microsoft Cog-

nitive Services used terms such as “dirty,” “painting,” and most interestingly, “a bathroom with graffiti on the wall.”

Each term was often associated with a numerical value of up to 1.00, indicating the AI’s confidence level in the accuracy of its description. Another painting of “Still Life with Watermelon” by Sarah Miriam Peale was described as “cake with fruit on the table” by Microsoft Cognitive Services, “citrillus” by Google Vision, “no person 99.0 percent” by Clarifai, and “juicy” by Imagga. Steward noted how Imagga’s descriptions of “juicy,” “sweet,” and “delicious” show the AI’s ability to suggest the benefits or sensations one might experience from eating the fruit.

The event in Cabot Library attracted audience members of different ages and backgrounds. Robin G. McElheny, an archivist for the Harvard University archives, said she was inspired to attend the event because it relates to her own work in the archives.

“I’m always interested in finding out about new ways to work with image collections, whether it’s using artificial intelligence to catalog them or to provide new ways of accessing the collections,” McElheny said. “Although it’s easy to laugh at the descriptions the machines create, it does pique one’s interest to look at the image and find out more.”

Another attendee, Reynor J. Huang, is currently working as a software engineer in Boston and spoke to the intersection of technology and art in context of the talk.

“A lot of the time it’s tech people trying to apply [concepts] to the humanities, so it’s really cool to have the humanities side trying to look at it in terms of tech,” Huang said.

“What Do Machines See When They Look at Art?” provided audience members with a look into the novel applications of computer vision and article intelligence.

Through the use of these tools, Harvard Art Museums is working to bring new perspectives to artwork and enable it to reach a greater number of people.

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TUESDAY WIMPY KID LIVE: THE MELTDOWN SHOW In celebration of the launch of the 13th Diary of a Wimpy Kid book, the Harvard Book Store is hosting an imaginative event packed with trademark Wimpy kid humor, trivia, cartooning, zany participation opportunities, and snowball fights. Author Jeff Kinney will be hosting!

Harvard Book Store. 6:30 p.m. $20.

Wednesday MFA FILM: HELLRAISER (35mm) See “Hellraiser” (1987) on Halloween. The directorial debut from horror novelist Cliver Barker stars Sean Chapman as a man who buys a strange Chinese puzzle box in a sex shop, only to discover that its solution opens a portal to hell.

Museum of Fine Arts, Boston. 8 p.m. $10.

Thursday STRANGE FREQUENCIES PRESENTATION & SECRET SCREENING Guest programmer Peter Bebergal will lead a multimedia journey through the history of technology’s strange crossover with the occult followed by a free secret screening of a classic 1970s made-for-TV horror film.

Brattle Theatre. 8 p.m. Student $9.50. General Admission $11.50.

Friday BILLY DEAN THOMAS’ AMERICAN GOTHIC Using elements of silent film and storytelling, Billy Dean showcases unreleased music and video from important dark periods of their artistic journey through the darker parts of American history. The show will be followed by a set by DJ Rilla Force.

Oberon. 10 p.m. $20.

Saturday PROCLAMATION 6: UNITE! Fourteen students across Greater Boston collaborated with A.R.T. artists and Harvard professors to create an original piece of theater that explores the differences that divide, the ties that bind, and how we build bridges between the two.

Oberon. Doors open 6:30 p.m. Tickets $0-25.

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Sunday

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TEDXHARVARDCOLLEGE “WHAT IF I’M WRONG?” The fall 2018 TEDxHarvardCollege event revolves around the theme of critical thinking, including different ways to approach tasks within innovative thinking, life improvement, motivational speaking, management of time, money, people, or things.

Sanders Theater. 2-6 p.m. $15 with HUID. General admission $40.

MEET JULIA CHILD Audiences will have the opportunity to view Julia (played by Lynne Moulton) on the set of The French Chef television show and learn more about her life.

East Boston Branch of the Boston Public Library. 6 p.m. Free.

30 October 2018 | Vol CXLv, ISSUE xVIII Arts Chairs Mila Gauvin II `19 Grace Z. Li `19

Editor Associates Kaylee S. Kim ’20 Caroline A. Tsai ’20 Aline G. Damas ’20

Noah F. Houghton ’20 Edward M. Litwin ’19 Petra Laura Oreskovic ’20 Ethan B. Reichsman ’19 Yael M. Saiger ’19 Caroline E. Tew ’20 Jonathan P. Trang ’19 Lucy Wang ’20

Executive Designer Hanna Kim `21

Design Associates Mireya C. Arango ‘20 Julia Reed-Betts ‘19 Alysssa D. Truong ‘21

Executive Photographer Kathryn S. Kuhar `20

ARTS

The Harvard Crimson | October 30, 2018 | page 4

FILM

Guadagnino’s ‘Suspiria’ Digs Far Deeper Than the Original Ethan B. Reichsman Crimson staff WRITER Courtesy of Amazon Studios

It was always going to be hard to remake “Suspiria.”

The 1977 film, directed by horror master Dario Argento, is remarkable not for its plot — a dance academy in Berlin is secretly a coven of witches — but for its visual style, featuring lush, expressive colors and impressionistic mise-en-scène. Luca Guadagnino’s new version takes a very different approach, muting the color palette but adding a host of new elements, themes, and twists. The result is a film that is just as rich and entrancing as the original, in an entirely new way.

The director’s first decision may have been his best: getting the right people involved. Tilda Swinton commands the film as both the imperious Madame Blanc, the head of the dance studio, and Dr. Josef Klemperer, a psychoanalyst who gets wrapped up in the coven’s diabolic dealings. Dakota Johnson stars as the protagonist, Sophie Bannion, a seemingly naïve Mennonite girl who comes from America to study at the studio — an excellent match for her combination of innocence and haughtiness, which was so underserved in the “Fifty Shades” trilogy. It’s not just actors, either: The haunting, atmospheric music that hangs over the film is the product of Thom Yorke, frontman of Radiohead.

Guadagnino may not, at first glance, appear to be a natural fit for a film like “Suspiria.” Known in the U.S. primarily for having directed “Call Me By Your Name,” a vibrant, summery romance in the Italian countryside, for his next film to be a supernatural psychological horror film may seem like a jump.

However, two aspects of his previous effort do carry through: his interest in sexuality and, especially, his ability to capture the body on film.

This skill comes in handy in “Suspiria,” as Guadagnino chooses to correct a missed opportunity in the original: He actually depicts his actors and actresses dancing. Dance is central to the magic of the witches and of the film. In one shocking intercut sequence, Sophie unknowingly destroys a classmate through dance, magically throwing the girl around a room and contorting her body in horrific ways. Due to its inherent dynamism, dance can be incredibly difficult to depict well, but Guadagnino more than succeeds, cutting back and forth with grace from wider shots encapsulating the full figure to close ups that isolate a particular body part. With so many different shots in such short sequences, it can be easy to disorient the audience, but Guadagnino manages to keep the viewer grounded.

The richness in the editing exists not only in the dance sequences, but throughout the film. In an early scene, another of the dance students, Patricia (Chloë Grace Moretz), flops down into a chair in Josef’s office.

In the course of that short action, Guadagnino uses four or five different shots at varying angles. This style allows him to grant a specificity to the action of the film — he can communicate what this particular person sitting in this chair at this time feels like. To aid in this endeavor, he uses a wide variety of camera movements: sometimes swooping through the air, sometimes still, sometimes creeping slowly forwards or backwards.

One standout shot — a likely reference to the 1948 classic “The Red Shoes” — spins the camera to mimic Sophie’s own turns, pausing only briefly in an imitation of spotting technique. The movement and music build

in unison, tension rising until the sequence climaxes with the first meeting between Sophie and Madame Blanc.

The intense political, historical, and psychoanalytical themes in “Suspiria” — missing from the original — create an interrelated web of symbolism throughout the film. The film is set against the backdrop of the German Autumn, the violent actions of far-left political groups in late 1977, while also looking back towards the Holocaust, and exploring ideas of guilt, innocence, and memory in relation to that tragedy. Josef’s job as a psychoanalyst introduces a new lens through which to read the film as well, along with a reference to French psychoanalyst Jacques Lacan. And — almost out of necessity, given the nearly all-female cast — “Suspiria” is a deeply and complexly feminist film, full of yonic imagery and completely devoid of the species of simple, “Yay! Go women!” feminism of Hollywood films like “Ocean’s 8.”

