Emei, an alt-pop artist from LA, returned to Boston in March on her “RABBITHOLE” tour. A Chinese-American musician with a growing following, Emei is no stranger to Wellesley College — she performed at the Chinese Student Association’s Culture Show in Spring 2023. However, as my friends asked “What is Emei?” to my plans to see her show, she seems to be still under the radar to many, despite her past string of viral singles.

When she was just 15, she competed on “Chinese Idol,” a Chinese reality/singing competition show, later releasing her first songs in 2021. These songs went viral on TikTok, launching her music career. Since then, she has released three EPs, her latest being “Rabbithole.” Her songs range from electropop earworms to pop-rock headbangers to acoustic ballads. Emei’s music covers a wide range of topics beyond the typical romance-related pop anthems, speaking to friends, family and her personal growth and struggles with anxiety, stress and ADHD. 

For her VIP experience, Emei performed a short acoustic set featuring two of my favorite songs, one of them being her song “Dear Emily.” During her following Q&A and fan meet-up, I noticed that many attendees were decked out in white, black and red –– the main color themes for Emei’s tour. After the VIP experience, the crowd grew exponentially for her sold-out show. 

After watching openers Ashley Mehta and Haiden Henderson, the stage went dark as red lights slowly flashed and illuminated the stage. Emei was here. She opened the show with her viral hit, “Love Me Not,” a catchy pop-rock hit about overthinking. She followed with non-stop jumping songs like “Cynical,” “Irresponsible,” “Crazy Stupid Love,” and “That Girl.” 

During a set filled with fan surprises (such as launching merch into the crowd) Emei performed a host of newly-released songs including “Rabbithole” and “9 Lives” –– two tracks which are on opposite ends of the energy spectrum, but encompass the range of sounds she brings to her discography. 

Emei’s set concluded with her anxious, fun and vibey hit “Scatterbrain,” the title track from her previous album which characterizes her personal experience living with ADHD. However, having had access to the VIP setlist before the show, I knew the show wasn’t over without an encore. Returning to perform “711” –– a favorite of mine which questions Emei’s anxieties and emotions, Emei brought the show to a compelling end. 

After bearing witness to Emei’s energy and song lyrics live, it became clear how she utilizes music to tackle others’ perceptions of her. She unabashedly makes fun of what others may think; and as a Chinese American woman, she brings visibility to living with ADHD in a fun and digestible manner. Commonly seen as a “white boy disorder” and misunderstood in Chinese American women, ADHD can be a contentious topic –– especially when brought to the spheres of arts and music. However, Emei turns her internal monologue into fun and catchy music which can help listeners understand their own inner selves. A bold, colorful and stylish artist, Emei is a stand-out, and certainly one to watch out for.

Contact the editors responsible for this story: Ivy Buck, Nita Kelly

Last month, Rivera was named one of three recipients of the inaugural Wagner Arts Fellowship, a new initiative recognizing socially engaged visual artists in Greater Boston. She joins visual activist and public historian L’Merchie Frazier and painter-sculptor Wen-ti Tsen in receiving the award, which includes a $75,000 unrestricted grant and access to supplemental professional development services such as financial planning, career consulting and legal support. Recipients are nominated anonymously by their peers, underscoring the respect and recognition they have earned among the artistic community. 

Rivera, who started teaching at Wellesley 16 years ago, highlighted how this unique opportunity can be transformational for an artist. “I think the most important thing about this fellowship is how it’s being done, also putting you in touch with professional consultants to make a sustainable practice. I’m discovering aspects of being an artist that I didn’t even know after being an artist for so many years.”

Drawing heavily from her upbringing in Chile and immigration experience to America, Rivera’s work explores themes of migration, displacement and belonging. 

“I started thinking of my awareness of art and culture. How was it built?” Rivera explained, “And it was built through a lot of information brought from the West, through colonization, mixing with what’s already there. And that was sort of like the thing that was creating my identity.” 

Distance from the influences constituting her identity allowed her to reflect on their scale, in turn appearing in her artwork. 

