2018-09-04

ONE HUNDRED AND TWENTY-SEVEN YEARS OF EDITORIAL FREEDOM

Tuesday, September 4, 2018

Ann Arbor, Michigan

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SportsTuesday Michigan fell short in its opener against Notre Dame on Saturday.

Page 1B CAMPUS LIFE

U-M Dems join lawsuit over state voting laws ID and registration laws effectively discriminate against students, suit argues ALEC COHEN/Daily

Co-founder and leader of Stop Trump Ann Arbor, Jessica Prozinski, discusses the proposed action items at the Community Meeting on Pangea Piercing at Crazy Wisdom Bookstore Sunday.

Community testimony, protests 2 shut down A piercing business

Dozens of former customers accuse owner of white supremacy, sexual harrassment massive outcry against the behavior of owner J.C. Potts, which many say constitutes abuse, sexism, and white Daily Staff Reporter supremacy –– community members & Daily News Editor are thinking about how best to fill now-empty space, and ensure that Now that Ann Arbor business Potts is not able to continue his Pangea Piercing has officially closed piercing career elsewhere. its doors for good –– the result of a After an August 21st tweet from RHEA CHEETI & ANDREW HIYAMA

user @LauraStroudd went viral, describing a situation in which Potts repeated several white supremacist talking points to her during a piercing, Alice Held, another previous customer, shared her own experiences with Potts, as well as similar experiences of over 30 others she had collected.

Complaints range from racist, sexist and transphobic comments to sexual harassment while customers were getting piercings. Many others expressed their concerns with the safety and professionalism of the process, mentioning scarring and pain. During one piercing, Held See PANGEA, Page 3A

ANDREW HIYAMA & MATT HARMON Daily News Editors

The University of Michigan’s chapter of College Democrats, along with the Michigan State University chapter and the Michigan Federation of College Democrats, is suing the state over two of its voter ID and registration laws. The suit claims the laws unconstitutionally restrict a citizen’s 26th Amendment right to vote, particularly for young voters and students.

The suit concerns two laws, Michigan Public Act 118 and Michigan Compiled Laws 168.509t(2), which the organizations claim make voting more difficult and time-consuming and in turn, discourage voters from casting

their ballots.

Public Act 118 requires the voter’s residence on their voter registration card to match their residence on their driver’s license. The Michigan Compiled Laws statute requires voters who register through a third party or by mail to vote in-person for their first-time vote.

According to a press release by the plaintiffs, the complaint was filed by Perkins Coie LLP and MSU law professor Mark Totten and outlined the claims from College Democrats alleging the laws add to the general confusion about voting and discourage young voters. “(Y)oung voters in Michigan have faced unequal and consequential barriers in registering to vote and voting See LAWSUIT, Page 3A

La Casa optimistic about response to In Review: New policy Lecturers demands, calls for more representation degree for ACADEMICS

bargain for better pay

Administration, Lecturers Employee Organization strike new contract deal

ACADEMICS

Latinx program assistance, increased hiring pool diversity seen as positive first steps MATT HARMON Daily News Editor

After a summer of meetings with the Office of MultiEthnic Student Affairs and

various University officials and departments, the Latinx Alliance for Community Action, Support and Advocacy and MESA representatives say progress has been made on short-term requests and

conversations about larger, institutional demands are moving in the right direction.

Last February, La Casa sent a list of demands to the University of Michigan administration addressing

RACHEL CUNNINGHAM Daily Staff Reporter

While you were away this summer, you may have missed some of big stories from Ann Arbor. The Daily will be publishing recaps of the summer’s breaking news: After an entire school year of contract bargaining, the Lecturers’ Employee Organization reached a contract agreement this summer with University of Michigan officials to increase wages, improve health care and job security.

LEO represents around 1,700 non-tenure track lecturers throughout the University’s three campuses. LEO’s previous See LEO, Page 2A

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INDEX

a lack of representation and support for the Latinx community on campus.

La Casa, an organization of students and faculty at the University, works to provide support and facilitate a positive environment for all Latinx students on campus looking for more support.

La Casa’s demands, which were emailed directly to University President Mark Schlissel, Provost Martin Philbert and others, called specifically for an increase in Latinx staff and faculty hires, Latinx senior administration hires, additional funding for the Latina/o Studies program and La Casa, the installment of Latinx-identified spaces on campus and more.

Though little concrete progress has been made on the larger demands including structural diversification of hiring processes to include more Latinx hirees and more, LSA junior Lesley Rivas, La Casa lead director, See LATINX, Page 4A

Vol. CXXVII, No.127 ©2018 The Michigan Daily

Ford School announced

Masters of Public Affairs program launches at Ford School of Public Policy REMY FARKAS

Daily Staff Reporter

The Ford School of Public Policy at the University of Michigan has announced the creation of the Master of Public Affairs program to replace Master of Public Administration program.

The program is a nine-month-long degree focusing on analytical, communication and management skills in the public and private sectors.

Michael S. Barr, Joan and Sanford Weill Dean of Public Policy, announced the program in an email last Tuesday to current Public Policy students.

“Graduates (of the program) See MASTERS, Page 3A

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LEO From Page 1A contract expired May 29, and an agreement on a new contract was made June 22.

The new contract went into effect in July.

The new contract comes after eight months of bargaining negotiations with the University. LEO’s efforts sparked support from students across the three campuses, and they also resulted in a vote to strike in April. LEO eventually called off the strike after an agreement was made with the University regarding salary increases.

LEO President Ian Robinson, a sociology lecturer, said that though LEO did not get everything it had asked for, the negotiations were overall successful.

“It’s a terrific contract,” Robinson said. “It fell short in a couple of areas, but compared to where we were coming from (with) the baseline before this contract, it’s terrific.”

According to LEO’s blog, the organization believes this contract agreement is a historic victory for its members and allies.

“We believe that we have won historic gains in these negotiations, including significant salary increases, improved benefits, and stronger protections for Lecturer job security,” LEO’s bargaining team wrote in the post.

By 2021, the contract minimum salary will increase by $16,500 in Ann Arbor, $13,700 in Flint and $12,700 in Dearborn.

Equity adjustments, or one-time additions to base pay, would also increase by $3,000 to $12,500. Equity will differ for lecturers earning more than $80,000 annually.

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PANGEA From Page 1A said Potts made reference to her breasts, saying she was “blessed,” and used the N-word. In an earlier instance, when she was 14, Held said Potts prohibited her father from being present in the room during a piercing, though nothing else inappropriate occurred.

“I’m very involved in the body modification community in general, and I want that to be a very safe place, and it’s not with this guy being in business,” Held said. “So, my biggest goal is I obviously don’t want him to be piercing in Ann Arbor or anywhere, so making sure –– keeping tabs on where he goes next is probably my biggest thing that I wanna focus on.”

University doctorate student Abby Lamb also said he brought up topics she considered inappropriate during the procedure.

“JC started out with polite, normal small talk about my work,” Lamb said. “But as soon as he discovered I’m a genetics researcher he started going on about ‘the genetic correlation between aggression and skin pigment,’ which is complete nonscientific nonsense peddled by white supremacists to justify their views.”

Lamb emphasized Potts put her in a “creepy and uncomfortable situation,” where she didn’t feel like she could respond to or challenge his beliefs.

“He was in the process of changing my piercing when this came up, and I didn’t feel comfortable or safe objecting while he was handling my facial piercing,” Lamb explained. “He basically took advantage of my vulnerability and his position of relative power to both mansplain my field of research to me while trying to preach that dark skinned people are naturally violent.”

Following the viral posts, protesters showed up at Pangea Piercing with printed copies of victim statements and signs accusing Potts of being a Nazi. Potts then posted a video statement to

Pangea Piercing’s official Youtube channel defending his views and announcing the business’s closing.

“I’ve talked about challenging topics and for the ultra-sensitive activist types, I’m sure that I can sound like some ‘Trumpian’ figure,” Potts said in his statement.

“With a little twist and some embellishment, it might finally be the ‘actual racism’ that Ann Arbor has been so desperately searching for.”

Since Potts confirmed the business would be closing, Jessica Prozinski, a founder of the grassroots activist organization Stop Trump Ann Arbor, has talked with people from local businesses like Gamma Piercing and Eternal Ink about opening a new piercing gallery or tattoo parlor in the space.

“Initially I was thinking it would be cool if it was another piercing place with an owner that would be almost the reverse,” Prozinski said. “Obviously we don’t have the legal power to decide what goes next there, but socially we have a lot of power.”

Stop Trump Ann Arbor is also proposing additions to the Association of Professional Piercers’ “Piercee’s Bill of Rights,” which would assert that people undergoing piercing procedures have the right to not be sexualized or otherwise objectified in the piercing environment, and to have a friend or relative present in the same room during the piercing.

“The person I talked to was shocked that J.C. discouraged people from having somebody come into the piercing room with them, including, in at least two cases, minor women,” Prozinski said.

According to Potts, his own career “is over.” In his video statement, however, Potts indicated he would continue posting videos to Youtube to discuss the topics surrounding his allegations.

“I’ve said quite a few times that I wish we, as white people, could ever have anything like representation for our interests that wasn’t Richard Spencer or David Duke,” he said. “Well, my career is over, so I will not be

bringing you any more piercing content, but seeing as how I guess some of these conversations need to happen, then I guess we’ll be probably checking in with more videos in the future, just definitely not on this channel.”

Prozinski said the video made her worry Potts might try to turn himself “into some sort of white nationalist figure.”

Potts has also threatened legal action against some of the customers who have made claims against him, though Prozinski and Held don’t believe the threats are serious. Replying to the original viral tweet, Held posted an eightsecond video sent to her by another customer, in which Potts can be heard saying, “A lot of really powerful folks out there doing what they can to convince white folks not to breed. Okay? And if they do, breed with a black man…”

In response, Potts tweeted, “RELEASE THE REST OF THE VIDEO OR LAWYER UP. This is part of a 2 minute monologue that I KNEW YOU WERE FILMING. I remember you guys.”

Held said the situation reminded her of another in which dozens of people accused Detroitarea tattoo artist Alex Boyko of sexual assault and harassment.

Boyko then filed a defamation suit against another tattoo artist who he said was responsible for the flood of accusations.

Last month was not the first time Potts’s behavior has been called into question, however.

Yelp reviews dating back as far as 2010 describe Potts as “bizarrely rude,” “shady,” and “intimidating,” recommending future customers avoid him.

Several reviews also indicate customers experienced Potts as being racist. In a review from April 13, 2010, a customer wrote, “... my best friend told me that while she was there she heard the owner and one of the piercers guffawing over the fact that the piercer had messed with a couple of Indian women who had come in recently.”

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MASTERS From Page 1A will be prepared for key senior roles in a variety of governmental institutions and public agencies, in the non-public sector and in the private sector as well.”

The 33-credit degree will be open to individuals with five or more years of experience in public administration, government affairs, the military or the nonprofit sector.

The Public Policy School has developed new courses specifically for this program, in addition, these MPA students will enroll in courses which are part of the school’s current Master of Public Policy program, including Economics for Public Affairs and Leadership in Public Affairs. In order to complete the degree, students must also complete a capstone project for a client. The new program builds upon the former Master of Public Administration by combining the previous degree’s focus on analytical policy analysis with

LAWSUIT From Page 1A for the first time,” the complaint read. “Indeed, in many cases, these laws have resulted in a chilling effect that has kept eligible young voters in Michigan from voting and registering to vote entirely due to widespread confusion about the laws’ requirements and legal effects.”

Marc Elias, a partner at Perkins Coie, is one of the plaintiff’s lawyers. Elias, who served as general counsel to Hillary Clinton’s 2016 presidential campaign, also represented a group of college students in Florida in their successful suit to remove a ban on early voting on college campuses. It was the first time a judge ruled that a policy constituted discrimination under the 26th Amendment.

Ingham County Clerk Barb Byrum supported the plaintiffs in the suit, declaring in a press release Michigan has “some of the toughest and unnecessary voting

Tuesday, September 4, 2018 — 3A new curriculums for public and nonprofit entity management.

This curriculum, combined with a faculty of experts in fields ranging from economics to social work, will focus on refining the skills of professionals in the field and prepare them for leadership positions within and outside of the government.

“The new degree program builds upon the strengths of the Master of Public Administration degree while providing some new and innovative learning opportunities that are tailored to experienced professionals,” Barr wrote. “We are grateful to our alumni of the Master of Public Administration degree for their input as we develop this new program.”

Paula Lantz, professor and associate dean for academic affairs at the Public Policy School, said the school decided to update their program to strengthen it and broaden their reach to domestic and international students.

“The impetus behind this new degree was the desire to strengthen

our reduced-credit master’s degree offering for people with significant work experience,” Lantz said. “We are very excited about this new degree offering, which we believe will attract people with work experience and an interest in public affairs around the world.”

Lantz explained the new program has the potential to expand into an executive learning format.

“Eventually we are going to take this degree into an executive format which will combine online and in-person learning,” Lantz said. “In the future, it will also be in an executive format and will be available to people working fulltime.”

Lantz said though this program is one of at least seven other Master of Public Administration degrees in Michigan, the Public Policy School will be the only Master of Public Affairs in Michigan and one of few in the country.

restrictions in the country.”

“These restrictions have had a devastating impact on the ability of students voters to exercise their right to vote for more than a decade,” Byrum wrote.

MSU student Eli Pales, president of MSU’s College Democrats, addressed specific ways the suit files believe the aforementioned laws negatively impact voters on their campus. Pales said the “First Time/In-Person Requirement” directly inhibits students who moved long distances to attend MSU from voting in their home precincts.

“This is obviously a huge detriment to a lot of students who registered at home, maybe at a high school registration drive or whatever it is, come to Michigan State University and can’t vote unless they drive home,” Pales said. “Here at Michigan State University, for the first year, you’re not allowed to have a car on campus which essentially means if you’re registered at home and you need to get home to vote, you need a parent

to come to the University, pick you up, bring you back to vote, and then drop you back off which would take hours and hours of a parent’s day.”

Public Policy senior Kellie Lounds, president of U-M’s College Democrats, agreed, adding that in addition to the logistical hurdles the laws placed in the way of student voters, they made the process confusing, which ultimately discourages voting.

“I myself have encountered complications while registering voters in seeing other students be unsure as to whether they can actually register with their campus addresses and what the consequences of changing their driver’s license address are,” Lounds wrote in an email to The Daily. “It’s a fairly common confusion and this law makes it unnecessarily complex for students to exercise their right to vote.”

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4A — Tuesday, September 4, 2018

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LATINX From Page 1A expressed her optimism for the conversations with MESA and the University moving forward.

“We are moving in a positive direction,” Rivas said. “We understand that there’s a lot of demands that can’t be solved in a certain timeframe. They require time, so I think we’ve been understanding on that end because (the administration) have been addressing the ones that are more immediate or easier to tackle.”

MESA director Nadia Bazzy confirmed in an email the organization has met with La Casa and wrote the University is focused on concrete solutions to the demands proposed by La Casa.

“Student Life leadership has met with La Casa on an ongoing basis since the demands,” Bazzy wrote. “The goal has been to listen, dialogue and deliver actionable items to strengthen partnerships and community.”

One of the initial demands called for full financial support for Assisting Latin@s to Maximize Achievement, a program designed to provide incoming Latinx students with necessary resources and support once they arrive at the University. La Casa specified it wanted ALMA to start prior to the official University movein date to avoid conflicts with other orientation programs.

According to LSA senior Yezeñia Sandoval, external director of La Casa, ALMA celebrated 18 years last week with additional support from MESA, which has led to increased support for incoming Latinx students. “(ALMA) really demonstrated the University’s commitment and leadership to helping La Casa grow and expand and helping recruit and retain Latinx incoming students, so I feel like they’ve

really been pivotal in helping create action plans so that across campus, different offices can really cater their services to the diverse community that they serve,” Sandoval said.

With regard to the action plans, Sandoval and Rivas mentioned a pending joint press release from La Casa and the University about the status of the demands. Rivas said a few of the initiatives the University has been currently working on include the reinstallation of the previously removed art from the César Chávez Lounge in the Mosher-Jordan Residence Hall and an increased effort in diversified job applicant pools.

According to Sandoval and Rivas, the lack of Latinx representation in faculty and staff positions is still one of La Casa’s central demands.

While 2017’s Hispanic/Latino student population sat near 6 percent, data from the Office of Budget and Planning for 2017 shows the percentage of Hispanic/Latino regular instructional faculty — which includes tenure-track faculty, non-tenure-track faculty and lecturers — was 3.97 percent.

Sandoval said the low number of Latinx faculty members is a result of the applicant pools. While La Casa claimed the pools have seen an increase in diversity, Sandoval argues it isn’t enough.

“Outreach is a big (focus area) too because it’s not enough to just make sure applicant pools are diverse enough but it’s also important to make sure what outlets are we reaching out to (and) how else are we expanding and including the community?”

Sandoval said.

Sandoval suggested the Professional Latino/as at UM Alliance , a network of staff and faculty at the University whose missions include furthering Latinx culture and increasing Latinx presence on campus, should receive further utilization. Sandoval said PLUMA should be notified

of job openings so additional qualified Latinx candidates can apply.

“There’s a lot of potential, there’s a lot of Latinx individuals out there that have these qualifications but are you seeking them out?”

Sandoval said. “Holding others accountable and seeing where you’re posting these jobs (and) how are you reaching out to Latinx faculty and staff … is a big part of (the conversation).”

Moving into September, which is also Latinx Heritage Month, Bazzy said the University is allocating more financial support for La Casa’s Heritage Month activities, as well as funding for programs and better employment opportunities to ease the burden of tuition.

“MESA, La Casa, and other campus partners have been working throughout the summer to provide programming for the campus community,” Bazzy wrote. “MESA has secured increased funding for all heritage month programs, mentorship programs, and grants for students and student organizations for ongoing work on campus, as well as, increased the number of student jobs in MESA and the rate of pay to better support the campus community.”

As conversations on the demands continue, Rivas said the main goal will continue to help Latinx students at the University feel as though they are supported and accepted by their peers and academic institution.

“I am very optimistic about this coming year and all the progress that will be made, and I am always excited to see La Casa grow into the largest Latinx organization that supports all of our community members and makes them feel like they have a home at Michigan,” Rivas said.

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ALEXANDER SATOLA | COLUMN

Data protection is a national priority

T

he tide is finally turning for consumer data protection in the United States, and though internet users may have been aware that their activity was being tracked online, recent developments have shown just how much personal data the tech industry collects and shares about its users. As people growing up in the turbulent digital age, college students are at the forefront of a sea of change in the future of big data.

In June, the California Consumer Privacy Act of 2018 passed through the California legislature. The law offers consumers more transparency over the use and transfer of their personal data, including the right to know what types of information companies collect about them, as well as the recipients of that information. A pivotal provision in the bill is the “private right of action,” which permits consumer lawsuits in the case of a traditional data breach, such as the T-Mobile data breach in August that exposed the personal information of 2 million people. The law, subject to amendments, will enter into effect in January 2020.

The legislation, however, is weak compared to the behemoth European Union-sponsored General Data Protection Regulation that entered into effect this May. It gives consumers an unprecedented amount of control over their personal data, how it is used and who is allowed to use it.

Crucially, it lets regulators levy massive fines up to 20 million euros or 4 percent of global turnover — whichever is higher — if companies break the rules. Under prior legislation, Facebook was fined £500,000 (about $700,000) for its role in improperly transferring the private information of 87 million users to Cambridge Analytica, a political consulting firm. Under the GDPR, the fine would have been equal to four percent of global turnover, or, put more simply, £1.4 billion (about $1.96 billion).

Facing these new regulatory threats, tech companies are intensifying legal action within an already massive framework.

Facebook, for example, spent more on lobbying in the first quarter of

2018 than ever before, dangling $3.3 million in front of lawmakers to influence policy, according to a Senate filing. Facebook CEO Mark Zuckerberg and his colleagues are lobbying Congress to draft a new federal data privacy law, one that would hopefully kill two birds with one stone: erasing the California legislation and putting in place regulations that are friendlier to their data mining practices.

If we have learned anything from the revelations of Cambridge Analytica, the use of targeted advertising to unfairly influence the 2016 presidential election and the irresponsibility of tech companies that process our personal information, then it is time we call for federal data protection without the outsized influence of Silicon Valley firms. American lawmakers should adopt data protection as a bipartisan priority because the practices of data mining run amok infringe on the liberties of ordinary Americans.

With the midterm elections fast approaching, citizens would benefit from an overarching data protection law. The need for such a law is evident, especially after a CNN report revealed that Russian-linked Facebook ads targeted residents of Michigan and Wisconsin in key demographic areas during the 2016 election.

The anonymous sources in the report indicated the ads filled people’s feeds with raciallytinged and anti-Muslim rhetoric.

While there is nothing illegal about targeted advertising, when a company like Facebook allows the weaponization of its platform by a foreign government to influence our elections, its apathy is an affront to democracy. In a country built upon the liberty of the individual, tech companies’ treatment of their customers as bottomless pits of data is nothing less than exploitation.

Lawmakers should thus be skeptical of any proposal floated to them by an industry lobbyist.

Facebook lobbyist Joel Kaplan warned the California law could spread to other states and act as a threat to the industry and a regulatory nightmare. To be fair, state legislatures would needlessly torture companies if they each implemented similar-but-not-

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identical privacy policies. Instead, the U.S. Chamber of Commerce, the Internet Association and the Information Technology Industry Council are all pushing for voluntary standards, where the companies would continue to create and enforce their own rules.

In order to ensure the privacy rights of all citizens, we should no longer accept this monopoly on the control of our data. The days of blind trust in a self-regulatory system for these companies are over, and Congress now has an opportunity to draft federal legislation with teeth to ensure the proper handling of our personal information. Such a law would reform the Federal Trade Commission, which is the current regulatory body tasked with data security. Born in an analog era, it should be reviewed for its efficacy in fighting data breaches in the digital age.

In addition, while the GDPR is not perfect, representatives in Congress should study its provisions for consumer-centric data policy with a keen eye. The GDPR requires organizations to demonstrate that they process data fairly, openly communicate with customers and employees, and not keep data for longer than required. These are common sense regulations that are missing in the U.S. on a federal level.

Congress must use the coming months to reflect on our national data security policy. Privacy rights groups in California and lawmakers in Brussels have made great progress toward a fairer alternative to the current situation, where the interests of large corporations prevail. However, there is still a lot of work to be done and firms such as Google and Facebook will fight for every byte of data. I do not attempt to demonize these companies for doing business. In many ways, big tech has improved our lives by connecting people around the world and serving as humanity’s largest pool of knowledge.

However, their harm to society should not go unnoticed.

Alexander Satola can be reached at apsatola@umich.edu.

The virtues of McCain

S

en. John McCain, R-Ariz., sadly passed away last week after a yearlong battle with brain cancer, marking the end of the illustrious life of one of the country’s most respected legislators. McCain’s death evoked widespread tribute that transcended partisan and ideological lines. Among the many who mourned McCain’s passing were several of his former rivals and opponents, including Joe Biden, George Bush and Barack Obama, the latter two of which delivered eulogies at his funeral. Though my political views and McCain’s diverged frequently, I too admire him and will miss the dignity, civility and integrity which came to define his career.

McCain brought ambition and fire to Washington, D.C., but he also brought character. Some of McCain’s most extraordinary moments came in the many instances in which he bucked party or popular opinion in his pursuit of decency, no matter the political cost. At a campaign rally during the 2008 presidential race, he famously rebuffed a woman who called then-Senator Barack Obama an “Arab” and another supporter who said he was “scared” of Obama’s supposed ulterior motives. A decade later, we can appreciate McCain’s decision to quell these baseless sentiments rather than exploit them for political gain as several others have.

McCain’s commitment to character and civility was not limited to the campaign trail.

On Capitol Hill, he led the condemnation of torture and enhanced interrogation techniques by the CIA, drawing on his past experiences as a prisoner of war in Vietnam to affirm that morality is not malleable. He provided

leadership on many legislative issues, including defense and national security issues, but also in areas less popular with his Republican colleagues, like campaign finance reform. His prioritization of duty ahead of political expediency occasionally put him at odds with his own party, such as with his “no” vote on the “skinny repeal” health care bill in 2017, which killed GOP efforts to repeal Obamacare.

Unlike several of his colleagues who also voiced severe concerns over that bill, McCain refused to bow to immense political pressure to support the bill, exemplifying his unyielding commitment to do what he thought was right and his refreshing disinterest in political ramifications.

McCain was certainly an effective legislator, but he will be remembered not only for his accomplishments, but also for how he achieved them: with civility, candor and character.

Regrettably, these virtues are increasingly rare in our current political landscape. There seem to be few remaining members of Congress and public officials who command the bipartisan admiration and respect, much less to the extent that McCain did. In many ways, McCain’s death appears to mark the end of a broader era, as our nation’s politics continue a descent into bluster and rancor. The 2018 midterm elections serve as an exodus for many moderating, civil voices. Several Republicans with reputations for decorum, including Sen. Jeff Flake, R-Ariz., and Sen. Bob Corker, R-Tenn., are stepping down. On the Democratic side, few are retiring, but the party’s current civil war between the establishment and progressives has seen progressives supplant several more moderate Democrats, including incumbent Rep. Joe Crowley, D-N.Y., who was

unseated by Alexandria OcasioCortez. Ideological battles and heated campaigns are a staple of democracy and to be expected, but we must not let civility and character become relics of the past.

Regardless of how the midterms play out, Congress will have quite a few newcomers in 2019. Whether they embrace the sense of duty and honor embodied by John McCain or succumb to the incivility remains to be seen, but the early signs aren’t great. Kelli Ward, a former GOP primary candidate in Arizona’s Senate race, had the audacity to claim that McCain’s decision to end medical treatment was timed to hurt her campaign. At the state level, Kansas gubernatorial candidate Kris Kobach allegedly hired staffers associated with white supremacist groups. In this era of American politics, demagogues are far more common, and often more successful, than principled statesmen.

John McCain’s legacy of putting country first is one that we must strive to recreate. In a way, it is paradoxical that we widely recognize McCain’s virtues yet routinely support those who fail to emulate them.

Politicians who fail to rise above the fray legitimize extreme sentiments and contribute little to the national discussion.

Those who are unwilling to move beyond rhetoric, partisan loyalty and ideological crusades once in office are not worthy of our votes. One does not need to be a moderate or even a maverick to emulate the virtues of McCain.

McCain leaves behind a void of decency and respect in our politics, and ultimately it is our responsibility to fill it.

Noah Harrison can be reached at noahharr@umich.edu.

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KRYSTAL HUR | COLUMN

Examining “Crazy Rich Asians”

“C

razy Rich Asians” has been a smash hit this summer. Not only are many of my Asian American peers hailing it as a fantastic movie that gives Asian Americans the representation they need, but it’s the first Hollywood film featuring an all Asian-American cast since “The Joy Luck Club,” which was released 25 years ago. It’s not hard to see why so many people are excited about it.

The stars of the film are also aware of its impact. In an interview on “Jimmy Kimmel Live,” Awkwafina, who plays Peik Lin Goh in the movie, said about the lack of Asian Americans in films: “If you think about it ... a 25-yearold adult is just walking around without representation.” She then went on to speak more about “Crazy Rich Asians,” saying that “it’s so impactful for Asian Americans.

Asian Americans come out of the screenings, and they’re, you know, crying, and they don’t know exactly why. And I think it’s the power of representation.”

However, despite how easy it is to just praise “Crazy Rich Asians” as a film with representation, it’s important to examine the film not only from an Asian-American perspective, but also from the perspective of people who are of Asian descent, but not American.

I stumbled across a Facebook post by activist Sangeetha Thanapal, who criticized the movie. She wrote: “Singapore is a terribly racist country. The state embarked on a form of eugenics in the 1980s meant to displace its indigenous population and replace it with settler colonial Chinese people ... So when you celebrate this movie, ask yourself who you are complicit in erasing.” Her boldest statement, however, comes when she explicitly criticizes Asian Americans’ willingness to celebrate the movie’s cast: “CRA is set in Singapore and only has Chinese people in it. This isn’t new or refreshing, this is the EVERYDAY FUCKIN LIVES OF MINORITIES. It is only diversity

FOR YOU.” In an article he wrote in The Atlantic, Mark Tseng-Putterman explores the same kinds of problems with “Crazy Rich Asians” as Thanapal, stating that “while the cast includes a mix of Chinese, Japanese and Korean diaspora actors of various nationalities, besides Henry Golding (who is of Iban descent) it effectively excludes South and Southeast Asians despite their deep presence in Singaporean society.” He also points out that “the only South Asians that viewers can glimpse are in the roles of servants and guards.”

People of color should not settle for simply having non-white representation.

I admittedly don’t know anything about racial and cultural tensions in Singapore, and I haven’t even watched the movie yet. While some may argue that it’s simply a romantic comedy and such movies need not be taken seriously, it’s impossible to simultaneously praise a movie for its representation while blatantly ignoring its lack of representation in a non-American context. We can’t ignore that this film celebrates Chinese privilege and the oppression of Singaporeans in the same way that so many Hollywood films emphasize white privilege and completely disregard people of color.

It’s also incredibly problematic to praise a film’s representation by simply looking at the actors’ ethnicities: Casting a person of color means nothing if the depiction of their character serves the same purpose that excluding minorities does. People of color should not settle for simply having non-

white representation. We need to look beyond an actor’s race and examine the character: Do they embody harmful stereotypes, such as the “socially incompetent Asian American” or “angry Black woman” tropes? Does the character serve the role of being “one of the good ones” by catering to white expectations and distancing themselves from the “bad” people of color, as TsengPutterman argues that “Crazy Rich Asians” is guilty of? Not asking ourselves these types of questions and instead mindlessly celebrating representation leaves us vulnerable to ignorance and complicity.

However, that is not to say that everyone who feels validated by “Crazy Rich Asians” should feel ashamed for liking it, and we certainly shouldn’t ignore the positive aspects of the movie. It makes sense that so many Asian Americans are so emotional about the film — we’re used to not seeing a single person of Asian descent in a leading role, much less an entire cast of them. We’re used to seeing Asian Americans being portrayed as unattractive characters who are almost always incredibly submissive and shy or nerdy and weird. “Crazy Rich Asians” defies these stereotypes with its cast of Asian American actors who all portray characters with actual personalities. It’s impossible to refer to any of them as “the Asian one” because they’re all Asian.

This means that the audience has to actually see past the characters’ race and remember them for their other qualities.

Despite all of its great qualities, however, I’m wary of supporting a film that celebrates Asian Americans at the expense of other Asians. I probably will end up watching it illegally online or on Netflix, depending on where it becomes available first. Still, I don’t think I’ll end up idolizing the movie like so many of my peers have done.

That’s a good thing.

Krystal Hur can be reached at kryshur@umich.edu.

6A — Tuesday, September 4, 2018

The Michigan Daily — michigandaily.com

CONCERT REVIEW

DAILY FOOD COLUMN

Eating through Welcome Week Hop Along is turning heads ELI RALLO

Daily Food Columnist

Welcome “bAAck,” welcome home, welcome freshmen, welcome all … Welcome Week.

Nothing screams the start of the school year quite like kiddie pools filled with sweat and beer, freshmen running around campus without chaperones for the first time in their lives and eating and drinking as though your body is a garbage disposal.

Oftentimes I commit myself to portraying the world of food and wine on this campus as sophisticated, graceful and classy.

And while I will attest to the fact that the students on this campus effuse elegance in their palettes when it comes to good food, that the Ann Arbor restaurants are top notch and unique and that a vast majority of Michigan students would consider themselves “foodies,” I cannot sugarcoat the one time of year that all of that foodie knowledge goes flying out the door. That special time of the year is Welcome Week. In honor of the end of such a sacred, foul and so-forgettable-thatit’s-memorable week and the beginning of Syllabus Week, I have compiled the official Welcome Week Food and Beverage Pairing Recommendations to ensure that you celebrated the start of the 2018–2019 school year with the perfect mix of class and utter disgrace.

No Thai and Yellow Tail Pinot Grigio: It wouldn’t be Welcome Week without No Thai, which means at least two days worth of leftover fried rice for just under $10. When splurging on your Thai food feast — in between forkfuls of oily, glistening pad thai noodles spattered with fried egg and onion — I recommend a nice, chilled glass of Yellow Tail Pinot Grigio. The perfect mix of elegance and efficiency when

curing a hangover. Yellow Tail also balances and counters the potential spice involved in various No Thai dishes, making it all the more mild and enjoyable.

Pancheros and Mango Four Loko: If you’re desperate enough to opt for Pancheros vs Chipotle or BTB, you’re desperate enough to have a casual dinner time Floko. The casual Four Loko has been opposed and look down upon, but truly, if you are on the road to sprinting the marathon that is Welcome Week, there’s no better way to do it then a Floko + Pancheros pairing. I’d opt for a chicken quesadilla with a side of chips and guac, keep things simple and traditional on the food end to make way for the real star of the show: the beverage. Wait until you are truly desperate and at your wits end before trying this dangerous duo, you may not make it to the next darty.

Leftover Domino’s and lukewarm Natty Lite: This pairing may sound like your worst nightmare. But imagine it like this: You stumble out of bed at 7:00 a.m. with a blaring headache, an unwelcome Svedka taste in the back of your mouth and the sudden urge to yak. You walk into your kitchen for a cup of water, but what’s there? Your roommate’s half eaten Domino’s pizza and a can of not-cold-butnot-warm Natural Lite beer. You reach for the pizza and crack open a lukewarm one, not with the boys, but simply yourself and realize that you were always destined to hit this rare form of rock bottom.

Rod’s Diner and Barefoot Moscato: How much sugar is too much sugar? In the event of Welcome Week, there is never enough sugar. Dessert wine is meant to pair with dessert — and that’s why Rod’s thick, creamy, blissful colliders pair perfectly with the goddess of all sweet wine: Barefoot Moscato. You may

need some water and perhaps a pre-pregame nap after this duo knocks you out.

Amer’s Açaí Bowls and White Claw: The OFFICIAL basic Michigan girl Welcome Week food and drink pairing is an Amer’s açaí bowl topped with granola and peanut butter in one hand and a can of 100 calorie White Claw hard seltzer in the other. Due to prime location and the menu’s opportune breakfast options, this pairing is also a definite game day duo, ingested by all the girls who occupy the hallowed halls of Arbor Blu, Landmark and Zaragon.

Fleetwood Diner Hippie Hash and Smirnoff Ice: When going for the quirkiness that is Fleetwood Diner, one must always expect the element of surprise.

And what’s more surprising than finding a planted Smirnoff Ice in your Fleetwood booth upon arrival, planted there by only your sneakiest friends? After getting on one knee and making it onto all of your friends’ snapchat stories in all your shame and pajamas, hippie hash will never feel so right, so fulfilling, so greasy and so good.

Smoke’s Poutinerie and Kamchatka: Both of these have something in common: You don’t know how you got there, you never intended to get there, you promised yourself you wouldn’t get there, but alas, there you are. Nobody goes out with the intention to end up at Beaver Trap eating poutine or taking pulls of Kamchatka in a sweaty basement, but nobody goes into this week with the intention of meeting many goals either. That’s why each bite of cheesy, gravydrenched poutine should be washed down with a nice big gulp of Kamchatka vodka.

Pizza House Feta Bread and Franzia: Perhaps the most coveted, most important, most popular of all food and beverage

pairings during welcome week, the pair who always knows five brothers and runs into 24 people they know in the Diag at any moment of the day, is feta bread and Franzia. Perhaps it’s the alliteration, perhaps it’s the tradition, perhaps it’s the so-badit’s-good sentiment running deep through both choices — whatever it is, these two wrongs certainly make a right. Whether you’re ordering a late night feta bread after going out, cozying up in a midday Pizza House booth or having a quick pre-nap-and-rally snack, nothing pairs better with gooey, cheesy feta bread than a nice drag of Franzia wine straight out of the bag.

Rick’s Mind Probe and 7/11 taquitos: What’s in a Mind Probe and what’s in a taquito from 7/11?

Many of us don’t know the answer to either. On a normal week I’d offer the opinion that both are horrible choices. But something about the dark, dimly lit staircase descending into Rick’s juxtaposed by the blinding, fluorescent 7/11 sign swinging ominously on South Forest makes me want to venture a guess that a Rick’s Mind Probe would be missing something without the crunch of a 7/11 taquito between each sip.