While fans of Argento’s original “Suspiria” may miss his totalizing palette (although there are moments of it, especially in the climax of the film), they should not be disappointed in Guadagnino’s remake.

Clocking in at nearly a full hour longer, the modern “Suspiria” expands in every possible way upon the original, adding intricacy and thematic depth that Argento’s version lacked. Argento’s “Suspiria” is rightfully a classic, but in his remake, Guadagnino has done far more with the same premise.

—Staff writer Ethan B. Reichsman can be reached at ethan.reichsman@thecrimson.com.

BOOKS

“The Afterlives of Frankenstein” Introduces Modern Sociopolitical Perspectives on Mary Shelley’s Novel Zorayda M. Lopez CONTRIBUTING WRITER

2018 marks the 200th anniversary of Mary Shelley’s novel, “Frankenstein.” In celebration, on Oct. 26, the Mahindra Humanities Center put on “The Afterlives of Frankenstein” in the Barker Center. This event featured multiple panels filled with various academics with extensive knowledge on both the novel and its cultural significance post-publication that extends to a present day sociopolitical context.

The panels consisted of multiple professors and fellows who used film to help illustrate their interpretations and analysis of the novel and to describe how “Frankenstein”’s 19th century themes map out many current day social phenomena. James Chandler, Professor of English at the University of Chicago, used a clip from the 2004 series adaptation of “Frankenstein,” in which Victor Frankenstein sets his monster’s female companion on fire, to help present the notion of the discourse of sympathy within monsters and humans.

Moira G. Weigel, a post-doctoral member of the Harvard Society of Fellows, presented a clip from the 1968 film “Rosemary’s Baby” to depict how Frankenstein’s terror mirrors what she calls “mommy horror.” The clip showed the main character, Rosemary, reacting similarly to how Henry Frankenstein does after he creates his monster in the novel. Rosemary exclaims, “It’s alive! It’s alive!”

“It really struck me going back to the novel how much it just does seem to be about loss and pregnancy loss and these forms of grief that we don’t necessarily talk about,” Weigel said when discussing the movie’s connection to “Frankenstein.” “How do we use that to think about this current moment and these sort of structural issues?” Some

members of the audience also felt that film and the novel were deeply intertwined.

“I think the approach of thinking about cinema and the novel was really innovative and provocative, and so that made me think about the novel not singularly, but in context and conversation with cinematic representations,” said Margaret J. Rhee, a Harvard College Fellow in the English Department.

This event has been in the making for over a year. Deidre Lynch, Professor of English literature at Harvard, said, “It would be hard to name a book that has had more impact on the way we think about humanity, about beauty and ugliness, about science, about race, so it seems such an important novel that it seemed as if we should commemorate its bicentennial.” When asked about her opinion on how “Frankenstein” has held such a strong influence over society in its 200 year history, she explained that, “It seems topical for every new generation that comes to it.” She cited its thematic parallels to ecological destruction, eugenics, and family.

Students can engage in reading and learning about Mary Shelley’s novel through multiple opportunities: On Halloween day, from 9 a.m. to 4 p.m., there will be a marathon reading of the entire novel, followed by a demonstration of the scientific experiments of the age of the novel’s publication at 4:30 p.m. in Science Center Hall B. On Halloween, there will be a Frankenstein film screening at the Harvard Film Archive, where undergraduate students receive free admission. For those who want a relaxed experience with one of the most historically iconic horror novels, consider revisiting the writing of Mary Shelley for the chills!

ARTS

The Harvard Crimson | OCTOBER 30, 2018 | page 5

THEATER

‘Chicago’ Brings the Ol’ Razzle Dazzle to Cambridge HUNTER T. BALDWIN CONTRIBUTING WRITER The Harvard-Radcliffe Dramatic Club brought all that jazz to Harvard with its production of the beloved Broadway musical, “Chicago.” Through its spot-on casting, talented orchestra players, and professional choreography, HRDC made it clear that “Chicago” deserves its place in the hearts of musical theater aficionados.

The jazz-fueled musical follows Roxie Hart (Annabel O’Hagan ’19), a lovable aspiring star who finally gets the chance to take the spotlight through somewhat unconventional means — the murder of her illicit lover. With the help of her pitifully devoted husband Amos (Ethan Craigo ’19), a smooth-talking lawyer Billy Flynn (Kyler Chase ’19), a conniving prison warden “Mama” Morton (Genevieve Lefevre ’20), and her frenemy Velma Kelly (Ashley M. LaLonde ’20), Roxie discovers a variety of tactics to make the trial go her way.

This means more than just getting a “not guilty” verdict, as Roxie’s biggest focus is simply getting attention. The enthralling plot and catchy tunes have made “Chicago” an extremely popular show, leading to multiple revivals and even a 2002 Academy Award-winning film of the same name.

HRDC’s take on Broadway’s longest running American musical does not diverge too greatly from typical productions. The set is minimal, the costumes are practically underwear, and the spotlights are practically main characters. However, there are a few key differences that affect the overall tone of the show. The show completely changes the character Mary Sunshine and her subplot. In most versions of the show, Sunshine is played by a man with a very impressive falsetto range, which is showcased when Flynn removes her wig during the trial. This scene is usually played for laughs, but could only add a layer of transphobia to an otherwise delightful show. As such, director Ryan T. Kapur ’20 decided to remove these aspects of the character, instead framing her as an ordinary reporter played by Allison Toledo ’19. Kapur certainly made the right call, but it begs the question of whether the character even needs to be included.

Another major change was the location of the pit. “Chicago” is unique in that it often features a visible jazz band, which helps invoke the atmosphere of a 1920s jazz club.

By putting the musicians front and center, and featuring numerous vocalless overtures, viewers are treated to two shows in one — a plot-driven musical and a stunning jazz performance. HRDC, however, placed the band in its usual, invisible location below the stage.

This detracted from what is one of the most enjoyable experiences of seeing this musical in particular, and it relegated the hard working musicians to the sidelines. Considering the great talent of HRDC’s pit, this was a disappointing move.

Thankfully, the production excelled in every other department. First and foremost, O’Hagan stole the show. It is delightful to see a Roxie that can sing so beautifully while also effectively showcasing the character’s fiery personality. Perhaps just as delightful is the casting of Velma. LaLonde’s Velma perfectly complements O’Hagan’s Roxie. In fact, though some casting choices seemed unusual at first — Lefevre’s Mama was certainly not

a belter, and Craigo’s Amos is far from plain — every single performer justified their place on stage with fantastic singing and equally engaging acting.

Of course, “Chicago” is about a lot more than just singing and acting. True to its focus on 1920s Vaudeville stars, dancing plays an especially important role in the musical. The choreography for this production, uniquely created by Kapur himself, was at a professional level. A variety of 1920s dance styles were represented, from the memorable chair dance in “Cell Block Tango” to Amos’ adorably simple jazz hands in “Mr. Cellophane.”

While certainly honoring Bob Fosse’s legacy, Kapur’s choreography stood out in its own right, certainly helped by the performers’ adeptness in enacting it.

“Chicago” is a particularly difficult musical to put on successfully, as the numerous Broadway productions and the movie set expectations particularly high. Though not without flaw, HRDC’s productions met these expectations and more, providing a much needed break from reality through the delights of jazz, liquor, and semi-justified murder.

One can only imagine the great skill required to act, sing, and dance in front of a huge crowd, all while wearing lingerie.

Courtesy of Richard Tong

TV

‘Salt Fat Acid Heat’ Is Human-Scale Cooking AMELIA F. ROTH-DISHY CONTRIBUTING WRITER

Over the last couple of years, Netflix has squeezed small-screen content out of almost every cultural access point imaginable. Their newest wheelhouse, it seems, is cooking — not the “Top Chef” shows of yore, but rather high-production, globetrotting enterprises, serving up everything from mini-biographies of acclaimed chefs (“Chef’s Table”) to docuseries of affable American dudes eating their way around the world (“Somebody Feed Phil”). “Salt Fat Acid Heat” is yet another gorgeous Netflix food show. Still, it somehow manages to carve its own niche in a well-worn genre. This is Food Network for the highbrow visual consumer, instructional television delivered in a sumptuous, vaguely narrative package. No matter how fed up one has become with the Netflix content machine, “Salt Fat Acid Heat” is hard to hate.

