The goal of NMEGW is to introduce, through workshops, hot glass to artists that don’t work that medium. While founder Neff is a glass artist—pushing the boundary of the medium to larger-than-life proportions—the workshop attendees and fellows are learning something new.

In its second year, NMEGW has announced the 2012 Fellowships to Erika Wanenmacher, Signe Stuart, Tasha Ostrander, Susanna Carlisle and Bruce Hamilton.

NMEGW fellows will not only be making beautiful glass pieces, however. They are finding ways to use the other 20% of glass waste, which is not recycled to create new containers. Glass used during workshops and fellowship programs is recycled and reused in cooperation with the NM Solid Waste Management Agency and the New Mexico Recycling Coalition!

Fellowships, scholarships and volunteer opportunities will continue at NMEGW in years to come. Studio residencies culminate in an exhibition of the work, as well.

Photo credit:  Karen Kuhen

In fact, Morrison does not map out these arrangements beforehand.  Each piece of aluminum is cut out and then the shapes are drawn into their arrangement.  It’s no wonder there’s not a single actual square in the show.  The perfect, ideal square may be Phantom Limb’s phantom limb.  I wonder if a calculator or ruler ever even enters into their creation, except to acquire a straight edge.  Ironically, Morrison’s piece, Saul’s Universe, borrows its name from Saul Perlmutter, 2011’s Noble Prize winner in physics.  A professor at the University of California, Berkley, Perlmutter is part of a team of scientists who announced in 1998 “that the expansion of the Universe was not slowing down due to gravity but was in fact accelerating.”  Perlmutter’s universe is full of “dark matter,” the cause of the universal expansion. It’s called “dark matter” not because it’s evil witchcraft but because the scientists are literally “in the dark” about what it is and why it’s causing the expansion.  The impact of this Nobel Prize winner on Morrison’s work may be equally obscure except to postulate that Saul’s Universe tends to expand from a single square into many, possibly ad infinitum.  The center is a dusty rose pink square, which alludes to three-dimensionality through its black and white trail receding off the top right corner.  From there, boxes keep popping up like a Jack-in-the-Box that perpetually pops out more boxes instead of Jack.  Different colors painted on by hand with the help of masking tape offer a playground of foregrounds and backgrounds with sliding diamonds in between.  Like most pieces in Phantom Limb, if you try to fold the squares logically in your head in hopes of forming a box, it’s just as confounding as Perlmutter’s physics.

At least with a Rubick’s cube, you know that all those extracurricular angles fit neatly inside the original configuration, even if you can’t necessarily get them there.  In contrast, the marketing card for Phantom Limb offers a fun play of illusion.  It shows Saul’s Universe hanging on a less than perfect specimen of architecture.  An old barn, charming in its antiquity, rests on open plains with a picturesque sunset behind.  Saul’s Universe hangs on the end, outside.  The colors of the squares pick up the setting sun as if a nostalgic landscape and an architectural matrix have always labored side by side.  But it is weird and one has to do a double-take.  Morrion’s sculpture looks superimposed on the barn using Photoshop, but it’s not.  Flattened by distance and by the camera lens, this awesome juxtaposition collapses the distance between mathematical certainty and the imperfect brown barn, elapsing the white cube into its gritty archenemy to create a more realistic, questionable existence. After all, does Saul’s universe expand forever or is there an end to bring us back to square one?

Williams’ work is currently in exhibition at the Arthouse at the Jones Center, as well:

“In site-specific installations heavily reliant upon construction techniques, Williams responds to and reveals the history latent within a particular place and structure. Of interest to Williams is the narrative told by a building’s architecture, and his techniques often add to or subtract from the very fiber of a site in order to reveal the story at its core” (from the AMoA-Arthouse website).

Williams’ work will be on display through July 22.

With all of the recent budget cuts at Texas public schools, it seems as though arts programs are always the first to go. That is where Attendance Records comes in — they are dedicated to bringing creativity back into schools by connecting teachers and students with local writers, artists and musicians. Founded by Jenna Carrens, Attendance Records provides a free, safe environment where students are encouraged to find their own voice through the arts.

This last semester, Carrens has been teaching a free class at Anderson High School with high school teacher Matt Earhart. Carrens designed an entire curriculum around teaching the students valuable lessons about the music industry. Students learn about the DIY ethos while being given an outlet to express their creativity. The class helps the students build their confidence as they also learn valuable lessons about responsibility.

