Sept. 20, 2023

The Emory Wheel

Jill Biden discusses CUREIT at Emory

By Madi Olivier and Spencer Friedland Managing Editor and News Editor

Emory University fell to No. 24 in the 2024 U.S. News & World Report’s (USNWR) “Best Colleges'' ranking for national universities, according to a ranking released today. This continues a downward trend for the University, which dropped to No. 22 last year after five years sitting at No. 21.

This is Emory’s lowest ranking since earning the No. 25 spot in 1994. The University is tied with Carnegie Mellon University (Pa.), University of Virginia and Washington University in St. Louis (Mo.).

of the most significant changes in the methodology used by U.S. News in decades,” Assistant Vice President of University Communications Laura Diamond wrote in an email to the Wheel. “As a result, the year-to-year shift in schools’ ranks are greater than in previous reports.”

College Council President Neha Murthy (24C) believes that the USNWR’s rankings and methodology may be questionable, but noted that the rankings still impact prospective students' decisions on where to attend college.

First Lady of the United States Jill Biden applauds as University President Gregory Fenves speaks at a press conference on Curing the Uncurable via RNA-Encoded

By Spencer Friedland and Kari ZHOu

News Editor and

Contributing Writer

First Lady of the United States

Jill Biden visited Emory University’s Health Sciences Research Building on Sept. 15 to highlight Curing the Uncurable via RNA-Encoded Immunogene Tuning (CUREIT), a new project funded through the Advanced Research Projects Agency for Health (ARPA-H).

Philip Santangelo, a professor in the Wallace H. Coulter Department of Biomedical Engineering at Emory and the Georgia Institute of Technology, will lead the project. CUREIT aims to harness mRNA technology to train immune systems to deliver better health outcomes for

people battling cancers and other diseases.

Santangelo said the Office of the First Lady of the United States contacted him about a week before the event about Biden potentially visiting Emory to discuss CUREIT.

“To be honest, I didn't think much of it because these things get canceled all the time,” Santangelo said.

“They rarely really happened.”

An advanced team of White House personnel, including Secret Service agents, came to Emory on Sept. 10 to prepare Santangelo and his lab for the press conference.

Biden delivered a short speech on Santangelo’s work, ARPA-H and Cancer Moonshot following a tour of Santangelo’s lab.

“I’ve seen that there’s so much hope to be found and I see that hope

here today,” Biden said. “As a mom who watched my son die of cancer, the one thing I never gave up on was hope.”

The ARPA-H project, including CUREIT, is part of the Cancer Moonshot initiative, which U.S. President Joe Biden reignited in February 2022 with the help of Associate Professor in the Department of Neurosurgery Edjah Nduom. Nduom’s research focuses on using the immune system to fight brain tumors.

Since its initial launch in 2016, the Cancer Moonshot initiative has focused on accelerating scientific breakthroughs in cancer treatments and was relaunched with the goal of reducing the death rate of cancer by

See CANCER, Page 3

The University of Michigan and the University of North Carolina at Chapel Hill, which previously ranked No. 25 and No. 29, respectively, rose above Emory this year. Georgetown University (D.C.), which was tied with Emory alongside Carnegie Mellon at No. 22 last year, remained at No. 22.

Student Government Association President Khegan Meyers (24B) said that, as a student, he is not “overwhelmingly concerned with the ranking.”

“A lot of schools are recognizing that,” Meyers said “Rankings are through this private company, may or may not be legitimate.”

This year, the USNWR altered their ranking methodology, taking factors like class size, faculty with terminal degree, alumni giving and high school standing out of consideration. Additionally, the USNWR increased emphasis on institutions’ “success in graduating students from different backgrounds.”

“This year’s rankings reflect one

“For my parents, especially being immigrants to this country … They don't know the system, they don't know what education is like here,” Murthy said. “Their metric of what's good or what's ideal for their child or to go to a reputable institution is based off ranking.”

USNWR ranked the Nell Hodgson Woodruff School of Nursing No. 3 for undergraduate nursing programs, slightly dropping from last year’s No. 2 spot. Duke University (N.C.), which passed Emory after securing the No. 3 spot last year, tied with the University of Pennsylvania for No. 1. Goizueta Business School’s undergraduate program held onto its No. 13 spot from last year.

Emory remained the No. 21 “Best Value” school, which considers student outcomes and cost. However, the University dropped from last year’s No. 21 spot to No. 24 for undergraduate teaching, which considers institutions’ ability to focus on teaching undergraduate students instead of solely conducting graduate-level research.

— Contact Madi Olivier and Spencer Friedland at madi.olivier@emory.edu and spencer.friedland@emory.edu

University unveils newly-constructed identity spaces in Cox Hall

By HeatHer lu Senior Staff Writer

Emory University’s upgraded Belonging and Community Justice identity spaces officially opened to students at the start of the semester.

The construction of the spaces began in Cox Hall in May 2022 and occupies approximately 18,500 square feet.

The identity spaces held open houses from Sept. 11 to Sept. 15. Emory will host a grand opening celebration on Oct. 21 during Homecoming weekend, according to Kristina Bethea Odejimi, dean of students and associate vice president for belonging, engagement and community.

“The new identity spaces provide more room for students to learn about different cultures and a place for students to connect across their identities, expanding their personal understanding of themselves, the world around them and making deep connections with those with shared experiences,” Odejimi wrote in an email to the Wheel.

The identity spaces moved from the bottom floor of the Alumni Memorial University Center (AMUC) to the newly-constructed third floor of Cox Hall. They include the Center for Women, Centro Latinx, Emory Black Student Union (EBSU), Lesbian Gay Bisexual Transgender (LGBT) Life and the Asian Student Center, which was established most recently in 2021.

Emory Pride Secretary Advik Bharadwaj (25C), who is also a leader for the Office of LGBT Life’s queer and Asian community group, said the new identity spaces are much larger. The spaces will also open up rooms for cross-departmental and cross-identity programming, Odejimi added, which Bharadwaj said is convenient for queer community group discussions.

“As a university, we will be able to better embrace the intersectionality of our students’ lived experiences in a physical way,” Odejimi wrote.

Ismael Karim (26C), who is an

See IDENTITY, Page 3

Soph Guerieri/Staff photoGrapher

Immunogene Tuning.

Jonathan MiShkin/ContributinG photoGrapher Students work on their laptops in the new Center for Women identity space, which opened on the third floor of Cox Hall after over a year of construction.

Faculty allege policy violations in Cop City protest termination

By Madi Olivier Managing Editor

The student-organized “Stop Cop City” walkout against the Atlanta Public Safety Training Center five months ago lasted for less than 12 hours, but members of the Emory University community are still debating what happened when the Emory Police Department (EPD) called in the Atlanta Police Department (APD), resulting in the protest ending around 1:20 a.m. on April 25.

The Emory College Senate will discuss the protest during today’s meeting, according to College Senate President Bree Ettinger. The group will also discuss during their Oct. 18 meeting what steps they would like Emory College and the University to take.

This comes after Associate Professor of Philosophy Dilek Huseyinzadegan, Associate Professor of Religion Sara McClintock and Associate Professor of Comparative Literature Sean Meighoo penned a letter to Ettinger last month concerning the spring walkout. The letter alleged that the University Senate’s Committee for Open Expression and Senior Vice President and Dean of Campus Life Enku Gelaye violated Emory’s Respect for Open Expression Policy by ending the protest after EPD threatened to arrest the students.

McClintock said they were “disheartened” by Emory's response and wrote the letter to spark a discussion among faculty about how, if at all, administration violated the policy and how Emory can rectify its relationship with protestors.

“This is a failure of imagination,” McClintock said. “It was dangerous.”

Ilya Nemenman, who chairs the Committee for Open Expression, will speak at today’s meeting, and Gelaye will attend the October meeting, according to Ettinger.

Gelaye wrote in an email to the Wheel that she discussed the protest with Emory’s open expression chair “in a timely manner” and will “engage in further conversations to clarify these facts.”

“Post-incident review and dialogue is a vital component of our open expression work and we look forward to further participating in this process,” Gelaye wrote. “It is important to be clear about the facts regarding the student protest.”

Gelaye did not comment on specific claims made against her in the letter.

Calling APD, terminating protest

Nemenman, who was not at the protest but was informed by people who were, said the protest was supposed to end at 9 p.m. so some EPD personnel were sent home. When it became clear that the students were going to remain on the Quadrangle late into the night, EPD did not have enough available officers to ensure security and had to call APD for backup, Nemenman said.

Ultimately, EPD told protesters around 1:20 a.m. that the walkout had to be terminated and began threatening arrest, according to Jaanaki Radhakrishnan (26C), an organizer for the April protest.

EPD Chief of Police Cheryl Elliott did not respond to the Wheel’s request for comment, with Assistant Vice President of Communications Laura Diamond instead referring back to Gelaye’s statement. Diamond wrote in an email to the Wheel that students complied and the protest ended “peacefully.”

“Emory respects and supports the rights of our students, faculty and

staff to express their opinions on this issue,” Diamond wrote. “While we are steadfast supporters of the rights of free speech and peaceful assembly, we also hold members of our community accountable to our code of conduct, local ordinances and the law while taking steps to ensure their safety.”

Huseyinzadegan, however, said calling APD was a “disproportionate escalation” that represented society as a whole, pointing to police using unnecessary violence and threats.

“There was disproportionate harm to the psychic wellbeing of our students,” Huseyinzadegan said.

Meighoo said the debate about the Atlanta Public Safety Training Center is a “momentous occasion” that gives Emory the chance to show their commitment to the community by standing up for those affected, but the administration is failing to take the opportunity.

“It's not very often when a single issue can bring together issues of racial justice, economic justice, environmental justice, and the ‘Stop Cop City’ movement is addressing all of those issues, and yet Emory is on the wrong side,” Meighoo said. “I find that astounding.”

Authority delegation

Faculty allege in the letter that Gelaye delegated her authority to EPD “in the absence of an emergency,” therefore violating section 8.14.7.1 of the open expression policy, which defines emergencies as “imminent serious bodily harm; serious threat; imminent life threatening behavior; reckless disregard for human life; or threat to life, limb, or property.”

Radhakrishnan argued that there was “absolutely no threat” at the protest, which included about 20 students putting up tents and eating together while “protecting” a vigil for Manuel Terán, an environmental activist known as “Tortuguita” whom APD shot 57 times during a protest against the Atlanta Public Safety Training Center in January.

Protestors communicated with Associate Director of Operations for Residence Life Courtnay Oddman (23B), as she was serving as a Campus Life open expression observer at the event, according to both Radhakrishnan and McClintock. Open expression observers protect Emory community members’ right to expression while helping them avoid violating the open expression policy, according to Campus Life.

Oddman said during the protest that she could not take responsibility for what would happen to protestors, according to Radhakrishnan. Students

responded by asking to speak with administration, but nobody spoke with them, Radhakrishnan said — a decision Meighoo said he finds “egregious.”

Radhakrishnan added that Gelaye’s decision not to engage with protestors and delegate powers to EPD instead was “inappropriate” given that EPD threatened to arrest students, which is supposed to be a “last resort,” according to section 8.14.7.3 of the open expression policy.

McClintock added that although they do not know exactly why administration did not speak with protestors, they are worried administrators may believe that they already know what students want, rendering further conversations useless.

“That kind of mentality from the side of the administration … if that's indeed the case, is very harmful to the institution as a whole because it actually increases the distrust from the student side,” McClintock said. “That's how you spiral into these situations where people can't even tolerate to be in the same room with each other.”