“I started to think about cultural migration from before the Spaniards arrived. In the continent we had influence from the Inca Empire and Mapuche people — all of these things created clashes and mixed different types of formations of identity. And then the influence of colonial, religious and Catholic imagery. So being [in Boston], I started looking at those influences and types of movements from a distance, and I started thinking about all of those moments at a global scale, and became really interested in displacement, migration and ideas of belonging and experiences of belonging, too.”

In an interview with The Wellesley News, Abigail Satinsky, Program Officer and Curator of Arts and Culture at the Wagner Foundation, spoke to what success looks like for the inaugural fellowship. To Satinsky, it’s about community and long-term impact: “[I hope] Boston is known for a place that supports its artists, and that when people come to come through town they see that there’s an active civic discourse that involves artists that are part of the conversation. And so in doing this, we hope to establish, you know, as an annual program that will continue into the future, that there will be more and more artists that see themselves as part of this cohort, that feel like that. This is a place that they can stay.”

The fellowship will culminate with the artists presenting their work at the MassArt Art Museum as part of an exhibition titled “GENERATIONS,” organized by the Wagner Foundation to coincide with the launch of the 2025 Boston Public Art Triennial, an ambitious citywide showcase of public art commissions. Running from May 22 to November 30, “GENERATIONS” will offer Boston residents the chance to engage with the fellows’ socially engaged pieces.

As for what to expect from Rivera? For her, support received from the Wagner Foundation has been a “big incentive to keep working and also expand the work outside of the studio.” Besides showing some other pieces that are relatively recent, she will be creating a completely new piece for the “GENERATIONS” exhibition. Here at Wellesley, we certainly cannot wait to see what’s in store.

For the Wellesley student spending summer back in their childhood bedroom:

When you’re lying in your twin bed, staring at the ceiling and wondering why 15-year-old  you decided that was a good color to paint a wall, play Lorde’s new single “What Was That ––using your headphones of course, other people live in this house and your brother is studying for the SATs. As a TikTok I once reposted said, “Lorde is like Nanny McPhee, never showing up when you WANT her but showing up when you NEED her.”

For the Wellesley student determined to have a summer fling:

Play “The Glamorous Life” by Sheila E. It’s fun! It was written by Prince! She’s a drummer! The song is nine minutes long and is major for every single second. Play it while doing your makeup, while driving at exactly the speed limit–for legal reasons–or while riding the subway and being mysterious. Everyone wants you. The person you want definitely wants you. And, who knows? You might just find yourself falling in love.

For the Wellesley student getting beaten down by tariffs:

Eggs are four billion U.S. dollars and the minimum wage in your home state is still the exact same. Get in your car and play Gang of Four’s “Natural’s Not In It.” Or not. Gas is really expensive. What to do for pleasure? This song is featured in Sofia Coppola’s “Marie Antoinette” and if we have to be living in an ancién regime-coded era, it might as well be directed by the very best Coppola.

For the Wellesley student who didn’t get into any summer internships:

Play “Fire with Fire” by AlicebanD. You’re trying to find a purpose in your life right now and so is she. There is somebody else who’s clearly to blame, but is it your professors, politicians, or parents? Who knows? Spend your time dreaming and imagining hypothetical scenarios with your friend who lives way too far away.

For the Wellesley student replacing their smartphone with a flip phone:

Have you told your friends that you’re deleting Instagram again? Did you send a reel 24 hours later? If so, this summer it might be time to reconnect with nature. Hear a child’s laugh. Watch the sunset from a 7/11 parking lot as you plan your big move to Montana. Since you won’t have Spotify, go buy Jim Croce’s “I Got A Name” record on vinyl. Plus, whenever you eventually succumb to social media temptations you can post a picture of said vinyl and appear #rustic and cultured to your followers. 

For the Wellesley student upset with the government:

Did you finally block Elon on X? Have you started googling citizenship and visa requirements for Nordic countries? Are you actively avoiding interacting with anyone from Babson? Listen to “Money Game, Pt. 2” by Ren. Yes, he is British and this song is from COVID-19, but the “unprecedented times” are still going on.

For the Wellesley student traveling abroad this summer:

I hate you. I want to trade lives. I have no interest in sharing music recommendations with you because you already have everything. In any case, play “Free Man in Paris” by Joni Mitchell. Or, at the very least, use it as the score to your Instagram post that I will be hate viewing. A little on the nose? Sure. But so is spending the summer in Europe. And you’re unfettered and alive.