Carrens worked with her class on all aspects of producing and releasing an album. Creative writing exercises helped the students learn to express themselves in song lyrics, poetry, and short stories; they also learned screen printing skills as well as how to design album cover art. While students did a majority of the work, they enlisted the assistance of two local bands — Mother Falcon and The Sour Notes — to write and perform the music. (Mother Falcon and The Sour Notes also led creativity workshops with the kids.) Using the student-written lyrics, Mother Falcon and The Sour Notes worked with engineer John Michael Landon at Premium Recording to record an album for free. Then, Mother Falcon and The Sour Notes debuted the new tracks at the Attendance Records benefit/CD release party last week. (Here is a sneak preview of one of the tracks on the Attendance Records Bandcamp page.)

Currently, Carrens can only teach one of these classes per semester; but by forming the nonprofit entity, Attendance Records, her intention is to expand the program to reach more students. Since the State of Texas obviously does not care about whether or not our youth learns about how to develop their creativity, this is where you come in because someone needs to step up and fund Attendance Records. (Attendance Records is a sponsored project of the Austin Creative Alliance, so contributions in behalf of Attendance Records can be made payable to Austin Creative Alliance — in which case the contributions will be tax-deductible to the extent permitted by law.)

Feature Image: Christopher Hoyt and Layne Tanner

First up is the cruise that was on my TV, and I don’t have cable. I watch broadcast TV.  Come back when you’re done laughing.  The commercial was for the First Annual Soul Train Cruise February 17^th – 24^th 2013.  I would do this one in a heartbeat even if I had to be towed behind it.  I mean let’s do some simple math.  You can go see Kool and The Gang open up for Van Halen (Which I am now calling bad-touch-uncle Van Halen because they are uncomfortable on any level to be around these days.  You doubt? Watch their new video.) for a $150 a ticket.   Or you can spend a week with them and Patti LaBelle, The O’Jays, Jeffrey Osborne, War, The Spinners, Jody Watley and bunch more that will just get me in trouble for word count padding for around 2 grand.  I would challenge War all week to a cannon ball contest just for the irony.

The next two are such mountain of gold money winners you can just hear the promoters new Ferraris purring.  Who wants to get Ship Rocked?! Well I sorta do and, yes, I just admitted to that.  Ship Rocked is a 4 day and night cruise that hits Fort Lauderdale, Key West, and Nassau, Bahamas and starts at $799 per person.  The headliners are Godsmack and Five Finger Death Punch with a whole slew of nationals and semi nationals behind them.  From what I have heard all but the big headliners just get a free all expenses paid trip for their performances which after 200 tour dates in a glorified van must sound pretty enticing.

Kevin Lyman, Mr. Genius of all festival tours has now raised his magic money wand at the cruise industry and came up with the Mayhem Cruise Dec 7 – 10 2012.  FYI the bunk beds with no windows are already sold out there Mr. Metal Gilligan.

This cruise has all the big stars of the Mayhem Festival on board and I bet as soon as Master Lyman can figure out how to legally cram 2,000 teenagers onto a boat there will be a Vans Warped Tour Cruise.  Salt Peter generously served with every meal, cupcake, beverage, party hat, towel and free VWT emblazoned chastity belts for anyone under 18.  With the sold out success of the 311 cruise I can’t imagine that the VWT cruise isn’t far behind.

Before we hit the totally absurd waters Cap’n here’s a quick list of some other music themed cruises which I actually just figured out globally is at 500 per year.  500 music-themed cruises.  People like expensive boat concerts I guess.

Rock legends 2.  Foreigner, some weird CCR remake and a bunch of others.  rocklegendscruise.com

The Kiss Kruise thekisskruise.com I guess some sort of incarnation of Kiss plays.  HEY! They have shuffleboard honey!

And the Lyle Lovett cruise known as cayamo.com with Lyle and a bunch of others

And ohhh, what the hell one more, here’s the Turner Classic Movie cruise tcmcruise.com which will be a nice slice of left field ginger for your palette before I sock you with the next one.

