2008's clubbie non-clubbie relations paper

8/2/2019 2008's Clubbie Non-Clubbie Relations Paper

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The Mask & Wig Clubof the

University of Pennsylvania

A Survey of the First 50 Years (1889-1939): The Relationship

between the Club and the Non-Club

By Alexander S. Distell and the SYG Class of 2008


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Contents

1. Introduction.p. 32. In the Beginning..p. 43. The 1890s...p. 64. October 10th17th1899..p. 95. The Early 20thCentury........................p. 116. The Roaring 20s and Onwards.p. 137. The 1930s and 1940s....p. 168. The Undergraduate Club Today..p. 179. The Clubbies....p. 2010.Conclusion...p. 21


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1. Introduction

For well over a century, the Mask and Wig Club of the University of

Pennsylvania has carried on a vibrant tradition of all-male burlesque and cabaret style

dramatics and antics at the University of Pennsylvania. Currently, the Club remains the

focus of student extra-curricular life and enjoys its reputation as the nations oldest all-

male musical comedy troupe. Mask and Wig draws the largest audiences after mens

basketball and football, and succeeds in disseminating a sense of belonging within the

university community amongst those who wend their way down to the historic Clubhouse

for the annual spring production. Today the Club comprises a company of roughly 45

men, all of various backgrounds and experiences whose integration of diversity brings to

Mask and Wig an originality and richness that stands as a testament to the strength of the

Club as an institution. Besides its strong ties with the university community,

undergraduate members enjoy the ongoing support and involvement of a dedicated and

enthusiastic Graduate Club of alumni. For the last 118 years, the dynamic between the

Graduate Club and the Undergraduate Club has undergone little though some change. Of

greater interest remain the considerable transformations endured over the years by

undergraduates regarding their status as club members of Mask and Wig.


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The modern titles conferred upon undergraduate constituents to distinguish their

respective roles within the company are the Non-Club and the Club. Non-clubbies

consist in those men not yet nominated for membership in the Club, whereas clubbies

refers to undergraduates elected for membership. The preceding terms will be utilized

throughout the rest of this discussion regarding undergraduate membership though

evidence does not exist suggesting that Mask and Wig employed these terms during its

early history. The following will attempt to acquire an understanding of the relationship

between the Club and Non-Club in reference to the undergraduate company during the

Mask and Wig Clubs first 50 years. Evidently, the earlier structure of the Clubs

hierarchy resulted in a company inherently competitive and less unified than today.

Currently, the Mask and Wig Club finds itself more of a fraternity-like organization that

imbues equally as much stress on social activities and fraternal bonds as on the theatrical

productions that constitute its raison dtre.

2. In the Beginning

The Mask and Wig Club emerged as an organization at a time during which the

United States of America found itself upon a seat of increasing global power, surfing the

rapids of the new Industrial Revolution towards a golden age of culture and an economic

boon. It was therefore only natural that Philadelphias more prominent and privileged

sons should attempt crafting a society whose nature resonated with and exemplified the

then current state of the nation.

In 1888 theater arts did not provide much of an outlet for students at

Pennsylvania. Restless given the dearth of opportunities, four young men led by Clayton


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Fotterall McMichael began staging their own productions at the 40th Street Grand Opera

House in West Philadelphia.1 The other three men included W.I. Forbes, F.B. Nielson,

and Charles N.B. Camac whose names appear on the

original call notice for auditions that resides upon the

Clubhouse wall to this day. Speculation has it that on April

24th 1888, official plans for a theater troupe were laid out.

After the call notice was posted in the basement of

College Hall (see photo inlay), regular meetings

ensued. Among the original names considered for the

organization were The Harlequin, The Footlights

and The Pierrot.2 According to 1941 Club

Historian William A. Werdersheimer, Charles Camac came up with The Mask and Wig

Association, though its members soon officially christened it The Mask and Wig Club

of the University of Pennsylvania.

Inspired by a burlesque production by the London Gaiety Troupe prompted the

Clubsvery first production, Lurline or The Knight and the Naiads, which proved a

total social and financial success at the Chestnut Street Opera House on June 4th, 1889.

This owed itself much to the work of the founders mothers who encouraged their

friends, societys elite, in spreading the word and officially serving as patronesses.3

Some of the nations most well-regarded families attended, including the Lippincotts and

Biddles. For a newborn organization at such an institution as Penn, the seal of approval

stamped by those listed in the Social Register proved essential to the Clubs early

continued existence.