The following evaluation is intended to help the college better understand your educational experience. Your honest and unfiltered feedback is deeply valued. Read the statements below and choose the rating that best reflects your experience in this course.

Not very true for me | Somewhat true for me | Very true for me

Clarity, Responsiveness, and Feedback:

• I found my professor weirdly hot
• I understood they are middle-aged and have a wife and children
• I felt that the instructor would take the time to talk to me if I needed and asked for help
• I abused that fact to get extra face time with them
• They gently recommended I stop dropping by their office hours as much
• I received timely and constructive feedback

Course Engagement:

• I came to class prepared to talk over everyone else
• I was actively engaged in psychological warfare against my peers to ensure I was the instructor’s sole focus during class 

Inclusive Classroom Environment:

• My instructor created an inclusive learning environment where everyone felt welcomed and accepted
• I did everything in my power to disrupt and dismantle this environment
• I felt encouraged by my instructor to continue with my antics, even when they “suggested” I stopped (cus some of my peers were jealous)
• I had opportunities to interact positively with my peers in this course.
• I had no choice but to fight them.

According to some, the pace at which my infatuation our relationship moved was:

• Too slow
• About right
• Too fast

For me, the level of difficulty of following my instructor home was:

• Too easy
• About right
• Too difficult

For me, the attention my instructor gave me the night of April 22 was:

• Too little 
• About right
• Too much

Time Investment:

During the week leading up to that night, I spent:

Approximate hours in their trunk _____

Approximate hours in their yard _____

Approximate hours in their bedroom when they weren’t there _____

Please sign your name below to confirm that the above facts of this written confession are true and that you wish to plead Not Guilty by Reason of Insanity.

X

Initially, students resisted the original ice-water challenge, responding with sentiments along the lines of “I can’t risk tarnishing my digital footprint just before internship season” and “lmao no I would rather kms.” But after a strategic pivot (and a few dozen PowerPoint slides)  the team at USC Mind found a way to make the challenge appealing to all. 

Partnering with your cool friend’s favorite vodka company, the new-and-improved Smirnoff Ice Bucket Challenge was designed to promote “radical self-expression, mental wellness, and mid-tier vodka branding” by challenging students to funnel Smirnoff Ice whilst live streaming to social media. The rules were simple:

1. Fill a five-gallon bucket with Smirnoff Ice
2. Chug.
3. Tag three friends (or nemeses)

What started as a spirited display of student voice quickly spiraled into chaos as participants, most of whom had never consumed more than one room-temperature White Claw, began exhibiting symptoms of alcohol poisoning, intense regret, and being cool as fuck.

“I’m so glad we’re finally talking about mental wellness,” mumbled a sophomore sociology major from a hospital bed. “We as a society really need to…oh…oh god… I’m gonna be si—”

“Honestly, we were overwhelmed at first,” shared Dr. Ice, head of emergency services and yummy flavored drinkies. “Half of them came in for alcohol poisoning, and the other half were just crying while trying to explain late capitalism. No amount of plastic blue harm reduction cups seemed to be helping.” Sales for the company, however, have never been better. “Our brand is all about being bold, brave, and barely FDA-compliant,” said a newly-coked-up Dr. Ice. “This is just the beginning. Wait until you see our next campaign: ‘Snort Your Truth.” It’s gonna be big.”

In other news, a new, safer follow-up trend has begun to appear on the social media of liberal arts students around the country: “Don’t Speak Your Mind,” where students drink warm chamomile tea and quietly journal under a weighted blanket.

Unbeknownst to his family, he has been secretly attending seminary to gain his priesthood for the past 8 years. How did he manage to hide these sessions from Kris? The world may never know. Sources state that a spiritual experience with a half-eaten communion wafer and prayers for emancipation guided him to catholicism, as the only thing that could rescue him from his family was God himself. 

On March 22nd, 2022, social media was flooded with Rob’s Batman-themed 35th birthday celebration, but it was a complete hoax. Early access to AI imaging and hologram technologies allowed the Kardashian family to simulate the birthday Rob would have had— if he hadn’t run to the Vatican for his Kardinal appointment. To the world, this was an ordinary birthday, but to the Catholic Church, this marked the beginning of a higher spiritual journey. 

