WSN032515

NYU’s Daily Student Newspaper

WASHINGTON SQUARE NEWS Vol. 43, No. 28

WEDNESDAY, MARCH 25, 2015

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REVIEW

UNIVERSITY LIFE

Action Bronson’s new album ‘Wonderful’

Prof discusses poverty research

By ALEX BAZELEY Deputy News Editor

By LOGAN BAKER Contributing Writer

Since his debut in 2011, Action Bronson has attracted fans of all demographics thanks to his boisterous personality, oddball lyrics and his tendency to create ’90s-influenced hip-hop without sounding outdated.

With multiple successful mixtapes, a web series sponsored

by Vice and public appearances ranging from ESPN’s “Highly Questionable” to rapping live from a nursing home, Bronson is arguably at the peak of his popularity. It’s appropriate, then, that “Mr. Wonderful,” his major label debut, is a testament to his desire to remain in the limelight.

“Mr. Wonderful” is much more diverse than the previous Action Bronson album or even the average hip-hop album. Instead of focusing on his usual brand of traditional

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VIA UNIVERSITY OF UTAH HOCKEY

Clockwise from top: The NYU hockey team celebrates after defeating Florida Gulf Coast University 5-4 to win the ACHA DII National Championship on Tuesday. Jack Nebe, NYU’s goaltender, receives his medal; Nebe was also named first goaltender all-tournament. NYU reacts after scoring their first goal of the game.

STORY ON PAGE 8

Michal Shamai spoke on Tuesday about her research on poverty as a collective trauma.

Shamai’s lecture, hosted by the McSilver Institute for Poverty Policy and Research, explored the process she used to conduct her research and the themes that emerged throughout.

Shamai is an associate professor and the head of the family studies program at the School of Social Work at the University of Haifa, Israel. Her research is largely focused around the impact of traumatic events, as well as mezzo and micro social work.

Shamai’s research, which was conducted in Haifa, involved 12 female participants living in poverty. The research came from the women meeting several times over the span of

POVERTY continued on PG. 3

FASHION

FIT exhibit showcases actress Lauren Bacall’s closet

By LAUREN CRADDOCK Staff Writer

The Museum at Fashion Institute of Technology celebrates the simple and fresh style of iconic American actress and model, Lauren Bacall, in their exhibit “Lauren Bacall, THE LOOK.” The show is on display from March 3 to April 4, and is a small collection of garments, photographs, magazine features and archival footage of Bacall. The garments belonged to Bacall, from her donation of more than 700 articles of clothing and accessories to the Museum at FIT from 1968 to 1986.

Today, the graduate students of FIT celebrate her influence on fashion, with her signature wavy hair and bold lips.

The showing begins with the

various appearances Bacall made in fashion magazines from the 1940s to the 1960s. Magazines on display range from her 1943 Harper’s Bazaar cover to her features in LIFE in 1944 and Vogue in 1963. LIFE headlines of Bacall identified the actress as having “catlike grace and insolent voice” in her debut movie “To Have and Have Not.” From her modelling career, Bacall rose quickly to prominence as an actress. Within a few years of her first cover with Harper’s Bazaar in 1943, Bacall starred in To Have and Have Not. She went on to become a household name in productions such as Sex and the Single Girl and Bacall and the Boys.

Bacall called her style “studied carelessness.” Her clothing was

free flowing, yet tailored and never sloppy. The garments on display represent this casual elegance and relaxed attitude. Outfits included a Christian Dior by Marc Bohan evening dress made with silk jersey and ostrich feathers around the bottom, as well as an Yves Saint Laurent evening set made with silk organza, sequins and beads.

The exhibit portrays Bacall as an everyday American with a distinct, elegant sex appeal. Unlike Marilyn Monroe, Bacall’s sexuality was subtle, displayed through her confidence. Her clothing was simple and relaxed, yet had intricate, quality construction and glamorous touches of detail. Her signature hair style of face-framing waves added an illusion of length and thickness. Her signature makeup was neutral, yet usu-

ally featured a bold lip.

“For my particular face I look best when I look as though I’m not wearing makeup at all,” Bacall said in a 1959 Vogue interview.

Excerpts of information within the exhibit showcased Bacall as a “combination of individuality, audacity and glamour that continues to inspire.” On display for comparison is a 2010 Dior advertisement in Harper’s Bazaar, with model Karlie Kloss emulating Bacall’s style, hair and makeup.

Bacall will continue to be remembered for her stamp on the entertainment and fashion industries as the all-American girl who embody femininity, strength and subtle glamour.

Email Lauren Craddock at bstyle@nyunews.com.

STAFF PHOTO BY HARK KANWAL

One of the dresses that Lauren Bacall donated to the museum.

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WASHINGTON SQUARE NEWS | WEDNESDAY, MARCH 25, 2015 | NYUNEWS.COM

ON THE SIDE

COMPILED BY THE

WSN STAFF

STAFF RECOMMENDATIONS

WASHINGTON SQUARE NEWS Editor-in-Chief

VALENTINA DUQUE BOJANINI

With the first quarter of music releases of 2015 coming to a close, the WSN staff recommends albums released so far this year.