Based on Samin Nosrat’s acclaimed cookbook of the same name, the show follows Nosrat through Italy, Japan, Mexico and California as she seeks to define good cooking by the mastery of the eponymous four simple properties. The premise here — that in each country Nosrat is embraced by her established network of friendly artisans, who introduce her to the rich traditions of local parmesan, miso, or Yucatán honey — would read as classic American cultural colonialism if Nosrat weren’t so warmly charming and decidedly unpretentious.

An alum of famed Berkeley restaurant Chez Panisse, the chef expresses every inch of her love for flavor in her grinning face. She is ridiculously fun to watch — in the first episode, the camera catches her from all angles as she crunches on some homemade focaccia bread and simultaneously exhibits the full spectrum of human pleasure.

What makes Nosrat such a compelling candidate for the people’s chef is her willingness to be imperfect. In “Acid,” she readily admits that she is not great at shaping homemade tortillas.

In a relatively climactic unveiling of her classic at-home roasted chicken in “Heat,” she pulls

Courtesy of Adam Rose / Netflix

out an unevenly cooked bird, then simply explains the problem, adjusts its placement in the oven, and jovially carries on with the meal. Nosrat is a wide-eyed, millennial Martha Stewart. Her kitchen is a safe space, and her teaching is never overly didactic. We learn with her, not from her. The thesis here is somewhat radical: The rudiments of home cooking deserve as much production value as James Beard award-winning chefs.

Indeed, the cinematography is spellbinding, and certainly worthy of a Netflix budget.

There are, of course, the requisite rolling Italian vistas, the glistening California architecture, the bustling Japanese markets, as well as the boiling vats of pasta, a juicy squeeze or two of citrus. But the real star of each shot is always Nosrat’s exquisitely powerful hands, as she kneads dough or arranges veggies just so on a roasting platter.

Nosrat never gets political, but she knows what her show represents. Her Iranian heritage casually but consciously imbues her experiences with a distinct perspective, in cooking and otherwise. In “Acid,” she describes putting yogurt on everything as a child to cut the high natural acidity in Persian food. In the final episode, she invites her mother to come help her make tahdig, a traditional Persian dish, for a dinner party. And in a charmingly illustrated aside, she describes the foundational experience of eating her first Thanksgiving dinner with a white friend’s family, and heaping tart cranberry sauce on the bland turkey and stuffing in an effort to make it palatable. She is a classic American chef — on her own terms.

Nosrat’s chef persona is defined by a generosity of spirit, and each episode ends accordingly with a cozy dinner party. “Cooking has never been about the food,” she reminds us in voice-over. “It’s about what happens at the table.” She is preaching the gospel of home cooking — the beauty of just a few simple ingredients, prepared well, shared with good friends. Miraculously, her sincerity manages to convey this trite message in a truly poignant way. And soul-nourishing food makes for soul-nourishing TV. With Nosrat as self-help protagonist and cooking instructor, “Salt Fat Acid Heat” does manifest as more of an author’s book talk than full-fledged documentary television. That the show is structured episodically according to chapters of its source text does nothing to undercut the lingering feeling that Nosrat is basically taking us on a live-action, anecdotal tour of her cookbook.

Yet the show is delightful, and certainly merits a watch on its own. The question then becomes whether the cookbook itself, and future such projects, will still merit a read. Why read a book, one might wonder, when you can watch a TV show that has all the information and more? It is somewhat startling to consider, but as Netflix continues to blur its definition of television, its tentacles are working to conglomerate all consumable avenues of culture into swaths of mega-media — comprehensive daily talk shows, serial sagas with novelistic tendencies, visual cookbooks. Sure, this maximalist approach can produce gorgeous multimedia works of great complexity.

But we also run the risk of losing what makes individualized media special. If “Salt Fat Acid Heat” is a souped-up visual cookbook, then what becomes of the real cookbook? Of any cookbook? One can only hope that these underdog media manage to chug along in the looming shadow of an ever-present Netflix budget, ready and willing to snap them up and churn them out.

ARTS

The Harvard Crimson | OCTOBER 30, 2018 | page 6

MUSIC

‘Forever Neverland’

is Honest in Its Confusion Daniel Y. Abdulah CONTRIBUTING WRITER

Everyone visits Neverland sometimes. The idyllic she may fear change, her past was as undefined as her landscape of childhood resides in the most obscure future is uncertain. folds of our memories, but when we find it, bitterIndeed, beyond the drug of nostalgia, the album exsweet nostalgia can come back to comfort as well plores vices that can cloud the truth. The titular drink as to haunt. Four years after her debut album, “No in “Red Wine” acts as a motif throughout the album, Mythologies to Follow,” Karen Marie Aagaard Ørstthe drink being used in the intro and final song as a ed Andersen, better known as MØ, has graced us means of convincing the protagonist she’s happy with with “Forever Neverland,” in which she continues to what her life has become. “Imaginary Friend” then explore the struggle of reconciling the past with a touches upon the superficiality of party culture with a world that moves too quickly into the future. simple, repetitive melody to characterize the drone of The album is a walk down memory lane with no emotional monotony, further driven in by the almost direction, a tale of turmoil between growing older detached manner in which MØ delivers the chorus. and growing up. It reflects the chaos of life with a She has essentially overcome the pain of heartbreak by collection of songs just as messy and amazing. In the ignoring it with a hookup, and in doing so, she has ignored her real self. All that remains is then imaginary. end, there’s not much to learn but everything to experience.

Past and present collide in “Purple Like the Summer Rain.” An ambient tone eventually reaches the Each song contributes a part to a deep narrative, bridge, where MØ wraps up the ballad of the album starring MØ or a fictional protagonist and delving with a straightforward talk. The spoken words carinto both their past and how they reflect on it. Beginning in young adulthood, each song exemplifies ry authenticity. They aren’t delivered to complement confusion. The frantic pessimism of “Way Out” and any instrumentals, nor do they follow any pattern or reluctant feelings in “I Want You” ultimately culsemblance of reason (she roars at one point), but they minate in “Blur.” Melancholic instrumentals set convey a feeling of defeat, like a silent admission that the backdrop to dispiriting lyrics, and a shrill synth her jumbled thoughts still haven’t made sense of anything. The ending is just as confused as the beginning: melody post-chorus adds a sense of frustration to “Where the skies are blue, let me float.” After telling a the otherwise somber mood. With lyrics like “Let story so rich, the album ends on a note intangible and me out. I’m trapped in a blur” and “I’m lost in the ungrounded. words,” the song accurately conveys the dull panic On the surface, the album sounds like an electronic of a directionless adolescence, all while maintaining Courtesy of MØ / Columbia Records ode to growing up, but a closer listening reveals that a danceable tune.

From a foundation of confused soul-searching, the album moves on to critique nostal- the character hasn’t grown up at all. Instead, a flurry of conflicting emotions, the rose-colgia as a means of analyzing the past. “Sun in Our Eyes” is a gem. With a peppier beat, MØ’s ored lenses of nostalgia, and mind-numbing red wine has left the confusion repressed classic vocals, and a swanky piano riff, the song pays homage to the old MØ. It’s catchy — and packed into lyrical poetry that must yield to flashy beats and an upbeat rhythm. Some the kind of music people were expecting. And yet, that familiarity stems from the notion tracks sing triumphs and others melodically admit defeat, but the one aspect that never that the song is meant to be a flashback to a false memory. Following with the idea that each changes is a lack of conclusion. song adds onto a story, the song’s reminiscing hardly paints an accurate picture. The last “Forever Neverland” defies the tropes of story arcs in which some revelation grants few years were a blur, something to escape from. Indeed, as the lyrics admit, “Romance closure to the narrative. “Forever Neverland” refuses to end on “happily ever after,” inmakes you blind / I’ll be blinded for a lifetime,” and so explains the uncharacteristic pos- stead serving as a more realistic picture of young adulthood. Growing older doesn’t mean itivity. A song so skillfully put together to bring sunshine on the cloudiest of days hints growing up, and growing up doesn’t mean getting answers. In the meantime, we can all at a facade of kitsch that calls into question how genuine our memories can be. Though kick back and listen to the music, because the mess sounds beautiful.

