WEEKEND by Yale Daily News

BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FRIDAY, SEPTEMBER 26, 2014 FROM DEAR OLD// YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE!BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVYTWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BYTIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH THE HISTORY OF THE BOWL WEEKEND GOES BUZZFEED THIS AFRICA ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’SISN’T MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH David McCullough dives into our stadium’s These four quizzes will change you life. We Ivy Nyayieka questions the way we depict THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE 100-year-old legacy. swear. a complex GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIMEcontinent. AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME, ABOUT THE STORMY WORLD TO ROAM; BUT THOUGH THE MIGHTY OCEAN’S TIDE SHOULD US FROM DEAR OLD YALE DIVIDE, AS ROUND THE OAK THE IVY TWINES THE CLINGING TENDRILS OF ITS VINES, SO ARE OUR HEARTS CLOSE BOUND TO YALE BY TIES OF LOVE THAT NE’ER SHALL FAIL. IN AFTER YEARS, SHOULD TROUBLES RISE TO CLOUD THE BLUE OF SUNNY SKIES, HOW BRIGHT WILL SEEM, THROUGH MEM’RY’S HAZE THOSE HAPPY, GOLDEN, BYGONE DAYS! OH, LET US STRIVE THAT EVER WE MAY LET THESE WORDS OUR WATCH-CRY BE, WHERE’ER UPON LIFE’S SEA WE SAIL: “FOR GOD, FOR COUNTRY AND FOR YALE!” LUX ET VERITAS MARCH, MARCH ON DOWN THE FIELD FIGHTING FOR ELI BREAK THROUGH THAT CRIMSON LINE THEIR STRENGTH TO DEFY WE’LL GIVE A LONG CHEER FOR ELI’S MEN WE’RE HERE TO WIN AGAIN HAHVAHD’S TEAM MAY FIGHT TO THE END BUT YALE! WILL! WIN! BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE BULLDOG! BULLDOG! BOW, WOW, WOW OUR TEAM CAN NEVER FAIL WHEN THE SONS OF ELI BREAK THROUGH THE LINE THAT IS THE SIGN WE HAIL BULLDOG! BULLDOG! BOW, WOW, WOW ELI YALE! BRIGHT COLLEGE YEARS, WITH PLEASURE RIFE, THE SHORTEST, GLADDEST YEARS OF LIFE; HOW SWIFTLY ARE YE GLIDING BY! OH, WHY DOTH TIME SO QUICKLY FLY? THE SEASONS COME, THE SEASONS GO, THE EARTH IS GREEN OR WHITE WITH SNOW, BUT TIME AND CHANGE SHALL NAUGHT AVAIL TO BREAK THE FRIENDSHIPS FORMED AT YALE. WE ALL MUST LEAVE THIS COLLEGE HOME,

WEEKEND

// By Jane Balkoski, page 3

QUARTERBACKS

QUIZZES

B6,7

QUALMS

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YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

WEEKEND

WEEKEND VIEWS

ON BEAUTY AND BEING DONE // BY WEEKEND

ADAMS

// ANNELISA LEINBACH

“What is a WEEKEND?” — The Dowager Countess of Grantham (stylization ours) On March 25 and 26, 1998 Elaine Scarry delivered a provocative series of lectures at Yale about the ethical and political worth of beauty. Dubbed “On Beauty and Being Just,” Scarry’s comments ranged across disciplines, from Plato to Da Vinci in a way that only a DS student could love. Her thesis — that the apprehension of beauty leads to (and can be the source of) ethical action, that “beauty brings copies of itself into being” — served as a rallying cry for conservative thinkers who saw “politically correct” thinking at odds with normative values. In 2005, Zadie Smith published “On Beauty,” a novel that took Scarry’s lecture, clipped the end of the title, and left the reader puzzling at the conclusions. What is the worth of beauty, Smith asked, when our judgments differ so strongly by race and class? Her plot circles around a liberal arts college in New England. Her characters bicker about art history, literature and the point of an expensive education. Though, at WEEKEND, we’re more likely to ask Smith for a selfie than pretend to be on her level of astuteness, we believe that it’s important to ask the same questions — to admire the centralizing goals of Scarry’s lectures while dealing honestly with the exceptions to such theories. Our cover this week takes up the issue of Yale’s purpose. Our features investigate the value of tradition, at the Yale Bowl, and the implications of image, how photography affects our vision of Africa. This is the last issue that we, Yanan, Elaina and Jackson, will edit. This is the last time we get to frame the questions. We believe we’ve interrogated some of the most important issues on campus — mental health, city politics, student life — but no matter how high we set our ideals, we have to admit the physical legacy of our work is minimal: we’ve made 26 12-page issues, 312 pieces of paper, a week’s worth of reading for a moderately difficult class. We can talk about the beautiful — the perfect image or idea — but whatever we construct is set in time. We, as editors, don’t have more time. Of course we’re proud of the physical product. We can’t believe how beautiful Mohan and Emma have made our paper, we’re in awe of Brianna’s photography, and by now we’ve run out of positive adjectives for Annelisa’s illustrations. We’re privileged to be part of the subjective arm of the News, where we have the chance to spend more time on individual pieces, where we can use WKND copy stylez, where we can run humor up against serious work. But were all those pages, all those articles, equal to the effort? We can’t deny that there are better ways to use 26 Thursday nights. Is it worth it to lose that time? To disentangle yourself from the world in order to write? In her keynote lecture, “Why Write? Creativity and Refusal” at the Windham Campbell Literature Prizes festival last Monday, Zadie Smith quoted and complicated Orwell’s response to that last question. Her, and his, reasons range from the political to the egoistic, but Smith argued, her favorite was the aesthetic — you write to produce beautiful sentences. In the age of the internet, when Smith pointed out, sentences may simply “unhook” themselves from their authors and float freely among message boards and anonymous speculation, those sentences are all you have. The hope, perhaps, is that they catch on something along the way — that they cause a reader to close their other tabs, put down their phone and pay attention. Beauty is valuable, Scarry wrote, because it produces more beauty. We want to mimic it. Writing that is valuable, we believe, produces more writing. It approaches something like the truth — or, at least, it refuses to take other people’s truth for granted. But you don’t mimic writing; you challenge it, follow the investigation further, reveal the overlooked issue, try rallying the facts around the opposite argument. We hope that, under our editorship, WEEKEND has been beautiful in that we hope it has inspired imitation. We want the section to last. We want future editors to aspire to just as high a standard. But we want more than imitation. We hope that people, inside and outside of our section, challenge our work, question our words and refuse our premises. We hope that, in reading us, they’ll be inspired to create something better.

Feeling 22 // BY WILL ADAMS Today is my birthday. Happy birthday, me! Today I turn 22, which is old enough to feel ancient when walking by Yale’s newest batch of 17-year-old freshmen, but young enough for older folks to think it’s ridiculous that I feel old at 22. It’s also the perfect age to make Taylor Swift references, but that song came out two years ago. Twentytwo is too high for Blackjack (that’s 21), too low for a conspiracy theory that inspired a poorly received Jim Carrey thriller (that’s 23). Twenty-two is aesthetically appealing: two twos sitting nicely and neatly next to each other. But that’s about it. And yet, there’s something monumental about being 22. Gone is the thrill of my last birthday, in which I relished being able to buy a case of PBR from Zach’s; or the birthday before, in which I celebrated being free from teenage years. This is the first year I haven’t tried to make a big deal about the number I now am. This is just

F R I D AY SEPTEMBER 26

another year, another 365 days. That age thing? It’s all just a construct, maaaaan. The so-not-a-big-deal-ness of turning 22 is, strangely enough, a big deal to me. Could this be maturity? Perhaps not, but it feels as if I’m approaching some great precipice via a moving beltway — there’s no going back now. Between now and May, I will experience my last year of university, graduate (hopefully), find a job (really hopefully), and be happy. This place I have lived in for four years will be condensed into a single memory on which I will reminisce in my later years, sighing, “Oh, college.” My older friends have told me that senior year is the most fun. But it’s not all fun and games. There’s an anxious undercurrent of, “Am I doing this right?” Taylor Swift’s vision of 22 is carefree, staying up late and making fun of hipsters. My experience so far has been more of the boring, grown-

YALE DAY OF DATA

17 Hillhouse // 8:30 a.m. Turn up and back that thing up.

up shit, like paying the utility bill for my Howe Street apartment, spending eight hours building IKEA furniture, and drafting professional and courteous emails to potential employers. There are nice things, like the Senioronly wine and cheese events for us in my college master’s house, but all the while there are reminders that we are on our way out the door. We’re passing torches of our college council boards, athletic captaincies and publication editorships. We’re dropping off résumés, scheduling interviews and reaching out to past contacts for a helping hand. The transition to the real world is seeping in slowly but surely. I spent this last summer — my last true summer vacation — interning in New York City. I lived in a tiny room in a fifth-floor walk-up in Chinatown with six other people, who mostly kept to themselves and kept the kitchen a mess. After my first day, I flung myself on the bed and couldn’t get up for a

while. Is this what it’s like? I thought to myself. It felt amazingly lonely, despite the many friends who were also in the city, despite the millions of people crammed into this concrete jungle. I dreaded this potential future. I wanted to quit my job. I wanted time to stop. But something about the promise of senior year, the promise of 22, lifted the doom and gloom. The grandeur of being a senior, being at the top of the class, having priority in seminars, the wine-and-cheese receptions — it all gleamed beautifully. And even though this Yale gig is only for eight more months, and I probably won’t be making breakfast at midnight, I can revel in this year. I can blast Taylor Swift’s ode to my age at my birthday party. I can anticipate the future without fearing it, because right now is too damn fun. Here’s to 22, and all the years after. Contact WILL ADAMS at william.adams@yale.edu .

WEEKEND RECOMMENDS: The ending of “A Farewell to Arms”

The rain drenches Henry with the emotion he is incapable of expressing. A stunning ode to the constancy of character.

YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

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WEEKEND COVER

NOT ANOTHER SENSATIONALIST CRITIQUE // BY JANE BALKOSKI

y mom didn’t want me to go to Yale. We only fought about it a couple times, sure, but in early April of my senior year, she wore her disapproval like a sunburn. Angry and stinging and warm. I’d sneak a glance in her direction on the drive to school every morning. Her mouth was a hard, straight line. She pursed her lips. She didn’t want me to go Yale because, in her day, she’d taken the party bus from Smith College to New Haven a few times. At mixers, she sipped punch and warded off lecherous nerds. She also didn’t want me to go to Yale because my father’s coworker — a real snobby misogynist — was a proud Yale alumnus. I stammered and blushed too much, she thought; I wasn’t put-together or driven or hungry for success. But I needed to prove something to someone, and so I kept telling her: Mom, it’s the best liberal arts school in the world. I just want to sit at a seminar table with the smartest young minds and a brilliant professor. I just want to learn. Since then, I’ve wanted to ask my past self — what the fuck does that mean? The best liberal arts school in the world? Why are you parotting those stupid propaganda pamphlets? (I’ve even wanted to ask — why are you going to college at all, Jane?) Because my past self is stuck in 2012, fighting with my mom and trying on prom dresses, I looked elsewhere for answers. It appeared that I wasn’t the only one. In 2012, Nathan Harden wrote the controversial book “Sex and God at Yale,” in which he lamented Yale’s failure to instill a moral code in its students. In 2013, high school senior Suzy Lee Weiss wrote a Wall Street Jour-

nal op-ed titled “To (All) the Colleges that Rejected Me,” lambasting the universities that turned down her application. And in July 2014, William Deresiewicz came out with the inflammatory New Republic article “Don’t Send your Kid to the Ivy League.” Professors and students and parents have responded in droves, of course. As International Affairs Lecturer Charles Hill says, “Editors and publishers love it. To them, Yale is like

demically inflexible: To them, a Yale education was a classical education and only a classical education. All students read Greek, Latin and Hebrew. Yale President Ezra Stiles eventually dialed down the requirements, and in 1790, he named Hebrew an optional area of study. In 1926, for the first time in Yale’s history, students could opt out of the daily compulsory chapel. Then I read a few articles about New Yale. Over 300 years later, the

WHAT KIND OF EDUCATION DOES AN ELITE LIBERAL ARTS SCHOOL LIKE YALE OFFER? AND WHY DO WE WANT IT? catnip.” While cats don’t ever become catnip-resistant — science! — I will say that Yale students stop noticing the headline “Yale.” In other words, I’m not writing a sensationalist critique of the University. What follows instead is a long, winding response to the question — what kind of education does an elite liberal arts school like Yale offer? And why do we want it? *** At first, I did the “research paper thing” and read a few articles about Old Yale. Written in 1701, the Yale Charter describes the University (then known as the Collegiate School) as an institution “wherein Youth may be instructed in the Arts & Sciences who through the blessing of Almighty God may be fitted for Publick employment both in Church & Civil State.” Yale was originally a religious institution, turning the sons of the Connecticut elite into morally upstanding ministers. In the early 18th century, the faculty was aca-

current Yale admissions website praises our liberal arts education as one “through which students think and learn across disciplines, literally [sic] liberating or freeing the mind to its fullest potential.” This is a pretty standard definition. The verbs “to think” and “to learn” both appear, as well as a neat little superlative and noun pairing: fullest potential. I like the word potential because it implies a great, dark well of talent hidden deep inside me. I’d love to reach my fullest potential. Students themselves offer similar interpretations, but ones tempered by irony or self-effacement. They skirt the issue as they might a riddle or a trick question. “I think a liberal arts education is about becoming a full person,” Eli Westerman ’18 says. “It’s about excellence in mind, soul and body.” And then he laughs, a little unsure, shifting in his chair. “It’s an education where you have access to ideas from as many spheres as possible,” Liz Jones ’15 says a few days later. And then she gives me a

quizzical look, and glances down at her knees. “I think it teaches you how to think in a different way,” Francesco Bertolini ’18 says. Then he concedes that “Fractal Geometry” hasn’t yet taught him that different way. For authors and social critics like Deresiewicz (“Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life”) and Harden, this bashful hesitation suggests that the Ivy League is doing something wrong. Students are confused because they’re not receiving a true-blue liberal arts Education. To these cultural critics, the students’ confusion betrays an uptick in preprofessionalism and a decline in personal development. In his New Republic article, Deresiewicz calls Yale students — to whom he taught English for 10 years — “great at what they’re doing but with no idea why they’re doing it.” He pushes against the notion that toptier universities “teach their students how to think.” In other words, Yale students can’t define a liberal arts education because they’re not getting one. Harden takes a similar stance. To him, the University fails to deliver an effective, intellectually stimulating education, since “there is no commitment to intellectual diversity whatsoever.” Both Deresiewicz and Harden maintained that the Ivy League lacks a diversity of background and ideology. Since this diversity is the linchpin of a liberal arts education, Yale can only offer a one-sided, partial schooling. “How are students supposed to learn to critically examine their beliefs and viewpoints if they spend four years in an ideological echo chamber?” Harden asks. Jones, however, takes issue with

these sweeping generalizations, particularly Deresiewicz’s praise of state schools. While he claims that they offer more diversity, many of her friends at Ohio State shut themselves off from all novelty. “With so many people, it’s so much easier to segregate yourself. If you don’t have a dean who knows your name, it’s so easy to say ‘I just want to study this’ and never have anyone challenge your ideas.” If homogeneity in the Ivy League is the issue, perhaps the solution begins in the admissions office, which faces the yearly task of selecting around 2,000 admits from an applicant pool of over 30,000. With so many hopefuls, why would Yale have any trouble constructing a diverse class? The University itself divulges precious little information about its admissions process. “Yale is looking to create a class of the best students from around the world with a variety of backgrounds and experiences,” Yale Dean of Admissions Jeremiah Quinlan says. “We’re looking for students who are most suited and ready for making the most of Yale’s cutting-edge resources and faculty.” The wishes and thoughts expressed on College Confidential, “the world’s largest college forum,” are equally vague. Scrolling through the “Yale Class of 2018 RD Discussion Thread,” I get that horrible, gnawing high-schoolsenior feeling again. That we’re caught in a crowd, trampling friends underfoot. That we’re reduced to “stats,” each fraction of 2400 no different from the next. The thread is 60 pages. 888 replies. Of the 15 comments on page 55 (all from March 27, 2014) nine are variations on an original theme: SEE YALE PAGE 8

Response to William Deresiewicz’s claims 53% 30% Yale students are not exposed to enough diversity of opinions

53% 25%

18% Yale students are not intellectually curious enough

71%

Yale students are not exposed to enough diversity of socioeconomic backgrounds

Yale students lack a sense of purpose

Yale students are trapped in a bubble of privilege

Yale students are excessively concerned about their image and/or career

Has the Yale experience lived up to your expectations? As good as expected 33%

Worse than expected 12%

Much better than expected 14%

Better than expected 38%

Much worse than expected 3% F R I D AY SEPTEMBER 26

WEST POINT BAND AND YALE CONCERT BAND GALA CONCERT TO COMMEMORATE CENTENNIAL OF YALE BOWL Woolsey Hall // 8:00 p.m.

The few, the proud, the brave and … us.

WEEKEND RECOMMENDS: The ending of Pokemon on Gameboy The Elite Four was our childhood.

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YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

WEEKEND FOOT-BALLS

THE YALE BOWL: A STORIED CENTURY // BY DAVID MCCULLOUGH I’d like to confess to a minor act of vandalism. On a warm Thursday earlier this month, several of my baseball teammates and I were tasked with preparing the Yale Bowl for the team’s scrimmage against Brown that Saturday. We had to hang the Ivy League Championship banners on the wall surrounding the field, organize just over one hundred chairs for the players in the meeting room and clip up the pennants of the other Ivies to the flag posts along the top of the bowl. While we were clipping the flags along the top of the empty stadium, I noticed the seat on the top row of the bleachers had nearly rotted all the way through. In a moment of keen intellect, I decided to drag my foot along the back of the board to make sure. Unfortunately, I was spot on. My foot hit the seat and a grapefruit-sized chunk of flaky wood fell from the back of the bench and broke into a lump of sawdust on the concrete. Perhaps more an accident than vandalism, but I still felt guilty. It seemed as if, while on a tour of a grand medieval castle, I had leaned over the “Do Not Cross” rope in the dining room, bumped a priceless vase and watched as it shattered on the floor. And, in a sense, that is exactly what I had done. The Yale Bowl bleeds history. It is one of only four other football stadiums in the country honored as a national historic landmark; The Rose Bowl (modeled after the Yale Bowl), Soldier Field and a certain concrete monstrosity in Cambridge hold the honor as well. The design for the Bowl was proposed by Charles A. Ferry, an alum from the class of 1871, and was built by over 145 men from the Sperry Construction Co. of New Haven. Ground was broken on June 23, 1913 and just over a year later, on Nov. 14, 1914, the gates opened for the first time. The structure was unlike anything in the world — indeed, at that point, it was the largest stadium on Earth. An outdoor, wrap-around amphitheater of its magnitude had not been built since the Roman Coliseum. So while war raged across Europe (on the morning of Nov. 14 the headlines of The New York Times read “Germans Push British Line Back But Fail in Assault of Ypres”) around 65,000 people, from all over the coun-

try, crammed through the downwardsloping entryways to behold the architectural marvel. (Despite this colossal new stadium, we still managed to get trounced by the Crimson 36-0.) Since that November day, the Bowl has enjoyed a century’s worth of history equal to the grandeur of its opening. The stadium has hosted a panoply of concerts from the Glenn Miller Band to the Grateful Dead, international soccer matches, tennis matches, lacrosse games, theater productions, the 1995 Special Olympics, NFL teams such as the Giants and the Jets — and, oh yes, our beloved Bulldogs. Since calling the Bowl home, the Bulldogs have enjoyed eight undefeated seasons, two Heisman trophy winners — Larry Kelley ’36 and Clint Frank ’37 — 14 Ivy League Championships, and one National Championship. At its peak, the average attendance at games was upwards of 40,000, but the Bowl has held crowds larger than 70,000 on 20 occasions, even reaching 80,000 for the YaleArmy game in 1923.

