Dean of Students to leave HLS
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Poast new message in this thread
Date: January 26th, 2021 11:24 AM Author: Self-centered walnut gay wizard
Sells described the beginning of her time at HLS as “momentous.” She was just three months into her tenure when the portraits of several Black law professors were vandalized with black tape, an incident police investigated as a hate crime, but were not able to locate the perpetrators
https://www.thecrimson.com/article/2021/1/26/dean-sells-to-leave-hls/
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#41826905) |
Date: January 26th, 2021 11:27 AM Author: Coral church building
Harvard Law School Dean of Students Marcia L. Sells will leave her role on Feb. 15 to become the first Chief Diversity Officer at the New York Metropolitan Opera, the school announced Monday.
lmao what kind of insanity is this?
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#41826921) |
Date: January 26th, 2021 1:19 PM Author: Mischievous Thriller Bawdyhouse
https://www.metopera.org/about/jobs/chief-diversity-officer/
Any organization that was serious about effecting some sort of change (while avoiding $900k/yr in costs) would just pay some consultant to take two weeks to review and make recommendations.
Hiring a full-time diversity officer is pure virtue-signaling tokenism
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#41827715) |
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Date: January 26th, 2021 1:54 PM Author: submissive state pervert
cr
Law degree not even required:
Degree in social justice, post-secondary education, fine or performing or visual arts, sociology, social anthropology, public administration, human resources management or other related field; or commensurate with experience
Why not go be Chief Diversity Officer at an F100 or top law firm?
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#41828026) |
Date: January 26th, 2021 4:46 PM Author: frum orchid coldplay fan
Dear Members of the HLS Community,
I am writing to share the news that our Associate Dean and Dean of Students Marcia Sells will be departing Harvard Law School February 15th to become the Chief Diversity Officer at the New York Metropolitan Opera. While this will be a great a loss for the law school, it is an exciting professional opportunity for Dean Sells, who, in this newly created role, will help lead the Metropolitan Opera into its next chapter.
I am enormously grateful to Dean Sells for her unwavering dedication to our students and for her many important contributions to Harvard Law School.
Dean Sells asked me to convey her sentiment that, “While I am excited to return to the arts, I will cherish the opportunity I’ve had to work with such amazing people at Harvard Law School and to spend time with our remarkable students, and I will deeply miss the incredible team I’ve worked with in the Dean of Students office.”
Dean Sells joined HLS in 2015 from Columbia University, where she served as both associate dean for outreach and education in the School of the Arts and as associate vice president for program development and initiatives in the Office of Government and Community Affairs. She served as dean of students at Columbia Law School prior to that.
During her time here, Dean Sells has done extraordinary work building community at HLS and more broadly across the University. She has worked hard to make the HLS community always deeper and more inclusive. As a member of Harvard’s Presidential Task Force on Inclusion and Belonging, Dean Sells played an instrumental role in helping shape the framework for furthering the vital goals of inclusion and belonging at Harvard University. Dean Sells has also been a tireless advocate for improving student and lawyer well-being. She laid the groundwork for and served as co-chair of the HLS Student Well-Being Working Group and served on the Harvard University Task Force on Managing Student Mental Health. Dean Sells was also part of the sub-committee on Law Student Well-Being for the Massachusetts Supreme Judicial Court Steering Committee on Lawyer Well-Being.
During her tenure, Dean Sells has worked hard to enhance our student advising efforts and enrich the student experience. She worked with Dean Mark Weber to begin the initial mentor advising program that has become Amicus. She expanded our SectionConnect mentoring program, which pairs incoming 1Ls with 2Ls and 3Ls from within the same section, and developed creative ways to improve the first-year section experience. She worked with the Board of Student Advisers to expand their training programs to include mentoring skills; diversity, inclusion and belonging programming; and helping promote student well-being.
She also introduced an orientation program designed to deepen our incoming students’ abilities to discuss hard questions and to engage openly and respectfully in difficult conversations. And she has worked with great skill, empathy, and determination to ensure our students have access to a robust set of support resources. When the COVID-19 pandemic hit, for example, Dean Sells began working immediately with a cross-functional team to help identify emergency needs, coordinate resources, and ensure our students were supported.
A dedicated leader and mentor, Dean Sells has also been a strong supporter of Student Government, our many student organizations, and student-managed journals. She worked with her team to enhance the training for student leaders.
