Our A&E Editor Taylor Coe ’13 sat down with Liz Longley before last Thursday’s acoustic coffeehouse. Watch the slideshow and listen to his interview!

Photos by Fiona Hoffman-Harland ’13.


Courtesy of Gillian Dudeck '13.

Name: Gillian Dudeck
Hometown: Deep River, CT
Major: Environmental Studies
Turn On? Jans
Turn Off? People who are not famous.
What is your worst habit? Wondering if my car windows are open at 3 a.m. while it’s pouring, then leaving my bed to check on them just to find that they are closed…every time.
If you were a dorm which would you be and why? Skenandoa-I hear it’s a hidden gem…like me.
If you had to describe yourself as the love child of any two musicians which would you pick and why? Jimmy Buffett and Beyonce. Jimmy lives the dream every single day. Beyonce is so fierce, yet I just know she is going to be such a great mother. I would be proud to call them Mom and Dad.
If you had to create a new points system what would be the #1 offense?
Stealing Bicentennial Banners…or is that already the #1 offense?
What advertising slogan best describes your life? Miles away from ordinary.
What movie genre best describes you? Rom-coms. That’s wishful thinking though.
What’s the best pick-up line you’ve ever used/had used on you?
Dayum, should I pursue? (Check out Monique Patricia on Youtube)
If you could have any super power what would it be and why?
Being able to stop time. Watch Clockstoppers for a refresher as to why it’s the best super power.
What is your spirit animal and why? A crab. I’m a cancer, I love the ocean, and I’ve always related to Princess Ariel’s cautious guardian, Sebastian.
If you were a cold cut, which would you be and why?
Marshmallow Fluff. Does that count as a cold cut?
If you were any social space what would it be and why?
The Hub. I can socialize while doing laundry. Priorities.
If you could get rid of one group on campus what would it be and why?
People Who Like to Do Fun Things. Who wants that?
If you could join one group on campus what would it be and why?
Tumbling After. Could they be more perfect?
If you could trade jobs with anyone at Hamilton for a day what would it be?
Joan Hinde Stewart. All or nothing.
If you could break one rule at Hamilton and get away with it which would you choose?
I just want to proudly hang fabric on my wall.
What would you give a thumbs up? Finding a soulmate through this article. Get at me.
What would you give a thumbs down? Homework.
Who would you say is your campus crush? Keep working boys.
What is the weirdest thing currently in your room? My super-sized London photograph…and the rest of my Jan memorabilia.

by Taylor Coe ’13

Arts & Entertainment Editor

In light of my article on illegal music downloading last week, I think it might be useful to point out that illegal downloading and copyright issues are by no means restricted to the music world. Although the world has largely focused on how peer-to-peer networks and other forms of file-sharing have affected the music industry, other industries have been hit as well. The obvious one to emerge in recent years is, of course, the film industry.

Prior to five years ago, the notion of having films stored on a personal hard drive was unusual. Today, it’s fair game to hear not only about friends of mine having dozens of films stored on hard drives, but even possessing films that have only recently hit theaters. None of this is to say that the film industry, unlike the music industry circa a decade ago, has been slow on the uptake.

Netflix and Amazon both provide live streaming services with an unbelievable breadth of titles (though the traditional DVD rental system and stores remain unparalleled in their depth—you won’t find classics like My Dinner with Andre streaming off the Internet) and online stores such as iTunes and (again) Amazon have made the leap to selling digital copies of films. In some sense, the film industry finds itself in a far less precarious place thanks to the confused footsteps left by the RIAA and the music world.

You’ll be unhappy to know that the U.S. Copyright Group (USCG)—a group interested in monetizing illegal sharing channels such as Pirate Bay—has, like the RIAA, been suing individuals for illegal sharing of films online. The system of lawsuit filing works exactly like that used by the RIAA for illegal music files—check out my article for a more in depth description.

But issues of copyright relating to film are complicated when education comes into play. According to laws of fair use issued by the U.S. Copyright Office, copyrighted material can be used only according to the following factors:

1.     The purpose and character of the use, including whether such use is of commercial nature or is for nonprofit educational purposes

2.     The nature of the copyrighted work

3.     The amount and substantiality of the portion used in relation to the copyrighted work as a whole

4.     The effect of the use upon the potential market for, or value of, the copyrighted work

(taken from the U.S. Copyright Office website)

Professors may show films, but they need to be based on an educational premise; that problem, of course, does not crop up so much in college…in lower levels of education, however, it can prove to be a problem. In an article on teaching website Edutopia, writer Star Lawrence speaks with David Ensign, a professor of law at the University of Louisville, who points out that while a teacher may show The Lion King to his class if the class is, say, comparing the storyline of the film to that of Hamlet (the creators’ ostensible inspiration) but not simply because it’s a crummy Monday morning and the class doesn’t feel like going over their multiplication table.

However, there’s no real clarity to any of these copyright issues. Even the U.S. Copyright Office website, in a somewhat hilarious admission, explains, “The distinction between fair use and infringement may be unclear and not easily defined.” So much for rules and regulations…copyright law is, and will for some time remain, an impenetrable maze of intellectual property issues and fair use bargaining.