along in the background. Even this week, the famous College Gameday show turned down the Yale v. Army game, a rivalry steeped in history and tradition, for this week’s headline Southeastern Conference matchup — South Carolina v. Missouri. “It’s too easy,” Steve Conn, Associate Athletics Director of Sports Publicity at Yale, tells me. “[There’s an] oversaturated market on television … on basic television you can get 10 games.” “Big time [college] football has gone berserk,” echoes Sterling professor of classics and history Donald Kagan. “Distant from values we used to pertain to intercollegiate sport.” He goes so far as to call it an “ugly scene of venality and corruption.” And somewhere apart from this madness sits the Ivy League. Ivy League schools are forbidden to award athletic scholarships. Rarely are any of their sporting events televised nationally, and if they are, never by ESPN or any other major network. And God forbid if College Gameday decides to sojourn in

PLAYING THERE, IT’S JUST AN INDESCRIBABLE FEELING … THEN TO LOOK IN THE STANDS AND SEE IT’S EMPTY, IT KINDA JUST HURTS YOUR HEART. KHALID CANNON ’17

Today, things are different. Thanks largely to the rise of television and the advent of athletic scholarships, college football has surged in the last 50 years. From Lee Corso and College Gameday, to stadiums that seat over 100,000 people — larger than most NFL stadiums — to Tim Tebow, Johnny Football and the Alabama Crimson Tide, college football has evolved into a multi-billion dollar industry. An industry that hardly exudes the amateurism by which college sports abide. An industry where universities reap huge profits off the television contracts their football teams attract. An industry that has left smaller Division I schools in an adaptor-die situation. It’s a quandary that has left many schools like Yale limping

New Haven for a weekend. Meanwhile, the league maintains its standard of balancing athletic and academic excellence, in no particular order. Kagan continues, “We recruit athletes and we do insist they are appropriate students … And, from my experience, they are.” The league, in turn, does its best to hold up what many regard as the old image of intercollegiate athletics: professional students performing at the highest level of amateur athletics the country can offer. But attendance rates have suffered because of this adherence to the old. Today the Bowl, just as in 1914, sits beneath a hill covered in burnt yellow-grass, silent and sprawling with an ovular, lush field of green at the base. The Bulldogs have not had a whiff of a

national championship or a Heisman Trophy in over half a century. In fact, it’s been nearly a decade since our last Ivy League title. And although Yale is usually near the top of the league in attendance, with numbers varying year-to-year between 15,000 and 25,000 per game, when placed in the context of a stadium that seats nearly 65,000, it’s hardly something to brag about. But according to Yale football players today, regardless of whether there are 800 or 80,000 on hand, the Bowl retains its magic. “The Bowl’s a special place,” says offensive tackle Khalid Cannon ’17. “It was where football was invented … Playing there, it’s just an indescribable feeling … Then to look in the stands and see it’s empty, it kinda just hurts your heart.” Cannon’s teammate, fullback Jackson Stallings ’17, chimes in, “I remember standing on the 50 yard line on my visit here and just was overwhelmed with emotion at how great the place was. But you really start to take a close look at it and you realize the deterioration of such an important structure is truly sad, and you don’t want to let it get to a point where it can’t be brought back.” Other team members lament what they feel is a further deterioration of the Bowl and its significance to Yale’s campus. And according to Kagan, it’s a trend we should fight to reverse. “Just the fact that we have athletics,” he asserts, “broadens our understanding of what the human is.” Conn concludes with a commentary on the intrinsic value of football to the Yale experience. Ultimately, he says, the team and the Bowl have served as the foundation for modern American collegiate football. Going to the Bowl and watching the 107 shoulder-padded men who give life to the historic stadium, fosters both a school and a communal pride, a loyalty for all things Yale blue. For Conn, the lesson is evident: Go to football games. This Saturday, the Bulldogs will take on Army to commemorate the 100th anniversary of the Yale Bowl. Kickoff is scheduled for 1:00 p.m. I’d get there early. I hear there’s supposed to be a big crowd. Contact DAVID MCCULLOUGH at david.mccullough@yale.edu .

// A

F R I D AY SEPTEMBER 26

DON’T BE TOO SURPRISED Yale Cabaret // 11:00 p.m.

But read our review before you go!

AL LIS

EIN

H BAC

WEEKEND RECOMMENDS: The ending of “The OC”

We LIKE it when all the loose ends are tied in the laziest and cheesiest ways possible. Sue us.

YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

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WEEKEND ARTS

SKIMMING THE COMMON LAW // BY JACOB POTASH

AN NE A LIS LE IN CH BA

and asked a man behind a desk where the exhibit was. Clearly excited that someone was interested, he pointed to a single glass case behind him. So much for my fantasy exhibit. It turned out there were two other glass cases. And there were books, and there were small placards with captions. I read the placards, looked at the books, tried not to disturb the nearby law students. After ten minutes, it was over. To be fair, I do not have much experience with Law Library exhibits. Maybe they’re all like this. And I get it: old English legal documents are inherently unsexy. They don’t bring to mind dazzling multisensory displays. But why not try a little flair? Why confine these historic texts to a drab library lounge? Why not have Taussig record an audio track that walks us through his purchases, telling the stories of how he obtained them and how they fit into the larger scheme of English history? If these texts’ fate is ultimately to

Yale purchased a huge collection of legal manuscripts last year from London barrister Anthony Taussig. Beinecke Library’s website declares these manuscripts “the world’s most extensive private collection ever assembled for the study of the cultural and intellectual history of law in England.” The most extensive private collection ever assembled for the study of English law! Terrific. Now, what to do with it? Yale’s answer was to mount an exhibition called “The Common Law Epitomiz’d: Anthony Taussig’s Law Books,” which in itself seems entirely appropriate. On my way to the exhibit, I imagined what I might be in for: a room full of books, panels illuminating the documents’ historical context, maybe interactive features allowing for digital browsing, or perhaps a clever framing device, such as a fictional barrister explaining the manuscripts’ practical uses. I went to the Law School, walked halfway down a hallway, then into a library,

languish in Beinecke and be accessed only occasionally by specialists, why not celebrate them more publicly now? The New York Times ran a major feature about the acquisition when it took place; clearly, there’s interest. Complaints aside, it’s worth surveying the impressive highlights on display. The books and manuscripts range in date from the 13th to the 19th century and they include a host of remarkable firsts: the first printed book of English law, the first book on women’s rights in English law and the first justice of the peace manual. Some texts are ornately illustrated or notable for their distinct binding, and all are held open to a specific page. But the captions focus less on the text than on the career of the author. The trove expands on the university’s already significant collection of Sir William Blackstone papers and features an important early abolitionist pamphlet, among other gems. The collection was assembled over a 35-year period by Taussig, who is a historian as well as a collector, and was paid for using the law school’s Oscar M. Ruebhausen Fund. There are some lessons for the layperson, but this display is really for the legal history and rare book buffs. If that describes you, then rejoice: The exhibit is open for two more months. Contact JACOB POTASH at jacob.potash@yale.edu .

The Ever-changing Periodic Table // BY ERIN WANG I entered the Yale Medical Historical Library with the smell of tert-butyl methyl ether still lingering, phantom-like, from the organic chemistry lab I had just left. Tucked away in my lab notebook somewhere was the universally recognized bible of chemistry — the periodic table. Anyone who paid a little bit of attention in chemistry can rattle off the layout of the periodic table for you. Metals on the left side, nonmetals on the right. A hard zigzag line dividing the two. Noble gases on the far right. Transition metals spanning the center. Rare earths — the lanthanide and actinide series — expanded below. But what I saw in the Medical Historical Library looked nothing like the simplified design we use today. “The History of the Periodic Table in the Twentieth Century,” curated by Charlotte Abney Salomon GRD ’19, is composed of fewer than twenty objects, and yet it succinctly illustrates the long, nonlinear path our current periodic table has taken in the past 150 years. The small sample of items is part of graphic designer William Drenttel’s lifetime collection of over 200 English language books, pamphlets, advertisements, and collectibles. The first object in the display is not a depiction of the periodic table at all. Rather, it is a commemorative stamp honoring Dmitri Mendeleev, the father of the periodic table. Though others organized the elements in a table of rows and columns, Mendeleev was the first

// BRIANNA LOO

to order them by weight and reactivity, leaving blanks in order to maintain consistent trends. By doing so, he predicted the existence of elements that would not be discovered until later on. Farther down are open spreads of books from the 1900’s illustrating early attempts at periodic organization. As chemistry advanced, scientists looked for new ways to organize more complex knowledge. “Periodic triads” grouped three elements of similar reactivity together. Other items showed off more esoteric designs: One periodic table from the University of Minnesota in 1939 uses a branching design, starting with only hydrogen and helium at the top and widening as it progresses down the page, making room for the transition metals and the lanthanides and actinides. A French commemorative medallion has the elements etched in concentric circles. These designs first struck me as whimsical, but after a moment of thought, I started to see their logic. After all, one layout of the periodic table, as long as it is accurate, is not necessarily better or more scientific than the rest. I had never questioned how or why our periodic table looks the way it does until I was face to face with a host of equally valid designs. The periodic table finally began to coalesce into a standardized format around the 1960s, which the second display case illustrates. The black and white Welch Periodic Chart of the Atoms from 1959 depicts each element in an individual box, and the layout is more reminiscent of our modern day periodic tables. But the design is still not optimal: Rather than leaving a gap for the transition metals, however, the bottom rows wrap under themselves to accommodate all the elements. On a table, in a children’s book from the 1960s seems like the modern version, but upon closer inspection, I noticed that noble gases are placed on the left side instead of the right! But such a minor difference in the overall design set off a cascade of questions, “Why are our noble gases on the right side instead of the left? Or instead of the middle of the table, so that the elements increase in reactivity towards the edges?” It’s wonder-

ful and a little sad to realize that even science, the bastion of objectivity and empiricism, is shaped by subjective cultural trends. Then, the exhibit abruptly leaps from historical periodic tables to today’s table, as seen in pop culture. All of a sudden, the books yellowed by age are replaced with a brightly colored assortment of everyday objects, including a mug, a tie and two recent magazine advertisements, all with the periodic table printed on them. The current version of the periodic table has become a cultural symbol of scientific thinking and an easily recognizable method of grouping items — from television to mixed drinks — by different criteria and breaking those groups down to their basic elements. Science, too, leaves its mark on popular culture. Though the exhibit does not demand to be noticed — indeed, it’s easy to miss unless you specifically peer down into the cases — it tells a powerful story with a small collection of carefully chosen pieces. Chemical knowledge has only appeared in this specific physical format for 50 years. And I didn’t realize it until now. It’s so easy to take our version of the table for granted when it’s all we have studied, but the theories and tools we have today came about through incremental changes over time. “The History of the Periodic Table” reminds us that science is a process, not a result. Contact ERIN WANG at erin.wang@yale.edu .

