Antioch College Maryland

Antioch College Maryland


I'm alive and well and on FB.
My story "Alone for Passover" on the Studio Theater in Exile website.

While we're catching up on what our alumni have been doing, here's something I wrote up a few years ago:

Anyone here who was on the bubble design team? Or knows anyone out there I could find now? I was a student on the team, arriving in September 1970 and staying on through Winter quarter. I then headed west, intending to study ecological design at the Farallones Institute and, on the way, stopped by to take a quarter at Antioch Original in Yellow Springs. I couldn't study architecture there but transferred in, anyway, for the wonders I found. Three of my coops were with principles of the bubble and mentors to the Antioch Columbia environmental design. I ended up earning an Antioch double degree in Community Communications and Asian Studies in 1975. Which was satisfying, for I went to Antioch Columbia believing (that glossy marketing pamphlet) I could study Asian philosophy there (oops!) and, in Yellow Springs, discovered I could enter into social design constructs via video just as I'd intended to do via architecture. Due to all the talents nurtured by Antioch Columbia and Antioch YSO, I went on to design and build three television stations. I'd love to track down others who were involved in any way with the bubble -- a group of Antioch alumni are studying our initiative right now, intending something to come forward to share publicly from that.
I too was sad to hear of Mike Metty’s passing. He was always very kind to me and took the time to sit with a terrified young girl from the Eastern Shore on the stoop of 825 Charles St in Baltimore, as I inquired about the program. I always appreciated his time and attention. May he Rest In Peace.
The man who left me with many fond memories of Antioch.
We should arrange for a showing of this doc at any upcoming events: Here Come the Videofreex
Here's the most "Antioch" thin I read this week:

10 Rules for Radicals

Rule 1: Call everything an experiment.

Rule 2: When the starting gun goes off, run really fast. As a small player, the elephant can step on you, but you can outrun the elephant.

Rule 3: Eyeballs rule. If a million people use your service, and on the Internet you can do that, you’ve got a lot more credibility than if you’re just issuing position papers and flaming the man.

Rule 4: When the time comes, be nice.

Rule 5: Keep asking until they say yes. Gordon Bell, the inventor of the VAX, once said that you should keep your vision, but modify your plan.

Rule 6: When you get the microphone, get to the point. Be clear about what you want.

Rule 7: Get standing. Have some skin in the game, some reason you’re at the table.

Rule 8: Get them to threaten you.

Rule 9: Look for overreaching, things that are just blatantly, obviously wrong or silly.

Rule 10, which is don’t be afraid to fail. It took Thomas Edison 10,000 times before he got the lightbulb right, and when he was asked about those failures, he said “I have not failed, I’ve just found 10,000 ways that won’t work.”

Fail. Fail often. And don’t forget, you can question authority.

Carl Malamud, from his keynote at the 19th World Wide Web Consortium conference in April 2010. He is the founder of Public.Resource.Org

Check out how he's applying it:
JENNIFER Q. SMITH went to Maryland Institute but was part of our Antioch crowd, and she and I have both lived in Indy since 1987. Listen to Jennifer as
Roadtripper on radio show Hoosier History Live (the show I produce) this Sat. Mar. 23 about 12:12 pm ET. She'll talk about her involvement with the new National Mascot Hall of Fame in Whiting, Indiana. Listen at
Antioch Maryland's Molly Head of Indianapolis produces public radio show "Hoosier History Live' Listen Sat. Aug. 11 to “Potawatomi Trail of Death in 1838” from noon to one at The Trail of Death was the forced removal of more than 840 Potawatomi Indians from their villages in the Twin Lakes region of northern Indiana. The group was marched 660 miles to Kansas. Chief Menominee, whose commemorate statue is near Plymouth, and other tribal chiefs were caged in a "jail wagon" along the way.
On the subject of what our fellow alumni have been up to recently, I've got a book out:

For what it's worth, the first bus I owned was the one that I had when I was at Antioch, and there are a few of you who have actually ridden in it, back in the day.
Hello team Antioch/Maryland! I'm hosting a very special yoga retreat at my place in New Zealand. Please pass this on to anyone you think might be interested in attending, and contact us if you'd like to come yourself! P.S. I'm Suzy Hawes, Class of 1973!

Antioch College had campuses in Baltimore and Columbia, Maryland, between 1969 and 1981. This page is devoted to the history of those campuses and to the alumni who continue to live out the school's progressive philosophy in their communities.

