The Sandspur Volume 121 Issue 9

Volume 121 Issue 9 Thursday, November 13, 2014

The Rollins border patrol fiasco Writer Peter Ruiz reflects on the recent campus debacle involving students wearing culturally appropriated costumes. page 4

Page 2 • NEWS

Thursday, November 13, 2014

Established in 1894 with the following editorial:

EXECUTIVE STAFF David Matteson Editor-in-Chief Ali Perry Managing Editor

Berlin, Germany

Tacoma, WA Washington, D.C.

Catalonia, Spain

CONTENT STAFF

Marcela Oliveira Head Content Editor Alexandra Mariano Head Copy Editor Lauren Waymire Content Advisor Stephanie Garcia Webmaster Kate Barnekow Daniel Udell Copy Editors Raquel Leon Section Editor Micah Bradley Nicholas D’Alessandro Ariana Simpson Staff Writers Matt Boggs Nolan Brewer Production Assistants

DESIGN DEPARTMENT Kayla Powers Head Designer Ginna Vick Brooke Preston Designers

BUSINESS & FACULTY Greg Golden

Interim General Manager of Student Media

Dr. Emily Russell Associate Professor of English Taylor McCormack Business Manager

PUBLIC RELATIONS Diana Drpich Ben Smith Public Relations Interns John Berggren Multimedia Manager

ADVERTISING

Contact: advertising@thesandspur.

Cover Art Designed By: Kayla Powers ‘17

Compiled by Lauren Waymire Tacoma, WA American detainees Matthew Todd Miller and Kenneth Bae were released from a North Korean detention facility after spending a combined 31 months behind bars. Miller was given 6 years of hard labor for what North Korea described as “hostile acts” after he was arrested in April of this year. Bae, arrested in November of 2012, was sentenced to 15 years of hard labor after being accused of using his tourism business to try and overthrow the government. US Director of National Intelligence Jake Clapper accompanied the duo back to Washington state on November 7.

Berlin, Germany The city of Berlin marked the 25th anniversary of the Berlin Wall’s fall by releasing 8,000

helium-filled balloons into the sky. The wall, built in 1961, was meant to prevent people fleeing from the communist East.

At least 138 people died while trying to reach West Berlin.

Its demise in 1989 was a great signifier of the end of the Cold War. Chancellor Angela Merkel visited a small remaining part of the wall to place a rose on it. The wall, after being taken down, was sent in sections to various places around the world.

Catalonia, Spain Citizens of the autonomous community of Spain, Catalonia, took to the polls to vote on their independence. Catalonians proved their overwhelming support for the idea of becoming an independent nation as 81%

of the 2.3 million turn-out voted “yes.” Catalonia is located in the northeast region of Spain and includes the populous city of Barcelona. Spain’s prime minister,

“

“Matthew Miller and Kenneth Bae were released from a North Korean detention facility

Mariano Rajoy, has previously stated that a true referendum, like that which took place in Scotland in September and had the possibility of real political and economic consequences, is

unconstitutional and he that he will continue to block such.

Washington, D.C. President Obama has nominated Loretta Lynch to serve as the next Attorney General following Eric Holder’s resignation from the position seven weeks ago. Lynch currently serves as a federal prosecutor in the Eastern District of New York which encompasses Brooklyn, Queens, Staten Island, Nassau and Suffolk counties. If her appointment is confirmed by the senate, Lynch will be the first African American woman to hold the position.

During her tenure in New York she has handled both civil rights cases (including the recent death of Eric Garner brought on by a prohibited chokehold) and cases of corporate fraud.

Retraction from Volume 121, Issue 8: Samantha Hirsch was the writer for the article, “Five types of Halloween costumes.”

Page 3 • OPINION

Thursday, November 13, 2014

Navigating the sexist politics of GamerGate Sexpert Becky Wilson exposes sexism in our society in her reflection on gaming.

Becky Wilson

Columnist

A guy with a headset on, a controller in his hand, swears loudly for more than one reason. On screen, guns fire and sexualized women’s bodies gush blood. Between his legs, a woman’s head bobs up and down, while he never pauses the game.

This scenario of coupling a hobby with sexual pleasure has been conveyed to me as a fantasy by a number of men, who would not lose it over getting head while playing violent games.

This little fantasy has also been a suggestion in Cosmo and discussed widely in hetero-gamer circles. This seemingly strange coupling of a sex act and consumption of violent media is in fact totally in keeping with the sex lives of many people our age.

These couplings are well illustrated with stories about “GamerGate.” This movement recently received a lot of coverage on mainstream and online news, and rightly so. The violent threats that have been issued against a number of women are truly terrifying and deserve media attention.

For those of you who have not been exposed, GamerGate is a movement to protect the identity of a “gamer” from so called “social justice warriors” couched in contrived language about ethical journalism. The belief is that feminist critiques and point-

ing out of a lacking diversity in games are a distraction from legitimate journalism about the quality of said games.

The scary part is that these critiques have lead to a backlash so intense and violent that women have literally been driven from their homes with threats of sexual violence and murder.

Anita Sarkeesian, a well-known feminist critic, was forced to cancel a speaking event at Utah State University because of threats lodged by GamerGate to conduct “the deadliest school shooting in American History.”

This news story has caught my attention not only because of its vile sexist harassment, but because it raises questions of defining “identity” around a form of media, which applies broadly to our generation. Chalking GamerGate up to a bunch of unstable teenagers is dangerous because it ignores the strong link being demonstrated between virtual and physical violence. I am not suggesting a simple causal link; sexism is complex and forms of violence against women come from many different areas of life, but media is undoubtedly one of them.

People like Sarkeesian, who simply raise questions about the portrayal of women in games, now face threats of death, rape and other forms of violence.

These threats do not come from some Internet boogey man; they come from real humans who re-

ally think that people who question and critique a game deserve to be silenced or, in some cases, die. This idea runs parallel with shifting conceptions about rape, in that we want to put the violence on to some “boogey man” instead of recognizing it among our peer groups.

With the “It’s On Us” campaign that has been taken up at Rollins, there is a shift in this paradigm, and we are addressing the issue among actual peers.

GamerGate then seems to be a new stage to explore this idea; the recognition of the identity of a “gamer” gives people room to treat other gamers as people with real responsibility to end this violence.

The violence in games is disassociated and anonymous, but the people behind these screens have brains, and can indeed develop some human decency.

Plenty of gamers are already there: the Indie scene has produced some diverse games with less sexism and violence that have been well received by consumers.