COLUMN

As I waited for my mom to answer the phone, I practiced several different ways to tell her that I was dying.

Ring.

“Tengo algo que decirte…”

Ring.

“Espero que algún día puedas entender…”

Ring.

“I’m really sorry that it has to be this way.”

No answer. She must still be on her shift at McDonald’s, I figured. Students made their way on and off the subway train as we left Metro Center Station. I thought of my mother’s stories of commuting to and from school in camionetas back home.

As the last of the students trickled in, my attention shifted away from the subway car. *** Clutching the knife that she kept hidden in her pocket, Esperanza kept her head down and made her way onto the bus. The bright red and yellow colors of the camioneta, one of the retired American school buses which her country used for public transportation, danced vibrantly behind her against the poorly lit city streets. As she boarded, she stopped to examine the monstrous vehicle which would eventually take her home. “Dios es Amor” had been painted on the side of the camioneta in bright red, in hopes that the words would keep the bus’s driver safe. To Esperanza, however, the phrase looked like it had been written in blood.

A chill ran down her spine as she handed 50 centavos to the bus driver. Spotting an open seat next to an elderly woman carrying a pack of tortillas on her lap, Esperanza made her way towards the center of the bus. She shot the woman a brief smile as she sat down, and pulled out a notebook, a pencil, and a second-hand textbook — Dennis M. Ritchie’s “The C Programing Language, Second Edition”— from her bag.

“Notice that the type being declared in a typedef appears in the position of a variable name, not right after the word typedef. Syntactically, typedef is

like the storage classes extern, static, etc.”

Esperanza underlined the word “syntactically.” She paused for a moment, holding the tip of the pencil between lips, and then wrote its Spanish equivalent in the margins of her textbook: sintácticamente. In her notebook, she painstakingly began to write out each line of code from the unit’s exercises.

“This would be so much easier if I had a computer,” Esperanza reminded herself. Eyeing the stich marks on the back of her left heel, she sighed and continued. Esperanza flipped through her notebook and smiled to herself as she finished, satisfied that she had managed to complete most of the assignment during her after school job as a secretary in her university’s administrative center. The satisfaction lasted for only a moment, however, as a ring of anxiety began to form in her stomach and find its way into her heart. Twisting her fingers together, Esperanza prayed that the program would run when she compiled it on the school computers the next morning. If not, she would be forced to take another zero on the assignment. Being the only student who could not afford a computer at her university had taken its toll on her grades. Still, she was happy to be able to receive an education. *** Esperanza was only one bus stop away from home when the men with guns boarded the camioneta. It had all happened so quickly that Esperanza barely had time to react. She was still wondering whether her program would run the next morning, when her thoughts were interrupted by the screams that began to ring through the air. “¡Esto es un asalto!”

Esperanza reached for her knife but was paralyzed in fear as one of the men approached her and the elderly woman next to her. Without saying a word, the man reached for Esperanza’s backpack and the elderly woman’s bag of tortillas. Instinctively, her body lurched forward in protest, but a voice inside her head reminded her that her life was

worth more than her books. After another second, one of the men yelled something unintelligible to rest of the group and they scurried off of bus with everyone’s belongings.

Everyone sat in shock for several minutes. Then, the bus driver continued on his route as though nothing had happened. Esperanza noted that the bus driver’s knapsack remained undisturbed under his seat — he must have been in on it, she thought.

As she made her way off the bus at her stop, Esperanza reached for the knife in her pocket, and accidentally nicked her finger on its blade. She held it up to to inspect in the moonlight. The blood matched the crimson lettering on the bus in front of her perfectly: “Dios es Amor.” Esperanza wiped the tears from her face, her body trembling as she struggled to remember the way home. *** As I reached into my backpack, I felt something sharp stab my finger. Shaking it to dull the pain, I searched for the perpetrator and pulled out a mechanical pencil whose lead I had failed to retract.

Even under the dull, yellow light of the subway car, the gleam of the lead seemed to resemble that of a knife. I took a moment to examine the dark mark the pencil had left on my finger before pulling out a notebook and beginning to write on the last page. I had finally figured out how to say goodbye to my mother. I wrote frantically as the train car doors opened for Farragut North Station, only a block away from the White House. As I finished, I noticed that the white man seated next to me was staring in horror at words I had written. He shot me a glance filled with revulsion as he exited the car. Noting the American flag pin on the lapel of his jacket, I smiled in quiet satisfaction.

—Contributing writer Á. Javier Cifuentes Monzón’s column, “Woodley Park Station,” is a serialized work of fiction exploring the concept of vulnerability as it intersects with queer, immigrant, and low-income identities.

Farragut North Station

Javier C. Monzón CONTRIBUTING WRITER

Farragut North Station

Stop Three: Farragut North (Woodley Park Station)

n.com n.com n.com n.com

Page 7

THE HARVARD CRIMSON | october 30, 2018

testify From Page 1

IOP From Page 1

Students Testify in Admissions Trial Youths Likely to Vote in Midterm testify on the eleventh day of the trial. At stake in the case — the product of a four-year-old lawsuit brought by anti-affirmative action advocacy group Students for Fair Admissions — is whether the College discriminates against Asian-American applicants.

Experts have said a cascading series of appeals could bring the trial, slated to end Friday, before the Supreme Court. If the case reaches the nation’s highest court, it could mean the end of affirmative action in the United States.

Monday’s witnesses, all of whom are non-white, did their best to prevent that outcome.

Drawing on personal experiences — including tales of childhood bullying, fears over Harvard’s whiteness, and comfort found in College affinity groups — the eight students and alumni offered an emotional and impassioned defense of race-conscious admissions.

Like Diep, several student witnesses said their racial or ethnic identity shaped their early life — and that the Harvard application process allowed them to take pride in their heritage.

Harvard alumnus Itzel L. Vasquez-Rodriguez ’17, who identifies as indigenous Mexican American, said she faced racially motivated bullying during her childhood in Southern California. Vasquez-Rodriguez said classmates “stereotyped and critiqued” her.

Peers called her a “coconut,” she said, meaning she was “brown on the outside and white on the inside.”

When college application season rolled around, Vasquez-Rodriguez drew on her racial background to convince admissions officers she deserved a spot at Harvard.

In a personal essay titled “Different,” Vasquez-Rodriguez wrote that she wanted to spend the rest of her life representing and embracing Latino culture.

“All of my life’s ambitions revolve around communities of color and my ethno-racial identity,” Vasquez-Rodriguez said in court Monday, noting she would not have applied to Harvard if the school did not consider race in its admissions process.

Sarah F. Cole ’16, who testified later in the day, said the same. Cole, who is African-American, spoke at length about her “blue-collar” upbringing. She recounted how her father woke up early to stand in line at food pantries when he was between jobs.

Cole testified that she faced “casual racism” from classmates at the prestigious and majority-white high school she attended. She said she could not possibly have applied to Harvard without writing about her race and the way it shaped her early life.

“Race-blind admissions is an act of erasure,” Cole said. “To not see my race is to not see me.”

Others said their race and a perception Harvard is far “too white” almost prevented them from applying to the College in the first place.

They testified that Harvard’s efforts to recruit students from historically marginalized racial groups — especially via pro-

grams like the Undergraduate Minority Recruitment Program — convinced them to take the plunge.

“I wanted to be on a campus that is excited about diversity,” said Madison A. Trice ’21, who is African-American.

Still, Cambridge proved less diverse than some had hoped.

Vasquez-Rodriguez said most classes she has taken at Harvard were majority-white.

She said she felt like “a huge minority in almost every space” — and that made her “very nervous.”

Margaret M. Chin ’84, a sociologist at Hunter College and the City University of New York Graduate Center, testified that she felt the same way as an undergraduate in the 1980s.

“I never had met so many rich, white people in my life,” Chin said.