School’s In, a Lesson in Artistic Exploration // BY JON VICTOR

F R I D AY SEPTEMBER 26

JEN LU

On one side of the room, a flat screen TV displays the same image of a man’s face being sliced, shifted and reduplicated in a rough stopmotion video; on the other sits an installation made with old tools, twigs and tree bark, held together by a rusty metal wire that links the natural with the man-made. Such is the nature of School’s In, presented by the Yale School of Art to showcase student work from this past summer. The show is a heterogeneous mixture of works — from painting to digital art — and subject matter thrown together to create a coherent whole out of unlikely counterparts. Each work flows (but not seamlessly) into the next, due for the most part to the exhibit’s lack of nameplates or titles on the individual pieces. The viewer is left to distinguish for herself where one piece ends and another begins. In an exhibit where certain works span multiple canvases, picture frames or even media, this interconnectedness makes for an unorthodox viewing experience as one attempts to navigate through

20/21 C. COLLOQUIUM: ANNE CHENG “SUSHI, OTTER, MERMAIDS: RACE AT THE INTERSECTION OF FOOD AND ANIMAL”

Linsly-Chittenden Hall // 4:00 p.m. Go for the mere fun of “Which of these does not belong with the others?”

the four rooms of the show. In the first room, the screen with the male face grabs your attention immediately. That same face is also seen on the adjacent wall, crumpled up and edited into various photographs with backgrounds ranging from the inside of a hardware store to different scenes of nature. The omnipresent face is even at your feet, printed on a piece of fabric strewn on the floor just in front of the photos. The real winners in this room, however, are the two portraits of a woman and a young girl on the left wall. These two photographs exist separately, but are part of the same scene — one can imagine that they are both just created out of a single, larger photo. The women stare unabashedly out at the viewer with skeptical expressions, evaluating you as you evaluate them. In the next room, another photograph caught my eye — a black and white one, which shows a little girl holding her hair and staring at her reflection in what I can only assume is a storefront window. We cannot tell what the girl is thinking

as she looks at herself, but her openmouthed gaze leaves enough room for interpretation. As I made my way through this room, however, I couldn’t help but feel that some of the works were a little banal. “Here’s sex, here’s loneliness and over there are human mistakes,” I could say to someone asking me what themes were at play. Here I’m referring to specific works: a photo of a woman in a seductive pose on a bed, a painting of a worriedlooking woman petting her smiling dog and a well-intentioned but nonetheless plain installation consisting of a number two pencil with some rubber hanging off the eraser. School’s In redeems itself at the end, though. When I walked downstairs to the final two areas, I found myself shocked, disgusted and intrigued all at the same time. A zoomed-in video of a man’s face is projected onto one wall. The twominute video clip shows him first painting his own skin, and then tilting his head back and spitting out red paint all over himself. I began to think that the focus of the exhibit

was on people, but the amount of nonrepresentational works on the lower level quickly shattered my assessment, the last room featuring an array of sketches and paintings filled with vaguely geological forms. I was left frustrated and confused, but also quite impressed by the magnitude and scope of the exhibit. School’s In’s true strengths lie in the diversity of its content — the works on display span a variety of artistic media and proudly occupy their own spaces regardless of what has been placed next to them. It is this element of discontinuity, however, that weakens the exhibit’s overall effect. School’s In is unified in one way, though: It is a collection of experiments by Yale art students — work done for academic exploration and not necessarily professional gain. It might be best not to overthink the name or try to connect the pieces, and appreciate the exhibit for what it is: a showcase of student work. Contact JON VICTOR at jon.victor@yale.edu .

WEEKEND RECOMMENDS: The ending of “Something to Talk About” The beauty of a first date with an old love.

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YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

WEEKEND GOES

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BUZZFEED

These Quizzes Will Give Your Life Meaning Which Middling Dining Hall Dessert Are You?

What’s your favorite 90’s song?

Hit Me Baby One More Time (Spears)

Smells Like Teen Spirit (Nirvana)

Hard Knock Life (Jay Z)

1 D

Livin’ La Vida Loca (Ricky Martin)

You live on a…

Street

Boulevard

Ball

Mom

Cul-de-sac

Court

Tennessee Williams

Yale

Where did you last have sex?

The Women’s Table

Your room

Your suitemate’s room

Saving the Seals

Twerking

Letter Grades

I don’t

Chocolate volcano

Tiramisu

Gelato

Anything as long as there is a camera and dry-erase board involved

Birth control in postcolonial Indonesia

Homoeroticism in the works of Kant

The economics of food whole-sale in Southern California

Jello

Kafka and the Communist Manifesto in Conversation

The institution of marriage is oppressive

A barn in Vermont

Bali

Las Vegas

Which TV character are you?

Marnie

Martina MacBRide (from Six Degrees of Martina McBride)

Frank Underwood

Stewy (?)

Which is your most attractive body part? Hips

Wenis

Forehead

Inside of your toes

Charlie

Jessica

Nora

Lorraine

Wood, duh

It’s Groundhog Day?

(infinity sign)

What are your thoughts on President Salovey’s late mustache? It’s his trademark

You mustache me a question

“Creeeeeeeep”

What is your New Haven grocery store of choice? Stop and Shop

Elm City Market Co-Op

Hong Kong Market

Living a mediocre life

Pickles

Edge of the Woods

The Morse lipstick

That art piece outside of Commons

Mr. Bean when he smiles real big

Nonna

Wai po

Believe in People’s Anne Frank mural at Partners

Meema

Who really rattles your bones? Caillou

Handsome Dan

Cody from “Suite Life of Zack & Cody”

Do nothing.

I hear and I forget. I see and I remember. I do and I understand.

Spirited Away

Princess Mononoke

8 A

Bill Nye

The supreme art of war is to subdue the enemy without fighting.

Once a week

Every Bulldog Has Its Day

Carpe Boola

Grave of the Fireflies

Twice a week

I’m in Saybrook…

Write a poem: “Epistle to a Professor”

Submit a detailed diagram of the DNA of the classroom

Connections, connections, connections

Ponyo

By the light of solar lamp

On the roof of Skull and Bones

Tails

Explain why supply must ultimately meet demand

Paramecium

Albatross

Old Campus

Secret

Thimble

Heads

Don’t

Bull

Chest

Yes

Hurt

I don’t want to say

Dependability

A good sense of style

Read: Hey! It’s a wonderful kind of day!

Knowles: Your selfworth is determined by you.

Descartes: We are all atoms.

What is your favorite note on a Major scale? Do, a deer, a female deer

Ray, a drop of golden sun!

Mi, a name I call myself

Which Greek myth best describes your personal life? The Trojan War

Prometheus

Orpheus and Eurydice

Hercules

How much fud could a fudpucker puck if a fudpucker could puck fud? Hmm.

Lego warriors

I haven’t given it much thought.

26.273 fuds

The limit does not exist

Perhaps

An elderly woman

East Rock

West Rock

8 A

Reindeers

Kale

Hard Rock

Pet rock

What time is it? B

11:11

12:34

00:00

4:20

What is your ring tone? “Sunrise, Sunset”

10 A

Which rock best describes you?

Follow-up Question: Have you ever loved and lost somebody? No

Leibniz: We are living in the best of all possible worlds.

What is love? Baby

6 What patterns are on the ugly sweater that you wear to an ugly sweater party?

Complete the following sentence: Tony Chestnut had a _________. Magic Bar

A thirst for adventure

Whose vision of the universe do you subscribe to?

What is your spirit animal? A lark, ascending

Every day

You’re choice in a coin toss tends to be: Heads

Passion

Where does the best tanning occur on campus? On the marble window seat by the staircase in Linsley-Chittenden Hall

What do you look for in a romantic partner?

What is your strategy for getting into oversubscribed seminars?

10 A

How often do you do your laundry?

Your life philosophy most closely aligns with which Chinese proverb? Real knowledge is to know the extent of one’s ignorance.

Boola More, Bark Less

If you were somebody’s grandmother, what would they call you? Grandma

What is your favorite Studio Ghibli film?

Favorite Yale/New Haven landmark? The Nathan Hale statue

Don’t Stop Bulldoggin’

What is your greatest fear? Being alone

Which Alternative Campus Singing Group Are You?

Which proposed Senior Class Gift motto are you?

10 D

Which “Cheaper by the Dozen” (2003) child do you identify with the most?

9 D

Still a child

Which Major Requirement Are You?

3 How much wood could a woodchuck chuck if a woodchuck could chuck wood?

8 D

Dream wedding destination?

What’s the topic of your senior thesis?

How many shots did you take on your 21st birthday?

Favorite non-middling dessert

What cause would you protest for?

Your first word was…

Which Residential College Entryway are You?

“Słowia ski Taniec”

“I’ve been working on the railroad”

“Wagon Wheel”

Which New Haven restaurant do you order from on GrubHub? Zinc

Barcelona

Union League Café

Prime 16

If you mostly selected A:

You are a MAGIC BAR! Your elusive yet easygoing nature throws some people off, but they’re probably (sexist) haters. You are a strong, empowered individual who will attract an adventurous cult following.

You are JONATHAN EDWARDS B! The view out your window is either the courtyard or the garbage dump; it’s truly hit-or-miss with you.

You are MAJOR ENGLISH POETS! People often consider you a deal-breaker. Or a heart-breaker.

You are MAGEVET! You like to keep it kosher and fun. We’d have you over for Friday night dinner any week.

If you mostly selected B:

You are CARAMEL APPLE BREAD PUDDING! Your biggest challenge is settling down and getting focused. Once your mind is set on something, though, nobody can stop you from reaching those intestines.

You are SILLIMAN C! You’re either a freshman, a froco, or one of a group of miscellaneous seniors. Your quirkiness largely stems from your fondness for Virginia Woolf.

You are MOLECULAR BIOLOGY! Your attention to detail never fails to astound, confuse, etc.

