1/19/2016

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Volume #100 | Issue #11 | Jan. 19, 2016 | depauliaonline.com

THE YEARS OF BRUNO 27 WINS

1970’s

45 WINS

1980’s

172 WINS

1990’s

214 WINS

2000’s

142 WINS

2010’s

JOSH LEFF | THE DEPAULIA

DePaul women’s basketball head coach Doug Bruno at a fan’s forum in May. He earned his 600th win Friday.

MR. 600

Doug Bruno earns 600th win of career

By Matthew Paras Editor-in-Chief

Doug Bruno sat on the team bus following his team’s 61-54 win over Butler.

The DePaul women’s basketball head coach already knew what he was going to do when he got to the hotel in Cincinnati.

“We’re going to enjoy the 90-minute ride over to Xavier, and then I’ll be watching the tape of the game,” Bruno said. “I’ll watch the tape of our game vs. Butler. I’ll watch Xavier’s game before I go to bed tonight.

And then I’ll watch more Xavier. That’s just the way this works.”

Bruno’s approach is the philosophy that has worked for 30 seasons. What he didn’t

mention, however, is that his approach has put Bruno in special company.

With DePaul’s win over Butler Friday, Bruno collected his 600th collegiate win as a head coach, becoming the 19th Division-I women’s basketball head coach to do so.

But as it is with every win, Bruno didn’t want the credit.

“I haven’t won any games. The players have won all the games,” Bruno said, via the telephone. “It’s always about the players. It’s just one of those situations where you do it long enough, it’s going to happen. But at the same time, I’m really proud of all my players.”

Bruno’s tone was modest. He admitted that he didn’t even mention the 600th win to his players, or that he had the chance to win

See BRUNO, page 26 DEPAULIA FILE PHOTOS

Student finds stability after securing housing

By Jessica Villagomez News Editor

On a typical weekday, senior Tony Romero can be found working his part-time job at Brownstones in the Lincoln Park campus. In preparation for his future career as an accountant, Romero also works as a customer service representative at H&R Block this upcoming tax season.

Like many DePaul students, Romero is working with his potential future in mind. He’s

looking for jobs and internship opportunities, building up his resume and taking courses on career management.

However, less than a year ago, Romero was one of thousands of college students suffering from housing insecurity. His lack of stable housing, coupled with little financial resources and difficulty finding a job, made Romero question his ability to stay at DePaul for the remaining school year, let alone worry about job recruitment and his upcoming fall graduation.

But it wasn’t until Romero secured housing through DePaul and those around him read the circumstances of his story — his struggle as a student facing potential homelessness — that others in the DePaul community poured in support of him.

“It still hasn’t been that easy, it’s still going through a lot of other things but I’m just trying to get this done. I’m finally confident that I know I can get it done,” Romero said.

See ROMERO, page 6

MEGAN DEPPEN | THE DEPAULIA

DePaul senior Tony Romero works at Brownstones at the Student Center in the Lincoln Park campus. Romero had insecure housing before securing housing through DePaul.

2 | The DePaulia. Jan. 19, 2016

First Look TUNE IN TO OUR WEEKLY PODCASTS depauliaonline.com/podcasts The DePaulia is the official student-run newspaper of DePaul University and may not necessarily reflect the views of college administrators, faculty or staff.

EDITOR-IN-CHIEF | Matthew Paras eic@depauliaonline.com PRINT MANAGING EDITOR | Megan Deppen managing@depauliaonline.com DIGITAL MANAGING EDITOR | Kirsten Onsgard digital@depauliaonline.com DESIGN EDITOR | Carolyn Duff design@depauliaonline.com NEWS EDITORS | Brenden Moore, Jessica Villagomez news@depauliaonline.com NATION & WORLD EDITOR | Rachel Hinton nation@depauliaonline.com OPINIONS EDITOR | Danielle Harris opinion@depauliaonline.com

News Editor Jessica Villagomez, Nation and World Editor Rachel Hinton and Copy Editor Jackson Danbeck talk about housing insecurity and campus developments.

Sports Editors Ben Gartland, Ben Savage and Editor-in-Chief Matthew Paras talk about DePaul men’s basketball sinking another level, Doug Bruno’s 600th win.

THIS WEEK Monday - 1/18 Martin Luther King Jr. Day University Closed

Tuesday - 1/19

Wednesday - 1/20

19th annual Rev. Martin Luther King Jr. Prayer Breakfast

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Friday - 1/22

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2016 Annual MLK Commemoration

A Journey Home: Crossing Multiple Borders with Storytelling

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News

News. Jan. 19, 2016. The DePaulia | 3

WEIGHING OPTIONS University urges caution on unionization

By Brenden Moore News Editor

DePaul could soon be at the forefront of the debate over adjunct unionization as Rev. Dennis Holtschneider, C.M. informed faculty last week of attempts by the Service Employees International Union (SEIU) to add DePaul faculty to their ranks.

In an email with the subject line “Union Solicitation at DePaul,” Holtschneider wrote Jan. 14 that a community organizer affiliated with the SEIU was approaching adjunct faculty members to solicit support for a union.

While Holtschneider said that DePaul adheres to Catholic social teaching on worker’s rights and respects the right for faculty to decide who represents them, he made clear the university would prefer if contingent faculty did not unionize.

“Our preference is to maintain a direct working relationship with adjunct faculty — without interference from a third party that has no connection or commitment to DePaul and its students and that may not understand our culture and our values,” Holtschneider said. “We believe this will better assist our tenured faculty and department chairs to work closely with our adjunct faculty and empower us to build on the improvements that we have made and continue to make progress together as a community. We hope that adjunct faculty who are subject to a union organizing campaign feel the same way.”

The struggles of some contingent faculty both at DePaul and around the country has been well-documented. A DePaulia investigation last May found that though they teach the same classes as their tenured peers, adjuncts are granted much less in terms of salary and benefits.

At DePaul, adjuncts are paid $3,000 to $6,000 per course, depending on their department. Nationwide, the average is just under $3,000 for a three-credit course.

“I try to tell my classes, ‘Did you know that there are people here who have permanent, stable positions and people who don’t,’ ” an anonymous adjunct faculty member said at the time. “It’s a two-tiered system.”

The effort is part of the SEIU’s Faculty Forward initiative, which seeks to unionize contingent faculty nationwide.

Currently, only three universities in the Chicago area are unionized: Roosevelt University and Columbia College’s adjuncts and The University of Chicago’s non-tenured faculty.

The SEIU may get on the board soon, however, as Loyola’s faculty are currently deciding on whether to make the union their sole bargaining representative. The vote ends Jan. 26.

For DePaul adjuncts considering signing a membership card, Holtschneider ended his email with a link to a webpage of information the university compiled on unions called “Adjunct Info Hub”. While the university states in its official policy on

“Our preference is to maintain a direct working relationship with adjunct faculty — without interference from a third party that has no connection or commitment to DePaul and its students and that may not understand our culture and our values” Rev. Dennis Holtschneider, C.M.

DEPAULIA FILE

A professor holds a sign lamenting administrator salaries at Columbia College Chicago last May. Students, faculty and staff demonstrated outside the university’s campus in the South Loop. DePaul Rev. Dennis Holtschneider, C.M. sent out an email Friday cautioning attempts to use a third party in a potential unionization. unions that it “is not anti-union,” much of the links presented paint a bleak picture of unions, specifically the SEIU. One slide bluntly asks “with whom would you rather work?” and presents only two options: DePaul, with several benefits listed, or the SEIU, with several negative attributes. Another questions the paying of union dues; the last slide is titled “Don’t let the union silence your voice”.

While the SEIU is perhaps more

associated with healthcare workers and advocacy for a $15 minimum wage, part of their platform is fighting for a $15,000 minimum per course for adjuncts.

“Overall, the nature of adjunct faculty is very close to that of a fast food worker in terms of compensation for time spent,” said DePaul adjunct Martin Bernstein last May. “Regardless of your level of education, there are adjunct faculty at this school and others with master’s and Ph.D.

degrees that hardly make enough to live on.”

In addition to lackluster pay, adjuncts are not afforded the same benefits as tenured professors. At DePaul, they have the option to pay into a retirement fund and have some subsidized health coverage, but can only qualify for health benefits after they have been teaching for one year and teach six full-credit courses during that time. And very often they have no control over the number of hours they teach.

“It certainly isn’t ideal, and having a part time job here and a part time job at another college does not equal a full-time job,” Bernstein said.

According to the the adjunct faculty fact sheet, the university currently employs around 1,900 adjunct faculty and 925 full-time professors.

“All faculty members are within their rights to communicate their position on unionization — for or against — and we encourage them to exercise that right,” Holtschneider said. “We urge adjunct faculty to arrive at a fully informed position on whether being represented by a union is in their best interests.”

4| News. Jan. 19, 2016.

Music students adjust to new reality

By Jackson Danbeck Copy Ediotr

With the reconstruction of DePaul’s School of Music now underway, music students and faculty are adapting to changes, the most prevalent being the relocation of practice rooms to the Annex building and the closure of the school’s nearby parking lot.

For students, this means that instead of finding practice space in the McGaw Hall, where they used to, they must trek approximately 10 minutes or more to the Annex building at 2130 N. Kenmore Ave. If students drive to school, they must now find parking on side streets or in DePaul’s parking garages on Sheffield and Clifton avenues.

But, knowing that the facilities will be refurbished into three new buildings by late March 2018 - a 535-seat concert hall, an opera rehearsal hall and an underground parking lot for 100 cars, according to the school’s website - students and staff seem to be willing to bare the hardship.

Charlie Jacobs, a junior and music performance major, said he regularly practices his flute in the Annex building.

“They’re much nicer. They’re bigger, there’s light, there’s windows,” Jacobs said.

Because Jacobs has asthma, he prefers not to tolerate dank and dusty corridors.

“That’s a problem at the old building,” he said. But in the Annex, which is newer, Jacobs has no such issue.

The walk to the Annex, however, is problematic for Jacobs. His piccolo, a half-size flute, is designed for warmer temperatures. “There is a risk of (it) breaking,” he said.

With parking next to the school of music no longer an option, Jacobs said that he can’t afford to drive to school, and instead takes the train. That in mind, Jacobs was optimistic.

“Honestly, everything is better right

now. And it will be even better,” he said.

Betsy Sorensen, a sophomore and sound recording technology major, said her problem was with the walk between the main building and the Annex.

While most of her classes are in the main building, some are in the Annex.

Sometimes she doesn’t have the time to get to her next class in the 10-minute window given between DePaul classes, and must cut down on her practice time because of it.

“We talked to professors to make sure we can get there, and we figured it out,” Sorensen said. “It’s inconvenient, but it’s good in the long run.”

Gerald Martinez, a graduate student and jazz studies major, said he had a similar grievance with the Annex.

“Everything is nice over there, but the fact that we have to go over there is a pain,” he said. “It’s hard, because we have our lessons here, and if I want to warm up I have to go over there.”

If students don’t have the time to travel to the Annex, or don’t want to risk damaging their instruments from the cold, they can use the studios many professors have offered as an alternative, according to Bob Lark, professor of jazz studies.

“In this kind of weather it is a big deal.

There are string instruments that can crack in the cold,” Lark said.

Lark said he was fortunate to have his office remain in the main building, and not in the Annex like some of his colleagues.

“But that could change next term,” he added.

If some students arrive late to Lark’s classes, he said that an arrangement is often worked out because of the reconstruction.

“I’m sympathetic to the case,” Lark said. “It’s good practice if you’re going to be tardy to email or call the professor.” If the professor hears nothing, then it’s no good.

“Let us know,” he said.

Catherine Sliva, a graduate student and viola performance major, had no complaints about using the Annex to practice.

“There are much more rooms available.

BRENDEN MOORE | THE DEPAULIA

School of Music students have to navigate detours to get to class as construction on a new building gets underway. The building will replace McGaw Hall.

I can always find rooms,” Sliva said. “At McGaw, you couldn’t always,” referring to the music building that is now being demolished.

Some students said they don’t need to go to the Annex because of the heavy nature of their instruments. This is the case for Justin Boyd, a graduate student and jazz composition major.

Boyd plays the drums, and because his instrument remains in the old building, he does not use the Annex. “I’m not interested in walking over there,” he said.

Kasia Szczech, a junior and composition major, said she also doesn’t need to go to the Annex because the pianos she uses remain in the old building, but problems do remain.

“I have to get there early in the morning or after 8 p.m.,” Szczech said, describing how she is able to get a piano room before they are taken by students in the middle of the day, but this is a problem that existed before the reconstruction.

While the parking lot next to the school of music is closed, students and faculty who drive will need to find parking elsewhere.

“I’m going to explore some other

options. It’s always tricky in Lincoln Park,” Lark said. “It’s a drag, but we knew it was coming.”

Boyd had no such issues with transportation.

“I have secret parking. It hasn’t been affected me, honestly,” Boyd said, with a grin. “Finding spaces is the same.”

Judy Bundra, the interim dean of the School of Music, said that many of the problems some students and faculty face can be avoided.

Students and faculty can park on side streets and in DePaul’s parking ramps, or use public transportation for reconstruction’s duration, Bundra said. Instrument cases, which all students have, are designed to protect the instrument from the elements.

Besides some professors’ studios being available, students can also use classrooms, when they’re not in use, she said.

“It’s not perfect, but again, the pain is worth the gain,” Bundra said, “because in two years we’re going to have world-class facilities.”

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News. Jan. 19, 2016. The DePaulia | 5

Professor discusses Black Lives Matter Valerie Johnson asks “is there justice for all?” in presentation on political movement

By Edna Espino Contributing Writer

In 2011, DePaul professor Valerie Johnson turned on her television to find that George Zimmerman had been acquitted in the Trayvon Martin case. A feeling of disbelief overwhelmed her.

“You see black lives getting murdered on the street, innocent lives, and it baffled me and continues to baffle me that we people, people who call ourselves progressive, people who call ourselves concerned with humanity, can see these things and just go numb to it,” she said.

Black Lives Matter began here, created by three women: Alicia Garza, Patrisse Cullors and Opal Tometi. The chapterbased national organization works for the validity of black life, and to rebuild the black liberation movement through a communal effort, with no sense of hierarchy, so that the movement as a whole, not solely a select handful of individuals, progresses.

Johnson spoke during an event Wednesday called “Justice for all?” that focused on educating the community on three key issues: origins, alliances and where the Black Lives Matter movement goes from here.

Black Lives Matter has adopted a series of tactics, the focus of which has been direct action, or as Johnson said, “taking it to the people.” Protests and demonstrations have disrupted highways, bridges and tunnels. Outside of physical disruption, however, it has also sought to disrupt

DEPAULIA FILE

Black Lives Matter protestors demonstrate outside of Chicago police headquarters after the release of the Laquan McDonald video. the profit motive as it did on Black Friday in 2015.

