The Harvard Crimson - Volume CXLVI, No. 23

The Harvard Crimson THE UNIVERSITY DAILY, EST. 1873 | VOLUME CXLVI, NO. 23 | CAMBRIDGE, MASSACHUSETTS | TUESDAY, FEBRUARY 26, 2019

ARTS PAGE 3

NEWS PAGE 9

SPORTS PAGE 10

Boston’s Poet Laureate shares her hopes for her new position.

The Hong Kong restaurant will host a new live music venue.

Harvard women’s squash team wins national championship.

Sullivan Scrutiny Prompts Review, Graffiti Harvard Plans Dingman to Head Gender Winthrop Summit Review

By SIMONE C. CHU and IRIS M. LEWIS

By SHERA S. AVI-YONAH and DELANO R. FRANKLIN

CRIMSON STAFF WRITERS

More than 3,300 economists, a number of whom are Harvard affiliates, signed the “Economists’ Statement on Carbon Dividends,” calling for a bipartisan climate change solution, the Climate Leadership Council announced last month.

The economists are specifically supporting the Baker-Schulz plan, which was authored by former Republican Secretaries of State James Baker and George Schultz in 2017.

The statement comprises four main pillars: gradually increasing a carbon fee, returning all proceeds from the fee to Americans via dividends, instituting border carbon adjustments, and

University President Lawrence S. Bacow’s office announced Harvard will host its first gender equity summit — “Harvard Hears You: The 2019 Summit for Gender Equality” — on April 2 in an email to University affiliates Monday.

The event, jointly organized by the University’s Title IX Office and the Weatherhead Center for International Affairs, will include panels, talks, and question-and-answer sessions.

The University timed the event to coincide with the first day undergraduates can access the 2019 Association of American Universities’ sexual conduct climate survey, according to University Title IX Officer Nicole M. Merhill.

“As we were talking about pulling together an event on this subject, we also were mindful of the fact that we are about to embark on administering the 2019 AAU survey,” Merhill said in an interview.

Her office oversees gender and sex-based harassment prevention and education initiatives on campus.

Harvard first participated in the survey in 2015 and announced last semester it would be joining the second iteration.

“Since the time of the first survey, the University has taken many, many steps to change things, to improve things for students,” Merhill said. “But we also recognize we have a long way to go, and the way to measure how we can do better is through looking at what progress we’ve made between 2015 and 2019.”

Monday’s “Save the Date” email described the event as including a number of panels, “TED-style” talks, and onstage interviews. There will also be a celebrity panel featuring unnamed guests.

“Candid discussions about key issues in the current climate including social movements, due process, and intersectional approaches to equity will be encouraged,” the unsigned email reads.

Merhill and Theodore J. Gilman, the Weatherhead Center’s executive director, said that “Harvard Hears You” is intended to both encourage participation in the survey and to spark conversations about gender equity on campus.

Merhill said the Title IX Office wanted to approach the summit’s subject on University, national, and global scales.

The programming is meant to be flexible, so that students may engage with the conference as their schedules allow; programming will begin at 10 a.m.

“We want this consumable in bite-sized pieces, so if you’re

SEE CARBON PAGE 7

SEE SUMMIT PAGE 7

CRIMSON STAFF WRITERS

Former Dean of Freshmen Thomas A. Dingman ’67 will lead a climate review to address concerns from Winthrop House residents over Faculty Dean Ronald S. Sullivan, Jr.’s decision to represent film producer Harvey Weinstein, Dean of the College Rakesh Khurana wrote to house affiliates in an email Monday morning.

The review comes as a product of College and Faculty of Arts and Science procedures to gather information amid “climate concerns,” according to Khurana’s email.

He added that students previously shared concerns about support for students within Winthrop and the house environment.

“When climate concerns arise in a faculty-led unit, the College and the FAS have procedures in place to gather additional information to assess the situation and to provide confidentiality to those participating in the information gathering process,” he wrote.

“In this situation, we would like to have a more complete understanding of the current environment at Winthrop House,” he added.

The New York Post first reported Sullivan planned to join Weinstein’s legal team Jan. 23 as he faces five charges of sexual assault in a Manhattan court.

Sullivan’s decision to represent Weinstein sparked student demonstrations, op-eds, and letters calling for Sullivan’s removal from his position as

SEE REVIEW PAGE 7

GSAS Fellows Lay Out Plans

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In light of Winthrop Faculty Dean Ronald S. Sullivan, Jr.’s decision to join Harvey Weinstein’s legal team, Winthrop House faced vandalism protesting him on Monday. SHERA S. AVI-YONAH—CRIMSON PHOTOGRAPHER

Winthrop Graffiti Calls for Sullivan to Step Down

By SHIRA S. AVI-YONAH, DELANO R. FRANKLIN, and AIDAN F. RYAN CRIMSON STAFF WRITERS

Harvard University police are investigating graffiti found Monday morning that called for Winthrop House Faculty Dean Ronald S. Sullivan, Jr. to step down from his position.

A vandal used white spray paint to cover exterior doors and walls of each of the house’s three buildings — Beren, Standish, and Gore — with slogans reading “Down w Sul­

livan!,” “Your Silence is Violence,” “Whose Side Are You On?,” and “Our Rage is Self Defense.” Separately, students distributed flyers early Monday morning soliciting feedback on Sullivan’s recent decisions to publicly defend film producer Harvey Weinstein and Economics Professor Roland G. Fryer, Jr., both of whom are accused of sexual misconduct.

Sullivan, who is also a Harvard Law School professor, has faced student scrutiny since the New York Post reported on Jan. 23 that he would join Wein-

stein’s legal team as Weinstein faces five counts of sexual abuse in a Manhattan court.

Two days after the Post story, Sullivan wrote an email to Winthrop residents defending his decision to join Weinstein’s legal team and wrote that defense lawyers have a duty to represent the “unpopular defendant.”

On Jan. 27, Sullivan criticized Harvard’s handling of three investigations into allegations Fryer sexually harassed women at his research lab in an article published by RealClear-

By SOPHIA S. ARMENAKAS CRIMSON STAFF WRITER ­

CRIMSON STAFF WRITER

SEE FELLOWS PAGE 9 INSIDE THIS ISSUE

Harvard Today 2

SEE VANDALISM PAGE 7

Profs Support Carbon Dividends Statement

By LUKE A. WILLIAMS

The two new Graduate School of Arts and Sciences Diversity and Inclusion Fellows plan to provide better support for BGLTQ students and students from underrepresented backgrounds, the fellows wrote in emails to The Crimson.

New Fellows Andrew A. Westover and Xavier J. Du Maine began earlier this month, joining inaugural Fellow Alyssa M. Hernandez in the role. The school specifically charged one of the fellows with providing “stronger and better support” for BGLTQ students, according to Dean of Academic Programs and Diversity Sheila M. Thomas.

After creating the Fellowship last spring, the GSAS Office of Diversity and Minority Affairs decided to add a BGLTQ-focused fellow this year. After a year on the job, 2018 Fellows Alfredo M. Valencia — who stepped down at the end of 2018 — and Hernandez approached Thomas and requested more specialized help on BGLTQ matters.

“They came to us and said ‘You know what, it was a good

Investigations. Sullivan — who was identified as Fryer’s lawyer in the article — called Harvard’s inquiries “deeply flawed and deeply unfair.”

Sullivan then followed up with another email to Winthrop residents on Feb. 4 — this time outlining “processes” that he and fellow Winthrop Faculty Dean Stephanie R. Robinson planned to implement. The processes included appointing Resident Dean Linda D. M. Chavers as the “point person” for sexual

Littauer is home to the Economics Department. Some Economics professors have recently signed a letter in support of finding a solution to climate change. MIA B. FROTHINGHAM—CRIMSON PHOTOGRAPHER

City Councillors Vote to Stop Granting Permits to Remove Trees

By DECLAN J. KNIERIEM CRIMSON STAFF WRITER

Cambridge City Council passed an amendment that will impose a one year moratorium on cutting down trees in the city as part of an ongoing conservation effort at its weekly meeting Monday.

The ordinance bans granting permits for removing trees ­

Arts 3

News 7

except in special circumstances, such as for trees classified as “dead” or “dangerous” by the city’s arborist. Any violations of the proposed ban would be subject to municipal fines up to $5,000. The measure passed by a vote of 7-2, with Councillors Denise Simmons and Thomas J. Toomey Jr. voting in opposition.

The moratorium will officially go into effect March 11.

Editorial 8

The City Council previously debated this amendment during a meeting in January, as well as at an Ordinance Committee meeting earlier this month. The committee voted to send the proposal back before the Council to be voted on.

In an interview Monday night following the vote, Vice

TODAY’S FORECAST

SEE TREES PAGE 9 WINDY High: 28 Low: 11

The City Council voted for a tree moratorium Monday evening at the City Hall in Central Square. BRENDAN J. CHAPUIS—CRIMSON PHOTOGRAPHER

VISIT THECRIMSON.COM. FOLLOW @THECRIMSON ON TWITTER.

mcnuggets

THE HARVARD CRIMSON |

FEBRUARY 26, 2019

PAGE 2

HARVARD TODAY

For Lunch Hoisin BBQ Chicken Philly Cheese Steak Sub Basil Pesto Roasted Tomato and Tofu

For Dinner Chicken Breast with Poblano Sauce Salmon with Green Curry Thai Red Vegetable Curry

TODAY’S EVENTS Astrophotography Workshop I 5-7 p.m.

IN THE REAL WORLD

We all want to take aesthetic pictures of the night sky, and with the Harvard Photography Club we’ll finally be able to. No experience is needed, but bring your DSLR camera if you have one!

Later this semester, they’ll be hosting a field trip where you can put your new skills to use.

Paul Manafort’s Lawyers Argue He Was Unfairly ‘Vilified’

Lawyers for Paul Manafort, President Donald Trump’s former campaign chairman, say he is unfairly facing a potentially 24-year or more jail sentence. They say it is because he has been portrayed as a hardened criminal and was unjustly caught in the 2016 presidential election Russian interference scandal.

Rights Discourses, Legal Pluralism, and Poverty in South Africa 12-1 p.m.

Join Dr. Sindiso Mnisi Weeks, Assistant Professor at the School of Global Inclusion and Social Development at University of Mass., at the Law School to learn more about South African rights, laws, and poverty.

The State of Democracy in Latin America Today 7-8 p.m Democracy in Latin America, or really anywhere in the world, is complicated.

Deepen your understanding with Professor Scott Mainwearing at the Harvard Kennedy School with the added bonus of a light dinner!