“I was intimidated, especially in the classroom.”

The eight witnesses almost all said they found their niche by joining campus affinity groups.

Chin signed up for the Harvard-Radcliffe Asian American Association. Trice joined the Association of Black Harvard Women and the Black Student Association. Cole did, too, eventually rising through BSA’s ranks to become its president.

Yet another witness, Vietnamese-American Harvard sophomore Catherine H. Ho ’21, currently serves as president of the Asian American Women’s Association.

The students and alumni said it was comforting to find a space filled with people who looked like them. Though Har-

vard does not publish the demographic breakdown of its student body, a Crimson survey of the Class of 2022 found that respondents are roughly 46 percent white, 18 percent Asian, 11 percent black or African-American, and 7 percent Hispanic or Latino.

Cole said she still remembers the way her white and black peers reacted to the deaths of Eric Garner and Michael Brown.

Black Harvard students were “deeply weeping,” she said — but white classmates appeared less concerned.

“We couldn’t lean on them,” she said. “We could only really lean on each other.”

The witnesses said the elimination of race-conscious admission would mean fewer minority students matriculate at Harvard each year. On a campus where many students of color already feel isolated and alone, this decrease would be disastrous, the students said.

Vasquez-Rodriguez called a hypothetical reduction in the number of African-American and Latinx students attending the College “frankly catastrophic.”

Trice her love for the affinity groups she participates in drove her to testify in court Monday.

“I think that my love for Harvard is entirely or mostly rooted in the people I encounter,” Trice said. “It would be a shame if that diversity is lost because it means the world to me.” shera.avi-yonah@thecrimson.com alexandra.chaidez@thecrimson.com molly.mccafferty@thecrimson.com samuel.zwickel@thecrimson.com

Transformative coverage.

The Crimson thecrimson.com

tour From Page 1

bloc.

“This is a generation with creative purpose to address the challenges they see,” Gearan said. “More than ever, young voters have shown they are ready to stand up and be heard.”

Among those surveyed, likely voters preferred Democratic control of Congress by 34 percentage points, 66 to 32 percent — a decrease from the spring 2018 poll, in which Democrats were favored by 41 points, 69 to 28 percent. Landis attributed this decrease to heightened civic engagement among young Republicans.

The percent of respondants who said they approve of Triump’s performance is one point higher than in the spring 2018 poll.

Trump received his highest approval ratings for his handling of the economy, which stood at 36 percent — the same rating President Barack Obama received in the IOP’s fall 2014 poll. Among those surveyed who identified as Republicans, 76 percent approved of Trump’s handling of the economy, while only 17 percent of Democrats said the same.

Approval for Trump’s performance regarding relations with North Korea jumped to 33 percent, a six percentage point increase since the spring 2018 poll. Trump’s handling of race relations garnered the lowest approval rating, at just 23 percent.

Looking forward to the 2020 presidential election, 59 percent of young Americans said they would “never” vote for Trump, while 11 percent said they were “sure to” vote for him.

Among those surveyed who identified as Republicans, 37 percent said they are “sure to” vote to reelect Trump.

On Trump’s “handling” of Justice Brett M. Kavanaugh’s nomination to the Supreme Court — two women accused Kavanaugh of sexual assault and he barely earned enough votes to be confirmed — 26 percent said they approved of his performance.

Of those surveyed who identified as Democrats, just 5 percent said they approved.

In contrast, 71 percent of those surveyed who identified as

Republicans said they approved of the way the nomination was handled.

Forty-three percent of those surveyed support capitalism, and support for socialism has dropped to 31 percent, 3 points lower than in 2016. Half of those surveyed were given definitions of capitalism and socialism; of those who were given definitions, 53 percent said they support capitalism, while only 24 percent said they support socialism.

The poll also asked about issues “connected to the democratic socialist agenda,” including a federal jobs guarantee, a proposal to reduce and eliminate college tuition at public four-year institutions, and single payer healthcare — all three of which received majority support. Other questions about labor policies garnered a plurality.

Only a proposal to create a citizen finance campaign system received more opposition than support, with 24 percent supporting and 33 percent opposing.

John Della Volpe, the IOP polling director, attributed this affinity for democratic socialist policies at least in part to the 2016 presidential campaign of Bernie Sanders, which quickly gained traction among young voters.

Overall, 59 percent of young Americans surveyed said they are “more fearful than hopeful” about the nation’s future.

On Nov. 6, if the Republicans maintain control of the house, 59 percent of likely voters who were surveyed say they will have more fear, while 19 percent say they will have more hope. For 20 percent of respondents, it would not make a difference either way.

Theodore “Teddy” N. Landis ’20, student chair of the Harvard Public Opinion Project, said he thought the National Youth Poll is especially pertinent because the demographic that it surveys is typically “under-researched and over-stereotyped.”

“The thing that I have heard repeatedly is that young people are apathetic, and that they don’t vote,” Landis said. “The first part is entirely untrue.” simone.chu@thecrimson.com

dna From Page 1

Crimson Key Med School Professor Talks DNA, Behavior Hosts Ghost Tour During the tour, participants had the opportunity to journey through Harvard’s steam tunnels, which span 3 miles underground.

The steam tunnels have their own share of history: amid World War II, a German spy absconded into the tunnels to evade the pursuit of an FBI agent.

Dylan R. de Waart ’19 said the steam tunnel was his favorite part of the tour.

“Sprinting through the steam tunnels made it seem like I was in my own spy thriller,” he said.

While the tour included some levity for participants, parts of it took on a more serious tone.

Outside of Wadsworth House, Nowak spoke of four slaves who lived and worked

Sprinting through the steam tunnels made it seem like I was in my own spy thriller.

Dylan R. de Waart ’19 Tour attendee

in the idyllic yellow building during the 18th century. In 2016, the University installed a plaque dedicated to Bilhah, Venus, Titus, and Juba — the four slaves owned by Harvard presidents.

In a Crimson op-ed announcing the move, then-President Drew G. Faust wrote the University would form a panel of historians to

examine Harvard’s ties to slavery.

During the tour, Crimson Key tour guides also pointed to a plaque which recognizes the defunct Harvard Indian College, built in 1655 near the current site of Matthews Hall, with the goal of proselytizing Native American students to Christianity.

When arriving at University Hall, the guides discussed the history of a 1920 secret commission chaired by then-Harvard President A. Lawrence Lowell, Class of 1877, to investigate and root out affiliates suspected of homosexual behavior.

The Crimson first reported on the existence of the tribunal in 2002.

Describing the tour’s mix of spooky stories and Harvard history, Nowak said that “the ‘ghosts’ is what brings people to the tour, but the skeleton part is what we really want to tell them about.”

Henricks said that this tour was unlike most Crimson Key tours, which usually do not address more controversial aspects of the University’s history.

“I think it’s...really cool to sort of delve into a lot of the issues that often people don’t talk about at Harvard,” she said.

De Waart said he thought it is important for students to have a complete understanding of Harvard’s history.

“It’s critical for Harvard students to understand what this institution was built on and where all of this privilege that we have comes from so that we can do a better job at giving back to the communities that brought us to where we are today,” he said.

ancient DNA to study human history and migration.

He also emphasized the importance of new and cheaper technologies, which have made possible new analyses of ancient DNA. “In the last few years, the cost of genetic sequencing has decreased by a factor of a million,” Reich said. “This has revealed how little was known about the genetic relationships between people.”

He then elaborated on new discoveries, frequently coming out of his own lab at Harvard, such as an understanding that some human traits are more complicated to genetically determine.

“We now know that many traits, like height for exam-

ple, are affected by tens of thousands of genetic variants working together in virtually

You could’ve known nothing about genetics, and he explained everything perfectly Rebecca Goldstein Psychology Dept. Associate

undetectable ways,” he said.

“The great majority of DNA sequences are the same. Miniscule differences in those sequences, caused by mutations,

is what gives us insights about differences in humanity.”

New capabilities in genetic research have shown, however, that genetic diversity is decreasing, and traits are therefore becoming potentially more homogenous, according to Reich.

To some of the many faculty members who attended the lecture, Reich is something of a celebrity.