Managing Editor

THOMAS DEVLIN Assistant Managing Editor

JOHN AMBROSIO

“Dark Sky Paradise” - Big Sean

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Digital Director

“I Don’t Like Shit. I Don’t Go Outside” In the rap world, most people’s top three mainstream rappers have included Drake, J. Cole and Kendrick Lamar. With his 2015 release “Dark Sky Paradise,” however, Big Sean proves his ability to compete with the best, easily making it the album that will alter some previous critics’ opinions about the 26-year-old rapper. Tracks like “I Don’t Fuck With You,” “Research,” which features Ariana Grande, and “Blessings,” which features Drake, E-40, and Kanye West, work well for Sean to break into mainstream radio play. With tracks like “One Man Can Change The World,” Sean touches on darker subjects, such as his grandmother’s recent death, portraying a deeper, more somber side of the rapper who usually exudes confidence and does not touch upon darker areas. “Dark Sky Paradise” presents a more emotional, moodier Sean, easily establishing it as his best release to date.

- Alexa Spieler, Arts Editor

- Earl Sweatshirt

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HANNAH TREASURE

Earl Sweatshirt makes it clear that he has more than his share of demons on the haunting “I Don’t Like Shit, I Don’t Go Outside.” The Los Angeles-native’s follow-up to his debut album “Doris” sees him exploring themes surrounding his childhood, the loss of his grandmother, his rise to fame and his relationships. A brutally honest introspection, Sweatshirt’s flow is halted but doesn’t feel forced — rather, it feels as though he has a lot weighing on his mind.

His moody yet sharp verses are coupled with dark and brooding production — all but one of the songs were produced by Sweatshirt — and it is clear he’s doing things on his terms.

It only runs 30 minutes long, but even a single listen-through will leave you with plenty to think about. The album ensures that the 21-year-old Sweatshirt’s future is bright, though he has a dark past to deal with first.

- Alex Bazeley, Deputy News Editor

Creative Director, Special Editions

OLIVIA MARTIN Creative Director

TEERIN JULSAWAD deputy ALEXA WONG Copy Chief

MADELINE PAZZANI deputy RICHARD SHU Multimedia

SHAWN PAIK photo SAM BEARZI video CALVIN FALK deputy photo SANG BAE, MATHILDE VAN TULDER deputy video CHRISTIAN FORTE

SENIOR STAFF

news ALANNA BAYARIN, MARITA VLACHOU features MARINA ZHENG arts ALEXA SPIELER sports BOBBY WAGNER senior editors LARSON BINZER, CHRISTINA

COLEBURN, FELIPE DE LA HOZ, FRANCISCO NAVAS, IFE OLUJOBI

DEPUTY STAFF

“We Fall” - Emily Hayne

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A breakup album seeping with lofi production and a balanced sensibility, producer Emile Hayne’s debut album tracks a relationship from its highest points to its eventual dissolution. Replete with a range of guest musicians, from Lana Del Rey to Nate Ruess of fun., the record expresses a span of different emotions and exudes the influence of each guest musician’s individual style while keeping with Hayne’s concept and superb production.

Any self-respecting dream pop fan or alternative rock fan will appreciate this record, but it is the melancholy souls that will find the most refuge in this record’s sepia-toned songs and ethereal sensibility.

- E.R. Pulgar, Music Editor

“Viet Cong” - Viet Cong

Released in January, Viet Cong’s selftitled debut full-length holds the chill of the winter wind close to heart. It is a cold, unwelcoming album at first touch, a sort of post-punk bristling with lo-fi bass lines and pounding drums throughout. Yet for all the bleakness — of song titles, vocal delivery and instrumentation — the album maintains a little glimmer of brightness.

After three minutes of an oppressive drum and synth beat, the song “March of Progress” toys artfully with glistening guitar arpeggios and frenetic pop energy, marking a turning point for the album into reserved optimism. Jingle bells and quick, breathless guitar VIA WIKIPEDIA.ORG rhythms play alongside the abrasive noise, not clashing but rather showing that, even through the snow and sleet of winter, the sun is never too far away.

Viet Cong, for all its meanness and abrasiveness, has lot of love in its heart.

- Richard Shu, Deputy Copy Chief

news ALEX BAZELEY features NINA JANG beauty & style SOPHIE LEWIS dining REBECCA RIDDLE film ISABEL JONES entertainment AUDREY DENG music E.R. PULGAR theater/books CAROLINE CUNFER sports KYLE LUTHER

OPINION PAGE opinion editor

TESS WOOSLEY deputy opinion editors

ANNIE COHEN, TOMMY COLLISON, MATTHEW TESSLER

BLOGS

editor EMILY BELL exposure HANNAH LUU violet vision GABRIELLA BOWER the highlighter MARISSA ELLIOT LITTLE under the arch EMMA SCOBLE global DANA RESZUTEK

ADVERTISING BUSINESS MANAGER

ALISON LIZZIO UNIVERSITY SALES RELATIONS

CLAIRE MAHANY

SNAPSHOT

TODAY ON CAMPUS

SALES MANAGER

EMMA HOWCROFT SALES REPRESENTATIVES

AMY LU, BEN SWINEHART

Elodie Ghedin Professor Elodie Ghedin, who teaches biology and public health, is giving a talk titled “Investigations into the Lung Microbiome” as part of the Global Institute of Public Health speaker series. The event will be in room 741 of 41 E. 11th St. at 4 p.m.

Raúl Coronado Raúl Coronado will be holding a lecture, “Surrounding One’s Self with the Beauty of Life: Historicizing Nineteenth-Century Latina/o Writing” at 5 p.m. on the fourth floor of Cooper Square.

