The Observer, Volume LV, Issue 4, 9/15/23

Opinion: Editorial: CWRU remains silent following Title IX investigation, and nothing has changed (pg. 9)

The Case Western Reserve

Observer

Friday, September 15, 2023 Volume LV, Issue 4 Est. 1969

NEWS

CWRU Motorsports sweeps Baja SAE Ohio, places 1st overall Sara Khorshidi Copy Editor From Sept. 6-10, the Case Western Reserve University Motorsports team—as well as 75 other university teams—hauled their Baja car to Nashport, Ohio to compete in Baja SAE Ohio, one of three official collegiate design series competitions held annually by the Society of Automotive Engineers (SAE). The official competitions are held in different locations every year, and this year’s fall competition took place 120 miles southwest from CWRU’s campus.

Preparation for these competitions is extremely extensive and detail-oriented. “We spend the whole year preparing for the competition,” fourth-year Team Captain Sam Hepp said. “A mindset that the team has recently been pushing is one of diligence and making sure no stone is left unturned. By that, I mean that every bolt on the car gets checked multiple times, and we work on the car until we are sure we have done everything we can to prepare the car for the race to the best of our ability. This mentality has been a huge shift in pushing us towards consistent placement at competition.”

Part of the team arrived at the Honda Rec Center on Wednesday, Sept. 6, where Hepp and secondyear Panels Lead Ryan Eaton delivered their mock sales presentation for the car, earning the team their 2nd place in Business Presentation.

The next day was the team’s first day at the Briarcliff Motocross, where the majority of the competition was held. Teams spent their time receiving a thorough technical inspection of their cars to ensure the safety and compliance of each

CWRU Motorsports’ laborious efforts pay off as they place 1st overall in Baja SAE Ohio competition this past weekend. Courtesy of Liam Flanagan/CWRU Motorsports vehicle registered in the competition.

Friday was limited to design presentation, where several team members explained the car’s entire design cycle to four judges.

Saturday, Sept. 9 was the first

day of competition involving dynamic events, which included the judging for four more placement categories: Suspension and Traction, Maneuverability, Acceleration and Pilot Pull. Each of these events was very brief, only taking place

over a few minutes, and each team had the opportunity to do each event twice.

Continue reading on page 3

NEWS

CIM students peacefully protest during first orchestra rehersal Lexy Jensen Development Editor On Sept. 13 at 3:45 p.m., dozens of students, faculty and staff from the Cleveland Institute of Music (CIM) sat silently in Kulas Hall during the school’s first orchestra rehearsal of the academic year.

The protest, dubbed a “sit-in to stand up,” was spurred by the dismissal of a formal complaint of sexual harassment against CIM’s Principal Conductor, Carlos Kalmar. Kalmar remains in employment with the institute and continues to conduct orchestra rehearsals, resulting in skepticism from many students.

When asked why they were pro-

testing, one student remarked, “I’m protesting because the current CIM administration has shown a disregard for the wellbeing of its student body, as well as for the community guidelines it claims to uphold. All members of the CIM community are supposed to feel welcomed and safe while at CIM, and I fear that that is no longer the case.”

At 3:30 p.m. on Sept. 13, students met in the lobby of the1609 Hazel Apartment Building, CIM’s student dorm, before walking over to Kulas Hall as a group. The plan was simple: Those playing in this orchestra cycle who wished to participate in the protest would sit on stage without instruments, while supporting students would

sit in the audience. The protest was completely silent—neither audience members nor players on stage said a word during the process. Additionally, many students wore blue, a designated symbol of “unity” and also CIM’s school color.

The rehearsal itself initially began as usual, despite the visible lack of instruments on stage and the large number of audience members. Kalmar shook the hands of the concertmaster and associate concertmaster before giving some background on the piece they were set to rehearse—however, after talking for less than 10 minutes, he promptly ended the rehearsal, citing the lack of instruments.

The protest began to take shape

during a student forum held on Sept. 6, which aimed to discuss “the matters of ensembles and concerns within the orchestra program.” When a communal discontent with the current state of affairs was found, students jumped into action, creating a letter to the administration detailing some of their most common concerns. A link to sign the petition, named or anonymously, was also circulated among the student body. The letter was delivered to CIM President & CEO Paul Hogle in hopes the institution would comment on the current state of affairs.

Continue reading on page 4

News

The Case Western Reserve Observer Friday, September 15, 2023 observer.case.edu Volume LV, Issue 4

New CWRU policy bans wheeled transportation vehicles on Case Quad Darcy Chew Copy Editor On Aug. 29, an article was published in The Daily about Case Quad becoming pedestrians only.

Effective immediately, the new policy bans “wheeled recreational transportation devices,” which applies to bikes, scooters, skateboards and rollerblades alike, regardless of if they are motorized. Students are expected to dismount their recre-

risk to those on wheeled devices.”

They then explained how a committee was formed to help with this decision.

“In response to various nearmisses and, unfortunately, several injuries, a committee was convened in early 2023 to evaluate the safe use of bikes, scooters and other wheeled mobility devices on campus. The committee also benchmarked CWRU’s policies and guidelines with other universities and area business districts. Addi-

I’m a double major [in] mechanical engineering and theater. So for the last four years of undergrad, I have been running from the Maltz Performing Arts Center or Mather Quad back up to the farthest points of Southside and then back down with a 15-minute time. If I didn’t have a bike or skateboard I wouldn’t make it. Cars simply take too long parking and re-parking and getting stuck at traffic lights at the Adelbert-Euclid stop. So wheels were the only viable option for me

that are impossible to ride on a skateboard and really rough on a road bike. It feels like it’s antiwheel architecture when previously it was inclusive.”

Schumacher suggested an electric wheel ban as an alternative to a full wheel ban on Case Quad. The electric scooters were introduced to CWRU in 2019 and have since become a popular mode of transportation around campus. However, Schumacher cited their speed and difficulty to control as a main factor

Starting this semester, CWRU is beginning a ban on riding “wheeled recreational transportation devices” on the Case Quad, including bicycles, roller blades and skateboards.

Courtesy of Dmitri Ashakih/Ideastream Public Media ational wheeled devices upon entering Case Quad.

A response from Case Western Reserve University’s Public Safety Division and Transportation Safety Task Force stated that this decision comes as a solution to the increased student population and accidents involving wheeled transportation.

“The university has a greater number of students on campus than ever before, and this is coupled with an increase in the use of numerous types of mobility devices, like bikes, electric scooters and skateboards by our community members. While the university supports the use of bikes, scooters and skateboards as effective modes of transportation, it recognizes that they can pose a safety risk to pedestrians in much the same way that cars can pose a

tionally, the committee considered that the Case Quad is one of the heaviest pedestrian traffic areas on campus. Based on the committee’s work and for the safety of students, faculty, staff and campus visitors, the university decided to make the Case Quad a wheel-free zone.”

However, some students, such as fifth-year Oliver Schumacher, co-founder and former president of the board sports club known as The Board Meeting, expressed concern about the new guidelines. He described how many students rely on wheeled transportation to get around campus.

“A large student population commutes, and our parking is so limited and expensive that we are forced to often take our wheels places if you’re gonna get across [campus].

for the entirety of undergrad to be on time. With a 15 minute transition period the buses were never fast enough or reliable enough either,” Schumacher said.

While understanding that the increased class sizes have impacted the student population and traffic, Schumacher has felt that this decision was unnecessary.

“When I was a freshman back in 2019 … the old Case Quad had black tarmac with designated bike lanes that were painted in. There was an era where CWRU was supportive of bikers and skateboarders riding around,” he said. He further explained how he has felt the new design of Case Quad has become unwelcoming towards wheeled transportation: “They have a new brick lay with gravel bits as well

of collisions on campus.

With the new policy, students should be aware that a geofence will be activated on Case Quad meaning electric scooters will slow and stop once it has entered the geofencing area. The university administration also plans on communicating more with student groups throughout the semester to ensure community members are aware of such guidelines.

Schumacher said, “I’m not a big fan of electric vehicles, and it would be great if we had an electric wheel ban, because fast electric skateboards and electric scooters that do run into people and hurt people are often banned at a bunch of different places, such as the Santa Monica boardwalk, because of a lot of collisions that happened there.”

