VOL. 5, ISSUE 11 NEWS Admissions Statistics
FRIDAY NOVEMBER 18, 2016 FEATURES/ARTS Arts and Media Spring Awakening Review
YALE-NUS, SINGAPORE OPINION The Elective Bazaar Self-Care
WHY HASN’T YALE-NUS RELEASED
ADMISSIONS STATISTICS FOR THE CLASS OF 2020?
Yale-NUS College’s Admissions & Financial Aid office has not released admission statistics for the class of 2020.
A
story | Jasmine Su, Kanako Sugawara photo | Rachel Juay
s admissions season approaches, many applicants around the globe look to statistics to estimate their chances of getting admitted into universities. However, this year, Yale-NUS College’s Admissions & Financial Aid office has not released admission statistics for the class of 2020.
NUS College, explained the admissions office’s reluctance to publish admissions statistics. He said that admissions rate has remained constant at about 5 percent in recent years but, because it is difficult to calculate, the admissions office does not always release it. President Pericles Lewis said, “because it depends on how you count the national servicemen. We have a large number of [national Beginning from the class of 2019, Yale-NUS admissions servicemen] apply in one year to be admitted two years office has stopped releasing admitted students’ Scholastic later, and some of them don’t end up coming...how do you Aptitude Test (SAT) scores at 25th and 75th percentiles, a count [them]?” yardstick used by many applicants to gauge the academic level of US universities. In the past few years, the admissions Still, the admissions office appears to have the admissions office released acceptance rates that ranged from 3 to 5 statistics but choose not to release it publicly. A student percent. This year, however, the admissions office stopped associate currently working in the admissions office told releasing the admissions rate and the number of applicants. The Octant that admissions statistics for the Class of 2020 President Pericles Lewis, the founding president at Yale- was shared when the Raffles’ Parents Association visited 1
NEWS
Yale-NUS College a few weeks ago. The admissions office also said that student diversity in the College explained the lack of admissions statistics online. In an interview with The Octant, Laura Severin, Deputy Director for the admissions office, said that “since SATs or ACTs (American College Testing) are not required of all applicants to YaleNUS, presenting average scores would not be indicative of our entire student body.” Nonetheless, some students remained skeptical about the admissions office’s lack of transparency. Ahmed Elsayed ’20 said that New York University Abu Dhabi, for example, has an equally diverse student body but still releases a detailed admissions rate, yield rate (measurement for the number of admits who matriculate), and examination data for SAT, ACT, and International Baccalaureate (IB). Other students expressed that the admissions office must have an overwhelming reason to not release the admissions rate. Jeremy Yew ’20 said that it is critical for the College to provide admissions statistics especially at its experimental and beginning stage. This is because “from the outside, it is obvious to students researching for Yale-NUS College that statistics for the class of 2020 is missing. The lack of information might affect their application choices and draw suspicion.” Some students, however, speculated that the admissions statistics was withheld to avoid dissuading prospective applicants. Ng Ning ’20 said that the admissions office might have grown reluctant to provide statistics because the College’s low admissions rate discouraged students from applying. The acceptance rate, nonetheless, has likely gone up rather than down. According to data released on the Yale-NUS College website, the number of applicants has decreased from 11,400 students in 2013 to 8,500 in 2015. The number of admitted students has also certainly increased as the College expands its student body. Both of these projections 2
suggest that acceptance rate for the class of 2020 likely exceeded 5% unless, as President Lewis suggested, the number of applicants increased in 2016. Without official admissions statistics, it is difficult for prospective applicants to decide whether to apply. Typically, UK universities state explicitly, on their website, the minimum standardized test score required of applicants. NUS does the same. US universities, on the other hand, provide average standardized test scores of admitted students to narrow down applicants. Yale-NUS College adopts neither policy. It provides no statistical data for prospective student to gauge its academic caliber. Indeed, Willis Wang, a prospective applicant currently studying in Hsinchu, Taiwan, said that acceptance rate heavily influences his decision when applying to universities. He said that due to the lack of information officially released by Yale-NUS College, his only source of information about the College’s competitiveness is Quora, an online forum that “may entail biased opinions”.
See You Next Sem: This week marks the final issue of The Octant for the semester. We thank you for your readership, and will be up and running again after a much needed winter break! Commander in Chief: The College has a number of strong candidates in the running from various places to replace him as President of Yale-NUS College, according to President Pericles Lewis. While he hasn’t been involved in the selection process, Mr. Lewis said he expects the results to be known by March 2017.
