There is a tendency to instinctively link the forward passage of time with the forward progress of society. It is tempting, and certainly reassuring, to rest one’s faith in the long arc of the moral universe. We have an abundance of new technological and social innovations that have dramatically increased the quality of life of people around the planet. But too often, accepting these innovations without skepticism leads to a failure to reckon with the nature of power and how it is exerted onto those with less of it. This growing trend of so-called progress has facilitated the exploitation of new technology by employers to further manage and control their workers in ways that range from merely annoying to deeply disturbing. Without the proper caution and concern for people’s fundamental rights and dignity, what we know as innovation can be weaponized to undermine personal sovereignty, subjecting people to the whims of corporate interests.
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The granite of New Hampshire doesn’t exactly call to mind beaches, breaks and surfboards. Some of the most common reactions to the words “Dartmouth Surfing Club” is “How?” And yet there are those who know better.
For every fall, winter and spring term in the Dartmouth calendar, there is a single weekend reserved for celebration by the Dartmouth community: Homecoming for fall, Winter Carnival for winter and Green Key for spring. However, whereas Homecoming is a time to rekindle the Dartmouth spirit by reconnecting alumni with their alma mater and welcoming freshman into the community, and Winter Carnival showcases the achievements of Dartmouth’s winter sports teams, the College touts Green Key as a weekend to “celebrate the arrival of spring” — a purpose that is hardly Dartmouth-specific. Though at one point Green Key had a community service focus, its emphasis on social service has since slipped away. Now, the weekend more closely resembles earlier traditions of excessive drinking, substance abuse and revelrous traditions such as inebriated, rowdy chariot races across the Green using makeshift chairs and students as “horses,” as well as hazing of the freshman class.
Plummeting acceptance rates, viral “Ivy Day” reaction videos and the recent college admissions scandal that spotlighted bribery at top institutions are all indicative of a nationwide fascination with prestigious colleges and the lives of the students who attend them.
Two students stumble down Main Street one night in the fall of 2018. At the bright lights of the Irving Oil gas station, one collapses, having had too much to drink. Their companion, concerned for their now-unconscious friend’s safety, makes a Good Samaritan call to Safety and Security and carries them to the road in front of Collis.
I’ve never thought much about how art is moved. We can carry small pieces or move them on a cart, but what about the massive ones? Like “Guernica” or “Water Lilies” or “Hovor,” a piece on display in the new Hood Museum of Art? The answer: a massive elevator, one story high, that could fit at least eight normal elevators inside it. This is my first point of contact with the inner workings of the Hood Museum of Art.
Currently, the College’s counseling service sees a quarter of the total student body, according to Mark Reed, the director of the health service. He said that use of Dartmouth’s on-call counseling services has increased by 60 percent over the last six years, and mental health-related admissions to Dick’s House have increased by 45 percent over the same period.
In the days before this year’s Green Key concert, The Dartmouth sat down with Eli Sones, one half of the LA-based DJ group Two Friends, best known for their extensive collection of “Big Bootie” mixes. A Los Angeles native and long-time music lover, Sones began pursuing music seriously while in high school and has continued evolving artistically ever since. Working alongside his childhood bestfriend and fellow DJ-Producer Matthew Halper — the other half of Two Friends — Sones has learned a lot about the importance of connection and cooperation throughout his musical career. Over the course of the interview, Sones shared his insights as a musician who is well-versed in collaboration and creation.
Only 30 years younger than the College, student journalism at Dartmouth has been a stalwart — chronicling institutional change and the College’s interactions with the world.
While Winter Carnival started off wholesomely enough with winter sports, two years after the inception of the event the Dartmouth men soon expressed their interest for the activities to broaden in scope. In 1912, The Dartmouth published an article begging the administration to bring women to campus for the celebratory weekend. The writers claimed that the Carnival “will not succeed without girls. It is up to every man with a purse or a heart or a bit of enthusiasm . . . to make haste to procure that most necessary item. ”
For over one hundred years, Winter Carnival has descended upon Dartmouth around this time. However, recent carnivals have lacked a tradition that was long a carnival mainstay: ski jumping. In 1993, after ski jumping was no longer recognized as an intercollegiate sport, the ski jump tower that had been a prominent feature of the Hanover Country Club golf course was taken down, ending the sport’s slow demise at the College.
Before Robert Trundle ’91 arrived on campus, he already had high expectations for Winter Carnival.
While today’s Winter Carnival typically includes a dip in the icy waters of Occom Pond and an ice sculpture competition, previous Carnivals used to include elaborate figure skating shows and keg-jumps. How did the Carnival evolve through the ages?
What comes to your mind when you think of Dartmouth? The picturesque serenity of the Green, or the joyful tunes resonating from the Baker bell tower every afternoon? Is it the cozy Sanborn couches and the 4 p.m. tea, or maybe the winter chills you feel while roaming through frat row? Regardless of what images come to your mind, there will be one common denominator: all of these images are symbols of the common Dartmouth experience and are linked to Dartmouth’s core values, as mentioned in its mission statement. These values are what have been shaping the community’s experiences for the past 250 years, and despite their monumentality, they push the College toward dynamism and improvement. In this special edition of The Dartmouth, let us cherish these common values with some tales from students, alumni and faculty.
These days, we do a lot of documenting without a lot of remembering. Pictures are taken, social media helps to preserve moments in time, but we rarely look back and think of how far we’ve come. With Dartmouth’s 250th year upon us, we’re now asked to reflect and remember — but remember what exactly?
A recent analysis by the American Historical Association revealed that nationwide, the number of students who pursue an undergraduate degree in history has dropped precipitously in recent years. With only 5.3 history degrees awarded per 1000 students, the discipline is shrinking rapidly with no end in sight. Though the study identified several reasons for the sharp decline, Benjamin M. Schmidt, the analysis’ author, believes that most can be condensed into reduced receptivity to the holistic philosophies of a liberal arts education. Students and parents, he contends, are now looking for a faster and more profitable return on their investment into higher education than ever before.
This year, Dartmouth is celebrating its 250th anniversary. And at first, I thought it had absolutely nothing to do with me.
“Winter Carnival” was a low-budget Hollywood production set at Dartmouth that was released in the summer of 1939. It was an escapist romance movie that included a fleeing heiress, a heartthrob professor, plenty B-reels of ski jumps, ice sculptures and historically accurate newspaper headlines that exclaim “SMOOTH BABES INVADE CAMPUS.”
“From Gurgl and Obergurgl to New Hampshire comes Dr. Wolfgang Schlitz. Touring the White Mountains, he sees Mount Washington, famous for high winds, terrific storms, many climbing tragedies.”