November 7, 2014

The Oberlin Review

NOVEMBER 7, 2014 VOLUME 143, NUMBER 7

Local News Bulletin News briefs from the past week Recycling Collection Resumes The city of Oberlin will resume its residential curbside pick-up next week with the installation of a new refuse and recycling program. According to City Manager Eric Norenberg, the city will be supplying residents with 64-gallon bins next Tuesday. Two new garbage collecting vehicles were delivered to the city on Monday, both of which are equipped with an automated side-load collection system.

Once the city sets up the residential sector, it will focus on expanding recycling collection services in the commercial sector.

Guy Fieri Presents Pretzels World-renowned chef and food personality Guy Fieri donated a pretzel cart to the Lorain County Joint Vocational School this past week. The cart, which is available to all of the JVS programs, is part of the chef ’s Cooking with Kids Foundation, which aims to teach children how to be kitchen-savvy.

Black Girl Dangerous Comes to Oberlin Blogger and novelist Mia McKenzie will be giving a talk in the Dye Lecture Hall of the Science Center today, titled “A Conversation on Race, Queerness, Class and Gender with Black Girl Dangerous.” A selfdefining queer black feminist, McKenzie was awarded the 2013 Lambda Literary Award for her novel, The Summer We Got Free.

City Earns Energy Awards The city of Oberlin was honored at the 2014 American Municipal Power/Ohio Municipal Electric Association Annual Conference for this year’s accomplishments. The city won a Finance Award for the highest credit score among AMP communities with a 5,000 plus population.

Republicans Sweep Ohio Midterm Elections Madeline Stocker News Editor If someone asks what’s red and red and red all over, the answer might be the results of Lorain County’s midterm election.

Not only did gubernatorial incumbent John Kasich rise to re-election just minutes after the polls closed, but the spots for attorney general, secretary of state and state treasurer, as well as several congressional seats, have all been filled by Republican candidates.

Kasich, who ran on a platform of expanding the job market and restoring fiscal health through partnership with the private sector, coasted to reelection after low voter turnout and his opponent’s weakened campaign gave him a 31 percent lead over Democratic opponent Edward FitzGerald.

FitzGerald, a former FBI agent who proved to be a stronger candidate than many expected, had suffered fundraising challenges throughout the majority of his campaign. Combined with the criticisms FitzGerald received after the news that he had been driving for 10 years without a valid license went viral, these challenges greatly weakened his campaign.

President Marvin Krislov anxiously watches the midterm election returns with College first-years Dan Marcelle and Daniel Pardee. This year’s elections saw success across the board for the Republican Party, which swept both Ohio and the rest of the country.

Yvette Chen

Kasich, who has been dubbed a possible candidate for the 2016 presidential election, made his victory speech Tuesday night at the Renaissance Downtown Columbus Hotel amid supporters and fellow Republican officeholders.

“This is not just another elec-

tion, not a political campaign,” Kasich said. “This is a movement to restore hope in our state and [might lead] to hope being restored all across the United States of America.”

During Kasich’s time in office, Ohio’s unemployment rate dropped from 9.1 percent to 5.7

percent and the state’s $8 billion budget deficit was eradicated, according to The Washington Post. However, the governor has also received his fair share of criticisms from Democrats and Republicans alike.

See Garrett, page 4

Hospital, Employees Negotiate Wage Increases Oliver Bok Staff Writer After more than two months of contentious negotiation, Mercy Regional Medical Center employers in Lorain reached an agreement this past Friday on a new contract with their union employees. The five-year contract was subsequently ratified unanimously on Monday by the maintenance and service workers represented by the Service Employees International Union District 1199 and employed by Mercy Regional, a hospital run by the Cincinnati-based nonprofit Mercy Health.

“The contract included a two percent wage increase for each year of the contract and allowed them to continue to provide quality services and healthcare to the community,” said Anthony Caldwell, a spokesperson for SEIU District 1199.

At issue in the negotiations was Mercy Health’s failed attempt to cut benefits from SEIU 1199 that the union found unacceptable.

“They wanted to take away earned sick time and replace it with a short term disability program, they wanted to increase out-of-

pocket premiums for healthcare workers by $5,000, and they wanted to take away steps in the wage scale that reward employees for the length of service that they have to the community at the hospital. Those were the three big issues,” said Caldwell. According to Caldwell, none of the concessions that Mercy Health sought were included in the final contract.

“Our workers really do just love their jobs and the work they do for the community, so they’re really just concerned that if they had to take these steep concessions, that it would be really hard to keep quality caregivers and support staff at the hospital or bring in new ones,” added Caldwell.

Throughout October, SEIU 1199 took its message outside of the negotiating room and into the broader community.

“It seemed very hypocritical for the CEO and other top [Mercy Health] executives to be paying themselves millions while asking for millions in concessions from workers at their hospital, and so we took that message to the community and asked for people’s support. We had rallies for the Lorain workers in Youngstown, Toledo, Lima, Cincinnati and a

variety of other places,” said Caldwell. SEIU 1199 also put out advertisements on radio and social media.

The agreed-upon contract does not affect workers at Mercy Allen Hospital in Oberlin, who are also represented by SEIU 1199 and employed by Mercy Health but operate under a separate contract from workers at Mercy Regional in Lorain.

“We are pleased that both parties could reach an agreement,” said Edwin Oley, president and CEO of Mercy Regional, in a statement. “We believe this contract is fair and just, balances the needs of our skilled maintenance and service workers and hospital for the long term and is in the best interests of our patients and community. … I am proud to offer all employees a competitive benefit package, which ensures Mercy remains a top employer in Lorain County.”

According to the Lorain County Auditor, Mercy Regional is the second largest employer in the county after the Ford factory in Avon Lake.

A spokesperson for Mercy Health declined comment for this article.

on the

Baked Goods Galore Oberlin gets some sweet treats.

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ONLINE & IN PRINT

Ousted

Thursday Theatrics Weekly open mics draw students to an unlikely venue.

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INDEX:

Opinions 5

Kenyon defeated the women’s soccer team to end their playoff hopes

This Week in Oberlin 8

Arts 10

Sports 16

WEB

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For Sustainable Design, New Club Turns to Nature Dyani Sabin If you want to know how to create more sustainable architecture, you might want to ask the birds and the bees.

At least that’s what the members of Oberlin’s first-ever Biomimicry Club, an organization that aims to bring Oberlin toward sustainable living based on designs found in nature, might tell you.

According to its founder, College sophomore Olivia Scott, the purpose of biomimicry is essentially to “use nature to solve your problems,” or to base industrial and sustainable designs on those found in nature.

“Nature has had 3.8 billion years of evolution, so you’re using that as a design but also as inspiration,” said Scott.

Examples of possible biomimetic designs are air conditioners based on the coolant systems of termite mounds and tire treads based on frog feet.

Scott created the club to compete in the Global Biomimicry Design Challenge run by the Biomimicry Institute and the Ray C. Anderson Foundation, as well as to institute biomimetic cooperation between the College and the community. The club is the beginning of a link between Oberlin and the Great Lakes Biomimicry collaborative.

According to Scott, the national competition will help focus the goals of the club, as biomimetic design is as varied as the natural world itself.

“Biomimicry is a much larger title of using what’s found in nature to create and build things like architecture,” explained Ty Diringer, an entrepreneurship fellow at the Oberlin Center for Creativity and Leadership.

Diringer also said that biomimicry can mean a variety of things, from using a process called systems thinking, “using the idea of nature as a system and applying that system to something else,” to the more common approach of biology-inspired

architecture.

Though this may be the College’s first club dedicated specifically to biomimicry, the school has some experience with biomimetic design.

The Adam Joseph Lewis Center’s Living Machine, which transforms human waste into sustainable compost, is a cross between biomimicry and bio-assisted design, according to Brad Melzer, the George Jones Farm director and educator and a lecturer at Baldwin Wallace University. “[The machine is] bio-assisted design because it uses organisms, where[as] biomimicry is using nature as an example, like Velcro.

You are in the forest and see a burr, the design of a burr, and you take that and use the structure to make Velcro.”

Instead of solely mimicking nature, the structure incorporates the organisms of the system it is designed after. The Living Machine uses plants to purify the water in the system, but the design itself imitates

New Bakery Comes to Main Street Melissa Harris The Blue Rooster Bakehouse, which is taking the place of B. McK’s Public House in downtown Oberlin, will open Nov. 15, stocked with cakes, pies, pastries, bagels and other baked goods.

Wendy Boes, who runs the bakery with her husband Leo, said she hoped that her establishment would create a unique niche in the Oberlin community.

“Everything we’re making is really homey and scratch-made — what your grandma’s kitchen would be like,” she said. “I think the fact that you can sit down and hang out really sets us apart.”

Before setting up shop in Oberlin, the couple worked as teachers in their hometown of Fairlawn, a suburb of Akron. Wendy baked throughout much of her career as an early learning educator, and, after working at a bakery for a year, decided that she wanted to open her own bakery.

Wendy and Leo visited Oberlin one weekend and said they felt very optimistic about the town. They found the prospect of college customers and what they defined as the “friendly atmosphere” of the community especially appealing.

“I’ve been running things in my entire working career,” said Wendy. “I ran a school and a bakery for someone else. The difference is that this is ours, which is really cool. We’re excited to work together as a family and bring in our kids, and also to just be part of the community.”

The couple said they felt very supported by the city in establishing the Blue Rooster.

The City Council has programs to support the endeavors of small businesses such as the Bakehouse.

“We make our approval processes go very smoothly and quickly, so that when a small business wants to get a sign approved, we can

usually move that process through the planning commission in a month,” said City Manager Eric Norenberg. “We try to be as businessfriendly as possible.”

Leading up to the opening, Wendy and Leo have passed out free samples in front of their building. They have also been meeting with other local business owners in order to further settle into the community.

“As far as working with Oberlin’s gone, the city’s been really easy to work with and very inviting. It’s just amazing how supportive the business owners are, and we haven’t even opened yet,” said Leo.

Oberlin’s new bakery, the Blue Rooster Bakehouse, will open its doors to customers on Saturday, Nov. 15. Owners Wendy and Leo Boes said they are excited to give students and community members a spot to hang out.

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a natural wetlands environment.

“Each tank mimics a system, so you’re mimicking a rushing river with a waterfall by adding aeration; the settling tank mimics a pond,” Melzer said.

Oberlin is not alone in pursuing biomimicry for sustainable solutions. Northeast Ohio is making a name for itself in the biomimicry industry, in hopes that the Great Lakes Biomimicry collaborative — a Cleveland-based group of over 100 businesses, colleges and other industries — will provide a more sustainable future.

The Great Lakes Biomimicry collaborative is working to “create conditions for innovation through biomimicry,” according to its website. This project has already broken ground at the nearby University of Akron, where students can receive a doctorate in integrated bioscience with a concentration in biomimicry.

Leaders of the Biomimicry Club are hopeful about creating a similar relationship with the Oberlin

community.

“We want to apply what we learn to the community,” said Scott. “It would be great if Oberlin could have their own competition. Maybe the Oberlin Project could be like, ‘We need help coming up with a solution to x,’ and then that could be the challenge and kind of get the community involved as well as the students to brainstorm a solution. I feel like biomimicry could be a community initiative to further develop the Oberlin Project and put Oberlin on a path to sustainability and resilience.”

The club has generated interest across multiple disciplines in the College, with students from all divisions showing up to its first meeting last week — an event that Scott characterized as also being biomimetic in its use of all the resources available. The club is looking to enter the Global Biomimicry Design Challenge on Global Food Systems, which opens for team entries on Jan. 5, 2015.

College Plans Expansion of Financial Literacy Program Kate Kingma Beth Tallman, coordinator of the Financial Literacy and Creativity and Leadership Program, is looking to expand the Oberlin Financial Literacy Program, a program based out of the Conservatory Entrepreneurship Department and currently centered around the Fundamentals of Finance course. The one-credit co-curricular course now offered will likely be reformed into a more comprehensive two-credit academic course. Tallman, with the help of a committee, also plans to create new web-based content.

According to Tallman, this web-based content is central to expanding the Financial Literacy Program beyond just the academic classroom. “[Financial Literacy] has to be a program, not just a course,” said Tallman.

Tallman is developing the framework to provide online modules.

These modules will provide easily accessible content to students and alumni interested in learning about personal finance.

The establishment of these internet modules will be guided by responses from the National Student Financial Wellness Study survey. This survey, a nationwide follow-up to the 2010 Ohio-centered financial wellness survey, was emailed earlier this month to 500 Oberlin students.

The survey gauges how much financial independence is afforded by students and how much knowledge they have when it comes to controlling their finances. According to Tallman, the survey will allow the College to estimate how the student body’s financial literacy compares to that of similar institutions. Also, by seeing where students are in terms of their knowledge, students can participate in the online module appropriate to their skill level.

Tallman plans to select a student task force of volunteers who will provide input on different financial literacy modules.

According to Tallman, the expansion of the course, as well as the new modules, will provide a more comprehensive overview of student finance.

“More students will have the incentive to take it if it’s a curricular class, and with the two credits we have more time to go into depth on all the topics,” said Tallman.

See Oberlin, page 4

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Off the Cuff: Dr. Joy Karega-Mason, assistant professor of Rhetoric and Composition Dr. Joy Karega-Mason, assistant professor of Rhetoric and Composition, gave a lecture this Thursday in Lord Lounge titled “Talkin’ Bout a Revolution: The Politics of Black Language Practices in Academic Writing.” Karega-Mason sat down with the Review to discuss the perception of black language, expectations in academic spaces and rethinking approaches to writing.

First, could you tell me a little about the current politics of black language practices in academic writing?

We’re still asking black students to think about the ways in which they use language and discourse in ways that are contextually strict.

By that, I mean there’s a way of talking and writing in academics, and then there’s a way of talking and writing, say, in your families and in your communities, and those things don’t always match up. At the end of the day, a lot of this is rooted in how people perceive language, but it’s also rooted in racial politics.

When we root it all back, a lot of the linguistic prejudices really have nothing to do with the languages themselves. [Black English] has its own systems and its own rules and its own grammatical and semantical and syntactical elements that are documented and are able to be identified. We see Black English in popular culture and people understand it pretty well, don’t they? We see it all the time. Sometimes you ask, “What’s the problem with it; why are people so much against it?” You start to realize that it really isn’t about the language per se.

It’s really about something else, and it’s about racial discrimination. And we saw this in my talk. I traced it all the way back to the ’60s and the ’70s. Some of the research was trying to link black students’ language practices with cognitive deficiencies and saying that something was wrong with them cognitively because they spoke and wrote in Black English. That’s not happening explicitly in the

writing classroom, but it’s happening implicitly where there’s still a lot of teachers and administrators and curriculums that are asking black students to be acculturated into [this] whole thing called Standard English and academic discourse. Whatever that is. As if it’s some sort of monolithic, homogenous thing. Which it isn’t. We know it’s not a monolith, but sometimes it’s thrown around as if it is, and a lot of that is rooted in linguistic prejudice that, if we really want to get honest and people really want to get honest, we can tie it back to racial prejudices.

In short, what we’re saying is we’re still seeing black students being asked to do some things that other students are not being asked to do, which is to abandon the range of resources that they have. We’re foreclosing a lot of the resources that they already have and that they may be able to use effectively in academic writing and we’re saying no, we’re not even going to let you negotiate these resources and think about whether or not they can. We’re going to take the power away from you and we’re going to say that they’re not even appropriate.