Operating as usual


Antiochians (from left) Geoffrey Himes, Grace Cavalieri, Gail Bartlett and Paul Bartlett join friends Lucia Liang and Eric Baker to discuss Charles Baudelaire's "Flowers of Evil" at Grace's house in Annapolis, on Monday, July 5, 2021.

Antiochians (from left) Geoffrey Himes, Grace Cavalieri, Gail Bartlett and Paul Bartlett join friends Lucia Liang and Eric Baker to discuss Charles Baudelaire's "Flowers of Evil" at Grace's house in Annapolis, on Monday, July 5, 2021.

How Many Californians Is Your Vote Worth? 06/03/2021

How Many Californians Is Your Vote Worth?

Here's an excerpt from Geoffrey Himes's Curmudgeon Column in Paste Magazine on unequal voting in the United States. The complete essay is linked below.

Think of it this way. If you were a voter in Cheyenne, Wyoming, in 2016, your vote was worth 1/85,283rd of one Electoral vote (255,849 total votes divided by three Electoral votes). By contrast, if you were a voter in Los Angeles, California, in 2016, your vote was worth 1/257,847th of an Electoral vote (14,181,595 votes divided by 55 Electoral votes). In other words, a Wyoming voter’s ballot was nearly four times as powerful in electing a president as a California voter’s ballot.

This is the question we should all be asking ourselves: How many Californians is my vote worth? When it comes to the Electoral College, a vote cast in Montana, Alaska or either Dakota is more than twice as powerful as a vote cast in California. Those are all red states, but the same doubling is true for such small, blue states as Vermont, Delaware, Rhode Island or New Hampshire.

So where does the Republican advantage come from? How has the G.O.P. twice won the White House in this century while losing the popular vote? It comes from all the states where each vote is worth between 125% and 200% of a California vote: South Carolina, Alabama, Kentucky, Oklahoma, Utah, Iowa, Arkansas, Mississippi, Kansas, Nebraska and West Virginia.

If you live in California, you might feel outraged that your vote has been so devalued by an 18th century mechanism designed to protect slave owners and other small-state aristocrats. You might feel the same way if you live in New York, Texas, Florida, Pennsylvania, Illinois, Ohio, Georgia, North Carolina or Virginia, where your vote is roughly equal to a California vote. When you hear conservative scholars nattering on about protecting small states, you might respond, “Why should my vote count for less than another American’s?”

But if you think that’s unfair, turn your attention to the most undemocratic feature of American government: the U.S. Senate. If you voted in 2016 in Fairbanks, Alaska, your vote was 1/311,441th of the vote for a senate seat. If you lived in San Francisco that year, your vote was 1/12,253,170th of the vote for a senate seat. In other words, the Alaska vote was a whopping 39 times as powerful as the California vote. If Wyoming had had a senate race in 2016, a vote there would have been worth 45 California votes. And if we measure by total population rather than actual voters, a Wyoming senate vote is worth 68 California votes.

As Vox’s Ian Millhiser has pointed out, the resulting Senate is split 50/50, even though the Democratic senators (including the two independents who caucus with the Dems) represent 185,541,791 people, which is 56% of the population and 41,549,808 more people than the Republican senators. (Here’s an idea for weakening the Senate filibuster without eliminating it: Pass a law that any group of senators representing 53%, 55%, 57% or 60% of the population can end a filibuster).

But rather than thinking in terms of parties, think it in terms of individual voters. In 2016 (the last year California had a senate race) a senate vote in Kentucky was worth six and a half California votes. In Utah, it was 11 California votes. In North Dakota, it was 36 California votes. When politicians and pundits defend the Senate system, they’re telling people in California (as well as those in Texas, Florida and New York) that it’s proper for a North Dakota vote to be 36 times as powerful as yours. Are you okay with that?

How Many Californians Is Your Vote Worth? Even if you do successfully register and cast your vote, even if your vote is properly counted, your vote can still count less than someone else's.


Antiochians Geoffrey Himes, Grace Cavalieri, Paul Bartlett and Gail Bartlett (plus non-Antiochian Ellen Wise) join for their first in-person book-club meeting in 13 months on Monday, May 10.

Antiochians Geoffrey Himes, Grace Cavalieri, Paul Bartlett and Gail Bartlett (plus non-Antiochian Ellen Wise) join for their first in-person book-club meeting in 13 months on Monday, May 10.