Notably, before the admissions office stopped releasing admissions statistics, the College’s low admissions rate had already attracted attention online. Last year, an article from Yale Daily News said that the option to share Yale University applications with Yale-NUS College inflates Yale-NUS’s application pool.
Dive In: The Yale-NUS SCUBA Environments Association (YNSEA) will be going to Lombok from Dec. 3–10 for diving and community engagement. The trip will cost between $900 and $1200 and no prior experience is required.
President Lewis also commented on the College’s application pool. He said that more applicants now apply directly to Yale-NUS rather than through the Yale application portal’s sharing option. President Lewis said, “we changed some of the language on the Yale Application, and then [the number of students applying to Yale-NUS through Yale Application] went down a little bit.” With the College’s application pool in question, the admissions office’s decision further obscures the meaning behind the low acceptance rate. Conflicting accounts and conjectures about the number of applicants make it unclear whether the low acceptance rate accurately reflects the College’s competitiveness.
Working Out Fitness Center Operating Hours: The Yale-NUS Student Council is proposing to the school administration that the fitness center be open beyond midnight. Help add weight to the proposal by filling up the Student Government survey. Last week of classes/exam period: Last week of classes are over for the first year’s, and barring the final assignments and exams, we wish you all a well-rested winter ahead.
FEATURES
THE OCTANT PRESENTS:
ARTS AND MEDIA story | Joshua Wong, Yasunari Watanabe, and Lian Szu-Jin
T
he Arts and Media (A&M) department does much, but is talked about little. Behind the successes of great productions such as Hamlet, Spring Awakening, and Sook Ching—to name but a few—is the tremendous A&M team. A&M consists of four main pillars: Arts (including performance arts spaces and activities, Dance and Arts studios, and the lighting systems in the dining halls); Media (covering videography, recording, and media equipment); classroom support (all technology in classrooms, such as WOWVision); and the Fabrication Studio (or Fab Lab).
strips and the smoke machine I encountered, the room told the story of a ghost girl who had lost her home due to deforestation. In another room, A&M brought in an exercise bicycle, which Lim said created a “dystopian projection of the future where people have to cycle for clean air.”
In line with the array of end-of-semester shows currently taking place, The Octant is proud to present an up-closeand-personal feature on A&M. Three of our reporters learn about how A&M facilitates the Yale-NUS College arts scene. First, Yasu reports on the preparations for the Halloween Haunted House. Szu Jin, a dancer, then speaks about a lighting workshop she attended. Finally, Josh conducts a series of interviews with the individuals in the Arts department.
This Topia, 28th October 2016 By Yasunari Watanabe
You've seen the long queues snaking into the practice rooms on the Friday of Halloween weekend. This Topia, a haunted house with an environmental twist, is one of the many student-initiated projects that A&M supports. When I visited the day before Halloween, the practice room corridor had already been remarkably transformed A&M staff shuffled around, maneuvering large panels and boxes in and out one of the practice rooms. In another room, Gabriel Lim ’19 observed as an A&M staff member operated a smoke machine. Within a minute, the whole room was covered in a thin sheet of gray. Envisioning This Topia as an art activism piece, Kei Franklin ’17 conceptualized it with Artslab, an artist collective, and I'dECO, the Yale-NUS sustainability movement. The project’s aim was to promote environmentalism without making it too "in-your-face", said Lim, an Artslab organizer. To do so, the group borrowed the “haunted house context” to raise awareness of environmental themes. Based on the students’ proposal, the A&M team advised them on equipment and logistics. “They told us what was feasible, given the tools we had,” said Lim. For example, the team acquired leaves and tree branches to furnish one room. With the addition of ultraviolet light
Gabriel Lim ’19 tests out a smoke machine with A&M staff
Lighting Workshop, 5th November 2016 By Lian Szu-Jin
As part of the sYNCD dance camp, I attended a Lighting Workshop conducted by the A&M crew. They taught us the basics of stage-lighting in the Black Box. Mr Md Shafei Seri, Technical Manager at A&M, led the workshop. He took us on tour through the facilities of the Black Box and the Multi-Purpose Hall. He then let us play around with the par, profile and fresnel lights, using color gels and gobos (a kind of stencil): these modify the texture and atmosphere of the lighting. Supporting him was Indra Hardi Jemadi, an expert at lighting. Alexandra Chan, Farhan Md and Mark Andrew Fernandez and Khairul Kasmat took charge of sound. At the end of one of his mini lecture segments, Shafei cheekily said to us, “Next time if they [his team] tell you they cannot do this, you can tell them you know they confirm can.” The workshop was very useful for us dancers, expanding our room for creativity, as a performance routine can only do so much without the special effects that give it that added oomph. Lighting plays an often overlooked but important role in highlighting the profiles of the dances, 3
FEATURES
enhancing movements and creating rhythm. I later learned that A&M has led other workshops for students. In facilitating student engagement with the arts, A&M also facilitated the Hwa Seng Tailor’s Pocket Square Workshop,which many Fashion Society students attended,and the Cake Theater Workshops with Natalie Hennedige in 2015. A&M also set up a webpage https://arts. yale-nus.edu.sg for anyone from the Yale-NUS community to publicize their upcoming arts events or workshops that are happening anywhere in college, not just the west core!