SALES ASSOCIATES

MIKE GROTT, LUXI PENG GRAPHIC DESIGNERS

KALEEL MUNROE CIRCULATION MANAGER

JESSICA TIEN CIRCULATION ASSISTANTS

ALEX HANSON, FIONA GORRY-HINES

ADVISING DIRECTOR OF OPERATIONS

NANCI HEALY EDITORIAL ADVISER

Collection Processed by Poets

A small bird claims half of a bagel on Coney Island.

SNAPSHOT BY SANG BAE

Five poets and writers explored the Wagner Labor Archives over the past three months and will be premiering the literary works in reaction to what they found. The readings will be on the 10th floor of Bobst Library at 6 p.m.

TODAY’S EVENTS ARE FREE FOR NYU STUDENTS.

GOT SOMETHING TO SHARE? EMAIL US AT TIPS@NYUNEWS.COM OR TWEET US @NYUNEWS.

RACHEL HOLLIDAY SMITH EDITORS-AT-LARGE

TATIANA BAEZ, NICOLE BROWN, ALEX GREENBERGER, CLIO MCCONNELL, JORDAN MELENDREZ About WSN: Washington Square News (ISSN 15499389) is the student newspaper of New York University. WSN is published Monday through Thursday during NYU’s academic year, except for university holidays, vacations and exam periods.

Corrections: WSN is committed to accurate reporting. When we make errors, we do our best to correct them as quickly as possible. If you believe we have erred, contact the managing editors at managing@nyunews.com or at 212.998.4302.

NYUNEWS.COM | WEDNESDAY, MARCH 25, 2015 | WASHINGTON SQUARE NEWS

Female journalists discuss crisis reporting

By JUSTINE MORRIS Contributing Writer

Crisis reporting is often considered a male-dominated field, but panelists said this discrimination can be used as an advantage for women in journalism in “Filming on the Frontlines: How to Manage Risky Situations.”

Kirsten Johnson, a cinematographer whose work includes “Citizenfour,” and Carol Cassidy, an independent producer, particularly refuted the idea that the challenges of sexism and combat are toogreat,sayingthatbeingawomanis actually beneficial.

Johnson said the prejudice actually works in her favor as a crisis reporter, allowing her to slip through security cracks where a male might be challenged.

“That can be really useful,” Johnson said. “You don’t even have to play dumb, people just assume you’re dumb and then you can continue on.”

Johnson was detained in Abu Dhabi with Laura Poitras, who has been famously detained because of her work, after showing Poitras’ film “The Oath” about detainees in Guantanamo.

“That was the first time I was detained,” Johnson said. “One of my favorite moments ever was that the border guard said, ‘So do you find the people to talk to and ask the questions, or do you just hold the camera?’ And I was like, ‘I just hold the camera.’”

Cassidy brought items from her reporting experience, including a bulletproof vest, flak helmet and burqa, which she said is often seen as political statement.

“I wanted to bring my burqa,” Cassidy said. “To me, this is a cloak of invisibility. And in certain places, it’s a beautiful thing to be able to just use this on the streets.”

Cassidy pointed out that these items leave a lot of areas uncovered — even wearing the gear, a reporter is not totally safe and is still vulnerable.

“Fortunately, your vulnerability is a key tool in doing this kind of field production,” she said. “You want to bring your humanity to work. And one of those things is your physicality.”

Johnson added that crisis reporting is an ever shifting field and reporters have to be able to adapt to that.

“The thing for me that’s really interesting about this work is that you

COURTESY OF DANA BROWN

A volunteer from the audience tries on filmmaker Carol Cassidy’s bulletproof vest and flak helmet, two remnants from working on conflict zones. keep trying to understand the world and the world keeps changing,” Johnson said.

CAS sophomore Ananya Bhattacharya, who attended the panel, said it was simplistic and general.

Despite this, she says she enjoyed the discussion.

“It was great that there was a camera person and a producer and a director,” Bhattacharya said. “Different

people because you get different responsibilities with those duties. That was good.”

Documenting humanity is not just important in international news, but also in domestic, as Claire Ward, cinematographer for Vice News discussed. Her most recent conflict reporting was in Ferguson. Vice reported via livestream in attempt to just spread the word about what

was happening.

“We just kept rolling,” Ward said.

“It just felt like a historical moment.

It really did feel like we were there to document it in the most traditional sense. To just open the lense and keep rolling and figure out what it all meant later.”

Email Justine Morris at news@nyunews.com.

NYU Reacts: Sexual assault education

POVERTY continued from PG. 1

Study links trauma, poverty

a year and a half and sharing stories about their lives.

Four main themes emerged in Shamai’s research: the shortage of basic needs, being a parent in poverty, anger directed towards social workers and loneliness in society.

Shamai said besides feeling traumatized or stress over their lack of basic needs, there was something else that the women displayed.

“There was some sense of collective fate with which not only the bad things are needed to be shared, but also the some small amount of belonging that they had,” Shamai said.

Aminda Heckman Chomanczuk, a postdoctoral research fellow at the McSilver Institute, said she felt the discussion was an important one to have, partly because it provided a platform for the women to share their stories.

“I don’t think that there’s enough attention being paid to the fact that poverty is a trauma, and especially one that’s accumulative,” Chomanczuk said. “This put some really great stories to that concept.”

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By MARITA VLACHOU News Editor

COURTESY OF JOSEPH WANG

Dr. Michal Shamai, associate professor at the University of Haifa, talked about poverty in relation to collective trauma.

All of the participants mentioned their inability to provide for their children, with some remarking that they felt like failures as a result. Four out of the 12 women also admitted that they had been sexually abused as children due to their parents’ consistent absence from the house but had never told anyone.