News 3

observer.case.edu

New Bon Appétit CWRU resident district manager Jim Boland seeks to reconnect with students through quality food Shivangi Nanda Executive Editor At the end of last semester, former Bon Appétit at Case Western Reserve University’s Resident District Manager Jim O’Brien left CWRU after a 14-year career heading dining services. During his tenure, O’Brien oversaw the opening of Leutner Commons and the remodeling of Fribley Commons, all while also expanding meal plan enrollment to 3,600 students. O’Brien passes the torch to Bon Appétit at CWRU’s Director of Operations Jim Boland, who is a veteran in the field of large-scale catering—having worked with the Golden State Warriors, Cleveland Browns and Cleveland Guardians as part of Levy Restaurants—and has been a member of CWRU’s dining services team for over eight years. In this latest chapter, Boland, alongside a team of classically trained chefs and Bon Appétit District Manager Kristopher Murray, seeks to further the hospitality and focus on student engagement that O’Brien started.

Boland recognizes the value of good food and good hospitality in making students feel more comfortable. In order to achieve this, he wants to promote greater student engagement and feedback initiatives so that his team can continue to improve students’ dining experience. A project currently underway is Zingle, a platform that allows students to provide real-time feedback about their dining experience from their mobile devices. Students are able to relay their favorite dishes and cuisines that they wish to see more of or even just give a favorite employee a shoutout. The dining services team is dedicated to “address[ing] any questions or concerns” and seeks to respond to messages before the student leaves the dining establishment.

In addition to Zingle, Boland is

improving transparency through more kitchen tours and weekly meetings with Undergraduate Student Government and Residence Hall Association leaders. Boland believes these meetings “ensure [they] continue to provide a great environment for students to relax, break bread together, and enjoy their time at CWRU.” Further, Bon Appétit’s from-scratch approach allows Boland and his team to easily “change menus based on student suggestions and feedback.” With this in mind, Boland hopes to bring

“increased variety to both Leutner and Fribley to ensure [they] consistently provide new and exciting dishes for students to try.”

In the past, student responses to dining offerings have led to major changes in the dining program.

Specifically, Boland pitched and oversaw the transformation of an old pizza fusion concept in Tomlinson to the beloved Local Taco, a restaurant that “offers students a truly delicious Mexican-inspired option while using many ingredients that are sourced from within

Jim O’Brien (right) is leaving CWRU after working for 14 years as the resident district manager for Bon Appétit at CWRU, and he is succeeded by Jim Boland (left) who aims to improve the CWRU dining experience. Courtesy of The Daily

150 miles of campus.” In addition, he has been working to improve the efficiency of the Dunkin’ Donuts in Tinkham Veale University Center, which sees nearly 800 orders on weekdays. By implementing an express line for meal swipe users, Boland has seen a significant cut in wait time. Lastly, all around campus, Boland continues to accommodate gluten-free, vegan, vegetarian and other diets through Bon Appétit’s SimplyOASIS concept and attempts to add “more vegetables to all plates while also providing more plant-based proteins and allowing animal products to complement meals.”

More recently, in the transition from GrubHub to the Transact Mobile Ordering app, Boland has been involved in helping students navigate obstacles and continuing to tweak the platform. Previously with GrubHub, “teams would open a location at the beginning of the day and receive 80-100 mobile orders all at once,” causing a “backlog of orders [that] would take a while to prepare.” However, “GrubHub’s functionality meant that once an order had been accepted, students would be notified that their orders would be ready sooner than was realistic.” Boland believes that, despite backlash from the student body, in the long term this platform’s ability to handle orders will allow for more accurate wait times and better quality service. For more guidance on Transact, students can visit CWRU’s Bon Appétit website.

Boland joined Bon Appétit at CWRU for its “amazing student, faculty, and staff community … [and] commitments to sustainability and local sourcing.” Moving forward, Boland’s mission is to continue to expand the “from-scratch approach and chef-driven kitchen principles” that are at the heart of this program, while still working to improve the dining experience for students through good food and “unreasonable hospitality.”

CWRU placed top three in seven out of 11 total categories from page 1 For Hepp, the event of note was Suspension and Traction. “The team hasn’t finished one of these courses since 2016. It was Brendan [Flanagan]’s first time driving at competition, so the expectation was just that he was going to go out there and drive as hard as he could.

To watch him not only finish the event, but set the first place time for it twice on that day, was an incredible thing to witness and be a part of,” Hepp said.

CWRU earned 1st place in Suspension and Traction, 2nd in Maneuverability, 3rd in Acceleration and 28th in Pilot Pull.

The last of these dynamic events involved towing a Honda Pilot with the Baja car, which is particularly difficult with a lighter vehicle, but minimizing the Baja car’s mass is

critical for improved performance in other events. “We’ve worked strategically to optimize performance in [Pilot Pull] as much as possible without compromising performance in the other three dynamic events or the endurance event,” Hepp said.

CWRU’s exceptional performance in the dynamic events earned them 2nd place in Overall Dynamic.

Sunday, Sept. 10 was the final event, known as endurance day, consisting of a four-hour off-road race, the goal being to complete as many 1.2-mile laps as possible in the allotted time. Second-year CNC Lead Flanagan once again took the wheel, propelling the team to a 2nd-place finish in Endurance.

“We had some minor component

issues and driver fitment issues that were unexpected, but I was incredibly impressed by how the whole team stayed calm and rose to the challenge,” Hepp said, reflecting on the entire competition as a whole.

“As the competition progressed, and we were experiencing more and more success, the team was getting extremely excited, but still managed to stay calm and make smart and informed decisions. It was one of the best weekends of my life to get to see something we’ve all worked so hard on come together and to be able to see it through and keep it consistent to the finish.”

In terms of preparing for next year’s competition, the team has already started designing their next car, and Hepp has great expectations of her team. “There’s so much

to be proud of in terms of both the car and the team. The car that the team designed in the past year is incredible. The team was met with so many challenges from the series, including a new spec engine, required [four-wheel drive] and stricter regulation on frame manufacturing. The team not only tackled those challenges but took on even more. The team truly seized every opportunity to do something new and cool and push the boundaries of what the series has seen before, including the implementation of a semi active suspension system, 3D printed titanium parts and creative routing of the [four-wheel drive] system. I am so impressed that in the face of challenges the team just soars.”

Find more at observer.case.edu

4 News

Friday, September 15, 2023

RTA Waterfront Line temporarily open for Cleveland Browns games

Greater Cleveland area increasingly accessible to community Zachary Treseler News Editor The Greater Cleveland Regional Transit Authority (RTA) recently reopened the Waterfront Line for limited service during home games at Cleveland Browns Stadium. This will bring the total number of rail lines in Cleveland up to four. Since 2020, the line has seen intermittent use, and was shut down due to low ridership, only to come back online from the spring until September 2021, when it was shut down “indefinitely” again.

The Waterfront Line was originally completed in 1996 as a project to celebrate Cleveland’s bicentennial, running between Tower City, along the edge of the Flats neighborhood and then ending at the South Harbor Station.

“This is exciting news,” said third-year mechanical engineering student Jarod Lau about the reopening. “Settler’s Landing and Flats East Bank stations are beautiful stations with amazing views and it will be good to see them finally being used. Hopefully this will also bring a lot more activity to the restaurants and commercial areas of the Flats East Bank area.”

For football fans and the campus community, the largest and most immediate impact is the fact that Cleveland Browns games and other downtown attractions—such as the Rock and Roll Hall of Fame and Great Lakes Science Center—are now accessible by public transpor-

tation.

“Whenever I use the Red Line during game days, all of the three cars used are always packed by the time the train reaches Tower City, so it will be very useful for bringing fans directly to the stadium from there,” Lau said about the Waterfront Line.

On the other hand, third-year civil engineering student Milo Vetter said he doesn’t expect to benefit much. “Having to transfer from the red line is an understandable limitation, but it makes taking the waterfront line overly inconvenient, especially because I enjoy the walk from tower city to the lakefront.

However, I imagine it would be much more useful for people who live close to a [B]lue or [G]reen [L]ine stop. The Waterfront [L]ine would also be useful for CWRU students with disabilities, as well as people who don’t feel safe walking from [T]ower [C]ity to the [L]akefront.”

In spite of its reopening, the Waterfront Line is still not fully operational. Currently, the RTA expects the line to be fully operational in spring or summer of 2024.

In a comment to the Cleveland Scene magazine, the RTA’s Deputy General Manager Mike Schipper noted that replacement work to the bridge is done, but work has yet to be done on various retaining walls, in addition to repositioning the track.

Across the RTA network, there is still further trouble. The RTA’s Blue and Green Lines, two rail

lines which extend through Shaker Heights to Van Aken and University Heights, had service suspended from August until the beginning of October. Such a large closure harks back to the Red Line’s sudden and poorly announced closure last semester, which greatly impacted the community.

Vetter said regarding the long run implications, “This news also represents an important stepping stone for the RTA; I imagine that improvements and new projects were delayed in order to get the Waterfront Line back up, so I’m excited to see what the RTA has in store for us in the future.”