When Dean Sells joined HLS in 2015, she brought a wealth of experience with her. In addition to her 13-year tenure at Columbia, she has held a variety of high-level positions with the NBA, Reuters, and the New York State District Attorney’s Office. Before her legal and academic career, she trained as a ballet dancer in her hometown of Cincinnati, Ohio, and she was a member of the Cincinnati Ballet Company and the Dance Theatre of Harlem. This tremendous set of experiences will serve her well in her new role at the Metropolitan Opera.
I hope you will join me in expressing our deep gratitude to Dean Sells for all she has done for HLS and for our students and in congratulating her on her next exciting chapter. We will have a chance to come to together virtually in the coming weeks (details to follow) to celebrate her and to wish her the very best on her new journey.
All best,
John Manning
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#41829265) |
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Date: September 21st, 2021 6:49 AM Author: frum orchid coldplay fan
Dear Members of the HLS Community,
Like so many of you, I watched with shock, horror, and sadness yesterday as rioters stormed the U.S. Capitol in a violent assault on the process of certifying the results of the U.S. presidential election. But for these events, it would seem too obvious to require saying out loud that using violence to challenge an election undermines democracy and the rule of law. In a constitutional republic, we the people agree upon the processes by which we not only select our elected officials but also resolve legal disputes relating to their election. It should also go without saying that under any such legal process – whether before a state election board, a state or federal court, or the U.S. Congress – those who wish to challenge an electoral outcome on grounds of fraud and irregularity must proffer proof, hard evidence, to back up their claims.
According to dozens of courts, state and federal, those who sought to challenge the outcome of this November’s presidential election failed to make their case again and again. And just as the last of the possible legal processes, this one before the U.S. Congress, was poised to reject the final such challenge (as it ultimately did early this morning), rioters bent on rejecting the outcomes of both the electoral and the legal processes sought to take the law into their own hands, disregarding the very foundation on which our democracy is built.
As lawyers and as members of a law school community, dedicated to democracy and the rule of law, we abhor this use of violence to threaten and undermine those cherished institutions. And even as we grieve yesterday’s injury, we must renew our faith in, and redouble our commitment to, the U.S. Constitution and a government of laws – in which such violence and ugliness can play no part.
John Manning
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#43151124) |
Date: September 20th, 2021 8:13 PM Author: Self-centered walnut gay wizard
imgur.com/a/r2U2wJB
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#43149276)
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Date: September 21st, 2021 11:56 AM Author: Cerebral yapping police squad
http://www.imgur.com/a/r2U2wJB
If on mobile, choose “view in desktop mode” from within your mobile browser so you can view the emails in full.
I can’t believe the dean responded with that email
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#43152049) |
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Date: September 21st, 2021 11:55 AM Author: aqua cracking stag film candlestick maker
the insanity has reached the world of music. banning blind auditions. firing white people expressly to hire people of other colors.
======
COMMENTARY
Ripping Off the Veil
By Heather Mac Donald | September 20, 2021 | 4:54pm EDT
Racial preferences have been almost impossible to dislodge because their human costs are usually hidden.
College admissions officers don’t inform rejected student applicants that they were turned down to make room for diversity admits. An HR office does not tell job seekers or the company’s own employees that they were not hired or promoted because they would add nothing to the company’s diversity metrics. The rejected applicants may suspect that they didn’t get a desired position because of a racial preference, but they can rarely be 100 percent sure.
The offstage nature of these tradeoffs allows preference proponents to deny that diversity decisions entail a zero-sum calculus. In 2019, a U.S. district court judge upheld Harvard’s racial-admissions preferences after a lengthy trial. In her opinion, Judge Allison Burroughs insisted that race is only a positive factor, and never a negative factor, in Harvard’s admissions process. Such a claim is specious. The only reason that institutions implement racial preferences in the first place is that there are not enough qualified applicants among non-Asian minorities to achieve a racially proportionate student body or workforce under a meritocratic selection system. Hiring a diversity candidate under a preference regime almost always means not hiring a more qualified non-diverse candidate. The former’s gain is inevitably the latter’s loss.