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The production consisted in a small cast and larger chorus. The founders granted

themselves leading roles while others had made the cut through audition. In that respect

it may be said that the founders were the original clubbies, for they did not yet have any

higher authority to which they needed answer besides themselves, and they maintained

absolute control in running the company independent of the university.

The original charter of October 17th 1892 states that the officers of the corporation

include a president, secretary, treasurer, business manager, stage director and an

executive committee.4 These positions were occupied by the original members of the

Club: Neilson, Steel, Merrick, Coulston, McMichael, Kendrick, Brooks, and Gates

(surprisingly, neither Forbes nor Camac appear on this list though later they would).

They therefore comprised the original Graduate Club membership; indeed, all of these

men had moved on from their undergraduate careers with the exception of Murdoch

Kendrick 93 who was a senior, and Edward Brooks Jr. a law student ofthe class of 93

who had received his bachelors degree from Yale in 1890.5 This seminal step, in which

two members had not yet graduated, marks the undergraduate clubs unofficial genesis as

a distinct though as of this time tenuous and dependententity. We will see shortly how

throughout the 1890s the nature of undergraduate membership and university affiliation

was challenged in light of the Clubs escalating achievements.

3. The 1890s

During this decade of substantial growth, Mask and Wig enjoyed success both

financially and in terms of its popularity with the wider public. In 1891, only three years

after its founding, the Club initiated a continuous tradition known today as Tour. The


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first Mask and Wig Tour brought that years show, Miss Columbia to New York and

Washington, D.C., though the show was only a modest success.6 Nevertheless, at

home in Philadelphia, the Club was on a role. In 1892, the Club played Easter week, the

first time in the country a college dramatic organization had ever attempted, and with

marked success, such a lengthy run in a metropolitan city, and from this time till 1936

with Red Rhumba, Easter week and Mask and Wig in Philadelphia became a permanent

fixture.7 With the money pocketed from its annual production, the Club purchased a

property at 310 S. Quince Street only a few blocks away from the Chestnut Street Opera

House located between 11

th

and 12

th

streets.

Built in 1834, what became the Mask and Wig Clubhouse served as St. Pauls

Lutheran Church, followed by a dissecting lab for Jefferson Medical College students and

finally a horse stable before Mask and Wig purchased it in December of 1893 from John

B. Ellison, a member of a well known and distinguished Philadelphia family.8 The

Clubhouse provided Wiggers with a physical object that harnessed the previously free-

roaming and burgeoning institution. In effect, it accomplished an important feat in

unifying Club members with something all families requirea home.

The Executive Committee commissioned the young Wilson Eyre, an unknown

Philadelphia architect later famous for his grand estates on the Main Line, to rebuild the

stables into something befitting of a gentlemens dramatic club. Eyre designed an

auditorium with a stage on the second floor while creating a comfortable and welcoming

Grille Room on the first floor. The atmosphere was redolent of many of the nations

clubs and organizations that also had their origins or became much more popular around

the same time as Mask and Wig such as the Union League, Freemasons and the Knights


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particular significance for occasionally Graduate members would reprise lead roles in

addition to already steering the helm of writing, stage production et al.

4. October 10th17th 1899

Arrogant from ten years success and thus still riding the thrilling high of

achievement, the original members frustration boiled over. Many, including founding

father Clayton Fotterall McMichael, stood firmly of the opinion that the Club should cut

itself off from the University of Pennsylvania, establishing a professional dramatic

association free of students.11

Probably, they

felt a reasonable degree of jealousy. Having graduated

from college, they no longer enjoyed not only their

apparent youth but their glory as the lead roles in the

productions of a Club they had worked so hard to

create. Understandably, they resented leaving the

central and most important component of their lives in

the hands of strangers. On the night of October 10th, 1899 a meeting was held during

which these issues were adamantly debated. Such a serious issue required more time to

discuss and so a final decision had to wait another week. The culmination of the

deliberations on October 17th, 1899 secured the fate of Mask and Wig as it stands today

and formally initiated what we now know as the Undergraduate Club.