Ed Ward, Rock Critic and Historian, Is Dead at 72 05/10/2021

Ed Ward, Rock Critic and Historian, Is Dead at 72

The New York Times on the death of Antiochian Ed Ward.

Ed Ward, Rock Critic and Historian, Is Dead at 72 His reviews for Crawdaddy, Rolling Stone and Creem were admired. But his tough criticism at The Austin American-Statesman inspired a “Dump Ed Ward” movement.

The Curmudgeon: Looking For an Honest Song about Death 04/29/2021

The Curmudgeon: Looking For an Honest Song about Death

Here's the opening of Antiochian Geoffrey Himes's new Curmudgeon Column in Paste Magazine on songs about death. The complete story is linked below.

My mother died in her own bed early in the morning of Sunday, April 11. This was entirely expected; she was 93, and her mind and body both had been failing for years. I wasn’t there when it happened, but I had been at her bedside the week before, trying to talk her down from the terrors when she woke up in the middle of the night. “Have I died already?” she cried out in her confusion. No, not yet, we told her.

And yet for all the warnings and preparations, it did make a difference when death finally arrived. One day she was there, and the next day she wasn’t. One day I had a mother, and the following day I didn’t. And it’s that absolute absence that’s the hardest thing to accept.

Whenever I’m in crisis, I turn to song for clarity and solace. It helps just to know that someone else at some time and in some place felt the way I do now. That doesn’t wash away the pain, but it does crack open the loneliness. It doesn’t change my feelings, but it lets me know those emotions are neither bizarre nor fatal. Seeing the situation through someone else’s eyes reveals aspects that I could never perceive through my own pain-clouded vision.

Songs have helped me get through romantic heartbreak, physical breakdowns and political nightmares. But when I went looking for songs that might help me through my mother’s death, I found them shockingly hard to find.

Oh, there are thousands of songs about death, even about the death of a parent. The internet yields countless lists of such songs. But almost all these songs have nothing to do with my experience of death: the irreducible absence it creates. In fact, most of these songs want to persuade me that that absence isn’t even real, that the recently departed are now in a better place, that we will meet again by and by, that the circle will be unbroken.

Those are nice thoughts, the product of good intentions, but they’re untrue. The dead are not in a better place; we will never meet again, and the circle is irreparably broken. The sentiments in these songs not only contradict every aspect of my encounter with death, but by denying my profound feeling of absence, they also insult me.

Don’t get me wrong. When I’m not in crisis, I can enjoy a song such as the Carter Family’s “Will the Circle Be Unbroken,” the Black gospel hymn “We’ll Understand It Better By and By” and the old Irish-American vaudeville tune “Danny Boy.” All three boast gorgeous melodies and all extend a generous feeling of comfort to the sorrowful. But they all negate my actual experience of death and are thus worse than useless in a situation like this.

The Curmudgeon: Looking For an Honest Song about Death Those songs exist, but you won’t find them under the spotlights of popular culture. You have to hunt for them in the shadowy corners.

The Curmudgeon: Valerie June Multiplies Her Voice 04/21/2021

The Curmudgeon: Valerie June Multiplies Her Voice

Here's the opening of Antiochian Geoffrey Himes's Paste Magazine story on Valerie June. The complete story is linked below.

Valerie June’s terrific new album, The Moon and Stars: Prescriptions for Dreamers, opens with echoing, broken acoustic-piano chords—the sound of a small, wooden, Southern church. June soon enters with her acoustic guitar, singing in her twangy soprano, “I don’t know how long I’ll stay / No, I can’t tell you lies that way.” Is she singing to a lover about the uncertain duration of their relationship? Is she singing to a congregation about the uncertain duration of her time on Earth? It works either way, especially when she adds, “I’ve had not one regret.”

This is the traditional, acoustic music of rural Afro-America, the tonality that first made June’s reputation back in 2013, when Pushin’ Against a Stone became her first nationally distributed album. She has put that style to her own uses, with quirky original songs, but that sound, which cuts against the grain of this century’s urban, microchip Black music, has given her a distinct identity.

It’s still there on The Moon and the Stars but June and her co-producer Jack Splash have found a way to build a new sound atop the old one, giving her a new future without discarding her past. This is artistic evolution not by substitution but by addition—always the better approach.