Now a British classical music organization has inadvertently ripped the veil off the diversity arithmetic, and the consequences may be far-reaching. Earlier in September, the English Touring Opera told nearly half its orchestral musicians that it would not be renewing their contracts for the 2022 season because it has “prioritized increased diversity in the orchestra.” In other words, as a bunch of white guys, you must be cleared out so that we can boost the collective melanin levels among our musicians. Your talent does not matter; your skin color does.
Here, at last, were concrete, publicly identified victims of a preference regime. The reaction was swift. Since the Sunday Times broke the story, the English Touring Opera has been thrown on the defensive. Arts Council England, a government arts funder and the opera company’s main patron, is backpedaling on its aggressive promotion of diversity after the company claimed that it was only following the Council’s mandates in terminating the white musicians. It turns out that the public has little stomach for watching the diversity sausage be made.
The English Touring Opera has been a valuable addition to Britain’s classical music scene; it deemphasizes warhorses in favor of a less overplayed repertoire. Recent seasons have offered strong representation of Renaissance and Baroque composers, including an oratorio by Giacomo Carissimi (an obscure seventeenth-century Roman composer), madrigals and motets by Carlo Gesualdo, Guillaume de Machaut, and Josquin des Prez, and Purcell’s short opera Dido and Aeneas. The ETO travels across England, bringing top-flight performances to places that otherwise would not have access to such eclectic live music.
Up to now, the ETO has not stood out as particularly “woke.” Its stagings are elegant and not revisionist. It does not seek to deconstruct opera’s alleged misogyny and colonialism. But in a letter to ETO’s sacked orchestra players, artistic director James Conway warned belatedly that the company will be “going through some significant changes over the next few seasons”—all, apparently, related to diversity. Conway invoked the appointment of the ETO’s new music director, conductor Gerry Cornelius, as a factor in those changes. ETO trumpeted Cornelius’s mixed Sri Lankan and Irish parentage when it hired him. Was Cornelius chosen on musical grounds alone? Perhaps; his resume is impressive. Thanks to the diversity regime, however, his status as a “BME” (a black or minority ethnic background person, Britain’s version of POC) can’t be ruled out as decisive.
To increase diversity in the pit, the ETO held orchestra auditions this summer, a break with its traditional practice of rehiring its freelance instrumentalists from season to season. The auditions were overseen by Chi-Chi Nwanoku, one of Britain’s leading champions of racial equity in classical music. Nwanoku runs the Chineke! Orchestra, composed predominantly of black and “ethnically diverse” musicians; in her advocacy of color-conscious hiring practices, she is Britain’s version of the Sphinx Organization’s Afa Dworkin. The ETO ignored a press query asking if its recent auditions were blind (i.e., with the musician’s identity concealed behind a screen) and what the winners’ race was.
ETO mounts two arguments in defense of eliminating its previous players. Its orchestral musicians are freelancers, working on an at-will basis with no contractual expectation of future employment, it says. That’s true. In practice, however, a freelance orchestra is little different from a tenured ensemble. As one British conductor explains: “You are loyal to your regular players, and they are loyal to you.” Some musicians eliminated to make way for diversity hires had worked for ETO for more than 20 years. They were understandably anticipating a return to employment, especially after the economic hardships of the COVID shutdown.
ETO also claims a mandate from Arts Council England. “This [action] is in line with the firm guidance of the Arts Council,” Conway wrote to the terminated players. But Arts Council England, which distributes nearly 600 million pounds a year from taxpayer and lottery revenues to arts organizations, rushed to differ with ETO’s assessment. “We did not instruct the English Touring Opera to send this [termination] letter,” the Council said, as reported in the Daily Mail. “We are now in conversation with ETO to ensure no funding criteria have been breached.”
The Council’s denial is undoubtedly accurate in a literal sense: it did not demand this particular letter. But ETO can be forgiven for thinking that a rapid escalation of its diversity quotient comports with its benefactor’s wishes. The Council publishes turgid hundred-page reports slicing and dicing a dizzying array of its recipient organizations’ diversity metrics. Those reports reduce Britain’s leading classical music ensembles to a congeries of racial identities: The London Symphony Orchestra: only 4 percent BME; the Royal Opera House: 11 percent BME; the City of Birmingham Symphony Orchestra: 3 percent BME; the Royal Liverpool Philharmonic Society: 3 percent BME; the Welsh National Opera: 6 percent BME. Even the shining star in Britain’s cultural firmament, the Royal Shakespeare Company, comes in for a diversity drubbing at only 3 percent BME.