Oddman did not respond to the Wheel’s request for comment, instead forwarding the inquiry to Diamond, who referred the Wheel back to Gelaye’s statement.

Other protest options

Section 8.14.7.2 of the open expression policy states that the Committee for Open Expression and Gelaye should help protestors modify their event to avoid violations, but the letter alleged that the committee and Gelaye failed to “work with students to identify ways to continue the protest.”

Radhakrishnan said that while exploring other protest options was mentioned, there was never a consensus as to where students could go instead of the Quad. At most, Radhakrishnan said, students said they would consider leaving if they could speak to University President Gregory Fenves or Gelaye.

Students gathered in Asbury Circle later in the morning of April 25 to discuss their removal from the Quad. Nemenman attended the event and spoke with some student protestors who he said were supposed to contact him for further discussion but never reached out.

Committee for Open Expression chair consultation

The letter sent to faculty this fall also alleged that Nemenan was not consulted before the protest was shut down and students were threatened with arrest, which section 8.14.7.3 of the open expression policy requires.

has not published a statement regarding the protest’s termination, which is required under section 8.14.7.3 of the policy. The policy does not clarify how soon Gelaye is expected to release a statement.

Radhakrishnan called Gelaye’s lack of response “incredibly disappointing.”

“It's hurtful to see the University care so little about the trauma that was enacted on students that night,” Radhakrishnan said. “We did not expect this behavior from people whose job it is to care about and protect our wellbeing.”

Huseyinzadegan said they hope Gelaye will respond to share her side and clear up possible misconceptions.

Nemenman, who was in Pittsburgh at the time, confirmed that he was not consulted before the protest ended but woke to several missed calls and messages about the event. He expressed that he believes he was “allowed to be asleep” that night, but Radhakrishnan said they found the situation “incredibly irresponsible.”

“If you are saying that you are taking on the responsibility to uphold students’ right to free speech and protest, rights that are in the Constitution, I would hope that that would be treated with a little more weight than it was in this situation,” Radhakrishnan said.

The open expression policy does not detail what to do when the committee chair is unresponsive, leaving it unclear if the policy was actually violated on April 25, Nemenman said. Nemenman hopes to clarify this situation by proposing changes to the policy this year, including having multiple people who can be consulted about a protest instead of only the chair.

“To the extent of the policies, Campus Life tried to do their best regarding to an event that was not anticipated when the policy was written, and people improvised,” Nemenman said.

Termination without reason

Additionally, section 8.14.7.3 of the policy states that forcible termination can be considered to avoid injury, property damage or “significant interference with educational processes.” Faculty alleged in the letter that none of these factors were at play.

However, Diamond noted that students pitched tents on the Quad during the protest, which is “not permitted.”

Radhakrishnan added that she believes the University shut down the protest and has since offered little communication about the events of April 25 because Emory has ties to the Atlanta Public Safety Training Center, such as Fenves’ seat on the Atlanta Committee for Progress, which provided support for the project in 2021.

“What does it mean for a university that talks 'til they're blue in the face about diversity and equity and inclusion and supporting marginalized students and then goes and supports the militarization of an already-violent police force that has a documented history of harm in Black and brown and low-income communities?” Radhakrishnan said. “Students aren't just coming for the University's money; we're coming for the University's morality.”

Dean of Campus Life statement

Lastly, the letter notes that Gelaye

“I'm willing to listen,” Huseyinzadegan said. “Maybe there's something we don't know, but from all the evidence that we see, this just seems like a disproportionate use of violence.”

Gelaye did not respond when asked if she plans to release a statement.

Next steps

In addition to Nemenman’s goals for revising the open expression policy, a member of the Committee for Open Expression will be joining EPD’s community partnership group, which launched last academic year to improve transparency and communication. Nemenman, who requested that a member of the Committee for Open Expression join the group following the protest, said the member will provide feedback on whether EPD’s protocols infringe on community members’ right to open expression.

Nemenman added that the open expression committee is working with Campus Life to educate students on the procedures, rights and responsibilities under the policy, which he believes are commonly misinterpreted. In reality, Nemenman said, the University is responsible for giving students the chance to express themselves, while students have to ensure that their expression does not endanger others or interfere with other events.

“Famously, you cannot scream 'fire' in a crowded theater, and the same story goes here,” Nemenman said.

McClintock explained that although the experience was scary for students, it is important to remember that their will is not broken. Emory “Stop Cop City” is currently hosting “Radical Rush,” which includes programming such as panels, mutual aid events and organizer trainings, until Sept. 24, according to Radhakrishnan. On Sept. 19, the group led a workshop making signs and t-shirts in support of the “Stop Cop City” movement.

As the College Senate prepares to discuss the protest at today’s meeting, Radhakrishnan said that they hope Emory will publicly hold themselves accountable. Huseyinzadegan added that Emory should reconsider if police should be on campus, or if the Emory community can “be accountable to each other without this carceral institution.”

“This is a test, again, of whether the admin wants to be accountable or transparent on this,” Huseyinzadegan said. “I want to be hopeful. I want to be open to conversation. But we'll have to see. The ball is in the corner of the administration.”

— Contact Madi Olivier at madi.olivier@emory.edu

Jonathan MiShkin/ContributinG photoGrapher

Students paint signs in support of the "Stop Cop City" movement during a Sept. 19 workshop.

Identity spaces aim to support student well-being

Crime Report: Stalking, harassing communications

By Spencer Friedland News Editor

The Emory Wheel meets with Emory Police Department (EPD) Records Manager Ed Shoemaker (87G, 90G) and EPD Captain to inform the Emory University community about recent crime on and around Emory University’s campuses. To report a crime, contact EPD at 404-727-6111 or police@emory.edu.

Stalking

A female undergraduate student anonymously reported on Sept. 15 that a male student had been stalking her. The male student is most likely an undergraduate, according to Shoemaker, the female student said she has been being stalked by the male student since the previous spring semester.

Continued from Page 1

intern at Centro Latinx, explained that the new location in Cox Hall is easier to find, which makes the identity spaces more accessible to students.

“It also just gives us another opportunity to kind of reimagine the space as we want it,” Karim said. “The space is a reflection of who we are and will allow us to be comfortable, so it's a great move and I'm excited to see the new space and see how people take advantage of it.”

Karim (26C) said students can use

the space however they want, such as studying and hosting meetings.

“It's supposed to be a place where you can kind of just rest, be yourself and kind of just enjoy Latinx people and our culture and our identity in a safe environment,” Karim said.

Jamila Spears (24C), an intern at EBSU, said that the group seeks to increase a sense of community while spreading awareness about events and resources for Black students. She added that it can be hard for students to find a sense of community in

The Emory Wheel

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Business (404) 727-6178

Editors-in-Chief Matthew Chupack and Sarah Davis matthew.chupack@emory.edu

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Founded in 1919, The Emory Wheel is the fnancially and editorially independent, student-run newspaper of Emory University in Atlanta. The Wheel is a member publication of Media Council, Emory’s organization of student publications. The Wheel reserves the rights to all content as it appears in these pages, and permission to reproduce material must be granted by the editor-in-chief.

The statements and opinions expressed in the Wheel are those of the authors and do not necessarily refect those of the Wheel Editorial Board or of Emory University, its faculty, staf or administration.

college.

“We have a specific space where you always know that you can connect with people from your community and that also where you can feel safe and supportive,” Spears said.

Bharadwaj explained that identity spaces “foster a space of comfort as well as discussion,” which allows people to share their personal experiences.

“Especially because a lot of identities in Cox are for marginalized groups, it's very helpful to kind of have a space to bond and a space to share

with other people that share identities with you,” Bharadwaj said.

Yvonna Smothers (25C) said the Center for Women caters events to “different identities within the woman experience,” including Latinx, Asian and Black women. She noted that she likes that people are coming together to promote intersectionality through the new identity spaces.

“Here at the center, we just want to promote inclusivity and intersectionality,” Smothers said. “That's really important and it's a good job that Emory decided to do that.”

Campus Life will return some of its services and resources to the bottom floor of AMUC now that the identity spaces have moved, according to Executive Director of Student Centers Lydia Washington.

“We are working to enhance students’ convenience and access to the resources they use the most while creating more reservable collaboration and programming space for students across both the Student Center and the AMUC,” Washington wrote in an email to the Wheel.

Odejimi noted that the identity spaces are meant to empower Emory students to thrive.

“We are excited to see how students utilize the space to organically create community and participate in program offerings,” Odejimi wrote.

Spencer Friedland (26C) contributed reporting

— Contact Heather Lu at heather.lu@emory.edu

Shoemaker added that the two parties know each other.

Shoemaker also said that the Department of Title IX typically addresses situations such as these, although EPD is unaware of if the Department of Title IX is working on this specific case.

There is no more information available because the incident was reported anonymously, Shoemaker said.

Harassing Communications

On Sept. 15, a female student living in Emory Point reported that she had received more than 50 calls from an unknown number since moving into her apartment in August. The student reported hearing background noises and voices on the calls, but nobody spoke directly to her.

Additionally, the student received voicemail messages from the number consisting of more background noise. Shoemaker added that these calls take place at all hours.

“The thing that appears to have prompted her to involve us rather than just dismiss the calls as being an annoyance is that … she didn’t get any calls while she was out of town,” Shoemaker said. “But when she came back, the calls resumed, which led her to think somebody's actually paying attention to her movements.”

The case is currently under investigation by EPD.

— Contact Spencer Friedland at spencer.friedland@emory.edu

Cancer Moonshot to bring 'hope' to patients

Continued from Page 1

at least 50% by 2047 and improving the experiences of people living with cancer.

At a press conference about the launch, Nduom said that this is “the most exciting moment” in the history of his field.

The Biden-Harris administration announced an investment of $2.5 billion for the establishment and development of the ARPA-H project last year, and Emory became the first institution to receive funding from ARPA-H last August. Another $240 million in funds will be allocated to future ARPA-H projects across the nation, empowering health care and

biomedical breakthroughs that could transform society, Biden said during her speech.

Santangelo said that the entire experience was “surreal,” adding that he has not been this nervous since he was taking exams in college. He also said that Biden did not follow the event script and shook everyone’s hands at the event.

“We had a lab picture and that didn't even go the way it was supposed to,” Santangelo said. “It was very scripted as to what we were supposed to do. None of that happened because basically she decided to shake the hands of every person in the lab which was awesome, totally

awesome, but not in the plan.”

Biden said the goal of the Cancer Moonshot initiative is to build a world where cancer is no longer a defining health challenge, emphasizing that projects like CUREIT “gives families the power to hold on to that hope just a little bit longer.”

“Through the Cancer Moonshot, we’re putting American innovation to work for patients and together we will make it so that the word cancer loses its power,” Biden said.

— Contact Spencer Friedland and Kari Zhou at spencer.friedland@emory.edu and kari.zhou@emory.edu

Jonathan MiShkin/ContributinG photoGrapher

Students play games during the Asian Student Center's open house on Sept. 14. The new space is on the third floor of Cox Hall.

Jonathan MiShkin/ContributinG photoGrapher

Students pick succulents to take home during the Center for Women's open house on Sept. 13.

Romney is retiring from politics; everyone

Sen. Mitt Romney (R-Utah) is not the only U.S. leader who needs to retire.

I can guarantee you this: The chairs on Capitol Hill are molded to the backs of the same old, same old.

