Chicago-Maroon-11-05-24 by The Chicago Maroon

CHICAGO

M AROON The student newspaper of the University of Chicago since 1892

Like a G6 Far East Movement sat down to talk about their new album Free Wired

Voices, page 6

TUESDAY, MAY 24, 2011 • VOLUME 122, ISSUE 50 • CHICAGOMAROON.COM

HYDE PARK

PROTESTS

Whole Foods signals Hyde Students march for housekeeper jobs Park potential for big business By Crystal Tsoi Senior News Staff Following the recent announcement that Whole Foods Market will open at 51st Street and Lake Park Avenue in 2014, new details have emerged regarding the specifics of the organic foods supermarket’s decision to come to Hyde Park, as well as an increased response from the community. Antheus Capital, which will own and manage Whole Foods’s property in Hyde Park, has worked closely with former Alderman Toni Preckwinkle and Interim Alderman Shirley Newsome for years to bring retail to Hyde Park, according to Director of Community Development at Antheus Capital Peter Cassel. “It used to be that developers picked retailers but that is no longer true,” Cassel said. “We didn’t pick Whole Foods. Whole Foods picked Hyde Park.” Ta l k s a b o u t p o s s i b l e r e t a i l ers coming to the development on the southwest corner of East 51st Street and South Lake Park Avenue started about a year ago in the midst of a wave of retail expansion in neighboring Harper Court.

According to Cassel, several national supermarket chains expressed interest in expanding into Hyde Park, “but in the end, Whole Foods was the retailer that was able to finalize a lease.” “I think that the people over at Whole Foods know who shops at their stores and they know Whole Foods best. They’ve put a lot of thought into it,” Cassel said when asked about whether Whole Foods’s high prices will appeal to the residents of Hyde Park. In a Chicago Sun-Times article on May 5, Michael Bashaw, president of Whole Foods’ Midwest region indicated that the company’s decision for real estate development in a certain area “requires [that] a complex set of circumstances be met, including available and appropriate property,” as well as the appropriate demographics. The “mixed-use project” consists of 110,000 square feet of retail and office space along with 179 residential units. Designed by Jeanne Gang and Studio Gang Architects, the project is expected to cost around $130 million and set to break ground in the fall of 2012. Construction will be completed

WHOLE FOODS continued on page 2

First-year George Rapidis, third-year Noah Moskowitz, fourth-year Talia Barzel (left to right), and other students march and chant, demonstrating in support of campus workers outside the administration building at noon on Monday. MICHELLE YEO/MAROON

By Amy Myers News Editor Student protests about the facilities and housekeeping merger continued yesterday afternoon with a march to the Administration Building. Over 50 students gathered to demonstrate against a facilities change and new din-

ing hall contract which could threaten the jobs of University housekeepers and dining hall workers. The Student Solidarity March for Housekeepers and Dining Hall Workers marked another event in a series of public protests, as student groups openly criticize the potential job loss.

“Hey Zimmer, step off it! Put people over profit!” began the first group chant. By noon, about 25 students gathered to carry signs from Bartlett Quad to the Administration Building in a planned march. A half hour later, in front of the Administration Building, about 50 stu-

PROTEST continued on page 2

ARCHITECTURE

OBITUARY

Logan Center leaves fate of current arts spaces up in air

Med owner Hans Morsbach dies at 78 By Sherry Cao News Staff

By Benjamin Pokross News Staff No w t h a t t h e Jo e a n d R i k a Mansueto Library has opened, the next big-ticket item on the U of C’s construction agenda is the Reva and David Logan Center for the Arts (LCA), slated to open for classes next spring. The details of the new space have artists on campus abuzz. Bill Michel (A.B. ’92, M.B.A. ’08), executive director of the LCA, said that construction is on budget and on schedule. Michel said that the performance halls and the center’s café will open in the fall of 2012. The $114 million building is financed in part by the University and in part by alumni donations spurred by the L ogan family’s $35 million contribution, according to Michel. The future of existing art buildings, such as Midway Studios at East 60th Street and South Ingleside Avenue, is uncertain. “In general, it’s my hope that much of the space that’s being vacated will still be available for arts use,” Michel said. Michel said that University administrators were undecided about the fate of Midway Studios, but that he hoped the building would still be

Bill Michel, executive director of the Logan Arts Center, leads a tour of the construction Friday at the East 60th Street and South Ingleside Avenue site. JONATHAN LAI/MAROON

used for some artistic purpose. Much of the arts activity that is now scattered across campus will occur in the Logan Arts Center. According to Michel, the Logan Center will host 90 percent of visual arts and theater, as well as offering new music practice spaces and a cinema. “The building will be welcoming to the entire University community,” Michel said. He added that multiple student lounges will be

distributed throughout the building to ensure that the building is not simply a center of teaching but an integral part of student life. Michel said that he hopes the building will foster artistic collaboration. “We’ve paid close attention both to our architects and faculty and staff about how you can have multiple artistic media on one floor,” Michel said.

LOGAN CENTER continued on page 2

A lover of German food, forestry, and all things Hyde Park, Hans Morsbach (M.B.A. ’61), who bought and developed the now-famous Medici Restaurant, died May 6 at Northwestern Hospital at the age of 78. He died from complications from a stroke following surgery. He bought the restaurant in 1964 for $1,600 on a whim and without any long-term visions for the restaurant. Now, the servers wear shirts touting “Obama eats here.” The proof is literally on the walls—Malia Obama left her signature upstairs among those of thousands of University students and visitors. Though the Medici restaurant has become a classic Hyde Park institution for University students and Hyde Park passersby alike, Jake Spicer (A.B. ’97), manager of The Pub and Morsbach’s long-time business partner and friend, describes Morsbach’s relationship with the University as “love/hate.” “He liked his experience at the business school and thought very highly of the academics,” Spicer said. “But he never felt like an insider with the University administration. That pained him as an alumnus and a resident of

