FA L L
2014
MiltonMagazine
storytellers are
game changers
6 10
14
table of contents
Features
Departments
6 The Moonshot Evangelist
4
Claire Johnson ’90 is steering Google’s self-driving car.
31
Across the Quad
50 On Centre
Head of School
56 Board of Trustees
The Gift of an Oral
10 New Americans Will Power Chicago’s Future
Tonantzin Carmona ’08 includes immigrants in the city’s vision.
60 Retiring Faculty
Legacy by Todd B. Bland
64 Messages 32 Sports Golf at Milton in 9 Holes
65 Alumni Authors
by Liz Matson 67 Class Notes
14 Landing the Viewer Inside the Story “A documentary is not a visualized lecture,” says Llewellyn Smith ’72.
34 Faculty Perspective Visual Arts Faculty, Past and Present, Exhibit and Explain
76 Post Script “When It Comes to Movies, Everyone Has an Opinion.”
18 Worth a Thousand Words Nick Clark ’65 blurs the lines between fine art and your favorite childhood picture books.
22 At the Console, Nick Makes Productions Sing
Ambitious performances push Nick Mehlman ’16, Milton’s sound guru.
26 What Should We Know About You? Milton’s eighth graders tell their own stories.
30 A Wider Lens, A Deeper Look Milton launches eight new interdisciplinary courses.
38 Commencement 2014 43 Reunion Weekend
48 In Sight
by Ty Burr ’76
Zion, March 2014 Photograph by Matt Magann ’17
Editor Cathleen Everett Associate Editors Erin Berg Liz Matson Design Stoltze Design
Photography Mehrdad Azemun Erin Berg Matt Bingham Chris Diers Michael Dwyer Misty Enright John Gillooly
Matthew Gilson Matt Magann Liz Matson Clif Stoltze Greg White
Milton Magazine is published twice a year by Milton Academy. Editorial and business offices are located at Milton Academy, where change-ofaddress notifications should be sent. As an institution committed to diversity, Milton Academy welcomes the opportunity to admit academically qualified students of any gender, race, color, handicapped status, sexual orientation, gender identity or expression, religion, national or ethnic origin to all the rights, privileges, programs and activities generally available to its students. It does not discriminate on the basis of gender, race, color, handicapped status, sexual orientation, gender identity or expression, religion, national or ethnic origin in the administration of its educational policies, admission policies, scholarship programs, and athletic or other school-administered activities. Printed on recycled paper.
fa l l 2 014
1
2
mi lton magazi n e
milton.edu
facebook.com/MiltonAcademy1798
@MiltonAcademy
Storytellers are game changers. Nothing matches a story’s power to connect, to create empathy, to expand our individual worlds. Irresistible and engrossing, stories can be wily messengers that deftly turn assumptions upside down. We can find ourselves on new terrain after some stories, thinking and feeling acutely. Master storytellers seem, almost effortlessly, to rivet our attention on our shared human condition. They artfully usher in the realizations that allow us to grow and to change. We focus this Milton Magazine on the story, on the art and the skills that bring narratives to life and change the world.
fa l l 2 014
3
across the qua d
Walter McCloskey Names Eight to Remember Stories that moved him, and might move you
“The Old People”
“The Swimmer” by John Cheever
by William Faulkner “Young Goodman Brown” by Nathaniel Hawthorne
Hawthorne’s perverse sense of
Perhaps Cheever’s most brilliant
In this story, which anticipates the
story, “The Swimmer” takes
much longer and more complex
place in a recognizable suburban
“The Bear,” Faulkner introduces
world that moves into nightmare
humor gives this allegory of
one of his major themes: the
as former master of the universe
universal guilt a distinctively
multiple ways in which the past
Neddy Merrill navigates the
comic undertone.
inhabits the present.
swimming pools of his neighbors and revisits his self-destroyed life.
“Good Country People” and “The Displaced Person” “Bartleby the Scrivener”
by Flannery O’Connor
by Herman Melville
In these two stories, O’Connor “Calling” by Richard Ford
Melville’s Bartleby, the lawyer’s
uses her slam-bang irony to
scribe who practices a ferocious
expose the kinds of false pride
passive resistance, has taught
that underlie truly disastrous
the narrator recalls his terminal
me one of life’s most useful
prejudices.
reunion, decades before, with
phrases: “I would prefer not to.”
In this story that truly haunts,
his estranged father, an upper“A Memory” by Eudora Welty
Flannery O’Connor once said, “If nothing happens, there’s no
class New Orleanian with the kind of secrets no child would want to uncover.
story.” In Welty’s “A Memory,” something memorable does happen, but only in the divided imagination of the narrator.
Their Shortest Assignment Ever! Short-shorts by students, like @VeryShortStory, in 140 characters or less.
She was wild, sassy, but imaginative; so, when
I love how you can think you’re at the top
She was there. Her stare was oblique. “I’m
she told me she lived in an island in the sky, I
with every bend in the path. “False summit,”
sorry.” “For what?” Again, the oblique look.
thought she was insane. But no, there it was, just
I think it’s called. You’re not yet, but you
The wind shook her hair into her eyes. “Never
like she said. — Sophia Greenaway, Class III
will be. — Claire Huffman, Class I
mind.” — David Mercier, Class I
4
mi lton magazi n e
milton.edu
facebook.com/MiltonAcademy1798
@Milton_Academy
Admission Stats 2014–2015
20 14 43%
New boarding students come from 20 states.
Upper School Applications for 2014–2015 — 1,100 New students enrolled — 141 (92 boarding, 49 day) K–8 Applications for 2014–2015 — 413 New students enrolled — 52 K–12 total enrollment — 1,034 Vitals Male — 54% Female — 46% Sibling or legacy — 35% Receive need-based financial aid — 28%
New day students are from 48 surrounding cities and towns. The Admission Office hosted 1,400 families visiting for interviews last year.
And 14 countries.
Of our new students,
43% are self-defined students of color.
from the archives
Was D. H . Lawrence’s Sons and Lovers “the” story of the ’70s, or was the real story the hair?
fa l l 2 014
5
chapter one
C l aire H ughes J ohnson ’ 9 0
The Moonshot Evangelist Claire Johnson ’90 Is Steering Google’s Self-Driving Car. On May 28, at the Code Conference in Palos Verdes, California, Google co-founder Sergey Brin revealed a surprise. The tech world already knew that Google has been developing self-driving cars that use laser scanners, cameras, and radars to map nearby terrain, track cars and pedestrians, and even identify construction zones. The vehicles avoid swerving cyclists, stop at traffic lights, and move around Google’s Mountain View neighborhood as naturally as a humandriven SUV. The computer-controlled cars have already logged more than 700,000 autonomous miles. Until
revolutionary concepts. In 2012, the group released a
recently, they’ve also had a few features we’ve become
video of a self-driving Toyota Prius squiring a blind man
accustomed to since the advent of the horseless carriage.
around town. Since then, however, they have kept their
Steering wheels, for instance. Gas pedals. Brakes. Mr. Brin explained that Google has cast aside these
advances quiet. Claire, a Google veteran who helped launch flagship products like Gmail, had been following
accouterments. Onstage, his hosts showed off a video of a
the project internally, but it wasn’t until last year that
two-seat electric prototype with an emergency stop button,
Google[x] director Astro Teller and engineer Chris Urmson
but no steering wheel or familiar pedals. Brin compared
convinced her to join them. Her mandate is to bring the
the experience of driving in one of the prototypes to sitting
technology to market, but she can’t divulge how Google
in a chairlift. And while he broke the news of this radical
intends to do that. So, in the meantime, one of her roles
new prototype casually, punctuating his armchair presen-
is to act as an evangelist for the technology, showing
tation with the occasional chuckle, the unveiling took
regulators, politicians and the general public how self-
months of intense planning, according to Claire Hughes
driving cars could benefit the world.
Johnson ’90, vice president of Google[x] Self-Driving
After joining the team, she noticed a disconnect between
Cars. “It’s a nuanced story,” she says. “One of the hardest
the national conversation around self-driving cars and
things was that this was not a launch.”
what was happening inside Google[x]. In 2013, the National
At this point, Google isn’t selling a product. The com-
Highway Traffic Safety Administration (NHTSA) defined
pany is selling an idea. So Claire and her colleagues wanted
five different categories for these smart cars, from a level
the story to center less on the physical prototype than on
zero, which is controlled entirely by the driver, to an entirely
the broader technology developments and their implications. “It’s going to take some time for the technology to realize its
6
The self-driving car project is part of the Google[x] division — the so-called moonshot factory that pursues
autonomous level four. Most automakers appear to be progressing gradually away from zero, slowly introducing
potential,” she says. “So it took a series of steps to make sure
new and more intelligent features, such as adaptive
people had an opportunity to think through all the angles.”
cruise control.
mi lton magazi n e
YouTube.com > search for “A First Drive”
fa l l 2 014
7
Google decided to go straight for the fully autonomous, no-human-in-the-loop automobile. The logic was simple:
the new, steering-wheel-free prototype was still a secret,
If, according to NHTSA, 93 percent of accidents are results
but the media were given a glimpse of how far the technology
of human error, why not get rid of the human and let the
had come. A few years ago, for example, the car would
computer drive? Google’s cars can see out to 200 meters in
have recognized a cluster of pedestrians as an amorphous
all directions. They don’t have blind spots. They don’t text.
blob. Now its software can distinguish, and track, each
The only accidents logged during those 700,000 miles
individual person in a group.
were the result of other cars knocking into a Google-mobile at a traffic light. Still, the idea of getting rid of the controls was ground-
Two weeks after the press day, Mr. Brin made his announcement, and Claire’s team also released four videos. One focused on the people who would benefit from self-
breaking, so Claire and her colleagues decided to let people
driving cars, including the elderly and the disabled. The
know what they were doing. “We felt we should share,
other three videos featured the engineers developing
as early as we could, the concept that we’re going to skip to
the technology. The first video soon went viral, but Claire
level four,” she says.
wasn’t sitting at her desk, tracking view counts. For all
After months of planning, they began the reveal by
the potential reach of a video or a well-placed news piece,
re-stoking interest in the technology. On May 14, her team
she makes an effort to tell the story of the self-driving
hosted a press day at Google. They invited members of
car in person. Sometimes, this involves meeting with state
the media to ride in earlier versions of the self-driving cars —
regulators, city officials, and other business leaders on
a fleet of Lexus SUVs with updated software that allowed
Google’s campus, and arranging for brief rides in the car
them to drive on surface streets, not just highways.
so they can experience the technology firsthand.
Then they brought in a panel of academics to discuss how self-driving vehicles could change mass transportation,
8
alleviate parking problems in cities, and more. At this point,
mi lton magazi n e
The day of the announcement, though, she was in Washington, D.C., discussing some of the potential uses for
the vehicle with an unnamed White House official. Claire,
A few years ago, for example, the car would have recognized a cluster of pedestrians as an amorphous blob. Now its software can distinguish, and track, each individual person in a group.
who worked briefly in politics after graduation from Milton, was talking about how a self-driving car would help her grandmother, who had to give up her driver’s license, and her freedom, because of a degenerative eye condition. The official, it turns out, was about to face the same problem with her parents. “Her eyes lit up,” Claire recalls. After Mr. Brin’s reveal, some stories focused on the prototype itself. People asked desperately curious questions about when these vehicles would be available to the general public, how they’ll be used, and how much they’ll cost. For the most part, though, the conversation shifted toward broader implications. The conferences, announcements, videos, news stories, and face-to-face meetings had the
her chance. When she was recruited to join the effort, she
above
effect of nudging attention away from the actual prototype
wasn’t sure she was a good fit. “I’m not building lasers,”
and turning the public’s eyes to the question of how these
she jokes, and there was not yet a product to sell. But she
Map data © 2014 Google, INEGI.
vehicles will impact our world.
has found her role, and she believes that she will help
Claire thinks this impact will be significant. Since her
make self-driving transportation a reality. Until then, she’ll
Milton days, she has had an eye toward leaving an imprint
continue commuting like so many of the rest of us, with
on the world, a legacy. At first, she thought she might do
both hands on the wheel and her eyes on the road.
so through writing or politics. Now, though, she sees this technology, and her role in guiding it into the world, as
by Greg Mone
fa l l 2 014
9
chapter two
T onant z in C armona ’ 0 8
New Americans Will Power Chicago’s Future Tonantzin Carmona ’08 In midmorning, the light reflecting off North LaSalle Street’s towering buildings pours into Tonantzin Carmona’s small office in Chicago’s City Hall. Poised and welcoming, Tonantzin clears the Starbucks cup to one side and ignores the steady ping of incoming emails. She looks every bit her age — 24 years. Last April, Mayor Rahm Emanuel named Tonantzin director of his Office of New Americans. While rancorous debate about immigrants surges across
Mexican neighborhood. She was “vocal” as an elementary
the United States, Mayor Emanuel has declared that
schooler, she says, and competitive: “a nerd who was not
Chicago “will be the most immigrant-friendly city in the
afraid of being smart.” She loved sports. Her dad encouraged
country.” Some view Emanuel’s line in the sand as smart;
his two daughters to be tough and opinionated; he was
others are enraged; nearly everyone sees it as bold. His
adamant that they take an upfront role, never behind the
rationale is succinct: “Chicago can accelerate its economic
scenes. Tonantzin’s mother, aunt and grandmother were
growth over the next decade by supporting businesses
all activists on that front. Her grandparents, “second parents”
and ensuring that its workforce is ready to fill employers’
according to Tonantzin, drove her and her sister to school,
needs,” the mayor writes in his Chicago New Americans
even though they could see the schoolyard from their home.
Plan. “The city’s immigrant population will be a key component of both of these economic growth strategies.” To succeed, Tonantzin has to stand in the immigrants’ shoes, bring their lives to light, and convince the skeptics that including immigrants in the city’s vision helps everyone.
relentlessly focused on education as the vehicle for success.” Teenage pregnancy, violence, gangs and drugs, typical urban forces, were part of the neighborhood’s cultural fabric. You’d be safe in saying that without a motivation
It’s her responsibility to put pragmatic policy to work and
unusual for any 13-year-old, Tonantzin would not have left
deliver progress.
her tight neighborhood for Milton. “I wanted to open doors
Emanuel’s 50-member advisory committee, drawn from Chicago’s business, academic, civic and philanthropic
for Latino and immigrant youth,” she says. “Even when I was new at Milton, I was making videos in English and
communities, named the plan’s strategies over the course of
Spanish to send home, so more kids would apply.” Milton
his first year in office. Tonantzin helps the mayor realize
was “huge, strange, filled with people walking around
those target priorities.
using these polysyllabic words,” says Tonantzin. It wasn’t
Tonantzin grew up in Little Village, Chicago’s prominent
10
“They were strict and protective,” she says. “My family
mi lton magazi n e
milton.edu
easy, but she kept her footing and “devoured and absorbed
facebook.com/MiltonAcademy1798
@MiltonAcademy
this spread
Photo by Matthew Gilson.
fa l l 2 014
11
we convened and managed 15 cross-department teams,
“Picking up angry voicemail messages and hearing personal insults is hard. I do understand where they’re coming from. So many people don’t have opportunities; so many are intensely worried about their future.”
helped them come up with action steps to move the mayor’s and the Cook County board president’s agenda. We ended up with a $70.9 million savings, just through conversations — collaborating, reducing redundancy, targeting the delivery of services better.” Absorbed in the city, but still passionate about her neighborhood, Tonantzin regularly badgered Adolfo Hernandez — a Little Villager who preceded her as director of the Office of New Americans — to bring her in on projects that affect immigrants. When he moved on, Tonantzin was the perfect internal candidate for his position. Economic growth is the lead issue in the Mayor’s New
everything,” including running for office and serving. She wanted to be closer to home for college. “At
would prove the underlying argument: that providing
Northwestern I could gain experience and exposure, see
immigrants with equal access to opportunities ultimately
where in Chicago I could put my foot,” she says. She majored
benefits everyone.
in political science and Latino studies, preparing explicitly
The plan moves on to initiatives that serve youth and neighborhoods. Perhaps because they emerged from
to serve. Tonantzin immersed herself in the activities of
the broad-based advisory group, the goals often seem
Northwestern’s Latino community. Working for her father’s
to be small in scale, pragmatic, accessible, common-sense
management consulting firm at the same time, she learned
changes. If you want to support small-business entre-
about research on a deadline; problem solving; and the
preneurs, for instance, make food cart licenses easier to
range of issues that confront businesses and organizations.
get. If you want to increase naturalization applications,
She was known and primed for action when she learned
provide help to pay the $680 application fee, a barrier for
about a policy associate’s position in City Hall. Putting aside preparation for the medical school exam, Tonantzin took a shot at the position and was rewarded. “They needed a generalist,” Tonantzin says. “You name it —
most immigrants. To connect new immigrants with key city services, adopt a policy that makes sure all city departments have a plan for providing services in the top languages spoken in Chicago neighborhoods — Spanish,
affordable housing, transportation, public health, sustain-
Polish, Mandarin, Tagalog [Filipino], Russian and Arabic.
ability — I researched and worked on whatever policy
Throughout the city, promote alliances and connections,
needs came up. City/county collaboration became my project.
sensitize agencies, improve processes.
With the city’s chief of policy and my county counterpart,
12
Americans Plan, mainly because success in that domain
mi lton magazi n e
cityofchicago.org/newamericans
Support for undocumented youth excites Tonantzin
more than anything else. These are high schoolers whose
“about who they are. Yet they say, ‘This is my home, and
older brothers and sisters may well have been among
I want to contribute. I might not be a citizen of the United
Tonantzin’s friends in Little Village. While she has been
States, but I’m a citizen of Chicago.’”
able to develop her own talents, and follow an ambitious
Supporting immigrants, particularly undocumented
plan, these kids feel invisible and live with the abiding
youth, is difficult, Tonantzin admits. “Picking up angry
fear that their parents may be deported.
voicemail messages and hearing personal insults is hard.
She talks about partnering with staff from the Chicago
people don’t have opportunities; so many are intensely
for young people to work toward college and play a role
worried about their future.” Frustrated by Washington’s inability to craft compre
counselors about students’ eligibilities can clear up
hensive immigration reform, Tonantzin points out how
confusion and put options into play. Students need not be
much is left to local governments with limited resources and
documented — or show documentation — to apply to college,
so many needs to meet. “Without national policy, we struggle
for instance. They do qualify for instate tuition, but not
with loopholes and gaps,” she says. “Talented individuals
state or federal aid. The city established nearly 23,000 volunteer, internship and job opportunities for, “DREAMers,” undocumented
Images of Chicago’s Little Village (far left) by Mehrdad Azemun and (all others) Chris Diers, via flickr.com.
I do understand where they’re coming from. So many
Public Schools, building awareness, clearing the pathway in the city’s future. A move as obvious as educating school
above
are held back. We have to get creative; we could be much more productive focusing money and energy in other ways.” By convening, narrating and navigating, Tonantzin
youth, brought to the United States as children. Because of
thinks she’s made connections that may not have happened,
President Obama’s DACA program (Deferred Action for
or that wouldn’t otherwise have been as frequent or effective.