“It would be a great thing if both President Biden and former President Trump would stand aside,” Romney said shortly after announcing his own retirement from politics on Sept. 13. Romney has been in politics for 30 years, and he has held his seat in the U.S. Senate since 2019.

Romney is spot-on: Politics and elections today are overrun by exhausted old men.

Thus, politics itself has become just as exhausting as its conductors — especially in the age of Trump and his clique.

Elections have been degraded to cat and mouse games, with our national leaders chasing each other in circles with impeachment threats, trial dates and scuffles on national

television. The Utah senator is taking the right step; several publications have portrayed him as “fed-up” with the modern Republican Party and as “quitting” politics, yielding to the whims of new age Republicans.

problematic past when it comes to dramatic politics, it is warranted to recognize his introspective actions.

The United States needs to flush out its institutionalized political system. Politicians like Trump and Biden have shifted their positions away from people, issues and policy and toward bureaucratic processes and internal spats.

News surrounding U.S. politics isn’t typically about core issues anymore; if you’re talking about the news, you really are talking about the disastrously embarrassing GOP primary debate, the many Trump indictments or Hunter Biden’s recent indictment — impeachment threats, anybody?

should too

Caucus, but at the very least, we’ll have new voices in the future and can move on from the dirt-digging of the present.

That’s not to downplay the severity of the Freedom Caucus’ insanity but to emphasize the importance of political turnover. Personally, what comes to mind foremost is the fight for abortion.

As of 2022, 61% of Americans believe that abortion should be legal in all cases, with rare exceptions.

Countless nonprofit organizations have created resources and dedicated time and labor to supporting women, even after the crushing Dobbs v. Jackson Women’s Health Organization decision in June 2022.

I am not ready to place U.S. foreign policy or the Supreme Court in their hands, it is significant that students are interested enough in government and policy to participate; they could be sleeping, studying or partying, and yet they are engaging in something as tedious as the Oxford Student Government Association.

I tell this anecdote because it reminds me that these recentlyelected students are people who are fresh and idealistic, preparing to step into U.S. politics.

However, quitting is entirely the wrong impression of Romney’s actions. Romney’s step away from politics is well-timed, with the 2024 presidential election build-up exacerbating preexisting tensions between politicians.

While Romney should not be idolized for his actions and has a

The Emory Wheel

Many of our politicians are children swatting at each other on the playground, neither learning how to read nor use their times tables. Retire, politicians. Retire, Biden and Trump. With you will go your spats and distraction from what really matters: the issues themselves.

Sure, the next generation of Republicans may be the Freedom

Instead of dealing with negative impacts from the Dobbs decision, politicians are instead paying attention to headlines like: “Boebert Apologizes for Vaping in a Denver Theater” or “Special Counsel Obtained 32 Private Messages From Trump’s Twitter Account.”

As Romney points out in his recently released biography, the norm on Capitol Hill is prioritizing elections first and reelections second.

It has been apparent for years: The United States needs a shift. So, no, Politico and The Washington Post.

Romney’s move here is neither abandonment nor saving face. It is recognition; it is a first step.

To shed the stigmas and drama, Romney, a man reaching his 80s, puts away self-gratification and his lifelong career to make way for a new era of politics.

Power vacuums are exactly what Washington needs, as well as state and local governments, to go out with the old and in with the new.

Romney, stepping away from dusty old Capitol Hill, is making room for someone new — someone younger — with fresher ideas and fewer scandals to tip-toe around.

To shed away the stigmas and drama, Romney, a man reaching his 80s, puts away selfgratifcation and his lifelong career to make way for a new era of politics.

Will retirement benefit Romney? Yes, absolutely, but no one can deny how his departure will impact the future of politics as well.

It is idealistic, sure, but at the root of a politician’s duties are selflessness and the prioritization of policy over politics.

Romney, shockingly enough, seems to get that, even as a member of the older, more dominant generation.

I actively participate in Emory University’s student government. Frankly, it is mindnumbing and frivolous at times.

However, I know that student leadership is crucial.

We held elections for first-year senators this past week, and while

WDon’t take this as the sole solution to fix politics, because it’s not. Trump’s cult is still wandering around, Vivek Ramaswamy is on the loose and Biden is still running for office in 2024. But do not judge Romney for supposedly giving up. It requires individuals taking steps like his to truly change the American political landscape in future years. The election is yet to come, and this column will continue to track the upticks in political drama and condense genuine issue-based politics. Brace yourselves — 2024 is sneaking up on us — and we better be ready when it’s here. Ellie Fivas (24Ox) is from Cleveland, Tennessee. Volume

Capitalism kills creativity in pop plagiarism cases

Safa Wahidi

While Hollywood remains on strike to demand fair compensation for screenwriters, the music industry has alternatively embraced a new era.

Copyright claims are cropping up everywhere. Songwriters are scrambling for royalties. And artistic originality? She can’t come to the phone right now — oh, ‘cause she’s dead. Welcome to the period of “pop plagiarism.”

Take Olivia Rodrigo as an example. On Sept. 8, the singer-songwriter released her sophomore album, “GUTS.” The record is riveting; Rodrigo leans into the rock genre and offers themes of apprehension, revenge and social anxiety. The songs are smash hits readily available for consumption by young women and self-proclaimed teenage girls in their twenties. While Rolling Stone labeled “GUTS” an “instant classic,” the album falls into the same trap as Rodrigo’s “SOUR,” making her the subject of criticism for sonic similarity to others.

It all started with a track on “SOUR” titled “deja vu,” a song name that seems ironic in hindsight. Listeners

immediately drew comparisons between Rodrigo’s single and Taylor Swift’s “Cruel Summer.” This controversy forced Rodrigo to award Swift and her collaborators retroactive writing credits. Rodrigo’s “good 4 u” faced a similar predicament.

Despite its success, fans characterized the tune as a rip-off of Paramore’s “Misery Business,” and the band’s lead vocalist Hayley Williams and former lead guitarist Joshua Farro eventually received a combined 50% royalty. While it’s unclear if Rodrigo was actually sued, countless fan-made mashups of the two hits popped up online, and it was later revealed that Rodrigo’s team had been in touch with both Williams and Farro.

Most recently, the opening melody for “GUTS,” “all-american b****,” is going viral for its likeness to Miley Cyrus’ “Start All Over.” Although Rodrigo laments that “everythin’ [she does] is tragic,” it’s difficult to imagine that she has intentionally replicated three widely-known songs. Instead, Rodrigo highlights the evergrowing constraints of creativity and the sketchy litigious side of the music industry. She’s not the villain — she’s the product of an environment where the simple act of inspiration is grounds

for legally destroying an artist’s individuality. This curtails expression by preventing songwriters from taking musical risks and reimagining past influences into fresh, new soundtracks. With just 12 notes in the Western alphabet, music is inherently limited. In fact, composers have been accused of copying fellow musicians since the

licized and becoming increasingly common: In Williams v. Gaye (2018), for example, Pharrell Williams and Robin Thicke were sued for emulating Marvin Gaye’s “Got to Give It Up.” Upon their loss, the court ordered Williams and Thicke to pay over $5 million to Gaye’s estate.

And just earlier this year, Ed Sheeran, one of Spotify’s moststreamed artists, made several headlines for allegedly stealing Gaye’s “Let’s Get It On.” Sheeran even vowed to quit music if found guilty of copyright infringement.

new pieces without anticipating legal retaliation.

Rodrigo once unknowingly foretold her future, singing on “jealousy, jealousy” that “comparison is killin’ me slowly.” Moving forward, she should reassert her artistic decisions and defend the delineation between inspiration and infringement. While recognition should be given where it is explicitly due, discrediting a young talent with a predominantly-female fan base feels like misogyny, repackaged.

late Baroque era. Pop, in particular, is formulaic, which is why it appeals to mass audiences. Almost every pop song relies on the same four chord progressions, so songs are bound to start sounding like one other.

Today, these cases are highly pub-

While he won the lawsuit, both cases illustrate how arbitrary the lines of intellectual property are in pop and the intense pressure creatives face to be innovative without crossing them.Beyond multi-millionaire singers being taken to court, pop plagiarism cases underscore how capitalism kills creativity. Obviously, music is a profit-driven business; however, simply honoring previous works does not constitute plagiarism and should not warrant legal action from avaricious plaintiffs hoping to cash in.

Art should be liberating, not confining. Making music is an act of freedom, and individuals should be able to build on their inspirations and create

Funnily enough, it’s oddly reminiscent of Taylor Swift’s decision in 2010 to author “Speak Now” completely on her own, a move made in response to skepticism from critics regarding how much of her music was actually self-written.

Perhaps Rodrigo will again follow in Swift’s footsteps. Ultimately, there will never be a completely original pop song. There shouldn’t have to be. The next time she’s caught in a plagiarism controversy — likely by listeners with little understanding of basic music theory — I’d like to see Olivia Rodrigo stand her ground. I think that takes real guts.

Safa Wahidi (23Ox) is from Sugar Hill, Georgia.

Why Lana Del Rey is the artist of a generation — just not her own

It is Jan. 14, 2012. Barack Obama is wrapping up his first presidential term, the 2008 financial crisis is finally beginning to subside and “Sexy and I Know It” by LMFAO is on top of the Billboard Hot 100 chart. The millennial generation is either coming-ofage or in the throes of young adulthood. Saturday Night Live (SNL) host Daniel Radcliffe introduces a singersongwriter little known to those not immersed in the internet: Lana Del Rey.

Her glamorous dress and dramatic makeup do not match her demeanor. Never looking anywhere but the ground beneath her, she tensely holds the microphone up to her perfectlydrawn lips and croons out the first verse of viral sensation “Video Games.”

Lana’s voice, perfect on YouTube, falters. Clearly anxious, Del Rey pushes through the rest of her first performance on live television. It is not the worst performance to grace American television, but it is far from the best.

Del Rey’s performance was universally panned by critics and the public. Some questioned if it was the worst in SNL’s history. Unfortunately, the oldest members of the generation that would eventually understand her the best — Generation Z — were only just entering junior high. Del Rey was destined to become the artist of a generation – but not her own.

The now-38-year-old songstress was rejected by the millennial generation she technically belongs to because she does not share their optimistic worldview. Instead, she will be remembered as a defining artist of Gen Z, which has a fatalistic outlook on American culture.

Strangely, Del Rey’s increasing cultural importance has correlated with a rise in online Gen Z versus millennial culture wars — mostly initiated by Gen Z. TikToks tagged as “#millennial-

cringe” have over 5.7 million views, and individual videos made by Gen Z creators poking fun at millennials often have million-plus view counts. Lana Del Rey has avoided this criticism and instead has been adopted by Gen Z as one of their own.

Del Rey had a tumultuous – but privileged – childhood: she struggled with alcohol abuse, depression and anxiety for the majority of her adolescence. Financial crises and the War on Terror created a tumultuous landscape as all millennials entered adulthood in the 2000s. Brash, dance-forward pop music offered escape from uncertainty. Hits from the decade include “Yeah!” by Usher, “Low” by Flo Rida and “Boom Boom Pow” by The Black Eyed Peas.

Del Rey faced her demons headon. She began making original music under her nickname, Lizzy Grant, and by the end of the decade she adopted the “Lana Del Rey’’ moniker. “Lana Del Ray AKA Lizzy Grant,” her first LP, was released in 2010 under an independent record label. The effort lyrically tackles toxic relationships with both men and drugs through sparse, jazzy instrumentation. Consider the slow-tempo melancholy of Del Rey’s early recordings in relation to the brash escapist pop hits of the time: It’s no wonder she took nearly a decade to break out into the mainstream.