Hyde Park.” Nevertheless, the graffitied furniture, walls, and surfaces of the restaurant reflect Morsbach’s legacy at the University. Though born in Kaiserslautern, Germany, Morsbach raised his family with his wife Kathy on Harper Avenue, sending both of their children to Ray Elementary and championing the preservation of Promontory Point, among other Hyde Park causes. “He was a champion for the downtrodden everywhere,” Spicer said. Morsbach also loved spending time on his farm in Wisconsin, where he planted hundreds of thousands of trees to foster his love of forestry. He published the book Common Sense Forestry in 2003, and his love of art and nature is reflected at the Med. “He helped make every piece of furniture in the restaurant, as well as handpick each piece of art,” Kirsten Esterley, manager of the Medici Restaurant, s aid. “The Indian temple guard especially reflects his impact on the restaurant. It took forever to get here from a Frankfurt antique store, but it’s here now and has been rotating once every hour.” According to his son Paul, he was a man who was never afraid to take

OBITUARY continued on page 2

CHICAGO MAROON | NEWS | May 24, 2011

STUDENT LIFE

SG members to send letter in support of housekeepers

Circus fires up Bartlett Quad

hird-year Edward Menéndez performs with a fire hoop at Le Vorris and Vox's Spring Spectacle Friday evening on the Bartlett Quadrangle. The circus, which was revived last year through the Uncommon Fund, also showcased trapeze artists, clowns, and acrobats. DARREN LEOW/MAROON

Prices make Whole Foods inaccessible to much of the neighborhood, fourth-year says WHOLE FOODS continued from front page and stores and residences will open in 2014. In addition to the arrival of the new supermarket, the well-known Hyde Park e s t a b l i s h m e n t Th e O r i g i n a l Pa n c a k e House is also expected to sign a lease and continue to do business at the newlydeveloped retail space. Upon opening, Whole Foods is expected to employ 125 employees with their 18th store in the metropolitan area, according to an May 12 article in the Medill Report of Northwestern University. According to Cassel, feedback from residents in the Fourth Ward has been mostly positive as residents welcome the appearance of larger stores. But some are wondering why there is an absence of a larger variety of types of retail in Hyde Park. “Most people are still wondering where they can get a pair of socks,” Cassel said. Some have criticized the appearance of Whole Foods as unnecessary to an area

that they think is already well served by its local grocers. Fourth-year Emily Lines feels conflicted about the development. “I am frustrated with Whole Foods as a company in the way their food is sold and marketed and priced,” she said. “I think that it will be inaccessible to many of the inhabitants of Hyde Park.” Gerard Olack, a University research scientist who shops at Hyde Park Produce, sees Whole Foods’s presence in a positive light. “They tend to have a good reputation. I don’t think it’ll be that bad for the local shops here,” he said. “With the Whole Foods lease in place, we are confident that we can secure a construction loan,” Cassel said. The appearance of Whole Foods may perhaps foreshadow the coming of brighter retail days for Hyde Park as both the University and the local community put effort into attracting bigger names to the neighborhood.

PROTEST continued from front page dents in total demonstrated in protest to criticize the University’s actions. The group ended the event chanting, “We’ll be back!” Students have spoken out about administrators’ treatment of housekeepers, claiming that workers with decades of experience deserve to keep their jobs. “The University, by just arbitrarily laying them off and not really doing anything to provide for them, is violating their dignity,” firstyear and Worker-Student Coalition member Vitas Zukowski said. Members of the Worker-Student Coalition, a group composed of nine different activist RSOs, recently met with SG members to discuss gaining support from the group. According to secondyear and Students Organizing United with Labor (SOUL) member Lexie Grove, SG members were largely receptive to the idea but ultimately decided against passing a more formal referendum. Instead, some SG members now plan to draft a letter in support of the housekeepers and dining hall workers, according to SG class of 2013 representative Sam Scarrow. Now, in light of the SG meeting and initial support, Grove is also hopeful that a meeting between the Worker-Student Coalition and University administrators is on the horizon. In an e-mail advertising the event, the organizers of the march claimed that recent public protests and demonstrations have proved to be the most effective methods in garnering change. Grove said that the University’s acknowledgement of student interest in the issue has been a promising development. “[Administrators are]

admitting that it’s something that’s not completely out of their hands.” The SOUL press release cites a comment made by Vice President for Student Life Kim Goff-Crews at a “Coffee and Donuts” event with President Zimmer on May 13 as evidence that the University could meet their demands. According to the press release, Goff-Crews announced, “We may end up stipulating that in the contract... but we’re not going to stipulate that right now.” The group’s press release interpreted this comment to mean that the administrators could meet their demands but have not yet decided to do so. At the same event, Zimmer declined to comment on the issue, as negotiations are still ongoing. Grove called the University’s limited response frustrating. “It’s becoming more and more apparent that they completely could just meet our demands,” she said. The Worker-Student Coalition is comprised of SOUL, Movimiento Estudiantil Chicano de Aztlán, Southside Solidarity Network, Students for a Democratic Society, Graduate Students United, Organization of Latin American Students, University of Chicago Coalition for Immigrant Rights, and UChicago Climate Action Network. Past events by the Coalition have included a talk with housekeepers and a rally in front of the Adminstration Building, both events in late April. Event organizers agreed this would not be the last event of the academic year. SOUL is calling for a written statement from the administration assuring the job security of the housekeepers and dining hall workers before the summer.

Politically active Med owner’s business ethics inspired fellow workers

Art Center will allow students to collaborate in close proximity Morsbach and his wife Kathy in Munich, Germany celebrating his brother's 80th birthday in 2009.

LOGAN CENTER continued from front page According to Michel, there will be a digital media center in the basement of the building that will provide editing tools, different kinds of equipment, and computers with special software. All different disciplines will be able to use these resources, and this unity, Michel hopes, will “both support and define the digital media center.” Several arts organizations have expressed enthusiasm about the new arts center. “Generally, we’re very excited about it,” said second-year Adrienne Swan, current events coordinator and incoming director of Festival of the Arts (FOTA). Swan said the LCA solves some problems for artists on campus. “It’s an issue of where we can find materials, where [artists] can exhibit,” she said, adding that Midway Studios is not available to all students. Swan added that while her organization had made no plans to work with the Logan Center, she saw it as filling a need for a centralized art space that is open to everyone, not only people in arts classes. “This is going to make things so much better for anyone who wants to make things in the undergraduate student body,” she said.