That evening, McMichael gave a speech in which he reversed his decision

entirely, mustering up the courage necessary to set aside his ego and with clarity consider

the future of his organization. According to Werdersheimer:


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Openly and without reservation the justification for the continuedexistence of the Mask and Wig as part and parcel of the University wasclearly and firmly established. At the same time, undergraduates, byamendment of the By-laws, were for the first time given recognition in theexecutive affairs of the Club.12

Undoubtedly, some of the original opposition remained at least indifferent if not, and

most probably, still angered by this arrangement. But because the governing body had

not yet elected any undergraduates to contest the graduates disagreement beforehand, the

contentions probably existed only between individual Graduate Club members to which

the undergraduate performers must have remained almost entirely unaware. But this

dynamic would change forever now that college students could be elected to

membership. They even received seats upon the Executive Committee, which was later

renamed the Board of Governors. Perhaps once involved with the official process of

production, the old tensions of the previous decade resurfaced as older men and younger

students, separated by a clear generational divide, must surely have held differing views

on the correct way of doing things.

The specific rules governing student membership planted a seed of competition

that would lastingly change the nature of the relationships within the undergraduate body.

The By-laws as of 1909, which are the earliest available copy, state in Article IV Section

3 the following regarding student membership:

Student members of the Club may be elected from time to time at thediscretion of the Executive committee, from the bona fide students of theUniversity of Pennsylvania (who shall have been members of the cast orchorus of a regular production of the Club) and who shall havesuccessfully completed one full year at the University, providing alwaysthat a three-fourths vote of the Executive Committee shall be necessary tosecure such election.13


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This method of selection caused undergraduate students to vie for club membership based

on the talents, abilities, dedication and personal character of those hoping to become

clubbies. As the Clubs fame and success increased during the early 20th century,

competition became evermore intense.

5. The Early 20th Century

Admission into the Club early one was highly selective, with only 249 of the

thousands of men who had performed in shows gaining admission to the Graduate Club

by 1941.14

And those elected to membership needed to have served as undergraduate

Club members first. Only those who had received speaking parts as undergraduates were

even eligible for membership.15 Yet the passion and desire for inclusion in this

organization helped its overall success and sustained its vibrant life.

In 1901, not all of that years senior class had become clubbies: Although the

Easter show is the thing for which the Club exists, there is another side, the Club itself.

Several of our classmenDavis, Hare, Miller, Stratton, Taylor, Donaldson, Warthman

were elected undergraduate members of the Club.16 Certainly the Wig class of 1901

revered those who they had willingly nominated for membership, probably lauding their

talents and achievements; although, the statement above remains relatively neutral,

probably not to offend the rest who had failed to be elected. That membership was

competitive is not to say that it was unhealthily fierce though many men likely took it

very seriously and perhaps felt bitter for their own shortcomings that had precluded them

from becoming clubbies. To further illustrate the difficulty of gaining membership, it

should be noted that none of the men of the class of 1902 or the class of 1903 was elected


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clubbies, or in other words, those non-members whose names were not even listed as

company members save their inclusion in the cast and chorus list if they had been lucky

enough to win a role in that particular years production.

In 2006, clubbies use the Clubroom for Sunday meetings during the fall and

elections in the spring. The Mask and Wig Band utilizes the space to rehearse for its

annual fall Kick Off Bash and Spring Fling

performances. Naturally, only

clubbies possess keys to the space and non-

clubbies must be granted special

permission to borrow said keys and

subsequently gain access. Also in modern times, the one dorm room attached to the

Clubroom still resides within the Clubs control whereas the other rooms in the hall fall

under university regulation. Each year the Club selects who shall inhabit this room

cheaper and larger than most Quad roomsand the occupant is almost always a member

of the undergraduate company though not necessarily a clubbie.

6. The Roaring 20s and Onwards

Certainly by the 20s, if not earlier, the annual schedule of performances and the

process of audition, selection, and rehearsal had established itself rather firmly. The fall

earned its infamy with the traditional Smokers that took place in Houston Hall. There

consisted three separate Smoker performances attended by Graduate Club members,

friends, family, and students. In essence, the Smoker served as a trial run for potential

Today, the Mask and Wig Club website (www.maskandwig.com) lists non-clubbies as members of thecompany. Further information regarding the current hierarchy of the Clubs infrastructure will be

explained below.