Please raise your arms up (Come on do it.  It’s not like anyone is watching you read this.)  And in your deepest and darkest voice cryptically bellow:  THE BARGE TO HELL!  Yeah you wish I was making this one up:  www.bargetohell.com  The Barge to Hell is a 4 day cruise from Miami to the Hellhamas and back, or the Bahamas, yeah whatever just rolling with the theme.  Its musical talent roster is made up of 40 bands that sound like you left a chainsaw running on your face during your summer stay at Camp Evisceration.  I envision exactly two (2) types of conversations occurring on this soon to be decommissioned retiring sea vessel during this cruise, “Dude, aren’t you the lead growler for Putrid Rotted Eyeballs?” “Wow yeah I am, thanks for noticing! Aren’t you the third lead bassist for Ground Up Butt Stench?” “I totally am, man! So nice to meet you!”

Conversation #2.

“Are there any chicks on this boat?”

“No.”

Now here’s the greatest thing of all.  They allow quad booking on all the rooms. What more could you ask for!?

Here’s your opportunity to evaluate Skreech’s worthiness as a documentary subject for yourself; it has just been released on iTunes—officially you can watch the film on your sofa while enjoying a beverage of your own while Skreech does the same.

The film is set in Chino, California, which seems hopelessly depressed. AdobeAirstream’s review last year went something like this, Dragonslayer Film Like a Tame Day in Mediocre Land:

“James Kunstler, author of Geography of Nowhere describes places like Chino as ‘tragic’ a “landscape of highway strips, parking lots, housing tracts, mega-malls, junked cities, and ravaged countryside that makes up the everyday environment where most Americans live and work.’ The director of Dragonslayer, Tristan Patterson, refers to the location as, ‘the rotting suburbs of inland California.’ Sounds hopeless so, let’s smoke weed and skate.”

Let us know what you think–worthy or worthless?

For a very long time, Santa Fe has attempted to keep “young people” in the city different.  In 1995, the city banned skateboarders and cyclists from the Plaza, inferring that tourists were more important than youth.  More recently, Russell Simon ran for City Council in 2010 in District 1 on a very strong platform aimed at providing opportunity for young people.  Although backed by The Reporter, his campaign lost to the incumbent.  With groups like MIX and AHA, the possibility of keeping young professionals here at the very least gets an organized voice and some fun mixers. With the revitalization of Santa Fe University of Art and Design, we can only hope that some of their über creative recent graduates decide to make Santa Fe their home.  Of course, more jobs in the arts would be helpful in accomplishing this, and so would affordable live/work spaces.

Which brings us to last Thursday’s meeting at the Lannan Meeting House with Creative Santa Fe.  Apparently under new leadership and chomping at the bit, CSF started its Santa Fe Series on the 12^th with an event called Evolve or Die?  Marketed as “a sequence of events that promote dynamic conversations about the role of culture in Santa Fe, and provide opportunities to learn from other creative cities,” CSF is working to promote the series’ overall objective, the IF: Imagined Futures Initiative.  Check out their website for more on this.  Speaking of which, their website is crisp, clean and bright, with tons of pages and little orange links that form a labyrinth of information, mostly advocating something that nonprofits love to discuss: outreach.  Loaded with very small text, it speaks of an “energized approach” with words like “fostering,” “initiative,” and “imagine.”  Lots of talk with little proven action, the “Support Us” page finally offers legible text at a whopping font size of twelve.  Space allows the eyes to breathe while their mission seems clear—to raise money.  Dwelling on this slight of design, perhaps CSF looks sugarcoated but ultimately, is just struggling to get by just like us artists.  CSF’s slogan: Every City Needs a Dream.  Powerful, inspiring and spoken from the vantage point of someone young who believes in dreams, this catchphrase has that same evocation of change and promise that ignited Barack Obama’s platform of hope.  For the record, nowhere on CSF’s website does it specifically mention young people.  However, a “nonprofit organization dedicated to the growth and vitality of the region’s creative economy” would necessarily rely on youth for stimulation.  Aren’t we truly seeking to emulate cities like Portland, Seattle and San Francisco?