We’re not allowing students to then draw on the range of resources that they may have to be able to produce academic writing.

For me, those kinds of politics are problematic because of the relationship between language and identity in particular. Because of the way in which language and writing mediates social action and mediates the way people make sense of things and how they create knowledge. They’re foreclosing their ability to make those kinds of moves and be objective writers, and I say that that’s a problem.

How could we rethink this or move toward change?

It’s kind of done on two different levels.

You have to change people’s ways of thinking about language. All of the linguistic prejudice I was talking about, that has to be challenged amongst professors and students. We’re talk-

smoking marijuana at the art studios on East College Street.

The students were identified and admitted responsibility.

Thursday, Oct. 30

Saturday, Nov. 1

12:50 p.m. A student reported the theft of a bookbag from Dascomb Hall. The bookbag is red and blue and contained a silver MacBook Air valued at $850, a small Canon camera, an iPhone charger, Apple ear buds, a book and folders.

12:19 a.m. Officers were requested to assist a student ill from alcohol consumption at Finney Chapel. The student was unable to identify themselves and was transported to Mercy Allen Hospital for treatment.

12:55 a.m. Officers were requested to assist an intoxicated and unresponsive student at Kahn Hall. The student was transported to Mercy Allen Hospital for treatment.

1:02 a.m. Officers were requested to assist a student ill from alcohol consumption at Wilder Hall. The student was able to answer all questions asked and was transported to her dorm for the night.

9:45 p.m. Officers responded to the report of a suspicious individual near the southeast door

Friday, Oct. 31 3:06 p.m. Officers responded to an odor consistent with burnt marijuana on the first floor of East Hall. The occupant of the room admitted to smoking marijuana, and the officers reminded the student of College policy on smoking. There was no contraband in plain view.

4:52 p.m. A staff member reported observing broken beer bottles and students possibly

discourse thing that we always throw around — I like to call it the mythical academic discourse. We don’t teach that. We start to assist students in how to become those critically objective users of language in their writing. It seems like such a simple thing, but it really is a huge thing to shift from teaching students how to master one way of writing to being these objective writers who are able to be translingual and work across languages and resources.

How do you think the views toward black language in academia manifest themselves outside of the classroom?

I would hope, and maybe I’m being optimistic, but I would hope that the students are impacting society. A lot of times in my class I Dr. Joy Karega-Mason, assistant professor try to get [students] to think differently about of Rhetoric and Composition, who gave a language and how it relates to identity and to lecture on the politics of black language on society, and how power structures and power relations affect that.

Thursday.

My hope is that as these things start to ing about changing the way that professors happen in the classroom context, and as you and administrators think about language and all go out into the world and you take these language practices and how they work. You things with you, that that will impact how sostart to try to get folks on one side of the coin to ciety is thinking about language. I’m so amazed think about language difference not as a prob- sometimes still about how much linguistic lem, but as a resource — something that stu- precedence there is about non-native English dents can draw upon in very meaningful and speakers in particular, especially people that effective ways. So you try to create classroom speak Black English, and other dialects of Engenvironments where that’s possible, where stu- lish that are not deemed as legitimate. People dents are able to do that kind of work and enact throw it around with Black English, how it’s those kinds of practices. often thought of as broken English, or this lanOn the other end of the spectrum, you’re guage of ignorance and illiteracy. Well, it’s not. trying to develop students’ ability to be criti- It’s rooted in a very systematic and textual and cally objective in making those decisions. They thematically and tactical forms, but people see [have to] understand purpose and audience it that way. And I think it’s more prevalent out and the relationships between those things, there than it is here. My vision is that some of as well as the relationship between the tradi- the things that Oberlin in particular is doing in tions and the resources that they have and the the classroom are not just being enacted here, consequences that their writing carries in dif- but are being enacted in the greater classroom ferent contexts. You start to teach writing that of the world. way. You’re not trying to teach them to master different forms, or this one form, which is the Interview by Elizabeth Dobbins, News editor Standard English form, right? Or this academic Photo courtesy of Joy Karega-Mason

of South Hall. The officers and members of the Oberlin Police Department thoroughly checked the interior and surrounding exterior of South Hall but did not find anyone.

Sunday, Nov. 2 12:54 a.m. Members of the Oberlin Police Department responded to a 911 call from South Hall to assist an unresponsive individual. Security officers also responded, and the intoxicated non-College-affiliated individual was transported to Mercy Allen Hospital for treatment.

2:14 a.m. Officers were requested to assist an intoxicated student on the third floor of Langston Hall. The student was transported to Mercy Allen Hospital for treatment.

2:30 a.m. An officer observed a discharged fire extinguisher on the west side of East Hall. The extinguisher was discharged on the wall of East Hall and in the grass. The fire extinguisher was

located and transported to the Security Office, and a work order was filed.

5:21 p.m. An officer responded to Philips gym to assist a student who injured his ankle playing basketball. The student was transported to Mercy Allen Hospital for treatment.

Monday, Nov. 3 1:31 p.m. Officers responded to a report of the odor consistent with burnt marijuana on the second floor of Dascomb Hall. The officer made contact with the occupants of the room in question. They denied smoking or possessing any contraband.

5 p.m. A resident of South Hall reported that an unknown person entered his room while he was in the restroom and took his iPad. Members of the Oberlin Police Department were contacted and told the student that an iPad fitting his description had been turned in to the

station. The student was transported to the station and his iPad was released to him.

Tuesday, Nov. 4 7:02 a.m. An officer on patrol noticed that the exterior north wall of Kahn Hall had been sprayed with silly string. A work order was filed for clean up.

8 a.m. An officer on patrol observed a vandalized tree near the Memorial Arch in Tappan Square. Unknown person(s) sprayed painted the tree with purple paint. The Grounds manager was notified of the damage.

Wednesday, Nov. 5 12:53 p.m. Officers and members of the Oberlin Fire Department responded to a fire alarm at Dascomb. Smoke from overheated cooking oil activated the alarm, which was then reset.

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The Oberlin Review, November 7, 2014

Garrett Unable to Secure Congressional Seat Continued from page 1 Often focusing on his controversialpolicies regarding Medicaid and the Common Core as well as the collective bargaining battle the governor lost against public employee unions in 2011, critics have claimed that Kasich misrepresents the state’s fiscal improvement by shadowing the fact that he hiked taxes and took advantage of the recurring economic upswing.

For some, Kasich’s victory seems undeserved.

“This election had pathetically low turnout,” said College junior and Oberlin College Democrats Co-Chair Madeline Peltz.

“Across the state, hundreds of thousands of voters who cast ballots in 2006 for Ted Strickland stayed home, handing Kasich and the entire Republican ticket a landslide election they did not deserve.”

According to Peltz, the Lorain County precinct with the lowest voter turnout was an Oberlin precint composed mainly of residents of North Campus.

“The student body is filled with brilliant and passionate activists who engage many different political channels in order to have their voices heard,” Peltz said. “But when it came to voting this year, Oberlin students completely dropped the ball.

When Issue 2 was on the ballot to repeal Kasich’s elimination of collective bargaining rights, the college students here sprung into action because they knew how important it was to the livelihoods of the people in this community and across the state.

It is important that we get back to that level of engagement.”

can find any solace in this week’s elections, it may be in what proved to be the biggest local upset of the night — the appointment of Matt Lundy (D-Elyria) to the Lorain County commissioner seat. Lundy unseated past commissioner Tom Williams (R-Amherst) by fewer than 2,000 votes, according to unofficial results.

As for local issues, results show that Lorain County voters support the county’s Board of –––––––––––––––––––––––––––

Democratic congressional hopeful Janet Garrett enjoys a post-election meal at the Feve. Despite numerous College students volunteering for her campaign, Garrett lost to Republican candidate Jim Jordan, who received nearly two-thirds of all Ohio votes.

Simeon Deutsch

In league with their greater Ohio counterparts, Democrats from the city of Oberlin also suffered quite a blow this election.

The most high-profile local campaign, the election for Oberlin’s congressional representative, bore yet another Republican victory, this time for Congressman Jim Jordan.

Jordan, who ran on a platform of agriculture reform and reduced government spending, won over two-thirds of votes in Ohio. The congressman has voiced continuous support for heightened border security and says he would like to see an increase in cheap, reliable fuel.

His opponent, current school teacher and congressional

write-in Janet Garrett, was by far the Oberlin favorite and won Lorain county by a 9 percent margin. Her campaign platform included decreasing the state’s dependency on fossil fuels, as well as ensuring citizenship for undocumented children and child refugees.

The current union member received much support from the Oberlin community, including aid with canvassing and phone-banking.

“Janet Garrett is in tune with the world,” said College senior Ali Amiri, who volunteered with Garrett’s campaign. “She is a current teacher looking to have an impact on education reform, which includes lowering stu-

dent interest rates. On top of that, she is running for women’s reproductive rights, pro-samesex marriage and others.”

Amiri said he believes Jordan to be a wholly unsuitable candidate. “[He] is pro-stop and frisk, doesn’t believe in global warming, is anti-same-sex marriage and is against minimum wage changes,” said Amiri. “The only reason [he] wins is because he is a professional politician for a living. All he does is run campaigns and advertise. The people of Ohio aren’t fully aware of his views, and so many people don’t go out to vote. It’s really a shame.”

If Lorain County Democrats

“The only reason [he] wins is because he is a professional politician for a living. All he does is run campaigns and advertise. The people of Ohio aren’t fully aware of his views, and so many people don’t go out to vote.”

Ali Amiri College senior ––––––––––––––––––––––––––– Mental Health and Children Services divisions, as both sectors won their bids for levy renewals.

The Lorain County Metro Parks were also given approval for a funding increase.

The only issue that did not pass in this election was the levy to fund the county’s Crime/ Drug Lab. Opponents say that the county should discontinue the lab and instead direct their resources into the state’s Ohio Bureau of Criminal Investigation Lab.

Co-op Provides Accessible Practice Area, Equipment Laura Paddock A single drumstick impales the scuffed ceiling of the windowless and empty Wilder 404.

The room, however, will not be empty for long. Beginning this semester, room 404 will house the Gear Co-op, a cooperative dedicated to providing musical equipment and practice space for students who would otherwise not have access to these resources.

“We hope to … create a space that would promote musical growth and development among the student body, specifically to those who are disenfranchised by their inability to bring, [ for example], their drum kit to the school,” said College sophomore and co-op member Julian Geltman. “It’s a really slow process. We’re still in our foundation, taking baby steps.”

The co-op has begun stocking the room with equipment such as portable audio systems and drum kits. The co-op hopes to use money gathered from fundraising to expand its equipment collection.

The idea for the co-op started at the beginning of the semester during sign-ups for the Wilder 404 practice space. Students hoping to register for practice space were required to arrive for signing up at 8 a.m. on the second day of classes. The Gear Co-op was started in an effort to address this system and make a practice space that is more accessible for everyone.

Additionally, the co-op aims to encourage students to meet fellow musicians with whom they’d want to make music. Geltman sees the co-op as filling a hole by meeting the needs of first-year and sophomore musicians, since upperclassmen usually have access to off-campus houses where they can convene and practice.

“We want this to be the people’s co-op,” said College sophomore Matt Loreti.

College sophomore and co-op member Ben Mark said he’d like to see an environment conducive to learning, where regular skill-share sessions and recording workshops become the norm.

“We hope to take over Wilder 404, but we’ve got loftier

goals than that,” said Geltman.

Eventually, the co-op members hope to provide an entire house where people can go to practice, learn about gear and interact with other musicians and bands.

The project has support from the administration. The band members spoke with Andrea Kalyn, dean of the Conservatory, who enthusiastically backed the project, citing a need for practice space for non-Conservatory musicians.

“I think this is a fabulous project,” said Kalyn in an email to the Review.

The Gear Co-op will function similarly to any other campus co-op. Members are expected to dedicate a certain number of hours; jobs include surveying the gear, helping with trainings on gear operations or checking bands in and out of the room before and after they practice.

According to College sophomore Puck Bregstone, the Gear Co-op’s name is meant to be misleading.

“Part of it is the fact that you have to be in the know.

The name is an invitation to get in on the joke; otherwise you’ll just think it’s a hardware co-op,” said Bregstone.

Oberlin Places Renewed Emphasis on Financial Literacy Continued from page 2 Tallman says she is confident that these changes to the course will be approved by the Educational Plans and Policies Committee.

Conservatory senior Camille Ripple, who took the course in its current onemodule form, felt this expansion could make the course more useful.

“I think it should be a required course, or at least more advertised and recom-

mended by advisors,” said Ripple in an email to the Review. “If anything, it could be a semester long so we can go into more detail.”

Tallman says the program is a response to increasing nationwide student debts.

Students graduating in 2012 from colleges around the nation averaged $27,183 in student loan debt. The Consumer Financial Protection Bureau estimates that graduates and students have collectively accrued over $1.2 trillion in outstanding federal

student loan debt.

According to Tallman, the program will help address this problem by educating students about financial realities.

“You keep reading in the press about student loans, and how it’s the next bubble, and how it’s the next everything,” says Tallman. “I think everyone needs to get educated about it, rather than getting caught up in the hype or saying that we don’t need to worry about it. We do need to worry about it.”

Students learn about selecting stocks, credit card use, insurance and mutual funds, among other topics, and College junior Sam Coates-Finke felt this information provided him with applicable skills.

“We learned stuff that I was going to have to learn no matter what, and I benefited from learning in the safety of a classroom rather than in the scary real world,” said Coates-Finke in an email to the Review.

Opinions The Oberlin Review

November 7, 2014

Letters to the Editors

Open Letter: SFC Stipend Cuts Limit Campus Discourse To the Editors:

This semester, the Student Finance Committee elected to reduce The Oberlin Review and Wilder Voice’s allocated stipend hours, leaving the publications’ operating budgets otherwise unaltered. The only thing affected by the changes this semester is the amount of money pooled for editors of the Review and the Voice. With these cuts, the papers’ circulation will do just fine. Alarmingly, the same cannot be said for their content.

Cutting stipends is essentially a problem because you cannot disentangle writing from writers. Though writers have never been paid, those who excel are often promoted to stipended editorial positions. Any piece of writing will eventually lead you to a human being. Pardon my preaching, but humans are creatures of necessity. One thing we don’t need is writing, and that alone should tell you why stipended positions are so incredibly crucial for our newspapers.

Maybe it doesn’t, though, so allow me to argue why writing and editing must be incentivized. Writing is labor; labor requires time; time is the only resource we have to spend. Most folks simply don’t have time to spare; that is, almost all of the world’s population must spend significant amounts of time making money if they want to continue living the way they do. If you remove the ability for them to be spending that time a certain way — namely, writing — they will necessarily spend that time on more profitable pursuits.

Writing is also inherently social. Most all writing, and certainly every journalistic piece of writing, is written in conversation with either someone or some other piece of writing, which, ultimately, is just some other person. Written discourse is already rather exclusive given the financial constraints I’ve mentioned, and if you remove, however indirectly, certain people from participating in a given conversation (e.g. Oberlin’s journalistic dialogue), it’s simply going to decrease even further in quality.

Maybe you don’t think time is

a problem for the members of our gated academic community. Fine, but consider this: Money incentivizes people to do something when they would otherwise be doing something else. That is, money incentivizes people to join and enrich a written dialogue.