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performers during which comedic ideas were fleshed out, and singing and dancing skills

put to the test. It also provided a nice outlet for men not as likely suitable for principle

roles or even chorus parts in the Easter production, which was later changed to

Thanksgiving: offering an opportunity to the individual to demonstrate the particular

talent, be it musical or otherwise, with which he was endowed or thought himself

possessed.19 Such an atmosphere was conducive to experienced stage men coming back

the following year to intimidate the new guys who might think themselves big enough to

challenge them. That which transpired throughout the three day extravaganza likely set

the competitive tone for the rest of the year. This environment affected more so the

students vying for membership rather than those who had already secured clubbie status

with roles already reserved for them in the years production, though they would still

need to audition for specific parts.

Outside of Mask and Wig, America had entered upon a decade of decadent

debauchery. While Mask and Wig gained popularity and money on its home turf, F.

Scott Fitzgerald, Princeton 17, began producing short stories and novels that codified the

party-loving lifestyle of societys socio-economic elite, terming the decade the Jazz

Age, as well as defining the stereotype of Ivy League pretension in This Side of

Paradise (1924). In Paradise, Fitzgeralds autobiographical main character Amory

Blaine writes and performs with Princetons Triangle Club, implanting in the nations

consciousness notions of elite society, selective and exclusive schools, as well as all-male

collegiate musical comedy troupes. That such a premier work of literature included

something of such a sort is a testament to the popularity of the medium, and reflects

Mask and Wigs golden age of glory.


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In 1926, a key event happened in the history of the undergraduate company.

Consistent with tradition at the time, submissions by undergraduates and graduates for

the Easter production constituted a good-natured contest for the best written show. In

this year and undergraduate by the name of Albert G. Miller won out with his script for

A Sale and a Sailor. This received positive attention in a newspaper clipping from The

Pennsylvanian that year:

Although we must reserve judgment on the merits of this years Mask andWig production, it is a good omen that the Club has found a playwrightwithin its own membership. There were some misgivings when the Clubburned its bridges behind it two years ago and resolved to depend upon its

own undergraduates for its productions. Last years musical comedy, inwhich several students collaborated, proved to be one of the mostsuccessful of the Clubs annual offerings. The Club has undoubtedly

taken the right method to stimulate undergraduate talent.

Such publicity stirred and simmered a more competitive environment amongst

undergraduates and encouraged their relative autonomy as a whole from the alumni.

Though it is uncertain wither Miller was a clubbie at the time of his submission, it is

likely that if he wasnt, such a feat as this production would surely have made him highly

eligible for membership. And so naturally, book submissions provided another

opportunity outside of auditions for undergraduate members to challenge each others

abilities in striving for one of the rare and coveted red and blue rosettes of a clubbie as

well as earning his name a position in the history of the production lime light.

During this era, the Club temporarily experimented with professional coaches to

work with the cast and chorus. This did not fit in with the Mask and Wig system,20 and

the company soon returned to direction from within its own membership. Despite the

Great Depression, the Club continued through toward the end of the decade. The state of

the economy at the time did affect sales at the box office though and to cut costs, the


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Club ceased its contract with a professional publisher for its programs and advertising in

1931; instead, a number of old members for several years procured all the

advertisements for the program.21 The Club continues with this method currently,

though old members have gotten lazy and subsequently they have delegated the

responsibility to the undergraduate Business Staff.

7. The 1930sand 1940s

Pulling out of a recession requires dedication and hard work. At the time, the

Club had to cope with two major issues: one was that the university had expressed

threatening concern regarding student academic time detracted by going on tour and

working on a show at the end of term. Second were the real financial concerns due to a

decreasing popularity with theater-going in the Easter season. To rectify the situation,

Mask and Wig made a difficult decision by exchanging its Easter week timeslot for

Thanksgiving instead. The year of this change was 1936 and so there happened to be two

big productions: the Easter production Red Rhumba followed immediately in the fall

by The Mad Whirl.22 Thanks to this change in scheduling, the Club regained its former

financial standing and success by 1941.23

However, with the change to Thanksgiving, there also came a change to rules

governing undergraduate participation in the production. Freshman could no longer

participate in the annual production. To solve this problem, undergraduate club members

received the opportunity to write, stage, and direct their very own production completely

autonomous from Graduate Club interference, to be given each spring in Irvine

Auditorium and referred to as the Freshman Show. This way, talented freshman


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would have the chance to prove themselves worthy of consideration for roles in next

years big production.