“David Reich is my hero,” said Andrew J. Berry, an Organismic and Evolutionary Biology lecturer. “It’s actually embarrassing to introduce him.”

Rebecca Goldstein, a Psychology Department associate, said she found the lecture engaging.

“You could’ve known nothing about genetics, and he explained everything perfectly,” she said.

Following the talk, Berry said he was hesitantly optimistic about the new possibilities of genetic research, which has yielded new discoveries in a short time period but has also given fewer insights about specific biological traits than expected.

“It was a sort of glass half full, glass half empty presentation but, well put it this way, ‘I’m definitely glass half full,’” Berry said.

“When you do this kind of analysis, bang… lo and behold, you can actually see the footprint of those changes of history.”

The sights and sounds of Harvard.

The Crimson @crimson_photo

THE HARVARD CRIMSON | october 30, 2018

Page 8

Editorial The Crimson Editorial board

op-ed

Vote Yes on Ballot Question 2

Will the Perpetrators Please Stand Up?

O

ver the course of the last half-century, The U.S. Supreme Court has issued a series of legal rulings rolling back regulatory constraints on political donations. Beginning with Buckley v. Valeo in 1976 and continuing through McConnell v. FEC and Citizens United, the Court has advanced a view that money is equivalent to speech, and therefore that political spending is protected by the First Amendment.

We believe that the influence of money in politics is pernicious for a variety of reasons. Donations are often used to peddle influence, giving outsized power to the ultrawealthy.

In the face of a political system that is skewed towards politicians benefiting from the current regime, the best way to implement campaign finance reform is for voters to take direct action and hold elected officials accountable. For these reasons, we support a yes vote on Massachusetts Ballot Question 2, which would create a “Citizens Commission” to advance an amendment to overturn Citizens United and reform campaign finance laws.

Opponents of campaign finance reform often argue that money is a form of speech. Campaign finance regulations,

by this argument, constitute an unconstitutional infringement on freedom of speech. However, the claim that spending one’s money is equivalent to expressing one’s opinion directly contradicts the idea that all citizens have an equal voice.

Under our current campaign finance system, the amplitude of a citizen’s voice is dependent on the size of their bank account.

Our democracy cannot be equitable when the instruments of power are controlled by a few wealthy families.

Enforcing stricter limits on donations would not be a regulation unique to campaign finance. Standard antitrust law, for example, prohibits companies from buying up too many of their competitors and amassing excessive market power, which would have negative consequences for consumers and other market participants. If antitrust law can limit how much companies can increase their market power, we are skeptical that limits on

spending to accumulate political power are meaningfully different.

The logic for supporting Question 2 extends beyond this refutation of the money-as-speech argument. It hinges on a belief in the fairness of American democracy, and the idea that our government serves us best when it reflects the diversity of our origins, our commitments, and our beliefs. Our democracy cannot be equitable when the instruments of power are controlled by a few wealthy families and operated for their own personal gain. We are heartened to see that this commission would seek to reflect a variety of geographic, political, and demographic backgrounds. Ultimately, we hope that this report will be taken seriously and lead to actual changes in the form of a constitutional amendment.

This staff editorial solely represents the majority view of The Crimson Editorial Board. It is the product of discussions at regular Editorial Board meetings. In order to ensure the impartiality of our journalism, Crimson editors who choose to opine and vote at these meetings are not involved in the reporting of articles on similar topics.

Column

Isabella C. aslarus—Crimson illustrator

Somewhere We (...Never) Worry

Isabella C. Aslarus art for non-artists

A

few weeks ago, I got takeout for dinner with a friend, and we decided to brave the cold and eat outside in the Yard. We wound up at the temporary outdoor art installation in Tercentenary Theater, “Autumn (…Nothing Personal),” that was taken down at the beginning of October.

The installation was a pocket of warm light in the Yard’s late-night darkness, illuminating our faces softly as we sat down on the wooden benches. We ate and talked quietly, catching glimpses of other people coming and going through layers of glowing yellow plastic tubes.

“I don’t normally like art,” my friend said suddenly, “but, for once, this is actually kind of nice.”

I’ve been thinking about that statement a lot. So many people don’t like, or understand, or feel connected to art. But something felt different about the immersive, peaceful atmosphere of “Autumn (…Nothing Personal).”

It wasn’t particularly pretentious, intimidating, or even conscious of its role as art. It simply created a welcoming space for us to enjoy each other’s company.

Welcoming spaces like this allow us to live fully in the moment, but the way we approach art often impedes our ability to do so. At museums, the sheer quantity of stuff can be overwhelming, making it difficult to fully contemplate any one work of art. And, when I’ve been lucky enough to see pieces as famous as the “Mona Lisa” or “Starry Night,” they’ve been surrounded by mobs of people taking photographs, viewing the art through their phone screens instead of truly seeing it.

I’m reminded of the absurdity of photographing fireworks, something I’m often guilty of.

Every time I do, I wind up with disappointing photos that never look quite right. There’s a reason we watch fireworks in the real world instead of scrolling through images on the Internet: The

full sensory experience can’t be communicated digitally.

A tiny pixelated screen won’t convey the immense brightness of glowing explosions against a dark sky, the whistling quiet before a thundering crackling of light.

Nobody ever looks back on these pictures to reminisce about a firework show, so taking them only detracts from the actual experience.

Much like fireworks, art demands our attention in person. Photos won’t convey a painting’s textures, the richness of its colors, the shared artistic experience with strangers, the physicality of approaching from a distance, and the way its features disintegrate or resolve up close. If a photograph were all we needed, we would stay at home and Google the “Mona Lisa,” or “Starry Night,” to find professional renditions of our shaky iPhone images. Instead, we go to mu-

Harvard needs more spaces that challenge the judgment and pressures we face daily, just as “Autumn (... Nothing Personal)” challenges inaccessibility and intimidation in art. seums because art is much more than a static visual experience.

But it’s so easy to forget this in the presence of masterpieces, which seem inaccessible and daunting on a museum wall.

We’re intimidated and distracted from our immediate experience by a sense of awe and an urge to photograph, to capture digitally something that might only be capturable as memory (or not at all). And art isn’t the only sphere in which intimidating surroundings distract us. Self-consciousness and self-doubt affect the rest of our lives, too.

At Harvard, it can be hard to shake off the pressure to prove ourselves, driving our attention away from what we actually care about. For example, I’ve sometimes found myself hesitant to reach out to professors, afraid that I’ll have nothing “smart” to say — but this mindset robs us of thought-provoking conversations, potential mentors, and sparks to fuel our passions.

Similarly, our friends’ or classmates’ achievements often trigger twinges of self-doubt, which bitterly detract from our genuine inspiration or delight.

And we worry about what we will or won’t or should accomplish by graduation — but this distracts us from what we are accomplishing right now, and what we detest, question, or want to change about our lives.

At the heart of a campus that can be so high-pressure and intimidating, “Autumn (...Nothing Personal)” provided a deeply approachable, social, and introspective space. It asked us to sit on its benches and become part of it, instead of observing from the outside in awe. It asked us to bring our thoughts and conversations with us, immersing us in the present. And it became home to a series of Baldwin readings, performances, and other events envisioned by its creator Teresita Fernandez, thus fully realizing its role as a way to foster human emotion and connection.

I think this is why my friend appreciated the installation so much. Art generally does not welcome the viewer’s participation so clearly and wholeheartedly, does not try to convey how simultaneously social and personal art can be. It’s refreshing to see an installation that rejects the daunting formality of masterpieces on museum walls.

And we can also learn to approach other works of art through this lens — not as remote and mystifying masterpieces, but as vehicles for thinking about our own lives.

Harvard needs more spaces that challenge the judgment and pressures we face daily, just as “Autumn (...Nothing Personal)” challenges inaccessibility and intimidation in art. The installation is gone from the Yard now, but it serves as an example of a social landscape that brought together individuals to reflect and to connect.

It’s up to us to find or build new spaces, on Harvard’s campus and in our lives, where we can live in the moment without triggering self-doubt. It’s hard to let go of fear and pressure, but it’s something we all face, built into the landscape around us, and open conversation about this reality is the first step to changing it.

—Isabella C. Aslarus ’21, a Crimson Design editor, is a concentrator in Leverett House. Her column appears on alternate Tuesdays.

