The Daily Illini: Black History Edition 2022

January 19, 2022

DI BL ACK

THE

HISTORY EDITION

Inside: Black Greek life on campus throughout history PAGE 7

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The DI · Wednesday, January 19, 2022

DI staff seeks innovation in new term

By Heather Robinson Editor-in-Chief

As we embark on the new semester, I’m reflecting on the state of The Daily Illini a year ago today. We were operating through a means that was no longer sustainable, and the future of our publication became unclear. Bold changes were imperative.

In confronting such challenges, our staff proved that we can and will overcome any obstacle. Instead of letting issues we faced demotivate us, we viewed them as opportunities for innovation.

We hold an undeniable privilege to perform as independent student journalists amid the downfall of similar publications across the country. Because of this, we feel lucky, but luck isn’t the only reason for our perseverance. We wouldn’t remain without the support of you: our readers. We thrive on this staff’s dedi-

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To our outgoing Editor-in-Chief, Diana Anghel: Thank you for inspiring each and every one of us to fight for what we care about through dire times. Heading into the new year, none of this momentum has diminished.

There is never a time our staff is settling for our current state, as we are constantly evolving alongside the future of journalism. In preserving print tradition, we are continuing with our tabloid editions every week, but our focus is primarily on expanding virtually with the website and through an elevated social media presence. We will direct more attention to multimedia modes of storytelling, and we will continue to find new ways to share our stories with you.

As we continue to ameliorate ourselves, The Daily Illini is the independent student newspaper at the University of Illinois at Urbana-Champaign. The newspaper is published by the Illini Media Co. The Daily Illini does not necessarily represent, in whole or in part, the views of the University of Illinois administration, faculty or students.

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NEWS

The DI · Wednesday, January 19, 2022

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UI discusses COVID-19 plans for spring semester

By Amrita Bhattacharyya News Editor

University officials discussed the return to campus and the Omicron variant in the latest of the COVID-19 briefing series on Jan. 11.

The briefing comes as COVID-19 cases are spiking nationwide and the Omicron variant continues to spread.

“One thing to know about Omicron is that it is spreading very quickly,” said Rebecca Smith, epidemiologist and member of the COVID-19 SHIELD team. “It is highly infectious, but it does not appear to have as high a probability of severe disease.”

Smith said the Omicron variant is able to invade the immune response from just two shots of the vaccine or from prior infection. She recommended getting all three shots of the vaccine.

Andreas Cangellaris, vice chancellor for Academic Affairs, said the University’s “multilayered approach” to handling COVID-19 contributes to the decision of not having fully online classes this semester.

This approach includes factors such as the University’s rapid saliva testing protocol, mandating boosters for eligible individuals and recommending that faculty, students and staff wear an N95 or KN95 mask.

The University first recommended these higher grade masks on Jan. 14, following the Centers for Disease Control and Prevention’s updated mask guidelines.

However, in terms of testing, the University has chosen not to require mandatory testing for everyone all semester.

“The truth is that regular testing of all fully vaccinated individuals is just less useful than targeted testing,” Smith said.

The SHIELD team will continue to identify locations on campus which have increased cases and ask individuals in those areas to test every other day until cases improve.

However, unvaccinated individuals will be required to test every other day.

Danita Brown Young, vice chancellor for Student Affairs, sayidthe University has a comprehensive digital testing compliance system.

“Students out of compliance may receive student discipline up to and including dismissal,” Young said in the briefing.

In terms of isolation, Young said quarantine spaces available on

CAMERON KRASUCKI THE DAILY ILLINI

Ryan Reeder looks over his rapid COVID-19 test at the ARC on Feb. 1. The University has provided a COVID-19 briefing about returning to campus for the spring semester. campus will be reserved only for students who cannot isolate safely off campus.

“There are limited isolation and quarantine spaces available here on our campus,” Young said.

Therefore, students who test positive prior to arriving on campus will be asked to isolate themselves at their permanent residence. Those who test positive after arriving on campus will be also asked to do the same, if

they are able to do so safely.

Ultimately, University officials agree that the start of this semester will bring another spike in COVID-19 cases as students flock back to campus.

“We have seen a surge in cases at the beginning of every semester since this pandemic began, and we will expect another surge in cases as students come back, especially because we know that cases are

surging across the country,” Lee said.

Lee encourages wearing highquality masks, avoiding large in-person gatherings and getting tested as soon as possible returning to campus.