A jack-of-all-trades, Niki manages the Fab Lab, Practice Room 5 (the band room), and miscellaneous work around the school. For instance, he helped to set up the Halloween haunted house. “It’s exciting because I never know what will happen. Every day is different,” he says of his daily routine. The Fab Lab contains tools and machines, including a 3D printer. Currently open Tuesdays and Thursdays from 4-10pm, student associates there can teach interested people how to use the machines. “Treat this place like an open library. Try the machines; come in and get inspired,” Niki says. Don’t forget to wear covered shoes, though – I was initially denied entry due to my flip-flopped feet. Next, I speak with Nabila Abu Talib, Executive of Arts Programmes. Elegantly dressed and personable, Nabila requests that we sit at the amphitheater to get some fresh air. A cosmopolitan individual, Nabila has studied and practiced theater in the UK, India, and South Africa. Outside of Yale-NUS, she is involved in Yellow Chair Productions, a community theater group based in Tampines that works with disadvantaged youths. Nabila is the “gatekeeper” of the West Core spaces: the practice rooms, Black Box Theater, and Performance Hall. Venue bookings go through her. She also offers student groups guidance on stagecraft and creative direction. “What is their vision? What are they expecting? Why do they want to do this?” Nabila will ask aspiring student productions. “We want them to be a thinking production team.” She enjoys the time she spends with students, watching them grow and develop in their skills. Yet she also cautions me not to forget staff who are less wellknown.
Shafei demonstrates how to control the size and shapes of light beams
Two such unsung heroes are Md Shafei Seri, Technical Manager, and Md Farhan Bin Abu Bakar, Staging Manager, who both helped to conduct Szu Jin’s lighting workshop. Bluff, hearty, and affable, they generously offer me a cup of coffee in the Arts pantry. Shafei is a grizzled veteran with years of experience under his belt; Farhan is younger and has a quick, ringing laugh. Although Shafei is Farhan’s boss, the two men share a warm mutual respect.
“Not Just A Loan Counter”: The People Behind Arts and Media By Joshua Wong
Now that Yasu and Szu Jin have highlighted some A&M events, let’s take a closer look at the people behind the scenes. First up, I talk to Niki Koh, Audio-Visual Associate. Dressed in a T-shirt and sneakers and with long, wavy hair pulled into a bun, Niki exudes a chill vibe. He is currently doing a BA in Communication Design at RMIT University in Singapore, and plays the drums for the local band, Forests. They are going on tour in Malaysia in December. 4
Farhan (left) and Shafei (right) in the model train built for Green Room Theatre
Both oversee the technical aspects of the West Corelights, sound, staging, and miscellaneous equipment (such as DJ mixers). With an extensive network of industry contacts, Shafei cuts incredible deals with suppliers and contractors to obtain equipment for school productions. Farhan recently built a model train from scratch for Mirage. They are the only two full-time technical staff, and regularly work 12- to 14-hour days. When I comment that their work sounded quite tough, Farhan laughs: “Not quite…but very.” Shafei is more stoic: “This is the nature of the work.” In his time off, Farhan enjoys fishing, and sometimes rents a boat and goes out to sea. He once caught a grouper weighing 10 kg. Shafei is more of a family man; he takes his four children on trips to Malaysia during the school holidays. He is also involved in Teater Kami, a Malay theater group. Having written the technical specifications for the newly renovated Victoria Theatre, Shafei is quite the legend in the local drama scene. My final interview is with the Associate Director of Arts and Media, Gurjeet Singh. I am struck by the number of his books. Gurjeet is clearly a bibliophile with an eclectic palate: his shelves contain works on music and film, histories of the Crusades and the Second World War, and even The Landmark Herodotus. Gurjeet describes himself as “really a history buff”. Urbane and soft-spoken, Gurjeet quickly puts me at ease. A proud alumnus of Anglo-Chinese School, he studied psychology and literature at NUS and has a long history in Singapore’s arts scene. He worked in the Arts Council, Victoria Theatre (where he met Shafei), Republic Polytechnic, and even helped supervise construction of the Star Theatre in Star Vista.