By Elyse N. voegeli

I

n the 2015 campus climate survey of sexual assault here at Harvard, 26.1 percent of undergraduate seniors (of all genders) reported experiencing some type of nonconsensual sexual contact since enrolling at Harvard. Sexual violence is notoriously underreported due to stigma, shame, and fear, so the real numbers are likely higher.

If 26 percent of Harvard undergraduates will experience sexual assault by the time they graduate, that’s more than 400 people in each class, and almost 2,000 in a four-year period. Who are the perpetrators? If just a quarter of these cases were perpetrated by unique individuals, that’s still 400 people at Harvard who have perpetrated or will perpetrate sexual assault.

Can we expel all 400 of these people? Should we? If we do, I guarantee people you love would be expelled.

We like to imagine that perpetrators are monsters in the shadows, not people who surround us in our everyday lives. When we dehumanize perpetrators, we shirk responsibility for glorifying unhealthy relationships and failing to teach consent.

We also fail survivors by assuming that perpetrators are so rare that stories of sexual violence are fake. We especially fail to give survivors options for healing that do not rely on the criminal justice system. Our current system focuses on punishing perpetrators (if they’re found to be “rightly” accused), rather than healing survivors.

This is where restorative justice comes in. Restorative justice operates outside of the law or the state (which for many are also sources of oppression and trauma).

Restorative justice recognizes that when a crime like sexual violence is committed, a person and a community are harmed, and this harm must be repaired. Restorative justice centers healing rather than punishment as true justice. The first step of this is an admission of wrongdoing, and an understanding of the deep harm committed.

College students will likely never admit to what they have done with the weight of punishments like expulsion or jail time hanging over their heads.

“The stakes remain too high for the truth to come out,” writes expert practitioner Sujatha Baliga in Vox, “and restorative justice’s core work — recognizing harm, taking responsibility for it, and beginning to repair it — cannot happen under these circumstances.”

So what might restorative justice, which can sound lofty and idealistic, look like in practice?

One model we could implement at Harvard is highly facilitated mediation.

An expert trained in restorative justice and mental health practices meets individually with the survivor, the person who perpetrated the assault, and others who might be involved (like friends and family), discusses what they will say, and facilitates sessions that can span across months. People are encouraged to speak openly, to tell their truths, and to listen and hear. The ultimate goal is for the survivor to feel empowered and for the person who perpetrated the assault to understand what they did, take responsibility, and engage with the healing steps requested by the survivor.

In a case facilitated by Baliga, the survivor asked for a public apology on social media, and a month of space from Michael, the person who perpetrated the assault. Michael’s friends and family agreed to hold him accountable to this.

“And by the end of our time together, it felt like Michael had gained an understanding of consent,” writes Baliga.

How much further could this understanding of consent go towards preventing repeat offenses than a heavy-handed punishment?

Harvard already employs counselors, mental health experts, and Title IX offices. Undergraduates spend years taking classes together, living together, and socializing together.

Many survivors are in close proximity at all times to people who have harmed them. The burden of reporting is a turn-off for many: dealing with the exhausting bureaucracy, the many hoops to prove their experience to the administration, and the social backlash. Some even fear the consequences for the perpetrator. Often there is nuance that cannot be addressed with the blunt and onerous instrument of administrative punishment, and therefore survivors may never seek justice or healing.

Restorative justice might not be the answer for everyone, and it is not a prescriptive solution to all cases of sexual violence. Maybe there is no hope for the Brock Turners of the world.

But what about the Al Frankens ’73 and the Louis C.K.s, the people who have recognized the harm they caused and want to make amends? One of the most important aspects of restorative justice is giving control back to the survivor, who has the ultimate power to decide whether and how to engage in restorative justice.

For some survivors at Harvard, this may not be the right option. But for others — who live in dorms with perpetrators, who go to class with perpetrators, who see perpetrators on a daily basis — this proximity to perpetrators could transform trauma into healing.

Restorative justice would force us as a university community to confront our own culpability in creating a culture of violence and non-consenting behavior.

In humanizing perpetrators, we take responsibility. We accept that perpetrators at Harvard are not monsters to be dismissed, but human beings who should take responsibility for the real harm they have done and take part in the hard process of healing.

—Elyse N. Voegeli is a second-year masters in public policy student at the Harvard Kennedy School.

Page 9

THE HARVARD CRIMSON | october 30, 2018

Xiaowei Zhuang Awarded Prize By jania j. tumey and rebecca e. xi Contributing wWriters

Xiaowei Zhuang, a professor of Chemistry and Chemical Biology, was named the recipient of the 2019 Breakthrough Prize in Life Sciences for her groundbreaking work in super-resolution fluorescence microscopy.

Zhuang’s laboratory invented Stochastic Optical Reconstruction Microscopy, or STORM, an imaging technique that surpasses the limitations of traditional light microscopes to create 3-D, ultra-high resolution images of cells and tissues.

Using STORM, Zhuang and fellow researchers at her Harvard laboratory have been able to discover previously un­

known cellular structures, such as periodic membrane skeletons in neurons.

“It feels particularly rewarding, and it’s a great feeling that we can make new biological discoveries using new methods we ourselves invented,” Zhuang said in a press release.

The Breakthrough Prize is a set of international awards which honor outstanding contributions to the fields of life sciences, mathematics, and fundamental physics. Winners receive $3 million each, making it the most lucrative science prize in the world. Sponsors of the prize include Google co-founder Sergey Brin, Facebook CEO Mark E. Zuckerberg and Priscilla Chan ’07.

Zhuang received high praise

from the awards board, being touted as a “child prodigy.”

“At age six, she was able to identify the atmospheric force acting upon a glass of water, impressing her father, an aerodynamics professor at China’s leading science and technology university,” a press release from the Breakthrough Prize reads.

Zhuang and fellow laureates will be recognized at the seventh annual Breakthrough Prize ceremony — a gala dubbed “the Oscars of Science” — on Nov. 4.

Zhuang said she appreciated the recognition that came with the awards announcement, but emphasized that accolades are not the driving force behind her research.

“Being recognized is grati-

fying, but as scientists we don’t work with a goal of winning prizes. We do science because we love it and we love making discoveries and understanding how things work,” Zhuang said in a press release.

Zhuang was appointed as an assistant professor in the Chemistry and Chemical Biology Department in 2001 and joined the Howard Hughes Medical Institute as an investigator in 2005. She received tenure in 2006.

While the Zhuang Laboratory mainly focuses on cell biology and neurobiology, the advances in imaging made by Zhuang and her colleagues are broadly applicable to other fields that rely on microscopy, including medicine.

The Crimson

Harvard, from the Law School to Longwood.

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uc From Page 1

Students Declare UC Candidacy OrgSync — in order to prevent similar problems in the future.

Although candidates are not permitted to speak to the media on-the-record until the campaign officially kicks off next Wednesday, posts on social media asking for petition signatures provide a window into their possible pitches come campaigning period.

Palaniappan wrote on Facebook that her ticket would focus on “centering” the voices of undergraduates in their campaign.

If elected, she pledged to work to make campus “more inclusive.”

Khoury touted her and Agrawal’s experience on the Council, saying they had helped increase funding to student groups and convinced the administration to provide free menstrual hygiene products, among other achievements.

Ragheb pointed to what he called a lack of mental health “support” and a need for stronger sexual assault prevention, education, and response as the

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main reasons he jumped into the race.

Ball wrote on Facebook he planned to push the University to fund improvements to campus facilities, especially for the College’s Women’s Center and peer counseling services, which are currently housed in basements that he claims are suffering from mold problems.

Two of this year’s presidential tickets are composed of nonUC members, the first time since at least 2007 that so many outsiders are throwing their hats into the ring. Council outsiders have historically fared poorly running for the UC leadership.

The only time a non-UC member has been elected president or vice president of the Council was in November 2013, when Samuel B. Clark ’15 and Gus A. Mayopoulos ’15 won on a joke ticket promising to make tomato basil ravioli soup available at all meals. jonah.berger@thecrimson.com

Sports

In Other News

Women’s Rugby

Field Hockey

Women’s Rugby clinched its second Ivy League title in program history on Saturday, defeating Dartmouth 12-3 in Hanover. The Crimson will now enter NIRA playoffs as the number one seed.