A Waterfront Line train arrives at the Flats East Bank station, one of the first times a train has run on the line in two years. It is currently not fully operational, but is expected to be by the end of this year. Zachary Treseler/The Observer

Protest spurred by dismissal of formal sexual harassment complaint from page 1 The letter detailed concerns not only with the administration’s lack of action in regards to the Title IX dismissal, but also with their lack of consideration of faculty opinions during the initial search for an orchestra director. The letter claims the administrative members responsible for hiring Kalmar blatantly dismissed the opinions of faculty members, reading, “During the process of Mr. Kalmar’s hiring, the higher-level administration chose to disregard numerous alarms raised by faculty members.

By disbanding the Orchestra Director Search Committee, the administration empowered its own execrable selection while silencing the concerned voices of the faculty.”

Though several faculty members have expressed sympathy for the situation and a desire to support their students, CIM’s lack of tenure positions and short-term contracts have

prevented several of them from taking action in fear of losing their jobs or facing other repercussions. Additionally, according to an anonymous faculty member, the administration has locked distribution list links, disabling members of the community from sending mass emails to groups of students, faculty or staff.

Additionally, a message was sent through the CIM Symphony Orchestra’s Canvas page on Sept. 12. The message, titled “S1 [Severance concert one] series rehearsal Administrative memo,” indicated the senders’ wish to “confirm that CIM supports each person’s right to free expression.” However, it also implied that those participating in the protest, by refusing to play their instruments, could receive an unexcused absence and thus a lowered grade.

Citing CIM’s Student Code of Conduct, they argued that those protest-

ing were interfering with the nonparticipating students by inhibiting their ability to play in orchestra. As is stated in this code of conduct, “Regular, punctual attendance and preparation for rehearsals and classes are crucial to the attainment of professional artistic goals.” Despite being in the rehearsals on time and prepared, the administration argues that not playing is sufficient grounds to be marked as an unexcused absence.

Community members who attended the protest have made their position clear: per the students’ letter to the administration, “We will not participate in any activities directed by Mr. Kalmar,” suggesting that protesting students will refuse to participate in orchestra rehearsals or performances as long as Kalmar is directing them.

When asked about necessary steps to come to a resolution, one student said, “[Kalmar] and the CIM admin-

CIM students walk together to Kulas Hall in order to peacefully protest the continued employment of Principal Conductor Carlos Kalmar, wearing blue to symbolize unity. Courtesy of Dmitri Ashakih/Ideastream Public Media

istration must demonstrate that they are taking steps to address the issues raised by the students and faculty protesting here today.” Another stated that “The only way I see an end to this is if Carlos Kalmar steps down as conductor of the CIMO. Entire sections of the orchestra are refusing to play under him. My colleagues are justifiably furious with how the upper administration has turned a blind eye to the way he has treated them, and I stand with them.”

Regardless of their individual opinions, the overall consensus was that CIM’s administration must dedicate some level of support to their students in order for the protest efforts to end and orchestra rehearsals to resume to their full capacity. With the school’s first orchestra concert of the semester scheduled for Sept. 26 at Severance Music Center, the administration will need to act fast if they wish to reach a resolution prior to the concert.

“The only way for things to change at CIM, is if we never settle and are continuously acting and working to see improvements,” urged Student Government Association President Erika Cho in a personal statement delivered via email the day before the protest.

“CIM has the capabilities to become a world-renowned institute that provides students the environment they need to become the best of the best. If we only settle with what’s been given to us, we can never challenge ourselves to become the best musician and citizen we can be to society.”

Life

The Case Western Reserve Observer Friday, September 15, 2023 observer.case.edu Volume LV, Issue 4

Olivia Rodrigo plateaus with “GUTS” Kate Gordon Life Editor Expectations were high for Olivia Rodrigo’s sophomore album. “SOUR,” her 2021 debut album, won Best Pop Vocal Album at the 2022 Grammys and landed Rodrigo a whopping seven nominations. Its lead single, “drivers license,” skyrocketed the then-17-yearold to fame with the most first-week streams ever recorded on Spotify and Amazon Music, plus a top spot on the Billboard Hot 100. Rodrigo was lauded as a breakout star, a new Gen Z pop sensation whose influences were as wide ranging as Taylor Swift, Paramore and Carole King. She seemed to have a song in everyone’s preferred genre— or at the very least, one that tried to imitate everyone’s preferred genre— with “brutal” channeling a toned-down pop punk, “jealousy, jealousy” invoking a softer alt-rock and the soulful ballad “traitor” perhaps hinting at R&B. I was hoping that these genrebending/blending attempts would come to fruition in “GUTS,” an album touted as having heavy rock-and-roll influences. Instead, what I got was a watered-down wannabe rock record with a sound most akin to Disney Channel’s “Lemonade Mouth.” This is not to say that “GUTS” is a bad album; at its best, it’s a fun, campy homage to the alternative rock scene of the 1990s and 2000s. Alanis Morissette and Fiona Apple are rumored to be inspirations, though to me the latter’s work is a notch or two above Rodrigo’s

in terms of complexity. Many reviewers have likened the album to a teen movie soundtrack of that same 1990s to 2000s era, which I think is a fair comparison.

Like these movies, “GUTS” may have boatloads of style, but it lacks much of the bitter substance that made “SOUR” resonate with many.

Even at its worst, “GUTS” is never truly bad, but its mediocrity is almost more infuriating. Especially with her overtly rock songs “all-american bitch,” “ballad of a homeschooled girl,” “get him back!” and “love is embarrassing,” one wishes that Rodrigo had really

committed to the genre. You can tell that she’s trying to let loose, but her anger is weirdly restrained; she seems more annoyed than anything else. The electric guitar and heavy drum lines in these songs are fine, albeit unoriginal, but their repetitive, poppy choruses don’t mesh well with the instrumentals.

The one exception is the album’s second single, “bad idea right?” which is playful enough for this discrepancy to work.

Lyrics such as “I just tripped and fell into his bed” are pure fun, and the punky background music only enhances Rodrigo’s carefree, flippant attitude.

Olivia Rodrigo releases her highly anticipated second album, “GUTS” (2023), two years after her debuting critically acclaimed album “SOUR.” Courtesy of Geffen Records

When Rodrigo isn’t rocking out, she spends the rest of “GUTS” returning to her roots with slower, melancholic tracks that could’ve come straight out of “SOUR.” None of them is bad, and the rawness and honesty of “making the bed” is particularly touching, but in terms of sound they’re nothing that we haven’t heard from her already. I must give credit where credit is due, though: The strength of “GUTS” is probably in Rodrigo’s songwriting, and it is given its due in these more emotional numbers.

In “the grudge,” she exclaims, “Ooh, do you think I deserved it all? / Ooh, your flowers filled with vitriol,” and in “teenage dream” she asks, “And when does wide-eyed affection and all good intentions start to not be enough?”

It’s clear that Rodrigo is talented, and unlike the breakup ballads of “SOUR,” she uses “GUTS” to reflect on the price of fame and the unique insecurities that come with it. It’s a perspective that isn’t often given by pop stars, and I’ll admit that this was one of the things I really enjoyed about the album. However, I still expected just a little bit more from Rodrigo. While there’s objectively nothing wrong with these songs, I wanted her to go even deeper and take us somewhere new. Instead, she kept us right where we’ve been since 2021.

Rather than the rock star transition we were promised, Rodrigo largely sticks to what she knows in “GUTS,” which might as well have been called “SOUR: Part 2.” Just as Rodrigo herself doesn’t sound angry in the album, I’m not mad at her second attempt, I’m just disappointed.

Can Laufey’s “Bewitched” truly beguile its listeners?

Kethan Srinivasan Staff Writer

There’s a certain quality in Laufey Lín Jónsdóttir’s voice that sounds almost supernatural. Taking the musical stage under her first name—pronounced “lay-vay”—the 24 year-old singer, songwriter, instrumentalist and Berklee College of Music alum takes inspiration from her Icelandic father’s immense enthusiasm for traditional jazz, and her Chinese mother’s familial passion for classical music, to create her unique amalgamation of bedroom pop-style modern jazz.

Laufey has gifted her listeners with a set of wonderful set of works, from her first EP, “Typical Of Me”— featuring her first ever release, “Street by Street,” that garnered the attention of the likes of Billie Eilish—to her debut album, “Everything I Know About Love.” The latter runs the emotional gamut with lyrics that paint serene visuals and are yet still warm with feeling thanks to her full-bodied voice.

Laufey’s second LP, “Bewitched,” carries on that enchanting quality in a unique manner, this time using a more heart-on-her-sleeve approach.