FEATURES
helping students to develop their individual voices. He and his team work alongside students to clarify, polish, and articulate the latter’s creative ideas as collaborators, not overseers. “The students drive, Arts and Media facilitates, supporting their vision,” he says. Arts and Media, says Gurjeet, is not just a “shop” or a “loan counter” (although students can borrow equipment from it). It is a treasure trove of expertise and advice to help students realize their ideas. “With the amount of resources and talent available to you, don’t just graduate with your degree,” Gurjeet says. “The College is a space of active engagement.”
TOTALLY F***ED: THE LINES BETWEEN
FICTION AND
REALITY IN SPRING AWAKENING
story | Paul Jerusalem, Guest Contributor photo | Xuerui Yang
B
y the time this review is published, much would have been said regarding the utter mastery that drenched every single aspect of (aside)’s production of Spring Awakening, from the acting to the singing to the choreography to the lighting to the direction. It is unfathomable that a production of such a caliber could be put together in 10 weeks by a student group barely over a year into its existence, comprising college students each with their own host of academic and other extracurricular commitments.
While a large part of his job involves running the department, Gurjeet sees the primary mission of A&M as
And yet it happened, and I would stop short of calling it a flawless production. There were flaws of course: minor vocal accidents, a misstep or two in the dance sequences, the 5
OPINION
remote microphones not well-secured and the subsequent ruffling against the actors’ faces heard from time to time; but these flaws were sorely necessary in order to convince me that this was, at the end of the day, not a professional production. And yet, if I were to forget that the cast and crew were comprised of my friends and schoolmates, it wouldn’t be a difficult task to convince me that this was not a student production. Even more intriguing than the sheer level of accomplishment were the artistic decisions made. When the audience walks in, it sees immediately the metal crisscross structures holding up the platforms on stage, one for the musicians, and one as an elevation for stage depth. While these platforms would usually be covered with a black skirting to hide the ugly metallic structures supporting the play, it is curious that a production backed by generous school funding would opt otherwise. As the musical proceeds, it seems plausible that the choice of leaving the metal platforms bare could perhaps be emblematic of the project of Spring Awakening to expose the structures surrounding adolescent sexuality. Whether or not this is true, something that cannot be denied is the effect that it has: calling attention to the lines between fiction and reality. This effect is similarly achieved by having the musicians on a raised platform behind the main stage. As a result, we are constantly made conscious that this is a staged production, only a bunch of stories cooked up by one Frank Wedekind in 19th century Germany. Paradoxically, this demarcation of the line between the stage and real life resulted in a blurring of that line; the consciousness that what was unfolding on stage was merely artifice (as confirmed by seeing the musicians behind the actors all the time, waiting for their turn to play) served the counterintuitive function of pointing out that the stories are happening not just on stage, or in 19th century Germany, but even today. During the post-show dialogue, it was clear that members of the audience felt that the issues discussed in Spring Awakening continue to be relevant today, particularly the themes of suicide, childhood sexuality, homosexuality, and consent, in addition to others that weren’t specifically mentioned in the dialogue, such as gender-based violence. In response to a question asked regarding the minimalistic set design, co-director Kristian-Marc James Paul ’19 said that a minimalistic set “would make [the audience] focus more on the story …. We wanted to show how relevant these stories still are… so it doesn’t matter if the story happened in 19th century Germany or 2016; these stories resonated with both [co-director Natasha Loh ’19] and I, and we hope that it resonated with all of you too”. And resonate, it certainly did. Somewhere a girl loses her virginity while barely grasping the concept of sex in an environment where sex is taboo, having been told by her mother that to conceive a child one simply has to “love her husband… with her whole heart”. Somewhere a depressed boy dives further into his suicidal thoughts, 6
lying to himself that he does not “do sadness”, unable to even fathom seeking help thanks to toxic masculinity. And all these did not just happen in 19th century Germany, or merely on stage. These happen today.