This could have something to do with the strong demographic of female gamers who have recently outnumbered their male counterparts. It can no longer be argued that these violent games are simply giving the consumer what they want, because over half of the consumers are women, and the fact that criticism is growing for these games

shows the broader demographic that now has to be appealed to.

This threat to the single narrative of “gamer identity,” then, is perhaps what is breeding the intense backlash we see. While actually the identity of gamer makes this form of media more interesting to critique because people identify so strongly with the media as opposed to more casual forms of consumption of movies or television.

Problematically, this identity is being narrowed to only include white men who do not want to see women as playable characters and cannot handle diversity in race or gender identity in their games. Playing as a queer character, a woman or a person of color, is not an odious concept to many people involved in the gaming scene. GamerGate is claiming to be a voice of a community that it does not represent.

Their backlash is nonunique, but it does affect the vast majority of our generation who are either a gamer themselves or involved in relationships with gamers—romantic, friendly, or otherwise. When we make forms of media impenetrable to criticism, as GamerGate wants to do, we lose the opportunity to examine important dynamics at play in our real lives. GamerGate supporters are our partners, our friends, and our family. While plenty of the people we know who play video games do not support the single narrative of

The opinions on this page do not necessarily reflect those of The Sandspur, its staff or Rollins College.

gamer or violence against critics, plenty do. The toxic attitudes they take are supported by systemic and widespread attitudes around gender and race in our society, and the particularly violent elements of this form of media supports the narrow-minded ideas that affect all of us.

While GamerGate remains a prevalent movement, we cannot deny the reality of violence against women in media. After all, they do not deny that games are violent towards women, or lack diversity; they simply think this violence and exclusion is not problematic. These issues are intricately linked to the way women are treated in real life, and I am not just talking about Game critics.

Women here at Rollins are interacting with GamerGate supporters, and these gamers’ acceptance of violence and faliure to have conversations about diversity plays out in real time for real women. If you do not care about strangers receiving death threats, care about the women all around you on campus, because they are also affected.

The ideas behind GamerGate are linked to attitudes about women overall and open the door to more violence. Here on our Rollins campus, gamers need to check their privilege and remember to examine the weird and complex links between sex and violence that are ever-supported by GamerGate.

Page 4 • OPINION

Thursday, November 13, 2014

Cultural appropriation far from appropriate Peter Ruiz shares his opinion on the recent scandal involving Rollins students wearing costumes that mocked Mexican culture.

Peter Ruiz

Staff Writer

Post-Racial America is a place where people can go to Halloween in black-face, as Native Americans, and apparently as Mexican illegal immigrants and Border Patrol officers, which recently members of the Rollins community did.

I am saddened to say these people are Rollins students. I am ashamed to say that I have had class with some of them. I am saddened to say that the work I am doing on this campus hasn’t been enough. I am saddened to say that Rollins doesn’t do enough around cultural competency, which leads to discriminatory, disrespectful and hurtful nonsense.

Repeat after me: A culture is not a costume. While it might seem like I’m being overly politically correct there are a lot more issues at hand than Rollins stu-

dents having poor taste. This is about the fact that individuals have been socialized into stereotyping cultures to the extent where they can be made into a costume.

I seek not to shame you for what you have done, but to educate you on why it is wrong. I’m sure there wasn’t malice behind what you did, but cultural appropriation, is by its very nature oppressive Cultural Appropriation is defined as “the use of symbols or cultural elements of a certain culture, by another culture”. This is particularly damaging when those same symbols have been used to shame or stereotype an oppressed culture.

Defining Mexican culture through sombreros and ponchos is oppressive and disrespectful.

Mexican culture is an amalgamation of indigenous groups and Spanish culture. It is not only rich and vibrant, but it also

comes from a history a costume cannot represent.

When white, gold-hungry conquistadors from Spain came into our land, took advantage

“

Rollins doesn’t do enough around cultural competency, which leads to discriminatory, disrespectful and hurtful nonsense.

of our women, killed our men, enslaved us, killed us off with disease and raped into our people a culture and a language that is not our own, our people then grew, adapted and thrived. We

took the language and culture that was the result of forced assimilation and made this beautiful tapestry of a culture in which our countries became rich in art, music, food and literature.

But we are also a culture of economic and political strife. The Latin people attempt to come to America, and then die in droves.

Those that arrive often give up years of education, family and love to come here.

Latinos are often called lazy, and folks say they’re stealing jobs without paying taxes. In reality, Latina women are making 54 cents to every white man’s dollar when they are citizens.

Latinos who are here illegally are put into facilities where they are abused, separated from their families, raped, harassed and beaten. Do you really think your costume can embrace all that?

The problem with these culturally insensitive costumes is that they assume the identities of

individuals, both the triumphs and the struggles, can be donned for a single night. But the fact is that the next day, when you are costume-less, you are an upper class white person in America with all the unearned privileges that title derives.

My identity is not a costume I can just take off. It is a daily struggle of seeking recognition and acceptance from a society which views my people as so inherently less than that we are just a joke costume.

Dr. Mamta Accapadi held a campus forum to discuss this very issue. One of the things she said is something I want you to meditate upon.

“We all lose humanity.

[Both] those individuals who were mocked in the photos, but also those who participated lost humanity. Whenever we engage in these kinds of racist activities we all lose humanity,” Accapadi said.

Media slaughters self-esteem In a time when friends mean Facebook friends and popularity is measured

by Instagram likes, the media creates unrealistic expectations for women.

Danielle Del Pico

Writer

“What happened to her face!” was the most common after recent photos of actress, Renee Zellweger, surfaced and took over the tabloids. Another facet of the onslaught of criticism stems from celebrities and their excessive plastic surgery.

Jim Carrey, Zellweger’s former boyfriend, reacted to the harsh criticism she was being subjected to. Carrey stated “We immediately judge people because it is a commodity to judge people. It appeals to the lowest denominator in our society.”

The core of this issue is about commending women on their inability to maintain an eternally youthful appearance, instead of focusing on their accomplishments. Our generation is ruled by social media, consumed by the “selfie” culture, and charac-

terized by over sharing personal information. The media can be ruthless, defaming female celebrities on their looks. Their judgements ranging from choice of clothing, lack of makeup, and their weight. This judgment is not exclusive to celebrities, it is a present struggle in our daily lives. Most people find themselves stressing over Instagram and Facebook likes rather than school assignments.

This seeming obsession over looks, could well possibly be an emotional urgency and a need for the approval from society. Dr. Emily Russell, Professor at Rollins, reflects on the judgmental and oppresive shadow social media casts on an impressionable generation: “Things that once might have seemed too intimate or too mundane to share are all part of the outward-facing media package we present to the world.