“In my life I’ve never really experienced racism, but being in those dem-

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onstrations you actually kind of see how ment (even if they themselves do not parpeople are prejudiced,” senior psychology ticipate in it), and many are concerned major Jeremy Pagan, who participated in with the unjust and disparate destruction the protests, said. “I wanted to make a of black bodies the movement calls attenchange; and being part of these demon- tion to,” Agyepong said. “It has become strations you finally have the opportunity a lens through which students filter their to stand for what you believe in.” encounter with African American hisPagan began his involvement inside tory in the classroom, and it has informed the classroom and then expanded that ex- many of the questions they have and the perience. conversations they want to engage in.”

“It’s been a transition. I got to learn It must be made clear, however, that about it, I got to experience it and now I this movement is more than just about iswant to see with that knowledge (how to sues of police brutality, Johnson said. fix some of the issues from it),” Pagan said, “Police terrorism is not the totality of stating that his experience has shaped the what state violence looks like,” she said. research he will “It is a tangible be using to purand palpable sue his doctor“We do not live in a post racial part of state ate. violence; food While his insociety. In America, speaking for deserts; that’s volvement began violence, povmyself, it’s a burden to be black. erty, that’s vioin a community psychology class, lence; homeYou’re always conscious of it.” others who atlessness, that’s tended Wednesviolence.” day’s event In essence, Valerie Johnson, DePaul professor and formed part of the Black Lives activist a class with MiMatter movechael McIntyre, ment is nothprofessor and ing more than head of the international studies depart- the latest reiteration for equality. ment , who teaches a class on Black Lives “We do not live in a post-racial soMatter. ciety,” Johnson said. She said the socio“It’s sad to say but I’ve definitely fallen economic disparity between blacks and under the category of the people who are whites in America that was present in indifferent, or who have been indiffer- 1865 is still present today. The presence of ent, rather, not really understanding the those who fall outside of this, the “successissues and the strife that black people go ful blacks,” does not prove that systemic through every day,” Emily Irish Ryan, a change has occurred. student in one of McIntyre’s courses, said.

“In America, speaking for myself, it’s a “I’ve started to understand that I will nev- burden to be black.” Johnson said. “You’re er understand what it is that black people always conscious of it.” go through every day, just in the same way In order for the healing process to bethat a man will never understand what gin, she said, people must move beyond a woman has to go through every single the narrow confines of diversity. It is more day and the subtle issues that we all go than just different faces, but about emthrough.” ploying different voices, as well.

DePaul history professor Tera Agye“It’s a human problem not just a black pong said this movement has definitely problem,” Johnson said. “Silence is comreshaped things in the classroom. plicity. Indifference is more powerful than “I have certainly noticed a shift in the hate.” classroom because students from a variety of backgrounds are aware of the move-

6 | The DePaulia. Jan. 19, 2016.

Students get free pass to Art Institute DEMON DISCOUNTS Art Institute of Chicago - free entry with a DePaul ID AMC Theatres/Regal Cinemas - $8 movie tickets through Office of Student Involvement Chicago History Musuem - free entry with a DePaul ID Photo courtesy of Tripp | Wikipedia Commons

The Art Institute offers free admission to DePaul students as part of a partnership plan with the university.

By Kyle Woosley Staff Writer

The Art Institute of Chicago is offering free admission for undergraduate students of DePaul as part of its university partnership program.

The institute’s program, which already includes Northwestern University, Loyola University, University of Chicago, Robert Morris University and Columbia College, will be offering the free entry until Sept. 30, 2016.

John Shanahan, associate dean and director of liberal studies, said the program was developed early in 2015 as a joint effort between Delia Cosentino, associate professor of art history, and Lucy Rinehart, interim dean of the English department.

Once the partnership program officially began, Shanahan began spearheading the program even further.

“We should have been doing it for years now,” he said. “We feature the Art Institute right on our front page at depaul.edu and it chimes with the very mission of DePaul that Chicago is our classroom.”

Shanahan said the partnership program began its pilot launch in the summer of 2015 and has been heavily utilized by first-year students since then.

“Discover Chicago and Explore Chicago, they take our students all over the city, so it’s been a useful additional benefit to be able to have the Art Institute to go to, because it was so cost-prohibitive before,” he said.

Madeleine Price, vice president of the DePaul Activities Board (DAB), said the institute offers several resources students will be now be able to utilize.

“They have a huge collection ranging across a huge time period and cultures and art from all around the world,” she said.

“There’s a lot you can learn there, and it’s really an advantage for DePaul students to be able to access it.”

Among these resources are artist talks, guest lectures, concerts and studio programs, all of which will now be available to students.

As an art history major, Price said she finds the new agreement to be a sigh of relief.

“It was difficult as an art history major because there are classes where you definitely have to go at some point to write a paper and it was very hard to plan that when you could only go for free on a Thursday night,” she said. “Now that it’s free all the time it definitely makes it easier.”

Rachel Lange, a senior neuroscience

major, said students benefit from this beyond an academic perspective.

“There’s so much stuff in Chicago that’s just so expensive to do, and now that we can do this for free it’s amazing – why shouldn’t everyone have that opportunity?” she said.

“We’re all in college and everything is so expensive in the city. This is a great way for students to explore the city in their own backyards.”

All DePaul students, faculty and staff will be eligible for 10 percent off first-time membership as part of the partnership.

Shanahan said the partnership also allows the university to host two university nights at some point during the upcoming year, but details are still in the works.

“It’s a chance for DePaul to have the entire Art Institute for everybody, including faculty and staff, there for those two nights,” he said. “Perhaps we might even try to hook it up with a family weekend, and we’ve been looking at music and theater events in the Modern Wing.”

Shanahan said he is excited about moving this program forward and has high hopes for the future of it.

“I’m hoping with some of the events and programming over the summer and into the fall we can get more participation from colleges like CDM, Communication and even Science and Health,” he said. “My priority and the thing I’m most excited about is having business students, computing students and science students going there and finding things useful to their studies they might not even know about.”

The current partnership, however, does offer free admission to graduate students, faculty or staff. But it’s something Shanahan wants to expand on in the future.

“We had to start at a certain point and gauge the usage, and if it proves popular ­— and it seems to be pretty popular — then yes,” he said. “If people use this, we expect to expand the usership.”

Lange said she plans to take advantage of the free admission.

“I would be a fool not take up such an offer,” she said. “As a neuroscience major, I don’t have a lot of art in my life, so I love whatever I get to see of it.”

For free admission, DePaul students show their university identification cards to the cashier desk and will be given a ticket for the same day. Students must pay $1 for coat check. The Art Institute of Chicago is located at 111 S. Michigan Ave.

Chicago White Sox - discounted tickets on select games Exchequer Pub & Restaurant - 10 percent discount Great Clips - $9.99 haircuts and 20 percent off products Papa John’s - 30 percent discount Spotify - 50 percent discount BRENDEN MOORE | THE DEPAULIA

News. Jan. 19, 2016. The DePaulia | 7

NEWSbriefs

DePaul, city announce Hoverboards banned economic partnership from university property DePaul is one of eight Chicago universities that signed a memorandum of understanding with The City of Chicago.

The memorandum outlined investments between universities and the city totaling over $2.5 billion.

According to an article on DePaul Newsline, DePaul’s potentially $230 million capital investments include the new School of Music building as well as the DePaul stadium to be built on the South Loop of Chicago.

“Eight percent of DePaul graduates stay in Chicago and make their lives here, making DePaul a net importer of talent to this city. We want Chicago to thrive and we’re proud to partner with the City and support its growth” Rev. Dennis H. Holtschneider, C.M., said.

the “Keep Calm and Do The FAFSA Campaign.” All desktop computers controlled by the Information Services have a FAFSA background to spread awareness to students.

The FAFSA is due on Feb. 1 at DePaul for full consideration.

According to Facility Operations, all self-propelled devices including hoverboards and Segways are not permitted in any DePaul building due to a potential fire hazard. “They cannot be used, charged or stored in any buildings, including residence halls,” a flyer states.

The banning of hoverboards is effective immediately.

“Prospero’s Storm” begins month-long run

DePaul University Merle-Reskin Theatre The Theatre School last week presented the world premiere of “Prospero’s Storm,” adapted and directed by Damon Kiely, with music and lyrics by Mark Elliott, based on William Shakespeare’s “The Tempest.”

It is the second installment of the 2015-16 season of Chicago Playworks for Families and Young Audiences. ”Prospero’s Storm” premiered Jan. 14 and runs through Feb. 20 at the Merle Reskin Theatre in the

SGA urges students to complete FAFSA

DePaul University Lincoln Park Student Center Room 325 At a general body meeting Thursday, SGA President Vanessa Cadavillo encouraged members to keep sharing

South Loop.

“Prospero’s Storm is a family-friendly introduction to Shakespeare’s most fantastic and magical story,” Kiely said. “By using music, movement, pantomime, puppets and magic to tell the story of Prospero’s journey from angry dad to loving and merciful father, we’re able to bring the youngest audience members into the story — while still treating them to Shakespeare’s famous beautiful language. It’s a feast for the mind, ear, eye and heart.”

Performances for “Prospero’s Storm” are Tuesdays and Thursdays at 10 a.m. and Saturdays at 2 p.m. Special Friday performances at 10 a.m. will occur Feb. 5 and 12. A Sunday matinee will be held Feb. 7 at 2 p.m. There is no Saturday performance Feb. 6.

Compiled by JESSICA VILLAGOMEZ | THE DEPAULIA

CAMPUS CRIME REPORT : Jan. 6 - Jan. 12, 2016 LINCOLN PARK CAMPUS

LOOP CAMPUS

3 9 10 2

12

University Hall 7

Munroe Hall

Sheffield garage

1

8

6

Corcoran Hall

Lewis Center DePaul Center

15

13 14

11

McGowan Hall

4

Education Building

Assault & Theft Drug & Alcohol Other

LINCOLN PARK CAMPUS JAN. 6 1) A criminal damage to property report was filed for writings on a poster in Corcoran Hall.

2) An assault report was filed for a non-DePaul person in the Sheffield garage. Person was taken into custody by Chicago police.

JAN. 7 3) An illegal consumption of alcohol by a minor report

was filed for a person on Fullerton and Kenmore. Person was transported to Illinois Masonic by the Chicago Fire Department.

4) A criminal defacement of property (graffiti) report was filed for markings on a pole near the College of Education.

5) An illegal consumption of alcohol by a minor report was

filed outside of 1237 W. Fullerton. Person was transported to Illinois Masonic by the Chicago Fire Department.

JAN. 8 6) An illegal consumption of alcohol by a minor report

was filed for a person in Corcoran Hall. The person was transported to Illinois Masonic by Chicago CFD.

7) An illegal consumption of alcohol by a minor report was

filed for a person in Munroe Hall. Person was transported to Illinois Masonic by the Chicago Fire Department.

8) A burglary report was filed regarding personal items taken

LOOP CAMPUS JAN. 6 13) A theft report was filed for a person whose wallet was

from a room in Corcoran Hall.

taken in the DePaul Center.

9) A smell of marijuana report was filed for a room in

JAN. 8 14) A disturbance report was filed for an incident at Dunkin

University Hall. No drugs were found.

JAN. 10 10) An illegal consumption of alcohol by a minor report was filed at University Hall. Person was transported to Illinois Masonic by the Chicago Fire Department.

11) Public Safety received a report of criminal sexual abuse

that occurred in November of 2015 on the pathway between McGowan North and McGowan.

JAN. 12 12) A smell of marijuana report was filed for a room in University Hall. No drugs were found.

Donuts. Person was taken into custody by Chicago Police.

JAN. 12 15) A criminal damage to property report was filed regarding graffiti in the Lewis Center.

8| The DePaulia. Jan. 19, 2016.

ROMERO, continued from front page

MEGAN DEPPEN | THE DEPAULIA

Romero working at his job at Brownstone’s. The aspiring accountant also works as a customer service representative at H&R Block. really needed this, there must be more like him out there,” Bridges said. “(Romero) is really wanting to let people know that it’s okay to talk about this,” Bridges said.“It’s something that people don’t want to talk about and put out there but I think that the fact that he was able to go out there, he really helped people feel more empowered and say, yes this is a problem.”

Romero gained a sense of stability when he was accepted into The Dax Host-Home program, a program created by DePaul USA, a national homelessness organization that gave him an apartment to reside in temporarily.

Though he has received an extension in his stay, Romero said the program has allowed him to build up a savings account and prepare for his future rather than focus on his present obstacles.

“The hardest part is building up to be able to be financially stable in the long run and that’s what the program is all about,” Romero said.“It doesn’t just take one quarter. It might be a whole academic year, it might be until graduation.”

Though Romero remains uncertain as to how long he will reside in the apartment, his savings and increasing confidence that he will get job post-graduation keeps him encouraged to move forward.

Romero has received acknowledgement from the DePaul community, but hopes to continue to raise awareness for students facing housing insecurity.

“Just to think that there is probably someone sitting in every class you have going through something,” Romero said. “It’s just about how can we get these students to come forward and get help.”

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Accounting Professor Patricia Smith reached out to Romero after reading his story.

“I met Tony when he was a student in the Accounting 305 course I taught during Summer,” Smith said. “When the article about him appeared in The DePaulia I was stunned. From class I would have never guessed he was facing such difficult circumstances.”

Smith recalled meeting with Romero and him asking her to promote The Dax Host Home program in her classes.

“During our conversation, I asked him about his recruiting efforts and plans after graduation.

He relayed that he had not started recruiting and had not joined any student organizations that would help with his recruiting efforts due to the financial membership requirements,” Smith said. “I told him that I would make sure the membership fees were waived and that I would also reach out to others to help him.”

In turn, Smith referred Romero to colleagues within her department who could aid him with professional recruiting, including Dr. Beth Murphy, faculty advisor for Midwest Association of Hispanic Accountants (MAHA).

Murphy and the officers of MAHA waived Romero’s membership fee as well as helped him review his resume when he expressed an interest in the field of accounting.

“I emailed our School of ACC & MIS Director to tell him about Tony and find out if there was still an accounting scholarship funds available since Tony’s tuition bill was still pending, thus not allowing him to register for classes for Winter 2016,” Murphy said. “ I also pointed out that if Tony were to interview, he did not have a suit. That got the ball rolling with other faculty who got involved, including Larry Fee, who was his Careers in Accounting course professor.”

Romero said that accounting professor Larry Fee gave him a $300 gift card to Men’s Warehouse so that he could purchase a suit needed for an interview.

Smith also referred Romero to accounting professor Margaret Tower, School of Accountancy and MIS faculty liaison for recruiting to also aid him with recruiting efforts, and relayed Romero’s situation to Dr. John Ahern, Director of the School of Accountancy & MIS. “It has been a team effort to help Tony,” Smith said. “I believe that compassion is very common amongst the DePaul faculty.

However, many times faculty may not be aware of the challenges outside of a student’s academic life.”

Shenay Bridges, assistant dean of community resources, said that faculty and staff have become more aware of obstacles outside the classroom students may be facing that could affect their academic performance.