I cannot be disappointed by this campus, though it loses its foodie attitude for the week before school begins. Ann Arbor celebrates so many highs in the gastronomic field — trendy restaurants, tasty new dishes and daring chefs — but we must remember our late Aug. roots.

Once classes begin and school is in full swing, the Kombucha bottles, trendy lattes and ramen noodle bowls will be all the rage once more. Until next year, that is, when we can consult this trusty guide for the best recommendations of just what to pair with that leftover, early morning feta bread in order to have the best Welcome Week yet.

DOMINIC POLSINELLI Senior Arts Editor

It was a Tuesday night, and frankly, I wasn’t expecting a huge turnout — Grand Rapids isn’t the most accessible city in Mich., and Tuesdays aren’t typically ideal for club shows.

I showed up early to check out the wildly impressive Thin Lips, whose new record Chosen Family is a testament to the raw talent that seems to flow endlessly from Philadelphia, which is also home to their tourmates in Hop Along. After their set, which included some back-up vocals from Hop Along’s Frances Quinlan, I looked around to notice the crowd had filled out significantly during the opening performance, which must have been near capacity by that point.

Hop Along is clearly turning heads, especially with their newest effort Bark Your Head Off, Dog, which landed them a feature in Rolling Stone published the day of the show.

The album is tight, unpredictable and thoroughly impressive from front to back, featuring unmatched composition and hairpin changes in tempo and atmosphere. In all honesty, the album is so ambitious and complex I was worried it wouldn’t fare nearly as well live.

My worries were entirely quelled by the end of their opening track (and new album opener), “How Simple.”

Hop Along’s related artists on Spotify include Jeff Rosenstock, Lemuria and Glocca Morra, who all are barely tangential to Hop Along in terms of similarity.

Much like Spotify’s difficulty in finding similar artists (likely because there aren’t any), I won’t

pretend to have the vocabulary to accurately describe Hop Along’s musicianship. Even within the confines of a live setting, their art is absolutely stunning; Quinlan’s vocals range from desperate yells to soft musings, best exemplified during “Not Abel,” a sprawling, biblically-charged track split into two distinct sections that the band navigated gracefully through its entire duration.

The band’s greatest strength is inarguably the quality of each individual who brings these songs to life. Every instrument holds a significant weight in every song — not a single note goes to waste.

And to add to their impressive skill, the band was more than happy to banter with the crowd, lightening the mood while showing their own comfort and ease on stage. Quips from Quinlan included “You already paid your money, I hate Metallica!” and “Keep your shirt on, Jim!” referencing the boho aesthetic of Jim Morrison.

While touring in support of their newest album, Hop Along still included tracks from their previous records, rounding out a 14-track setlist that truly reflected the diversity and growth in their songwriting. Fan favorites included wonderful and poppy songs like “Tibetan Pop Stars” and “The Knock,” while deep cuts “Kids on the Boardwalk” and “Texas Funeral” were resounded back by the long time fans in the audience.

When words seem to fail, Hop Along does the heavylifting with their songwriting, finding ways to convey feeling in their little narratives carried over fusions of pop, rock, indie and the occasional dash of folk.

The Michigan Daily — michigandaily.com

Tuesday, September 4, 2018— 7A

FILM REVIEW

‘Slender Man’ falls short JEREMIAH VANDERHELM Daily Arts Writer

“Slender Man” is a horror movie released in 2018 based on the popular “creepypasta” that debuted in 2009. It is approximately 93 minutes long.

It costars Joey King (“The Kissing Booth”). I can tell you all of this because the information is available on the Internet, yet despite having just seen the movie earlier today, I’m having trouble remembering a single thing that actually happens over its runtime.

I’ve gone into a dissociative state once in my life, and honestly, this doesn’t feel dissimilar to that.

It’s not just that “Slender Man” fails at the things we expect from a horror movie or a movie in general, it’s that those things are completely absent. There’s no plot or story, there’s just one sequence of scares stuck to another with duct tape and spit. Four girls decide to summon “Slender Man,” as young girls in 2018 are wont to do. Uh oh, Slender Man shows up and does some ill-defined evil mumbo-jumbo with no apparent end goal. Then the movie ends.

Over the 93 minutes, nothing anybody does makes any sense.

The girls all just sort of accept at a certain point that Slender Man is haunting them and wait to die, and that’s the movie. They don’t fight back, because that would mean the writers would have to make them

“Slender Man” Ann Arbor 20 + IMAX, Goodrich Quality 16 Sony Pictures Entertainment active, interesting characters, and who wants that?

For all the sins of the “story,” the characters fare somehow worse.

None of the girls go through a change beyond moving from “not haunted” to “haunted,” but more than that, nobody is given a character to begin with. From beginning to end, they’re just featureless mannequins meant to carry us to the next hackneyed scare. Of the four girls that we begin the movie with, one of them disappears almost immediately, and another is seemingly

forgotten by the script. The last two are saddled with two of the most laughable fates in recent horror history in a sequence that prompted one of the high-school aged “Slender” fans in front of me to stand up and declare to the theater and his friends, “Fuck it.

I’m out.”

What horror there is can easily be divided into three camps: the classic jump scare, the creepy imagery without rhyme or reason and the stupid. If you’re not a fan of loud noises trying to tell you when to be scared, just wait and there will be a scene where a girl dreams she gives birth to Slender Man or where Slender Man uses FaceTime, both of which are things that actually happen. Perhaps the best thing that can be said about “Slender Man” is that there’s a variety of bad horror instead of just one kind. Cinematographer Luca del Puppo (“Mercy”) shoots it all in the most monotonous, ugly low light possible — the kind of darkness that will have you pleading for someone, anyone to turn on a damn light — but the movie is unpredictable in its awfulness nonetheless.

Perhaps most disappointingly,

SONY PICTURES ENTERTAINMENT

there was a scenario where “Slender Man” actually had a purpose. Since its creation, Slender Man has become something of a dark mascot for lonely young people, climaxing in 2014 when two young girls stabbed their friend 19 times in order to become servants of the creature, as chronicled in HBO’s 2017 documentary “Beware the Slenderman.” There was an opportunity for this interpretation

of the “Slender Man” mythos to engage with the same topics that doc covered — loneliness and how the internet can be used to spread a story — but from a different perspective. While there are brief, brief moments where these things are touched upon, they play almost no part in the story at large and no statement is made; it’s as pointless as anything else.

With a movie lacking completely in story, character development,

horror and purpose, what is there to bring audiences to the theater?

There’s some unintentional comedy to be sure — there’s a supposedly “scary” moment so soul-crushingly stupid that it sent the entire theater into hysterics — but more than anything, “Slender Man” is just dull. It’s an absolute chore to sit through in a way few movies are, and each successive scene of nothing happening just makes it worse.

MUSIC REVIEW

Mac Miller’s ‘Swimming’ JONAH MENDELSON Daily Arts Writer

Mac Miller returned on Aug. 3rd with his fifth studio album, Swimming, in the wake of his heavily media-scrutinized breakup with Ariana Grande.

Given that breakup and his recent DUI, expectations were that this album would be a depressed and chaotic work in the vein of his 2014 mixtape Faces — however, what we’ve received instead is a phlegmatic piece of protracted contemplation, more thoughtful than despondent.

Swimming feels like the companion piece to his most recent album The Divine Feminine, a continuation of the jazz-influenced sound but with a polar opposite thematic message. The Divine Feminine was a record of love and optimism; Swimming is lonesome (but not lonely) and reflective — a world-weary expression of selfacceptance. For better or for worse, the album tends to blur together due to instrumental sameness.

Some would call this cohesiveness, some would call it a lack of variety; lean toward the latter. The addition of “Programs” could have lessened this sense of repetition, different enough to provide a change of pace but similar enough to not be a jarring inclusion.

It wasn’t much of a challenge

to improve upon the lyricism of The Divine Feminine, which was a concept album about Mac eating out his girlfriend. To be fair, if I were having sex with Ariana Grande, I’d probably never stop bragging about it either. He

Swimming Mac Miller Rostrum Records managed to step it up on Swimming, and now that the two are no longer together, Mac is forced to explore themes more varied than Ariana Grande’s vagina, including issues such as isolation, helplessness and the long-term impact of fame.

However, despite discussing more serious topics, the album never sinks into darkness or pessimism.

“It ain’t perfect but I don’t mind” Mac sighs/moans/sings on “Perfecto,” a line which sums up his overarching philosophy on Swimming pretty well: The way to deal with life’s problems is to go with the flow, the lyrical equivalent of shrugging one’s shoulders.

The standouts on the album are “Self-Care,” “Ladders,” “What’s the Use?” and “2009.” “Self-Care” is full of airy ambience and a wellexecuted beat switch. “Ladders” and “What’s the Use?” are bouncy funk jams that are solidly in the pocket, and “2009” contains beautiful orchestration (courtesy

of Jon Brion) as well as some of Mac’s more thoughtful lyrics as he reflects on his past.

One of the weaker cuts is “Conversation Pt. 1,” a worse version of “I Am Who I Am (Killing Time),” the vocals and instrumental both dreadfully boring (surprising, given that Flying Lotus is credited with production on the track). The only moment of dynamism on the track is a lame trumpet part tacked on the end that sounds like a Miles Davis impersonator on a high dose of lithium.

Given both how long Mac has been around and how many projects he has released, it’s hard to believe that he’s only 26 years old (younger than Kanye West was when he released The College Dropout!). In spite of his young age, Swimming feels like the reflective conclusion to a lengthy career.

Because Mac started so young, his late-game coincides with an age at which he begins to ripen on the vine (in direct contrast with Kanye, whose denouncement thus far has consisted of becoming a sundowning Boomer whose Twitter is one step removed from shit like “live, laugh, love” and Minion memes). While Swimming isn’t a perfect record, and will likely be considered inconsequential in relation to Mac’s other post-Blue Slide Park discography, it’s a good, if not incredible, album with some standout cuts.

8A — Tuesday, September 4, 2018

The Michigan Daily — michigandaily.com

MUSIC REVIEW

FILM REVIEW

Newest Thug is mediocre ‘Crazy Rich Asians’ soars MIKE WATKINS Daily Arts Writer

The most impressive music careers are those that convey an evolution in a creative sense: The Beatles and their growth from Please, Please Me to Sergeant

Slime Language Young Thug 300 Entertainment Pepper’s Lonely Hearts Club Band, Kanye West and his growth from The College Dropout to Yeezus.

Ideally, a musician’s respective genre should follow their creative advances, making for a fascinating display of an artist’s capability to mold peers and followers and to guide an entire genre toward a more creatively inspired realm.

Similar to The Beatles’ impact on rock and Kanye’s impact on hip hop, Young Thug has been on his way to trap immortality as his artistry has evolved and the genre has responded with appeal.

From his debut on Rich Gang’s 2014 single, “Lifestyle,” that had listeners marveling at the warbling vocal style that would become Thug’s most iconic trait, to the lavender dress worn on the cover of 2016’s JEFFERY, Thug has planted himself at the vanguard of trap music, constantly breaking conventions to advance the genre from generally nonmusical and hypermasculine to beautifully melodic and accepting of femininity. His discography is covered in hard trap, groovy funk and homey country, and has become increasingly complex with each release (he has even received nods from Kanye and Elton John for his originality and capacity to push hip hop’s envelope.)

That these trendsetting and creative characteristics are so ingrained in Thug’s artistry makes

his most recent release, Slime Language, a bit of a head-scratcher.

The mixtape is bogged down by unoriginal features, outdated beats and a lack of thematic focus.

Even its cover, with green and red slime oozing over hands miming the words “Young Stoner Life” in sign language, is confusing and uninspiring.

Slime Language’s first knock is its features. In such a collaborative era in hip hop, it’s never a surprise to find a few featured artists on an album. In fact, it’s actually quite rare to come across a featureless project (see: J. Cole’s “platinum with no features” trend). Oftentimes, collaborating with other artists on a track allows a rapper to pool various fan bases and create a super-team effect. Because hip hop is such a personality-driven genre, each star has a unique voice and style, so listeners find a little extra excitement in hearing how their favorite personalities tackle a track together. The formula is typically fun and successful, but only when the personalities merged on a track each provide something different and impressive; on Slime, this almost never happens. Thirteen of the tape’s 15 tracks feature an artist other than Young Thug.

What’s more, nearly every featured artist seems to be doing their best Thug impression, sounding indistinguishable from him and the other featured artists and accordingly eliminating the multipersonality benefit of features.

Additionally, for an artist who is perhaps most known for his catchy hooks, Thug outsources the choruses of his Slime tracks to other artists too often, leaving listeners craving more of his anthemic vocal acrobatics.

Slime also falls short in the music department. Nearly every track has a beat loop with loud 808 bass tied to each kick drum, a template popularized by producer Metro Boomin in trap’s early days,

but one that more complex and musical methods of production have left in the dust. Ironically, Thug was one of the artists to transcend this simple template, incorporating elements of funk into JEFFERY and elements of country into Beautiful Thugger Girls. With Slime, though, the beats seem to have slipped back into 2015, a concern especially noticeable in the wake of Travis Scott’s ASTROWORLD, a project that raised the bar for trap’s musical standard just a few weeks prior. (Perhaps Thug could benefit from Scott’s eclectic production process.)

While the actual content of the project is nothing special, Thug did manage to bring progress in one regard: women. Trap has always been and still is a genre dominated by men, often braggadociously rapping about how they mistreat women. Thus, female features are almost unheard of. On Slime, however, three tracks feature female artists, and not in the conventional way with sung hooks in a pretty voice to counterbalance the masculinity of the verses; these female rappers have full verses and rap about fucking shit up and making money behind heavy autotune. So, even with a sonically lackluster project, Thug continues to make some waves.

Realistically, the mixtape does have a handful of bangers.

Just because it sounds outdated and simple doesn’t mean it won’t augment your party playlists; “Audemar,” “Chanel (Go Get It)” and “Scoliosis” are highlights that provide the raw vocals and hype-inducing flow that Thug fans crave. Still, in the broader lens of music as something that breathes and grows with time, it seems like the rest of the trap world has finally caught up with Young Thug, leaving Slime Language stale and unoriginal. We’ll just have to wait for the next slimey project to see if Thugger can still turn heads.

MEGHAN CHOU Daily Arts Writer

What happens when you combine all the underutilized token Asians from sitcom television into one movie? Pure comedy gold.

From established actors like

“Crazy Rich Asians” State Theater Warner Bros.

Ken Jeong (“Community”) and Michelle Yeoh (“Star Trek: Discovery”) to the up-and-coming Awkwafina (“Ocean’s 8”) to misused supporting characters like Ronny Chieng (“The Daily Show”) and Jimmy O. Yang (“Silicon Valley”) to the face of a new era of Asian-American representation on television, Constance Wu (“Fresh Off the Boat”) — “Crazy Rich Asians” has them all.

The movie, based on the 2013 book trilogy by Kevin Kwan, follows Rachel Chu (Wu) as she accompanies her boyfriend Nick Young (Henry Golding, “A Simple Favor”) to his home country of Singapore. She soon realizes Nick is not your average New Yorker, but the heir-apparent to one of the

richest real estate families in Asia.

Traditional and modern values clash as Rachel, an ABC (Americanborn-Chinese), tries to fit in with Nick’s family — particularly his intimidating mother, Eleanor (Yeoh).

At this point in Hollywood representation, the main focus still lies on undermining stereotypes, rather than making race secondary to the characters themselves. In an ideal world, an Asian character would just be a character, free of the burden to hold up a positive, progressive image of their race.

Promoting diversity as the selling point of a movie returns the target audience to white people or, in the case of “Crazy Rich Asians,” all non-Asian demographics.

While non-Asians or non-AsianAmericans might view some of the caricatured supporting cast in the Kevin Kwan adaptation as defying stereotypes, this is not quite the case. Instead, the film mines deeper caves for stereotypes, some recognizable only to those who have been immersed in Asian culture and heritage.

Of course, stereotypes are a trademark necessity of filling out the cast of a romantic comedy, where screentime for sidekicks are minimal and, as a result, characterization as well. The

flaws of “Crazy Rich Asians” has everything to do with the rom-com format itself and not the fact that Asians helm every aspect of the film.

There’s the predictable plot, outlandish romantic gestures, refusal to engage in serious politics, but also the impressive aspects of rom-coms: Gatsby-esque set design, believable chemistry between the leads and zingy one-liners.

“Crazy Rich Asians” feels at times like an opportunity for nonAsians to venture into an “exotic” world Hollywood has ignored since its beginnings. However, the all-Asian cast in a blockbuster film made buying a ticket to this film still incredibly emotional.

Reviewers (percentage-wise mostly non-Asian) walked on eggshells around this film, refusing to strike down the issues with rom-coms in fear of undermining the importance of this turn in representation.

For people looking for a solid rom-com, “Crazy Rich Asians” delivers, not buckling under the pressure of a history of underrepresentation.

However, in terms of the quality of the film itself, “Crazy Rich Asians” is just another rom-com, though that may be its greatest accomplishment to on the road to equality.

Warner Bros.

Michigan in Color Yoni Ki Baat 2018: Bad Activist YKB 2018: Not cleared for landing

The Michigan Daily — michigandaily.com

Tuesday, September 4, 2018 — 9A

AKANKSHA SAHAY MiC Contributor

SAM SO/Daily

AKANKSHA SAHAY MiC Contributor

The existence of a woman of color is in and of itself an act of resistance.

These are my words. Sound nice don’t they? Sound... empowering?

Or maybe it sounds like the faux deep mantra of a girl who’s trying to convince herself that she’s a good social justice activist.

It may sound like beautiful words that give an accurate reflection of what it means to be a woman of color, but to me...it sounds like an excuse.

It was my excuse when my parents commented on how I was leaving a STEM field when I switched majors, a field that is historically unkind to people who aren’t male or white. In retaliation, I showed them statistics about the number of non-white female producers in television and film. Shonda Rhimes and Mindy Kaling are big names, but they are still only two names I said. I’d be helping to pioneer a path for other girls if I pursued my Comm Studies major, I said.

It still didn’t stop me from feeling like a hypocrite after all the impassioned speeches I’d given about women in STEM. The existence of a woman of color is in and of itself an act of resistance.

It sounds like a way to allow all women of color to participate

in social justice without some of the pitfalls of the “Social Justice” community, but to me...it sounds like an excuse.

It was my excuse whenever someone asked why I wasn’t attending a protest or signing a petition. I’d explain how there are many different forms of activism, and that I participated in what I could when I could.

I’d explain how I wasn’t really a ‘slacktivist’ because I was doing the little things in my day to day life like instigating dialogues with people who are unaware of their privilege. Or engaging in conversations with my white male housemates about issues women of color face.

It still didn’t stop me from feeling like a fraud every time I was too burnt out to educate and advocate.

The existence of a woman of color is in and of itself an act of resistance.

It sounds like a lovely way to support women of color with whatever they choose to do but to me...it sounds like an excuse.

It was my excuse whenever a friend asked why I engaged with anything problematic.

The Marvel movies don’t have great representation but Tess Thompson just showed up in Thor 3, I’d claim. My favorite kpop group getting international fame is breaking cultural barriers despite the occasional cultural appropriation, I’d insist. Wearing

makeup isn’t for anyone else, but for me, I’d cry. If I can only participate in things that are ethical and moral and just, then I won’t get to enjoy anything at all, I’d argue.

It didn’t stop me from feeling like a liar any time I’d get called out for my interests and hobbies But as much as I may feel like a hypocrite, a fraud, a liar, I resist white supremacy and the patriarchy by choosing to exist and learn and grow and thrive.

The problem with the existence of a woman of color being an act of resistance is that it is my very existence that is questioned and policed and entirely undermined.

My existence does not only reflect my own self but is then forced to reflect anyone who looks remotely like me. I am not allowed to simply exist, but I do anyway. I take up space, physical and vocal. I smile when I am happy, cry when I’m sad, rant when I’m angry, eat when I’m hungry and rest when I’m tired. I support other women of color. I try to be a good ally and a better activist.

The existence of a woman of color is in and of itself an act of resistance.

It’s not an excuse - it’s my battle chant.

Because I resist to exist.

Because I exist and I have no choice but to resist.

Because I am a woman of color.

I exist.

I resist.

I like to think I’m a sexy woman. In fact, I know I’m a sexy woman. But, the problem is sex stresses me out. Not the stuff leading up to it. Not the hot make outs or the slow stripping. Just the bit where every bit of clothing is off and things are about to inserted in places and honestly it’s almost more stressful than midterm week. Almost.

Because the thing is, sexiness takes effort. Aside from the usual routines of makeup and well fit outfits, I have to go the extra mile. I’ve inherited gorgeous brown skin and beautiful black hair....that grows everywhere. Becoming sexy requires shaving my legs, using nair for my arms if the occasion is important enough, waxing off sideburns and upper lip hair and cheek hair and chin hair and of course, getting my eyebrows threaded. But then there’s that final, final step that terrifies me: nether region hair removal.

So the science says that you really shouldn’t remove your pubic hair – it’s there for a reason. But for a girl who’s heard so much shit about the hair that grows everywhere else...hair down there seems like an invitation for mockery.

I mean, I’ve had a girl howl at me in the hallways at school, call me a werewolf because of the hair on my arms. Another boy made a comment about me having a mustache and I don’t think I’ll ever forget the sudden deep shame I felt. The shame I still manage to feel. I’m more ashamed of my body hair than I could ever be about sex.

But anyway, the point is, my yoni just seems like another body part on a list of body parts that has more hair than it needs.

I mean so far I haven’t had any complaints about it but I always feel the need to warn anyone who ventures down there. It’s a bush, a forest, don’t get lost, keep your arms and legs in the vehicle at all times thank you, and now if we look a bit further south you can see the oasis you’ve been searching for. Whoa there, not

that far south.

And, it’s not like I haven’t considered my options --- waxing is painful as fuck. Like, literally spreading hot wax around my vulva then using it to rip out hair by the follicles just so I feel comfortable enough for sex?

In my opinion, the cost benefit analysis doesn’t work out, despite my mother’s teachings of “no pain, no gain.” Using a sharp blade down there doesn’t sound any better, not to mention the fact that my hair grows fast and I’d rather not give anyone carpet burn.

Yes, I can trim things but it doesn’t achieve the same effect of smooth hairlessness; I imagine it would feel much like the silkiness of my legs when I finally find a reason to shave in the winter.

Or maybe it’ll just reveal more imperfections, like the breakouts and pores I find after removing the hair on my face. It seems I’ll never learn what it’s like to have a hairless pussy.

I suppose I’m just stuck for now.

A sex-stressed sexy woman.

Say that five times fast.

Interested in writing about campus or pop culture?

Michigan in Color is hiring columnists and contributors!

Email michiganincolor@michigandaily.com for more information.

Bruised LORRAINE FURTADO MiC Contributor

gay and brown and black and blue all over sapphire eyes to blue niles pouring down ruby lips to scarlet blood spilling over gay and brown and black and blue all over

I am scared and I am sad I am gay and brown and black and blue all over and I am angry angry that my brown has been the foundation for hatred angry that my blood that yearns for women makes me a sin i am so, incredibly, angry yet i am so incredibly sad

gay and brown and black and blue all over the red white and blue the colors of a nation that turns its back to its people of color its turned its back to me but I will not turn my back to it because I am gay and brown and black and blue all over and I belong here.

B

The Michigan Daily | michigandaily.com | September 4, 2018

SPORTSTUESDAY MICHIGAN 17

NOTRE DAME 24

LINE OF INQUIRY Far from promised improvement, o-line shows more of the same MAX MARCOVITCH Daily Sports Editor

A week ago, sophomore center Cesar Ruiz stood in front of reporters and made a proclamation.

“Our offensive line will be the one strength of our offense this year,” Ruiz said. When pressed with a follow-up, he doubled down.

“You’ll see.”

Saturday night, in Michigan’s 24-17 season-opening loss to Notre Dame, anyone with two eyes and a television set saw plenty. They saw a quarterback constantly needing to evade oncoming rushers. They saw a normally potent rushing attack held to 58 yards on 33 carries. They saw a group incessantly blown around like a tin roof in a hurricane.

For months, anyone who walked through Schembechler Hall was inundated with buzz about a new offensive line. Simplication from new offensive line coach Ed Warriner, they were told, was going to cure all ills from a group that finished 117th in adjusted

sack rate.

So much for that.

“They brought a lot of blitzes at first,” reasoned junior running back Karan Higdon, “brought more guys than we can block.”

The statement — while mathematically true — belies the scarred, fatal flaw plaguing this program. The Wolverines’ offensive line is a problem that has no answer.

It will hold back an offense that is otherwise filled with playmakers. It will force schematic changes that mask its weakness. It could get its quarterback — who showed flashes of brilliance — injured.

With Michigan in opposing territory at the end of the third quarter, hoping to close a double-digit gap, Notre Dame got a free rusher to junior quarterback Shea Patterson’s blindside. Patterson showed his elusiveness, evading a crunching hit, and scrambling for nine yards.

One play later, the Fighting Irish ran a simple stunt, freeing a defensive lineman past Ruiz, and barreling through Higdon.

Forced to release the ball early, Patterson

heaved up a prayer as he was hit. Notre Dame defensive lineman Julian Okwara was waiting for the easy interception.

As he learned quickly, evade the swarming rush on one play, it’ll just be back the next.

“They got us on that one inside blitz that we didn’t pick up,” said Michigan coach Jim Harbaugh. “It was a good impression that their front was bringing the entire night. Some we blocked, yeah.

Could we be better? Yes. We’ll work to improve.”

Added fifth-year senior defensive lineman Chase Winovich, when asked about the struggling unit: “I know they’re working hard. Just like myself and everybody else on this team, we’ve got corrections to be made. They’re a well-coached group of individuals and they’re going to be sure to leave those corrections moving forward.”

On this night in South Bend, the offensive line was far from the only reason for the loss. The defense overpursued on nearly every play in the first half, and paid dearly for it. Penalties mounted up — on both sides of the ball —

to derail any semblance of momentum.

At times, the offensive scheme looked familiarly bland. Notre Dame executed its game plan to perfection, pushing around the interior of Michigan’s defense like rag dolls.

There is reason to believe this team can mend those issues as the season progresses. There is no such reason to believe the offensive line will do the same.

Redshirt freshman James Hudson will undoubtedly see time as early as next week at one of the tackle spots, if for no other reason than there’s nothing to lose. Coaches and players have been sure to commend his talent during spring, with the competition for a starting spot coming down to the wire. He has the frame and athleticism.

Freshman Jalen Mayfield might also get a shot, under the same whimsical rationale. He’s drawn rave reviews from the coaching staff and players.

But Harbaugh, Warriner and the rest of the coaching staff spent weeks of spring practice, offseason workouts and then fall practice, only to conclude

that these were the five best offensive linemen to combat a formative Notre Dame front seven. To expect Hudson, Mayfield or any replacement to be a magic elixir would exceed naivety.

Help will come the next couple weeks in the form of Western Michigan and SMU. Neither foe will offer Michigan anything resembling Notre Dame’s talented front seven. It could be a time to grow. It will certainly be a chance to see what the younger options have to offer.

“It’s the beginning,” Harbaugh said, when asked about his level of concern with the offense. “It’s the beginning for us. We’re not treating it like the end.”

But Saturday was a chance to back up the talk against a real opponent in a real environment against a real defense.

Fans waited to see what Ruiz and the offensive line had in store. Saturday night, they got their fill. What they saw, though, was just more of the same.

The offensive line is not a strength, at least not yet. It is the common denominator luring an offense back into the familiar confines of mediocrity.

Harbaugh, players defend offensive line MARK CALCAGNO Daily Sports Editor

Like another road loss to a ranked team, the sight of a Michigan quarterback running for dear life is nothing new. Last year, it led to injuries for Wilton Speight and Brandon Peters. It nearly did the same to Shea Patterson on Saturday, as the junior quarterback missed parts of the fourth quarter with cramps after being pressured all night.

Officially, Patterson was sacked three times and hurried on another six occasions. In reality, though, it was much worse.

The Wolverines’ offensive tackles looked almost helpless. Patterson rarely received a clean pocket to throw from — pressure from the edge or Notre Dame stunts came almost instantaneously. It showed in Michigan’s offense: quick throws were its only reliable way of moving the ball, and the Wolverines had just three plays of 15 yards or more with one offensive touchdown.

But during Monday’s press conferences, coach Jim Harbaugh said he wasn’t concerned — and rather encouraged — by his offensive line’s performance.

“I thought it was improved,” Harbaugh said. “We look at it and there was quite a few boxes that were checked (as) this is improved.

We’ll continue to get better, but it was one of the areas I think we’re improving in.”

Michigan started Jon Runyan Jr.

Evan Aaron / Daily

and Juwann Bushell-Beatty at tackle, along with Ben Bredeson, Cesar Ruiz and Michael Onwenu — left to right — on the interior Saturday. Despite a plethora of glaring mistakes and the presence of reserves like redshirt freshman tackle James Hudson and junior guard Stephen Spanellis, Harbaugh said he’ll stick with the same group next week against Western Michigan.

“I think the way we played this week is the way we’ll play the next game with the offensive line,” Harbaugh said.

Junior tight end Sean McKeon and sophomore wide receiver Nico Collins echoed similar positive sentiments about the group, noting that fall camp isn’t the same animal as the Fighting Irish’s elite front seven.

“I thought (the line) looked good,” McKeon said. “The offensive line, obviously, they gotta work to build chemistry maybe even more than they tried to build in camp. So just got to build more chemistry up front.”

Added Collins: “(It’s a) great o-line. I feel like the criticism they (get) shouldn’t be talked about because I know how hard they work.”

Harbaugh and his players’ comments heavily contrast what’s being said outside Schembechler Hall.

Fans, understandably frustrated by Michigan’s fourthstraight loss dating back to last season, were quick to scapegoat the offensive line for Saturday’s results.

And while there were other issues — defensive penalties and the spectacular play of Notre Dame quarterback Brandon Wimbush — the offensive line was the most detrimental by far. It cost the Wolverines the ball or points on four separate occasions.

In the first quarter, Patterson took a 17-yard sack that pushed Michigan out of redshirt sophomore kicker Quinn Nordin’s range. Later, on second-and-goal at the two, Notre Dame got to Patterson again, forcing the Wolverines to settle for a field goal. The Fighting Irish’s pressure was also pivotal to Patterson’s interception and fumble — though both were partially avoidable.

Despite those plays, however, Harbaugh was encouraged by his quarterback’s performance.

“The thing that stood out the most was his accuracy, location of the balls,” Harbaugh said. “He was accurate all game. …

First time in a game

Saturday, he won’t realize his potential if a defensive lineman is constantly in his facemask two seconds after the snap. And it certainly won’t be realized if Patterson’s hurt.

Harbaugh said his line has “improved”, and to be fair, that’s a relative word. He could genuinely feel like it has taken a step up from last year.

But it wasn’t good enough Saturday. Not even close.

Michigan’s offensive line has a long way to go. And no amount of Harbaugh and his players singing kumbaya changes that.

situation, I thought he ran (the offense) extremely well.”

That’s precisely why Michigan’s offensive line play is so frustrating for fans.

For all the flashes Patterson showed

Design by Jack Silberman

Saying or Doing?

Michigan has talked about its positives from Saturday’s game, but the product on the field wasn’t so sterling.

» Page 2B

A different kind of pain After all of the hype for Michigan’s 2018-19 season, Saturday’s loss caused a new level of heartache.w

» Page 4B

SportsTuesday

2B — Tuesday, September 4, 2018

T

The Michigan Daily — michigandaily.com

SportsTuesday: Saying or doing? he fourth season of Jim Harbaugh’s tenure in

Ann Arbor is off to a rocky start after a loss to Notre Dame.

Since, some unflattering stats have MIKE been PERSAK advertised, like how the Wolverines are 9-9 in their last 18 games and how they haven’t won a road game against a ranked opponent since 2006.

But fear not, Michigan fans, because there may be room for optimism.

On Monday afternoon, from defensive end Rashan Gary to VIPER Khaleke Hudson to tight end Sean McKeon to wide receiver Nico Collins, and even up to coach Jim Harbaugh, nothing but positives were pointed out. It was all eyes forward and downplaying the flaws that made the Wolverines 0-1.

“I think everybody inside of our team believes in each other and believes in the team, believes in each other,” Harbaugh said. “And stressing the importance of going from one week, to Week 1 to Week 2, never more important than with this ballclub. So looking to make all the strides you can in this one week, and focusing on that. We’re focusing on this game, never a more important game than the one we’ll go down the tunnel to play this week.”

I know what you’re thinking: Mike, of course they pointed out positives, what else are they gonna say?

But just for kicks, let’s break down some of these positives.

First, there was the offensive line.

I thought I saw junior

KATELYN MULCAHY/Daily

Michigan coach Jim Harbaugh said Michigan’s offensive line has improved in his weekly press conference at Schembechler Hall on Monday afternoon.

quarterback Shea Patterson and redshirt sophomore Dylan McCaffrey running for their lives, and Michigan’s rushing attack limited to just 58 yards on Saturday.

On Monday afternoon, though, Harbaugh said he thought the unit was much improved. Monday night, during the Inside Michigan Football Radio Show, Higdon went as far as to say that the offensive line is easy to criticize live, but that when you break down the film, they did some nice things — though he conceded that Notre Dame’s defensive line was better.

I will preface this by saying that I do not know even half as much about football as Higdon, or really anybody on the team.

Also, I do not have all the angles and film breakdown capabilities

that the Wolverines surely have.

But I did re-watch the game, and what I saw was Patterson and McCaffrey running for their lives for most of the game and Michigan’s rushing attack limited to just 58 yards.

I would be curious to see what redshirt freshman tackle James Hudson could bring to the table, but Harbaugh was asked about that sort of a personnel change on Monday.

“I think the way we played this week is the way we’ll play the next game with the offensive line,” Harbaugh said, though I don’t think he would tell us if he was changing personnel.

Okay, let’s not dawdle on one aspect.

Another focus of Michigan’s shortcomings was its defense, which was exposed in the first

half and put the Wolverines in a hole from which they couldn’t escape.

To that, Gary and Hudson had some answers.

“Not at all,” Gary said when asked if he could pinpoint the defense’s problems in the first half. “The only thing I can really say is we hurt ourselves.

You know, only two, three plays, maybe four plays, can hurt you at the end of the game.

That’s really what it came down to, and that’s just us hurting ourselves.”

Added Hudson: “Just selfinflicted wounds was the reason why we lost. Just third down penalties and doing some of the stuff we normally do right.”

They are right on this one, as the second half was a showcase of just how dominant the

defense can be. But the reasons for the shortcomings in the first half are a bit troubling.

Often times, Fighting Irish quarterback Brandon Wimbush and the offense took advantage of over-aggressiveness from Michigan’s defense. That showed in the untimely penalties the Wolverines incurred just as much as the quarterback runs and screen passes that were successful.

Of course, the other side of that coin is that Michigan is led by its fast and tough defense.

And it’s also a program that has struggled to contain running quarterbacks for… ever?

Luckily there aren’t any other running quarterbacks on the schedule other than Ohio State’s Dwayne Haskins and Penn State’s Trace McSorley and Michigan State’s Brian

Lewerke and Nebraska’s Adrian Martinez and Maryland’s Tyrrell Pigrome and Indiana’s Peyton Ramsey.

Okay, I’ll just hit on one more quote.

Sophomore wide receiver Nico Collins said the offensive gameplan was not the problem and that it doesn’t need to change moving forward.

The Wolverines failed to capitalize on opportunities all night long offensively, and, partially because of the offensive line, couldn’t come up with the explosive plays that some expected.

When the defense finally locked down in the second half, Patterson and company couldn’t figure out a way to climb back into the game all the way.

It feels like at least something could be done to help that. Maybe a new transfer quarterback? Maybe a new offensive line coach? Maybe two former NFL coaches calling the offensive shots?

I know, I’m getting greedy.

Now none of this is to say that Michigan can’t turn things around. It is still a roster loaded with talent, with a coach who has been to the Super Bowl in this decade.

But something has to change, no matter what the Wolverines say. The offensive line must improve, with personnel changes or without them. The defense has to be solid, and especially against dual-threat signal callers. The offense must get big plays, whether it’s with a better gameplan or better execution.

The stats are ugly for a reason. Michigan is saying the right things to avoid a mutiny, but there is no need for a mutiny if the ship sinks first.