On that opening song, “Stay,” for example, the old-fashioned opening is bolstered by drums and bass on the second chorus, further reinforced by electric guitar and electric keys on the next verse. By the third chorus, the subliminal string quartet steps forward in a swelling chart by legendary Stax Records arranger Lester Snell. By the time the flute improvising over the drummer’s march beat leads into a crescendo of female vocals (all multi-tracked by June), what once seemed intimate and personal has become large and social.

“I wanted that sense that at first this is just Valerie singing about her love, her life,” June says over Zoom from her home in Brooklyn. “But as it goes on, it becomes a song about a whole town, a multiplicity of happenings that we’re all a part of. I wanted the songs to be like an art installation where you walk into a room, and you’re part of it, you can sit and look or you can dance around. That’s what I wanted where you could have a variety of perspectives.”

Most of the songs follow the same strategy. They begin with just the singer and her banjo, her acoustic guitar and/or one other ingredient. Only gradually are the other elements placed on top. As the music swells with slowly accumulating sound into a massed cloud of notes, just when you might forget where June started from, the new layers suddenly evaporate and reveal that the artist we’ve always known is still there at the heart of the song.

As a result, each song achieves what music always wants to do and too rarely accomplishes: It gives us both the individual experience—the lone voice with its distinct point of view—and the communal experience—the surrogate voice for each of us and our shared history. More than that, it reveals how the former evolves into the latter.

“These arrangements reflect the way I write songs,” she reveals. “They come quietly like that, and I’ll hear the song as just my voice. Then I’ll hear a second voice that I can add as guitar or banjo. Then I’ll hear another voice that might be a bass or a drum. Then I’ll hear a voice that can be a harmony vocal.

The Curmudgeon: Valerie June Multiplies Her Voice June finds a new future without discarding her past on 'The Moon and Stars: Prescriptions for Dreamers,' one of March's best albums.

Photos from Antioch College Maryland's post 04/18/2021

From Antiochian Ric Moore on his new documentary film project about the history of his current residence, Lewes, Delaware:

I just started my documentary film project yesterday here in Lewes with a first shoot by filmmaker, Brad Mays, of Blues musician Moe Dene playing a 9-minute version of "Amazing Grace" at the site of a large fishing net reel (one of two left in the U.S.) erected on the corner of the Lewes Historical Society campus. What the reel symbolizes is the racially integrated work force that worked in the maritime industries here, catching menhaden fish for what was the largest menhaden fish factory in the world that was located in Lewes (pronounced like "Lewis" or "Louis"). When the fish population collapsed in the mid-60s, gentrification began in Lewes to salvage the economy but displacing much of the Black population.

The menhaden fish were introduced to "colonizers" by the local Native Americans, Siconese of the Lenape Indian tribes, who were displaced by disease, slaughter, and relocation subsequent to treaties signed with the Dutch and with William Penn. Some remain along with the Nanticoke Indians, both of whom are part of our plans for interviews in the documentary.

Today, we interview an 85-year old Black woman who grew up in Lewes, back when it was a segregated community and her family owned the only house placed on what today is known as Shipcarpenter Square (sadly destroyed in a notorious incident just before it was to be relocated to George H.P. Smith Park, named for the first and only former Black mayor of Lewes), where a collection of salvaged historical properties were moved in the 1980s from various parts of the state for restoration and preservation, with some modernization for living.

The land itself was once used as the Black ballfield, where an annual festival was held by the Black community for what I suspect, but haven't confirmed yet, was Juneteenth. In the 19th century, the field was a staging area used by free Black ship builders, Cato and Peter Lewis, in their ship building operations.

Peter Lewes, the son of Cato, donated land along the Lewes-Rehoboth Canal, about a block and a half from my house, for what became St. George's AME Church and is today a Black cemetery where the Lewes family are buried along with former slaves, Black Civil War veterans, and very possibly some members of my mother's family, the Davenports, originally from Newbury, South Carolina, whose gravestones I discovered in the rear of the cemetery.

Richard Allen, a Black teamster, drove a salt wagon from Philadelphia to the Lewes-Rehoboth area, where the salt was likely used in fish processing and Allen gathered local Black folk into what became several churches that were part of what became the African Methodist Episcopal denomination for which he was the founding Bishop in 1816, the year St. George's AME purportedly was started in Lewes on Peter Lewis's land, the current graveyard. A newer church building was constructed around 1929, a half block from where we filmed by the fish net reel.

