Tag: celesteh

Consumer Choice

Several months ago, the cafe down the block from my abode changed ownership. The previous owner yelled at my dog (because her dog attacked mine, and so mine must be at fault, right?), so after going there once, I never returned. It was strickly a weekday cafe catering to workers in the area and not residents. Anyway, the new owner opened up the place on weekends and made a definite effort to be part of the neighborhood community, business and residential. He was almost too nice to my dog, giving her many many scraps of meat until she would come home and barf.
The cafe showed some of my neighbor’s art. The percussion group that Christi and I organized playes at the art openeing. The food was good and the staff was friendly. One of the transient people staying at my house got a job there. Christi got friendly with one of the staff who gave us a Rhodes piano that he wanted to see get restored (note to self: spend this afternoon fixing the dern piano). All was well and happy.
And then the food started to suck. They gave me raw pancakes. I vowed never to return. A week later I was back. Something else was not right. We quit eating food there, but just got coffee. Then Luoi started bringing home coffee from Gaylords (on Piedmont Ave in Oakland). Angels sung overhead when I drank that coffee. I really vowed never to return to the place down the street and I didn’t. Once I had Gaylord’s coffee, I was through with their (same priced as Gaylords) swill.
And then yesterday, while walking the dog back from the post office (apparently you can’t just put an address label on a dog and send her to Siberia), I ran into the Rhodes guy. I asked him how it was going. Not well. The cafe is losing money. He’s had his hours cut. They’re all in financial trouble. oh no! So, I’m about to head over to buy a soy chocolate milk which I may drink and I may accidentally spill in a planter on the way home.
Catholic guilt is a pain.

Anti-war protest

Wish I could give a more in depth review. We showed up. Watched people march for a while. Listen to a speech by somebody who plays a hippy on the TV show Dharma and Greg, waited in a hella long line for the bathroom, picked up flyers from almost every socialist group there (the Spartacus folks are pushy) and then decided to go get food. I suck at protesting. Anyway, I got on some email lists and talked to some of the biodiesel people. I wish they’d had a stronger presence. I think biodiesel is definitely a solution to many environmental, social, and politcal problems.
Anyway, we walked from the Civic Center to a restaurant at 22nd & Mission that Christi likes. It’s a tapas place called Esperento. None of the esperanto people were there. (yet another under publicized idea that can solve many problems. Did you know that more than 10% of the UN budjet is spent on translators?) The food was really good, but the background music was that song where the refrain says, “If you love me, say yes. If you don’t then confess. Just please don’t tell me Perhaps. Perhaps. Perhaps.” Over and over and over again. The song played in a sort of a flamenco style the entire time we were there. I used to like that song.
I feel like yuppy scum, I show up at a protest as an excuse to try fine dining. Anyway, there wasn’t any chanting. I’m good at chanting. There were just a whole lot of people milling around. I felt kind of like a spectator, since I didn’t have a sign or anything marking me as a protester. So I picked up flyers instead. I also have a copy now of every socialist newspaper that was there. I also nabbed a copy of the The Little Red Song Book. So it wasn’t just fine dining, it was also shopping.