Persak can be reached at mdpers@umich.edu or on Twitter @MikeDPersak or on Venmo @Mike-Persak

Michigan falls short in season opener against Notre Dame, 24-17 MIKE PERSAK

Managing Sports Editor

SOUTH BEND, Ind. — After all the hype for Shea Patterson, the talk of returning starters, the assurances that the offensive line had improved and the general hype for the 2018 Michigan football team, the Wolverines finally had their chance to prove that it wasn’t just hype on Saturday night against Notre Dame.

But in less than eight minutes, all of those hopes began to look more like pipe dreams.

It started on the first drive, when the 12th-ranked Fighting

Irish used a few big plays to score in less than 90 seconds.

Michigan punted, and at the end of Notre Dame’s next possession, the South Bend crowd was in hysterics once again.

Quarterback Brandon Wimbush lobbed a deep ball downfield, and Irish receiver Chris Hinke leaped over safety Brad Hawkins, hauling it in and putting the Wolverines in a hole. In the blink of an eye, it was 14-0.

No. 14 Michigan (0-1) spent the rest of its much-anticipated opener trying to play catch-up, but it never clawed back, losing, 24-17.

“The guys really prepared well for this ballgame,” said Michigan coach Jim Harbaugh.

“Not the outcome we anticipated or wanted, but we’ve just got to dig deep, make no excuses.

Credit to Notre Dame and move on to next week.”

It ultimately was the first half that did Michigan in.

Notre Dame (1-0) scored again in the second quarter on a methodical, 15-play march aided by penalties.

All the offensive production the Fighting Irish needed came before halftime.

“Second half I think we found our groove a little bit more,” said fifth-year senior defensive end Chase Winovich. “This might be a hot take. I don’t mean it to be. They’re a great football team and stuff, but I just didn’t

feel like they dominated us. I just felt like they went up and made some 50/50 plays.”

Maybe Winovich is on to something, because there were several moments when it seemed like momentum was starting to turn in the Wolverines’ favor, but those moments never bred any substance.

Sophomore Ambry Thomas answered Notre Dame’s third touchdown with a 99-yard kick return touchdown on the next play, but halftime came before any momentum could be sustained.

In the second half, Michigan’s vaunted defense finally found its rhythm. They gave up 233 yards in the first half and just 71 in the second, but the offense flubbed its chances.

The Wolverines even drove down the field their first chance

“The guys really prepared well for this ballgame.”

after halftime, highlighted by a 54-yard bomb from Patterson to sophomore wide receiver Nico Collins. But that chance was thwarted when junior punter Will Hart bobbled the snap on a would-be field goal.

Then, fifth-year senior Brandon Watson intercepted a pass to give Michigan yet another opportunity to crawl back into things.

And yet again, the Wolverines couldn’t.

At the end of the game, Michigan made one final push, scoring with just over two minutes to go on a short run from senior running back Karan Higdon. The Wolverines got the ball back moments later after forcing a three-and-out.

But this time, Patterson, who finished the day 20-of-30 for 227 yards and an interception,

fumbled while running from a defender for the umpteenth time of the night.

“Nobody really wants to start off like that,” Patterson said.

“Our defense and our special teams put us in really good situations to make something happen. … Just gonna go back and learn from the tape.”

The offensive line, which was already being questioned, could never consistently keep Patterson upright.

The offense that struggled all of last season fell short when it counted.

The Wolverines left South Bend with many of the problems they said they had fixed.

The season isn’t over — not by a long shot.

But the hype? The hype is all but gone.

“I just felt like they went up and made some 50/50 plays.”

KATELYN MULCAHY/Daily

Junior quarterback Shea Patterson finished the season-opening game against Notre Dame with one interception and was 20-of-30 for 227 yards Saturday night.

The Michigan Daily — michigandaily.com

SportsTuesday

Tuesday, September 4, 2018 — 3B

Collins inspires confidence from his teammates in No. 2 receiving role Sophomore wide receiver notches three catches for 66 yards as one of the lone offensive bright spots against Notre Dame ETHAN WOLFE Daily Sports Writer

Amid fans airing grievances after the Michigan football team’s 24-17 loss at Notre Dame, it was difficult to focus on anything but the negatives of the Wolverines’ performance.

But with 48 hours to digest Saturday night’s game, a big picture outlook of Michigan football is in order. Or in other words, every cloud has a silver lining.

It was Week 1, with new offensive pieces, against a ranked team, in the Fighting Irish’s own stadium, nonetheless. The defense, especially in the second half, was mostly consistent and junior quarterback Shea Patterson showed glimpses of why he was already a fan favorite.

But no player took a leap and inspired new confidence like sophomore wide receiver Nico Collins.

“He seems to be catching everything,” said junior left guard Ben Bredeson prior to Saturday’s game, a foretell of his expanded role. “I’m no wide receivers coach here … but it seems like whenever we’re getting into the red zone or something like that — we need a touchdown — Nico is usually the guy getting it for us.”

The 6-foot-4 Collins was thrown into the No. 2 spot on the depth chart after Tarik Black’s foot injury. Hype swirled around as chatter surfaced about what the unproven Collins could do to fill the void left by Black.

“Before he got hurt, we always talked about what we would do in a game together — celebrations and whatever we had,” Collins said. “When he went down, our receivers got together and was like ‘Alright, let’s do it for Tarik.’ ” Collins didn’t find the end zone on Saturday, but hauled in three catches for 66 yards in his starting debut — he tallied just

KATELYN MULCAHY/Daily

Sophomore wide receiver Nico Collins says he “wasn’t ready” and “didn’t really know anything (his) first year,” but his leading receiving performance on Saturday shows how far he has come since.

three catches for 27 yards all of last season. The numbers don’t pop, but Collins proved his worth.

On the Wolverines’ first offensive drive of the season, Collins caught Patterson’s first passing attempt at Michigan with a trips screen pass, barreling eight yards after the catch through junior tight end Sean McKeon’s blocks.

To begin the second quarter, Collins was split left, and caught a six-yard slant for the first down inside the red zone.

And for his final reception,

to start the second half, Collins outran Notre Dame cornerback Julian Love on a deep post and snagged an underthrown, 52-yard heave.

“Loved the big play,” said Michigan coach Jim Harbaugh.

“Thought he did a great job of running his route, burst of speed and did a great job of tracking the ball — and that fantastic catch.

“Blocked well and consistently ran good routes the whole game.”

Added Collins: “It meant a lot to this team. We made an adjustment at the halftime. After

I caught that we were just like ‘Okay, let’s go score the ball.’

Made a little spark to the offense, move the ball.”

For Collins, the promotion was quick, but seamless.

Another year corrected a lot of mental lapses according to him, and being the next man up is something he’s been ready for since the spring.

“Last year I wasn’t ready, didn’t really know anything my first year,” Collins said. “The playbook is a whole different level than what I was used to in high school.

Just having that first year under my belt, learning from freshman year, it kinda brought a little juice to me in the spring.”

But it wasn’t Collins’ own development that improved, but his connection with Patterson.

According to Collins, Patterson is unlike any quarterback he has played with before, a proposition that forced Collins to change his attitude when running routes.

“With him, the play isn’t over,” Collins said. “We’re all trying to find ways to get open.

Scramble drill and find the open

spot. … He’s a really explosive quarterback. He can find ways to get the ball to you and find ways to make plays.”

For an otherwise stagnant offense, Collins’ consistency was a flower in a dirt field. Losing Black, of course, was painful. But after 60 minutes of Collins in the starting rotation, Black’s absence did not seem like a make-orbreak loss. For a Michigan team looking to rebound, it can be thankful that it has at least one less issue that doesn’t need urgent help.

SportsTuesday

4B — Tuesday, September 4, 2018

A different kind of pain

The Michigan Daily — michigandaily.com

Defense suffers untimely mistakes against Fighting Irish in South Bend The Wolverines gave up 21 points and 233 yards in the 1st half against Brandon Wimbush and Notre Dame offense MARK CALCAGNO Daily Sports Editor

EVAN AARON/Daily

Junior quarterback Shea Patterson went 20-for-30 for 227 yards in Michigan’s loss to Notre Dame on Thursday.

S

OUTH BEND, Ind. —

The giftwrapping was pretty on the Michigan football team.

ETHAN Through WOLFE talk of renewed confidence, heightened athleticism and, finally, a serviceable quarterback, the 14th-ranked Wolverines were supposed to have a fighting chance against No. 12 Notre Dame in South Bend.

But right at kickoff of Saturday night’s season opener, the grandeur of it all had faded without return.

That giftwrapping was a photocopy of the rhythmless, frustrating Michigan team from last year. The only difference was that the 2018 team had everything it needed to succeed, and it still didn’t in its 24-17 loss to the Fighting Irish (1-0 overall).

“Just a few ( big plays), not enough,” said a stone-faced Jim Harbaugh in the postgame press conference. “We didn’t make enough explosive plays, we didn’t run the ball as well as we would like.

“I don’t really have all the biggest takeaways. I thought on defense our guys played fast, competed hard. There’s improvements to be made, mistakes were made but I thought they fought hard.”

With 1:48 remaining, down by a touchdown, the Wolverines (0-1) looked to put that narrative to bed and place the pieces for another rivalry classic. But on the fourth play of the drive, the offensive line collapsed and the football was knocked out of Shea Patterson’s hands into those of Notre Dame’s Khalid Kareem to seal the game.

Throughout the contest, the Wolverines wore the mental anguish of an early 14-0 deficit on their sleeve in a loss it could have avoided.

“It’s one of those things

where you come off the sideline like ‘where did we go wrong?’ ” said fifth-year senior defensive end Chase Winovich. “ I didn’t feel like they were dominating. I didn’t feel like their presence was overwhelming.”

It’s the same result. A different kind of pain. One rooted in its potential to be everything that the 2017 team wasn’t.

Last year’s Michigan team carried few expectations, excepting the rabid fan pacing in front of their television. A quarterback carousel behind a porous offensive line made the Wolverines’ offense an eyesore.

When Michigan’s defense could no longer carry the rest of the team’s water and it lost, exasperation trumped anger. The offense was that bad — Michigan had no business winning in any of its defeats and that sobering feeling of acceptable pain persisted.

Flash forward to Sept. 1 at Notre Dame Stadium, and the loss was still deserved, yet more unsettling than it would have been 365 days ago. In junior Shea Patterson looked a capable offensive torchbearer while sophomore wide receivers Donovan Peoples-Jones and Nico Collins — who hauled a 52-yard bomb thanks to solid pass protection — took the next step to be viable receiving options. The whole defense showed spurts of why they belonged in the discussion as the nation’s best defense.

But none of it mattered.

On Saturday, it was one step forward, two steps back.

“The first game is always the toughest because no matter how hard your camp is, that first game is always tougher,” Winovich said.

“I feel like they maybe did

“We didn’t make enough explosive plays.”

a better job adapting to it and took advantage of our lack of whatever - not being prepared enough.”

On three different occasions after a third down stand, Michigan’s defense was penalized to extend the Fighting Irish’s drives.

All three of Notre Dame’s touchdowns came from those instances. The ejection of junior safety Josh Metellus from an early targeting call exacerbated the defensive deficiencies.

The Wolverines made it into the red zone just twice in the first three quarters, converting only one field goal and botching the attempt on the other.

Sophomore Ambry Thomas had a 99-yard kickoff return touchdown to bring the halftime deficit to a manageable 21-10 margin.

Michigan didn’t find paydirt again until it was too little, too late.

“Nobody really wants to start off like that,” Patterson said. “Our defense put us in situations to make something happen. Early on, I took a sack that put us out of field goal range, I threw a careless pick. And at the end of the game, ball security.”

Added Winovich: “I’m not really sure where they beat us, I’m still confused in the locker room. I’m just kinda confused how we lost that game. I didn’t feel like they dominated us, but ultimately they made plays when they needed to.”

In a game where the Fighting Irish were doing everything in their power to let Michigan come back, it never came.

Of course, it is only the first game and that potential may still emanate down the road.

But Saturday night’s miscues were expected to happen in the 2017 season. It wasn’t supposed to happen in 2018.

But both are losses. This one just stings the Wolverines a little bit more.

SOUTH BEND, Ind. ­— As the 43-ya rd ra inbow heave approached the endzone, Brad Hawkins sensed a n interception. But just as the sophomore safet y lurched his ha nds above his head to ma ke the play, receiver Chris Finke snatched the pass away for Notre Da me’s second touchdow n of the evening.

It was emblematic of the mista kes that cost Michiga n’s defense on Sat urday in South Bend: not gla ring in nat ure but made in moments that proved costly.

Just ta ke what happened ea rlier in that drive. On third-a nd-nine deep in Fighting Irish territor y, safet y Josh Metellus led with his head tr y ing to knock dow n a pass, adding 15-ya rds to the Notre Da me reception a nd forcing a n ea rly exit for the junior.

Four snaps later, Bra ndon Wimbush under threw Finke, but — inexperienced a nd f resh onto the f ield to replace Metellus — Hawkins couldn’t complete the interception. A nd just like that, the Wolverines found themselves dow n 14- 0. “(Wimbush) made plays, a nd ultimately we didn’t,” sa id f if th-yea r senior defensive end Chase Winov ich.

“That ’s what footba ll’s a ll about — ma king plays when you need to.”

A nd a ll too of ten, especia lly in the f irst ha lf, the Wolverines’ defense couldn’t stop Notre Da me f rom ma king those plays.

Despite prev ious accuracy concerns, Wimbush sta red dow n Michiga n’s pressure,

completing crossing pat terns over the middle or deep sea m routes for clutch conversions. His legs helped, too, extending plays a nd evading defenders for extra ya rds.

This combination was especia lly ef fective in continuing drives, as the Fighting Irish went 5-for-8 on third dow n during the f irst ha lf. No mat ter what the Wolverines threw at Wimbush, he a nswered the bell.

A nd sometimes, Michiga n just gave it to Notre Da me, too.

Including Metellus’ ejection, f ive pena lties (42 ya rds) were accepted aga inst Wolverines’ defense on Sat urday.

None was more detrimenta l tha n a roughing-the-passer ca ll late in the second qua r ter aga inst Winov itch.

Af ter momenta rily get ting a stop on thirda nd-goa l, the pena lt y gave the Fighting Irish a f resh set of dow ns a nd, later, four points on a Jafa r A rmstrong touchdow n r un.

“I didn’t necessa rily ag ree with this ca ll because I was r ushing f rom the lef t side — he’s a right-ha nded qua r terback — (the referee) told me I hit him in the back, a nd that ’s why they ca lled it,” Winov ich sa id. “Not sure how that ma kes a ny sense.”

It a ll culminated in defensive shredding in the f irst ha lf — Notre Da me racked up 233 tota l ya rds a nd 21 points — fa r f rom the

“(Wimbush) made plays, and ultimately, we didn’t.”

norm for Michiga n’s defense.

Still, things quieted dow n in the second ha lf, when the Wolverines a llowed less tha n 70 ya rds a nd a lone f ield goa l. Winov ich a lready recog nizes this as a cha nge f rom last yea r ’s tea m.

“I think last yea r, things went (astray),” Winov ich sa id. “ You see it in the South Ca rolina ga me. I think if we had that mindset, I think they could’ve rea lly done some da mage on us.”

Michiga n’s defense was supposed to be its g reatest streng th. It has been the last four seasons, f inishing inside the top ten in ya rds a llowed f rom 2014-2017.

A nd nine ret urning sta r ters f rom last yea r ’s defense — including potentia l f irst round picks Rasha n Ga r y, Dev in Bush, K ha leke Hudson a nd Laver t Hill — made for lof t y preseason expectations a round a n of fense with a new identit y.

“I def initely feel that pressure,” Winov ich sa id.

“That ’s just the way it ’s been (f rom a) fact ua l sta ndpoint.

It ’s been a defensive-led g roup the last couple yea rs.”

But the Wolverines’ defense — bet ween pena lties a nd third dow ns — cer ta inly had its sha re of lapses on Sat urday. A nd when those mista kes a re compounded with plays like that of Finke a nd Wimbush, it ma kes for a losing formula.

“It ’s one of those things where you come of f the sideline, a nd for me, I didn’t know where we (went) w rong,” Winov ich sa id. “I didn’t feel like they were dominating, I didn’t feel like they were over whelming us.

They made plays a nd beat us.”

“That’s just the way it’s been (from a) factual standpoint.”

“I’m just kinda confused how we lost that game.”

Wolfe can be reached at eewolfe@umich.edu or on Twitter @ethanewolfe

KATELYN MULCAHY/Daily

The Michigan defense struggled in the first half against Notre Dame, putting the Wolverines in a hole.

SportsTuesday

The Michigan Daily — michigandaily.com

Tuesday, September 4, 2018 — 5B

Field hockey splits against UMass and UConn Michigan shut out by Wake Forest on road WOMEN’S SOCCER

BAILEY JOHNSON Daily Sports Writer

FILE PHOTO/Daily

Senior forward Emma Way scored a goal in the 25th minute of Michigan’s first win of the season against Massachusetts on Friday night, a 5-0 victory.

ARIA GERSON

Daily Sports Writer

Maggie Bettez had Friday’s game circled on her calendar for two years.

The senior midfielder is originally from Acton, Mass., but the Michigan field hockey team hadn’t played in her home state during her college career until this past weekend. Her friends and family came out to cheer her on, a moment she won’t soon forget.

And the game didn’t disappoint, either. The fifthranked Wolverines (1-3 overall) picked up their first win of the season against Massachusetts (2-2), commanding the game from the start in a 5-0 victory.

Despite not scoring until the 25th minute — when senior forward Emma Way launched a reverse shot that found the back of the cage — Michigan smothered the Minutewomen.

Massachusetts had just two shots the entire game and failed to draw

a single penalty corner.

The Wolverines complemented that defense with an offensive onslaught.

Sophomore back Halle O’Neill and senior back Regan Leavitt both scored goals after corners. Junior forward Meg Dowthwaite tallied her first goal of the season late in the first half and Way added to the tally early in the second.

“The first four games this year were all very challenging and we’ve been knocking on the doorstep of winning for the whole year so far,” Bettez said. “So to get the first win was … a confidence booster and it came at a good time for us.”

The victory came just in time for the Wolverines’ Sunday matchup with No. 1 Connecticut (4-0), the reigning national champion. But

Michigan wasn’t fazed by the top competition. Though they lost, 2-1, the Wolverines used their underdog status to take risks with their game, several of which paid off.

“We wanted to go right at them,” Bettez said. “We played confident rather than worrying about each little play.”

When Way stole the ball from a Husky defender and punched it in the goal less than five minutes into the game, it only bolstered that confidence.

At first, Michigan was able to fend off Connecticut’s relentless pressure. Freshman goalkeeper Anna Spieker made 11 saves and the corner defense kept the Huskies from scoring on their first eight penalty opportunities.

“The first four games this year were all very challenging.”

“(Spieker) made some really key saves,” said Michigan coach Marcia Pankratz. “Made some wonderful decisions back there, just played with a lot of confidence, so I think that helps our defense feel confident.”

But early in the second half, the Huskies evened the score on a rebound after a save and scored the winning goal off a penalty corner with 10 minutes remaining.

Michigan could only manage a lone corner and one shot on goal the entire period.

The Wolverines scored first and led for over half the game, but Connecticut dominated possession throughout. That was the dichotomy that made Michigan’s loss seem at once a disappointment and an inevitability.

“We took a lot away that we can build on,” Bettez said. “… Playing a full 70 minutes. We have spurts of fantastic play (but) it’s important to be consistent for the entire game.”

The ball sailed from the corner towards the center of the scrum, right to the waiting Janiece Joyner. The freshman defender leaped into the air to head the ball into the goal in the 22nd minute.

But the ball went wide of the net by mere inches, and the Michigan women’s soccer team’s chance at scoring was gone. The rest of the game proved barren for the Wolverines, as they lost to Wake Forest, 4-0, on Thursday.

“Disappointed in the result tonight,” said Michigan coach Jennifer Klein in a statement, the only comment provided after the loss. “Never a good feeling to lose but hopefully this game is a moment for us as a team to regroup, refocus and improve in our areas of weakness. This will make us better.”

For the first 26 minutes, the game appeared to be evenly matched.

Neither the Wolverines nor the Demon Deacons were generating scoring chances — Michigan had no shots to Wake Forest’s one. But when the Demon Deacons scored their first goal, the f loodgates opened.

In the 26th minute, fifthyear senior forward Taylor Timko defended Wake Forest’s Estelle Laurier in the top corner of the field, trying to prevent her from getting a shot on goal. Laurier was able to sneak past Timko and found her teammate — forward Ryanne Brown — for the finish

into the net.

Fifty-five seconds later, the Demon Deacons scored again — this time, Laurier found twine from 10 yards out. The Wolverines regained possession and charged down the field but were caught offsides.

In total, Michigan was offsides seven times throughout the game — including five in the first half.

It could have been a sign of an offense trying to gain some momentum and pushing just a bit too fast, but it could also be symptomatic of a young team trying to find footing in its first road game of the year.

The Wolverines’ starting 11 included four sophomores and a freshman — already a fairly young lineup. But Michigan’s youth showed further, as it substituted in a total of eight players. Four of the eight subs were freshmen and just one — redshirt junior Katie Foug — was an upperclassman.

The frequent substitutions

by Klein show signs that the young team isn’t settled yet. The offense visibly lacked chemistry, with passes frequently missing the intended target. It took until late in the second half for the Wolverines to penetrate the Wake Forest defense and create real chances to score. By then, the Demon Deacons’ four-goal lead was insurmountable.

Given Michigan’s inexpereince, it may take time for it to build chemistry and find its stride — just as it showed in Thursday’s loss.

The rest of the game proved barren for the Wolverines.

The Michigan Daily — michigandaily.com

UNIVERSITY

Fall 2018 — 1C

Lecturers and LEO supporters march from the Michigan League to the Fleming Administration Building in support of the Lecturers Union April 6, 2018.

ALEC COHEN / DAILY

LEO occupies administration building as contract expires LEAH GRAHAM Daily Staff Reporter

On Friday afternoon, about 30 members of the Lecturers’ Employee Organization occupied a floor of the Fleming Administration Building.

Lecturers camped outside of University of Michigan Provost Martin Philbert’s office.

Philbert was not present at the time. They also delivered handwritten messages from allies written in support of the union’s efforts to negotiate a new contract with the University.

LEO President Ian Robinson said when the union dropped off similar messages two weeks ago, Philbert responded through an associate and said “he wasn’t impressed by that.”

Union members doubled their

efforts, leaving more letters outside Philbert’s office.

“We came here to deliver messages to the provost,” he said. “We knew in advance, we had been told he wouldn’t be here, so we decided we would come here and just stay for a little just to demonstrate our seriousness because this is a very, very important matter.

The term is coming to an end and this is the last day of the contract, but we’re not going away. We’re determined to make a breakthrough.”

Representing nearly 1,700 non-tenure-track faculty members across the University’s three campuses, LEO has prioritized higher wages, improved equity adjustments and enhanced benefits throughout the bargaining process, which began last

semester and nearly resulted in a walkout earlier this month.

Union members have blamed a lack of “political will” on the part of the administration, including the provost, for stalemates in negotiations.

University Provost Philbert did not respond to a request for a comment.

LEO’s current contract expires Friday, April 20, but the terms of that contract will remain in effect until either LEO or the University decides to end it. Should one of the parties involved announce that it no longer wants the contract to continue, the agreement would officially end 30 days later.

Robinson said several more bargaining sessions are scheduled before the current academic term ends on Monday, April 30.

“That’s an important deadline,” Robinson said.

“If we don’t come up with an agreement that we can recommend to our members by that time, we can’t sign a tentative agreement under our LEO constitution until the fall when our members return. If we wanna get this thing resolved before fall, we have to do it by the end of this month.”

According to Robinson, LEO’s bargaining team can schedule more sessions with the University if necessary.

“I actually don’t believe we need a whole lot of meetings to resolve the remaining issues,” Robinson said. “Mainly, they’re just about amounts of money.

Either you are willing to pay the money or you’re not, and if you are willing to pay it, it doesn’t take very long to figure out how

to do that.”

Salary has been a particularly controversial issue throughout negotiations. Currently, the minimum starting salary for a lecturer is $34,500 in Ann Arbor, $28,300 in Dearborn and $27,300 in Flint. Union leadership called off a potential strike only after the administration offered an increase of more than $10,000 to the starting salary in Ann Arbor and more than $8,700 in Flint and Dearborn.

In an email, University spokeswoman Kim Broekhuizen wrote, “The university continues to bargain in good faith this afternoon and next week with LEO.” Lecturers staged the sitin after holding a block party in Regents’ Plaza to thank students and other allies for

their support. Some LEO members voiced concern that with students leaving campus, the union’s bargaining campaign could suffer a loss of momentum.

Margot Finn, a lecturer in American culture and University courses, said she hopes the support LEO has enjoyed from students and allies continues.

“It is hard to organize on college campuses because of the ebb and flow of the semesters,” Finn said. “I think LEO members will continue showing up and I think a lot of the community allies, especially tenure-track faculty, will. I’ve seen so much commitment from the students, and I hope that continues into the fall. It’s just hard to predict the future.”

Greene and Baer of MVision Revised sexual misconduct win CSG executive positions policy redefines harassment RIYAH BASHA & SOPHIE SHERRY

Managing News Editors

P ublic Polic y jun ior Da n iel Greene a nd LSA sophomore Izz y Baer w ill ser ve a s t he 2018-19 Un iversit y of M ich ig a n Cent ra l St udent G over n ment president a nd v ice president , respec t ively, accordi ng to elec t ion resu lt s relea sed late Fr iday even i ng.

Represent at ives r u n n i ng on t hei r t icket , M Vision , a lso won a plu ra lit y of seat s i n t he a ssembly.

Greene a nd Baer defeated t he second-place MomentU M pa r t y execut ive ca ndidates, Eng i neer i ng ju n ior A . J. A sh ma n a nd LSA ju n ior Cha rlie Bi ng ha m , by a ma rg i n of 1, 51 2 votes— more t ha n 77 percent more votes.

Busi ness ju n ior A rat h i Sabada a nd LSA sophomore Ma r ia n ne Dr ysda le of t he T r ue Blue pa r t y ca me i n t h i rd w it h 1,464 votes.

Reg g ie Bee, a corg i k now n a rou nd t he Un iversit y ca mpus, f i n ished fou r t h w it h 1,403 votes, eMpower — headed by P ublic Hea lt h sen ior Lloyd Lyon s a nd LSA sophomore Fra n k Gu zma n — t a llied 77 1 votes a nd LSA ju n ior Sujay Shet t y a nd Law st udent Mat t hew Willia m s of a Mplif y ca me i n si x t h .

St udent t u r nout mea su red at 23.9 percent , a n i ncrea se f rom la st yea r ’s 17.9 percent .

Fr iday ’s resu lt s a re st ill u nof f icia l, a s t he body ’s

elec t ion com m ission ha s yet to cer t if y resu lt s.

Reg g ie Bee, t he corg i, placed fou r t h . However, he is i nelig ible to hold of f ice a nd wa s disqua lif ied.

Cont roversy g rew on socia l media meme pages about whet her votes were wa sted on Reg g ie, w it h t he popu la r dog ’s Facebook page even u rg i ng st udent s to ca st ba llot s for elig ible

Reggie Bee, a corgi known around the University campus finished fourth with 1,403

ca ndidates.

The M Vision plat for m focused on i ncrea si ng resou rces for Cou n seli ng a nd Psycholog ica l Ser v ices a nd t he Sex ua l A ssau lt Prevent ion a nd Awa reness Center. Greene a nd Baer ex pressed t hat t hese goa ls, a nd t he ent i ret y of t hei r plat for m , wa s rooted i n di rec t ex per ience. In t he sa me vei n , t he t wo hope to

br i ng at tent ion a nd suppor t to t hose ex per ienci ng oppression f rom t hei r “i nv isible ident it ies.”

D u r i ng t he ca mpa ig n , t he t icket a lso advocated for mont h ly tow n ha lls a nd open dia log ues i n respon se to i m mediate “h ig h i mpac t ” event s on ca mpus.

Pr ior to r u n n i ng for execut ive of f ice, Greene a nd Baer bot h ser ved i n represent at ive roles i n CSG, w it h Baer ac t i ng a s t he a ssembly ’s v ice spea ker i n t he w i nter semester.

Greene sa id he t houg ht t here were ma ny va luable idea s in ot her pa r t y ’s plat for m s wh ich he wou ld work to i nclude i n h is ow n agenda a s president . “ I t h i n k t hat what I’m doi ng i n t h is com i ng week is br idg i ng relat ion sh ips w it h t he ot her ca ndidates a nd pa r t ies. I wa nt to ma ke su re t hat t hei r voices a ren’t lost ,” Greene sa id. “They br i ng a lot of i n st it ut iona l k nowledge a nd oppor t u n it y a nd phenomena l plat for m poi nt s t hat , a lt houg h t hey weren’t a pa r t of necessa r ily t he M Vision plat for m , t hey def i n itely spea k to st udent concer n s on ou r ca mpus, a nd reg a rdless of what plat for m I ra n on , t hose pa r t ies a nd t hose ca ndidates broug ht idea s to t he t able t hat shou ld not be dism issed ba sed upon t he elec t ion v ic tor y.”

RACHEL LEUNG Daily Staff Reporter

The University of Michigan is updating their policy and procedures on Student Sexual and Gender-Based Misconduct and Other Forms of Interpersonal Violence in accordance with the policy’s annual review. E. Royster Harper, vice president for Student Life, announced the policy changes via email to students and faculty Thursday.

According to the email, the University is required to hold the annual review to consider existing policies and make revisions as needed. The University and representatives from the Office of Student Conflict Resolution, the Office for Institutional Equity, the Sexual Assault Prevention and Awareness Center and the Office of the Vice President and General Counsel conducted the review.

The definition of gender-based harassment will be changed to include the resolution of harassment cases that intersect with other federally protected identities such as race, national origin, disability or veteran status. The definition of intimate partner violence has been revised as well to emphasize that the University believes emotional abuse is a reoccurring behavior and not an isolated incident.

In an effort to improve the sanctioning process, cases that used to be heard by a voluntary board of OIE and OSCR-trained faculty, staff and student representatives will now be heard by professional OSCR staff. This approach will reportedly ensure professionals

with significant training will be responsible for determining proper sanctions.

Rackham student Kamaria Porter, who currently serves on the sanctioning board, wrote in an email she understood the volunteer board may have been an unsustainable process due to competing schedules and the large time commitment of case review sessions.

“Being on the board is a huge, unpaid time commitment,” Porter wrote. “It includes reading sometimes hundreds of pages, deliberating for hours, and follow up emails. In addition, we had an 8 hour training. Sometimes things come up and board members can’t be available. That model doesn’t seem sustainable in terms of securing volunteers who are already deeply involved in a professional job, serving as faculty, or pursuing a degree full time.

Finally, the option of mediation between an accuser and the respondent is now available in cases of non-penetrative sexual assault.

Last week, OIE released its annual report on prohibited student conduct, which found sexual misconduct reports increased by 40 percent from 2016.

In addition to Harper’s email, the University also released a statement in the University Record.

Pamela Heatile, the University’s Title IX coordinator and senior director of OIE, said these policy revisions both make the document more comprehensible and assist in the resolution of gender and sexual misconduct cases.

“We are confident that these

changes will make the policy and procedures clearer and easier to understand, while also addressing some important changes that are significant to the adjudication of these cases,” Heatlie said.

According to the U.S. Department of Education website, Title IX states, “No person shall, on the basis of sex, be excluded from participation in, be denied the benefits of, or be subjected to discrimination under any education program or activity receiving Federal financial assistance.” In accordance with Title IX, any applicable institution is required to hold a self-evaluation as a guarantee that the institution is actively working to eliminate gender-based discrimination.

In the past, the University has been investigated by the U.S. Department of Education for their handling of a sexual misconduct case in 2014. The University was later criticized by students for failing to release reports of the investigation.

In collaboration with the Obama administration, the DOE’s Office for Civil Rights released a “Dear Colleague” letter to universities in 2011 as a commitment to Title IX, which obligated universities to respond to sexual assault claims promptly.

However, activists now fear much of the progress which was accomplished under former President Obama will be reversed by current U.S. Secretary of Education Betsy DeVos and the Trump administration.

Read more at MichiganDaily.com

2C — Fall 2018

The Michigan Daily — michigandaily.com

Students call out CSG Bicentennial event HAILstorm! reflects on guide as unreasonable University history in fall festival finale RHEA CHEETI

Daily Staff Reporter

The University of Michigan’s Central Student Government released a Campus Affordability Guide Saturday and has since received backlash from many members of the student body. The online publication was widely touted as a “guide to cost-effective living at the University,” and lists a few dozen tips for students to cut down on costs in the face of rising living costs.

Suggestions such as cutting down on housekeeping services, laundry delivery or limiting impulse purchases left low-income students incredulous.

In a Facebook post that has been shared 27 times as of Thursday evening, LSA senior Zoe Proegler expressed her dissatisfaction with the way CSG approached affordability on campus.

“We all know Ann Arbor is expensive,” Proegler wrote.

“Guides like this, which lecture to lower income students about how rich people think poor people can change a couple habits (or lightbulbs?) and not be poor anymore, do not help. Rather, they’re a slap in the face to people who fight every day to be here.”

A 2016 demographic selfsurvey conducted by CSG in 2016 found 74.4 percent of its members come from households that earn over $100,000 a year, and 37.2 percent have household incomes of over $250,000.

According to a recent report, the University ranks last in economic mobility when compared to other top-ranked public universities.

“It was really immediate, the way that it hit me —

something about the tone being off,” Proegler later said in an interview. “As I was reading it, it didn’t seem like something that had really taken into account the problems of students who are experiencing absolute issues with accessibility and affordability. It didn’t read like something that would actually be working towards improving accessibility for students who need it, and for CSG to push it that way was upsetting.”

Proegler brought up the specific points mentioned in the article, some of which she felt were out of touch and potentially dangerous to the students who would benefit most from this guide.

“It comes up twice in those first 50 points that students should get rid of cleaning or laundry service subscriptions in order to save money,” she said. “That, to me, doesn’t sound like they’re really addressing students who they intended to be targeting with that. The whole guide seemed to put CSG at a disadvantage in communicating what they were trying to do. There’s no way you can explain to somebody what a balance transfer is in two sentences.

And to attempt to do so, is I think, grossly negligent.”

In a comment on Proegler’s Facebook post, CSG Vice President Nadine Jawad wrote she thought the numerous comments critiquing the guide misrepresented her years spent working with Ann Arbor City Council members, students and programs, such as the Ginsberg Center, in order to present options for students to live in Ann Arbor on a budget.

Read more at MichiganDaily.com

AMARA SHAIKH Daily Staff Reporter

Students, faculty and communit y members gat hered toget her in Inga lls Ma ll to watch H A ILstorm! on Friday night, t he 3-D light show t hat pa id t ribute to t he Universit y of Michiga n’s 200 yea r legacy. The show wa s projected on t he outside of t he R ackha m Building, a nd wa s deemed t he pinnacle of t he Universit y of Michiga n Bicentennia l Celebrations.

It wa s produced by t he Bicentennia l Of f ice, Bluewater Technolog ies a nd Ma xin10sit y, a nd feat ured a w ide va riet y of high-tech g raphics a nd a nimation.

A long w it h t he show, t here wa s music, food a nd festiv ities for spectators to enjoy.

Ga r y K renz, executive director of t he Universit y of Michiga n Bicentennia l, expla ined t he goa l of

H A ILstorm! wa s to ta ke people t hrough t he histor y of t he Universit y w it h a n

Bicentennia l celebrations a s a whole. He discussed how even t hough t he Universit y

“I think the campus still has issues it needs to work on. But, I think events like tonight’s really show us how we come together as a community.”

exciting presentation.

“It ’s a 3-D projection mapping light show on t he façade of R ackha m,” K renz sa id. “It ’s going to incorporate a ll kinds of st uf f f rom t he histor y, present a nd f ut ure of U of M-lots of lights, lots of motion, a huge a mount of energ y. People a re rea lly going to enjoy it.”

K renz a lso ref lected on t he

enjoys showca sing a ll t he good it ha s accomplished over t he la st 200 yea rs, it ’s a lso impor ta nt to come toget her a s a communit y to understa nd t he a rea s where t he instit ution fell shor t. “ When you reach a n a nniversa r y like t his, you rea lly ca n pull t he whole communit y toget her to ref lect,” K renz sa id. “ Pa r t of t his is to celebrate how g reat

ALEC COHEN / DAILY

The concluding projection of the University of Michigan bicentennial logo at the HAILstorm light show on Ingalls Mall October 27, 2017.

we a re, but pa r t of it is a lso to t hink about where we’ve made some mista kes, a nd how do we t hink about t hat a s we go for wa rd.”