Childhood Arrivals), young people with work authorization
Some people don’t view policy as a solution to problems,
can build work experience and a college education. Students
but Tonantzin feels that municipal governments are the
at Curie Metro High School established a “DREAMer club,”
laboratories of innovation. “I’ve seen firsthand how an idea
linked up with other high schools, and held a statewide
can come about and turn things around.”
“DREAMer conference” with more than 200 participants.
“That was what drove me to venture from Little Village
They pulled together resources for students and families,
in the first place,” she says. “I am a young, brown woman,
to help them get to college.
and people underestimate me. I should not question or
Tonantzin tells about having heard several of these stu-
be apologetic about who I am. The women I’ve known, in
dents who came to City Hall and talked with Mayor Emanuel
immigrant communities, get things done. They begin by
about the internship program. Why was it important? They
looking out for their children; they get involved and take
essentially said, in Tonantzin’s words, “It feels great to feel
off from there. I want to get more involved in policy, in law,
welcome, to be openly acknowledged. I feel like I have at least
to be a role model for other Latinas.”
one foot in society, even though one is out.” “They deal with constant backlash,” Tonantzin explains,
by Cathleen Everett
fa l l 2 014
13
chapter three
L l ewe l lyn S mith ’ 7 2
Landing the Viewer Inside the Story Llewellyn Smith ’72 “I’m attracted to the consequences of big ideas shaping people’s lives,” says Llew Smith, summing up what drives his filmmaking. His film legacy over nearly 35 years shows a diligent historian, a fearless visual artist, a sensitive and ambitious chronicler of identity and experience in the United States. Llew is alternately, or sometimes simultaneously, a writer, director, producer, series editor and “especially rainmaker, if you know what I mean.” Llew “backed into filmmaking,” by seizing a number of seren-
knew about as much as I did about what they were doing,”
dipitous opportunities that cropped up in Minnesota, in the
Llew says.
late ’70s, after his undergraduate days at Carleton College. A tentative teenage conversation with his first girlfriend predicted the arc of Llew’s career and its challenges. He
cinematographers. Arriving as an associate producer,
was 17 and the two had come around to projecting the future —
Llew could observe how documentary storytelling takes
what they hoped to “be.” Llew’s girlfriend laughed incredu-
shape as an entity that dictates its own tone and direction,
lously when he reflexively said, “I want to direct films.”
and demands technical and aesthetic care. The eminent
“I understood later that she was not really laughing at me,
Callie Crossley, and legendary executive producer Henry
work at the post office, or as a teacher, or even a politician,
Hampton.
There were no black filmmakers we knew of in the 1970s.” In fact, Llew did have to invent himself as a filmmaker.
says, “not just the technical work, but the process of discovering and defining the narrative itself. That happens not just within the film team, but also with experts who
nication at the University of Minnesota when Reginald
work with us to build the most compelling story. I depend
Buckner, a legendary pianist and professor of music,
on the historians, the social scientists, the economists,
approached him about creating a TV course on jazz; Llew
the sociologists and others to help us clarify our vision and
leapt at the chance and they produced Jazz: An American
test the veracity of the narrative we’re presenting. It can
Classic. On the strength of that, Llew says, he was able
be a tough and humbling process.”
to “struggle my way into this business.” He was hired by
14
“Filmmaking is so powerfully collaborative,” Llew
In the late ’70s, he was working on a master’s in commu-
WETA to write for a series called From Jump Street: The
Photo by John Gillooly.
documentary team included Jon Else, Orlando Bagwell,
but more at the idea,” Llew says. “If I’d said I’m going to she could see how that was possible. But a filmmaker?
right
Not until he joined the production team for the series Eyes on the Prize would he gain the mentoring of seasoned
“A successful film is rooted in the narrative,” Llew says, “Facts alone can’t create an inspiring story. A documentary is
Story of Black Music, hosted by Oscar Brown Jr. The show
not a visualized lecture.” Often, experts have done publicly
presented an amazing range of American black music
funded research in a field for years, he points out. While their
in live performances. “Everyone around me at that point
work advances knowledge, their findings usually live in a
mi lton magazi n e
bluesparkcollaborative.com
fa l l 2 014
15
peer-reviewed, nearly inaccessible world of professional journals and conferences. “I like to take important insights
Llew wants to share insights that may be new to people,
and translate those into a provocative public conversation.”
and even alarming or unsettling, but so compelling and
he says. “If you help me understand your research, I can
urgent that they don’t turn away; at the same time he aims
help make it more widely available through storytelling to
at accuracy, so experts in the field are able to say, “this does
national audiences — not ‘dumbing it down,’ but rather
represent our knowledge at this time.”
getting these ideas into the public imagination, where they can provoke change.” The PBS series Unnatural Causes: Is Inequality Making Us
Each person comes to a film with a preformed idea of what that film is going to be about, Llew believes, and where it might go. He likes to “meet audience assumptions exactly
Sick? (2008) is a case in point; Llew was co-executive director.
where they are, and then do a jiujitsu number: flip it — turn
In seven episodes, Unnatural Causes relies on individual
those expectations on their head and land the viewer inside
stories to anchor a growing body of uncomfortable but
the story, with an emotional connection they didn’t expect.”
important data. The first takes us to Louisville, Kentucky,
Gunnar Myrdal, the Swedish economist and Nobel
where the lives of a CEO, a lab supervisor, a janitor, and
laureate, is Llew’s agent for catapulting you into the center
an unemployed mother “show how class shapes opportun-
of his new film, American Denial. In 1938, the Carnegie
ities for good health,” says the series’ description. “Those
Corporation chose Myrdal to conduct a five-year investiga-
on the top have the most access to power, resources and
tion of American life and values. They selected Myrdal
opportunity — and thus the best health. Those on the bottom
because of his international status as a researcher and
are faced with more stressors — u npaid bills, jobs that
theorist, and as a non-national from a non-imperialist coun-
don’t pay enough, unsafe living conditions, exposure to
try. Myrdal was interested in America’s core longing for
environmental hazards, lack of control over work and
equality, contraposed with the reality of our racial inequality.
schedule, worries over children — and the fewest resources
Moving freely throughout the South, for a time by him-
available to help them cope.” The series showed that health
self and then with the assistance of scholar Ralph Bunche,
outcomes (and their costs) are inexorably tied to social
Myrdal questioned hundreds of Americans. “I am a Swede,”
conditions that we create in our communities. It triggered
he would say. “I’m new to your country. Who are black
a national discussion, especially in public health circles,
people? What are they like?”
that continues today. The scholarly discourse supporting “the social determin-
16
complex reality, and create a meaningful public dialogue.
Answers — from people who lovingly espoused our public values — defined black Americans as second-class citizens,
ants of health” was “about 100 years in the making,” Llew
distinctly inferior. Was denial a critical psychological exercise,
says. As he built the plan for this series, Llew was exactly
Myrdal wondered, that enabled Americans to avow certain
where he liked to be: using powerful stories to illustrate a
beliefs and act in opposition to those beliefs every day?
mi lton magazi n e
A Select Filmography AMERICAN DENIAL Front
Llew Smith’s 35 years of documentary work includes: • Eyes on the Prize (1987) • Africans in America: America’s Journey Through Slavery (1997) • The American Experience — multiple episodes (1998) • Race, The Power of an Illusion (2003) • Nova, Forgotten Genius (2007) • Unnatural Causes: Is Inequality Making Us Sick?
(2008)
• Herskovits at the Heart of Blackness (2010) • Gaining Ground: Building Community on Dudley Street (2012)
Overwhelmed by these findings from the country he so revered,
• Independent Lens, American Denial (2013)
Myrdal became profoundly depressed. He began to lose confidence in himself. His marriage with his confidante and professional counter-
After more than a decade with PBS’s American
part, Ada, seemed on the verge of collapse. In personal crisis, he worried
Experience, Llew founded Vital Pictures
whether he had uncovered the same thing within himself that seemed
(www.vitalpix.com) in 2005, and in recent years
deeply entwined in the American character.
launched a new venture: BlueSpark Collaborative.
Ultimately, Ada did help her husband complete his report for the Carnegie Corporation, An American Dilemma, and the film shows how its insights are as relevant now as when he completed his study in 1944. Watching the film without feeling Gunnar Myrdal’s visceral pain is impossible. Witnessing his intellectual and personal struggle leads you to new and highly uncomfortable awareness about its source. Immersed as you find yourself in Myrdal’s story, you cannot avoid exploring the issues of racism and white supremacy that affected him, and those issues playing out today. The important thing, Llew says, in a film like this, is that people recognize and deal with the discomfort of where they find themselves when the credits roll. “I’ve succeeded when a person engages in a conversation with himself about what he is now struggling to understand. If we avoid acknowledging what we see,” Llew asserts, we must understand ourselves as complicit in “the inequality and racist structures that continue to inhabit our democracy.” As Llew says, “good storytelling, especially the detail in stories, reveals universality. It’s in the story details that we see ourselves and connect with the human condition; and the meaning of that human condition doesn’t change, no matter our individual backgrounds.” by Cathleen Everett
Filmmaking honors: • The Council on Foundations Henry
Hampton Award
• Alfred I. duPont-Columbia Award • The National Academy of Sciences 2009
Communications Award
• The John O’Connor Film Award of the
American Historical Association
• The Eric Barnouw Award • The George Foster Peabody Award • Hollywood Black Film Festival Best
Documentary Award
• The American Association for the
Advancement of Science (AAAS) Award
• The National Association of Science
Writers Award
• Multiple Emmy and Writers Guild nominations
American Denial will be aired on PBS’s Independent Lens on February 23, 2015.
fa l l 2 014
17
18
mi lton magazi n e
milton.edu
facebook.com/MiltonAcademy1798
@MiltonAcademy
chapter four
N ick C l ark ’ 6 5
Nick Clark ’65 blurs the lines between fine art and your childhood favorites. Four wide, welcoming murals — eight feet by 16 — warm the airy central hall of The Eric Carle Museum of Picture Book Art. The textured swaths of red, green, blue, yellow, are stunning tone setters — contemporary collages, you think. But then each painting tugs at a deep-seated visual memory — something familiar, nostalgic — stemming from hundreds of turns with The Very Hungry Caterpillar. The murals showcase Eric Carle’s signature tissue-paper technique writ large. Blurring the lines between fine art and illustration art is the goal of The Carle Museum. Achieving that goal is the responsibility of Nick Clark ’65, founding director, and now chief curator, of The Carle. The museum is the first in the country to feature children’sTyvek murals created for display at The Eric Carle Museum of Picture Book Art were created by Eric Carle in the style of his collage illustrations using acrylic paints. He primed the Tyvek with a matte medium. Tyvek is the same material used to wrap buildings under construction. Images of murals by Eric Carle © 2002 used with permission from the Eric Carle Studio. l eft page
(bottom left) Photo © The Eric Carle Museum of Picture Book Art. (bottom right) Photo by Andrew Greto © 2010 The Eric Carle Museum of Picture Book Art.
book illustration seriously and comprehensively. During a trip to Japan in the early 1980s, award-winning
“I could take an illustration by Maurice Sendak and connect it to Albrecht Dürer or Winslow Homer,” Nick says. “Eric understood that I saw illustration in an art historical context.” At the outset, Nick wanted to honor the “titans of the trade” — Leo Lionni, Virginia Lee Burton, Mitsumasa
picture-book artist Eric Carle, and his wife, Barbara,
Anno. The Carle, which opened its doors in 2002, has
learned that more than 20 museums in that country are
mounted more than 100 exhibitions, including thematic
dedicated to the art of children’s-book illustration. The
and group exhibitions. It has showcased favorite artists,
Carles decided to establish just one — the first — in the United
including E. H. Shepard, Nancy Ekholm Burkert, Dr. Seuss,
States. The architectural benchmark became, “What do
Chris Van Allsburg and Mo Willems. “We use that which
we need to accommodate three school buses full of children
is familiar to prove that appreciating art doesn’t have to be
a day?” The Carle, located in Amherst, Massachusetts, is
intimidating,” Nick says.
43,000 square feet — home to three galleries, an auditorium, an art studio, and a reading library. Eric Carle had connected with Nick informally in the
The Carle’s expansive art studio is a distinguishing feature, available to visitors of all ages, whenever the museum is open. Everything is hands-on, eyes-on, ears-
past, and he decided that Nick was the right person to bring
on at The Carle, which relies minimally on technology.
the museum’s programmatic vision to life. Nick studied art
The building is wired and prepared to “boot up” as needed,
history at Harvard, earned his Ph.D. at the University of
but families typically appreciate the refuge.
Delaware, and had devoted many years to educating people
Well before The Carle’s inception, Nick was a devotee
about art. He was both prepared and enthusiastic about
of picture-book art. In 1996, he and his late wife, Trinkett,
honoring the art of picture-book illustration, and creating
with fellow curator Michael Patrick Hearn, launched an
a welcoming environment for children, and for adults.
exhibition of American children’s-book illustration at the
fa l l 2 014
19
Chrysler Museum in Norfolk, Virginia, where Nick was
In the late ’90s, Nick learned about Visual Thinking
curator of American art. The exhibition was bold, bucking
Strategies (VTS), an approach in museum education.
the disparaging attitude toward children’s literature and
The learner-centered method of examining and finding
illustration art at the time. “Guests entered that exhibition
meaning in visual art relies on three open-ended questions: What’s going on in this work of art? What do you see that makes you say that? What more do you see?
“Many of the most enduring and powerful stories come to a child through the lenses or voices of humble animals, so children find them manageable.”
“The parallels between visual and verbal learning are potent,” says Nick. “This open-ended approach requires good listening, good paraphrasing, and — most importantly — suspending judgment. If you’re part of the conversation, you validate even the most elementary or awkward observation, because it’s about the conversation. We want the novice to feel comfortable talking about a work of art.” Around the world, every museum exhibition tells a story — about a person, a culture, a moment in time. The Carle’s recent exhibition was a visual biography of Bernard Waber
with a very different attitude,” says Nick. “They were
(Lyle, Lyle, Crocodile) through his books. The artist never
coming to see friends. If you give people a way to relate, they
gave up his day job. He would come home from an eight-
will embrace the opportunity in a very meaningful way.”
hour day in the office and set to work on his books. “We
Before his curatorial days, Nick taught art history at Exeter, and he was shocked that his very bright students above
(left and center) Kristin Angel © 2011 The Eric Carle Museum of Picture Book Art; (right) Paul Shoul © 2003 The Eric Carle Museum of Picture Book Art/Paul Shoul.
20
wanted people to understand that about him,” says Nick. “Waber created a book called A Firefly Named Torchy; the
were essentially visually illiterate. They didn’t understand
artwork is abstract expressionist, like a Jackson Pollock
that decoding a visual image was comparable to decoding
painting. That’s because the Time Life offices, where
a written text. “We all see things differently,” he told his
Waber worked, were around the corner from the Museum
students. “If you have a good reason for what you see, your
of Modern Art, and he had a press pass.
point of view is valid.” The conversation becomes increa-
“We’re trying to tell the story of the artist, but by showing
singly sophisticated, Nick explains, but at the outset, you
people Torchy, and then looking at Jackson Pollock, we’re
just want people sharing.
also elevating the status of illustration art. In another of
mi lton magazi n e
carlemuseum.org
facebook.com/CarleMuseum
@CarleMuseum
Twenty Books Nick Clark Says You Must Read to a Child You Love Peter Rabbit by Beatrix Potter Millions of Cats by Wanda Gág The Story of Ferdinand by Munro Leaf Madeline by Ludwig Bemelmans Pat the Bunny by Dorothy Kunhardt Curious George by H. A . and Margret Rey
Waber’s books, a couple looks out a window from the façade of a building — a visual riff on Grant Wood’s American Gothic. These illustration artists have immense visual libraries they bring into play.” Why do some children’s books endure, becoming treasures for generations of readers? Peter Rabbit, Goodnight Moon, Mike Mulligan and His Steam Shovel, Make Way for Ducklings, Where the Wild Things Are. “These stories share profound and sophisticated messages, couched in extraordinarily engaging and accessible ways,” says Nick. “The Very Hungry Caterpillar teaches numbers and days of the week, but it’s a story about growing, and transformation. The story helps a boy or girl going off to school know that he or she is going to be OK. Many of the most enduring and powerful stories come to a child through the lenses or voices of humble animals, so children find them manageable. Finally, these books engage the parents as well as the child.” Nick fondly recalls reading Esphyr Slobodkina’s Caps for Sale to his daughter when she was 18 months old. (Slobodkina’s illustrations were in the spirit of French
Swimmy by Leo Lionni Sylvester and the Magic Pebble by William Steig Make Way for Ducklings by Robert McCloskey Charlotte’s Web by E. B . White Harold and the Purple Crayon by Crockett Johnson Eloise by Kay Thompson The Cat in the Hat by Dr. Seuss The Velveteen Rabbit by Margery Williams The Snowy Day by Ezra Jack Keats Where the Wild Things Are by Maurice Sendak Frog and Toad by Arnold Lobel Snow White by Nancy Ekholm Burkert George and Martha by James Marshall Jumanji by Chris Van Allsburg
painter Henri “leDouanier” Rousseau — flat and simple shapes.) “I hammed it up, which I love to do,” says Nick, “and when we finished, she looked at me and said, ‘Again.’ My daughter is 29 now, and we still read that book together once a year.” by Erin Berg
fa l l 2 014
21
at milton
N ick M eh l man ’ 1 6
At the Console, Nick Makes Productions Sing Ambitious performances push Milton’s sound guru. Nick Mehlman ’16 folds his long body into a seat behind an analog sound board and puts on a headset. It’s Wednesday night at the dress rehearsal of For Colored Girls. In the black box studio down the hall, a student band is warming up. For the first time in a Milton production, the musicians are not seated in the orchestra pit; in King Theatre, the play’s staging and set extends to the far corners of the room, bisecting the audience. How can live musicians accompany actors several rooms
They’re seven musicians who answered the call of
away? Nick makes that work. New to Class III last year,
Dar Anastas, performing arts faculty and the show’s
Nick brought sound-engineering skills that he started
director, when she asked students to come up with
honing in his middle school theater department, and then
a live soundtrack for the show. For two months, the
acquired on his own, as he explored the world of electronic
band rehearsed together two to three times a week,
house music. Nick’s fearless innovation lends freedom
and only this week, production week, does Nick join
for remarkable invention to Milton productions.
levers up and down, adjusting the tone of the various
involved without knowing how to play an instrument,”
instruments that are miked into his console. “Could
says Nick. “A lot of what I know is really from playing
I have just the trombone play something please?” he
around with the sound equipment. There is only so much
asks into his headset. He concentrates, listening closely,
you can read about in a book or have someone tell you.
making a few adjustments. Running a sound check
Ninety-nine percent of the learning experience is sitting
every night is important, Nick says, because the
behind the console. I have had so many opportunities
instruments’ sound can change when the musicians
at Milton to try different things. I love the variety of shows
assemble or tune them.
here, and each show is its own challenge.” The student band performing the music in For Colored Girls call themselves Chee Chee Coal and the Trambones.