Perhaps you find the dialogue created by the Voice and the Review frivolous or even harmful; that’s also fine. But do these budget cuts stop the Voice and the Review from circulating ideas all across campus? No, not at all — and that’s why they scare me. By specifically cutting back on stipends, you cheapen the conversation by allowing fewer types of folks to participate in it, while letting it linger in its moribund state, a campus-wide echo chamber. At that point, I’d rather gut the papers entirely.

SFC folks, I respect you. I like that you listen to the concerns of the student body. But I cannot stand for letting these budget cuts cheapen the only paid journalistic avenues for communication on campus.

And frankly, if your organization, as an instrument of the College, is willing to let the budgets for oncea-semester events go untouched — I’m talking Solarity — while reducing the quality of our campuswide discourse, I think you need to straighten out your priorities.

–Sam Morrow Associate Editor, Wilder Voice

Departure Weakens Arguments of Sachs Protesters To the Editors: Fifteen minutes into last Wednesday’s convocation, the activists had exited, the banners had been removed and the last vestiges of neoliberal criticism were absent from Finney Chapel. For those unfamiliar with the events of Wednesday night, here’s a brief synopsis: Jeffrey Sachs, world-renowned economist, aid worker and proponent of neoliberal economic policy, gave a convocation lecture.

Criticism of Mr. Sachs targets his neoliberal perspective, his radical restructuring of developing economies and the problematic nature of his work in foreign aid. These criticisms were voiced by Oberlin activ-

ists who distributed flyers critical of Mr. Sachs and performed a banner drop and “mic check” at the beginning of his talk. The action ended with a call for the audience to join the activists in leaving the chapel and attending events “better worth [their] time.”

Ultimately, the demonstrators’ decision to walk out of the chapel significantly weakened their argument. After the last echoes of their chants had died away, Sachs was still there, and unsurprisingly, one man with a microphone and an hour and a half-long presentation will argue his case more compellingly than two minutes of unintelligible shouts and name-calling.

Sachs maintained his composure, defended himself articulately from the half-heard critiques and successfully (albeit condescendingly) made the protesters look immature, unknowledgeable and disrespectful. People who entered the lecture uninformed (as many did) were unlikely to reject Sachs’s argument without hearing it first, and by leaving, the protesters ensured that Sachs’s argument would be their primary source of information.

Events like this leave room for dissenting opinions; the Q&A section, specifically, could have been an opportunity for the presentation of a counter-narrative. Refusal to engage in dialogue threatens the legitimacy of activism. When the activist community is unwilling to engage with other arguments, their critiques appear uninformed and subjectively researched.

Furthermore, a group that refuses to stand behind its views tacitly admits those views to be indefensible. A civil interchange between the activists and Mr. Sachs would have more effectively conveyed the intellectual merits of neoliberal critique.

The banners did not have to be removed. The activists could have remained seated behind their ideas, making sure that they remained visible to everyone in the chapel.

They could have swarmed the microphone in the Q&A section, articulately voicing specific criticisms which Mr. Sachs may have been hard-pressed to counter. Activism is more powerful when it is present than when it is absent.

–Jesse Docter and Ethan Aronson College first-years

SUBMISSIONS POLICY The Oberlin Review appreciates and welcomes letters to the editors and column submissions. All submissions are printed at the discretion of the Editorial Board.

All submissions must be received by Wednesday at 4:30 p.m. at opinions@oberlinreview.org or Wilder Box 90 for inclusion in the following Friday’s Review. Letters may not exceed 600 words and columns may not exceed 800 words, except with the consent of the Editorial Board. All submissions must include contact information, with full names, for all signers. All electronic submissions from multiple writers should be carbon-copied to all signers to confirm authorship.

The Review reserves the right to edit all submissions for content, space, spelling, grammar and libel. Editors will work with columnists and contributors to edit pieces and will clear major edits with the authors prior to publication. Editors will contact authors of letters to the editors in the event of edits for anything other than style and grammar. In no case will editors change the opinions expressed in any submission.

The Opinions section strives to serve as a forum for debate. Review staff will occasionally engage in this debate within the pages of the Review. In these cases, the Review will either seek to create dialogue between the columnist and staff member prior to publication or will wait until the next issue to publish the staff member’s response.

The Review will not print advertisements on its Opinions pages. The Review defines an advertisement as any submission that has the main intent of bringing direct monetary gain to the author of a letter to the editors.

Opinions expressed in letters, columns, essays, cartoons or other Opinions pieces do not necessarily reflect those of the staff of the Review.

Page 5

The Oberlin Review Publication of Record for Oberlin College — Established 1874 —

Editors-in-Chief Julia Herbst Rose Stoloff Managing Editor Julian Ring Opinions Editor Sam White

Street Harassment Discourse Disregards Intersectional Issues When online videos related to pressing social or political issues go viral, the mainstream media sometimes weighs in. This week, the online branches of media outlets like The New York Times, The Washington Post and NPR did just that in response to the video gracing news feeds across the nation: the viral PSA commissioned by Hollaback!, an anti-street harassment group.

The video’s premise is simple: A woman is filmed from a hidden camera carried in front of her as she walks around “all areas of Manhattan, wearing jeans and a crewneck t-shirt” for 10 hours. The two-minute video compiles short clips from some of the “100+ instances of verbal street harassment” the video claims she experiences over the course of the shoot.

Now boasting over 30 million views, the Hollaback!-sponsored video has clearly achieved its stated purpose: increasing the visibility of the catcalling and harassment women face every day. The only problem for the nonprofit? The video’s creator knowingly left a disproportionate number of white catcallers out of the video.

The creator is a man named Rob Bliss, and he himself has been the target of much of the video’s negative press. In a widely-shared Storify article, Twitter user Automnia criticizes Bliss for complicity in gentrification campaigns and for “using street harassment like a fucking tool” to advance his own career. Bliss is white, 26 years old and the owner of an eponymous marketing firm, Rob Bliss Creative, that specializes in making viral videos.

After moving to Grand Rapids, MI from the suburbs, Bliss brought his company to prominence after running events like a record-breaking lip dub. In stark contrast with his Hollaback! video, the lip dub, set to Don McLean’s “American Pie,” conspicuously over-represents white faces in relation to Grand Rapids’s demographics. His self-proclaimed goal in his marketing efforts for Grand Rapids, he wrote in a June 2010 post on MLive.com, was to establish the city “as a hip, cool place for younger people to live and work.” It’s easy to see where the criticisms fit in.

The issue at hand in the Hollaback! video, however, is street harassment, and this is a far more complex topic than any short viral video can fully capture. Speaking with NPR’s Here & Now, Hanna Rosin of Slate characterized catcalling as “an uncomfortable feminist issue because of the class and race dynamics involved.”

The Editorial Board agrees, and we think it’s crucial that street harassment be confronted in spite of this discomfort and in full awareness of intersectional themes of race and class. Worryingly, much of the online commentary surrounding the video has focused on individual elements of this relationship, isolating race or class as the central factors determining the prevalence of street harassment. The reality is much more complex, and to focus on any one of these issues independent of the others is reductive and dangerous to the marginalized communities left out of the conversation.

Furthermore, it’s essential that catcalling — one form of everyday sexual harassment among many others — not be dissociated from the larger structures of misogyny and violence into which it fits. Street harassment is of course degrading and upsetting to those who experience it, but the issue must be considered not as an individual nuisance but as a symptom of a broader context of rape culture.

When organizations like Hollaback! discuss strategies to combat street harassment, they must take these structures into account when considering the impact of their actions. Furthermore, any attempt to reduce street harassment — whether through activism, legislation or awareness initiatives such as the bystander trainings recently mandated at college campuses — will only succeed with due recognition of these intersectional factors.

Editorials are the responsibility of the Review Editorial Board — the Editors-in-Chief, managing editor and Opinions editor — and do not necessarily reflect the views of the staff of the Review.

Opinions

Page 6

The Oberlin Review, November 7, 2014

Students Offer Personal Responses Self-Awareness, Humor Can to Lena Dunham Abuse Allegations Make Oberlin Approachable Trigger warning: The following article contains detailed personal accounts of childhood sexualized violence. Due to the sensitive nature of these narratives, the authors have chosen pseudonyms.

Lena Dunham, OC ’08, the creator and lead actress of the HBO series Girls, attracted headlines and scrutiny this week over allegations that she sexually abused her younger sister during childhood and as a teenager. The allegations first arose when conservative commentators Kevin Williamson (“Pathetic Privilege,” National Review, Nov. 3, 2014) and Bradford Thomas (“Lena Dunham Describes Sexually Abusing Her Little Sister,” Truth Revolt, Oct. 29, 2014) pointed to passages in Dunham’s recent memoir, Not That Kind of Girl, in which the actress candidly describes childhood experiences of bodily exploration, developing sexual awareness and vying for her sister Grace’s affection. Dunham has accused critics of misconstruing events, stating in TIME that she does “not condone any kind of abuse under any circumstances.”

Her words and the ensuing controversy have elicited a wide variety of responses on all sides, both positive and negative.

The following are two students’ personal responses to the controversy.

Teresa Carter

Isabel Penn

While Lena Dunham mentions her sister Grace’s response in her tweets and her statement in TIME, this has certainly not been the focus of the debate. The arguments flying back and forth are primarily about whether Lena Dunham’s explorations were sexual abuse, not about whether Grace felt abused. The new rallying cry of those coming to Lena Dunham’s defense is the support of female sexuality and childhood exploration, proposing an end to shaming these two much-stigmatized concepts.

Though valid, this argument fails to address the familiar theme of “intent vs. impact.”

Looking only at the intent of the child explorer, along the lines of “she wasn’t trying to hurt anyone,” does not address the potential impact upon the child explored: “Was anyone hurt?”

I’m glad that Grace was not hurt in this case; as she tweeted Monday, “I’m committed to people narrating their own experiences, determining for themselves what has and has not been harmful.” As a survivor, I would like to offer a narrative of my own experiences: Explorations of childhood sexuality can be harmful, intentionally or not.

When I was 6 years old, I was sexually assaulted by an 11-year-old boy. I don’t remember every detail, but I remember feeling terrified, alone and helpless. He explained how sex worked and said that he could do that to me.

When more details about the event started to come back to me during my sophomore year, I sought counseling and tried to make peace with my childhood trauma.

That boy is 26 years old now and is serving in the Marines; he has a lovely girlfriend, and his family is very proud of him. They don’t know what he did to me — very few people do.

I chose not to pursue reconciliation because, honestly, I don’t believe he’s the same person now as he was at 11 years old.

At the time, neither of us understood what assault meant or what consent meant. He had learned about this new thing, and he was trying to teach me about it, but I wasn’t ready for this kind of lesson. Only one of us was curious, and it wasn’t me. But nobody had taught us that this was wrong.

This points to the deeper issue of teaching consent at an earlier age. In my opinion, this is the most important part of sex education for young children; as it stands, children are taught that they have very little control over their own bodies. When it’s time to go to the doctor, they have to go. When it’s time to kiss Grandma, they have to do it. But when their brother wants to play doctor or a neighbor wants a kiss, they should have the right to say no.

I am not trying to demonize childhood sexuality; children’s exploration of their bodies is a natural and common occurrence that is in no way indicative of psychological or pathological problems. And I would heartily agree with claims that society shames female sexuality more than male sexuality. Here, I only seek to add to the conversation with the affirmation that children can sexually assault and abuse other children. While the intent might be positive, I can attest that the impact can be extremely harmful. Only education about consent for children at a young age can help mitigate the underlying problem.

Lena Dunham has earned a reputation for problematic and racist actions — a reputation I think is well-deserved — but I do not believe that she is a child molester.

From Dunham’s account, it is clear that she was just an inquisitive 7-year-old girl discovering her own body parts and naturally wanting to compare them to others.

Defining sexual abuse and consent legally can be tricky. At what age does a child leave the “sexually unaware” or latent phase of development and enter the sexually developed and aware phase? Is it still sexual abuse if the children are unaware of the broader implications of their actions? There are vast differences between a sexually aware teenager’s concept of genitals and that of a curious 7-year-old’s.

The Children’s Assessment Center of Houston defines sexual abuse toward children as “any sexual activity between adults and minors or between two minors when one forces it on the other. This includes sexual touching and non-touching acts like exhibitionism [and] exposure to pornography.” I take issue with defining childhood sexual abuse in terms of one minor “forc[ing] it on the other.” While right-wing media outlets have taken Grace’s inability to give consent as evidence that Dunham inappropriately touched her sister, Dunham was merely curious; she had no knowledge or awareness of sexual actions. Her action was not inherently sexual; we, as adults, view it as such because we have become aware of the implications of such actions.

In a society that so heavily polices female sexuality and body acceptance, this is just another attempt to demonize female sexual curiosity and discovery.

Further, the voice of Dunham’s sister, Grace, had been absent in this discussion until Monday, Nov. 3, when she tweeted, “As a queer person: i’m committed to people narrating their own experiences, determining for themselves what has and has not been harmful.” This is a stance I fully support. Too often in cases like this, the survivor or victim of sexual abuse is never given attention. It is their subjective experience being classified here, and their feelings and opinions should be given the most weight, not an arbitrarily objective definition of what constitutes abuse.

When I was 11 or 12, my best friend of many years slept over. She was always bolder than me, the first to enter the dark closet in the basement, the first to jump in the deep end — and the first to discover sex. That evening, she pulled out a manga book from her suitcase, flipping to a page and revealing her discovery. It was a graphic illustration of a penetrative sexual act between a man and a woman. We giggled over the image before turning out the lights. The next time I awoke was sometime in the middle of the night. In the dark of my bedroom, I couldn’t see my best friend, but I could feel her hovering over me. She then laid herself on top of me and simulated heterosexual intercourse. I remember feeling like this was a completely foreign experience, but not once did I feel threatened or scared of her. It was just curiosity. Two girls — best friends ever since we were 3 — exploring this unfamiliar territory together.

It has taken me a while to come to terms with what happened that night. I firmly believe that this was not abuse; it was consensual, and I do not feel like a victim at all in this situation. Puberty and sexual discovery are already complex and mystifying aspects of growing up, and each sexual experience is unique to the person involved.

If Grace Dunham and I both believe that our experiences were not abuse, then we are not victims and the other persons involved are not abusers. We must amplify the voices of the recipients of these experiences and focus on the cases where these people themselves define their experiences as abuse or molestation.

CJ Blair Contributing Writer Oberlin is known globally for its art programs, liberal views and political activism. But what about its sense of humor? If this is a school that does so much good for the world, why are its students often labeled unreachable and intimidating by outsiders? There’s room for debate about that, but I’m inclined to say that it’s because Oberlin students tend to take themselves too seriously. There’s hardly a school out there as distinct as Oberlin. Why, then, are we hesitant to have a sense of humor about ourselves?

While a proposal to laugh at ourselves may sound odd, I’ve seen it applied in extremely productive ways at other colleges. Over fall break, I visited a friend at the University of Chicago. Though I didn’t apply there, I heard all too much from this friend and others about UChicago’s reputation as a funkilling school that asks for extra tuition in the form of tears. When I got there, however, I was amazed to find that the students weren’t nearly as intense as I expected. In fact, they embraced their reputation and sold T-shirts reading, “Where fun comes to die” and “The only thing that will go down on you is your GPA.” When I saw this, I began to wonder why the same level of self-awareness wasn’t as prevalent at Oberlin.

Part of this may stem from Oberlin’s calling cards: activism and social justice. These will always be pressing issues that require intense devotion to make changes.