In comes Artspace, hired by CSF to consult on how to implement affordable live/work spaces for artists.  With a proven track record, Artspace receives sizable donations from ArtPlace, which is a collaboration of the nation’s federal agencies—notably the National Endowment for the Arts.  Artspace assesses communities, finds out their needs, and facilitates “Creative Placemaking,” which is exactly why they are here in Santa Fe and teaming with CSF.  Placemaking gains its momentum from the “Soho effect,” which proves that where there are poor artists struggling to get by, a spring of vibrancy (and gentrification) will follow.  Somehow, somewhere, someone is making money but we know it’s not the artists because they move out of SoHo into Brooklyn and then to Greenpoint.  ArtSpace wants to stop that migration.  A speaker on Thursday night said that 10% of artists’ total income comes from their art.  After living in an Artspace, that number jumps to an average of 40%.   Artists are the catalyst for positive social change and economic growth.  Like garden worms, their presence enriches the soil so cities should keep them in  their ecosystems.

As one of these young arts professionals, Thursday’s meeting felt like a benefactor that’s too good to be true.  The wealthy grandmother (Artspace) enters our community with that parent that’s never around (CSF) and together, promise the fruits of the land.  All we have to do is prove our worth.  Once we do that, us artists do what we do best—make art.  Like monkeys at the zoo, are we here just to make money for the city?  Like magic, about fifty of us may have the opportunity to live and work in a rent controlled studio that costs 40% of the initial market value.  Then, we make money, the city makes money, Artspace gains a piece of real estate, and everybody wins.

When asked how many people in the room were artists, almost everybody raised their hand.  To ArtSpace and maybe even Creative Santa Fe, this proves that if they build it, we will come.  However affirming a raise of hands, only about ten of those seventy people were under the age of forty and maybe out of those ten, a handful were under thirty.  It occurred to me that Thursday’s attendees were the very ones that may be funding CSF, in which case Thursday night was merely a fundraiser.  After all, who is Artspace and CSF marketing—the youth or the tourists, the artists or the art buyers? Who are the artists?  This brings me back to the initial crux of our beloved city—Where are all the young people and if they build it, will they come?

Feature Image Credit: Photos of mural by C. Whitney-Ward

Tourist towns are “brands.”

Attention to historic architecture can make a place a mecca.

Affordable housing for artists can retrofit vacant building stock, and is desirable. (image: Artspace affordable housing in Patchogue, NY)

Yes. So: what’s new?

The question goes ultimately to whether this new-old nonprofit called Creative Santa Fe, with a seven-year existence and a much more recent makeover with a five-person staff, will be true to its promise of “new ideas and tangible outcomes.” Those were the words of CSF’s chairman of the board Bill Miller, in opening remarks Saturday. By the new-ideas standard,  Saturday was not an object lesson in how-to revitalize culture with new ideas, but an occasion in which three of four speakers essentially described their own cities’ adapting ideas that Santa Fe could be said to lead in already.

Speaker Eddie Friel who ran a “destination marketing” firm for Glasgow, Scotland, took the lectern first. Friel offered that Glasgow, had gone from “cultural slum” to cultural city of Europe over a 20-year period.

Glasgow, said Friel, had become an “event-led” city, where “point of entry” jobs dependent on tourism had ensued. Nurturing the buildings and style of Glasgow’s famous 20th-century architect, Charles Rennie Mackintosh, was a strategy of cultural regeneration, Friel said. One mark of Glasgow’s cultural success: Airport arrivals went from 700,000 in 1983 to 8 million in 2003, said Friel.

An obvious observation is that Santa Fe lacks a major airport that would permit parallel “point-of-entry” job growth. Further, Santa Fe’s historic architecture was a cornerstone of tourism strategy, beginning around 1928. Preservation is an area in which Santa Fe has led architecture for decades; indeed, preservation and adaptable re-use have become such a way of life here that Frank Gehry once joked that were he to design a building for Santa Fe (a rumor whose falsity was early established), he would need to use brown glass.

Buffalo, NY, likewise cites historic architecture as cultural generator. Mary Roberts, who heads the Martin House Restoration Corporation in Buffalo, New York, next took the stage to discuss the MHRC’s $50 million architectural restoration project on a Frank Lloyd Wright building complex in Buffalo. She said the outcome will be 198 jobs for an $8 million annual payroll, and a total $17.6 million annual economic impact. Yet, cultural economy notwithstanding, Buffalo’s economic woes persist.

“Ouch!” reads a 2010 headline of a population report from Buffalo Rising – which relates: “Population estimates for 2010 and 2020 prepared by the Mayor’s Office of Strategic Planning based on a straight-line extrapolation of the 1990-2000 trend suggest that the city’s population may continue to decline to 250,000 or lower before growth resumes.”