22
them. He starts by running a sound check, sliding
“I’ve always loved music, and this is a way I can get
mi lton magazi n e
milton.edu
Theater tech crews, behind the scenes, build the sets, design the lighting, run the sound, and coordinate the costumes for all Milton productions. Performing
facebook.com/MiltonAcademy1798
@MiltonAcademy
fa l l 2 014
23
better. One of the reasons he is so successful at what he
“Having live musicians perform during a show is better than recorded music, because they can react to what is happening on stage. No software can do that.”
does is that he interacts with each performance.” Milton chooses productions that present challenges of all kinds, and the performance lineup last year exceeded even Milton’s norm. One of the most ambitious shows of the school year was Avenue Q: School Edition. In addition to singing, acting and dancing, students mastered the art of puppeteering. Onstage actors managed and brought to life their life-sized puppets, which interacted with each other and with human characters. They learned to work with new technology — special microphones and headsets — a nd spent an afternoon training with Kevin Noonchester, a master puppeteer known for his work
arts faculty are the lead directors, and students are immersed in every aspect of a performance. Each member of the cast and crew is key to bringing the story to life. “Nick loves doing the behind-the-scenes work,” says
“We never saw Nick sweat during Avenue Q,” says Peter Parisi, performing arts department chair. “Working with Nick is like working with a professional. He knew what
Kelli Edwards, who teaches dance and worked closely with
to do, and he was unflappable. He worked patiently with
Nick on the Winter Dance Concert. Last year’s concert
everyone involved, and I gave Nick complete authority
included 14 dances, 70 performers, innovative lighting and
to work with our sound consultant. During the production,
sound design, and a packed house every night. “He’s
Nick had his iPad, he was mixing the sound, and he was
proactive about making sure everything is all set. And
so conscientious about making sure that it was done right.”
when he has the opportunity to get creative, he’s even
24
on stage and in film.
mi lton magazi n e
milton.edu/arts
Nick shows that calm demeanor right away during the
For Colored Girls rehearsal, as issues arise from the start.
Nick’s first Milton production was the Class IV Play,
A video camera next to Nick is sending a live feed to a large
Midsummer/Jersey, a raucous modern twist on Shakespeare’s
screen in the black box studio, so the musicians can see
tale that called for upbeat and current music.
and hear what is happening onstage. But it’s not working,
“Nick is the reason the play worked,” says the show’s
and someone runs to tell Nick that the musicians can
director, Robert St. Lawrence ’07. “I worked with him
see, but not hear, the video feed. Not realizing the actors
as I would a professional sound designer. I gave him creative
have started to speak their lines, the band continues to
license to do what he thought best. He live-deejayed
play pre-show music, drowning out the first scene. From
during the show, and it was amazing. Nick doesn’t just
the front of the set, Dar turns to look back at Nick, and
execute; he creates.”
she is not happy. The purpose of the dress rehearsal is to
Peter and the other performing arts faculty are thrilled
perform the play without stopping, so the actors continue
that they and Nick have two years ahead to continue
on. Nick calmly rattles off a list of things to try back in
working together and break new ground. “Not only is he
the band room, and when those don’t work, he realizes the
a wonderful guy, but what he brings to the table is extra-
camera is causing the issue. He fiddles with the camera,
ordinary,” says Peter. “I’m sure he will pass his wisdom on
and the problem is solved. Unruffled, he sits back down,
to other students, as well.”
picks up the script he is following, and gets back to work. “Having live musicians perform during a show is better
by Liz Matson
than recorded music, because they can react to what is happening onstage,” says Nick. “No software can do that. But part of the challenge is making sure the audience can hear the actors when the music is playing. Moving the musicians out of the pit gives you a bit more control of the sound.”
above
(left and center) On the set of Avenue Q: School Edition.
fa l l 2 014
25
at milton
grade 8 ta l ks
What Should We Know About You? It’s Monday morning, and 145 middle schoolers gather in Ware 500. The faithful assembly space buzzes with 8 a.m. energy. Left of stage, an eighth grader flips through a collection of notecards a final time. She takes two deep breaths and steps onto the stage, where four weeks of preparation will culminate in her Grade 8 Talk. On Mondays and Fridays for nine years now, eighth
Whatever the format, students share something personal
graders have shared themselves with their classmates,
and important.
and prepared through this experience for the traditional
that rite of passage and deep-rooted tradition, the Class IV
brainchild of Middle School director Will Crissman,
Talk. Every Class IV student delivers a personal, researched
combine storytelling and speechmaking, developing
and assessed five- to seven-minute speech to his or her
skills and broadening perspectives — of the speakers
classmates. While the practical value of learning to speak in
and audience.
public is an important tool, Will says the most powerful
Formal public speaking is new for many middle schoolers. “I tell students they need to give themselves at least three weeks,” says Debbie Simon, Grade 7 teacher and Middle School speech coach. “Preparation is the key to eliminating your fear of public speaking.” During week one, students work with Debbie to develop
outcome of the Grade 8 Talks is stimulating empathy and appreciation for one another. Though each Talk is a student’s own creation, themes do emerge: the value of hard work, learning from failure, the support of family and friends, taking risks, pursuing a passion. Some students talk in very personal ways about
their topics — perhaps a passion of theirs, or something
their families: growing up with two moms or two dads,
others might not know about them. Week two is devoted
growing up without a mom or dad, the role of grandparents
to developing a rough draft; Debbie helps students structure
and siblings.
that draft into a simple, informative speech. The final
“Without intending to, students convey our common
week is “all out loud,” which Debbie claims works to get
values,” says Will. “They articulate a set of ethical standards
over nerves.
that reflect what the School is trying to impart. And they’re
Most students do “talk” — that is, they deliver a speech
26
For Milton middle schoolers, the Grade 8 Talk precedes
Class IV Talks that lie ahead. Grade 8 Talks, the
doing it entirely on their own. Delivering a Talk can be
to kick off the morning’s assembly. Sharing yourself is
transformative, too. A quiet student might use it as a means
the goal, however, so students might choose to showcase
of coming out of his shell. A girl might become an icon of
a talent or skill — playing an instrument, or demonstrating
something in a way that hadn’t existed before. It may help
fencing, karate, rhythmic dance techniques. One girl
a student to formulate an identity, and that can be really
recently exhibited her archery skills. (No arrows fired!)
powerful.”
mi lton magazi n e
Imagine walking onto a tennis court expecting to play a small 10-yearold, and when you look across the net you only see the person’s chest. This is the story of the tennis match I played in the local town tournament near my house in Maine. It started two summers ago when I played a 16-year-old who was 6' 4" and towered a foot and a half over me. I stepped onto the court for the warmup and he started to hit balls that whizzed by me. I started to panic, and when he got the first serve, I felt like a helpless gazelle in front of a lion at dinnertime. He served the ball and I shut my eyes in prayer muttering to myself, “I’m too young to die, I’m too young to die!” As I heard the racket hit the ball, I cringed. When I finally opened my eyes, I trailed the ball like an outfielder watching a home run go right past him. I heard a loud “THUD!” as the ball hit the back fence. In my head I started to get excited: maybe his size doesn’t make his game. In the end, I actually won! In the beginning I thought I should quit for mere survival purposes, but if I had bailed, I never would be here telling you this story.” — jack weiler ’18 In different cultures around the world, people have different ways of naming their children. In America, most names are chosen by the parents of the child. However, in Africa, the “Nandis
Debbie works as a “guide,” never changing a student’s
of the Great Rift Valley” in Kenya have a
topic. She describes her suggestions as structural, adding
particularly interesting way of naming their
transitions, or strengthening a thesis. “To be effective, your
babies. The baby naming takes place in the
speech can’t wander all over the place,” she says. “You
mother’s hut, where the mother and attend-
have to remember your audience. If you’re talking about
ing women call spirits’ names to watch over
something very technical, or very personal, you have to
the baby. The baby is supposed to squeeze,
make sure everyone can engage, relate to your topic in some
indicating which name has been accepted.
way. A story is the best way to bring your message to life.” “Structure gives the students security,” says Debbie. “Without structure you lose your audience, and you lose
In Nandi traditions, the original name given to a child does not get used until a substitute name related to the circumstances of their
your own place, too. With a sense of structure, if the
birth, selected by the mother, is given a few
speaker gets lost, he or she can get back on track with the
days later. In my case, before I was born, my
next point. In its early stages, this process can seem a bit
grandfather gave my parents a list of Nigerian
formulaic, but that formula allows people to take a baby
names to choose from. They chose Kalaria
step into public speaking.”
to be my first name. My first middle name is
The Grade 8 Talks help students, and adults, to see one another in different ways. Witnessing moments
Juliette, after my aunt on my mother’s side, and I have a second middle name, Nnenna,
of vulnerability and honesty in another person is a
which means “first daughter.” Some parents
memorable experience.
may choose their child’s name because it
“Talks are routinely a highlight of the day,” says Will. “The students have delivered some of the most meaningful
is family tradition, others because it means something, and some choose it because they
and emotional messages that I’ve seen here at Milton.
simply enjoy the name. Whatever the process,
They respect each other for what they’re doing up there.
the naming of any newborn child is special.
The Talks have become an important part of our culture.”
— kalaria okali ’18
by Erin Berg
fa l l 2 014
27
gr a de 8 ta l k s, con t.
I’m sure we are all familiar with Walt Disney. Whether it is Disney World, a Disney production, or Walt Disney himself, we all marvel at the world Disney created by fantasizing. Walt Disney was a trailblazer in his field because he set out on a path unheard of before. He created worlds of nonsense, filled with cartoons and songs that redefined television during the early half of the 20th century. Characters such as Mickey and Minnie Mouse came from Walt’s brain, where everything that would be, wouldn’t, and everything that wouldn’t, would. He turned his imaginary reality into something tangible, and he turned his fantasies into a world where he could truly express himself. He showed us, “If you can dream it, you can do it!” When I was younger I used to use my imagination all the time. I had multiple worlds that I lived in. I lived in worlds where my stuffed animals, Puppy and Kitty, could talk, and we would have tea parties together outside in my yard or on my bedroom floor. It didn’t matter where I was, I felt like I was in a dream. Wearing a plastic tiara, I could become a princess. Holding a spoon, I was a chef. At the time it didn’t seem silly to create forts or pretend my siblings were monsters coming to eat me. It just felt liberating, and fun! It was easy to let my imagination run wild and let myself go. I was free. I am fascinated by the way imagineers use their imaginations. What puzzles me is how today it is harder for me to believe in worlds that only I can see. And I worry that if I stop using my imagination, I won’t really see what my creativity can be. — soleil devonish ’18
28
mi lton magazi n e
Three Lessons from “Talk” Veterans Veterans of the Middle School, with successful Grade 8 Talks under their belts, Kiana Mendes ’15 , Benjamin “Mack” Makishima ’16
and Jacob Atwood ’17 delivered Class IV Talks that people still remember. Their talks were among the “Best of Class IV Talks” voted by their classmates. Here’s what the pros have learned. When I heard that the MIT Gilbert and Sullivan Players were putting on Into the Woods, and my voice teachers encouraged me to audition for the role of Little
“Being able to think deeply about one topic is a
Red Riding Hood, I thought to myself, “Sure! Why not?” I had
valuable skill. With social media and so many
worked with the company the previous summer, I knew and
other distractions, it’s easy to float on the surface
liked the directors, and I had always wanted to be in Into the Woods.
of things, never digging deeply into one topic.
I figured there was nothing to lose. I was less sure of myself walking
Focusing and researching one idea from different
into the audition. I found myself in a long, dark hallway deep within
angles is a skill you use in your Class IV Talk
the bowels of MIT. The hallway was lined with adults, warming
and throughout high school.” — j acob
themselves up, running scales, practicing monologues, and generally milling about in a highly professional and intimidating fashion. Then the auditions began. The noises emitting from that room were
“Hearing your classmates share a piece of them-
absolutely unbelievable. The most death-defying sopranos, incredible
selves gives you the confidence to do the same.
altos, and baffling basses I had ever heard. I began to panic. What
I was most surprised that I was actually good at
was I thinking?! What was I doing here auditioning for a role against
public speaking. I have always been a talker,
other adults in an entirely adult company for a role that is ALWAYS
but public speaking was foreign to me. Until I
PLAYED BY AN ADULT? I got goose bumps when I heard the woman
delivered my Grade 8 Talk, I hadn’t yet
next to me say how much she wanted to play Little Red. My knees
discovered that niche.” — k iana
began shaking when my name was called, and I actually broke out in a cold sweat as I walked in the door. There was the long table. There were the sleepy-eyed, fidgety-handed, spaced-out-looking people
“Some people will write their Talk as an essay,
I had to impress. Then I opened my mouth and began to sing. At the
and though it might be a very good essay, it’s
end of the audition, the directors did not seem noticeably changed.
not a speech. A speech has to conform to the voice
My heart sank as I looked up. I thanked them and scurried out the
of the speaker and keep the audience interested.
door, embarrassment hanging off of me like a garment. I went home
First, the speech has to sound like you. It
second- and third-guessing myself, wondering how I could have
shouldn’t sound academic unless you talk like
been so cocky, so presumptuous as to assume I had any hope of being
that. If you don’t write in your own voice, people
cast. Through some miraculous alignment of the stars, I got the part.
will be bored, because they’ll feel like they’re
I got to perform my dream role. It was one of the greatest experiences
talking to a human research paper. They don’t
of my life. If I hadn’t gone to the audition, taken the risk, I wouldn’t
want to hear your footnotes — they want to be
have gotten the part. — alexandra upton ’18
entertained. Most importantly, they want to have learned something about you.” — m ack
fa l l 2 0 1 4
29
at milton
new and interdiscip l inary
A Wider Lens, A Deeper Look
Eight new courses at Milton this year integrate disciplines in pursuit of a fuller under-
standing, and rely upon teachers working in collaboration. Last spring, teachers began preparing for their proposed course work through workshops with Veronica Boix Mansilla. A senior research associate at the Harvard Graduate School of Education, Veronica chairs the Future of Learning Institute. Her research examines how to produce quality interdisciplinary work addressing problems of contemporary global significance. Faculty are excited that these courses will allow students to think about relevant intellectual, social and cultural challenges in new ways.
Reading Consciousness
StoryCorps, Milton: Narrative Journalism
Documentary Filmmaking
This course considers literature, philosophy
and Performance
This course explores the research tech-
and religion that investigates our notions
This course will teach the art of storytelling by
niques, methods and skills used in creating
of humanity, from antiquity to the present.
coaching students to shape and share stories
documentary film. With room for creativity
Students will pose critical questions, lead
for both the page and stage. Students will
and invention, students will construct
discussions, and formulate writing prompts.
learn narrative journalism skills, performance
a documentary that is visually engaging,
Readings include writings by W. E. B. DuBois,
skills, and peer workshop practice; they will
as well as intellectually and emotionally
George Eliot, Toni Morrison, René Descartes
research, develop and present stories within
appealing to a broad audience.
and Thich Nhat Hanh.
Milton and beyond. *StoryCorps is a non-profit organization and
Creating Form and Space:
Neuropsychology: Influences of
national project that collects, broadcasts, and
the Brain on Behavior
archives the stories of ordinary people from
Students will learn about the art, science
Beginning with a study of the brain, its struc-
around the country. (www.storycorps.org)
and technology of both engineering and
explores neuronal communication. Students
Becoming American: Immigrants
courses include community engagement,
will learn about the psychology of sensation,
and Immigration Today
reviews by professionals, and field trips.
learning, memory, thinking, intelligence,
How has immigration shaped what it means
Projects will help students develop skills
motivation and emotion. We will explore the
to be and to become, “American?” How
of analysis, communication, collaboration,
concepts of neuroplasticity, its influence
does immigration influence our individual
and problem solving.
on basic human function, and new research
and national identity? This course will
Architecture and Engineering 2-D
in neuropsychology.
examine these questions through literary,
introduces sketching, orthographic
historical, sociological and personal lenses.
plan views, moment and shear diagrams,
tural areas and their functions, this course
Architecture and Engineering
architecture as an integrated whole. Both
The Omnivore’s Dilemma: Politics of
Google Sketchup and photography.
Food in the 21st Century
Math, Politics and Society
Architecture and Engineering 3-D
This course explores political and social issues
This course applies branches of mathe-
introduces physical and virtual model
through the lens of food, considering its
matics to current events. Drawing equally
building, structural studies, framing
production, sale, preparation, consumption
on mathematics and political science,
models and vibration modes.
and disposal. Students will build a common
using election analysis, conflict simulations,
understanding of these issues, then propose
games, independent projects, research
and execute independent projects, which
papers, and problem sets based on case
will be evaluated by a “food working group”
studies, we will explore questions of power
made up of students, faculty, and outside
and fairness, leading to a broader under-
experts.
standing of our society and our world.
30
mi lton magazi n e
head of school
The Gift of an Oral Legacy by Todd B. Bland
The Camp — built by my great-grandfather, Hiram
Bingham, as a retreat for his wife and seven sons — has been a family gathering place for more than five generations. So many of my childhood “firsts” happened during annual visits to the Camp; so many meaningful memories took root there. There, I learned through stories about my family’s intriguing adventures. My mother and father, aunts, uncles, great-uncles and great-aunts told stories, but my grandmother’s and grandfather’s were the most powerful. In the telling, the two of them were surrounded by walls crowded with family portraits and historic people, places, events and documents significant to our family and to public history. The most prominent photographs are some of the first photographs ever taken of Machu Picchu in Peru. The Incas, I learned through my grandparents, did not have a written language. The largest and most advanced pre-Columbian civilization, with its intricate understandings of astronomy, medicine, architecture, agriculture, government and science, did not use writing to share who they were or to preserve their knowledge
military intelligence in World War II, to John Kennedy’s
and culture. The Incas relied on oral tradition to make
administration, to pivotal moments in civil rights pro-
sure all were aware of their beliefs, and knowledge, and
gress in our country. For 25 years I have told my students
story as a people. Incan “runners,” who ran a hundred
that this storytelling inspired me to become a history
miles or more in a day, were entrusted with relaying
teacher and ultimately to dedicate my life to education.
messages across thousands of miles of Incan civilization.