“There’s now more of a sense of wow these students need this, I see a picture of this student that

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News. Jan. 19, 2016. The DePaulia | 9

FEATURED PHOTO

OLIVIA JEPSON | THE DEPAULIA

DePaul forward Rashuan Stimage goes up for the layup against Creighton Sunday at Allstate Arena. DePaul lost 91-80.

10 | The DePaulia. Jan. 19, 2016

Nation &World

The final countdown

President Obama lays out plans for future, regrets in final State of the Union

EVAN VUCCI | AP

Vice President Joe Biden (left) and House Speaker Paul Ryan of Wisconsin applaud President Obama during the State of the Union address before a joint session of Congress on Tuesday.

By Brendan Pederson Contributing Writer

For his final State of the Union, the president did not arrive at the Capitol Building to lecture on policy. Instead, a seemingly relaxed and even joking president gave a speech that echoed the same hopeful expectations and goals of his 2008 campaign.

After almost eight years, through all the partisan clashes, it was still his promise of change that carried the speech. It wasn’t the change of direction he offered the nation in 2008, or even change of his own making, but rather the change that he believes has always been at the heart of the American democratic system.

President Obama used his State of the Union as an opportunity to present his case to the nation that, under his leadership, the nation emerged from the other side of the brink stronger than ever.

In his 58-minute speech, his real first point focused on the economy. Despite the criticism he has weathered for its sluggish recovery, Obama found solace in what he referred to as “a basic fact: the United States of America, right now, has the strongest, most durable economy in the world.”

Touting the creation of 14 million jobs, a slashed unemployment rate — the rate was 9.9 percent in December 2009 and 5 percent in December 2015, according to the Bureau of Labor Statistics — and a manufacturing surge, he accused those saying the economy was in decline of “peddling fiction.”

In the Washington Post’s fact check

of the speech, the newspaper found that the president’s numbers were appropriate, even if their significance was inflated; by comparison, Bill Clinton had created 21.2 million jobs and Ronald Reagan had created 12.7 million by this point in their presidencies.

Nina Boski, a DePaul freshman, appreciated that “most of his plans were for the long-term, and a lot of people weren’t happy with the short-term results.

Americans are always disappointed if they don’t get results right away.”

The next major milestone of the speech was the administration’s efforts towards combating climate change. He jabbed lightly at climate change deniers, inviting anyone still disputing climate change to “have at it,” as he cited the American military, business community, scientific community and even a majority of the American public are accepting that climate change is a real concern.

Obama also talked about investments in clean energy that seemed to be paying off after seven years. American companies would get the opportunity to produce and sell energy for the future, which is an opportunity that America could not pass up.

During the speech, Obama made it clear that he’s been keeping close tabs on the race to replace him with several references to the comments of Donald Trump, Ted Cruz, Chris Christie, Marco Rubio and other Republicans seeking the White House. The president sought to reassure the highly anxious public of America’s military dominance and zeal to

eliminate terrorists across the globe.

He criticized proposals to bar Muslim immigration into the country and warned candidates away from fear mongering and mocked “TV sound bites” that called for carpet-bombing civilians.

A careful marriage of the cerebral, eloquent and impassioned equated to Obama’s final few points, wherein he prescribed how to attain what he called “the future we want,” echoing again the hopes of his 2008 run for the White House.

The question came alongside a humble admission. He failed to bring about the transformation he had promised to the American political system. He said “one of the few regrets of my presidency” was that “the rancor and suspicion between parties (had) gotten worse instead of better.” But despite its continued polarization, change continued to rock the political world.

“I believe in change because I believe in you, the American people," Obama said.

It was a speech that fixated on the past for the sake of the future or, on his legacy. Speculation aside, it’s difficult (or impossible) to know what historians will one day say about our 44th president until we know who the 45th will be.

As the president prepares to step down, his poll numbers show that he has regained some approval. His job approval rating, according to a recent Gallup poll shows that 49 percent of Americans approve. In comparison, George W. Bush at this point in his presidency was at 33 percent. On his overall job as president, Obama currently has a 47 percent approval rating.

Obama announced in recent weeks

plans to address the gun violence epidemic in America and over the summer he announced ways to decrease America's carbon footprint and plans for clean jobs .

Sharazazi Dyson and Jerome Dotson, also students, said they understood the disconnect between what Americans wanted from Obama and what they got.

They were appreciative nonetheless. Dyson said that she knew several people from her community who directly benefited from the Affordable Care Act, while Dotson echoed a sentiment similar to Obama's.

“I don’t think he got the change he expected to see. Really, society took a turn I don't think anyone in America was expecting,” Dotson said. “I really am proud of America, and how we stepped up and used our voices in the past couple of years.”

On the other side of the spectrum, Nicole Been, president of DePaul’s College Republicans, admitted that things could have been worse.

“The world didn’t disintegrate, the Anti-Christ didn’t come,” she said. “But I do think that this presidency was a set-up for the future end of the world. Digression of morals, socially, you know.”

Another member of College Republicans, John Minster, said he thought the president did “a damn good job” of transforming the country like he’d promised in 2008, even if Minster didn’t agree with all of the transformations.

“He’s been one of the more effective Democratic presidents in a while, but it’s not there yet,” Minster said. “He needs someone else to finish the job.”

Nation & World. Jan. 19. 2016. The DePaulia | 11

'Mein Kampf' returns to shelves

By Aiden Kent Contributing Writer

The Munich Institute of Contemporary History in Bavaria, a federal state of Germany, published an academic reissue of Adolf Hitler’s infamous manifesto “Mein Kampf ” with annotations on Friday, Jan. 8.

This follows the expiration of the Bavarian copyright on Dec. 31. The $64 tome flew off the online shelves immediately after it was published. Four thousand copies of its initial run sold out in two days and 15,000 more are on back order.

The new critical version has incited controversy. While some see the edition as long overdue and a means to contextualize a violent era in Germany’s past, others claim the reissue will legitimize the incoherent rantings of a psychologically damaged inmate and potentially infuriate Holocaust survivors.

Entitled “Hitler, Mein Kampf: A Critical Edition,” the book is composed of 1,984 pages featuring more than 3,500 annotations from scholars. The new edition “sets out as far as possible Hitler’s sources, which were deeply rooted in the tradition of the late 19th century,” the institute’s director, Andreas Wirsching, said on Friday to The Associated Press.

The two-volume annotated edition contains more analysis and commentary in proportion to the original text, which was published in 1927 during Hitler’s time in prison. The lead historian of a team of five on the project, Chris Hartmann, is dedicated to demystifying the fetishistic attraction of Hitler’s reign and discrediting his racist agenda.

“We wanted to literally surround Hitler with our commentary,” he said in The New York Times last week.

“It’s a loaded issue. It’s concerning.

If people are going in (to reading this) with intentions to understand, to teach us not to think like this and to stop another

Holocaust from happening, then I think it might be a good idea,” Danny Farber, a Jewish student at DePaul said. He has never read Mein Kampf. “If the intention of the (publisher) isn’t to do that, though, then that’s pretty bad and it shouldn’t be republished.”

Following the American occupation after World War II, “Mein Kampf ” was forbidden in Germany along with scores of other Nazi paraphernalia. The copyright for the book was transferred to the Bavarian state government which prevented republications for the last 70 years. However, versions have been readily available in other countries and the book is downloadable online, which critics of the printing prohibition say is reason enough to allow for an academic edition.

“It’s not a well-written book. It’s a manifesto, which pretty much means a bunch of ramblings,” Richard Busch, who read “Mein Kampf ” while in school, said.

“Reintroducing [the book] now makes no difference. It was on my high school library’s shelves in 1995 as an academic resource. If Nazi sympathizers wanted access to it, they’ve already gotten a hold of it.”

Opponents of the book’s publication reiterated that it will remind the world how easily prejudices can spread.

“At a time when the well-known formulae of far-right xenophobia are threatening to become socially acceptable again in Europe, it is necessary to research and critically present the appalling driving forces of National Socialism and its deadly racism,” Wirsching said, according to The Associated Press.

In 2013, the German government abandoned efforts to re-release Hitler’s book following complaints from activists.

“Many conversations with Holocaust victims and their families have shown us that any sort of reprint of the disgraceful writings would cause enormous pain,” Bavarian State Minister of Education and

MATTHIAS SCHRADER | AP

"Mein Kampf" returned to bookstores in Germany in January. The annotated edition is the first version of Adolf Hitler's notorious manifesto to be published in Germany since the end of World War II. Culture, Ludwig Spaenle said on Friday, Still, many do not imagine the book will according to The Associated Press. cause a resurgence of extremist behavior.

Echoing this sentiment is Jewish “The difference (between Hitler and community member Rabbi Avrohom modern radical right parties) is that Moller who argued that reintroducing however distasteful someone might find Hitler’s ideology is a mistake that will a radical right leaders like Marine Le Pen legitimize the crimes for which Hitler bears and Donald Trump, Hitler systematically responsibility. destroyed a perfectly legitimate group of “This publication lends the book a German citizens. He was bleeding with degree of credibility and respectability resentment,” Erik Tillman, associate which it does not deserve,” he said. While professor of political science at DePaul, Moller said that publishers are trying to said. preserve an important historical document In addition to the German version, the with balanced critique, the book's role as a Bavarian government plans to issue a new symbol of extremist and violent ideology English version, as well as an eBook and an prevents a fair contextualization. audio book, though no timeline has been “(Radicals) will not read this as a announced. Requests for the annotated scholarly examination of the darkest version to be translated into hundreds of recesses of a twisted mind,” Moller said. other languages have been received, said “This book is the venomous ranting of a Wirshing, though no plans have been demagogue who succeeded in sweeping his released at this time. country into a great period of evil.”

Cruz under fire for 'New York values' comment

By Karen Matthews Associated Press

When Ted Cruz sneered at what he called Donald Trump's "New York values," some New Yorkers took it very personally.

And in some cases, they responded about the way you'd expect New Yorkers to react.

The ever-combative Daily News hit the streets with a big front-page illustration of the Statue of Liberty giving Cruz the finger. The headline: "DROP DEAD, TED." And in a reference to the Texas senator's birthplace, the tabloid added: "You don't like N.Y. values? Go back to Canada!"

On the morning after Thursday night's Republican presidential debate, New York Gov. Andrew Cuomo, a Democrat, took to the airwaves to denounce the candidate and demand an apology for comments he called "obnoxious on every level."

The use of "New York values" as a term of abuse rankled plenty of city residents.

"Like that's a bad thing?" said Willie Perry, a real estate salesman and registered Republican, as he headed to work in New York City.

RAINIER EHRHARDT | AP Republican presidential candidate Donald Trump and opponent Sen. Ted Cruz, R-Texas, argue over their platforms during the Fox Business Network Republican presidential debate at the North Charleston Coliseum Thursday.

"Actually it's a good thing. I think that's ludicrous. What did he mean by that?"

John Markowski, a minister who was dropping his son off at a public school, said: "It's insulting for anyone to make a derogatory comment about New York values.

I think we pride ourselves on being a place of diversity and equality."

During the debate, moderator

Maria Bartiromo asked Cruz to explain past comments he had made about Trump embodying "New York values."

"You know, I think most people know exactly what New York values are," Cruz said.

"I am from New York. I don't," Bartiromo said.

So the GOP conservative explained: "Listen, there are many, many wonderful, wonderful

working men and women in the state of New York. But everyone understands that the values in New York City are socially liberal or pro-abortion or pro-gaymarriage, focus around money and the media."

Trump responded by defending his home city as being filled with "loving people, wonderful people." And he cited the city's response to the 9/11

attacks.

"When the World Trade Center came down, I saw something that no place on Earth could have handled more beautifully, more humanely than New York," he said. "We rebuilt downtown Manhattan, and everybody in the world watched and everybody in the world loved New York and loved New Yorkers.

And I have to tell you, that was a very insulting statement that Ted made."

One in 38 Americans lives in New York City, but the state's record of going for the Democrat in the winner-take-all electoral college system means that Republicans rarely have to worry about insulting the populace.

Bashing the big city has long been a winning strategy in more conservative parts of the country, namely the Midwest and the South.

Not a lot of New Yorkers have given money to Cruz's bid for the White House. His campaign took in only about $487,000 from New York contributors through Sept.

30, according to the most recent filings.

12 | The DePaulia. Jan. 19, 2016

Opinions

fashion forward KAITLIN TAMOSIUNAS | THE DEPAULIA

Dolce & Gabbana takes steps towards inclusivity with the Abaya Collection

By Kathleen Fatica and Rachel Hinton Contributing Writer and Nation & World Editor

Earlier this month, well-established fashion house Dolce & Gabbana released their first line of hijabs and abayas, a collection aimed at elite Muslim women.

The Quran asks for both men and women to dress modestly, and hijabs and abayas are traditional Muslim garments women wear to maintain a conservative look. A hijab is a veil that covers the head, neck and chest and an abaya is a cloak that typically covers the entire body except for the hands, feet and face.

According to The Atlantic, Dolce & Gabbana's Abaya Collection will be sold in the Middle East, Paris and London.

The line's hijabs and abayas feature lace and florals, creating delicate and feminine looks that are still conservative.

Fashion and social justice outlets have celebrated this move across the board calling it inclusive. However, the collection has its share of criticism.

Some proponents of the Abaya Collection claim that the decision to have a line featuring hijabs and abayas was prompted solely by the enticing profit that would come out of it. According to Fortune Magazine, Muslims spent $266 billion total in clothing and shoes in 2013, more than Italy and Japan combined.

Regardless of the profits that Dolce & Gabbana will gain, fashion enthusiasts, social justice advocates and retailers alike should celebrate the Abaya Collection.

It is both an attempt to include Muslim women in the fashion world and an opportunity to capitalize on this market.

It is more than likely that the company

did this because of the untapped market.

However, finding increased humanity and inclusiveness as a result of capitalism is a rarity we should cherish.

Complaints addressing the lack of representation for minorities in the beauty and fashion industry are continually relevant. From foundation tones to casting calls, the modeling industry is notorious for not properly representing people of color. According to The Guardian, the Muslim population in England, one of the few places where the line has been released, nearly doubled in the past 10 years topping 2.8 million. Despite this, models of color both in ads and on the runway are exceptions.

According to The Fashion Spot, which evaluated almost 10,000 models and upwards of 300 shows, nearly 80 percent of models walking in the 2015 Fashion Week were white. Popular designers with multinational audiences such as Giorgio Armani, Saint Laurent and Comme Des Garcons all hired two or less models of color in their runway show.

These statistics demonstrate the lack of diversity shown in London, Paris, Milan and New York Fashion Weeks.

African-Americans are the most frequent people of color included in these high fashion shows. Famous minority models such as Jordan Dunn have said that there is one black model for every 10 white models. Meanwhile, many women of Middle Eastern, Indian, Hispanic and Native American descent are usually not included at all. This kind of tokenism is both morally wrong, as it encourages a sense of alienation for individuals of color in Western worlds, and logically wrong, as it is intensely inaccurate as a reflection of individuals who are interested in fashion.

This trend is not unexpected and has been a pervasive problem for years.