University Theater (UT) already has plans to move into the LCA. UT will move its entire programming to the LCA, including two rooms the program occupies in the Reynolds Club, along with classroom space they use in collaboration with Theater and Performance Studies (TAPS), according to UT committee chair Sarah Collonge. Collonge sees many benefits to UT’s move to the Logan Center, including the proximity to other arts organizations. “I think it will create a really healthy environment for collaboration and for Fire Escape Films and DOVA (Department of Visual Arts) offices,” she said. “The biggest point will be that we’ll be part of a spatiallyrealized artistic community.” UT is planning to inaugurate their new spaces next spring with their quarterly 24-Hour Play Festival and the play An Actor Prepares by Michle Maher, among other things. There are already plans for outside performances to occur. “Thanks to the support of one of our alumni we’ll have a cabaret series” in the performance penthouse, Michel said. One of the namesakes of the center, David Logan (A.B. ’39, J.D. ’41), who broke ground on the new center last spring, passed away earlier this year.

COURTESY OF KATHY MORSBACH

OBITUARY continued from front page chances His wife Kathy said he was a good husband and a great father. To Esterley, he was a man whose personal integrity and ethical business practices inspired her own business practices. “He was definitely a character,” Esterley said. “He stood at 6’3” and had no filter. He said exactly what he wanted, and though not everyone agreed with his politics, he always came from a good place and wanted the best for his customers, his workers, his

family, and friends.” Throughout his life, Morsbach’s booming personality and voice never faltered. “For example, he was arrested in his earlier years for protesting against the Rosenberg trials in the ’60s,” Spicer said. “A lot of people have a couple of good years, but Hans had 50. That’s the kind of guy he was.” In addition to his wife Kathy and son Paul, he is survived by his daughter Sarah Morsbach Honaker, brother Paul, and a oneyear-old granddaughter.

CORRECTIONS » The May 17 article "Voices In Your Head Warms Up For Album Release" misspelled the name of Russell Becker. It also misstated the title of Voices in Your Head music director Chris Rishel and misquoted him. Rishel intended to say other a cappella groups take the art form seriously, but Voices in Your Head does things differently. » The May 20 installment of "Stuff To Do" misstated the location of the Adele concert, which will be at the Riviera. It also misstated the duration of the Chicago Turkish Festival, which will run through Wednesday from 10 a.m. to 6 p.m. The M AROON is committed to correcting mistakes for the record. If you suspect the M AROON has made an error, please alert the newspaper by e-mailing

Editor@ChicagoMaroon.com.

CHICAGO MAROON | VIEWPOINTS | May 13, 2011

VIEWPOINTS

EDITORIAL & OP-ED MAY 24, 2011

EDITORIAL

CHICAGO MAROON

The student newspaper of the University of Chicago since 1892

ADAM JANOFSKY, Editor-in-Chief CAMILLE VAN HORNE, Managing Editor AMY MYERS, News Editor CHRISTINA PILLSBURY, News Editor PETER IANAKIEV, Viewpoints Editor SHARAN SHETTY, Viewpoints Editor JORDAN LARSON, Voices Editor CHARNA ALBERT, Voices Editor MAHMOUD BAHRANI, Sports Editor JESSICA SHEFT-ASON, Sports Editor DOUGLAS EVERSON, Head Designer VICTORIA KRAFT, Head Copy Editor MONIKA LAGAARD, Head Copy Editor HOLLY LAWSON, Head Copy Editor ALICE BLACKWOOD, Head Copy Editor DARREN LEOW, Photo Editor LLOYD LEE, Photo Editor KEVIN WANG, Web Editor HARUNOBU CORYNE, Assoc. News Editor JONATHAN LAI, Assoc. News Editor SAM LEVINE, Assoc. News Editor COLIN BRADLEY, Assoc. Viewpoints Editor ILIYA GUTIN, Assoc. Voices Editor HANNAH GOLD, Assoc. Voices Editor VINCENT McGILL, Delivery Coordinator HAYLEY LAMBERSON, Ed. Board Member IVY PEREZ, Ed. Board Member ANDREW GREEN, Designer ALYSSA LAWTHER, Designer RACHEL HWANG, Designer ALYSSA MARTIN, Designer ALEXANDRIA PABICH, Designer VINCENT YU, Designer AMISHI BAJAJ, Copy Editor JANE BARTMAN, Copy Editor HUNTER BUCKWORTH, Copy Editor MARCELLO DELGADO, Copy Editor DANIELLE GLAZER, Copy Editor DON HO, Copy Editor JANE HUANG, Copy Editor ALISON HUNG, Copy Editor TARA NOOTEBOOM, Copy Editor LANE SMITH, Copy Editor ANNA AKERS-PECHT, Copy Editor ALEX WARBURTON, Copy Editor BELLA WU, Copy Editor LILY YE, Copy Editor MICHELLE LEE, Copy Editor MERU BHANOT, Copy Editor JULIA PEI, Copy Editor JEN XIA, Copy Editor The CHICAGO MAROON is published twice weekly during autumn, winter, and spring quarters. Circulation: 6,500

Reading, period Professors should not hold class or schedule exams during reading period Now that the threat of the apocalypse has passed, students at the U of C face a slightly more prosaic problem: Finals. Finals, of course, are a necessary evil, and we all accept both their existence and the fact that they are meant to be challenging and stressful. However, one aspect of finals week at the University of Chicago that remains inexcusable is the sheer lack of respect from professors and departments regarding reading period. Our reading period, unlike those at many other colleges, only lasts two days. Thus, students taking a full course load at the U of C have, at most, four days (including the weekend) to prepare for up to four final exams and papers. It is sim-

ply baffling that, given the short amount of time students have to prepare for the most stressful work of the quarter, professors would schedule classes, labs, and assignments. Scheduling classes and labs during reading period creates a major hassle for students. Having two full days at the end of tenth week for students to catch up on coursework can be extremely helpful; for many, reading period is the only opportunity to take a break from doing assignments and problem sets and instead focus on mastering previouslylearned material. Requiring students to attend classes and labs during reading period means that they will only have two full days

to review and master a quarter’s worth of course material. Similarly, professors who schedule their finals during reading period should at least offer students the option of taking the exam at an alternate date during regular finals week. Scheduling final exams during reading period is unfair and unreasonable for students because it robs them of vital studying time for their tests. Requiring students to prepare for a cumulative final exam while also having to complete their regular homework assignments for other courses is, simply put, a pain in the ass. If professors and departments wish to allow this practice to continue, they should offer students the choice of taking the

exam during finals week; that way, students would be able to decide for themselves whether or not they can afford to take a final during reading period. None of these criticisms would have much merit if our reading period were longer. Given how little time we actually get throughout the quarter to go back and catch up on missed material, requiring students to give up those two days to attend class, do homework, or take tests is unacceptable and should not be allowed. The Editorial Board consists of the Editor-in-Chief, Viewpoints Editors, and an additional editorial board member.