Though many of my friends’ encounters with history
One of the reasons that Machu Picchu had been unknown
classes had been dry and lifeless, my experience was full
as a historical treasure was because no historical text
of riveting events and exciting detail.
documented who built Machu Picchu, what led to their
Many characteristics come together in the art of
siting and creating this particular settlement, and what
teaching, but certainly one is the ability to tell stories well,
its central purpose was.
stimulating students to do the same. Stories help us to
A child growing up in my family inevitably developed
feel, not just know, the impact of the human condition.
an endless curiosity and appreciation for history. My
They help us come to grips with the past, and with one
forebears passed on to the younger people stories of their
another, in more personal terms. Stories connect us not
serving in very public roles over time — as elected leaders,
only with events affecting people all over the world today,
professors, explorers and inventors from one generation
but also across time. In telling stories to one another, we
to the next. As a result, history was lively and fascinating
fire up our memory bank, make new connections, and
for me from the start. I came to understand the study
stoke the desire to learn more, hear more, share more. All
of history through personal accounts of family members
of us, especially those who work with teachers, need to
involved in events that affected not only our family, but
cultivate and honor these person-to-person storytellers.
also the public at large, nationally and well beyond.
Through them, we come to a new level of understanding,
I was fortunate; my grandparents brought to life events and issues from the journey of the Mayflower, through
a new launching place for an even greater, always growing reach.
fa l l 2 014
31
sports
Golf at Milton in
Holes
by Liz Matson
hole In 1912, Milton Academy decides to establish a golf club. Recognizing this endeavor could create logistical issues, the trustees label it “an experiment.” “The game of golf is not to be introduced here to compete with the major sports of baseball and football, but to
hole
give a comparatively large number of boys and others in the Academy, who cannot participate in these games,
In May 1913, the club asks the trustees for an additional $137
an opportunity for some healthful athletic diversion.”
to cover additional labor expenses and miscellaneous items
— The Milton Orange and Blue, December 1912
such as seed and fertilizer. The course is completed and play
hole
commences. Over the next few years, numerous “ringer” and “serial” tournaments are played during the fall and spring seasons, culminating with a Graduates’ Cup Tournament
The trustees approve $150 in funds to build the nine-hole golf course on campus. However, there are concerns about the course layout as expressed in this unsigned letter
held on Graduates Day and open to both students and alumni.
hole
to Headmaster Frank Edwin Lane dated Nov. 29, 1912. “In hole 2, it is suggested cutting down fifteen trees,
after the spring 1917 season. When the United States officially
trustees think this hole would be dangerous when the
entered World War I, the School looked for ways to contribute
baseball field is being used . . . I think we all feel that
to the war effort and decided to grow crops on the open land.
playing on the school side of Centre Street is more or less
be l ow
The schematics of Milton Academy’s golf course, 1913.
The golf club’s existence is short-lived and comes to an end
which none of the trustees approve of . . . Two of the
“In order that the School may do its share of farming, the golf
an experiment and we might want to stop it at a later
course has been encroached upon for the use of the five acres
date . . . The people who will use it most are inexperienced
that lie across the street from the school house. The students
boys who are learning the game and who might be as
divided into squads of twenty . . . are planting and caring for 3 ½
wild as hawks. I feel sure that if I used the course I would
acres of potatoes and 1 ½ of beans. During the summer, the
imperil the safety of everybody on the property.”
land will be tended by certain members of the school who live in this vicinity.” — The Milton Orange and Blue, May 1917 After World War I, the Academy’s enrollment doubled in size; Apthorp Chapel and Ware Hall were built; and the School focused on the expansion of the campus.
hole At some point in the 1970s, golf is resurrected as a club team, playing at the Milton Hoosic Club in Canton, Massachusetts, which is still the home course of the Mustangs. According to Ben Procter ’77, the league was loosely organized and for one match the team “joined forces” with Noble and Greenough in 1977 to play a visiting team from England and were roundly “crushed.”
32
mi lton magazi n e
snowing at the eighth hole, and by the ninth it was snowing really hard. I remember pulling a tee from my pocket, and I couldn’t feel it because my hands were frozen. When I hit the ball on the green, it rolled into a snowball as it made its way to the hole. I remember thinking I will probably never
hole
see something like this again.” Today, Emma Martin ’15 is a rising star. She played the number-three spot her Class II year. She has placed in
In the 1980s, golf becomes a varsity sport. The first official
the top 10 in many national junior golf tournaments, and
golf team photo (above) is from 1982.
she came in second for the 2013 Women’s Golf Association
hole
of Massachusetts Junior title.
hole
In 1990, the Joseph Procter Award is established as an annual award for the golf team’s most valuable player. Mr. Procter ’32
The 2014 season was a success. In a span of six days, Milton’s
was born and grew up in Milton. During his youth, he played
varsity golf team won eight straight matches without a single
an eight handicap until stricken by polio as a freshman at
defeat. They finished the season in fourth place. Co-captains
Harvard. Though his right arm was 90 percent paralyzed,
Sam Procter ’14 and Scott Majkowski ’14 (pictured below)
Mr. Procter never gave up the game of golf and maintained
played spots one and two, respectively. Coach Jay Hackett
a handicap in the midteens for most of his adult life. Mr.
said, “We were lucky to have strong, competitive players in
Procter loved all aspects of the game, especially the cama-
the first four positions; and in the next four positions, we had
raderie. In 2011, the award went to freshman Sam Procter
the ability to play any one of five golfers who are very close
’14, Mr. Procter’s grandson. Ben Procter ’77 was asked to
in skill. We also have an excellent relationship with and
present the award to his son at the M Club dinner.
support from the Milton Hoosic Club. We are lucky to have
“That was so special for me, and my father would have been thrilled. The inscription on the plaque speaks to what
members of this course who really support junior golf.” Coach Hackett is proud of how the players conduct them-
the award represents: handling yourself correctly on the
selves on the course as they uphold the legacy of the original
course, and the importance of sportsmanship.”
club, which published a tiny pamphlet in 1917 titled, “What
hole
With so many interested, young players, there is a possibility
Constitutes a Real Golfer.” The future of the team is promising. of developing a junior varsity team.
In the late ’90s, the team officially becomes coed. Although male players outnumber female players, Milton has a history of powerhouse female players coming out of the program, even before it was coed. Amy Gibbons ’77 played the number-one spot on the club team and won the Women’s Golf Association of Massachusetts Mowatt Trophy in 1975 and 1977. She became a successful Division 1 golf player at Duke University. In 2006, Claire Sheldon ’06 completed a stellar six-year golf career at Milton. During her tenure, she played in the number-one spot her Class II and Class I years; was the 2005 ISL champion; won the Priscilla Bailey Award; and was 2004 and 2005 Women’s Club Champion at The Country Club in Brookline. She was also a three-time recipient of the Procter Award. Claire is now an assistant golf coach at Harvard University. “I remember playing in the snow in early April at the President’s Golf Club in Quincy,” says Claire. “It started
fa l l 2 014
33
Fr oz e nPe ga s usI nf e r no, ar c hi v ali nk j etpr i nt , 24i nc hesx52i nc hes , 2014
shane fuller Jump, bronze/marble, 8 inches by 8 inches by 18 inches, 1996 Bananas, acrylic on canvas, 36 inches by 24 inches, 1998 I have always thought of myself as an artist, from childhood sketches and cartooning; to studio painting, sculpting and ceramics; to theater set and lighting design, directing, and
jennifer hughes
writing; to screenwriting and filmmaking.
Hybrid Reptile I and II,
I have played around with most media, and
lithography, 11 inches by
I am always open to experimenting with
15 inches, 2014
new forms. I see art as choice and selection. As a printmaker, I am attracted
Whether taking a picture, writing a story or representing a form in any media, the
to surfaces, methods and
artist makes a choice, makes a selection,
collections. I enjoy the tactile
and by doing so creates art.
quality of my work, working in series, and having that series come from multiple sources . . . This series of images emanated from photocopies from a book
paul menneg
of illustrations. I wasn’t inter-
Inside Out, clay, 2014
ested in the animals themselves,
The strangeness of the world interests
and shape of the surfaces.
per se, but more in the texture me — its surprises and mysteries, the impossibility of explaining. I don’t go along with science when it looks for ironclad explanations of phenomena.
anne neely Squall, oil on linen, 60 inches by 80 inches, 2012 In 2004, I was imagining what an aquifer looked like, which led me to a decade-long search for ways to paint issues related to water, as well as expressing the fleeting, lost stillness of place in landscape. Since then, I have paid homage to water sources: oceans, aquifers and lakes. My paintings linger between beauty and foreboding, addressing water issues environmentally, ecologically and culturally in our time.
fa l l 2 014
35
fac u lt y pe r spe c t i v e , c on t.
larry pollans Peter, ceramic, 16 inches by 13 inches by 12 inches, 2012 Bill, pastel on slate, 55 inches by 45 inches, 2012 One by one, as our campus was renovated and renewed, the old sheets of slate blackboard were removed. Our old friend Bill Moore, who spent much of his teaching career at Milton, used those boards. His tracings were legendary. What better material for a Moore drawing than slate. As a Vermonter, Bill has a flinty, practical nature, but he is also driven by more exotic voices. His Ph.D. in French literature attests to that. From the stony to the ephemeral, from the practical to the romantic, from stone to pastel, the materials suggested themselves for the Bill Moore portrait. The imperative is to find a path, both formal and expressive. That was also the process I went through with Peter Haines’s ceramic portrait.
emilie stark-menneg ’02 American Baby, oil and mixed media on canvas, 80 inches by 48 inches, 2014 I paint on both 2-D and 3-D surfaces. I roam the streets collecting discarded objects: sinks, baby carriages, chalkboards, tents. I incorporate these elements into my paintings. I also enjoy painting from life, especially in conversation with abstraction. Endlessly impulsive, I throw paint, slap on tape, and model the surface to create vibrant juxtapositions. I am interested in being “wrong” — cutting up American flags, placing something highly rendered next to something shoddy. I also create images that conjure multiple readings.
maggie stark Word Play, neon, 10 inches by 36 inches by 4 inches, 2012 In 2009, I received a cultural fellowship from the Goethe Institute to study in Berlin, which coincided with the 2oth anniversary of the fall of the Berlin Wall. My observations of the public events and historical discourse surrounding the anniversary provided the catalyst for the two videos, Wall-Play and Still-Time. These films use playground play to examine the implications and associations of the wall before and after its fall.
36
mi lton magazi n e
ian torney ’82 At the Horizon series, oil on board, 2014 I am interested in exploring the dichotomy between the social constructs of painting and humanity’s understanding of nature. The importance of thick, impasto paint in the manifestation of the energetic mark has endured. Increasingly, as I experiment with a tension between realism and abstraction, I have abandoned the conventional horizontal landscape format in favor of the iconic square, with even the distinct horizon-line fading, as I attempt to create paintings with greater atmospheric ambiguity, paintings about the intrinsic impermanence of nature and the sublime.
julia von metzsch ’03 Alarm Sensors, oil on board, 31.5 inches by 62.5 inches, 2013 My ocean-scape paintings are both spiritual and practical. Verging on the abstract, they come from a dark fantasy world filled with curiosity. They provide the opportunity to record a specific narrative revolving around themes of love, death and hallucination. My inspirations come from beach walks, or childish fears having to do with the forces of nature. When I allow the water to take over, a significant story becomes a reality in paint.
pamela walker Atlantis Teapot, low fire ceramic, 2012 I first discovered ceramic sculpture during my undergraduate studies at the San Francisco Art Institute, and I have worked with clay on and off over the years. I am drawn to the non-functional vessel (primarily the teapot) as my vehicle to create a narrative or homage to people and places that are meaningful to me. I have traveled extensively in Mexico and Central and South America. These cultures and environments have been particularly inspirational.
fa l l 2 014
37
commencement 2014
Commencement Speaker Betsy Beers ’75 2. Doing what you love will never be a waste of time.
Even if you set out with one career in mind, and then change course, I guarantee whatever you learned will be useful. Despite my attempts to be the next Lucille Ball, it wasn’t to be. But when the opportunity emerged for me to work at the lowest level of the film development and production business, I tried it. I decided that if I didn’t miss acting, the new gig was meant to be. I never turned back. However, my acting training served me well in my new career. I got jobs initially because I was more entertaining than the average executive, and as an actor I learned how to listen and read a room. I gave up acting, only to act every day of my life in my new career. 3. Don’t be scared to admit you don’t have a clue what you’re doing. After working my way up finding movie
ideas and scripts for other producers for about eight years, I finally produced my first movie, 200 Cigarettes. I was stranded on the streets of Manhattan with a rotating cast
Five Things I Have Learned Since Graduating from Milton
of young actors, shooting all night, every night, for 35 days with about $3.95 to make the damned film. I started off trying to pretend I had a clue. Here is a tip: Pretending you have a clue does not go over well on the streets of New York with crews who have been doing this since before
1. You will always learn more doing a crap job than a great
you were born. And, let’s face it: I can’t drive a truck,
one. At some point, wait on tables, fold clothes at the Gap,
or do hair and makeup, or even understand what all those
or be a lowly assistant. Not what you expected to hear, right?
camera lenses are for. The difference between my surviv-
Take waiting on tables: You see people at their best and
ing, or ending up in a rubber room, was my learned
their worst, and you have to learn to negotiate between a
ability to go up to anyone and ask for help. People like
hungry public and a volatile guy in the kitchen who wields
to be asked for help. It is a sign of respect and strength.
knives as part of his job. Ten tables, all seated at once, all hungry? I still have a nightmare that I come back to a station
38
4. Choose passion, not fear. Fear is often the easier
and all the customers are dead. So why is this important?
emotion to access, but passion is the key to clarity and
Waiting on tables is making order out of chaos. It is deliver-
good work. For about 12 years, every movie I worked
ing something important with your own hands, on time,
on tanked. I couldn’t figure it out. Some were good movies,
and with a smile on your face. It’s keeping colleagues from
which I genuinely liked, but mainly we spent our time
killing each other and keeping your cool. It is a lot like
being sent out to imitate successful films. Everyone seemed
producing a major network television show. Once you have
afraid to take a risk. But I had a secret. I watched tele-
had that experience, it will change the way you think of
vision. It wasn’t fashionable then. It was considered the
those working around you. If you have already experienced
lower art, like pro wrestling. (To this day, at the Golden
any of the above, feel good that those years of scooping ice
Globe Awards, they make the television nominees sit
cream will pay off.
in the back of the room and the movie stars sit up front.)
mi lton magazi n e
Then an amazing thing happened: I got the opportunity
here to tell you that you can have
to pitch hour dramatic television shows to the networks.
a conscience and treat your
During that time, I met Shonda Rhimes, an incredible
co-workers decently and honestly
movie writer who was, like me, obsessed with television
and still become a success. For
and pop culture. Grey’s Anatomy came from a simple,
every phone thrower out there,
emotional place. Shonda and I both wanted to see a show
there is someone like Kerry
on television that reflected our lives. We were two strong,
Washington, who buys cupcakes
competitive women with dark and twisty centers who
for the crew to thank them when
did virtually nothing but work, who had complicated love
she wins an award. You can stand
lives and messy relationships with a diverse group of
up for the little guy, ask for help,
friends who were as screwed up as we were. So even
listen to people, and not lie like a
though we had never produced a television show, we just
rug, and you will do just fine. In fact, we have a policy at
made up the rules as we went along. And my fear of failure
Shondaland: zero tolerance of jerkdom. It hasn’t hurt our
went away, because I was so passionate about the show
business yet, and we hope it is catching on.
she had created. Congratulations to the Class of 2014. Now go out and 5. Nice guys don’t finish last. It is a popular notion in my
make your own five things. You have received the best
business that you have to be a rabid, backstabbing animal
academic and humane preparation here at Milton, and
to succeed. These are the folks who — even after the menial
thus, you are walking into a world with a huge advantage.
job kept them humble and focused — get their first taste of
Use your power wisely, your fear sparingly, and your
success and become total jerks. We have our share of them.
curiosity enthusiastically. And never lose your sense of
I have watched famous actors make set hairdressers cry
humor. You won’t regret it, I swear.
when they didn’t like the way they looked. I’ve seen a wellknown producer throw furniture at an employee who
Excerpted from the speech delivered by television and film
was barely making a living wage. These people are bullies,
producer Betsy Beers ’75 to the graduating Class of 2014 at
and bullies are frightened people, not happy people. I am
commencement on June 6, 2014.
fa l l 2 014
39
com m encem en t 2 01 4 , con t.
Awards and Prizes alfred elliott memorial trophy For self-sacrifice and devotion to the best interests of his teams, regardless of skill. Michael John Cronin III
modern languages prizes Awarded to those students who, in the
gorham palfrey
opinion of the department, most exhibit
faucon prize
the qualities of academic excellence,
Established in 1911 and awarded to
enthusiastic participation, and support
members of Class I for demonstrated
of fellow students, both in and out of class.
interest and outstanding achievement
Emeline Noelle Atwood
in history and social science.
Tiffany Kar Guan
Jade Ly Beguelin
Ashley Soo Jin Koo
priscilla bailey award
Mary Mayland Ellis
Patrick Michael McLaughlin
To a senior girl who has been a most valuable
John Vaughn Gilmore III
Victoria Hope Saunders White
asset to Milton Academy athletics and to the
Geoffrey Hulme Pottow
Milton Academy community — an athlete who
Samuel Ward Procter
milton academy art prizes
has demonstrated exceptional individual skills
Patrick John Sheehan
Awarded for imagination and technical
and teamwork, as well as true sportsmanship.
Helena Ruth Thatcher
excellence in his or her art and for an
Kaitlin Kim Gately
independent and creative spirit of endeavor. benjamin fosdick
Cin Yee Selina Cheah
henry warder carey prize
harding latin prizes
Tze Chen Chun
To members of Class I, who, in public speaking
Awarded on the basis of a separate test
Delaney Jean Harrop
and oral interpretation, have shown consistent
at each prize level.
Alaina Elisabeth Marangos
effort, thoroughness of preparation, and
level 5: Hannah Ilana Hoffman
Morgan Shaffer O’Connell
concern for others.
level 4: Alexander Cary Garnick
Brandon Lucas Rodriguez
Oluwayemisi Oluwakorede Olorunwunmi
level 3: Elina Thadhani
Helena Ruth Thatcher
Daisy Eliza Walker
head of school award robert l. daley prize
Presented each year to honor and
Created by his students of 1984 in his memory
celebrate certain members of Class I
and honor, this prize in Classics is awarded
for their demonstrated spirit of self-
to the student from Latin 4 or beyond who best
sacrifice, community concern, leadership,
exemplifies Mr. Daley’s love of languages.
integrity, fairness, kindliness and
Elana Rose Golub
respect for others. Emeline Noelle Atwood
richard lawrence derby
Charles Thomas Blasberg
memorial award
Tapley Dane Eaton
To an outstanding student of Class II in
Valentine Kenechi Ora
mathematics, astronomy, or physics.
Sydney Wallace Park
Siyu Lu
John Patrick Urquhart
Neekon Vafa
40
mi lton magazi n e
james s. willis memorial award
leo maza award
To the Headmonitors.
Awarded to a student or students in Classes
Cameron Young Park
I–IV, who, in working within one of the
William Gabriel White
culture or identity groups at the school, has
william bacon lovering award
community by promoting the appreciation of
To a boy and a girl, chosen by their classmates,
that group throughout the rest of the school.
who have helped most by their sense of duty to
Tze Chen Chun
perpetuate the memory of a gallant gentleman
Catherine Calabresi Oldshue
made an outstanding contribution to the
and officer. Morgan Shaffer O’Connell
a. howard abell prize
William Gabriel White
Established by Dr. and Mrs. Eric Oldberg for students deemed exceptionally proficient or
louis andrews memorial
talented in instrumental or vocal music or in
scholarship award
composition.