She finally hit it big with her 2011 internet sensation “Video Games” and released her major label debut album “Born to Die” two weeks after her illfated SNL appearance. The addition of radio-friendly uptempo production to many of the tracks propelled the album to commercial success, despite her perceived failure on SNL.

To say that the lyrical content and visual imagery of “Born to Die” drastically contrasted the cultural tone of its period is an understatement. Lyrically and visually, the album romanticized the aesthetics of old America; an America we had worked endlessly to improve. People started question-

ing her political beliefs. Her romantic depictions of the outdated, even if used to satirize the modern, were disparaged. Was she not a feminist? Was she racist? If things are better now, why dig up the past? After all, racism, misogyny and the like were almost water under the bridge – almost.

The election of Donald Trump in 2016 completely altered our cultural outlook. No longer was there room for optimism: America took a gigantic step back. The America of the latter 2010s appeared to have more in common with the ’50s – a decade that Del Rey references heavily in her music and visuals – than it did with the former half of the same decade.

It is in the burning cultural landscape of the late 2010s that Lana Del Rey finally found her audience. Lana’s political outlook aligns with Gen Z’s fatalistic worldview. The world is burning, and we cannot change it, so

we might as well be beautiful while it happens.

While I certainly agree that Del Rey’s work romanticizes ’50s and ’60s Americana, I find it difficult to understand how early critics saw her vision as promoting those time periods as political ideals. Maybe her interest in the aesthetic was merely superficial, but “National Anthem” and its music video are compelling evidence to the contrary. “Money is the reason, we exist / Everybody knows it, it’s a fact / Kiss kiss,” she raps on the post-chorus. The music video juxtaposes flawless domestic scenes of the Kennedy family with the “love, the drugs, the drink and the rage” transpiring behind the scenes of America’s most famous couple. I, and many others in Gen Z, recognize Del Rey’s choices in her art for what they are: Intentional, ironic and cutting comparisons between the old and the new.

As she has matured as an artist, Del Rey has refined her imaginative vision of America. Her 2019 effort “Norman F****** Rockwell” solidified her status as a Gen-Z-defining artist.

On the album cover, Del Rey and model Duke Nicholson sail away from a burning city as the American flag blows behind them. “Norman” garnered critical acclaim for its masterful lyrics and spectacular production. Even older generations began to finally respect her as a generational talent. Leaked unreleased tracks, some from the early “Lizzy Grant” days, routinely go viral on TikTok along with her later releases. Because Del Rey is reluctant to officially release leaked music, her impact on Gen Z through social media cannot be quantified.

By depicting the collision between America’s past and present, Del Rey has managed to create some of the most politically interesting music in pop music history.

Del Rey still faces criticism for her political incorrectness, and some even accuse her of romanticizing problems that she has no right to as a white privileged woman. Inevitably, her artistry will not resonate with many because of her privileged background. But I know that many in Gen Z, regardless of background, see her music as painfully representative of their own life experiences. Rising stars like Billie Eilish and Olivia Rodrigo routinely cite her as a major artistic inspiration.

Del Rey’s music depicts a tone that just works for Gen Z in a way it never did for her own generation. After all, Gen Z struggles with depression and anxiety in unprecedented numbers, according to the American Psychological Association, just as Del Rey did in her adolescence. I mean, seriously, there is nothing more Gen Z than building a career for over a decade just to bottle a big-break moment on SNL because of anxiety.

Abby Charak (26C) is from Lincolnshire, Illinois.

Abby Charak

h ayley PoW ers/Visual editor

Art should be liberating, not confning. Making music is an act of freedom, and individuals should be able to build on their inspirations and create new pieces without anticipating legal retaliation.

Journalism is dying. It’s up to us to save it before it’s too late.

Sophia Peyser

I recently sent my father an article by Michael Paterniti from The New Yorker, in which Paterniti describes how he gave everything to a newspaper.

He built it from the ground up and toiled for hours in the newsroom, conducting interviews and production entirely by himself. My dad is a retired journalist, and he said it made him sad because the days of giving everything to a newspaper are long behind him. As a student journalist, I was also saddened by the article because I long for a type of journalistic career that no longer exists.

I fell in love with journalism while reading “All the President’s Men” by Carl Bernstein and Bob Woodward in high school, which surely isn’t an atypical origin story for a young journalist.

The book — which chronicles the investigative reporting into the Watergate scandal that led to the resignation of former President Richard Nixon — taught me that the press has the power to change the political trajectory of a nation.

I still dream of being holed up in an office like Bernstein and Woodward, spending late hours leafing through FBI documents and interviewing cheekily-named anonymous sources, so that I can piece together facts like a puzzle and use my voice as a measly writer to hold powerful people accountable.

The romantic, mythologized

trope of the journalist has died alongside print newspapers and magazines.

As my father lamented, the days of working at a small but influential print newspaper and covering local news for a decent paycheck are long gone. Today’s journalists are overworked and underpaid, working overtime to ensure that online news outlets are kept up to date. They sacrifice creativity for a paycheck, which results in formulaic, short-form reporting.

A recent mass quitting at Atlanta magazine over the publisher’s refusal to use pronouns corresponding

with a subject’s identity reveals greater turmoil within the industry. Suddenly, it appears that having a career in journalism may mean sacrificing my personal morals about respecting people’s identities. This is the price to pay for working at a reputable magazine, and it has to change.

The issue at the crux of the magazine’s controversy is the expendability of journalists and the lack of value placed on their roles in politics and culture. The Atlanta magazine employees who quit are extraordinarily brave, yet leaving to prove a point is a futile effort. Everybody

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is replaceable in journalism; the magazine isn’t going to change its ways and beg its staff back. It’ll just replace the lost writers with cheaper, more complacent writers, who will jump at the chance to work at an acclaimed magazine covering a culturally diverse, interesting city, regardless of the publication’s ethical qualms. It’s a dog-eat-dog world in the journalism industry. To make a name for yourself, you must take positions that pay you money and allow you to amass clips, regardless of ethics.

To make it, my dad said, you have to be scrappy. In his ’90s idealization of journalism, scrappiness means taking jobs at small-town newspapers and reporting on little league baseball games. Today, being scrappy means being at the whim of your publisher when it comes to decision making. In the case of Atlanta magazine, this meant disregarding sources’ gender identities. I want the old journalism back.

For years, I said I didn’t want to be a journalist because I was terrified of the lack of career security my father and his colleagues faced for the entirety of their 30-plus year careers.

Journalism is a constant Sisyphean cycle in which someone buys out a magazine, fires the entire staff because they’re too expensive or potentially disloyal and then leaves the journalists to scramble for a new publication in an industry that doesn’t want to pay experienced journalists an appropriate salary.

I don’t want to bounce between magazines for my entire career, making connections and friends and then saying goodbye when a new publisher inevitably buys the company and axes not only writers and editors but full publications.

Furthermore, why would I enter an industry when it’s dying, when magazines are going digital and nobody wants to read a full article when a headline or a TikTok tells you everything you need to know?

Yet I feel a fierce loyalty to journalism, partially because it’s “my thing” and partially because I believe that my generation of young journalists can restore the industry and make my dream career a possibility.

Journalism doesn’t have to die,

but it’s on us to save it. To bring the industry back to its former Watergate-era glory, we need to produce young journalists who feel comfortable standing up for themselves and their morals. Journalists aren’t corporate pawns who can be laid off at a moment’s notice because a parent company decided to announce cuts, like Disney did with National Geographic.

The supposed disposability of journalism is even reflected at Emory University, which cut its journalism program 11 years ago in the interest of furthering the University’s academic mission, which means investing in the lucrative science disciplines.

These universities and corporations fail to recognize that journalists are integral players in politics and reporters of culture; that without trustworthy, ethical journalists, there’s nobody to reliably tell the world about scientific developments.

In a world where legitimate news can be disqualified as “fake news” by certain politicians and notoriously unethical TMZ runs Hollywood, it’s more important than ever that journalists are trained to stand up for their craft. It’s such a trope to hate the press, but without the press, politics will spiral even further out of control. Governmental corruption will become even more commonplace.

It’s up to our generation of journalists to fix a broken industry from the foundation: ethics. Journalism must evolve with the times and respect the identity of sources.

Consumers of news, similarly, must invest in good, ethical journalism. This might mean shelling out $1 a week for a New York Times subscription instead of glancing at clickbait Daily Mail headlines on Snapchat or even reading and engaging with local journalism (hint: Read The Emory Wheel). Journalism must mend internally before fighting against external forces.

Only then can we begin to fight a bigger battle against the corporations that own our newspapers and magazines and treat journalists like chess pieces.

Sophia Peyser (25C) is from New York City.

Courtesy of Pixa Bay/JaneB13

Arts Entertainment The Emory Wheel &

Carlos exhibit centers Latinx identity Olivia Rodrigo masters art of relatability on new album

By Eliot VaughEy Staff Writer

I had the pleasure of visiting the Michael C. Carlos Museum’s new exhibit, “You Belong Here: Place, People and Purpose in Latinx Photography” on Sept. 9, its opening day. This was a special occasion for me; not only was it my first time seeing contemporary art showcased on the Carlos Museum’s top floor, but also my first time seeing a traveling exhibition on display at the Carlos. Fellow Emory Wheel senior staff writer Zimra Chickering (24C) accompanied me and provided knowledge as a Carlos Museum docent.

Most importantly, “You Belong Here” is the first Carlos Museum exhibit to feature contemporary Latinx artistry, according to Emily Knight, the Carlos’ marketing and communications manager. Over a dozen Latinx photographers and performance artists’ works are present in the collection, which explores complex themes such as community, identity, culture and politics in North American contexts and beyond.

destination.

Upon navigating the space, I found that the exhibit’s themes flow naturally from one to another. Pieces are arranged in a way that both distinguishes a collection of an artist’s work and complements neighboring art — whether through their geographical relation, subject matter, commentary or color palette. In the first section, a photo of the backdoor to an industrial building stands close to a folio of an individual whose face is covered by telephone pole ads. Not only did this create a harmonious aesthetic, but it also enhanced my emotional response and understanding of the theme for each space.

thing I have not seen in globally renowned New York City museums like the Museum of Modern Art, Whitney Museum of American Art or Solomon R. Guggenheim Museum. While I myself am not a part of the Latinx community, I imagine those who are can appreciate the accessibility the translations lend to the space. I also found it notable that the exhibit showcased damaged photography. I have never seen a gallery displaying a piece that is not pristine, and this fact struck me deeply; the types of damage to the photo, be it fire or water, and the stories that each photo carries speak to the materiality and history within the piece of film itself.

By a manda lErnEr

Contributing Writer

Olivia Rodrigo played to her strengths in her newest album

“GUTS,” creating a track list that can double as the soundtrack of your favorite coming-of-age flm or read as the leaked pages of a college student’s diary. Rodrigo released the 12-track-album saturated with heartbreak and self-expression on Sept. 8, ofering a roller coaster of emotions for any listener who wants to go for a ride.

Following her award-winning debut album “SOUR” (2021), the highly-anticipated “GUTS” represents a crucial point in Rodrigo’s career. While many artists fall victim to an underwhelming sophomore album, Rodrigo took this chance to prove that she is here to stay. She has grown up from the 17-year-old girl singing about getting her driver’s license, and so have her fans. This album follows and celebrates that mutual growth.

emotions and gained the ability to self-refect on both her strengths and faws.