You are YALE SLAVIC CHORUS (SLAVS)! You have great taste in embroidered white dresses, and even greater hair. We respect your clogs even more than we respect your dancing skills.

If you mostly selected C:

You are CHOCOLATE SHEET CAKE! You try hard to be a new twist on an old favorite, with varying results. On the bright side, you are as dependable as can be, and a perennial shoulder to cry on.

You are MORSE I— The Tower! Whether you’re a Frodo or a Sam, you fancy yourself an explorer of sorts. When the life of the party.

You are APPROACHES TO INTERNATIONAL DEVELOPMENT! There are many approaches to dealing with life. You have maybe tried all of them, and travelled the world to boot!

If you mostly selected D:

You are a KITCHEN SINK COOKIE! People don’t quite “get” you, which can make you seem unapproachable at times. For those who are willing to take a chance, though, you can be worth the risk.

You are CALHOUN K! We’ve heard that, much like the oatmeal in the dining hall, you’re “loaded.” With what, though?

You are INTERMEDIATE MACROECONOMICS! You are known to many as “hard” or “the hardest.”

You are TANGLED UP IN BLUE (TUIB)! Bound up in navy, you’re the kind of person we want to see around the campfire. Harmonicas and banjos, ahoy!

S AT U R D AY SEPTEMBER 27

WORLD TOURISM DAY Everywhere // all day

It’s not *that* imperialist.

WEEKEND RECOMMENDS: The ending of “Calvin and Hobbes”

It’s a magical world … TEARS. TEARS. EVERYWHERE.

S AT U R D AY

GUEST ARTIST: POMERIUM

SEPTEMBER 27

Music for Imperial Augsburg, 1518-1548. Fun from before the Protestant Reformation!

Marquand Chapel // 5-7 p.m.

You are YALE UNDERGRADUATE CHORUS (YUCS)! You’re the new kid on the block, but that doesn’t mean you don’t pack a big punch. With your fearless bespectacled leader, you will never go wrong.

WEEKEND RECOMMENDS: The first epilogue to “War and Peace”

Forget theories of history; we just care about Natasha.

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YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

WEEKEND COVER

WHAT COLLEGE CAN DO YALE FROM PAGE 3 “Rejected!! woo!” “Rejected … As expected” “Rejected! My dream school! May my life be f____ed.” Most of the users (and their siblings and parents, who also participate in the online discussions on behalf of their DDs and DSs — Dear Daughters and Dear Sons) seem to value the Ivies for nebulous reasons. Yale is everyone’s “dream school” or “reach school,” but not much more. And yet, Yale philosophy professor Shelly Kagan and English professor David Bromwich don’t teach drones. Neither agrees with Deresiewicz’s claim; both are impressed by their students’ creativity and curiosity. According to Kagan, “If Deresiewicz didn’t find his students here intellectually curious and alive, caring about ideas, then I can only report that he didn’t have my students.” Many undergraduates notice similar levels of commitment in their peers. Freshmen as well as seniors marvel at the student body’s passion and curiosity. In a survey sent to a random sample of undergraduate students by the News, only 18 percent of the 117 respondents agreed with the statement that “Yale students don’t have enough intellectual curiosity.” “You label someone as something, and then you discover they’re a philosophy major and also premed. It’s amazing,” Antonia Campbell ’18 says. Zana Davey ’15 has been impressed by her friends’ senior theses, all of which reveal “academic niches” and a real intellectual investment. While no one denies that Yale kids are passionate, some hesitate to call those passions academic commitment. Kate Miller ’16, for one, thinks that the University doesn’t always encourage intellectual activity at a high level. She finds that students can complete their coursework without immersing themselves in their studies. “Deep academic engagement usually requires a kind of vulnerability, and a Yale education doesn’t necessarily ask that of us,” she says. *** I don’t disagree. For a while in high school, I wanted to study astrophysics. (Back then, the universe seemed like an amazing thing.) The summer after my junior year, I went to a fancy science camp outside Santa Barbara where I learned to code and use a telescope and predict the motion of an asteroid. Once I got to Yale, of course, everything changed. I forgot about astrophysics, read Aeschylus, then Cervantes, and, somehow, in the spring of my sophomore year, wound up in ASTR 135: “Archeoastronomy.” Turns out, the professor had also taught at my science camp. When I was seventeen, I heard him explain orbital eccentricity to a handful of teenagers. At twenty, I heard him define the scientific method to a hundred impassive college kids. Each time I entered the lecture hall, I felt a rush of shame. “A lot of things could be changed about the distributional requirements,” Jones says. She’s sympathetic to students who are interested in quantitative skills but not pursuing a science degree. Jones adds, shaking her head, that “The only science that’s available to them are these guts.” Miller agrees—to her, the sacrifice of depth for breadth is often deleterious to Yale students. A broad education can be a scattered education. “That’s a paradox,” she says. “You’re supposed to take a wide range of classes according to the standards of the discipline, and that’s virtually impossible.” In fact, she goes on to offer an alternate definition of the liberal arts. She pauses, collects her thoughts, takes a breath and says: “a liberal arts education is just the performance of a liberal arts education.” Imagine this: the year is 2020 and you’re at a cocktail party downtown. The girl with pink hair and a nice hovercraft comments on President Hillary Clinton’s recent speech. In response, you say something clever

S AT U R D AY SEPTEMBER 27

about power and oppression, alluding to Machiavelli’s Prince. Then the cyborg nearby comments on the Medicis, and banking in Renaissance Europe. And the cyborg’s wife brings up the chemical properties of poison that killed Catherine de Medici. Everyone laughs appreciatively. Their spacesuits crinkle like bags of chips. These (past, present and future) cocktail parties can be a sort of culmination, the endpoint of all-nighters and crying fits and color-coded notes. After all, here you are among other young professionals, chatting idly about art and history and current events. You got educated to act educated.

ty’s part to crush our souls. It’s economic anxiety in an economically shaky time. Pure and simple. In general, really, Yale students and professors pull apart Deresiewicz’s argument without breaking a sweat. Kagan is candid — “Had he submitted the essay to me for a class, I would have failed it.” *** “It was my first week at work,” Giambrone recalls reading the article in late July. “I remember being kind of incensed by it: it didn’t resonate with my experience as a Yale student at all.” He felt compelled to respond — on July 28, the New Republic published Giambrone’s own essay, “I’m

“HAD [DERESIEWICZ] SUBMITTED THE ESSAY TO ME FOR A CLASS, I WOULD HAVE FAILED IT.” SHELLY KAGAN

Of all the critiques leveled at the Ivy League, this one seems to ring the truest. 71% surveyed agreed that Yale students are excessively concerned about their image and/or career. But a wide, shallow pool of knowledge offers certain comforts — especially in an era of economic uncertainty, when making a choice feels like slamming a door. In his 22 years at Yale, Hill has certainly noticed a rise in such academic caution, which sometimes reveals itself in preprofessionalism. (By definition, a liberal arts education is intended to provide general knowledge rather than professional or technical skills.) “What has happened in our society has been a smothering effect,” he says. More and more, undergraduates endure social and familial pressures to enter and conquer the job market as quickly as possible. They have received excessive guidance, which creates “a sense of uniformity from which students cannot escape.” Bromwich and Kagan have also noticed this change — Bromwich describes it as a constellation of tendencies: “to be highly organized, to keep a careful count of one’s skills, attainments, and extracurricular assets, to prize ‘results’ over adventure.” According to the professors, these habits betray a growing anxiety about future prospects and life after graduation. In describing her last year at Yale so far, Davey draws a comparison. She’s been thinking about the difference between high school and college, she says. “Senior year of high school, you probably know you’re going to college. But now, graduating from college, everyone is on a different timeline.” In other words, undergraduates in a single age cohort begin to move at different rates: this discrepancy leads to insecurity. Students who haven’t found jobs encounter students who have signed on with corporate firms, and they suddenly feel that they’re out of the loop. As Andrew Giambrone ’14 puts it, senior year is “a sort of mad dash to have figured out as soon as possible what you’re doing after graduation.” And yet, while both Deresiewicz and Harden attack this anxiety, they don’t acknowledge that this problem extends beyond Ivy League gates. Yale students feel social and familial pressures just as students do in state schools and catholic schools, institutions which Deresiewicz considers superior to elite universities. Hill says, “These are national matters.” In his New Yorker essay “What College Can’t Do,” Joshua Rothman reaches a similar conclusion. He parses Deresiewicz’s claims with intellectual generosity and critical remove, and still asserts that the Ivy League is not the culprit. Modernity is the culprit. “The fact that you can feel soulless in such an intellectual paradise suggests that the problem is bigger than college,” he writes. All the professors I consulted agree: this preprofessionalism, this busyness, this fear, is simply a cultural phenomenon, rather than a malicious attempt on the Universi-

YALE VS. ARMY

Yale Bowl // 1 p.m. Wait, how do you tailgate?

a Laborer’s Son. I Went to Yale. I Am Not ‘Trapped in a Bubble of Privilege.’” The piece touches upon Giambrone’s socioeconomic background, as well as Yale’s generous financial aid policy. Now an editorial fellow at The Atlantic, the recent graduate writes that Deresiewicz’s “argument effaces important economic, social, and personal differences among students, conveniently neglecting the fact that elite colleges allow athletes and engineers to sit around the same seminar tables as sons of farmers and daughters of CEOs.” Jones, who is also from a lowerincome family, found glaring problems in Deresiewicz’s conclusion, in which he implores students to attend second-tier liberal arts colleges, places like Reed. In her experience, Yale offers better financial aid than most of these other schools. “The smaller liberal arts colleges that he mentions are the places I would never in a million years be able to go,” Jones says. After all, the critics of the Ivy League don’t really acknowledge the privilege implicit in their own arguments: For the most part, they do not take financial aid into consideration. They assume that all prospective college students have the luxury to reject elite universities. Many people do not. “In terms of socioeconomic stratification, the Ivies are still among the worst,” Deresiewicz says. Fifty-three percent of respondents to the News survey respondents agreed: Yale students are not exposed to enough diversity of socioeconomic backgrounds. But even Deresiewicz concedes that Yale may indeed have a better financial aid policy than other schools. The University offers scholarships to over half of its student body, operating on a need-blind admissions policy. Jenny Nguyen ’16 has benefited from Questbridge, a nonprofit program that connects low-income students to scholarship opportunities. Her time at Yale has been life changing. “Coming from a lower socio-economic background, it’s very important to be able to ameliorate your situation,” she says. “Yale opened a lot of doors for me.” *** On Sept. 24, Deresiewicz sits down to a room full of Yale kids and explains why the school is killing their souls. The spacious living room in Morse College can barely accommodate all the visitors, so some students sit on the floor. Others stand in the back. Eventually, the college master Amy Hungerford opens her french windows, and latecomers stand in the courtyard. I cannot tell if we showed up for personal edification or enlightenment or perverse pleasure. I listen to Deresiewicz as best I can, noting the jokes he lands, the calculated colloquialisms, the drastic shifts in tone. Deresiewicz seems to establish a critical vocabulary — he doesn’t like the word “passion,” but prefers to say “purpose.” He doesn’t like the expression “find yourself,” but prefers to say “build yourself.” With these rational feints, he gives the impression he has a careful, coherent thesis in mind.