If they aren’t handled seriously, it’s doubtful anything will get done. I know that if I weren’t as serious as I am about Oberlin Anti-Frack, for instance, I wouldn’t have accomplished anything that I did over this first module.

But capacity for change and candid self-awareness aren’t mutually exclusive. While devotion to a cause inspires zeal, a constant

awareness of how such fervor is perceived by outsiders is pivotal in selling that cause to an audience.

This addresses the question of accessibility, which in this case is really just how comfortable something feels for a person to approach. If this is the case, then the way to make someone eager to jump on board with a cause is not ranting about it.

It’s finding a way to vocalize these sentiments that conveys the gravity of the issue without coming off as patronizing.

This isn’t to say that Obies should relax their passionate views.

There is, however, a happy medium between promoting accessibility and maintaining integrity: humor.

Of course being funny isn’t going to stop fracking or bring about universal birth control, but it may put our activism into perspective.

We could either spit in the faces of people who call our actions excessive, or we could acknowledge that what we do is grandiose but still serves a useful purpose. The latter seems much more logical, but it can be fairly difficult to explain yourself without coming across as self-inflating.

This is where humor comes in.

Oberlin needs to be scrutinized, called out and subjected to funny remarks that describe us in a nutshell. If the remarks feel comfortable to us, they probably won’t work. Such jokes would probably sound self-deprecating at first, but if they were effectively integrated into Oberlin’s culture, they could promote accessibility and deflect some of the criticism of a college that so greatly values its practices.

While I won’t exactly start a “have a sense of humor” club, I do encourage Obies to look around and find the oddities of students to playfully note. From “Got Plaid?” to “Social Justice: Apply Directly to the Universe,” there are myriad possibilities for acknowledging who we are without having to compromise on where we stand.

Political Cartoon by Cory Ventresca

Opinions

The Oberlin Review, November 7, 2014

Student Senate

Senate Working Groups Continue Reforms Machmud Makhmudov Student Senate has seen a busy semester thus far, electing 15 senators and pursuing a variety of diverse projects. With only two of these 15 new senators having previously served on Senate, the group collectively provides a fresh perspective on improving the student experience at Oberlin. We are dedicated to maintaining a higher level of visibility on campus this semester and into the future, particularly through our working groups.

The majority of Student Senate’s work occurs through General Faculty committees and working groups. Students, faculty and community members are all eligible to join our working groups. If you’d like to join a working group, please see the Student Senate website for a listing of meeting times and committee chairs.

The Student Health working group, chaired by Senator and College senior Sara Ebb, is working on continuing many of the reforms that began last year under former Senator and College junior Ziya Smallens. Current projects include making Plan B birth control pills more easily accessible to students. In order to improve campus awareness and communication about the various resources Student Health Services offers, the working group is also constructing a new website where information and opportunities for feedback will be more readily available.

More information will be available soon.

The Student Emergency Medical Technician working group, also chaired

by Senator Ebb, is being sponsored by the ExCo Department. The group is focusing on providing EMT training with the hope that a student group can be formed to provide health services in addition to those regularly offered by Student Health.

It is currently working on resolving liability issues and looks forward to offering courses soon.

The Residential Education working group, chaired by Senator and College junior Nick Olson, is working to improve both housing and dining policy. It is actively seeking additional membership from both RAs and CDS employees. One primary point of concern is the rising cost of College housing and dining. The working group will be consulting with members of ResEd to get a full sense of what is driving cost increases and what solutions in this area may be.

The Sustainable Transportation Working Group, chaired by Senator and College junior Nolan Scharper, is working on putting together a transportation guide that maps out the biking and walking paths and parking for both students and community members. The guide will also feature an overview of public transportation options, such as the Oberlin Local Shuttle. The working group is also coordinating two bike safety events to

address riding without reflective lights and how to safely ride in town. The group hopes both events will engage local businesses and will be a lot of fun! More information will be available shortly.

Other working groups of note include those for Student Engagement, Sexualized Violence, Financial Accessibility and Varsity Athletics. If you are interested in any of these, please contact the working group chairs; their information can be found on Senate’s website.

Outside of working groups, Senate is working hard to gather information on how students spend fall and spring break.

It has come to our attention that many students stay on campus during these breaks due to the high cost of traveling home. If you have any experience with this issue, please contact us at senate@ oberlin.edu. We are considering a variety of options to ensure that every student has a happy and successful fall and spring break.

As always, students are encouraged to attend Student Senate plenary sessions every Sunday at 7 p.m. in Wilder 215. Though all senators work very hard to be accessible to the student body, it’s still important for you to step forward and speak up regarding any concerns you might have about life on campus. We’re energized and ready for a great year of improvements, and hope that you are, too!

Syrian Refugee Crisis Warrants Ongoing Attention Chloe Vassot Contributing Writer When it comes to matters that do not directly concern it, the Western world has the attention span of a small child.

This is, in a way, understandable; people have lives and worries of their own, and the only international events that manage to catch the public’s collective eye are the flashy ones. There are many, many awful problems facing the world that land in the spotlight for an instant and are then forgotten. This is the normal way the world functions, but that does not make it entirely justifiable.

Human rights crises and injustices continue unchecked because the public tires of hearing about them and because governments aren’t pressured to take action.

A prime example of this is the ongoing Syrian refugee crisis that began during that country’s civil war. In August, the number of Syrian refugees in neighboring countries surpassed three million. The U.N. refugee agency called the crisis “the biggest humanitarian emergency of our era,” yet

that classification has not helped the situation.

Every so often, the public is swept up by a wave of humanitarian altruism; thinkpieces are published, and the call for international aid grows. But as the breaking news shifts, so does the public conscience.

I’m as guilty of this forgetfulness as anyone else. My memory was only sparked when David Miliband, former British foreign secretary and current president and CEO of the International Rescue Committee, appeared on the Oct. 30 episode of The Colbert Report to talk about his organization’s work assisting displaced refugees and vulnerable people around the world. Miliband mentioned how so many refugees are left in limbo — “almost left without a future at all.” I wondered how over three million people with destroyed lives and in great need of assistance could be so easily ignored.

The truth is that it’s simple to forget. The thinkpieces have disappeared, and countries like the U.S. are focusing on their own conflicts in the Middle East rather than on responding to humanitarian crises.

Now, brave souls like António Guterres, the U.N.’s high commissioner for refugees, are valiantly attempting to keep Syrian refugees on the minds of foreign leaders. Guterres recently pleaded for “a radical qualitative and quantitative change” in the international community’s response to the refugee crisis, citing the inaction that has caused innocent families to suffer tremendously.

The Syrian war has displaced 10.6 million of the country’s 22 million residents, and four out of five of the three million refugees in the neighboring countries of Jordan, Lebanon, Turkey and Iraq are women and children.

Miliband’s International Rescue Committee recently published a report detailing the harsh lives of women refugees. Leaving their homes to walk to the store — or anywhere else — exposes them to constant threats of harassment and assault, and one in three women said they feel too scared or vulnerable to leave their homes at all. The report was called “Are We Listening?” Right now, the answer is no.

It’s difficult to complete-

ly comprehend three million people when we can’t see each face or hear each story.

The numbers dehumanize the situation. They make it easier to ignore these people whose entire existences have been upended — all too quietly, from an international viewpoint — by war and poverty.

Nada, a Syrian refugee living in Jordan, told the IRC, “We ask for humanity — for people to treat us like human beings.” This is precisely what we, as leaders and as community members, have failed to do. The viral video of a woman being catcalled in New York City engendered a tremendously strong response, but refugee women are exposed to similar and greater dangers every day without eliciting nearly as much attention.

In the street harassment video, we see the woman’s face and understand her individual story. By ignoring the individual in the three million Syrian refugees, we’ve given ourselves permission to easily ignore one of the most pressing global humanitarian issues of our time.

We must ask ourselves: Are we listening? The answer needs to be yes.

Page 7

Just Ask Us: GoYeo or Stevie?

Mike Plotz and Jolie De Feis Columnists Welcome back to the second installment of “Just Ask Us and We’ll Tell Ya” with Jolie and Mike. We know it’s been a hard and long two weeks (my God, three weeks!) with this pesky break keeping us apart from one another, but we’re happy to be back, and it is our firm opinion that you are, too.

Browsing the internet, as we do daily, and scouring Yik Yak, which we also do daily, it occurred to us that there should be no more beating around the bush. We must answer the question that’s been on everyone’s mind: Would you rather say “GoYeo!” at the end of every sentence or eat Stevie food for the rest of your life?

(Question obtained courtesy of Yik Yak and the wildly creative mind of Remington Runnfeldt Schuemann Schneider.)

Now, here at “Just Ask Us and We’ll Tell Ya” HQ (Mandarin or the Rathskeller, depending on the specials), we often differ in opinions; more often, we just lack opinions altogether. So Jolie took up the cause for Stevie, while Mike was a proponent of “GoYeo.” GoYeo! In a long argument that spanned one Rat lunch, two and a half days of on-again, offagain emailing and one chance run-in in the Mudd Academic Commons, we are left almost as lost and opinionless as we began. Jolie began her argument by playing the omelet card, ––––––––––––––––––––––––––––––––––––––

With Stevie, you truly never know what you’re going to get. Except diarrhea.

–––––––––––––––––––––––––––––––––––––– because who doesn’t love Stevie omelets? Mike considered this point, but countered by pointing out that omelets are only offered during brunch, limiting this tasty dish to a mere two mornings a week. Jolie replied, “The soup isn’t too bad.” There is also a chocolate milk dispenser (a true luxury), pretty decent cookies, multiple waffle makers that sometimes aren’t gross and dripping and sushi on occasion. Additionally, there is online menu access. You can even get the menu emailed to you every morning! And there’s unlimited food, which, in this hypothetical world, will definitely still exist.

Wherever you go, unlimited pineapple citrus chicken will follow. (Never tried it? Good news: It’s on the menu tonight at Stevenson Dining Hall.)

On the other hand, while saying “GoYeo” at the end of every sentence may get old — especially in business or family functions and luncheons — you will never feel out of place at a Yeomen or Yeowomen sporting event. Heck, you may even feel at home at your Oberlin reunion.

Plus, it’s proven to be a pretty effective mating call. Don’t believe us? Check out our Tinder matches; they are prolific and consist of more than men holding fish. If you’re lucky, people might even think you’re saying YOLO. GoYeolo!

But is variety not the spice of life? “Sure!” says our resident Facebook friend, Oberlin CDS. Variety is never lacking at Stevenson Dining Hall, whether it’s Tuesday’s Vegetable Mush or Friday’s Leftover Meat Medley. With Stevie, you truly never know what you’re going to get.

Except diarrhea. We can almost guarantee you explosive poop every time. But then again, isn’t the feeling of being completely cleaned out somewhat rejuvenating?

So tell us, reader, is this article long enough?

Would you rather eat Stevie food for the rest of your life, or say “GoYeo!” at the end of every sentence? Email us at justaskusandwelltellya@ gmail.com, and we may feature you in our next article! All we know is that these hungry reporters are going to Stevie tonight. Bon voyage and happy pooping. GoYeo!

Sarah Rose Lejeune

Oidie Kuijpers

I do a lot of stuff with sculptural book arts, or imagery, whether it’s through printmaking, drawing, photography, that sort of thing. … I work with something called pyrography, which is like wood-burning on paper. [I am] mostly using fire from matchsticks, actually, so lit matches to make the marks. … And I also do a lot of work that involves sewing and processes of collection. So taking objects that I collect or hoard and making work out of those too and thinking about elevating ephemeral or discarded objects to a more important status. I’ve been thinking a lot about objects and things that have a fleeting importance or are meant to float or move through your life, whether that’s a receipt, or a matchstick, or my contact lenses, or something like that. What happens when you save those and hold on to all of those marks, and what do those say about identity and history and archiving in that type of way?

I do basically all painting — and some drawing to inform that — but basically all painting, and it’s sort of varied in content. I was very figurative for a little while, but I’ve moved away from that. [I’m] trying to do more landscape-oriented stuff, but relatively abstracted, and focusing more on the painting as a whole, making an image that doesn’t necessarily refer to something but is a stand-alone image, an object in itself. … That’s sort of an idea I’ve been toying with — the idea of whether [paintings] need an explicit content or subject or message even, in a sense, or whether to try to get rid of those things … have them be just images and objects that aren’t necessarily bringing along a bunch of meaning with them.

Those things are all separate, to some extent, but I also see them, like fire and burning, as time-based also. And a process of destruction actually collected sacrosancts being about the creation of something — so a burning hole will cast a shadow or make a mark. That’s about the creation of an image, but it’s also about the destruction of a surface or a material [that] is necessary for that creation. sappho fragment 83: right here (now again) for

I’ve gotten more abstract as I’ve continued to work, thinking about personal abstraction and intimate abstraction. I make a lot of very meticulous and obsessive and tedious work. I’m very process-based, and it takes me a really long time to make most of the things that I make. I’m thinking about ways of showing this idea of personal importance or obsession or intense fragility or delicacy … and how important that time and history is in the process of making, beyond what is actually being represented, how that affects the way the viewer interacts with a piece of work.

At the same time [I’m] referencing very much the act of painting. I try to have [my paintings] appear very physical, so you can hopefully see the act of it, and you can see all the mistakes that were made in it and then covered up, and you can see the process of how it changed throughout the process of making it.

Oberlin 1

I have always been interested in painting … but it’s taken on a more conceptual idea, which is now a big part of it, sitting and thinking about what you’re working on for a long time. The more formal, technical aspect of how colors work to create space and technical drawing and formal composition elements — I’m still about that, but [I’m] taking a Oberlin 2 more holistic approach to it all. It just broadened my horizon … being exposed to the huge variety of stuff that people do here. … That’s really the core of what Oberlin did, for me at least. You’re witnessing so many different things that people are doing. Every time you sit down to work on your stuff, which is very different from what other people are doing, you can’t help but be influenced by all these other people.

STUDIO ART

Max Merrill [My art] comes out of abstract painting [and incorporates] materials from life and found objects, and exploring what you can do with the reduced, two-dimensional language of painting. … In comparison to sculpture, I think of painting as [having] a narrower set of possibilities, so I want to explore how you can be inventive with materials and forms within that. Something that I’ve been thinking about recently is that each piece exists in its own world, and that you have different pieces on a wall that are talking to each other, but [they] are also working in different ways.

Each of the 16 studios tucked in the basement of the Allen Art Building and the office space above the Main Street Diner has its own atmosphere. The work that goes on is reflected in the sketches pinned above the desk, the papers spreading over every horizontal surface, the notes to self from the cubicle’s occupant scribbled on the paintstained drywall and the smell of burnt paper or oil paints hanging in the air. Unlike the musical and theatrical arts, many students and residents never see the fruits of the intense work that goes into the visual arts program at Oberlin.

This week, the Review talked with seven senior Studio Art majors in their studios about their work and the paths that have led them there.

I like things that don’t entirely give themselves to you; you have to engage with them, and they seem like they’re on the verge of falling apart or not working, but there’s something appealing in them. … I think of each piece as a combination of different gestures. … I’m interested in how, with a limited set of gestures, you can still invent new ways of speaking or new ways to use the language of painting to share ideas.

Oliver Levine

Ellen Giddings

I’m a painter, mostly. I’m also a printer. In the past year, I’ve really been trying to reconcile the differences between printing and painting, and combining them in creative ways. I’m really interested in the idea of layering, intense layering. I do digital work with that too; it kind of dances on the line between representation and abstraction.