A final aspect of film copyright I’ll point to is the consequences of publicity and advertisement for public showings. Any public showing of a film usually necessitates some sort of copyright payment on the part of the host or hosting organization (unless the film is in the public domain, such as It’s a Wonderful Life). Those payments are not cheap. To give you a sense of scope, the showing of Super 8 last Friday night cost $750. That’s for a single public showing. Granted, Super 8 is a newer film, but older films will still run you a couple hundred bucks…not exactly chump change. So when a club on campus decides to show a film and broadcasts it to the campus community without having handed over any of those copyright payments, hefty fines are waiting somewhere in the wings (in the guise of the MPAA this time, not our friends the RIAA).

by Kendall Weir ’12

Sports Editor

SWIM FAN - Hamilton fans show their support at a swim meet. Photo courtesy of Michael P. Doherty.

Tobias J. Moskowitz and L. Jon Wertheim, the authors of Scorecasting, argue that there is proven math behind the longtime sports theory of home field advantage. In light of their argument, I want YOU to go watch some Hamilton sports today.

Scorecasting is a book in which the authors explore the hidden influences behind how teams win games. For more ways to help the Continentals win, give it a read.

The authors explore the math behind home field advantage—finding that soccer, basketball and football teams at home possess the largest advantage from playing at home. First they analyze the conventional wisdoms behind the theory: teams win at home more often than the visitor because of crowd support, the rigors of travel, a kinder schedule at home, and the unique features of the team’s home court, field or playing surface. For example, a soccer team playing on a traditional, uneven grass field has the advantage of visiting teams that play half their games on home turf.

The key influence here is crowd support. Every home team loves to see professors, students, parents, faculty, staff and administrators in the stands. We don’t need math to figure this out: this presence boosts confidence and motivates Continental athletes to perform for the people they are close to in their surrounding college community.

Another, more complex motive behind the math of home field advantage is the psychological influence from fans on umpires and referees. With substantial data, Moskowitz (a well-known economist) and Wertheim (a senior writer for Sports Illustrated) managed to prove that umpires favor the home team. It doesn’t seem fair, does it?

However, this decision by umpires to favor the home team is subconscious and even accidental. It happens in every sport, at both the professional and collegiate levels. That means it is up to YOU to help Hamilton sports win in 2011-12!

So paint your friend’s face buff and blue, get out your Hamilton wardrobe and go watch the Continentals this fall. The golf team is one of the best in the NESCAC, the soccer teams and field hockey team are all joining the NESCAC and Hamilton loves its rugby. Tennis has a short fall season and the volleyball team is already 4-0. Pick your poison. After all, we all play our part in these teams’ wins.

by Taylor Coe ’13
Arts & Entertainment Editor

I’m not the biggest art junkie, but as Arts & Entertainment editor at the Spectator, I felt obliged to check out the Student Invitational show at the Emerson Gallery the past two weeks. Not covering the show myself (check out the excellent review by Maeve Gately ’12 on our website), I felt at leisure to more or less wander the three rooms at my fancy, which was pleasant—hands in my pockets instead of armed with pad and paper.

But what was so sad about my brief foray into the world of art was how empty it was. Not that I was exactly pining for my experience this past summer at the National Gallery in Washington, D.C. (swarms of camera-armed tourists and arrogant security guards), but it would have been nice to know that I was not alone in my appreciation. Granted, it’s not entirely fair of me to expect any kind of crowd at four o’clock on a Monday afternoon, but the show did end on Tuesday. You’d think there might have been more of a last minute rush.

But, sadly enough, there wasn’t.

For a campus that has so much extracurricular interest and such a notable focus on the humanities, there has, in my view, been little enthusiasm for the visual arts. While I would not rush to peg responsibility for that lack of interest on anyone or any group in particular, I do think that the visual arts deserve more attention on campus than they currently receive.

The student show, after all, was fantastic. One feature that contributed tremendously to my enjoyment of the show was the notes from the artists next to their pieces. Visual art, despite what some of us like to think, is not often an explicit viewing experience. I didn’t look at the sculpture of twisting text and a transformed book done by Deanna Perez ’14 and immediately understand the pages as an extension of Perez’s body—I needed the note to helpfully guide me in that direction.

I suspect that the addition of these notes to all the featured art by students on the campus would generate far more interest that the generally ambiguous displays set up in the second floor of List. As for one video set up in that hallway my freshman year (that would be two years ago)—it played on a loop without any explanation. As far as I can remember, the audio consisted of shower sounds and the visuals were foggy and unclear (a shower also?).

Some sort of textual supplement would have made the experience of more interest not just to me, but, I’m certain, to other passersby. Purists out there might argue against these textual (and oftentimes interpretive) aids, pointing out that the audience (and thereby the artists) should not rely upon outside supplements as a sort of helpful crutch towards understanding or interpreting artwork. For sure, this practice opens up the risk of half-baked artwork that relies heavily on its accompanying explanations, but I think that the risk is worth running when it comes to getting a look into the artists’ heads. Art, for me, deals largely with ideas and it would be a shame to miss out on any of them.

I don’t mean to suggest this as a solution to the small student interest in the artwork of fellow students—I have no illusions about the music wing in List being filled with admirers—but I do think that there is something to it. So when student artwork from this semester—some of it, undoubtedly, worthy of notice—begins cropping up in the hallways of List, it would be nice to have some notes on the side.