Since these images and posts

tend to be curated to be flattering and positive, I think it can have the effect of creating a paradoxical sense of simultaneous connection and isolation; we have more “friends” than ever before and technology can facilitate affinities like shared upbringing or weird interests, but we may also feel alone in our unhappiness, moments of inactivity, and boredom.”

Rollins Alumni Janis Hirsch, television producer and writer recently spoke at Rollins and shared her experiences working as a female writer in a heavily male dominated work environment. She reiterated the importance of writing female characters for television that women could relate to, find parts of themselves in and be inspired by. This is something that as a writer, she strived to convey to a wide audience through her witty, comedic writing style, she

said, “I was looking at their identities, not their crutches.”

In college, how is this notion on physical appearance detrimental to an education? If there is a preoccupation with what a

“

Our generation is ruled by social media, consumed by the “selfie” culture, and characterized by over sharing personal information

person looks like, how can we begin to fully realize what we, or others, are truly capable of, in-

The opinions on this page do not necessarily reflect those of The Sandspur, its staff or Rollins College.

tellectually? Dr. Russell believes that we are all creating persona’s that can withstand any obstacles society tries to hurl at us: “In an academic environment, especially one that emphasizes finding your passions and place in the world, the constant circle of self-reflection in comparison to others’ public self can feel sometimes alienating and sometimes inspiring.

I’m hesitant to ever cast technology as all good or all bad, and I hope that analytic skills gained in the classroom can be turned back on “selfie” culture itself. We are constructing textual selves just as Ben Franklin or Frederick Douglass did in their autobiographies and our “selves” need to be analyzed as well.” It is time to redefine ourselves not by our looks, and judge others by their changing styles, but with what we are capable of achieving through our intellect and grit.

Page 5 • OPINION

Thursday, November 13, 2014

compiled by Georyana Santos It’s the most wonderful time of the year.

Of course I’m talking about Christmas, duh. No, just kidding. This is the month where we incessantly stuff ourselves with turkey and be thankful for all our wonderful blessings.

Of course, when I mentioned the most wonderful time of the year, I was obviously directing my intention towards final exams early next month. As we rapidly approach December and the end of fall semester, here are some helpful tips on how to make your last few weeks stress-free.

Do not procrastinate:

We’re hitting the last few weeks of the semester. I know you’re obviously dragging every 10-page paper you have to turn in for each and every one of your classes and quite frankly – you’re over it. You’re over writing papers.

You’re mentally drained and you just want to karate-chop the table that contains the stack of piled-up homework, into pieces. Although, believe me, It’ll be so rewarding when you receive those stellar grades and you know you made the effort to turn all your work in on time. So put your priorities into perspective, and at least try to get all your assignments out of the way first. Don’t be that one person who’s up until 4 A.M. writing a paper that’s due the next morning.

Be on time:

I get it. You have to get your morning cup of coffee or you won’t be able to function properly. You’ll have some type of mental breakdown if you don’t get to class with that white cylinder-shaped cup with the clearly displayed green logo on the front. Yeah, I’m talking to you – Starbucks aficionados. Be on time. Make good use of all the great opportunities not only Rollins, but your professors provide for you as well. Use your tools wisely; that’s why they are there.

Get a good amount of hours of sleep:

And when I say a ‘good amount of hours’ – no, I don’t mean 4 after you’ve been completely hung-over and wasted from the party that happened the night before.

I mean roughly 7-8. And no, my intent isn’t to transform myself into your mother – but it wouldn’t kill all of us to be well rested for class. I’m all for naps but the last thing you want to do is become nocturnal. Instead of your energy diminishing, make an attempt boost it up as these weeks go by. Don’t only do this for one day. Keep it consistent.

Meet up with your professors.:

Schedule a conference, talk to them after class, and ask what you can do to bring up your grade. You still have time to recover your grade even if it’s as sinkable as the Titanic itself. Unlike the ship, you can revive the letter grade. Use these last few weeks to your advantage and step it up.

Stress less:

It only causes you a pack-load of anxiety and no one wants to be that one person whose dramatically freaking out about every assignment left that’s due. Although one way to avoid stress to the maximum is if you plan beforehand, finish assignments as soon as you can, and use your time management skills to the best of your ability.

This doesn’t mean you won’t entirely experience a mental breakdown during the week of finals, but it’ll help tone it down a notch.

Reward yourself after you meet your goals:

Party all you want, buy yourself a nice Rollins hoodie at the Bookstore, go out to dinner with girlfriends or bros. It’s perfectly okay to take breaks in between study sessions or jog right afterwards, but always remember to not lose focus. A-grades on your college transcript aren’t given – they’re earned.

Study first and party second:

Who’s with me? No one? No? Okay. On to the next.

Remind yourself why you are here:

Sometimes it can become incredibly easy to get sidetracked. Friends, parties, weekends. Yeah, college is supposed to be a huge ball of fun and excitement but don’t forget why you came to Rollins in the first place.

Perhaps the beautiful campus had some influence on that decision, but know you came here because you felt the college fit your educational aspirations. So, don’t accept mediocrity. Don’t strive for a C in your class and be fully content. If you’re going to go all way, do it. In my upmost attempt to be extraordinarily corny – it’s like they say: go big or go home.

The opinions on this page do not necessarily reflect those of The Sandspur, its staff or Rollins College.

Page 6 • SPECIAL FEATURE

Thursday, November 13, 2014

The Sandspur worked with Dr. Susan Libby’s Art History class, ARH 364: Picturing War, to compile this special feature. Students were asked to analyze an art form and its depiction of war—offering a unique commentary on societal perceptions of warfare.

Guernica

by Christina Gentil

Distorted and mutilated figures cloud the overall composition of Pablo Picasso’s abstract work of art Guernica (1937).

Picasso’s painting depicts the aftermath of the bombing of Guernica, a small town located in the north of Spain, by the German and Italian fascist political party during World War II. On April 26, 1937, bombs fell from the sky and turned a market, filled with shopping civilians, into a war zone.

Picasso chose to artistically interpret this event due to the horrific injustice that involved murdering innocent lives in order to demonstrate fascist power.

These people were not war criminals or political enemies; they were innocent bystanders.

Picasso’s figures shrivel in pain and gasp for air as they deal with the shock and confusion of what just occurred. On the left side of the painting, a woman clutches the limp and unconscious body of a small child while raising her face towards the sky.