Anyway, I think the bad that I’m in should play a cover of the socialist anthem. The songs in the songbook are designed to be sung on picket lines, so many of them are set to familiar tunes. They’re wayyy too catchy. My factory lies over the ocean. My factory lies over the sea. My factory lies over the border. Bring back my factory to me. Bring back, bring back, bring back my factory to me to me. Bring back, bring back, bring back my factory to me. (it’s been stuck in my head since saturday.) Other songs are folk tunes. The ones by Judi Bari are very interesting, but I can’t talk too much about this because Christi hates Judi Bari. This stems from a summer job where Christi opened mail sent to the team working on the Spotted Owl Environmental Impact Statement. Christi’s dad was on the team. Apperently, Bari sent death-threats to Christi’s dad and Christi read them as a young teenager. When radicals threaten your family, it has a way of turning you against them, I guess. Renee hates Angela Davis, because Renee’s uncle was a prison gaurd and was killed by an inmate whom Davis successfully defended. Or participated in the defense or something. Anyway . . .
The next protest is in February, and I might be in Portland or Seattle when it happens. Wherever I protest, I’m going to show up earlier and bring a sign. Maybe it can say “Peace” in Esperanto or something about biodiesel. I should join or found a radical biodiesel group that can hand out flyers about liquid solar power and the existing diesel fleet. I think that there’s some good possibilities on this. Maybe we could grow algae in waste water (read: sewage) and harvest the oil out of it in a centerfuge kind of thing. Algae is about 50% oil. That oil could be used for fuel. Perhaps it could be heat-treated to kill germs. Tammy just got a job designing waste water treatment plants. I should talk to her about this.
Matthew reported that most of the Portland protesters were Baby Boomers. There were almost no folks his age. That’s confuding to me because Matthew is draft age. Why aren’t the folks with the most to lose out there? The San Francisco crowd had a ton of young people. It really was a huge crowd. Bigger than other thigns, I think. Ususally, when I go to gay pride, I see tons of people I know and we chat for a few minutes. At this event, pretty much all of my friends, queer and het were there and I didn’t bump into anyone that I didn’t arrive with.
The newspaper reported that a small group of black-clad protestors broke off from the march and broke some windows in the financial district. It was very targetted, apparently. They broke windows of banks that are war profiteers and Starbucks. Anyway, it occurred to me that if we were protesting an acual war in February, there were enough people there to shut down the entire city. Groups could fan out and stop all car traffic. We could block the Bay Bridge. Blocking BART would be harder, but it’s part of the solution to oil wars, not the problem, so that’s ok. If everyone decided that there was going to be a city-wide shut down, it would be impossible for the cops to clear it. They’d have to arrest thousands of people. More than they have jail space for. There’s not enough cops. How could you arrest 50,000 people who have fanne dout across the city with the goal of sitting down in every interesection? You couldn’t. They’d have to use other (bad) crowd control tactics, but honestly, I don’t think they want to. (I saw somebody carrying a sign that said, “cops for peace.”) First of all, a lot of them are probably anti-war. Secondly, anti-war protests are great for city tourism. People came from all over the west to protest in SF. Every restaurant for miles around the city center was packed with protesters. I hate to be so shallowly capitalistic and crass, but the hotel and restaurant business are probably overwhelmingly pro-protest, at least, unless they’re Starbucks or the cops starting shooting out all the windows. And the protest was on a Saturday, so most non-tourist businesses are not affected. So if we did shut down the city, as long as we kept going into restaurants, staying in hotels and buying tourist trinkets (some from the protests, stay for Fisherman’s Warf), and it was on a weekend, would the city really care? It would certainly be a great symbolic gesture to halt automobile traffic, if only for a few hours.
I bet it’s illegal to talk about the pros and cons of blocking traffic. Maybe the FBI reads my blog!! Total Informatin Awareness is out to get us. I miss civil liberties. I hope that in the next presidential election, the votes actually get counted.