It makes sense to mirror the characteristics an audience will have, and Underrepresented groups, including Muslim women, are part of that audience.

Dolce & Gabanna’s Abaya Collection also has the potential to encourage more diverse casting of models. Incorporating the abaya and hijab as fashion pieces takes significant steps towards including a population of women that has long been ignored in the high-end fashion industry. By representing a widely ignored or criticized culture, high fashion is not only doing something ethically right, but planting the seeds of a market that potentially has untapped capacity for profit and growth.

According to The New York Post, abayas and hijabs from the high-end retailer start around $695 and top out at about $7,000, but that doesn’t mean that the beneficiaries of Dolce & Gabbana’s collection stop at the very rich. Highend fashion trends traditionally end up trickling down to the more casual market, and this move adds fire to an exciting flame that lower-level fashion giants such as UNIQLO and H&M have been fanning.

These companies have pioneered inclusion for Muslim women as well.

H&M, a “fast-fashion” retailer, featured their first hijab-wearing model, Mariah Idrissi, just last year.

In the wake of recent, widespread demonization of the hijab, Dolce & Gabbana’s line is well timed.

From Wheaton College putting a hijab-donning professor on leave to increasingly prevalent concerns of Islamophobia, religious intolerance in

Western civilizations remains a major issue. The Abaya Collection serves as a reassurance that two cultures can collaborate to produce something useful and beautiful in a time when Muslim culture is consistently misrepresented and magnified.

Dolce & Gabbana's release of the Abaya Collection sends the message to other designers that involving Muslim women be mutually beneficial and they too can be essential elements in the culture and industry of high fashion.

Reacting to accusations that Dolce & Gabbana released the line solely for the financial incentive, DePaul senior Monisa Ahmed was not particularly upset. She saw the line as beneficial for Muslim women regardless the motivations behind it.

"If it's marketed towards women or the intended purpose of the cloth, then this is simply a case of business at work, DePaul senior Monisa Ahmed said. "In fact, there can be something liberating about my clothing choices being taken seriously by major brands as opposed to feeling like a gross minority and unfit to live where I live and shop where I shop."

It is said that people fear only what they do not know or understand. In an age of rampant Islamophobia, increasing representations for Muslim men and women in any industry can only be beneficial. Other designers should follow Dolce & Gabbana's lead and actively work towards representing groups that rarely get the spotlight in the fashion industry.

Maybe then the release of a line aimed at Muslim women wouldn't be newsworthy, but expected instead.

Opinions. Jan. 19, 2016, The DePaulia | 13

Safety through survelliance

By Fabio De Simone Contributing Writer

Arizona state Sen. John Kavanagh proposed a bill Jan. 8 that would criminalize filming a police officer within 20 feet in public or in the same room of a private residence. According to Senate Bill 1054, citizens must request permission from the officer in order to legally record them within that 20 -foot radius.

Failure to receive permission from an officer and recording them anyway would result in a Class 3 misdemeanor that can be punished by up to 30 days in jail and fines of up to $500.

Kavanagh argued that this proposed bill’s main intent is to create safety for both officers and innocent bystanders that may be recording an arrest. He claimed that recording an arrest can distract an officer, in turn risking the mishandling of a situation.

It could also put bystanders within 20 feet at risk if the arrest becomes violent. This law would also only be specific to thirdparty recorders.

Unsurprisingly, this proposed bill has been met with sharp criticism. The American Civil Liberties Union of Arizona has issued statements decrying the bill as unconstitutional and in direct opposition to the First Amendment. Dan Pochoda, legal director of the ACLU, has warned that the proposed bill is a danger to the liberty of Arizona citizens.

“It’s an important right in a democracy to see what law enforcement is doing, and this would infringe on that right by definition,” Pochoda said.

Professor Paul Bender of the

Sandra Day O’Connor College of Law at Arizona State University shared the ACLU’s opposition of the proposed bill. He said the bill gives police an unnecessary increase in power.

“On the face of it (the bill is) unconstitutional,” O’Connor said. “(It is) giving the cop an enormous amount of discretion to stop you photographing what the cop doesn’t want. He might be doing something wrong.”

Kavanagh responded to proponents of the bill by completely denouncing the legitimacy of their arguments.

“The reason it is constitutional (is) because our constitution says you can limit certain rights if the limit is reasonable,” Kavanagh said. He also said when a citizen records an officer within 20 feet and without their permission it limits an officer’s ability to carry out his or her job.

Kavanagh recalled an instance in the early 1970s when he was a police officer and was distracted while searching “In the Midnight Hour” singer Wilson Pickett. The senator said that while he was attempting to arrest Pickett after finding syringes in his jewelry case, he was distracted by the many bystanders that were standing too close. According to Kavanagh, an ex-Port Authority officer told him that Pickett discarded a package of heroin while Kavanagh was not looking.

“I’ll never forget how I was distracted by someone being behind me while I was making an arrest,” Kavanagh said.

In a time where police misconduct continues to be revealed through video footage

ERIN HOOLEY| TRIBUNE NEWS SERVICE

Vermont Senator and Democratic presidential candidate Bernie Sanders holds up his cell phone as he speaks about citizens' ability to record police-officers during a campaign stop in Chicago on Dec. 23, 2015. time and time again, it’s not only bizarre but also foolhardy for Kavanagh to propose such a bill.

Beyond the fact that it infringes on the First Amendment rights of Arizona civilians, he just doesn’t have any logical evidence to back its argument. Footage of arrests, be they with dash cams or from smart phones, have had a clear effect on exposing disorderly officers and reminding other officers that they are not above the law when they engaging with or arresting civilians.

Kavanagh’s only evidence that such a law would merit limiting the First Amendment is drawn from his own experience.

The allegedly botched arrest of Pickett occurred in the early 1970s. This bill seems less spurred by a real problem

and more of an attempt at selfredemption nearly five decades later.

Though some may argue that this bill serves as a compromise between watchful bystanders and dutiful officers due to its suggestion that it is acceptable for bystanders to record officers from beyond 20 feet, this simply isn’t the case. Kavanagh argues that smart phones have high definition video recording that can still catch misconduct while still giving officers a space in which they can perform their job accordingly. This mindlessly assumes that all bystanders carry new smart phones that have these high definition cameras.

That mindlessness is especially bolstered when one considers that people of color are more likely to be subjected to police

violence. These same people of color are statistically more likely to live in lower income areas where high smart phones with nice cameras aren’t readily available to everyone.

Though Kavanagh may have good intentions in his proposition of this bill, it is evident the proposal is unnecessary. He is proposing a bill that gives a solution to a something that has yet to show it is a consistent problem and he is supporting it with personal experience only.

The First Amendment has played an important role in exposing police violence.

Kavanagh’s bill to limit this right is not only unconstitutional but it is a large step backwards in maintaining accountability of the police.

Diversity requirements fail by design

By Jessica Villagomez News Editor

In the 1940s, Jovita Gonzáles wrote a novel titled “Caballero: A Historical Novel” that chronicled the Mexican experience in the 1800s. Jovita Gonzáles sought to be the first Hispanic woman to publish a novel in the American market.

But that market adamantly denied her novel, so much so that the 500-page manuscript remained undiscovered for decades.

It wasn’t until 1996 that the novel was finally published.

As an institution committed to diversity, DePaul tries to be inclusive of the literary works of misrepresented and marginalized groups that have historically struggled to get their works published, supported and read. The required sophomore seminar in multiculturism is meant to incorporate diverse perspectives into a student’s overall education. For all English majors, a course on diverse traditions is required to graduate.

However, in spite of these requirements intended to encourage diversity and broaden a student’s mind, courses like Latino literature that offer works written

by Hispanic authors as well as cover the

Hispanic culture still go largely unnoticed and underappreciated.

If part of a university education is requiring students to deal with the diversity of modern life, having diverse traditions requirements does not necessarily mean that DePaul students will learn about other cultures or seek

Classes like Latino and African-American literature have faded into the background of diverse traditions requirements at DePaul. information about a culture not their own. To truly fulfill these diversity requirements, students need to actively step outside their comfort zones. DePaul as an institution has to actively market these courses rather than simply require them.

DePaul Professor Bill Johnson Gonzáles teaches courses on Latino literature and U.S Latino and American studies and notes the issues of sophomore seminar and diverse perspectives requirements.

“Oftentimes what happens is that students will automatically say that they have all these other requirements they have to fulfill and then few electives that they can take, and courses that seem as though they are already familiar with the material become more attractive,” he said. Though Johnson Gonzáles has had a variety of students take his courses in the past, his current Latino literature course is comprised of mostly Hispanic students.

English Professor Jennifer Conary said that diverse traditions courses taught in the English department focus on a variety of underrepresented cultures and communities. Courses include: literature and identity on LGBTQ memoirs, African-American literature and Native American literature, amongst others.

“The English department instituted the diverse traditions requirement in winter quarter 2009,” she said. “It was put in place because the faculty felt it was important for students to study literary works by non-canonical writers,

particularly writers from historically underrepresented groups. Literature offers us a chance to look at the world from a different perspective, and we want to make sure that English majors are exposed to the perspectives of writers from marginalized groups.”

In spite of the variety of course offerings, lack of faculty to teach these courses puts DePaul students at a disadvantage. “There’s not a lot of us to teach them,” Johnson Gonzáles said. “Until very recently we had a senior African-American scholar in the department who taught courses in African-American writing among other things and he retired. We haven’t really been hiring new people for budget reasons and so forth and we haven’t been able to replace him.”

Classes like Latino and AfricanAmerican literature have faded into the background of diverse traditions requirements at DePaul. The lack of adequate staffing and student interest have only further decreased the amount of students taking these courses, creating an elective culture where marginalized groups continue to be invisible.

The opinions in this section do not necessarily reflect those of The DePaulia staff.

14 | The DePaulia. Jan. 19, 2016

Focus

Making an

Impression

Supposedly shallow movement questions deeper meaning within the art industry

By Madeline Buchel Contributing Writer

In the first room after ascending the grand staircase at the Art Institute of Chicago, a young woman turns her back to the wall on the right, which is covered by multiple canvases bearing the oil-painted signature of Pierre Auguste Renoir. Renoir, one of the most noted and prolific members of the French Impressionist movement, is also currently one of the most debated.

“I like it when it’s interesting art, not this random stuff,” she mutters, with a final dismissive gesture toward Lucie Berard (Child in White), an 1883 portrait of a child who the informational plaque adjacent to it describes as “a picture of innocence."

With this disdainful declaration, the young woman has unknowingly supported a cause that Max Geller, a political organizer from Boston, would be thrilled to see her join.

Geller said he began the “Renoir Sucks at Painting” movement on Instagram after a “private complaint amongst friends”. The account posts photos of Renoir paintings captioned with criticisms, such as the tentacle-like fingers of the subjects and eyes that he says looks like they were drawn in with Sharpie.

The Instagram account “renoir_sucks_ at_painting” boasts over ten thousand followers and has posted photos of people making profane gestures at the artwork. Alongside these posts are photos of protestors outside the Metropolitan Museum of Art in New York City, as well as the Art Institute of Chicago. They hold signs emblazoned with sayings such as "God Hates Renoir" and "Aesthetic Terrorism".

“Have you looked at his paintings?” asked Geller after being questioned as to what is classified as ‘aesthetic terrorism.’

“Well, then you know what I’m talking about.”

Geller acknowledged the humorous nature of his anti-Renoir views.

“Protesting anything on aesthetic grounds is a great joke,” he said. “I’m already on board with whatever the protest is.

Geller explained why "good art" hanging in museums is important. "The thing I really like about art museums is that no matter what it is, whatever it is you’re feeling in life, really good art can provide you with an insight into those feelings and maybe help you process and reflect on them,” Geller said. “But when I see a Renoir painting, I don’t feel anything at all.

This sort of treacle, the empty calories, the saccharine tripe, it deadens your insides, takes away your ability (and) it impacts

Focus. Jan. 19, 2016. The DePaulia | 15

A review of Renoir's "Fine Art" pieces

Portrait of Victor Chocquet

Young Girls at the Piano Not only am I confused by the seemingly ghost hand of the girl playing piano (is that even a hand, or the infamous tentacles Geller talks about?), but I’m also bewildered by the fact that she can read sheet music without even opening her eyes. The muted colors of "Young Girls at the Piano" are almost as drab and dull as Renoir's "aristic skills."

Sunset at Sea

In Summer Seriously, Renoir has a problem with those pesky little hands. Besides the tips of her fingers, it appears as if Renoir has also missed the mark with the foliage behind her. Trying to fingerpaint a Bob Ross masterpiece would be hard for anyone. The woman in the painting looks just as bored as any person looking at this painting.

critical brain function and shuts everything down. You don’t think at all. You just let the cotton candy dissolve in your mouth and drip down your throat.”

Geller describes treacle as “a metaphor for stuff that will give you cavities. It’s syrupy, sugary (and) not very substantive.

There’s a lot of treacle out there that’s currently being exalted and I consider it the wake of Renoir in which we’re currently drowning.”

Geller’s ideal outcome would be more diversity within the institute’s collection.

If a majority of the Renoir paintings were sold, then the museum could buy more pieces created by women or people of color. Geller pointed to Orientalism and misogyny in Renoir’s work as one of the major reasons for his loathing.

“I think what’s important to understand is that Renoir actually does suck at painting, and there are plenty of female artists who never get hung in fine art museums because they’re dominated by males,” Geller said. “And if you’re going to dominate, territorially speaking, your walls with white male artists, I think you should make certain that they are good artists.”

The Art Institute’s website shows a record of 65 drawings and paintings by Renoir in its collection. Mary Cassatt and Berthe Morisot, two of the most celebrated female Impressionists, have 55 and 20, respectively. This could be due to an

abundance of Renoir’s work. According to Geller, Renoir has painted ov 4,000 pieces.

“It’s fine if you like Renoir,” Geller said.

“Anyone can like whatever they want, but not everyone can have what they like be considered fine art or the best art. I think the function of a fine art museum is a warehouse of the fine points of culture, and Renoir isn’t that.”

Geller also clarified the movement has nothing to do with Impressionism in general. He was offended when NPR asked whether he had the same hatred for other well known Impressionist artists.

“Claude Monet and (Edgar) Degas and Mary Cassatt, they painted hands that had five fingers on them, not tentacles,” Geller said. “They painted eyeballs that resembled human eyeballs."

Genevieve Renoir, great-greatgranddaughter of the Renoir in question, has openly disagreed with the movement.

She commented on a "renoir_sucks_at_ painting" Instagram post, saying “when your great-great-grandfather paints anything worth $78.1 million (which is $143.9 million today), then you can criticize.”

Reached over Twitter, Ms. Renoir, who graduated from University of Alberta with a minor in art history, was evasive when asked if she agreed with Geller’s critique of a lack of diversity and elitism within fine arts museums.

It took me a moment to realize what I was looking at, but after a few moments I finally understood. Renoir has captured the beauty of the sea by spilling whatever oceanic colors he had onto the nearest canvas he could find. It doesn't matter that the water is literally blending into the sky, it's all for artistic quality, right?

Cause of death: two soulless, unblinking black holes boring holes through heads.

Besides an appointment with an eye doctor, it also looks like this guy could use a quick haircut too. It appears as if the subject of the painting is deep in thought, perhaps wondering why he even allowed Renoir to paint him in the first place. I'm sure any person in Renoir's works have thought the same thing.

PHOTOS COURTESY OF PIERRE-AUGUSTE RENOIR | WIKIMEDIA COMMONS Reviews: JAYCEE ROCKHOLD | THE DEPAULIA Graphics: CAROLYN DUFF | THE DEPAULIA

“I don’t think Renoir was successful solely because he was a French man … I suppose there may have been fewer female artists throughout history as well due to societal conditions,” Renoir said, “but I would like to research that topic more before arriving at a conclusion.”

All security guards interviewed from the Art Institute were familiar with the protests against Renoir that occurred on Oct. 26, but said even though there were a large number of people, there was no real concern on the part of the museum. Most simply expressed confusion.

“All his paintings are beautiful,” said Jenelle Grooms, a security guard posted in the Impressionism wing of the Art Institute.

Another security guard who didn’t wish to be identified said that the museum was on high alert because of rumors that protestors had attempted to destroy the Renoir paintings, but that it “wasn’t a huge deal.” She said no patrons asked about the protests as they happened.

Followers participating in the protest have hinted there may be more to the movement than performance art, or a hipster’s cry for attention, but any extended amount of conversation with Geller only serves to prove this is the case. While the protest brings to light some serious critiques of the art world’s racial and academic elitism, it also capitalizes upon

the humor behind the idea of “social justice warriors” to do so.

One of the signs present at all of the Renoir protests and the profile picture for the "renoir_sucks_at_painting" Instagram account says, “God Hates Renoir”—a clear reference to the extremist rhetoric of the Westboro Baptist Church.

In many of his interviews, Geller repeated some key terms, such as the previously defined “aesthetic terrorism” and “treacle" when discussing Renoir. By humorously sticking to such an extremist script, Geller can both draw attention to the root of his cause and provide commentary on the society around him, which are two things all great art should do.

“Until I started, I would have said 'no, no way am I an artist.' But one of the sort of oddest things has been the pygmalian nature of Renoir Sucks at Painting,” Geller said. “Like, all these people seeing whatever they want to see in it, and a lot of people were just like 'oh, my god! This is really good performance art!'”

Call it a joke, call it performance art, but anyone who thinks Renoir Sucks at Painting is nothing more than a tonguein-cheek movement is putting his foot in his mouth.

16 | The DePaulia. Jan. 19, 2016

Arts & Life

SOUL TRAIN Photos by MARIAH WOELFEL | THE DEPAULIA

The Redline Lounge performs at the Jackson Red Line stop almost every weekday. The soul band is comprised of six members and normally receive large crowds.

Musicians in ‘L’ stations brighten commutes for passengers

By Mariah Woelfel Multimedia Editor

There are a few things you can count on when you are riding the Red Line to DePaul’s Loop campus: the sound of the conductor’s voice, sometimes apathetic, other times overly enthusiastic, announcing the next stop; the passenger on the phone broadcasting the woes of his or her dysfunctional relationship to the rest of the train car; and perhaps a faint smell of urine, or the opposite, the intrusive smell of an overly perfumed group of tourists.

Arrive at the Jackson Red Line between 3 p.m. and 5 p.m. on a weekday, though, and you’ll find something unique, and tasteful. This is when the elongated, arched ceiling subway stop becomes soul group The Redline Lounge’s music venue.

The band — two saxophonists, a drummer, a guitarist, a bassist and a singer — performs every Monday through Friday.

Some days you might find all six of them, other days there will be two. But you can count on a crowd of at least 20.

“When people come and they hear us playing and they’re waiting for the trains on their way home from work, they will let two or three trains go by before they actually leave, which is where the lounge part comes in,” drummer Dave Russell said.

On a Wednesday afternoon this happened about four times — people missing trains in both directions to enjoy the music, a fusion of soul, R&B, blues and funk.

“I miss about three trains usually, but if they’re playing all the hits that I know then I’ll stay a lot longer and just listen. Like with this, I’ll stay,” Carly Thornton, a freshman at DePaul, said as “Brick House” played in the background. Thornton, whose dad played in bands her entire childhood, grew up listening to ‘70s and ‘80s classics. She sings along with almost every song The Redline Lounge churns out.

Russell, along with the four to five other

members of The Redline Lounge, comes to the station with over 40 years of experience.

Starting on the drums at five years old, Russell has participated in the Chicago Blues Festival for over 30 years and, most notably, has recorded with famed American blues guitarist and singer Frank “Son” Seals, who died in 2004. Others in the band can be found at different venues, with different groups throughout the city. One has a degree in music and another a degree in animation from Columbia College.

“It’s a lot of fun being around cats that are just yolked,” Russell said. “It’s like finding your soulmate, or your husband or wife, and y’all just hit it off so well and you’re like ‘Oh yeah, this is for me.’ It’s a bond thing that happens as far as music is concerned.

Everyone’s on the same level and that’s exciting.”

This dynamic is evident in their performance. Their sets play without pause and usually start with a single chord from one musician, as the others start nodding their heads, following suit and chiming in shortly after.

However meshed they are today, the formation of The Redline Lounge was somewhat happenstance. The drummer, Russell, and bassist, Gerald, knew each other from a recording they did “back in the day” and were both looking for a band when they ran into each other three years later; the saxophonists, Roger and Damien, happened to be walking by, looking for a band to join; same with the lead guitarist, Lawrence, and singer, Norman.

They have been street performing together, in some variation or another, for about a year now.

“Street performing is the ultimate test of skill, because if people don’t like you, they’re not going to drop money,” Damien, the saxophonist with an animation degree from Columbia, said. “You know how good you are because people stop, they’ll listen, they’ll hand you money. It’s just a matter of, well, how much do you like us?”

“It’s like finding your soulmate, or your husband or wife, and y’all just hit it off so well and you’re like ‘Oh yeah, this is for me.’ It’s a bond thing that happens as far as music is concerned.

Everyone’s on the same level and that’s exciting.”

Dave Russell, drummer for Redline Lounge

Abby Johnson, a sophomore at DePaul, dropped $1.25.

“I absolutely love that I can come down here and hear live music. I just think it’s cool.

If they make me smile, I feel obligated to give them money,” she said.

The business of street performance is just like any other: when it comes down to it, profit is dictated largely by competition, and, in this market, competition is dictated by access to performance locations.

“Years ago, you could play on any platform. Anywhere. You just had to get a license, but now there’s only three legal stops to play at and there’s like 80 people with licenses,” Malik, a licensed Chicago street performer, said. “It’s not so much about the people, but it’s the politics of playing down here. It’s almost not worth it.”

The CTA charges $10 annually for a license — different from the $100 biennial charge for a City of Chicago performance license — and the three legal performance stations are Jackson Red, Blue and Washington Blue lines. During the summer months, restricted CTA access isn’t as much of a problem, when many performers take advantage of outdoor performance areas.

But imagine strumming a guitar in 30 degree weather and you see how crucial CTA locations are from November to March.

For established groups like The Redline Lounge, this isn’t too much of a problem.

“We just stand down here and heckle people until they finish what they’re doing,”

Gerald said.

The Jackson Red Line not only offers warmth, but, according to Damien, it makes for good vibrations.

“I love what it does to the horn,” Damien said. “It gives it this natural reverb that you can’t get anywhere else.”

After about an hour of hits from artists like The Commodores, Hall and Oates and Maxwell, Gerald collected $40 and split it evenly between the four members who showed up that day.

Adam Turman, a saxophonist and DePaul School of Music graduate, said it’s insane to think about musicians with college degrees, or even with great talent, making $10 an hour. He has respect for people who are able to live with that sort of instability, though, acknowledging that, unfortunately, not everyone is afforded equal opportunities.

While some are motivated by survival, others do it for fun. Russell summed up the passion for performance that each member, and perhaps many other musicians, shares: “Music, it has no prejudice, no racial boundaries. Music, you could speak another language. Say, for example, you were Hispanic or Asian; if we got together to play a piece of music, we’re all speaking the same language,” he said. “Music, everybody’s on the same page. That’s how we like to connect to people down here.”

Arts & Life. Jan. 19, 2016. The DePaulia. | 17

DePaul alums create book inspired by Beatles

By Megan Stringer Contributing Writer

We all love something — but maybe not quite in the way that DePaul alum Jack Murphy loves The Beatles.

When Jack Murphy studied secondary education at DePaul as an undergrad, he never really pictured himself teaching a high school class about The Beatles. He also never pictured himself publishing a book of poems and drawings inspired by the Beatles, yet here he is, with that very book now out for sale.

The book, titled “Beware of Napkins,” is written by Murphy and illustrated by Melanie Jeanne Plank, who is also a recent DePaul graduate. Murphy and Plank met at an open mic night in the Student Center when they were both freshmen at DePaul.

Murphy loves talking about The Beatles, and used to do exactly that in the high school class he taught. When the school closed down, Murphy didn’t have the class to look forward to anymore.

“I didn’t have The Beatles class anymore, so I wrote a poem about it,” Murphy said of all the creative inspiration he draws from The Beatles.

Always the writer, Murphy attended the Writers Guild at DePaul University, where he first started workshopping his Beatles poems with other professors and writers in the DePaul community. These professors, along with others, encouraged him to eventually publish the book.

“Writing groups offer writers a safe place to try out new ideas or to take intellectual risks with work,” according to DePaul’s Writing Center website.

This quarter, the Writers Guild meets every Wednesday and Thursday in SAC

Photo courtesy of MELANIE JEANNE PLANK

An illustration of Paul McCartney featured in “Beware of Napkins,” a book created by DePaul alumni.

212 from 6 to 7:30 p.m.

Just as professors helped him at the Writers Guild, so does Murphy help students in his Beatles class.

“I thought the class was such a great thing in my life, to be able to share

something that I love with these kids, and without this sort of ‘this is gonna get you a job, this is gonna be good on your resume’ kind of thing,” Murphy said. “No, this is just something that is great and that you’ll love, something that you can hold onto

forever. I got to have that experience, which is amazing.”

Murphy was not inspired to write the book just from The Beatles’ music, but also that great experience described. However, the process of actually putting a book together for publishing can be much more taxing and tedious.

For Murphy, writing the book was the easy part. He would keep Google Documents open, and whenever he felt a bit of inspiration, whether he was listening to The Beatles on lunch break or driving to work, he would write it down. Plank, the illustrator of the book, had access to the document, and would go in and look as it was being written.

“Jack and I have watched each other grow as artists over the past eight years, so the book seemed like a natural progression for both of us,” Plank said.

“Beware of Napkins” caught the eye of an online blog for book reviews, Centered on Books.

“While Murphy’s poetry wraps the reader in sentiment, nostalgia and comedic relief, Plank’s illustrations are the perfect aesthetic and emotional accompaniment,” Jaclyn Bauer, a writer for Centered on Books said.

They didn’t always determine which drawings should be made for each poem, but that was what was so beautiful about it; Plank might have had an idea for an illustration that Murphy didn’t even understand at first, but they all went together in the end.

“You’re gonna be influenced by something — it’s kind of like, you wanna be influenced by beautiful things,” Murphy said.

Class offered on Quentin Tarantino, Spike Lee movies

By Jackson Danbeck Copy Editor

What could Quentin Tarantino and Spike Lee possibly have in common? Students can now find out in “Topics in Film Studies: Quentin Tarantino & Spike Lee,” a class taught by Kelli Marshall in which students will watch and discuss eight films by the directors throughout the quarter.

A study of the two directors is ever more relevant following the release in theaters of Tarantino’s film “The Hateful Eight,” set in post-Civil War Wyoming and riddled with racial tension, and Lee’s “Chi-Raq,” which spotlights African-American women amid a gun-violent Chicago.

At the same time, Tarantino and Lee continue a feud that originated from Lee’s critique of Tarantino’s representation of slavery and the use of the N-word in “Django Unchained.”

Marshall, who teaches media and cinema studies, said she intends to compare and contrast the two directors by showing students one film by Tarantino and one by Lee each week.

Students can then watch the directors’ other films out of class and ultimately create a project.

The films shown include Tarantino’s “Kill Bill,” “Reservoir Dogs,” “Death Proof ” and an episode from the investigative crime series “CSI.” Of Lee’s films, students will watch “Do the Right Thing,” “Inside Man,”

“Bamboozled” and “Clockers.”

“They both have similar interests, which is one reason to pair them together, even though they apparently hate each other,” Marshall said.

For instance, one week “Reservoir Dogs” and “Inside Man” will be shown together, both of which are about heists.

“We’re looking at how Tarantino depicts the heist and how Spike Lee depicts the heist,” Marshall said. “The same thing with gender in ‘Death Proof ’ and ‘Clockers.’”

Although both directors are known for creative and popular films, together their image is often dominated by their longrunning feud. It began after the release of Tarantino’s 1997 film “Jackie Brown,” to which Lee responded with criticism.

“I have a definite problem with Quentin Tarantino’s excessive use of the N-word,” Lee said, according to Cynthia Fuchs in her book, “Spike Lee: Interviews.” “He says he grew up on Blaxploitation films and that they were his favorite films, but he has to realize that those films do not speak to the breadth of the entire African-American experience.”

After similar comments from Lee following the release of “Django Unchained,” Tarantino defended his approach on the news site The Root. “If you’re going to make a movie about slavery and are taking a 21st century viewer and putting them

Photo courtesy of THE WEINSTEIN COMPANY

Kurt Russell, Jennifer Jason Leigh and Bruce Dern (left to right) in a scene from “The Hateful Eight,” Quentin Tarantino’s most recent film. in that time period, you’re going to hear some things that are going to be ugly, and you’re going to see some things that are going to be ugly,” Tarantino said.

The “Quentin Tarantino & Spike Lee” class was maxed out at 30 students in the winter of 2014, Marshall said. However, this winter only 18 students are enrolled, a mixture of undergraduate and graduate students.

Daniel Schirmer, a freshman in Marshall’s class, said he has been a big fan of Tarantino’s work since he was 15 years old, and wants to learn more about the

director. He said he’s only seen a few of Lee’s films, but wants to gain a better understanding of the director’s approach to filmmaking.

“I simply love studying film and I think that these guys are two of the most crucial directors in Hollywood since the 1990s,” Schirmer said. “I think I might want to pursue some kind of career in film, so I need to learn about the best.”

“Watching films has been my favorite thing to do ever since I could remember,” Kyle Pauletti, who is also enrolled in the class, said. “It wasn’t until a couple of

years ago that I decided that I wanted to study films and write about them for a living.”

Marshall said one of her students said she had seen only one of Tarantino’s films, “Pulp Fiction.”

“What she will get from this class might be very different from one who has seen, I don’t know, 80 percent of the films on this list,” Marshall said. “She’s going to be introduced to a completely new filmmaker, in Spike Lee’s case. If (she likes Tarantino),” Marshall said, “perhaps you’d like (Lee) too.”