“We do know that the surge will come, but we can be cautious about it and keep the secondary spread to a minimum,” Lee said. abhatt52@dailyillini.com

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The DI · Wednesday, January 19, 2022

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LIFE & CULTURE

The DI · Wednesday, January 19, 2022

HUMANS OF CU

The Saxophone King

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Multi-instrumentalist Kevin King started his musical journey at age 3

By Nandika Chatterjee Staff Writer

A man holding a tenor saxophone stood in front of an excited and anxious small crowd. His nerves were electrified by the other musicians who were by his side. The music began to play, and from the moment he lifted the wooden reed to his mouth, he was lost in the rhythm.

From playing piano at only three years old to jamming out in big house shows with several bands, Kevin King, recent graduate of FAA and a member of the band The Data Waves, is a musical prodigy.

“I play saxophone, obviously. I also play oboe, clarinet, flute,” King said. “I play, like, the whole entire woodwind family.”

King explained that he initially had a hard time maneuvering across the keys.

But when he started playing saxophone at the age of six, everything changed for him. His love and appreciation of music blossomed.

“Saxophone is really what bred my love for music; the rest is history,” King said. “So now, I just play music every day, you know, and can’t stop.”

He also explained that his musical ability does not come from his family. However, his household played a lot of music that influenced him to join the art.

“They played a lot of different kinds of what I call ‘Black-American’ music,” King said. “Hip-hop, gospel, funk, rock; all types of music. I remember listening to Curtis Mayfield and Aretha Franklin.”

King was not exposed to jazz music until he picked up the saxophone and began taking lessons. He also attributes much of his love and passion for music and the saxophone to the values his teacher instilled in him.

“The person that introduced me to jazz music is this woman named Diane Ellis,” King said. “She’s still around, but she had a stroke. She was my first saxophone teacher.”

King said he didn’t perfect the saxophone overnight. His current success came from many years of practice.

King describes who he was in high school as being equal parts athlete and musician. However, after joining a jazz scholars program, he became an allparts musician.

“I was learning how to be a professional, you know, really make money with it

CAMERON KRASUCKI THE DAILY ILLINI

Kevin King plays the saxophone outside of The Canopy Club on Sept. 20, 2019. King, a graduate of FAA, plays a wide range of instruments, but has been most drawn to the saxophone. and really take my musical ability to the next level,” he said.

When it was time to pick a major at the University, King considered the love he had for jazz and his musical talent. With that, he decided to major in jazz studies.

However, King explained that being in the academic program was not the most influential part of being in college, instead it was the experience he got working with other creatives.

“My teachers very much helped me,” he said. “But the academic program didn’t necessarily make me better. Just playing house shows, like every weekend. That gave me so much experience.”

King joined The Data Waves when he was a freshman. He began translating his love for music into performances.

“I wasn’t an original member,” he said.

“They (original members) were a band called The Apothecaries. I’ve learned so

much from being in that group.”

Shravan Raghuram, recent graduate of Business and the drummer of The Data Waves, described his relationship with King as a unique bond; the two were never short of compliments for each other.

“There is nobody I would rather share a stage or a recording session with,” Raghuram said.

He also commented on King’s musical ability.

“His ability as a musician goes without saying,” he said. “He’s always been the most dedicated and passionate musician I know. Watching him practice and gig and train for 10+ hours a day is a level of commitment I had never seen before.

He makes everyone around him better in every sense of the word.”

Joey Parker, another alumnus in FAA and keyboard player for The Data

Waves, said King changed his life when he was at his lowest.

“Even at the worst of my depression, Kevin remained an optimistic force and was so encouraging despite my difficulties,” he said. “No matter what, Kevin always prioritizes kindness above all else — although music is a close second.”

Aditya Kashyap, alumnus of the College of Engineering and bassist for The Data Waves, agreed with Parker.

“Kevin has a serious work ethic but such a goofy personality; he never fails to make me laugh,” he said. “I think that though Kevin has been playing for a long time and in many different musical settings, he still appreciates the opportunity to play with us.”

“Kevin’s personality is as loud as his playing,” Parker said.

nandika2@dailyillini.com

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The DI · Wednesday, January 19, 2022

The DI · Wednesday, January 19, 2022

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Making a home: Black Greek life on campus UI chapters aided civil rights throughout history

“For me, Black Greek life is something that enhances you in a sense.