The Problems of Urban Composting

Permit me, dear reader, (if I have any), to think aloud for a moment about composting in the city. There are some problems specific to urban composters that suburban dwellers and country folk don’t have. One of these is a space limitation. Also, urban people are less likely to have gardenning tools such as pictforks or shovels. Your city resident may only have a containrer garden (if that) and no actual plot of dirt to call her own. Also, urban dwellers are more likely to have a ready supply of “wet” matter (also known as “green”) than “dry” matter (also known as “brown”). In short, the urban composter may be an apartment dweller with a small deck, no dirt lot or shovel who only has food wastes to compost.
What the is the ultimate compost bin for such a person? First of all, any compost bin on earth must be free of toxic stuff that will leach into the dirt that’s being made. This seems to rule out bins made of pressure treated lumber and some plastics, like PVC. Any bin that contains food wastes, even just carrot tops, must be rodent-proof. An ideal apartment bin would additionally be space efficient and not require a shovel of any kind. The ideal solution seems to then be worm composting. You can feed your worms all sorts of food wastes including cooked foods, afaik, and I’ve heard of some self-straining models, where removing the compost from the worms involves no more than pulling two pieces apart. Instant dirt. Takes up as little space as you want ti to. the worms are even edible. There are a few (as in one or two) cookbooks for how to eat your worms, should you get to be very hungry or decide you have an excess population. What criteria you would use for that, I don’t know.
However, worms die. Lazy people continually have to go get new worms because they dry out or go hungry for a while. I guess you could eat half of your worms before going on vacation, but that seems like an intense dedication to composting would be required. Also, all of the worm bins I’ve seen have been made of PVC. So then, what would be an ideal solution for a lazy apartment dwelling composter who doesn’t want to eat worms before travelling?
Since both space and brown matter are at a permium, the apartment bin should contain some form of brown material storge. Perhaps a hopper could be positioned over the main part of the bin so that brown matter, such as peat could be stored in there and then released into the bin via a lever or something. Also, an ideal bin would have a turning over mechanism built in. I have a PVC bin that’s round and on rollers, so that it can be turned over just by rolling it around. It’s efficient for space usage and requires no tools, although the plastic is a problem. Using a shovel to turn compost seems to have the side effect of breaking up big pieces of things. Periodically, a grapefruit will sit too long uneaten and be sent whole to the composter. Right now, this has a tendency to attract fruit flies, since the grapefruit does not get broken into little pieces. This design also is a bit hopper unfriendly, since the bin openeing and the hopper would need to be lined up before peat could be added.
Compost bins also need to sit a while before dirt can be removed. It’s necessary to have two or three bins, so one can be aging while material is being added to another. So the ideal bin would spin, would have some sort of brown matter storage, would break up big pieces of things, would, perhaps, store aging compost in addition to “active” compost (which is being added to daily) and would take up very little space. Additionally, it would be created out of non-harmful materials that ideally are somehow recycled, recyclable or both.
Ok, so this had me thinking. What if the brown matter was somehow built into the bin. I began picturing a bin made somewhat out of metal, but also out of the kind of compressed peat used for some pots. Then a hopper is no longer needed. So what you have is a big metal box, in which there is a round holder of aging compost. There is an identical round holder above this to hold active compost. It’s basically a wire frame with strong pegs sticking out the ends, at the center point, so it can rotate. The frame is light, since it’s designed to hold a heavy peat composting container. This container keeps out rodents and provides brown matter. The frame has some long spikes that stick inwards. These are designed to piece the peat. They have a dual function of holding the peat in place and breaking up large objects like whole grade fruit. The frame can split open to completely empty it and to load in a new peat frame. It also has a door on it, which must line up to a door punched in the peat, so that the uer can add new vegetables. Both the top bin and the bottom bin should be spun periodically. The bottom bin is in a box (with no top), to catch the dirt that falls out as the peat completely degrades along with the compost. The whole thing, including the bottom box, the two round frames and the mount above the box (which holds up the top round frame) is made of recycled steel. Except, of course, for the peat pieces.
Maybe it’s too big. It’s probably too expensive. buying new material every go-round may put-off some users. I’d write more about this endlessly facinating topic, but I must go do something about the dern fruitflies getting into the house again.

The IM people are getting to me

playa_fo_life53032: hey
playa_fo_life53032: asl
playa_fo_life53032: hello
playa_fo_life53032: hey
playa_fo_life53032: hello
electrogirls: hey
electrogirls: hello
electrogirls: hey
electrogirls: hey
electrogirls: hey
electrogirls: hello
electrogirls: hey
electrogirls: hi
electrogirls: hey
electrogirls: hello
electrogirls: hi
electrogirls: hi
electrogirls: hi
electrogirls: hi
electrogirls: hi
electrogirls: hey hello
electrogirls: hello
electrogirls: hey
electrogirls: saluton!
electrogirls: asl
electrogirls: hey
electrogirls: hey
electrogirls: hey
electrogirls: hello
electrogirls: hey
electrogirls: hey
electrogirls: hey
electrogirls: hey
electrogirls: hello
electrogirls: hi
electrogirls: hi
electrogirls: hi
electrogirls: hi
electrogirls: hi