OP-ED

Spring cleaning End-of-year cleaning helps us learn about ourselves and what's important to us

By Chris Stavitsky Viewpoints Columnist I ripped up the receipts before I threw them away, but I only ripped them two or three times and I think that anybody trying to piece together my address or the last four digits of my debit card number would have an easy time of it. There was one receipt from the Apple Store, from when my hard drive failed, and

another from the Apple Store, from when I took my fixed computer home to find that the trackpad had broken during repairs. There were no more receipts from the Apple Store after that, but there were several from CVS, one from J. Crew, and another from a pierogi place in the Loop that I went to yesterday. The ripped-up sprigs of paper garnished the trash can plate of second year’s discarded memories in a delightful confit. I don’t actually know what a confit is, but I am hoping that those who do will contain their anger and perhaps even swap it out for a laugh at my expense. Underneath the receipts lay a dirtcaked comb, a handful of broken mechanical pencils, and a mass of illfitting white undershirts that anyone

could tell had been balled up and flung into the trash can with rage. At the end of each year, everyone living in a dormitory must sort things into three piles. The first, the trash pile, is, unsurprisingly, composed of those things to which the resident can no longer assign any value. This is not to say that the items themselves are dumpstergrade; my House lounge, at the end of last year, was covered in “trash,” things that people couldn’t take with them on the flight home but weren’t willing to store. The purpose of the second pile, the storage pile, can be confusing, and most people don’t understand its intended function. It is commonly used as a way to postpone scrapping barely useful items. Backscratcher? Put it in storage!

Book I’ll never get around to reading? Store that fellow in a cardboard box! No. This is wrong, and I would like to clear things up regarding the storage pile. It is for winter clothing and documents with sentimental value. That is it. The discussion is over. There is really nothing else to say about this, and if you have any questions or objections, I would be happy to fight you. The third pile of stuff, the life pile, is by far the most important. It is comprised of the things that people use on a daily, weekly, or, at least, a monthly basis, the things that they will continue to use during the summer and beyond. The life pile is the pile that reminds a person who he is and what he

CLEANING continued on page 4

The opinions expressed in the Viewpoints section are not necessarily those of the MAROON.

SUBMISSIONS The CHICAGO MAROON welcomes opinions and responses from its readers. Send op-ed submissions and letters to: Viewpoints CHICAGO MAROON 1212 East 59th Street Chicago, IL 60637 E-mail: Viewpoints@ChicagoMaroon.com The editors reserve the right to edit materials for clarity and space. Letters to the editor should be limited to 400 words. Op-ed submissions, 800 words.

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OP-ED

Bridging the gap The US government should take dramatic steps to reduce income inequality By Richard Martinez Viewpoints Contributor There was a time before our generation when the so-called "American Dream" was more real than myth. Great economic opportunities had opened up and the middle class was expanding. From 1949 to 1979, median household income increased at a rate of 2.4 percent each year, essentially matching the 2.5 percent annual growth rate in GDP. America’s economy was booming, and the middle class was getting a proportional share of that growth. Since 1979, the annual growth rate of median income has been 0.4 percent, but the economy has been growing at an average rate of 2 percent. The size of the

pie has expanded, yet the middle class’ share has shrunk comparatively. Meanwhile, income inequality has skyrocketed to alarming heights. The country’s Gini Index, has grown 18.1 percent since 1967, reflecting a substantially less equal society. This lopsided distribution puts the U.S. in the less-than-esteemed company of Russia and Iran, in terms of income equality. Knowing this, you should have predicted that the beneficiaries of this stratified American life are concentrated at the top of the economic ladder. The top one percent of households take in about a quarter of overall income today, compared to only 9 percent in 1979. In the early 1970s, the average chief executive was paid 23

times the median income. Today, that multiple is well over 300. "Who cares?" you ask. Maybe we should applaud the rich for their savvy business decisions and stand outside in eager anticipation for the proverbial rising tide to lift our boats. However, this mindset is dangerously misguided. Increased inequality is the flipside of another malady: Social immobility. A recent OECD report ranked the U.S. 10th in terms of intergenerational earnings mobility. Not only are American middle- class wages stagnating while the elite rake in more and more cash, but the statistical chances of social advancement for middle-class Americans are among the lowest in the industrialized world. Reduced opportunity for middle

and lower classes means that we operate in something less than a meritocracy. Talented Americans are not choosing careers that innovate, preferring instead lucrative compensation and bonuses. On campus we see firsthand how some of our most talented peers shun careers in research and development or entrepreneurship, preferring to seek work in the financial sector. Everyone understandably wants to protect his or her money. Of course, not everyone has the sums of greenbacks necessary to game the economic system in order to ensure that protection. The past few decades have seen tax cuts for the rich and an emasculated business and financial regulation system that turns a