THE ELECTIVE
BAZAAR story | Aditya Karkera, Opinion Editor photo | Xuerui Yang
Y
ale-NUS College is currently engaged in its first exercise of the elective selection process as a full house, and as everyone—from a Class of 2020 that wishes ungraded semesters were longer, to a Class of 2017 that wishes undergraduate educations were longer—picks from a growing course list, it's hard not to appreciate the unifying perspective that choosing electives brings to light. While some may see the process as mundane, it would be fairer to see it as an engaging, exciting experience. Indeed, it is, apart from free food and laundry rooms, among the few things that invariably gravitates all cohorts closer to one another. Presently in transit between its last two rounds, the process builds ties that last across the years. Ties built as members of this College best shape the academic environment that clouds both the individual student and the College as a whole. This is best exemplified in the case of most freshmen—eager to wet their feet in an ocean of academic opportunity without getting swept away by the twin currents of over-excitement and inexperience. How best to do this than seek the wisdom of those who have already been swept away but survived with a makeshift dinghy of caffeine, Indomie, and indomitable hope? And so freshmen have approached their upperclassmen. Brimming with questions about courses, professors, workloads, and the simultaneously tempting and terrifying prospect of overloading. Freshmen have found a new way to forge links with upperclassmen who have witnessed the same dilemmas, tribulations, and questions that now face the Class of 2020—but with the bonus benefit of being
OPINION
hardened by where their decisions have taken them. Wern Hao ‘20 derived value in his Upperclassmen’s advice when assessing how he’d weigh electives against one another. “Upperclassmen advice has been valuable,” Hao said, “especially regarding feedback on professors' teaching quality and expectations. Other considerations which impacted my decision include interest in the module, time allotted (some modules have a heavier reading workload compared to others even though the MCs allotted may be the same) and balancing academics with co-curricular activities and other hobbies.” Betty Pu ‘20, who shared Hao’s favourable experience with the Upperclassmen’s pool of wisdom, added that, “It was really great to hear their perspective on the professor's teaching style, grading system, and the workload expected in the course; since we're a new college, it's hard to find this information elsewhere.” The elective process has found itself painted in the colors of a vibrant Bazaar when it comes to how students participate within it, and how they have come to interact with it personally and collectively. Like every bazaar, there is trading and there are shortages. Trading has come with freshmen peddling favorable (or unfavorable, but marketed really well) Quantitative Reasoning slots across Facebook, WhatsApp, and even in person, with the objective being the best timetable possible. Trades have had freshmen haggle with students they have never met before, and some have even attached premiums of food and drink to entice the invisible hand of the market, and the very visibly closed hands of Freshmen who lucked out with their course allotments. Shortages have come with prime course real estate vanishing seemingly overnight, as 29 courses found themselves oversubscribed within just the first round of the process—including such constricting heavyweights as Introduction to Python and more unctuous courses like Introduction to Oil Painting. All round, from negotiating course slot exchanges to oversubscription, freshmen find themselves in an exciting environment and time in their academic lives. But where there's the crouching freshman, there's the hidden upperclassman. Many older cohorts have begun moving away from the high-octane academic environments of their early, enthusiastic years and settled down to a more steady, stable rhythm, with many students even choosing to underload in the coming semester. Saza Faradilla ’18—President of the Student Council—underloaded last semester and would encourage her fellow older Kingfishers
to do the very same. “I wanted to do other things besides academics,” said Saza, “like learn driving and research at the NUS Middle East Institute.” Many older cohorts were exceedingly prodigal with their energy and time at the start of their time at Yale-NUS, and have now come to see the elective process as a means by which they can better find time for more enjoyable, constructive, and fulfilling pursuits. In Faradilla’s case, this manifested in many ways. “I had a relaxed semester where I was able to hang out more with my friends, engage in more club activities, and discover myself,” she recounted. The taxations and trials of their undergraduate twilight have had many upperclassmen consider the Bazaar less a market for the excitement of the mind - as so many freshmen view it and more a market for peace of mind. But the elective process has been and continues to be the colorful bazaar that it is, attracting the diverse and often disconnected denizens of this College to come together and bask in the sight of the College's academic wares, convince themselves to pick the best options (or be convinced by those that hawk them), and examine the pocketbooks of their academic forebears before opening their own. Its beauty as a process, however understated, lies in its ability to percolate into every student’s life—academic and personal—and as the Bazaar and all its rambunctious rush steers for its end this year, it would be wise for every student to make the best of it. Like with any bazaar, the worst that can happen to you is that you walk out inflicted with disappointment, or with acute diarrhea. Hopefully never both. Almost always neither.