We are first greeted by a Laufey who needs to satisfy her romantic delusions in “Dreamer,” a three and a half-minute opener that begins with an entrancing harmony and transitions into a calming brush beat that mimics mid-20th century jazz. “Haunted” explains these de-

sires in more depth, likening a short love to being haunted by a ghost who always visits yet never stays.

“I swear to myself as he leaves at dawn/This will end, ‘til he haunts me again,” she sighs.

Some of the album’s gems are found in its latter half. “California And Me” is a piece that was produced in part with the Philharmonia Orchestra, which explains its sumptuous and expansive orchestral background. Laufey expresses her hurt over a lover who lacked patience and left her, and the Pacific coast, for an old flame. “Promise” expands on that hurt, the singer realizing that nothing would come of staying despite the love she once had, saying “It hurts to be something/It hurts to be nothing with you/I’ve done the math/there’s no solution/We’ll never last.” The title track closes out the album with a whimsical arrangement that could be mistaken for a classic Disney score. Laufey reveals the meltdown that occurs inside her every time her beloved comes and goes, a polar opposite to the composed version of herself we see in “Dreamer.”

“I try to think straight but I’m falling so badly/I’m coming apart/You wrotе me a note, cast a spell on my hеart,” she admits in a weakened yet soothing voice.

One gem that particularly shines is “Letter To My 13 Year Old Self,” which is in fact exactly what its title suggests. For Laufey, it’s an ode to her young self growing up mixed in Reykjavik, wanting to find solace in her dreams and aspirations.

Laufey’s new album features songs that pay tribute to her musical influences while also maintaining a sense of intrigue for younger music lovers. Courtesy of AWAL She hopes to see a day where she goes from being laughed at for her name’s difficult pronunciation to people yelling said name as she takes the stage. Of the lyrics, she comments that “maybe some of the younger girls who listen will find comfort in that song.”

It’s one thing to create an album that is lyrically enchanting, but another to do so using an archaic genre like jazz. Laufey herself discusses

this in some detail, saying that “the history of music in general is that it does always move forward. I think as long as you honor the roots and know where it’s coming from, that’s the important part.” She achieves this with “Bewitched,” creating a body of work that speaks to the expansive delusions of youths everywhere while still paying tribute to the standards that taught her.

6 Life

Friday, September 15, 2023

“SIX: The Musical”: Feminist think piece or surface-level fun?

Srilakshiya Sudhakar Contributing Writer

I was somewhat familiar with the story of the infamous King Henry VIII prior to hearing about “SIX: The Musical,” whether it was from a passing mention of the Protestant Reformation in history class or the many fictionalized dramas centered on his life.

Although Henry VIII is recognized for feats such as becoming the head of the church of England and helping to establish a Royal Navy, he is more widely known for the tragic ends to his six marriages, which follow the popular saying, “Divorced, beheaded, died; divorced, beheaded, survived.”

“SIX,” a Tony award winning musical written by Toby Marlow and Lucy Moss in their senior year at Cambridge University, reimagines and reanimates the six wives as members of a pop girl group. With an all female cast, the playwrights set out to compensate for a lack of gender diversity within musical theater, intending to hone in on feminist and queer themes. To do this, they took plenty of artistic liberties with their retelling of the stories of Catherine of Aragon, Anne Boleyn, Jane Seymour, Anna of Cleves, Katherine

Howard and Catherine Parr, while still maintaining a semblance of historical basis.

During the “SIX” performance at the Connor Palace on Friday, Sept. 8, there was rarely a lull in the energy of the performance. From start to finish, it remained incredibly animated, with the queens at odds and trying to figure out whom amongst the six of them deserves the role of lead singer for their band. They quickly agree that the wife with the most strife in their life while with Henry deserves the title and, thus, compete against each other by comparing their stories through song. Although they all share the cursed title of Henry VIII’s former wife, it is impressive to see how each character never fails to grab the spotlight as they are given a sense of personhood beyond their historical notoriety. Each song serves to further individualize the wife it focuses on and her story. They are all given charismatic personas based on current leading ladies of the music industry such as Beyoncé, Avril Lavigne, Adele, Rihanna, Ariana Grande, Britney Spears and Alicia Keys. To further enhance the setting as a concert experience, the live back-up band, the Ladies in Waiting are featured on stage with the main cast. They take on

the personas of a fictionalized version of historical ladies-in-waiting for these former queens.

The first person to take the stage to compete is Catherine of Aragon (Gerianne Pérez). Her song “No Way” is an anthem of defiance as she recounts her refusal to take Henry’s demands for divorce without a fight. Reminiscent of Beyoncé’s sound from her album “4,” she balances her pride with persistence.

The serious and insistent feel of the previous song immediately falters as the next queen is introduced. Played by Zan Berube, this take on Anne Boleyn is a playful party girl who doesn’t take her situation seriously until it’s too late. Her upbeat song, “Don’t Lose Ur Head,” distracts from the underlying misfortune of her circumstances as she plays around with words and innuendo. Avril Lavigne is cited as one of Anne’s inspirations.

The show slows as Jane Seymour (Amina Faye) takes center stage to perform her ballad, “Heart of Stone.”

She immediately mesmerizes audiences with her vocal prowess. Inspired

by Adele, Jane displays quiet strength and careful determination through her use of lyricism.

The competition briefly pauses for

The musical “SIX” reinvents the women behind Henry VIII’s six failed marriages, painting them in new, brightly-colored lights. Courtesy of Liz Lauren/Smithsonian Magazine

the comedic, glow in the dark performance “Haus of Holbein.” It’s a satire that pokes fun at the beauty standards of the Tudor period with lyrics such as “So what? The makeup contains lead poison. At least your complexion will bring all the boys in” and “For blonder hairs, and you just add a magical ingredient from your bladder.”

While the audience is still bustling with energy from the previous song, Anna of Cleves (Terica Marie) builds it up even more with “Get Down,” as she refuses to be defined by rejection and spins it into something empowering.

Inspired by Rihanna and Nicki Minaj, Anna celebrates her life and dodges the bullet of marrying Henry VIII. Katherine Howard (Aline Mayagoitia) takes the stage with a classic pop song, “All You Wanna Do,” mimicking Spears. She recounts the series of events that occurred in her life leading up to her execution. The song takes a dark turn by the end as Katherine becomes visibly jaded by these experiences, truly hitting every emotional beat.

The musical takes a turn as Catherine Parr (Sydney Parra) ceases the competition by claiming independence in the song “I Don’t Need Your Love,” echoing Keys. This song provokes reflection in the others as they reconsider the banality of the competition and agree to stand in solidarity.

Yet behind all the glitz, glamor and theatrical visuals of the show, there is something to be said about the exploration of its main themes. The underlying idea throughout “SIX” is the reclamation of the wives’ own individual narratives—separate from those written, altered and retold by men.

Yet most of the show is spent with the characters engaging in competition, comparisons and catfights regarding who experienced the worst relationship with Henry. Despite the wives eventually giving up the competition and agreeing to stand together in solidarity, the message remained surface level at best. It was hammered in so often that it became something of a caricature of a feminist message, even using recycled buzzwords.

Nevertheless, despite some themes falling a bit flat, “SIX” did serve its purpose as a vibrant spectacle suitable for a night of entertainment with friends and family. While it doesn’t dive much deeper into the reclamation and separation of these narratives from what history already accounts for, it is a message that sparks further conversation for those interested.

Photos of the Week

Elie Aoun/Observer

Auden Koetters/Observer

Clay Preusch/Observer

observer.case.edu

“A Splendid Land” immerses viewers in sights and sounds of Royal Udaipur

Life 7

Elie Stenson Staff Writer A visit to “A Splendid Land: Paintings from Royal Udaipur” is not a passive experience. Although many of the works in the exhibit are older than the United States itself, there is an active stream of life that rushes throughout the display hall, gathering up the sounds, sights, emotions and complex cultural wealth that defined historic Udaipur, the former capital of the Kingdom of Mewar located in Northwestern India.

“A Splendid Land” was curated

by The National Museum of Asian Art of the Smithsonian Institute as part of the Museum’s celebratory centennial exhibition lineup. After its debut in the Arthur M. Sackler Gallery, the exhibit traveled to the Cleveland Museum of Art (CMA) where it was on display throughout the summer of 2023. The artworks, a large assemblage of finely detailed watercolor paintings, are grouped throughout the Kelvin and Eleanor Smith Foundation Gallery according to theme. These themes include “Worlds of Pleasure,” “Heaven on Earth,” and “In the City”; however, the entire collection is linked by one central idea, that of the expression of “bhavas,” or the moods of everyday life that cannot be conveyed with words but are intrinsically felt and shared by all. “A Splendid Land” demonstrates how the artists commissioned by the royal court of Udaipur inherently captured the essence of the human experience through their technical and deeply emotional craft, imbibing each artwork with a rich sense of compassion and understanding as well as an almost otherworldly artistic skill.