INEQUALITY continued on page 4

CHICAGO MAROON | VIEWPOINTS | May 24, 2011

OP-ED

Lobbying for consistency Administration's use of the Kalven Report is hypocritical and illogical By Michael McCown Viewpoints Contributor In response to recent demands by students for the creation of a Socially Responsible Investment Committee, President Zimmer has cited the culture of academic freedom at the University of Chicago, as articulated in the 1967 Kalven Report, as reason for why our school should not participate in socially responsible investment, while other elite institutions, such as Brown, are able to. The report is intended to guide University policy in its corporative capacity on political issues and lays out a strong vision regarding the role of the university in society. The Kalven Report is a noble document in its attempt at amorality. It recognizes the shifting passions of society and places the principles of academic freedom within the institution above them. It recognizes that solutions to social problems have a way of generating more social problems; what is "good" will never be definitively articulated; when it has, it has been to disastrous effect. The University, according to the Kalven Report, should provide a place where issues can be debated freely, and it therefore must remain neutral on political matters unless it become accessory to the prevailing ideology of the day. And so it is that whatever happens in society, the U of C must remain a refuge for individual free thought. The problem we’re facing today regarding the Kalven Report is not in its content, but its application. It is brandished by University administration like garlic against the vampiric progressivism of initiatives threatening to suck the endowment of its life blood (the return on investments in corporations engaging in unethical practices), but is ignored wholesale when the University initiates what essentially amount to political image projects to assure its

prestige and cash flow. Let’s take, for instance, the new Office of Sustainability. The University will not divest from Arch Coal, Inc., even though it would strip mine West Virginia till it’s as flat as Kansas, because to do so would be a political action. However, the University sees no politics in creating an Office of Sustainability. Clearly, this office is nothing but politics in its most cynical form: While the U of C is funding the next superfund site, publicly, it is endorsing sustainability. Without intervention by the campus community, it will continue to contradict itself as long as the profits of being unsustainable pay for public-image creations like the Office of Sustainability. And where is the ROTC on the U of C campus? Originally the ROTC was banned to protest the Vietnam War. But where was the Kalven Report when this decision was made? Conveniently shelved. Banning the ROTC over a disagreement with U.S. foreign policy does not conform to the Kalven Report's stamce against political involvement. Simply, it is much more expedient to ban the ROTC along with every other elite institution and take credit for our progressive principles than to really remain neutral. The Kalven Report clearly condemns any attempts by the U of C to act as a "secondrate political institution." But surely the lobbyists the University hires to represent its interests in Congress are not being paid because of their outstanding commitment to neutrality. What’s more outstanding is that not only does hiring lobbyists contradict the spirit of the report, it contradicts the very letter. The University, according to the Kalven Report, ‘if it is to be true to its faith in intellectual inquiry, must embrace, be hospitable to, and encourage the widest diversity of views within its own community…It is not a club, it is not a trade association, it is not a lobby.”

NIA SOTTO/MAROON

Time and time again, we see the administration ignore the very report that it suddenly venerates when students try to push for ethical investment. Nowhere in the Kalven Report does it say political activism is good when it makes you money but bad when it doesn’t. Let’s quit pretending the school is a bastion of iconoclasm; it is embarrassing in the face of mounting evidence to the contrary. If we’re going to make tough, principled decisions, let’s make them: Either abolish the Office of LGBTQ Student Life, the Office of Multicultural Student Affairs,

and the Office of Sustainability, reinstate ROTC, and stop hiring lobbyists—or quit using the Kalven Report to deny student demands for divestment from corporations engaged in unethical and illegal practices or for the creation of a Socially Responsible Investment Committee. The principles of the Kalven Report should either apply all the time or not at all; principles of convenience are not principles and are no argument against social responsibility. Michael McCown is a first-year in the College.

Raising taxes on the wealthy would help increase social mobility INEQUALITY continued from page 3

Cleaning encourages us to think society that rewards actual innovation and hard masters, began to whisper of revolt. The elec- about why our possessions matter

blind eye to questionable practices and possible monopolies. This has been brought about by none other than those who stand to benefit from it. We are in the midst of a dangerous feedback cycle: Wealth buys power and power buys more wealth in return. Even though it’s difficult to quantify a “good” level of income inequality, it’s clear that in many important ways, America’s elite have rigged political and tax institutions to reflect their own interests at the expense of the middle class. Rather than equality for equality’s sake, the goal should be to increase economic mobility. When the playing field is closer to being even, inequality will decline on its own. A return to higher levels of progressive taxation should be one part of a greater effort to increase mobility and ensure the health of the middle class. The estate tax affects a small number of very wealthy people who can afford to give up a portion of that wealth without selling core assets. Much as being born into poverty constitutes likelihood to be stuck in poverty, being born into vast wealth constitutes likelihood to remain in the upper class. Both situations are unfair because they systematically disregard merit in a capitalist economy. By giving the estate tax a larger bite, we could create a

work, rather than one that rewards the offspring of innovative or hard working people. Additionally, popular conceptions of the progressive income tax need to be revisited. It turns out that the U.S. sustained a vital economy even when the top income bracket was taxed at a much higher rate. Before the sharp tax cuts of the 1980s, socioeconomic mobility was higher and wealth disparity was lower. After the tax cuts, the earning power for the wealthiest 1 percent skyrocketed, while real earning power for the median income slowed to a crawl and actually flat-lined during the 2000s. A highly progressive tax rate of 50 or 60 percent would leave a not insubstantial amount for these wealthy Americans to use as they please, while mitigating the tendency toward obscene disparity and providing resources for funding projects that will increase socioeconomic mobility, specifically, education, basic research, and restored infrastructure. In 594 BCE Athens, Plutarch wrote that “the disparity of fortune between the rich and the poor had reached its height, so that the city seemed to be in a dangerous condition.” The poor, who had endured the corrupt courts and unjust laws of a government ruled by their

tion of the eponymous archon Solon proved to be wise. Solon enacted laws that mitigated the suffering of the poor without completely enraging the rich. In part by establishing a graduated income tax, Solon diffused tension enough that Athens averted revolution. The United States followed this moderate path during several eras, outlawing monopolies and trusts, setting minimal standards of worker compensation and safety regulation, and empowering unions. Today’s politicians face yet another historical period marked by the accumulation of wealth by the few. They can bend to the special interests of the super wealthy, but their response does not have to be uncompromising protection of the elites’ interests. Instead, they can acknowledge the corrosive effects of an economic aristocracy and learn from moderate reformers of history like Solon in order to take decisive steps to reinstate the economic mobility that will bring the middle class one important step closer to resuscitation. Richard Martinez is a third-year in the College majoring in political science and geographical studies.

CLEANING continued from page 3 loves. The books in my life pile aren’t by Simone de Beauvoir (though The Second Sex has stood on my shelf, untouched, since the beginning of the year); they are books about marketing and artsy comic books. My favorite part about cleaning my room is that it strips away what I don’t really need. Nobody else can tell me what I do or don’t need; the decision is up to me. I’m not about to preach minimalism, since I certainly don’t practice it, but the only thing I’d ask is that you consider whether or not a given item in your possession might be better in someone else’s—even if that someone is a landfill. The purging process is deeply personal. It is about determining the material things that are important to you, why they are important to you, and how important to you they will continue to be. The question, when you are determining the contents of your life pile, is not only “Who am I?” but also “Who do I want to be?” Chris Stavitsky is a second-year in the College majoring in English.