Rodrigo further encapsulates the essence of an angsty teenage girl in “ballad of a homeschooled girl.” Her descriptions of “hangxiety” and the habit of overthinking resonate with her now-collegeaged fans who are facing these challenges along with her. It felt as though Rodrigo was reading thoughts straight from my head, as despite being a three-time Grammy-Awards-winning pop star, she still overcomes the same challenges any teenage girl does.

Perhaps it was no coincidence both Chickering and I remarked that the museum was the most crowded either of us had seen for an exhibit’s opening day, or any day in general. Pilar Tompkins Rivas, chief curator and deputy director of curatorial and collections at the Lucas Museum of Narrative Art, curated this exhibition through the internationally-recognized photography magazine, Aperture. “You Belong Here” previously stayed at the Princeton University Art Museum and will remain on the Emory University campus until Dec. 3. Florida International University is the exhibit’s next

Unlike most of the Carlos’ exhibits I frequent that are curated primarily around each object’s materiality and provenance, “You Belong Here” tells a clear narrative about Latinx individuals’ navigation through space, community and hardship, down to the visitor’s movement through each section. For a traveling exhibit, it makes clever use of the space provided. Complimentary pieces often flank each side of a section’s main passage. This display format, often featuring a single artist’s work, establishes symmetry; each path starts from similar imagery before branching out into two unique halves of a story.

A novel element I noticed was the exhibit included Spanish translations for each curator’s note and panel of text. Translations are certainly some-

The first room of the exhibit mostly navigates Latinx identity in conversation with urban space and gentrification. Clusters of photography jump around the U.S. map, taking viewers from New York City to Chicago and Anaheim, Calif. Human subjects flicker in and out, first in their day-to-day life before gradually becoming disembodied as the space transitions to an industrial setting. I noticed the exhibit made use of an adjacent room that was not open in the previous exhibition, housing an immersive screening of performance art by Sofía Córdova. The space’s transformation enhanced the exhibit’s interactiveness, with the walls painted and props positioned to mirror the film’s set. Distinct in Córdova’s performance art is its portrayal

See GLIMPSE, Page 8

“GUTS” begins with an upbeat anthem titled “all-american b****,” a perfect sum of teenage angst and 2000s pop nostalgia. Rodrigo makes it clear that the tracks that follow will be nothing but unapologetically herself, chanting “I know my age, and I act like it.” Refreshing in comparison to the epidemic of teenage starlets trying to act like they are in their 30s, teen listeners are empowered straight from the jump. This power courses through each lyric, beat and vein of the listener, building a strong foundation for the 11 other tracks to follow.

The second and third tracks are Rodrigo’s two previously-released singles, “vampire” and “bad idea right?” Production ties these strikingly-diferent songs together with dramatic musical breaks that ofer unexpected tension and excitement.

Despite the contrasting sounds of a ballad and a song with rock-undertones, both tracks refect her new attitude toward love and relationships: While Rodrigo previously let heartbreak defne her, she has taken control of these

“GUTS” is Rodrigo’s playground, showing just how much she has broken free from the restraints of what a pop song should be. She allows herself to be creative, alleviating the pressure that comes along with following up on such a highly-regarded debut album. This playfulness also opens up room for honesty, which the music refects. While songs about growth and change provide a positive spin to the album, there is no doubt that Rodrigo can write a heartfelt breakup ballad. She returns to her roots in “logical.” Her new experiences with love have garnered elevated lyricism, somehow allowing her to make songs even more heartbreaking than her previous ones. The chorus repeats “Two plus two equals fve / And I’m the love

See RODRIGO, Page 8

Shah Rukh Khan reignites Bollywood with dynamic acting in ‘Jawan’

By yashonandan KaKrania Senior Staff Writer

In the ever-changing world of Bollywood, one name has consistently kept its pulse racing for over three decades: Shah Rukh Khan.

As speculation about Bollywood’s decline loomed, Khan made a triumphant return to the big screen after a four-year hiatus with “Pathaan” and “Jawan.”

The former smashed records as the highest-grossing Bollywood movie, and the latter, released on Sept. 7, is poised to follow suit, reaffirming the star’s unrivaled status as the industry’s driving force.

In “Jawan,” Khan takes on a compelling role in an action-packed thriller that revolves around themes of patriotism and seeking justice for the underprivileged.

Portraying the characters Azad and Vikram Rathore — yes, he plays a double role — Khan leads a team of six military-trained women on a mission to compel the Indian government to address pressing issues with infrastructure and unfair compensation for struggling farmers.

To honor the legacy of Vikram, his father and a revered soldier who tragically succumbed to the relentless tide of capitalism gripping the nation, Azad adopts his name.

As the film unfolds, viewers are drawn into a riveting narrative that

delves deep into the struggle for a just and equitable society.

“Jawan” delves into the harsh realities faced by India’s low-income communities, highlighting the ruthless exploitation of their vulnerabilities by profit-driven individuals. The film accuses the Indian government for neglecting genuine solutions to these issues and exposes the stark lack of urgency in addressing crucial issues, where public hospitals often lack basic medical necessities and farmers struggle to access resources for essential tools and tractors.

High-interest loans push underprivileged citizens further into debt and leads to asset seizures. “Jawan” serves as a powerful reminder of India’s recurring failures to support its marginalized citizens, emphasizing their ongoing struggle for justice and equal opportunities.

The dangerous missions taken up by Azad and his team emphasize the urgency of these changes. “Jawan” boasts a plethora of exhilarating action sequences that leave audiences on the edge of their seats. The stunt choreographers show-

case exceptional creativity in devising thrilling moves and employing a variety of tools, including a flammable explosive bike and high-octane special ops missions involving rifles and grenades. In these heart-pounding moments, Azad proves himself a formidable one-man army, taking on hordes of adversaries with unwavering determination. What sets these action sequences apart is their ability to rival the high standards set by renowned franchises like “John Wick.”

help but marvel at the actor’s ability to radiate an unmatched sense of effortless coolness. He masterfully portrays his characters, making them appear both bold and formidable.

Khan’s knack for remaining composed, even in the most perilous moments, coupled with his cheeky one-liners adds a unique charisma to his roles. Moreover, he reaffirms his well-deserved title as “the king of romance” through the film’s enchanting musical sequences.

These moments are delightful blends of old Bollywood nostalgia and Khan’s timeless charm. It is heartwarming to witness the actor effortlessly revive his classic arms-open pose, a signature move that has captivated audiences for years.

Khan’s portrayal of Azad exudes raw power and skill, making each confrontation a pulse-pounding spectacle. The electrifying title track, which accompanies most of those intense battle scenes, adds an infectious energy to the chaos.

Khan not only excels in delivering a compelling storyline and heart-pounding action scenes but also showcases his unparalleled versatility by embracing both Azad and Vikram.

As I watched the movie, I could not

“Jawan” is an exhilarating blend of action, mystery, drama and romance — a heartfelt tribute to Khan’s brilliance. It is a delight for his devoted fans, reaffirming that Bollywood is not quite Bollywood without him.

Khan’s self-proclaimed title as “the last of the stars” feels justified, as he continues to rekindle the world’s love for Bollywood and keep theaters buzzing, a feat unlikely to be replicated by any other actor.

“Jawan” not only entertains, but it also cements Khan’s irreplaceable status as a Bollywood legend.

— Contact Yashonandan Kakrania at yashonandan.kakrania@emory.edu

Photo M aniPulation by oli turner

“You Belong Here” tells a clear narrative about Latinx individuals’ navigation through space, community and hardship, down to the visitor’s movement through each section.

Courtesy of WikiMedia CoMMons/bolly Wood hunga M a

These moments are delightful blends of old Bollywood nostalgia and Khan’s timeless charm.

forrest M artin/editor

The exterior view of the Michael C. Carlos Museum advertises previous exhibits.

Glimpse Latinx life, culture at Carlos Museum

Continued from Page 7

of revolution — be it in the face of inequality or an autocratic regime — and its unsung constituents.

From the second section onward, the pieces began to feel far more intimate — self-construction of identity and expression manifested in portraiture. I particularly enjoyed the second section’s concentration on queerness; never have I possessed the opportunity to pore over Mexican drag, lesbian and queer club scenes until then, reveling in their vibrancy.

Perhaps the most intimate part of the exhibition awaited me in the last section. Only two artists’ photography occupies the spread of white walls: Star Montana and Genesis Báez, each providing a different perspective on family stretched along the path of immigration. Family portraits, enlarged photo booth reels, dignified matriarchs, tender love — slivers of lives unknown to me yet familiar in their moments of joy and separation. Montana clung to that warmth, while Báez showed something poignant and fleeting. I imagine that this section in particular evokes a wide variety of emotions for all kinds of visitors, mine only making a drop in the ocean.

Some of these emotions are available to both see and express with a unique interactive installation. A table with chairs sits in the center of the room with paper slips on which visitors can respond to various prompts surrounding love, identity and community. The completed slips are displayed on a wall near the far end of the room — some with polaroids of people’s loved ones

attached. I flipped through many of the responses, some in English and others in Spanish. I translated the following slip from Spanish: “What forms your identity?”

“Identity is not just skin,” the slip reads. “Identity lives, feels. Identity is born and forms itself. For me, it is my culture. My ancestors. My family. To be Mexican is a pride. Never make yourself less for others.”

“¿Qué forma tu identidad?”

“La identidad no es solo piel. La identidad se vive, se siente. La identidad nace y se construye. Para mí, es mi cultura. Mis antepasados Mi familia. Ser Mexicana es un orgullo. Nunca te hagas menos por los demás.”

Contact Eliot Vaughey at eliot.vaughey@emory.edu

Rodrigo shows ‘GUTS’ on sophomore album

Continued from Page 7

of your life.” These lyrics are so simple, yet they perfectly resemble the confusing, relentless nature of young love.

Rodrigo pivots between pop-grunge anthems and ballads for the rest of the album, yet the standout song for me is “the grudge,” in which she takes a step back from her punky persona and dives deep into the underlying turmoil of the album that really inspired it all.

“the grudge” serves as a reminder that Rodrigo is still just a kid, one who endured an emotionallytumultuous relationship.

Despite this new power and self-awareness she has gained through skyrocketing in fame over the past few years, “the grudge” serves as a reminder that Rodrigo is still just a kid, one who endured an emotionally-tumultuous relationship. The album closes with a track

titled “teenage dream,” resonant with the lyric from her frst album, “Where’s my f***ing teenage dream?” Rodrigo reminds her fans that the idyllic teenage dream doesn’t actually exist. She sings, “You’re only 19 / But I fear that they already got all the best parts of me.” Brutally open about her fears, it is clear just how much the pressure of fame and success has weighed on her. Again, Rodrigo is refreshing in that she is normal, not immune to the intense struggles of being a young female in a society not built for us.

In the album’s frst song, Rodrigo sings, “I know my place, and this is it.” She had a lot to prove in this album, yet by completely letting go of the world’s expectations and creating music truthful to her own experiences, Rodrigo surpassed all expectations.

While “GUTS” may be more enjoyable for fans of her frst record, she has taken steps away from the bubblegum pop she was originally branded with. Anyone can appreciate her lyricism and creativity, and I defnitely have some new go-to songs to listen to when I’m feeling anxious, in love or just in need of a good beat.