To a student who has best fulfilled his or
Sydney Ololade Adedamola
her potential in the areas of intelligence,
science prize Awarded to students who have demonstrated
self-discipline, physical ability, concern for
harrison otis apthorp
genuine enthusiasm, as well as outstanding
others and integrity.
music prize
scientific ability, in physics, chemistry and
Helson Jose Taveras
Awarded in recognition of helpful activity
biology.
in furthering in the School an interest and
Neil Yash Chandra
frank d. millet
joy in music.
Tiffany Kar Guan
scholarship award
Charles Burgess Janeway
Nicholas Cheng-Wei Jiang
To a student who demonstrates moral
Sydney Wallace Park
Geoffrey Herrmann Owens Cameron Young Park
integrity, supports classmates, and has established meaningful relationships
george sloan oldberg
Mykayla Lexi Sandler
with peers and faculty. The Millet scholar,
memorial prize
Victoria Hope Saunders White
by virtue of character and deeds, is an
Awarded in memory of George Oldberg ’54,
integral member of his or her class and
to members of the School who have been
wales prize
shows great promise as a leader.
a unique influence in the field of music.
Awarded in honor of Donald Wales, who
Anthony Michael Scurto
John Vaughn Gilmore III
taught Class IV science for more than 36 years. It recognizes students in Class IV who have consistently demonstrated interest and excitement in science. Anne Gardner Bailey Julian James Batt Elliot Waterman Burnes Hei Tung Claudia Chung Gabrielle Choi Fernandopulle Te Shelia Palandjian Tyler John Piazza Elina Thadhani
above
Valentine Ora, Class of 2014 speaker l eft
Sydney Park, Class of 2014 speaker
fa l l 2 014
41
com m encem en t 2 01 4 , con t.
robert saltonstall medal
donald cameron duncan
richard price ’50 prize in
For preeminence in physical efficiency and
prize for mathematics
technical theater
observance of the code of the true sportsman.
Awarded to students in Class I who have
Awarded for unusual contributions of
Drew Tyler Jacobs
achieved excellence in the study of
time, energy and ideas in theater production
mathematics while demonstrating the
and in technical assistance throughout a
a.o. smith prize
kind of love of the subject and joy in
student’s career.
Awarded by the English department to
promoting its understanding that will
Theodore Alastair Bastian
students who display unusual talent in
be the lasting legacy of Donald Duncan’s
Solana Rose Czwakiel
non-fiction writing.
extraordinary contributions to the
Alexandria Elaine Hanyok
Jonathan Daniel Chang
teaching of mathematics at Milton.
Titania Thanh Nguyen
Theodore Alastair Bastian
kiki rice-gray prize
Nathaniel David Bresnick
Awarded for outstanding contributions
critical essay prize
Neil Yash Chandra
to Milton performing arts throughout
Awarded by the English department for
Tze Chen Chun
his or her career in both performance and
the best essay about a work or works of
Nicholas Cheng-Wei Jiang
production.
literature.
Victoria Hope Saunders White
Solana Rose Czwakiel
Emeline Noelle Atwood
Daisy Eliza Walker
performing arts award markham and pierpont
Presented by the performing arts
stackpole prize
department for outstanding contributions
Awarded in honor of two English teachers,
in production work, acting, speech,
father and son, to authors of unusual talent in
audiovisuals, and dance throughout his
creative writing.
or her Milton career.
Victoria Hope Saunders White
Emeline Noelle Atwood Oluwayemisi Oluwakorede Olorunwunmi
dorothy j. sullivan award
Theodore Alastair Bastian
To senior girls who have demonstrated good
Shonnese Theresa Reid-Bailey
sportsmanship, leadership, dedication and
Rebecca Elizabeth Chernick
commitment to athletics at Milton. Through
Corey Jacob Schwaitzberg
their spirit, selflessness and concern for
Patrick Michael Mclaughlin
the team, they served as an incentive and a
Daisy Eliza Walker
model for others. Cameron Young Park
the talbot baker award Created in 1968 to honor Talbot “Bake”
Nicole Colson (English)
memorial based on a confidence in the
Jenn Katsoulis (Grade 5)
humanity of teachers and the quality
Peter Parisi (Performing Arts)
of teaching” that Mr. Baker experienced
Thomas Troy (Grade 8)
as a student at the Academy and as parent to Nick ’51, Toby ’53 and Ben ’57.
42
mi lton magazi n e
John Banderob (Math)
Baker ’25, this award “provides a living
reunion weekend
fa l l 2 014
43
r eu n ion w eek en d, con t.
44
fa l l 2 014
45
r eu n ion w eek en d, con t.
caption
Caption
46
mi lton magazi n e
fa l l 2 014
47
in sight
Zion, March 2014 Images by Matt Magann ’17, render views of Zion National Park during Milton’s Outdoor Program trip in March 2014.
Milton’s H. Adams Carter Outdoor Program was founded to honor the
Milton graduate (’32), teacher and world-renowned mountaineer, who, in 1947, established the Program’s precursor, the Ski and Mountaineering Club. Through the Program, Milton students learn about the backcountry for sport, beauty, contemplation and camaraderie. These outdoor experiences teach students to take responsibility, meet challenges, take intelligent risks, and to trust themselves and each other. Trips include sea kayaking, day hiking, overnight backpacking and kayaking, winter hiking, snowshoeing, cross-country skiing, mountaineering, ice climbing and rock climbing. The Outdoor Program provides technical equipment, food, transportation and basic instruction. These trips are free and are open to all Upper School students. One of Ad Carter’s former students, Gil Butler ’55, is the main benefactor of today’s program, contributing his time and resources to continue the tradition of involving students in outdoor experiences.
48
mi lton magazi n e
milton.edu
facebook.com/MiltonAcademy1798
@MiltonAcademy
fa l l 2 014
49
on centre The Art and Media Center Old Science Repurposed as High Functioning Art Space (like the meteorologist broadcasting a weather
For the first time, at least in “modern” history,
the lines between two- and three-dimensional
students can pursue any and all of Milton’s
arts. The building’s loading dock now has
forecast in front of a relevant map). The AMC
visual arts programs in one building, the Art
electrical power to accommodate outdoor
lower level also provides dedicated space for robotics and computer engineering projects,
and Media Center (AMC). This summer,
welding, and electrical outlets hang from the
changes that will not strike some as dramatic
ceilings in various locations throughout all
in addition to Greely Auditorium, the Nesto
have nevertheless prepared all three levels
the studios. New Smartboards in all four main-
Gallery, and photography darkroom facilities.
of the AMC for unparalleled opportunities and
level studios support teaching.
The AMC is now fully code-compliant and
collaboration in the arts. Ian Torney, visual
On the AMC’s top floor, the former Weld
accessible to persons with disabilities, as well. This upgrade and reworking of AMC space
art chair, used the relocation of sculpture,
Library has become a technology and design
ceramics and woodworking from Robert
studio; Bryan Cheney (Visual Arts) and Brad
looks to maximize capability and functional
Saltonstall as a chance to rethink how spaces
Moriarty (Science) teach their new collabora-
ease for all types of imaginative projects that students and faculty typically devise. Class-
are outfitted and aligned, not only for today’s
tive course in this studio, Creating Form and
world of arts, but in anticipation of how the
Space: Architecture and Engineering. A
rooms are flexible; technology, which “is one
field will develop over time.
digital imaging MAC lab is located on the west
of the key drivers in visual arts growth,”
side of the top level, along with a lighting
according to Ian, is ubiquitous. “We haven’t
The two studios on the AMC’s south side are now all dedicated to 3-D art, including
studio for photography. The east side of that
precluded doing more in and for the arts,” he
sculpture and ceramics. The two north-facing
level features a MAC moving-image lab and
says, “and the enhancements in this building
studios will serve drawing, painting and
viewing studio.
printmaking. All four main-level studios are
Not to be left out of the action, the AMC
are not only effective today; they look quite deliberately to a future that we regularly work to anticipate.”
flexible enough to support any studio art
lower level now includes an office and work
foundations course. A new machine tool shop
space for Milton’s busy Audio Visual depart-
located in the center now connects both
ment, and a film and moving-image production
banks of studios, making projects of all kinds
studio, with a “green screen,” a prerequisite for
and wellness programs, and create needed
shots that involve actors and imposed imagery
meeting, office and storage space for Athletics.
possible as contemporary art making blurs
50
mi lton magazi n e
Note: RSG’s vacated spaces now accommodate two classrooms for Milton’s health, fitness
Seminar Day in its Fourth Decade: Economist Sam Bowles Was Keynote Economist Sam Bowles was the Sally Bowles Keynote Speaker, leading the student-organized Seminar Day in May. More than 20 other experts and activists followed, covering a wide range of publicly debated domestic and international issues. Many alumni were among the guest speakers, stimulating great questions and discussions. Called the Keyes Seminar Day, this lively event has been one of Milton’s most important traditions since 1977. It is named in honor of its founder, former faculty member Peter Keyes, a legendary promoter of student interest in the political process as well as public and governmental affairs and service. In the Milton spirit of developing students’ confidence and competence to live by our motto, “Dare to be true,” Seminar Day brings to campus individuals who have made compelling choices. They are scholars, business people, scientists, educators, writers, political leaders and artists making a difference in the world. Speakers this year included a string theorist; two experts on the crisis in Ukraine; social entrepreneurs working on issues such as educational reform and sustainable food policy; environmental activists; an inventor of medical devices; a member of the Massachu-
Milton Tennis Dominates
setts National Guard; social justice and political activists; and the
With ace serves and slicing backhands, the girls’ varsity tennis team
chief of trauma at Massachusetts General Hospital, who discussed
dominated the courts of the Independent School League, going
lessons learned from the Boston Marathon bombings. Mr. Bowles’s talk was titled “The Origin and Future of Economic Inequality: The Good News.” He is a research professor and director of the behavioral science program at the Santa Fe Institute. He is also professor of economics at the University of Siena.
undefeated (15–0) and earning the title of ISL Champions after beating Nobles in the last match of the season. The team also earned the NEPSAC Championship trophy over tough competitors. Coach Troy Crichlow ’99 described the season as a perfect culmination of the team’s strong results over the past few years. The team’s
He taught economics at Harvard from 1965 to 1973 and at the
top-ranked player, Maddie DeWire ’16, had an outstanding season,
University of Massachusetts, where he is now emeritus professor.
winning all of her singles matches.
Bowles’s current research includes theoretical and empirical studies of political hierarchy and wealth inequality and their evolution
“Tennis season is the most fun time of the year for me,” says Maddie. “We are such a close team, and we were excited and confident this season.”
over the very long run. He has served as an economic advisor to the
Co-captains Kaitlin Gately ’14, Abby Lebovitz ’14 and Ilve Bayturk ’14
governments of Cuba, South Africa and Greece, to presidential
led the team, which included three freshmen. Semi Oloko ’17
candidates Robert F. Kennedy and Jesse Jackson, to the Congress of South African Trade Unions and to South African President Nelson Mandela. Surrounding the keynote speaker, students chose from among
and Te Palandjian ’17 were ranked second and third, respectively, on the team. “Our youngest players fit right in right away,” says Coach Crichlow. “They had a good
many presenters during three time blocks in the day. Exchanges
understanding of what we were trying
that occur on Seminar Day stimulate ideas and conversations over
to accomplish this season.”
weeks to come. Held every other year, Seminar Day alternates with
The boys’ varsity team also had a standout
Community Service Day — another occasion that encourages students
season (16–1), winning the ISL Championship
to think beyond their immediate community and concern them-
under the leadership of captains Alex Lee ’14
selves with the complexity and opportunity afforded by the world.
and Andrew Hahm ’15 .
fa l l 2 014
51
on cen t r e , con t.
Ruting Li ’15 A Poet Who Wins Prizes When Ruting Li ’15 sits down to write, she doesn’t know quite what will make it to the page. “I don’t set out to write about a particular topic,” she says. “Sometimes I start my writing from a prompt, or an
Villanelle for Madrid
image. Most often I write about something I’ve seen or experienced, which sparks an idea.” In the spring, Ruting’s poetry earned her a finalist spot in many regional and national writing contests, including the Smith College High School poetry contest, the Naked Truth/PEN New England High School writing contest, and the Oxbridge Edge poetry contest. Ruting completed a year of the Advanced Creative Writing course, a workshop for student writers looking to hone their craft. “Taking Creative Writing has made me see myself in a different way,” says Ruting. “I’ve always leaned more toward math and science, but taking this class has made me a better writer, and it has helped me see myself that way.” Ruting’s poem that earned her Smith Prize recognition is titled “Ode to Summer Storms.” As a Smith Prize winner, Ruting was invited to campus, hosted at the Poetry Center, where she met and worked with the contest’s guest judge, poet Alicia Ostriker. With three other finalists, Ruting spent the day with Ms. Ostriker, talking about the writing process, attending a Q&A with the author, and being invited to share her award-winning poem, onstage, at the author’s reading that evening. “Villanelle for Madrid” — one of Ruting’s favorite poems — earned her recognition in the PEN New England and Oxbridge Edge contests. As part of the Oxbridge award, Ruting was invited to attend an Oxford-Cambridge summer writing program, for which she earned a partial scholarship. “Having my work recognized in this way is so exciting. Writing is very personal, so sharing it can make you feel a little exposed,” she says. “However, workshopping my writing in class, with my teacher and classmates, has made me more comfortable sharing my poems, and it is such a helpful way to improve your writing. My classmates and teachers always offer great advice to help me refine my work.”
52
mi lton magazi n e
You taught me to love sound, rolled soft r’s into my ears like humming street lamps. Listen. This is where I like to be found. In the heat of flamenco, toes, heels, hands pound like rain on Calle Velazquez. Women and men sweat and breathe tears. They teach me to love sounds. Like a nation’s blood, Jamón Serrano is striped red. Horchata, too sweet, yellowed under the sun for a year. Look. This is where I’d like to be found. In between besos on my cheek, thick lisps settle like the age-old stones in cathedral floors, almost too quiet to hear, teaching me to love sound. A city pumped on sangria, squid-ink paella, shrimp whiskers tangled in cracked black mussels — no fears, just taste. This is where I’d like to be found. This is a city where the streets hunch together, keeping secrets of the people, where 3 euro Marlboros curl, smoky, into your hair, where I learned to love sound, here, Madrid, I am found.
Lisa Donohue ’83, a Leader in Media and Technology, Will Succeed Brad Bloom as Board President Head of School’s Council, a group that provides
Lisa Donohue, Milton Academy Class of 1983,
2009, the company has won more than 100
will succeed Brad Bloom as president of
honors for its clients, spanning disciplines,
perspective and expertise to the head of school.
the Milton Academy Board of Trustees when
including digital, print, TV, mobile, out of
Lisa chaired her 25th Reunion Committee,
his term concludes in 2015. Milton trustees
home, event, social and branded content. For
and she also established an endowed fund that
voted in May to elect Lisa as the president,
the past three years, Starcom has been named
supports a female scholar-athlete.
effective July 1, 2015. Since she joined the board
the most effective media agency network in
in 2008, Lisa has taken a leadership role,
North America by the Effies, and was selected
handle what I do every day,” Lisa says. “I
particularly in the areas of external relations,
as MEDIA’s 2011 Creative Media Agency
learned how to think, how to assess situations,
strategic planning, campaign preparation, and
of the Year.
how to look at all the information and come
developing the membership and practices (or processes) of the board.
Lisa was named Chicago Advertising Federation’s Advertising Woman of the Year
“I am thrilled that I will be able to build
in 2011 and Adweek’s 2011 Executive Media
“I credit Milton for giving me the skills to
to [my] own conclusions. I learned these core skills at Milton.” Brad Bloom, current president, and Todd
on Brad’s strong leadership over the last five
All-Star. At the time of the award, Adweek
Bland, head of school, had planned for some
years, and the board’s work to strengthen
described Lisa as an executive “who has
time to implement a smooth and gradual
Milton’s tradition of excellence in education,”
transformed Starcom from a stodgy numbers-
transition to new leadership of the board. They
Lisa says. “I look forward to making sure
crunching conglomerate into a taproot of
are both looking forward to working with
that the exciting momentum at Milton, as we
innovation. Since assuming her role in June
Lisa as she gains increasing responsibility and
implement our bold Strategic Plan and build
2009, she invested in bleeding-edge analytics
connection with Milton constituencies over
the campaign to dramatically increase Milton’s
tools, bolstered the company’s entrepreneurial
the coming year.
endowment, continues at a brisk pace in the
culture with internal social networks and
years to come.” Lisa Donohue is CEO of Starcom USA, a media agency focused on the convergence of media, technology and creativity. Since she became CEO of Starcom in
Lisa graduated from Brown University.
events, and hammered home her message of
She serves on the Advertising Women of
‘experience planning.’”
New York (AWNY) Board of Directors, the
Prior to joining Milton’s board, Lisa worked
4A’s Board of Directors and Media Leadership
effectively as a volunteer for the School in
Council, and is a member of The Chicago
a number of areas. She was a member of the
Network.
fa l l 2 014
53
on cen t r e , con t.
Jazz at Milton Is Forty Years Young Playing one of the signature tunes of hard bop, musicians spanning five decades of Milton Academy jazz gathered onstage to perform “Moanin’” as part of a free concert event to celebrate the 40th anniversary of the jazz program on April 4, 2014. Since 1974, Milton’s jazz program, founded and directed by music faculty member Bob Sinicrope, has grown to include more than 75 students involved in the study and performance of jazz in nine different jazz groups. Current jazz students and alumni filled the evening with a range of musical performances. Special guest Horace Alexander Young, a former music director and saxophonist, led the group in a set of South African music. Jazz pianist Aaron Goldberg ’91 sent along a video performance that was played for the audience, which included Bill Zildjian ’75, one of Bob’s first students. The concert concluded with a jam session of more than 40 students playing penny whistles. Milton’s student jazz musicians have toured South Africa nine times, during which they have performed with T. S. Monk and for Archbishop Desmond Tutu, delivering more than $135,000 worth of donated materials to township schools. Students regularly play at popular and esteemed local venues, such as the Ryles Jazz Club in Cambridge, Massachusetts. They have performed on NPR’s nationally broadcast quiz show “Says You,” and at the inaugural ball of Massachusetts Governor Deval Patrick ’74.