When students join, they only become a more positive version of themselves.”

By Dara Stack Staff Writer

Up until 1945, Black students at the University were not permitted to live on campus. They were forced to live in the north end of Champaign where community members would house the small number of students that the University accepted.

However, Black students made it possible to live on campus by establishing their own housing. Those that were displaced by the racially divisive system came together to create a space of their own: Greek Life.

Black fraternities and sororities at the University have been an inclusive space for over 100 years. Historically, they provided housing for Black students when the University would not.

Ashley Dye, director of Fraternity and Sorority Affairs, explained that the University followed in the footsteps of other universities as several Black Greek houses were formed.

“Really early on in the formation of Black Greek life nationwide was the start of Black Greek life at Illinois,” Dye said.

In 1908, Ethel Hedgeman and eight other Black female students at Howard University founded the first Greek-letter organization for African American women: Alpha Kappa Alpha.

Four years later on Feb. 12, 1914, the Gamma Chapter of AKA was officially chartered at the University of Illinois. AKA is the first Black sorority on campus.

Kaamilyah Abdulla-Span, Director of Campus Culture and Climate and previous graduate adviser for Alpha Kappa Alpha, said AKA made, and still makes, underrepresented women feel less alone.

“The founders wanted Black women to band together,” Abdullah-Span said.

“They needed a community in order to make sure they existed not only on this campus but subsist as well.”

One alumnus from AKA and a trailblazer for Black women at the University was Maudelle Tanner Brown Bousfield. She was a member of the Theta Omega graduate chapter and the sixth national president of Alpha

Devin Munoz

PHOTO COURTESY OF GREATER BETA CHAPTER OF KAP

Members of the Kappa Alpha Psi Fraternity, Incorporated, at the University of Illinois pose for a photo in 1913. Black Greek life was created for Black students to have a safe space to live and socialize on campus.

PHOTO COURTESY OF @GAMMA_AKA INSTAGRAM

PHOTO COURTESY OF @TAU1917 INSTAGRAM

Members of the Alpha Kappa Alpha Sorority at the University of Illinois pose for a photo in 1914. Maudelle Tanner Brown Bousfield was the sixth national president of AKA.

Members of the Alpha Phi Alpha Fraternity, Incorporated, at the University of Illinois pose for a photo in 1917. The Tau chapter was founded on March 23, 1917.

Kappa Alpha Sorority, Inc. She was also the first Black woman to graduate from the University.

“She set the standard and what we should be looking up to and should be striving to do and making sure that we’re also helping those around us,” said Sharon Nduka, senior in AHS and president of Alpha Kappa Alpha. “She made sure that she was there helping when it came to the retention of Black women on campus.”

The oldest Black fraternity at the University, Kappa Alpha Nu, was originally founded in 1911 at the University of Indiana by several Black men such as Elder Watson Diggs.

On Feb. 8, 1913, several members of the Alpha Chapter in Indiana traveled to Urbana to charter the Beta Chapter, the name was later changed to Kappa Alpha Psi in 1915. The brothers consisted mostly of members of the Illio Club that was presided by Earl B. Dickerson. Dickerson would later become KAP’s Polemarch.

During the civil rights movement, KAP had the most members of any Black Greek organization in the country.

In 1906 at Cornell University, seven Black men known as “The Seven Jewels” recognized the need for a space for African American men in higher

education. They then established the Alpha Phi Alpha fraternity.

At the University, the Beta Phi fraternity was granted a charter into Alpha Phi Alpha, and thus became the Tau Chapter on March 23, 1917.

Devin Munoz, senior in AHS and president of Alpha Phi Alpha, said Black Greek life changed the University.

“It was really a shift in culture because before there weren’t any fraternities, there weren’t groups for young Black men coming in college,” Munoz said.

For many Black students, Greek life became a support system and a crucial part of campus life that continues to be an inclusive space for many.

Abdulla-Span said Black Greek life has a responsibility to support Black students.

“We have a responsibility to the students,” Abdullah-Span said. “We are serving to make sure that they feel as though they are supposed to be here.

Black Greek-letter organizations are unique in that it’s not just a collegiate experience, but for some, it may not be a collegiate experience at all.”

Munoz feels as if Alpha Phi Alpha that his fraternity changes those who pledge to it.

“For me, Black Greek life is something that enhances you in a sense,” Munoz said. “When students join, they only become a more positive version of themselves.”