SEC Comes After Elon Musk Over Tweet

Oswaldo A. Ambrosio ’22, a member of Act on a Dream, which focuses on protecting the rights of undocumented students, participated in the group’s protest of President Trump’s State of National Emergency of the southern border. RYAN N. GAJARAWALA—CRIMSON PHOTOGRAPHER

DAILY BRIEFING Former Dean of Freshmen Thomas A. Dingman ’67 will lead a climate review to address concerns from Winthrop House residents over Faculty Dean Ronald S. Sullivan, Jr.’s decision to represent film producer Harvey Weinstein, Dean of the College Rakesh Khurana wrote to house affiliates in an email Monday morning. Multiple phrases calling for Sullivan’s removal were also graffitied on Winthrop House buildings Monday. In other news, University President Lawrence S. Bacow’s office announced Harvard will host its first gender equity summit — “Harvard Hears You: The 2019 Summit for Gender Equality” — on April 2.

Jill Stein: The Actually Progressive Green New Deal 12-1 p.m.

The Securities and Exchange Commission wants Musk held in contempt for using his Twitter account to mislead investors and going against a $40 million settlement with the U.S. stock market’s chief regulatory agency five months ago. Musk allegedly tweeted that he expected his firm to make 500,000 cars this year, but later corrected it to clarify he did not mean in calendar year 2019.

Dark Forces May Be Messing with the Cosmos

Although this may not explain why your horoscope for the day is off-kilter, the universe seems to be expanding faster than astronomers say it should be. Astronomers think that this reveals something new about the universe and maybe even the discovery of new physics.

AROUND THE IVIES PRINCETON

Interested in environmental activism and learning about the controversial Green New Deal? Attend this event at the Law School for stimulating discussion and a non-pizza lunch.

Elizabeth C. Vasarhelyi, Princeton Class of 2000, received an Academy Award for Best Documentary Feature at the Oscars Sunday night, according to The Daily Princetonian. She co-directed the National Geographic film “Free Solo,” which was the second highest grossing documentary of 2018.

The film depicted Alex Honnold’s perilous climb up El Capitan, a formidable Yosemite rock face, without security ropes. In her acceptance speech, Vasarhelyi said, “Thank you, National Geographic, for believing in us, and for hiring women and people of color. We can only help make the films better.”

UPENN

The University of Pennsylvania directed its dining staff to cancel its annual Black History Month celebration meal out of fear of backlash earlier this month, according to the Daily Pennsylvanian.

Penn officials cited incidents at other schools, such as Loyola University Chicago and New York University, where celebratory meals were met with criticism for serving food stereotypically associated with black people. In previous years, the dining staff prepared meals featuring Southern cuisine.

YALE

Yale University Provost Ben Polak sent an email to faculty members Friday informing them he had become aware of incidents of verbal abuse from faculty directed at staff members and condemning the “abusive or threatening behavior,” according to the Yale Daily News. Though Polak did not explicitly describe the abusive incidents, he wrote that Yale is addressing the behavior on a individual basis. He additionally criticized smaller acts of disrespect he said he had witnessed from the faculty.

THE UNIVERSITY DAILY, EST. 1873

The Harvard Crimson Kristine E. Guillaume President Angela N. Fu Managing Editor Charlie B. Zhu Business Manager

Associate Managing Editors Caroline S. Engelmayer ’20 Jamie D. Halper ’20 Associate Business Manager Amy E. Zhou ’20 Editorial Chairs Jessenia N. Class ’20 Robert Miranda ’20

STAFF FOR THIS ISSUE Arts Chairs Kaylee S. Kim ’20 Caroline A. Tsai ’20

Design Chairs Elena M. Ramos ’20 Akhil S. Waghmare ’20

FM Chairs Norah M. Murphy ’20 Abigail L. Simon ’20

Multimedia Chairs Kathryn S. Kuhar ’20 Kai R. McNamee ’21

Blog Chairs Lorenzo F. Manuali ’21 Trula J. Rael ’21

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

Night Editor Michael E. Xie ’20

Design Editor Matthew J. Tyler ’22

Assistant Night Editors Delano R. Franklin ’21 Isabel L. Isselbacher ’22

Photo Editor Sung Kwang Oh ’21

Story Editors Angela N. Fu ’20 Jamie D. Halper ’20 Andrew J. Zucker ’20

Editorial Editor Emily A. Romero ’21 Sports Editor Lucy P. Connor ’21

Sports Chairs Joseph W. Minatel ’21 Henry Zhu ’20

Copyright 2019, The Harvard Crimson (USPS 236-560). No articles, editorials, cartoons or any part thereof appearing in The Crimson may be reproduced in any form without the express written permission of the President. The Associated Press holds the right to reprint any materials published in The Crimson. The Crimson is a non-profit, independent corporation, founded in 1873 and incorporated in 1967. Second-class postage paid in Boston, Massachusetts. Published Monday through Friday except holidays and during vacations, three times weekly during reading and exam periods by The Harvard Crimson Inc., 14 Plympton St., Cambridge, Mass. 02138 Weather icons made by Freepik, Yannick, Situ Herrera, OCHA, SimpleIcon, Catalin Fertu from flaticon.com is licensed by CC BY 3.0.

CORRECTIONS The Feb. 25 article “Broad Plans New Center” incorrectly referred to the Gerstner Center for Cancer Diagnostics as the Gerstner Center of Cancer.

THE HARVARD CRIMSON | FEBRUARY 26, 2019 | PAGE 3

ARTS

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Portrait of an Artist: Porsha Olayiwola DERRICK OCHIAGHA CONTRIBUTING WRITER

the week in arts

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COURTESY OF PORSHA OLAYIWOLA

Porsha Olayiwola is the Poet Laureate of the city of Boston, a position she assumed at the start of 2019. Self-described as a “poet, queer-dyke, hip-hop feminist, and womanist” on her website, Olayiwola writes “infra-political” pieces: compositions distinguished as political due solely to the historic erasure of the identities featured. She also co-founded The House Slam, Boston’s first poetry slam venue, and serves as the Artistic Director of MassLEAP, a literary non-profit organization in Massachusetts serving youth artists. The Harvard Crimson spoke with Olayiwola about her new position, what she hopes to accomplish, and the importance of giving frequently silenced voices a chance to speak their truth.

The Harvard Crimson: When and how did you realize you maintained such a passion and talent for poetry?

Porsha Olayiwola: It’s a discovery every single day. A lot of writers feel this way — it is constantly a quest for quenching and furthering the passion. I’m into inquiry, so every day I’m interested and invested in learning more.

But also, to be more specific, I have been writing for a while. Before I identified as a writer or a poet, there was a time in 2014 where I won a poetry competition, and I thought, “Hey, this something I could possibly be doing.”

“Something somebody else thought was good — was worthy — and wanted to listen to.” I think that was the first time where I thought, “Maybe I should shift my career.”

THC: You’ve expressed your desire to give young people the freedom to express themselves through art, and the opportunity to do so. Why is artistic expression so important, and why is it specifically important to you?

PO: Artistic expression is important because it’s a necessity. It’s almost like water. Specifically for young people, it’s like, “Here are some tools, and here is a platform that says I want to hear what you think, and how you craft, and what you have to say. And I want to know what’s in your mind.” I think the mind is so imaginative and so private and so intimate, but it’s also the first birthplace of the human. We exist in our minds and the world is secondary. So to tap into someone’s imagination and allow them to express themselves is a form of radical love. Young people — those who are not necessarily listened to — should know [that] we need you. We want to hear you. For anybody that’s marginalized, I think that is near life and death.

THC: You don’t shy away from discussing the intersectionality of your experiences as a black, queer woman.

Have you ever felt anxious performing for crowds that don’t share your identities?

PO: Sometimes the poem has to exist. “The Joke” is a poem written about this, but also, when it is read aloud, it is meta. The poem is, in and of itself, “the joke” … So it becomes necessary, lest we balk the work. This morning I was just reading “A Litany for Survival” by Audre Lorde, and she says, “We must keep remembering we were never meant to survive.” If we remain silent, we’re afraid. If we speak, we’re afraid. So we might as well speak, knowing that it is necessary. So I have to keep those things in mind.

But also, people seem receptive! And maybe they’re not, maybe they are. Maybe they just keep it to themselves. But either way, the confrontation occurred, whether it be in their mind or in their spirit. The visibility of myself has occurred in front of their very own eyes, so I exist. I’m a whole person, and there are other people like me. So even if it doesn’t spark a conversation, even if it inspiries something else, it is a form of existence. And existence is resistance.

THC: What effect do you hope your poetry, and work as Poet Laureate, will have on artists of the next generation, and the culture that those artists will exist in?

PO: I’ve been trying to push my work to take on a more afrofuturistic lense — magical realism, sci-fi. But also, I’m really thinking about my approach to issues as the laureate, thinking about it through a lense of radical love. I already believe in my heart that poems are an act of love.

A way to know a person, or to hear a person’s voice, and see them. As the laureate, my job is to connect the whole city, so I’m constantly thinking about how I can act out of radical love. And I think radical love is futuristic. Loving people beyond what I see — which is a little magical. Beyond the hate they have given me.

THC: And do you see that as a possibility? Are you hopeful?

PO: I am the most unhopeful person ever. I often think about hope in the context of oppression. How do you keep oppression going? If you really want to destroy people, you take away their hope, or any kind of hope that they may have had. So it’s important to not lose sight of hope because if you do, that is also a tool of the oppressor. I live in Boston, and now I have this position where I am afforded the privilege to connect and work with Bostonians on every single level in a field that is very prestigious, and literary, and traditionally white-male. And so, as the position calls, and my own intersecting identities and ancestral past call, it is important for me to act out of radical love irregardless of the hope.

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TUESDAY SHING-TUNG YAU AND STEVE NADIS PRESENT THE SHAPE OF A LIFE: ONE MATHEMATICIAN’S SEARCH FOR THE UNIVERSE’S HIDDEN GEOMETRY Join Harvard professor and mathematician Shing-Tung Yau and Astronomy and Discover magazines writer and contributing editor Steve Nadis for a discussion of their new book, which will include book signings.

Harvard Book Store, Cambridge. 7 p.m. Free.

Wednesday DAVID REICH PRESENTS WHO WE ARE AND HOW WE GOT HERE: ANCIENT DNA AND THE NEW SCIENCE OF THE HUMAN PAST Eminent geneticist David Reich—Harvard Medical School professor and one of the world’s leading pioneers in analyzing ancient human DNA—will discuss his latest book, “Who We Are and How We Got Here: Ancient DNA and the New Science of the Human Past.”

Harvard Science Center, Hall C. 6 p.m. Free.

Thursday KLAUS LANG FT. YARN/WIRE AND SOUND ICON The percussion and piano quartet Yarn/ Wire will perform “Molten Trees,” and members of the Boston-based sinfonietta Sound Icon will perform “Weisse Aepfel,” pieces by acclaimed Austrian composer, Klaus Lang.