What I’ve been doing more recently is focusing very strictly on materials that I feel are relevant to a greater system that I’m trying to replicate. [I’m] working very intimately with ceramics and paper and silicone and paint and found objects to develop a way of speaking through objects that will be implemented later down the road as I work on my final show. … A lot of what I’m doing now, these canvases and this fabric work, I don’t see these as final pieces, I see these as works that are going to be part of the aesthetic of a larger piece. I’m making individual components and also developing based on materials that I’m very attracted to.

Some themes that I deal with are the abject, which [are] things that make you really uncomfortable or things that are disgusting. I use a lot of footage from horror movies and documentaries, war and things like that. And I try to create compositions using those images to convey an emotion or a theme. I’ve also done a lot of stuff with smell — so spraying a canvas with something, or making a room smell in a certain way to latch onto the composition, bring you even further into this place, into this memory or experience.

When I came in, I had no idea what I wanted to do. In my sophomore year I started the Comics Collective … but then I left for a year, and I just totally lost interest in making just comics. … I started painting a lot when I was home, and I realized that that was what I wanted to do.

Fleshy

Shosh Gordon Themes that I think I’m working with are memory and time and grief and how we experience all these things, and the difference between how we experience time and memory and grief and how they’re represented — maybe how society represents them. For example, grief is represented very linearly: “First you go through this emotion, then this emotion.” But really, it might be very circular, very in-and-out, and same with memory.

Work from a printmaking class

[Over time,] I think being a different person, I make different art.

Things happen, events happen, and they change you, and you make different things.

Aria Dean I wouldn’t call myself a painter or a sculptor or a performance artist specifically. I’ve been doing a lot of stuff that uses painting and sculpture differently and combining the two and confusing the two and playing with that a little bit. Also, doing some installation things. … Some things I’ve been doing have been taking sculptures I’ve made, or paintings or drawings I’ve made, scanning them into a computer, manipulating them in the computer and printing them out and using them in another piece. … I’ve [also] been using rust and clay [in] a lot of stuff I’ve been doing, but then making it digital also. Taking these hypernatural materials, and then bringing them into a digital realm, and then taking it out of that, and then bringing it back and layering all these things on top of each other and making crazy networks of objects that mirror each other with materials but are confusing and weird and yucky.

One of the things I’m doing semi for senior studio, but also just as a personal project, is [that] my friend and I got money from SFC to rent this space in town, and we’re making it into this gallery and project space for students. So stuff like that is also something that I’ve gotten into more … coming at art from a lot of different angles and being involved in the production side and then also the curating and facilitating side. I’m interested in both of those. I’m just thinking a lot more about art than I did when I got here. … Being at Oberlin, when you’re approaching anything here, you’re like, “What does it mean, oh my God, what are the implications of this?”

I used to make work very frivolously and use humor and shape. [I] was very relaxed in how I employed different materials and what I chose to address. Now I think my work is more conscious of the implications of a material and the implications of a color, the implications of a medium. Right now, I am interested in using systems, so using networks of ideas that manifest themselves in different types of pieces. So, not saying “I’m a painter” or “I’m a sculptor” or “I’m a video artist;” I don’t really adhere to any of those terms. I just say I want to create a network that makes sense to me, an internal network, and see how that plays out in different media.

CALENDAR Oberlin College Library Book Sale Friday, Nov. 7, 12:30–7 p.m.

Mudd library The library will be holding a sale of duplicates and extras from its 1.3 million-plus book collection.

Fiction, nonfiction and scholarly works all start at $1 each, with most hardcover books going for $2. The sale will continue on Saturday from 10 a.m.–1 p.m. with prices additionally discounted on Saturday.

Live From New York: An Uncensored History of Saturday Night Live, As Told by Its Stars, Writers and Guests Saturday, Nov. 8, 10 a.m.

Apollo Theatre James Miller, an award-winning journalist and current Oberlin parent, will share stories from his New York Times bestselling narrative of the legendary latenight sketch comedy show. The recently updated and rereleased book is framed as an oral history featuring interviews with current and former SNL hosts, guests, actors and writers.

Small Jazz Ensemble Concert Sunday, Nov. 9, 7–9 p.m.

The Cat in the Cream Cookies, tea and jazz performed by three student ensembles will brighten Sunday night inside the Cat in the Cream. This concert marks the first in a series of student jazz ensemble concerts that will take place several times per week over the next month. See the Cat in the Cream calendar for dates of future concerts.

“Guardianes de la Memoria Oral” with Judith Santopietro Monday, Nov. 10, 4:30 p.m.

La Casa Hispánica (Harvey House) Judith Santopietro, winner of the National Poetry Award for 2014, writes in the indigenous Mesoamerican language of Nahuatl. She will present work from her latest project with indigenous youth to study oral traditions of legends, native language and medicine in Mexico and Bolivia. The talk will be given in Spanish.

From Deep Screening with Brett Kashmere Monday, Nov. 10, 8–10 p.m.

Dye Lecture Hall, Science Center Filmmaker Brett Kashmere will screen his documentary film about the history and changing cultural significance of basketball in America. His work follows the sport from its origins as a small-town New England pastime to a game played outdoors in cities. The film also examines the first corporate branding of athletes that accompanied the rise of basketball as a national sport.

Fiction Readings by Edan Lepucki, OC ’02, and Jacob Bacharach, OC ’03 Thursday, Nov. 13, 7–8 p.m.

Craig Lecture Hall, Science Center Two Oberlin alumni will return to campus to discuss their novels and short fiction. Lepucki is the author of the New York Times bestselling California, while Bacharach’s first full-length novel, The Bend of the World, was published earlier this year.

Proof Thursday, Nov. 13, 8 p.m.

Little Theater College senior Maya Sharma directs this play, which won a Pulitzer Prize during its three-year run on Broadway.

The plot focuses on a young woman trying to handle the legacy left to her by her mathematically brilliant but unstable father as she struggles to maintain control of her own life. The play will run through Saturday.

This Week Editor: Hazel Galloway

Sarah Rose Lejeune

Oidie Kuijpers

I do a lot of stuff with sculptural book arts, or imagery, whether it’s through printmaking, drawing, photography, that sort of thing. … I work with something called pyrography, which is like wood-burning on paper. [I am] mostly using fire from matchsticks, actually, so lit matches to make the marks. … And I also do a lot of work that involves sewing and processes of collection. So taking objects that I collect or hoard and making work out of those too and thinking about elevating ephemeral or discarded objects to a more important status. I’ve been thinking a lot about objects and things that have a fleeting importance or are meant to float or move through your life, whether that’s a receipt, or a matchstick, or my contact lenses, or something like that. What happens when you save those and hold on to all of those marks, and what do those say about identity and history and archiving in that type of way?

I do basically all painting — and some drawing to inform that — but basically all painting, and it’s sort of varied in content. I was very figurative for a little while, but I’ve moved away from that. [I’m] trying to do more landscape-oriented stuff, but relatively abstracted, and focusing more on the painting as a whole, making an image that doesn’t necessarily refer to something but is a stand-alone image, an object in itself. … That’s sort of an idea I’ve been toying with — the idea of whether [paintings] need an explicit content or subject or message even, in a sense, or whether to try to get rid of those things … have them be just images and objects that aren’t necessarily bringing along a bunch of meaning with them.

Those things are all separate, to some extent, but I also see them, like fire and burning, as time-based also. And a process of destruction actually collected sacrosancts being about the creation of something — so a burning hole will cast a shadow or make a mark. That’s about the creation of an image, but it’s also about the destruction of a surface or a material [that] is necessary for that creation. sappho fragment 83: right here (now again) for

I’ve gotten more abstract as I’ve continued to work, thinking about personal abstraction and intimate abstraction. I make a lot of very meticulous and obsessive and tedious work. I’m very process-based, and it takes me a really long time to make most of the things that I make. I’m thinking about ways of showing this idea of personal importance or obsession or intense fragility or delicacy … and how important that time and history is in the process of making, beyond what is actually being represented, how that affects the way the viewer interacts with a piece of work.

At the same time [I’m] referencing very much the act of painting. I try to have [my paintings] appear very physical, so you can hopefully see the act of it, and you can see all the mistakes that were made in it and then covered up, and you can see the process of how it changed throughout the process of making it.

Oberlin 1

I have always been interested in painting … but it’s taken on a more conceptual idea, which is now a big part of it, sitting and thinking about what you’re working on for a long time. The more formal, technical aspect of how colors work to create space and technical drawing and formal composition elements — I’m still about that, but [I’m] taking a Oberlin 2 more holistic approach to it all. It just broadened my horizon … being exposed to the huge variety of stuff that people do here. … That’s really the core of what Oberlin did, for me at least. You’re witnessing so many different things that people are doing. Every time you sit down to work on your stuff, which is very different from what other people are doing, you can’t help but be influenced by all these other people.

STUDIO ART

Max Merrill [My art] comes out of abstract painting [and incorporates] materials from life and found objects, and exploring what you can do with the reduced, two-dimensional language of painting. … In comparison to sculpture, I think of painting as [having] a narrower set of possibilities, so I want to explore how you can be inventive with materials and forms within that. Something that I’ve been thinking about recently is that each piece exists in its own world, and that you have different pieces on a wall that are talking to each other, but [they] are also working in different ways.

Each of the 16 studios tucked in the basement of the Allen Art Building and the office space above the Main Street Diner has its own atmosphere. The work that goes on is reflected in the sketches pinned above the desk, the papers spreading over every horizontal surface, the notes to self from the cubicle’s occupant scribbled on the paintstained drywall and the smell of burnt paper or oil paints hanging in the air. Unlike the musical and theatrical arts, many students and residents never see the fruits of the intense work that goes into the visual arts program at Oberlin.

This week, the Review talked with seven senior Studio Art majors in their studios about their work and the paths that have led them there.

I like things that don’t entirely give themselves to you; you have to engage with them, and they seem like they’re on the verge of falling apart or not working, but there’s something appealing in them. … I think of each piece as a combination of different gestures. … I’m interested in how, with a limited set of gestures, you can still invent new ways of speaking or new ways to use the language of painting to share ideas.

Oliver Levine

Ellen Giddings

I’m a painter, mostly. I’m also a printer. In the past year, I’ve really been trying to reconcile the differences between printing and painting, and combining them in creative ways. I’m really interested in the idea of layering, intense layering. I do digital work with that too; it kind of dances on the line between representation and abstraction.

What I’ve been doing more recently is focusing very strictly on materials that I feel are relevant to a greater system that I’m trying to replicate. [I’m] working very intimately with ceramics and paper and silicone and paint and found objects to develop a way of speaking through objects that will be implemented later down the road as I work on my final show. … A lot of what I’m doing now, these canvases and this fabric work, I don’t see these as final pieces, I see these as works that are going to be part of the aesthetic of a larger piece. I’m making individual components and also developing based on materials that I’m very attracted to.

Some themes that I deal with are the abject, which [are] things that make you really uncomfortable or things that are disgusting. I use a lot of footage from horror movies and documentaries, war and things like that. And I try to create compositions using those images to convey an emotion or a theme. I’ve also done a lot of stuff with smell — so spraying a canvas with something, or making a room smell in a certain way to latch onto the composition, bring you even further into this place, into this memory or experience.

When I came in, I had no idea what I wanted to do. In my sophomore year I started the Comics Collective … but then I left for a year, and I just totally lost interest in making just comics. … I started painting a lot when I was home, and I realized that that was what I wanted to do.

Fleshy

Shosh Gordon Themes that I think I’m working with are memory and time and grief and how we experience all these things, and the difference between how we experience time and memory and grief and how they’re represented — maybe how society represents them. For example, grief is represented very linearly: “First you go through this emotion, then this emotion.” But really, it might be very circular, very in-and-out, and same with memory.

Work from a printmaking class

[Over time,] I think being a different person, I make different art.

Things happen, events happen, and they change you, and you make different things.

Aria Dean I wouldn’t call myself a painter or a sculptor or a performance artist specifically. I’ve been doing a lot of stuff that uses painting and sculpture differently and combining the two and confusing the two and playing with that a little bit. Also, doing some installation things. … Some things I’ve been doing have been taking sculptures I’ve made, or paintings or drawings I’ve made, scanning them into a computer, manipulating them in the computer and printing them out and using them in another piece. … I’ve [also] been using rust and clay [in] a lot of stuff I’ve been doing, but then making it digital also. Taking these hypernatural materials, and then bringing them into a digital realm, and then taking it out of that, and then bringing it back and layering all these things on top of each other and making crazy networks of objects that mirror each other with materials but are confusing and weird and yucky.

One of the things I’m doing semi for senior studio, but also just as a personal project, is [that] my friend and I got money from SFC to rent this space in town, and we’re making it into this gallery and project space for students. So stuff like that is also something that I’ve gotten into more … coming at art from a lot of different angles and being involved in the production side and then also the curating and facilitating side. I’m interested in both of those. I’m just thinking a lot more about art than I did when I got here. … Being at Oberlin, when you’re approaching anything here, you’re like, “What does it mean, oh my God, what are the implications of this?”

I used to make work very frivolously and use humor and shape. [I] was very relaxed in how I employed different materials and what I chose to address. Now I think my work is more conscious of the implications of a material and the implications of a color, the implications of a medium. Right now, I am interested in using systems, so using networks of ideas that manifest themselves in different types of pieces. So, not saying “I’m a painter” or “I’m a sculptor” or “I’m a video artist;” I don’t really adhere to any of those terms. I just say I want to create a network that makes sense to me, an internal network, and see how that plays out in different media.

CALENDAR Oberlin College Library Book Sale Friday, Nov. 7, 12:30–7 p.m.

Mudd library The library will be holding a sale of duplicates and extras from its 1.3 million-plus book collection.

Fiction, nonfiction and scholarly works all start at $1 each, with most hardcover books going for $2. The sale will continue on Saturday from 10 a.m.–1 p.m. with prices additionally discounted on Saturday.

Live From New York: An Uncensored History of Saturday Night Live, As Told by Its Stars, Writers and Guests Saturday, Nov. 8, 10 a.m.

Apollo Theatre James Miller, an award-winning journalist and current Oberlin parent, will share stories from his New York Times bestselling narrative of the legendary latenight sketch comedy show. The recently updated and rereleased book is framed as an oral history featuring interviews with current and former SNL hosts, guests, actors and writers.

Small Jazz Ensemble Concert Sunday, Nov. 9, 7–9 p.m.

The Cat in the Cream Cookies, tea and jazz performed by three student ensembles will brighten Sunday night inside the Cat in the Cream. This concert marks the first in a series of student jazz ensemble concerts that will take place several times per week over the next month. See the Cat in the Cream calendar for dates of future concerts.

“Guardianes de la Memoria Oral” with Judith Santopietro Monday, Nov. 10, 4:30 p.m.

La Casa Hispánica (Harvey House) Judith Santopietro, winner of the National Poetry Award for 2014, writes in the indigenous Mesoamerican language of Nahuatl. She will present work from her latest project with indigenous youth to study oral traditions of legends, native language and medicine in Mexico and Bolivia. The talk will be given in Spanish.

From Deep Screening with Brett Kashmere Monday, Nov. 10, 8–10 p.m.