Ultimately, Shamai agreed with the participants who concluded that they were feeling a collective trauma from their lives in poverty, but said she felt it was a different type of suffering, as the effects were not coming from a single traumatic event.

“It is a type of collective trauma in which the traumatic events continue and accumulate through the life cycle of marginalized groups in society,

such as minorities, immigrants and people living in poverty,” Shamai said.

Roni Berger, a professor in the School of Social Work at Adelphi University, said this type of research is necessary because poverty and trauma are often not associated with each other, and their connection must be better understood.

“It’s very creative and very innovative to conceptualize poverty as trauma because it opens a lot of venues in terms of understanding why poor people do things that looks sometimes illogical,” Berger said. “Once we think about them through the lens of trauma, they become very rational.”

Email Alex Bazeley at abazeley@nyunews.com.

NYU released a mandatory sexual misconduct online program on March 10 to educate students on the topic of sexual assault. Students need to complete the training by April 15.

The program features interactive quizzes and hypothetical scenarios to familiarize students with the concept of sexual misconduct, the legal definition of consent and ways in which they can intervene and prevent sexual assault.

Members of the NYU community share their views on the online sexual misconduct training.

“It discussed important topics but it never got to the point where I was just mindlessly clicking through the slides to get it over with. I definitely think it is something that is necessary especially considering the sexual assaults that have become more and more known on other college campuses and considering we live in New York City, where we have to worry about more than just the threat of other students. I hope it is effective. It’s hard to say something to your peers but hopefully this gives everyone a little more courage or incentive to say something when the situation feels wrong.”

—Tori Porada, LS freshman “It didn’t feel like it victim-blamed, which was fantastic, and I loved that it didn’t only talk about hetero-

sexual relationships. It felt like a good length — shorter than AlcoholEdu, I think — I would’ve been fine with it being longer, actually. It was definitely, definitely necessary. If nothing else, it’s a really good sign of commitment to the issue from the administration; they really do want to put effort and resources into addressing not only sexual assault after it occurs, but before it occurs.”

—Hannah Weverka, Steinhardt sophomore “I’m proud that NYU is being clear about its stance against sexual abuse, and is educating students about the topic as well as reinforcing the support systems available to students. It’s adding to the discussion about sexual assault which is a good thing, but I have a feeling that, like AlcoholEdu, a lot of kids will just rush through it and not pay as much attention.”

—Kyle Sims, CAS freshman “It’s really nice that NYU is tackling issues that concern the student body especially when that has to do with the way that body understands sexual harassment. No matter if one agrees or disagrees with the new development I do believe that dealing with an issue that clearly concerns many students is always a good sign.”

—George Maniadis, Tisch sophomore Additional reporting by Alanna Bayarin and Alex Bazeley.

Email Marita Vlachou at mvlachou@nyunews.com.

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WASHINGTON SQUARE NEWS | WEDNESDAY, MARCH 25, 2015 | NYUNEWS.COM

ARTS REVIEW

EDITED BY ALEXA SPIELER ARTS@NYUNEWS.COM REVIEW

‘Wolf ’ fails to come to life

By ETHAN SAPIENZA Staff Writer

Fernando Coimbra’s new film “Wolf at the Door” makes itself out to be an abduction film. The film is described in its marketing as “a fast-paced thriller filmed in Brazil about a kidnapped child and the terror felt by the parents left behind.” the film sounds similar to Tony Scott’s 2004 remake of “Man on Fire,” where Denzel Washington hunted down the kidnappers of a young Dakota Fanning in Mexico City. Though certainly a thriller, it plays out more like an action flick, just as “Wolf” plays out more like a marital melodrama disguised as a thriller.

The film begins as one might expect from any film of this genre: Sylvia (Fabiula Nascimento) goes to pick up her daughter from school, only to discover that a mysterious woman claiming to be a neighbor has already picked up her daughter. Confusion leads to despair as the police become involved, and it becomes clear that the little girl has been kidnapped. Sylvia’s husband, Bernardo (Milhem Cortaz), is questioned, and the plot picks up steam as Bernardo immediately accuses his mistress Rosa (Leandra Leal) of the crime. Rosa is brought in for questioning, leading to a desperate search for the missing girl.

The movie’s premise is hardly original, and its structure and focus are even more conventional.

Through the interrogations, the film dives into multiple flashbacks to lay out the foundation of Sylvia and Bernardo’s family dynamic.

These flashbacks are peculiar, beginning abruptly, offering a starkly different feel from the examination scenes. The investigation scenes are tense, unnerving and packed with sharp-witted detectives’ merciless questioning, while the past progresses slowly, gradually revealing Rosa’s hysteria and Bernardo’s brutishness and misogyny.

The flashbacks make up the majority of the film and, as a result, only Rosa and Bernardo are fully fleshed out. While Nascimento is quite good, especially when portraying a distraught mother, Sylvia’s performance often feels onedimensional. Rosa is a curious case as well, as some of her actions are not believable, despite Leal’s convincing portrayal of a naïve and eventually crazed lover. Ultimately, it is Cortaz who shines, in part because his character is deeper and more interesting than any other.

Despite some of its flaws, the film should be applauded for, if nothing else, its impeccable style. Coimbra is an excellent director, favoring minimalism with sparse yet powerful ambient music, long takes and thoughtful close-ups. When

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Leal, left, and Cortaz star in “A Wolf at the Door.” all these elements come together perfectly, the otherwise limp characters gain a spark of the divine.