Institute of Contemporary Art, Boston. 8 p.m. $10 ICA members + students / $20

Friday MFA FIRST FRIDAYS: FRIDA KAHLO AND ARTE POPULAR Explore the works on view and be inspired by the traditional Mexican embroidered textiles that Kahlo wore. Sip on a signature cocktail and dance to music by DJ Daniel DiMarë!

Museum of Fine Arts, Boston. 6-9:30 p.m. Free

Saturday ATE9 DANCE COMPANY WITH LIVE MUSIC BY GLENN KOTCHE OF WILCO Renowned choreographer and dancer Danielle Agami has created his own dance company, Ate9. Nine dancers will be performing on stage accompanied by the live music of Wilco percussionist Glenn Kotche.

Institute of Contemporary Art, Boston. 8 p.m.

Sunday ICA DEEP DIVE: WIKIPEDIA EDIT-A-THON Celebrate International Women’s Day by helping the ICA close the gender gap in Wikipedia articles and editors! Drop in to increase the digital visibility of female and gender non-binary identifying artists included in the ICA collection and exhibitions.

Institute of Contemporary Art, Boston. 11 a.m.

MOnday SAMANTHA HUNT, AMY KURZWEIL, PATRICIA LIU, AND JEANINE ZHENG PRESENT THE HARVARD ADVOCATE: THE WOMEN’S ISSUE Join The Harvard Advocate contributors Samantha Hunt, Amy Kurzweil, Patricia Liu, and Jeanine Zheng for a discussion about the magazine’s new issue, The Women’s Issue.

Harvard Book Store, Cambridge. 7 p.m. Free.

26 February 2019 | Vol CXLVI, ISSUE Iii Arts Chairs Kaylee S. Kim ‘20 Caroline A. Tsai ’20

Editor Associates Liana E. Chow ‘21 Aline G. Damas ’20 Danielle L. Eisenman ‘21

Iris M. Lewis ‘21 Claire N. Park ‘20 Isabel C. Ruehl ‘20 Allison J. Scharmann ‘21 Caroline E. Tew ’20 Shruthi Venkata ‘22 Lucy Wang ’20

Executive Designer Mireya C. Arango ‘20

Executive Photographers

Design Associates

Kathryn S. Kuhar ‘20 Zennie L. Wey ‘20

Amanda Stetz ‘22

ARTS

THE HARVARD CRIMSON | FEBRUARY 26, 2019 | PAGE 4

‘Greta’: Just When Horror Movies Were Starting to Get Good Again…

COURTESY OF FOCUS FEATURES

FILM

SAMANTHA J. O’CONNELL CRIMSON STAFF WRITER

It would be an understatement to call the combination of an Oscar-winning director like Neil Jordan and French icon Isabelle Huppert, who has brought her talent to over 120 films, simply promising. Jordan’s latest project, the thriller “Greta,” had all the makings of a smash hit and could have been a new contribution to the Renaissance of the horror genre of recent years — just look at the compelling stories, committed performances, and high production value of films like “A Quiet Place,” “Hereditary,” and “Get Out.” Yet, somehow, the mixture of these exciting elements turned incredibly sour, resulting in a noxious two hours of tropes, forced tension, and pathetic attempts at plot twists. If anything, “Greta” should be a learning experience for any one interested in the movie industry; a screenplay can make or break the film, and in this case, it turns something with extreme potential into a borderline-comedic dumpster fire.

From the trailer to the movie poster to the very brief IMDb summary, the makers of “Greta” are very transparent about the fact that Greta (Isabelle Huppert) is an evil, possessive stalker who lures the young Frances (Chloë Grace Moretz) into her trap. This disturbed, middle aged woman leaves fancy handbags on the subways of New York, hoping someone naive enough will return the bag to her cozy apartment and become her friend. Having recently lost her mother, Frances is desperate for someone

to fill that maternal void and, therefore, connects with the friendly Greta immediately. However, she quickly discovers Greta’s dark side and spends the rest of the movie trying to throw this creepy woman off her scent.

By wasting the opportunity of a big, unexpected reveal of Greta’s bad intentions, screenwriter Ray Wright shoots this film in the foot. Instead of building tension gradually and slowly hinting that something about this new-formed friendship is off, Wright gets stuck trying to fill about an hour of runtime with forced drama, a ridiculous amount of stalking, and a dragged out finale. The cacophony of loud, abrupt violins isn’t enough to bring the suspense back to life, and the film’s reliance on tired-out tropes like spooky basements, clumsy protagonists who suddenly lose every ounce of coordination, and an unbelievably careless and incompetent police force proceed to dig this film’s grave.

Maybe the most outrageous moment of the film comes in the form of a dream within a dream sequence that seems too farcical to be serious. Greta’s terrorization of Frances reaches a climax when she drugs Frances’ coffee, drags the incapacitated girl back to her cottage, and locks her up in a hidden room for good. Things are looking very bleak for the victim, when suddenly, Frances wakes up safe in her apartment with her coffee sitting safely on her end table, realizing that the kidnapping was all part of scary nightmare.

It’s boggling that a filmmaker could use the “It was all just a dream” cliché unironically, especially because of how cringey the plot has been up to this point. Oh, but wait! There’s more! As Frances takes the elevator down to meet up with her father, the elevator starts to shake

and shrink like a claustrophobic person’s biggest fear. She suddenly wakes up for the second time, now back in Greta’s creepy, secret room — indicating the abduction actually did happen. Such a risky and ultimately ridiculous plot point seems like it would belong much better in a spoof like the “Scary Movie” series. The most exhilarating moment of the film was probably the finale, mainly due to the sudden joy one feels at the thought of the film ending, before feeling dread upon realizing it will actually drag on longer than expected.

It feels strange to critically analyze and to give detailed attention to such an obviously bad film, but the portrayal of Greta as a stereotypical “psychopath” is too out-of-touch to ignore. She is clearly a very sick woman, traumatized by a tragic past, yet no one makes any attempt to bring her to therapy, get her diagnosed by a psychologist, or even — worst case scenario — institutionalize her. Considering the steps mental health advocates have recently made to increase awareness of mental illnesses and try to eliminate the social stigma around them, this one-dimensional “crazy lady” who is treated like an irredeemable villain feels like a step in the wrong direction.

Unlike a beautiful disaster like “Sharknado,” “Greta” likely won’t become an immortalized cult classic; it doesn’t relish in its campiness enough. Nevertheless, to anyone who decides to buy a ticket to this flick, make sure to drag a friend to the theatre and “Greta” might actually make for a cringey but funny time.

Staff writer Samantha J. O’Connell can be reached at sam.o’connell@ thecrimson.com.

TV

‘Doom Patrol’: DC Must See for Super-Zero Fans CLIFFORD S. COURVOISIER CONTRIBUTING WRITER “Ready for a story about superheroes? Ugh. More TV superheroes. Just what the world needs.”

So begins the pilot of “Doom Patrol,” the latest television series produced by DC Comics, the company responsible for well-known heroes such as Superman, Batman, and Wonder Woman. The company has had a turbulent history and varying success with the films and movies it produces: There are widely acclaimed gems such as 2017’s “Wonder Woman,” as well as widely criticized films such as 2016’s “Suicide Squad.”

Considering these ups and downs, it was hard to know what to expect when DC announced its new roster of television shows that would be premiering on their own, independent streaming platform, DCUniverse. Of these new shows, “Doom Patrol,” with a cast of relatively unknown heroes, came off as the most obscure. However, with the show’s intense focus on character development, its strong writing, and the powerful performances from the cast, “Doom Patrol” is currently in line to become one of the stronger DC productions.

The story is relatively simple. After a terrible accident, Cliff Steele (Brendan Fraser) finds his entire body obliterated, with only his brain intact. A brilliant scientist named Niles Caulder (Timothy Dalton) finds Cliff and builds him an entirely cybernetic body, turning him into a creature known as Robotman. Cliff soon finds his place amongst Niles’ dysfunctional family, made up of several other similarly situated people: Rita Farr/Elasti-Girl (April Bowlby), Larry Trainor/Negative Man (Matt Bomer), and Crazy Jane (Diane Guerrero). But their simple life cannot last, as the monsters of the outside world and the monsters within them all seek to destroy them.

One of the greatest strengths of “Doom Patrol” is the intense focus on its characters.

Unlike other DC shows, this one faces the challenge of appealing to an audience that is likely to be completely unfamiliar with its characters. Yet, “Doom Patrol” meets this challenge remarkably. These characters are some of the more complex characters that have graced the superhero scene in some time.

Though they all have tragic backstories — which are by no means rare occurrences in superhero stories — the characters internalize and reflect their trauma in a way that makes them captivating to watch. They are characters worth spending a season watching.

The standout performance, however, belongs to Brendan Fraser in his role as Cliff Steele/Robotman. The first episode of the series is largely focused on his character, the accident that forced him into his new form, and his attempt to cope with it. As the human form of Cliff Steele, Brendan Fraser gets very little screen time. For the majority of the episode, Fraser portrays post-injury Cliff Steele in the form of Robotman.

However, for what screen time he does get, he accurately and honestly portrays the complexities of the character. He captivatingly portrays the turmoil within Steele and his battle to make sense of the new world and new body in which he finds himself.

Fraser’s performance, and the Robotman character, are easily the highlights of an already great premiere.

However, the credit cannot entirely go to the actors. The powerful writing team, spearheaded by Jeremy Carver of “Supernatural,” kicks off the new series superbly with their dialogue. Though the beginning of the episode contains some expositionheavy narration, the quirky and humorous way it is written, coupled with the strong narration by the series villain (Alan Tudyk), make it work. The dialogue feels natural, except for the parts where it is strategically exaggerated. The breaking of the fourthwall, though at first jarring, ends up working in favor of the show, establishing its weird and quirky nature. Furthermore, the team impressively blends moments of dark humor with dramatic and emotional moments.

Despite these strengths, the show is not perfect. There are some scenes that feel unnecessary and, at times, even gratuitous. Additionally, with the episode moving along at a rapid pace, it sometimes feels that key moments are passed over. For instance, there seems to be very little emphasis on the actual forming of the team and their relationships with each other, even though it will certainly be a focal point of the series going forward.

Overall, the premiere of “Doom Patrol” proves to be a worthy entry in the DC Universe. With strong, complex characters, a more than capable cast, and an excellent writing team, it will be interesting to see if the show will be able to cement itself as one of the strongest contributions to the DC roster. So if you are, as the narrator says, “ready to feel better about your own miserable lives for the next hour or so,” dive into “Doom Patrol.” It should be a fun ride.