Dye Lecture Hall, Science Center Filmmaker Brett Kashmere will screen his documentary film about the history and changing cultural significance of basketball in America. His work follows the sport from its origins as a small-town New England pastime to a game played outdoors in cities. The film also examines the first corporate branding of athletes that accompanied the rise of basketball as a national sport.

Fiction Readings by Edan Lepucki, OC ’02, and Jacob Bacharach, OC ’03 Thursday, Nov. 13, 7–8 p.m.

Craig Lecture Hall, Science Center Two Oberlin alumni will return to campus to discuss their novels and short fiction. Lepucki is the author of the New York Times bestselling California, while Bacharach’s first full-length novel, The Bend of the World, was published earlier this year.

Proof Thursday, Nov. 13, 8 p.m.

Little Theater College senior Maya Sharma directs this play, which won a Pulitzer Prize during its three-year run on Broadway.

The plot focuses on a young woman trying to handle the legacy left to her by her mathematically brilliant but unstable father as she struggles to maintain control of her own life. The play will run through Saturday.

This Week Editor: Hazel Galloway

Arts The Oberlin Review

Page 10

November 7, 2014

Beards Releases Sophomore EP Spectacular Flowers Vida Weisblum Arts Editor Despite having already graduated, bassist Cory Todd, OC ’14, and drummer Duncan Standish, OC ’13, will not be leaving Oberlin for a while. You might see them working behind the counter at the Slow Train Cafe by day or at a garage concert performing as members of the experimental jazz band Beards by night. On Oct. 30, Todd and Standish released their second EP, Spectacular Flowers: Live Selections Vol. 2, along with double-degree fifthyears and fellow band members Stephen Becker, guitarist, and Nate Mendelsohn, saxophonist.

The artists will continue making music at Oberlin, at least until Becker and Mendelsohn graduate this spring.

The energetic group hopes

that its new release, in addition to its first EP, Things Are Great Right Now Vol. 1, will serve as a precursor to a third EP and its first album, which the band hopes to release within the coming months.

Although most of their classmates have graduated and left campus, Standish said that he would be lost without the Oberlin community at this point in Beards’s development. “I think it would be weird for me if I didn’t have this band,” Standish said.

“It’s also a great place for getting a bunch of music together. There are a bunch of really talented people and resources to use.

Staying here for a year or two is a great way to [hit] the ground running in a city.”

The EPs are the band’s first batch of recordings and were recorded at live shows in Ober-

On the Record with Hinton Collection Curators This week, David Berger and Holly Maxson, co-curators of the Milton J. and Mona C. Hinton Collection, visited Oberlin to discuss the current exhibit of legendary bassist and photographer Milt Hinton’s photography at the Allen Memorial Art Museum. Executors of Hinton’s estate also donated four of Hinton’s own basses along with a collection of the bassist’s papers, including everything from correspondence to memorable contracts. Berger, a lifelong friend of Hinton, collaborated on the artist’s award-winning biographical work, Bass Line: The Stories and Photographs of Milt Hinton. Maxson helped to edit and sequence the photographs for the book. Together, the two sat down with the Review to discuss their relationship with Hinton and his photographs.

How did you both get involved with the work of Milt Hinton? More specifically, how did your professional interests lead you to his work?

David Berger: I grew up

in Queens, NY, and I met Milt in ... let’s call it 1955. I was playing bass violin as a high school freshman, and I became interested in jazz bass. I had seen a film called High Society and ... Louis Armstrong’s band was in the film. I thought his bass player Arvelle Shaw was terrific, so I got his number ... and called him on the phone to ask if he would teach me.

And he said, “Nope, I’m too busy, but why don’t you call Milt Hinton?”

Milt Hinton was working in the studios as a freelance musician and in radio and television orchestras. He started teaching me bass, and after about four or five months of my going out there, we talked about it and he said, “I don’t think this is going so well.” And I agreed. He then said, “Why don’t you just come out and hang out here? Let’s just forget about the lessons.” I hung out with him for the next ... How long, Holly?”

Holly Maxson: Until his death in 2000, so I’d say

lin, according to Todd. Formerly known as Men With Short Beards, the band, which formed in October 2010, continues to perform around campus, not only for its own enjoyment, but because its live sound is what makes it unique as a group. “We’ve always been more successful as a live band than as a studio band,” Becker said. “We’re trying to give listeners a taste of this bootleg vibe of what it sounds like to be at a concert or show.”

Beards remains a close-knit group, yet all of its members are exploring new sounds in separate performance ensembles.

Standish and Becker formed a rock trio with double-degree fifth-year and bassist Nathan Swedlow called Idol Hour, Mendelsohn and Standish are working together on an independent project, and Todd has been work-

ing with several groups in the Cleveland area. Becker and Todd will also be performing at this semester’s Solarity event “Aurora.”

Aside from the occasional house party, this semester Beards will perform with a noise punk band, a Chicago band called Rooms, a folk-rock band from Boston, and Semble N, an Oberlin student contemporary classical ensemble. After participating in an experimental improvisationbased dance piece last semester, Beards will accompany Professor of Dance Nusha Martynuk’s improvisation class this spring.

“Our styles are so wide and ranging that we can perform with all ... kinds of bands and still [provide] a complimentary sound,” said Todd.

Though it originated purely as a jazz group, Beards no longer fits perfectly into any particular

genre. Becker questions whether Beards can call itself a jazz band: “We have maybe more in common with [the various bands we will play with this semester] than with the sort of jazz bands playing around campus in various jazz forums.” Todd interjected, “Not to shut those bands out — just to keep an open mind to all kinds of music.”

The future of Beards is ambiguous but auspicious. “We’re trying to get one of us to run for president,” Standish said. “We want to be Billboard No. 1,” said Todd.

“Honestly, at least for me … the goal in creating original music comes from performing it and recording it and showing it to a lot of people, so I feel like in a way we’re doing that already,” said Todd. “We just want to keep doing it and keep expanding.”

Feature Photo: Slam Poetry Duo Performs at Cat

See Hinton, page 13 Sister Outsider, the slam poetry stage name of Dominique Christina and Denice Frohman, performed at the Cat in the Cream on Sunday as part of a tour of U.S. colleges. Both performers are recent winners of the Women of the World Poetry Slam competition and have won numerous other titles throughout their prolific careers. Christina and Frohman have found their niche in the overlap between the arts and social activism; the duo regularly speaks at universities and other community centers to raise awareness about issues of identity, gender and race.

Christina’s life has been profoundly impacted by her family’s involvement in the civil rights movement. Her work as an educator, activist, writer and performer has catapulted her onto the global stage, and her poetry has earned her the singular distinction of holding two national titles at once.

Frohman has also worked as an educator, writer and performer throughout her career to promote awareness of the intersections between race, gender and sexuality. She has also combined music with her poetry, releasing her debut album of music and spoken word Feels Like Home late last year.

Co-curators David Berger and Holly Maxson visited Oberlin to discuss bassist and photographer Milt Hinton’s exhibit at the Allen Memorial Art Museum.

Effie Kline-Salamon

Text by Jeremy Reynolds, Arts editor Photo by Lily Napach

Arts

The Oberlin Review, November 7, 2014

The Epicurean: Amherst, a Low-Key Food Paradise Matt Segall Columnist I hear so much talk about how Oberlin needs an Indian or a Thai restaurant — or whatever the complainer is craving at the time. But northeast Ohio itself has such a vast culinary identity, which I would also like to see better represented in Oberlin. Sal and Al’s Diner, only a 10-minute drive away in Amherst, captures Northeast Ohio’s culinary profile better than any other restaurant I have visited. These fine folks pride themselves on making everything they serve in-house, and it shines through on the plate and palette.

If one dish could sum up Cleveland’s food identity, it would be the pierogi. Native to Poland, Russia and Ukraine, the pierogi represents the area’s immigrant history and culture. Nowadays, pierogi variations available in Cleveland run the gamut from the traditional potato and cheese option, to a trendy beef cheek and wild mushroom variety, to a sweet peanut butter and banana dessert. Sal and Al’s sticks to the traditional end of the spectrum with a potato and cheese-filled dumpling fried in clarified butter and topped with perfectly translucent onions. The dough has a pleasant chewy texture with a good amount of resistance that complements the smooth, uniform cheesy potato filling on the inside.

Sal and Al’s offers other dishes which reflect the Hungarian population’s influence in the area such as chicken paprikash, which consists of dark chicken meat simmered in a paprika and cream sauce and served with spaetzle. Their burgers are also fantastic. Thin patties of freshly ground beef allow for beautifully crispy exteriors and lightly pink interiors and are served with a variety of classic topping combinations.

Beyond their fantastic product, Sal and Al’s offers true Midwestern hospitality. Every server I’ve had there has been charming and attentive, but not overly so. They seem like they genuinely enjoy their jobs and are proud to represent their employer. The staff are not overly trained in fine hospitality but are nice folks who have respect for their customers. For better or worse, this level of service is pretty rare these days, which makes Sal and Al’s a stand out.

Even after stuffing yourself at Sal and Al’s, it is hard to ignore the scent of fresh-baked breads and pastries wafting over from Kiedrowski’s next door. The saints that occupy the kitchen at Kiedrowski’s are true pastry innovators. Baking Buyer magazine agrees with me, as they voted Kiedrowski’s the best bakery in America. Their signature item, the Snoogle, an amazing phyllo-puff hybrid dough filled with cream cheese frosting — a testament to their mastery. Kiedrowski’s is not a one-trick pony, though. They excel at all varieties of pastries — cakes, pies, donuts, brownies, cookies and pretty much anything else you can imagine. On –––––––––––––––––––––––––––––––––––––––

They excel at all varieties of pastries — cakes, pies, donuts, brownies, cookies and pretty much anything else you can imagine.

––––––––––––––––––––––––––––––––––––––– my most recent trip to Amherst I indulged in a divine maple bacon bar and the always-delicious Snoogle. Find out for yourself why they sell 100 dozen Snoogles every weekend.

I was tired of Oberlin’s dining options after my first semester at Oberlin, but even if you love downtown’s meager culinary offerings, do yourself a favor and make the trip to Amherst.

Page 11

Faculty, Students Join Together to Perform Stirring Chamber Music Colin Roshak The Brass, Piano and Percussion departments combined forces this Sunday to present a quirky program of 20th-century music. This installment of the Faculty Chamber Series took place in Warner Concert Hall and included performances of music

by Lutosławski, Gershwin and Bartók.

The first piece on the program, Lutosławski’s “Mini Overture” for brass quintet proved to be an exciting gambit. The ensemble performed the piece’s complex rhythmic figurations admirably, with only the occasional cracked note to remind the audience that even teachers can make mistakes. From the rousing opening fanfare, the players demonstrated precise intonation and presented the composer’s high trumpet riffs and intricate harmonic textures clearly. The performance came to a climax when the whole ensemble performed in

perfectly articulated unison for a particularly exciting musical moment.

Staying within the 20th century, faculty pianists Robert Shannon, OC ’71, and Haewon Song performed the Fantasy on Porgy and Bess for two pianos, as arranged by Percy Grainger.

Even the most difficult passages in –––––––––––––––––––––––––––––––

From the rousing opening fanfare, the players demonstrated precise intonation and presented the composer’s high trumpet riffs and intricate harmonic textures clearly.

–––––––––––––––––––––––––––––– Grainger’s elaborate transcription rang out clearly and precisely through Warner Hall. From the powerful opening chords to the more tender quotes

from Gershwin’s popular opera, Song and Shannon performed the arrangement with energy and passion.

Many of Béla Bartók’s trademark Hungarian rhythmic figurations are present in his Sonata for Two Pianos and Percussion. The sonata has three movements; the first begins with a slow tempo in the lowest registers of the piano and timpani. As the music begins to ascend the range of the piano, the slower tempo is sharply interrupted by flashes of energetic, quick passages in the percussion lines. The often-dissonant harmonic structure excellently contrasted Gershwin’s more consonant melodies.

From beginning to end, Yury Shadrin, OC ’06, and Professor of Piano Monique Duphil displayed immaculate collaboration. Despite facing away from each other, the two played with confidence and accuracy in even the See Gershwin, page 12

A brass quintet performs Lutosławski’s “Mini Overture” in Warner Concert Hall. Associate Professor of Trumpet Roy Poper (left), Assistant Professor of Trombone Lee Allen, Visiting Professor of Tuba Denis Nulty, Professor of Horn Roland Pandolfi and Trumpet major and Conservatory senior Luke Spence played with precision and poise during this installment of the Faculty Chamber Series.

Courtesy of Walter Novak

Students Give Informal Underground Concerts Brianna Di Monda Burton Hall doesn’t possess a traditional performance space, but this hasn’t stopped Conservatory firstyear Garrick Olsen from organizing concerts in the basement of Burton every Thursday evening. These informal concerts are meant to provide students with a low-stress environment in which to share their music, free from the traditionally high-pressure atmosphere of the concert hall.

Olsen began performing solo concerts in Burton during the first week of the school year as a way for him to become more comfortable performing in front of an audience. Soon after, however, he invited other

students to join him at the suggestion of his friend, Conservatory first-year Milo Talwani. Since the initial concert, attendance has risen from a modest two or three students to about 20, and musicians of all years and styles are welcome to perform. To date, Olsen has welcomed students performing jazz, folk, freestyle rap, classical piano, electronic music, and even a punk rock band, Your Older Sister’s Girlfriend, to appear in the basement performances.

“I just wanted to share music with people on a regular basis,” Olsen said. “To have that regular concert that people could just go to and hear new, good music is cool because there are a lot

of good musicians here.”

Talwani was the first “guest artist” to perform at Olsen’s weekly concerts and has played there three times since. He originally suggested opening up the concerts to Olsen because he wanted to provide a space for people to perform in a stressfree setting.

“It seemed pretty natural to me to open it up because there’s something cool about being able to provide a space for people to perform,” Talwani said. “It’s nice to be working towards building a community and helping support people [sharing] their music.”

The location and informality is designed to allow people to experiment with what they showcase and to

provide a safe space for musicians of varying performance levels.

“The real draw for me ––––––––––––––––––––––

“It’s nice to be working towards building a community and helping support people [sharing] their music.”

MILO TALWANI Conservatory first-year –––––––––––––––––––––– about the concerts is that there aren’t a lot of opportunities to perform nonclassical music in a regular, See Attendance, page 13

Arts

Page 12

The Oberlin Review, November 7, 2014

Empress Of Engages Crowd Despite Weak Vocals Sam Winward Singer-songwriter and producer Lorely Rodriguez entranced concertgoers last Sunday at the Cat in the Cream.

Onstage she calls herself Empress Of, and though she routinely performs with her band, Rodriguez is the singular ––––––––––––––––––––––

Her voice was lyrical but not overpowering, especially through the microphone’s hazy filtration.

–––––––––––––––––––––– mind behind the music. Her debut EP Systems, released in April of 2013, drew artistic acclaim with its hazy electronic sound. Now with last year’s release, “Realize You,” her sound has evolved into more conventional pop.

About 30 minutes past the scheduled show time, only a few empty seats remained.

When the event promoter took the stage, the audience immediately abandoned their seats for the dance floor, as the experience would surely have

been awkward for everyone involved. Rodriguez then took her place onstage and wasted no time beginning the first song.

The trio produced a cohesive sound; however, apparently not all of the music was played live. Her voice was lyrical but not overpowering, especially through the microphone’s hazy filtration. Her vocal timbre often struggled to pierce through the band’s mesh of sound.