But he does not. Instead, during his talk, he offers students an incomprehensible parable, paternalistic advice, and a set of terms he never defines. I want to be sympathetic, I do — his is a herculean task. He wants to take stock of an entire country’s educational system, one that’s been shifting and growing for hundreds of years. But the scope is too wide: Deresiewicz crams economic worries and moral imperatives and analytical skills into the blender and hopes for an argument. The result is mush. Towards the end of the talk, he cites the New York Times article “Becoming a Real Person,” in which Jackson Institute Senior Fellow David Brooks divides a university’s goals into three categories: professional training, critical thinking and character development. With this final objective, Deresiewicz’s aim comes into focus. He thinks that Yale hasn’t been developing our characters. We need a “moral education.” When I hear this, I feel like some dumb, proverbial weight has been lifted from my shoulders. I understand the problem.

The question was: what kind of education does an elite liberal arts school like Yale offer? My answer is: I don’t know, but I do know this — I’m not looking for a moral education. I don’t want to consider my “purpose” or “build myself.” I am all in favor of selfknowledge and reflexivity, sure, but I didn’t come to Yale to learn how to live. Sometimes, I’m happy enough just to think. I’m happy enough to listen in lecture and write all my papers. I don’t want to graduate with a freaky, mystical sense of “purpose.” And so I called my mom on Tuesday and asked if I could make her a framing device in this article. She was hesitant at first, but then I said, “Mom, it’s true. You didn’t want me to go to Yale.” “I didn’t want you to go to Yale because Yale is full of assholes,” she said. “But I am happy that you’re getting so much out of college. You seem to really love the things you do and I am happy to be wrong.” Contact JANE BALKOSKI at jane.balkoski@yale.edu .

What do you see as the long-term value of a Yale education to you? Career preparation and opportunities

23%

21%

11%

30%

15%

Most Important

Least Important

Developing analytical and critical thinking skills

30%

24%

19%

16%

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11%

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Building friendships and connections

18%

30%

32%

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14%

Least Important

Finding and developing interests

15%

18%

16%

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30%

22%

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Exposure to new fields, perspectives and activities

15%

22%

Most Important

26%

30%

Least Important

WEEKEND RECOMMENDS: The ending of “Moby Dick”

SPOILER: The boat sunk. The sea rolled on.

YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

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WEEKEND PHOTOGRAPHS

OH,‘AFRICA’ // BY IVY NYAYIEKA

// YALE DAILY NEWS

When I was 5 or 6 years old, a cameraman would cycle around our residential estate to take photographs. He had a schedule — Tuesday and Thursday afternoons, I think. Two of my aunts lived with us, and loved photographs. They would prepare for the cameraman’s arrival by dubbing powder on their faces. They would make me wear my best clothes even if it was the end of the day. They would apply wanja around their eyes. They would squeeze a pea-sized amount of the popular 20-shilling face lotion Fair and Lovely onto their forefinger — small enough so that they don’t waste it but big enough that it has an effect. Then they would stand outside the gate and wait for the cameraman. He would come by; camera slung over one shoulder like a handbag. “Click! Click!” an exchange of 20 shillings per picture as pre-payment for developing them, and a few warnings from my aunts of, “Na utoleshe vizuri.” That is, make sure the photos come out right, as if the photographer, and not they, were in charge of how they looked. I was always taught, if someone unleashed a camera, you wore your best clothes, and smiled. When I see photos depicting Africa at Yale though, I look from a distance, afraid. When Yale had an event to discuss immigration, the poster had only a photo of Africans on a boat, never mind that none of the 54 African countries feature among the top 10 sources of immigrants in the United States. For an event to sensitize people to illiteracy, African children graced the poster. Last week, I picked up the Yale Economic Review, and on the cover, representing a wonderfully written article about how Africa was becoming the best place to make investments, was a photo of someone’s feet in beaded ornaments.

S AT U R D AY SEPTEMBER 27

I wondered if I was the only one to have this reaction. I sent a Kenyan friend at Harvard a link to the Reach Out spring break service trip info session. She exclaimed, “Is that seriously the photo they are using?” You guessed right — a photo of African children seated on the grass watching a show. None of these photos had “Africa” or “Kenya” or “Congo” labeled on them, but what comes to everyone’s mind when they see these photos of black people in developing countries, is almost definitely African countries.

Instead of the excitement that my aunts and I had when the cameraman brought us the printed photos, at Yale, looking at pictures of home is an activity I associate with disappointment. I joked with my sister about how when Humans of New York’s Brandon came to Kenya, he took a photo of a child who said he always takes his sister to the library. Two of the top comments read: “Books are the greatest escape” and “I need to find them and buy them books.” The children had not said they

I DO NOT UNDERSTAND WHY A FEATURE ON THE ECONOMY OF AFRICA HAS A MAN’S FEET IN BEADED ORNAMENTS ON ITS COVER. What is wrong with this? Certain African countries do have high illiteracy rates (although some also have high literacy rates). Certain African countries do have high emigration rates (to Europe, not to the U.S.). Certain people in Africa wear beads on their feet. But often the content of these pictures does not have any relationship to what it is meant to depict. I love African fashion, but I do not understand why a feature on the economy of Africa has a man’s feet in beaded ornaments on its cover. Don’t investments make you think of highways and technology and city centers instead? I am passionate about education but I do not understand why a picture of African children should make me think of illiteracy. A photo of Africans on a boat is an oversimplified depiction of immigration. And a photo of African children seated on grass watching a show, should not, on its own without a caption or anything, be what makes you think of aid.

THE EIGHTH ANNUAL JACK HITT PIG ROAST Yale Farm // 1 - 4 p.m.

Jack Hitt is a “This American Life” contributerand not the pig.

were suffering. They just said they were going to the library, but the approximately 4,000 people who liked those comments assumed that these children needed an escape. A photo of a child from my continent, perhaps my brother or sister, makes people think of a need to escape. My sister argues with me. She says, “But Africa IS underdeveloped. We do need infrastructure. We are at war.” And what I say is certain African parts are underdeveloped, certain parts need infrastructure and certain parts are at war. To blanket this as Africa is wrong. My sister understands that when she says Africa is underdeveloped, she means certain parts. But for people who have never been, these pictures are all they have of Africa. Yet I know that because of the media I have been exposed to, even I, as well as people from my continent, am not immune to making insensitive generalizations like “Americans are all about parties and making paper and diet-

ing.” Mostly, the ‘wrong’ picture painted by the media of the U.S. is often of perfection. America, through the photos we see, is the Statue of Liberty, and Hollywood, and Miami beach. When the media signifies “Africa” by using stereotyped images, then you think of stereotypes when you think of African countries. You think of illiteracy, and a need for emigration and escape, and a need for aid. On the Humans of New York page, a man from Kinshasa puts it wonderfully: “We don’t like pictures like this. It is not good to deduce [sic] an entire country to the image of a person reaching out for food. It is not good for people to see us like this, and it is not good for us to see ourselves like this.” Congo has an incredible amount of farmland he points out. Sometimes, when I complain about unfair images of Africa, students argue that Yale is different. People are educated. “How come you know these songs,” a friend’s suitemate will ask him when he sings along to American pop music. From the photos this boy has seen of Africa, he cannot fathom how it is possible that my friend knows these songs. How is it possible that you, from the continent of wild game and underdevelopment and disease, have had access to Coldplay? This generalization is what makes a professor at Yale joke, in a lecture, “Maybe prayer is what Africa needs.” Because “Africa,” of all the continents, through the pictures they have seen, needs prayers. This photo-collage “Africa” is where you go for service trips; it is, as a language professor put it, a place “to help poor people.” “Nairobi, Kenya,” is what I say when people ask me where I am from.

“Oh, Africa!” the reply will come, deleting my effort at specificity. “Dude, we gotta get that buffalo meat we’ve been planning to eat,” someone once said. *** What is a good photo, then? In my childhood I was an ardent fan of the kids section of the Sunday Nation newspaper. A photo of a celebrity and a caption would appear on the cover page of a magazine, and inside, you would find a whole interview of the celebrity. I liked to read about what they liked, what made them tick, their favorite foods, their history. If you are going to use a photo, tell its story. Even if the people in your photo are illiterate or in need of foreign aid, a picture of them should symbolize more than illiteracy or foreign aid. Tell their story so that we remember more: what they like, what makes them tick, their favorite food, their history. As a child, it confused me why my aunts said some photos were bad, and some were good, when the cameraman brought them back after printing. To me, you, not the cameraman, were in charge of what your image was. The cameraman has taken this control from the people of my continent. He does not give us the chance to apply wanja and lip stick, to decide what image the world has of us. The Yale community is often empathetic towards diversity. Many articles on Africa are well researched and weave in the complexities of people’s lives. I just hope we can give up this monotonous set of stereotypical pictures. There are more countries in Africa than any other continent. When we think of Africa, we should see more than “Africa.” Contact IVY NYAYIEKA at ivy.nyayieka@yale.edu .

WEEKEND RECOMMENDS: The ending of “Persuasion”

Because Captain Wentworth *is* the most attractive Austen hero.