Meanwhile, the Clubs fame spread throughout the nation with the advent of

swing and the Jitterbug in the late 30s into the 40s. Big Bands across the nation sought

Mask and Wig music, much of it written by Club member Charles Gilpin but most

noticeably, a Club member by the name of Bobby Troupe. Troupe is responsible for a

number of Mask and Wig favorites including Hey Daddy and Route 66. Frank

Sinatra popularized Route 66 and a number of a cappella groups covered Hey Daddy.

Other luminaries responsible for spreading the sounds of Mask and Wig include Ella

Fitzgerald, Les Brown, Benny Goodman, and Tommy Dorsey. These people constituted

the nations musical celebrities at the time. This kind of attention bears the responsibility

of inducing men attending auditions by the throngs every year, ensuring that Mask and

Wig selected its performers and Club members from the cream of the crop of youthful

male performing artists. Joining the Mask and Wig Club throughout this first 50 years of

its existence was essential to the complete Penn experience.

8. The Undergraduate Club Today

With the advent of television and the popularization of cinema, not to mention the

decline in numbers of the theater-going audience, Mask and Wigs glory days diminished

during the fifties. To accommodate smaller audiences, shows changed from the

grandiose burlesques at the major theaters to smaller cabaret style shows held in the

Clubhouse auditorium. Sadly, funding continues to decline in general each year given

the high costs of production, tour and Clubhouse maintenance.


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Today, while election to membership in the Club is not a surefire bet, it has

integrated itself more fully as a built-in part of the process that transpires every year, and

has become fairly formalized. The Freshman Show now happens in the fall but rather

than a show for freshman to perform in, it serves as a show for them to see during New

Student Orientation in hopes of attracting potential members of the company. Indeed, the

Club does not enjoy as widely publicized a reputation as in the old days. Heavy

recruitment in the first week of the fall semester is necessary to ensuring a talented and

able freshman class. And while their admittance back into the company for their

sophomore year is not technically guaranteed, a year of fraternal bonding, arduous

rehearsals and long performance schedules holds the odds heavily in their favor. Such as

it is, nearly every New Guy class, as they are called, returns the next year in its entirety

with the rare exception of every few years when one or two members showed almost no

promise the year before and therefore suffer a most unfortunate expulsion from the

company. The New Guy year is also a year of subservience to clubbies, with a Captain

Cleanup designated the night of initiation, forever responsible for the remainder of the

school year in rallying his class to cleanup duty after company events. But New Guys do

not have it as badly as one might initially think. They enjoy a free ride with little to no

responsibility whatsoever. Any mistreatment from the older members is actually a

disguised form of jealousy that the freshmen still have three more years ahead of them,

not to mention the virgin awe and amazement derived from the surprise experienced

throughout the year during the Clubs plethora of traditions.

Sophomores re-audition as stated above in the fall. Having established strong

friendships with the upperclassmen, as well as possessing an operating knowledge of the


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groups functioning as an entity, usually makes it difficult to get turned away. In this

sense, the company in modern times reflects a rather self-contained unit with little to no

competition year after year for a role. It should also thus be mentioned that entry into the

company is not restricted solely to cast members (the chorus consists in the freshman and

sophomores, though they oftentimes do have a few speaking roles), but is open to those

interested in a fulltime commitment with either the stage crew, band, or business staff.

Also, auditions for freshmen and sophomores do not consist in merely a role or orchestra

chair for one show but instead offer membership in the company for the entire year of

events. Sophomores, known as SYGs or Second Year Guys, and the New Guys form the

Non-Club. In this sense, SYGs are also below the clubbies in the stratified hierarchy of

the Club and owe them respect and a degree of obedience.

At the end of the Spring Show towards the end of the year, the SYG class is

tapped or nominated for membership in the Undergraduate Club. During the ensuing

three to four weeks, the sophomores work hard to prove their dedication to the Club,

learning what it takes to be a clubbie though a very educational process, as well as

learning to work together as a class to accomplish certain goals in a way that they have

not yet been subjected to during their first two years. At the end of term, if they have

proved themselves worthy over the past two years during their time spent in the

company, the junior and senior clubbies elect them members of the Club.

This process functions very differently today than in the past. In the earlier

history as detailed above, membership required nomination and a three fourths vote by

the Graduate Club. This form of entry into the Club derived from the competitive nature


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of membership rather than the rites-of-passage-fraternity-esque manner in which

members are selected today.