Her mouth is wide open as if in a state of hysteria and disbelief that her child now lies cold and dead in her arms. A viewer can almost hear her screams lurch out from the painting and bleed into our reality.

Guernica presents itself as an unusual form for depicting war-

fare. In recent decades, our society has become remarkably desensitized to war imagery due to the constant exposure of events though news sources (such as the beheading videos of American and British journalists by the terrorist group ISIS). Videos and photographic evidence of violence has lost a majority of its effective shock on contemporary audiences.

Through the creation of non-realistic images that depict events where innocents lose their lives, an abstract painting is able to incite deeply buried emotions of grief within a viewer, who begins to empathize with the universal themes of pain and anguish of death.

The impactful nature of the Guernica as a canonical image of war lies in its representation of a complete disregard for human life during political conflicts, along with its style. Abstract art deserves a viewer’s time, and the longer the subject matter and formal qualities of Guernica are studied, the more expressive the painting becomes.

Through the utilization of the abstract technique, specifically using anatomically incorrect human bodies, Picasso has elevated his painting’s capability to clearly express emotions of chaos, confusion, anguish, and death to a viewer. In addition, Picasso accomplishes these emotional

expressions through the massive scale of the painting (11’ 5” x 25’ 6”), its monotone color pallet, the stark contrast of soft shadows against brightly lit shapes and the dynamic movement of the distorted figures, which instantly capture a viewer’s gaze and guides them around the composition. These formal qualities result in a highly compelling image that demands spectator’s attention the instant they rest their eyes onto the canvas.

An abstract painting that depicts the aftermath of war can have the same effects as a war memorial, forcing a viewer to confront the nature of death. In that moment, you become confronted by human fatality. As you are captured by the allure of the painting, you are forced to accept the nature of death in order to move past it. Only when you accept the realities of death— even war—can you begin to heal.

Captain America

by Brian MacMillian

BOOM! POW! KABOOM! A formation of Nazi soldiers comes marching through towns in Europe. The Nazis’ goal was to take over the world, create a new world order and carry out Hitler’s ideology. No need to fear: the Americans are here. They have the ultimate solider named Captain America who will stop the villainous Red Skull in his

tracks! Does this seem similar to our past? Possibly very similar to World War II? War and its history have influenced comic books since the beginning of the Golden Age. Most comic books of the Golden Age were influenced by World War II. People throughout the world thought of America as the biggest and strongest nation capable of winning any war. This sentiment is reflected in comic book history with characters such as Captain America. He was an example of a big, strong, patriotic hero, which the Americans thought they should be.

In the comic Captain America, the artist depicts the villainous Red Skull to reflect Hitler.

Red Skull was known as Hitler’s right hand man and did all of the dirty work for him. Soon after his appointment, Red Skull killed off many of Hitler’s top men because of how strongly he believed in Hitler’s ideology. Soon Hitler himself became scared of him, and Red Skull took control of the German occupations.

Just like in WWII when the American Soldiers were shipped to war to defeat the Germans, Captain America gets involved and soon finds his match is the villain Red Skull. Captain America must rid the world of Hitler’s ideology. In the end. Captain America finds Red Skull and they

go through a full fire-and-explosion-ridden battle, which ends with Captain America thinking Red Skull is dead—but he actually is not.

War has influenced comics in many different ways. It creates story lines and characters that people could never come up with. Red Skull and Captain America are both examples of war-inspired characters.

Dr. Strange Love Carly Hernandez

“The fools, the mad fools!

The doomsday device!” Upon hearing this, the entire war room goes silent, and America’s top military brass crowd around the Russian ambassador like children eager for story-time.

The balding, bespectacled American president peers up at the ambassador in a sort of naïve state of disbelief as he says, “This is madness, Ambassador. Why should you build such a thing?”

With his menacing build and bullfrog-like features, the ambassador glowers down at the president from underneath his bowler hat, and replies, “In the end, we could not keep up with the expense involved in the arms race, the space race and the peace race.” The Russian shrugs, as if building an unstoppable weapon to end the world is perfectly rational, and says, “We didn’t want a doomsday gap.”

Page 7 • SPECIAL FEATURE

Thursday, November 13, 2014

wikipedia

Guernica by Pablo Picasso.

Thus ends a typical scene in Stanley Kubrick’s 1962 film Dr. Strangelove, a movie noted for its comedic portrayal of the absurdity of the Cold War. The main characters of Dr. Strangelove include the powerless American president, the hysterical Soviet leader Dimitri Kissov, the psychotic ex-Nazi scientist Dr. Strangelove, and the warcrazed General Turgidson. These are the men responsible for the fate of the world in Kubrick’s “suspense” comedy, in which they have an increasingly short amount of time to fix the mistake of one paranoid General Ripper, who gives the seemingly irreversible command to nuclear

1956, one of the final years of the McCarthy era, at the height of the Cold War. In the film, when the protagonists find the alien seed-pods that have been taking over the bodies of people, they make a vow: “They have to be destroyed, all of them. We have to search every building, every man, woman and child has to be examined…” It is not difficult to see how this vow is similar to the vows of Senator Joseph McCarthy, explaining the need for his vicious campaign against supposed Communists.

Both films perfectly capture the paranoid atmosphere that defined popular culture in the United States during the Cold

Selection from the Bayeux Tapestry.

parently this guy thought little of swearing—he became king immediately after Eddie’s death.

So the cousin, like any man of his word, crossed the English Channel to remind him of his oath— by killing him and assuming the throne.

This drama fills the length of the Bayeux Tapestry, yet the tapestry does not exist solely for entertainment value as a work of art. In the Middle Ages, art had a different purpose than it does today. Instead of going to a museum to contemplate your feelings as you gaze upon various artworks, art had a very specific role in Medieval society: to teach people. The Bayeux Tapestry, for

The Photographs of Peter Kennard & Kat Phillips

by Giancarlo Castillo

The 21st century is a world of messages; they come in various forms and from a seemingly endless continuum of sources, most notably in the realm of politics and social activism.

Despite the obvious differences between, say, a State of the Union address and an anti-war comic strip, both types of discourse aim to convey a message to the general public. Over the past 20 years, social leaders have utilized media outlets to promote and familiarize the public with their political agendas, in

wikipedia

gan a series of anti-war protests which preceded a nearly successful parliamentary rebellion.

That rebellious spirit has since transcended the immediacy of the war, as evidenced by political artists like Peter Kennard and Kat Phillips, who in 2013 released a photoshopped picture of Blair taking a ‘selfie’ in front of an Iraq war scene.

