New Book Explores How College Got So Expensive

I assume that most of you who are looking at the price of current US college tuitions, especially among top-tier schools, have a reaction similiar to mine, which is--This is insane!  How in the world did colleges get to be so expensive?

There is a new book out that tries to answer that question, written by an author associated with the Chronicle of Higher Education, the premier newspaper covering American colleges and universities.  It was reviewed recently by the economic columnist for the Washington Post, Michelle Singletary.  I have excerpted part of her article below.

So while I haven't read the book, it sounds like it does a good job of analyzing how things got to be so ridiculously expensive.  It also may be a good vehicle for helping your family and your potential college applicants to sift through what college benefits are worth the price tag, and which ones you might want to reconsider, no matter how attractive they may seem on the surface.  Jeffrey Selingo, the author, also has some predictions about what we can expect in the future--which, thankfully, is NOT that prices will keep rising at such a step rate.  However, future college configurations may look very different to the ones we had when we were undergraduates....


Why college has become so costly (excerpts)
By Michelle Singletary
The Washington Post
July 12, 2013

(Jeffrey J. Selingo) - Book cover \"College (Un)Bound: The Future of Higher Education and What It Means for Students.

Jeffrey J. Selingo, editor at large for the Chronicle of Higher Education, has written a compelling book that looks at the state of higher education: “College (Un)bound: The Future of Higher Education and What it Means for Students” (Amazon Publishing/New Harvest, $26)....

Part of the reason higher education is in trouble can be traced to the “Lost Decade,” as Selingo calls it. He defines it as the period from 1999 to 2009 when colleges were “chasing high-achieving students, showering them with scholarships to snatch them from competitors, and going deep into debt to build lavish residence halls, recreational facilities, and other amenities that contribute nothing to the actual learning of students.”

But the decade of more has come to an end, leaving many people in debt. In 2003, according to Selingo, only two colleges charged more than $40,000 annually for tuition, fees, room and board. By 2009, 224 had crossed the mark, and another 58 had passed the $50,000 plateau.....

Selingo’s historical tour of higher education is important in order to understand how to resolve the problems in the scholastic industry. You come away with a keener understanding of why college costs so much and how schools have been able to get families to ignore prices. His research is peppered with real-life examples of high-school students sold on colleges they couldn’t afford....

Moving forward to the future, Selingo talks about the forces that are and will continue to change higher education. Schools are in debt, state funds to colleges have been cut, and fewer families are willing to pay skyrocketing prices. Such developments will force schools to deliver their product in increasingly different ways, such as providing more online courses. He profiles a program that allows students, especially older adults returning to college, to demonstrate the mastery of a subject through a series of assessment tests, thereby reducing the time and money they need to spend to get a degree. He sees an unbundling of the traditional structured college experience.

Click here to read the original review in its entirety.

The Great Gatsby and CGI

After my article on The Lone Ranger, I thought I would add this post that also relates to movie-making.  A few months ago, I went to see The Great Gatsby movie after re-reading the book (which I have always loved) with my book club.  I thought it was a visually-entrancing and interesting interpretation that did justice to the book.  I loved Toby Maguire, found Leonardo DiCaprio's Gatsby to be a credible version, and found my doubts upon hearing that Carey Mulligan was playing Daisy to be confirmed (however, that may be the hardest role in the book--certainly, the previous attempts I've seen to capture Daisy have been similarly unsuccessful).

Of course, viewing all the Baz Luhrmann excesses of the roaring Twenties would not have been possible without CGI.   But I didn't realize how much that was true until I saw this video by Chris Godfrey, who was the Visual Effects Supervisor for the film.  This video displays some of the scenes as  before and after shots--before CGI, that is.  It is really amazing!  I knew some, even lots, of this stuff was computer generated, but there were other elements that I never imagined weren't there in real life.

Watch it for yourself below:


The Great Gatsby VFX from Chris Godfrey on Vimeo.

A Postmodern Lone Ranger and Johnny Depp's Empowered Tonto

We kicked off our 4th of July weekend by seeing the latest Johnny Depp movie, The Lone Ranger.  While the reviews haven't been stellar, I found the move to be both enjoyable and thought-provoking.  But I guess the problem is that I've ended up thinking more about why the movie makers included some of the things that they did, so that I'm focused on the process or message of the move rather than the movie itself.