Nduka said she found a sense of security with her sisters at Alpha Kappa Alpha.

“Whatever I have going on, I feel like I can turn to my sisters,” Nduka said. “There's just always kind of people out there who are looking out for you and making sure that if they can help you, that they will.” daras2@dailyillini.com

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The DI · Wednesday, January 19, 2022

The DI · Wednesday, January 19, 2022

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Black representation in media increases

By Raina Kutliroff Staff Writer

PHOTO COURTESY OF JALEAH PATTON

Pages from Jaleah Patton's zine, "Black Enough: Not too much and definitely not too little." Many say zines are an inexpensive outlet for underrepresented views and voices to be expressed.

Zines provide low-cost avenue for Black voices

By Isabelle Bertolini Staff Writer

What is a zine (pronounced ZEEN)?

Zines are safe and powerful outlets for underrepresented and marginalized voices. Historically, zines have served as a powerful medium to communicate personal or political views that are often too niche or not represented in mainstream media. Historically, for example, they’ve been used to advocate for the abolishment of slavery and the support of the civil rights movement.

Traditionally, zines are easily reproduced by taking the original “master flat,” mass-producing copies, folding them and then stapling them into tiny booklets and pamphlets.

There is no one format for a zine.

They may be bound, unbound, stapled, glued or sewn, and many find that they are rather inexpensive to produce depending on their content and intended length.

One of the important aspects of zines is that the publication or publisher identifies them as one. When

a publication identifies as a zine, they distinguish themselves from journals, websites, comics and other publications.

Another aspect that distinguishes zines from other publications is the passion of the creator. The intent for a zine’s publication is typically not for profit; they are motivated by selfexpression. The method of distribution helped create a sense of unity by connecting artists with their audience.

Zines and other small-scale publishers are important as they ensure that underrepresented voices are heard, recognized and recorded. This type of independent publishing is vital as it is dedicated to its artist’s voice and not motivated to appeal to the mainstream audience. Most material that is released by top publishing houses is from exclusive artists, voices and content that appeals to mainstream tastes.

The word “zine” is a short term for “fanzine,” a term coined by science fiction fans in the 1930s to describe fan magazines about various cultural phenomenons. One of the first publications of zines started from

the Science Correspondence Club in Chicago, Illinois, called “The Comet.”

Zines became popular for spreading political messages in the 1960s.

Throughout their history, zines have provided perspectives from voices that have been filtered or silenced.

Zines like “Journal of Black Poetry” and “We Called a Strike and No One Came” by Black and Red, for example, gave readers a look into the lives of Black people from an unfiltered view through a creative way that was easily digestible.

By the ’70s, zines were easier than ever to make. Thanks to the rise of copy shops, zine-makers were able to produce their work more efficiently.

Previously, they had been created using mimeographs — using ink and stencils to produce prints — but this process was ineffective for mass production.

Later, the popularity of zines began to become a part of a variety of different scenes — art, sci-fi, punk, music, political, personal thought/commentary and more.

Publications like “Punk” and “Sniffin’

Glue” were some of the prevalent editions in punk culture in the ’70s and ’80s. With punk music deeply rooted in being anti-establishment, the DIY and self-distribution of zine culture blended well.

Zines became popular again during the early 1990s by underground feminist punk movements. One popular publication was “Riot grrrl,” which used zines as a platform for women to openly express their opinions on issues like sexual abuse, stereotypes, body image and more.

With computers and the internet, the cost of zine creation is nearly zero. Not only that, but it is easier than ever to find those communities and connect with people no matter the location. There are zines on any subject, reflected today with zine collections and independent zine libraries.

Again, there are no set rules for how to create one. The content and appearance are entirely up to the creator. They can be incredible resources for many activists, artists, writers and all types of people.

Black representation in the media is a topic that activists and critics are talking about more and more.

For many, 2021 was an optimistic year for Black representation in popular culture.

Starting the year off, the country’s first ever biracial vice president was inaugurated, and Kamala Harris acknowledged the responsibility she had to represent biracial and minority communities.

To kick off the inauguration, Black poet Amanda Gorman stunned the world with her original poem, “The Hill We Climb.”

Her poem made such an impact on the world that schools around the country began teaching and analyzing it. Gorman uses themes of racism, sexism and other forms of prejudice to inspire her writing and social justice work.