Write what's on your mind. viewpoints@chicagomaroon.com

CHICAGO MAROON | ADVERTISEMENT | May 24, 2011

VOICES

ARTS & ENTERTAINMENT MAY 24, 2011

MUSIC

From LA to Kanye, Far East Movement draws on wide influences L.A. in a very diverse environment. We were going out to raves until seven in the morning, going to hip-hop shows, punk concerts, all different genres. We just mash everything up, blend it all together, and see what happens. Growing up, whenever someone did something that was outside the box, we would say, “that’s free wire,” and that’s what we do. CM: No matter what you want to call it, your sound clearly resonates with people today. Do you see this type of sound coming to define pop in the future? KN: Definitely. We’re in “the playlist generation,” if you even want to put a label on it. We feel really lucky to be making music in a time when people’s minds are open to hearing and seeing new things.

Far East Movement’s new album Free Wired builds on their multicultural and West Coast influences. COURTESY OF BIG HASSLE MEDIA

By Will Sims Voices Beast of Beats Far East Movement, hailing from Los Angeles, has been dominating radio stations and party playlists with infectious jams like “Rocketeer,” “Girls on the Dance Floor,” and, of course, “Like a G6.” The Maroon caught up with band member Kev Nish shortly after he and the rest of his crew finished a show at the Allstate Arena

in Rosemont to talk about growing up in L.A., the future of “FM,” and what it means to make music for “the playlist generation.”

this great reaction. It feels like Chicago really supports what we’re doing, and we appreciate that.

C HICAGO M AROON : How was the show tonight? Kev Nish: It was incredible. We just got off the stage about 30 minutes ago, and there was so much energy. When we did “[Like a] G6” and “Rocketeer” and even some of our new stuff, there was just

C M : Your music is kind of a cross between hip-hop and more of a techno sound; I’ve heard it called hiptronica or electro-hop or techno-rap. What genre of music do you think you make? KN: “Free wire.” That’s why we came up with the album name. We grew up in

CM: Your new song with West Coast hip-hop icon Snoop Dogg, “You’ve Got a Friend,” definitely has a laidback, West Coast vibe to it. How much has growing up on the West Coast influenced your sound? KN: Being on the West Coast, the music and lifestyle is going to have an impact. Listening to all the radio stations in L.A., having icons like Snoop Dogg and 2Pac, listening to low-rider jams every Saturday night are all a big part of our hip-hop background. At the same time, the Internet has really informed our musical tastes. We’ve been exposed to a lot of people who aren’t from the West Coast: Biggie, Kanye—we listen to people from all over. I remember going to one of my favorite shows—a Kanye and Dilated Peoples mashup—which was when I decided that what I really wanted was to be up on that stage. CM: In a similar vein, you call yourselves the Far East Movement, and

FAR EAST continued on page 8

ART

A ribbon runs through Barth’s exploration of photography By Morgan McCarty Voices Dances with Ribbons The term “photography” literally means “to draw with light.” Uta Barth’s latest series, and to draw a white line with light, premiering at the Art Institute along with two of her earlier series, examines the passage of time and furthers Barth’s perpetual investigation of perception. Barth is known for creating images that explore how vision works and how the human eye functions differently from the camera’s lens. In and to draw a white line with light, Barth took inspiration from a white ribbon of light that fell on a curtain in her Los Angeles home one day, continuing her exploration of the atmospheric and the incidental.

UTA BARTH Art Institute Through August 14

Barth’s series is successful in that it is presented, like much of her previous work, as a photographic installation. The large prints hang so that the ribbon of light grows larger if viewed from left to right and smaller if viewed from the other direc-

This untitled piece from Uta Barth's series and to draw a bright white line with light is one of the few to incorporate the artist herself. COURTESY OF UTA BARTH AND TANYA BONAKDAR GALLERY, NEW YORK

tion. The third panel features an image of the artist’s own hand, perhaps the first time Barth has ever allowed a trace of herself, other than a shadow, to appear in one of her images. The presence of her hand is remarkably necessary because it shows that Barth is in fact moving the curtain to manipulate the line of light. This is her way of being honest about the creation of her images and saying that she is the one responsible for creating this changing pattern of light. While she is drawing the curtains in and out, Barth is metaphorically

“drawing with light” and using its properties of illumination and reflection to create a spectacle that is both mesmerizing and beautifully captured by her camera. The series is accompanied by images from the 2002 series white blind (bright red) and the 2007 series Sundial. white blind (bright red) examines ideas of optical after-images, positive and negative relations of light, and optical illusions. Images in sets of four, five, and six from the white blind (bright red) series hang just outside the gallery displaying and to draw a white

line with light. Images (both left alone and manipulated) of trees and the surrounding environment are an exercise in seeing. Stare at one image long enough, and when you move to the next, your eyes might not be ready to move on as they carry the previous image onto the next screen. Barth’s Sundial series is another exercise in positive and negative space, but instead of after-images, it investigates the continual second glance and the challenge of forcing the eye not to settle on one

BARTH continued on page 7

CHICAGO MAROON | VOICES | May 24, 2011

FOOD

Food Fight: Take a walk on the taco side By Richard Deulofeut Voices Soul Taco This is the second installment of Food Fight, a competition we're having to find next year's food columnists. We will make our decision based on a combination of reader and MAROON editor feedback. Go to chicagomaroon.com to voice your opinion. For those who have already been to Pilsen and exhausted the more popular Mexican food options around 18th Street, there’s no better experience for a food-lover than the taco tour. Tacos are as Mexican as the Aztec ruins or Selena, but only when done in the right way. Just glance at the menu options and evidence of the authenticity will reveal itself: Beef tongue taco (lengua), chicken breast with mole sauce taco (pechuga de pollo o mole), etc. To say that there is a taco that appeals to every kind of person may be an overstatement, but the variety is not to be underestimated. But what exactly is a “taco tour”? The idea is simple: Choose a couple of taquerías, try one taco in each, hit four or five locations, and stop when satisfied. Sadly, while the idea has caught on in other major U.S. cities, Chicago has not yet jumped on the taco tour bandwagon yet. My recommenda-

Barth's photography shows light's ability to trick the eye

tion? Plan out your own tour. For my taco tour, I started down at the end of South Blue Island Avenue and West Cullerton Street at an established taquería called El Milagro. A colorfully decorated cafeteriaesque joint next to a tortilla distributor store that bears the same name, this particular stop is very much hit-or-miss. Quesadillas, ranch-style

options of note include the steak taco, which features a generous portion of tender meat paired with onion, herbs, and some more pico de gallo, and the chicken taco with mole and large pieces of chicken slathered in an accentuated poblano sauce—an acquired taste for those who have not had it before. Order well at this taco stop and your rewards will be great.

EL MILAGRO

LA CASA DEL PUEBLO

1923 South Blue Island Avenue (312) 433-7620

AND

eggs, and beef stew dot the menu but turn out to be unimpressive in their bland and dry flavor. The key here is to keep your eyes on the prize— tacos. The stuffed pepper (chile relleno) taco is an exquisite blend of crunchy egg-battered green pepper and creamy Oaxaca cheese melted into the pepper’s center. Laid atop one of their tortillas, fresh from next door, and sprinkled with pico de gallo, which adds just a slight spiciness, this taco is as refreshing as it is satisfying. Other

1810 South Blue Island Avenue (312) 421-4664

Having already eaten two and a half tacos by this point on my trip, I found my second, and last, taco stop of the day near the corner of Blue Island and 18th Street. Taquería La Casa del Pueblo, another small cafeteria run by the Latino supermarket next door, is a gold mine of authentic delicacies. I bit the bullet on ordering and asked for another two tacos, effectively ending any further “touring” for the day. The choice was well worth the sacrifice. The food at

this modest establishment is reasonably priced, well- portioned, and astronomically diverse. Go for the more unusual options here. The pork rind taco (chicharrón) stole my heart with its whole strip of succulent pork rinds still attached to the fat and covered in green salsa, a deadly yet delicious combination best compared to a well-done piece of fried chicken. Next was the beef tongue (lengua) taco. It consists of a pile of tender tongue slices marinated with some of the broth in which they were cooked and then topped with onions and salsa. For those not familiar with the taste of tongue, imagine eating unstrung pulled pork, but instead of barbecue sauce on top, think herbs and salsas. My only regret about eating at La Casa del Pueblo is that I could only finish two tacos. All right, so my two-stop taco tour may not be the best example for those looking to attempt one, but isn’t a critical part of having a “cultural experience” making it your own? Both the taquerías I described come well-recommended from my end, but it’s also important to try new places. Taco touring is a personalized experience that should be as well-researched as it is spontaneous. Explore long enough and you’re sure to find the taco of your dreams.

Dr. Donny George Youkhanna

BARTH continued from page 6 single point of the image, refusing to find what Roland Barthes might refer to as a punctum, or blind spot. This is an evolved signature of Barth’s earlier, more blurred images of landscapes and settings. In one image, Barth’s shadow creeps in, and, in all of the images, reflections and projections in one image become refractions and shadows in another. The series continually praises light’s insatiable hunger for trickery and unpredictability. The optical retention, after-images and peripheral, second glances in Barth’s earlier series, when presented next to and to draw a white line with light, are the perfect evidence for the artist’s evolution. It is an evolution that is celebrated in the presentation of her newest images, as the white ribbon they feature grows and dances across the walls, jumping from image to image, a magnificent choreography of nature interacting with texture and human creativity captured by technology. In all three series, there is no apparent narrative or story Barth is trying to tell through the blandness of the color of the light. In taking meaning away from the images, she is simply showing and examining perception and the act of seeing, hoping that when the viewer leaves her images they will look at the world a little differently. After seeing the exhibit, light and all its tricks become more apparent: Sunbeams dance to a silent tune and headlights circle your room at night.

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ONE SCHOLAR’S CONTRIBUTION TO MESOPOTAMIAN ARCHAEOLOGY a special lecture by McGuire Gibson in memory of DONNY GEORGE YOUKHANNA (1950–2011) QN t KVOF t UIF PSJFOUBM JOTUJUVUF

7 pm :: lecture in Breasted Hall QN FYIJCJU DBTF EFEJDBUJPO JO UIF &EHBS BOE %FCPSBI Jannotta Mesopotamian Gallery; reception to follow This event is open to the public. For more information, contact the Oriental Institute Events Oﬃce at (773) 834-9775 or meghanwinston@uchicago.edu.

UIF PSJFOUBM JOTUJUVUF t FBTU UI TUSFFU t DIJDBHP JM

CHICAGO MAROON | VOICES | May 24, 2011

Band behind “Rocketeer” remains down to earth, “like a G6” FAR EAST continued from page 6

Stereotypes and all our other producers.

your Asian heritage clearly has a role in your group identity. How much do you think it influences your sound and image as artists? KN: Growing up in L.A., whether it was [just certain] streets or whole neighborhoods, it was really diverse. There were just as many Latinos, blacks, making music and partying together: It was one big mixed-up melting-pot clique. It really made us more aware of other cultures musically. People see the name Far East Movement as an Asian thing, but that’s not what we had in mind. FM is a new lifestyle movement; it’s all about being multicultural. It was originally based on a song called “FM” that I wrote. It was a terrible song, actually. I’m never letting anyone hear it. [Laughter] But it’s been about the music first—always. CM: You produced ABC for Jin, but at the same time, The Stereotypes produced most of Free Wired, and you didn’t produce any of the songs on there, at all. What’s the story with your producer status? KN: We started producing for survival back when we were a junior crew. Back then the only way to get beats was ripping sounds online or making your own. Making beats was cheaper, so that’s what we did. Once we got momentum and things became more serious, we knew that we weren’t the best, and we had people like The Stereotypes and The Cataracs who had a sound we really liked. We want the pros to do what they do best, so we can concentrate on songwriting, developing song structures, that sort of stuff. We are really honored to work with The