R ackha m st udent Ka itly n Por ta l echoed K renz’s statement about t he va lue of bring ing t he communit y toget her. She a lso pointed out recent racist incidents on ca mpus show t he Universit y still ha s a rea s it needs to improve on.

“I like t he way t hat t hey focused on bring ing t he U of M communit y toget her, a nd identif ied ways t hat we ca n improve ourselvesespecia lly recently w it h t he racia l events on ca mpus,” Por ta l sa id. “I t hink t he ca mpus still ha s issues it needs to work on. But, I t hink events like tonight ’s rea lly show us how we come toget her a s a communit y.”

A long w it h a rea s for improvement, LSA senior A iya Saad wa s ver y impressed w it h t he Bicentennia l showca se of new technolog y t he Universit y is developing.

Saad expla ined she looks for wa rd to seeing t he diverse ra nge of innovations Universit y st udents a nd facult y create.

“I hope Michiga n keeps doing what t hey ’re doing.

I’ve seen a lot of what people have been working on in dif ferent a rea s of ca mpus, a nd I wa s so a ma zed. I hope to see more of t hat going for wa rd,” Saad sa id.

K renz hopes t he Bicentennia l celebrations a llowed people to ref lect on t he Universit y ’s legacy, understa nd t he cha llenges it ha s faced a nd obta in a st ronger historica l awa reness going for wa rd.

Game over for Michigan Time MAYA GOLDMAN Daily News Editor

LSA sophomore Lexi Michaels wasn’t expecting to be late to her Psychology 280 exam. In fact, she thought she was early. But when she walked into the testing accommodations room a few minutes after 2:30 — she’d run there right from her last class — she realized the exam was not being administered on Michigan time, and everyone else had already started.

“My expectation was that it would (start on Michigan time), because that’s what most of my classes and exams start on, even if they’re in a testing accommodations room,” Michaels said. “And it didn’t. I walked in really flustered. I was like, ‘Are they going to let me take the exam?’”

After the initial scare, everything turned out fine for Michaels. She was still given a full two hours to take her exam, and no one was angry at her for coming in late. However, start time confusion is common at the University of Michigan, and the administration has decided it’s time to take action.

Starting May 1, no University classes will run on Michigan time, the 10 minute late-start built into most undergraduate classes at the University. Michigan time is a University tradition that dates back to the 1930s. Students and professors used to time their classes according to the chimes of the Burton Tower at the beginning of each hour, and Michigan time was officially adopted to allow students to get from class to class without being late. Now, to allow for students to get to back-to-back classes, all classes will stop 10 minutes before the hour.

Though administrators have been talking about removing Michigan time for many years now — University Provost Martin Philbert said there have been conversations since he came to the University in 1995 — this is the first time anything conclusive has passed. The change will start in May for the Spring and Summer terms, so any unexpected kinks

can be worked out before the Fall 2018 semester.

“The freshmen will come in not knowing a time we had it,” Philbert said.

According to Philbert, it was a “tradition born out of necessity.”

Now, however, some see the once-crucial tradition as a hindrance. Many newer University schools never adopted it, and Patricia Hurn, dean of the School of Nursing, told The Daily in an email Michigan time was never an option for the Nursing School.

“The major reason our classes have not used Michigan Time is because we are a clinical discipline,” Hurn wrote. “So we very early on aligned our class times, specifically the on-thehour start time, with the time of our clinical partners. None of these partners recognize or utilize ‘Michigan time.’”

Problems arise when University units aren’t operating on synchronized schedules, and because programs like Nursing don’t have the option of Michigan time, Philbert thinks going to “clock time” is the most logical course of action.

One of the major issues the new system aims to fix is the shortage of classrooms. When some schools are on Michigan time and

others are not, classrooms are unavailable for up to 10 minutes at the end of the hour.

“We have the need for more classrooms,” Philbert said.

“We have more sections, which require more rooms, and some of these rooms require specialized services. So by aligning time, we free up the number and types of classrooms available.”

University spokesman Rick Fitzgerald said the University is also hoping the switch will make collaboration among different schools and departments easier.

“I’d say one of the hallmarks of our campus is cross-University collaboration,” Fitzgerald said.

“From school and colleges and departments and different units who are constantly crosspollinating all of our efforts, and this really facilitates that… We’re just eliminating one of those stumbling blocks.”

Though there are clear benefits for faculty and administrators, students are uncertain about the upcoming change. Michaels, even after her exam confusion, thinks Michigan time works well. She’s concerned professors will have a difficult time stopping 10 minutes short of the hour.

“I really like Michigan time.

I think it makes so much sense, especially when you have back-

to-back classes,” she said. “It gets your day rolling. I think that (this new system) is just a cause for disaster. I think that professors are way more aware of starting 10 minutes late because they haven’t started yet, but if they have to end 10 minutes early, they’re not going to know to stop.”

While Michaels understands this could eventually be a good system, the thought of working through the transition next semester is daunting.

“It’s going to be a huge transition and it’s going to mess a lot of people up with their schedules,” Michaels said. “I don’t think this is a good idea, but that’s just because I’m used to Michigan time and I think that this is working well so I don’t see why you should change what’s already working and what people like.”

On the other hand, Philbert said he’s received a lot of positive feedback about the change from students and faculty.

“Especially through Vice President Royster’s office, we have worked with many student organizations,” Philbert said. “In my experience there’s been an enormous sigh of relief that we’re all going to be operating on the same expectations of starting and finishing.”

ROSEANNE CHAO / DAILY

The Michigan Daily — michigandaily.com

Fall 2018 — 3C

LEO ratifies new contract increasing pay, benefits GRACE KAY

Summer Managing News Editor

After three days of electronic balloting and five membership events spread out across the three campuses outlining the new contract, the Lecturers’ Employee Organization voted to ratify a new labor agreement with the University on July 13.

Ninety eight percent of LEO members voted in favor of the new contract which will raise wages, improve healthcare and boost job security for lecturers across the three campuses. The contract was reached and presented to the union members for a vote following months of negotiations and numerous bargaining sessions with the University. LEO represents a union of more than 1,700 lecturers who collectively teach tens of thousands of students at the Ann Arbor, Dearborn and Flint campuses.

“This agreement is a result of months of hard work at the bargaining table – and much more,” LEO Vice President Kirsten Herold, a lecturer at the U-M School of Public Health and manager of the LEO bargaining team, said in LEO’s official statement. “We organized.

We marched. We rallied. We lobbied. And we built a coalition that includes students, tenure-track faculty, union members on and off the campus, elected officials and community allies.”

LEO’s previous contract expired on May 29. Since the beginning of the last academic year, LEO has been pushing for higher wages, improved healthcare and greater equity of resources across the three U-M campuses.

Under the new contract, as of September current lecturers will receive annual base pay raises ranging from $3,000 to $12,500, depending on the length of each lecturer’s service. Those who

make over $80,000 will receive a combination of base increases and lump-sum payments.

By September 2020 the minimum salary at which the University can hire lecturers will increase at each campus. In Ann Arbor, the base salary will increase by 47.8 percent from $34,500 to $51,000. In Flint there will be a 50.2 percent increase from $27,300 to $41,000. Finally, in Dearborn, the starting salary will go from $28,300 to $41,000, a 44.9 percent increase.

LEO President Ian Robinson said the new contract represents not only a shift in the University’s treatment of lecturers but also in its perception of lecturers.

“I would say that this is a real paradigm shift for our relationship with the University of Michigan,” Robinson said. “We really have dramatically improved the livelihoods of many, many of our members. Not everybody was poorly paid but many were and most of those now are at a living wage and the kind of wage that is more appropriate for a professional making a career teaching at the University of Michigan and that’s huge.”

Robinson explained the University has taken a massive step forward, serving as an example for other institutions with lecturers facing the same issues.

“There aren’t many, if any, other universities in the country that have made such a big change in the way they treat their lecturers,” Robinson said. “I don’t want to say this is the best agreement in the country, but I think it’s up there in the top few.

It’s also a beacon for other lecturers and other universities for what universities can and ought to do around the country.”

The new contract will increase the University’s contribution to retirement income for lecturers, improve healthcare, enhance job security by modifying the lecturers’

performance review process and provide additional funding for professional development for the lecturers. As a result of the new contract, a labor management conference will be held during the Fall 2019 semester in order for LEO and the University administration to discuss their progress towards the goal of improving diversity among the population of lecturers.

While the contract is a huge step forward for the lecturers, both Herold and Robinson agree it does not meet all of LEO’s expectations.

“We did not achieve everything our members wanted, especially in Flint and Dearborn – that is going to take more than a single round of collective bargaining,” Herold said.

“But this contract does recognize the value lecturers contribute on all three campuses and sets the stage for further improvements.”

LEO member Steven Toth, a U-M Flint chemistry lecturer, said the discrepancy between the campuses can be discouraging for lecturers outside of the Ann Arbor campus.

“I think we should be working more towards equity across the campuses and I think it’s a pretty bad signal to say someone that teaches at Ann Arbor is worth more than someone who teaches at Flint or Dearborn,” Toth said. “I do think that they should be paid more due to the cost of living (in Ann Arbor) but not as dramatic as it is now.”

Similarly, Robinson said LEO is not done fighting to overcome the wage discrepancy between the three campuses. He believes there are other ways outside of collective bargaining to meet this need.

“Some things are bargained for collectively through negotiations and some things are much bigger,” Robinson said. “This is something that is much bigger than just a collective agreement.”

Read more at MichiganDaily.com

4C — Fall 2018

The Michigan Daily — michigandaily.com

Creatives of Color: A revolution in creative NA’KIA CHANNEY MiC Senior Editor

When Drew Metcalf, an LSA junior studying screen arts and culture, submitted his project proposal to optiMize’s Social Innovation Challenge, he had no idea he would end up forming a creative expression showcase that would impact more than 150 students.

With a strong passion for creativity and art, Metcalf has a natural drive for building community, cultural understanding and confidence — all through the power of expression.

With his new organization, Creatives of Color, Metcalf is using art to revolutionize how students of color come together.

The purpose of Creatives of Color is to foster connections among artists of color by providing opportunities for collaboration, expression, and networking. Its platform is centered around providing support and resources to give students the freedom and means to pursue their creative initiatives.

Metcalf got his start from optiMize, a social innovation organization dedicated to inspiring students to initiate self-driven products to work toward a more sustainable world. Through optiMize, Metcalf received mentor support, visioning workshops and an expansive network to help him make his mission a tangible reality.

To formally introduce his organization, Metcalf held a creative showcase April 11.

The showcase featured an expansive range of art, such as photography, animation, singing, dance, and poetry.

It featured projects from 25 participants of varying cultures, ages and majors, adding to the diverse makeup of projects presented.

In preparation for the showcase, Metcalf said he and his team randomly paired students together as he wanted to explore the creative capacity that could come from strangers. Metcalf and his team provided guidance and assistance to student teams. He hoped students would feel encouraged and confident enough to

pursue creative means not traditionally explored.

“We wanted to showcase all kinds of art. When people think of creative work, they jump to music, poetry, and dance. But, we also have committees for other written art, like journalism and creative writing,” he said.

Though the showcase received an immensely positive response, it did not occur without setbacks and moments of discouragement.

As the term went on, more and more groups dropped out due to academic demands and other time restraints.

However, Metcalf stayed optimistic, commenting even if two people showed up to the showcase, as long as everyone had fun, the work would not go to waste.

“There were a couple of times that I wanted to throw in the towel … But my team kept me grounded,” he said.

Drew’s project was received so well that it solidified additional funding, which will allow the organization to continue active development over the summer. His summer project will consist of building the social network of professional and aspiring creatives, striving to bridge the gap between access to resources and mentors.

With this amount of momentum, it is clear that Creatives of Color has a bright and eventful future ahead. Future plans include creative workshops, collaborations, exhibitions and youth outreach. As the organization is still in its infancy, the possibilities are wide open, and Metcalf is ready to take them head-on.

“The cool thing about (this project) is that there’s so much room for creativity and innovation. There are so many things we can we can do with this organization, and the ideas keep coming.

I’m interested to see what comes of it,” he said while smiling.

Anyone interested in getting involved with Creatives of Color can join their Maizepage group, contact the group directly at thecreativesofcolor@gmail. com or fill out their EBoard application.

When standing up to white supremacy, every step matters CHARDE MADOULA-BEY MiC Contributor

Every morning, I find myself walking to class listening to my favorite songs, watching squirrels as they finesse food from passersby and moving around white people walking in my direction on the sidewalks. Before I noticed this disturbing pattern of mine, I always thought that stepping out of the way for oncoming pedestrians was just the polite thing to do.

However, I recently noticed that the oncoming traffic, specifically when the person was white, would never return the common courtesy of stepping to the side when I walked by. I began to ask myself questions and wonder if I was carrying out the same subconscious behavior with people of other races. So, I decided to experiment a bit.

Whenever a person of color walked by, I made space — while carefully watching if they would do the same. I tried doing this with people of color in large groups, small

groups and by themselves.

Each occurrence led to the same outcome: mutual respect for sidewalk space. This data then led me to the belief that this was a natural behavior of only white people, notably among white women.

After coming to such conclusion, I decided to try something even riskier: not move at all when white people passed by. I thought perhaps the confidence of a large, stocky Black woman standing her ground would make a difference and would be a call for change. But hell, was I wrong. Instead of change, I got shoulder bumped and glared at, commonly followed by snarky remarks such as, “Watch where you’re going,” “Wow that was rude” or “I can’t believe she just did that.” Of them all, it was the repetitive comment of “I can’t believe she just did THAT.” Confused on what “that” was referring to.

As I continued my investigation of this behavior, I became aware of some not-so-surprising history of

racial tensions and practices of white supremacy. I was in Associate Professor Stephen Berrey’s American South course when he started the lecture by talking about the more blatant and explicit forms of Jim Crow and racial superiority. He then clicked on a slide informing the class about more subtle practices in Southern states.

He went on to state that “the expectation that Black people would step off the sidewalk for approaching white people was a common custom across the South that had extended back into the days of slavery (in which enslaved people were expected to step off ).

The incident (that exemplifies this was) in Danville, Va., in 1883 during an election year in which many white people were alarmed over growing Black political power and fears that Black people considered themselves the social equal of white people — as evidenced by the refusal to perform expected roles.”

And many decades later, during the Jim Crow era,

ROSEANNE CHAO / DAILY

Black people continued to step off the sidewalk when a white person were to walk in their direction. Otherwise as noted previously, if a Black person failed to do so, they were acting as defiant, uppity and downright disrespectful.

Now it all makes sense.

This demonstration of subservience during such a simple thing like walking on the sidewalk was not and is not my fault. Instead, it is deep-rooted racism and white supremacy among white people that led me to feel inferior, just as my ancestors felt during the Jim Crow era, and much earlier.

But wait — there’s more.

I didn’t just notice this f latout disrespect and sense of superiority on the University of Michigan’s campus.

I’ve experienced it in the halls of high schools, where younger white students would do the same thing.

I’ve experienced it walking downtown Detroit, a place where many white people dramatically state that they are afraid to go, yet there they are, subtly enforcing white supremacy. I’ve experienced it in grocery stores, malls and just about anywhere you could think of.

But now, I don’t move. I don’t budge. I don’t care. I don’t care whose shoulder I bump into, whose avocado matcha smoothie I spill or whose day I ruin. Why? Because every day that this continues to happen to other students, especially Black students, the more embedded and unnoticed it becomes, and the further it goes. So now when you see me walking and I don’t move, do not think it is because I am just another stuck up Black girl with an attitude, know it’s because I’m sick and tired and a change is bound to come. One step at a time.

When Justice Isn’t Served NARMEEN REHMAN MiC Contributor I pin my scarf around my hair until it feels secure. The night is still as the call for prayer (athan) sings through my phone — I close my eyes and take a deep breath of the warm June air. I exhale to the cadence of the athan, renewing a sense of calm and strength in my body after a long day of fasting. As I walked down the road to my mosque, I reflect on the feeling of security underneath the crescent moon of a Ramadan night.

I’m sure Nabra Hassanen felt the same.

The headlights of a car zipping around the corner interrupt my daze and I pick up my pace in a small panic, remembering the heartbreak that occurred almost a year ago.

Earlier that day, I came across a video of Nabra

Hassanen’s father responding to questions about the brutal murder of his daughter. My heart ached for him and I could see my own father in his cries. Last Ramadan, she was killed by Darwin Torres while walking to her mosque after an early morning suhoor (breakfast) with her friends at McDonald’s, a spot my friends have frequented at the brink of dawn during our Ramadan nights. That could’ve been any of my friends leaving the McDonald’s parking lot to not return again. This cut felt deep. It was personal.

It has been almost one year since Nabra Hassanen’s father called for justice in the name of his daughter, believing there is no doubt that she was targeted because she wears hijab.

Instead, the news was quick to call it “road rage.”

Torres grabbed a bat from

his car and furiously beat her face unrecognizable and the news said it was “it wasn’t about her.”

He ripped her hijab off, carried her limp body deep into the woods to assault her, and the police were quick to state it was “not a hate crime.” sure, it could have been road rage — but it also could have been the same rage that prompted an individual to set her memorial ablaze.

This incident is far from isolated. It reminded me of years ago when bullets ripped through the home of three Muslims in North Carolina: Deah, Yusor, and Razan. Their executionstyle deaths were attributed to a parking dispute. When you witness and experience discrimination firsthand, these terms of prosecution begin to seem naive.

This insidious hatred doesn’t only target Muslim communities, but those marginalized across the nation.

In order for a crime to be classified as a hate crime, it must show that the crime clearly targets an individual due to their characteristics.

However, to be a minority in America is to know that discrimination does not need to be overt or blatantly stated to be felt. To be a minority in America is to watch as the brutal murders of people who look like us are lessened to “coincidences” and are abandoned in the rule of law.

We know damn well it’s no coincidence.

We feel ourselves, our families, and our friends in each name that quickly passes through the ticker at the bottom of the news screen. How many lives will our communities lose to ignorance and hatred that will be labeled as else? Does America sweep the targeting of individuals on the basis of religion, race, and sexual identity under the rug so we don’t have to address the

greater issue of toxic biases in America? Why do we bury hate under legal euphemisms instead of calling it out as it is?

In a call of remembrance for Nabra and justice for the many minorities that are targeted on a daily basis in America, I make a case for the hate crime. There are a number of reasons why America is uncomfortable labeling these offenses as driven by hate. This discomfort in itself is a sign that we need to debate and explore the semantics of them more.

Legally, it is complicated.

Once it carries the label of a hate crime, it elevates a normal crime to a more serious offense, requiring greater attention from law enforcement. Police often aren’t trained on these matters and there is no uniform method to track and handle these crimes.

Socially, it is a symbol. Hate crimes say to criminals that bigotry will not be permitted in this community, state or nation. To communities targeted, it says that they are heard, respected and protected by the rule of law.

This begs the question — is there a reason why we don’t take the extra steps to make minority communities feel more safe and welcome?

One wrong interaction, one wrong person to cross paths with — this is all it takes. When stories of hate crimes air on the news, they’re often followed by my parent’s “This is why we tell you to be careful.” But, we both understand that no matter how careful I am, I can’t control those around me. I can’t control someone who wants to meet my beliefs with a bullet, who sees my brother’s skin color as a bullseye or who wishes my friend’s hijab were a noose. I’m afraid, our communities are afraid and it’s about time our laws step up to protect us.

The Michigan Daily — michigandaily.com

Combating the monolith: Part one PRIYA JUDGE

MiC Assistant Editor

Asian/Pacific Islander American Heritage Month celebrations have begun, and while I am actively taking part in celebrating A/PIA history, I have also taken time to reflect on my engagement with the A/ PIA community on campus.

A/PIAs are often subject to narratives that paint us as a monolith — a homogeneous group of people from an arbitrarily drawn region of the world. These narratives constrain what we and those outside of our circles perceive as A/PIA, and they are — as I have increasingly come to realize — violently perpetuated not only by the forces of white supremacy but by our own communities.

The notion that all A/PIAs come from similar classes and cultural backgrounds paints all A/PIAs as holding equal privilege, entirely ignoring the ethnic hierarchies that exist not only in Asia, but in our Asian/ Pacific Islander communities in the diaspora. The forces of exclusion and elitism these dynamics create, however, go largely unacknowledged.

This is despite the fact acceptance in self-proclaimed A/PIA spaces on campus often necessitates assimilation into an upper-class, mono-racial/ethnic and East-Asian consciousness.

I have often felt the need to qualify my presence in these spaces with explanations regarding my bi-ethnicity or assertions that I am, in fact, just as entitled to the label of “A/PIA” as everyone else in the room.

It has been a lifetime of these qualifications that leads me to this; it is so crucial that we are able to confront the fact the monolith is not only an idea that

is arbitrarily imposed on us, but also a rhetoric that defines who is recognized as a valid member of this community. I feel this every time I walk into an A/ PIA space where there is no one of my skin color, my openly bi-ethnic identity or my cultural background. I feel it every time we preach “unity” but fail to vocalize the ways in which intra-Asian/Pacific Islander imperialism has created tension between us. I feel it every time the notion of a unified, invincible A/PIA identity masks the realities of exclusion in our community.

Thus, “A/PIA Heritage Month: Combating the Monolith” begins today. This spotlight series will highlight A/PIAs who may not necessarily fall into the notion of what an A/PIA is or should be. Though this series will not paint a comprehensive picture of all A/ PIA narratives, I hope that this month we can begin scratching the surface of a community that harbors an immense diversity in culture and experience.

My reflection is not indicative of the thoughts, feelings or convictions of those who will come after me. They are simply my own. In this vein, the stories you will hear over the course of this month are not ones that should be viewed as representative of their respective identities. Rather, they are individual narratives that have developed and emerged from experiences just as vivid, intimate and whole as yours.

With that, I wish you all a happy A/PIA Heritage Month!

Let us engage in the celebration of the rich cultures and identities that make up our community, and let us strive toward an ideal of unity that recognizes and celebrates our difference.

Fall 2018 — 5C

Visiting the Newseum: The present and future ASHLEY TJHUNG Managing MiC Editor

As a fourth grader, my afternoon routine was simple. After getting off the bus, I’d make myself some microwavable macaroni & cheese and settle in with a copy of The Detroit Free Press. I’d usually start with the sports section (no one knew the Pistons like I did) before moving on to the news section, film reviews and, finally, the comics. The day the Freep stopped delivering to my household was a dark one and I unconvincingly pleaded with my parents to pay for the new, much more expensive special delivery fee.

My love of the news didn’t stop as I grew older (even if daily newspaper deliveries did). In high school, I joined my school paper and fell in love with being on the other side of the business.

While the readership was small, I relished the power of a platform and its ability to shape conversation. This

led me to join The Michigan Daily where I found my way to Michigan in Color — the section of The Daily dedicated to uplifting voices of color.

However, as a member of MiC, my rosy view of the journalism industry began to dim. MiC was founded because The Daily lacked the voices of students of color, which led to the mischaracterization and oftentimes racist depictions of students of color. The founders of MiC felt they couldn’t trust journalists to properly convey the real experiences of people of color, so they created a section where we would write for ourselves.

Fast forward to a week ago. Since I first heard about the Newseum, I’ve been intrigued. The museum is intended as a testament to the First Amendment — freedom of the press, speech, religion and petition — and its importance to a thriving society. From my first steps into the building, I felt the weight and responsibility the press puts on itself.

The author standing in front of the Journalists Memorial

Famous quotes about the importance of the First Amendment, and the press in particular, covered the walls while exhibits contained information and old news clips explaining the role of the press in the Civil Rights Movement, the Vietnam War and uncovering injustice around the world. Highlights included a timeline of front pages of newspapers from pivotal points in history and the sobering memorial to journalists murdered for their work in pursuing justice.

The Newseum is a glorification of the press.

In these hallowed halls, the press is always on the right side of history — always there to stand up for the rights of the oppressed, always objective, always the hero. However, I take issue with this the lack of nuance, and honestly, the reality of the building. The Newseum ignored one of the tenets of good journalism: Always tell the whole story.

For all the headlines the Newseum showcased that exalted the Civil Rights

SAM SO / DAILY

Movement, they missed the ones decrying its protesters as “troublemakers” or “rioters.”

The Newseum can cherrypick the front pages for the ones that portray the press in a good light, but it doesn’t erase the harmful work that has occurred and continues to this day.

For its faults, I cannot entirely dislike the Newseum or the industry and values it so lovingly portrays. The press is a vital institution for a fair society and historically it has been a part of social change and progress. However, for all its virtues, members of the media must come to terms with the harm those same actions can cause. For all the Watergates and Pentagon Papers journalism unveils, it does not mitigate that the news industry was the main driver of associating Islam with terrorism.

As the “first rough draft of history,” the news often shapes what and how people think. When the only stories of people of color are negative, how will society react? When Black people who march are rioters but white people who march are protesters, what will society think? I want to be clear, this isn’t a critique of the Breitbarts of the world. This is a critique of the New York Times, Washington Posts, and Michigan Dailys — papers that strive for greatness but either ignorantly or willfully continue the marginalization of vulnerable populations. It’s easy to rest on the laurels of journalism’s success, but we cannot act like journalism is immune to the racism, sexism and bigotry that permeates society. The press often acts as an accountability measure for governments and corporations — it’s time we shined that spotlight on ourselves.

6C— Fall 2018

The Michigan Daily — michigandaily.com

Mental health in communities of color EFE OSAGIE

MiC Assistant Editor

Mental illness is something hardly talked about in our country.

Though mental illnesses like depression, anxiety, and bipolar disorder are extremely common and are extremely pressing issues, for some reason, discussion of them always seems to get swept under the rug. Mental illness plays a role in as high as 90 percent of suicides amongst some professionals, though this statistic is often times debated, there is no denying that mental health directly correlates to mortality rates.

These studies are extremely concerning, considering the increasing suicide rates in our nation. Mental health should be something we are always talking about — we shouldn’t have to wait until the latest suicide, whether it be someone you know or a celebrity.

As little as mental health is talked about in America, it’s discussed even less among people of color. Having a mental illness is stigmatized in communities of color, as something that makes you weak, something you should be ashamed of and should not talk about. Even though the reality of the world is that a lot of times, people of color are more likely to have mental health issues, probably because the discrimination and oppression they face on a daily basis have adverse effects on their mentality. For example, African American adults are 20 percent more likely to experience mental health issues than the rest of the population.

One reason why mental illnesses are so prevalent in

communities of color is that self-care, something that can really help to prevent mental issues, is seen as a luxury and not a necessity. In one of my classes during the school year that was made up solely of students of color, we discussed the stigmas associated with self-care options such as therapy or yoga. Many students recounted how in their communities, things like those were described as “things for white people,” or luxuries versus necessities to help your mental health. We also discussed how in all of our respective communities, things like therapy were seen as taboo and something not to be discussed and to be swept under the rug, that it was embarrassing to have an issue requiring professional help and if you did you just should not talk about it.

The lack of discussion about mental health leads to multiple issues, as it seriously invalidates the experiences of those who do have mental health problems. This is because it makes them feel as if there’s something seriously wrong with them or that they’re inferior to the rest of their community. In reality, multiple people in their community are struggling with the same issues but are uncomfortable with bringing it up because of the stigma. This adds to the stigma because no one talks about it, creating a cycle.

I know one of the subconscious reasons I have felt othered as a Nigerian woman and a Black woman is due to the fact that I have depression and anxiety. Having a mental illness is never discussed in the circles and communities

I’m in, both of Black people, and of Nigerian people. People just always talked about how when you face struggles and have problems, you were supposed to toughen up and work through it, making it seem so simple. Like all of my problems could be solved with easy fixes and if I was having issues, I must be doing something wrong.

I know from talking to my parents and cousins that mental illnesses “aren’t really a thing” in Nigeria. There, nobody talks about them and they’re never diagnosed. I can only imagine what it would be like to live with a mental illness there. Someone who has depression would just be considered prone to periods of sad moods and someone who has anxiety would just be considered a big worrier. Your illness would stop being just an illness and would begin to define who you are.

This is something that really concerns me because people all over the world have mental illnesses and simply avoiding the conversation does not make them go away. In fact, it makes them get worse, as it prevents people from seeking and receiving the treatment they need. Additionally, it prevents people from prioritizing their mental health, even though it’s just as important as one’s physical health.

It’s really frightening to know how little people of color and people, in general, discuss mental health, even though it’s 2018 and the negative effects of this lack of discussion are multiplying. I’m just hoping it won’t take too many more wake up calls for people to realize we need to do something and fix this.

The Michigan Daily — michigandaily.com

An homage to freshman year JULIA COHN Columnist

Coming to college, everyone echoed a similar mantra: “Cherish every moment, you only have one freshman year.” In the weeks before I finally left for Ann Arbor, I was wrought with anxiety and apprehension by the thought of going to college and leaving everything I knew behind. After unpacking my dorm room and hugging my parents goodbye, I knew, very rationally, that I was turning a new page in my life.

Adulting, growing up, maturing ― however you want to frame it ― I was heading down a new path in my life.

With two weeks of the school year remaining, I get a little choked up every time I think about leaving the University of Michigan, a place that has truly become my new home. Looking back at my first few weeks to my last, the contrast is humorous. I want to pay homage to the parts of my freshman year at the University that made it so special.

My first few weeks of class, I had to use the Google Maps app to get from building to building. Being both directionally challenged and in a whole new environment is quite possibly the worst combination.

Sadly, Maps wasn’t able to lead me to shortcuts, no matter how advanced the newest update may appear.

First semester, I had to walk from South Quad Resident Hall to the School of Public Health three times a week. For those of you who are geographically savvy, this is typically a 15-minute walk, but for the first three weeks of classes, it took me almost exactly 20 minutes to get to class. Maps was like my baby blanket, and I was too scared to go in any other direction other than where Siri directed me. Eventually, when heading to class with a friend one day, she looked at me wildly when I told her I had never cut through the Diag. Like, literally, I had never walked through the

Diag to get to class. Finally being able to understand the intersecting paths around the emblematic ‘M’ on the Diag was a life-changing experience.

One fundamental part of the University’s character is the people that you meet here. I know, not everyone is great; it’s not a perfect place. But coming to this school, I never could have fathomed what it was like to be surrounded by so many smart, passionate and engaging students. There’s a competitive spirit to the University that challenges each student to become the best they can be. And believe me, there were, are and will be so many times where I will sigh in frustration that I am the dumbest person on campus. But having the opportunity to learn in an academically rigorous environment surrounded by peers who foster ambition and achievement is an unparalleled experience. No matter how hard the classes may seem, your classmates, professors and the campus environment are teaching students to grow and achieve more than they have believed.

Another fundamental part is the school spirit and our glorious game days. To be completely transparent, I am not a football person, but I love U-M game days with all of my heart.

There is something so incredible about thousands of students, dressed in maize and blue, singing “Hail to the Victors” and willing a win out of our team. Win or lose, there is always unprecedented pride toward our team and our school.

The student body feels as one unit, united by the spirit of the University of Michigan.

To the future Wolverines: Don’t take your freshman year for granted. Of course, it will be hard, and the University won’t feel like home with the snap of your fingers.

But hold tight to the little moments, cut through the Diag and sing “Hail to the Victors” like it’s the last game day of your senior year.

Fall 2018 — 7C

Environmental “slack-tivism” in 2018 JULIA MONTAG Columnist

It’s 2018 and this year we celebrated the 48th anniversary of Earth Day, a global day of recognition for environmental protection. It also marks day zero of the Environmental Protection Agency “strengthening” the quality of science it uses to write new environmental rules, a decision made by EPA Administrator Scott Pruitt. “Strengthening” in this case means narrowing the scope of science available to the EPA to only findings that are reproducible and authentic, which may potentially violate the EPA’s pledge to use the best available science.

Recently, I was reminded by a CNN push notification that the health of my environment, as well as the integrity of my right to take action, is deteriorating.

I immediately felt there was no legitimate way for me to express my disdain for political decisions like

this one. After reading, I interrupted my friend’s final-paper-writing trance so she could commiserate with me in anger about the article.

“Wow,” she sighed, “you should share that article on Facebook.”

This is “slacktivism,” or the watered-down support for an issue that requires only the most minimal effort, such as expressing opinions on social media. This is how our generation takes action. Is it true that millennial Wolverines are lazily riding a ski lift up the activism mountain, while generations before us trekked and trudged to reach the top of it? It is possible we come off as [COPY: confusing, maybe should say “it is possible we appear to them to be”] the pre-cooked meals in the freezer section of Kroger that require minimal effort to enjoy – just two minutes of “labor.” We are to past generations of activists as EasyBib is to handwriting an APAstyle reference.

Activists across the world gather annually on Earth Day in an attempt

Wardrobe Malfunction, Sarah Neff can be reached at sane@umich.edu

to harness the power necessary to keep the passion alive and stand up against environmental injustice. But what classifies as standing up for the Earth? Standing up for the Earth in 2018 is quite different than it was in 1970, especially on the University of Michigan campus – but how different?

“Slacktivism” on our campus, unfortunately, casts a shadow on our school’s unparalleled legacy of student-driven action. In March 1970, U-M students organized a four-day-long series of events that revolved around taking action toward bettering their dirty surroundings. This “teach-in” served as a precursor to the first Earth Day just one month later.

Before 1970, the environment was degrading nationwide; the Cuyahoga River in Ohio was so polluted that it ignited and Santa Barbara was suffering after a massive oil spill. Locally, the Huron River’s wildlife populations were dropping like flies because its flies were drinking poisoned water.

The 1970 teach-in let students take action in a way that had never been done before. Young adults our age attended conferences hosted by politicians in an attempt to gain perspective on the issues. They enrolled in the brand new environmental law major and walked along the Huron River to protest its deterioration. They took sledgehammers to a vehicle in the Diag that was facing a “trial and execution” for its pollution crime. They visited a former Ann Arbor Coca-Cola bottling plant and dropped off thousands of cans that were, at the time, non-returnable. They then picked up that mess of cans with their own hands.

Our generation has a slightly different way of expressing disgust for the state of the environment SARAH NEFF and its policies, as shown by my friend’s suggestion to

Facebook “share” the Pruitt article.

We use our own two hands to type outraged, opinionated streams of consciousness onto Facebook, letting the world know our true opinions about who is responsible for polluting what, and how John Appleseed should be paying for its clean-up. We retweet digs at Pruitt that criticize his tactics, question his motives, and press for answers about the future of the EPA. However, we need to start doing the action ourselves — the criticizing, the questioning and the pressing for answers.

We’ve picked a bad time for action to shift to inaction, for correspondence with state senators to turn into retweets and Facebook shares. I say “bad time” because as a country, we exist in quite a tumultuous environment, both environmentally and politically.

Just this past year, humans’ actions resulted in the inability to coexist with certain species and a climate disaster in Puerto Rico. The U.S. was one of the only countries to withdraw from the Paris agreement and remove itself from the pact to reduce greenhouse gas emissions.

Not to worry — if all feels hopeless and degradation seems inevitable, check out the University’s sustainability website, and explore the huge progress the University has made to better the Earth and work toward our 2025 campus goals. We’ve already succeeded in applying 40 percent less chemicals to the green of our campus, but we need to focus on recycling to reduce waste sent to landfills and walking or busing to class to reduce our carbon footprint.

April 22, 2018 has come and gone, sweeping like a whirlwind over our country and hitting Ann Arbor especially hard. The 48th anniversary of Earth Day should serve as our push-notification reminder to wake up and smell the roses, both figuratively and literally.

We are now in the same position as the 1970 U-M undergraduates that spoke up for what they believed in and inspired a national movement.

8C — Fall 2018

The Michigan Daily — michigandaily.com

Female athletics in sports media MARLEE BURRIDGE Columnist

Just as ticket prices appear to impact the public’s opinion of women’s sports, so does the sports media. There is little to no coverage of women’s athletics and that leads to a lack of investment, interest and education on the part of the public. It becomes extremely difficult to generate support when the big influencers in sports media disregard any important events that happen in the female athletics world. In fact, the only time there is any significant coverage of women’s sporting events is during the Olympics and the World Cup. This becomes more obvious during March Madness. The men’s and women’s tournaments run side by side, yet the men’s tournament receives all of the media attention. In fact, I cannot recall a single time during the tournaments when I turned on ESPN and they were talking about the women’s tournament.