The Albright-Knox

These numbers mark a 10.7 percent population decline in the last decade, and a 50% drop in population, per the US Census, since 1970, reflecting decimation in the steel manufacturing sector, and commerce on the Great Lakes.

Such data – not difficult to find – make Creative Santa Fe’s incipient strategy very difficult to follow on the logic of straight-up economic analysis.

Even overlooking the lack of useful detail from program speakers, the simple fact that CSF’s first event couldn’t stick with the program raised a caution. It was 6:50 p.m. – just shy of two hours of lecture – when the final speaker’s presentation ended. While the printed program billed a panel discussion and presumably, a short q-and-a with audience, neither occurred. (Not a good augur for conference staff’s experience.)

The pertinence of the would-be examples continued to escape me, through Louis Grachos’s summary of his work as director (since 2003) at the Albright-Knox Gallery of Art. Grachos, who is a CSF board member and directed SITE Santa Fe until 2003, gave an example of museums going outside institutional boundaries – such as when French tightrope walker Didier Pasquette navigated between the towers of Buffalo’s Liberty building in 2010.

The final speaker: Architect Matthew Meier, dealt with artists’ affordable housing, presumably as a key rung of CSF’s new mission to invigorate creative economy here. But incomprehensibly, we learned nothing about the outcome of two days of artists’ and funders’ community meetings in Meier’s presentation. Artspace as a nonprofit operates with significant foundation funding; according to its schedule, it charges $12,500 for a two-day visit to a community outside its home state of Minnesota. Artist market surveys and arts’ organization surveys respectively cost $30,000 and $45,000.

Meier presented on live/work spaces from El Paso, Texas; New York, NY; Patchogue, NY; and Buffalo, NY. Three of the four relied on first identifying vacant building stock in cities for retrofits. In Patchogue, Artspace found a site for a new building. Meier showed maps and interior shots, but never got to specifics such as: what are building costs? What defines “affordable?” (Case-by-case; or a formula?); What about zoning and overlay issues?

Meier told Conrad Skinner after the event that in the community meetings here, participants said the Railyard would be the logical site of affordable housing. (Begging the question of Don Wiviott’s Live/Work Artyard lofts, which had dedicated several affordable units for artists, in foreclosure and in the sights of lawsuits.) The Albuquerque Journal editorialized a year ago that the Artyard spaces at the Railyard might have worked out, albeit at $500k plus price points.

“But given that Wiviott and his partners seem to have run out of money to follow through on the project, we may never find out whether Santa Feans are really ready to embrace the live-work concept — particularly at the prices mentioned in the latest ArtYard court action, more than a half-million bucks per unit,” the Journal wrote.

If Creative Santa Fe is getting behind affordable housing, is it because there has been a needs assessment surveying artists? And will CSF be lobbying the city for policy changes, simultaneously?

The Creative Santa Fe website has a long list of initiatives – production of  an Imagined Futures IF festival, an IF conference, IF residencies and an IF online magazine. But as the mission drift exemplified by its first event comes into strange focus, this first event had a patronizing flavor, not mitigated by the announcement that next up for the Santa Fe series is a session on “missing links” from Canyon Road to the Railyard, called “Santa Fe Ground Up.” In terms of attracting the  young people whose leaving town is widely considered problematic, I don’t know whether the organizers just overlooked that this first Santa Fe series event  was also the day of commencement from Santa Fe University of Art and Design. Not a single person under 30 appeared to be in the building.

The question for Creative Santa Fe may not be IF, but why?

15 days later in Libya, two of the world’s top photojournalists, Tim Hetherington and Chris Hondros, died of injuries suffered in a mortar attack in Misrata.  Hetherington had been Oscar-nominated in 2011 for co-directing the Afghanistan war documentary, Restrepo, with writer Sebastian Junger. Restrepo won the jury prize at the Sundance Film Festival 2010.

In the year since Hetherington’s death, pictures he took in war zones including Afghanistan, Sierra Leone and Liberia have premiered at the fine art photography fair AIPAD; at Chelsea dealer Yossi Milo (which took on representation of Hetherington’s estate); and at the Corcoran Gallery of Art in Washington DC. Joining me for AdobeAirstream’s first podcast is celebrated journalist and writer, Sebastian Junger, author of four books including War, and The Perfect Storm, and a contributing editor of Vanity Fair. My second guest is Elizabeth Eichholz, photo specialist at Christie’s New York.