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YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

WEEKEND COLUMNS

THE LAST OF THE ROCK STARS // BY DAVID WHIPPLE I grew up listening to U2, which I guess means I’m now an adult because even I didn’t listen to their new album. How could anyone? Violating our iPhones in the middle of the night with “Songs of Innocence” was pathetic, a once-great band unable to accept their own slow fading, reduced to a needy swipe at relevance. They succeeded at that, sort of: People spent entire days wondering how to delete the album from their libraries. It was, as Bono put it with a little too much self-awareness, “The blood, sweat and tears of four Irish guys — in your junk mail.” U2’s message was one we didn’t care to notice. Not that “Songs of Innocence” needed help to be unappealing. It’s filled with crude caricatures of mediocre U2 songs; it sounds like a U2 cover band’s first attempt at an original album. Roundly and deservedly skewered by critics who could scarcely hide their glee at being pitched such a meatball, it garnered a positive review only from Rolling Stone, whose head-in-thesand five-star rating cemented band and magazine alike as officially impotent: two drowning people clinging to each other for survival. But I did not share in the glee with which Pitchfork’s Rob Mitchum or the New Yorker’s Sasha Frere-Jones tore into U2’s latest. Only 10 years and two albums ago, U2 were my favorite band and still a truly great one, fresh and immediate and inventive and able to do what hasn’t been done since: top the charts and fill stadiums while playing rock. Springsteen and McCartney can still draw a crowd, but only on the strength of music from 40 or 50 years ago. U2 occupied a

DAVID WHIPPLE TUNE-UP strange space, their songs equally at home on classic rock and pop radio. But when U2 toured in 2004, fans showed up to hear music written in 2004. U2 were the last true rock stars. The pedestal from which they have fallen was once well deserved. Few artists have conquered as much sonic territory, much less done so while retaining a sense of emotional mission and anthemic songwriting. The shimmering desert mirage of 1987’s “The Joshua Tree” gave way to the only slightly less perfect “Achtung Baby,” a barrage of industrial sounds inspired by the end of the Cold War. Somehow, the band seemed equally at home in the newly unified Berlin as they had in the arid American Southwest four years earlier. And somehow, songs from both albums, and from the band’s other work, hold up next to each other on stage — a testament to U2’s refusal to take their heart off their sleeve. That has meant inducing some cringes and alienating the hip; but for U2’s fans, their honesty made them great. No other rock band had ever been as forthright. I see no band ready to take up U2’s mantle as the Biggest Band in the World, and maybe there isn’t one; maybe it’s just cranks like me who hold out hope. But I still have to wonder at the people whose legs are twitching as they wait to dance on the band’s grave. Where does that vitriol

come from? Embittered snobs who prefer dingy clubs to stadiums full of entranced people? Music is meant to be shared, something U2 might have understood a little too well, but something indie rock has made impossible, although maybe through no fault of its own. Indie rock defines itself as separate and distinct — “our” music as opposed to everyone else’s. Believe me, I’m as much of a rock snob as anyone, but I wish I didn’t have to be, and that’s why I grew up listening to U2.

THE PEDESTAL FROM WHICH THEY HAVE FALLEN WAS ONCE WELL DESERVED. Maybe this was inevitable. Many don’t like that U2 were built to be big; everything about the band demands it. They even called themselves “the last of the rock stars” in a song, and it’s hard to play a role with grace when you know that you’re playing it. I have listened to “Songs of Innocence” exactly once and I don’t plan to do so again, but I have listened to “War” and “Achtung Baby” a few times each since “Songs of Innocence” came out. Those are both great albums, but when a band’s new release is occasion only to break out their old stuff, you know their time has come — U2 are classic rock now. They will be the last band to become so. Contact DAVID WHIPPLE at david.whipple@yale.edu .

The Best Wing // BY MADELINE KAPLAN

Americans are always yearning for the Good Old Days. Of course, exactly which days were good and what made them that way is always up for debate. For TV critics, both professional and armchair, this often translates to three little words: “The West Wing.” This week was the 15th anniversary of the series’ premiere, an occasion marked with some pomp and several commemorative Buzzfeed articles. But why are we still so obsessed with Aaron Sorkin’s Holy Grail of Political Dramas? Because nothing since can compare to it, no matter how hard we try. “The West Wing” premiered in September 1999, and since then, American television audiences have sought to recapture the fast-paced, hyper-verbal magic of the Jed Bartlet administration. As evidenced by the insane attendance at last week’s Master’s Tea with Bradley Whitford (aka Deputy Chief of Staff Josh Lyman), “West Wing” fever is far

S U N D AY SEPTEMBER 28

MADELINE KAPLAN MAD-TV from over. But nowhere is the legacy of “The West Wing” more evident than in countless reviews of other political dramas over the last decade. There’s “House of Cards” (“Kevin Spacey West Wing”), “Scandal” (“Sexy Murder West Wing”), and “Commander in Chief” (“Lady West Wing”), the last two of which have suffered mightily at the hands of critics (I was personally partial to “Commander in Chief” while it was on the air, though to be fair in 2005 I was also really into Shrinky Dinks and gaucho pants). The latest show to attract nearconstant “West Wing” compari-

THE START OF THE REST OF OUR LIVES 202 York St. // Timeless

With blood, sweat and tears, we’ve reached the eternal meadow.

sons is “Madam Secretary,” a new CBS drama starring Tea Leoni as a female secretary of state who definitely isn’t Hillary Clinton. The show has received mixed reviews, with Variety’s Brian Lowry calling it “a slightly simple-minded return to ‘The West Wing.’” Some critiques are less subtle in their worship of St. Sorkin. Vulture critic Matt Zoller Seitz echoed the sentiments of many television writers in a recent review of the show: “I’d rather have ‘The West Wing’ back, or some version of it.” But “West Wing” comparisons are not reserved for bad knockoffs aiming to capitalize on Sorkin’s success. The Internet is full of articles about how “House of Cards” nods to “The West Wing” and blog posts with titles like “House of Cards Isn’t The West Wing’s Polar Opposite — It’s Its Younger Cousin.” But the two shows don’t need to be a package deal just because they apparently share an

imaginary television series grandparent (probably “Grandpa Goes to Washington,” an actual show that really existed in the late 70s). Why do we insist on bringing up “The West Wing” in every review of every TV show set in D.C.? To invoke another overused TV trope, references to “The West Wing” are getting a little “Marcia, Marcia, Marcia!” Summoning “The West Wing” often seems like a good way to connect with TV-literate readers. It can be a useful reference point, but it doesn’t do much in the way of meaningful critique. Not every show is trying to recreate that brand of idealism and witty dialogue. Treating “The West Wing” as a metric for measuring the quality of a sillier, soapier show like “Scandal” doesn’t make much sense. We don’t expect every big-budget superhero movie to rival “The Dark Knight,” so why do we compare every political drama to Sor-

kin’s best? I get it: “The West Wing” is an awesome show, one that I wish had more episodes. But these other shows are not attempting to recreate what Sorkin did so expertly. They represent wildly different visions of life at 1600 Pennsylvania Ave. You don’t need to turn on your television every Wednesday at 9 p.m. to get your fix of early-2000s turtleneck sweaters and impassioned speeches about education policy. That’s what Netflix is for. TV enthusiasts, I beseech you: WWJBD? (What Would Jed Bartlet Do?) In the absence of a verifiable answer, I am forced to do the work of a true politician and take his words out of context to make my own point. As President Bartlet once said, “When I ask what’s next it means I’m ready to move on to other things. So: What’s next?” Contact MADELINE KAPLAN at madeline.kaplan@yale.edu .

WEEKEND RECOMMENDS: The ending of “Wetsuit” by The Vaccines Do me wrong, do me wrong, do me wrong.

YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

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WEEKEND THEATER

“DON’T BE TOO SURPRISED” EXAMINES THE ART OF THE FAMILY // BY GAYATRI SABHARWAL // BRIANNA LOO

A family drama takes on big themes.

“Don’t Be Too Surprised,” shown at the Yale Cabaret on Thursday, written by Geun-Hyung Park and translated and directed by Kee-Yoon Nahm DRA ’12, is a refreshing take on a topic oft-pondered — human relationships and the multi-headed feelings that come with them. The entire show plays out on just one set: a modest Korean home, furnished with plastic chairs, a small television and two tiny rooms. The bare and unembellished house is antithetical to what is to come — a flamboyant and complex story with delicate issues. Categorizing human emotion is never easy. Often, not only are we completely inept at detecting another person’s emotional state, but we also have a tricky time understanding our own. What is the difference between intense attachment and exquisite unattainability? Does the glint in my eye signal that I am, in fact, in love with you, or is it a reflection of how much I am settling and how hurt I am? Would I be frustrated and angry if someone who made me miserable while I was alive turned up at my funeral and howled? Are devastation and ecstasy, the opposite ends of the spectrum of emotion, essentially the same? Don’t Be Too Sur-

prised if you start believing that they are. Loud and dramatic, the story of this Korean family is as unpredictable as humans themselves. Hilarious and, in its stolen moments, painfully true of the human experience, “Don’t Be Too Surprised” artfully highlights the cracks of everyday family life, from petty politics in the household to the deeper issues embedded within intimate relationships. Though set specifically within a Korean household, the play offers a social commentary on family life everywhere. An out-of-service toilet, a constipated brother-in-law, a hooker wife, a runaway husband and, above all, a weary and suicidal father, in an extreme example of role delegation, make a good argument for the specific “types” within every family. Further complicating the story with an air of incestuous romance and the heaviness of familial duties, “Don’t Be Too Surprised,” although unique and, at times, bizarre, is relatable. The central theme of the play, however, is death. Death, although intertwined with several morose and deeply uncomfortable feelings with regard to the hard truth of impermanence, also raises several logisti-

cal questions. In this rather dysfunctional Korean family, they must not only come to terms with the death of a family member, but also address practical matters such as how to dispose of the body. “Should we cremate him or bury him?” asks the brother. Dealing with the discomfort of cold questions while simultaneously understanding the catastrophic event created an all-too-familiar scenario of elegance in emotion and a reality that, more often than not, hits us hard.

in the surrender of the characters — an acceptance of the way things are. Familial and non-Platonic love, with shades of dislike and annoyance, give way to the idea of an unconditional affection, which exists, although in varying degrees, in every family. The story, in its entirety, merges disparate, yet ever-present and allimportant themes, under one metaphorical and literal roof. “Shit and a dead body,” a dialogue eloquently delivered by a character, would have been a good alternative title for this

OFTEN, NOT ONLY ARE WE COMPLETELY INEPT AT DETECTING ANOTHER PERSON’S EMOTIONAL STATE, BUT WE ALSO HAVE A TRICKY TIME UNDERSTANDING OUR OWN. The theme of death is contrasted with romance. “Your voice makes her want to stop menstruating,” says the husband to his brother. An unlikely love affair, still in development, followed by a confession of infidelity, adds yet another dynamic to a story that glues together discomfort and beauty. The inexplicable nature of attachment and attraction ends

play. But “Don’t Be Too Surprised,” which effectively communicates the double-meanings inherent in the scenes, does justice to every other of the myriad interpretations that the audience members could have walked out with. Contact GAYATRI SABHARWAL at gayatri.sabharwal@yale.edu .