In some ways, while the movie reunited some of the main players who produced The Pirates of the Caribbean (which I really loved, despite my initial skepticism about what sounded like the most ridiculous premise for a movie ever--an amusement park ride?), this is almost kind of an anti-Pirates movie.  Why I mean is that Bruckheimer and company just went whole hog with that movie, making it an outrageous and  rollicking tale that reinterprets pirates as not thieves and murderers, but as incarnations of the American spirit of freedom and non-conformity against the British formal restrictions  against individuality and independence.  What's not to love?

I think that the issue with The Lone Ranger is that the point, at least the one expressed by Johnny Depp in the interviews I've read, was to reinterpret Tonto not just as a faithful sidekick, but an equal partner who incorporates Native American perspectives with our typical Caucasian hero fare.  But to do justice to the Native American experience, the movie can't simply be a fantasy Wild West story that whitewashes the mass slaughter of people who inconveniently were already occupying land that we wanted to claim for our own purpose.

Hence, the dilemma.  Buddy tale, or political statement?  Summer action blockbuster with a conscience?  Not an easy thing to pull off, and we'll have to see how it all fares.  But I think it was a more interesting attempt to use a star vehicle for something more than just making boatloads of money.  And so I would recommend it.

I found an interesting review of the movie by Richard Brody in The New Yorkers, and I've reproduced it below.  It contains spoilers, so go see the movie first, then read his views about how this movie is more of a reflection of our times than of our Western history.

July 3, 2013

“The Lone Ranger” Rides Again

Posted by Richard Brody

Gore Verbinski’s “The Lone Ranger” is the Western for this age of meta-cinema, a time when viewers see beyond movies to their making and their marketing. In effect, “The Lone Ranger,” like other recent tentpole movies, is a work of conceptual art. The high concept, delivered at the imagined pitch meeting, becomes part of the story, and, as a result, the script dominates the experience as surely as if it were pasted onto the screen, page by page. (The budget is also displayed, in the form of the images and the so-called production values that they convey.) “The Lone Ranger” says little about the American West but a great deal about the virtues and failings of our time and of contemporary big-scale Hollywood filmmaking.

The first shot of the movie, depicting the Golden Gate Bridge in a state of ruin, is a shocker. It seems to be taken from a postapocalyptic political disaster movie, but a superimposed title setting the action in San Francisco in 1933 reveals that, instead, the bridge is under construction. The association is clear enough, though—it puts the modern West under the sign of the Wild West. The shot continues, in a sinuous crane, to a boy (Mason Elston Cook) who gazes into a life-size diorama featuring a statue-like rendering of “The Noble Savage,” a Native American who turns out to be not a mannequin but, rather, a living man standing stock-still on display—none other than Tonto. Well past eighty, he tells the boy a story, set in a Texas outpost in 1869, that turns out to be the bulk of the film, in flashback.

The action of the story that Tonto tells gets under way with a prisoner’s escape from the train that’s bringing John Reid (Armie Hammer), ultimately the Lone Ranger, home to a Texas town to serve as prosecutor after his stint out East in law school. Tonto’s tale has the authority of the first-person account as well as the exaggerations of an avuncular performer and the distortions of time. This accounts for its overtly political elements and its occasional forays into goofball comedy, as well as for its wildly impossible set pieces, which are designed to amuse rather than inform his young audience of one.

The plot (spoiler alert) involves a railroad executive (Tom Wilkinson) who hires a bloodthirsty criminal (William Fichtner) to stir up trouble with the peaceful Comanches in order to get the U.S. Army to dispose of them and free up land for the rail line’s westward passage. This story replaces the triumphalist legend of the westward expansion with a troubled and guilt-ridden tale that reflects its guilt forward, into the present day. But the politics of that plot are subordinated to its main purpose: to set up the two backstories of how Reid became the Masked Man and how Tonto became his partner (not his sidekick).

Backstory is an essentially democratic mode of storytelling; it defines people by their personal particulars rather than by their social station or other outward identifiers, and it explains action not in terms of situations but in terms of individuals’ needs, conflicts, desires, dreams, and troubles. Popular Hollywood movies are the avant-garde of this liberal idea (“Man of Steel,” for example, is nothing but backstory), which converts the present into destiny and the future into a vision of redemption, whether making good on a past error or sin (that’s Tonto’s story) or seeking some sort of vengeance.