“Judas and the Black Messiah,” a long-awaited and highly-rated film, stars Black actors such as Daniel Kaluuya, LaKeith Stanfield and Dominique Fishback in the biographical crime drama about the Black Panther Party in the ’60s.

This film of love and betrayal addresses topics like Black power and police brutality and aims to educate the public. Director Shaka King said his passion for creating a film that challenges the struggles of being Black inspired him to create his first Hollywood film.

Eddie Murphy and the cast of the sequel “Coming to America” excited fans of cult classic film, which was announced over 30 years after the original film.

“Coming 2 America,” released in March, featured a nearly all-Black cast, pushing the boundaries of Black representation in films. The franchise shows fans the power of Black excellence in film, critics said.

The incredible story of Richard Williams, Serena and Venus Williams’ father, is told in the biographical drama “King Richard,” starring Will Smith.

Smith portrays a man determined to have his daughters own the tennis world, allowing nothing to slow him down. At the center of this film is a Black father who is tough yet emotional, a struggle that society has unfortunately drilled into Black male stereotypes. The talented Black cast

PHOTO ILLUSTRATION BY JONAH OZER THE DAILY ILLINI

of “King Richard” and the production that goes into breaking stereotypes is worth the celebration.

Starring Idris Elba and “Stranger Things” star Caleb McLaughlin, the film “Concrete Cowboy” tells the story of the horse riders of North Philadelphia based on the YA novel “Ghetto Cowboy.” The drama shares the often untold story of the Black cowboys.

Their story is typically not mentioned when learning U.S. history in schools but it is actually a large part of the country’s history, as the idea of an “urban cowboy” has been around for over a hundred years.

Although the film is fictional, there are some strong themes that remind viewers of the rich Black history in America.

America has made progress

toward celebrating Black culture, but activists remind us that there is still a ways to go.

While celebrating Black History Month, many refer to Amanda Gorman for hope: “Because being American is more than a pride we inherit — It’s the past we step into and how we repair it.”

rkutli2@readbuzz.com

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OPINIONS

The DI · Wednesday, January 19, 2022

EDITORIAL

Congress must protect universal voting rights

By The Daily Illini Editorial Board Democracy can’t prevail without equal participation. Likewise, democracies only survive with the freedom to vote. Without this guaranteed right, democracy crumbles.

Today in the United States, the right to vote dwindles as prejudiced representatives across the country seek to undermine our democracy. Despite the 2020 election featuring the highest turnout in a century — amid the COVID-19 pandemic — the Brennan Center for Justice finds “at least 19 states enacted 33 laws that make it harder for Americans to vote” between Jan. 1 and Sept. 27, 2021.

Although, 25 states enacted 62 measures to expand voting access in the same period, the U.S.’s bigoted past appears to repeat itself as majority white delegations from numerous states impede on people of color’s freedom to vote.

Currently, Congress is considering two voting bills that empower and restore voting rights for all. With Republicans already disregarding the important legislation, Democrats now possess the opportunity to transcend America’s

prejudiced tendencies and to reestablish the equal opportunity to vote.

Congress, i.e. Senate and House Democrats, must pass the Freedom to Vote Act and the John Lewis Voting Rights Advancement Act to ensure our democracy delivers justice to all. Since people of color are especially targeted in these suppressions, Democrats must prevent the loss of crucial voices in America’s ever-fragile democracy.

These critical acts set national standards for voting, outlaw partisan gerrymandering, protect election workers and records, reform and add more transparency to campaign finances and update the Voting Rights Act of 1965 to address modern infringements upon it.

Overall, these acts represent vital reform to our neglected voting foundation. Principally, the new legislation assists disenfranchised Black Americans who have long suffered from inequality at the ballot box.

The U.S. has lacked political commitment to saving the freedom to vote.

Without this needed commitment, Supreme Court decisions like Shelby County v. Holder in 2013 — which held a section of the 1965 Act unconstitu-

tional — deface the freedom to vote.

If lawmakers legitimately believe in democracy, they’ll safeguard the right to vote. However, if left unchecked, prejudiced motives will triumph over American democracy. These suppressive acts, restricting and complicating voting conclusively, seek to dissuade compelling Black voters. Nevertheless, voting should be a right independent of background, class and skin color.

In early January, Senator Raphael Warnock, who originates from the same Georgia church as Dr. Martin Luther King Jr., pressed his Senate colleagues to “find yourself on the right side of history, pushing to get these bills done.”