Our music segment today is a new song by the Austin band Marmalakes. AdobeAirstream writer Don Simpson says that the band – Max Colonna on bass, Josh Halpern on drums and Chase Weinacht on guitar – is likely to be the next big thing out of Austin. In April, Marmalakes released their third E.P. – In Arnica – with an all-out dance party at the Scottish Rite Theater in Austin.  The first track is “Septimus Warren Smith”…

Then David D’Arcy previews the film , Steve Jobs, the Lost Interview, directed by Paul Sen. The interview was done by Bob Cringely for a show about successful computer nerds. That was in 1995, when Jobs wasn’t at Apple any more. He was working for Next, a firm he started after Apple canned him. A few months after the interview he went back to Apple, after a Pepsi executive named John Sculley almost sent it down the drain,  and Jobs turned Apple into the one of the world’s most profitable and visionary companies.

AdobeAirstreamRadio Producer: Ellen Berkovitch. Sound: David B. Wolf. Contributing Writers: Don Simpson (Music, Austin); David D’Arcy (Film, New York).For Santa Fe University of Art and Design, the audio speakers are Linda Swanson, chairman of the art department; Tony O’Brien, faculty in documentary photography; Chris Eyre; chairman of the film department; and Dana Levin, chairman of creative writing.

Barbara Buhler Lynes

Lynes has been recognized as the world’s premier authority on Georgia O’Keeffe, about whom she co-authored the Georgia O’Keeffe: Catalogue Raisonne (1999), and wrote the critical work,  O’Keeffe: Stieglitz and the Critics, 1916-1929 (1989), which examined ways that O’Keeffe changed her painting after early critics insisted on reading depictions of female anatomy into her representations. It was Lynes’s co-authoring of the O’Keeffe Catalogue Raisonne, the complete documentation of O’Keeffe’s works, that cast Santa Fe into a bright national spotlight on its publication, when 28 watercolors known as Canyon Suite, which emerged out of Amarillo, Texas in 1987 the year after the artist’s death, were omitted from the catalogue. Six years prior to the catalogue’s publication, Santa Fe art dealer Gerald Peters had sold the suite to Kansas City businessman Crosby Kemper, who had built a museum for them. Omissions of work from a catalogue raisonne mean that the scholars charged with evaluating and deciding an artist’s lifetime oeuvre do not believe the work is authentic.

More recently, beginning in 2007, the O’Keeffe Museum under Lynes’s curatorial leadership had led an unsuccessful charge to attempt to prevent Fisk University in Nashville, Tenn., from selling an effective time-share in a collection of 101 artworks by Alfred Stieglitz and O’Keeffe and others, which O’Keeffe had gifted to Fisk after Stieglitz’s death, to the Crystal Bridges Museum in Arkansas. Among the collection that Fisk in late April won final permission from the Tennessee Supreme Court to share with Crystal Bridges, is O’Keeffe’s seminal 1927 painting, Radiator Building: Night.

In her tenure at the O’Keeffe Museum, Lynes was charged with one of the first and still, only US museum dedicated solely to a single woman artist’s work. (Clyfford Still Museum in Denver opened late last year.) The hagiographic approach resulted in a mission that entailed showing works by O’Keeffe from the Museum’s own and other collections – which, at the Museum’s founding, were in large part established through gifts by donor Anne Marion, who remains founder and chairman of the board. The Museum has also exhibited O’Keeffe’s art alongside that of her contemporaries; and works of “Living Artists of Distinction,” of whom four living women artists have had solo exhibits at the Museum since 1999: Anne Truitt (2000); Sherrie Levine (2007); Susan Rothenberg (2010); and Jaune Quick-to-See Smith (2012). A new national look at O’Keeffe occured in 1999, when the Whitney Museum in New York mounted O’Keeffe: Abstraction, a show which Whitney curator Barbara Haskell, along with Lynes, Bruce Robertson of UC Santa Barbara and Elizabeth Hutton Turner of the University of Virginia and Phillips collection, collaborated upon.

Prior to joining the O’Keeffe, Lynes was art history professor at the Maryland Institute, College of Art, and at Montgomery College, Dartmouth College, and Vanderbilt University.