With Westerns, backstory makes sense: history is to society as backstory is to character, and the country is as tethered to its past as are its citizens to their personal stories. The simple didacticism of “The Lone Ranger” is to grant Native Americans their rightful place in the national narrative, and to find a way to make good on the injustices on which the nation developed. The Western is an inherently political genre because it renders as physical action the functions of government that, in modernity, are often bureaucratic and abstract. But that’s exactly where the highly constructed conceptualism of “The Lone Ranger” disappoints: it renders the physical abstract. Despite the elaborate and often clever gag-like action stunts (or C.G.I. contrivances) and the occasionally grotesque violence, the movie seems not to be there at all, replaced throughout by the idea of the movie.

In fact, “The Lone Ranger”—which features many of the elements of classic Westerns, including an all too brief view of the majestic landscape—is not a Western but a collection of signifiers of Westerns that are assembled in such a way as to attract audiences that would never be attracted to a Western. It’s almost beside the point whether its elements are “good.” Johnny Depp brings a sonorous voice and a dry humor to the role of Tonto, and Armie Hammer, who specializes in the soul of the Wasp (and should have played Tom Buchanan in “The Great Gatsby”), offers just the right genteel naïveté to suffer the disillusionment that counteracts the popular Western myths of 1933 and their vestiges today. Verbinski takes pains to meticulously recreate crusty details and directs the action sequences with a graphic academicism, a bland eye-catching cleverness that communicates action without embodying it—which is exactly the point. For those who love Westerns (and I do), “The Lone Ranger” winks at them consistently enough to elicit warm reminiscence of the moods, the gestures, the styles, and the themes, even as it averts the sense of time and place to convey a sturdy and generic substructure of modern storytelling akin to that of other superhero blockbusters.

Read more: http://www.newyorker.com/online/blogs/movies/2013/07/gore-verbinski-the-lone-ranger-reviewed.html?printable=true&currentPage=all#ixzz2YAdiRT9X

Holst's Planets Suite Beneath the Stars

I believe I'm mentioned before that one of our favorite summer traditions is the Summerfest concert series.  Summerfest is an annual concert series by the North Carolina Symphony held at Koko Booth Amphitheater, which is a mostly outdoors/uncovered performance space.  We go with another family that we've been friends with since our boys were in a playgroup together over 10 years ago.  We bring lawn chairs and a picnic (including wine, which is allowed for this series), and usually hang out for a couple of hours before the concert starts at 7:30.  It is a perfect place for children to begin their classical music education, because it is affordable (kids under 12 are free!) and they can eat and run around and such in addition to listening to the music.  Plus, the concert themes are often geared to family interests--for example, a couple of years ago they did a whole concert on pirates music!

This past Saturday, the keystone of the concert was The Planets Suite by Gustav Holst.  However, in addition to hearing the entire suite played live by the Symphony (with some unusual additions, like the celestra, the instrument most famous for the opening tones of the Harry Potter theme song, but which means "heavenly" in French and thus is perfect for this music), they were projecting high-resolution images from NASA of the planets in the music.  And, of course, we were under the open heavens ourselves, on a beautiful warm North Carolina night (that part of the concert didn't start until 9:00 PM).

I have to say, it was one of the most powerful concerts I have ever attended.  The transporting music, the compelling images, and the wonderful atmosphere all came together to make it really a magical experience.

So while I can't reproduce the sensations for you, below I have included some videos of the London Symphony, who apparently recorded the Planets Suite using the same images we saw.  Even without being in the night sky, they are still pretty powerful.  Enjoy!

The Richness of Education

The following is a graduation speech given by Richard Cohen, a columnist with the Washington Post.  I appreciated what he had to say about the value of a college education, and so have posted his address here:


President Jones, members of the faculty, assorted notables, proud parents and financially indebted graduates. I come before you on this auspicious day to say something about the degree you have just been awarded. You have been told it is not worth the papyrus it is printed on. I am here to tell you it is worth a fortune.

 In preparing for this commencement speech, I assembled a file of newspaper stories about the cost of college, the burden of student debt and how much you can expect to earn in your first year after graduation — assuming, of course, that you can even find a job. The numbers are daunting. Unless you are graduating from one of those name-brand elite institutions — Harvard, Yale, etc. — you’re probably not going to make much your first year out. In fact, we now have many examples of community college graduates earning more than those with bachelor’s degrees. In Virginia, the difference can be $20,000 a year.