For example, Sister Jean and the Loyola men’s basketball team received an extreme amount of media attention and were constantly in the conversation while the Notre Dame women’s basketball team received no attention despite the fact that they beat the undefeated University of Connecticut team in the Final Four, and Arike Ogunbowale went on to hit a buzzer beater to win it all. Of course, the Loyola team and their chaplain deserved attention as they were a fantastic Cinderella story, but perhaps some of the time spent covering them could have been better spent on the women’s tournament.

Another issue that accompanies the lack of media coverage is that it becomes very difficult to find articles and news about women’s sports.

Even if someone is interested in reading articles and news on female athletics it takes at least five to 10 minutes of digging to find something interesting or relevant. For example, women’s sports receive only 4 percent of all sports media coverage and big sources like SportsCenter only devoted 1 percent of their on-air time to women’s athletics.

This lack of representation becomes a huge problem for young female athletes as well.

With so little media coverage, young girls struggle to find role models in their various sports. It is important that young athletes have someone they can look up to and relate to who encourages them to keep going and proves to them they can accomplish big things. Because this is so absent for female athletes, it may make it harder for young girls to feel like it’s worth it to continue to pursue their athletic careers. This leads to a higher rate of young girls who stop playing sports and therefore lose the many benefits that come from playing a sport such as higher self-esteem, positive body image, and lower anxiety levels.

All sports were unpopular at one point or another. It all comes down to exposure and marketing. Once women’s sports are given more coverage and the public becomes more exposed to the women’s sports world, these sports will become more popular. When women’s sports become more popular, people will become more educated on the topic. When people become more educated on the topic, the ability to close the pay gap and other inequalities is no longer an impossible task, but rather a goal that can be accomplished.

When sports media starts to devote more of its time to female athletes, the fight for equality will become far less difficult and burdensome.

The struggle for diversty in physics ROBERT DALKA Columnist

For much of its history, physics has been dominated by white men.

Most well-known constants and equations are named after them, and when someone says “physicist,” what usually comes to mind is a white man. The stereotype is deeply rooted in the homogenous history of academia, but as our country and institutions become more diverse, shouldn’t the world of physics follow?

Sadly, this has not been the case.

According to the 2016 population estimates based on the 2010 U.S. census, 17.8 percent of the population identifies as Hispanic or Latino and 13.3 percent of the population identifies as Black or African American. However, according to statistics from the American Institute of Physics, only about 3.9 percent of the bachelor’s degrees in physics were awarded to African Americans and only 7.6 percent to Hispanics.

To better understand the issue, I interviewed Brian Beckford, a presidential postdoctoral fellow here at the University of Michigan, to learn more about his own experience as a physicist of color, and an active advocate for diversity in STEM. His research concerns nuclear and particle physics.

When Beckford started as an undergraduate at Florida International University, he was initially interested in philosophy.

Eventually, philosophy became limited in the answers it could provide him for the types of questions he had about how the universe works, and Beckford decided to switch his major to physics.

FIU boasts one of the most diverse student bodies in the country, but Beckford still found himself an outsider after switching majors.

“My friends and I joked that I was the best Black student in physics because I was the only Black student in the physics department at the time,” Beckford

said.

While Beckford notes the department was never actively discriminatory, the idea of promoting diversity was never talked about. It was not seen as a priority of the department at the time.

Due to the fact that the traditional social and professional spheres of physics have not always strived to be inclusive, those who have been left on the outskirts have managed by creating their own spaces in which they could feel welcome in a community.

The National Society of Black Physicists was formed in 1977, and since its inception has worked toward improving the experiences of Black physicists. Each year, NSBP hosts a national conference celebrating accomplishments by Black physicists from every field of physics. Beckford first attended this conference early in his graduate studies and goes back each year as his schedule allows.

“My faculty advisor at FIU and really good friend to this day, Professor Joerg Reinhold, German by descent, directed me towards the NSBP conference,” Beckford said. “(The conference) gave me some hope that there is a chance, and there is a space for physicists of color. I realized there would be a place for me in the field.”

Though conferences such as the NSBP meeting are well advertised at historically Black colleges and universities, they are not as talked about at institutions that are historically white. Helping to increase awareness of these kinds of opportunities is one way institutions such as ours can create a more welcoming, supportive environment for people from all different backgrounds.

“This year I am trying to encourage the department that we can attend the conference as a source of recruiting a more diverse group of students into the graduate program,” Beckford said.

In addition to his work as a researcher, as the department’s diversity, equity and inclusion

committee chair, Beckford devotes as much time as he can to finding new ways the department can be more inclusive by bringing his experience as a project manager for the American Physical Society Bridge Program.

Many of Beckford’s proposed changes and improvements are focused on the recruitment of graduate students, including short-term projects, such as the new recruitment brochure. It highlights the inclusive ideals of the department. It is small, but represents an important step toward much-needed change.

Long-term projects are in the works, but will take more time, as they require more cooperation and coordination among the department before these changes are seen as necessary in order to create a stronger, more diverse physics program at the University.

I was also curious about what Beckford thought could be done to increase representation among undergraduate students.

“Stronger discussions of career opportunities after an undergrad degree would be a great way to bring more diversity into the undergrad program,” he said. “Particularly among firstgeneration students and students of color, there is a feeling of a need to give back, not only to their community, but to their family that might be sacrificing a lot for them to be there.”

I agree with Beckford, and a physics degree is really what you make it. You can put it to use many different ways. You can work in industry, research the frontiers of science in academia, affect social change as a teacher or community leader and much more. This is what makes a physics degree so exciting.

Once a school succeeds in recruiting a diverse student base, the next challenge is retainment.

According to the Office of the Registrar 2016 report, of the freshmen who came to the University in 2012, 14.1 percent of those from underrepresented minority groups have left the

University without finishing a degree. When comparing this with the 8 percent from all other groups that have left without finishing a degree, one can see the lack of inclusion most certainly plays a role in the discrepancy. We must recognize we can make the campus and departments more welcoming for everyone.

“The hard part is we have to change people’s mindset, and that diversity and inclusion is important for science,” Beckford said. “It’s people who do the science, so it follows that if you want the best science, you get the best people from all groups, and not just one.”

Academia is not always known for its adaptability, and tradition still plays a major role in how institutions and departments run.

It can be tough to get every decision maker on board, as not everyone believes that a change is needed at all. However, this way of thinking goes against what we are trying to do in science, which is to advance human thought and make new discoveries. So even though old styles of mentoring and teaching might have worked when there was one majority group, we need to make improvements on how we do things and take every new factor into account.

After my interview with Beckford, I began to think about how critical it is to be more inclusive in the sciences. I feel it is especially important in today’s political and social climate to ensure that science is a beacon of inclusivity, of higher thinking and unlimited possibility, where all are welcome to create, discover and succeed.

At the end of our talk, Beckford asked, “How many great ideas were lost to fear, hate, and intolerance?”

Too many to count, I would imagine. As we are those who strive towards higher understanding, we must never let untapped potential be wasted because of the fear of change or the lack of willingness to allocate resources and time to undertake the challenge. We can spark this change, right here, right now, at the University.

10C — Fall 2018

The Michigan Daily — michigandaily.com

We have a glitter shortage HANNAH HARSHE Columnist

You know that episode of “Barbie: Life in the Dreamhouse” where Malibu has a glitter shortage and all hell breaks loose because Barbie is supposed to attend a Hollywood premiere that night and she doesn’t want her fans to see her without any glitter? I feel like that’s a pretty accurate depiction of how my summer’s gone so far.

My “dreamhouse” is a little apartment on Central Campus, and toward the end of the school year, my roommates and I began to allow ourselves to consider the prospect of summer. Summer. The word itself drips with glitter and lake days and late nights. We all have jobs and internships, of course, but we’re used to being at the library until the early hours of the morning every single day. When you can’t remember the last time you got seven hours of sleep without feeling guilty about it, the idea of having nights and evenings completely void of homework sounds like something out of a fairytale.

But now summer’s here. We’re almost two months in, actually. And though our shoulders are tanner and our living room is packed to the brim with box fans we bought from CVS, it doesn’t really feel like summer. Day-to-day life doesn’t live up to the anticipation that the word “summer” carries.

Why? My theory is that the University of Michigan has a glitter shortage.

The first time I was finally allowed to wear makeup to school, I covered my eyelids with silver glitter, just like I’d practiced so many times before. Other than math class, when a boy told me I looked like I was on crack, I felt glamorous all day. I wasn’t just another gangling, awkward middle schooler. I had created art on my face that showed I was a stylish, dazzling it-girl.

I’m 20 years old now, and my mom really doesn’t get much say as to what I’m allowed to wear anymore. I live on my own, so I call the shots. What do I wear now that I have no parental supervision?

Well, last night, one of my roommates had some friends over and we all got dressed up for a night out. I sat cross-legged in front of the full-length mirror in my bedroom and listened to my roommates laughing and singing as I put on my makeup. Foundation. Concealer.

Blush. Eyebrow gel. Black eyeshadow to create the illusion of longer lashes. Thick, dark mascara that my mom got me for Christmas.

No glitter. Not even a drop.

During our walk down South University Avenue on the way home after our glitterless night out, my roommate, Shannon, and I asked ourselves why it doesn’t feel like summer yet.

“It feels like we’re just waiting for summer to start,” she said. “Like it’s going to be fun and exciting and full of adventure, but it just hasn’t happened yet.”

“I think we’re still trying to figure out who we are beyond homework,” I said. “’Cause during the school year, all we did was study and go to class and we never had to figure out who we were and what we wanted to do. And now that we have the time to do that, we’re just lost.”

Before we started spending every spare moment in the library, we all used to daydream about being glitzy and glamorous. Where did those big dreams go? When did we become so boring?

It doesn’t feel like summer yet because, yep, I’m glitter-deficient.

That’s bad news. The good news?

You can buy glitter eyeshadow on Amazon for $3. Anyone want me to order some for you?

Someone tell Barbie that Malibu’s glitter deficiency has nothing on the University of Michigan.

Rice-krispies induced nostalgia REEMA BAYDOUN Columnist

I once roamed the basement of North Quad Residence Hall during a study break to search for a quick and filling vending machine snack. As I approached the machine hoping I wouldn’t be forced to settle for a bag of chips that was 75 percent air, I noticed a blue rectangular surprise in the left corner: a Rice Krispies treat. At only 160 calories, it proudly wore the MHealthy sticker on its front. I went for it without hesitation. Peeling back the wrapper, I exposed what I had been missing for so many years. The first bite was crispy, chewy and soft — just the way I remembered it. It transported me to a decade in the past, to the kitchen table of my childhood home where my mom taught me how to make these delicacies from scratch. It was the first recipe I committed to memory, and though it resulted in a messy cleanup, it became one of my favorite bonding experiences with my mother. But I didn’t

realize how long it had been since I had enjoyed Kellogg’s greatest invention (sorry NutriGrain bars, it was a close call). I felt nostalgic immediately after that first bite, and it prompted me to clear the CVS shelves of their Rice Krispies inventory on my way home.

For some of us, it’s Rice Krispies treats. For others, it’s Smucker’s PB&J Uncrustables, Fruit Gushers or maybe even a traditional home-cooked meal.

No matter the treat, many of us have strong emotional connections and memories tied to foods that have us longing for a simpler past. It’s a powerful, food-induced nostalgia. The etymology of “nostalgia” is complex, but today we understand it to be a yearning for yesterday. It allows us to travel back to specific times in our lives and sometimes even relive old feelings and emotions — like the way I felt in my mom’s kitchen all those years ago. By evoking these feelings and emotions, food acts as a medium for childhood recollections. But what is it about food that makes it so

powerful? Why does eating certain foods resurface some of our most treasured memories?

The answer may be that food consumption involves memory-inducing cues that are extremely evocative, such as scents, tastes and textures. The general experience of eating is also significant to memory creation and collection as it is oftentimes tied to social activities and exchange which attaches a new layer of sentimentality to our favorite foods. The act of eating can definitely be private, but we all remember sharing food over the holidays with our loved ones and during the most social parts of our young lives, such as school lunches and summer camps. Those images suddenly come back when we revisit our favorite foods. And, from a more biological perspective, our brains are wired to form memories about what we eat.

The part of our brain called the hippocampus, which is essential to the formation of long-term memories, is also home to receptors of hormones that regulate appetite,

HANNAH MYERS

Helpful lists for college students, Hannah Myers can be reached at hsmyers@umich.edu

digestion and eating behavior.

Perceptions surrounding nostalgia are usually negative, portraying those caught in nostalgia as stuck in the past.

But some studies challenge these perceptions and suggest that nostalgia can actually be beneficial. In fact, evoking feelings from the past can help buffer people from experiencing loneliness.

Comfort food that reminds us of previous social ties can help deter feelings of isolation.

Additionally, some researchers argue nostalgia contributes to feeling safe because foods that we’ve already consumed in the past can be associated with positive memories, which reduces risk-taking. If this is the case, it seems wise for food brands to play into this “positive nostalgia” in their advertisement techniques.

In 2017, Post Consumer Brands did just that by bringing Oreo O’s back into our lives.

After a 10-year absence, the iconic cereal reminded us young adults of what it was like to eat cookies for breakfast.

I remember walking through the cereal aisle at Kroger and reading, “the highly anticipated sweet return” on the front of the box, and though the cereal hadn’t crossed my mind for years, I was suddenly convinced the comeback was well overdue. While my matured palate no longer appreciates the grainy feeling that lingers after eating sugary cereal, it was definitely worth giving Oreo O’s another go.

We’ve grown out of our childhood habits to become hardworking college students.

But that shouldn’t stop us from indulging in sugary snacks from time to time. Sometimes, all it takes is a Rice Krispies treat to send us back to our favorite moments.

And thankfully, science supports our endeavors to reconnect with our past.

The Michigan Daily — michigandaily.com

Fall 2018 — 11C

Confessions of a closeted rosshole

A letter to my freshman self LUCAS DEAN Columnist

Graduating high school, I thought college would be a simple continuation of what I had been doing, but, you know, different.

That wasn’t right at all; well, for the most part, anyways. My first semester was through the Summer Bridge Scholars Program and in a way it was like high school. We had predetermined classes at set times and we all got to know each other pretty well. Classes started at 8:30 every morning and there were two lunch periods. Kind of like high school but, you know, different.

As I conclude my second year at the University of Michigan, I would like to reflect back on my time here, what has led me up to this point and what I wish I had done differently. If I could write a letter to my high school self, reminiscing on how I screwed up or the times I didn’t know any better, it would probably start with something along the lines of “Dear Me, you have no clue what you’re getting into,” or maybe more like “Dear Dumbass, please try harder.” After that first summer, I was overconfident, unprepared and just straight-up not ready for college.

Flash forward to fall semester freshman year and I actually had to pick my own classes (which I had never done before) and basically decide what I wanted to do with the rest of my life.

Ambitious as ever, I signed up for the earliest class times and, as a hopeful Engineering transfer, thought it would be a splendid idea to take all the core classes at once (Engineering 100, Chemistry and Calculus). To top it off, I also took the LSA language requirement as I was still an LSA student.

I wish someone would have given me a reality check about what college was really like. Being a first-generation student, I wasn’t able to consult my parents in

may or may not deserve – doing something they don’t particularly Summer Editorial Page Editor understand that will eventually get them a lot of money. Kind of mindIt really is a daunting task, boggling, no? deciding your career path at the ripe old age of 18. It has been I can totally see why the rest of the school hates business over a year since I found out I students so much. The building was accepted into the University itself screams Rosshole with of Michigan as well as the Ross School of Business. At the time, its namesake, Stephen M. Ross, donating millions of dollars I remember thinking everyone to enhance the already-garish knew what they were going to façade on East University Avenue. study in the fall. Little did I know, Meanwhile, across campus, other that many people will change their departments may be struggling to minds at least once, if not twice, in find funding. It is infuriating. It is, college. With so much excitement wait for it, capitalism. joining the U-M community, I With this mindset, I entered didn’t realize it came with a whole new platform for college memes. freshman year unwilling to divulge the fact that I was in the The punchline for a lot of these Business School, which, let me jokes, however, involves business tell you, was very difficult. The majors or – as we’re known on first two questions you get when campus – Rossholes. meeting someone new anywhere I’m what you might refer to as on this campus is, “What are you a “closeted” Rosshole. I applied studying?” and, as a freshman, to the Business School without “Where are you living?” Both any rhyme or reason and, to my surprise, was accepted. I of these questions posed issues because I was in the Business School and living in Martha Cook. Both of these answers can garner very negative, albeit interesting responses. I learned how to explain away the funny looks I got when I said I lived in the all-girls dorm with a severe reputation by mentioning it’s actually a really nice place to live, but that’s another story for another time.

How did I deal with answering the major question? I had a couple of solutions, both of which were equally annoying and equally harder to deal with than if I had just said I was in the Business School.

I learned if I asked the question first – bam – I could tailor my answer SAM MOUSIGIAN/Daily to whatever they said: Graduate transfer guard Jaaron Simmons has waited his entire life to play in the NCAA “Oh, you’re in Ross?

Tournament.

Me too!” or “Not in EMMA CHANG

regard to how I was supposed to go about the whole college thing.In high school, I never thought very highly of those who dropped out of college, but I wish I had taken the time to ask why they did. After that fall semester I was seriously considering taking some time off myself. College sucked, man.

I have now been able to settle into college and I feel much more confident in my ability to manage the work involved, but if it hadn’t been for the high expectations of my family and friends, I might be flipping burgers for a living right now. I thought I was alone in my situation, but I later found out that this was not the case. In fact, according to the First Generation Foundation, “Nationally, 89 percent of low-income firstgeneration students leave college within six years without a degree” and, “More than a quarter leave after their first year.”

If I could write a letter to myself, knowing what I know now, it would probably look something like this: Dear idiot, dumbass me, First and foremost, you are done with high school. It’s over. Please don’t go out partying if you have homework to do. Yes, even if it’s the weekend and all your friends are going. Stop procrastinating and do not prioritize a social life over school because you are really going to kill my GPA, dude. Second, please take a more manageable course load, especially in your first semester, because you will have me considering dropping out, for goodness sake. And last, but definitely not least, sit down and take some time to think about your future. Plan out what classes you need to take and how you are going to go about taking them. Talk to an advisor if you need to (just do it, man) — they are way smarter than you. Oh, and that schedule thing that you thought you were too good for? Well use it, idiot: it’s so much more helpful than you know.

remember being ecstatic until I realized the reputation that being in Ross carries on this campus. STEM majors scoff at you and you can’t exactly bond with other non-STEM majors because, you know, capitalism. As a freshman with absolutely no idea what the stock market is and an inability to pretend I understood how Wall Street worked, this was particularly confusing to me. What exactly is the stigma surrounding the B.B.A.? What exactly made me a “Rosshole?”

Honestly, to truly define what campus deems a Rosshole, you have to go to the meme pages. There, you can find the meaning of Rosshole clear as day. First, you have to be someone who incessantly talks about the fact that they’re in the Business School. Then, obviously, comes the Canada Goose jackets.

Can’t be a true Rosshole without it.

The overall effect is just a stuck-up person who will end up with some kind of fancy internship – that they

Ross? Okay then, I am in LSA and undecided.”

The whole “LSA and undecided” answer worked really well until I went to go fill out forms or people started to get more curious about my class schedule. The Business School isn’t part of LSA and business students are not undecided because they receive a B.B.A. Super specific, I know.

Anyways, I would forget about the whole B.B.A. thing because I was so determined to ignore the fact that I was in the Business School.

I’ll admit it, I was ashamed.

The first five months of the school year, a long time for a school that gets out in April, were awful. I treaded lightly when I met people, not knowing whether or not being a business student would somehow affect our possible friendship.

Spoiler alert: it didn’t. I put so much emphasis on the negative aspect of the fact that I was in Ross that I didn’t look at the bright side.

I’m in Ross. Some people would kill to be in my position.

I didn’t appreciate that until the middle of winter term. I think it had to do with the fact that I was in denial about not being a STEM major. The people with which I surround myself are all pre-med or some kind of biochemical science major taking organic chemistry their first year while I sat around doing ethics case studies. Both are super interesting, it’s just that, for a long time, I didn’t understand the weight of what I was studying, didn’t think it was as “academic” as, say, doing a chemistry lab.

I think one of the biggest reasons I didn’t feel comfortable with my standing in the Business School was that I have no idea what I want to do with my life.

Do I want to go into health-care?

Do I want to manage a hedge fund? Do I want to somehow do both? These questions continue to plague me, but a business degree is at least start in some kind of direction. So, yeah, maybe I am a Rosshole after all.

Let’s talk about Adderall FROM THE DAILY

Michigan Daily Editorial Board

The University of Michigan has an Adderall problem. Some would even call it an epidemic. Despite the University’s increased campaign to recognize mental health on campus, it has failed to address how campus culture fosters the use of Adderall throughout the school. As students become more entrenched in the popular “work hard, play hard” mentality that grips much of the student body, they turn to Adderall to achieve the academic and social success that this campus covets. A recent survey

by The Daily found that 24 percent of University students use Adderall, and a 2008 study of 1,800 students found that as much as 81 percent of college students think that Adderall usage is not dangerous at all or only slightly dangerous, despite the fact that the consequences of the illicit use of the drug sit right next to those of cocaine, meth and morphine. However, despite the prevalence of the drug, there is a dearth of University resources to educate or help students that are grappling with its repercussions.

To remedy this gap in resources, the University must increase funding for Counseling and Psychological Services and advertise services provided by Addiction Treatment Services through Michigan Medicine. Over 90 percent of students who use Adderall use it for the purpose of concentrating while studying.

These students do not realize the potential negative effects of the drug: notably, its high risk of dependency and potentially lethal consequences if used with other drugs and alcohol. With such a large percentage of students using Adderall without a prescription, it is important that the University provides students with addiction help.

The presence of Adderall at the University is almost expected.

Whether prescribed or nonprescribed, Adderall is a normalized part of campus culture; people try it, use it and depend on it. Though freshmen entrance programs like Haven or AlcoholEdu exist to raise awareness on the dangers of

alcohol consumption and addiction, there is no campus-wide campaign that addresses the overwhelming prevalence of Adderall at the University. Consequently, most students don’t know much about the drug, and view it through a destigmatized, distorted lens.

Because it is considered customary and is easy to acquire, most students don’t realize the medical, legal and moral implications of taking or selling the drug.

Adderall is classified as a Schedule II drug by the Drug Enforcement Administration, which means that it maintains a “high potential for abuse, with use potentially leading to severe psychological or physical dependence.” It ranks higher than drugs like Xanax, which is Schedule IV, and is at an equal level with cocaine, another Schedule II drug.

In addition to its addiction level, Adderall can spur painful side effects, from insomnia to paranoia.

In an interview with the Daily, one student reported that “if I took it at any acute dose, it would just kind of cause chest discomfort and keep me from sleeping, and I couldn’t get anything done because the chest pain would make me panic.”

Along with medical issues, Adderall dealing and use can lead to harsh legal consequences. The length and weight of penalties vary, but according to Michigan law, distribution of Adderall illegally is considered a felony and can lead to serious jail time. Despite this, Adderall dealing doesn’t have the same image as other drug trafficking. On campus, it’s as easy as texting someone in your hall for a pill or two. There are no backalley deals, and oftentimes, money isn’t even involved. Because it is destigmatized and bred from an intense, competitive school culture, giving someone Adderall may appear to be helpful, not harmful.

To some, the need to succeed outweighs the legal risks. Another student interviewed by The Daily reflected on her Adderall use by saying “I never really thought about it as being illegal to be honest … I feel like a lot of people who don’t have ADD (Attention-deficit disorder) are prescribed Adderall and I don’t think it’s like taking

a Prozac or something that is so mentally altering … I don’t think of it as, ‘Oh, this is like a drug.’” Many students at the University echo this mentality subliminally, and by forgetting the legal implications of selling Adderall, we only add to its normalization on campus.

The perception of Adderall tends to lack the severity that we ascribe to other performance-enhancing drugs. Adderall has proven to improve students’ performance in rote memory forms of learning tasks, especially over several days or longer, acting as a performance enhancer for exams and tests that require intensive memorization.

This can be especially impactful in classes in which performance relies on rote learning. When the difference in letter grade is significantly changed by the number of concentrated hours one’s mind can dedicate to memorizing in relation to others in their class, Adderall acts as a medically induced upper hand.

The widespread and academically motivated use of Adderall on campus can make it easy to forget what exactly it is: a drug. Much like other drugs aimed at enhancing abilities, whether mental or physical, Adderall presents its users with a moral choice. Adderall’s aid of certain academic abilities is one of its innate qualities, and students at the University should recognize as much. For those who view this issue as inconsequential, this much should be remembered: All students, Adderall users or not, play on the same academic field. Thus, we all feel the tilt brought about by Adderall, whether it pushes us up or down.

Though Adderall is commonly used in academic settings, it is also prevalent in the college party scene as a complement to alcohol. The focus of the University’s efforts to curtail dangerous behavior has been mostly targeted toward alcohol. However, the recent

increase of mixing the “study drug” with alcohol should provoke concern because of the possibility of dangerous and unpredictable effects.

First of all, the University should take care to educate students on the chemical differences between Adderall and alcohol. Adderall, on the one hand, is a powerful central nervous system stimulant that increases the availability of excitatory neurotransmitters in areas of the brain that deal with focus, energy and alertness. On the other hand, alcohol is a central nervous system depressant that inhibits the function of excitatory neurotransmitters.

The mixing of Adderall and alcohol then has two discernible effects: those in the short term and in the long term. The short-term effects stem from the unpredictable nature of their combination. One minute someone could be within their limit of alcohol intake, and the next they could be suffering

from seizures or heart failure as a result of the capricious cocktail of medication plus alcohol. In the long term, a person’s quality of life can suffer from mixed use. A recent study found that simultaneous use of non-medical prescription stimulants and alcohol by undergraduates was associated with low grade point averages, use of other substances and increased alcohol-related consequences.

The group at the highest risk for Adderall abuse is college students, and therefore the University has an obligation to educate its student population on the consequences.

The consumption of Adderall is not only widespread, but students have also become desensitized to its possible severity. To counteract this trend, a possible addition to the AlcoholEdu program of a freshman seminar on the use of unprescribed medication in academic and recreational settings could be a positive step forward for student safety and security.

The Michigan Daily — michigandaily.com

ARTS

Fall 2018 — 1D

A24

A conversation with Bo Burnham on his film debut NATALIE ZAK Daily Arts Wrtier

I lingered in the Michigan Theater’s main auditorium last Thursday after the screening of Bo Burnham’s directorial debut, “Eighth Grade.” A crowd of teenagers, young adults and retirees had just finished giving Burnham a standing ovation after his short Q&A and were now streaming out the back of the theater while I fought to make my way to the front. Not a seat in the theater had been empty that night. The movie, which marked the beginning of the Cinetopia Film Festival, had sold out earlier that day — and for good reason.

“Eighth Grade” is a continuation of movies like “Lady Bird” and “Call Me By Your Name.” While they’re not all explicitly similar in genre or plot, they evoke a similar feeling from their audiences — something like nostalgia, but not quite, and like nervousness, but more trepid. These films zero in on the familiar and universal experiences of growing up and falling in love, while skillfully retaining the autonomy and individuality of their characters.

“Lady Bird” and “CMBYN” fit nicely into the coming-of-age category of films, but “Eighth Grade” narrowly avoids this label. While the movie introduces an expectedly coming-of-age abstract — Kayla (Elsie Fisher, “Despicable Me”) is a shy middle schooler entering her last week of eighth grade who decides to put herself out there before the school year ends — the entire movie is undercut by larger anxieties concerning technology, social media and problems beyond Kayla’s impending high school career.

Burnham, who got his start in comedy by making Youtube videos filmed in his childhood bedroom, has always had these concerns on his mind. Much of his standup challenges our expectations of technology and tries to illustrate the complex relationship our generation has with it. “I’m addicted to the internet too,” Burnham conceded during the Q&A after the screening, but that doesn’t mean he still doesn’t share the anxieties we all do, especially when looking at the effect it could have on younger generations.

“There is a much subtler conversation to be had about the internet beyond Russia and cyberbullying, something very personal and interior to the internet and what it does to people that is not okay,” said Burnham earlier that night in response to an audience member’s question about this aspect of the film. “There’s this sudden impulse to see yourself as a commodity or a character. To sort of float above your life and watch other people watch you and watch other people watch you watch them.”

Much of “Eighth Grade” concerns this kind of watching.

Kayla aimlessly scrolls through her Instagram feed, liking pictures and videos of other 13 year olds pulling pranks and painting their nails. She makes videos with survival guide tips on how to be more confident, while suffering from crippling shyness in her day-to-day life. She wants to be seen as someone she’s not, an expert on relationships and “Being Yourself.” Access to Instagram and Youtube makes this very easy for her to do. Kayla’s the eighth grader most of us were: Awkward and introverted with

acne-prone skin. But unlike us, she can hide this under Snapchat filters and good lighting.

Making my way to the front of the Michigan Theater under the massive chandelier, swarms of people moving in the opposite direction of me stared. I found Burnham’s representative, who I was directed to in an email, and taken backstage to wait for him to finish up another interview. As I waited, no matter who I talked to, be it Ella, the A24 publicist traveling with Burnham on the tour or a 68-year-old male Michigan Theater employee, everyone’s reactions stuck on the same point: The universality of a 13-year-old girl’s last week of middle school and her efforts to woo the cool kids in school.

“What’s the score?” Burnham asked Ella as we walked down the narrow hallway towards the dressing room. He was referring to the Cavs and Warriors game taking place that night, and I was immediately worried I would have to make small talk about basketball, a subject far from my specialty. But Burnham barely acknowledged this pause before sitting down next to me. He had been answering questions all day; it was 10:45 p.m. and he admittedly looked tired.

A question many people have fixated on in relation to “Eighth Grade” is how Burnham managed to perfectly capture the experiences of a 13-year-old girl without basing it off himself or someone else. Multiple years of touring has exposed him to the age demographic he was trying to paint a picture of but, as he pointed out, anything we need to know about middle schoolers these days is right at our fingertips. They put everything online to be seen.

“I think it would’ve been different if it had been sort of polluted by like ‘Oh this is my little cousin or my friend’s sister,’” Burnham responded when I asked how he managed to draw such a perfect portrait. “When I was writing it, it felt like someone I knew, but it wasn’t specific.” This is how he avoided the nostalgia trap this film could’ve easily become. He was chasing a feeling, not nonfiction.

“I just wanted to do an intense movie about being this person, not what it means to be a kid always throughout all of time. I was feeling very nervous and panicked and anxious on the internet, and I was looking at the internet and meeting people, and I saw all these people also feeling very nervous and panicked in their lives too. So I wanted to explore what it felt like to feel anxious, to feel …” Burnham paused here, thinking. “Anxious is the opposite of nostalgic. It’s the opposite of distance at least. You’re locked in it and you can’t really see outside of yourself. So it was important that the movie didn’t see outside of her. I didn’t want the movie to know any more than she did.”

It’s terrifying to think that the common thread from one generation to the next is anxiety, but the internet undeniably doles out this feeling of uneasiness from one user to the next. And all the details of the film lend themselves to creating this feeling of uneasiness, but also the feeling that we are in Kayla’s world where every look, word and wink is a life or death situation.

The audience truly doesn’t see outside of Kayla as Anne Meredith’s EDM score ropes us into the film, dropping a hard-hitting bass drop when Fisher’s character sees her

crush for the first time or confronts the mean girl in school.

As far as influences go, Burnham didn’t have any but the faces he’s come across in life and online. But there’s something to be said about how the experience of 27-year-old Burnham can be easily translated to 13-year-old Kayla or 20-year-old me. Why did he think that is the case? I wondered, and then I asked, “What do you think it is about the internet that allows you to write convincingly from the point of view of a 13-year-old and not have the audience bat an eye?”

“I think the culture at the moment is existing on an eighthgrade level, you know what I mean?”

Burnham replied. “The national conversation is taking place at an eighth-grade level, our president has like an eighth-grade reading level. So it just feels very true to me.

I think the internet makes eighth graders of us all.”

What struck me about this conversation with Burnham, and replies like these, was the concern and anxiety seeping into his voice as he talked about these topics, and how starkly it contrasts from the Burnham confined to Netflix specials and computer screens.

While his standup drips with vitriol and is known for its dramatic flare, this movie is entirely different. It’s smart and clever and honest, tackles similar subject matters as “what.” and “Make Happy,” but isn’t the least bit arrogant or pretentious.

As Burnham put it, this movie is truer to who he is. “I am not naturally that pyrotechnic, overridden, cynical thing. It’s what the medium called for … and the truth was I was onstage terrified every night.” Making the move

from irony to sincerity for Burnham was “freeing.” “It was natural. It felt more like dropping things like finally I can drop all these tools. I’m so excited to finally do something that isn’t ironic, isn’t satirical.”

When we’re children, we just want adults to recognize the magnitude of our situation. “Eighth Grade” captures the life and death feeling attached to being 13 years old. Between the music, Elsie Fisher’s fantastic performance and Burnham’s attention to the most minute details, the audience was dragged into this feeling and left laughing, squirming and occasionally shielding their eyes, unable to stand the familiarity of it.

“I didn’t want to make a nostalgic movie,” Burnham said during the theater’s Q&A session. “I wanted to know about what it’s like to be young now. I watched hundreds of videos of kids online talking about their own life and the boys talked about minecraft, and the girls talked about their souls.”

I don’t think Burnham made a nostalgic movie. It’s difficult to feel nostalgic about such a confusing, anxious, hormonal time in one’s life. But he did make a reflective movie, an honest one. He made a movie that triggers feelings of anxiety and terror as we feel them in eighth grade and now on a larger scale. As Burnham put it, “Sweeping decisions about the future of our brain’s neurochemistry are being made by nine guys with no social skills in Silicon Valley.” And while being a girl in eighth grade is a common experience among many, these sweeping decisions make every generation’s experience in middle school more and more unknowable.

‘Tully’ explores modern motherhood with sincerity, boldness SAMANTHA NELSON Daily Arts Writer

What does modern motherhood look like? The spectrum of cinematic depictions of what it means to be a mother is seemingly endless, ranging from lighthearted, surface-level portrayals of mothers in “Freaky Friday” and “Mean Girls” to far darker depictions of mothers acting ‘un-motherly’ in “Carrie” and “Ordinary People.” Despite the variation in genre, what all these films have in common is that their portrayals of motherhood are over-exaggerated and unrealistic. When it comes to interpreting motherhood, the film world turns to using a phony lens rather than showing the grittier and occasionally lesspleasant truth of the stresses and anxieties that mothers

actually experience. Void of unnecessary fluff and overdramatization, Jason Reitman’s film “Tully” offers audiences a fresh and sobering glimpse into the rarely revealed side of modern-day motherhood and its overshadowed intersection with mental health, challenging the unfair standards that expect constant stability and overall perfection from mothers.

Marlo (Charlize Theron, “Mad Max: Fury Road”), a mother of two elementary-aged kids and a newborn baby, is far beyond her breaking point. Life has become a merry-go-round, but instead of spinning around and around among colorful animals and smiling faces, Marlo is rotating through the same numbing routine that mainly consists of changing diapers, breastfeeding and prepping microwave dinners. In a state

of perpetual sleeplessness and with minimal aid from her loving yet ridiculously unhelpful husband Drew, (Ron Livingston, “The Conjuring”) Marlo is running on empty, heading toward a downward mental spiral. However, a beacon of light shines down when, eager to revive his sister’s spirits, Marlo’s wealthy brother Craig (Mark Duplass, “Safety Not Guaranteed”) offers an unusual baby-shower gift: A night nurse.

Desperate for a sliver of R&R, Marlo takes her brother up on his offer, quickly finding herself face-to-face with the youthful, enviable and illustrious Tully (Mackenzie Davis, “Blade Runner 2049”). Despite Tully’s initial purpose of simply caring for the baby through the night, her late-night house calls gradually evolve into gossipfilled evenings with Marlo. As

the friendship between the two women grows, their bizarre, almost sister-like chemistry strengthens and, invigorated

by Tully’s free-spirit and zest, Marlo slowly emerges from her state of emotional blankness and depression.

Through her character’s feelings of self-doubt, numbness and inner and outer exhaustion, Theron brilliantly delivers the powerful message that motherhood is multifaceted. While, in part, it is unconditional love, joy and relentless devotion, it can also lead to a loss of identity and emotional deterioration. Marlo’s unsweetened and uncensored moments as a mother create the tone of realness that persists throughout the movie.

Arguably most commendable about “Tully” is its boldness in tackling the theme of mental

health, a topic seldom explored in adult characters. Throughout the film, as audience members, it is clear that Marlo is experiencing some form of postpartum depression and severe, debilitating insomnia.

Yet, the other characters in the film, Marlo’s husband included, are oblivious to her struggles. This oblivion speaks more broadly to the manner in which, until fairly recently, mental health, especially postpartum depression, was often unacknowledged as legitimate or relevant by society.

Still today there exists a skewed and ancient notion that mental health can be boxed up and designated to fit a specific type of person, which simply is not true. Through the presentation of Marlo, a thirty-something mother and a character that viewers would not expect to

be suffering from depression, “Tully” overturns the false assumptions that there is a mold of any sort for what mental health ‘should’ look like.

More than anything else, “Tully” is a film that aims to enlighten. Reitman re-evaluates the notion of motherhood from a more humanistic perspective, tearing down the implicit and outdated stereotypical standards that expect expert childcare, relentless positivity and endless smiles from mothers. With Mother’s Day fast approaching, “Tully” takes an unconventional route, exposing the reality of motherhood’s tribulations, honoring all mothers by challenging the illusion of ‘the perfect mother’ and beautifully shattering the misconception that there is a way that mothers are ‘supposed’ to be.

2D — Fall 2018

The Michigan Daily — michigandaily.com

King Krule sinks deeper and deeper on his third full-length, ‘The OOZ’ SHAYAN SHAFII Daily Arts Writer

XL

London is a melting pot, sure, but Peckham is something else. There are Nigerian fashion retailers mixed with Jamaican chicken shacks; down the road there are cult-like gatherings where British youth reminisce about the days before CCTV monitored the top deck of buses. It’s a bizarre place, and a fitting home for Archy Marshall — a scraggly white kid with red hair, who cites J Dilla and Fela Kuti with equal reverence.

Archy’s broad range of influences lends itself naturally to his scattered musical identity. His most acclaimed work is as King Krule, the enigmatic guitarist we haven’t seen since 2013, but he’s also Edgar The Beatmaker (Soundcloud producer), DJ JD Sports (Macbook rapper), Zoo Kid (depressed high schooler) and of course Archy Marshall (so far, a lo-fi cloud rapper).

His latest effort as King Krule, The OOZ, is largely characterized by the radio silence that preceded it.

Since we’ve last seen him, he’s aged, fallen in and out of love, rapped with rappers and smoked in his everchanging native Peckham. On “A Slide (In New Drugs)” he quips “The cityscape, bourgeoisie change to replicate / How can I be feeling the same as you?”

It’s been four years, but he’s by

and large the same as he once was.

Where on 6 Feet Beneath The Moon Archy would yell at the sky, The OOZ sees him kick rocks through a cloud of smoke. While the years have certainly eroded the more explosive musical tendencies of his youth, the album features some of his clearest and sharpest songwriting to date.

At 17 he already had the perspective of a twice-divorced man, but now at 23, the pool of experience he draws from has grown even more burdensome. The album is his best attempt at letting it out, or perhaps letting us in, and while it’s not exactly a “happy place,” the incessant “ooz” of day-to-day life presents a challenge you simply learn to get on with.

On album-opener “Biscuit Town,” he rhymes “Gianfranco Zola” with “I think she thinks I’m bipolar”; his thoughts dart through his South London upbringing on inhale and move to relationships on exhale.

At times it’s hard to tell if his intense ruminations are really just melodramatic grouses. On “Vidual” he grumbles “I put my trust in many things but now I know that’s dumb / So I don’t trust anyone, only get along with some / Saw that girl again one time and now I know it’s done”.

It’s all just a bit passé for a 23 year old.

There are a lot of these soft murmurs on this album, but for the first time, there’s some absolute belting too, as we’d seen earlier this

year on Mount Kimbie’s “Blue Train Lines.” At first pass it’s difficult to make sense of him screaming “I wish I was people!” on “Locomotive,” but honestly, when shit goes pearshaped, wouldn’t you love to be “people,” too? Other brash instances, like his “Half man with a body of a shark” chant (16 times over), are slightly more bewildering.

Archy front-loads most of the album’s flashpoints, like a guitar solo on “Dum Surfer” that sounds like you’re hearing it for the first time, every time. Later in the song he conjures imagery of him puking on the sidewalk before getting in a cab with a Slovakian girl.

Though “Dum Surfer” is his only “night out” on the album, most of the songs take place on nights where the darkness just swallows him whole.

It’s less lad culture debauchery and more anxious rambling about relationships, family and self-doubt.

“Logos” for example, would not have been so out of place on Frank Ocean’s Endless (it’s similar in that way to his fantastic EP, A New Place 2 Drown). “I call my mum / She stumbles home / Through open ground / Back to broken homes” sounds like it’s being recited while sinking into his couch. Sonically, the song deviates from his traditional synth and guitar composition, adding elements of jazz he’s cited but never quite recreated until now.

That sinking feeling never leaves

The OOZ, and the only thing that oscillates over the course of the album is his willingness to reach for others. Much of the album is about finding out if what you need is time alone or more time with someone else.

The drunk keys of “Czech One” bring with them the centerpiece of the album — a woozy song of lust, isolation and directionless passing of time. “She asked me why I’m here / But I come here every night / Do you need to tell her something? / No, I need a place to write”. In one verse, he “drown[s] too quick,” “fade[s] out of sight” and yet, “he still search[es] for warmth.”

In the music video, for a moment, he actually levitates over the pavement of Bermondsey; in a way, that’s what he’s been doing for the past five years. He’s always been floating in the middle, somewhere in-between. He’s five aliases at once. He’s “half man half shark,” half where he wants to be and half crumbling, physically present but mentally disintegrating.

The OOZ makes you question if it’s even worth getting up. It obscures what you think you know, because sometimes those downward spirals are just harsh realities you’d rather not believe. Sometimes it isn’t too bad to be true though — it’s just plain true. The OOZ is what lures you further into the couch. Sometimes that’s just where you need to be.

St. Vincent straddles coastal style in hot pink heeled boots MATT GALLATIN Daily Arts Writer

St. Vincent is a fabrication.

It’s a creation slowly built and carved by Annie Clark, a project that came to resemble a human but wasn’t entirely meant to be. The name itself suggests the unreal, like the abstraction taken from an icon, a wistful sense of the holy that never was and isn’t still. That it’s Annie’s face which graces the cover of over half St. Vincent’s studio albums is beside the point: They share the same face, but St. Vincent is the image, Annie the person. Clark likes to play with that line between the persona and the person, but no matter how sweetly she has danced between the two, she still makes it known that it’s a performance. That creation has been her appeal to universality, and her Chloes and Johnnys, her “You”s and “I”s are all characters in this world building.

On MASSEDUCTION, her fifth album, the tension between Annie and St. Vincent dominates. It means everything and still it’s more unclear than ever before. That’s St. Vincent on stage bemoaning the seduction of the masses. There’s the created image fearing the future. And yet, when we move beyond the plastic surgery she both mocks coyly and wears herself, there’s an unflagging clarity that feels new.

Never has she made a song like “New York.” Never has she felt so naked; never has her songwriting been so simply beautiful, so free of alien metaphor, straighttalking yet poetic all the same. Here, she sings to a friend about definitions, about what a city means when those who made it everything are gone. Loss is consuming on MASSEDUCTION. “New York” is the heart of this album, and so is the city.

This is an album of love within a disease — within powerful addictions and temptations that rip people apart. And when she’s talking about love, she’s talking about New York. Her relationships mold that city, and when she walks through Time Square with her friend in “Happy Birthday, Johnny,” the loss she feels in the tear of that friendship is inexorably tied to those buildings. She sings him happy New Year and the ball drops for them both, far apart as they may be.

When she’s on the other

coast, she’s singing about longing too, but it’s more lustful there, and a bit cheeky. On “Los Ageless,” she’s grinning at the superficial desires of that city. It’s a story of wants in Hollywood, this dying yearn for youthful perfection that will forever remain unattainable: “How can anybody have you? / How can anybody have you and lose you?” That song and that city are a degree separated from reality. Los Ageless isn’t a place, and whoever or whatever you take the “you” as, it’s gone regardless. Like that illusion, the song itself is overly concocted, complete with the ’80s drum pattern

Loneliness and loss move between these coasts, certainly, but the separation defines how she processes these feelings.

and synths signature of pop producer Jack Antonoff, who co-produced this album. This formula appears all throughout MASSEDUCTION, and it can be relentless in its forced smile.

Of course that’s the point, but it can make for a less than gratifying listen. “Los Ageless” never really goes anywhere. It hardly wavers from the straight line laid out by its chorus.

We can read the tension between St. Vincent and Annie Clark through the tension between the two coasts, and this album rides these two modes: She alternates between the plastic of San Bernardino and the wrought confessional of the concrete jungle. Loneliness and loss move between these coasts, certainly, but the separation between the cities defines how she processes these feelings. In New York she looks inwards; in Los Angeles she looks outwards (and isn’t too impressed).

MASSEDUCTION is very much about flying between them.

The stretch from “Pills” to “Los Ageless” is that West coast concern for the outward.

The seductions she tackles are broader and more of the masses, as the album title suggests. There aren’t the hyper-specific moments we get on the tracks about New York, like that hotel room where Johnny lights up his Bic lighter in “Happy Birthday, Johnny.”

Instead we have abstractions; in the title track she sings of “A punk rock romantic” and “Nuns in stress position.” On “Pills,” she dances to a chipper club beat while describing a pill-induced haze that could be anyone’s. She sounds almost celebratory, and she gets away with it because she’s right there in it too, seduced by the drugs and technology herself. She avoids what easily could have been a gratingly haughty tone.

This slew of songs is the most upbeat on the album, and St. Vincent hardly lets up the guise. They’re interesting thought experiments, but they can grow a bit tiresome as they push farther in the album, almost monotonous. When that sound reappears as late as “Fear the Future,” it’s nearly exhausting. It’s what makes those New York tracks so stunning, such breaths of fresh air among all the sickness.

For a while we’re not sure whether the two sides of this album will ever truly meet: drug- and sex- fueled nights lead into confessionals without a clear sense of narrative. It’s not until the end that we see MASSEDUCTION as a single story, on the closing track, “Smoking Section.” The song is an absolute triumph. It brings the unresolved ends to light, and the apparent contradictions are explained. St. Vincent draws a sketch of someone on the edge, someone who sees how easily it could all burst into flames and kind of likes it, maybe wants it to happen. “Let it happen,” she sings. And yet she doesn’t.

By the end she decides, “It’s not the end,” though it very well could have been. The track moves slowly, explodes, recoils and does it all over, like the turns this album makes track by track. It’s a glam rock ballad about pop suicide, which she contemplates like a dark game on her stage, waiting for someone to light her up. But she doesn’t want to step over that edge. She stays behind it, toying with her own destruction, reveling in the seduction all the same.

RCA

With ‘Virtue,’ Casablancas looks back (but not in anger) MADELEINE GAUDIN Managing Arts Editor

I was fooled by “Leave it In My Dreams,” the first single off The Voidz’s sophomore effort, Virtue.

I thought this was going to be a Strokes album. The muted riffs and sharp lyrics sound like an Angles bonus track.

But this is not a Strokes album, and it’s not exactly an album either. Virtue feels, instead, like a collection of everything frontman Julian Casablancas couldn’t do with that aforementioned band.

It’s an outpouring of musical frustration.

It’s a mess, one that isn’t well served by determinations of “good” or “bad.” Some tracks excel, others confuse, but Virtue isn’t the sum of its unbalanced parts.

And Casablancas would probably love that designation.

After his bonkers interview with Vulture, we know he’s a man whose steadfast ideologies are all but completely removed from reality. He’s easy to confuse with a certain love interest from a certain best picture nominee.

Yes, that’s right. L’Enfance Nue is older, but in no way grown up.

And the Julian/Kyle parallel has never been more apparent than on Virtue. “I was soon sent off to school / Where the teachers gave me poison / And I drank it like a fool,” Casablancas sings on “Think Before You Drink, ” a track sonically reminiscent of “I’ll Try Anything Once.” He’s rightfully preoccupied with the world’s suffering and decay, but

hasn’t yet grown out of seeing himself at its center.

On “Lazy Boy” — a song that lyrically could’ve been written by that one band from your high school (see previous “Lady Bird” reference) — Casablancas sings: “Jackets are the eyes to the soul,” proving he can actually be self reflective.

Casablanca’s rebranding of a specific downtown cool for the new millennium cemented The Strokes in the visual cultural memory. He seems, here, to be trying to reconcile his desire for musical recognition and his wholehearted condemnation of music the world deems “popular.” It’s a true Catch-22 for Julian: Fame is for frauds and obsolescence is for the untalented.

For brief moments — “Leave it in My Dreams” and “All Wordz Are Made Up” — Virtue sees the Voidz letting go, leaning wholeheartedly into a kind of joyful existentialism. Nothing matters! Isn’t that sort of fun?

“No one will care about this in 10 years,” he sings on “All Wordz Are Made Up,” in another moment of self awareness. He seems to understand the shelf life of his specific celebrity brand, and his precarious position in popular culture. But these tracks lack the self-lamentation found in other corners of the album. They’re, even if only momentarily, carefree in their nihilism.

Virtue is an operation in nostalgia that tries to front as forward thinking. Casablancas got slammed for rewriting the

’70s with The Strokes. With The Voidz, he’s moved his musical homage a decade into the future — mining the ’80s in all their synthfilled, vocally distorted glory. In that sense, Virtue is progressive for an artist obsessed with the past. But it’s not progressive for 2018, not really.

Casablancas isn’t looking into the future at all. In many ways, Virtue feels like a last ditch effort — one final shot to get all the things in his head into an album.

In a move that leans more towards a mixtape than a cohesive album, the Voidz bounce from art rock to synth pop to a weird attempt at metal (the aptly titled “Pyramid of Bones”). It’s as disjointed as it is unbalanced. But, as we know, when Casablancas is on, he’s on and when he’s not, he’s so earnest in his attempt that you can’t help but applaud it.

For moments he feels jaded in his surrender to middle age.

While his primary business has always been nostalgia, Casablancas seems to be looking back on his own life: his youth, his angst, his glory. And it’s hard to blame him, The Strokes rocked.

So we can revel in this mess of an album a little longer than most, cut it’s chaos more slack than we otherwise would. Virtue is exactly what we knew would happen when Julian Casablancas had to finally grow up.

There are very few things I know to be absolute truths but among them are these: New York rock isn’t dead yet and Julian Casablancas is no longer it’s savior. And maybe he never was.

The Michigan Daily — michigandaily.com

Fall 2018 — 3D

Lorde brings pure magic to Detroit as the ‘Melodrama’ tour continues DOM POLSINELLI Senior Arts Editor

HBO

‘Silicon Valley’ finds itself again in its fifth season, after a rough patch SAYAN GHOSH Daily Arts Writer

As someone who grew up in Silicon Valley, the HBO show of the same name always felt uncannily more like a documentary than a comedy. From the getgo, “Silicon Valley” has been an astute satire of the Valley, a place where obscene amounts of money and a somewhat overzealous sense of self-importance produce an idiosyncratic environment.

Ironically, the show has been enthusiastically embraced by the very demographic it relentlessly pokes fun at. Walk into any startup office or CS building at any university and you’ll find that our (speaking as an engineer) affinity towards the show’s humor is not entirely dissimilar to a 12-year-old’s towards toilet humor. Guaranteed guffaws at popular sound bites such as “this guy fucks” or “middle out” illustrate how “Silicon Valley” has transcended into being a possibly niche, but still hilarious cultural icon.

Nonetheless, I was quite worried going into season five. Season four was easily the series’s weakest, with Pied Piper going frustratingly nowhere during the course of the entire season and Richard Hendricks (Thomas Middleditch, “Kong: Skull Island”) going from lovable awkward nerd into a character that was at too many points simply painful to watch. The satire still had its edge, but it seemed like the show’s magic was just about running out. Was the show just overstaying its welcome?

Thankfully, the beginning of season five has me cautiously optimistic. We find the team without Erlich Bachmann (T.J. Miller, “Deadpool”) for the first time after a disappearance in Tibet, and although Erlich is one of the show’s most notable characters, I wasn’t quite miffed by his departure. By the end of season four, he was just a cheap source of crude humor, a deadbeat who had little relevance to the plot or progress of Pied Piper. It turned out that T.J. Miller in real life was becoming a bit too much like the character he played, forcing the writers to strand him in the mountains. Oh well. Anyway, season five sees the group move into a new office, and throughout the course of the first few episodes, welcome a large group of engineers.

And to that I say: finally! Pied Piper is finally actually making some progress. One of the aspects of season four that was so frustrating was the feeling that the show didn’t have to be quite so cyclical.

The possibilities for conflict and comedy with a larger team as Pied Piper expands are limitless. While Richard is still hopelessly unfit as a motivator and CEO (an early scene has him give a ridiculously cringeworthy speech to his new employees), he shows glimpses of a Silicon Valley staple many viewers of the show are expecting to pan out: the transformation from being a brilliant, dopey coder to a ruthless businessman, aka Hooli CEO Gavin Belson (Matt Ross, “Captain Fantastic”).

Belson is brilliant as ever, with a renewed zeal to destroy the upstart

Pied Piper. The show continues to excel at his characterization as well as incorporating new gags, including a recurring bit that involves three new coders the team dubs “stallions, each one more magnificent than the last.” Each time the stallions are mentioned, sentimental music plays while the camera pans to three disheveled engineers rubbing their eyes while squinting at their laptops. While Dinesh (Kumail Nanjiani, “The Big Sick”) and Guilfoyle (Martin Starr, “Spider Man: Homecoming”) have not developed as much as I would like, their interactions are as snide and petty as ever, and characters such as Laurie Breem (Suzanne Cryer, “The Cloverfield Paradox”) remain as perfect imitations of some of Silicon Valley’s more unusual personalities. Jared (Zach Woods, “The Post”), one of the show’s most intriguing characters, continues to drop some truly disturbing lines, which leads me to think he grew up in a weird cultist/Neo-Nazi family.

Meanwhile in Erlich’s absence, Jian Yang (Jimmy O. Yang, “Crazy Rich Asians”) takes over and hatches a plot to “inherit” his wealth. While Jian Yang is hilarious in short bursts, it is worrying that the show has set him up to potentially be a main villain of sorts. At the moment, he still feels stuck as a caricature.

“Silicon Valley” is back, sort of.

Early on, season five is encouraging, actually stimulating the idea that Pied Piper will grow and encounter a new set of problems. However, as I stated before, I remain cautiously optimistic.

In the never-ending whirlwind of bar and club shows, it’s easy to forget the magic that occurs alongside the detail and attention given to full-scale concert productions. Lorde’s show on Wednesday night at Detroit’s Little Caesars Arena was truly nothing short of pure magic.

Before her set, Lorde received some fantastic support from the inimitable queen of indie rock, Mitski, and explosive hip-hop duo Run The Jewels. With an early set time, Mitski unfortunately played to a half-empty arena while seats slowly filled, but was nonetheless spectacular, with a set that included the anthemic “Your Best American Girl” and closed with the scathing “Drunk Walk Home.” Run The Jewels played most of their hits like, “Call Ticketron” and “Stay Gold,” upping the rhythm and energy of the crowd in preparation for our Lorde and savior to take the stage.

Within a matter of seconds into her opening song “Sober,” the entire arena was transformed into Lorde’s own dreamscape, a transmutable playground for her to share her deepest secrets and darkest emotions.

Background dancers flooded the stage when necessary to set the scene — an intimate party during “Homemade Dynamite” and a sensual dance between lovers during “The Louvre.” All at once, Lorde left everything and nothing to the imagination with settings as personally subjective as needed but altogether objective in their presentation.

Lorde herself transformed throughout the performance, starting the show with a sleek black outfit, changing midway through the show on stage into a flowing pink gown that she then later exchanged for flared red bottoms with a matching ruffled top. Lorde took the crowd through the emotions of her music with these expertly timed changes, reflecting the deftly planned setlist. Melding cuts from Melodrama and Pure Heroine together, Lorde presented a young and intense love broken down to the sweet innocence of intimacy, eventually bringing us to a spiteful but reflective post-breakup independence.

This is the artist of a generation at her most affecting, most genuine and truly most breathtaking.

Her show was both a visual and auditory spectacle, blended perfectly into a story deeply and

universally resonant. Prefacing “Ribs” off of Pure Heroine with “This is a song I wrote when I was 16,” she reminded the crowd of her former outlook as a teen, tracing the messy path to young adulthood with an incredibly perceptive eye. She took the time to thank the crowd for being with her, reflecting on the fact that she was once writing her songs alone in a bedroom without ever imagining she’d be sharing them with arenas full of people.

Lorde also interposed a gorgeous cover of Frank Ocean’s “Solo” between “Writer in the Dark” and “Liability,” reflecting on her own efficacy in the messy melodrama of life through these three tracks.

“Supercut” had the entire crowd screaming along, reminiscing on the purest, happiest moments of life scattered throughout the dark.

If Lorde’s performance showed us anything, it’s that we truly do not deserve an artist with such overwhelming talent. Without the words to do her justice, I’ll leave you with this: Few artists are able to so magnificently capture acute emotion the way Lorde has with her music, and her performance follows suit in a way that is so immersive and tangible it’s almost impossible not to feel the melodrama.

WIKIMEDIA COMMONS

4D — Fall 2018

The Michigan Daily — michigandaily.com

Sofia Coppola’s ‘The Virgin Suicides’ and the loneliness of girlhood BECKY PORTMAN Senior Arts Editor

At the tender age of 28, Sofia Coppola (“The Beguiled”) wrote and directed the 1999 drama, “The Virgin Suicides,” based off of the 1993 Jeffrey Eugenides novel of the same name. The film set Coppola apart from her legendary father — Francis Ford Coppola of “Godfather” fame — and highlighted her dreamy, unique and definitively brilliant style. Coppola the younger has gone on to write and direct award-winning films such as “Lost in Translation” (2003), “Marie Antoinette” (2006) and “Somewhere” (2010), making her an auteur in her own right.

For one night and one night only, the Michigan Theater screened Coppola’s first film, “The Virgin Suicides,” as a part of the nationwide initiative called Science on Screen, which pairs films with science speakers. “The Virgin Suicides” was screened in conjunction with national youth speaker Jim Tuman on the teen suicide epidemic. Tuman spoke about his own experiences with suicide, from clients to parents to fan mail. Tuman reiterated how the film depicts loneliness as not necessarily being by oneself, but a sort of existential solitude that can be felt even in the most crowded of places.

“The Virgin Suicides” takes place in Grosse Pointe, Mich. in the mid ’70s. The film centers on the tragically beautiful and

sheltered Lisbon sisters. The five girls — Therese, Mary, Bonnie, Lux and Cecilia — are an enigma to the neighborhood boys. Told from the boys’ perspective, the audience looks upon the Lisbon girls with the obsessive and voyeuristic, telescope-clad eyes of hormone-heavy, brace-faced, adolescent boys. The story starts the summer when the youngest sister, Cecilia (Hanna Hall, “Visible Scars”), slit her wrists in the bath tub at the age of 13. She survived her suicide attempt, but with it came a plethora or rumors, whispers and neighborhood gossip. The film approaches the taboo and elicit topic of suicide with finesse and care. While the subject matter is bleak and objectively tragic, Coppola applies a dreamy, hazy sepia filter to counteract the pain. The film — at points — is hilarious.

Using Giovanni Ribisi’s (“Sneaky Pete”) ambiguous narration as an omnipresent documentarian, commenting and criticizing the story from within through the third-person perspective of the novel. The film raises questions on helicopter parenting, fetishizing tragedy and the loneliness of girlhood with such expertise and nuance that it is hard to believe it was Coppola’s first feature film.

Kirsten Dunst (“The Beguiled”) steals the screen as the flirtatious and rebellious Lux Lisbon. The former child star commands the screen with her seductive gaze and youthful vigor, permitting an abundance

of eager eyes to fall in love with her. Dunst’s Lux personifies the film’s message of isolation — the way it feels to be surrounded by people but still alone. She is the object of unattainable desire, an untouchable celebrity drenched in self-doubt and overcome with the intoxicating and isolating feeling of total and complete solitude. Trip Fontaine, the epitome of the ’70s high school sex god, played by a baby-faced Josh Hartnett (“6 Below: Miracle on the Mountain”), is infatuated

by Lux’s indifference towards him. Interestingly, Trip is the only one we see in the future as the narrator details the events from a place far, far away from Grosse Pointe. Future Trip is no sex god, rather an institutionalized manchild, still thinking about the night he took Lux’s innocence on an empty football field. Lux and her sisters left a dark hole in the psyche of their neighborhood, turning their lives into more of a myth than a reality. Coppola beautifully captures the pains of girlhood, from boys to tampons to homecoming dances. What the audience hears is the narration of a fan boy, recalling the girls he never understood, but what they see is the unequivocal and crippling solitude of adolescence.

This dissonance is the hallmark of Coppola’s filmmaking, creating a dialectic between the internal and external, the seen and the unseen.

In addition to marking the beginning of Coppola’s successful

career, “The Virgin Suicides” highlights some of the auteur’s most identifiable and appealing stylistic choices.

Coppola’s photography background is evident in her films from the concentration on framing and composition. She clearly takes her time on the art of the shot, creating tiny masterpieces within the larger masterpiece of her motion pictures. Framing is a key aspect of the director’s work, highlighting the character’s feelings and state of mind by showing, not telling — using the actor’s expressions and body language to capture the mood.

The soundtrack plays like a high school mix tape from the ’70s,

featuring the Bee Gees, Steely Dan and Boston. The original score, conveying the ethereal tone of the film, was composed by the French duo Air. On Apr. 24, the Criterion Collection will release a digital restoration of the film, including interviews with the actors, a documentary from the director’s mother Eleanor Coppola, “Making of ‘The Virgin Suicides’” and the director’s 1998 short film, “Lick the Star.” The Criterion Collection beautifully sums up, that: “‘The Virgin Suicides’ conjures the ineffable melancholy of teenage longing and ennui,” adding that “the film secured a place for

its director in the landscape of American independent cinema and has become a coming-of-age touchstone.”

The fleeting, ghostly beauty of Coppola’s masterful first foray into her own coming-of-age as a filmmaker is iconic in its own right, paving the way for female filmmakers to make movies that matter. Just like the brief, transitory lives of the Lisbon girls, Coppola’s film lingers long after the screen fades to black. It is a true testament to Coppola’s talent that the film has remained so current. Based on the ’70s, released in the ’90s and revived in 2018, the film is still relevant as ever for generations of girls.

PARAMOUNT CLASSICS

The Michigan Daily — michigandaily.com

Fall 2018 — 5D

I love Taylor Swift, and a couple other concerns ASIF BECHER

Summer Editor in Chief

Disclaimer: Yes, it’s a little embarrassing how thoroughly I researched this article and how many pages of lyrics I obviously had to go through to come up with this list. It’s ridiculous to care this much about Taylor Swift when everybody knows cool people with Good Music Opinions don’t do that. But consider this: My apathy toward having a Good and Cool Music Opinion is equal and opposite in strength to how deeply I care about chronicling the evolution of the Dress as a motif in Taylor Swift’s music.

Also, for the pedants out there, yes, “Love Story” has a dress in it but I left it off of this list because it’s a wedding dress and I just don’t think there’s much deeper meaning to it (I still <3 you, “Love Story”). We good? Good.

1. “Tim McGraw” Key lyric: “When you think happiness / I hope you think ‘that little black dress’” Taylor Swift has built a career out of weaponizing memory. Her gift is in the details: conjuring up tiny moments so specific and intimate that they become universal enough to stab you in the heart. She reveals just enough so that it feels real, but not too much that it feels like it’s only Taylorapplicable. When a Taylor Swift song comes on the radio, we’re invited to not only to listen to her story, but also to understand how it’s our story, too. It’s no accident that this was the first song Taylor ever released, all about how memory can turn heartbreak into something a little gentler, a little more bittersweet. In “Tim McGraw,” she turns moments of their time together into relics of a time long gone: the song they used to dance to, a pair of jeans and, of course, a dress. Really, she’s repurposing these memories to construct an image of herself: “When you think Tim McGraw / I hope you think my favorite song... / When you think happiness / I hope you think that little black dress.” It’s about the power of a reminder. Just like that, it’s not any old dress anymore. And in his memory, that’s how she’ll be

forever: wearing that black dress, dancing to that old song. What’s funny though is how that image stuck, not just in his memory, but in ours. Taylor in a dress is one of her defining images, and it’s embedded deep in our cultural databank. Because the Dress isn’t just a piece of clothing: It’s Taylor herself.

2. “Fearless” Key lyric: “I don’t know why / But with you, I’d dance in a storm in my best dress / Fearless” Sometimes the Dress is a distillation of Taylor herself, and sometimes, like we see here, it’s a shorthand for a certain grandness of feeling — the Dress as a way to externalize the process of a heart swelling. The album art that accompanied this song in the lyric booklet is appropriately melodramatic (and in classic Swiftian fashion, a completely unsubtle and literal reenactment of the lyrics), Taylor in a fabulous blue evening gown with her back arched as she dances on a rainsoaked street. The Dress signifies an emotion here, a ridiculous, almost embarrassing-to-say-outloud emotion that doesn’t make sense in words, it only makes sense in actions (or in a Taylor Swift song). Saying it isn’t enough — dancing in a storm in your best dress might cut it, though.

3. “Today Was a Fairytale” Key lyric: “I wore a dress / You wore a dark grey t-shirt / You told me I was pretty when I looked like a mess / Today was a fairytale” Taylor is so good at picking details. She offers no commentary here, she just presents these precious and tiny memories like facts. Today was a fairytale — that’s not her opinion, it’s just what today was. Again, the Dress is a way of creating an image of Taylor in an aftermath. She writes in the first person here, but it’s like she’s imagining herself as part of a story, reflecting on an experience from a comfortable third-person distance. At this point in her career, it’s “Today was a fairytale / I wore a dress” but later it’ll become “It was rare / I was there / I remember it all too well.” In both cases, her memory is sharp, and it’s used as evidence of a feeling.

Somebody else might try and deny

it happened but she was there.

Today was a fairytale and this is a fact, as concrete and airtight as the fact that she wore a dress.

Also important to note is that Taylor knows the connotations of a dress — the way the vision of a pretty girl in a pretty dress can make a story immediately softer, more romantic. And I mean, Taylor’s work has always built on this distinctly feminine association — all hand hearts and red lipstick and kittens. Emotional and messy, pretty and soft, a close examination of the whims of a teenage heart. I think this is why people tended to write her off, especially in the early years, because, well, there’s nothing especially important about a girl in a dress, right?

4. “Dear John” Key lyric: “The girl in the dress wrote you a song” Yeah, so there’s a lot that’s important about a girl in a dress.

“Dear John” is a culmination of sorts. Taylor spent the first five years of her career-defining herself by a fluttering, deeply emotional romanticism, and “Dear John” is, I think, a defining moment in Taylor’s evolution as an artist: It’s the point when shit started getting really, really real. Not that I think there’s anything light or frivolous about her earlier work (“Fifteen” packs a hell of a punch and “Forever & Always” is full of enough vitriol and spite to kill a dozen Jonas Brothers, let alone the one it was written about), but “Dear John” is almost seven straight minutes of emotional excavation that completely hollows you out before lighting your heart just a little bit on fire. It’s the Dress, though, that really kills me. “The girl in the dress wrote you a song” could easily be a one-line manifesto for Taylor’s entire career. It’s an acknowledgment that there are strings attached to being a girl in a dress, a thing the world sees as meaningless, effeminate, stupid.

The Girl in the Dress isn’t taken seriously, not ever. Nobody ever expected her to fight back — to write something as sharp and painful and true as “Dear John.”

Nobody expects the girl who wrote a song like “Love Story” to write

lines like: “And you’ll add my name to your long list of traitors who don’t understand / And I’ll look back in regret how I ignored when they said, / ‘Run as fast as you can.’” But that’s the whole point.

The Girl in the Dress is a fragile, frilly thing who’s pretty and gentle and has her heart perpetually broken. Well, she’s angry now, and she has something to say. There’s a reason this song resonates so well, a reason that the crowd is full of shining tear-stained faces every time she performs it. Taylor knows that what it’s like to feel underestimated and small — but she also knows how to turn her vulnerabilities into strengths.

The Dress, something that once coded her to the world as soft and feminine and weak, becomes her weapon of choice. “Don’t you think I was too young to be messed with” sounds like an admission of hurt, and it kind of is, but the way she sings it makes me think it’s more an attack than anything else. You hurt me, she seems to say, and that’s on you. “The girl in the dress cried the whole way home / I should’ve known” becomes “The girl in the dress wrote you a song / You should’ve known.”

On the Speak Now tour, Taylor used to act out this transition in vivid color. She would perform this song wearing a purple dress and a ponytail, and sang part of the song hunched over her microphone, sitting on the stairs in a grand show of heartbreak. But somewhere between “I should’ve known” and “You should’ve known,” she would always stand up, the song building in momentum. When she got to the line “I’m shining like fireworks over your sad empty town,” massive sparks would shoot from the stage, and for a minute all you could see was her shape against the lights — the silhouette of a girl in a dress, singing you her song.

5. “Better Than Revenge” Key lyric: “They didn’t teach you that in prep school so it’s up to me / but no amount of vintage dresses give you dignity” So we’re gonna ignore the unfortunate 2010-era slut shaming that permeates this song and instead focus on the fact that Taylor Swift wears more vintage dresses than like 99 percent

of people in this world, so this insult is either a self-aware manylayered joke or a deeply hilarious self-burn. Either way, it makes me really happy. Also, Taylor refers to boys exclusively as toys and property in this song and I am very proud of her.

6. “Holy Ground” Key lyric: “Spinning like a girl in a brand new dress / we had this big wide city all to ourselves” Like in “Fearless,” the Dress is a shorthand for a sparkling feeling. A girl in a brand new dress spins and it’s a signifier for the wide open emotion of first love and youth. She’s so happy that she twirls; she can’t contain it. In “Holy Ground” memories stack on top of each other, the words coming quickly and breathlessly as if she can’t help herself, she just has to get this off her chest. I don’t think it’s a coincidence that this song is the perfect tempo to spin along to (not that I’ve tested it out or anything — ahem). The whole song sounds like a rush of emotion — it sounds the way spinning in a brand new dress feels. It’s notable here, though, that Taylor herself isn’t the Girl in the Dress anymore.

She’s spinning like the girl. The image of herself as the fluttery romantic girl is a past tense thing now, a self-created archetype relegated to memory. “Darling it was good / never looking down / and right there where we stood was holy ground,” she sings, and you get the feeling that the brand new dress is a piece of that ancient history. The old Taylor isn’t dead yet, but she’s fading away.

7. “Dress” Key lyric: “Only bought this dress so you could take it off” I don’t know if Taylor Swift wrote “Dress” using every single narrative device I love most in this world specifically with me in mind, but I am very grateful it exists anyway. After spending 10 years building a distinct image off being a Girl in a Dress, she quite literally throws that dress on the floor.

Reputation may not have been the image overhaul we expected based on its marketing, but “Dress” is a quiet deconstruction of the Taylor she used to be. “Dress” is what happens when a hopeless romantic grows up. Instead of

“Today was a fairytale / I wore a dress” it’s “Flashback when you met me / your buzz cut and my hair bleached / even in my worst times / you could see the best in me.” These are still gentle, tender memories, full of love, but they’re less about using retrospect as a way to construct a romanticized version of the past, and more an admission of honesty.

For the most part though, “Dress” is a completely different kind of Taylor Swift song in that it’s written in the present tense. She’s careful to say it’s a “flashback” rather than the usually unspoken agreement between listener and singer that the whole song is a memory. With the exception of maybe “Sparks Fly” I don’t think she’s ever written a song about wanting somebody in the now.

But the Girl in the Dress is getting older, and so she turns all of her old habits on their head in “Dress,” a song all about the nuances of the now. “My hands are shaking from holding back from you,” she sings, and there’s nothing bittersweet about it, the way her details usually are. It’s unfiltered, clean, straight to the vein emotion, no hazy layers of memory between the Taylor singing and the Taylor experiencing.

Up until this very moment, the Dress has been a marker of a Taylor long gone, a Taylor alive only in a memory. The Dress has been in dusty pickup trucks, it’s gotten ruined in the rain, it’s been worn on first dates and last dates, it’s been a sign of weakness and a spectacular show of strength — but it has never made it into a present tense song before. The Dress has been a distillation of Taylor herself and it has been an image Taylor sees from a distance, watching herself wearing it. But in the end, it’s always been part of a story. It’s a way of turning her life into a narrative, a process that grants her a kind of immortality — because an image can live forever in the memory of someone long gone.

It’s powerful stuff, writing yourself into a story, into someone else’s very heart. But if Taylor Swift has taught me anything, it’s that the Girl in the Dress is a lot more than a memory. She’s real.

‘Lean on Pete’ reveals the tenacity of the spirit JACK BRANDON

Summer Managing Arts Editor

SONY PICTURES CLASSICS

‘A Fantastic Woman’ is a triumph thanks to Vega SOPHIA WHITE Daily Arts Writer

Chilean foreign film “A Fantastic Woman” completely lives up to its title, proving itself to be fantastic, if not outstanding. “A Fantastic Woman” is a consummate example of giving minority gender identity stories a voice in film, especially with visionary direction

by Chilean-Argentinian director Sebastián Lelio (“Gloria”) and a breathtaking performance by Daniela Vega (“The Guest”). It is no shocker as to why it rivaled American films this past season, resulting in an Oscar win for Best Foreign Language Film.

A story to be revered and admired, “A Fantastic Woman” underscores the complexities and complications of love and loss, and the quest for personal and gender identity. Marina, played by Vega, is a transgender woman living as a singer in Chile, dating an older, wealthier divorcee, Orlando (Francisco Reyes, “Neruda”). But despite some tropes of relationships with a vast age difference, Marina doesn’t use Orlando for his money.

Marina doesn’t care about any of that. In fact, the only possession she desires after his passing is the

dog they share. Orlando provides her with one thing that no one else can: He sees her. When Orlando suddenly suffers an aneurysm and dies, Marina is forced to confront prejudices and suffer abuse from Orlando’s family. They try and tear her down, but she perseveres.

“A Fantastic Woman” is also a tale about self-preservation and resistance. Lelio doesn’t give us much of a glimpse into Marina’s backstory because we don’t require it. The film’s dialogue is simple and deliberate. Based on Vega’s performance — its nuance, tenderness and strength — we can infer it hasn’t been easy for her, but it’s not overly sentimental and it doesn’t make us feel pity for her. She is ridiculed by Orlando’s ex-wife, who calls her a “chimera,” or a fire-breathing monster in Greek mythology. The investigator who questions her after Orlando dies refuses to call her Marina because he knows she is trans.

But none of this surprises Marina; she doesn’t expect anything from anyone, which makes the loss of her love, her one piece of hope, all the more heartbreaking. Vega herself, who brings Marina’s fortitude to life, is a big trans rights crusader in South America.

This will not be Vega’s last stellar performance.

Vega tells the story through her acting, while the rest of the story is told through avant-garde cinematography by Lelio that elevates the film’s aesthetics into an artful and abstract piece of work. Despite some sleepy moments, daytime shots are met with sensual, dream-like night sequences with colored lights and glitter that reflect Marina’s deepest desires of peace — to be met back with her love and be on the stage. Sparkly choreographed sequences of Marina dancing and singing, breaking the fourth wall and distancing from the reality of the piece, don’t allow us to forget about her suffering. And the quite striking and unusual shot of Marina walking as the wind pushes back on her, used in the trailer, is an in-your-face visual allegory of her defiance in a world that repeatedly tries to knock her down.

Really, “A Fantastic Woman” is about not judging others. It urges us to be accepting and to open our minds and our hearts. It’s heartbreaking, at times too tragic to even watch, but by the end, we’re all on Marina’s side.

What’s better than a story about a man and his dog? A story about a man and his horse. Er, a boy and his horse, in the case of “Lean on Pete,” the most recent film from the burgeoning powerhouse that is A24 and director Andrew Haigh. Adopted from the novel of the same name, written by Willy Vlautin, “Lean on Pete” tells the story of working-class, 15-yearold Charley Thompson (Charlie Plummer, “Boardwalk Empire”) who has just moved to Portland, Oregon with his single father and is looking for work. “Lean on Pete” is at once a coming-of-age story and gut-punching drama that forces its protagonist to grapple with problems that most people will never have to face. Above all, though, it never glamorizes its characters’ troubles or inflicts trauma without intention. “Lean on Pete” reminds audiences how strong the desire for selfpreservation can be.

The film begins simply: Charley alone in his house, hearing through a door the sounds of his father and his girlfriend having a flirtatious chat in the bedroom. He leaves

to go run, presumably used to his father’s behavior, and discovers Portland Downs nearby. There’s a magnetic connection. Charley goes to work for Del (Steve Buscemi, “Neo Yokio”), a racer who owns the eponymous horse, to make a little money. With it, he buys food, which reveals the family’s financial need.

Haigh illustrates how Charley’s literal hunger, a recurring problem in the film, motivates almost all that he does. There are multiple scenes involving food that serve as punctuation for Charley’s journey: His home kitchen, the restaurant at the tracks and the gas station where he steals a map and a pastry wrapped in plastic.

Although “Lean on Pete” does do good work with basic wants and needs in its beginning third, it can occasionally feel robotic.

Scenes involving more than two characters are stiff and staged, and they stick out in a film that is so good at capturing the emotional experience of a person alone. This is evident when Charley has to interact with both Del and jockey Bonnie (Chloë Sevigny, “The Snowman”) in the same scene. The dialogue seems uneasy, as if the film knows that it’s about Charley’s internal experience.

Once past its first third, however, “Lean on Pete” blossoms in to a journey of survival and self-discovery, as Charley goes on a quest to find his Aunt Margy (Alison Elliott, “20th Century Women”). En route, he is forced to make some difficult decisions, some of which lead him to lie, steal and harm others. By the same token, his motives are pure — he’s looking for safety and comfort in a dangerous world. The film, however, never places a moral judgment on Charley’s actions. It never strays from emphasizing Charley’s will to complete his task.

Above all, Charlie Plummer gives a performance that borders on greatness. Plummer’s ability to convey Charley’s vulnerability and resilience is never cartoonish or ham-handed, and he knows exactly when to channel which trait.

The film’s emphasis on Charley’s interiority requires an actor that can display a wide range of experience, and Plummer is up to snuff.

Without him, the film could have fallen prey to overdramatization or sentimentality. “Lean on Pete” keeps its focus tight, demanding its audience to witness the tenacity of the human spirit.

A24

6D — Fall 2018

The Michigan Daily — michigandaily.com

SONY

‘Everything is Love’ is excessive without purpose ROBERT MANSUETTI Summer Senior Arts Editor

Ever since “‘03 Bonnie & Clyde,” Jay-Z and Beyoncé have wanted you to know two things about their relationship: they’re in love and they’re rich. For years that’s the most they’ve cared to divulge. They kept their 2008 wedding as hushhush as possible and would almost never be caught publicly without sunglasses — Jay often opted to cover his eyes while they sat courtside at indoor NBA games. They popped up

here and there as if to bless us with their public presence, but that exterior appearance was all us normal people got to witness.

It wasn’t until 2016, with the release of Beyoncé’s creative opus Lemonade, that cracks in the perfect marble sculpture of the Carters became visible.

Bey not only touched on the social and political nature of Black love, but the personal as well; she was on a quest for self-knowledge in the face of infidelity. That infidelity, JayZ’s alone, was nothing but a tabloid rumor for a couple

years but made headlines with Lemonade and was only further made concrete when 4:44 arrived in 2017.

With 4:44, Jay-Z brought his f laws to the forefront, admitting his guilt and asking for forgiveness. Who knows what happened between the two superstars behind closed doors, but it seems to them the highest form of therapy is making music together. And with the unannounced drop of EVERYTHING IS LOVE, this unorthodox trilogy of healing has its final act.

EVERYTHING IS LOVE

represents a synthesis of Beyoncé’s perfect pop formula and Jay-Z’s classical brand of rap, but instead of being the lavish pairing we have come to expect, it comes across as a controlled mess. The couple’s undying love is at the center of the album, but the music itself has no heart — there’s no sonic f low as the tracklist jumps from a sexy string symphony to trap-inspired synth banger or songs that sound less like collaborations and more like Magna Carta Holy Grail or 4 leftovers.

If anything, one of the few consistent musical takeaways from the album is that Beyoncé has cemented herself as a good rapper, sometimes outshining Jay-Z in terms of technical ability. She borrows the triplet f low on “APESHIT,” trades bars with Pharrell on “NICE” and poetically chides her husband on “LOVEHAPPY.” “You fucked up the first stone, we had to get remarried,” raps Bey, almost certainly looking at Jay dead in the eyes in the booth. In this way, EVERYTHING IS LOVE comes across as Beyoncé album that happens to feature Jay-Z on every track, as he functions more as afterthought than equal collaborator. His contributions are fewer and further between than those of his wife, and his verses occupy the portions of any given instrumental at its barest; Beyoncé is backed by a soulful chorus on “BOSS” while Jay-Z is left to work with snare drums and a singular background vocalist. When Jay-Z f lips off the NFL and

tells them “You need me, I don’t need you” on “APESHIT,” it’s almost if Beyoncé could say the same to her husband himself.

There’s something off about this new version of Beyoncé, though, as she brags about Lamborghinis and Patek Philippe watches on a verse clearly written by Offset of the Migos (him and Quavo lend their ad-libbing talent to “APESHIT”), and her f low perfectly matches Pharrell’s on “NICE,” leaving you wondering if he just didn’t give her half of his verse. In fact, there’s this whole manufactured quality of EVERYTHING IS LOVE that makes this meditative masquerade sound artificial.

Each song rests on the shoulders of a veritable army of songwriters and producers: Ty Dolla $ign, Cool & Dre and Boi1da, to name a few.

Beyoncé and Jay-Z are so in control of their public images that it should come as no surprise they recruited such talent to bring this album to life.

However, facts like that make this celebration of their love seem hollow. The convenient rollout of EVERYTHING IS LOVE and the two preceding solo albums, along with the On the Run II Tour, makes the inner conspiracy theorist in me wonder if the whole saga of Jay-Z’s affair (except Solange whooping Jay’s ass in an elevator) was nothing more than a carefully crafted publicity stunt to drive album sales and Tidal subscriptions.

Ironically, the best moments of EVERYTHING IS LOVE

comes when it relaxes its precise focus on the power couple.

Album highlight “BLACK EFFECT” is a love letter to their own Blackness and acceptance of the symbolic power they have in their community.

Jay-Z aims to uplift, shouting out “I’m good on any MLK Boulevard” and demonstrating the power of unity. The video for “APESHIT” is similarly empowering; the two have the fuck-you money to rent out the Louvre for one night and use it as their personal artistic playground, juxtaposing successful Black artists like themselves and their team of dancers with perhaps the most recognizable collection of white art on the planet. Jay-Z props himself before The Raft of the Medusa, a rarity among famous paintings as a Black man is at the pinnacle of the composition, while Beyoncé dances in front of the Mona Lisa and Winged Victory of Samothrace, placing herself as the new ideal of beauty among those classical notions.

Yet, without the visuals for “APESHIT,” the song is nothing more than an elevated trap anthem, as the lyrics give no hint of its take on high art. And this identity crisis is representative of the whole album itself: While it attempts to shape Jay-Z and Beyoncé’s love, success and passion into a jubilant meditation on Black excellence, it celebrates Carter excellence instead.

Albeit tastefully opulent, EVERYTHING IS LOVE can’t shake its extravagant vanity.

‘Lost in Japan’ a false, manufactured charm SHIMA SADAGHIYANI Daily Music Editor

MUSIC NOTEBOOK

The thing you need to know about Shawn Mendes is that he was a Vine kid.

More importantly, he was one of those Vine kids who didn’t use the platform for tormenting unsuspecting parents or siblings, but rather used it mostly for showcasing musical talents that would have otherwise remained hidden.

Armed with an acoustic guitar and a wide smile, Mendes would post short clips of him covering various Ed Sheeran, One Direction and 5 Seconds of Summer songs (and even a Beyoncé track thrown in here and there). His rise to fame started here, under the pastel green curl of Vine’s logo, vocals restricted to bite-sized, fivesecond long segments.

It’s a shallow personability that has remained constant throughout his music, even as

Mendes stepped away from Vine, entered into record contracts and started releasing original albums. His songs lack substance, depth or dynamism, instead just minute variations on the same easily-consumable, bred-for-radio sound that has been recycled throughout generations of generic pop stars from Ed Sheeran to Charlie Puth. And it isn’t a bad sound — catchy hooks and predictable melodies are easy to sing along to when you’re stuck in bad traffic — but it’s one that lacks originality; music that never goes beyond established constraints.

Shawn Mendes’s newest single, “Lost In Japan” follows the same formula — easily memorable “Can’t get you off my mind” a bow on top of the whole shiny, autotune slathered chorus — only with an “edgy” R&B twist.

Rather than authentic, the dancing synth and energetic

tempo’s upbeat pulse are only reminiscent of Calvin Harris’s Funk Wav Bounces Vol.1, and Shawn Mendes finds himself continuing to rip off those who came before him.

To be fair, Mendes is not a bad artist. His vocal range is astounding, natural falsetto reaches add texture to every lackluster melody and, as he jumps from the smooth crescendo of the chorus into the abrupt “I could feel the tension / We could cut it with a knife” of verse one, Mendes is graceful, never allowing the delicate warmth of his voice to falter.

“Lost In Japan” is nothing new. Similar to the breezy triviality of what came before it — songs like “There’s Nothing Holding You Back” or “Treat You Better” — the single’s best feature is its consumerism — the nearly universal sentiment that can be found within Mendes’s manufactured confession of love.

The Michigan Daily — michigandaily.com

ANN ARBOR

Fall 2018 — 1E

Ann Arbor residents gather at the Human Rights Commission meeting to discuss the formation of a review board for the AAPD at Ann Arbor City Hall January 10, 2018.

SAM SO / DAILY

Human Rights Commission calls for AAPD accountability GRACE KAY

Daily Staff Reporter

Seventy Ann Arbor residents called for increased accountability and transparency from the Ann Arbor Police Department at the Ann Arbor Human Rights Commission Wednesday. This comes after several local incidents of police brutality, and institutional responses many residents view as insufficient.

Because of the unprecedented number of residents in attendance, a member of the fire department stopped by on an anonymous tip to move the HRC to the City Council Workroom. Participants carried signs with slogans such as “Civilian Police Review Now!” and “No false solutions.”

Difficulties with relations between the AAPD and the Ann Arbor community erupted in 2014 when an AAPD officer shot and killed 40-year-

old Aura Rosser, a Black woman, after the officer claimed Rosser had moved towards him with a knife.

Rosser’s death was not the only example of the AAPD’s questionable use of force. Since Rosser’s death, numerous incidents such as the violent arrest of Ciaeem Slaton at the Blake Transit Center, the rough handling of University of Michigan student Dyshon Toxey and alleged mistreatment of several Black students during tailgates have led residents to question whether these are issues of race and how the AAPD can be held accountable for their actions.

Residents have reacted to the tenuous relationship between the police and citizens through various protests and initiatives calling for a new way of policing the AAPD. While the Ann Arbor City Council initially responded to the uproar in early 2017 by approving a $200,000

contract with a consulting firm, Hillard Heintze LLC, many residents considered the unsatisfying, and even counteractive.

Long-time Ann Arbor resident Shirley Beckley expressed frustration with the long-standing impasse in relations with AAPD. “This is not a problem we should still be struggling with,” she said. “We should not still be struggling with issues from the 1970s.”

She addressed City Administrator Howard Lazarus later in the meeting.

“I don’t trust you,” she stated. “I don’t trust the police. No one has apologized for killing Aura Rosser.

Not yet. But you ask us to trust you.

Trust is earned.”

Transforming Justice Washtenaw, a group that advocates for restorative alternatives to policing and incarceration, opened the HRC meeting with members Lori Saginaw and Julie Quiroz reading a statement

they sent to the mayor, City Council, city administrator and HRC prior to the meeting. The statement requested the formation of a Civilian Police Review Board instead of the “Co-Produced Policing Committee” the city is pursuing.

“We call on the Ann Arbor City Council to take immediate steps directing the city administrator to put in place a Civilian Police Review Board that is independent, transparent, representative and adequately funded, based on the specific features outlined below. This CPRB should be in place no later than January 2019,” Saginaw said.

Several HRC members, including Dwight Wilson, shared a sense of urgency.

“We need to stop dancing around and just do this. We have all kinds of people telling us to do it, and even if we didn’t, common sense should tell us that we need to protect the

citizens,” Wilson said.

The HRC formally proposed a CPRB a year after Rosser’s death in 2015, and again with a unanimous statement in July 2016. AAPD chief Jim Baird, on the other hand, blasted the idea in the summer of 2016, arguing implementing oversight before a third-party review would be too hasty.

“Because the commission’s report blends the national discussion with the Rosser incident, I have concern that there may be an appetite to address national issues and concerns with local policy,” Baird wrote in a memo. “To presume that the Ann Arbor Police Department’s practices are not ‘positive’ and that a review board is the best way to ‘ensure future adherence’ absent any supporting reference is ill advised...(civilian oversight) becomes a mechanism for people who are sometimes disenchanted with

police departments to become more disenchanted, because all they see is the problem.”

Throughout the meeting residents emphasized the importance of a review board comprised of residents rather than the Hillard Heinze proposed Co-Produced Policing, which would include commissioners, policemen and council members.

Similarly, residents expressed doubt regarding the effectivity of a CPPC. The CPPC cannot conduct investigations and can only review from outside investigations via the AAPD’s Office of Internal Affairs, working as a third-party liaison between the public and the police.

The residents argued a Civilian Police Review Board would take a more direct approach.

Read more at MichiganDaily.com

Teen arrested at Blake Transit Black students speak out against Center, sparks local uproar overpolicing in Ann Arbor MATT HARMON Daily News Editor

Family seeking an apology after a 16-year-old Black boy was arrested at the Blake Transit Center Tuesday night. The incident was first reported in a press release from the Collective Against White Supremacy.

The press release detailed an incident where Ciaeem Slaton, a student at Pathways to Success Academic Campus in Ann Arbor, was reportedly confronted by an Ann Arbor Police Department officer while waiting for a bus.

The officer, who is also Black, demanded to see Slaton and his friends’ school ID cards, though they had not received their physical IDs from the school yet. After the initial encounter, the officer reportedly dragged Slaton by his backpack into the station.

An accompanying video shows Slaton being arrested while other teens tell Slaton to comply with the arrest.

“The officer drew his taser which appears to be pointed at Slaton,” the press release read.

“After the video, Ciaeem was given a ‘trespass’ charge, which means he is not allowed to use the Ann Arbor or Ypsilanti busses or be at the bus station for an entire year.”

Slaton was released from police custody while still at the bus station.

The Slaton family is asking for an apology from AAPD and the officer in question for the arrest. They are also asking for compensation for Slaton’s reported physical injuries and for his charges to be dropped.

According to the release, Slaton needs to use the bus system to get to school — as a result, the Slaton family sees the trespass charge as unfair to his education.

According to MLive, Jim Baird, the Ann Arbor Police Chief, wrote an email to Ann Arbor City Council and explained the video footage took place before the arrival of additional police officers.

“Any use of force by Ann Arbor Police Department personnel receives a review at three levels in the organization,” he wrote.

“In addition, because some of the inquiries I received could be characterized as complaints, a personnel complaint has been initiated and will be investigated by our professional standards section.”

Anna Lemler, a University alum and organizer with Collective Against White Supremacy, said CAWS has reached out to Slaton’s mother for support; they have offered to help with grocery shopping, contacting media outlets and raising funds for legal costs.

Lemler said there were officers stationed in the area surrounding the Transit Center to respond to a fight that happened earlier.

Lemler said she thinks that is why there was a larger police presence, though she believes there are usually one or two AAPD cops stationed there that are hired by the Transit Center.

“It sounds like there was some high energy because of that fight and so he got there for a different reason, to take the bus home, and the cop said, ‘You need to leave,’” she said. “So he started to walk

away from the crowd and the cop came up and approached him again, and that’s when he asked for his ID.” Lemler said it is her understanding that because Slaton was asked to leave, he was charged with trespassing.

“I didn’t understand how he’s trespassing as a resident of Ann Arbor in a public bus station, waiting for a bus to go home, but it’s because the officer had said that he needed to go, that because he didn’t (leave) quick enough or something, that’s what the trespass charge is,” she said.

She explained because Slaton didn’t have his ID, the officer did not know that he was a minor.

“Even though he’s a Black cop, he is still an individual that, by his profession, is trained in policies and practices that are institutionally racist and target youths of color,” she said. “Even though he’s Black, doesn’t mean this isn’t a part of institutional racism. These young people at the Transit Center are harassed all the time by cops and by security there so this is a repeated issue ... Ann Arbor is full of white liberalism, and I am white, and I think many white folks in particular want to believe that racism doesn’t exist here, but it definitely does.”

Protests against police brutality have been prevalent in Ann Arbor since the 2014 shooting of Aura Rosser. Rosser, a Black woman with a mental illness, was killed by an Ann Arbor police officer.

Read more at MichiganDaily.com

RIYAH BASHA

Managing News Editor

University of Michigan student Dyshon Toxey doesn’t smile much anymore.

An LSA senior, Toxey is finishing his degree in cognitive science and mathematics, and is involved in a number of development programs for fellow first-generation students. Toxey is Black, and said he often took pride in his perfectly straight, groomed set of teeth to build connections in Black circles and beyond — he’s known as a community mentor with an easygoing demeanor and an even easier smile.

That is, he was until last April, when Toxey was detained, body slammed and handcuffed outside Hill Auditorium for alleged disorderly conduct at the SpringFest concert headlined by Migos.

Toxey recounted event staff asking him and his friends — all Black students — to fill in the front rows of the concert, then being asked by security guards to leave shortly thereafter. When a white Ann Arbor police officer attempted to grab ahold of him, Toxey, who admits he was intoxicated, said he panicked.

“I ran,” he said. “There was no one to protect me, no one was videotaping. I really was not trying to get into an altercation.”

When Toxey came to a stop near the Panera on North University Avenue, he said the officer threw him to the ground and kneed him in the back, knocking a tooth out and spraining Toxey’s wrist in

the process. Toxey said he was later transported to the University Hospital and released hours later, with stitches, crutches and a bill totaling nearly $7,000 in medical fees. The University’s Division of Public Security and Safety notes the case as closed in its crime log. Toxey, the report details, was taken to the emergency room for “treatment of injuries sustained during a fall when he was fleeing.”

Despite protests from his parents, Toxey didn’t inquire into his record; he wanted to brush the incident aside, take his final exams and return to his family and home in Harlem, New York. He said he was never notified about his charges again. “(The cop) kept saying, ‘I told you not to run,’ ” Toxey said. “ ‘I told you not to run.’ And then I never heard anything from them again.”

A few other Black students who were present at the concert corroborate Toxey’s account, but they agree on more than just his take on the night’s events. Toxey’s fate was not surprising to them.

The Black community on campus and in Ann Arbor, many students claim, is more frequently and aggressively policed in student life than other demographics at the University. More stringent law enforcement, then, does little to close the gap between Black students’ lives outside of the classroom and mainstream perceptions of the glorified Michigan experience.

Many lament that few qualifiers can spare Black students, especially Black men. For all of

LSA freshman Rashan Gary’s acclaim as a highly recruited defensive tackle on the football team, he said he witnessed similar stereotyping while interviewing an Ann Arbor Police Department officer for a class project on community relations. The cop said, if he had seen Gary, 6’5” feet tall and 287 pounds, on the street late at night without context, he’d have reason to be scared.

“He was straight up about it, that I could be dangerous or something,” Gary said.

The suspicion is then often institutionalized. As recently as two weeks ago, in a carjacking case in downtown Ann Arbor, AAPD Detective Lt. Matt Lige told MLive the suspect was described as “a light-skinned black male.”

The department arrested a white 17 year old for the crime three days later.

Elizabeth James, program associate director of the Department of Afroamerican and African Studies, pointed to the mistaken identity case as a microcosm of larger systemic issues in local forces. The discrepancy in policing, she said, is something she’s been aware of since she began working in Ann Arbor in the early ’90s.

“What do we do with our tall men … or our darker men?” she asked. “There’s a double consciousness for Black students that’s always resting on your shoulder. Your party’s going to be shut down … even when it’s in the (Michigan) Union. You’ve got to walk more delicately, and you have to be twice as good.”

2E — Fall 2018

The Michigan Daily — michigandaily.com

Ann Arbor police chief to transfer to Colorado ski town ANDREW HIYAMA Daily News Editor

After 25 years with the Ann Arbor Police Department — the last two as the head of the department — Police Chief Jim Baird will be relocating to Breckenridge, Colo., according to the Summit Daily of Summit County, Colo. Howard Lazarus, Ann Arbor city administrator announced Baird’s retirement from the A APD Tuesday at the City Council meeting, though not where he would be relocating.

“I will leave it up to him to share as he deems appropriate what life’s next great adventure is, but we will be preparing for an orderly turnover and transition,” Lazarus said. “We all wish the chief well as he chases what lies around the curb and the trail.”

Baird, who currently lives in Stockbridge, will officially step down on March 24, at which point Robert Pfannes, A APD deputy police chief, will take over as interim chief.

Baird will begin the job in Breckenridge on April 23.

Breckenridge, a town known for its ski resorts, has a population of approximately 5,000, much smaller than Ann Arbor’s population of about

120,000. However, due to the town’s large tourism industry, thousands more can f low in on short notice –– circumstances Baird compared to football games at the University of Michigan.

“From what I’m hearing, on Breckenridge’s busiest days, the town will swell up to 30,000 people,” Baird told the Summit Daily. “For a home game, the University of Michigan Stadium in Ann Arbor holds over three times that. So that difference in scale will be significant.”

Baird’s departure comes as the city is considering the creation of a police review board that would review and potentially investigate complaints against the department. In a 2016 memo to City Council, Baird said he would oppose implementation of such a board unless it was recommended by a thirdparty audit of the A APD. In February 2017, the city hired the Chicago-based security firm, Hillard Heintze to conduct such an audit, though residents have been highly critical of the firm’s methods and its members’ long careers with law enforcement agencies.

Baird could not be reached for comment at the time of this publication.

Ann Arbor City Council kneels during pledge MORGAN SHOWEN Daily Staff Reporter

The national spotlight placed on the debate over kneeling during the national anthem was brought Monday night to the Ann Arbor City Council, as four council members knelt during the Pledge of Allegiance.

Council members Jason Frenzel, Sumi Kailasapathy, Chip Smith and Chuck Warpehoski all knelt in silent protest during the Pledge of Allegiance, which is traditionally said prior to every City Council meeting.

Warpehoski announced his intention to kneel during the pledge prior to the council meeting in a post on his website. In that post, he compared kneeling during the pledge to kneeling during a football game for an injured player.

“I can’t speak to what is in each person’s heart, but for me to ‘take a knee’ is an act of attention, of concern, and of

respect. And it is in that spirit that I take a knee at tonight’s City Council meeting,” Warpehoski wrote.

In the portion of the council meeting designated for announcements from the council members, Kailasapathy explained why she joined Warpehoski in kneeling.

“For me democracy is more than just symbolic, it’s actually holding up democratic practices,” Kailasapathy said. “I would want others to judge my patriotism by my actions when I uphold these values.”

Following the protests, the council members returned to their scheduled business.

The most pressing issue was the vote on the approval of more funds for the third year of Ann Arbor’s controversial deer-culling efforts. The resolution on the table would approve an additional $110,000 to completely fund the estimated 2018 budget of $370,000 to be spent on the

deer cull.

The program, which began in 2015, was designed to help deal with the overpopulation of deer in the Ann Arbor area. Eight Ann Arbor residents spoke in the public commentary about the deer cull. University of Michigan professor Christopher Dick spoke in support of the cull, saying it was necessary for the health of the deer and the forests they lived in.

“Culling the herd can actually help the dear by reducing the spread of deer diseases that may be exacerbated by overabundance,” Dick said.

Other speakers, such as Ann Arbor resident Robert McGee, attempted to rebut the point that deer posed any extraordinary threat to the wildlife and forests of Ann Arbor, or to its citizens.

Ann Arbor resident Sally Daniels went a step further and criticized the council for its past and current support of the deer cull.

“Council members have based their vote on their own limited experiences rather than the wishes of their constituents,” Daniels said.

“A deer ran on top of council member Kailasapathy’s car.

Will killing 558 more deer make her feel better?”

She concluded her remarks by saying, “everyone who votes for an increase in the cull tonight deserves to be voted off of City Council.”

In a vote of 10-1, the council voted in favor of the additional funds needed for the 2018 deer cull, with Mayor Christopher Taylor being the sole dissenting voice.

The council members also took time to vote on a resolution to decline pay increases in their salaries.

The council rejected this resolution, accepting the pay increase. The council also declared the month of October Co-op Month in the city of Ann Arbor in honor of the work local co-ops do for the community.

Courtesy of Morgan Showen

Ann Arbor City Council members kneel during the pledge of allegiance at the City Council meeting October 16, 2017.

City to tackle deer overpopulation ZOE BAXTER

Daily Staff Reporter

Ea rlier t his week, A nn A rbor Cit y Council introduced its 2018 deer ma nagement pla n to t he public. The cit y a ims to eliminate up to 250 deer f rom Ja n. 8 to Ja n. 31 in t he t hird yea r of its fouryea r deer ma nagement prog ra m. This is a la rge increase f rom winter 2017, when t he cit y a imed to eliminate up to 100 deer.

Fur t hermore, t he pla n states t hat up to 26 deer will be nonlet ha lly sterilized bet ween Ja n.

2 a nd 7. Last yea r t hey pla nned to sterilize up to 60 deer a nd sterilized 54.

The prog ra m bega n out of resident compla ints about deer ha rming t heir proper ties.

Like last yea r, t he let ha l por tion of t he pla n will be ca rried out by sha rpshooters t hrough t he cit y ’s contractor, White Buf fa lo Inc. It will comply wit h t he Michiga n Depa r tment of Nat ura l Resources resea rch permit.

During t he elimination, select public pa rks a nd private proper ties will be closed f rom 3 p.m. to midnight Ja n. 8 t hrough Ja n. 31. The Nichols A rboret um is expected to be closed on Ja n 9, 16, 19 a nd 23; however, it must f irst be approved by t he Universit y of Michiga n.

Additiona lly, ot her Universit y a nd Concordia Universit y proper ties will potentia lly be shut dow n Ja n. 8 t hrough Ja n. 31, pending aut horization.

In prev ious yea rs, t he Universit y has ag reed to a llow t he cull to ta ke place on Universit y proper t y.

According to t he implementation pla n released by t he cit y, t he sha rpshooting may only occur f rom a pa rked vehicle, a nd shooting on

t he cit y-selected private proper t y will not occur wit hout t he ow ner ’s consent.

The cit y will post sig ns rega rding t he closure in pa rks a nd nat ure a reas t hat will be af fected by t he prog ra m at least 24 hours before t he t hreeweek process beg ins.

Residents liv ing adjacent to a ny of t hese a reas will be notif ied v ia postca rd by t he end of t he mont h. They will a lso use socia l media a nd ot her new outlets to inform residents of t he sterilization prog ra m.

This is t he second yea r

The herd reduction will help to stave the spread of ticks that carry diseases such as Lyme disease.

t he pla n includes t he sterilization of deer, which will a lso ca rried out by White Buf fa lo. The process involves da r ting t he fema le deer, tempora rily remov ing t hem f rom t he a rea, surg ica lly sterilizing t hem a nd ret urning t hem to t he pa rk. The process will ta ke approximately a n hour per deer, a nd is not expected to dist urb residents.

The cit y is in need for volunteers to a id in t he sterilization, a n ef for t t hat will save ma ny deer.

The volunteers assist in tasks such as monitoring v ita ls during t he surger y a nd ret urning t he deer to t heir orig ina l location.

There will be t wo shif ts of volunteers t hroughout t he nights, a nd t hey will work six to seven hours per shif t, wit h t he f irst beg inning at 4 p.m. a nd t he second ending at 5 a.m., f rom Ja n. 2 to Ja n 5 or 6.

Each volunteer will be required to work at least t wo shif ts, a nd food will be prov ided.

Christopher Dick, ecolog y a nd evolutiona r y biolog y professor, discussed t he impor ta nce of t he cull at a recent communit y council meeting.

“If we a re able to reduce A nn A rbor ’s urba n deer population to a more susta inable level — by susta inable, I mea n a deer abunda nce t hat permits nat ura l forest regeneration — t his will have a n immediate positive impact on our nat ura l a reas,” Dick sa id. “The herd reduction will help to stave t he spread of ticks t hat ca rr y diseases such as Ly me disease. Black-legged ticks a nd Ly me disease have recently been documented in Washtenaw Count y.”

Despite t he cit y say ing t he deer cull is necessa r y, t he implementation of t his prog ra m has been a controversia l topic in t he communit y for ma ny yea rs.

A mong t hose aga inst t he cull is LSA senior Aa ron Brodkey, president of t he Michiga n A nima l Respect Societ y. He told The Da ily ea rlier t his yea r t hat he felt it was w rong for huma ns to inter vene in nat ure.

“Persona lly, I just t hink it ’s maybe w rong or rash to ma ke t his decision,” Brodkey sa id in Ja nua r y.

“I feel like we’re ta king it into our ow n ha nds a nd play ing God in t his position a nd say ing, ‘Hey, we need to massacre 100 deer for who knows what reason?’”

The Michigan Daily — michigandaily.com

Fall 2018 — 3E

Councilmembers sue AAPD works to increase diversity among staff city over Library Lot deal GRACE KAY

Daily Staff Reporter

ALICE TRACEY

Daily Staff Reporter

Ann Arbor City Councilmembers Sumi Kailasapathy, D-Ward 1, and Anne Bannister, D-Ward 1, have sued the city of Ann Arbor, Mayor Christopher Taylor and City Clerk Jacqueline Beaudry over a $10 million deal regarding the development of Library Lot. The contract, signed by Taylor, Beaudry and Chicago-based developer Core Spaces on May 31, hands over the development rights of Library Lot, a parking area next to the Ann Arbor District Library where Core Spaces plans to construct a 17-story high-rise called the Collective.

Attorney Eric Lipson filed the lawsuit on behalf of Kailasapathy and Bannister June 18 in the Washtenaw County Trial Court. The lawsuit accuses Taylor and Beaudry of violating Ann Arbor’s charter by signing a development contract without first consulting City Council. The council voted 8-3 to sell Library Lot in April 2017 to Core Spaces, but the purchase was not finalized until this year. The lawsuit claims the May 31 contract finalizing the purchase was not presented to City Council.

According to Kailasapathy, the Ann Arbor City Charter requires purchases or sales valued over $25,000 to be

approved by at least eight councilmembers.

She said the language of the charter is clear and she therefore feels confident about the strength of her and Bannister’s case.

“In plain English, it says a contract has to come, and there’s no way they can say there was a contract 13 months before because there was no contract, there was a resolution,” Kailasapathy said.

Kailasapathy claimed she and Bannister sued the city to protect the interests of their constituents. Ann Arbor voters trust the City Council to represent their interests, Kailasapathy said, so the council must get a say in financial decisions.

“Anne Bannister and I, we represent Ward 1,” Kailasapathy said. “Our residents, they do like people to have financial oversight over the city’s business.”

She added the authority of the charter needs to be respected because it maintains checks and balances within city government and provides order.

“I look at rules and regulations very seriously,” Kailasapathy said. “If City Council itself doesn’t follow its charter, how do we expect the residents of Ann Arbor to follow our charter and ordinances?”

Read more at MichiganDaily.com

According to a recent study of demographics within the Ann Arbor Police Department, the demographics of the city’s police force do not match those of the Ann Arbor community.

In a city that is 69 percent white according to a 2010 census, a surveyconducted earlier this year shows the AAPD is 87 percent white or Caucasian.

Several members of the AAPD explained the lack of diversity within the department seems to be the result of an even greater lack of diversity within the pool of graduates from the police academy.

Lieutenant Mike Scherba said in the state of Michigan, about 97 percent of the academy graduates are white males.

“What we found traditionally is that those coming out of the police academy in this area are white males and the tentative pool for the police department is then obviously primarily white males,” Scherba said. “As a result, we had to then look and think: ‘How do we better represent the diversity within our city?’”