Rosa’s love and fear of Bernardo and Sylvia’s panic are made grand and powerful thanks mostly to Coimbra’s directorial choices.

Through the love triangle and the kidnapping of Sylvia and Bernardo’s daughter, Coimbra offers some thought on the price of infidelity as well as the nature of man. Unfortunately, the dominant characters fall just shy of being life-like. This, along with the heavy-handed closing narration, means that “Wolf” serves more to entertain than to provide meaningful insight.

“Wolf at the Door” opens on March 27.

Email Ethan Sapienza at film@nyunews.com.

ACTION continued from PG. 1

Bronson shines on ‘Mr. Wonderful’

New York hip-hop, “Mr. Wonderful” moves away from familiar territory in songs like the warped, slightly creepy “Actin’ Crazy” to psychedelic, stoner rock with “Only In America” and “City Boy Blues.” While sonic diversity is incredibly important to an artist’s integrity, it might have been better to wait until Bronson’s next album to fully explore his creative leanings.

That is not to say that “Mr. Wonderful” deviates too much from Bronson’s musical persona — is lyrics are still farreaching and hilarious. Most of the tracks give the impression that everything is coming straight from Bronson’s mind into one’s headphones without feeling scripted. The line that separates listener and artist is wiped away with this record, and Bronson sounds like the funny, overweight kid from high school who embraced his weight and owned his image.

The production throughout the album is mostly handled by big name producers, in-

cluding Mark Ronson of “Uptown Funk” and “Valerie” fame, Party Supplies, The Alchemist and Noah “40” Shebib, Drake’s in-house producer. The musical influences on the album are extensive and infectiously varied, from the Billy Joel sample in opening track “Brand New Car” to the ragtime piano solo featured on “Only In America.” Jazzy bass lines float throughout the album, most notably on “Galactic Love” and “Terry.” A Curt Chambers guitar solo closes the final song, “Easy Rider,” as a Harley revs in the background. You can almost see the metaphorical ride into the sunset as the album ends.

Bronson’s idiosyncratic personality shines through in lines like “I was made like the beginning to Jurassic Park/ When they took the fucking blood from the mosquito with a dope needle” from “Falconry” and “Since I was young I had the husky gut/But I’m gorgeous, got money in the pouch just like a tourist” from “The Rising.” The most

intriguing aspect of Bronson’s music is the way he interprets and tells a story. Everything he says paints a vivid picture, drawing the listener into his surreal worldview.

When Bronson raps about “Playing Frisbee in the West Indies,” it’s hard not to imagine him doing exactly that. The wonder of Bronson’s music, and this record in particular, is that when it finally clicks, it works extremely well.

Email Logan Baker at music@nyunews.com.

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‘Mr. Wonderful’ is Action Bronson’s second album.

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“July 16, 1969” represents the day of the Apollo 11 launch.

On Kawara retrospective stuns with size, scope

By CARTER GLACE Contributing Writer

In 2014, the art world lost Japanese artist On Kawara, an artist famous for his conceptual art based on dates of the year.

Kawara’s work features references to dates, whether it be written down, on a newspaper or on a wall-mounted painting of the date. The Guggenheim Museum has assembled the biggestever collection of his works from 1964 to present day in an exhibit titled “On Kawara — Silence,” creating a massive timeline of Kawara’s journey through half a century of history.

Because Kawara’s “Date Paintings” hinge on repetition, he created at least one new piece every day for months resulting in a massive collection. The sheer amount of art in this gallery is borderline overwhelming, but it works perfectly for the artist’s creations. His art tries to capture how fleeting time — how days build up without us even knowing. Capturing every day of multiple decades creates an extraordinary sense of breadth, making the viewer feel incredibly small compared to time’s enormity.

Kawara seemed to understand his insignificance with respect to time as well, creating a chart of years with a small section highlighted in yellow representing his life.

As the artist intended, the spiraling museum is cut into 12 sections that showcase the staggering variety of his work. Viewers see more traditional art in his early works, dating from 1964 Paris. From there, the works get progressively more conceptual, beginning with the most massive work “Date Paintings,” which features newspaper clippings cut out and placed in a box. “Date Paintings” is one of the most impactful works. It creates a stun-

ning picture of the early 1970s, as Vietnam, the Nixon administration, and racial tension are all charted in his work. Jumping from major news to entertainment to economics creates an intimate look at a world 40 years in the past.

The works that required the most dedication are his postcards and telegrams. As he traveled the world, Kawara sent telegrams or postcards to acquaintances. The telegrams would have a cynical “I am alive” written on them, and also stated what time he woke up at that day. The postcards display pictures spanning the globe and give a sense of Kawara’s extraordinary life.

In addition to these works, an entire section is dedicated to an elaborate collection of codes Kawara created, including a number system, braille and colored dashes, which will presumably never be translated.

In another fascinating feat, the artist created art, consisting of a small booklet with essays and pictures, for 18 different schools.

The children were then asked to go through the art with no information from their teachers so that they could make their own interpretations.

These two works are the most fascinating, as they are an attempt to try to understand the meticulous mind that created such an enormous, unprecedented collection.

Though viewers may never truly know the workings of the artist’s mind, Kawara created a massive, strange, engrossing collection that provides an intimate depiction of one artist’s journey through history.

On Kawara’s “Silence” in on display at the Guggenheim Museum until May 3.

Email Carter Glace at entertainment@nyunews.com.