The drummer alternated between electronic and acoustic sounds, providing diverse percussive elements in each of Rodriguez’s tunes. His drumming was precise, almost machine-like; listeners might have had difficulty believing a drummer was present without visual proof. Despite his clear talent, the percussive undertones of his sound remained reserved and predictable.

Nevertheless, Empress Of managed to engage the audience. Many students began doing an interpretive dance, the bass drum’s consistent thumping providing a steady heartbeat to their movement.

Rodriguez had moves of her own, occasionally getting lost in the modulating synths and

Gershwin, Bartók Featured in Concert Continued from page 11 most complicated of passages. Professor of Percussion Michael Rosen and percussionist Christopher Cabrera, Conservatory senior, excellently supported the unrelenting melodic discussion between the two pianos.

Rosen displayed a relaxed nonchalance even throughout the most difficult sections.

The second movement also began slowly, but this time with a percussion solo, which was soon answered with punctuated jabs from the pianists. Even as the texture slowly thickened, the music retained a very placid feel. The occasional sharp interjections in the piano parts eventually transformed the movement with a lighter, more animated tempo. The performers presented a seamlessly unified interpretation of the jazzier sextuplet motif that was passed from musician to musician before relaxing once more into the tranquility of the return of the opening material.

A bright flourish followed by skillfully executed virtuosic lines in the piano parts opened the final movement. The

pianists, supported by driving pulses from the percussion, were accented with strong offbeats, giving the music a rhythmic zest. Shadrin and Duphil maintained flawless synchronization throughout the most hectic of passages, and all four players perfectly captured Bartók’s gentle fadeout as if the musicians were slowly walking off into the distance.

––––––––––––––––––––

Shadrin and Duphil maintained flawless synchronization throughout the most hectic of passages, and all four players perfectly captured Bartók’s gentle fadeout as if the musicians were slowly walking off into the distance.

–––––––––––––––––––– This movement was the crowning moment to a concert of many musically thrilling moments and rounded out the night with a sense of relaxed introspection.

throwing her hair from side to side.

Between songs, the supportive crowd shouted words of encouragement and immediately called for an encore after she finished her

last song. Upon returning to the stage, she said playfully, “We never do encores. We’ve just been on tour opening for other bands.” Her admittedly small-time status, backed by a quality performance, made

her worth rooting for — or maybe it was just her Brooklyn background with which so many Obies could identify. Although the show fit perfectly within the venue, it is hard to imagine Empress

Of headlining bigger venues.

While Rodriguez’s production and songwriting are topnotch, the recruitment of a “next-level” vocalist may be necessary to push the group over the edge.

Lorely Rodriguez, a.k.a. Empress Of, performs at the Cat in the Cream last Sunday. She encouraged her audience to dance before launching into her program, during which she electronically altered the timbre of her voice to suit her selections. Effie Kline-Salamon

The Oberlin Review, November 7, 2014

Arts

Page 13

Attendance Increases at Low-Stress Basement Recitals Continued from page 11 formalized setting,” Talwani said. “You can get on the occasional house show here, but this is a regularly occurring thing that is easily accessible. … It’s nice to be working towards building a community and helping support people.”

Talwani noted that the choice of venue adds to the informal nature of the concerts. “There’s something really cool about playing

in the basement because, quite frankly, it’s not a good concert venue,” he said. “The acoustics aren’t good, you don’t have a lot of control over the lighting and there aren’t seats that are pointed towards you. It’s more informal and more DIY than performing at a house.”

College first-year Brielle Hutchison also cited the relaxed environment as a strong draw for students.

“It’s cool to see people

perform in such a relaxed setting,” Hutchison said.

“I feel like everyone can do more out-there things at these performances because there are just fewer expectations here than even at house shows, where there are generally already no expectations.”

Olsen does not currently have a plan for expanding or continuing the concerts in future years, but said that he wants to keep organizing them

––––––––––––––––––––––

“I feel like everyone can do more out-there things at these performances.”

BRIELLE HUTCHISON College first-year ––––––––––––––––––––– for at least the remainder of this academic year. “I haven’t thought too far in advance, but I’m definitely

keeping it up through this year because I like it so much,” Olsen said. “I don’t know if I’d change the venue my sophomore year or anything. I do like the space right now because it’s rather informal and comfortable.”

Interested students can usually contact Olsen directly if they want to play at the concerts. So far, Olsen has known all of the performers prior to their Burton debut, but he’s

happy to expand the concerts beyond his friends.

“Usually I contact people to play, but people also ask me if they can play at them as well. … I usually know them beforehand, at least on a first-name basis,” Olsen said.

The next basement concert is set for Thursday, Nov. 13, and may feature a screamo band tentatively titled Screams Will Never Die But You Will.

Hinton Photography On Display at AMAM Continued from page 10

A small audience gathers to hear a student play guitar as part of a weekly open mic in Burton Hall basement.

Conservatory first-year Garrick Olsen hosts the informal concert series every Thursday.

Mike Plotz

about 45 years.

DB: The photographs all come about because when ... I was about 15 or 16 years old, I saw this pile of contact sheets in his basement. These were not finished photographs or enlarged photographs, but they were contact sheets, hundreds of them with all of these little, tiny images. I started asking questions about the photographs.

There were pictures of people that I had known all about. I saw photographs of Dizzy Gillespie, Billie Holiday, Ben Webster, and I just became fascinated with them. I was also intrigued by the composition of them. So I started writing on the backs of [the contact sheets] who was where in the images. I would ask, “Who was this, Milt?” and he would tell me. Eventually, I did my undergraduate degree in sociology and got a Ph.D. in sociology because I wanted to combine my interest with music with my interest in sociology.

Very few people did this at the time, and this all started for me with Milt.

HM: [In 1978,] I got a call from David and he said, “I’m working on this project and we want you to do some printing,” and I went and picked up all of the contact sheets and took them to my darkroom in my apartment and started to work. Essentially it was just chaos, some of the negatives had gotten damaged in a flood in Milt’s basement and they were all scattered and nobody had really numbered them.

There was no organization at all. There were about 45,000 negatives. But I created a card catalog that I knew would help David and Milt find the pictures that they wanted to use to illustrate this story.

What is one of the most unique parts of Milt Hinton’s photographs?

DB: What makes it kind of an unusual story is that here is a guy who is ... part of the scene.

He was shooting away like crazy!

And he’s shooting his friends!

He’s not an outsider; he’s not a photojournalist. He’s one of the

guys. This is a world-class jazz bass player who’s got entrée into this world.

HM: To paraphrase a quote from the documentary, these musicians aren’t looking at the camera, they’re looking at Milt.

He came from such an impoverished background in the South that for a black man to have achieved his status was just the most wonderfully miraculous thing. He was always looking toward realizing positive forward movement for his people.

DB: He would also be the first one to say, “I’m not a professional photographer. I got myself good equipment, and I happened to be at the right place at the right time.”

How did Hinton depict his experience as an upper-middleclass black man during that time period?

HM: Milt really had a commitment to wanting to show people the way in which he lived and the world in which he lived. I also think he was very conscious of trying to show [his experience of ] advances in his community, the positive changes that were taking place.

DB: He wanted all of this stuff to be shared and he wanted future generations to see how he’d experienced [it], but also wanted to show people the kinds of circumstances that they were facing in context, like when they toured the South, and his experience of segregation.

Why did you choose Oberlin for this collection to be located?

DB: Milt Hinton spent a lot of his teenage years in Sandusky, Ohio. Milt had a private violin teacher, James Johnson, who told Milt that he went to Oberlin. Milt never forgot that, and I think part of Milt was sort of astounded that an AfricanAmerican man could have gone to Oberlin that early. We knew that Oberlin had both a worldclass liberal arts college and a world-class conservatory. There are not many places like it.

Interview by Tristan Cimini

Sports

Page 14

The Oberlin Review, November 7, 2014

IN THE LOCKER ROOM

Swimming and Diving

This week, the Review sat down with members of the swimming and diving team, senior captain Jack Redell, sophomore Liam Oznowich and first-year Hannah Pieper, to discuss the crowd during the team’s first home meet, Coach Andrew Brabson and staying motivated.

How have the first few meets of the season gone?

Jack Redell: We’ve been training really hard so far and that’s definitely taken its toll. Everyone is pretty sore.

Given that, everybody is racing really well, and we’re much further along than we were at this point last season.

Liam Oznowich: During our first meet against Hiram [College], we killed it. We won all the races. Even though [our meet against The College of Wooster] didn’t go as well as we wanted, our times were a lot better compared to last year.

Hannah Pieper: I wasn’t here last year, so I have no idea how it compares. I feel like, considering where we are in the season and how hard we’ve been training, and comparing this experience to my previous seasons, things are going well.

How was turnout the for the first home meet?

JR: It was great. It was on Halloween, so we got a lot of people dressed up in their attire. A good friend of mine was just wearing a hat; he looked like somebody’s dad. That was cool. A lot of our friends came out. We did a great job of publicizing it. Swim meets are entertaining to go to at times, and if you want to, you can see Liam swim the mile, which is the most fun. It’s good to have people around to make noise with us.

LO: The best part was we had a lot of people come and they stayed for the entire time. Usually we have people come and they only stay for like the first 10 minutes.

HP: I was really impressed with all the people.

time or something they really want to do. We keep each other pretty motivated. If Liam keeps showing up to practice and I don’t, that’s bad form on my part.

LO: The coaches help a lot. We really like Sarah and Andy — the dream team. They call themselves that. When things get really hard, they give us motivational speeches.

HP: Or they just yell at us. I think small goals help a lot, too.

Breaking it down and making more attainable short-term goals keeps me motivated.

First-year Hannah Pieper (left), sophomore Liam Oznowich and senior Jack Redell Is there any advantage to swimming at Robert Carr Pool?

JR: We recently adopted a new mascot who hangs out at Carr Pool.

His name is Uncle Ricky.

That will give us an advantage from here on out, but otherwise there’s a standard. The only real advantage is that we get to see all our friends and try to look good for them.

LO: We always look good, Jack.

Let’s be real. Also, being at home is nice because traveling on buses is really tiring.

How has it been adjusting to the rigorous practice schedule?

HP: I think it was kind of a tough adjustment. It’s better now, but the first week or two I could tell that I was more fatigued. It’s super weird because I don’t see my roommate at all during the week, because I’m always asleep when she comes back and I get up before she gets up. Being on an opposite schedule from the rest of campus is really weird, but I think it’s becoming more normal.

How long does it typically take

to feel like you’re in midseason form?

JR: The best point of our season is always at the end. That’s when we try to race our fastest. When we’re about here, you kind of get into a good groove, working out every day.

LO: We have a meet coming up in the middle of December in the week before reading period in Fredonia, NY, and that is typically where people go the fastest before conference because then after that we go into Winter Term, which is a very intense practice schedule. We get really tired, so at the meets that we have during Winter Term we don’t do as well.

How long have you been swimming? How and why did you first start?

JR: I’ve been swimming since sophomore year of high school, which is a little late. I started probably as a mistake. Somebody pushed me in the pool. I thought I was gonna play another sport; basketball, which I’m just terrible at.

Somebody told me that I would get to take my clothes off all the time for swimming and I was sold.

Editorial: First-Year Student Pushes Past Illness in NCAA Opener Continued from page 16 she loves have garnered the attention of the national media and celebrity athletes alike. On Monday, two-time NBA champion LeBron James posted a picture of Hill competing in Sunday’s game on his Instagram account with the caption: “You are simply and truly ‘AMAZING’ Lauren Hill!!! Thank you for inspiring me and I’ll try my best to match you! Congrats on your game.

Also be looking out for a package from I to You! You’re Awesome!!!”

Hill recently told CBS in an interview that playing basketball provides her with a source of happiness while she battles her illness.

“I wanted to wear those shoes and wear that jersey and feel like a superhero again because that’s how I feel when I put on that jersey and wear that number,” she said.

Although few athletes will face a situation comparable to Hill’s in their lifetime, the sentiment of her story and passion for her sport rings true for

all athletes dedicated to their games.

The power of playing a sport is beyond the capabilities of any doctor or any medicine in the world, because when someone is on the court, field or rink, everything else becomes background noise.

When Hill competed in the game against the Terriers over the weekend, she was not thinking about the fact that she would inevitably pass away in a matter of weeks. In the same CBS interview, Hill said that she was most worried about letting her teammates down when she could no longer attend practice. In just one statement, Hill explains the power of team sports when difficult situations arise: “I love [my teammates]. They’re like my family and they keep me going. They’re what keeps me positive.”

This message is the essence of why team sports exist. In times of difficulty and pain, teams possess the sacred ability to make you forget about everything bad, if only just for a few minutes.

LO: I’ve swam since I was seven, but it’s because I couldn’t play any other sport. I would get made fun of in P.E. all the time. I threw the ball in the wrong basket one time. It made it in, but it was for the other team.

Swimming was the only thing that I could physically do. It’s a very nonconfusing, straightforward sport.

HP: I started swimming in first or second grade because I was playing soccer at the time, but I hated to sweat. I hated how it felt to sweat with clothes on. I figured I’d swim, and it just sucked me in.

What other parts of your life does swimming help you with?

JR: I sleep very well at night.

LO: Time management. I am less efficient with my work when I’m not swimming even though I do have more time.

HP: Getting schoolwork done. I eat a lot.

The season lasts the better part of six months. How do you stay motivated for that long?

JR: Stockholm syndrome. There are goals that you want to achieve, and everyone has sort of a target

Do you feel like Coach Brabson is more comfortable in his second season here?

JR: Totally. Last season, he was kind of thrust into the job a little late in the game. He seems a lot more confident this season. We can really see the ways that he’s a lot better than our previous coach.

LO: It reflects really well this season with recruiting because he has a much better sense of what Oberlin is as a school and not just the swim team. I’ve been really impressed with the recruits that he’s brought in, in terms of how they seem like they’d be able to fit in here.

What are the best and worst parts of the swim team?

JR: Best part is probably Saturday morning practice. We love Saturday morning practice.

LO: I am a late night person, I get my best work done late at night, so it’s very frustrating when I should be going to bed by 11 during the season. I’m a creative writer, and I do my best writing late at night.

HP: Swimming also dries out your skin so much. My skin is stretched so tight.

Interview by Nate Levinson, Sports editor Photo by Ben Shepherd

Cruz Sets Sights on School Record Continued from page 16 what it takes to be successful in the classroom and how much I have to study in order to feel prepared. He might not be the most vocal leader, but his actions speak volumes.”

Coach Anderson agreed with Rivers and noted that Cruz’s biggest assets are his character and dedication.

“I think his biggest strength is that he cares. I watch him interact with everyone on our team and on campus, and he’s able to integrate football and walk across campus by being courteous to any and everyone

he meets; he’s just a good person,” Anderson said. “As anyone else as young as he is, he has to continue to grow and get a better understanding of the game; he has to get stronger and he has to get faster, but he’s on the right path.”

With two games left in the season, Cruz has the potential to break the single-season school record for receiving yards, held by Valenzuela at 990 yards. Although he admits he feels pressure to perform and surpass 990, he’s focusing on “keeping his mind off of it” because he “doesn’t want any distractions going into the last

few games of the season.”

The opposing teams in the NCAC have their eyes on Cruz and his accomplishments, but Anderson is confident in Cruz’s continuing success.

“I don’t care what other teams think about him or if they know we’re gonna throw the ball to him or hand it off to him,” said Anderson. “They’ve got to stop him.”