The Council’s funding decisions are driven by the imperative to “reflect the diversity of contemporary England.” Doing so means wasting taxpayer dollars subsidizing commercially viable pop music, such as hip-hop and rap. The Council brags about funding the American tour of a British rapper. Grant applications must detail the steps grantees will take to “broaden the diversity of their workforce and governance.” Grantees who fail to meet their diversity targets “will lose funding,” according to a recent document. If passing on Britain’s inheritance of high art and beauty is a concern of the Council’s, it buries that concern deep beneath its “we can all create diverse art” populist cheerleading.
The Council did not respond to a request to explain how grantee organizations are supposed to improve their diversity profile without prioritizing diversity in their contracts. The ETO almost certainly breached no “funding criteria” in laying off its players; the Council displays no concern for maintaining the excellence of an ensemble or protecting the expectations of its members. For the Council to insist, in effect, “We meant diversity, but not by those means” is disingenuous. Once you unleash the diversity ideology, it will mow down everything in its path.
Almost as disingenuous is the Music Union’s huffing and puffing about the ETO layoffs. The union declared itself “appalled” by Conway’s letter. But the union, too, pumps out verbiage about workplace diversity. It advocates the collection and publication of diversity data, quarterly diversity trainings in music organizations, less emphasis on white European composers in music education, and a 20 percent minority quota on new union memberships by 2024. It asserts that “representation” is the key to orchestral success. Actually, a desire for classical music on the part of audiences is the only thing that will keep classical music alive. Teaching the public to view that music and its performers through the lens of race is a sure way to kill such desire.
It is telling that diversity proponents strive to distance themselves from the consequences of their ideology when those consequences are made public, revealing identifiable victims. Dislodging someone from a job may feel different from not giving the most qualified applicant a job in the first place. But in both cases, someone is deprived of an earned benefit based on the irrelevancy of race. Every preference-practicing institution is creating invisible casualties; every exhortation toward racial engineering pushes merit aside. Those doing the exhorting are secure in their own positions; ETO director Conway has not stepped down to make way for a BME leader. But the next time an institution celebrates its diversity practices, we should remember ETO’s Saturday Night Massacre and understand that something similar is happening at that institution and countless others. The maintenance of our cultural heritage depends on an awareness of these realities.
Heather Mac Donald serves as the Manhattan Institute's Thomas W. Smith fellow, authored "The War on Cops," and functions as a City Journal contributing editor.
Editor's Note: This piece originally appeared on City Journal.
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#43152046)
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Date: September 21st, 2021 3:46 PM Author: Cerebral yapping police squad
Hmm. If mental health related, you’d think they’d make it easy for him to leave, which it sounds like they didn’t. I can see an administrator saying “this guy is nuts,” but I can’t see them saying “you’re nuts but we won’t give you a piece of paper you’re requesting so you can go elsewhere.” It doesn’t add up. And his background just doesn’t scream mental health issues to me, nor does waiting three years to start tweeting about it. Maybe the administrators involved just don’t know what they’re doing.
Or maybe I am just instinctively not on the side of someone who is now a diversity officer at the opera. 🤷
I still can’t believe that’s a real job. It almost feels like an insult.
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#43153610) |
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Date: September 21st, 2021 2:05 PM Author: Cerebral yapping police squad
Classical Music’s Suicide Pact (Part 1)
https://www.city-journal.org/classical-music-under-racial-attack-part-1?wallit_nosession=1
The Met’s new chief diversity officer, Marcia Sells, had been the dean of students at the nation’s highest-paying law school—Harvard. Her six-figure Harvard salary doubtless will have been increased to cover the move to New York. Sells would likely also have been promised her own staff. Sells has no background in music, much less opera. Yet she is now entrusted with creating “artistic pathways” at the Met for “people of color,” according to a press release.
Presumably, the Met would have compiled a firm empirical basis for this new financial commitment, given the sacrifices that it is asking its existing employees to make. Has the Met in recent years failed to hire the most qualified musician because of his skin color or otherwise denied opportunities to minorities? I asked the spokesman. The query was ignored.
(http://www.autoadmit.com/thread.php?thread_id=4749250&forum_id=2#43152903) |
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