On April 21st, 2025, Pope Francis’s death sent waves of sorrow across the world, silencing a voice of compassion and unity. While the world mourned for a great leader, Rob Kardashian mourned for the secrecy of his Kardinal Status. He could no longer hide from the public eye, it was time for The Konclave ⓒ. 

In the sea of Krimson ⓒ robes, Kardinal Rob Kardashian joined his peers in the Vatican, beginning the selection process for the new Pope. Historically, any form of photography, recording, or outside contact is strictly forbidden. Complete isolation is key for this process. However, we all know how The Kardashians bend the rules, even those made in the 13th Century. 

For the first time in 750 years, the Conclave will be broadcast globally. Keeping Up With The Kardinals ⓒ is available NOW exclusively on Hulu. For only $13.99/month, ($5 off for charity), you can stream new episodes every Sunday at 10 AM CET (Central European Time) – perfect for a mid-sunday mass break. 

Will the next Pope be a Kardashian? Will Kylie release a Last Rites Lip Kit? Are Psalm, Saint, and True next in line for religious leadership? 

Find out this Sunday on Keeping Up With The Kardinals! 

In 2019, many students were left without housing, and some students were forced to be housed in basement study spaces that were later converted into dorm rooms. The 2019 housing debacle spawned a larger conversation about housing issues and the need for renovations in dorm halls, which could have been a factor in the college’s decision to create the long-term dorm renovation plan underway today. However, despite improvements to residential life, issues like this week’s housing shortage continue to highlight the major ways in which housing at Wellesley is not built for students. 

We have seen Wellesley making major strides in developing our crumbling dorm infrastructure, and students applauded the renovations to Tower Court. However, while the college now works to improve its infrastructure, it fails to support students living in its housing.

The administrative staff in residential life at Wellesley has long operated as a business rather than supporting students. Financially independent students at Wellesley, whose permanent address is the College, were previously given housing through winter and summer breaks. Those students, otherwise homeless during breaks, were told abruptly in 2024 that they would no longer be eligible for summer housing. Despite independent students being charged the full cost of summer housing and buildings having vacant spaces, the policy has not been reversed explicitly. These students consider Wellesley their full-time home while attending, but have been thrown to the curb by residential life. Even student deans, who know the depths of students’ personal lives, have been unable to persuade residential life to make exceptions. 

In the past, all students could request summer and winter housing due to extenuating circumstances. “Gap housing” used to allow students to stay in their summer housing after their summer classes ended, sometimes because of an unsafe or unstable home environment or other unfortunate circumstances. Now, Residential Life no longer accommodates exceptions to their summer housing terms and they do not explicitly offer break or gap housing to students with extenuating circumstances. When I have attempted to request exceptions to the housing rules, I often received rude, dismissive and passive-aggressive emails from the residential life team, and few students have been granted exemptions to the new rules.

Students who do get the opportunity to stay in summer housing often end up regretting it. While AC in the past has been seen as an unnecessary luxury, global warming has made summers in Massachusetts more extreme. Intense heat waves raised the temperature in my summer dorm room to over 90 degrees for multiple days straight. This caused both my elderly cat and me to experience symptoms of heat stroke and dehydration. The only solution given by residential life was to sleep in common spaces, which often do not have enough space to house all students and also would not allow my cat. Despite the likelihood of temperatures and heat waves getting even worse over the next few decades due to climate change, the college has not added air conditioning to any of its dorm remodeling projects. 

It doesn’t end at misplaced, overheated and unhoused students who suffer from residential life decisions. Graduating seniors like me have to move out by 5 pm the day of graduation, while past seniors had more time to move out of their rooms.  After four years of hard work, seniors deserve to have at least more time to spend with their families and celebrate their graduation before rushing to pack or get on a plane just hours after they walk the stage. One day is not a huge ask, and Residential Life’s ridiculous timeline is lacking empathy or recognition of graduates’ feelings.