Behind the times

When I was a kid, I was a big beleiver in protest. My mom always told me I was born in the wrong decade. I should have been marching in the sixties instead of being trapped in the suburbs in the eighties. I still harbor all these dated radical notions, even though I’m trying to get more postmodernist.
My queer identity is often similarly old-fashioned. Some mock me for wanting to move onto a Womyn’s Land Collective (otherwise known as a Lesbian Seperatist Commune) or liking Alix Dobkin or whatever. For this I blame my upbrigning. The Cupertino library didn’t have a single lesbian-topic book printed after 1973. I read every lesbian book in that library and absorbed all the pre-1973 notions. Also, my parents were a generation behind. They were not baby boomers. They were over thirty when you weren’t suppossed to trust anyone over thrity. They did not share identity or values with boomers, but instead looked down upon them with the disapproval of the establishment. (Although my mom did go to some hippy gathering in Golden Gate Park once. Someone there got a contact high. It gave her a terrible headache. anyway…).
On Saturday, before going to the anti-war protest (retro is in!), I helped my friend move. After getting the truck to the destination house, we were all taking a breather in the living room. Somebody brought up the topic of Miss Manners. “I love her!” said one boomer gay man. The other boomer queers concurred. They started quoting her. “‘What do you say when introduced to a so-called homosexual couple?’ ‘How do you do? How do you do?'” and “‘What is the proper way to eat potato chips?’ ‘With a spoon and a fork . . .'” (that last one is ironic, btw.)
Good lord! Gay folk of the age my mom said that I should have been all adore Miss Manners! This must be how gay men who come out and find out that everyone else loves show tunes too must feel. I think that this is not entirely randomness. Miss Manners is a voice for equal rights and feminism. That “so-called homosexual’ question and answer was published right in the midst of the struggle for gay liberation. She’s brilliant because she showed that manners are necessarily compatible with a progressive agenda. To deny rights would be rude. She is a leftist in establishment clothing. Miss Manners is a friend to the opressed and a comforter of the polite in rude times. I’ve got to go get her new book.

Celeste Hutchins
Music Application
Writing Sample 1 of 2

Political Tract

It is entirely clear that in our current system, few people other than artists enjoy their jobs so much that they would keep doing them if they didn�t have to. It is also clear that our current system is entirely unsustainable. Our primary goal in our current system is economic growth. This means we must keep making more things every year than we did the year before, over and above any population growth. And such is our system that if we fail to grow in a year, we are in a recession and many people end up out of work. Popularly, this is not seen as a shortcoming of the system, but rather as a moral failing of the individuals affected. Furthermore, the system requires the middle class to consume more and more every year. There is only so much stuff that people want to have, however, so that it is necessary to make things disposable. The only way to keep the middle classes consuming more and more is to make them throw away what they already have. This ever-rising so-called “standard of living” does not grow higher when people must work at jobs that they do not like so they can buy things to throw them away. Meanwhile, the environmental and human costs of raw materials continue to mount. For a few to live like disposable aristocracy, others must live in poverty and environmental damage and wasting of resources must mount higher and higher.

Because this kind of capitalist excess is socially and environmentally unstable and unsustainable, it will fall. The only question is how. We can sit and wait until the ocean levels rise, disastrous uncharacteristic weather patterns pummel us, and asymmetric warfare rains down upon us from all sides, or we can act now and avert carnage, extinctions and continuing genocide.

Aside from these points, the primary weakness of our system is over and under centralization. Some systems are over centralized. Other systems have no central planning whatsoever. All of these systems are setup as inefficiently as possible so that elite individuals can profit off the inefficiency and pocket the difference between dollars spent and value received.

We can build a better system. We can break away from the old one.

I foresee great changes. Americans will say no more to a system where civil rights have been whittled down to the right to chose what color car to buy. We will say no more to enslaving the third world for private profit. We will say no more to people being poisoned by pesticides, condemned to poverty and stuck toiling away our lives in stupid jobs that offer us no freedom or leisure time.

We will couple automation with sustainable development. Nobody�s time will be more valuable than anyone else�s. Production will be to fit human needs rather than capitalistic growth. Things are valuable only in so much as the benefit human lives. We will cease production of pointlessly disposable items. Durable goods will actually be durable, re-usable and recyclable. Buildings will not be knocked over for no reason. Instead of principles of capital and ownership, we will have principles of use and collectivization. People will form voluntary associations locally to meet local needs. Every home will be a squat. The residents will have the means to maintain their homes and their collective living arrangements.

Corporations will cease, with all factory production automated and run by the government. Less will be made, because less will be needed. As much as possible, items produced locally will be consumed locally.

People will brew their own beer, and their own biodiesel, and generate their own power with the solar arrays on their roofs. Yet many tools will be owned in common. Few people actually need their own vacuum cleaner. Almost no one who has one uses it everyday. Because of growth, inefficiency and systems of ownership, people currently must buy all the tools they might ever need. However, alternatives exist even now. In Berkeley, there is a tool library that residents with a library card may check out tools from. I foresee a future where many tools are owned in common by neighborhoods, blocks, buildings or associations. The interconnectedness and interdependence of all people will be clear. No one�s time will be worth more or less than anyone else�s. The currency will be measured in hours.