NYUNEWS.COM | WEDNESDAY, MARCH 25, 2015 | WASHINGTON SQUARE NEWS

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BEAUTY & STYLE

EDITED BY SOPHIE LEWIS BSTYLE@NYUNEWS.COM

Cut cost of your cut and color

By SAM DEL ROWE Staff Writer

COURTESY OF PHOEBE WALSH

Pastel skinny jeans can easily transition from winter to spring.

Heat up your style selection for pring

By GRACE HALIO Contributing Writer With the hopes that winter will not rear its snowy head again anytime soon, it is time to start planning a wardrobe that can take you from the slush to the sun.

You don’t have to worry about breaking the bank, because those winter basics that have been hiding underneath puffy coats can easily be repurposed for spring by focusing on a staple garment and reworking other aspects of your look.

A striped T-shirt In the winter, a striped long sleeve T-shirt pairs well with super dark wash jeans, a puffy coat and combat boots. Come spring, keep the T-shirt but try out lighter, distressed jeans cuffed to the ankle. Add a cute pair of sneakers — Nikes, Saucony 6000 or New Balance 1400 — to lighten up the look.

Finally, throw on a bright rain jacket and a hat to prepare for unpredictable weather.

A houndstooth skirt Another classic piece is a houndstooth skirt, which has a lifespan far beyond winter. This skirt, paired with a heavy black knit sweater, tights and chelsea boots, is cozy in chilly weather, but as the flowers start to bloom, opt for lighter layers on top. A tank top and blazer allow for more versatility with the changing weather but still keep the outfit sophisticated.

A white button-down

White button-downs are a piece that will never fail you. In the winter, they are great for layering underneath a sweater, and in the spring they can easily stand alone.

Pair one with high waisted jeans, knot the top at the bottom and swap out your sweater for a more sensible vest. It is also important to consider footwear — riding boots work in the fall and winter, but in the spring, try black ballet flats or classic leather loafers.

Khaki jeans In the wintertime, a structured black top, khaki green jeans and rain boots make tromping through the snow a breeze. Though New York weather is unpredictable, you will hopefully be able to shed your long coat, boots and layers by the time March rolls around. For an even fresher look, pair the pants with a relaxed white top and boat shoes or ballet flats.

Spring is a season of transition: focus on simple pieces, often the ones that you love most, and restyle them with lighter pieces and choosing less bulky footwear.

Tank tops with army jackets or quilted jackets are just warm enough. Store your tall boots for next fall and get the most use out of some classic black booties that go with everything. One of the best parts of the season is that you can still wear your best winter sweaters, but now you don’t need a jacket — maybe just a scarf in case the wind picks up.

Email Grace Halio at bstyle@nyunews.com.

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With Kim Kardashian and Jared Leto lightening up their locks, platinum blonde is back on trend. While you might be a pro at dying your hair yourself, this is one color you will not want to attempt in the bathroom sink. Take it from someone who, in freshman year of high school, attempted to mix platinum blonde in with his natural jet black and wound up with an orange mushroom cut — you definitely want professional help with this one. If you are looking to go blonde this spring, check out the following relatively inexpensive options.

Fox & Jane Salon 277 East 10th St An East Village staple, Fox & Jane also has locations in the Lower East Side, the Upper West Side and Brooklyn.

But do not let the locations fool you; the prices at this salon are hardly akin to the exorbitant ones expected. Single process color treatment

starts at $89, and all haircuts start at $50. You can book an appointment online.

Graceland Brooklyn 677 Lorimer St This oddball Brooklyn joint offers both hair and tattoo services — so if you are interested in some ink to go with your fresh cut, this may be the place for you. In terms of hair, men’s cuts start at $60, women’s start at $85 and chemical services start at $95. The name is indeed a reference to The King, making for an overall one-of-akind grooming experience.

The Owl & The Pussycat Salon 154 Vanderbilt Avenue (Brooklyn) This Brooklyn salon has everything from bang trims at $15 to full highlights at $175.

Described on Instagram as the “Unofficial Beautifiers of Brownstone Brooklyn,” you definitely won’t get a standard service here. Single Process color treatment is $78 and haircuts range from $75 to $92.

Panyc Salon 36 West 17th Street, Fifth Floor

Located in the Flatiron District, Panyc is run by three Texans who sought to open a stylish yet affordable New York City salon. Services range in price according to your stylist: a haircut with a junior stylist is $75, while one with a senior stylist is $85 and one with a master stylist is $100. Color treatments have a similar price range: junior colorist services are priced at $75, a senior colorist costs $85 and a master colorist is $105.

Shampoo Avenue B 14 Ave. B Established in 2006, this salon offers haircuts for both men and women as well as a selection of color services, including a “punk color service,” priced upon consultation. Women’s haircuts start at $60 and color services at $80, while color consultations are complimentary. They also offer student discounts of 10 percent with valid ID. Email Sam Del Rowe at bstyle@nyunews.com.

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WASHINGTON SQUARE NEWS | WEDNESDAY, MARCH 25, 2015 | NYUNEWS.COM

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on Soyuz rockets 5 St. Francis’ home 11 Some gas stations 14 Fifth-longest bone in the human body 15 One navigating the web?