Field Hockey clinched Ancient Eight honors as it beat Dartmouth 6-0 on Saturday. The team needs one more win to ensure sole possession of the title.

football

Dartmouth Sinks Harvard for First Time in 15 Years

By Cade Palmer Crimson Staff Writer

HANOVER, N.H. — The forecast predicted snow, but on Saturday afternoon the mercury barely crept over 32 degrees.

Instead, Dartmouth and Harvard dueled under a frigid, drizzly New Hampshire sky. On its home turf, the Big Green prevailed in the soggy contest, 2417.

In front of a clamoring homecoming crowd, Dartmouth (7-0, 4-0 Ivy) shattered a 14-year losing streak against the Crimson (3-4, 1-3). The last time the Big Green bested Harvard in Hanover, N.H., was 25 years ago, when the home team won by five.

“It’s been something that I think has kind of hung over this program’s head for a while, and I think it’s tough to put in words what we’re feeling right now since we just won the game,” Dartmouth linebacker Jack Traynor said. “We’re going to do our thing. We’re going to play Dartmouth football, and hopefully this win allows us to shift [towards] that perspective.”

But the Big Green entered the match with a streak of its own — nine games. That number, now 10, represents consecutive games the team has won, and it is only the eighth time in program history Dartmouth has notched a double-digit win streak.

The Big Green’s most recent loss came almost exactly one year ago today, on Oct. 28 and at the hands of the Crimson. The last three contests between the two squads have been nail biters. This one bucked the trend, as Dartmouth — which has the best overall defense in the FCS — jumped out to a 14-0 lead in the first quarter and never relented.

The wet conditions affected game play from even before to the first snap. On the opening kick, the Big Green’s Connor Davis booted the ball to the Harvard seven, before it bounced end-over-end off the field, racking up a 10-yard penalty for the home team.

Seven minutes in, Crimson senior quarterback Tom Stewart rocketed a pass to senior Henry Taylor who cupped the pass before it hit the ground.

The referees reviewed the play for approximately 10 minutes.

While the referees huddled near the 20 yard line, the players on both teams did jumping jacks on the field to stay warm.

Dartmouth’s first snap of the contest would have been a touchdown absent the conditions. Despite leading the FCS

WILDCAT Dartmouth quarterback Jared Gerbino rushed for 183 yards and a touchdown on 24 attempts, averaging 7.6 yards per carry.

in completion percentage and pass efficiency — going a perfect nine-for-nine last week — Big Green sophomore quarterback Derek Kyler threw short to his wide-open receiver, J.J. Jefferies.

It didn’t matter, since on the very next play Dartmouth went to ground and then to the end zone with Rashaad Cooper’s 82yard long rush — the eighth longest in program history.

Aside from the passing deficiencies, Harvard struggled to hold onto the ball. Through the first 30 minutes of the contest, the Crimson put the ball on the turf five times, losing it on four separate occasions. The Big Green didn’t fumble the ball once.

“It’s definitely a little slippery, but we’re just kind of conscious of that while we’re carrying the ball, especially seeing it happen on the other side,” Cooper said. “We knew that we had to be extra protective of the ball.

I think we got it done.”

Freshman wideout Kym Wimberly set up to return the final kick of the half. As the first year sprinted up the visiting sideline, a defender forced him

in and another hit the ball as he wrapped up. The ball bounced off the feet of several players before Dartmouth recovered.

The first Harvard fumble doubly counted as the Big Green’s second score. As Crimson senior running back Charlie Booker sprinted up field, Dartmouth’s Niko Lalos punched the ball out. DeWayne Terry scooped the wayward ball and sprinted 62 yards for the score.

As Harvard drove in the opening drive of the second stanza, Stewart completed his pass to running back B.J. Watson, who was subsequently stripped at the home eightyard line. The Big Green didn’t reverse the field for six on this drive, rather going a quick three-and-out before punting the ball back to the Crimson.

Sophomore running back Aaron Shampklin was stripped on the next drive. As the sophomore pushed for a few extra yards in the pile, Dartmouth’s Jack Traynor ran up behind Shampklin and pulled the ball out.

“One thing we always know, when you go into a game like this, the turnover ratio, the ball

security is going to be a critical aspect of any big game,” Murphy said. “It’s certainly going to be a critical aspect of every game you play in less than perfect weather, so certainly that had an impact on us.”

Harvard nearly pulled off a miracle comeback down the stretch in the fourth quarter.

Stewart entered the half staring down a 21-point deficit, but as feisty as ever.

The defense pushed the offense off the field in six plays.

Then Stewart took the reins, completing passes to five different route runners before dishing the ball to Shampklin to barrel his way to score from seven yards out.

Despite Shampklin’s rushing touchdown, after 60 minutes, Stewart led the team in rushing yards with 76, a career high. The senior has been seemingly more willing to tuck the ball and sprint up the field than in previous contests, securing long third downs on multiple occasions.

As the Big Green pushed the contest into a three possession game in the late third quarter, Stewart wasn’t ready to hand

WINTER IS COMING The Hanover weather was wet and cold, leading to many dropped passes and fumbled carries for both teams.

Timothy R. O’Meara—Crimson photographer

over the loss just yet. As the Crimson took over in the fourth, when the senior didn’t complete the requisite passes for the first down, he would sprint forward himself. On a long third-and-10, Stewart got pushed from the box by Lalos and sprinted 12 yards to push the chains. Two plays later, Stewart dodged two tackles before maneuvering 22 yards to the endzone.

“Things weren’t there, obviously I was trying to make some plays with my feet,” Stewart said. “[Dartmouth] did a great job up front and are very physical. [They] collapsed the pocket a few times and I just tried to make something out of nothing a few times.”

Harvard has led halftime comebacks in past renditions of this game before. Last season, the Crimson trailed by eight at the half. In 2015, Harvard trailed by 10. In both contests, the Crimson pulled out the victory by three points and one point, respectively.

Today, the second half effort wasn’t enough.

The Big Green dominated the ground game, accumulating 320 rushing yards throughout

the contest. Junior “quarterback” Jared Gerbino led the effort, notching a season high 183 rushing yards for Dartmouth and adding a touchdown to match. Cooper added 108 yards to that tally, a career high.

In addition to Gerbino running from under center, Cooper tallied 117 on 11 attempts in the backfield — a career high for the tailback.

With five fumbles on carries, Harvard preferred to air the ball out. Despite the inclement conditions, Stewart tossed the ball 42 times, completing 24 attempts for 270 yards — two yards short of a season high. “[That] wasn’t necessarily the plan coming in, but this was definitely the best run defense we’ll face all year,” Murphy said. “Their front seven, starting with their front four, is definitely very challenging to run the football against.”

The Big Green couldn’t replicate the feat, completing only four of 11 passes between the two quarterbacks. Without a single touchdown pass, today’s contest ended the school record 17-consecutive games that Dartmouth had tallied six points on a throw.

“I think the weather helped a lot with that, and game plan,” captain safety Zach Miller said. “ [We] got him to play a little bit left-handed. [They] had to go with the wildcat quarterback a little bit, and get out of their comfort zone.”

No. 20/ARV Dartmouth is still undefeated, and is one of only four FCS squads to boast a perfect record. The Big Green was the Crimson’s third ranked opponent this season, the result of schedule that included also No. 18/23 Princeton and No. 20/22 Rhode Island. Of Harvard’s four losses this season, three have come to each of the ranked opponents.

Never before has the Crimson played three ranked teams in one season.

The last time a team with two losses won the Ivy League was 1982. With this loss to Dartmouth, Harvard now has three Ancient Eight losses.

“We feel like a couple plays here and there, we could be undefeated right now,” Stewart said. “We’ve been in every game we’ve played in, and we owe it to ourselves, we owe it to our fans, we owe it to every single guy in our locker room to take these last three games as seriously as ever because we’re not just playing for our record, we’re playing for the guys in the locker room. That’s what it really comes down to.”

Timothy R. O’Meara—Crimson photographer

cade.palmer@thecrimson.com