C M: It’s rare in the music industry to have the humility to step away and acknowledge that someone else is better and work with what they’re doing. KN: That’s always been the mentality— not letting egos come into it. I mean, we’re four guys [that] grew up like brothers. It’s easy to make decisions as a crew when you’ve been doing it since you were sitting around a lunch table. CM: Looking at your music videos and concerts, you clearly have a very fashionconscious style. Has fashion always been important to y’all as a group, or has that come with your celebrity status? KN: We were always into fashion; we’ve just had different tastes. We would wear up-and-coming streetwear brands, and as their styles and brands grew, we grew too, so we were sort of coming up together. Whatever was free was our next look. We’re not the type of guys to go shopping; we like to get hooked up. Plus we don’t really have the time. We really are workaholics. We’ve got what we call the “no-fun zone,” when we’re in the club, where we’re just watching the crowd and the DJ and paying attention to what the DJ does and how people respond. That’s been our biggest influence—just seeing what works and doesn’t work when we’re out partying. It all plays in together. CM: Your music really took off in the club and party scene. How important is it for you as artists to make music that’s danceable? KN: It really depends on the song. We first

got famous for “Girls on the Dancefloor,” but then we challenged ourselves and what the record label might have expected with “Rocketeer.” Everyone was expecting another club song, but we wanted to do something different—incorporate different styles, different stories. We always want to bring in different elements, like alternative hooks or old-school hip-hop flows. We submitted it to our label, and they were shocked that they liked it as much as they did, even though they were expecting something like “[Like a] G6.” They wanted us to do what was cool for us, and we’re grateful that people accept that. CM: What is your creative process like? K N: It starts with a session with a producer—like yesterday we were working with Benny Benassi—and the producer will either start with a blank slate and make something with us, which is okay, or they will have something already made for us. Often we’ll come in with sounds we like or clips from old dance tracks, and once the elements are there for what you feel like is a good song, we’ll start writing. We start with the hook, and it’s really a team effort. Sometimes we’ll have Bruno Mars or a co-writer with us, and we’ll just vibe off each other. We used to just split up and write, but then it was just three MCs with notebooks, and when we came back together, it wasn’t always very cohesive. Our goal has always been to make songs that have replay value. This way our songs come out easier and more fun and are representative of us as a crew rather than just one person. This process helped with Free Wired—working together and mashing stuff up without boundaries.

CM: Speaking of which, what are you listening to right now? K N : Right now? The Beastie Boys. Michael Jackson. I’ve recently downloaded some Smashing Pumpkins, some ’90s altrock stuff, Nirvana. We were just onstage with Tinie Tempah, and I’ve been listening to him lately. We really like everything he’s been doing. CM: You’ve worked with people like Snoop Dogg and Bruno Mars, and you’ve done shows with pretty much every top billboard artist. Who has been the most fun for you to work with? KN: That’s hard to say. We had a lot of fun on tour with Rihanna in Australia. There were great vibes the whole time. Then there’s LMFAO. Every time we’re with them, it’s debauchery and chaos. We’ll wake up and not know where we are or how we got there. There are so many great people we’ve worked with and they’re all memorable for different reasons. CM: It’s been a relatively quick transition for you from just messing around to world tours and sold-out arenas. What was the moment when you realized that you had “made it?” KN: We don’t feel like we’ve made it yet. We’ve been on the road for a while, and it’s nice when we go back to L.A. and people know us, but as a crew, we’re always fighting for more. We try and never get excited and always keep working hard. There’s always something more to accomplish or learn. Every show we’re pushing it. We haven’t made it yet, but I hope that one day we’ll be able to tell you we’ve accomplished something.

It’s evening. It’s part-time. It’s Northwestern.

BRIDGE TO GRADUATE PROGRAMS IN CREATIVE WRITING Develop your craft, formalize your training and build a solid portfolio of work for application to MFA and MA/PhD programs. Courses are conducted as writing workshops where you receive feedback from fellow writers and instructors, who are respected writers themselves. Choose your focus based on your discipline — ﬁction, creative nonﬁction or poetry — and on your level of writing experience. In addition, you will receive the following support services:

Academic advisers and tailored academic plans Workshops and events to help you develop your application Online service Interfolio to manage your application materials

INFORMATION SESSION Tuesday, June 14, 6 p.m., Evanston campus

847-467-0931 pregraduate.scs.northwestern.edu

CHICAGO MAROON | VOICES | May 24, 2011

The Lumen Christi Institute,

Ethics Club, and Jewish Studies and the Hebrew Bible Workshop SUHVHQW

From Natural Law to Human Rights in Jewish Thought

The Fun Corner PHOENIXWORD By Jamie Mermelstein

"Pop!"

David Novak University of Toronto David Novak holds the J. Richard and Dorothy Shiﬀ Chair of Jewish Studies as Professor of the Study of Religion and Professor of Philosophy at the University of Toronto. He received his AB from the University of Chicago, his MHL (Master of Hebrew Literature) and his rabbinical diploma from the Jewish Theological Seminary of America, and his PhD in philosophy from Georgetown University. Novak is the author of thirteen books, the latest being The Jewish Social Contract: An Essay in Political Theology.

>LKULZKH` 1\UL H[ ! 74 :^PM[ /HSS *VTTVU 9VVT For more information, visit www.l umen c hri sti. o r g

OPERA

TREASURES performed by the University Symphony Orchestra, University Chorus, and Motet Choir

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3 4 5 6 7 8 9 10 11 12 13 16 21

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Solution to last Friday's puzzle

Featuring Winifred Faix Brown, soprano and Jessye Wright, mezzo-soprano

2011 Cathy Heifetz Memorial Concerts

Saturday, May 28 at 8 pm Sunday, May 29 at 3 pm Mandel Hall, 1131 E. 57th Street, Hyde Park Music by Strauss, Weber, Wagner, Leoncavallo, Puccini, Mozart, and Verdi.

FREE ADMISSION Donations requested: $10 general/$5 students event hotline: 773.702.8069 • music.uchicago.edu Persons who need assistance should call 773.702.8484 in advance.

CHICAGO MAROON | ADVERTISEMENT | May 24, 2011

“AN ADVENTURE OF GREAT DIMENSION” The Completion of the Chicago Assyrian Dictionary (CAD) monday, june 6, 2011 breasted hall the oriental institute of the university of chicago 1155 east 58th street chicago, illinois