The photograph received critical acclaim from both the anti-war public and artistic organizations such as London’s Imperial War Museum, who included it in their North Catalyst Exhibition.

Although the photograph’s portrayal of Blair coincided with the anti-war sentiments of British

Through these displays of artistic expression, art the form has become a means of timeless protest. bomb the USSR. His justification for doing so is his inability to become sexually aroused due to the intricate communist plot that is water fluoridation in the US. The justification is madness, the situation is madness and the characters are utterly mad. In this lies the brilliance of Kubrick’s social commentary—perhaps the entire Cold War was madness.

Dr. Strangelove was not alone in its observations about the Cold War in America, and many other notable films of the late 1950s and 1960s dealt with, both directly and indirectly, the political and social perils of the time. When comparing two of these films, Dr. Strangelove and The Invasion of the Body Snatchers, certain patterns emerge in their portrayals of the Red Scare, McCarthyism and the Cold War. One such pattern was that of madness. The Invasion of the Body Snatchers, for example, was a science fiction movie released in

War, reflecting the distorted communist subversion fears that fueled the mass hysteria of the “Red Scare.”

Bayeux Tapestry

by Amanda McRae

200 feet is nearly the entire length of a football field. 200 feet is also how long one of the greatest works of Medieval art is: the Bayeux Tapestry.

Comprised of around 200 yards of fabric, this embroidery depicts the entirety of a battle deciding the next English king in 1066. Oath-swearing, treason, comets, and battles create one exciting narrative.

In 1066 King Edward the Confessor of England died. Thus began a battle between his brother-in-law and cousin for the right to the throne. Edward’s sneaky brother-in-law had previously sworn to the cousin that he would not attempt to win the throne after Edward’s death. Ap-

example, taught people about the course of a battle. CNN and TIME Magazine were not there to document the events. Instead, artists had to recreate the battle in thread to document it and educate about what took place on the battlefield.

This tapestry was prominently displayed in the front of a cathedral. While this may not seem like the most happening place today, churches and cathedrals were visited nearly every day by everybody in the Middle Ages. By hanging the tapestry in the front of a well-visited place, it ensured people would see it.

In essence, the tapestry was not just a private journal, but rather a public Facebook post for the world to see.

The Bayeux Tapestry exists today still as a historical documentation of a battle, but also as a look into how medieval societies were maybe not so different from life today.

hopes of securing votes and the public’s overall approval. Artists in the 21st century have also broadcasted and displayed their own political messages, some of which contradict or disrupt the messages of dominant political groups—especially in times of war. Thus, through these displays of artistic expression, art has become a means of timeless protest.

In the early 2000s, the War effort in Iraq, while fronted by the US military, also received support from other nations like Britain. In his 2003 address to the nation, British Prime Minister Tony Blair spoke in defense of the supposition that Iraq was in fact a “brutal state” and that his intention to deploy troops was solely based on bringing a semblance of peace to the Middle East. Despite this premise, British citizens were not supportive of such a proposal.

Shortly after this address to the nation, British citizens be-

citizens, Kennard and Phillips would face the disapproval of British media outlets in their attempts to broadcast the image to a wider audience.

Kennard and Phillips intended to incorporate the photograph into full blown advertisements that would appear on billboards and public transport advertisements, but were turned down

by British advertising agencies like JDecaux and CBS Outdoor.

When accused of political censorship, the two companies argued that the work could be considered “misleading, harmful, or offensive.” As the artists pointed out, however, the advertising companies seemed to have no grievances over broadcasting material that was violent or hyper-sexualized.

Through their art, Kennard and Phillips reassembled the politically disruptive ideologies of that year: the idea that Blair deployed troops to Iraq not for continued on p. 8

Page 8 • FEATURES

Thursday, November 13, 2014

Lambda Pi Eta increases campus involvement In Brief

Colleen Wilkowski

Goals of Lambda Pi Eta include: Recognize, foster, and reward outstanding scholastic achievement

Lamba Pi Eta at Rollins College, a chapter of the official communication studies honor society of the National Communication Association, is one of over 250 active chapters worldwide.

As such, the members of our chapter aim to contribute to the well-being and mission of Lambda Pi Eta as a whole by working to carry out the goal of the organization.

One way in which we uphold these values is through setting high scholastic standards for our members. In order to be inducted, a student must have a cumulative GPA of at least 3.0 and a communication studies GPA of at least 3.25. He or she must also be in the upper 35% of his or her graduating class, be enrolled as a student in good standing, and display commitment to the field of communication.

This semester is Lambda Pi Eta’s first as a recognized student organization on campus. As a student organization, we have been able to participate in more events such as the Halloween Howl, Freedom of Speech Week,

Stimulate interest in the field of communication Promote and encourage professional development among communication majors Provide an opportunity to discuss and exchange ideas about the field Establish and maintain close relationships and understanding between faculty and students Explore options for further graduate studies

Writer

and COM Fest. This past week at COM Fest, interested students were able to come hear about all of the exciting opportunities available in the Communication Department, Lambda Pi Eta among them. Through this organization, students are able to develop communication skills and relationships with faculty, while becoming a member of a prestigious national organization.

For information about joining, please contact Co-President Colleen Wilkowski at cwilkowski@rollins.edu.

Check out this informative video on COM Fest. Scan the QR Code above with your QR reader app.

IEW 2014 continues Rollins tradition Micah Bradley

or that of their international stuStaff Writer dent friends and stand by their flag for an aerial photo and vidInternational Education eo. This has the potential to be Week, or IEW, will be from No- an exciting new tradition,” said vember 17-21 this year.

Director of International Student IEW is a program organized & Scholar Services Jenifer Ruby. by the United Sates Departments She began the tradition of IEW at of State and Department of Edu- Rollins in 2006. cation. It is celebrated across the This event will be followed United States and in over one by a chalk art contest. Other hundred other countries. The events throughout the week inweek includes clude Caribbean programs that Life and Trivia, will help pre- IEW is a community a Naturalization pare AmeriCeremony, Lanwide effort and cans for globguages of Rollal citizenship involves many areas ins, and a Rolland leadership ins World Cup of campus. roles, as well as Soccer Tournaattract students ment. from abroad to “IEW is -Jenifer Ruby experience the a community United States. wide effort and The week’s involves many events will be launched this areas of campus,” Ruby said. year at 12:15 p.m. on The Green.

WPRK will be playing muThere will be a photo to celebrate sic from around the world and the Flags of Rollins, which usual- Sodexo will cook dishes from ly hang in the campus center. countries that are home to RollRollins will also be adding ins students.

Aruba, Costa Rica, Gabon and Rollins has taken part in IEW Singapore to the current flag col- for 8 years and focuses on suplection. porting both its international stu“The community is invited dents and the American students to wear the colors of their flag who decide to study abroad.

Class offers analysis of artisitic depictions of war

continued from p. 7

the sake of moral duty, but for the sake of militant domination and political amusement. While the Kennard and Phillip’s photo was not an immediate reaction to the events of 2003, its depiction of Blair helps to immortalize the opinions of those who opposed Britain’s involvement.

Those who could not experience the progression of these events are now able to consider these counter-political messages a decade later and engage in a more personalized form of dissent from Tony Blair’s pro-war mantra.

Hannibal trasvert les Alpes a dos d’elephant

by Nia Morgan

Hannibal of Carthage is best known for his conquering of Rome on the backs of elephants.

During the height of the Second Punic War, Hannibal and his army crossed the Pyrenees and the River Rhone, arriving at the base of the Alps. After many attempts to cross over into enemy territory were thwarted, the Ro-

mans decided to make the first move. Though Rome clearly had the larger army, Hannibal’s brute force, sly tactic, and bigger were was superior by far.

Nicolas Poussin’s painting Hannibal traversant les Alpes a dos d’elephant depicts Hannibal riding a large elephant in the last moments of his triumphant victory. Underneath the elephant is a Roman kneeling in submission and around the edges of them is the rest of the Roman army that has been captured by the Carthaginian soldiers. The use of dark rich colors (such as the abundant deep blues and yellows) draws on the power and bravado characterized by Hannibal; comparatively, it also draws attention to the positions and placement of the people in the painting.

The position of the people in the canvas painting shows superior distribution of power on the larger issue of inferiority over dominating cultures. Arguably, the systematic strategy that Hannibal uses to defeat the Romans is highly effective. Displaying his

force as weaker and then overpowering them unknowingly is ingenious in itself, rightly justifiable.

Lone Survivor

by Nicole Yatsenick

A group of three American soldiers are fighting for their lives somewhere in Afghanistan without backup. They are outnumbered, and one of them is hardly able to walk. Taking cover behind large boulders, the soldier with the wounded leg climbs to the top of a hill in order to attempt communication with the base to ask for backup.

Knowing that he will not survive the summit, he tells his fellow soldiers to “never give up the fight.” Just after securing air support for their position, he dies.

This scene depicts an American soldier sacrificing himself for the greater good of the overall mission. This film, Lone Survivor, exemplifies the glorification of war

by Hollywood.

The film Lone Survivor is based on a true story in which a group of four American soldiers

go on a mission to Afghanistan, and only one survives. Regardless of accuracy, Hollywood chose a story that glorifies war and supports American involvement overseas.

In the film, American soldiers are shown as selfless individuals. Compassion is shown countless times: when the group decides to let the goat herders go, the scene of self-sacrifice mentioned above and when Mark Wahlberg’s character requests that the Afghani man who helped save his life be allowed to accompany them back to base and be free from the Taliban.

Hollywood utilizes scenes of selflessness to gather support for the American troops.

Not only did the film portray the soldiers as caring individuals, it also underscored the need for American involvement in Afghanistan. One of the early scenes in the film shows a small village being terrorized by a Taliban leader, portrayed as ruthless.

When the local people see Wahlberg, they welcome the American troops, and are happy about

their presence in Afghanistan.

Moreover, this film contains all of the elements of a stereotypical Hollywood film that glorifies an American war: justification for military involvement, a seemingly impossible obstacles to overcome (commonly, being out numbered), martyrdom or a display of selflessness on the part of the American soldiers, and a hero who survives against all odds.

Hollywood films that depict American involvement in war show the American audience what they want to see. They all depict a scenario in which America successfully intervenes and aids a disorganized foreign society. The final fight scene of Lone Survivor portrays exactly the message that the American military wants to convey: somewhere in the world there is a ruthless warlord ruling over a disorganized society, but America can efficiently dispense of the enemy and save the helpless.

For additional contributions visit www.thesandspur.org.

Page 9 • FEATURES

Thursday, November 13, 2014

Embrace the beard, embrace the cause Ariana Simpson

Staff Writer

During the month of November, you may notice many men and even some women starting to look a little more stubbly than usual.

This is because of an annual event known as No-Shave November, or Movember.

Many of us may be familiar with this concept, but may not know how participating contributes to a great cause.

No-Shave November is actually a concept that was started to raise awareness about all types of cancer. The concept was first introduced as a light-hearted way to show support for cancer patients who lost their hair from various cancer treatments.

No-Shave November encourages men and women to let their hair grow wild and free. “The goal of No-Shave November is to grow awareness by embracing our hair, which many cancer patients lose, and letting it grow wild and free.”

The American Caner Society encourages men and women to “donate the money you usually spend on shaving and grooming for a month

to educate about cancer prevention, save lives and aid those fighting the battle.”

Having done a little bit of research to find out how NoShave November actually came about, we found that many have claimed the concept originated all the way back to the time of Plato. We cannot thank him for No-Shave November specifically, yet Plato is believed to have encouraged younger boys who were attempting to emulate those wiser than them by stating, “no man can be trusted if he is without a beard.” This then created a period of 30 days in which elders would teach the younger male population the art of maintaining a perfect beard to appear wiser and older.

Just a few years later in 1999, an organization known as Movember was created in Melbourne, Australia. With the slogan “changing the face of men’s health,” Movember sought to raise awareness for men’s health during the month of November, similar to raising awareness for breast cancer during the month of October. Men who became involved were known as Mo Bros and the women known as Mo Sistas. By 2011 they had nearly 1 million participants all around the world and raised 126 million dollars.

Since then, the concept has

expanded drastically and become more commonly known here in the United States as NoShave November. We asked a couple students here at Rollins their opinions and what their trick is to surviving No-Shave November. Sam Wall ‘17, a regularly bearded sophomore shared, “I like No-Shave November because I don’t really have to change anything. It is a fun way to create cancer awareness, and honestly at this point I just keep my beard out of fear. I haven’t seen my own face since early 2013, and at this point the thought of seeing what I look like without it is terrifying.” Aidan McKean ‘17, also a sophomore, stated, “It’s nice having a month off of shaving. Guys aren’t the only ones who have it hard, shaving a leg takes a really long time, and there are two of them.

Plus it goes to a good cause, just remember to donate at the end of the month!”

No-Shave November encourages all of you to let that mustache grow, lock the razors away, skip the waxing appointment, and embrace the hair you have. Even if you chose not to partake in a great excuse to not shave and contribute to a great cause, you can donate on the NoShave November website and share the concept with peers, friends, and family with the has-

We asked students about “No-Shave November”

“ “

“

I participate in No Shave November because it’s an easy and fun way to raise awareness for cancer.

show support for my family and friends affected by cancer

-Nelson Torres ‘15

-Dylan Allen ‘15

I was growing a beard before it was cool.

-Jose Foradada ‘15

“

Because chicks dig beards.

-Fraser Keill ‘17

“

Because razors are expensive.

-Tristan Baker ‘17

Page 10 • ARTS & ENTERTAINMENT

Thursday, November 13, 2014

alll photos Jonathan Scoblionko

Hulaween: an epic, psychedelic soirée Jonathan Scoblionko

Columnist

This past Halloween, jam rock legend, the String Cheese Incident hosted the second annual Suwannee Hulaween, a fourday spooktacular festival in the woods of Suwannee Music Park.

The festival featured acts of all genres such as Big Gigantic, Conspirator, The New Deal, Thievery Corporation (live band), Greensky Bluegrass, Kung Fu, Shpongle, Joe Russo’s Almost Dead and Ghost Owl, as well as a whopping seven sets of String Cheese. With so many incredible aspects to the festival, I chose to pick the Top Five facets that made Suwannee Hulaween stand out as one of the premire festivals of 2014.

1. Cheese. Lots and lots of Cheese: Let’s just say there is a reason why SCI hosts so many festivals. Each of their seven sets encapsulated different aspects of the festival experience, showcasing their versatility and depth of their musical repertoire. They led a journey through time and space, fusing genres and melodies: spanning from classic funk and rock and roll to bluegrass and psychedelic bass music.

The highlight set of the weekend was the “costume set,” in which they performed a set of all covers related to the afterlife (the theme for the weekend). The set featured covers of classics such as “Sympathy for the Devil” (the Rolling Stones), “Live and Let Die” (Paul McCartney), “Stairway to Heaven” (Led Zeppelin) and an absolutely incredible “Thriller” (Michael Jackson).

Unbelievable theatrics including pyrotechnics, live dancers,

wackey-waving-inflatable-armflailing-tube-men and a mind bending light rig made their performances a complete sensory overload… in the best of ways!

2. Spirit Lake, Mind=Blown: In honor of the festival, a portion of the grounds featured numerous live, interactive art installations. Inspired by Burning Man and other transformational festivals, Spirit Lake was a completely immersive mind-altering experience. An ode to all things weird, Spirit Lake featured circus performers, a pyrotechnic statue, a sound maze and many other wonderfully weird installations. The forest was transformed into a canvas, with the entire area rigged with psychedelic lights shining over the lake and through the trees. There was also a stage located in the heart of it all, which played music until the early hours of the morning. A trip through Spirit Lake literally felt like transcending this world and visiting another.

3. The Suwannee Family: I have been attending festivals at Suwannee since 2011 and have made lifelong friendships with people that I really only get to see when I am there. It is an incredible phenomenon to have such a close-knit family that all come together for events at Suwannee.

Each time I return I meet new people and my family grows a little bit larger.

4. That Thursday Throwdown: Electron and Particle provided great late-night jams on Thursday to kick off the weekend. The turnout for the pre-party was fantastic and the energy and excitement was palpable.

Led by keyboard virtuoso, Steve Molitz, Particle’s set featured

extensive jamming and kept the crowd moving. The highlight of the set was when the band was joined by Aaron Magner (Conspirator, Electron, The Disco Biscuits) on keys and Jason Hann (String Cheese, EOTO) on drums for a weird and wild “Knee Knocker.” Electron’s set featured a quality selection of Disco Biscuit’s tunes such as “Home Again,” “And the Ladies Were There the Rest of the Night” and “Confrontation,” as well as covers of Pink Floyd’s “Comfortably Numb” and “Brain Damage.”

5. All Genres Covered: The lineup featured an extensive diversity of genres. The afternoons were filled with beautiful acoustic and bluegrass sets, as well as a few downtempo DJ sets in Spirit Lake. Some daytime highlights included Greensky Bluegrass, Rob Garza (Thievery Corporation) DJ set, Emancipator and Keller Williams. The nights were filled with psychedelic rock, funk and experimental electronic music.

Some of the nighttime highlights included The New Deal; a wild collaborative Conspirator set featuring Dominic Lalli and Jeremy Salken of Big Gigantic and an awesome late Kung Fu set at the Spirit Lake Stage.

After my second Hulaween, I can honestly say that it is one of the best Suwannee events. The unique vibe, emphasis on multisensory, live art installations, and incredible theatrics yield the perfect environment for an epic psychedelic Halloween soiree.

After this year’s numerous improvements in production and organization, I am very excited to see what the future holds for Suwannee Hulaween.

Page 11 • ARTS & ENTERTAINMENT

Thursday, November 13, 2014

TALK

Chris Sarafian

Staff Writer

Taylor Swift made a triumphant return to the music world this week with her latest album, 1989. While critics and fans alike have praised the record—which takes its name from Swift’s birth year—many refuse to acknowledge its existence or potential.

Unfortunately, many people don’t like Taylor Swift. Actually, that’s an understatement: people who don’t like Taylor Swift REALLY don’t like Taylor Swift. Why though? She seems like a nice girl; we don’t see her wrapped up in celebrity scandal or drunkenly slipping out of limos at three in the morning. Yet, she’s constantly barraged by hatred (and even death threats).

Oftentimes, the criticism centers upon her “cutesy image” or the subject matter of her music.

While I understand that many may find Taylor Swift’s Disney Princess tendencies irritating—the excessive sweetness certainly isn’t everyone’s

cup of tea—I’m perplexed by the public scrutiny regarding her work. Key word: her. Taylor Swift writes about boys and love. Fact. She does. No one—not even Taylor Swift—would argue that. However, don’t most popular songs—most songs in general—relate to either love or one of these other topics listed below?

Try this: go onto your iPod (or Zune, if you’re one of those people), click shuffle and scroll through the first five songs.

What is each one about? The majority, most likely, will entail love or relationships. It’s a popular topic—especially in the world of pop. The subject comes with a variety of emotions for artists to choose from. Adele’s “Someone Like You” might bring you to tears, but Katy Perry’s “Teenage Dream” can make you dance like a poorly developed Glee character.

So, why does Taylor Swift receive flack for writing about love when so many others utilize the topic as well? First of all, let me be clear: Taylor Swift actually does write about more than just

‘Teardrops’ on our guitars love and boys. Though, many people don’t give her music enough of a chance to discover that on their own. In my opinion, the public disdain parallels her vulnerability. Listening her music, you immediately know that a part of the artist resides within the art.

These aren’t just “songs”— they’re pages of a young woman’s diary set to music. These are real emotions. This is her actual life. These songs are about real people (many of whom you may even recognize via the lyrics). Phantom songwriters don’t write for her. They don’t stack songs on a clothing rack for her to scope out, sample, and ultimately decide whether or not

she wants to make the purchase.

Rather, Taylor Swift—that girl with who plays with kittens and bakes cupcakes—writes everything herself. That should come as no surprise: how can you not acknowledge the very real emotion teeming within each song?

The public disapproval of Swift seems to tote this invisible phrase: “I don’t feel like listening to your problems.” For many, Taylor is that whiny friend incessantly talks about her problems. Some might prefer to tune this person out. Others, on the other hand, apply Swift’s music and lyrics in a different way: she becomes the voice of our internal-self, and we align her music to our own personal experiences

and struggles.

Nowadays, not many artists can perform this act of possession—we don’t channel Kanye as he raps about how much money he has. Very few people can relate to that. Taylor, on the other hand, is someone we can resonate with. Although she’s a celebrity, she’s also a person.

Her battles and emotions aren’t much different from our own.

Sharing her innermost feelings with us, we come to know her as more than just a pop star. She’s just like every other 23 year old.

By sharing her feelings with us, she becomes almost like a friend.

One we talk to, not through text messages or phone calls, but through music.

WPRK’s Top 10 Songs Our Love

2

Black Moon Spell

Caribou King Tuff

3

You’re Dead

Flying Lotus

4

This is All Yours

Alt-J

5 6 7

And Star Power Manipulator Chinese Fountain

Foxygen Ty Segall Growlers

8 9

Bazaar Syro

Wampire Aphex Twin

10

Unravelling

We Were Promised Jetpaks

Accepts R-Cards!

“My favorite is spinach, tomato, and feta”

Locally Owned and Operated

Roger Lewis, your local Domino’s Manager

Maitland

ORDER NOW AT DOMINOS.COM

1510 S Orlando Ave. Orlando, FL 32751 Minimum Purchase required for delivery. Delivery charge may apply. Limited delivery areas.

1 LARGE ANY WAY!

12

Choose any style with any toppings

each

CODE 5041

LIMITED TIME OFFER Cash Value 1/20c. Prices may vary. Tax may apply.

2 LARGE

Minimum Purchase required for delivery. Delivery charge may apply. Limited delivery areas.

2-Topping Pizzas

Additional Toppings extra.

CODE 5364

LIMITED TIME OFFER Cash Value 1/20c. Prices may vary. Tax may apply.

Valid with coupon only at participating stores.

1

Valid with coupon only at participating stores.

Artist

©2014 Domino’s IP Holder LLC. Not valid with any other offer.

Song

©2014 Domino’s IP Holder LLC. Not valid with any other offer.

Rank

Page 12 • ARTS & ENTERTAINMENT

L

I

M

I

T

Thursday, November 13, 2014

A

T

I

O

N

S

O

F

T

H

E

be chde l T Nicholas D’Alessandro Staff Writer In the modern age where social issues and civil rights are ever prominent in our lives, one of the most popular means of sparking discussion is through the media.

Film, an endlessly prevalent medium, reflects this as well.

Since the dawn of cinema it has been a tool to discuss race, gender, sexuality, poverty and many other social issues. In the past couple of months alone, as feminism grows in our society, strong women have been prevalent in

film. And more than just that cliché term “strong women,” the industry has been shifting to include more female directors and more female centric films, such as Obvious Child.

The history of women in film is a complex one. From the object of desire in the early days, to the femme fatale of the 30s and 40s, to the social change of the 60s and 70s, then back to being an object of desire in the 80s and 90s. One important test in defining whether or not the women in the film are one-dimensional became a part of pop culture in the mid-80s with the emergence

|

E

S

T

of “The Bechdel Test,”—named after cartoonist Alison Bechdel who presented the test in her comic, Dykes to Watch out For. To pass the Bechdel test, the film must meet all three of the following requirements: 1.

It must have two women in it, 2.

They must talk to each other and 3. They must talk about something other than a man. If you want to see if any recent films have passed the test, check out BechdelTest.com for more.

But what if a female character is strong and is the only character in the movie? Think of the movie Gravity. Ryan is the only

female character, yet she is the savior and an incredibly smart and strong female all by herself.

While the Bechdel test does prompt discussion, it should not be the end-all-be-all of tests to determine equality of the sexes. Even if the film does pass the test, sometimes situations such as the Trinity Syndrome can come into play. The Trinity Syndrome, as described by writer Tasha Robinson, comes from Trinity, the character in The Matrix, who started as a tough, strong character in the first film and became an object of desire in the following two films. Rob-

inson states that films such as The Hobbit, The Lego Movie and How To Train Your Dragon 2 all have characters that start out as apparent strong females, but get lost in being bested by a man or becoming a part of a relationship/love triangle.

In a time where feminism is prevalent in the media, it is important to assess how effective film is as a medium to connect with the movement. Truly defining a strong female character and including more female writers, directors and producers will help the medium take more significant steps forward.

WINTER’S PARK’S PATIO BAR

Mi Tomatina provides an upscale approach to Spanish cuisine.

“You will love the experience”

TUESDAY

SATURDAY & SUNDAY

TAPAS TUESDAY

PAELLA MADNESS

5 – 9pm

11:30am – 3pm

$13 ALL YOU CAN EAT PAELLA $4 MIMOSAS BY THE GLASS $4 BLOODY MARY’S

$4 TAPAS TUESDAY MENU WEDNESDAY 8 – 10pm

$15 ALL YOU CAN DRINK DRAFT BEER BY THE GLASS

FROM EXTENSIVE MENU

SELECTIONS RANGING FROM

Reservations & Gift Cards available Online! www.mitomatina.com

433 W NEW ENGLAND AVE | WINTER PARK, FL 32792 (321) 972-4881

HOURS OF OPERATION Monday 5 – 10pm Tuesday – Friday 11:30am – 2pm 5 – 11pm Saturday 11:30am – 11pm Sunday 11:30am – 9pm

SMALL TAPAS DISHES TO LARGE PAELLA'S, MI

TOMATINA IS THE ULTIMATE EXPERIENCE IN WINTER PARK DINING.