Correspondingly, these bills couldn’t find a better individual to be named after than fellow Georgian lawmaker and former Rep. John Lewis.

A civil rights hero who led the Selma march and was arrested at least 40 times, Lewis’s career fighting for civil rights lives on in the aforementioned acts. Additionally, Lewis lives on in the prolonged fight for freedom and voting rights: an uphill battle since America’s inception.

NEW

JULIA EVERSMANN THE DAILY ILLINI

Still, civil rights require more than one hero. Lawmakers will soon be given the decision to become new champions of voting rights or let democracy fade from America. Furthermore, the freedom to vote in the U.S. doesn’t exist until we all can arrive at the ballot box legally uninterrupted. For now, Congress must choose civil rights over civil suppression. opinions@dailyillini.com

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OPINIONS

The DI · Wednesday, January 19, 2022

13

Ariana Grande's `Asian-fishing' perpetuates fetishization RAYNA WUH ASSISTANT OPINIONS EDITOR As I mindlessly tapped through Instagram stories, I landed on a post accusing Ariana Grande of “Asian-fishing.”

My heart sank.

In addition to being a fan of Grande’s music — according to Spotify Wrapped I consumed more of it than 99.9% of her listeners — I admire the compassion, humility and grace she exhibits.

However, her status as a celebrity and a role model does not absolve her of any wrongdoing.

The term “Asian-fishing” refers to the act of individuals of non-Asian descent using makeup, photo editing and clothing to appear East Asian. In now-deleted photos Grande posted to Instagram, the combination of her eye makeup, bright lighting and angles led many to debate whether her photos fit under this category.

Although I immediately recognized her in the photos, many people reportedly could not place her right away. Upon re-inspection, her eyes appear slanted and eyelid creases seem concealed to look like

monolids — typical features of Asian eyes — in the photos. Additionally, a combination of the lighting and editing make her skin fairer, in line with East Asian beauty standards.

The question of whether Grande is Asian-fishing or not is ambiguous. However, there is a stark difference between how the same outfit and makeup look in the photos and on “The Voice,” a show Grande judges. Her television appearance is similar to many of her other recent looks and that alone would not raise the same controversy her post did.

This discrepancy, itself, is problematic because a single style should not vary so noticeably in appearance. The social media feeds of celebrities like Grande are highly curated. While posts could come directly from Grande, they are likely subject to more scrutiny than the average post, especially given her position as one of the most-followed people on Instagram.

Even if the intentions behind the post may not have been harmful, it was still important for her and her team to fully consider its consequences prior to posting and prior to receiving backlash. The issue of Asian-fishing reaches beyond the appropriation of a look traditionally associated with a particular race.

Part of the harm associated with Asianfishing arises from white people profiting or being praised for effectively imitating the same features people of Asian descent are typically made fun of. This messaging implies certain features are only attractive when they appear on a white face.

Furthermore, Asian-fishing reinforces generalized perceptions about how an Asian person looks or behaves. Thus, the act is inextricably tied to the fetishization of Asian women who are disproportionately stereotyped and objectified.

In extreme cases, this dehumanization results in harassment and violence against women of Asian descent motivated by racism and misogyny. The misleading act may seem innocuous enough on its surface, but appearing Asian is not an aesthetic, and for people born Asian, it is not a choice.

K-pop, anime and other Asian pop culture phenomena have risen in popularity in recent years. This increase in traction has brought some to appropriate the culture for self-gain and reap the benefits without suffering from any of the consequences.

Despite the personal hardships Grande has faced, she still retains certain privileges as a white woman and as a popu-

PHOTO COURTESY OF BERISIK RADIO.COM/FLICKR

Ariana Grande belts out a song in the movie "Don't Look Up." Assistant Opinions Editor Rayna Wuh believes that the artist should

lar celebrity. Even if she did not have the explicit intent to offend or appropriate, she is still responsible for acknowledging the ramifications of her actions.

Grande should extend empathy and humanity to encompass all groups, regardless of their identities — as many fans expect her to as a public figure and celebrity.