ARTS

THE HARVARD CRIMSON | FEBRUARY 26, 2019 | PAGE 5

MUSIC

Portrait of An Artist: Emily M. Spector ’21 HOPE Y. KUDO CONTRIBUTING WRITER Musician Emily M. Spector ’21 premiered her latest album, “Tokens,” for a crowd of students in the Winthrop Grille on Feb. 16. The Harvard Crimson sat down with Spector to discuss her album, introduction to music, and plans for the future.

The Harvard Crimson: How did you get your start in music?

Emily M. Spector: If you ask my parents, they’ll tell you I started singing when I was two, which is probably true. I started playing violin when I was four, but I always had this adoration for rock. I took guitar lessons for a while. I played and sang in some jazz bands, all while still playing classical violin. At Harvard, I’m a music major and a Berklee dual-degree student. I’m involved in the HarvardRadcliffe Orchestra (HRO) as the General Manager and I play violin for them. I’m also part of the Administrative Board for Harvard Radio Broadcasting (WHRB) and the Chief Studio Engineer.

THC: What was your creative process for developing your newest album, “Tokens?”

EMS: I have an EP from high school called “Departed Qualities,” which helps to contextualize my newest album. I wasn’t the happiest kid in high school and the music I was writing at the time reflected that. But coming to college, so many things are different and I feel so much better. As a result what I listen to has changed and what I want to say has changed. I feel like the EP I produced in high school wasn’t the whole picture that I wanted to represent me. I’ve been writing way more this year and last year than ever before, so I had a lot of material and I decided it was time to put it out there. I was sending songs to my friends and family, saying “listen to these” — and you don’t always have this impulse. Not every song you write is a hit, but there were so many songs I felt really proud of and put so much hard work into. The production process is something I’ve always procrastinated on, but one Saturday night I just churned out all the tracks.

THC: What’s the story behind the title?

EMS: I like to think of songs as markers of time. A songwriting teacher told me, “A song is an instant.”

You can’t cover that much material in three minutes. It’s a moment so you just have to pick something and say it. The songs on this album are all vignettes, little moments in time. I sing about the moments you never see coming, which is why I thought “Tokens” was so fitting.

THC: I notice that in all of your songs you’ve opted to only use your acoustic guitar, is that for a reason?

HOPE Y. KUDO / CONTRIBUTING PHOTOGRAPHER

EMS: Going to Berklee, they purposefully crack you open. I’ve found a lot of really great co-writers at Berklee. Since a lot of songs are written by multiple people — which is the reigning model in the commercial world — this has been super useful for me. Additionally, the songwriting teachers and workshops have been great. I’m taking a workshop this semester where we have to write a song a week which has helped me prioritize songwriting.

THC: Has Harvard impacted your songwriting at all?

EMC: Last semester at Harvard, I took a class called “Music and Lyrics,” which was a class on Musical Theatre analysis and composition with my “Queen” Professor [Katherine] Pukinskis. Instead of a final exam we could either write a research paper or a song to be in a musical, so I got to think deeply and write my first duet. Even if my dream isn’t to write a musical, it’s a valuable skill in theatricality and storytelling.

THC: Are there any similarities or differences that you tried to emphasize between this new album and your old album “Departed Qualities”?

EMS: Storytelling is a big part of my songs. I think my stories have gotten clearer and more comprehensive. In high school, I felt like I was writing to survive. There were a lot of things that I had to say and that were more for myself. The idea behind my EP was I’ll write and put them together, and if you understand them then you understand them. In “Tokens,” I wanted it to be clearer. I’ve worked on my craft and improved my storytelling skills, which makes the album different than the EP.

EMS: Freshman year, I got bands together and we’d rehearse. I’d have a six-piece band and we’d play shows at Queen’s Head. It was awesome. It was a great experience and I want to return to that at some point, but it wasn’t sustainable for me. When I started this year, I was going to say yes to every gig. I didn’t care where it was, I would make it work. The way that it ended up playing out was just me and my acoustic guitar. Sometimes it’d be amplified, or I’d have a friend do harmonies with me or play acoustic guitar with me. Now when I write songs I want to make sure that they can be played on guitar, that way they’re portable. I can take them anywhere, and it’s easy. It feels like a very natural and simple way to show everyone what I’m working on.”

THC: What are your future plans concerning music?

THC: Has your time as a dual student at Berklee helped you develop your songwriting?

This interview has been edited and condensed for length and clarity.

EMS: I don’t have a set timeline, but the plan is to continue with music. I’m trying to spend the summer in Nashville, so I’m flying down during Spring Break to have a bunch of meetings with writers and publishers. I’m not sure what it’ll materialize into, but they’re all great people and I’m thinking we’ll have great conversations.

Check out Emily Spector’s album “Tokens” on Spotify.

BOOKS

‘Black Leopard, Red Wolf’ Revives the Fantasy Genre with Untamed Imagination

COURTESY OF PENGUIN PUBLISHING GROUP

MIRANDA ENG CRIMSON STAFF WRITER

Shapeshifting quasi-human felines, demons that walk upon ceilings, and a man with a super-sharp nose, oh my!

Marlon James’ latest novel “Black Leopard, Red Wolf” contains all of the above, telling the tale of a young man identified only by the nickname “Tracker” — given for his uncanny ability to locate items and people by scent alone — and his various commissions to hunt down lost possessions in strange, enchanted lands.

James’ writing is gripping from the first page, crafting a world so full of culture and history that it becomes nearly

real, though at times his wild descriptions and fast-moving pace can cause confusion and muddle the plot. Further, his anti-hero of a narrator is intriguing and well-fleshed out, although members of the huge supporting cast are hard to keep track of and seem disposable. While it’s too much to say that “Black Leopard, Red Wolf” redefines fantasy, its psychedelic twist on African mythology certainly brings fresh flavor to a genre that is so classically dominated by medieval European influences (think “Game of Thrones” and “Lord of the Rings”).

At the start of “Black Leopard, Red Wolf,” Tracker leaves behind his parents and his home city of Juba for the primitive village from which his family originally came, hoping to find a sense of self amidst nature and a simple way of life. While there, he embarks on a ritualized journey into the wilderness to complete his transition into manhood.

Along the way, he’s unexpectedly swept away by the Leopard, a creature that appears sometimes as man and sometimes animal, to aid in the task of rescuing “mingi,” abandoned children who are thought to be cursed because of their birth defects. So begins Tracker’s acquaintance and tentative attraction to the Leopard, with whom he’ll reunite later as part of a band of mercenaries on an epic adventure to find a boy who has vanished from the clutches of a slave trader.

From the first chapter of the novel, James creates captivating structure and perspective for his storytelling.

“Black Leopard, Red Wolf” begins in a prison where Tracker is being interrogated by a mysterious Inquisitor.

Thus, James gives the end of the story to the reader and compels them to read on to discover how it started, effectively attracting the audience by building confusion.

Further, Tracker directly addresses the reader with a scornful “you,” suggesting that they take the role of the Inquisitor and allowing them a truly immersive, intimate experience of the novel.

However, James sometimes creates too much confusion with an overload of detail while providing little fulfillment to the readers’ piqued curiosity, to the point of frustratingly obscuring the plot. For example, in the span of three pages in the second chapter, James throws out a barrage of superfluous information: explaining a particular painting “of a white creature with arms and legs tall as trees” on the wall of a witchman’s hut, telling a detailed fable of “the

monkeybread tree” who angered the gods, and providing random details about how a particular “tree ate six virgins.”

On the other hand, when dialed back, James’ vivid descriptions can be one of the highlights of his writing the cornerstones of his fantastic world-building. He often invents creative turns of phrase that circumvent the common English word that would be used in a given scenario, such as “the noon of the dead” instead of “midnight” or “the goddess who hears man’s cry and returns the same cry” rather than “echo.” James also manages to weave information about the history of his fantasy world into his imagery, packing a double punch with lines such as “I heard once that the first builders of this city… were just trying to build towers tall enough to get back to the kingdom of sky and start a war in the land of the gods.” With ingenious manipulation of language, James artfully crafts a rich culture within his novel that is distinct from reality.

On the note of characters, Tracker first appears to be a classic anti-hero who finds others’ lost possessions for the thrill of a challenge and the promise of reward rather than out of the good of his heart. However, there’s still something uniquely charming about the disparity between Tracker’s words — “nobody loves no one” — and vulnerability in his actions, such as when he is nearly brought to tears during his reunion with the Leopard after a few years apart.

Despite the likeability of Tracker, many characters in the huge supporting cast — various witches, village men, queens — are introduced, then killed off or pushed into the background after they serve their purpose to the plot, thus weakening the writing.

Does “Black Leopard, Red Wolf” have a plot trajectory that generally follows that of the classic “Hero’s Journey” and a protagonist who is the definition of anti-hero? Yes, of course, but the story’s great appeal isn’t so much driven by its defiance of genre conventions but rather the mystery about just how the staples of fantasy will unfold within the confines of such a wildly different setting and cast of characters to our typical medieval European fare. “Black Leopard, Red Wolf” might not revolutionize the fantasy genre, but it’s certainly an engaging read that should be praised for its great imagination.

Staff writer Miranda Eng can be reached at miranda.eng@thecrimson.com.

ARTS

THE HARVARD CRIMSON | FEBRUARY 26, 2019 | PAGE 6

COLUMN

These Clean, Dust-Free, Febrezed United States of America I was nine years old the first time I visited the United States of America. Sounds weird, doesn’t it?

To say the whole thing like that — the United States of America, these United States of America, the American States, United. Do you hear the bald eagle screech in there, somewhere? My father sat me down before we left and said to me, “Yash, there are rules there, do you understand?” I shifted my head a degree to the right; there was a dragonfly on the window pane. “You can’t litter there.” The world was my trash can. “No sticking gum under tables.” Where else do they put their gum? “In fact, no gum — you’ll lose your teeth.” Wait, what? “I’m serious — look at me. If you throw things away on the street, they’ll arrest you. Then you can sit in jail, and we’ll come back home. Do you want that?”

Two years ago, I returned to the Clean United States of America (pristine, gum-free). Boston is tidy, dust-free, with dirt that smells like Febreze. This world is packaged in cautiously labelled cardboard boxes, taped on the top, the bottom and edges too, for good measure; this world is careful, contained.

The streets are quiet, the houses plain, the cars fast, the people islands. Small bubbles, small sterile pockets of life that pass me by.

My mother jokes that our home would be easier to keep clean if my siblings and I left Kolkata. The ketchup stains on the sofa are telling; the writing on the wall in my room is telling; the chipped marble from when my dog was teething is telling. This home is lived in. “Don’t touch anything you’re not supposed to — not in a museum, not on the street.” The Clean, Dust-Free, Febrezed United States of America: Hands off! you’ll get your finger grease on everything!

At home, in Kolkata, the sky is closer to the ground. Puffs of steam rise from kettles on steep and grow up to become clouds; and little school children sprawled in the backseat of minibuses look up and count the threads in each one. When I was in the fourth grade, an English boy, Tom, joined school.