Many treasured social dorms and student spaces are left nowhere to be found after remodeling. The Tower Court apartments–a go-to place for students to relax, host events, and loosen up– have been turned into residential offices and non-private community spaces. While blocks used to allow students to build their own private communities on campus, the new block design is often strategically found in the middle of a large hallway or placed around a room with a Residential Assistant or a House President. This change chipped away at “small student-centered communities,” like single-only Beebe 5th-floor upperclassmen, to host private gatherings. Not to mention, themed and group housing such as the substance-free and Walenisi, which used to be on designated dorm floors to provide a safe space for students, were first reduced to smaller blocks or pods, and then disbanded entirely. Not only does this especially damage the ability of Black and POC students to live in communities that make them feel more comfortable, but it also directly goes against students’ needs and wants, promoting a less social and comfortable housing environment. 

What happened to the 40 unhoused students this week said it clearly, the college does not only have a shortage of singles, but of rooms as a whole. The availability of dorms, or the lack of it, has always been a developing issue. In the past, juniors, not only seniors, were guaranteed singles as well. Even though our enrollment has stayed relatively consistent over the last decade, only some lucky juniors can get a single and even a handful of seniors have stories of being forced into doubles despite a policy guaranteeing a single.  

Dower Hall, a small dorm known for spacious rooms and suites that housed up to 40 students, has still not reopened nor been scheduled for remodels. Additionally, Wellesley has subsidized off-campus housing that is offered primarily to faculty. However, this housing has tons of vacancies and is rarely ever fully utilized. Despite this, the college does not offer students the opportunity to rent out of this subsidized housing. Residential life instead operates on a very tight room constraint with almost no vacant rooms, which is an incredibly callous and risky move that leaves students experiencing major room issues, Title IX violations, or roommate problems with little to no opportunity to move. 

Quite frankly, Wellesley does not have enough rooms for its students to operate safely and comfortably. Despite this, it refuses to reopen Dower Hall, subsidize off-campus housing for students, or build new dorm living. It also continues to disrespect its students: dismantling our communities, leaving us with no dorm assignment, kicking out our homeless sibs from dorms, and forcing us to go directly from graduation to a flight across the country. In 2019, students and alumni took the housing crisis as an opportunity to call upon the college to make major changes to the dorms. As another housing crisis is happening, I implore us to call upon residential life itself to change, and lead with empathy and respect for students. Wellesley housing holds our lives, our communities, our Wellesley families and it deserves to be treated as more than a transaction. 

For this week’s column, I’m focusing on the question of what bringing your off-campus boy-toy into our sacred space entails, and sprinkling in some advice along the way. To inform this column I spoke with past and present boyfriend havers, observers/those who have never had or wanted to bring a boyfriend to our hallowed halls, and last but indeed least, a few current Wellesley boyfriends (their handlers were nice enough to let them out of their cages).

To set the scene, seemingly every other month a new post on Sidechat sparks outrage about boyfriends on campus. These posts usually range from girlfriends complaining about getting weird looks to observers expressing discomfort about having to see boyfriends in the dorms, particularly in the bathroom. In the words of Jesus, a house divided cannot stand. Today, I intend to install some columns and strengthen the structural integrity of our divided house, and maybe, just maybe, turn it into a divided home. 

As someone who has both brought boyfriends here (not at the same time #notpoly), and also frequently looks at boyfriends on campus, I’ve always been able to empathize with both sides of the debate. Maybe it’s because I’m generally oblivious, but I personally cannot recall a time when a boyfriend and I have received glares or weird looks; however, I can imagine how uncomfortable it would be to be on the receiving end of those stares. I remember when I first brought a boyfriend here, I felt self-conscious, I didn’t want to be seen walking with him to and from the alumni loco stop. It felt like walking down a poorly lit street at night, never knowing what cool gay person might pop out from the shadows and judge me. This feeling of preemptive embarrassment was echoed by most of the current and former boyfriend-havers I spoke to. This could stem from internalized heterophobia, or more likely a feeling of responsibility, both to our community and for our boyfriends’ actions. 

What if he does something wrong? What if he accidentally says something offensive? As a former girlfriend put it perfectly, “I have to media-train them before they get here.” At Wellesley, we hold ourselves to a high standard that even the most polite, well-intentioned woke boyfriend might not meet. To quell worries, I recommend reviewing the basics: remind him of your friends’ preferred pronouns and that we’re a historically women’s college. This will help ease his nerves, too.

100% of the Wellesley boyfriends who gave me a comment remarked that they feel nervous on campus. Another interesting data analysis reveals that 86% of Wellesley boyfriends have four-letter names. The mode of this data set is Mike, with three separate instances within the past year. I also find it not to be statistically insignificant that these names tend to be verbs like Drew, Will, Jack… interesting. Anyway, getting back to the nervous thing, one boyfriend describes his approach by saying “the best Wellesley boyfriend is the one you don’t know exists,” and his owner, sorry, girlfriend, adds that “he is frightened of being seen too often.” 

Feeling out of place seems to be a common theme, with one of the Mikes equating the awkwardness and uneasiness he feels to “when you go into a room expecting it to be empty, but it’s actually full of people.” How poetic.

Another girlfriend spoke for her man saying “he didn’t think he was allowed to come on campus, and was worried people would be mean to him, but once he came over a couple of times he started getting more comfortable.” She added that “as a Babson frat man I think he feels like he might be the antichrist to this campus, but I think we are more accepting of him than he expected.” 

So what is it that they’re afraid of??

One boyfriend, who follows his girlfriend around “like a little duckling,” is even uneasy going for seconds in the dining hall without her. She thinks it’s “because of all the stares he gets,” although she admits “it’s part of the campus culture. I love staring at other people’s significant others cause I’m just nosey like that.” This is how many of us on campus feel.

When I see a boyfriend, I’ll be the first to admit that I do look at them. I’ll confess, sometimes I’ll even look them up and down, not to convey a message of “you’re not welcome here,” but rather, I’m evaluating if they are hot or not, especially if they are with their partner. 

My eyes linger, not out of malice, but out of inquisitiveness. As one observer put it, they have a “morbid curiosity.” Another non-boyfriend-haver said, “it’s like seeing a lost dog, or an alien species, I guess.” “I’m not criticizing, I’m assessing his vibe. Is he chill? Can I tell what school he goes to? Is he attractive? Is he hot enough to be with his girlfriend?” All this points to a shocking conclusion: is being a Wellesley boyfriend as close as a man can get to experiencing what it’s like to be a woman in the real world?

So yes, there is a certain fascination that accompanies seeing young cis men on campus. It’s not a daily occurrence, and it’s only natural that our eyes fall upon them. But these glances aren’t inherently negative, so in a sense, we boyfriend-havers have pathologized ourselves.

On the other hand, one girlfriend explained that she is often the one who receives the glares, not her boyfriend. She also told me about a time at steps when a group of first-years wouldn’t stop yelling amongst themselves “why the fuck is there a man here,” but didn’t say anything directly to the couple or the large group they were in. As an interracial couple, she and her boyfriend can’t help but suspect “some of it could be racism as well and not just misandry vibes.” 

The last thing to address here is the bathroom issue. As is policy, boyfriends should use the bathrooms labeled “sibs and guests,” however, that isn’t always realistic. The boyfriend without a four-letter name explained that his girlfriend lives on the fifth floor, and the only guest bathroom is on the first floor. I think we can all agree that it’s unreasonable to expect him to make that voyage consistently. 

To mitigate the Sidechat commenters’ worries, I think it’s best practice to accompany your boyfriend to the communal bathroom during normal hours, when your hallmates might also be there. This is obviously easier if you synchronize your pee schedules, although number two is harder to coordinate.

To all the boyfriend-havers, for the sake of you, your boyfriend, and your sibs, you should face your homonormativity fears and all the looks. Just let your boyfriend be Velcroed to you (he wants to anyway). And to the observers and so-called boyfriend haters, understand that, like it or not, men are here to stay. They’re out there in the real world, and sometimes they’re here too.

Around 40 students were unable to get an assigned room for the fall 2025 semester after slots were quickly filled during housing selection today.

In response, the Office of Residential Life (ORL) will “continue working on housing assignments throughout June and July as spaces become available,” but affected students may not receive a housing assignment until July 26, according to an email from the ORL to students who did not get housing. 

Students who did not receive housing were asked to provide the Office with their building preferences, name of a preferred roommate and any additional living preferences.

In a statement to the News from the Associate Dean of Housing and Community Life Brittany McDaniel, this year’s housing timeline “created some unique circumstances.” Some students selected rooms they ultimately may not need due to unfinalized fall study abroad plans. Nearly every student also submitted the housing application on time, which is not typical, according to McDaniel.

Room selection this year was split into two days, with the earliest time slot starting at 9 a.m. and the last ending at 4 p.m. Current juniors selected housing on Tuesday, while current sophomores and first-years selected housing today. 

Sophomores could start selection at 9 a.m. this morning and most first-years selected this afternoon. Each person was randomly assigned a 15-minute time slot. 

By 2:45 p.m. today, April 30, Starrez, the housing portal the College used to assign rooms, showed that no more dorms were available for selection. The latest time slot for selection was 4 p.m. 

This is not the first time students have experienced delayed housing selection. Back in 2021, students also experienced a similar situation when 50 students could not find rooms during initial room selection and were placed on an “open assignment” list, meaning they would be assigned rooms as they were made available in the summer.

In 2019, dozens of students were displaced due to a Starrez glitch and were housed in temporary housing with no guarantee of a permanent room. 

Rooms available to students each year are often subjected to changes due to the incoming class yield rate, the number of students going abroad and renovation progress.

90% of students live on campus and the College guarantees housing for all students, according to its website.

Ivy Buck: How did the idea to make HARK! come about? 

Akasha Brahmbhatt: [In the winter] we all registered for Devising Theatre (THST 355), and we [the registered students] went in with the understanding that whatever came out of it would be the mainstage production. THST 355 has an open-ended schedule; we knew we would have show dates in April, and we knew the theme would be the environment or climate change, and we knew we would be the people to write, perform and design the play. But we didn’t know exactly what “HARK!” would look like. We started with various assignments and skits that we would write and eventually perform –– sometimes they would be only a few minutes long, sometimes it would be a movement piece [or] sometimes it would be a game.

Buck: What was the experience like of creating a show with all ages in mind? 

AB: This was something I had never done before, but it was really interesting because I got to tap into my inner child and remember the performances that I enjoyed as a kid, but most importantly decide what messages we wanted to send out into the world––especially in this day and age. There was a lot of pressure, but we did some workshops with the WCCC (Wellesley Community Children’s Center) and Wellesley Elementary School. 

Buck: Yes! I heard you got to perform in a school… 

AB: Yeah! We workshopped some of our pieces [for “HARK!”] there, and it was very formative; the kids were super responsive to what we had. We developed a song that framed the show, with the message “do I want to go outside?” and “what can I explore outside?” More of a question, than a statement, so it would hopefully spark some inspiration [amongst the kids.]

Buck: As an actor who has had previous experience doing scenic design for WCT, how did you envision this for “HARK”? 

AB: I got my inspiration from the Kennedy Center’s American College Theatre Festival in January. Actually…I was looking around the other students’ props and set poster boards, and one person’s props were made entirely out of cardboard. I was really inspired by that and brought the idea back to Wellesley. As we were developing the show, I thought it would be really cool to use recycled materials, and try to build a world as we build our show together. We got a bunch of cardboard from the dumpster and from each others’ delivered packages, and a lot of our set ended up being constructed from that cardboard. Throughout the process, when we were developing a narrative around a tree and rebuilding something as a community, we thought about rebuilding a tree in the center of our stage. We constructed boxes [to eventually form the tree] and as the show progresses, our props fill these boxes to create a “patchwork quilt” situation at the end. 

Buck: As you approach graduation, how do you think this experience of acting, producing and set-designing all at once will serve your future interests? 

AB: As someone who would love to have a career doing something creative, this has been a more valuable experience to conclude my Wellesley College Theatre education than a traditional scripted play, because I got to tap into all of my [theatrical] training. To create something from scratch is really incredible, it was a feeling I will take with me no matter what career I have or what I do after Wellesley. It’s been awesome to see all of these skills come together to create something out of nothing, with primarily a six-person team. It’s really inspiring! 

Buck: Describe “HARK” in five words or less…

AB: Hilarious. Adventure. Really. Killer. Exclamation point!