An ad that avoids the textbook pitfalls, looks like it had some coin dropped for it, and manages to convey the most important message of a university ad: come here, and you won’t be poor, ugly, and miserable like people who go elsewhere. (Cough cough Michigan State cough cough.) And unlike those Ivy league frilly-drawers, we send mad bastards to—yes—outer f-ing space. Top shelf stuff.

Debussy never intended the pieces [of the Préludes] to be performed in a series; he thought of them as individual works. The titles were given by the composer to create images or sensory associations for the listener. Several are poetically vague . . . The titles are written at the end of each movement, allowing the performer to discover impressions for himself, without being guided by Debussy’s own thoughts. This works less well now, as the Preludes have grounded themselves in popular culture.

The most famous of the preludes are both from the first book: La fille aux cheveux de lin is a brief but harmonically complex Pre-Raphaelite expression of beauty . . .