Rayna is a sophomore in LAS. rwuh2@dailyillini.com

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The DI · Wednesday, January 19, 2022

SPORTS

The DI · Wednesday, January 19, 2022

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FOOTBALL

Lunney brings new vision, style to Champaign

By Wes Hollenberg Staff Writer

With offensive coordinator Tony Petersen out, Illinois head coach Bret Bielema has landed on a new offensive coordinator: Barry Lunney Jr. Lunney was the OC for UTSA last season, a team with a potent offense the Illini got to witness firsthand when they lost to them, 37-30, at home on Sept. 4.

Lunney is a familiar face to Bielema, who originally brought him on as his tight ends coach at Arkansas in 2013.

Bielema eventually intended on promoting him to OC himself but was let go before he had the opportunity to do so.

“Once I was with Coach Lunney (at Arkansas), I believe it was maybe year two or three, we actually divided our special teams up,” Bielema said. “We didn’t have a 10th coach, so we made every coach have a special teams assignment. The reason I did that was I thought it maximized our staff, but I also like to watch coaches that aren’t coordinators at the time learn how they can run the room.

“So, I put Barry in charge of our punt team, and it was something he had never done. … I did it for two reasons: I thought it’d be great for the room, but also I wanted to watch and see and learn (about) him as a potential coordinator. If I had stayed at Arkansas, I knew eventually I would have transitioned (to Lunney) offensively.”

Since Bielema’s exit from Arkansas, Lunney continued as the tight ends coach before taking on the interim head coach title for a few games in 2019. After that season, he jumped to UTSA as an offensive coordinator, leading one of the nation’s most potent offenses.

For some perspective, UTSA ranked 11th nationally in points per game at 36.9 last season. Meanwhile, Illinois struggled as one of the worst offenses in the Big Ten with an average of 20.2 points per game.

“Obviously, the last two years at UTSA, I’ve seen what he’s been able to do as an offensive coordinator,” Bielema said. “He took that program to new levels of success. I saw it firsthand as a competitor and witnessed it overall. As I decided to make the transition, I began to look at different offensive coaches, different offensive styles, different programs, and I just kept gravitating back to Coach Lunney at UTSA. “Conversations I began to have with him and even with their head coach talked about what Barry was able to do to install, to implement, to put in his

JIMMY JONES TNS

Coach Barry Lunney Jr. (right) speaks with Missouri coach Barry Odom (left) at the Battle Line Rivalry game between Arkansas and Missouri on Nov. 29, 2019. Lunney will be taking over as the new offensive coordinator for the Illini. own verbiage and language.”

As far as that verbiage goes, Lunney coined the term “tempro,” a combination of tempo and pro-style, to describe the way he plays offense. Lunney emphasized his desire for the offense to play to its strengths rather than strictly imposing his UTSA playbook.

Bielema reinforced Lunney’s focus on malleability with the offense, noting the Roadrunners’ ability to change up their offense to be run, or pass, dominant depending on the opponent each week. That level of adaptability is something he hopes to bring to Illinois with Lunney.

“Even though I’m talking about building to our strengths and playing to our strengths … I think (there’s) one thing that’s not going to change,” Lunney said. “One thing that we’re not going to waver on is the identity of physicality and toughness that’s required to win in

college football. It might be different than what was done here in the past.

Maybe a little bit different from what we did at Arkansas. What’s not going to waver is the identity that we’re trying to establish of running the football.”

While Lunney is riding high now as the offensive coordinator of a sizable college football program, that wasn’t always the case for him. Prior to joining Bielema’s staff at Arkansas, Lunney was a high school offensive coordinator and middle school gym teacher.

“My first year (teaching), I’m going from play-caller, co-offensive coordinator for San Jose State, to now part of my assignments at Bentonville was coaching and teaching seventh grade PE,” Lunney said. “And I really had to make a decision professionally. Here’s what I (decided): If I was going to do this, I was going to do it right. If I was going to do it, I was going to try to be the best

educator and teacher that I could be, so I really tried to jump into that world and learn.”

Lunney cited his foray into education as helping him teach players as a coach.

He pointed to his understanding that everyone learns differently and that he may need to coach auditory learners differently than visual ones.

“I brought him in because I knew him personally and what he’s capable of teaching; that’s why I made the move,” Bielema said. “I think he’s an incredible teacher. He coached in high school football, so he’s literally had to walk the walk of being a teacher and an instructor. That’s very important to me. A lot of people can talk. Very few people can teach. I think he’s an excellent teacher which gets me excited.”

@WesHollenberg wih2@dailyillini.com

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The DI · Wednesday, January 19, 2022

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