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NYUNEWS.COM | WEDNESDAY, MARCH 25, 2015 | WASHINGTON SQUARE NEWS

OPINION

EDITED BY TESS WOOSLEY OPINION@NYUNEWS.COM

PUBLIC TRANSPORTATION

Quality service must follow MTA fare hikes

By CHRISTINA COLEBURN Senior Editor

After a winter marred by limited service, excessive delays and other technical issues, the Metropolitan Transportation Authority announced a fare hike on March 22, the fifth in eight years. The base fare for buses and subways is now up 25 cents to $2.75 and monthly MetroCards increased by $4.50 to $116.50. Tolls for E-ZPass users at MTA tunnels and bridges went up 4 percent, while cash customers will now see a 6 to 10 percent hike. This fare increase comes during a time of palpable uncertainty over the MTA’s $15 billion budget deficit in a plan that proposes $32 billion in capital outlays from 2015 to 2019.

The largest funding gap ever, the deficiency has been described as “a striking sign between what the system needs and what the authority can afford.” If customers are to bear the brunt via fare increases, the MTA owes it to them to improve the quality of the transportation system, particularly in light of subpar winter service.

An estimated 8.6 million people

ride the MTA’s subway, buses and railroads every weekday. Despite being negatively affected by the fare increase, several acknowledged that they would have difficulty traveling to work otherwise.

When interviewed by CBS New York, many said their dissatisfaction with the increases in part stemmed from their complaints with the quality of the subway system. These grievances are corroborated by the most recent MTA figures, which reveal a rise in train delays in 2014. Only about 74 percent of subway trains arrived at their terminals at the end of the line on schedule, a 6 percent decrease from last year. Furthermore, of the 13,000 delays in January, most were due to overcrowding. Only about 2,800 were due to inclement weather.

As the MTA grapples with its funding gap, the organization must be subject to greater scrutiny. Although the MTA announced Monday that it would conduct an internal review to minimize delays, more must follow to ensure effective improvements.

When implementing reforms. particularly in light of the reports that have documented mediocre service, customer satisfaction and transparency must be a priority.

Customers are not merely complaining about paying extra — they have legitimate grievances about MTA services and want to ensure that the fare hike is used to improve the quality of the system. Their complaints about the cosmetic appearances of the subway cars, the overflowing trains, excessive delays, signal issues and out-ofservice trains should not fall on deaf ears. If customers are to dig deeper into their wallets to pay the increased rates, the MTA should do its part to improve their transit experience.

Email Christina Colburn at ccoleburn@nyunews.com.

CENSORSHIP

Political meddling is real threat to free speech

By RICHARD SHU Deputy Copy Chief

A crisis of political correctness has recently arisen in the University of North Carolina Chapel Hill. North Carolina Governor Pat McCrory, a republican, urged the school board to move away from teaching material that might be considered political. Instead, he called upon the school board to “reform and adapt the UNC brand to the ever-changing competitive environment of the 21st century,” an exhortation that eerily suggests a need to conform rather than to challenge. In practice, the governor’s consultation mostly resulted in the end of left-leaning programs including the Center on Poverty, Work and Opportunity, which investigates economic inequality in the United States and regularly criticizes Republican initiatives.

Also nixed were programs studying environmental protection and voter engagement, which are often considered liberal concerns. This is no coincidence — the UNC closures represent a blatant example of censorship. UNC professor Gene Nichol, the center’s former head, and his colleagues fear publishing or writing anything even

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remotely controversial. For refusing to be neutral or politically correct, an academic institution simply disappears.

Instead of focusing on the problem of censorship, many professors pundits and ordinary people have fixated on trigger warnings in universities as the most pressing threat to academic freedom. These disclaimers for graphic content are often characterized as a misguided attempt at sensitivity that prevents students from new experiences and new perspectives. Debates over trigger warnings have even framed them as a possible threat to freedom of expression — a menace to the fundamental belief that all ideas deserve the light of day.

But trigger warnings, for whatever political motivations may underlie them, are still merely lines of text.

Their supposed harms pale in comparison to those of McCrory’s brand

of political correctness. If a reading assignment carries a trigger warning, an interested student can still choose to read it. But if a seminar on economic inequality is shut down, an interested student has no recourse. Pundits fixate upon trigger warnings because they are new, the products of an Internet culture mostly used by the disenfranchised and an easy target to lampoon.

Trigger warnings amount to little more than a distraction in comparison to the very real, very destructive political manipulation that lawmakers have always attempted to affect in schools. They may well be excessive, distasteful or even harmful, but mostly they are used as a scapegoat by politicians who keep themselves willfully ignorant about the dynamics of inequality and want everyone else to do the same. Only a government has the power to truly force their views upon students, to silence viewpoints of which it disapproves and those who frame trigger warnings as the mechanisms for thought policing are working to hide this critical imbalance of power.

Email Richard Shu at rshu@nyunews.com.

STAFF EDITORIAL

Starbucks race initiative awkward, misguided

On Sunday, Starbucks ended the public component of “Race Together,” a new initiative to bring conversations about U.S. race relations into coffeehouses around the country. The measure, which included a full-page ad in The New York Times and baristas writing “Race Together” on customers’ coffee cups in an effort to drive conversation, faced heavy criticism in the media since it was announced on March 17. Although some have reported that the coffee chain was forced to shut the initiative down, a spokesperson said that Starbucks had always planned to end it on Sunday. Whatever the case, believing that this initiative was going to be an effective addition to the debate is naive at best. In a company-wide memo, Starbucks CEO Howard Schultz said the objective of the campaign was to “stimulate conversation, empathy and compassion toward one another, and then to broaden that dialogue beyond just our Starbucks family to the greater American public by using our scale for good.” While well intentioned, the proposal was misguided and awkward, with an air of selfcongratulation that has no place in such discussions.