 What’s more, people often come out of school burdened with debt — about $24,810 on average, but an astounding $41,230 in Washington, D.C., where many residents have advanced degrees. This is hardly small change, of course, but aside from Washington, we are talking the price of a new car — without the premium package. This is a debt your average young person gladly takes on without whining to Congress. I add that just to provide some perspective and get you riled up.

The figures concerning salaries and debt are not to be dismissed. But they, too, need some perspective. College, after all, is not solely about earning power — although you are forgiven for not knowing this. College, believe it or not, is about education — and that, boys and girls, is not something you can put a number on. Let me give you a word: anthropology.

This is a word I’m not sure I ever heard in high school. But when I got to college, I had to take a year of it to satisfy a science requirement. I did one semester of physical anthropology and one of cultural — and about 40 years of both ever since. I became enthralled with the study of evolution, with paleontology, with my pal Australopithecus africanus and with the “sexing” and “racing” of skulls. Give me a good skull and to this day I can give you the sex and the race of the dearly deceased. I was CSI Cohen before there was CSI anything.

 I still keep up with anthropology. I try to stay somewhat current in sociology and psychology, my major and minor before I lost my way and took up journalism — and I do these things not for credit but for fun. College taught me how to have fun with knowledge. It enriched my life in ways that cannot be quantified. I came out of college with a debt, but my real debt was to my professors.

When I wanted to become a writer, I found teachers who showed me how. One of them, John Tebbel, a former newspaperman turned author, took me aside. He praised. He criticized. This is how it’s done, kid. The man changed my life.

See, this is the part of college no one talks about anymore. It’s all about numbers — what it costs and what you can earn. It’s all about a financial investment — how much in and how much out, as if value is always about money. But there’s value in the discovery of fine art or cinema or literature or . . . anthropology. And — very important — you will get an overview of the world, not just your little area but all the rest. This will make you a better citizen, which is nice, and will give you greater control of your life, which is also nice.

About a month ago, a hostess at a dinner party asked the table what college had done for them. Absolutely nothing, one person instantly responded. I braced for a cascade of negativity, but to my surprise it never came. Guest after guest praised their education and how it had made them a richer, happier person. I was gratified.

I know what you’re thinking: It’s fine for you to say, Cohen. You’ve got yours. You’re not poor and scratching for a job. True enough. But you will find truth in the cliche that money cannot buy happiness. This has been the case for thousands of years — or, as I like to put it, since Australopithecus africanus.

You can Google that.


Link to the original Washington Post column

Thoughts on Creativity and Educational Reform from Sir Ken Robinson

When I wrote last week's post on Sir Ken Robinson's latest TED talk on why current US educational policy is doomed to failure, I was shocked to discover I hadn't included some of his earlier videos in my blog.  So, better late than never....here are two of my favorites.

If I wanted to encapsulate this thinking into one presentation, I would choose the RSA Animate video entitled Changing Educational Paradigms:



But if you would like more detail on his theories about education and creativity, which is his particular expertise, I think the best source is his first TED talk, which has been seen by over 20 million people and has been translated into 58 languages:




They are insightful, funny, but most important, important videos to watch if you are concerned about the state of education....and, really, who isn't these days?

In Latest TED Talk, Sir Ken Robinson Urges Returning School Control to Local Educators

Sir Ken Robinson, the educational reformer whose talks are on the top of the TED most popular video list, has just come out with another wonderful presentation entitled "How to Escape Education's Death Valley." In it, he explains why current educational "reforms," such as No Child Left Behind, run counter to fundamental human nature and thus are doomed to fail. He contrasts the current American system, which is increasingly narrow, centralized, and standardized, with systems that rank at the top of international achievement, such as Finland, which are broad in scope, controlled by local educators, and individualized to particular students. He is pithy and persuasive, and delivers his talk with his typical dry humor. (My favorite humorous line from this talk was when, in discussing the growing diagnosis of American students with ADHD, he said "Children are not, for the most point, suffering from a psychological condition...they are suffering from childhood.")

 Watch the video below to learn more about why our current educational policy ends up with the US spending immense sums of money but achieving unacceptable results in terms of drop-outs and other human factors: