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UNIVERSITY PRESS

The Newspaper of Lamar University

Vol. 93, No. 16 February 16, 2017

Spring enrollment hits 14,103 LU HEADCOUNT HITS NEW SPRING RECORD Tim Collins UP managing editor

Lamar University’s spring 2017 enrollment is 14,103 students, an increase of 47 from spring 2016’s UP photo by Noah Dawlearn 14,056. Students waiting outside of class in the Archer Physics building on This is the highest spring enrollFebruary 14th 2017. ment in LU’s history, though semes-

ter credit hours fell 0.38 percent from 152,256 in spring 2016 to 151,674. Senior associate provost Kevin Smith attributed the small drop in semester credit hours to statistical “noise.” “What we’ve seen are some increases due to the appearance of the online MBA,” Smith said. “We shifted it to an online format and it has paid huge dividends. It’s apparently meeting some demands out there for a master’s in business administration, so that’s a good sign. “Educational leadership is also online, and they’re up as well. We’ve

had a large enrollment in leadership for some time and so this continues a trend. Otherwise, things are pretty stable.” All colleges experienced an increase in enrollment except engineering, with the College of Business hitting a 5.75 percent increase. The College of Arts and Sciences saw an increase of 2.12 percent. Educational Leadership grew 11.53 percent in majors, dual credit enrollments rose 97.13 percent, and online MBA enrollment went up 38.81 percent. For more information, call 8808316.

Black History Month

Racial identifiers change over time, preferences Rashamir Sims UP contributor

In 1926, writer Carter G. Woodson, author of “The Mis-Education of the Negro” and one of the first African Americans to receive a doctorate from Harvard, called for schools and organizations to study African-American history. Woodson established what he called “Negro History Week” in February of 1926. As time progressed, “Negro History Week” expanded and was renamed

‘I am ready to act, if I can find brave men to help me.’ — Carter G. Woodson

“Black History Month” — officially recognized by the government in 1976. According to www.history.com, since 1976 every U.S. president has officially designated the month of February as Black History Month. Contrary to some misperceptions, Black History Month was not selected because it was the shortest month. It was chosen was because Woodson wanted to honor the birth months of abolitionist Frederick Douglass and President Abraham Lincoln. Negro changed to Black in the name of the celebration, indicative of how words change over time. Negro — especially in its derogative slang of the Nword — has become unacceptable in common usage. President Donald J. Trump, in his proclamation on Feb. 2, declared February as “National African American History Month,” not “Black” as is the official term. He is not the first president to do so. In fact, since President Jimmy Carter, almost every president has used similar language in their proclamation of the month. According to obamawhitehouse. archives.gov, President Barack Obama referred to the month as “Black History Month,” yet also used “National African American History Month” in his proclamation. So, if the terms are interchangeable, is it time to officially rename the month?

Stephens to speak at LU Tim Collins UP managing editor

Zena Stephens, the first female black sheriff to be elected in the state of Texas, will speak at Lamar Wednesday in ‘An Evening with Jefferson County Sheriff Zena Stephens.’ The event is hosted by LU’s Office of Diversity and Inclusion and will be on the eighth floor of the Gray Library, 7 p.m. to 9 p.m. The event is sponsored by Exxon Mobil’s Black Employee Success Team. Stephens is a graduate of Lamar University and former police chief of Prairie View A&M.

LOCAL EVENTS Free Film Screening “Jean-Michel Basquait: The Radiant Child” Today, 6 p.m. to 8 p.m. Beaumont Art League 2675 Gulf St., Beaumont

“Crisis in Black Education: Learning through Spirituals, Music, and Poetry” Today, 6 p.m. Theodore Johns Library 4255 Fannett Rd., Beaumont

“An Evening with Jefferson County Sheriff Zena Stephens” Wednesday, 7 p.m. Gray Library 8th floor

‘African American Artists of Silsbee’ Dameon Runnels and Walter Land, Jr. Feb 8-25 818 Earnest Ave, Silsbee Ice House Museum

See HISTORY page 2

Pushing through 8-bit ‘Borders’ Trevier Gonzalez UP multimedia editor

UP photo by Noah Dawlearn

Austin Jones and Brain LaTraunik practicing Stage fighting for an upcoming class outside the Theater Arts Building on February 9th 2017.

LeTraunik to instruct unarmed stage combat class Cade Smith UP contributor

The Lamar University Department of Theatre and Dance will host an unarmed stage combat class, instructed by Brain LeTraunik, during spring break, March 13-18, for those who are interested in learning

how to fight for performance purposes. The class will be held in the Lamar Dance Annex and the cost to participate is $100. Deadline to register is March 1. LeTraunik is assistant professor of Theatre at Lamar with a Master’s Degree in Fine Arts in Acting from Western Illinois

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University, and a Bachelor’s Degree in Theatre from Columbia College in Chicago. He has been a professional actor for more than 30 years and he’s a certified teacher in stage combat with the Society of American Fight Directors. See COMBAT page 2

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Whether it’s running from “la migra,” staying out of sight of the light emitted from “los moscos” hovering above, or simply staying hydrated in the dry Mexican desert, LU drawing/ink artist Gonzalo Alvarez tells the story of his parents’ immigration to the United States through the video game, “Borders.” The Sol Art Gallery will hold a reception for the immigration art installation, at 6 p.m., Friday, with the game available to play in the gallery through March 3. Alvarez said he had the vision of creating a game about the harsh reality of immigration for a while. He was able to make this idea a reality when he went to IndieCade in New York in April. “There I met some game designers,” he said. “Some programmers, specifically, because I’m an artist, so I know nothing about programming. That’s the thing I needed to be able to make games. I met some friends and whenever I came back to Port Arthur, I contacted them and we sat down for a

seven-day game jam.” Alvarez worked with a small group of independent developers on a project where they had seven days to create a video game. In “Borders,” one plays an Mexican immigrant in a retro arcade-like environment. “I went with pixel art style, because of its minimalism (and how it) allows for creative stimulation from the viewer,” he said. “You can’t really tell what it is — but you can tell what it is — and that ambiguity allows players to portray themselves in the character without necessarily seeing the character as an entity. “So this isn’t Joe, this isn’t Bob, this isn’t Jose — this is just, essentially, a vessel for you to put yourself in. You kind of become the character.” Alvarez, an art major who grew up in Port Arthur, is a first-generation Mexican American, and is the first of his family to attend college. “My parents, they’re immigrants,” he said. “I mean, they have their citizenship and everything, but they did cross the border. I’m the first one to be born here, and so this is kind

See BORDERS page 8

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INSIDE

QUOTE OF THE WEEK

Thursday, February 16, 2017 University Press

HISTORY

The University Press can be read online at www.lamaruniversitypress.com. Advertising rates can be found on the site, along with practically all information that a person might be looking for.

CALENDAR

from page 1

Destinee Bolts, Houston senior, said she prefers the term “black,� “I believe the word black encompasses everyone of color that is not of Caucasian/Latin decent,� she said. “The continent of Africa isn’t even named after people of color. Africa is named after Scipio Africanus, who was a part of the Patrician Roman family. “For me to be called African-American would be offensive. I never originated from the Americas, nor do I choose to identify with Africanus, not having any roman decent.� Bolts is not the only one who prefers to identify as

COMBAT

Page 2

“I insist that the object of all true education is not to make men carpenters, it is to make carpenters men.� — W.E.B Du Bois

NOTICE

black. Jeff Joiner III, Beaumont senior, also identifies as black. “I identify with being called black (because), in history, blacks as a whole were never identified as an American, despite fighting in every war America has been a part of,� he said. Joiner said that whites brought his ancestor over to the Americas. “All my true roots, language and history of Africa have been erased,� he said. “So how can I even know my true history? How do I even know if I’m African or not?� Alumna Jane Robinson said she prefers the term “Afro-

American.� “The reason being, I have grown to see this country from a divided standpoint,� she said. “Think about the ’50s through ’60s when we had separate restrooms and establishments. Even people from other countries see us as a divided nation still today. With that being said, the title Afro-American ties us together more than dividing us once more.� Natalie Tindall, Lamar Communication department chair, said she chooses to identify as black rather than AfricanAmerican, as the term is more stylistic in modern times. “Honestly, it is based on how people choose to see the

world,� she said. “For me, it’s a generation thing. Younger people may find the term African-American to be offensive, while someone older may not.� “It is my honest belief that dialogue such as this is what makes this month of February important� she said. Woodson said, “If a race has no history, if it has no worthwhile tradition, it becomes a negligible factor in the thought of the world, and stands in danger of being exterminated.� The words used to describe a race, while preferences may change over time, help define and value our society as a whole.

from page 1

“I’ve been teaching and choreographing stage combat around the United States for over 20 years,� LeTraunik said. “The challenge is to make it look realistic and to keep actors from hurting each other.� LeTraunik is an experienced director with credits including “The 25th Annual Putnam County Spelling Bee� at Eastern Illinois University, and the Chicago premiere of “Tunnel Rat� for Genesis Theatricals, and the world premiere of  “Hannukatz: The Musical� for the National Pastime Theatre. LeTraunik also has directed Lamar productions that include “The 39 Steps,�  “The  Last Night  of Ballyhoo,�  “Anton in Show Business� and “Almost, Maine,�  and he co-directed  “A Year with Frog and Toad.� The unarmed stage combat course lasts five days and is open to anyone. In addition to theatrical actors, individuals involved in cosplay or filmmaking could benefit from the course, LeTraunik. “The class will be a good expe-

rience for actors, or potential filmmakers to possibly use in future film, and will teach students how to fight in unarmed combat in theatre productions with no weapons — just using your hands and feet,� LeTraunik said. The course is a physically active course, so participants need to be aware of what to expect, LeTraunik said. “This course will not teach you martial arts or how to perform self-defense on someone, so you won’t be taking down assailants or breaking boards in this course,� he said. “It is a purely theatrical art form — to make it appear like you are fighting when you really are not.� The class will start, March 13, at 9 a.m. and continues through 4 p.m. with an hour lunch break. On March 18, the course will culminate with an adjudicated test with a fight master, a senior member from the SAFD, where students will receive certification in unarmed stage combat. For more information, contact LeTraunik at 880-8154, or email brian.letraunik@lamar .edu

February 16

Lamar History Day

LIT Multi-Purpose Center/ Archer Physics Building 10 a.m.- 6 p.m.

February 20

Last day to drop or withdraw without academic penalty

Wimberly Building

February 22 Public Lecture: Stefan Schulz

Landes Auditorium

12:30 p.m.- 1:30 p.m.

February 22 Guest Lecturer

Sheriff Zena Stephens

Gray Library 8th floor

7 p.m.- 9 p.m.

February 23 Faculty Talk:

Dr. Ginger Gummelt UP photo by Noah Dawlearn

Brian LeTraunik, right, teaches Lamar University student Austin Jones the basics of a theatrical punch outside of the LU theatre building, Friday. LeTraunik will teach a stage combat course, March 13-18.

Landes Auditorium

3:30 p.m. - 4:30 p.m.

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UNIVERSITY PRESS • Thursday, February 16, 2017

Page 3

‘Doo Wop Ditties’ Female vocal group releases four-track vinyl EP

On vinyl: Vinyl may seem like a vintage throwback for hipsters and that has been making a chic comeback, but there is an argument for buying it. For one, it’s everywhere, with crates of vinyl popping up in bookstores and vintage shops, but it’s also more convenient as a display piece than a CD case or a cassette. The art is larger than a CD, it sounds better than a cassette, and some vinyls come with packaged extras, like the faux fan club form that comes with David Bowie’s “Aladdin Sane.” Vinyl collectors have a quandary when it comes to listening to their favorite records, however, because players range from $30 for a cheap, functional mono machine or around $200 for a stereo experience. Records themselves can cost upwards of $22 for a new release or even $100 for a multi-disc compilation. As a result, vinyl can be a hefty investment.

Tim Collins UP managing editor

The room is slowly getting hotter from body heat as people continue to pile into the Neches Brewing Company. The line at the bar is like a wave, indistinguishable from the crowd that’s swarming into the tiny Port Neches bar, while some at the front swing dance and the enlarging crowd threatens to strain the credibility of the sign above the door that says, “Maximum occupancy: 100 persons.” This was the scene when Mad Maude & the Hatters took the stage, Saturday, to kick off the launch of their new vinyl EP, “The Sweetheart Sessions,” from Wrong Side of the Texas Records. Mad Maude & the Hatters, a doo wop group who have performed all over Southeast Texas, are comprised of Adrienne Dishman, Ashlynn Ivy and Jenny Carson, with Dave Macha on guitar, David Pool on bass and Patrick Brignac on drums. The group has performed at The Art Studio, Inc., Tequila Rok and various other Beaumont locales. Their new release, “The Sweetheart Sessions,” contains four tracks, two of which appeared on their 2013

“The Sweetheart Sessions” comes with a translucent green 10” vinyl, an insert for lyrics and a download code for the album on Bandcamp.

UP photo by Tim Collins

Mad Maude & the Hatters perform at the Neches Brewing Company, Feb. 11. album, “Mad Maude & the Hatters.” The tracks have been recorded with a bright, closer arrangement and released on a 10-inch “Coke bottle vinyl” disc, colored translucent green and with an insert sheet for lyrics. The cover, which features Ivy, Carson and Dishman on a salmon-red background, was designed by David Dishman. “The Sweetheart Sessions” comes with a download code for Bandcamp, which listeners can add to their iTunes or other digital music platform. “Heartburn” is a playful doo wop song about a lover who’s had enough — a barn-burner in the vein of “Fujiyama Mama” or the B-52s. “Recipe” tells the story of a couple whose relationship is in danger and has the swagger of a later Elvis Costello track. If her lover wants “another bite,” the singer intones, they’d better “get it right.” “Doo Wop Ditty” is a slower ballad that builds on a clanging guitar riff like Bobby Darin’s “Dream Lover,” describing two lovers embracing until morning. The final song of the EP, “Mackie G,” happily chirps, “My love doesn’t mean maybe when he calls me his baby,” while the listener is invited to clap along, sounding like a mix between “My Boyfriend’s Back” and “The Shoop Shoop Song.” Mad Maude & the Hatters breeze through the four songs of “The Sweetheart Sessions” with the cutesy doo wop harmony of the Chordettes

or the Supremes. The four songs — about moving on, trouble in a relationship, distance, and finally two lovers wrapped “oh so tight” around one another — pull the listener in and bring them close in the same way as the two lovers grow close over the course of the EP. Mad Maude & the Hatters are asking the same question as the impassioned lover in “Mackie G,” “Won’t you be mine?” If you’re in the market to support local doo wop by purchasing a vinyl for $10, the answer is, “Yes.” For more information visit mad maude.bandcamp.com.

UP photo by Tim Collins

Ashlynn Ivy performs with Mad Maude & the Hatters, Feb. 11.


EDITORIAL

4 UNIVERSITY PRESS February 16, 2017

OUR chance to ‘march’ toward research Anyone who has been in marching band for any length of time is bound to have played at least one march by John Philip Sousa. The famous American composer, known to history as the “March King,” wrote plenty of them, including the classic “Stars and Stripes Forever.” My interest led me to propose a study of Sousa and the touring band he led for 40

Commentary

Caitlin McAlister UP staff writer

years, which was accepted by the Office of Undergraduate Research. My project took me to the University of Texas at Austin, where the Harry Ransom Center holds an archive of materials related to Sousa. The experience was amazing. As a musicologist, I know that the type of archival research that I did in Austin will play a huge role in my career, and that being able to do this kind of research as an undergraduate will help me immensely in graduate school. More than that, however, it was almost surreal to know that I was handling originals of documents that were almost 100-years old. Much of the archive’s contents consist of business correspondence by Jay G. Sims, the personnel manager for the Sousa Band. The papers range from contracts for performers in the band and letters by play-

ers asking to be accepted into the band, to order forms for instruments that were needed on the road. They provided a glimpse of what the band’s dayto-day workings were like, in an era where communication was mainly done by mail or telegraph — there was no internet in the 1920s, and even telephones were not yet commonplace. Sims’ letters allowed me to see how the band addressed issues that came up in the processing of preparing for and performing tours. Many of the order forms for instruments were for equipment that was needed while the band was travelling — in one case, a tuba broke and had to be sent in for repairs on short notice. In other instances the band had to make arrangements to have equipment sent ahead of them midtour, so that it would arrive in a

city they were going to be playing in time for them to have it. It was an interesting glimpse into the daily workings of a touring band. My travel to Austin was funded by a grant from Lamar’s OUR. The process to apply was pretty competitive — I had to submit a proposal containing an abstract and narrative describing what my research project would entail and why I wanted to do it, as well as a résumé and a letter of support from my mentor professor, Bryan Proksch, stating that he would oversee my work. This was the third time that I applied for this grant. I had been denied twice before I finally received it — persistence paid off. It was worth it, however. Not a lot of students get the opportunity to do these sort of projects, so for me to be given the chance was special. I plan on

pursuing a master’s degree and eventually a doctorate in musicology, and I know doing undergraduate research is going to make me more competitive when I apply to graduate school — especially since I’m going into a field where archival research is often immensely important. I would recommend undergraduate research to anybody who is competitive and wants to do something extra during their college career. Research is so important, and the earlier you begin those experiences, the better. Persistence is key, though. I didn’t receive my grant the first time I applied, and neither did a lot of the people who’ve applied. The important thing is that I didn’t give up after that first rejection — I kept applying until I finally got it. I’m glad I did.

UPeditorial Early brand building for success Starting out a new semester can be stressful. However, in order to encourage growth, it’s worth considering the extention of one’s comfort zone . By doing this, all one has to do is remain on the lookout for groups that could potentially help promote personal growth, not only as students, but as people. It’s best to be well-rounded, and when one is in these situations, they can prove quite advantageous when apply for different programs or scholarships, and by having these different groups associated with your name, it begins to build a brand and prove that there is strong potential associated with your name. The next time you come across either an organization or group that doesn’t seem to fit, consider taking the leap to try something new. Take a look and see what could happen. College is a time to explore one’s potential — to try new things. Be the you that you would like others to see. Build your brand — a brand that potential employers will want invest in.

UP photo cartoon by Alyssa Stevens with Eddie Jones, Mathew Lara and Elisabeth Tatum

Planned Parenthood saves lives

Here is an actual quote from Utah Sen. Mike Lee on January 30th in the Daily Signal: “Of the ‘pregnancy services’ offered by the organization, 94 percent are abortions.” I just — what? How can he be so blatantly and willfully wrong about facts? Facts that a senator has direct access to through legitimate and accurate records? The worst part is, he is not the first to claim this. Arizona Sen. Jon Kyl, Texas Sen. Ted Cruz and several others have all claimed wildly different numbers, all of which are incorrect. These so-called “alternative facts” are destroying any sort of reasonable debate. The foundation of a debate is that both sides have arguments that are backed up by

Commentary

Stephanie DeMeyer UP Contributor

facts and truth. Each side may cherry-pick which facts support their stance, but they are at the very least truthful. This new way of “alternative facts” makes it impossible to have a productive or even worthwhile debate. We are no longer debating whether we are “prolife” or “pro-choice”, but instead arguing over basic statistics. Somehow, we’ve arrived in an era where politicians base their arguments on falsehoods. We were taught to rely on our elected officials to provide us with true information on important issues. With that trust destroyed, whom do we turn to now? Here’s the thing: Planned Parenthood doesn’t just provide abortion services, but also birth control, Pap tests, cancer screenings, tests and treatments for HIV and other sexually-transmitted diseases, and educational outreach services for students around the country. In fact, only three percent of all Planned Parenthood services are abortion services. On top of that, zero tax dollars go towards abortion services. Zero! The 1976 Hyde Amendment

Editor....................................................Haley Bruyn Managing Editor..................................Tim Collins Multimedia Editor......................Trevier Gonzalez Staff ......................Noah Dawlearn, Caitlin McAlister ........................Stephanie DeMeyer, Cade Smith .........Cassie Jenkins, Rachael Acosta, Matt Beadle ..........Erika Leggett, Baylee Billiot, Karisa Norfleet ............................Hannah LeTulle, Andre Woodard .......................................................Shelby Strickland Advertising Assistant ....................Taylor Phillips Advisors Andy Coughlan and Stephan Malick Member of Texas Intercollegiate Press Association

already prohibits funding from the government to go towards any abortion services. The only exceptions to this are if a woman’s life is at risk or in the case of rape or incest. This amendment makes it so only people who can afford to have an abortion have access to one, which is inherently classist and extremely dangerous. The way Planned Parenthood receives its funding is the same way any doctor bills government programs like Medicaid or Title X Family Planning Program. Planned Parenthood sends in a bill to these programs and receives reimbursement for the services provided. For example, if a woman who has Medicaid coverage comes in for a mammogram, Planned Parenthood submits the bill to Medicaid to be reimbursed for the mammogram provided. Not a single taxpayer dollar can go towards abortion services. There is no “line item” for them to take money away from, as the amount of money reimbursed each year fluctuates depending on the number of patients they see and what services they receive. So, when politicians say they are going to “defund

Letters Policy

Planned Parenthood,” what they are really saying is that they are going to stop reimbursing Planned Parenthood for basic public health services like cancer screenings and STD treatments. The bottom line is, reducing access to abortions does not decrease the number of abortions that occur. In fact, the number of abortions increases. It’s similar to laws banning illegal drug use: clearly, people are still using drugs. Any attempt to stop abortions through restrictive laws can never eliminate abortion, because you cannot eliminate women’s need for abortions. Additionally, without any regulation or monitoring on the safety of the abortions, desperate women will turn to unsafe methods that can lead to permanent disfiguration or even death. Before the constitutional right to an abortion, eight in 10 low income women were attempting dangerous and illegal abortions. The 1973 Roe v. Wade decision was an attempt to curb this epidemic. Roe v. Wade recognized that the constitutional right to privacy extends to a woman’s right to

Individuals who wish to speak out on issues should send a letter fewer than 400 words in length to Letters to the Editor, P.O. Box 10055, Beaumont, TX 77710, or drop letters off at our office in 202 Carl Parker Building. The writer’s name, address, telephone number and ID number must accompany each letter. Letters received without this information cannot be printed. Letters may be edited for length, grammar, style and possible libel. Opinions expressed in letters are not necessarily those of the UP student management. Letters by the same writer on the same subject will not be published. Poetry and religious debates will not be published.

make her own personal medical decisions. This decision has saved hundreds of thousands of lives in the four decades since its implementation, and the abortion procedure is one of the safest medical procedures in the United States. Now, however, the pro-life movement wants to overturn Roe v. Wade, and throw us back into an age of life-threatening, unregulated illegal abortions. The pro-life movement’s goal is, or should be, to reduce the amount of abortions that happen down to zero. I wholeheartedly agree with that goal. I would love to live in a world where we had such wide open access to contraceptive services that abortions were no longer needed. However, defunding a program that prevents an estimated 515,000 unintended pregnancies each year and averts more than 216,000 abortions annually by providing contraceptive services is not the answer. The Guttmacher Institute, National Institutes of Health and the Center for Disease Control all agree: Defunding Planned Parenthood is not the answer.

The opinions that appear in editorials are the official views of the University Press student management as determined by the UP Student Editorial Board. Opinions expressed elsewhere on this page are the views of the writers only and are not necessarily those of the University Press student management. Student opinions are not necessarily those of the university administration. ©University Press 2017


Page 5

Thursday, February 16, 2017 • UNIVERSITY PRESS

LU’s Proksch publishes book about ‘March King’ Cade Smith UP contributor

Bryan Proksch, associate professor of music history has published a book of writings called “A Sousa Reader: Essays, Interviews, and Clippings� by famed composer John Philip Sousa. “The book is basically a primary source reader, and gathers documents from Sousa’s life and puts him out there for people to see — there has been a lot of research on Sousa,� Proksch said. “The book focuses on him as a band master and his famous marches that he wrote. “As far as scholarship is concerned, there is really little access to who Sousa actually was, and my book will save scholars a lot of time in the future by giving them an overview of his thoughts.� Sousa (1854-1932) is an iconic American composer and conductor, nicknamed “The March King,� who was primarily known for military and patriotic marches and was a celebrity in his own time across America. He is best known as the director of the United States Marine Corps Band and for helping to select the “Star Spangled Banner,� as the national anthem. However, Sousa wanted to be remembered as a classical composer, but he was viewed differently by the public, which controlled the direction of his career. “Sousa was a very popular figure of his time and he was the first sort of famous popular American musician, the tradition that will even-

“The great thing about Sousa is that he isn’t overly consistent in his beliefs, about what music is supposed to do or mean, or how popular music functions’.� — Bryan Proksch

tually lead to the notion of famous musical stars in Louis Armstrong, Duke Ellington and Michael Jackson,� Proksch said. Proksch’s history elaborates on how the conductor became wellknown and the struggles he had to overcome. Sousa the musician was also Sousa the writer. “The great thing about Sousa is that he isn’t overly consistent in his beliefs, about what music is supposed to do or mean, or how popular music functions,� Proksch said. “The book gathers those beliefs and shows the complexity of Sousa. But it’s not just marches in America. There are other underlying issues in a way that really haven’t been available up to this point. “Sousa’s band toured for 50 years, and he becomes known throughout the country, as Sousa the great bandmaster and great patriotic march composer.� Proksch said book that uses archival documents that show Sousa’s essays, and his testimony in front of Congress about copyright laws in 1909. “So artists could get royalties for not just creating the song and having someone else take the credit,� he said. Proksch said he picked Sousa because it

seemed like the right thing to do. He also wanted to do something different, since he had already written his dissertation about Austrian composer Joseph Haydn which included a small paragraph about Sousa. “Early in life, Sousa studies music and he becomes the director of a prominent theater orchestra,� Proksch said. “He gets hired to take over the U.S. Marine Band and he transforms them from a hodgepodge local D.C. ensemble into what we would call the first modern concert band. The ensemble existed before he came in, but the Marine Band seen at presidential inaugurations today is the same ensemble that Sousa built and remolded during his time.� The book covers Sousa’s transition from running the Marine Band to becoming “The March King.� “Sousa runs the Marine band for a while until the government interferes, because Sousa wanted to charge admission for the concert tour,� Proksch said. “But since the ensemble was government run, Sousa wasn’t paid and he quits after he receives business from New York.� Sousa’s first major gig was the Chicago World Fair New Colombian Exposition in 1893. From that point on, Sousa be-

Bryan Proksch, Lamar University associate professor of music history, has published “A Sousa Reader: Essays, Interviews, and Clippings.� The book covers the life and career of the man dubbed “The March King.� came known as the leader of American music and took two tours each year around the country, including playing three different times in Beaumont, Proksch said. Sousa took many world tours, visiting places like South Africa and Australia, and he also made a number of European tours, all with

the notion of fostering what is American music to the world. “Sousa wants to be seen as a classical composer and well respected artist — what he would call a high-class composer,� Proksch said. “But at the same time, the public views him as a popular composer not a classical one. So he is not seen as the same

kind of composer as a Brahms, Offenbach or even a Gilbert and Sullivan kind of guy. He really struggles with that, and (in) a lot of documents that end up in the book, Sousa argues for the validity of the band.� The book, which is published by Gia, may be bought on Amazon for $20, in the 212 Simmons Music Building.

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UNIVERSITY PRESS February 16, 2017

Glacial Getaway

Iceland offers stunning scenic adventures Shelby Strickland UP contributor

REYKJAVIK, Iceland — Waterfalls and ash — and elves — make up one of the most fascinating places on Earth. Iceland is known for its glacier “Vatnajokull,” or Vatna Glacier in English. It is the largest ice cap in Europe by volume and the largest in Iceland overall. It is big. But not only is it big, it is thick — one thousand meters to be precise. Covering between eight and 10 percent of Iceland, the voluminous ice cap sits in the southeast region of the country, just over three hours east of the capital, Reykjavik. Visitors to Vatnajokull have the option of taking a tour to a glacier, experience waterfalls close up, or venture through a cave on an ice-caving tour. But seeing the glacier first hand, or first foot one could say, after stepping onto the ice is unlike any other Icelandic tourist experience. A guided tour of Svinafellsjokull, a tongue of ice that lies at the foot of Vatnajokull, will remind visitors of films and TV series such as “Interstellar,” “Batman Begins” and “Game of Thrones” in which this portion of the glacier was featured. More importantly, it will leave the visitor wanting more. Adventurers have the option of hiking a few hours, or taking a day hike, but regardless, hiking the entire glacier would take days

(and that’s being generous). At the beginning of a hike on Svinafellsjokull, visitors are taught how to put on crampons, metal-like plates that strap to the bottom of boots to allow for better traction on the ice cap, and ice picks are passed around to assist with balance when hiking up and down the hills of ice. Depending on the length and route of the journey, hard hats are provided. As one heads towards the massive, ash-covered glacier, immense white clouds cover miles of unseen glacial masses. Heading toward the far side of the glacier, being mindful that underneath is an ice-cold lake, one’s imagination goes wild at the fact that one wrong step, or wandering from the guide, can send one to an icy peril. The consistency of the glacier changes from day to day as a result of climate change, but guides are trained to detect fresh crevasses or thin ice. Always stay behind the guide. Navigating water-filled trenches and kettles, one begins to feel like Matthew McConaughey in “Interstellar,” experiencing Mann’s planet, surrounded by frozen clouds and circling a black hole. “Vatna” is the plural form of the Icelandic word “Vatn,” meaning water. Whether the frozen water was named for its size, water trenches or kettles, the name suits. The water is purer than bottled mineral water, so if one becomes exhausted and forgets bottled water at the hostel,

you’re all set. Under the ice cap, like most glaciers in Iceland, are volcanoes — and active ones at that. There are roughly seven volcanoes under the glacier that have been identified, the most famous being Grímsvötn, Öraefajökull and Bardarbunga. In the past, these glacial lakes have been active. Most recently, Grímsvötn has been the cause of massive glacial lake outburst floods. One eruption was as recent as 2004. The volcano has also had a number of non-fissure eruptions and produced a glacial outburst flood in 2010. However, the volcanoes are not to be feared when hiking the glacier. Tour guides are wellschooled in the geography of Vatnajokull and will not take visitors anywhere they do not deem safe. Aside from the “danger,” Vatnajokull offers the world’s largest sight line. Iceland can sometimes be seen from the Faroe Islands, more than 300 miles away. And what a gorgeous and awe-inspiring sight for those who get to see such beauty. Iceland in general is an incredible vacation destination for those who enjoy the outdoors, but Vatnajokull is unlike any other place on the island. It is incredible to be around such power that could crush one at any second. This is a primary reason to visit a glacier. We love to feel small. We love to know there is something more powerful than us, but simultaneously, and maybe even subconsciously, know that we’re OK. Humans thrive on ownership and being in control, but to see breathtaking nature so close up, to hike across a plain of cemented water, to feel the rash wind that swoops through the crevices of distant mountains to nearly sweep you off your feet — to experience the danger that nature encompasses, provides a rush of empowerment — you own the experience.

UP photos by Shelby Strickland


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SPORTS Spring 2017 Intramural Sports All Scores and Standings as of Feb 12.

5 on 5 Basketball Regional Tournament Qualifier Team Flight beat Deep Stroke 80-68 and will represent Lamar University at the National Campus Championships Regional Tournament at University of Houston, March 3-5.

5 on 5 Basketball League Standings Men’s Division 1 Team Flight We Here Mitm Deep Stroke 409 Alpha Tau Omega

2-0 1-1 1-1 1-1 1-1 0-2

Men’s Division 2 Globetrotters SBE 5Deep Bang Bros Sigma Phi Epsilon Sigma Nu

2-0 1-0 1-1 0-1 0-2

CoRec Division NSBE 5 Deep Meen Street Ballers AXO & ATO

2-0 0-1 0-1

6 on 6 Dodgeball Standings Residence Halls  (Morris Hall are the Dodgeball Res Hall Champs) Morris 2 Campbell 1 Gentry 2 Monroe 0 Final Morris Gentry

2  1

Men’s Division Balls of Duty A.A.M.P. Sigma Phi Epsilon Fireball Alpha Tau Omega Sigma Nu

2-0 1-1 1-1 1-1 1-1 -1

CoRec Division ZTA & ATO NSBE 5Deep

1-0 0-1

Outdoor Soccer League Scores Men’s Division Lo$ Motatone$ 4 Veni Vidi Vici 1 SwagDragons FC CVEN SPORT TEAM

Forfeit Winner

Sigma Nu Alpha Tau Omega

Forfeit Winner

CoRec Division AXO & ATO RipChase

1 1

NSBE 5Deep ADPi & KA

Winner Default

Feb. 17 Feb. 25

Fit games Obstacle Course Feb. 22. 4 p.m. to 8 p.m. Free Throw 3-point Contest Entries Due Feb. 20 Start Dates Feb. 20 & 23 Battleship Entries Due Start Date

Feb. 24 March 7

March Madness Bracket pickem Entries Due March 10 Start Date March 14 Table Tennis, Racquetball, 8 Ball, Tennis, Badminton & air Hockey Ladder Tournaments Entries Due March 24 Start Dates Jan. 22-March 24

KICKBaLL Entries Due Start Date

February 16, 2017

Cross-global runner

Gasbarri brings Italian passion to Lamar track team Cassandra Jenkins UP staff writer

Federico Gasbarri runs cross-country — literally. His love of running and competition started when he was a young boy in his home country of Chieti, Italy. “When I was around 12-years old, my professor at school asked me if I wanted to try a cross-country competition,” he said. “I just went there and tried. Even though I was like ninth of 10 in the school, I really liked it. My professor was also involved in track and field for a club. I asked him to start running. He brought me to the stadium and made me enroll in his track club and I just started running since then.” Gasbarri moved to the U.S. when then coach Darren Gauson recruited him to the Lamar track team in 2014. “At the beginning, I thought it was a joke,” he said. “The coach texted me on Facebook and I thought it was a sort of prank, and then my friend convinced me it wasn’t. We eventually Skyped and I got an idea of how the system is different here.” Now a junior, Gasbarri said that he quickly found out running in the United States was different. “One of the differences is, that back in Italy I use to run for a club and go to a university, and it was very difficult to do both things together,” he said. “You don’t have practice scheduled. I decided to move because it would be easier to continue my sport.” Although attending school and running is easier in the U.S., the Southeast Texas climate took some getting used to, Gasbarri said. “The climate is very different, I feel like Texas doesn’t have a big difference between seasons,” he said. “Right now, we’re still in winter and it’s over 50 degrees. But, when I was back home for Christmas there was snow and it was, like, zero degrees. The weather is very different, and in March and April, it’s very hot and humid here. It makes it challenging to run.” While running in the hot muggy weather of Southeast Texas is harder, maintaining classes and practices are easier, Gasbarri said. “My first year in a university back home was way more challenging, because the sport wasn’t included in the university,” he said. “Coming here was actually easier than back home. Here, we wake up very early and have our first practice, and then we go to class, have lunch, class again or practice, depending on the day. In the evening we study and go to bed.” Before being recruited to Lamar, Gasbarri placed in the European under 20

this trophy, because my teammates and I live together and we spent two or three months of last season getting up early and going for a run, and then going back home and doing everything in function of running, meaning eating healthy, too,” he said. “We did all these things together and then we got to experience that moment all together.” The winning feeling is like an addiction, Gasbarri said. “It’s a lot of effort you put in, but whenever you win a race or break your personal record, you just see the improvement and you are very satisfied,” he said. “You get addicted to that feeling and you want to do better. It’s sort of like a life lesson. If you want to achieve something you have to put effort into it.” Gasbarri said that his tough mentality comes from setting his own goals for every season and just going for them. “I just try to get out the door, start running and thinking about my goals,” he said. “You have to be aware that it’s not easy and you have to do that every day. You have to do that consistently, so one day you can’t just say, ‘I don’t feel like going out today, it’s too hot or too cold,’ because the next day you are probably going to regret it or at the end of the season when you don’t achieve your goal. It’s just a matter of setting the right goals and doing all you can to achieve them.” Gasbarri said his goals for the rest of the season are to medal in the outdoor SLC conference championship and set a personal record for the indoor season of 3:45 in the mile. Last spring, Gasbarri was placed on the Outdoor All Southland Conference Second Team for the 1,500, had a season-best time of 3:49:41, and took second place at the Louisiana Classic in the 800-meter run, along with many other awards and honors. With another year of running collegiately ahead of him, Gasbarri said he is not sure if a career on the track is in his future. “I would like to try and keep running, but I am not sure if I am going to be able to,” he said. “Especially if I want to stay here, because I am probably going to have to find a job one day. I just don’t think I have the right requisites to run professionally. I can try, but it’s very competitive and difficult to get in. To be honest, I just want to stay here and visit more of the U.S to see different states. I see more opportunity here to do great things.” Gasbarri and the track and field teams Federico Gasbarri will move to the Southland Conference UP photo by Trevier Gonzalez Championships Indoor competition in Birmingham, Ala., Wednesday.

championship and won two Italian championships. He continues to set records and win trophies for his team. “I was runner-up in spring 2015 for the 1,500 and this past season I was also the runner-up for cross-country,” he said. Despite all his medals, Gasbarri said his best moment was winning the 2016 Southland Conference Cross-Country Championship team trophy with Lamar. He had been on the winning team before, but this time he was a key factor in the win. “I was really happy to help the team win

Lady Cards tennis sweep Alcorn State in doubleheader

SIgn up DeaDLIneS 8-on-8 Cricket Entries Due Start Date

UNIVERSITY PRESS

March 31 April 3

The Lamar University women’s tennis team took both matches of a doubleheader against Alcorn State, Saturday, defeating the Lady Braves, 6-1, in the opening match and 4-0 in the afternoon contest at LU’s Thompson Family Tennis Center. The Cardinals finished the day with six shutout sets, including four in the first match. Big Red was especially dominant in doubles play surrendering a total of five games in the five completed matches. After taking the doubles point with ease in the opening match, senior Talisa Merchiers overwhelmed Alcorn State’s Veronika Pytlikova, 6-0, 6-0. Freshman Jasmin Buchta quickly followed with a straightsets victory, 6-2, 6-2, over Natalia Parchowska. Buchta’s win put the Red and White within one point of the overall victory. The clincher came from another freshman Sanja Jolic recorded a 60, 6-4 decision over Marlene Maier. LU utilized the same formula in the second match — dominate in doubles and ride that momentum through singles. Buchta and senior recorded a shutout at line 3 doubles, while Merchiers and junior added a 6-2 victory at No. 2 for the point. Just like in the opening match, the Cardinals took five of the first six opening sets which set the tone for the rest of the match. Hannah Elfving was the first Cardinal off the court with her 6-1, 6-2, decision over Natalia Parchowska at No. 6 singles. Senior Katya Lepayeva added a lopsided 6-0, 6-3, victory at No. 1 to give the Cardinals a 3-0 advantage. Big Red didn’t have to wait long to close out the day as Buchta got the match winner on court three. The Cardinals return to action Feb. 25, when they travel to Edinburg to take on UT Rio Grande Valley.

4-On-4 FLag FOOTBaLL Entries Due Start Date

March 31, April 3

4-On-4 VOLLeyBaLL Entries Due Start Date

April 7 April 10

InneRTuBe WaTeR pOLO Entries Due: April 7 Date: April 18

aLL enTRIeS Due 8 a.m. On Given Date

Start Stephanie Marchena lines up a shot during her singles win, Saturday. UP photo by Matt Beadle

Talisa Merchiers returns the ball during LU’s matchup with Alcorn State, Saturday, at the Thompson Family Tennis Center. UP photo by Hannah LaTulle


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BORDERS

Thursday, February 16, 2017 • UNIVERSITY PRESS

from page 1

of built off the stories they told me as a kid.” Players have to avoid being detected by “la migra,” Spanish slang for immigration police or border patrol. Alvarez said his mother had to avoid them. “My mother actually got caught a couple times,” he said. Players also have to retrieve water jugs to avoid dehydration, Alvarez said. “It’s really hot, so you have to stay hydrated,” he said. He said the game reflects his parents’ experiences hiding from helicopters. “They called them, ‘los mosquos,’ the mosquitoes, and so it was kind of just taking my parents’ experience, and creating something that people could interact with, simulating what it’s like, he said. “Now people get to experience it themselves and try to beat the game, because the game is actually kind of hard.” While the game does have a retro feel, the more players progress, the more they realize its underlying theme. “It’s pixelated to not be like this disgusting or grotesque (game),” Alvarez said, “It’s supposed to be more whimsical, but have a darker meaning behind it.” “Borders” implements a mechanic in the game so each death doesn’t go unnoticed. “When you die, it leaves a little skeleton,” Alvarez said. “When you start over and you walk towards where you die, there’s a skeleton — it’s still there. “There’s no way to go back to the families and say, ‘Hey, your brother died.’ They just don’t know what happened to these people, and I think that’s the worst part — there’s just these unnamed skeletons lost in the Mexican desert.” The Pima County Office of the Medical Examiner in Arizona has received more than

2,200 recovered remains of suspected migrants crossing the US-Mexico border since 2001. Alvarez said the more people who play, the more skeletons will be in the game. “That’s a part of the whole thing — you’re gonna die a lot, and it’s gonna add to that death pool,” he said. “But if you do happen to cross the border, you’re met with a nice little illustration I did, and you get to put your name down, kind of like in the leaderboards sort of thing, but it goes beyond, ‘Oh, I just beat the game.’ (It’s more) like, ‘I kind of actually got to survive, versus the thousands of dead bodies that didn’t.’” Alvarez said that even though the game is just a simulation, he hopes it illustrates the struggle of the immigrant. “In interacting with the game, and trying to survive and finish the game and dying over

and over, I hope that people can realize how much harder in reality it is,” he said. “If it’s this hard in a video game, imagine how much harder it is in reallife.” “Borders” is a commentary on what is currently happening in the United States, Alvarez said. “I’m trying to avoid the more gruesome, political side of it, but I am addressing it — but just with something a bit more approachable,” he said. “It also came out of the kind of speech about what’s kind of going on with America at the moment, especially with Trump’s presidency and all this kind of avocation for a bigger wall — to kind of try to state a message about who you really are trying to keep out, and what they’re dealing with — maybe help some people see it differently.” The player lucky enough to

reach the end of the game is met with a cityscape, Alvarez said. “Symbolically, it’s this new journey, this new America, this new place full of hope,” he said. “We have kind of a somber type of music, to really make you feel that emotional experience that I believe that my parents had, or other people had once they actually saw the city on the other side. “In reality, that’s why I’m able to show you this today, because if it wasn’t for their win — for my parents’ win, crossing over — I wouldn’t be able to be doing this right now. I’m living proof of them winning the real game.” “Borders” is developed by Alvarez with Jon DiGiacomo and Genaro Vallejo Reyes. The game is free online, but donations are accepted. To download, visit gonzzink.itch.io/borders.

UP photos by Trevier Gonzalez

Gonzalo Alvarez, tests out his indie game, “Borders” on an arcade cabinet he created to give the game a nostalgic, vintage feel, in the LU Art Building’s Sol Gallery, Monday.


University Press February 16, 2016