If Starbucks aims to promote a further understanding of diversity, they should start from within. Their 19-member leadership team is overwhelmingly white, despite the fact that the company states, “We expect to be a leader in diversity and inclusion.” A discussion about race is important, but actively involving minorities in company leadership is a far greater statement that remains within the scope of a private corporation.

The corporation as a structure is inherently a poor incubator for socio-political discussions. On one hand, the Starbucks corporate head has its primary obligation to its shareholders and is already singularly focused on making them as much money as possible. On the other hand, the minimally paid employees tasked with spreading the good word cannot be expected to approach the subject of race as intelligently and passionately as their leadership would like. Even if “Race Together” was meant to be a wider-reaching, more provocative initiative to mend race relations in America, it would be staffed by people who simply don’t have the time. This is why the employees of Ronald McDonald House Charities, for example, are not the dispossessed staff behind their counters.

Discussions about institutionalized racism should be more than an add-on to a consumer’s order of a tall skim no-whip mocha. On a purely logistical level, the campaign was poorly thought out — consumers cannot be expected to have any sort of meaningful conversation about anything in the 30-second window it takes to order a coffee. The initiative is obviously well-intentioned, but “Race Together” is the wrong way of approaching this critical conversation.

Email the WSN Editorial Board at editboard@nyunews.com.

EDITORIAL BOARD: Tess Woosley (Chair), Annie Cohen (Co-chair), Tommy Collison (Co-chair), Matthew Tessler (Co-chair) ILLUSTRATION BY JOURDAN ENRIQUEZ

Send mail to: 838 Broadway, Fifth Floor New York, N.Y. 10003 or email: opinion@nyunews.com WSN welcomes letters to the editor, opinion pieces and articles relevant to the NYU community, or in response to articles. Letters should be less than 450 words. All submissions must be typed or emailed and must include the author’s name, address and phone number. Members of the NYU community must include a year and school or job title.

WSN does not print unsigned letters or editorials. WSN reserves the right to reject any submission and edit accepted submissions in any and all ways. With the exception of the staff editorial, opinions expressed on the editorial pages are not necessarily those of WSN, and our publication of opinions is not an endorsement of them.

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NYUNEWS.COM | WEDNESDAY, MARCH 25, 2015 | WASHINGTON SQUARE NEWS

SPORTS

EDITED BY BOBBY WAGNER SPORTS@NYUNEWS.COM

Men’s hockey wins ACHA championship

By BOBBY WAGNER Sports Editor

The NYU hockey team is leaving Utah as National Champions for the first time in program history after edging out Florida Gulf Coast University 5-4 in a hotly contested game on Tuesday night. The Violets are now at the pinnacle of the American Hockey Coaches Association as the undisputed No. 1 team in the nation.

They jumped out to a big lead early on, and looked to be on their way to a dominant victory on par with their 8-1 dismantling of Lindenwood University in the semifinals.

The Violets benefitted on Tuesday night from some opportune finishing by senior forward Niko Masotta but FGCU fought back to cut NYU’s 5-1 lead to just 5-3 at the end of the second period.

Masotta netted two goals in the contest on his way to being named the Most Valuable Player of the national tournament. He also headed the All-Tournament First Team for the Violets with freshman goaltender Jack Nebe and sophomore defenseman Evan Ripley. Fresh-

man forward Michael Conslato was named to the Second Team.

The locker room was overcome with emotion after the game.

“It’s hard to put all these emotions into words,” Nebe said. “We’re elated, on top of the world but also thankful for what we have at NYU and our unbelievable coaching staff.

From the top down, this team is a family and tonight we showed that.”

Head coach Chris Cosentino was visibly frustrated in the second period with his team when they let FGCU claw back into the game.

“We play aggressive hockey, and we get caught too many times crossing that line and taking a penalty,” Cosentino said.

Despite these setbacks, his team never allowed the Eagles to knot the game up.

“Our penalty kill unit was incredible all tournament,” Cosentino said. “FGCU is a great team with a ton of skill. We knew they would not go down quietly. We just kept grinding.”

Senior forwards Michael O’Shaughnessy and Davy Johnson and junior forward Denis O’Hara each scored one goal in the win.

VIA UNIVERSITY OF UTAH HOCKEY

The NYU hockey team celebrates after winning the championship.

Nebe finished with 38 saves, including some vital saves at the end of the game when FGCU had pulled their goalie in a desperate attempt to tie the game up before the final buzzer.

NYU defensemen dove in front of the final few shots from the Eagles, conceding one goal, but preventing the equalizing goal that would have sent the game to overtime.

In a season full of emotional ups and downs, the Violets now will return to New York as national champions for the first time in Cosentino’s five year stint as the Violets’

coach. The Violets have had to overcome the loss of a player’s father, the brain tumor that has sidelined their starting goalie Sam Daley for the season and the grueling stretch of a competitive northeastern hockey schedule. The seniors, like captain Dan Fortunato, will leave as champions. The freshmen, like Nebe, will leave with a memory and a strong foundation to build on for the future.

“We faced so many challenges through the season both on and off the ice,” Fortunato said. “It feels

great to come out on top. The storybook ending is complete.”

After four years of grinding and working for this moment, Cosentino and his players finally have the chance to sit back and enjoy their accomplishments.

“There are a lot of ice bags, a lot of tears and definitely smiles,” Cosentino said. “We have all grown up together over the past four years and this is just perfect.”

Email Bobby Wagner at bwagner@nyunews.com.