Matt Bingham Extends His Science Classroom by 2,000 Miles Practicing what he preaches and teaches, science faculty member Matt Bingham spent two weeks in Greenland this spring with a group of fellow researchers, studying how ocean conditions on the west side of Greenland affect the vast ice sheet covering roughly 80 percent of the country. Milton students supported the trip stateside, writing content for a blog documenting the trip and conducting experiments on samples brought back from Greenland. “The Arctic is warming much faster than the rest of the planet, and this ice sheet is showing evidence of a complicated, or nonlinear, melting process,” says Matt. “[The glacier] is not simply turning from ice into water. Our goal was to understand what is happening during this process.” With research scientists from Woods Hole Oceanographic Institution, Clark University, Wheaton College and University of Washington, Matt traveled to three sites. The group focused its study on the Jakobshavn Glacier, where part of the western side of the ice sheet drains into the ocean. This glacier is the subject of many scientific studies and was featured prominently in the documentary Chasing Ice. The team looked at the structure of the ice with ground-penetrating radar; they dug snow pits, collected layers of snow, and drilled shallow ice cores. They sent snow and ice samples back to the United States for study, and Milton students will experiment on a set of samples this fall.
54
mi lton magazi n e
Art and Science, Teacher and Student, a Collaboration at the Museum of Science Artist Anne Neely’s large canvases, filled with
influential to me,” she says. After reading
who created an audio composition that
rich hues of blues, greens and browns, hang
Water by Marq De Villiers, she began a
accompanies the paintings.
in an exhibit hall in Boston’s Museum of Science. “decade-long search to find ways to paint The paintings in Water Stories: Conversations
unseen aquifers, rivers, oceans and streams.”
“I didn’t want the paintings to look like what you would see if you were looking
in Paint and Sound reflect Anne’s interpretation
She began researching water-related issues,
at a photograph of an algae bloom or a
of water cleanliness and water access issues
such as droughts and fracking, and began
drought,” Anne says. “I wanted to paint from
plaguing the United States. This merging of art
to incorporate what she was learning. She
imagination, emotion and interpretation.
and science developed from a collaboration
arranged a meeting with David Rabkin to
I want different things to bubble up when
between teacher and former student.
explore her idea about a water exhibition at
someone looks at the painting. Some will
the museum. Coincidentally, David had been
see beauty and foreboding; others will conjure
Anne was new to the visual arts faculty in 1974, and David Rabkin ’79 was one of her
thinking about mounting a water exhibit,
up their own memories or experiences about
students, whom Anne describes as “inquisitive
as well.
water. I hope that each painting raises their
and full of ideas.” They kept in touch on and
“At the museum, mixing art with our more
awareness.” “Working with David has been a memorable
off over the years. David earned his doctorate
typical educational approaches works well,”
in technology and innovation management
says David. “The art opens people to ideas,
collaboration,” says Anne. “His visits to the
from MIT and is now director for current science
emotion and scale, in ways that more explicit
studio to see the progress of the paintings and
and technology at the Museum of Science.
techniques may not. Art broadens the audi-
our conversations were a wonderful exchange
Anne retired from Milton in 2012 and focused
ence, welcomes all kinds of learners, and adds
of teaching and learning for both of us. Bringing
on her art, specifically the phenomena of
dimensions of experience that are otherwise
the public into a visceral experience was our
water, a subject of her paintings since 2004.
unavailable.”
goal for Water Stories. I’m so fortunate to have
“I am an ocean-loving person,” says Anne,
Anne interviewed residents around the
this opportunity.”
who has studios in the South End and on
country about their experiences with drought,
Water Stories: Conversations in Paint and
the coast of Maine. “The shifts and subtle
fracking and pollution. She gave her recorded
Sound will be on exhibit at Boston’s Museum
changes of water patterns have been
interviews to sound artist Halsey Burgund,
of Science until January 2015.
this page
Former visual arts faculty member, Anne Neely, with David Rabkin ’79.
fa l l 2 014
55
board of trustees Joining
which plans events and supports
School in Michigan. Randall
admission and development work.
returned to campus in January
Ted Wendell ’58
Kevin has more than 23 years of
2013 as the Martin Luther King
Edward “Ted” Wendell Jr. ’58 was
investment banking and equity
assembly speaker; he talked with
elected to the board during the
investment experience in the Asia
students about how Dr. King’s
summer of 2013. Ted is a founding
Pacific region. He is vice
talent as a facilitator made him
partner and principal of Northern
chairman and managing partner
an effective leader and agent
Cross, LLC. During the 1960s,
of NewMargin, which focuses
of change.
Ted served as a math teacher,
on growth private equity
head of admissions, and dean of
investing in Greater China in the
Randall came to Milton through
students at Marlboro College, in
consumer, financial services,
A Better Chance program. At
Marlboro, Vermont. He graduated
resources and clean-tech sectors.
Milton he was a co-head monitor,
outside her interest, and she is
Born in Kingston, Jamaica,
from Harvard College and earned
He is also a member of General
participated in community
consistently both constructive
a master’s degree in mathematics
Oriental’s global investment
service, and was a three-season
and supportive.
from the University of Washington.
committee and sits on the main
athlete, setting several track and
Kitty is a model for saying
Ted served as a Milton trustee
board of GO’s holding company.
field records. Randall is co-chair
“yes” and then meaning “yes.”
from 1974 to 1986 and has been
Kevin’s son, Cameron, is in Class
of the National Advisory Board of
Asked to spend gorgeous summer
active on reunion committees. Ted
II and lives in Goodwin House.
the Principals’ Center at the
mornings here on campus, she
and his wife, Mary, have been
Kevin himself lived in Forbes
Harvard Graduate School of
and Warren and the faculty
generous and supportive to many
House; he is a graduate of
Education. He earned a bachelor’s
carefully crafted the charter of
Milton students, particularly to
Harvard University, where he
degree from Brown University
that organization that secures
classmates of their children,
was named a John Harvard
and a master’s degree in education
communication between the
Liddy ’94, Ellie ’98 and Macky ’01.
Scholar.
from Harvard University. He and
board, the administration and the
his wife, Elizabeth Hopkins Dunn
faculty: the Faculty Council. She was an astute listener and key
Ka-Kay (Kevin) Yip ’83
Randall Dunn ’83
’83, live with their two children
In February 2014, Milton trustees
Randall Dunn ’83 was elected to
(Chase and Hunter) in Chicago.
elected Kevin Yip ’83 to join the
the board of trustees this spring.
Council Liaison Committee. Kitty
board. Kevin is a devoted Milton
He is head of school at the Latin
is a champion of excellence and
volunteer and president of the
School of Chicago and previously
Milton Association in Hong Kong,
served as head of the Roeper
Retiring
a deep understanding of — and empathy for — the very human
Milton Academy Board of
tendencies of adults, children and
Trustees, 2006–2014
organizations, all striving to
During her eight years on Milton’s
become better at what they do. We all listened carefully (it
of her deep school experience to
was always worthwhile) to Kitty’s
serve — generously and graciously —
carefully composed, beautifully
the head of school, all of us as
rendered reports from the Enroll-
trustees, and the adults and
ment Committee, which she
children at Milton today, and
chaired in its earlier life, and now
through the importance of her
from Academic Affairs, Student
work, for years to come.
Life and Enrollment, which she
Kitty is reliably open and consistently positive. Her appreciation for how myriad
mi lton magazi n e
accountability, coupled with
Kitty Gordan
board, Kitty brought the wisdom
56
participant on the Trustee Faculty
co-chairs. Kitty may know more about Milton than most of us do. She
pieces contribute to a whole bigger
served on at least one long-range
than the sum of the parts is
financial planning effort; she
always evident in her comments.
chaired the Enrollment Capacity
No aspect of school life has been
Study, analyzing the factors that
affect the size and character of the School and how they intersect; and thanks to her son John, who graduated in 1996, Kitty knew residential life at Milton, and she could mark our progress over the last decade in real terms. She helped us learn about ourselves, by situating Milton within the encompassing world of independent schools: how our faculty work, and how they feel about their work; how we navigate the complex “dance” involved in enrolling students; how we’ve progressed as a board and a school; and how significant and bold a plan we’ve adopted. Kitty always expressed genuine delight and joy about the work of educating young people. We’ll honor her spirit and do our best to honor her amazing work ethic. Thank you, Kitty, for your friendship, and your inspired and devoted service to Milton. Og Hunnewell ’70 Milton Academy Board of Trustees, 1993–2014
We’ve long joked about Og really being on staff at Milton. It’s no joke. Og’s style — and the results surround us — is “hands-on.” Og has been on task for every project from 1993 until today: of long-term planning, and those
from brainstorming through
some valuable classroom space at
in which we realized that our
dedication, from architectural
the top of Warren Hall as long as
facilities need to support the
that emerge “overnight” on a
studies through value engineer
we were renovating.
excellence of our program; that
campus of 125 acres and 52
shabby gentility may have been
buildings. Old buildings and grounds present problems, of all
ing, from issues of capacity
In 2004, he pondered how to
and function and cost, through
design a doorway through
our signature, but that providing
small-scale finishes that set a
Hallowell that connected it to the
a quality educational experience
sizes and varieties, without
look and feel.
new quad but didn’t risk severing
for students is our responsibility.
warning. New administrations
In 1996, Og led the questioning about what kind of space the
a unified house. In 2006, Og led the team that
Athletic and Convocation Center
built our now-beloved Pritzker
should be.
Science Center.
In 2002, at midproject, he asked why we wouldn’t render
Og ushered in Milton’s “modern era,” that period of time
At once attentive to function,
find that exciting new programs
aesthetics, tradition, scale and
urgently need well-purposed
cost, Og thinks like a planner and
space.
a problem solver. He is completely
And he’s reluctant to let a
responsive to Milton’s needs:
valuable opportunity pass.
those that are known, the subjects
It was Og, many years ago, who
fa l l 2 014
57
t rust ee s, con t.
suggested that the old science
as Milton Academy’s visual
sense of place without losing the
began with a department-wide
building might serve the visual
iconography and memory bank.
Milton we love.
self-study, and Warren set the template for the kind of assess-
Hunnewell history and Milton
arts department very well.
Warren McFarlan ’55
ment that is a strategic priority
inglorious problems as he is
Og’s brother Bob and cousin Meg
Milton Academy Board of
today: It had a wide scope —
on sparkly, dramatic solutions.
graduated from Milton, as did his
Trustees, 2001–2014
facilities, curriculum, resources,
He has diligently studied faculty
uncle Tom and his father, James.
For 13 years, we have counted
teaching, impact over time. The
housing, ADA implications,
Og’s trustee years preceded and
on Warren’s willing agreement
department was fully involved;
lighting and way finding, among
continued beyond his sons’ time
to share every challenge that
alumni opinions figured in; a
many other things.
at Milton: Brad graduated in ’05,
confronted Milton, from recruit-
visiting team reviewed; and the
Nick in ’08, and Will in ’09.
ing our head of school, to
report provided the roadmap
resolving the abatement issue,
for the Pritzker’s architectural
Og is just as focused on gnarly,
He is the guardian angel of deferred maintenance, educating
history are woven together.
How fitting that Og’s role in
us, exhorting us, sometimes
the life of the School connects his
to setting strategic planning in
design, for growth in teaching,
successfully, about the impor-
father’s Milton years, his own, his
motion.
curriculum expansion, and
tance of tending to our assets
sons’ experiences in classrooms
prudently.
We shouldn’t be surprised to
enhanced student experience.
and on the fields, and Milton
find, then, that at several pivotal
Later, Warren was among
students’ lives today. We hope, in
points, Warren’s unique leader-
the team of diplomats who built
two decades of institutional
years to come, Og’s grandchildren
ship skills helped orient us and
connections among faculty,
history, is alive in the physical
will enjoy the Milton campus he
define our future.
campus, so well used by faculty
helped so much to realize.
Og’s legacy, and more than
In 2002, Head of School Robin
administration and the board. He helped draft the Faculty
Robertson asked Warren to
Council charter, a living symbol
and parents — the campus that
attention, devotion and skill. You
launch our drive to put Milton
of his belief that a thriving
many carry in their minds’ eyes
have helped us develop a new
science on the map. That effort
institution understands and
and staff, students, alumni
58
mi lton magazi n e
We are so grateful for your full
milton.edu
facebook.com/MiltonAcademy1798
@MiltonAcademy
back to Milton a measure of what she felt she had received. Erika was on everyone’s short
with graduates, she highlighted exactly those values and qualities we hope we develop in students,
list for every project-based
and we hope they sustain over
trustee committee. When asked,
a lifetime: the ability to live a life
she willingly agreed to join the
that dares to be true to who you
Institutional Brand Council,
are; the desire to set and meet the
the Enrollment Capacity task
highest expectations; the eager-
force, the Trustee Committee
ness to use every opportunity you
and the Technology Advisory
can to keep learning.
Council, even though she
We are very grateful for
honors the respective roles of all
intellectually and emotionally
sometimes needed to be a player
Erika’s contributions to Milton’s
the people who are part of the
present.
on a conference call at 6 a.m.,
great progress over her time as
whole; and that communication —
Warren has been a wise
her time. Erika’s commencement
a trustee, and we look forward to her continued participation on
high in quality and plenty of
counsel, a diligent trustee, and
it — sustains that mutual respect.
a loyal, passionate supporter
address to the Class of 2009 was
of his School, and we thank him.
a particularly important gift to
and in the life of the School in
the School. In sharing her story
years to come.
As chair of the Trustee Faculty Council Liaison Committee, Warren set its course — with
Erika Mobley ’86
openness, accessibility, fairness
Milton Academy Board of
and balance. He was a trust-
Trustees, 2007–2014
worthy emissary for everyone,
Erika is one of those special
listening intently, sharing,
trustees who enthusiastically
appropriately registering or
agrees to serve despite the
diffusing concern. Warren helped
distance between two coasts, the
the faculty, and the board, gain
challenges of an intense career,
awareness and experience about
and having very young children.
the roles we play and our discrete
She simply asked us to wait a bit
responsibilities. A guardian of
while she lived in Australia,
good governance, he appreciated
until she moved back to California.
its value and its impact on our credibility. With roots in teaching, business, technology, Asia, and
A true utility infielder who brought broad competence, insight and intellectual energy to all of her work on the board, Erika was
donor relations, Warren under-
tapped for committees where her
stands the intersection of
expertise was especially valuable.
business and education, of goal
On Enrollment (in her earlier
setting and fund raising. He is
years) and External Relations, her
the model “big picture” guy.
creative ideas for communication
Always well read and well prepared, Warren was ready to offer perspective — with humor,
the Technology Advisory Council
and connection elevated our sense of what was possible. On Academic Affairs, Student
humility, anecdote and even
Life and Enrollment, Erika
an apt homily now and then. He
explored the life of the School
entertained us, educated us,
today, and she affirmed her great
and exhorted us, with a signature
love for what Milton gave her.
smile and a twinkle in his eye.
Erika was refreshingly open and
Regardless of what we asked of
expressive about her powerful
him, he was physically,
urge to honor Milton and to give
fa l l 2 014
59
r e t i r i n g fac u lt y
Gordon Chase, Visual Arts Department Member of the Faculty, 1978–2013 In 1978, Gordon Chase brought to Milton his
requirement that centers art in the academic
energy and passion for students making
core. Milton students now routinely pursue
Gordon sought to integrate art and science with proposals for Milton to build a design
art. Milton’s walls have highlighted student
art in successive years. Their high achieve-
center, to start an inventor’s camp, to honor
self-expressions for more than three decades —
ment distinguishes them in the college
Bucky Fuller with an integrated approach
witness to Gordon’s idea that art is about
process. Gordon’s commitment to creative
to solving the world’s problems with innova-
thinking and to self-expression, shared by the
tive ideas. He organized the New England Design Olympics in the ’90s, which showcased
“identity” — where students have tested their assumptions and declared their beliefs.
department and the School, elevated Milton’s
With long hair and cowboy boots, supported
art program to the top of the independent-
applied design long before today’s innovation
in his creative quest by Head of School
school world.
labs. Gordon still believes this integration is
Jerry Pieh, Gordon’s energy for new ideas was colorful and constant. Gordon chaired the visual arts department
Two “big ideas” informed Gordon’s work on professional events: the idea of art with a social conscience, and the idea of design as the
possible at Milton. Gordon was a soccer coach, a Nesto Gallery assistant director, a Cultural Diversity Com-
for more than 25 years. His goal was building
integration of art and science. As head of the
mittee member. He and Marky Kauffmann are
an arts center that included within it all of the
Art Association of New England Preparatory
parents to Milton graduates Greg ’06 and Corina ’08, and they are grateful for that edu-
arts. He initiated the effort to create the Kellner
Schools, Gordon organized workshops and
Arts Center, explored R. Buckminster Fuller
worked with Facing History and Ourselves on
cation from devoted and passionate colleagues.
as a potential designer, hosted two multischool
social-justice art projects. He co-created a
As he leaves, Gordon’s hope is that Milton
Bradley Arts Festivals, and dramatically
New England event called “Art with a Social
will continue to embrace the ideals of creativity and social justice.
increased student enrollment in art by intro-
Conscience” for students to focus on identity,
ducing semester courses, now common in
social issues and diversity. Two years ago,
many departments. These courses built on the
Milton hosted “Classrooms with a Conscience”
by Paul Menneg
important foundation of the arts program —
to highlight the idea that we teach “students
Visual Arts Department
Milton’s long-standing and pioneering arts
first and subjects second.”
60
mi lton magazi n e
Missy Manzer, Director of Cox Library Member of the Faculty, 1998–2014 As a librarian, Missy is an ace researcher. A
the speech team collection and the history
webinars and local meetings, and by forcing
horticulturist at home, Missy enjoys weeding
department collection, as well as CD collections
us to prepare for research season with rigorous
in the library, and (unlike some softies) is able
for jazz and general music. Missy introduced
training exercises. Missy cultivated a spirit of
to discard books without weeping over each
routine consultations with departments and
customer service, routinely bending over
one. Perhaps that is because she is a master of
teachers to determine how the library could
backward to obtain resources for our patrons.
collection development, and she can always
contribute to their curricular needs. As one
find the ideal choices to broaden or rejuvenate
history faculty member said, “With librarians
David ’02 and Jonathan ’07, who not only
our holdings.
and teachers working together, research pro-
appear for family holidays, but actually enjoy
jects are more rewarding experiences for
vacationing with their mother!
As director of Cox Library, one of Missy’s
As a parent, Missy launched two sons,
We wish Missy a long and happy retire-
cardinal accomplishments has been to oversee
students and teachers alike.” Even when they
the incorporation of digital resources. During
need not be in Cox, many students appreciate
ment, whether contentedly digging in her
Missy’s tenure, we have moved from present-
the peaceful and productive environment.
garden, or intrepidly traveling the world. Her
ing information limited to the physical library
Missy created this atmosphere.
to presenting online offerings, including
As a supervisor, Missy insisted that her
legacy of collaboration and support is one we will endeavor to continue.
the catalogue, research guides and electronic
staff cross-train, learning about each other’s
databases. We have gained relevant, new
work. Missy encouraged our professional
by Diane Pierce-Williams
material by including in the library’s holdings
development by allowing us to participate in
Cox Library
fa l l 2 014
61
r e t i r i n g fac u lt y, c on t.