18 | The DePaulia. Jan. 19, 2016

BERNARD GAGNON | WIKIMEDIA COMMONS

Alamo Square in San Francisco is one of the places where the opening credits of the original series of “Full House” were shot. The ‘90s sitcom is being rebooted when “Fuller House” premieres on Netflix on Feb. 26.

The comeback kids

Beloved TV shows and films are being rebooted for new audiences this year

By Maddy Crozier Contributing Writer

Reboots, revivals and more are in store this year for fans of a variety of genres.

“The X-Files” will premiere on Jan. 24 and 25 on Fox as a continuation of the series that originally ran from 1993 to 2002. It will add six episodes to the series.

Key actors Gillian Anderson and David Duchovny will return as Dana Scully and Fox Mulder respectively, the FBI agents who find evidence of life beyond Earth.

For both excited fans and new viewers, the mini-series’ official website doyoustillbelieve.com offers the first full minute of the premiere. It’s enough to get anyone excited, but also to show the audience the main character, Mulder, and his motivations.

“My name is Fox Mulder. Since my childhood, I’ve been obsessed by controversial global phenomenon,” is Duchovny’s opening line, and it sets the tone for the six episodes. After the twonight premiere, an episode will play every Monday at 9 p.m.

The nostalgia only strengthens with the upcoming sitcom “Fuller House.” It will

Photo courtesy of NETFLIX

“Fuller House”

premiere on Feb. 26 as a Netflix original series. It will serve as a sequel to the “Full House” sitcom that ran from 1987 to 1996.

“I’ll probably watch ‘Fuller House’ just because it’s on Netflix,” sophomore Julie Peacock said.

Like the original show, it is set in San Francisco. The 13 episodes revolve around the life of recently widowed D.J. TannerFuller, a mother of three sons. Her sister Stephanie, her best friend Kimmy and her daughter Ramona move in to help raise the three boys after D.J.’s husband dies.

Many of the same actors will be returning, albeit considerably aged. The three friends Candace Cameron Bure as D.J. Tanner-Fuller, Jodie Sweetin as Stephanie and Andrea Barber as Kimmy Gibbler are all grown up. Favorites like John Stamos as Jesse Katsopolis and Bob Saget as Danny Tanner will also appear in the cast.

Carly Rae Jepsen will perform the classic and memorable intro and outro theme “Everywhere You Look.”

Netflix will be at it again with four 90-minute episodes of “Gilmore Girls” picking up at present-day, eight years after the series ended in 2007. According to

TVLine, each of the episodes will represent a different season in their lives — spring, summer, fall and winter, all represented in the drama. A premiere date is unconfirmed.

“I don’t like how it ended — they owe us a better explanation,” junior Alexa Prestigiacomo said, welcoming the new chapters.

Freshman Caleb Soler said that people “might be encouraged to buy Netflix just to watch the reboots.” He thinks that the revivals are happening “to bring back the success” of years past.

Showtime will revive “Twin Peaks” in early 2017, continuing the story 25 years later in the present day. According to Showtime, “Twin Peaks” follows the inhabitants of a quaint Northwestern town who were stunned after homecoming queen Laura Palmer was murdered.

The local sheriff invites the help of FBI agent Dale Cooper, and as he conducts his investigation, the town’s secrets are gradually exposed. Apparently more reveals are in store for the cult drama’s revival. Kyle MacLachlan will reprise his role as FBI Agent Cooper, and Miguel Ferrer as FBI Agent Albert Rosenfield.

Reboots will make appearances on the big screen as well, following a pattern established in 2015 with revivals such as “Terminator Genisys”, “Mad Max: Fury Road” and Disney’s “Cinderella”.

And it’s impossible to forget the recordsmashing seventh episode of “Star Wars,” with new installments in the franchise being released in 2016, 2017 and 2019.

“When it comes to reboots, they try to appeal to everyone — especially like in the new ‘Star Wars.’ It’s just necessary to make it successful,” junior Rey Carpio said.

Looking at this year, in July 2016 the rebooted “Ghostbusters” movie will introduce an all-female cast of Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones. Chris Hemsworth will be appearing in the film.

Ahead in 2017, Emma Watson will star as Belle in a live-action revival of “Beauty and the Beast,” another Disney classic. The animated “Beauty and the Beast” from 1991 was the first animated movie to receive a Best Picture Oscar nomination.

“It seems like some of these will just be popular for the nostalgia,” Peacock said.

Photo courtesy of FOX

Photo courtesy of COLUMBIA PICTURES

Photo courtesy of WARNER BROS. PICTURES

“The X-Files”

“Ghostbusters”

“Fantastic Beasts and Where to Find Them”

Reboot of “Full House” Original run 1987-1985

Reboot of “The X-Files” Original run 1993-2002

Reboot of “Ghostbusters” Original release 1984

Spinoff of The “Harry Potter” series Original run 2001-2011

The family-friendly comedy is back, with all the Tanners ready to hug out their problems once again. All the original cast members, with the exception of the Olsen twins who played Michelle Tanner. The new show, which will debut on Netflix on Feb. 26, follows oldest sister DJ Tanner after the death of her husband.

After nine years of investigating extraterrestrial life, FBI agents Scully and Mulder are back to reprise the show as a miniseries of six episodes.The show will follow the 2008 film “I Want to Believe.” The show will premiere on Fox on Jan. 24, and both David Duchovny and Gillian Anderson will star in all six episodes.

A remake of the 1984 classic starring Bill Murray, Harold Ramis and Dan Akroyd, the new Ghostbusters has an all-female cast, including Kristen Wiig, Melissa McCarthy, Kate McKinnon and Leslie Jones.The new film will also star Chris Hemsworth as the receptionist, and will have cameos from Murray and Akroyd.

The film will be released July 15.

Set in the same magical world as “Harry Potter,” but on a different continent, “Fantastic Beasts and Where to Find Them” follows Newt Scamander (Eddie Redmayne), a magizoologist (magical zoologist) as he travels through New York after his collection of magical creatures escapes. The film will be released Nov. 18.

Arts & Life. Jan. 19, 2016. The DePaulia. | 19

Casting controversy

‘Harry Potter’ fans respond to race reversal in Hermoine

By Claire Fisher Contributing Writer

In the 18 years since the first “Harry Potter” book was released, the series has produced a countless number of fans of the book’s intricate magical world, the four distinct houses of Hogwarts castle and the actionpacked journey of Harry Potter himself. The wildly popular book series quickly inspired an equally successful movie series, but fans prepared to officially say goodbye to the new installments of “Harry Potter” when the credits rolled on the last film.

The online fan base of the “Harry Potter” series again became abuzz with excitement, however, when it was announced on Oct. 23 that a new play titled “Harry Potter and the Cursed Child” will open in London in the summer of 2016, beginning where the seventh book left off, according to jkrowling.com. The play deviated from the adaptation decisions of the movie series when black actress Noma Dumezweni was cast to play Hermione, Harry’s best friend. Hermione was played by white actress Emma Watson in the movie series.

J.K. Rowling, the series’ author, was quick to confirm her support

of the casting decision by posting on Twitter, “Canon: brown eyes, frizzy hair and very clever. White skin was never specified. Rowling loves black Hermione,” explaining that she never explicitly stated the race of Hermione’s race.

“I would argue that this isn’t really color-blind casting,” DePaul media and cinema studies professor Kelly Kessler said. “This decision, some would argue, is actually more in line with the Potter text itself. What it really did was contradict the general assumption that if it’s not overtly stated that a person in a text is African-American, NativeAmerican, et cetera, that he or she must be white.”

Junior Samantha Moreland agrees with Kessler that the movie’s casting decisions betrayed the nuances of the text by sticking to the status quo of casting predominantly white actors.

“I just thought it was interesting that in a series where racial issues and class difference is a major theme, there was an extreme lack of diversity in the Hollywood adaptations of (the book series),” Moreland said.

“The director’s choice in making Hermione a woman of color seems like it’s correcting what was looked past before.”

Photo courtesy of WARNER BROS. PICTURES

Emma Watson as Hermione Granger in “Harry Potter and the Half Blood Prince.” While Hermione was portrayed as white in the films, “Harry Potter” author J.K. Rowling said she never specified the character’s race.

Valerie Johnson, the department chair of political science, makes the point that when race is not specified in a film and a white actor is chosen, it is assumed as the logical decision and their race is not seen as a deciding factor.

“White people have a tendency to think of, ‘Well damn, (black people) always have to push for representation,’ when, again, if it’s like we’re normalizing whiteness, it’s not about race,” Johnson said.

Similar movie adaptations of book series in the recent past have also chosen to normalize

whiteness in the unspecified race of book characters. According to the Huffington Post, Katniss Everdeen of “The Hunger Games” trilogy, for example, was only specified as having olive skin, dark hair and gray eyes, which leaves her race very open to interpretation. However, Jennifer Lawrence, a white acress, was chosen to play Katniss in the movie series.

Although the history of movie adaptations of books shows a trend of whitewashing, or normalizing white actors as Johnson said, the question remains of what effect

this casting decision will have on future productions. While Kessler is doubtful of a significant impact because of the limited number of people who will see the stage production, Moreland is very excited about the casting decision and believes its impact will set a precedent.

“I’m very interested in this because this casting choice changes nothing about the character, only her skin tone,” Moreland said. “But the impact it has on the audience changes because of her skin tone.”

20 | The DePaulia. Jan. 19, 2016

SAFETY FIRST

CAROLYN DUFF | THE DEPAULIA

Chicago DIY punk scene moves toward becoming a safer space for female fans

By Maxwell Newsom Contributing Writer

A clear homage to feminist musician Kathleen Hanna and her band Bikini Kill, The Dollhouse proudly displays a homemade sign that reads “Girls To The Front” above the venue’s house drum kit. The sign, as edgy, feminist and punk as it is, is hardly a surprise; The Dollhouse — a DIY venue, also known as a house venue — is one of Chicago’s only venues exclusively run by female-identified hosts.

“I want, especially the women, especially the people of color, especially queer people, to feel like their safety is our No. 1 priority,” Serena Fath, 22, a founder and current organizer of The Dollhouse, said. “I know most of the world doesn’t really care, but we do.”

Fath said safe spaces prohibit entry to those who assert or

promote oppressive behavior.

The recent changes in the scene are a result of discussions about safe venues, as underrepresented people in underground scenes grow more frustrated by the unspoken nature of DIY etiquette.

The Dollhouse, along with several other Chicago DIY venues, has recently adopted intersectional feminist principles with the help of The Feminist Action Support Network (FASN).

FASN is an organization that is currently “working to address sexual and gendered violence in Chicago’s music, DIY, art and literary scenes,” according to its website. One of the ways they address issues surrounding oppressive behavior and violence is by providing guidelines that venues can adopt in order to become “safe spaces.”

Some people from slightly older generations, however, argue

that DIY venues have always been a place for oppressed people to feel welcomed.

“When I was a lot younger — like in my early teens — and I was going to shows at DIY venues, there definitely is this like, I don’t know, a punk way of thinking, which includes kind of being vocal about a safe space,” Miranda Winters, 29, the singer of Chicago noise rock band Melkbelly, said.

FASN offers three flexible definitions of safe spaces, which provide guiding principles for DIY spaces to maintain safety from harmful behavior such as violence, harassment and violation of consent and oppressive behavior including “any action that perpetuates racism, misogyny, heterosexism, transphobia and other systemic oppressions through antagonism, silencing, intimidation or coercion.”

“What does it mean then that we’re now existing in a place where we have to say it out loud and it’s not just insinuated, where it’s not an intuitive thing?” Winters said.

They also mediate “accountability processes” to those accused of oppressive behavior and offer the chance for people to apologize and own up to their actions. Failure to comply results in being banned from the venue.

Fath and other feminists consider this approach to be the antithesis of how the American prison system works. Rather than permanently banning oppressive people, they offer a chance for change.

“Every person is just a person,” Fath said. “Sometimes people do (bad) stuff. They have it in them to be a person.”

However, The Dollhouse also has its reservations on the

strategy, since most respond to the accountability process angrily and with disdain.

This level of organized intolerance to oppressive behavior is something the punk world has yet to see. Clearly, influences of the feminist Riot Grrrl movement of the ‘90s are heavily woven in, but it goes beyond white cisgender — those whose gender assignment at birth agree with their individual experiences — women’s issues as well.

“I think it’s cool that (feminist punk) is being looked at a little more intensely and that it is progressing,” Winters said. “It’s starting to invite other people to the conversation. It’s evolving into something kind of new and better.”

‘The Boy’ star talks dedicated fanbase, scary movies

By Jesus Montero Staff Writer

Best recognized by fans as the zombiekilling farmer’s daughter Maggie Greene from “The Walking Dead,” Lauren Cohan will take a stab at her first leading role in the horror film “The Boy.” Cohan’s character Greene on “The Walking Dead” has been a pioneer in the world of horror and drama television.

With an immense fan base through her powerful and emotional performance on “The Walking Dead,” Cohan brings the twisted nightmare to life in “The Boy.” Cohan plays Greta, a young American who is running away from something in her past, and takes a job as a nanny in a rural English village. She discovers that the family’s 8-year-old is actually a life-sized doll that the elderly parents take care of as if he was a real boy as a form of coping from their actual son’s death 20 years prior. The parents leave her with a list of strict rules to follow. When those rules are broken, a series of mysteriously disturbing events start happening to the unsuspecting nanny.

The DePaulia recently spoke to Cohan via Skype about the film.

The DePaulia: For the film you’re hosting an advanced screening in 15 different cities across the country with a live stream answering questions from fans.

You have such a huge fan base going into ‘The Boy” with your past roles. How does it

feel knowing you have passionate fans that you’ll have for years to come?

Cohan: I’m so excited how our studio STX connected this film to our audience.

They really made this into a fan movie. I think that’s the fun of horror, which is to make it feel like it’s your own thing coming together.

I hope that horror fans and fans from “The Walking Dead” will enjoy this movie and say afterwards that it’s a psychically disturbing journey that she goes on. It’s an old-fashioned horror movie, which is what really attracted me to doing it. I think fans will see similarities and I think they’ll find this as a good old-fashioned horror film.

I’m all excited for the twist and the turns.

DePaulia: In doing the film, actually being afraid when reading it, what was the deal breaker in agreeing to accept the role?

Cohan: I was reading the script on my iPhone, just checking and reading the script’s first couple of pages to see if I was going to read it on my computer later, and before I realized I had read the entire thing on my iPhone while sitting on the plane saying, “Okay, this is a really good sign!”

I also felt excited through a character perspective because she goes through such a roller coaster and is so changed by the end of the film. I felt it was really good from a story perspective because I didn’t see the ending coming. I didn’t see anything coming. I think it’s just a very rare, unique,

Photo courtesy of “The Boy”

Lauren Cohan’s latest project is “The Boy.” In the horror film, Cohan plays an American nanny who is hired to watch over a porcelain doll that comes to life. beautiful, elegant story that has some gutwrenching twist, so I loved the completion of everything.

DePaulia: Growing up as a kid, creepy porcelain dolls were terrifying to me. What scared you as a kid?

Cohan: “Pet Sematary” was one of my favorite films when I was a kid. The idea that animals were coming back from

the dead was a big fear of mine. I feared it because it was something that scared me and it was something I also enjoyed being scared by, but I’m so scared to watch horror movies now (laughs). I also read a lot of fantasy novels about mystical creatures that were larger than life, that can just sort of come take you out on an adventure or take you and kill you.

Arts & Life. Jan. 19, 2016. The DePaulia. | 21

Bowie, Rickman leave lasting legacies

JORGE BARRIOS | WIKIMEDIA COMMONS

MARIE-LAN NGUYEN | WIKIMEDIA COMMONS

Both David Bowie (left) and Alan Rickman (right) passed away this week. Both men were 69 years old, and died after a battle with cancer. Their meaningful work in film and music will ensure their place in their fans memories.

By Erin Yarnall Arts & Life Editor

It was a heartbreaking week for the entertainment industry, as two beloved celebrities, actor Alan Rickman and musician and actor David Bowie died of cancer, both at the age of 69.

Alan Rickman is notable in the film industry for starting his acting career at the late age of 41 as Hans Gruber, a German terrorist and the primary antagonist in the 1988 film “Die Hard.” After landing his first major film role, Rickman became known for playing villains including The Sheriff of Nottingham in “Robin Hood: Prince of Thieves,” but his biggest role came in 2001 when he portrayed Severus Snape in “Harry Potter and the Sorcerer’s Stone.”

Alternatively, David Bowie formed his first band in 1962 at the age of 15, and went on to become one of the biggest names in music.

The sudden passing of the two men, who never publicly shared their cancer diagnosis, led to an outpouring of grief by fans and friends on social media in the days following the news. And the grief shared online for both these men is understandable, because beyond their talents in their respective professions, both men excelled at being more than just celebrities. Through Rickman’s performances (most notably as Snape) and Bowie’s music, both men touched so many lives.

I’ve been sad for numerous celebrity deaths — Heath Ledger, Robin Williams and Amy Winehouse to name a few — but, Alan Rickman was the first celebrity death I have ever cried about. The talented actor was a massive part of my childhood, as like most other millenials, I was one of the kids who would wait outside Borders for the midnight releases of “Harry Potter,” and saw each film in theaters close to 10 times.

Although I’ve been sad with the deaths of every cast member of the “Harry Potter” films so far (Richard Griffiths who played Vernon Dursley died in 2013, and Richard Harris who originally played Dumbledore died in 2002), Rickman’s death was an unendurable heartbreak. Maybe it’s because he was the first actor who was in

all eight “Harry Potter” films, or maybe it’s because he portrayed one of the most complex characters in the series, who appeared to be a villain throughout the series, but really had been dedicating his life to protecting Harry.

Severus Snape became arguably one of the most iconic characters in the massively popular series, and Alan Rickman brought him to life on screen without any flaws in his performance.

From his appearance, to his awkward pauses, to the way he angrily told his potions class to turn to “Page 394,” Rickman embodied Snape — the character that fans either loved or hated with an intense passion.

It was because of this deeply complex role that Rickman played perfectly that fans were able to feel such a connection to an actor they had never met, something he had in common with Bowie, who also deeply impacted the lives of his fans.

Bowie not only inspired musicians throughout the course of his career in which he released 27 studio albums in 49 years, but his creativity and ability to reinvent himself so many times inspired fans to be themselves.

“Watching him, for me, was a lifechanging experience,” Fred Armisen of “Portlandia” said on “Saturday Night Live” about watching Bowie perform on the show when he was younger. “He had the backup singers who were like, choir singers from the future and a poodle with a TV monitor in his mouth. David Bowie transformed whatever space he was in, whatever medium he was using.”

Beyond his creative influences, though, Bowie’s public presence was highly influential for the LGBTQ community, as the performer unabashedly rejected traditional gender roles and any tradition whatsoever in all the work he did.

“Seeing him live such a public, unapologetic life was one of the most important parts of my youth,” Katherine DM Clover said in an article for Romper.

Both men were exceptionally talented at what they did, and that was why they were so beloved, but their ability to impact their fans in such emotional ways will be what leaves a lasting memory.

There's always more to the story.

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Arts & Life. Jan. 19, 2016. The DePaulia. | 23

what’sFRESH in MUSIC

in FILM

“The Forest”

Jan. 8 Gramercy Pictures Through the trees and dead bodies, “The Forest” exposes those who dare to watch it to the dark side of nature.

Photo courtesy of GRAMERCY PICTURES

David Bowie “Blackstar”

Though the film is ultimately forgettable, it accomplishes the goal of being terrifying. The scares in “The Forest,” set in and around Japan’s Aokigahara Forest, which has become a popular destination for the suicidal, are guaranteed to make viewers jump a foot out of their seats.

MARYKATE O’MEARA | THE DEPAULIA

Jan. 8

Worldwide superstar and acclaimed artist David Bowie died Jan. 10, but not without a final parting gift to fans: his final album, “Blackstar.” Released on his 69th birthday, just two days before Bowie lost his battle with cancer, the album truly serves as his swan song.

The awe-inspiring 10-minute title track, epic in its own right, introduces the bold and fearless saxophone that carries through the collection. In “Sue (Or In A Season of Crime),” melodic and mysterious vocals melt into heavy percussion that races through the song. The seven emotion-filled ballads swirl into each other, complex and unconventional, leading listeners down the slow-building rabbit hole of Bowie’s 26th and final album.

“Look up here, I’m in heaven,” just as he sang in the opening line of “Lazarus.”

MADDY CROZIER | THE DEPAULIA

LIVE Jan. 22 Vance Joy Riviera Theatre 4746 N. Racine Ave., $35

Jan. 23 Tortoise Thalia Hall 1807 S. Allport St., $20

Jan. 22 Swearwords Beat Kitchen 2100 W. Belmont Ave., $10

Jan. 24 Protomartyr Lincoln Hall 2424 N. Lincoln Ave., $15

24 | The DePaulia. Jan. 19, 2016

St.Vincent’s

D e JAMZ

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3

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“Spinning fresh beats since 1581”

ILLUSTRATION | THE DEPAULIA

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Find this and all our DeJamz playlists on depauliaonline.com and on our spotify account

By DePaulia Staff The entertainment world was dealt a heavy blow on Jan. 10, when David Bowie died from cancer.

Throughout his career, which spanned over five decades, the performer acted in films including “Labyrinth” and painted, but his music is what some of the editors of The DePaulia will miss most. Here are some of our favorite David Bowie songs and memories associated with his music.

1. “Life on Mars?”

When I was in high school, I worked at a pizza place in eight-hour shifts every weekend.

We had one classic rock CD that played eight times over throughout my shift, and every song on it was terrible besides “Life on Mars?”

David Bowie’s 1971 masterpiece was my one saving grace at work, and I will forever be thankful to the multi-talented performer for giving me three minutes of peace every hour. ­—Erin Yarnall, Arts & Life Editor 2. “Fame” Leave it to John Lennon to bring out David Bowie’s snarky side.

“Fame” came out of a jam session between the two and guitarist Carlos Alomar. Lennon began singing “aim” over a catchy guitar riff from Alomar, pieces

Crossword

Bowie would turn into into his first single to hit No. 1 in the United States. Two of my favorite rebels collaborating on a song destined for repeated radio play while getting across a beautifully cynical message on the cost of fame? Pure genius.

—Brenden Moore, News Editor 3. “Moonage Daydream” “Moonage Daydream” was one of the first Bowie songs I ever heard, and the one I chose to listen to repeatedly because I was 11 and didn’t know any better. I don’t think there’s a better way to start a song: raucous guitar and Bowie’s inimitable voice yelling about him being an alligator.

When I first heard the song, I didn’t get it, but I played it regardless. Now that I’ve grown

Across 1. Warning shouts in golf 6. Mark down drastically 11. PC brain 14. Kind of cabinet 15. Yukon garment 16. Acorn’s source 17. Regardless of the consequences 19. Bird of the past 20. Like finger-paint 21. Rods’ partners 23. Division into factions 26. Oft-stubbed item 27. Plays the killjoy 28. Bad luck 30. Caravan number 31. Code name?

32. Cleopatra’s snake 35. Winning serves 36. “Here ___ trouble!”

37. Asian cuisine choice 38. Where Goldilocks was found 39. Portion of a

up, I still don’t think I get it, but I’m happy to go along for the ride.

—Rachel Hinton, Nation & World Editor 4. “Under Pressure” Even though my first opinion on David Bowie developed from the book “Perks of Being A Wallflower,” my appreciation for the artist only grew stronger when I heard “Under Pressure.”

Despite not being featured on an original Bowie album, the single is one of the most notable.

Created by an improvised jam session in a Switzerland studio with Queen, the song not only became one of band’s most popular, but also served as the bass line for later pop culture hit “Ice Ice Baby.”

broadcast 40. Use digits?

41. “Hooray!”

43. Mozart composition 44. Fall collection?

46. Poorly made 47. More sick 48. Not yet a fire 50. Item in a lobster restaurant 51. Just deserts 57.Part of IOU 58. Type of legend or sprawl 59. With mouth wide open 60. It goes through withdrawals 61. Avian baby deliverer 62. Exclude from practice Down 1. Broadcast watchdog letters 2. “And what have we here?”

3. ___ shot

—Jaycee Rockhold, Focus Editor 5. “Heroes” I remember going to the “David Bowie Is” exhibit at the Museum of Contemporary Art with my dad last year. What really got me was the last room in the exhibit where they played live concert footage from Bowie concerts on all four of the walls. It was when my dad teared up while watching him play “Heroes” at ground zero that I fully understood what Bowie stood for. He wasn’t just telling the world to embrace what makes us different. He was telling us that what makes us different is what makes us powerful.

—Danielle Harris, Opinions Editor

(drummer’s quickie) 4. 180 deg. from WSW 5. Plank producer 6. Writer’s cramp, e.g.

7. Back muscles, in brief 8. West Point athletes 9. Calypso relative 10. Fun rural diversion 11. Reach the critical point 12. Sao ___, Brazil 13. Authoritative proclamation 18. Name on a green toy truck 22. Feature of many a prima donna 23. NASA milieu 24. Chris Rock or Kevin Hart product 25. Beats a hasty retreat 26. Workplace honcho 27. Wound covering 28. Kin of “bro” and “dude”

29. Two-tone treat 31. Pie a la ___ 33. Unlike fresh water 34. Galileo’s birthplace 36. The four in a quart 37. Watch the bar or goal 39. Short synopses 40. Dr. Scholl’s product 42. “___ got an idea!”

43. Send overseas 44. Gadhafi ruled it, once 45. “The Waste Land” poet T.S. 46. Moved like a coward 48. Boss on a shield 49. Within earshot 52. Leftover tidbit 53. Kind of limit 54. Capture, as a burglar 55. IRS calculator?

56. Suffix with “ballad” or “mountain”

Sports. Jan. 19, 2016. The DePaulia | 25

Sports

Men's basketball loses sixth straight

By Ben Gartland Sports Editor

DePaul men’s basketball started hot Sunday at Allstate Arena, jumping out to an 11-0 lead before relinquishing it as they struggled to keep up with Creighton. Even with the head start, the same story for DePaul (6-12, 0-6 Big East) compounded into a sixth straight loss in their 91-80 defeat to the Blue Jays (13-6, 4-2).

“We were not executing on offense,” senior forward Myke Henry said. “When we don’t execute our plays, that happens. It’s DePaul beating DePaul.”

Henry, along with freshman guard Eli Cain, led the Blue Demons with 21 points a piece. Junior guard Isaiah Zierden from Creighton led the game with31 points, 24 of those coming on three-pointers.

It was the Blue Demons who looked like they would dominate from three to start the game, however. They opened up the game with three straight three-pointers, with another bucket from Rashaun Stimage for emphasis, to jump out to a 11-0 lead at the under-16 timeout.

Then the familiar story started to come into play. The Jays got on the board immediately following the timeout and started to climb back in. They went on an 8-0 run to toe the game at 18-18 before taking the lead two possessions later on a three.

DePaul and Creighton traded the lead until there was just over four minutes to go in the half. Junior forward Tommy Hamilton was given a technical foul for slamming the ball on the floor after committing a foul.

Creighton used that technical to go on an 8-0 run and gave themselves some breathing room with a 43-36 lead.

Creighton led 47-41 at the half as the

OLIVIA JEPSON | THE DEPAULIA

Junior guard Billy Garrett goes up for a jumper in the second half against Creighton.

Blue Demons tried to make adjustments.

“It’s not the number of three-pointers that hurt us,” head coach Dave Leitao said.

“It’s more the amount of comfort the other team has shooting threes against us.”

The Blue Jays ended up scoring 39 points from beyond the arc, a useful tool for the visitors as they were able to hold off DePaul in the second half.

The second half started well for DePaul as they tied it up at 50-50 before two Creighton threes put the game squarely back

in the Jays’ favor. From there it was a game of DePaul trying to play catchup as the Jays pulled away by dominating inside play and a proficiency from beyond the arc, capitalizing on DePaul mistakes and not allowing them to gain a foothold.

“Each game, it’s something,” Leitao said.

“Today it was transition defense and looseball turnovers.”

The Blue Demons tried to close the gap, getting as close as trailing 78-75, but another run by the Jays to end the game put

RYCKBOSCH, continued from back page

BLAKE SCHLIN | THE DEPAULIA

Junior forward Peter Ryckbosch awaits an inbounds play.

earned a few D-2 and D-3 scholarship offers, but he had a desire to play Division I basketball.

Since childhood, DePaul was always an option for him. Even though his mother Lisa worked for the university, he didn’t let that affect his decision negatively or positively, he said.

“Those are all factors, but I guess the thing that changed my viewpoint to come to DePaul was I didn’t want to have a regret later in life thinking like, how good I could have come if I went to DePaul,” Peter said.

Of course, Lisa was thrilled to have her son at a place she calls home and she knew that Peter would embrace what DePaul has to offer. But Peter’s basketball career started off rocky. As a walk-on to the Blue Demons, he rarely played his first two seasons. In his junior season, he tore his ACL. In the face of adversity, Peter maintained his goofy, hard working and straight-A record through the rehab process and even found a way to inspire the team on the bench.

“Last year it was kind of different. I physically couldn’t play and I guess I kind of accepted the role of just trying to encourage my teammates as much as possible and

that dream to bed. The Blue Demons had committed 18 turnovers during the game, which led to 25 points for the Blue Jays.

The final score was 91-80 Creighton, which gave DePaul its sixth straight loss as they were competitive in conference play, but not enough to get over the hump.

Next up for the Blue Demons are two road games. On Wednesday they head to Milwaukee to face Marquette then over the weekend they'll go to play Butler in Indianapolis.

have fun with them at the same time,” Peter said. “That’s how the ‘Bench Mob’ grew to what it was.”

Forward Joe Hanel and two other teammates were a part of the “Bench Mob.” Their main goal was to help the team.

“We kind of wanted to just bring some energy to the bench.

We weren’t playing, so we wanted to contribute something to the team,” Hanel said. “So we started coming up with these dumb skits or whatever and we would do it every time our team got a three and it kind of took on a life of it’s own.”

Peter and Hanel said it’s ironic that other colleges have been making headlines and ESPN SportsCenter’s Top 10 with their “Bench Mob.” They both said they were the “Godfathers” of the “Bench Mob” and are owed some of the spotlight.

“I say we deserve some recognition,” Peter said. "I’m saying if Monmouth gets an ESPN 30 for 30, I think we should be one of the "Bench Mobs" interviewed for it.

Through Peter’s ups and downs at DePaul, Lisa said she seen her son’s growth as an athlete and a student. She values their unique college experience and their relationship. There are not too many students who would enjoy being at college with their mother.

But Peter said their relationship

isn’t special because of basketball and DePaul, it’s always been a special bond.

“It’s really cool having my mom here. I can see her all the time. I can go home for a home-cooked meal or anything like that when I want,” Peter said. “It’s been really cool to have her to talk to anytime I want to pretty much, and to have her push me the same way she did while I was in high school. She’s right in the same building I’m always in everyday for practice.”

Lisa seconds that notion.

"That’s the beauty of being here together with him. It’s not like we spend every waking hour together at all, sometimes we won’t see each other a lot,” Lisa said. “But when something on his mind or when maybe I’m having a bad day, he’s like … let’s just go and have lunch.

It may be 20 minutes we’re together, but it’s a beautiful thing.”

With only a year left at DePaul, Peter and Lisa would like to see the Blue Demons back in the tournament. That’s the dream, they both said. Yet, Lisa said whatever happens she will always be Peter’s mom.

“My job is to support him,” Lisa said. “I’m a basketball coach through and through, but when I’m in that role I’m just his mom, and I’m just there to support him.”

26 | Sports. Jan. 19, 2016. The DePaulia

C at c h i n g the greats What Bruno needs to catch other coaching legends

Pat Summitt 1098 Wins JOSH LEFF | THE DEPAULIA

Women's basketball head coach Doug Bruno narrates an open practice before the start of the season.

BRUNO, continued from front page No. 600 before the game. If there was any motivation by the players, Bruno said he hopes the motivation was getting a win against another Big East foe.

Instead, Bruno said he focuses on the repetition of the season. The repetition — the practices, film study, games and even the bonding as a team — leads to wins. He said it creates an understanding.

“If you have good players, who are not only good players but good people, who buy into the process of hard work and the process of commitment … then the results take care of themselves,” Bruno said. “If you talk to any coach in the country who is worth anything, they’re just focused on the next game.”

Those players have put Bruno in another standout-worthy category too.

Only four active coaches have gathered 600 wins with the same school. Bruno joined

Geno Auriemma (UConn), Harry Perretta (Villanova) and Robin Selvg (Montana).

Bruno has built success by decade, mentioning earlier this season that it was his goal to build DePaul from an NIT-level team to a constant NCAA tournament team, and eventually an NCAA powerhouse.

While he’s still working to advance past the Sweet Sixteen for the first time, Bruno has only had three losing seasons in his coaching career — all three of those beings in the ‘80s.

“I love DePaul and it’s been a great honor,” Bruno said. “I’m blessed to be able to go to DePaul, and it’s all about Ray Meyer giving me the opportunity. If he didn’t give me a scholarship, I never go to DePaul. So there’s not a day that goes by where I don’t thank Coach Ray.” As for his 600th win, Bruno said the Blue Demons produced a solid win.

Forward Brooke Schulte and guard Chanise Jenkins each had 14 points, and were able to

rebound after a home loss to Villanova from Sunday, Jan. 10.

The Blue Demons led the whole game, and withstood a Butler push when the Bulldogs cut DePaul’s lead to 34-31 to start the third quarter. DePaul answered back and led 42-33.

Even in victory, though, Bruno said he won’t take time to truly enjoy the win right away.

“The real enjoyment is when the season is over,” Bruno said. “People ask me, ‘did you enjoy the Olympics?’ I enjoyed the Olympics once we won the gold. I enjoy our seasons after we compete and play well in the NCAA tournaments. That’s when you enjoy it.

“There’s plenty of time between April and next November to enjoy your seasons.

But when you’re in the midst of the grind, you don’t have time to sit in the hammock and kick back.”

MARK CORNELISON | MCT

Geno Auriemma

932 Wins (still active) CHRIS O'MEARA | AP

Muffet McGraw

803 Wins (still active) ELISE AMENDOLA | AP

Sports. Jan. 19, 2016. The DePaulia | 27

NFL relocation will cost a generation of fans COMMENTARY

By Josh Crisswell Contributing Writer

There is simply nothing like attending an NFL home game.

The exhilarating thrill of a last-second victory. The agony of a heartbreaking defeat. The smell of overpriced beer on a crisp fall afternoon, all shared with tens of thousands of strangers who, for three-and-a-half hours on Sunday, begin to feel like some of your closest friends.

On Nov. 17, 1996, I received my first taste of this one-of-akind experience, traveling to the Houston Astrodome to watch the hometown Houston Oilers take on the Miami Dolphins.

Legendary Dolphins quarterback Dan Marino led a fourth-quarter comeback, as Miami defeated the Oilers on a field goal with time expiring.

Despite the disappointing outcome, I was hooked. And I could not wait to go back next year.

Except there was no next year.

The Oilers moved to Tennessee that offseason, leaving myself and millions of Houstonians disheartened for six years, until the NFL graced the city with the expansion Houston Texans.

Nineteen years later, fans of the St. Louis Rams are the latest victims of franchise relocation, and unfortunately, there is no potential expansion team in sight to fill that void. Even more unfortunate, taxpayers at the city and state level will be paying off the Rams’ lease at the aging Edward Jones Dome until 2021.

A vote Tuesday among NFL owners in Houston sealed the fate for professional football in St. Louis — at least for the foreseeable future. The owners

JEFF ROBERSON | AP

The St. Louis Rams will move to Los Angeles in 2016 and may be joined by the San Diego Chargers. voted 30-to-2 in favor of the franchise relocating to the Los Angeles area immediately, bringing the NFL back to the second-largest television market in the nation following a 21-year absence.

In 2019, the Rams will move into a brand-new stadium in Inglewood, Ca., located roughly 12 miles from downtown Los Angeles. According to a study commissioned by the Inglewood city council, the facility is estimated to cost $1.8 billion, a forecast that would make the venue the most expensive stadium ever constructed. Until then, the organization will play its home games at the Los

Angeles Coliseum, home of the USC football team.

For years, NFL owners have leveraged cities with threats of bolting to the west coast in hopes of footing taxpayers with the bill for a state-of-the-art stadium.

But now that Rams owner Stan Kroenke has followed through on such a threat, is Los Angeles truly the appealing destination that it has been made out to be?

After all, this is a city that lost two NFL franchises in the same year back in 1994, one of which was the Rams.

A metro population upwards of 10 million hardly guarantees the intrigue of the city of Los Angeles. The city of angels loves

a winner. A loser? Not so much.

Just ask the Los Angeles Clippers, who consistently failed to fill the Staples Center at 90 percent capacity until their recent string of four consecutive playoff appearances.

The Rams have not been to the postseason in 11 years, and are in the midst of nine consecutive losing seasons.

Furthermore, their move to St. Louis 21 years ago cost the Rams an entire generation of fans in Los Angeles. NFL fans who have grown up in the city during the past two decades have developed attachments to both the Oakland Raiders and San Diego Chargers, one of whom

Gorden drafted by Chicago Red Stars

By Ben Savage Asst. Sports Editor

JOSH LEFF | THE DEPAULIA

Senior Sarah Gorden advances with the ball in a game on Nov. 3.

could potentially join the Rams in Los Angeles.

The move undoubtedly has its benefits. The television market is matched only by New York City, the money is abundant and the Mediterranean climate of the Southern California coast is a marketing tool that can be utilized to attract the top players, coaches and front office executives in the industry.

But overshadowed by a shiny new stadium and the bright lights of Los Angeles is the fact that the Rams are ripping out the hearts of an allegiant fan base with the uncertain hopes of building a new one, leaving emotional and financial scars in their wake.

Senior Defender Sarah Gorden was selected with the No. 22 overall pick by the Chicago Red Stars in the National Women’s Soccer League. Gorden is the first player from DePaul to be selected in the draft.

“It was a dream come true,” Gorden said in an interview at the NWSL Draft in Baltimore. “There’s nowhere else I’d rather be.”

It was a happy coincidence for Gorden, who grew up in nearby Elk Grove.

Gorden has been a building block for DePaul’s defense since 2011. After sitting out 2013 for personal reasons, she returned in 2014 and made the All-Big East secondteam. Gorden also made the 2014 and 2015 NSCAA All-Northeast Region First Team.

Being the first player from DePaul selected in the draft, Gorden hopes the trend will buck in the coming years.

“I’m just so excited to be able to show

what DePaul is all about,” Gorden said. “I think with coming years there will be more and more girls from depaul that will be here.”

DePaul’s head coach Erin Chastain has faith in Gorden’s ability to contribute at the professional level. “(Gorden) has had a great career at DePaul, especially her last two seasons. She absolutely can play and make an impact at the next level,” Chastain said.

Gorden has been on a regimented workout routine in order to prepare for the upcoming season.

Gorden will also get to play alongside U.S. Women’s National team player Julie Johnston.

The Red Stars finished second in the NWSL standings last season, losing out to Seattle Reign FC, and losing to eventual champions FC Kansas City in the NWSL semifinals. The new season begins in April.

“I’m really excited to be starting my professional career,” Gorden said.

Sports

Creighton 91 DePaul 80 Page 25

OLIVIA JEPSON | THE DEPAULIA

It’s all in the family for Ryckbosch

By Aaron Lee Contributing Writer

BLAKE SCHLIN | THE DEPAULIA

Junior Peter Ryckbosch (left) goes up for a basket against Butler.

Every Christmas Eve for the past three years has begun on the hardwood floors of a gym for the Ryckbosch family. One ball, one rim, three people, and a game of 21.

One former professional basketball player, a current Division I player, and a big brother who’s taller and talks trash. Somehow big brother always finds a way to be at the center of the match-up.

“I always play it up like I’m the hidden star because I am a tiny bit taller than him. So I trash talk like crazy,” Steven Ryckbosch said, brother of DePaul forward, Peter Ryckbosch.

“My goal is to block my mom’s shot, which I do and then my goal is to score a couple points.”

For the past few years Peter has taken top dog in this game and he has proved why he’s the best athlete between the three. But mom, Lisa Ryckbosch finished second last year beating Steven, she said. That will only heighten the stakes for this year’s game.

Basketball is just a game for many of us.

But for the Ryckbosch family, “ball is life” and “basketball never stops.” For Peter Ryckbosch and his mother Lisa, the game enhanced a relationship that stretches further than mother and son.

Even with all of their similarities, such as a tall stature and tearing their ACL’s, there is one major difference between the two: how they pronounce their last name.

While Lisa was playing basketball overseas in Belgium she met her husband, Bart Ryckbosch. When they returned to the states, she pronounced her last name as

[rake-bush]. When she had her two sons Steven and Peter, they eventually decided to independently change it to [rick-bosh].

“It’s just an Americanized version of my father’s last name,” Peter said. “It’s not even easy for me to pronounce without butchering it sometimes because I don’t speak the language.”

Despite pronouncing their last name differently, Lisa and Peter share the same love for basketball and DePaul. But that love didn’t come easy. Peter has been around basketball his entire life. His mother not only played, but she also coached and currently, is the director of professional, corporate and community relations for the university.

Because of this lifestyle that centered around basketball, Lisa felt like Peter resented the game. However, Peter said he didn’t hate basketball, it just took him longer to accept the game.

“I never resented it. When I was younger, I definitely was annoyed with it,” Peter said.

“So I never resented the game like that, I just wasn’t into like she was.”

For that reason, Lisa never influenced him to play basketball. She said she allowed him to play other sports. By the time Peter reached high school, he was playing football, basketball and even volleyball.

“I didn’t want to ever come across as pushing him into basketball because I felt like for anything you have to have that passion yourself,” Lisa said. “You have to have that love for the game, it can’t come from me that has to come from within.”

After his senior year at St. Ignatius, Peter

See RYCKBOSCH, page 27

Men’s basketball still searching for answers

By Ben Gartland Sports Editor

Fresh off another Big East loss, DePaul’s sixth in a row, head coach Dave Leitao took the microphone at the post-game press conference with a quiet agitation.

The Blue Demons played Creighton tough, again, but blew an 11 point opening lead and were not able to climb back enough to defeat the Jays. Leitao had spent the game watching his team turn the ball more than 18 times, which led to more than one exasperated shrug.

“It’s getting to be an old story, battle just enough not to succeed,” Leitao said. “It gets frustrating.

When you’re not maximizing your performance, the end result will be the same. If we can’t make the proper adjustments, we will continue to have these results.”

Leitao said that there’s something every game that sinks the Blue Demons. Sometimes it’s turnovers, sometimes it’s not executing on offense. On Sunday,

there were many things that could be blamed for the loss. They turned the ball over 18 times, leading to 25 points for Creighton. They Jays were lethal from beyond the arc, with junior guard Isaiah Zierden in particular. He found himself open enough to sink eight three-pointers en route to 31 points.

The beginning of the game looked like it might be a different story. DePaul was hot from three and they were keeping the Jays off the board. It was reminiscent of their 81-62 upset over then No. 20 George Washington. But Creighton was relentless and what looked like might be a turning point turned into a repeat storyline.

The Blue Demons have faced their Big East competition with competiveness. They almost rallied against Creighton, they almost came from behind to beat Seton Hall on the road in a 78-74 loss, they almost kept pace with a ranked Butler team in a 77-72 loss. DePaul is still looking to find a way to get over the hump and into the conference win

column.

“They took advantage of our lack of execution,” senior forward Myke Henry said. “Once we fix that, these close losses will turn into wins. We’ve still got 12 games left in conference, and we have to move forward.”

The answer heard from the team is fixing lack of execution. The question, however, is how.

“If I could answer that I’d probably be happier then the three families who won the $1.5 billion,” Leitao said. “That’s just part of the process. We’re a part of a process in which a simple way to put it is ‘Rome wasn’t built in a day.’ I don’t buy into what we’re supposed to be or what we will be, I buy into how we are right now.”

How they are right now is 0-6 in the Big East with two road games ahead. As Leitao hits the home stretch in his first season back with the Blue Demons, he said the process has seen progress, but the team is still searching to convert that to wins.

OLIVIA JEPSON | THE DEPAULIA

Billy Garrett passes the ball to Darrick Wood in a 91-80 loss.

depauliaonline.com | @depauliasports