People will still work as teachers, as nurses, as firefighters as repair people, but fewer hours will be required. These people will have time to peruse art, sports, music, crafts, and passion. No one will be made to live in poverty for the benefit of anyone else.

This can and will come about. There is no reason to continue our unequal, disposable and militaristic social systems. Too often we resemble what is worst about human nature. There is no reason not to resemble the best. The technology we require is present. All we need is the will to make our vision happen.

in the original version, foresaw the western states suceeding. this is better writing than my tuba paper, so i’m going to use it. and the notes towards a comic opera. my music counts more than my writing. i don’t have examples of academic writing, but they’re not necessary, and anyway between this, the tawdry fiction and my statement of purpose, at least i’ll come across as somewhat literate.

More IM Converation

christopherff2002: Hello there.
electrogirls: saluton!
christopherff2002: How are you this afternoon?
electrogirls: bone!
electrogirls: kaj vi?
electrogirls: (i made new years resolution to only IM in esperanto. don’t worry, there’s a dictionary at lernu.net that you can use to translate)
electrogirls: kiel vi fartas?
christopherff2002: Lovely.
electrogirls: bona. kie vi logxas?
electrogirls: mi logxas en Kalifornio
electrogirls: mi estas 26 jara ino en Kalifornia, kaj vi?
christopherff2002: How do you use the site?
electrogirls: log in as a guest. there’s a dictionary in the top right hand corner
christopherff2002: password?
electrogirls: click on the link “click here to log in as a guest”
electrogirls: it’s on the right, at the top of the list
christopherff2002: I don’t have the time for learning all this at work, take care.
electrogirls: gxis la revido!

Artist Statement – Calarts

When I was in high school, my two loves were computer programming and tuba playing. I chose to pursue a career in programming for economic reasons, but I’ve often wondered about the tuba-playing road not taken.

I went to Mills College to study Computer Science, but I quickly found myself gravitating toward the Center for Contemporary Music. I had some limited exposure to New Music before college, thanks to an excellent community radio station, but was not aware of it other than casually listening to noise bands. What I learned at Mills changed everything I thought about sound and music creation. I studied electronic music with Maggi Payne. She taught synthesis techniques on a large Moog Modular Synthesizer. The sound and the possibilities for music making were incredible. I thought that the Moog was fantastic. I loved making music with it and the approach to sound creation that went with it. I decided to double-major in Computer Science and Electronic Music.

I learned to compose music for tape by recording source sounds, such as field recordings or interesting synthesizer patches and mixing them together, so that mixing is as much composing as finding or creating the source sounds. It shaped how I think about composing. This is still the method I use for creating almost all of my pieces. Often, there is a metaphor or idea that ties all of the source sounds together, but sometimes I just record interesting patches until I have “enough” of them. Then I look for interesting ways to mix them together. I love doing this because of the focus on pure sound, rather than algorithms or theory and also because of its tactility.

In addition to studying synthesis, I played tuba in the Contemporary Performance Ensemble and also took classes in recording techniques and computer music. I learned to program in MAX and experimented with unusual input devices, like the Nintendo Power Glove. I took all of the required classes in music history and theory and also classes in Computer Science, my other major. Those classes covered programming concepts relevant to computer music including networking and programming languages. I also took an independent study class in analog electronics, to better understand the internal workings of analog synthesizers.

My senior concert was a collaboration between another composition student and myself. We decided to have multiple pieces playing at the same time, like one of John Cage�s music circuses. I wrote three pieces of tape music and one MAX patch that ran on a laptop throughout. I also wrote five or 10 small pieces for wandering trios that played throughout the program and I assembled one small installation. My partner and I collaborated on a piece for electric guitars and vibrators. She wrote most of the trios and a percussion trio with three movements. We created a web page about this concert, with information for performers and attendees. It is still on-line at http://casaninja.com/concert/.

After graduation, I worked at a startup company that made products related to e-commerce. I did web programming and worked on their server. The company was a bit chaotic. Periodically, the management would come by and tell everyone that we were just about to have an IPO, or get more funding, or be bought by someone, in the meantime, we just had to give up a few more evenings and weekends. I did not write any music at all while I worked there, because the schedule took over all of my time.