Gordon Sewall, Assistant Head for Development and Alumni Relations, 1996–2014 For 18 years, Gordon has been an institutional
creativity, flexibility, and resilience. Gordon
to the School, and understand how their Milton
leader who helped Milton come alive for
dependably adapted and stayed centered. He
and today’s Milton form a single treasure.
donors. He has been a teammate who put his
embraced the situation at hand; he emanated
shoulder to the common wheel, a problem
optimism, and his optimism was contagious.
solver, a can-do person.
Under Gordon’s leadership, Milton evolved
With donors, Gordon was as passionate
Gordon was a superb advisor-at-large. Always engaged, ready to help with any issue, he invariably contributed wise and
Reunion Weekend from a paper-plate, rubber-
balanced perspectives, always with humor.
as he was honest about Milton. That’s a perfect
chicken, heavy-on-the-microphone day to
He’s a schoolman: a great listener, respect-
combination if your job is to build authentic
an attractive, multi-level weekend that draws
ful, resourceful, and willing to put in his oar.
relationships and keep them lively. Perhaps
hundreds of alumni to activities geared
And despite the overwhelming challenge of
that is why he was such a successful fund
for them, no matter their ages or interests.
raiser. He led Milton’s first comprehensive capital campaign. The goal was $50 million —
Gordon and his team made Milton’s
his wife Elizabeth’s illness and death, Gordon did not falter in his dedication to the School.
campus transformation possible. We celebrat-
We all have a great and kind friend in
a major stretch for Milton in the ’90s — and
ed together the dedications of the Athletic and
Gordon. We hope he leaves his official duties
he raised $60 million. Overall, Milton donors
Convocation Center, including the Fitzgibbons
at Milton as a proud father of graduates
gave nearly $194 million to the School during
Center; a fully renovated Wigglesworth and
Scott ’10 and Duncan ’13, and with the rich
Gordon’s years.
Warren halls; the Schwarz Student Center;
gratification of having moved a living
Norris House and Millet House; and the
institution forward.
Gordon partnered with four heads of school: Ed Fredie, Robin Robertson, Rick Hardy and Todd Bland. That gave him plentiful opportunities to model some core Milton competencies:
62
mi lton magazi n e
milton.edu
Pritzker Science Center. Because of Gordon’s stewarding, many of Milton’s families with deep roots are now closer
facebook.com/MiltonAcademy1798
by Cathy Everett Chief Communication Officer
@MiltonAcademy
Mickey Steimle, English Department Member of the Faculty, 1982–2014 Arriving in 1982, a daughter of teachers, a
the Williams College Outstanding Teacher
teaching appears as natural as it is vigorous.
mother of two girls under eight, and already
Award. Unwilling to rest, she became a class
Was 30 years of commuting onerous? No, it
an experienced teacher herself, Mickey
dean, shepherding students with a gentle,
was an opportunity to talk to her girls and
Steimle had two connections to the School:
firm hand. Can’t you see her now, 25 years
reflect. Were a few shoulders colder and chauv-
her sister Sheila in the English department,
later, sitting on the bleachers with Larry,
inistic when she arrived? No, she accepted
and her beloved husband, Chip, a graduate
clipboard in hand, each “Good morning,
her colleagues, and they her, in good time.
from 1965 with strong ties to Milton. Her first
honey” as bright as the next? Her students
The only way to sway Mickey from her big-
weeks were a tad overwhelming: teaching
can write librettos about her tough standards
hearted daily rounds is to dangle some
Middle School boys grammar in the then
but also the fun they had with Ms. Steimle:
injustice nearby; if she senses unfairness
language skills department. Mickey entered
her annual Othello hoax and her love of
or impropriety: Annie, bar the door!
the room each day to find a new boy hiding
scavenger hunts, dramatic performances,
behind the door or stuck in a trashcan. From
and laughter in all weather.
the start, Mickey enjoyed her Milton school
Despite this interviewer’s best attempts
Hers is a career to be admired, and if we are lucky, imitated: Mickey gave her smarts freely and never applied conditions to her
ties, but she equally enjoyed the challenges
to shake her from her contented, retrospective
affections. From the start, she heard the call
of teaching.
perch, she remains clear-headed and sunny:
of the classroom and, knowing its amazing
She gave much and received much from Milton
demands, answered it happily. That happiness —
found a vintage of dear colleagues, including
She soon joined the English department,
in an exchange always willing and generous.
its own legacy — is now ours. Mickey, for
Fran McInnis and the Fitzpatricks, and
In the department’s hallways, we will forever
these 32 happy years, we thank you from the
saw her daughters flourish in the Upper
hear her calling to students: “I am free third,
bottom of our hearts.
School. After 13 years, Kim ’92 and Erin ’95
fifth, sixth, and eighth if you need help . . . and
had graduated, and Mickey was a fixture
I am free after that, too!” For her, the hard
by Tarim Chung
in Class IV English and a recent nominee for
work of teaching was never too hard; her
English Department Chair
fa l l 2 014
63
messages
Jennifer Pozner Journalist and media critic Jennifer Pozner spoke to students this winter about how women and girls are treated in the media and the effect this coverage has on female leadership. Ms. Pozner was the 2014 Margaret A. Johnson Speaker, a series that brings noted female leaders to campus each year. Ms. Pozner is executive director of Women In Media & News (WIMN), a media analysis, education and advocacy group. She is also managing editor of WIMN’s Voices, the popular group blog on women and the media. Her work has appeared in Newsday and the Chicago Tribune. She has appeared as a media commentator on NBC, CNN, Fox News, MSNBC, NPR, and Comedy Central’s “The Daily Show with Jon Stewart.” “Media literacy is the strongest weapon we have against propaganda and manipulation in today’s media-saturated culture. There is also really interesting and diverse journalism happening. There has never before been a time when media and communications tools are as cheap and easy to use. You can create your own media, and you can change the conversation.”
Naomi Shihab Nye Award-winning poet Naomi Shihab Nye read a selection of poems and spoke about the writing process to students as last spring’s Bingham Visiting Writer. Ms. Nye’s books of poetry include 19 Varieties of Gazelle: Poems of the Middle East, a finalist for the National Book Award; A Maze Me: Poems for Girls; and You & Yours, a bestselling poetry book of 2006. She has written several prize-winning poetry anthologies for young readers, as well. Ms. Nye has held several fellowships, including Guggenheim, Lannan, and Witter Bynner. She has received several major awards, including four Pushcart Prizes and the Neustadt Prize for Children’s Literature. On writing poetry: “People often ask, ‘What can you do when you are utterly blank?’ The two things I tell them are eavesdrop and babysit. If you listen to other people talk, you will hear interesting language that isn’t like your own. If you spend time with little children, you will be refreshed by the majesty of their inquisitive metaphorical wonder.”
Dr. Eric Jay Dolin Dr. Eric Jay Dolin is an environmental scientist, a researcher and a writer. Dr. Dolin, presenter of the 2014 Hong Kong Lecture, told students the story of how America’s trade relationship with China began. His most recent book, When America First Met China: An Exotic History of Tea, Drugs, and Money in the Age of Sail, chronicles the period following the American Revolution through the mid-19th century with tales of the tea, fur and opium trade, clipper ship travels and life in the seaport of Canton. “During this period, trading between the United States and China was significant, but not particularly important economically or to American policy makers. Things could hardly be more different today. China is the second-largest trading partner behind Canada to the United States. Once measured in tens of millions of dollars, today the China trade is measured in hundreds of billions of dollars, and it’s one of the critical policy issues of the United States.”
a lumn i authors
Addiction on Trial: Tragedy in
Duck & Goose Go to the Beach
Drop It, Rocket!
Downeast Maine
by Tad Hills ’81
by Tad Hills ’81
by Steven Kassels ’68
Schwartz & Wade Books,
Random House Children’s Books,
AuthorHouse, October 2013
April 2014
July 2014
When Downeast local Annette Fiorno is found
Duck and Goose have shared, explored,
Rocket, the beloved dog from the New
at the bottom of a ravine, outsider and relapsed
learned and quarreled in a long series of
York Times bestselling picture books How
drug addict Jimmy Sedgwick is accused of
picture books, every time returning to
Rocket Learned to Read and Rocket Writes
murder. Unassuming Maine lawyer Rob
the importance of their friendship. Duck &
a Story, is back in a Step 1 leveled reader.
Hanston and big-shot attorney Shawn Marks
Goose Go to the Beach is the tenth book in
Rocket is ready to find new words for
form an unlikely legal team as they attempt
the New York Times bestselling Duck & Goose
his word tree with his teacher, the little
to discredit the overwhelming evidence.
series. Duck wants to go on an adventure.
yellow bird. He finds a leaf, a hat, and
Addiction on Trial, the first in a series of Shawn
Goose doesn’t. He doesn’t see the point. After
a star . . . but when he finds a red boot, he
Marks thrillers, sends a powerful message of
all, why would they go anywhere when
doesn’t want to let go. What will make
societal discrimination toward drug addicts
they’re happy right where they are? But then
Rocket drop it?
and explores common misperceptions about
Goose sees the ocean and loves it. Who
what drug addiction really is — a chronic
doesn’t? Well, Duck, for one!
illness requiring a similar treatment approach
“Hills’s illustrations are rendered in
With predictable patterns, simple words, lots of repetition, and bright, colorful illustrations, this Step into Reading
as other chronic diseases. Medical and
bright oil paints that capture meadow and
book is perfect for children who know the
behavioral aspects of addiction are woven
sea with equal vivacity. Duck and Goose,
alphabet and are eager to begin reading.
into the thriller, which culminates in a riveting
of course, are their usual comically at-odds
murder trial.
selves, this time nicely illustrating the
Dr. Steven Kassels is an author and physician, board-certified in addiction and
benefits of both adventurous and cautious personalities.” — Booklist Review
emergency medicine. He has served as chief of emergency medicine at an inner-city hospital and is now the medical director and founder of Community Substance Abuse
Tad Hills is author and illustrator of the highly acclaimed bestselling picture books How Rocket Learned to Read,
Centers. He is a member of the American
Rocket Writes a Story, Duck & Goose, and Duck, Duck, Goose. His board books include the ALA-ALSC Notable
Society of Addiction Medicine, and shares his
Children’s Book What’s Up, Duck?; Duck & Goose: It’s Time for Christmas; and, most recently, Duck & Goose:
time between Boston and Downeast Maine.
Goose Needs a Hug. Tad lives in Brooklyn with his wife, their two children, and a real dog named Rocket.
fa l l 2 014
65
Gifts with Global Reach Nate Bowditch ’62 My wife, Susie, and I spent many years in the Peace Corps. We lived in Thailand, the Philippines and Malaysia as volunteers, volunteer trainers and overseas staff. We then decided to make Maine our home, still continuing multiyear family adventures in Sri Lanka, Ghana and Macedonia. Crossing cultures — learning how others work, grow their families, play, and practice their religions — while viewing our own country through others’ eyes, has been formative in our lives. Watching our children, Windi and Sean (’95), grow and become marvelous global citizens has been equally rewarding. In 1990, the Bowditch family created the Ebenezer Francis Bowditch ’31 Scholarship Fund for Global Education in honor of my dad. It supports Miltonians learning abroad, as well as foreign students or faculty members coming to Milton. Citizens from all corners of the world live and work more closely every day. Our schools must guide students to become active, effective and responsible global citizens. For that reason, we have made a substantial contribution to my dad’s scholarship fund. We chose a charitable gift annuity because we appreciate the quarterly annuity payments and want to savor our contribution to a Milton Academy that has meant so much to the Bowditch family.
For information on gift planning, contact Suzie Hurd Greenup ’75 at suzie_greenup@milton.edu or 617-898-2376.
66
mi lton magazi n e
milton.edu
facebook.com/MiltonAcademy1798
@MiltonAcademy
class notes 1944
trustee to the Manchester Essex
Sam, Lilla Lyon, Liz Biddle Barrett,
William Weeks and his wife,
Conservation Trust, and as the
Sally Sprout Lovett.
Frances, are “in reasonably good
director and past president of
health” and celebrated their 60th
Friends of Manchester Trees, Inc.
wedding anniversary last year.
He also sings with the Yale Russian
1959
William sends his best wishes
Chorus and two church choirs.
After a hectic few months, which
he reconnected with at Reunion
Elizabeth Barrett and her
“a vacation in France seemed
Weekend in June.
husband moved to Dover,
like a good idea!” says Kitty
to his classmates, some of whom
1953
included the sale of her house,
Massachusetts, to be near family.
Blodgett Winter. She also had a
Although they miss singing in
wonderful time visiting her four
the Oratorio Society of New York,
grandchildren in K–8 this spring
Bob Freeman published the book
they certainly keep up music
during Grandfriends’ Day at
The Crisis of Classical Music in
(cello for Rud and piano for Liz)
Milton.
America: Lessons from a Life in the
and greatly enjoy the Cambridge
Education of Musicians in August
Musical Club. The Barretts
Ellen Gross Miles retired as
2014. He says the book “envisions a
joined the Manomet Center for
curator of painting and sculpture
whole new ecosystem for studying
Conservation Sciences. “I’m
at the National Portrait Gallery
music in a nation that produces
passionate about gardening and
in 2010 and now volunteers doing
more than 22,000 collegiate
raising blue birds, 12–15 fledglings
research for the curatorial staff.
degrees in music annually, but
every summer,” Liz says.
where too many professional
She remarried in 2009, after the
“I’m passionate about
death of her second husband in
gardening and raising blue
musical organizations are failing
▼ The Girls’ Class of 1954
2004. Ellen gives an occasional
birds, 12–15 fledglings
fiscally.” The book includes many
celebrated their 60th reunion
lecture in the Washington, D.C.,
every summer.”
positive references to Bob’s five
on Friday, June 13, at the home
area, and has been traveling in
years at Milton. Bob is the Susan
of Jean Childs. Front row (L to
the U.S. and Europe with her
Menefee Ragan Regents Professor
R): Duffy Royce Schade, Jean
husband, Neil Greene.
of Fine Arts at the University of
Cutler Whitham, Sally Chase
Texas at Austin.
Flynn, Cynthia Hallowell,
Deborah Webster Rogers is
Kadie Maclaurin Staples, Jean
content in retirement and is
1954
Worthington Childs. Back row (L
involved in Scottish country
to R): Connie Trowbridge, Martha
dancing, Bible courses, and with
Jean Worthington Childs enjoyed
Mayor Smith, Martha Fuller
mental health with Recovery
catching up with classmates
Chatterjee, Cynthia Kennedy
International. Debby has two
Elizabeth Barrett ’54
while encouraging them to attend Reunion Weekend in June. “While some live abroad and could not join us, others traveled from afar,” she says. Following the graduation of his three children from Milton, George P. Smith moved to the
house in Manchester where he grew up summering, near Singing Beach. For retirement income, he offers short-term rentals of the cottage part of the house. George stays busy serving as a
fa l l 2 014
67
cl a s s no t e s, con t.
and John Bihldorff. Not pictured: Peter Burling.
Catherine Bradley Sayers.
Back row: Christine Mussells, Jane Burley, Hanne Blom-Bakke,
1964
Emily Fuller Hawkins, Emily
Nick Hinch retired from
Vincent MacKay, Eleanor King,
commercial flying three years
Betsy Auchincloss.
Burr, Margaret Pierpont, Vicky
ago and thought he could finally sit back and relax. (That didn’t happen.) “You just can’t go from
1974
flying along 500 MPH for 45 years
Anthony and Leslie Will cele-
daughters: One is living in her old
to a complete stop overnight,” says
brated their 40th Milton reunion
home in Milton with her family;
Nick. He now works for Boeing
this spring. Leslie is working for
the other is in Minneapolis
as B-787 simulator instructor and
Coldwell Banker in residential
working as a flight attendant.
1962
Friendship Award.
and professional sailor; Laura (26), in geriatrics; and Amanda (22),
Koplan was honored with the
▼ Ms. Jean McCawley gathered
with 23 fans from the Class of 1969
an education major at Lesley
is the highest award that the
for the Alumni Glee Club Sing
University in Cambridge.
Chinese government gives to
during Reunion Weekend. Front
foreign experts who have made
row (L to R): Dixie Brown, Eliza
outstanding contributions to
Kimball, Kirk Emerson, Jean
1975
the country’s economic and social
McCawley, Mary Feather, Susan
Teacher and author Sally Paine
progress. Jeff was involved for
Francis Putnam, Melinda Saxton
won the Richard W. Leopold
more than 30 years in the creation
White-Broson, Nancy Roberts.
Prize and the 2012 PROSE award
and development of the Chinese
Middle row: Molly Quinby Eberle,
for best book in European and
Center for Disease Control and
Sara Greer Dent, Nancy Madden,
world history for The Wars for Asia,
Prevention (China CDC). Jeff is
Kay Dickersin, Lisa Lloyd
1911–1949. The book was also long-
the vice president for Global
Hobson, Laura Robinson Roberts,
listed for the 2013 Gelber Award.
the Emory Global Health Institute from 2006 until 2012. Prior to joining Emory in 2002, he was Control and Prevention.
1963 ▲ Classmates celebrated the life
of dear friend Jim Sise in New Hampshire in late May. Jim passed away in January 2014. L to R: Charles Stillman, Walter Page, Bill Vanderbilt, John Grandin, David Taylor, Roger Feldman,
mi lton magazi n e
a nurse practitioner specializing
China Friendship Award. This
director of the Centers for Disease
68
children: Kit (29), an entrepreneur
1969
served as founding director of was honored with the China
real estate, and Tony is a feng shui coordinator. They have three
In Beijing last September, Jeffrey
Health at Emory University and Jeffrey Koplan ’62
travels around the world teaching pilots from many countries.
Laura Appell-Warren ’78 has published her second book, titled Personhood: An Examination of the History and Use of
1978
in Chicago. They were there to
CEO of Nonprofit Finance Fund, a
honor Dr. John J. Bergan, Betsy
national nonprofit and financial intermediary. Tracy is CEO and co-
Laura Appell-Warren has
and JB’s father, who in 1964 led a
published her second book, titled
team through the first successful
founder of Social Finance, Inc., an
Personhood: An Examination
organ transplant. Dr. Bergan
impact investment firm in Boston.
of the History and Use of an
passed away in June 2014. L to
Anthropological Concept. Laura
R: Emily Barton, Toby Altman,
teaches at St. Mark’s School in
John Bergan ’81, Dr. Michael
Southborough, Massachusetts,
Abecassis, and Betsy Altman ’71.
1996
and is the school’s director of the
Steve Lehman received a 2014
Global Citizenship Institute.
1984
Doris Duke Artist Award, an
1979
Lucie Greer is excited that
awarded to “American performing
her niece, Rosamond Carr ’14 ,
artists of exceptional creativity.”
Jim Sitrick is living in Santa
graduated from Milton this spring,
Fe near his nine-year-old son,
and that they will be on the same
Thane, and working as a tutor and
reunion cycle!
an Anthropological Concept.
unrestricted prize of $275,000
teacher while seeking work as a public health consultant.