He said my name like “Yass,” emphasis on the “ass.” One day in music class, our teacher was playing “Jamaica Farewell,” on the piano. Tom sat in front of me, with his long spikes of golden brown hair — his parents let him get blonde highlights — calling my name: Ass? Ass! I yanked him by his ridiculously cool hair and got up to run — a strategy that served me well, always.

“Jamaica Farewell” is a peculiar children’s song: It’s about leaving a loved one behind, never to be seen again. As my classmates sang this soft, sad song, we fought. We rolled and stumbled over each other, throwing punches wildly, our legs kicking like we’d been thrown into the deep end of a swimming pool. The music rose in crescendo; the guitar strings shouted, “Fight! Fight! Fight!” The piano was nails digging into skin; the chorus a hard push that sent us tumbling. Kolkata is this mad, mindless harmony. The city is set to music. The city is a small stone, circling the edges of a swirling eddy, tearing down a river, into its banks, into the river bed.

Oh, if only it was a painting of a stone, set in the painting of a river.

When I return to Kolkata, I’m caught off guard by how difficult it is to slip back into my old life.

COURTESY OF YASH KUMBHAT

YASH KUMBHAT CONTRIBUTING WRITER

A small bowling alley, forgotten beside the rising slope of a bridge, under which, I have seen pigs on two different occasions, at least, has disappeared. The languages that raised me have rusted in isolation; the words sit awkwardly on my tongue, twiddling their thumbs. As I stand on the street, sipping chai with my friends, people walking past can tell that I do not live there; there is some secret code that everyone else is clued into. What is it? Tell me, please, please.

Home is neither here nor there; it was, once upon a time. That radical question of where I belong can only be answered by turning to the past, to the memories of a life simpler, easier. Home exists in the corners of my mind, tucked into my fourth birthday party, a walk through the city at midnight, the death of my grandmother. Home is known retrospectively — if you are lucky enough to have ever had one. Homesickness, as put eloquently by a professor, is ontological: It is a fundamental aspect of the human condition, a longing for the past, for a sense of belonging so primordial that it predates language, that it outweighs the weight that any word could bear.

Contributing writer Yash Kumbhat’s column, “Portrait of a Time,” is a personal essay column that discusses representation of home and identity in art throughout narratives from a Kolkatan perspective.

THEATER

Hasty Pudding’s ‘France France Revolution’: Liberty, Equality, and More Than Fraternity

COURTESY OF HASTY PUDDING THEATRICALS

ALEXIS BOO CONTRIBUTING WRITER

Step aside, “Les Misérables” — a new French-themed musical is taking center stage. The Hasty Pudding Theatricals’ 171st annual show at Farkas Hall, “France France Revolution,” is revolutionary in more than just its name: It is the first Pudding

production to ever include women in its cast. This momentous change, however, has not resulted in a deviation from the troupe’s classic performances. The musical is still filled with hilarious writing, engaging actors, and eye-catching visuals.

“France France Revolution” portrays the uprising of the poor Parisian townspeople against the greedy French royalty. After evil Queen Reina Terror’s (Jacob W. Roberts ’19) arrogant assistant Neville Letchaguardown (Shirley L. Chen ’22) abducts town butcher Phil Aymignon’s (Nick Amador ’22) cow, Belle Rounderneck (Ryan T. Kapur ’20), Phil, his girl scout companion Selma Cookies (Eric J. Cheng ’20), and an air-headed blacksmith Jacques Ovalltrades (Celia K. Kenney ’20) spur into revolutionary-mode. On their way to the palace to fight for equality, the three pick up some allies, and Phil even meets and falls in love with Princess Theresa Sparkinme (Ashley M. LaLonde ’20), though she conceals her royal identity to evade prejudice. Torn between her neurotic mother’s wishes and her own romantic dilemma, Theresa must face the consequences of her lies as the revolution gets progressively heated.

The overall plot of the show is shamelessly modeled after a classic Disney movie-musical: Poor boy meets rich girl, poor boy and rich girl fall in love and sing a song in the woods after meeting for the first time, parental conflict and an arranged marriage ensues, but, in the end, true love prevails. With these purposeful clichés acting as a consistent source of humor, “France France Revolution” delivers everything an audience could want. The script, written by Michael R. Perusse ’20 and Max R. Weiss ’20, features clever one-liners poking fun at Harvard itself. As the revolutionaries struggle breaking into the royal palace, Selma huffs, “This is almost as hard as AsianAmericans getting accepted to Harvard!” Actors, turning knowing looks towards the audience, drop jokes about Hasty Pudding’s exclusion of women for close to two centuries.

Whether it’s suggestive hip-thrusting by Theresa’s betrothed Emmanuel Haftamarry (Ellen L. Shaheen ’21) or jabs at Jeb Bush’s political career, Perusse and Weiss’ writing is wildly entertaining.

The lyrics of Eli W. Russell ’20 also deliver their own punch.

“One Day Amour,” performed by Amador and LaLonde, pays homage to “One Day More” from the well-beloved “Les Misérables” while maintaining a unique, punny character.

Pre-intermission number “France France Revolution” seamlessly incorporates musical motifs and lyrics from the entire first act, and the fun in this piece is especially heightened by dubstep beats and strobe lights. Musical fanatics from all backgrounds can surely appreciate the musical direction in this latest Pudding production.

The Hasty Pudding’s newly gender-diverse cast allows for expressive performances from both talented actors and actresses, making this show especially exceptional.

During the casting process, co-writers Perusse and Weiss paid no attention to gender consideration despite having the opportunity to cast six women and six men in their respectively written roles. Instead, the two chose whoever felt right in each part, be it male or female. The result of this “larger talent pool,” as Weiss calls it, makes for a performance with actors who fully embody their characters, breathing life into the show. Barry Metreazure’s (Laura S. Herman ’19) husky voice and wide-eyed stares showcase his fervent hunt for booty, and the way Ivy Leevaycanfly’s (Annabel O’Hagan ’19) sweeps her feathered arms and prances around the stage perfectly personify her parrot character. The addition of women to the cast doesn’t detract from the colorful acting of Hasty Pudding productions; it only bolsters the positive energy of the performance.

Each visual component of “France France Revolution” is wonderfully tied together, rounding out the show as a success.

The multicolored lights play upon themes within musical numbers, heightening the immersive experience of scenes.

Queen Reina Terror’s villainous “Seeing Red” is astutely ascribed with an entirely red stage. In “The Sky’s The Limit,” the mix of lighting schemes tell different stories that transport the viewer into various settings. Blinding light reflects off the Royals’ glittery costumes, creating a striking effect that contrasts with the outfits of the poor. The technical elements of the musical further demonstrate the show’s completeness.

“France France Revolution” is a captivating production filled with laughter, love, and ludicrous performances. Above all, this year’s musical is an inclusive project that finally gives value to the diverse talent at Harvard, and Hasty Pudding Theatricals should be proud of its positive change. “France France Revolution” is truly a must-see this spring and runs at Farkas Hall nearly every night from Feb. 8 to March 10.

PAGE 7

THE HARVARD CRIMSON | FEBRUARY 26, 2019

CARBON FROM PAGE 1

REVIEW FROM PAGE 1

Profs Support Carbon Dividends

Dingman to Lead Winthrop Review

eliminating regulations that are no longer necessary upon the fee’s enactment.

The statement is the largest of its kind, with a historic number of economists signing onto it, including 27 Nobel Laureates, four former Federal Reserve Chairs, 15 former Chairs of the Council of Economic Advisers, and two former Secretaries of the Treasury, one of whom is former University President and current Economics Professor Lawrence H. Summers.

Other Harvard signatories include Economics Professors N. Gregory Mankiw, Jason Furman ’92, John Y. Campbell, Claudia D. Goldin, and Martin S. Feldstein ’61.

“I’ve been working with the Secretary of State on the socalled carbon dividends plan with the four parts inscribed in the statement for the last several years,” Summers said in an interview. “And there’s a broader and broader coalition that has supported this idea. It seemed like a natural idea to mobilize the support of Congress over a broader swathe of economists to show that this wasn’t a left wing idea or a right wing idea, it was just a good idea.”

The economists’ carbon dividends plan aims to be a first step in solving climate change through a carbon tax based on basic economic principles.

Campbell said the focus of the policy is using a price mechanism to deter carbon emissions.

Campbell added that he believes the field of economics must help contribute to a solution to climate change, which he called “perhaps the most serious problem facing humanity at this point.” He noted that a large part of the statement’s success arose from mobilizing support from economists from both political parties.

SUMMIT FROM PAGE 1

VANDALISM FROM PAGE 1

­

The task of reducing carbon emissions is such a heavy lift that trying to do it without a carbon tax is like trying to lift a heavy weight without a lever.

John Y. Campbell Economics Professor

Summers said having a breadth of economists display their support is crucial to illustrating that climate change is not only a pressing issue, but one that can be combated.

“It reflects both a belief that climate change is a profoundly important issue and a kind of optimism that it’s an issue that

can be addressed and so that’s why I was pleased to sign on it,” Summers said.

Campbell said the carbon tax cannot be the only solution in mitigating climate change issues, but it is a valuable “tool” in the process.

“The task of reducing carbon emissions is such a heavy lift that trying to do it without a carbon tax is like trying to lift a heavy weight without a lever,” Campbell explained. “Economists know something about how the price mechanism can be used as a tool.”

The Students for Carbon Dividends organization — a national bipartisan coalition organized around the carbon dividends plan — helped the Climate Leadership Council rally economists to sign the statement, according to S4CD’s Vice President Kiera E. O’Brien ’20.

“We do recognize that as young people we are the people who have the most at stake with the issue of climate change,” O’Brien said regarding S4CD’s stake in the issue. “I felt it was so crucial that young voices be a made a part of the conversation.”

Alexander Posner, a Yale University student and President of S4CD, said the organization worked “hundreds and hundreds of hours” to garner support for the statement.

“The Climate Leadership

Harvard Vandalism Calls for to Host Sullivan’s Removal Gender Summit ­ assing through the Smith Cenp ter, and you happen to see that there’s a big crowd, and you want to check it out, you can,” Gilman said.

The event speaker list features faculty and staff across

We want this consumable in bite-sized pieces, so if you’re passing through the Smith Center, and you happen to see that there’s a big crowd, and you want to check it out, you can.

Theodore J. Gilman Weatherhead Center Executive Director

the University, including Bacow, Dean of the College Rakesh Khurana, Business School Professor Kathleen McGinn, and Academic Dean of the Kennedy School Iris Bohnet. simone.chu@thecrimson.com iris.lewis@thecrimson.com

assault issues.