When someone I had met at an earlier interview called to ask if I would like to go work at Netscape and have more free time and make more money, I accepted. The job was interesting and I had enough time to make music and the means to obtain equipment. I purchased a MOTM Modular synthesizer and started recording tape music and posting it to Mp3.com. I also submitted a tape to Woodstockhausen 2000, which they played. My goal was to have two careers simultaneously. I would be an engineer and a composer. It might have worked except that I was commuting 50 miles each way to work and it was starting to burn me out. I realized that music had become a hobby rather than a vocation, so I started looking for work closer to home. In 2001, I was laid off.

While I was searching for another job, I continued recording tape music and posting it to Mp3.com. I joined a group of noise music composers on the service. We thought that by working together, we could raise the profile of noise music in general while also advancing our music careers. One of these artists had a small record label and released two songs of mine on a compilation disk.

Around the same time, the Exploratorium, a hands-on science museum in San Francisco, issued a call for proposals for temporary installations that focused on sonic characteristics of the museum. I collaborated with two other people on two proposals, both of which were accepted. The first installation used piezo contact microphones attached to exhibits with moving parts. The sounds were amplified, unprocessed so that passers-by could hear the quiet sounds they would not otherwise notice. For the second piece, I wrote a MAX/MSP patch to demonstrate the resonant frequencies of a part of the building. It used the type of feedback loop that Alvin Lucier used in his piece I am Sitting in a Room.

Shortly thereafter, my domestic partner was also laid off, so I postponed my job search and we spent the summer traveling in Europe. I wrote no music while I was there, but I visited several modern art museums, and went to the Venice Biennale. I also visited an online in Germany at ZKM, a research center that her commissioned to write a paper on MP3s. I was very impressed with the facilities there and the idea of music research.

When I came home, I had hundreds of musical ideas. The first was to switch career tracks to focus on composition. I wrote several pieces of tape music, and then I decided that I wanted to write more music for live performance, so I organized a five person percussion group and wrote a couple of pieces music for them. The group performed them at an art a local artist�s gallery opening. I also did computer consulting. I was not sure how to pull my work and aspirations together into a career.

At the same time, I started volunteering for Other Minds, a New Music nonprofit in San Francisco. I started as the driver for their festival. Shortly after that, they got possession of the KPFA music archives, featuring interviews with every important composer between 1969 and 1992. They are planning to use their library for a web radio project. I am helping them catalog their tape archive and pick out interesting tapes to submit for grant applications. I also work for them as a volunteer sound engineer and produced or helped produce several CDs used for grant applications and I gave them technical advice regarding the web radio server hardware and software.

Last spring I attended the Composing a Career Conference sponsored by the Women’s Philharmonic. Almost everyone else there had a masters degree and the presenters all assumed they were speaking to a masters-level audience. Realizing that I needed more education, I started looking into graduate programs. I also started submitting tapes to festivals and calls for scores. One of my tapes was accepted at Woodstockhausen 2002.

Tragically, shortly after the conference, while I was on my way to visit Jack Straw Productions in Seattle, my mother was diagnosed with a brain tumor. She had surgery and started radiation treatment. All of my music work and consulting jobs were put on hold so I could spend time helping to take care of my mom. The treatment was not helpful and she died in the middle of October.

I spent several weeks after her death re-thinking my life plans. A few weeks ago, I decided that I wanted to continue with my chosen track. I submitted a score to Jack Straw Productions for inclusion in a Trimpin installation and they accepted it. I also started pulling together applications to the graduate schools that I picked out in the spring. Your program caught my interest because of your faculty, especially Subotnic, with whom I hope to study.

At Calarts, I hope to learn more about electronic music and also about composition for live performance. I would like to learn new techniques for creating music, including computer sound generation and digital synthesis. I would also like to learn about building installations and other electronic musical tools. I hope to learn more mediums for composition. I would also like to explore more writing for traditional instruments. Calarts has a reputation for performance as well as composition and I hope to be able to work with some of the performers studying there.

After I graduate with a masters degree, I hope to find success as a freelance composer. I am also interested in doing music research at a center like STEIM, IRCAM or ZKM, or a comparable center in the United States. I know that Calarts could give me the skills and education necessary to achieve this goal. Your excellent reputation would also help my professional aspirations. I hope you will consider me for your program.

Oh yeah, that’s not exactly the same as my wesleyan one or anything…