Contact Amanda Lerner at amanda.lerner@emory.edu

Arctic Monkeys deliver unforgettable, rain-soaked Atlanta performance

By spEncEr FriEdland

News Editor

Rain began to pour down at the Ameris Bank Amphitheatre as Arctic Monkeys played “Body Paint” from their last LP, “The Car” (2022). Standing next to a group of teenage girls, I realized that everything the band has been missing over the previous few years is still hiding underneath lead singer Alex Turner’s new Elvis-like persona.

The group sped up “Body Paint,” a slower song off of the band’s jazz-infused rock album from last year at their Sept. 11 Atlanta show, and included lengthy improvised guitar and Matt Helders’ signature drum solo. This aspect of their live performances which has been missing on their previous two albums, “The Car” and “Tranquility Base Hotel & Casino” (2018). The rendition of “Body Paint” made it clear to me that no matter how far Arctic Monkeys have strayed away from rock anthems, they could create something similar to their most critically acclaimed album “AM” (2013) once again if they wanted.

This is not to say that the band did not put on a good show. They aimed

to please by opening with their biggest hit, “Do I Wanna Know?” (2013) and played the majority of their other hits, including an encore consisting of “Suck It and See” (2011), “I Bet You Look Good On The Dancefloor” (2006) and “R U Mine?” (2013).

Even as the sky unleashed pouring rain, the band played “I Bet You Look Good On The Dancefoor” with the same fast and unabashed energy they had in their teenage years.

The one surprise of the night came when Turner busted out an acoustic guitar to play a rare non-hit song off of “AM:” the moody “Fireside” (2013). This track allowed Arctic Monkeys to show off a slowed-down rock version of their earlier years while still keeping the audience engaged with a catchy chorus.

Shockingly, as songs from “The

Car” were played the screaming soldout crowd, continued singing along to songs that are nowhere near as popular as earlier albums and hardly resemble the band’s fast-tempo roots established on their debut “Whatever People Say I Am, That’s What I’m Not” (2006). In fact, the songs played from “The Car” were the most impressive part of the night, as they were the most unique from what was played on the album, a quality that is essential to any live concert.

While the Arctic Monkeys seem to be in a transitional phase, going from a young, fast and loud band with heavy drums and heavier guitar solos to a more mature sound, they reminded everyone that they still have what made them famous coming out of Sheffield in the early 2000s. Even as the sky unleashed pouring rain, the band played “I Bet You Look Good On The Dancefloor” with the same fast and unabashed energy they had in their teenage years.

The unexpected turns of live music is what makes it an entertaining and unique experience. Unfortunately, Arctic Monkeys seemed like they were not exploring anything new, playing their big hits the same way as they are

on their original albums. The band effectively delighted with their greatest hits but did not surprise. As they played hit after hit, I was stuck wishing they would play something unexpected, but I knew it was unlikely as night after night, the Arctic Monkeys’ setlist has seen little change since their tour began in April.

Overall, the Arctic Monkeys put on a very good show with many mo-

ments of greatness, including “Body Paint,” “I Bet You Look Good On The Dancefloor,” “Knee Socks” (2013) and “Arabella” (2013). The concert aimed to please everyone, and it succeeded. The show was undeniably fantastic, yet it still left me craving a foray into a more experimental territory.

Contact Spencer Friedland at spencer.friedland@emory.edu

Arts Aplenty: upcoming autumnal events for approaching autumn

clude Mozart’s String Quintet No. 3 in C major, K. 515, Mendelssohn’s String Quintet No. 2 in B-flat major, Op. 87 and Brahms’s String Quintet No. 2 in G major, Op. 111. This concert will kick off the 2023-24 Candler Concert Series.

Theater Emory: Lost Girl

Date: Sept. 28 - Oct. 1

Location: Schwartz Center for Performing Arts, Theater Lab

Written and directed by Assistant Professor of Dramatic Writing Kimberly Belflower, “Lost Girl” tells the story of J.M. Barrie’s Wendy Darling after returning from Neverland.

The coming-of-age story explores themes of “first love and lasting loss.”

By alExandra KauFFman Emory Life Editor

The fall semester is well underway. Students are in the thick of classes, assignments are racking up and midterms are just over the horizon. Be sure to step back from studying, take time for yourself and appreciate campus arts.

Balourdet Quartet with Jordan

Bak

Date: Sept. 22, 8 p.m.

Location: Cherry Logan Emerson Concert Hall

Jamaican American violinist Jordan Bak will join the Balourdet Quartet, residents at the Jacobs School of Music (Ind.), for a dynamic performance exploring a variety of orchestral music. The performance will in-

Additionally, the play won the 2018 Kennedy Center Darrell Ayers National Playwriting Award. Emory University students can reserve up to two free tickets to the performance.

Bach’s Lunch Series: The Fantastic Flute

Date: Sept. 29, 12 p.m.

Location: First Presbyterian Church of Atlanta

American flutist, conductor and composer Ransom Wilson will join the Emory Chamber Music Society of Atlanta (ECMSA) for an afternoon of music. The program will include a variety of classical music, including Mozart, Kuhlau and more. ECMSA’s Vega Quartet, professional musicians Elizabeth Pridgen (piano), Christina Smith (flute) and James Zellers (flute) will join the performance.

Student Studio Night

Date: Sept. 29, 5 - 7 p.m.

Location: Michael C. Carlos Museum

Hosted by the Carlos Museum and Centro Latinx, this student studio offers an array of activities.

From queer Latinx dance music of La Choloteca, to making art inspired by Latinx photographer William Camargo, to free food, this event offers students ways to explore the “You Belong Here: Place, People and Purpose in Latinx Photography” exhibition interactively and imaginatively.

Emerson Series: Chamber with Music

Date: Sept. 30, 8 p.m.

Location: Cannon Chapel

Hosted by ECMSA, this program will feature the works of Schubert, Vaughan Williams and more. Bethany Grace Mamola, assistant teaching professor of voice and performance techniques, and Bradley Howard, professor emeritus of voice, will sing in the chamber vocal performance.

Michael C. Carlos Museum

Public Tour

Date: Oct. 1, 2 - 3 p.m.

Location: Michael C. Carlos Museum, First Floor Rotunda

Learn more about the Carlos Museum’s galleries with a docent-led tour. The permanent collections boast an impressive range of artworks, including those from Africa, the Americas, Asia, Ancient Rome and Greece, Ancient Egypt and the Near East. Public tours have a limited capacity, so be sure to arrive early. All Emory students are granted free access to the Carlos Museum.

Contact Alexandra Kauffman at alexandra.kauffman@emory.edu

eliot Vaughey/staff Writer

“You Belong Here: People, Place and Purpose in Latinx Photography” displays polaroids and handwritten notes.

soPhia Peyser/M anaging editor

Lead singer Alex Turner croons at Atlanta stop of Arctic Monkey’s North American Tour on Sept. 11.

The Emory Wheel Emory Life

Belfower refects on writing, directing ‘Lost Girl’

By AlexAndrA KAuffmAn Emory Life Editor

Assistant Professor of Dramatic

Writing Kimberly Belflower did not always aspire to be a playwright — not consciously, at least. She grew up in rural Appalachian Georgia, coming from a family of farmers. Before starting drama her senior year of high school, she had only acted in one production, “Brigadoon,” at age 11.

“My mom always tells the story of when she would make my brother and I play outside,” Belflower said. “I would be that kid who would grab sticks and rocks and make them talk to each other. And so … looking back, it was very clear.”

Belflower studied theater in college, starting at Young Harris College (Ga.) and then transferring to Columbus State University (Ga.). She later received her Master of Fine Arts from the University of Texas at Austin. Belflower joined Emory University as a playwriting fellow in 2019 before she became an assistant professor of dramatic writing.

In Rich Memorial Building 216, Belflower’s office is littered with

trinkets — from a One Direction pencil holder to a Rococo-style porcelain figurine — showcasing her love of “small and weird” objects. Next to her desk, a bulletin board displays black and white photographs of people who inspire her:

Sylvia Plath, Sandra Cisneros, Caryl Churchill, Georgia O’Keeffe, Audre Lorde and the Brontë sisters.

Belflower has numerous tattoos on her arms, including Harriet the Spy, the state flower from every state she’s lived in, Matilda and a shark tooth commemorating her play

“John Proctor is the Villain.” On her right forearm, Belflower has a tattoo resembling the view from her childhood bedroom window. One side of the window is open, the other is closed. The tattoo is a reference to her play “Lost Girl,” as a window is the play’s central visual metaphor.

Now, Belflower is bringing “Lost Girl” to life at Emory. The show opens on Sept. 28 at the Schwartz Center for the Performing Arts.

Belflower began writing “Lost Girl” when she was 20 years old in 2008 and 2009, following her first heartbreak. At the time, Belflower’s friend told her that she had “Wendy

Syndrome,” meaning Belflower neglected her own needs for others, like Wendy Darling in “Peter Pan.” Belflower loved “Peter Pan” growing up, and her friend’s comment combined with her emotional turmoil spurred her to return to the story.

“Lost Girl” draws from Belflower’s personal experiences as well as James Matthew Barrie’s 1911 novel “Peter and Wendy.” The play explores Wendy’s character in greater depth than Barrie’s original work. In “Lost Girl,” Wendy is no longer a doe-eyed girl. Rather, she is a young woman struggling with depression and heartbreak amid the confusion of growing into an adult, which Belflower describes as “an endlessly rich time.”

Belflower returns to girlhood and young adulthood as creative subjects throughout her discography, incorporating details from her own life into her work.

“Every day you’re a different person,” Belflower said. “Every day, something new is being felt for the first time … My girlhood lives very, very deeply in me.”

Belflower abandoned every other play she wrote in college, but held onto the original 13-page first draft of “Lost Girl.” She continued to revise it over the years and eventually turned it in as her submission play for graduate school. “Lost Girl” was later published by Samuel French in 2018, a decade after Belflower first wrote the play.

Despite the play being about the emotional turmoil of a young woman, “Lost Girl” nonetheless holds a timeless truth about youth, which Belflower believes is relatable for all audiences.

“It’s been so tremendously moving for me to work on the play here with my students,” Belflower said.

“I was [their] age when I started writing this, and I’m in my mid30s now, being so removed from that moment in my life, but then still being around that moment in

life every single day as my job and reencountering the version of me that started writing this play has been so beautiful.”

Emory’s production of “Lost Girl” is not the first of its kind. The University of Texas and Milwaukee Repertory Theater have both put on productions of the play, which Belflower was heavily involved in as a playwright. However, she said directing the play offers a different creative experience, posing its own set of creative challenges.

Uniquely, “Lost Girl” moves continuously without any scene breaks, which Belflower said she and her students have struggled with during rehearsals.

“We had this recurring joke in rehearsal where I’ll get stuck on something, and I’ll say ‘God, who wrote this thing?’’’ Belflower said, laughing.

Nonetheless, Belflower described directing as a creatively fulfilling endeavor. She doesn’t see directing a play she wrote as realizing her singular, creative vision, but rather as a collaborative process akin to any other production. There’s always a new way to view the script — it’s iridescent and shifting.

It has been years since Belflower last directed, and she didn’t realize how much she missed it.

“I’m just so stinking proud of the ensemble of actors that we have,” Belflower said with a smile.

Her appreciation and love for her all-student cast, dramaturgy team, assistant director and assistant designers are palpable when she talks about them. Belflower remarked that she feels “lucky” to be working on “Lost Girl.”

“It’s a very, very student-led process in a lot of ways, and I’m always the most excited about that,” Belflower said.

Belflower hopes Emory students will come out to support their peers involved in “Lost Girl” and, by extension, the Lenaia Playwriting Festival — a multi-day theater event featuring plays written, directed and performed by students — which will be held in March 2024.