In the weeks following the announcement that Sullivan had joined Weinstein’s legal team, some students called for him to resign as faculty dean in protests, op-eds, and open letters.

In response to Winthrop residents’ concerns, Dean of the College Rakesh Khurana emailed House affiliates Monday announcing that former Dean of Freshmen Thomas A. Dingman ’67 will lead a “climate review” to collect student responses to Sullivan’s decision to represent Weinstein.

Shortly after finding the graffiti and flyers, Winthrop House staff called Harvard University Police Department to investigate. HUPD spokesperson Steven G. Catalano wrote in an emailed statement.

Sullivan and Robinson sent an email to Winthrop affiliates later that morning condemning the vandalism.

“It bears emphasizing that criminal acts of vandalism have no place at Harvard College,” the email reads. “They violate our commitment to truth, our commitment to community, and our commitment to civil discourse and the robust exchange of ideas.”

While Sullivan and Robinson’s email did not describe the vandalism or directly address the criticisms he currently faces, it contained several paragraphs reaffirming the Col-

lege’s commitment to a “robust exchange of ideas.”

“We are proud of the manner in which Winthropians have responded to other various forms of provocation over the past three weeks,” the email reads.

Danu A. K. Mudannayake ’20, a Crimson Design editor, organized the production and distribution of flyers along with members of Our Harvard Can Do Better, an anti-sexual assault advocacy organization.

The flyers were left in Winthrop’s dining hall and under some residents’ doors. Mudannayake said she and the other organizers were unaware of the graffiti until after it had been removed.

Some students said they had concerns about the spray-painted messages. Winthrop residents Sarah E. O’Keeffe ’20 and Amy E. Morrisett ’19 both said they thought the graffiti was not an appropriate way to express concerns about Sullivan.

“The graffiti seems kind of violent to me,” O’Keeffe said.

Morrisett added that while she is concerned about Sullivan’s decision, she disagrees with the vandal’s response.

“I’m not really happy with how this stuff has gone down, but I don’t really know if the vandalism is the way to respond to it,” she said. shera.avi-yonah@thecrimson.com delano.franklin@thecrimson.com aidan.ryan@thecrimson.com

Council reached out to us in December and said, ‘We’re organizing what we hope to be a historic statement of economists, and we need your help,’” Posner said. “So our student team got together and worked on that over winter break. Hundreds and hundreds of hours. Thousands and thousands of websites, scraping for information.”

The extent of support represents a groundbreaking show of force from the economics profession, Posner said.

“What’s exciting about this is that it’s an opportunity to marry theory and practice,” Posner said. “It drives emission reductions while adhering to free market principles which creates a basis of bipartisan interest.”

In terms of the prospects of the carbon dividends statement, Summers said he is hopeful that it will soon come to fruition.

“I don’t think it’s terribly likely to happen during the Trump Administration, but I hope at some point the world will move in this direction,” Summers said.

“This has the potential to show that we can do big things, that we can do bipartisan things, and that economic tools and the environment don’t have to be in conflict.” he added. sophia.armenakas@thecrimson.com

faculty dean.

Tutors in more half of Harvard’s residential houses — including Winthrop — have held listening sessions for concerned students, many staffed by a representative from the Office of Sexual Assault Prevention and Response.

Following student scrutiny of his decision, Sullivan sent two missives to House affiliates.

In one, he wrote about defense lawyers’ duty to represent “unpopular defendants” and highlighted his career as a defense attorney.

In the other, he laid out a set of “processes” he and fellow Winthrop Faculty Dean Stephanie R. Robinson planned to implement — including designating Winthrop Resident Dean Linda D. M. Chavers as the “point person” for issues related to sexual assault in the house.

The review has two parts: discussions between Winthrop affiliates and College officials, and an online climate survey run by the Office of Institutional Research — Harvard’s internal research arm.

Both processese will be voluntary and are intended to gather anonymous, aggregate information, which will then be

shared with Khurana.

Khurana wrote that Dingman will contact Winthrop affiliates with further information about the survey. The College will use the information from the survey to take “actions, as appropriate.”

On Feb. 11, Khurana wrote in a statement emailed to The Crimson that he had met with Sullivan to discuss the “responsibilities” he holds as faculty dean.

In a Feb. 15 interview, Khurana said he passed along feedback from College affiliates to Sullivan during those conversations.

“We’ve been actively engaged with Professor Sullivan and so I’m actively in communication with him, specifically sharing what I’m hearing from members of the community and what they’re describing their needs so that Professor Sullivan can adjust to those needs,” Khurana said in the interview.

When asked to evaluate Sullivan’s decision to represent Weinstein in that interview, Khurana pointed to what he called faculty members’ “academic freedom.” shera.avi-yonah@thecrimson.com delano.franklin@thecrimson.com

From the Law School to Longwood.

The Crimson @crimsonflyby

Proud to cover Harvard for 146 years and counting.

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THE HARVARD CRIMSON | FEBRUARY 26, 2019

PAGE 8

EDITORIAL THE CRIMSON EDITORIAL BOARD

OP-ED

Smith Center Sleeping Incidents Indicate Greater Problems

Postpone the Drop Deadline

R

ecent incidents of people falling asleep in the Smith Campus Center have prompted action from security staff and campus police officers, who have responded by waking individuals in certain cases. The new campus space has clearly become a popular location for brief rests, but while tired students also have dorm rooms to retire to, many less fortunate residents have found the building a respite from the brutal Cambridge winter. We call on Harvard to ensure it treats members of our community resting in the Smith Campus Center with utmost respect, including those experiencing homelessness.

Harvard University Police Department has stated they have enforced the building’s no-sleeping policy humanely and without prejudice. We hope they continue to do so in future incidents. We also support HUPD’s greater efforts to maintain order and safety on our campus, but hope it and the University as a whole is always cognizant of treating all individuals with respect.

Moreover, the University and the staff at the Smith Campus Center should be equitable in their enforcement of the building’s no-sleeping policy, making sure not to target individuals experiencing homelessness to a greater degree than students, who also have been known to use the building as a convenient spot for a nap. A policy meant to limit potential liabilities and prevent safety issues is understandable, but we cannot support it if it is found that it is being enforced un-

equally on the basis of University affiliation.

While sleeping in the Smith Campus Center is not exclusive to homeless individuals, these incidents specifically call attention to the pervasive problem of homelessness in our community. Ac-

We call on Harvard to ensure it treats members of our community resting in the Smith Campus Center with utmost respect, including those experiencing homelessness. cording to the Cambridge Department of Municipal Services Program, the number of unsheltered and emergency-sheltered individuals rose between 2017 and 2018. Harvard Square has consistently been at the heart of that growing population. To their credit, Harvard students have certainly worked hard to support local homeless individuals, and we laud their efforts. In particular, the Harvard Square Homeless Shelter and Y2Y demonstrate a meaningful awareness of and commitment to that community within the student body. But these students should not be acting alone. Rather than having much of the burden fall on student-run groups, we call on the University to do more to support and fund

efforts to assist and protect the Harvard Square homeless population.

As we have opined previously, the message Harvard sends by keeping the Smith Campus Center open to the community is certainly a positive one. However, it only stands so if the University treats all its visitors with equal dignity and respect. That begins with the way individuals experiencing homelessness are treated. These individuals seek refuge in our spaces not out of preference, but because many often have few other places to go. Rising rates of homelessness are a major issue facing our community.

As homeless individuals find refuge in Harvard spaces, the University should not only wake them up with compassion, but also think critically about how it can contribute to the needs of the homeless in our community more broadly, especially given its outsize presence and impact within the greater Cambridge community. We hope these incidents spark a greater sense of action and urgency within the University to take important, equitable steps to help address them as soon as possible.

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

Submit an Op-Ed Today!

op-eds@thecrimson.com COLUMN

Dysfunctional Gen Ed Liam M. Warner TRACTS FOR ALL TIMES

I

If it ain’t broke, don’t fix it.

But if it is broke, don’t just rearrange the useless debris and then tell us it’s fixed. The College has flagrantly violated this second dictum with its recent revisions to the General Education requirements. set of classes.

Not even Expository Writing, required of the freshmen, does that, for every section is focused on a different subject.

On the other hand, the Gen Ed pro-

gram is not trying to force students to have a deep taste of many disciplines, or else it wouldn’t let people away with taking Societies of the World 38: “Pyramid Schemes: The Archaeological History of Ancient Egypt.”

The report published in 2015 by the General Education Review Committee accused the old program of precisely this confusion, namely attempting to be at once a distribution system and a general education system.

One of the options the committee proposed as a remedy was the “mixed model,” synthesizing (rather than confounding) both systems by pairing the compatible Gen Ed categories (such as Science of Living Systems and Science of the Physical Universe) and requiring one class in each pair to be specifically designed for general education, while the other would be a departmental class in an appropriate field. I myself think the pure gen-ed system of Columbia or the University of Chicago is the correct way of creating the well-rounded citizen, but the committee’s proposal was reasonable and defensible.

Nevertheless it rests entirely on the expectation that the Gen Ed courses will be designed afresh to be truly general, like Humanities 10a: “A Humanities Colloquium,” rather than unnervingly particular, like Aesthetics and Interpretation 63: “East Asian Cinema.”

The crux of the affair is the elimination of most of the courses marked primarily as Gen Ed and their replacement with a few classes that deal broadly yet rigorously with “the big questions.” Otherwise this whole endeavor will have been merely polishing the doorknobs in a hoarder’s house.

Look, for instance, at a class such as Physics 101: “Foundations of Theoretical Physics.” This is an extremely clever course designed to bridge the yawning chasm between Astronomy 2: “Celestial Navigation,” which no self-respecting person would even confess to have taken, and Physics 15a: “Introductory Mechanics and Relativity,” which requires much more time in section than most English concentrators are prepared to tolerate. Physics 101, however, was ingeniously designed so as to treat serious, legitimate subject matter across the gamut of theoretical physics with-

Y

esterday was the fifth Monday of the semester, the last day to add or drop a course at Harvard. Of course, switching into a new class after missing four weeks of coursework is challenging, and it seems reasonable that the University would limit any additions after that time period. However, there is no similarly compelling reason for why courses must be dropped before such an early date.

Having an early course drop deadline leads to student anxiety. Through my role as a sophomore advisor and entryway tutor, I’ve had many conversations with students who must decide whether or not to take a class before they fully understand the course’s demands.

While resident tutors encourage advisees not to overextend themselves, this policy hampers students’ ability to balance their classes, because the four weeks of class before the add/drop deadline are not always representative of the rest of the semester. Often, the first midterm occurs just after the deadline, locking students into the course even if they realize it’s not for them. Furthermore, students can have anxiety over whether or not to drop a course or possibly end up with “withdraw” on their transcript if they take two additional weeks to decide.