Hundreds rally, march in Logan Square to protest police violence: ‘Adam, we love you!’ 04/17/2021

Hundreds rally, march in Logan Square to protest police violence: ‘Adam, we love you!’

A note from Antioch's Joel Monarch:


Last night's Chicago march to protest police violence was held in our neighborhood, Logan Square, about three blocks from our house (hopefully the attached article is not blocked by a firewall).

When Connie and I moved out of our East Rogers Park Chicago apartment in 1985, we bought in Logan Square, about midway between the Loop (downtown) and O'Hare Airport, on the "northwest side". Chicago is a city of neighborhoods. At that time Logan Square was largely old time Polish and Swedish, with more recent Mexican and Puerto Rican residents--in the late 70s the Puerto Ricans had been gentrified out of the near north side Lincoln Park neighborhood, near Lake Michigan, and had moved west to the first affordable neighborhood. Logan Square homes were still affordable in the 80s, we bought for $55,000; 3 years ago the home next door which is smaller sold for $450,000.

A lot of radicals moved to Logan Square in the 80s--the Weather Underground--Bernadine Dohrn and Bill Ayres already lived here when we moved in. When developers wanted a zoning change to build up, they had to go to a community meeting, where hundreds of people opposed to gentrification would ask hard questions and make demands for changes of the plan. The developers used to call our neighborhood "The Peoples Republic of Logan Square"! The old-timers in Logan Square viewed Connie and I as yuppies in the 80s, and we were indeed part of the first wave of gentrification that continues, but hasn't completely changed the neighborhood yet. Activists still fight developers for affordable housing and for the last six years we've had a socialist Alderman, Carlos Ramirez Rosa.

We were honored that city organizers chose our neighborhood for last nignt's march last night.

Best wishes,

Joel Monarch

Hundreds rally, march in Logan Square to protest police violence: ‘Adam, we love you!’ "You have allowed police officers to traumatize us," Mark Clements, a survivor of police violence, told the crowd.




Columbia, MarylAnd, And
Baltimore, MD
Other Schools in Baltimore (show all)
Center for Hispanic and Latinx Studies Center for Hispanic and Latinx Studies
1021 Dulaney Valley Rd
Baltimore, 21204

As the worldwide importance of the Spanish language continues to grow, the Department of Hispanic Languages, Literatures, and Cultures challenges students to go beyond the basics and engage with the richness and diversity of Hispanic cultures.

UMBC Review UMBC Review
1000 Hilltop Circle -- Sherman Hall Wing B, Room 489
Baltimore, 21250

The UMBC Review is a peer-reviewed publication, completely directed by UMBC undergraduate students.

Creative Years Learning Time Creative Years Learning Time
4907 Ridge Rd
Baltimore, 21237

We are licensed home preschool/daycare. We are enrolling ages 6 weeks to 6 years which includes four infants. The owner/educator has 30+ years experience.

BLS Martial Arts School BLS Martial Arts School
2200 Saint Paul St
Baltimore, 21218

Taekwondo School

Mindful Tutoring Services Mindful Tutoring Services

Expanding Minds & Opportunities

Patterson High School Apparel Store - Baltimore, MD Patterson High School Apparel Store - Baltimore, MD
100 Kane St
Baltimore, 21224

Welcome to the Patterson High School Apparel Store. Find all Patterson High School clothing at here:

UMBC Potomac Hall UMBC Potomac Hall
Residential Life 1000 Hilltop Circle-Potomac Hall
Baltimore, 21250

Potomac Hall was opened in 1992, and we house up to 350 students. Our community was recently renovated Fall 2014! Look out for the PURPLE REIGN PRIDE!!!!

Official Lake Clifton Class of '04' Reunion Official Lake Clifton Class of '04' Reunion
2801 Saint Lo Dr
Baltimore, 21213

Lake Clifton High School class of 2004

Mercy Mothers' Club Mercy Mothers' Club
1300 E. Northern Parkway
Baltimore, 21239

This is the official page for the Mercy Mothers' Club of Mercy High School, Baltimore

Teacher Storm Central Teacher Storm Central

Predictions are us!! 3 good teacher friends who love making predictions about school delays closures and are almost always correct. Join us in the fun!!

UMB Student Affairs UMB Student Affairs
621 W Lombard St
Baltimore, 21201

Advancing the success of all students to be engaged and inclusive leaders.