A need for diversity representative of the Ann Arbor populace has also been emphasized due to recent raciallycharged incidents in AAPD, such as the shooting of Aura Rosser in 2014 and the violent arrest of high school student Ciaeem Slaton in September, leading Ann Arbor citizens to call for increased

transparency in the AAPD as well as a police review board. At an October rally in support of Slaton, Ann Arbor resident DaQuann Harrison said the incidents involving Slaton and Rosser –– both Black residents of the city –– were representative of a larger problem that existed in Ann Arbor as well as the rest of the country. “(Ciaeem) is one of many youth of color who are targeted by police in here,” he said. “His situation is also one of many that has historically appeared here in Ann Arbor.”

Members of minority communities at the University of Michigan as well, including Rackham student Javier Solorzano Parada, have experienced a lack of communication and understanding with AAPD that they feel is not on par with the relationship between the police and white student communities.

When students were arrested at a tailgate hosted by Solorzano Parada’s former fraternity, which is predominantly Latino, he said officers provided no explanation.

“Communication is key with communities of color, and you need to tell us it’s not about race but safety, or size or whatever reason you may have,” he said.

“And if I’m scared after all these years here, what must it be like for an undergraduate student?

Or a first-generation student? We shouldn’t have to be afraid of the police. We shouldn’t have to live in fear.”

To combat the discrepancy between the community

demographics and the lack of diversity within the AAPD, the department has responded by seeking to recruit a wider pool of candidates through extending their recruiting radius. Sergeant Jaime Crawford from the recruiting and hiring unit of the AAPD explained the department is actively looking for candidates from all over Michigan.

“We are really trying to broaden where we are recruiting from and the type of events we are attending,” Crawford said. “In the past, it was easier to recruit inasmuch as we didn’t have to do much because people were seeking out law enforcement as a career, and now that has changed so we are really trying to attend events at universities and we are going into more urban areas.”

Crawford said AAPD has begun recruiting at many colleges throughout the state, attending career fairs at the University of Detroit Mercy, Wayne State University, Ferris State University, Michigan State University and Mott Community College.

Recruiters like Crawford seek to identify good candidates — even those who might not be ready to apply for several years — in order to develop awareness of opportunities within AAPD. “We want to expose them to what the Ann Arbor Police Department is all about,” Crawford said. “We are highly regarded within the state and among other police departments so we really want to pull them in early and let them know what we

have to offer.”

Part of how AAPD goes about recruiting is through maintaining diversity within the recruiting staff.

“We try to have diversity in our recruiters,” Crawford said. “Just so that the representatives we have from the Ann Arbor Police Department are approachable and can answer any questions or concerns that potential candidates might have. As a female, I get a lot of questions from females that are curious to know what it’s like in this field.”

Crawford went on to explain that while it is obviously a maledominated environment, she has been afforded every opportunity.

“My experience with Ann Arbor has been phenomenal,” Crawford said.

Alongside pursuing potential candidates at universities, AAPD has also initiated a sponsorship program as another mode of promoting diversity. The program allows the city to assume the cost of the candidate attending the academy with the promise that when they graduate, they become an officer in AAPD. This has been helpful as Crawford said the academy itself can be a roadblock for potential candidates. It can be difficult for some to attend the academy due to the cost, which is about $7,000, combined with the fact students in the academy don’t have time to work during the training process.

Read more at MichiganDaily.com

4E — Fall 2018

The Michigan Daily — michigandaily.com

Council approves new Candidates debate policing, campaign contributions code for Greek housing Six candidates for Ann Arbor City Council and two candidates for mayor participated in a ­­ forum Thursday afternoon at the Ford School of Public Policy to discuss issues relevant to the primary election in August.

More than 50 students and community members attended the forum, hosted by the Center for Local, State, and Urban Policy and moderated by members of a Public Policy class on local government taught by former Ann Arbor Mayor John Hieftje.

Among other things, the candidates discussed mental health resources, transit, protections for undocumented immigrants and policing. The controversy over the city’s possible repurchase of the Y Lot made its way into the conversation more than once, with candidates calling into question each other’s’ motives and the degree to which they were influenced by campaign contributions.

The mayoral candidates present were Councilmember Jack Eaton, D-Ward 4, and incumbent Mayor Chris Taylor.

Other present incumbent councilmembers included Kirk Westphal, D-Ward 2; Julie Grand, D-Ward 3; Graydon Krapohl, D-Ward 4; and Chuck Warpehoski, D-Ward 5.

Joseph Hood, who is running for Council in Ward 4, and Ali Ramlawi, who is running for Council in Ward 5, also attended.

When asked about the influence of campaign contributions on decision making, the conversation quickly turned to the issue of the Y Lot. In 2013, the city sold the former site of the YMCA on Fifth Avenue to real estate developer Dennis Dahlmann.

Stipulations in the contract stated if Dahlmann had not adequately developed the

property for use within five years, the city had the option of repurchasing the property. Now five years later, the property has undergone no development while appreciating significantly in value, and several councilmembers have moved to repurchase it.

After failing to amass the eight votes required for repurchase in their April 2 meeting, the council will vote again on the issue Monday.

Several councilmembers in favor of the repurchase have accused Eaton of being influenced by Dahlmann’s campaign contributions after Easton voted against the repurchase. At the forum, Eaton said he had been criticized for accepting contributions from Dahlmann before, though the nature of the criticism was inconsistent.

“I would point out that when Dennis Dahlmann submitted the highest bid to purchase this property and some of us voted to accept the high bid, we were criticized for that vote because we had received contributions in the past from him,” he said. “So apparently anything that we do with regard to Mr. Dahlmann is subject to criticism, even if it makes complete rational sense.”

Eaton went on to point out the city had made previous attempts to develop the property with a separate developer, and when that deal fell through the developer sued the city, restricting any development on the property for the five-year duration of the lawsuit. Eaton said he voted against the repurchase to avoid lengthy litigation and instead come to a settlement with Dahlmann.

“We prevailed without any qualification, but it still took this property out of development for five years,” Eaton said. “Here we are again facing litigation that’s likely to take multiple years, and nothing will happen during

that litigation, so I believe that we should be trying to work with that developer to come to a reasonable settlement rather than tying up this property and making it inactive for another two or more years.”

Grand, who voted for the repurchase, said Eaton was making the issue more complicated than it really was.

“In the past few weeks, there have been those who brought up history and they’re trying to make it seem more complicated than it is, and we have talked about a lot of complicated issues today.

Transit, affordable housing — those are complicated issues,” she said. “This is a contract.

This is a very simple contract that says, ’If you don’t do what you said you were going to do, we get to buy it back.’ And that’s what we’re trying to do.”

Ramlawi said the focus on Eaton was unfair, pointing out campaign contributions from people whose business dealings were affected by council decisions were relatively common.

“I think it’s unfair right now to be leveling that question at people who oppose the repurchase of the Y Lot right now because people have taken money from all sorts of people, and I think if you look at all these votes and look at who voted and who paid and contributed, I think it’s going to be really ugly and I don’t think it’s good for our body to be slinging mud,” he said.

Taylor said donations “are a necessary part of a campaign,” but “they don’t form the basis of the decisions that we make or the positions that we take.”

“We each, I think, come to the council table with our own inherent views of how the city should be, our own desire to listen to our constituents and have that inform how we move forward,” he said.

The topic of police reform — the city recently approved

a task force to provide recommendations to the council on the formation of a police review board — was also discussed by the mayoral candidates. Taylor said the process was “a place for members of the community and members of the police department to work together to understand what sort of policing we want in the city of Ann Arbor.”

“I expect them (the policing commission), importantly, to communicate to the chief, to communicate to (the) council and the public their assessment,” Taylor said. “Has the police department done a good job in reviewing our complaints?”

Eaton was more insistent on the process being independent of AAPD influence. The city’s hiring of an outside firm to audit the AAPD last summer frustrated many residents, who argued the review did not adequately seek input from marginalized community members. The firm’s controversial final recommendation suggested the police review board should not be able to conduct its own investigations.

“You cannot have police officers reviewing their own conduct. A review process has to be fully empowered — you can’t hobble the process by not giving full access, information, witnesses and videotape, whatever it be, to this group,” Eaton said. “I think that the basic distinction between camps on this particular issue is just how fully authorized and independent the final review board will be. My work with Transforming Justice Washtenaw has led me to believe that anything less than full authorization is just an action for appearances and not for actual change.”

Mayoral primaries will take place in August, with elections set for this November.

safety, increased parking and traffic, and an increase in undergraduates that would result in noise and littering problems.

“My main issue is with safety,” Jan Adams Watson, a resident near the proposed development site, said.

“Ann Arbor is trying to be a walkable city. Adding unnecessary new traffic will make this more difficult. We already have speed problems and frequent accidents. I call the police frequently for traffic accidents on my corner.”

Ann Arbor resident Rebecca Aarons commented one of the major concerns from neighbors was the proposed inf lux of undergraduate students, bringing parties, noise and violations with them into the quiet residential area.

“My main concern is the negative social impact of

this development,” Aarons said. “We are in the midst of two changing social trends.

The increased use of notquite-yet legalized but more potent than ever marijuana … to the #MeToo movement, as a necessary upheaval in how mostly younger people, like our proposed neighbors, interact in consenting and respectful ways.

These social evolutions are best played out in a much more supportive and local to the campus environment.

Not the proposed isolated community away from U of M medical staff, law enforcement, U of M crisis counselors, et cetera.”

Resident Ed Gosem agreed the marketing toward undergraduate students is his main issue with Trinitas’s proposal, suggesting the housing be built to serve a wider range of residents.

“Try to attract additional

groups of people,” Gosem said. “Low-income people needing affordable housing, working people, seniors. If these student-focused units fail, they’re just going to have to be ripped out and replaced with units that can serve a more diverse population.

Why experiment? What’s wrong with doing things right the first time? This is too good a property to waste.”

Timothy Stoker, a representative for Trinitas, defended the development plan.

“We meet all the requirements,” Stoker said.

“We’ve responded to all of the issues the planning committee has raised at their public hearing and we believe that our client has done its utmost to bring a project to the city of Ann Arbor that meets every aspect both in spirit and

with the actual requirements of the code.”

The council voted to postpone approval of the project plan to September.

Councilmember Sumi Kailasapathy, D-Ward 1, was skeptical that the short time frame would be enough to make drastic changes to the plan in order to satisfy both developers and residents.

“I think there’s a fundamental f law in this project,” Kailasapathy said.

“And I’m not sure how that’s going to be fixed in two months, I’ll be very honest.”

Adams pushed the council to prioritize the desires of its constituents.

“It is time for City Council to put the needs of residents ahead of the needs of developers,” Watson said.

“We live in the city, we pay taxes, we vote and you need to listen to us. Don’t listen to the developers.”

ANDREW HIYAMA Daily News Editor

SONIA LEE

Daily Staff Reporter

At the Monday meeting, the Ann Arbor City Council approved changes to the zoning code for Greek life houses and moved to postpone the approval of a new development plan for the northern part of the city.

City Council voted unanimously to approve new zoning for fraternity and sorority houses, which modifies the definition of “fraternity” and “sorority” and requires the organizations to affiliate themselves with the University or another higher education institution.

Mayor Christopher Taylor commented the changes will improve Greek life organizations’ interactions with Ann Arbor residents.

“Our goal is to more accurately increase the likelihood that fraternities and sororities are good neighbors to everyone,” Taylor said. “In many cases they are.

Occasionally they are not. I think this ordinance change will give us the opportunity to do something about it in that minority case.”

Though the changes do not retroactively apply to existing Greek life organizations and the new zoning rules will only apply to new Greek life organizations seeking a permit or established organizations looking to expand, neighbors of Greek life houses as well as Greek life alumni came forward to discuss the proposal.

Anne Schreiber, an Ann Arbor resident whose house is surrounded by fraternity and sorority houses, was in support of the proposal, saying while some of the organization members are good neighbors, many fraternities in particular cause disturbances.

“There are an awful lot of people that are very unhappy with the way they (fraternities) behave,” Schreiber said. “They are unruly, they are noisy, they’re dirty — lots of garbage and papers and stuff. And I don’t think we should give them any more latitude. I think if anything we need to restrict them and give them some parameters. It seems like nobody can take ownership of the responsibility of their misbehavior.”

Peter Nagourney, the co-chair for the North Burns Park Association and neighbor to several Greek life houses, pointed out one neighboring residence housed a banned fraternity.

“You should know that one neighbor spent nine months constantly, and I

mean daily, dealing with city, University police and Greek life entities before one of these party houses set up by members of a banned fraternity was shut down,” Nagourney said. “This is a real problem. Others in this neighborhood must constantly deal with trash, public drunkenness, loud music and other violations of city ordinances. Oversight of these groups is not done at the national level despite the claims of their attorneys.

Oversight by the University and the Office of Greek Life does not seem to make much difference.”

Elizabeth Jove, a member of the house corporation that owns the Alpha Phi Sorority property and chapter adviser for the sorority, pushed the council to postpone the decision for approval, stressing a need for all voices involved to be heard.

“What we have here tonight is exactly the situation that will continue if council doesn’t let all parties sit and talk together because we’ve heard neighbors who have deeply held concerns and issues with the behavior of these properties, of the people who live on these properties,” Jove said.

“This proposed zoning amendment is not going to address those issues. It doesn’t address trash and noise and parties. It doesn’t address the appearance of your properties.”

Nagourney disagreed, claiming Greek life organizations have previously not been forthcoming in responding to neighbors’ concerns.

“Hearing tonight’s sudden offers to work with the community are a joke,” Nagourney said. “In 20 years I have never heard from any organization about meeting or dealing with these issues.

Never once. And my name’s been on the books for over 20 years.”

In addition to the approval of the new housing code for fraternities and sororities, the council also discussed a new development plan for the Cottages at Barton Green.

The decision to postpone the new housing development by Trinitas Ventures, an Indiana student housing developer, was made following heavy protests from residents of the Pontiac Trail. The proposed development would range from the west side of Pontiac Trail and south of Dhu Varren Road and include 225 apartments with 716 bedrooms in 92 buildings built on the vacant lot. Major concerns from residents and councilmembers included

The Michigan Daily — michigandaily.com

Legends King Crimson play Michigan Theater ARYA NAIDU

Senior Arts Editor

I don’t think King Crimson has ever been a band that’s influenced by the times, as in, I think it’s its own thing. I don’t think it’s trying to follow anybody else or trying to do something that fits in,” said Jeremy Stacey, one of King Crimson’s three drummers, in an interview with The Daily.

“It’s its own beast, as it were.”

Jumping in early on the progressive rock movement of the ‘70s, King Crimson was formed in London in 1968.

Currently an eight-piece lineup, 2017’s King Crimson includes founding member Robert Fripp (guitarist, composer and producer), Tony Levin (bass), Jakko Jakszyk (vocals, guitar), Mel Collins (flute, saxophone), Gavin Harrison (drummer, multi-instrumentalist), Pat Mastelotto (drummer, multi-instrumentalist), Bill Rieflin (drummer, multiinstrumentalist) and Stacey.

In ‘69, they opened for The Rolling Stones in London. In the ‘80s, they toured under a different name (“Discipline”) after a brief disbanding. Now, King Crimson is coming to the Michigan Theater in the final leg of their North American Fall Tour.

King Crimson is, and always has been, a collection of incredibly impressive musicians: Fripp played guitar on David Bowie’s “Heroes,” (a tune which the group covered in Berlin in 2016). Bassist Tony Levin has played with the likes of Peter Gabriel and Paul Simon. Stacey, who joined the group in 2016, has worked with an unbelievable diversity of artists, including Noel Gallagher, Eurythmics and Joe Cocker. “[King Crimson is] the most different thing I’ve ever done,”

Stacey noted, most likening his experiences with the band to working with jazz in his 20s.

“I was always doing lots of things with lots of different people. I think the thing about jazz is that you improvise,” he said. “To improvise, you have to understand how the form of the piece goes, otherwise you get lost. It was very good for listening, which I think is the most important thing [as a musician].”

Unconstrained in his work, Stacey is the epitome of King Crimson’s charm: A bit nostalgic, a bit novel and just restless enough to be fearless.

“For me, my whole life has been musical,” Stacey explained.

“I always feel like I’m on a journey. I’m very interested in doing extremely different things, and the more extremely different, the better… I don’t want to be typecast in any way.”

A fan of the simpler tracks, Stacey’s favorite song to play live is “Starless,” from the group’s 1974 album Red. “It’s one of my favorite pieces

by King Crimson. I also get to play drums and keyboard [on it],” Stacey said. “There’s a freedom to playing whatever I feel on the night. I think (it’s) my favorite moment of the gig, normally.”

This autonomy Stacey mentions is laced throughout King Crimson’s work: Each piece is malleable to the group’s interpretation.

“I feel that I’m involved in it more than I’ve been in other projects,” Stacey said. “It’s not like doing a job. There is input, and it’s a very in the moment form of input on stage … I can’t compare it to anything.”

The experience often transcends description.

Read more at MichiganDaily.com

Fall 2018 — 5E

SMTD’s ‘Student Composer Showcase’ debuts RYAN COX

Daily Arts Writer

At the end of a performance, an audience’s applause is usually directed toward the performers on stage.

Often times audiences aren’t thinking, however, of the individuals behind the scenes: the composers. The Student Composers’ Concert at the School of Music, Theatre & Dance aims to do the opposite, by showing off new works from different student composers at the University.

This will be the second of five different composer showcases put on by the Composition Department this school year.

Each concert features new works from various students in the Composition Department, each one different from the last. Douglas Hertz, a secondyear Master’s student in SMTD said “every single concert is a whole new experience.”

With an abundance of concerts at the music school, there’s usually some sort of central theme or consistent type of instrumentation. These recitals, however, differ from these as they contain pieces of varying themes and with a wide variety of different instrumentations.

“Everyone is exploring new styles all the time,” Hertz said.

“It’s kind of hard to stylistically pigeonhole any of the concerts, or any of the composers for that matter.” Often, composers use these concerts to show off new works they’ve been writing.

SMTD is known throughout the world for its distinguished composition program.

Graduates of the program have had works played by countless major symphony orchestras and have won awards from major organizations, including several Grammys. However, even with all of this legacy, the department is constantly exploring different ways to

create new music.

The relationship between composer and performer is especially strong at the School of Music. With many strong departments of performers at their disposal, composers often take advantage of the notoriously talented players at the School of Music — and the relationship is mutual.

“People seem to really respect and appreciate composers and new music in a way that feels really genuine and inspiring,” Hertz said. “And I think that’s part of the lifeblood of being a composer here, is that you have such collaborative enterprises with instrumentalists, in a way that might not exist at other schools.”

Seeing this collaboration is a

really unique experience, and it’s something that often leads to some truly magical moments.

The school is proud to be a promoter of fresh music, and these collaborations between composer and performer are no better example of that.

The School of Music, among other things, is known for its promotion of new music, and the Composition Department is at the forefront of this movement.

Hertz said that performers are “hungry for new music,” and the Composition Department is happy to deliver.

The program consists of a diverse group of pieces, written over an expansive period of time.

“We don’t limit when the piece has to have been

It’s a transformative experience for composers and audiences alike.

composed,” Hertz said.

“However, they have to be shared with their [the composer’s] studio teacher… so sometimes people will put on a piece from a few years back; pieces that they might have revised and are premiering a new interaction — it’s very open.”

For composers, hearing their work realized can be an even more incredible experience.

Hearing a digital recording of their piece performed by electronic, or MIDI, instruments can only do so much.

“MIDI only goes so far,” Hertz said.

“It takes live performers to really take a piece to that next level.”

The Student Composers’ Concert is an opportunity to see new music be realized. It’s a transformative experience for composers and audiences alike. Hearing performers put expression into different composers’ work is an amazing experience.

6E — Fall 2018

The Michigan Daily — michigandaily.com

‘The Nutcracker’ brings its magic to Michigan TRINA PAL

Daily Arts Writer

Like it or hate it, the holiday season is undeniably upon us. A walk down Main Street offers proof of this: bright lights wrap themselves gracefully around trees, Christmas carols ring from inviting Kerrytown shops and couples walk hand-in-hand with a seemingly newfound sense of happiness.

If you’re like me and love the spontaneous comradery that springs up during this time of year, or just need a way to escape the mounting stress of finals, you’re in luck. The classic holiday special “The Nutcracker” will make a reappearance this Saturday at the Michigan Theater.

This performance of “The Nutcracker” is presented by the Academy of Russian Classical Ballet, based in Wixom, Michigan. The Academy is made up of talented ballet students from Michigan and Ohio who learn the traditional Vaganova (Russian) style of classical ballet. The Academy also holds a Professional Trainee Program for students intending to pursue ballet as a profession.

This is the third time the Academy will perform “The Nutcracker” at Michigan Theater, and they intend to keep the performance as close to the Russian Bolshoi Ballet Company’s rendition as possible.

As a way to follow the original ballet, this particular rendition doesn’t “have a specific wooden Nutcracker doll. We have a younger dancer who performs the role,” said co-director of the Academy Jessica Morschakov in an interview with the Daily.

The dancers are excited that their version of “The Nutcracker” stands out from other modern interpretations. “For the Spanish (corps), it’s really interesting to do the original choreography rather than something newer,” said Nina

Schotland, a dancer in the Spanish dance sequence. Schotland, an LSA freshman, performs in the Waltz of the Flowers and in the Spanish corps as a soloist, in addition to other roles.

Professional ballet dancers from Moscow Ballet in Russia will join the cast of local ballet students on Saturday. “Our young Clara and young Nutcracker are Michigan students,” Morschakov said. After Clara, the main child protagonist of the play, enters her dreamland, the Nutcracker is transformed into a handsome prince. The Russian professionals will perform “the grown-up version of Clara and the Prince.”

Tchaikovsky’s score for “The Nutcracker” is timeless, even for the dancers who’ve performed it many times before. “I listen to it a lot. I wake up to it,” said Luke Eller. Eller will play the role of the Fritz, Clara’s mean brother and the Nutcracker in the first act, among others.

The Oakland Homeschool Choir, a local children’s choir that gives homeschooled children a chance to participate in musical education, will provide live music as per the original. “The music of Tchaikovsky ... was written with the Children’s Choir of St. Petersburg singing during the Snow scene,” Morschakov said.

They aim to parallel this effect with the Oakland Homeschool Choir.

“To let people enjoy the beauty and artistry of classical ballet is a really unique experience,” Schotland said. The performance boasts beautiful backdrops, intricate hand-sewn costumes and a mystical ambiance combined with that of the Michigan Theater.

The passion of the Academy is sure to whisk the audience away to a wonderful winter dreamland.

Saturday’s performance of “The Nutcracker” promises to add a magical touch to the holiday season.

Chick Corea to bring an electrifying performance SAMMY SUSSMAN Daily Arts Writer

Few artists have electrified Ann Arbor audiences like Chick Corea. His 2015 performance with Herbie Hancock was one of the most recent University Musical Society performances of the past couple of years. His historic performance at Hill Auditorium during the Great Blizzard of 1978 (again with Herbie Hancock) was released as part one of “An Evening with Herbie Hancock & Chick Corea: In Concert.”

This coming weekend, Corea partners with the Jazz at Lincoln Center Orchestra to present an evening of Corea’s music at Hill Auditorium.

The concert will also feature the Jazz at Lincoln Center Orchestra, another ensemble that has proven to be extremely popular among Ann Arbor audiences.

This concert also marks the end of the Jazz at Lincoln Center’s first tour without Wynton Marsalis, the accomplished leader of the ensemble who is currently

taking a brief hiatus to pursue other projects.

“This was a good first foray into touring without Wynton,” said Jason Olaine, Director of Programming and Touring for Jazz at Lincoln Center, in an interview with The Daily.

As they enter their last couple days of performances, “the band and Chick have been really happy.”

Jazz at Lincoln Center is a notoriously busy organization.

I interviewed Olaine as he arrived back to New York from Shanghai, and as the ensemble moved from Arizona to Chicago. With this hectic schedule, it’s easy to understand why Marsalis might have stepped away from the ensemble for a little while.

“Usually our Jazz at Lincoln Center Orchestra with Wynton Marsalis tours between 13 and 18 weeks every year,” Olaine said. “Wynton scheduled a short sabbatical and our agent happens to be Chick’s agent.”

While the Jazz at Lincoln Center Orchestra and Chick Corea go on tour all the time, Ann Arbor is lucky to have

hosted 18 previous Jazz at Lincoln Center Orchestra concerts and five previous Chick Corea concerts.

“This concert does speak to your in-house-programming to have been able to secure this date,” Olaine said.

Corea is perhaps best known today for his versatility. He has performed throughout his career with a huge number of artists, collaborating with everyone from Miles Davis to Bobby McFerrin. He has worked frequently in the past with the Jazz at Lincoln Center Orchestra and is quite popular among the members of the ensemble.

Last time he worked with the orchestra, “Chick had a great time and we loved it,” Olaine said. “Victor Goines has been working with Chick as co-music director,” he continued, and there has been “lots of great energy all around.”

Corea and the ensemble have gone on to develop a close relationship, performing not as soloist and orchestra but as a coherent ensemble.

ECM Records

“It’s a little bit different than coming up with a new setlist every night,” Olaine said.

“Chick is such a grandmaster, and it’s been to be pretty special (to work with him).”

In the past, the ensemble has collaborated with Corea to perform newer compositions.

They also worked quite extensively on the music of Thelonious Monk. During this tour, however, they’re “primarily focusing on (Corea’s) music,” Olaine explained.

Saturday’s performance marks the end of the tour that started in Provo, Utah on Mar. 20. Given what he has heard of the first portion of the tour, Olaine seemed confident that it will be a magical event. The Final Four basketball game on the same night recently pushed the concert back a half hour, and he predicted that this would only add to the energy of the performance.

“The concert in Michigan on Saturday is gonna be a great one,” Olaine said. In their previous collaborations, “Chick has had a great time and we absolutely loved it.”

As for future performances of both the Jazz at Lincoln Center Orchestra and Chick Corea in Ann Arbor, Olaine was hesitant to make any promises.

“When it works out next, we’ll see,” he said.

As for the end of the tour, however, he predicted a great performance.

Saturday’s performance will mark the end of a fantastic tour and (hopefully) the beginning of a new collaboration between artist and ensemble.

“Chick has been having a great time, and our guys love Chick,” Olaine said. All in all, it promises to be another exciting evening for these two ensembles in a city that has played host to some remarkable concerts from them over the past 40 years.

Joe Hertler & The Rainbow Seekers at the Pig ARYA NAIDU

Senior Arts Editor

“ You ca n have t hese rea lly cra z y, intense shows t here. That kind of g r ung y env ironment just propagates intimacy; it ’s a specia l kind of intimacy. Some of my favorite shows of a ll time have been at t he Blind Pig,” sa id Joe Her tler in a n inter v iew w it h The Da ily.

Fresh, f unk y a nd a lit tle fa r-out, t he pop ba nd Joe Her tler & The R a inbow Seekers is set for a t wonight ret urn to t he Pig t his weekend. I’m da ncing a lready. “ We probably met, I wa nt

to say, f ive, six yea rs ago.

We were a ll in college. Ha lf t he ba nd went to Cent ra l Michiga n a nd ha lf went to Michiga n State,” Her tler sa id. “ We were kind of just ja mming in college a nd play ing co-ops a nd st uf f like t hat, a nd it slowly developed into somet hing t hat wa s a lit tle more involv ing.”

The g roup consists of Her tler (voca ls, g uita r a nd ly rics), Mica h Bracken ( keyboa rd), Ja son Combs ( ba ss), Aa ron Stinson (sa xophone), R ick Ha le (dr ums), Rya n Hoger ( g uita r) a nd Kev in Pritcha rd ( producer, ba ss).

Despite echoes of Edwa rd Sha rpe’s soul a nd Vulf peck’s

f unk, Her tler ’s songs of ten blossom f rom a lt-rock. He’ll w rite a demo, t hen g ive it to t he ba nd, at which point t he g roov ier elements sta r t to bubble up a s t hey work t heir R a inbow Seeker mag ic on it.

“Grow ing up in t he ’90s, t hat wa s t he music I connected to. It wa s t he music t hat I f irst engaged w it h, which is kind of how it is for ever yone f rom age 16 to t heir mid-20s. You know, t hose formative yea rs where t he music you listen to is what you tend to identif y w it h,” Her tler sa id. “I g uess t hat ’s where t he love af fa irs rea lly sta r ted.”

Never hav ing sk y rocketed in popula rit y, t he R a inbow Seekers have been g radua lly expa nding t heir fer vent fa n ba se over t he yea rs. Each show is bigger t ha n t he la st, a nd t he g roup is driven by pure pa ssion.

“It ’s just rea lly f un,” Her tler sa id. “A ll of us do ot her t hings, but so much of it is just pa r t of your identit y.”

On t he ba nd’s of f-mont hs, he works for t he A merica n Ca ncer Societ y a nd teaches English. To keep t heir experiences colorf ul, t he R a inbow Seekers t r y to reva mp a couple t racks each yea r.

“I’ve never been more excited to play ‘Jetski,’ of a ll songs,” Her tler sa id.

“I’m a lways t ha nkf ul t hat people like cer ta in songs a nd respond well to t hem, but to redo t hem — while t he core of t he song is still t he sa me — to have some t hings t hat have been cha nged is a f un cha llenge,” Her tler sa id.

Michiga n-bred a nd Michiga n-ba sed, J H+TR S love, love, love t heir Michiga nders. They ’ve built a ra inbow-seeking fa mily t hrough t he ba nd, a nd t hey ca rr y pieces of home w it h t hem wherever t hey go. “ We’ve had oppor t unities to leave t he state, a nd we’ve t hought about it, a s ever y

ba nd does … but t his is our home. A couple yea rs ago, we decided to stick it out here. If it doesn’t work out, t hat ’s a lright,” Her tler sa id.

“One of t he nice t hings about Michiga n is t hat a lot of people leave a nd go to ot her places. When we go to Denver or L A or N Y — just a lot of big cities — t here’s a lways a couple hundred Michiga nders.”

J H+TR S radiate a cer ta in wa rmt h t hat lets t hem exist in a la ne of t heir ow n w it hin t he f unk-pop la ndscape.

They don’t ta ke t hemselves too seriously, a nd ever y inch of t heir success is welcomed w it h not hing but g ratit ude. I met Her tler at t he Espresso Roya le on State, a nd it felt more like catching up w it h a f riend t ha n a n inter v iew.

They ’re a g roov y bunch, a nd ever y t hing f rom t heir ea rnest ly rics to t heir smoot h rhy t hms to t heir na me itself is just one ma ssive bea r-hug.

The R a inbow Seekers’s most recent a lbum, Pluto, is st unning in its existence a s bot h hea r tbrea king a nd da nce-inducing. I’m not a fa n of using t he word “rea l” to describe music, much less people, but t his a lbum — t his ba nd — is rea l in ever y sense of t he word. They ’re genuine in t heir joy a nd huma n in t heir hea r tache, a nd t hey ’re a ll about connecting w it h people t hrough unsullied aut henticit y.

“I t hink t he focus of t he music ha s a lways been t he live show,” Her tler sa id. “Music is t his form of communication, a nd when t hat communication is locked in, t here’s a buzz you get. It ’s in t hose tender moments where t he mag ic is. I hate to be like, ‘It ’s mag ica l! It ’s spirit ua l!’ But it is, in a way.”

Welcoming A nn A rbor like a second home, Joe Her tler & The R a inbow Seekers w ill play t he Blind Pig t his Friday a nd Sat urday.

The Michigan Daily — michigandaily.com

Fall 2018 — 7E

Music and magic at the first night of the 41st Annual Ann Arbor Folk Festival SEAN LANG

Daily Arts Writer

On Friday, Jan. 26, Ann Arbor locals and residents from the far corners of the mitten state alike flocked to the University’s own Hill Auditorium for the 41st Annual Ann Arbor Folk Festival.

Being so close to the festival, in geographical terms, might make University of Michigan students write the event off as a minor happening, but the festival is, in reality, central to the Ann Arbor music scene. At its core, Folkfest, as it’s often amicably referred to, serves two express purposes.

First, it is a fundraiser for (and by) The Ark, a local venue and hub for all things folk. Second, it draws people from all over the Midwest together to partake in an oft-underappreciated genre.

A folk festival whose headliners include Jason Isbell and John Prine can only be expected to meet expectations, but Friday’s portion of the annual event far surpassed them. While the final act of the night was always sure to be a success, there was never a dull moment during the night’s earlier performances. Every set was musically compelling and honest, and a few artists

managed to touch on the current state of affairs in a way that felt refreshing and candid.

At half past six, as the audience continued to fill the auditorium, Chastity Brown took to the stage.

If the occasional usher’s light or the murmur of conversation were distracting, she didn’t show it, and soon after she began playing the room fell quiet.

With sparse instrumentation — acoustic and electric guitar as well as a single bass pedal — she set the tone for the night: intimate, soulful, reflective.

Before playing her last song, she offered her thoughts on the past year, recounting in specific an incident immediately before one of her shows when a white supremacist approached her, shouting insults and threatening violence. Though the story itself was disheartening, Brown’s tone during the following song was overwhelmingly hopeful. With the mood defined and a powerful set delivered, she exited the stage.

One thing that we absolutely can’t help but credit The Ark for is their efficiency. Every year, Folkfest is a demonstration not only of folk music and the culture that surrounds it, but also of entertainment at peak

efficiency. Only moments after Brown exited and before her applause had subsided, emcee Joe Pug appeared stage right, guitar and harmonica at the ready. A talented musician in his own right, and even more impressive entertainer, Pug kept the audience’s attention between sets. While he played original songs and offered his tastefully subtle sense of humor, stage hands and audio engineers prepared the stage for the next set with a degree of coordination that could qualify as art in and of itself.

After Brown came the duo Dead Horses, comprised of Sarah Vos on acoustic guitar and Daniel Wolff on double bass. Though an ostensibly odd pairing, the two managed to fill the room with their hymnal-like sound, Wolff’s fingers dexterous on the neck of his bass. Next was Lori McKenna, writer of “Humble and Kind,” which took the Grammy for Best Country Song in 2017. Her apparent comfort on stage was infectious, no doubt a product of her experience as a performer, and the songs she performed were influenced in part by her five children.

Also a proud parent — though

ALEXIS RANKIN / DAILY

ALEXIS RANKIN / DAILY

to four rather than five — Massachusetts-based Stephen Kellogg played the final set before intermission, a rousing romp that consisted of just four or five songs, ones that made me wish he would play one or two or five more. What was beautiful about Kellogg’s performance was his sheer exuberance at being on stage. He beamed out at the audience with an eagerness and thankfulness that was reflected perfectly in the energy with which he delivered his uplifting folk-anthems.

It was hard not to be excited both with him and for him.

Following intermission were JJ Grey & Mofro, a prolific group whose performance received an immediate standing ovation at its conclusion. The act featured not one but two trumpets, both of whom played huge solos, and John Higginbotham (aka JJ Grey) himself on harmonica.

Afterward, Jason Isbell and the 400 Unit took to the stage. Now,

although 41st anniversaries don’t tend to be particularly notable in and of themselves, the Folk Festival’s 41st marked at least one significant change. During the final set of the night, several stadiumstyle lights came on, filling the hall with motion and colorful patterns.

This was the first year for these features, and more than providing pretty visuals, they signify growth for the festival, and hopefully not a departure from what has made it so near and dear to Ann Arbor’s heart for the past two generations.

Isbell and company’s set made the lights feel appropriate, and guitar solos abounded.

The most valuable parts of the performance, though, came between songs, when Isbell

It’s seeing and knowing the human side of it makes those melodies truly awe-inspiring.

exhibited his charisma, making well-received jabs at the kind of people who leave the room when he plays “White Man’s World” and giving a nod, before his last song, to his struggles with alcoholism. It was the sort of honesty that wouldn’t necessarily be expected from a festival headliner, even if the festival were a folk festival in Ann Arbor, and that’s not even mentioning the counterintuitiveness of Isbell’s decision to write and perform a song that he knows challenges a significant portion of his listeners. At the end of the night, attendees had a choice: They could leave Hill with a splendid night of music behind them, memories of soaring vocals and subtle harmonies, harmonica solos played at a breakneck pace and softly sung acousticguitar ballads, or choose to see a community being fostered.

Four bars of music can sound as pleasant as you want, but it’s seeing and knowing the human side of it that makes those melodies truly awe-inspiring and that brings the folk community together. It makes me excited for Folkfest 2019 — even just two days after 2018’s iteration.