Even more importantly, an early drop deadline discourages students from trying new topics.

With more flexibility, students can try out new classes and take a deep dive into the topic before deciding if they want to stick with it. This exploration promotes intellectual growth and should be central to any liberal arts college experience.

We are always trying to teach students to take ownership over their learning, but an early drop deadline often forces them to take the safer path.

Instead, Harvard should move its drop deadline later into the semester, and there is prece-

A later drop deadline empowers students to take control of their academic career by taking a course on a topic in which they may not be confident, and thus it would encourage healthy risk taking and promote intellectual growth.

The Crimson

f it ain’t broke, don’t fix it. But if it is broke, don’t just rearrange the useless debris and then tell us it’s fixed.

The College has flagrantly violated this second dictum with its recent revisions to the General Education requirements.

Everyone knew that the previous system was flawed because there seemed to be no reason why certain classes counted and other classes did not. One expected, therefore, that the new system would increase the ways in which to satisfy the requirements.

A superficial attempt at this goal was made in the new Distribution Requirements, which do allow, for example, students who have taken one Aesthetics and Culture class to fulfill the required second with any class categorized as Arts and Humanities.

This appears to be an improvement on the previous rule, which required that classes be explicitly marked as Gen Eds, but all it has really done is confuse people.

Several classes that counted as Gen Eds in the previous schema have been stripped of their designation, and the main problem of obviously suitable courses’ failing to count has in no way been solved.

All this seems to be the result of equivocation about the goals of the Gen Ed program.

It is certainly not attempting to be a unifying curriculum like Columbia’s Core, in which everyone takes the same

By KATHERINE R. PHILLIPS

out drowning the interested humanities students.

Designing Gen Eds for the natural sciences is difficult, of course, for the average physics concentrator is probably better able to read Shakespeare than the average history concentrator is to do wave equations, and it is far easier to conceive of a broad yet unified and rigorous introduction to literature than to science.

Physics 101 nonetheless achieves its

Several classes that counted as Gen Eds in the previous schema have been stripped of their designation, and the main problem of obviously suitable courses’ failing to count has in no way been solved. goal admirably and should be a model for a science Gen Ed, but under the current system it counts for nothing.

Meanwhile, there are persons at the College who have taken extremely advanced physics classes but have not completed their SPU requirement.

How to explain this? One might suggest that the advanced physics student has taken classes that are too particular, so they oughtn’t count for Gen Ed. Fine, but Physics 101 is plenty general.

One certainly hopes that the awkward transitional winter in which we are now discontented will yield to an at least passable summer of curricular coherence, but for that to happen in — real seasons now — Fall 2019 would require that squirreled away in every department office a team of experts were furiously designing truly general courses to be implemented next academic year.

Something tells me this is not happening, so next semester we shall likely be back swearing loudly at our my.Harvard profiles just the same as we heretofore have been.

— Liam M. Warner ’20, a Crimson Editorial editor, is a Classics concentrator in Adams House. His column appears on alternate Tuesdays.

dent from peer institutions to do so. I did my undergraduate studies at Brown University, where students can drop a course until the last day of classes for the semester. I’m now a researcher at MIT, where students can drop courses until a few weeks prior to the last day of classes.

While I would vote for a similar policy here, I understand that these may be too extreme for Harvard. I think it is entirely reasonable that Harvard could postpone the drop deadline to the seventh Monday (six weeks into school) or later, and the withdraw deadline could be further postponed or even eliminated.

Of course, there are also reasons for having the drop deadline where it is. One key reason is for administrative purposes such as finalizing course teaching staff. When I was a graduate student here at Harvard, I was on the teaching staff of several classes of various sizes, and it would have been disruptive if many students left partway through the semester. It would be even more disruptive in seminar-type courses, where participation from and interaction with fellow students are integral to learning.

Yet in my experience, most students finalize their course schedule well in advance of the drop deadline (I never took advantage of the policy at Brown). Additionally, the teaching staff can be finalized after four weeks even if some students drop the course later in the semester. Brown and MIT can serve as models to develop systems that work.

There is also room for gaming the system with a later drop deadline, by taking five classes and dropping the one where you have the lowest grade. However, since students cannot register for more than five courses without their Resident Dean’s approval, and students are still required to complete 32 courses to graduate, these extended policies would not cause widespread adding and dropping. Brown did find that 40 percent of

With more flexibility, students can try out new classes and take a deep dive into the topic before deciding if they want to stick with it. their drops occur in the last two weeks of classes, which would be disruptive to courses but could be avoided with a mid-semester drop deadline.

Moreover, the students who would benefit the most from a later drop deadline are students who are experiencing extenuating circumstances that the University should strive to help.

A later drop deadline empowers students to take control of their academic career by taking a course on a topic in which they may not be confident, and thus it would encourage healthy risk taking and promote intellectual growth.

For example, a friend of mine at Brown took a political science course one fall semester, but it ended up being too challenging when combined with his four other science courses. He dropped it after Thanksgiving. He likely would not have taken it at all if the drop deadline was earlier in the semester. Yet, the later deadline allowed him to explore a new area of academic thought, and he learned a lot more about the topic than he would have otherwise.

Isn’t learning and growth the entire point of coming to college?

— Katherine R. Phillips is a Resident Tutor in Winthrop House.

PAGE 9

THE HARVARD CRIMSON | FEBRUARY 26, 2019

Hong Kong to Feature Live Music

By BRIE K. BUCHANAN CRIMSON STAFF WRITER

The Hong Kong restaurant will feature a live music venue on the third floor of its Harvard Square location starting next month.

The new plans for the third floor will include live performances as well as DJ events and dancing after 11 p.m. on Fridays and Saturdays.

In previous years, the third floor of the Mass. Avenue building has served as a comedy room with a 100-person capacity, but it has “gone unoccupied” for roughly the past year, according to Daniel R. Carswell, the new venue booker for Hong Kong.

Carswell said the owners of Hong Kong, Evelyn and Paul Lee, reached out to him to see if live music could be incorporated into their restaurant. Carswell, who has also worked at Charlie’s Kitchen for the past ­

five years, said he is hoping to revive the space at Hong Kong while giving local and traveling bands a chance to showcase their music.

We’re open to any genre. We kind of do everything and anything.

Daniel R. Carswell Hong Kong Venue Booker

The new live music venue will mostly host punk rock, indie rock, electronic dance music, and metal, but it is expected to expand outside those genres as well, according to Carswell.

“We’re open to any genre,” Carswell said. “We kind of do everything and anything.”

Carswell described the current third floor setup as having

a “modest sound system” and a “small stage,” but he said he believes the restaurant can use the space for something “bigger and cooler” in the future.

Some students said they are excited to see a new music venue coming to Harvard Square, especially given all the turnover in the area in recent months.

Lauren A. Church ’21 said she is ready for a fresh addition to the Square.

“It’ll probably be exciting to see something in the Square besides food,” she said.

Chung Yi See ’22 said he appreciates the variety the music venue will bring to the Square.

“I think it’s great,” See said.

“All the new stuff coming to the Square is really entertaining, so it’s good to have some diversity.”

Carswell said he expects Hong Kong to host a few shows per week “depending on demand and the shows that come

through.”

The cover cost for shows will vary between $5-15 and all performances will be 21+.

I think it’s great. All the new stuff coming to the Square is really entertaining, so it’s good to have some diversity.

Chung Yi See ’22 Student

The debut show will cost $8 and is slated for March 21 at 8 p.m. with performances by The Berries — a Seattle-based band — and two local bands, The Dazies and Love Strangers. brie.buchanan@thecrimson.com

TREES FROM PAGE 1

Councillors Impose Ban on Tree Cutting Mayor Jan Devereux said she was pleased the amendment had passed, but she also said the moratorium is a “not the final product” and will act as a “stopgap” while the Council looks to enact more conservation policies. “We are losing trees right, eft, and center, it is alarming” she said during the council meeting on Monday. “This set of amendments is not going to stop all tree loss, but it sends a very strong signal.”

Several councillors offered their support for the amendment, but pointed to its flaws.

Councillor Dennis J. Carlone voiced his concern over the vague definitions of which trees are eligible to be removed, specifically citing those considered

“dangerous.”

Others, like Councillor Toomey, argued that the moratorium is unfairly “punitive” toward Cambridge residents.

“Government sometimes gets in the way,” Toomey said at the meeting. “I just think this amendment as proposed is just going to be very detrimental to the innocent property owner who is just going to be attacked for removing a tree.”

During the public comment portion of the meeting, over a dozen residents shared their opinions of the amendment proposal in front of the council. The majority argued in favor of its passage, but others, such as Denise A. Jillson, a Cambridge resident and the executive director

of the Harvard Square Business Association, opposed it.

“There are issues that prop-

I am really looking for everyone to be as passionate about those really critical issues.

Alanna M. Mallon Cambridge City Councillor

erty owners will be confronted with, and you’re making it extremely difficult for us to take action when action needs to be taken,” she said.

Though many residents indi-

cated their support for the moratorium, some had concerns over its limitations. Cambridge resident Judy Johnson argued that without further clarification, the measure would be insufficient to protect enough trees.

“Don’t let trees be cut down because of mistakes in the process,” she said. Before voting, Mayor Marc C. McGovern and Councillor Alanna M. Mallon urged people to consider and act on issues with the same fervor as tree conservation.

“I am really looking for everyone to be as passionate about those really critical issues for our vulnerable population,” Mallon said. declan.knieriem@thecrimson.com

Transformative coverage.

The Crimson thecrimson.com

FELLOWS FROM PAGE 1

Diversity Fellows Announce Plans start, but it would be great to have an additional fellow, and for that fellow to be solely focused on the LGBTQ community,’” Thomas said. “We heard the suggestion and found a way to get the funds for it.”

Westover, a Ph.D. candidate in Ethics and Education, has prioritized BGLTQ activism while at GSAS, serving as an organizer for several affinity groups. He also served on the Dean’s Advisory Committee for Equity and Diversity and the Implementation Working Group for the President’s Task Force for Inclusion and Belonging.

GSAS administrators decided to hire a BGLTQ-focused fellow after student group LGBTQ@GSAS sent messages to administrators and posted on social media last year, calling for more BGLTQ-oriented resources.

Westover said he anticipates his new position will allow him to begin addressing some of students’ past concerns.

“I share ODMA’s commitment to an intersectionally inclusive environment, one where all students can thrive and grow academically and personally,” Westover wrote.

While Westover plans to focus on supporting BGLTQ students, Du Maine wrote in an email that he hopes to begin addressing the struggles that students from underrepresented backgrounds face.