1992
1981
▶ Antony Bugg-Levine and Tracy
▲ In April, John Bergan and
stock exchange floor after ringing
Palandjian ’89 are pictured on the
his sister, Betsy Altman ’71,
the closing bell on behalf of the
celebrated the 50th anniversary
U.S. National Advisory Board to
of Northwestern Medicine’s
the G8 Impact Investing Taskforce
Organ Transplant Program
(which Tracy co-chairs). Antony is
fa l l 2 014
69
cl a s s no t e s, con t.
with Pitbull, Sony Television and
and will be moving to Louisville,
SonyATV Music Publishing. Dan
Kentucky, next year to work in
was in Japan last summer and
corporate strategy at HUMANA.
caught up with Kelly Grimes. He
He would love to connect with any
spends time with Leo Evrivriades
Milton alums in the area!
’99 on Cape Cod during the summer,
and his sister, Margaux Weisman ’05 , came to see Capital Cities at
Coachella in April.
Colleen Ritzau Leth enjoyed time
spent with faculty and friends at reunion and is living in New York City. She spent a year in
Shannon Gulliver Caspersen ’00
Cairo, completing her master’s in
and her husband, Sam, welcomed
art history and archaeology. In
their daughter, Greer Gulliver
2013, she joined the Metropolitan
1998
“G. G.” Caspersen, on March 12, 2014.
Julia Morgan married Tim Martin
▼ Jane Innis Crawford ’00 and her
Museum of Art as an associate in the director’s office.
in May 2014. Four of Julia’s class-
husband, Tyson, welcomed their
mates attended the wedding: Emma
daughter, Emily Grace “Millie,” on
2006
Doggett, Lila Dupree, Morgan
February 4, 2014.
▼ Oliver Pechenik married
Bradylyons, and Liz Jalkut, along
Ardea Thurston-Shaine in a
with faculty member Linnea
meadow overlooking Puget
Engstrom.
Sound, Washington, in July 2014. In attendance from Milton were
1999
Oliver’s mother Linde Eyster
▲ Leanne McManama ’99 and
Moffett ’05 .
(science department) and Jeff
David Conyers eloped in February 2014. They were married at the John and Mable Ringling Museum
2010
of Art in Sarasota, Florida.
During his senior year at Brown,
Daniel Weisman ’00 launched a high-end sneaker company called Buscemi last year.
2000
2003
in club hockey. Harvard beat
Daniel Weisman lives in Los
studio, Atelier de Geste, in New
Brown, but Ross made some good
Angeles and manages recording
York City in 2012 after completing
saves on Connor!
artists, including Wale (who
her M.F.A. at the Haute école d’art
performed at Milton in 2009) and
et de design (University of Art and
Capital Cities (who toured with Katy
Design) in Geneva, Switzerland.
joined Jay Z’s company Roc Nation
“My Milton experience enriches me to this day. Some of my greatest
and is part of Kanye West’s manage-
friendships and formative creative
ment team. Last year he launched
years sprouted there and keep
a high-end sneaker company called
growing . . . Vive Milton!” she says.
Buscemi (available at Barneys, Colette and The Tannery) as well as a wet-toilet-paper company
mi lton magazi n e
Johnson ’11 (a senior at Harvard)
Beau Rhee launched a design
Perry this summer). He recently
70
Ross Lerner played Connor
2004
called “One Wipe Charlies,” which
Scott Motejunas recently com-
he sold to the Dollar Shave Club.
pleted his M.B.A. at the Darden
He’s developing a reality show
School (University of Virginia)
◀ C l ass of 1 9 3 9
(l to r): Evan Calkins, Head of School Todd Bland and Galen Stone.
▲ C l ass of 1 9 4 4
(l to r): Ted Reynolds, Stan Bourne, Bill Weeks, Sam Adams, Tom Wales. ▶ C l ass of 1 9 4 9
(l to r): John Hewett, Bill Thorndike, Katharine Baker, George Baker, Myles Richmond.
fa l l 2 014
71
cl a s s no t e s, con t.
◀ C l ass of 1 9 5 4
front row (l to r): Martha Fuller Chatterjee, Jean Cutler Whitham, Duffy Royce Schade, Liz Biddle Barrett, Cynthia Hallowell, Sally Sprout Lovett, Sally Chase Flynn, Jean Worthington Childs, Kadie Maclaurin Staples. middle row: Tom Gregg, Ed Ofgant, Ross Sherbrooke, Kit Bingham, Jon Beecher, David Ehrlich, Jack Cannell, George Smith, Ned Crosby. back row: Jim Perkins, Lindsey Durant, Ben Williams, Bill Hartmann, Dick Beckwith, Larry Altman, Marshall Schwarz.
▲ C l ass of 1 9 5 9
front row (l to r): Ellen Miles, Steve Jones, Bonnie Akins. back row: Steve Parker, John Coburn, Tom Claflin, Henry Davisson, Phil Kinnicutt, Sissel Falck-Jorgensen, Sandy Greene, Tim Clark, David Ames, Brin Ford, Chris Lehman, Dave Brown, Fred Churchill, Nick Bancroft, Tim Williams, Dave Wheatland.
72
mi lton magazi n e
◀ C l ass of 1 9 7 4
front row (l to r): Felicity Myers, Cathy Jay, Deirdre Dempsey-Rush, Susan O’Hara Riley, Cassandra Perry, Sarah Lincoln Trafidlo, Brian Driscoll, Linda Rice. back row: Jon Gifford, Bob Sinicrope, Nick Nichols, Mark Panarese, John Moot, Annette Buchanan, Jay Brooks, Robert Altschuler, Eric Finke, Dan Gregory, Mark Evans, Sam Dennis, Mary Carton Gregory, Rick Wood, Steve Kinnealey, Jeff Hurst, John Hemenway, Michael Bleakie.
◀ C l ass of 1 9 6 4
front row (l to r): Casey Murrow, Isabel Barzun Parfit, Frannie Sykes Moyer, Peter Reed Pavan, Lindley Greenough Thomasset, Lola Atwood, Sarah Satterlee, Deborah Myers Strzepek, Meg Estabrook Cooper. second row: Fred Douglass, Jeffrey Gray, Rachel Sullivan Berlin, Jesse Kornbluth, Jannie Williams O’Conor, Liza Ketchum. third row: Charlie DeLorme, Nick Hinch, Anthony Forbes, Susan Davidson, Tudy Stebbins Bartlett, Carson Custer Taylor, Dave Schoyer, Charlotte Cherington Burrage, Maeve Kinkead Streep, Judy Field Laing, Rick Meadow. back row: Jim Pappas, Bob MacKay, Finley Perry, Peter Holmes, George Hilton, Chris Hallowell, Ed Brown, John Straus, Phil Lehman, Bob Bradley, Don Paige. ▲ C l ass of 1 9 7 9
front row (l to r): Paula Goodrich, Tedd Saunders, Bill Weyerhaeuser, Todd Saunders, Beth Zonis, Gene Reilly. back row: Philip Higonnet, Ben Simeone, Richard Fitzpatrick, Eric Schwarz, Geoff Bok, Nick d’Arbeloff, Bryan Austin, Peter Nawrocki, Sam Gordy, Glenn Allen.
◀ C l ass of 1 9 8 4
◀ C l ass of 1 9 6 9
front row (l to r): Nancy Roberts, William Perkins, Melinda White-Bronson, Sam Harrington, Sara Greer Dent, Laura Robinson Roberts. middle row: Kay Dickersin, Lisa Lloyd Hobson, Emily Burr, Christine Mussells, Nancy Madden, Catherine Bradley Sayers, Betsy Auchincloss, Joe Glaser, Susan Putnam, Eleanor King. back row: John Goodhue, David Fitz, Emily Hawkins, Kirk Emerson, Nick McDougal, Margaret Pierpont, Georgia Pappas, Alex Felton, William Nesto, David Dudley.
front row (l to r): Chris Morrow, Barak Rosenbloom, Erik Singer, John Koltun. back row: Ligia Brickus, Doug Cabot, Frank Quinn, Melissa Glen, Jerry Godes, Sally Wright Waxman, Sue Mahanor, Paul Higgins, Helen Bronk, John Bisbee, Celeste Vega, Sid Whelan, Christine de Vegvar Parsons, Neil Godfrey, Lucie Greer, Flynn Monks, Theo Spencer.
fa l l 2 014
73
cl a s s no t e s, con t.
▶ C l ass of 1 9 8 9
front row (l to r): Ethan Burns, Emily Fenster, Rachel Hong, Bill Hanson, Martin Zinny, Hadley Rierson, George Papageorge, Mark Paresky, Jason Downie, Ann Diedrich, Ka-Hay Yip, Ethan Fenn, Katie Bacon. middle row: Brian Martin, Jessica Fortunato, Anna Weymouth Nicholas, Rachel Powers, Jenny Ford Barrett, Peter Barrett, Justin Campbell, Amy Dine, Josh Everdell, Jake Upton, Greg Quinn, Robert Rosenthal, Peter Sahlin. back row: Matt Kane, Neil Bray, Lewis Robinson, Christopher Schell, Rich Corcoran, Liesel Euler, Alex Donahue, Adam Berrey, Jay Sullivan, Mark Driver, Perry Cabot, Kevin Henderson, Jonathan Travers.
▲ C l ass of 1 9 9 4
front row (l to r): Hillary Lombard, Devon White, A.J. Simon, Laura Newmark, Ali Johnes, Susannah Bancroft, Ethan Sigman, Mollie Webster, Dune Thorne, Heidi Felago, Sam Drohan, Ian Zilla, Doug Sigourney. second row: Bob Collins, Elizabeth Wilder, Yolande Goodman, Sadio Desmond, Rachel Saxton, Caroline Cornish Kmack, Vera Zieman, Peter Cervieri, Ku Asare, Gabe Heafitz, Nika Mone, Ashley Fouts. third row: Jonathan Kohler, Kate Middleton, Mary Lisio, Andrew Bonney, Andy Topkins, Peter Scott, Andy Katzman, Emily Groom, Nat Hennigar, Sam Douglas, Jesse Baer, Lynn Rasic, Hilton Marcus, Lisa Walker, Ben Fawcett. back row: Jeff Kurson, Julie Barnes, Kathryn Maguire, Jess Lubitz, Leslie Garrett, Peter Garran, John Serafini, Charlie Everett, Dan Sarles, Sam Sezak, John Collins, Ian Burnes.
▲ C l ass of 1 9 9 9
front row (l to r): Pat Donovan, Kevin Bennett, Joanna Ostrem, Kristin Ostrem Donelan, Amelia Shillingford, Sarah White, Shira Milikowsky, Mike O’Neill. middle row: Ben Leslie, Morgan Gray, Kelly Menice, Amanda Conley, Beth Pierson, Jamie Perkins. back row: Conor French, Chris Chao, Caroline Page, Rob Higgins, Tatiana Lingos-Webb, Kiran Singh, Greg Schwanbeck.
74
mi lton magazi n e
▼ C l ass of 2 0 0 4 :
front row (l to r): George Gregory, Elspeth Macmillan, Emily Tsanotelis, Emily Ebert, Scott Motejunas, Joanna Chow, Suzanne Levy, Dina Guzovsky, Dan Adair, Nick Lazares, Abby Wright. second row: Emily Phelps, Jackie Kelly, Leonard Mazzone, John Donahue, Sophie Suberman, Emily Oatis, Helen McCarthy, Justin McIntosh, Joanna Berliner, Haley Smith Kingsland, Stephanie Shui, Colleen Ritzau Leth, Sarah Wooten, Jordan Raphel, Kika Pyclik, Amanda Duncan, Megan Bailey. back row: Jeff Marr, Andy Mittelman, D.J. Mauch, Josh Krieger, Bennet Hayes, Catherine MorrisseyBickerton, Rachel Newman, Ashley Phillips, Andrew Baird, Lindsey Moran Dashiell, Sam Wheeler, Emma Clippinger, Alfred Chan, George von Metzsch, Nate Danforth.
Deceased Class of 1933 Bradley Dewey Jr. Class of 1937 Winslow W. Wright Class of 1938 Frances P. Field Class of 1940 The Honorable Franklin S. Billings Jr. Class of 1941 Ruth Jones Andrews Class of 1942 James G. Wheeler Class of 1944 Stephen M. Stackpole Miriam Jeffries Whitney Class of 1949 David B. Jenkins Suzanne Jaques Runton Class of 1951 Richard Carden Class of 1952 Daniel Pierce Class of 1963 James G. Sise Class of 1972
▲ C l ass of 2 0 0 9 :
front row (l to r): Amara Warren, Caroline Palmer, Matthew Trammell, Sarah Diamond, Gemma Soldati, Sam Rosen, Wyatt Cmar. second row: Douglon Tse, Will Hunnewell, Brady Caspar, Julie Shapiro, Neelum Wadekar, Gabi Starfield, Mike Baldino, Michelle Su, Samara Bliss, Bora Kim, Holly Mawn, Eliza Dryer, Niya Desai, Melissa Mittelman, Emily Bartlett. third row: Will Trepagnier, Abbott Cowen, Brian Mason, Sam Schuffenecker, Chris Sperandio, Jay Haseley, Chris Fan, Samara Oster, Jenna Brickley, Breanna Dance, Anthony Garrity, Abby Bok, Will Hutchings, Ryan Edwards. fourth row: Dan Reynolds, Armide Storey, Chloe Cole, Loreen Watts, Kimberlee Chang, Kelsey Jost-Creegan, Hillary McNamara, Angela Baglione, Alli Rubin, Sarah Konowitz, Caitlin Hickey. back row: John Nimmo, Charlie Cabot, Alex Harris, Nick Hurst, Bikrum Chahal, Alec Seymour, James Keefe, Will Sullivan, Keller Henderson, Ryder Stroud, Mohammed Alkhafaji.
Francis P. Magoun IV Class of 1981 Alexandra F. Sichel
To read the obituaries of deceased alumni, you can log in to Milton’s alumni web pages and visit: alumni.milton.edu/alumni-deceased
fa l l 2 0 1 4
75
post script
T y B urr ’ 7 6
“When It Comes to Movies, Everyone Has an Opinion.” faculties. So what does paying someone to do this in public bring to the party? And can it ever be said to make the world a better place? I didn’t use to think so, but now I’m not so sure. First of all, no art or artifact can change the world — only people can do that. But people are affected by what they see and absorb, and they’re profoundly affected by experiences that take them outside the parameters of their lives. I’ve come to think of movies as magic windows onto other, less familiar realities; while too many of those windows overlook our modern pop circus, others reveal different countries, cultures, kinds of people and ways of being. They can broaden your sensibilities without your being aware of it. Back in 2005, I reviewed a documentary called Mad Hot Ballroom, about a New York City program that sponsored ballroom dancing lessons and competitions in 60 public middle schools. It was a good movie, and my daughter, then 10, thought it was a great one, and I used the review to talk about how you could see the effects of the program on the faces and in the behavior of even the toughest kids. The movie, I wrote, will speak most loudly to audiences the same age as its subjects. About three years later, I was giving a talk at a local library, and afterward an older man came up to me and Ty Burr ’76 is a film critic for the Living/Arts section of the Boston Globe and a criticallyacclaimed author of several books about the movie industry.
Being a movie critic can be a strange way to make a living.
started telling me about that Mad Hot Ballroom review. How
For one thing, everyone wants to talk about my job, but
reading what I’d written convinced him to see a movie
no one quite respects it. This occasionally includes me. I’ll
he’d never heard about, and how seeing the movie con-
meet someone at a party, ask what they do, and he or
vinced him to start his own ballroom dancing program for
she will say “cardiac surgeon” or “third-world food bank
disadvantaged school kids on the South Shore. How that
coordinator,” and then I have to admit I spend my days
program had flourished, letting boys and girls interact
watching movies about heavily digitized superheroes while
within the safety zone of beautiful, timeless steps.
taking illegible notes in the dark. And then someone else will walk up and want to talk about the new Hunger Games
turned that window into a door. Through that door into
movie when we should really be asking the doctor what it’s
new territory were streaming dozens, maybe hundreds of
like to massage a human heart back into working condition.
children whose lives would never be the same.
But that’s the thing: When it comes to movies, everyone
76
In other words, I had pointed to a window, and he had
This is why I do what I do, I tell myself whenever I’m
has an opinion. We all know what we think of The Departed
slogging through the latest CGI action-fantasy spectacle.
or The Grand Budapest Hotel, whereas not many of us can
It’s not heart surgery, obviously, yet movies and the other
speak with authority on the subject of ischemic cardiomy-
arts do operate on the spirit, for better and sometimes
opathy. The fact is, everyone is a critic. When you come
for worse. My job, I guess, is to urge you toward the former
out of a movie and discuss it on the drive home with your
and warn you off the latter. Once you look through those
significant other — parsing its meaning and effect, per-
windows, you’re on your own. Who knows? Maybe you’ll
formances and punch lines — you are engaging your critical
start dancing.
mi lton magazi n e
bostonglobe.com/staff/burr
@tyburr
board of trustees George Alex
James M. Fitzgibbons ’52
Yunli Lou ’87
Dune Thorne ’94
Cohasset, Massachusetts
Emeritus
Shanghai, China
Lincoln, Massachusetts
Chestnut Hill, Massachusetts Robert Azeke ’87 New York, New York Bradley M. Bloom
Stuart Mathews
Erick Tseng ’97
John B. Fitzgibbons ’87
Vice President
San Francisco, California
Treasurer
Waban, Massachusetts Kimberly Vaughan ’92
Bronxville, New York Chris McKown
President Wellesley, Massachusetts
Margaret Jewett Greer ’47
Bob Cunha ’83
Chevy Chase, Maryland
Dorothy Altman Weber ’60
Emerita Milton, Massachusetts
Boston, Massachusetts
Milton, Massachusetts Wendy Nicholson ’86
Boston, Massachusetts
Vice President Franklin W. Hobbs IV ’65
Mark Denneen ’84
Emeritus
Boston, Massachusetts
New York, New York
New York, New York
Ted Wendell ’58 Milton, Massachusetts
Caterina Papoulias-Sakellaris Milton, Massachusetts
Ronnell Wilson ’93
Elisabeth Donohue ’83
Harold W. Janeway ’54
Vice President
Emeritus
H. Marshall Schwarz ’54
Chicago, Illinois
Webster, New Hampshire
Emeritus
V-Nee Yeh ’77
New York, New York
Hong Kong
Randall Dunn ’83
Claire Hughes Johnson ’90
Chicago, Illinois
Menlo Park, California Peter Kagan ’86
Jersey City, New Jersey
Frederick G. Sykes ’65
Kevin Yip ’83
Secretary
Hong Kong
Rye, New York
New York, New York Stephen Lebovitz Weston, Massachusetts
fa l l 2 014
3
Milton Magazine
Non-Profit Organization
Milton Academy
U.S. Postage
Communication Office
PAID
Milton, MA 02186
Boston, MA Permit No. 58423
Change Service Requested