WEEKEND Previews LIMINAL, A SENIOR PROJECT FOR NATE DOLQUIST. YALE DRAMA COALITION. OPENS SEPT. 26 AT 8:00 P.M.

“‘Liminal’ is an original piece of audience participation ritual theater. Sixteen participants per night will undergo a 90-120 minute ritual experience. Wear clothes you can move/ dance in. The production utilizes strobe effects.” WEEKEND highly encourages any events that involve strobe effects.

With the advent of fall comes the height of the theater season. Often we review shows the week they open, but since now is the time to start planning in advance, we’ve recruited theater tastemaker Andrew Koenig to give some previews and quips about the shows to come.

AMERICAN GOTHIC. YALE CABARET OCT. 9 AT 8:00 P.M.

A cast that includes “a baby. A grandmother. A librarian. All victims. And now – you.” Intriguing?

ALL MY SONS. DRAMAT. OCT. 2 AT 8:00 P.M.

A modern day classic, “All My Sons” reveals the darkness underlying contemporary American society.

THE IMPORTANCE OF BEING EARNEST. DRAMAT. OPENS OCT. 9 AT 8:00 P.M.

The Yale Drama Coalition promises “witty words and wily antics” in their presentation of Oscar Wilde’s classic.

S U N D AY SEPTEMBER 28

DOUBT: A PARABLE. YALE DRAMA COALITION. OPENS OCT. 16 AT 8:00 P.M.

Set in a Bronx Catholic school in 1964, “Doubt: A Parable” sheds light on the doubt that inevitably weaves itself into questions of faith.

THE SUNRISE

In the sky // 6:50 a.m. As an opal changes its colors and its fire to match the nature of a day, so do I.

WEEKEND RECOMMENDS: The ending of a long relationship

We’ve learned a lot from each other, but we’re excited for what’s next.

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YALE DAILY NEWS · FRIDAY, SEPTEMBER 26, 2014 · yaledailynews.com

WEEKEND BACKSTAGE

// BRIANNA LOO

FINEST ACTOR IN ALLTHE LAND: Bradley Whitford // BY STEPHANIE ADDENBROOKE

Q. You are probably most famous on this campus for your work as Josh Lyman in “The West Wing.” What was the highlight of working on a show with such social and political impact? A. I love that there was a show that didn’t portray politicians as either crooks or idiots, and that the message that, as ugly as the process is, government matters, and that politics matter. The fact that we got that message out was not our intention. Aaron [Sorkin]’s intention was never to serve civic vegetables, but it did do that, and that means the most to me. Q. Do you think the show had a genuine impact on the way your audiences thought about politics? A. I hear all the time, and people will tell me, that the show got them interested in politics. Often in Washington, [D.C.], I’ll run into people who claim they are doing it because of the show, [chuckle] which is a huge compliment. Q. You’ve been involved in campaigning in response to a number of political movements including Propositions 30 and 32 in California and Governor Scott Walker’s budget bill, and Josh Lyman is obviously portrayed as having strong political views. How did your work on “The West Wing” inform your political involvement and vice versa? A. “The West Wing” was way beyond any of my expectations.

Creatively, as an actor, it was amazing actors and amazing writers, and then on top of that, it was about something that has always been personally discussed in my home. And, I think the thing that got me the most involved in politics (which is hard for me to separate) was right around when the show was really coming along — having children. The point when you have children, you think urgently of the future your children are going to inherit. It came at a time where I felt, in light of 9/11 and the U.S. going into Iraq, I felt strongly about ensuring politics was even more a part of my life. Also, at the same time, you’re in the public eye, people ask you [about politics]. You get a bigger platform than you’re used to, which I have very mixed feelings about, but I made a decision early on that this was going to be part of my life and I’m not going to shut up about politics just because it makes other people (and me) queasy when actors start talking about politics. When I’m talking about politics though, I make it clear that I am not speaking as an expert; I’m speaking as a father and a citizen. Q. Now, backtracking a little bit: How did your experiences at Wesleyan shape you as an actor? A. I feel incredibly strongly that my time at Wesleyan was very important, and I worry now that people interested in going into the arts, especially your generations, for a variety of reasons, are panicked about specializing

and aiming toward a career when you should be sniffing around and becoming a more interesting person. I was really glad that I got a liberal arts education before I got to go to Juilliard, which was a great privilige. A conservatory is a trade school, and what we need in the arts, certainly in acting, is interesting people more than we need technical execution. I always tell people interested in film to not go into a production-heavy undergrad film program because the hard part about making movies is not just executing them. You can learn that pretty easily actually. What’s difficult is making a good, interesting movie. So, all the potential artists that are studying at Yale wondering if they’re wasting their time not being in rigorous performance training, they’re doing the right thing. Q. In an interview for one of your recent projects, “Saving Mr. Banks,” you said that Disney was a “joyous and unavoidable” part of childhood. What would you say is a “joyous and unavoidable” part of college? A. I don’t know how to answer that without sounding incredibly corny. I would say, becoming close with people who had radically different backgrounds and interests than I had. I came from Wisconsin, and coming to Wesleyan from Wisconsin, I felt like I was going to Mars. I was not from a prep school. I was not from the East Coast or the West Coast, so it was fascinating to meet people from a radically different place.

place to work because it’s driven by writers. The writers’ control happened a lot more when we went on cable, and even more so now, when you’re on this other streaming devices.

Q. Your acting career began with “The Equalizer” in 1985. How has the industry changed since then, and what would you say are the biggest challenges facing people in the entertainment industry today? A. Well, it has changed radically and it’s changing as different platforms arise, as the technology changes faster and faster. There are more and more platforms that this material can appear on. The reason why Yale kids are at all interested in “The West Wing” is Netflix, which was beyond our imaginations when we started the show. We couldn’t see anything beyond a network re-run, and suddenly opportunities for cable series just exploded, and the kind of things you could do on television exploded. At the same time, opportunities in movies just became less and less interesting from a storytelling, acting, character point of view because everyone’s interests shifted toward this international audience, because it’s easier to translate action movies and cartoons than it is to translate two people talking or dealing with each other with any kind of complexity. Now, I’m doing a show on Amazon, and I think it makes sense for your generation. It makes so much sense in a culture of being able to listen to any song whenever you want and watch any movie you want. The whole idea of waiting for a network schedule is totally anachronistic, and the business model doesn’t exist anymore. The worst thing that has happened is that I used to close my trailer on “The West Wing” and think “Oh my God, we’re all getting an incredible amount of high quality material.” I would even say that in a year, everyone of us on the show were getting better writing than Meryl Streep was in her movies, and we had this long-term culture and relationship with an audience. And, I remember thinking “Don’t tell the feature people.” Unfortunately, or actually fortunately, they’ve figured it out. Television is a much more interesting

Q. You wrote two episodes of “The West Wing.” Did writing episodes change the way you approach television? A. I can tell you that it was incredibly challenging and incredibly satisfying. It made me feel that Aaron [Sorkin]’s achievement in the four years that he wrote twenty-two episodes is even more mind-boggling than I thought it was. I don’t know how you do that. It is interesting because you realize there’s something about screenwriting that is incredibly technical. There is a certain mechanic to this storytelling. I remember being surprised because I guess I was afraid of “can I write dialogue?” That’s not the problem. The problem is structuring the story, and that’s particular to screenwriting much more so than writing prose. It makes you appreciate good writing so much more. It’s brutal. Q. What would you say the proudest moment of your career has been, and what are you most excited about?

A. Honestly, I think one of the proudest moments was the first year that we won that first Emmy, and I realized that this wonderful experience was going to be accepted and supported and going to continue. We had this privilege of doing this show that was not only going to be commercially successful, but it also wasn’t insulting and it had something complicated and positive to say. Just being part of that was an amazing thing, and I’ll never be ungrateful for it. What am I looking for? I have no idea. I am really excited about the arc I’m playing in this show, “Transparent.” It’s another show that has something culturally interesting to say, but it is extremely well crafted and well acted. So, I’m looking forward to that, and I’m looking forward to some other writing projects that I’m working on. Q. And, sorry, but we have to ask … any chance of a West Wing reunion anytime soon? A. I’m looking forward to a reunion. It is going to happen, but it’s going to happen in my backyard when we’re going to have a barbecue and just hang out. Contact STEPHANIE ADDENBROOKE at stephanie.addenbrooke@yale.edu .

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AARON [SORKIN]’S INTENTION WAS NEVER TO SERVE CIVIC VEGETABLES, BUT IT DID DO THAT, AND THAT MEANS THE MOST TO ME.

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amous for his role as Josh Lyman on “The West Wing,” Bradley Whitford is an Emmy-award winning actor with a career spanning decades. He made his appearance on campus last week thanks to Pierson College and the dedicated fans at student organization West Wing Weekly. After attending Wesleyan as an undergraduate, he received training in the Juilliard School’s Drama Department. Whitford’s career began with “The Equalizer” in 1985, and he has since appeared in “The Sisterhood of the Traveling Pants,” “Saving Mr Banks,” “Trophy Wife” and more. He is currently filming “Transparent,” a new show produced by Amazon. In addition to his career in the entertainment industry, Whitford has been recognized for his political involvement, which includes campaigning in response to Propositions 30 and 32 in California and to Governor Scott Walker’s budget bill. Naturally, WEEKEND gave him a call to learn about Wisconsin, civic vegetables, screenwriting — and to find out if a West Wing reunion is in the cards.