Each painting is a fantastic “Where’s Waldo” of Udaipur history. As the city’s rulers were the primary patrons of its fine arts, their lives are the frequent subjects of complex scenes that emphasize their vast social and intellectual prowess. Many of these grand, sprawling works document critical elements of their royal regimes, such as the many palaces they inhabited—including several that were built in the manmade Lake Pichola around

“A Splendid Land: Paintings from Royal Udaipur” is a collection of paintings from northwest India curated by the Smithsonian and the City Palace Museum, with incredibly detailed and atmospheric pieces dating all the way back to the 17th century. Courtesy of Liz Lauren/Smithsonian Magazine which Udaipur arose—as well as their varied romantic conquests, calculated international relations maneuvers, periodic hunting trips and resplendent celebrations. Some paintings show a more intimate side of the royal experience, with visits to religious shrines and the tenderness of a late night rendezvous with a beloved woman. Be sure to look closely past the grandeur, or you may miss the minute irregularities in these glittering scenes that so accurately mark these paintings as reflections of humanity, such as the revelers scurrying from a sputtering firework in “Maharana Sangram Singh II at the Gangaur boat procession” (1715-18), the nosy fishermen peering over the walls into the “Marriage Feast of Prince Jagat Singh II at the City Palace” (c. 1730) or the careless swimmers diving into a rushing stream in the background of “Maharana Swarup Singh hunting boar at Nahar Magra” (c.

1853).

A trip through “A Splendid Land” is heightened by the novel inclu-

sion of a series of original soundscapes created by filmmaker Amit Dutta. Combining sound with artistry, Dutta recalls the practice of expressing the “bhava” of a moment through sound by playing a “raga,” a specific series of notes associated with a given mood, such as love or mellowness. In one section of the exhibit, the pounding of life-giving rains on the surface of a deep lake mingles with the sharp buzz of Dutta’s instrumentation, evoking the anticipation of being caught in the annual monsoon rains. This is a contradictory period in which the landscape and crops flourish after months of dry heat, but outdoor pursuits are stifled, forcing everyone inside where the now-limited scope of everyday life fuels itself on the luxuries of idle romance and elegance. “Maharana Raj Singh I and beloved in the monsoon” (c. 1670) acutely captures this feeling of longing, both for the activity of drier days as well as for the revitalization that comes from a much anticipated embrace.

The exhibit closes with a unique comparison of two scenes commemorating wedding festivities, the first being a painting of “The wedding procession of Maharan Raj Singh II at Bedla” dated to 1754-55, and the second being a photograph of the “Wedding procession of Maharaj Kumar Bhagwat Singh of Udaipur” taken by famed Indian photograph K. L. Syed in 1940. Bhagwat Singh’s reign ended officially in 1971 with the dissolution of royal titles by the Indian government, making him the final ruler of Udaipur, though the grandeur of both weddings suggests that the extensive visual culture of Udaipur was maintained for centuries by its ruling class.

“A Splendid Land: Paintings from Royal Udaipur” was on display at the CMA from June 11 through Sept.

10. It is through the development of unique artistic conventions, such as that of royal Udaipur, that history, life and the human experience emerge with resilience and passion, sustaining social culture and practice for generations to come.

CWRU IMPROVment returns to the stage, IMPROVed and better than ever Shejuti Wahed Social Media Content Creator Every seat was occupied in the Maltz Black Box. The anticipation in the room was palpable as it approached 9 p.m., and the blinding stage lights in the otherwise dark black box only added to the excitement. Finally, Case Western Reserve University IMPROVment President Lisa O’Brien and Vice President Jasmyn Zeigerson raced into the room to greet their eager audience and kick off the Welcome Back Show. This was their first performance of many to come this semester, held every Saturday in the Maltz Performing Arts Center.

Since this was the first show of the year, the duo explained how improvisation works, what to expect and then introduced the rest of the troupe. Each time a new name was

called, a cast member ran out on stage, greeted by loud cheers and applause.

A cheesy smile remained on my face for the entire show, starting with the first game, a silly musical about an object of the audience’s choice. A troupe member ran around the black box asking for suggestions, which had the crowd yelling out various objects, desperate for theirs to be chosen. We finally settled on “baguette,” and the cast immediately started improvising. Their musical performance was a perfect, whimsical start to the show, and “Remy’s gotta go!”— troupe member Ethan Teel’s line in the song—was stuck in my head for the duration of the night.

Perhaps it was excitement over the first performance of the year, or maybe it was just the troupe’s excellent performance, but something about the show was electric

that night. Their enthusiasm was contagious, and I couldn’t help myself from laughing at their antics.

For example, troupe members Malachi Levy and Lauren Iagnemma “fenced to the death” over an onion that ended their marriage. My favorite part of the night was watching fourth-year Alain Kouchica construct a story about why he came late to work for his “employer” Ian Jacobs, aided by his “co-worker friends” Teel and Zeigerson. Together, they crafted a plot where Kouchica had to ride an elephant in the middle of Florida, hitting an invisible wall and being saved

by Stanley Tucci, all on his way to work. Only Kouchica had to guess all the parts of his story from Teel and Zeigerson’s charades, making the narrative construction all the more hilarious to the audience.

Beyond all of IMPROVment’s silliness, and how much they make

me laugh, I have so much admiration for the troupe. Practices are three times a week, and each member’s dedication clearly shows with their creativity and ability to think on the fly. I was struggling to even think of ideas to shout out, so I cannot imagine having to act out all of the suggestions, all the while remaining humorous. Even so, everyone seemed to be having so much fun on stage, as if they were truly in their element and having the best time making jokes with their friends.

If you want to support your peers in the performing arts, or if you just want a much-needed belly laugh after a rough week, stop by the Maltz Performing Arts Center on Saturday for another IMPROVment show! The troupe will be there every week, and every performance is better—and more IMPROVed— than the last.

Fun

The Case Western Reserve Observer Friday, September 15, 2023 observer.case.edu Volume LV, Issue 4

Overheard CWRU

Weekly Horoscope

Compilation of out-of-pocket things heard across campus

Capricorn Saggittarius Scorpio Libra Virgo Leo Cancer Gemini Taurus Aries Pisces Aquarius

wheeled transportation

Skateboard Tyler Vu/The Observer

Tricycle GoKart

"My entire IG feed is just gay love and salad recipes" "I'm not a manlet"

Hoverboard

Q: "Why did you just dab?"

R: "I wanted to show solidarity"

Q: "Can you drop me off at Thinkbox?"

R: "Is it on the way to Walmart"

"I could become an aioli man"

"I feel like I just took a shower yesterday"

"What's that medieval unicycle?"

"Bro, I just swallowed my gum bro"

"I want to sit in my dark room and hit my e-vape"

"If it rained again I wouldn't have gone to class"

What We've Been Listening To

Zamboni Wheelchair

Keep it Rolling bloc party Bloc Party, KennyHoopla

Heelys Segway

Joce Ortiz

Jigsaw Falling Into Place Radiohead

Unicycle

Kate Gordon

Abandoned Plaza Macabre Plaza

Scooter

Puneet Bansal

idwtgtbt the booyah! kids

Penny-farthing

Sara Khorshidi

Lebanese Blonde Theivery Corporation

Bike

Easy

Clay Preusch

Sudoku

Medium

Lucas Yang/The Observer

I Miss You blink-182

Beau Bilinovich

Livin' on a Prayer Bon Jovi Zachary Treseler

all-american bitch Olivia Rodrigo Khushali Desai

If I Can Dream Elvis Presley

Auden Koetters

Opinion

The Case Western Reserve Observer Friday, September 15, 2023 observer.case.edu Volume LV, Issue 4

EDITORIAL

Editorial: CWRU remains silent following Title IX investigation, and nothing has changed Editorial Board More than three weeks have passed since the United States Department of Justice (DOJ) released its Title IX agreement with Case Western Reserve University. Over those three weeks, the CWRU administration has not sent out any notice to the student body of this agreement—no email, no official word from President Eric Kaler, nothing. The only indication that they’ve even acknowledged the closing of the investigation is found in a link on the Office of Equity website.

The short article uses incredibly vague language, fails to mention @cwru.survivors—the Instagram account that launched the conversations regarding CWRU’s mishandling of sexual harassment cases—by name and explains that “the DOJ’s findings are not in alignment with [CWRU’s] records or

a third-party review.” Only a few paragraphs—some of which cast doubt as to CWRU’s stance on its accountability in the matter—are dedicated to responding to a multiyear investigation where the stories of countless students were ignored is far from acceptable. CWRU wants to emphasize a “continuous focus on the safety and well-being of [its] students,” yet the silence is proving the opposite.

The article does not provide any specific details from the agreement, nor are any plans of action outlined. A summary of the agreement is linked at the bottom, which gives an overview of the future updates to CWRU’s Title IX policy, but no notice was given that this resource is now available. As the summary states, CWRU will “post status updates” and “elevate awareness of the Office of Equity,” and so far, with their continued silence, they’ve already failed.

Of course, changing university policy is not easy and will take a considerable amount of time. Ensuring that CWRU is properly following Title IX is a task that requires the consistent efforts of all university officials in committing to the safety of its students. If CWRU keeps to its promises that it agreed to under oath, then the student body should receive training about sex discrimination starting next spring. Waiting that long, however, would be a disservice to its students.

The lack of a response is alarming considering the recent Title IX scandal enveloping the Cleveland Institute of Music (CIM) and the student protest on Wednesday in reaction. CIM students are currently facing the egregious inadequacies in CIM’s treatment of sex discrimination cases, a feeling that is unfortunately familiar to many CWRU students and the students of “more than two dozen higher education

institutions” where similar student responses have gained traction, as the short article on the Office of Equity website states. Yet CWRU, despite these developments, refuses to update its own student body on how it plans to move forward, repeating the behavior that led to the investigation in the first place.

The university has the opportunity right now to reaffirm its commitment to protecting all students from harassment and abuse. Emailing the student body is a quick, simple way to show that the administration has the students’ best interests in mind. A message from President Kaler himself would help to show where CWRU stands and alleviate concerns that many students have about the future of Title IX on campus. But until students receive a response, the silence of the CWRU administration will continue to speak louder than their supposed promises. Now is the time to act, not later.

Is CWRU “A sound investment?”

Rebecca Warber Copy Editor

“A sound investment.”

These three words are some of the first you read when you navigate the Case Western Reserve University Tuition and Aid page.

The bold claim serves as a title for a very brief paragraph elaborating on its validity. With a notable lack of originality, CWRU’s website advertises the school’s education as an “investment in you—and your future.” Then, after a painfully vague statistic concerning the school’s ability to meet each student’s financial needs, they assert that the success of CWRU alumni is enough indication that an education at the school “pays off.” I don’t think it is.

Determining whether or not a CWRU education is worth its price requires consideration of more than just alumni success. One could argue it’s actually more important to consider the perspective of a current student, and I’m more than willing to volunteer mine. Quite frankly, CWRU charges an exorbitant amount for what many might consider a mediocre college experience. In addition to paying thousands for disappointing dining and housing options, students are also expected to pay out of pocket for unnecessarily expensive—and sometimes just plain unnecessary—course materials.

Furthermore, CWRU’s tuition and fees are subject to unusually large increases that put additional strain on the school’s students and their families.

Room and board costs can be particularly difficult to justify given the poor quality of the school’s housing and dining options. The school’s dilapidated dormitories are not only in constant need of maintenance, but also lack essen-

tial amenities. The general lack of air conditioning, for example, made the recent heat wave particularly difficult for many CWRU students, most of whom are underclassmen required to live on campus. It’s not fair for CWRU to mandate living in buildings that become nearly uninhabitable in extreme heat—yet they do, and students are expected to cough up a couple thousand dollars in exchange. Similarly, all first- and second-year students living on campus are required to have a meal plan, yet the primary dining locations are substandard at best.

The food quality at both Leutner and Fribley Commons is, let’s face it, inadequate given what students pay for it. There are other options for students outside the two dining halls, but they aren’t as conveniently located nor can students use an unlimited number of meal swipes at these locations. CWRU’s lack of accessible, quality food, as well as the poor state of most housing facilities, can be detrimental to the success and well-being of students.

It’s unacceptable considering how much students are paying.

While some professors allow students to reference online textbooks, others ask students to purchase physical copies. They justify this request by citing studies allegedly proving that you retain more of what you read on paper than on a screen. Often, the individual books are not that expensive, but for students who need to buy several, the prices can start to add up. And while this tends to be true more often for majors such as English, students in different areas of study can still be asked to buy expensive and somewhat useless material for their courses. Students taking BIOL 215L, for example, were instructed to purchase access to Labster, a virtual lab simulator, for $99 so that they can complete the exact same

labs they performed in class. That is nearly $100 students are spending to click a few buttons. Asking students to pay for these unnecessary materials is incredibly inconsiderate of the financial hardship many endure in order to afford a college education. The focus of the CWRU administration and staff should be on relieving financial difficulties, not contributing to them further by requiring materials that are costing students more than they’re helping them.

Not only is CWRU’s tuition expensive, but it’s also prone to drastic increases. While it’s not out of the ordinary for college tuition to increase on a yearly basis, it isn’t customary for the increases to be as substantial as those mandated

by CWRU. Last year alone, CWRU students saw a 5% tuition increase from the previous year. In the past decade, CWRU’s undergraduate tuition and fees have increased by nearly 50%—a rate that exceeds the national average by roughly 20% and indicates that the increases

Lucas Yang/The Observer

may not be entirely on account of inflation. That then raises the question: Are the substantial increases in CWRU’s tuition and fees really warranted?

As you might have guessed, I’m extremely skeptical as to whether or not CWRU truly is a “sound investment.” There are a lot of unnecessary costs associated with attendance at the school—costs that I find difficult to justify, but that others may not. Some may value the research and volunteer opportunities available to them as CWRU students enough that they are able to rationalize paying the school’s skyhigh tuition. Even so, it’s important to acknowledge that improvements are necessary to truly make an education at CWRU feel worth the price. With even just minor adjustments to dining options—or perhaps even an increase in wages for student workers—more of CWRU’s students might believe their education is worth the money that they’re paying for it.

10 Opinion

Friday, September 15, 2023

Barbie: A phenomenon, not just a doll Aambar Agarwal Social Media Editor

Everyone knows Barbie. Launched in 1959, this plastic fashion doll has entertained generations of girls with her stylish outfits and endless accessories. She owns lavish dreamhouses, drives a sleek pink convertible and has a tanned beach boyfriend—all while obtaining over 200 careers. She has starred in dozens of animated movies and shows, been featured in countless video games and even vlogs on her own YouTube channel. Pop hits, famous painters and fashion brands have all drawn inspiration from her.

Most recently, she has taken the lead in her eponymous and wildly successful live-action movie, “Barbie.” With its on-point messaging and boost to the economy, “Barbie” proves that she is no mere toy—she is a force to be reck-

oned with.

As a kid, I loved playing with Barbie dolls. Nothing could beat dressing them up in pink, fuchsia and magenta hues while imagining their eventful day. Back then, I saw Barbie movies as true cinematic masterpieces—“Barbie in the Nutcracker” is still etched in my mind. Yet, like many, I got over my love for Barbie as I grew older—that is, until “Barbie” was released in July.

“Barbie” drew upon our nostalgia for the doll and turned it into a blockbuster hit. Crowds of mother and daughter duos and groups of gals went to watch the movie in theaters, all clad in bright pink, including me. The theater and surrounding area became a mini Barbie Land, with all of us Barbies buzzing with excitement for the movie.

The movie truly exceeded my expectations. The visuals were fantastically pink, especially the costumes.

Stereotypical Barbie effortlessly pulled

Why traditional education is not the best for everyone Catherine Choi Staff Writer

As a high school student who attended a public school in Arizona, I had to arrive at 7:30 a.m. and follow a rigid schedule, taking classes in English, math, science and social studies. Everything was based on that schedule. When I went home I did my homework and studied for exams and standardized tests. Most of my studying was a one-size-fits-all curriculum directed by instructors, the school district and the CollegeBoard.

Conversely, when I was a homeschooled middle school student I had more flexibility. I prepared my study plan based on what I considered to be most important. This included topics that I was interested in as well as the information required to pass the General Educational Development (GED) test. As I explored both ways of schooling, I saw a clear difference between the two forms as well their benefits and drawbacks. Although the practice of traditional education is commonly followed, it is not right for everyone and students should have the right to choose what works for them.

One of the biggest differences between traditional education and homeschooling is what and how students learn. Traditional education emphasizes what the State Board of Education considers important and studying focuses on getting a good grade on exams rather than focusing on knowledge of the course material.

As a result, students are tested on their ability to get a good score on exams rather than learning what they will need to know as an adult. Traditional schools establish education standards and ensure that students meet the bare minimum requirements whereas homeschooling has minimal oversight. In addition, students can receive professional management with academics without financial concerns and make the most out of their short time there.

Homeschooled students have the flexibility to choose what they learn as long as they meet the state’s requirements and are able to pass the GED. This freedom allows students to focus on their future career path rather than learning what everyone learns.

One of the most common reasons for parents to choose homeschooling is due to their dissatisfaction with public education and wanting to have a say in what their children study. When I was homeschooled, my parents and I were in control of what I learned. I was free of the pressure to perform well and had a tailored curriculum. The process of self-directed education helped me build self-discipline, planning and problem solving skills.

Another difference between the two forms of education was learning how to adapt to society. In school, not only do you learn the material in the book, but you also learn skills that are crucial later in your life. You learn how to follow rules, utilize information and resources, get along well with people from backgrounds similar to and different from your own, build self-discipline and appreciate the value of hard work. Having pre-exposure to a smaller form of society with adult guidance and protection can help build life skills from an early age without requiring too much effort. Traditional education, also, has shortcomings, such as an overemphasis on authority, promoting negative perspectives on failure and an overemphasis on other’s approval in evaluating success. The fact that a student’s worth is determined by a letter grade and that traditional schools aspire for uniformity and rote memorization rather than creativity and exploration can be hard to tolerate, especially for students considered to be out-of-the-box thinkers.

Homeschooled students, on the other hand, are more likely to be isolated without additional effort from parents to establish the skills needed for adulthood. While transitioning from homeschooling to a traditional school setting, I had become very withdrawn and struggled to make friends; however, even with help from adults, adapting to society was overwhelming for me. Homeschooling helped me to learn at my own pace and protected me from mental harm.

Lastly, the environments between homeschooling and traditional schooling differ greatly. Depending on where you live, some students are exposed to danger more than others. The reason I chose homeschooling was because I could not tolerate the bullying from my peers and did not receive help from

off classic Barbie doll looks and custom Chanel couture. The soundtrack brimmed with new catchy tunes and compelling ballads. And, of course, the central theme of women’s empowerment was a delight. With a female president and all-women Supreme Court, what woman wouldn’t want to live in Barbieland?

The message of “Barbie” was just as perfect. We are all enough—or “Kenough,” in Ken’s case. As Gloria (America Ferrera) powerfully voiced, in our patriarchal society rife with double standards and impossible expectations toward women, we need to remember that we are enough. And as the Kens realize, being just Ken is enough; they don’t need to be in a relationship with Barbie to be complete.

Our self-worth should not hinge upon societal roles and molds.

With these elements, it is no surprise that “Barbie” has raked in over

$1 billion globally—a first for a solo female director—and is the highestgrossing domestic movie of 2023. And besides pumping money into cinema, “Barbie” has boosted other parts of the economy as well. Many fashion brands are selling pink and Barbie-themed items, ranging from bubblegum shirts and electric crossbodies to bejeweled hair clips and neon roller skates. Even Valentino’s vivid pink fall and winter 2022 collection is having its moment thanks to “Barbie.” Mattel’s side of the toy industry has also experienced a lift, with their movie-inspired Barbie dolls selling out fast. Only one doll is left in stock: Ken in striped beach attire.

So, while Barbie has been inspiring girls for decades, now “Barbie” truly has taken the world by storm. With its feminist outlook and economic display of women’s power, it is undeniable: Barbie is a phenomenon, not just a plastic doll.

The Case Western Reserve Observer Established in 1969 by the undergraduate students of Case Western Reserve University

Shivangi Nanda Executive Editor & Publisher PRINT Elie Aoun Director of Print Téa Tamburo News Editor Zachary Treseler News Editor Kate Gordon Life Editor Beau Bilinovich Opinion Editor Puneet Bansal Sports Editor Lexy Jensen Development Editor Rebecca Warber Copy Editor Darcy Chew Copy Editor Sara Khorshidi Copy Editor Sarah Karkoff Copy Editor

DIGITAL MEDIA Joce Ortiz Director of Digital Media Nandana Vinod Social Media Manager Aambar Agarwal Social Media Editor Shejuti Wahed Social Media Content Creator & Video Editor Clay Preusch Photo Editor Noah Henriques Web Editor DESIGN Auden Koetters Director of Design Anjali Bhuthpur Layout Designer Phuong Nguyen Layout Designer Lucas Yang Graphic Designer Tyler Vu Graphic Designer BUSINESS Khushali Desai Director of Business Operations Matthew Chang Business Manager The Observer is the weekly undergraduate student newspaper of Case Western Reserve University. Established in 1969, The Observer reports news affecting students and provides an editorial forum for the university community. Unsigned editorials are typically written by the opinion editor but reflect the majority opinion of the senior editorial staff. Opinion columns are the views of their writers and not necessarily of The Observer staff. For advertising information, contact The Observer via e-mail at observer@case. edu.

LETTERS TO THE EDITOR should be e-mailed to observer@case.edu or submitted on our website at observer.case.edu. Letters can be mailed to Thwing Center 11111 Euclid Avenue, Suite 01, Cleveland, Ohio 44106. For policy and guidelines related to the submission of Letters to the Editor, refer to observer.case.edu/submit-a-letter.

The Observer is a proud member of CWRU’s University Media Board. Follow The Observer on Facebook, Twitter, TikTok and Instagram @cwruobserver. the school. Homeschooled students can be protected from a dangerous environment and establish values with the help of parents. Although school is where students learn and grow, forcefully putting them in dangerous situations can have a negative impact on their child.

When it comes to a student’s longterm goals, what matters most is

whether they see the importance of learning and actively engaging with the curriculum rather than simply the format of learning. Everyone is different and the format that fits one person perfectly can be difficult to handle, or unsatisfactory, for another. There is no right or wrong answer to how a person learns and both forms of education should be respected.

Sports

The Case Western Reserve Observer Friday, September 15, 2023 observer.case.edu Volume LV, Issue 4

Browns bottle up Burrow, Watson throws two touchdowns in 24-3 Marvin Lee Contributing Writer It looked like the Cleveland Browns had new life last Sunday as they won a home opener for the first time since 2004. The victory unfolded in front of a sold-out crowd of 67,919 that witnessed the 100th “Battle of Ohio” between the Cincinnati Bengals and the Browns. A strong defensive performance held the NFL’s new highestpaid player—quarterback Joe Burrow signed a five-year, $275 million extension just two days before kickoff—to a measly 82 yards passing as he completed just 14 out of his 31 attempts.

Quarterback Deshaun Watson, in his first opening appearance with the Browns, was the better of the two quarterbacks in this matchup. Though he missed 11 games last season for violating the NFL’s personal conduct policy, Watson completed 16 out of his 29 attempts for 154 yards passing, a passing touchdown and an interception.

Watson did a lot of his damage on the ground, carrying the ball 5 times for 45 yards and scoring a rushing touchdown with an outstretched arm. Watson also rushed for a two-point conversion to make the score 24-3, which proved to be the nail in the coffin for the Bengals.

The rushing attack was a theme all afternoon for the Browns, who amassed 206 total rushing yards.

Running back Nick Chubb continued to prove himself as a premier running back in the league by carrying the ball 18 times for 106 yards.

Out in the rain before the game, the Browns honored Hall of Fame running back Jim Brown, the leading rusher in

In his first game with the Cleveland Browns, quarterback Deshaun Watson takes his team to victory against long-time rivals the Cincinnati Bengals. Courtesy of the Cleveland Browns Browns’ history. Brown died in May at age 87. Chubb led the team onto the field with a flag emblazoned with Brown’s number 32. Browns players will wear a 32 patch all season, and Brown’s number is painted on both sidelines. The rain set the tone for the defensive slugfest that was chock full of sloppy moments, with both teams struggling to get any offense going or even handle the ball. Burrow later blamed his inability to get the offense going on the wet conditions.

The teams combined for 17 punts, 2 turnovers and under 500 yards of total offense. The Bengals converted just

two third downs all game (out of 15), but the Browns were not much better (4-14). Nevertheless, the Browns absolutely dominated this matchup, having 21 first downs to Cincinnati’s 6 and running an efficient offense in the latter three quarters of the game. The win represents new hope for the longstruggling franchise and earned them a spot in pundit Stephen A. Smith’s top 5 NFL teams at No. 4.

Browns fans hope that Watson returns back to the form he had in his previous life as a Houston Texan and that coach Kevin Stefanski continues the renaissance of a Browns team

that has made the playoffs just twice since their return to the NFL in 1999.

One stumbling block has already appeared: starting right tackle Jack Conklin tore his ACL and MCL in the first half of Sunday’s game and will be out for the rest of the season. Rookie Dawand Jones, a fourth-round pick out of Ohio State University, filled in for Conklin and did quite well.

The Browns remain hopeful about the season and will take their positive momentum into a marquee Monday night matchup with their heated rival the Pittsburgh Steelers. That game will air on ABC at 8:15 p.m. EST.

seven wins and five losses. During that period, CWRU scored 19 goals against the Capital while conceding 16. With both teams lacking a championship trophy for almost 50 years, the two teams are desperate to have a strong regular season showing so they can qualify for the 2023 NCAA Division III tournament.

CWRU’s starting lineup was focused on defense, as it is built in a 4-5-1 formation with four defenders (fourthyear Jad Oglesby, fourth-year Alex Lippiatt, fourth-year Josh Cook, thirdyear Sawyer Dockal), five midfielders (fourth-year Matt Vatne, first-year Sean Wilson, second-year Camden Larson, second-year McLaren Baggett, fourth-year Ryan Doughty, fourth-year Jacob Salmon) and one striker (thirdyear Brandon Kim). The formation will help the team increase ball possession and produce more opportunities to make shots with the increased number of midfielders. As a result, the sole striker can easily possess the ball and have more opportunities for goal despite increased responsibility and chance of isolation.

CWRU started off the match by making the leading goal 12 minutes into the game as Vatne found the back of the net off an assist from Kim. CWRU then started making active substitutions among midfielders and attackers based on what was needed to maintain a firm defense. Second-year Spartan goalkeeper Bradley Winter saved 2 shots from Capital’s Jarrett Puckett and Derrick Harris and kept a clean sheet for four matches in a row.

The Spartans attempted 14 shots, with 7 shots on goal, in which only a single goal was made, with nearly half of the shots missing the goal. Also, CWRU was offside six times and committed 12

fouls (9 in the first half, 3 in the second half).

Capital’s starting lineup of 3-4-3 formation with three defenders (Alex Moore, Jarrett Puckett, Colton Daugherty), four midfielders (Tony Epstein, Jack Kossoudji, Brennan Hesse, Jacob Deever) and three attackers (Jack Francisco, Colin McComb, Derrick Harris). The formation is likely to help the team with ball possession and opportunities of counterattacks while requiring the defenders, especially wingbacks, to make passes and participate in attack. However, it also puts a higher toll on defenders and increases the opportunity to concede a goal.

Capital was sluggish on attack and only produced 5 shots. They made 2 shots on goal, but both were saved by the CWRU goalie Winter. Despite conceding a goal 12 minutes into the game, Capital goalkeeper Ethan Ogden successfully saved 6 shots on goal, with the other 7 shots aimed away from the goal post. Capital also conceded 7 corner kicks and committed 10 fouls. Despite constantly making substitutions between midfielders and forwards, Capital wasn’t able to possess the ball for long or create sufficient chances to create an equalizer.

CWRU will host Allegheny College on Saturday, Sept. 16 on DiSanto Field at 1 p.m. before hitting the road on Sept. 19 to face Mount Union College.

Men’s soccer defeats Capital, sports fourgame win streak Catherine Choi Staff Writer

On Sept. 9, the Case Western Reserve University men’s soccer team kept its winning streak alive, defeating Capital University 1-0 on DiSanto Field. Since 2001, CWRU and Capital have had 12 matches, and CWRU had

Matt Vatne, fourth-year midfielder for CWRU’s men’s soccer team, scores the winning goal in a game against Capital University.

Courtesy of Tim Phillis/CWRU Athletics

12 Sports

Friday, September 15, 2023

Volleyball sweeps at CWRU Quad 3-0 Puneet Bansal Sports Editor This past weekend, the Case Western Reserve University volleyball team hosted four universities at the CWRU Quad, a two-day event where the teams played each other in tournament style. The Spartans came away with three wins, defeating Averett University, Allegheny College and Defiance College all 3-0.

The event kicked off on Friday, Sept. 8 as the Spartans played Averett. CWRU went on a 10-0 run in the opening set and maintained a strong lead for the rest of it. Though Averett cut the lead to 17-12, the Spartans eventually finished it off 25-20 from a block by second-year middle blocker Amanda Ngo and third-year outside hitter Rea Marfatia.

In the second set, Averett took a quick 3-1 advantage, hoping for a different outcome than the first set. However, the Spartans came roaring back, scoring 10 of the next 12 points to seize an 11-5 lead. Averett didn’t back down, responding with a 9-1 run for a twopoint lead. After going on a 6-1 run, the Spartans finished off the set 25-20 with a service ace from fourth-year defensive specialist Alyssa Blessinger and kills from fourth-year middle blocker Jennifer Ngo, third-year setter/right side hitter Carly Scott and fourth-year setter Ansley Yamaato.

The final set was the most competitive, with four lead changes and seven ties. Toward the end of the set, Averett stretched their lead to 20-16. Amanda Ngo countered with a kill, but Averett took three more points, coming within one of forcing a fourth set. First-year outside hitter Emily Goodpaster made a kill and a service ace, keeping the set alive. A kill from Marfatia and then a forced attacking error allowed CWRU to win set 26-24 to finish the game.

Jennifer Ngo led the team with 10

kills and 3 block assists while Marfatia recorded a team-high 14 digs and 8 kills. Amanda Ngo added 7 kills, 6 block assists and 9 digs, Scott had 16 assists and Yamaato added 15 assists.

On Saturday, CWRU opened their first match of two for the day with an 8-8 tie in the opening set against Allegheny. The Spartans slowly pushed their lead to 6 points, finishing the set off a kill from Jennifer Ngo for the 2521 win.

Allegheny owned most of the second set and took a 19-16 lead. Things were looking difficult for CWRU, but the team surged back with six straight points, taking a 22-19 lead. Jennifer Ngo again clinched the set with a kill to win it 25-23.

CWRU never trailed in the third set, taking their biggest lead of the set 1913. Allegheny tried to respond and cut their deficit to three, but CWRU finished off the set 25-19 to win the game.

Jennifer Ngo recorded a team-high 15 kills to go with 3 blocks and 2 digs.

Second-year outside hitter Kalli Wall added 9 kills and 4 blocks while Blessinger contributed a team-high 13 digs with 3 service aces.

The final game against Defiance was a relative breeze, with 18 players on the roster seeing the court and 10 different players recording at least one kill.

CWRU took control of the first set quickly with a 10-3 lead, eventually closing the set 25-13. After an initial

mishap in the second set to go down 1-0, CWRU stretched their lead to 112, with a kill from second-year middle blocker Kiya Levy to claim the set 25-14. Defiance kept up a little more in the third set, tying the score 4-4, before the Spartans went on a crazy spree to take a set-high 12-point lead 20-8, eventually winning it 25-14.

Goodpaster and third-year right side hitter Erin Murphy led the team with 8 kills each. Scott recorded a team-high 21 assists while Marfatia added 8 digs.

The Spartans will compete at the 44th Annual ONU Invitational, facing Ohio Northern University on Sept. 15, Calvin University on Sept. 16, and Albion College on Sept. 16.

Second-year middle blocker Amanda Ngo contributes to the first set win of CWRU’s volleyball team against Averett University during a CWRU Quad game on Sept. 7. Courtesy of Tim Phillis/CWRU Athletics

Scores and Upcoming Games Women’s Soccer

Men’s Soccer

Volleyball

CWRU at Misericordia (9/8) - W 2-0 CWRU vs Clarkson (9/10) - T 1-1 CWRU vs Oberlin (9/13) - W 2-0

CWRU vs Capital (9/9) - W 1-0 CWRU at John Carroll (9/13) - T 0-0

2023 CWRU Quad

CWRU at Otterbein (9/16) CWRU vs Baldwin Wallace (9/17, 1p.m., DiSanto Field) - Senior Day CWRU vs Penn State Behrend (9/20, 7:30p.m., DiSanto Field)

Men’s Tennis CWRU at Kenyon Invitational (9/16-17) CWRU at Toledo Rocket Invitational (9/22-24) CWRU at ITA DIII Men’s Central Regional Championships (9/29-10/1)

CWRU vs Allegheny (9/16, 1p.m., DiSanto Field) CWRU at Mount Union (9/19) CWRU vs Denison (9/23, 1p.m., DiSanto Field)

Women’s Tennis CWRU at Kenyon Invitational (9/9-10) - No official team scoring Singles: 32-5 Doubles: 19-2 CWRU vs Denison Invitational (9/16-17) CWRU vs ITA Regional Championship (9/22-24)

CWRU vs Averett (9/8) - W 3-0 CWRU vs Alleghany (9/9) - W 3-0 CWRU vs Defiance (9/9) - W 3-0 CWRU at Baldwin Wallace (9/13) - W 3-0

44th Annual ONU Invitational CWRU at Ohio Northern (9/15) CWRU vs Calvin (9/16) CWRU vs Albion (9/16)

Football CWRU vs Grove City (9/16, 7 p.m., DiSanto Field) CWRU vs Geneva (9/23, 7 p.m., DiSanto Field)