Cruz will look to inch closer to the record and help the Yeomen seal their third victory this Saturday at home against the Ohio Wesleyan University Battling Bishops at 1 p.m.

Women’s X-Country Finishes on Top Continued from page 16 said Appenheimer.

Aside from being mentally strong, the team has practiced effectively and seen the payoff, according to Josh Urso.

“I felt that our strength and core routines at practice played a major role in our success on Saturday with the poor conditions,” he said.

The cross country team will take on the Great

Lakes Regional at Wilmington College in Mason, Ohio, on Saturday, Nov. 15 at 11 a.m. There the team will contend for a spot in the NCAA Championships.

“It’s really just about rest, recovery, a couple little tune-up workouts, but as the saying goes, ‘The hay is in the barn.’ There’s a lot we could do to screw up at this point and very little we could do to really push people’s performances much further,” said Appenheimer.

Sports

The Oberlin Review, November 7, 2014

Page 15

— Women’s Soccer —

Kenyon Quashes Oberlin’s Playoff Dreams Harrison Wollman The women’s soccer team saw its season come to a close last Saturday, Nov. 1, when the Kenyon College Ladies came out on top with a 2–0 victory. The Yeowomen needed the win to secure a spot in the North Coast Athletic Conference playoffs but were ultimately unable to walk away with the berth. The Yeowomen concluded their season with an overall record of 10–8 and 3–5 in conference play, more than doubling the wins from the 2013 season.

In addition to beating Kenyon, the Yeowomen were banking on other NCAC results swinging their way. Denison University

needed to defeat DePauw University and Allegheny College had to beat Wittenberg University. Both games played out in Oberlin’s favor, so the Yeowomen knew exactly what was on the line in their game. Saturday’s contest also fell on Oberlin’s Senior Day, which, according to senior forward Abby Weiss, added to the emotional atmosphere.

“Anytime you play Kenyon it’s an emotional day,” she said.

“The fact that it was Senior Day and the last game of the season, along with the opportunity to make it to the NCAC, made it a really tough game but also really exciting. We were really pumped for this game, probably more pumped for this game than any

other game this season.”

Saturday’s contest was not immune to external factors, with winds exceeding 20 miles per hour at Fred Shults Field. The Yeowomen started with the wind at their backs but were unable to take advantage of the opportunity and score. The Ladies also faced difficulties going against the breeze, and the first half concluded in a 0–0 stalemate.

“The wind was really intense,” said Weiss. “It’s such a huge advantage to have the wind at your back and it was really crucial that we got a few on the board that first half, but we were unsuccessful. If you watched the goal kicks or the punts against the wind, they really didn’t go

Sophomore Tyler Sloan kicks the ball in the team’s finale against the Kenyon College Ladies. The Yeowomen finished their season with a 10–8 record.

Courtesy of Sarah Kaufman

anywhere.”

The second half provided the Ladies with the edge they needed as captain and NCAC leading goal scorer Becca Romaine capitalized on a give-and-go play at the top of the box in the 61st minute. However, the staggering blow for the Yeowomen came in the 77th minute when Romaine tucked away the game-winning goal, her 14th of the 2014 season.

In the second half alone, the Ladies outshot the Yeowomen 9–2, outshooting Oberlin 12–4 overall. Senior goalkeeper Kate Frost put forth a strong effort in her last career game and managed to keep Oberlin in the game with six saves.

In addition to the significant improvement from past seasons, the Yeowomen had the longest winning streak in history this year when they went nine straight games without losing.

Among these notable triumphs were victories over longtime rivals Wittenberg and Baldwin Wallace University.

Before the game, Weiss, Frost and classmate Samantha Mater were honored for Senior Day. The three graduating members of the team were essential leaders for the Yeowomen this season, and sophomore forward Taylor French said the trio would be sorely missed next fall.

“My class has been playing with them for the last two years, and we’ve gotten really close, which allowed us to respect them as leaders, teammates and friends,” she said. “That mutual respect allowed them to really lead us effectively. We always played for each other, and that went both ways. We wanted them

to go out with a good season.”

Just two years ago, the Yeowomen won only a single game.

For the seniors, this season was an ideal parting gift after coming so far. Frost, reflecting on the team’s growth from her first to final year, said that the improvement was a result of increased intensity both on and off the field.

“I think the atmosphere at practice was a lot more intense than it’s been in my past three years. I think we all enjoyed being there and working hard for each other, which was really important,” she said. “[Head Coach Dan Palmer] did a really good job of working with what he had and pushing us to be better players.

I think everybody improved this season.”

Palmer, who now has a 14–22 record at Oberlin after his second year, said that the program has made major strides and echoed Frost’s praise for the team. “[The team] worked incredibly hard and really bought into the things that we asked them to do. The returning players made huge strides from where they were last year and we had some enthusiastic and talented freshmen that made big contributions as well,” he said. “The team chemistry was also very good.

So it was the right set of circumstances that came together well for us, despite the injuries.”

The Yeowomen will look to add more talented incoming players in pursuit of an NCAC title to their already young roster.

“We are very young and enthusiastic,” said Palmer. “The future is bright.”

— Swimming and Diving —

Swimming and Diving Splits Back-to-Back Meets Abby Weiss The swimming and diving team opened its North Coast Athletic Conference play against the College of Wooster Fighting Scots on Saturday, Nov. 1 with tough losses on both the men’s and women’s sides, falling 166–93 and 153–135 respectively.

The dual losses move the team to a 1–1 overall record.

Preceding Saturday’s contest against the Fighting Scots, the Yeomen and Yeowomen took on the Hiram College Terriers at home on Friday night. Oberlin easily moved past Hiram with a 144–71 victory on the women’s side and a 133–84 sweep on the men’s side. However, the encouraging win over Hiram notwithstanding, sophomore Nils Gudbranson said the team was anxious going into Saturday’s event.

“Going into [the] Wooster meet, people were confident, but also worried because we had just had a meet the night before,” said Gudbranson. “The team wasn’t feeling 100 percent, so there was a mixture of high intensity and anxiety.”

Led by sophomore Nora Cooper and junior Samma Regan, the Yeowomen swam hard against the Fighting Scots but ultimately came up short.

“We lost some close races early on, and

I think that was a bit difficult,” said junior Olivia Degitz. Two of the Yeowomen’s losses came by mere fractions of a second.

Regan ended up on top in two individual contests against Wooster, finishing first in the 1,000-yard freestyle with a time of 11 minutes, 8.7 seconds and first in the 200-yard backstroke with a time of 2:30.94. Regan finished second in the women’s 50-yard freestyle, falling by only six-tenths of a second.

“Samma Regan is doing really well,” said junior Allison Susin. “Coming off an injury from last year, she is healthy again and is training really hard.”

Cooper had a successful day as well, coming in first in the 200-yard freestyle with a time of 2:01.34 and finishing second in the 100-yard free, trailing Wooster by only .06 seconds yet again.

Sophomore Vera Hutchison also claimed two first-place finishes in the women’s 100- and 200-yard butterfly.

Despite the difficult losses, the team kept up its enthusiasm and valued its strong individual performances.

“The team made a big effort to rally and stay positive, and we were able to get the whole team together to cheer for a couple specific events where we had really big wins, and I think that that helped a lot,” said Degitz.

On the men’s side, senior Chris Ayoub and sophomore Jeremy Cooper led the team, with Ayoub claiming 21 points.

Along with Ayoub, senior Jack Redell and sophomores Liam Oznowich and Nils Gudbranson placed second in the 400yard medley relay with a time of 3:51.08.

Ayoub also claimed two other individual second-place finishes and ended with a first place win in the 400-yard individual medley, clocking a time of 4:30.06.

Cooper also made a splash with his performance, earning 18 points for the Yeomen by taking first in both the strenuous 1,000-yard freestyle and the 500-yard free.

“Jeremy Cooper is a stellar swimmer and is definitely someone to look out for.

In the pool he is a total monster,” said Gudbranson.

All in all, Head Coach Andrew Brabson was pleased with the team’s efforts.

“We had a lot of strong swims this past weekend, including some lifetime bests and all-time Oberlin top-10 swims,” said Brabson. “As with any early season meet, it is a good opportunity to get back into racing and find aspects of race preparation and execution that can be fine-tuned in practice.”

Moving forward, the Yeomen and Yeowomen hope to continue to be com-

petitive with other teams and improve throughout the season.

“One of our team goals is to move up in the conference at the end of the year,” said Degitz. “We have a big group of girls, so we are able to push each other in practice and train really hard, and that will definitely pay off for further dual meets and [in] conference.”

The two teams return home on Saturday, Nov. 8 to take on the Case Western Reserve University Spartans in another dual meet.

Home Games This Week Saturday, Nov. 8 1 p.m. – Football vs. Ohio Wesleyan University at the Austin E. Knowlton Athletics Complex 1 p.m. – Swimming and Diving vs.

Case Western Reserve University at the Robert Carr Pool

Sports The Oberlin Review

Page 16

November 7, 2014

— Football —

Sophomore Receiver Paces Yeomen Taylor Swift With a roster of 22 first-years and a slew of season-ending injuries across all positions, the football team has struggled to produce winning results, heading into its final two games with a 2–6 record. Sophomore wide receiver Justin Cruz’s performance, however, has never wavered.

Coming off of his first year with a total of 19 catches and 173 yards, the Pleasanton, CA, native has made leaps and bounds in his second season. With two games left to play, Cruz has already recorded 47 catches and 710 receiving yards, with a season high of 14 catches and 242 receiving yards in the Yeomen’s 37–9 victory over the Allegheny College Gators. Both statistics earned him a place in the record books, breaking the previous school record of 239 yards held

by Ricky Valenzuela, OC ’02, while also tying the record for catches in a

single game. This stel- sees Cruz’s performance Standing at 5 feet 9 size; it’s about ability,” he lar performance earned as integral to his and the inches, Cruz said that said. “It doesn’t matter Cruz the titles of D3foot- team’s success. he has “always used how big you are or how ball.com’s Team of the “[Cruz] is such a [his] size as motivation small you are; it’s ‘Can Week and NCAC Offen- go-to guy on the field, to get better and be able you play?’ And he can sive Player of the Week. and it makes my job a to compete with bigger play.”

Cruz attributes the lot easier having good opponents.”

Despite being an majority of his growth playmakers around me,” Head Coach Jay underclassman, Cruz to his maturity as a play- Poggiali said. “We have Anderson also views has proven himself as er and the support of his such a young group of size as irrelevant given a leader for his teamteammates and coach- receivers — seven of the amount of talent mates both on and es. Although he started them — and he’s been and skill seen in Cruz’s off the field. A Politics as a running back in such a leader out there performance. major, He has a dedicahigh school, his impres- as one of the oldest “At this level and tion to balancing both sive speed made him an ones.” any level, it’s not about academics and football obvious choice to excel in the “short, quick pass routes” required of a wide receiver, he said.

“Coach [Adam Sopkovich], the wide receivers’ coach, has done a really good job of developing me as a player and making me more of an actual wide receiver,” Cruz said.

“The players around me have also done really well this season, which has given me a lot more opportunities.”

Cruz’s standout performance this season has a lot to do with his relationship with junior quarterback Lucas Poggiali. As a captain Sophomore wide receiver Justin Cruz sprints down the field during a game for this team, Poggiali Wooster Fighting Scots. Cruz leads the team with 47 catches for 710 yards.

that makes him an exemplary student-athlete; he has helped instill a similar drive in the younger players, such as first-year running back Khalil Rivers. “[Cruz] told me early on [that] sometimes you have to sacrifice fun if you want to have success on the field,” Rivers said. “He showed me See Cruz, page 14

against the College of Courtesy of OC Athletics

— Cross Country —

Yeowomen Finish Season as NCAC Champions Michaela Puterbaugh For the eighth time in the College’s history, the women’s cross country team prevailed in the North Coast Athletic Conference championships last Saturday, giving the team its sixth consecutive title. The men’s team followed just behind as they came in third place overall, beating last year’s fourth-place finish.

“I was really happy with how the men and women competed,” said Head Coach Ray Appenheimer. “They established their position early and made the rest of the conference come chase them.”

Just as they had been all season, the Yeowomen were led by their dominating group of seniors. Senior and All-Ohio champion Emma Lehmann achieved an individual championship as she finished the six-kilometer race with a time of 23 minutes, 15.7 seconds.

“It was gratifying, but it really could have been any one of us,” said Lehmann in an email to the Review. “We’ve all worked hard this season, and it wouldn’t have been possible without training with the group of seniors that I’ve been with all season. Over the past four years, we’ve really developed together as runners, and it’s been great to go through college with such a solid group.”

Trailing close behind Lehmann was fellow senior Kyle Neal, who

earned a second-place spot with a time of 23:34.9. Taking fifth and sixth place were seniors Sarah Jane Kerwin and Carey Lyons, who finished just over a minute before their remaining senior teammate Erica Morelli.

In addition to the powerful leadership of the seniors, first-years Peyton Boughton and Sarah Urso’s times of 24:46.9 and 24:52.9 scored them 19th and 22nd spots overall.

“On the women’s end, our seniors have really been just tremendous,” said Coach Appenheimer. “You don’t have this kind of success without people really stepping up and doing their best.”

Although the Yeomen were not able to get a championship, they still ran well, as juniors Geno Arthur and Josh Urso led the team in second and eleventh place. They finished the race with times of 26:33 and 27:00.7 respectively.

“The condition of the course was not ideal and the times were slower, but our team did a good job staying mentally and physically tough throughout the race, which was evident in our team and individual performances,” said Josh Urso.

Sophomore EJ Douglass also added to the Yeomen’s success as he finished the men’s 8K with a time of 27:41.5, securing 25th place in the race.

Coming up behind him in 34th place was junior Sam Coates-Finke, who ended in 28:19.8.

“We stress the same things in

August that we do in October and in November and that is really connecting and locking down mentally, focusing well during the race and

making the most of every opportunity they get and having fun with it,” See Women’s, page 14

Hill Inspires Fans Tyler Sloan Sports Editor There are some moments in sports history that make us take a step back and appreciate why athletes play the games they play. Last Sunday was one of those moments, when 19-year-old Lauren Hill of Mount St. Joseph University took the court in the NCAA Division III women’s basketball season opener.

Last year, Hill was diagnosed with terminal brain cancer. This September, her doctor informed her that she had only a few months to live. Since then, her dream has been to play in just one college basketball game. However, given her illness, Hill has been sidelined for most of the preseason, forced to sit on the bench wearing headphones and sunglasses due to severe headaches caused by the tumor.

But in a heartwarming turn of events, the NCAA agreed to move the opening game from Nov. 15 to an earlier date so that Hill could compete before she passes away. To accommodate the thousands of people supporting Hill, Mount St. Joseph upgraded its venue to the Cintas Center at Xavier University in Cincinnati, Ohio, which seats 10,250 spectators. On Sunday, the stadium was sold out.

To make things sweeter, Hill did not simply compete against the Hiram College Terriers, but she scored the opening basket of the 2014 season. She would later add two more points that contributed to Mount St. Joseph’s 66–55 win over Hiram. After the game, Hill said to the thousands of fans, “This is the best day I have ever had.”

Hill’s inspirational story and dedication to the game See Editorial, page 14

Senior Emma Lehmann (left) and Cross Country Coach Ray Appenheimer pose for a picture after the North Coast Athletic Conference championships. Lehmann finished first in the 6K race.

Courtesy of OC Athletics