“The magic of theater is that it’s ephemeral — it changes,” Belflower said. “Every production is different. Every night of each production is different.”

— Contact Alexandra Kauffman at alexandra.kauffman@emory.edu

Seasoned college students ofer wisdom to frst years

By Sydney Song

Contributing Writer

College is a time for figuring out how to live away from home, discover your passions and meet your people. It is normal to crave home-cooked food and wonder why you are not living the college life that you saw in the movies. The first few months at school can be overwhelming, so here is advice dedicated to first-years from Emory University students.

“College is the lowest-risk period in your life to try something new — don’t fall into the trap of thinking you’re too busy, and just try things out,” Emery Hill (25C) said. During her sophomore year, Hill joined Emory University’s rock climbing club. The team quickly became one of Hill’s favorite pastimes, and it is now one of her preferred ways to de-stress. Hill works at the climbing wall at the George W. Woodruff Physical Education Center and met new friends there who share her love for climbing. She urges first-years to try new things because it is a lowcost, high-reward way to find new passions.

“Get good sleep,” Caitlyn Ye (26B) advised. As you schedule classes, meals, clubs, homework and seeing friends into your 24-hour day, do not forget to squeeze in some sleep. While a lack of sleep may seem manageable at first, it will quickly catch up to you. Sleep 7-9 hours to regulate your mood, prevent daytime drowsiness and improve academic performance.

“Talk to everyone you can during the first couple of weeks,” Keshav Patel (26C) recommended. Patel recalls meeting many interesting people during his first week at Emory, and he was lucky enough to meet his best friend at Songfest. First-years often experience significant changes during the beginning of the school year as they figure out who they want to be friends with and how they want to spend their time. While experiencing these changes, Patel encourages first-years to be open to meeting new people because you never know who will become a good friend.

“Make sure to carve out time for your friends and things that you enjoy doing,” Brett Fortier

(26B) said. As the semester progresses, it becomes more difficult to make time for friends and personal hobbies. You may even feel guilty when you choose to do something you enjoy rather than study. Although it may not seem plausible during midterms or finals season, prioritize making time for yourself, as it reduces stress and anxiety levels, according to Mental Health America.

“Office hours are the life hack of college — you become comfortable with your classes and build a relationship with professors,” Hill said. It may seem intimidating to approach a professor after class, but Hill encourages first-years to converse with their instructors. The University’s faculty are distinguished researchers, Pulitzer Prize winners and successful business professionals. Emory’s respected faculty can be great mentors who push you to have a deeper understanding of the class topic.

“Don’t be scared to talk to upperclassmen because everyone really just wants to help you out,” Ye said. It may seem intimidating to approach a junior

or senior, but they are only a couple years older than you. They just went through what you are currently experiencing, so there is no better person to seek for help. Most older students are happy to offer you advice, look out for you or simply be your friend.

“Take advantage of clubs and all the different activities at the beginning of the year,” Patel said. He wishes he got more involved on campus during his first semester at Emory, as clubs are a great way to find community and explore new interests. With 480 clubs, perform-

ing arts groups and sports teams at Emory, there is an organization for every student’s interest.

“Go to class … optional attendance does not mean that you shouldn’t go,” Fortier exclaimed. Even if the syllabus states that attendance is not mandatory, Fortier said that every student should go to class. Attentively listening to lectures in class promotes engaged learning, which will take you far when studying for finals.

— Contact Sydney Song at sydney.song@emory.edu

Auffm A n/e mory l ife editor Kimberly Belflower, assistant professor of dramatic writing, demonstrates blocking on the window set piece.

Belflower directs two students during the rehearsal of a heartfelt scene in the Schwartz Center for Performing Arts.

Professor recounts journey as frst-generation college student

By Amiee ZhAo Emory Life Editor

Content warning: This piece contains references to sexual violence.

Visiting Professor of Political Science at Oxford College Rachel Harmon has come a long way since her introduction into academia as a first-generation college student. In an interview with The Emory Wheel, Harmon recounted her winding journey to becoming a professor.

“I felt like I didn’t have a voice to reach out for help, and I didn’t deserve to,” Harmon said, recalling her college experience.

“First-generation college student” refers to students who are the first in their family to receive a bachelor’s degree from a four-year college, according to the Center for First Generation Student Success. Harmon attended Middle Tennessee State University (MTSU) as a firstgeneration college student. Harmon dedicated 10 years to earning her degrees, ending with a doctorate in political science from Emory University.

The path to Emory

Harmon talked about first-generation students’ difficulties in deciding on a career path. She said she has always been interested in international security and conflict, which led her to major in international relations during her time at MTSU. However, she said her family had other ideas about what a successful college path looked like.

“My dad especially would ask,

‘Why don’t you go to law school?’ and, ‘Why are you not pre-law?’ because that was seen as a pathway to a really good career, to be a lawyer,” Harmon said. “That happens for a lot of first-gen students where their parents might not realize there’s a wide range of options that can lead to really fulfilling lives.”

lege and eventually transferred to MTSU.

“I didn’t even have the typical high school experience, so when I started college classes, I really didn’t know anything about school systems at all,” Harmon said.

The difficulty of identifying as a first-generation student added to her challenges. The definition of “first generation” is usually nebulous, and Harmon said she didn’t initially know whether this identity applied to her.

she’s ever done,” she said that faculty was “incredibly understanding and kind.”

Her professors connected Harmon with helpful campus resources and encouraged her to apply for financial grants. Because of her experience, Harmon said she places an emphasis on connecting her own students with conversations and support resources on campus.

In Harmon’s case, her humanities major led to meaningful and viable working opportunities in education and human rights. She recalled her internship and volunteer experiences, which helped her peek inside the world of international relations.

Harmon applied for a grant from MTSU for a project on refugee rights and immigration in her junior year, which helped her focus her interest in human trafficking. During college, she also taught English as a second language to immigrants in the United States. After graduation from her masters program at MTSU, she moved to Mexico City for a practicum, expanding her knowledge in

Crossword “Awesome Autumn”

By mirAndA WilSon Crossword Desk

ACROSS

1. Theme of this puzzle

5. Lil __ X, American rapper 8. Might turn red or orange during 1-across 12. Popular music genre associated with 1-across 14. Popular food during 1-across 15. Large exhibition 16. __ and ladies

17. Tragic opera by Giuseppe Verdi 18. Owned by many a guitar player 19. Pediatricians, e.g. 20. Popular activity during 1-across 23. City of the NASCAR Hall of Fame (abbr.)

24. Used with poles 25. Indian actress Radhika

27. Be MIA

30. Language family of 600 languages across Africa

33. “I challenge you to _ __”

34. Great lake 35. Opposite of yous

38. When doubled, a vacation spot in the French Peninsula 39. Popular accessory during

61. Halloween motif 62. Popular drink during 1-across

Adjective associated with 1-across 65. Eulogy (abbr.)

66. Raise 67. Patella location 68. Suffix to feminize heir 69. Output signal circuits DOWN

1. __ and Media major

2. _ __ to (refers to)

3. Couples that live in different cit ies, e.g. (abbr.)

4. Top

5. Genre of 1-down

6. Car brand with four rings

7. A person whose job is to give political advice

8. EMEA League of Legends competition

9. Precise

10. Common pie fruit

11. 12 inches

13. Former Prime Minister of Israel

international organizations.

“I realized I could combine all those things of working with students, teaching people, talking about these topics that I’m passionate about and also get to do research,” Harmon said.

“Being a professor is the best choice.”

Although it took her more than 10 years to go through higher education, Harmon said she realized that she didn’t need to go at the same pace as everyone else. She said trying out opportunities and focusing on herself helped her establish a career in academia. Combining her passion for human rights and her experience as a first-generation student, Harmon now runs Everwell International Scholarship, a scholarship for survivors of human trafficking.

Encountering challenges

Harmon was homeschooled before she went to community col-

“The first time I heard it, I thought it meant that you were the first generation of an immigrant family,” Harmon said. “So I was like, well, that’s not me.”

Being a first-generation student presented challenges to Harmon, particularly in terms of seeking help when she suffered from sexual violence. Harmon said she struggled to communicate her concerns to administrators, both as a victim of sexual violence and as an autistic student.

“I sometimes didn’t know how to interact the same way that I would see peers interacting,” Harmon said. “And I didn’t know how to ask for help, really, or how to advocate for myself.”

These difficulties were compounded by the confusion she encountered as a first-generation student. Eventually, Harmon decided to drop out of college.

Seeking support

Summoning courage, she reenrolled in college soon after leaving.

Although Harmon said this transition was “one of the hardest things

“The main thing I would suggest for first-gen students is to use all of the resources that are at the Uuniversity. Apply for things that you think you might not get — apply anyways. Show up to events, take advantage of all the things that Emory has, not only for first-gen students,” Harmon said.

She recommended first-generation students at Emory seek out groups like the Emory Identity Spaces Project and Emory 1915 Scholars Program.

“Try for all the things, even if you’re not sure, because every once in a while it will work out better than you expect,” Harmon said.

— Contact Amiee Zhao at yiqing.zhao@emory.edu

If you or someone you know experienced sexual assault, you can access Emory’s Office of Respect at their hotline 24/7 at (470) 270-5360. You can reach the RAINN National Sexual Assault hotline 24/7 at (800) 656-4673. You can reach the Atlanta Grady Rape Crisis Center crisis hotline 24/7 at (404) 616-4861 and the Decatur Day League Sexual Assault Care and Prevention crisis hotline 24/7 at (404) 377-1428.

by China and Russia

41. Popular Starbucks order during 1-across (abbr.)

44. In policy debate, one is 9 minutes

46. Inscription on friendship necklaces

47. __ figs (term chem majors are familiar with)

51. 52 cards

53. Woodwind instrument

54. They come in chocolate, yellow, etc.

55. Suffix for some viruses

56. Biology prefix for gram and type

57. __ assured

58. __ & Entertainment, section of the Emory Wheel

60. Type of bread

63. Charged molecule

c ourtesy of r AcHel HA rmon

“I realized I could combine all those things of working with students, teaching people, talking about these topics, that I’m passionate about, and aso get to do research.”

— Rachel Harmon, visiting professor of political science

Atlanta win ‘signifcant on many levels’

Continued from Back Page

shot in the box to give Atlanta the 3-1 lead at halftime.

Campana scored a penalty early in the second half to bring the score to 3-2, but as the game went on, Atlanta attack took over, in large part due to several runs from Atlanta midfielder Thiago Almada. Atlanta forwards Giorgos Giakoumakis and Tyler Wolff scored two late goals to cement the 5-2 win for Atlanta.

This Atlanta win was significant on many levels. The team stopped Miami head coach Tata Martino and Miami forward Josef Martinez from getting a win against their former team that they won the MLS Cup with in 2018. They handed Inter Miami its first loss in the Messi era, succeeding where many good teams, including Cincinnati FC and the Philadelphia Union, have struggled. It was also a clear reminder that Atlanta is an improving team hoping to make a deep run in the postseason this year.

— Contact Madeline Shapiro at madeline.shapiro@emory.edu

Squad looking forward to new challenges, building cohesion

Continued from Back Page

Schmidt added that it is important to create a cohesive team bond to facilitate effective communication on the field.

“We all get to school a couple weeks early,” Schmidt said. “We do a lot of team dinners and team bonding … so we can really create that bond off the field which I think then really translates to on the field when we start playing games and facing some of the tougher opponents because we already have that strong base.