SELF-CARE:
AN ACT OF
POLITICAL WARFARE story | Kan Ren Jie photo | Xuerui Yang
I
could’ve left the classroom, but I didn’t.
Instead, I sat restlessly in the silence, trying to complete my readings for next week, while fighting my sleepiness and flu-like symptoms. Along with my physical discomfort was the anxiety about upcoming deadlines; it was the ambient fear that haunted me in the sterility 7
OPINION
and solitude of the classroom. At that moment, a lazy Saturday afternoon a couple of weeks ago, I came to a realization that never occurred to me in my years of trying to be “studious”: I was overworking, and neglecting my own well-being in the process.
circumstances that self-care becomes crucial. After I began carving out some time for rest and leisure following that Saturday afternoon, I found myself in a calmer state, less daunted by challenges that previously seemed insurmountable. Additionally, the support of friends was so apparent in those simple yet beautiful things that we as a school community do to help one another. Those conversations, those little acts of kindness, reminded me that I’m not alone in this journey, and that it is possible to find joy in the pursuit of our dreams. Audre Lorde, an American poet, wrote the oft-quoted line: “Caring for myself is not self-indulgence, it is selfpreservation, and that is an act of political warfare.” This line is derived from the epilogue of a collection of essays entitled A Burst of Light, in which Lorde describes her experiences of living with liver cancer. We may not face the same struggles as Lorde, but self-care can still be an act of political warfare for us. In practicing good self-care, we resist the persistent pressure to base our identity and self-worth on the work we have done. We resist the impulse to see ourselves as mindless robots, to which well-being is secondary. Above all, we resist the insidious notion that busyness is necessarily good. Let us rest, so that we can run the long race ahead. The views expressed here are the authors’ own. The Octant welcomes all voices in the community. Email submissions to: yncoctant@gmail.com
On a Wednesday afternoon two months ago, a group of students sat down in areas around campus, doing leisure activities like meditating, folding paper cranes, and playing the guitar.
EDITORIAL TEAM Editor-in-chief Dave Chappell Managing Editor Justin Ong
Growing up in an education system that stresses personal achievement and seemingly punishes the lack of “hard work”, it has become apparent to me that I was infected with a form of tunnel vision. A relentless focus on work became my modus operandi. It seemed socially acceptable to sacrifice myself in the pursuit of those elusive As. Pull those all-nighters. Have 4 to 5 hours of sleep everyday. It’s all okay, it’s all worth it.
Managing Editor Zula Badral Co-News Editor Pham Le Vi Co-News Editor Elaine Li Co-Opinion Editor Aditya Karkera Co-Opinion Editor Yip Jia Qi Co-Features Editor Yip Jie Ying Co-Features Editor Nicholas Lua Co-Arts Editor Neo Huiyuan Co-Arts Editor Terence Anthony Wang
Thankfully, I decided to take a break that Saturday afternoon. It was then that I realized the importance of self-care, this concept that I previously dismissed as some new-age mumbo jumbo. Self-care seemed to lie in opposition to the impetus to work hard and achieve my goals. However, it is precisely amidst the most challenging
LETTER TO THE EDITORS 8
Co-Visuals Editor Angad Srivastava Co-Visuals Editor Lucy Kuo DISCLAIMER: The views expressed in this publication do not necessarily reflect the views of The Octant. Questions can be directed to yncoctant@gmail.com
Send your letter to the editors (maximum word count 150) to yncoctant@gmail.com by 5 pm on Friday for the chance to have it published here next week.
CHECK OUT MORE AT: theoctant.org | facebook.com/yncoctant | @yncoctant