Du Maine wrote that he knew Harvard would be “academically challenging” and an “invigorating environment,” but did not expect the mental and emotional strain he experienced soon after arriving on campus as a Ph.D. candidate in Biological and Biomedical Sciences. ­

“In addition to all these challenges, underrepresented students have to face the hurdles of finding community and a sense of belonging at an institution where they are in the minority, and navigating environments where people don’t always embrace or understand their identities,” Du Maine wrote.

At Harvard, Du Maine has been involved in a number of diversity and outreach groups aimed at supporting high school, college, and graduate students. He added that his experiences with these groups will inform his work as a fellow.

“First and foremost, I aim to listen. While I have a lot of ideas I want to get off the ground, I must first listen to students and affinity group leaders to know exactly what personal and systemic challenges they face,” Du Maine wrote.

Du Maine wrote that he plans to work to increase collaboration between student affinity groups at GSAS as well as increase the Office of Diversity and Minority Affairs’ student involvement, in an effort to “make sure no underrepresented student slips through the cracks.”

He also plans to create programming to encourage students of all backgrounds to feel comfortable sharing their identities and cultures while learning to better integrate them into their future careers.

“In order for underrepresented students in GSAS to thrive, we not only need rigorous academic training but also a culture and environment that supports every aspect of who we are and celebrates the unique perspectives we bring to the table,” Du Maine wrote. luke.williams@thecrimson.com

SPORTS

IN OTHER NEWS

WOMEN’S BASKETBALL

MEN’S BASKETBALL

Junior point guard Katie Benzan became the Harvard all-time leader in three pointers. The team defeated Yale and Brown over the weekend.

Junior guard Bryce Aiken hit a buzzerbeater over the weekend in a thrilling road victory over Yale, 88-86.

WOMEN’S SQUASH

Harvard Caps Perfect Season With Championship

By LUCY CONNOR CRIMSON STAFF WRITER

The Harvard women’s squash team finished its historic season over the weekend in the national Championship with yet another shutout 9-0 win. The Crimson swept No. 3 Trinity for its fifth-consecutive Howe Cup. Though the team has obviously retained an impressive level of squash excellence, this season was even more remarkable than the previous four, as every single player on the team went undefeated.

“We just never wanted to let up,” senior Sabrina Sobhy said.

“We started winning 9-0 every match and then two-thirds into the season we thought, ‘wow do you realize nobody has lost a match yet?’”

This inevitably created high pressure for the players heading into the championship weekend.

“There’s no need to add any pressure and no one really spoke about it, but our undefeated streak just kept adding self-pressure because nobody wanted to be the one to break it,” Sobhy continued. “We added a lot of pressure on ourselves [this weekend], but the way we executed and the way we took the pressure and calmed ourselves down and changed our mindset proved successful in the end.”

Sobhy was one of two matches that went to four games. She lost the first game to Trinity’s Luz Sarahi Lopez Dominguez 11-6. However, she refused to be the one player to break the perfect season; Sobhy rebounded and fought back to win the next three games, 11-3, 11-3, and 11-8, respectively.

“Honestly, I just wanted to enjoy it especially because it was my last team national Championship,” Sobhy explained. “I really just love this team so much;

I wanted to play my best for them.”

The only other match to go to four games was on the third court, where Harvard junior Amelia Henley was competing against Trinity junior Salma Alam El Din. The match was incredibly intense, as Henley lost the first game 11-5 amidst controversial rulings. Similar to Sobhy, the competitive mindset set in, and Amelia recovered, winning the following three games 13-11, 11-9, and 11-8.

Henley’s impressive win was a huge moment of the weekend for her junior teammate Gina Kennedy, even though Kennedy won her own match, 11-4, 12-10, and 11-5.

“Amelia Henley was on right before me and she had a really tight match,” recounted Kennedy. “I just remember watching that game and being really nervous because I was about to go on, but she pulled out a really good win, so I think that was the highlight of my weekend.”

Though the team only needed to win five courts every match to extend its 65-game winning streak, the Crimson refused to let up a single game this entire season, winning all 117 individual matches played. Even if the Howe Cup might have been an expectation for this dominant team, the national championship win was special for each and every Harvard player.

“This one feels different because none of our players have lost once this year,” said Kennedy. “In my past couple of years it’s been super exciting, but this year, after Sabrina won the last match and when we realized we had the actual perfect season, it was so awesome to be able to celebrate everyone’s wins.”

Despite the team’s impressive dominance over the past half-decade, it somehow managed to improve this season.

STREAK EXTENDED The Crimson ended its historic perfect season this past weekend, taking home their fifth-consecutive Howe Cup. and extending their winning streak to 65 games. TIMOTHY R. O’MEARA—CRIMSON PHOTOGRAPHER

Sobhy and Kennedy both attributed this team’s excellence to the team dynamic.

“Everyone is always early to practice, not because we’re told to be early, but just because that’s the nature of our team,” said Kennedy, offering an exam-

ple of the team dynamic.

“Squash is such a priority for everyone; it’s not just an additional thing, it’s a part of who we are. We are just all dedicated and self-motivated.”

Sobhy elaborated on this positive team chemistry.

“Everybody has always been supportive no matter what and that adds extra motivation behind each match,” explained Sobhy. “We’re not playing to win only for ourselves; we’re putting in the extra effort for our teammates.”

Though squash is a sport of individual matches and mindsets, this season’s unprecedented success came about through the emphasis on winning for the team. lucy.connor@thecrimson.com

MEN’S ICE HOCKEY

No. 17/15 Harvard Comes From Behind in Victory Over Brown

By SPENCER R. MORRIS CRIMSON STAFF WRITER

These aren’t the words any program wants to utter, especially when referring to its starting goalie in the home stretch of the regular season.

Alas, this was precisely the status of the Harvard men’s

hockey team’s No. 1 net-minder, senior Michael Lackey, ahead of Friday’s tilt with ECAC foe Brown. The No. 17/15 Crimson turned to junior Cameron Gornet, hoping that the unforeseen change between the pipes would not derail the group’s surging play and hopes of an atlarge bid to the NCAA Tourna-

ment.

Amid uncertainty in the crease, Harvard (15-8-3, 11-62 ECAC) nevertheless nabbed two crucial conference points in a 4-2 triumph over the Bears (10-11-5, 7-7-5). Gornet (2 GA, .933 SV%) did his part, posting his second career win and holding strong after ceding two

D LEADING THE WAY Defenseman Reilly Walsh nabbed another powerplay one-timer on Friday, displaying the Crimson’s man-up prowess alongside junior blue-liner Adam Fox. TIMOTHY R. O’MEARA—CRIMSON PHOTOGRAPHER

goals in the first period, allowing the Crimson to seize the comeback victory.

“I think Cam Gornet stepped in and played really well,” Harvard coach Ted Donato ’91 said.

“I think he looked calm, which isn’t easy to do, one, when you haven’t played a lot of hockey recently, and two, when you get a couple bad bounces early and you’re chasing the game…. He settled us in, he made some big saves.”

Two minutes into the third period, freshman defenseman Jack Rathbone skated the puck down from the point and around the cage before firing a shot toward Brown goaltender Luke Kania (4 GA, .892 SV%).

Junior forward Nathan Krusko tipped the puck on its way across the goal line, registering his first point since Jan. 26 on the eventual game-winner in Friday’s Ivy League clash.

“Nathan Krusko has been doing a lot of the right things for us,” coach Donato lauded. “It was nice to see him get rewarded because he’s had some tough luck, but we know he’s capable of scoring some big goals for us.”

Junior defenseman John Marino cushioned Harvard’s advantage in the final minutes of play, ripping a one-timer off Kania’s inside crossbar, courtesy of a cross-ice feed from junior forward Frédéric Grégoire.

Notably, both teams lost a player in the second period.

Seven minutes into the stanza, the officials stopped play and retroactively assessed Harvard freshman Wyllum Deveaux a game disqualification for illegal head contact. The Crimson killed Brown’s ensuing five-minute powerplay and, before long, was awarded one of its own.

With Harvard already on the man advantage, co-captain Lewis Zerter-Gossage endured a knee-on-knee hit that earned

its perpetrator, Bears senior forward Alex Brink, a five-minute major penalty and game misconduct.

The Crimson’s nation-best powerplay, 31.8 percent effective entering Friday’s affair, went to work on a 5-on-3, which culminated in a scorching one-timer goal from sophomore defenseman Reilly Walsh.

The clap bomb was Walsh’s seventh extra-man snipe of the season, good for a team-high.

It also ended an uncharacteristic scoring drought for the Harvard man advantage: the powerplay unit had not hit pay dirt since Feb. 8, when it recorded four man-up goals against a ranked Union squad.

“Obviously it’s in the back of our heads that we had been struggling the past two games,” Walsh said. “Our powerplay being consistent as it has been, that’s something that we don’t like to do. When we got the opportunity 5-on-3, we felt very confident in ourselves to spark us.”

Harvard’s lethal powerplay usually grabs the headlines, but it was the Bears who took a twogoal lead into the first intermission courtesy of their own manup unit.

Brown opened the scoring 11 minutes into the first frame. Bears co-captain Tommy Marchin, who logged a pair of helpers on Friday, kept play alive in his offensive zone and dished to blue-liner Zach Giuttari near the point. The junior defenseman fired a wrist shot through a screen and beat Gornet, sending a loud ping through the concourse of the BrightLandry Hockey Center in the process.

Following this first powerplay conversion, sophomore forward Chris Berger picked up a rebound from classmate and point man Tony Stillwell, bulging the twine and inking his

fifth goal in as many games. The Brown lead, however, would prove to be fleeting.

“We have to get back to the 60-minute effort and being intelligent, and quite honestly not just giving the game to the opposition on a platter,” lamented Bears coach Brendan Whittet after the game.

Zerter-Gossage set the tone in the middle frame with a pivotal early goal. Less than three minutes after play resumed in the second, the senior punched home a net-front feed from freshman forward Baker Shore.

“We had a good start, but we took a penalty, we had a couple turnovers before that…and they executed,” coach Donato said.

“I think we hit three posts in the first, and we probably had seven or eight grade-A scoring chances, so we weren’t too down.”

Zerter-Gossage continues to lead the Crimson in goals with 15, and the momentum-shifting tally on Friday is just one of numerous instances of the Montréal, Qué., native using his knack for scoring to turn the tide at crucial points in games.

“That first goal, we loosened the grips a little bit on the sticks,” coach Donato said.

“Lewis has stepped up and scored some big goals when the team has needed them, and that’s a sign of a good leader and a very good player.”

With a pair of conference points in the bag, Harvard now turns its attention to Saturday night’s battle with storied rival Yale in search of a four-point weekend even without its goto man behind the mask. Lackey’s status is doubtful for Saturday night, so Gornet will have a chance to build on Friday’s performance as the Crimson continue to contend for the Cleary Cup, the ECAC regular-season crown. spencer.morris@thecrimson.com