The 2005-2006 company putting on a floor show downstairs after performingthe spring production, Not Another Divine Comedy: Yahweh or the Highway

9. The Clubbies

The junior clubbies and the SYGs share an interesting relationship. After all,

only a year before both were in the Non-Club, but now the dynamic of their relationship

has changed. Though still friends as all members should be, the juniors necessarily take

on a more authoritative role and are privy to

secret clubbie information that they

cannot exchange with their former non-clubbie

brethren. This change in the relationship reflects

a natural and accepted component to the

evolution of status as a company member. Junior clubbies receive their first opportunity

for leadership at this time, with the possibility of being elected to any position with the


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exception of chairman and the various section heads. As with the seniors, junior clubbies

most always exhibit remarkable devotion and loyalty to the organization, working very

hard to see that the tradition and spirit of Mask and Wig continues. They deserve more

recognition than they receive for their efforts, sometimes though not always residing in

the shadow of the seniors.

Senior clubbies reprise their status for their final year with a demand for

somewhat more respect, and a fatherly cornucopia of wisdom, stories, advice and

leadershipthey are the grand masters. Their relationship to the Non-Club is

authoritative and sometimes less personal

than with that of the juniors to the

sophomores because as far as the sophomores

are concerned, the seniors have always

been clubbies and have not had the opportunity

to share the bond of membership within one division of the Club at the same time.

However, the degree to which seniors and non-clubbies commingle depends on the

individual, and this applies to the juniors as well. Most seniors are willing to pass on

their knowledge, enthusiastically encouraging and fostering a love for and loyalty to

Mask and Wig, not to mention making new friends no matter how unworthy they may

be. They along with the juniors have one goal in mind for the non-clubbies after all the

hard work that goes into productionfun.

10. Conclusion


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A self-selective organization, Mask and Wig maintains its strong sense of

fraternity, a condition not present in earlier generations, particularly during the first fifty

years of the Clubs history. The change from a competitive non-fraternal environment to

the current tight knit brotherhood of dramatics replete with endless traditions owes itself

to the external affairs of the entertainment industry at large. When movies and television

took over as the preeminent form of entertainment, all-male musical comedy troupes

declined in popularity. Though Mask and Wig shows continue to sell out and remain

popular on campus, the Club does not enjoy the national publicity it once did.

Recruitment is necessary to retain membership, contrary to the old days when throngs of

hundreds would show up to the Clubhouse or Houston Hall. The fraternity-like nature of

the Club today is required such that a sense of urgency and necessity is instilled amongst

its members, propelling onwards the existence of the Mask and Wig Club. At the end of

the day, members of the Club, often feeling overwhelmed by this remarkable

organization, are compelled to ask, Why is there only one Mask and Wig Club of the

University of Pennsylvania?

Because theres only room for oneTheres only room for one

So heres a swig of a toast so bigStraight from the hearts of Mask and Wig

Theres only room for oneTheres only room for one

Wed drink to you with a toast for twoBut theres only room for one!

Hey!


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NOTES

1 Werdersheimer, William A., 2nd, Some Fifty Odd Years of The Mask and Wig Club 1888-1941. Universityof Pennsylvania Archives, p. 122 Werdersheimer, p.11-123 Werdersheimer, p. 144 P. 3-4 of the Year Book of the Mask and Wig Club of the University of Pennsylvania 1908-1909. VanPelt Library collection.5 Membership list of Wig Year Book 1908-19096 Werdersheimer, p. 167 Werdersheimer, p. 168 Werdersheimer, p. 209 Werdersheimer, p. 2110 Werdersheimer, p. 2611 Werdersheimer, p. 2612 Werdersheimer, p. 2713 MW Year Book 1908-1909, p. 1614 Werdersheimer, p. 2615 Werdersheimer, p. 2616 The Record of the Class of 1901, University archives. p. 18117 In The Record of the Class of 1902 and The Record of the Class of 1903, no mention of clubbie electionis made, only that the men enjoyed acting in the choruses and returning for auditions each year, which

implicitly admits their failure to make clubbie status.18From The Mask and Wig Club History in the play bill of the 117thannual production, Birth of aNotion: Karl Seconds that Emotion!19 Werdersheimer, p. 2220 Werdersheimer, p. 1621 Werdersheimer, p. 1722 Werdersheimer, p. 1723 Werdersheimer, p. 18

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