The Eagles hope to use the new players to their advantage while also capitalizing on their depth. With the incoming freshmen and transfers, Patberg said she expects more firepower in the lineup this year.

Schmidt said that part of incorporating the younger players into the roster is to make them feel confident in expressing themselves on the field.

“We are in the same formation that we played last year,” Schmidt said. “We’re really focusing on our communication on the defensive line … It’s all about that cohesion in the back,

and building that confidence to speak up while we’re on the field is really important.”

The Eagles began their season on Sept. 1 with a 7-0 win against Piedmont College (Ga.) and a 2-0 win against Berry College (Ga.) on Sept. 10. For Patberg, the results against Piedmont and Berry were “disappointing” despite getting the wins.

“[Piedmont was] weak, and it was a weak opponent,” Patberg said. “They really didn’t challenge us at all … then we played Berry, and they were pretty defensive-minded. Again, we

beat them, but felt like we probably should have scored four goals instead of two.”

The team lost 3-1 to University of Hartford (Conn.) on Sept. 10, won against Illinois Wesleyan University 5-0 on Sept. 15 and won against Lynchburg University (N.C.) 1-0 on Sept. 17.

With their win against Lynchburg, the Eagles are now 4-1-0 and start with a better record than their 3-2-0 start in 2022. Regarding Emory’s first loss this season, Schmidt said that playing against Hartford was

different compared to the other opponents they faced this season thus far.

“They were a Division I team and just dropped down to Division III,” Schmidt said. “That was a really fun challenge for us to go up against an opponent like that, and I think it was a good test.”

The Eagles’ next home game is on Sept. 21 at 7 p.m. against Centre College (Ky.).

— Contact Clement Lee at clement.lee@emory.edu

Sports The Emory Wheel MLS

Messi downs pizza while Atlanta United thrash Inter Miami

By Madeline Shapiro Sports Editor

Last year, I dragged my friend to Atlanta United’s game against Toronto FC to watch the Canadian team’s Italian trio of Federico Bernardeschi, Lorenzo Insigne and Domenico Criscito. She needed less convincing to go see Atlanta United face Inter Miami’s former Barcelona trio of Jordi Alba, Sergio Busquets and Lionel Messi on Sept. 16, with extra emphasis on Messi.

Emory women’s soccer kick of year with fair

By CleMent lee Sports Editor

The Emory University women’s soccer team has high hopes for the 2023 season. In 2022, the squad finished with a record of 13-5-1, placed third in the University Athletic Association (UAA) and made it to the Sweet 16 of the NCAA Division III Women’s Soccer Championship. They entered the 2023 season ranked No. 24 in the country.

Although the team made an impressive national championship run last season, head coach Sue Patberg said she was not satisfied with the result. Patberg said the team’s main goals in 2023 are “going after the conference title” and “winning the national championship.”

“Last year, we finished in the round of 16,” Patberg said. “We all felt like we had another game in us at least. We’re [a] pretty deep team this year in that

we have a lot of talent, and we’re kind of at the stage of trying to put all the pieces together and figuring out what players have the best chemistry with each other.”

Junior defender Claudia Schmidt said that one way the squad can improve and work towards this goal is to stay focused, especially for away games.

“We’re just focused on each game one at a time,” Schmidt said. “I think one of our bigger challenges last season was staying focused while we were traveling and while we were on the road because we do a lot of plane trips. Maintaining that headspace … in a new environment is really important.”

Graduate forward Kylie Hall, who broke the program’s total assist record on Sept. 15, noted that one of her personal goals is to “soak up” her final year playing for Emory and to win as many games as possible.

“[Going far in the national tournament] all starts with winning the important games,” Hall said. “Every single game is important … so it’s really just working together as a team to ensure that we get those wins that we need so that we can go far.”

Despite losing eight seniors from last season, the team has 13 new players, which include 11 freshmen and two transfer athletes. Schmidt said that although the team is more underclassman-heavy, they have found ways to bond.

“We have so much new young talent,” Schmidt said. “Given that we don’t have as many upperclassmen and we have mostly underclassmen, it’s an interesting dynamic ... It mixes things up and allows us to explore different strategies on the field that we didn’t necessarily explore last year.”

I should have known the risks of paying more than the average MLS ticket price to see Messi play. Mercedes-Benz Stadium, home to the Atlanta Falcons and Atlanta United, uses artificial turf, a surface that Messi reportedly is not keen to play on because of an increased risk of injury.

Additionally, Miami will play Houston Dynamo FC in the U.S. Open Cup final on Sept. 27 for a chance to win the second title in team history. Coaches and team executives would likely not have wanted Messi to pick up an injury on the road before such an important game.

So, it should not have been surprising on Sept. 16 to see headlines that Messi would not be playing against Atlanta. However, I was not expecting to wake up and see images of a mostlytomato-covered pizza all over social media. It was humorous yet devastating proof that I would not get to see the “G.O.A.T.” play. Since Messi was at Banchero Pizza in Miami, it was clear that he had not traveled with his team to Atlanta.

Despite this, upon entering the stadium for the game, I was no longer that disappointed. The stadium was packed. This was quite a different

experience compared to the game I attended last season when only half of the seats were full. More importantly, I saw a sea of red Atlanta United jerseys, not Inter Miami’s bright pink (with a No. 10 on the back). While Inter Miami may be America’s team at the moment with Miami fans taking over opponent’s stadiums for every Miami away game, it was reassuring to see that is not the case in Atlanta.

Atlanta is expected to compete in the MLS playoffs, and it’s one of the highest-scoring teams in the league. This is a significant improvement on last year’s mediocre season where the team didn’t even make the playoffs. Miami is currently 14th in the Eastern Conference in need of a long winning streak to earn a playoff spot, so a win in Atlanta would have greatly helped Miami achieve this goal.

Both the players and the fans were determined to stop Miami, with the fans making as much noise as possible in the stadium. Atlanta had much of the early possession, but Miami forward Leonardo Campana opened the scoring in the 25th minute with a counter-attack goal. There was a loud cheer around the stadium from fans wearing both Miami and Argentina jerseys.

The Miami goal sparked the Atlanta attack into life. Atlanta midfielder Tristan Muyumba’s glancing header barely crossed the line in the 36th minute to tie the game. Atlanta continued their late first half wave of attack, forcing Miami defender Kamal Miller to score an own goal in the 41st minute. Atlanta defender Brooks Lennon scored with an open

Emory swim and dive ‘making waves’ to fght childhood cancer

By SaSha MelaMud

Contributing Writer

Emory University men’s and women’s swimming and diving teams will participate in the Swim Across America (SAA) Open Water 5K Swim fundraiser on Sept. 23 at Lake Lanier.

SAA is a national organization that raises money for cancer research and clinical trials. Traditionally, only Olympians swam the Open Water 5K Swim for SAA, but the event is now open to everyone — doggy paddle or butterfly.

SAA Board of Directors member Vicki Bunke said she is “excited” about Emory’s participation.

“I’m so happy for what the Emory swim and dive team are doing,” Vicki Bunke said. “It’s really a big deal.”

Vicki Bunke first got involved in SAA because of her daughter, Grace Bunke, who was diagnosed with osteosarcoma when she was 11 years old. Osteosarcoma is a type of cancer that is most common in children and teens, and it requires extensive chemotherapy and surgery. However, Grace Bunke’s treatment uniquely entailed a leg amputation.

According to Vicki Bunke, both her and her daughter were originally runners, but Grace Bunke transitioned to swimming after her leg was amputated. Grace Bunke then found out about SAA, allowing her to combine two of her passions: swimming and trying to find a cure for childhood cancer. She swam in an

event in 2017 before passing away at the age of 14.

Before she passed away, Grace Bunke challenged her mother to “carry on her swim cap,” so Vicki Bunke, who had very little experience swimming laps, began training. She swam her first mile in 2018, an Open Water 5K Swim in 2019 and the Amazing Grace SAA Tour in 2021. The tour consisted of fourteen events, and Vicki Bunke swam them all in honor of her daughter, who would have been 14 years old at the time. By 2021, Vicki Bunke said she swam a cumulative 43 miles.

Vicki Bunke will not be swimming in the Open Water 5K Swim this year because she said she has to “make sure that everything gets done on the land.” She added that the 5K swim is only part of SAA’s mission.

“The swim is really just the ‘how,’” Vicki Bunke said. “If the swim becomes the ‘why,’ then we’ve lost sight of why we’re doing this.”

Junior Nolan Lahmann was diagnosed with lymphoblastic leukemia when he was 2 years old. He underwent three years of chemotherapy before being deemed cancer-free at 5 years old and began his swimming career. When Lahmann heard that Emory was participating in SAA, he said that “is definitely something that [he] really want[s] to partake in.”

Lahmann added that charities like SAA directly impacted him during his recovery, and he is always trying to give back. As a cancer-survivor,

Lahmann said his life motto is “taking everything with gratitude.”

The National Cancer Institute only allocates 4% of its federal funding to childhood cancer research. Vicki Bunke said that is “really unacceptable,” and SAA is working to accomplish immediate change through their donations.

All of the donations that are raised in Atlanta stay local, going to the Aflac Cancer and Blood Disorders Center of Children’s Healthcare of Atlanta. Additionally, some funds go to researchers at Emory working on new cancer treatments. So far, SAA has reached about 85% of their $450,000 goal, and the Eagles are one of the top fundraisers for the Atlanta event.

Emory Swim and Dive Assistant Coach Bob Hackett is at the top of the team’s roster, having raised $9,606 as of Sept. 19. Senior Captain William Kerscher isn’t far behind, having raised $5,899. Kerscher, who applied to be a collegiate ambassador for SAA this year, set the swim and dive teams’ initial fundraising goal at $30,000, which they have surpassed by over $20,000.

“I think my team’s getting annoyed with me for how much I text them about [the fundraiser],” Kerscher said. “I don’t care, because it’s worth it.”

Kerscher added that the swim and dive teams have raised three and a half times their previous fundraising record. He also plans to get involved

on the national level of SAA after he graduates.

Lahmann, who swam in the fundraiser last year, said that open water swimming is difficult compared to indoor swimming.

“It’s a very weird experience because when you’re in one of the pools in the [Woodruff Physical Education Center], it’s one black line and you’re looking at that, back and forth,” Lahmann said. “I was kind of expecting the same thing last year, except, as soon as I got into the [lake], you just couldn’t see anything. The water was so murky.”

Even Hackett, a former Olympic swimmer who will also be swimming on Sept. 23, acknowledged the challenges of an open water swim.

“It’s very different because there’s no lane lines and there’s no walls,”

Hackett said. “You have to sight yourself. When you’re breathing, you have to pick your head up and sight where you’re going because you don’t want to swim crooked.”

Hackett said he is excited to continue his participation in the event. He was close with one of the founders, former Olympian Janel McArdle. He will be swimming this year for three of his close friends who have suffered from glioblastoma.

The SAA tagline is “Making Waves to Fight Cancer,” and Vicki Bunke believes the Emory swim and dive team is doing precisely that.

“They are wave-makers,” Vicki Bunke said. “They’re trying to make a difference in their local community.”

— Contact Sasha Melamud at sasha.melamud@emory.edu

JaCk rutherford/C ontributing Photogra Pher

Graduate forward Kylie Hall crosses the ball during a game against Illinois Wesleyan University on Sept. 15. Emory won 5-0.

C ourtesy of eugene soh

Emory swim and dive celebrate at nationals on March 18.