360 Degrees: REWIND Issue by SU 360 Magazine

The Rewind Issue Fall 2014 / Issue #32

Look Back

History in 90 Seconds How to Make a Civilian

Community Creations

Vaulting with Walt

A Black-and-White View of SU

Step back and breathe.

Letter from the Editor This summer, I spent most of my days listening to the ‘90s Pop Music radio station on Pandora. I jammed to Britney Spears, Boyz II Men, and Mariah Carey while I cleaned my bedroom. I danced in my cubby a little too noticeably at the library, where I had holed up to escape the summer heat. My days were filled with Instagram throwbacks to my semester abroad; my nights were filled with late-night Daria fixes. I hit rewind and embraced it. Now I’m bringing it to 360 Degrees. I wish I could say it was premonition that sparked my idea for Rewind, as though I somehow knew that Chancellor Kent Syverud was about to implement the new Fast Forward Syracuse initiative (If I read my emails, I probably would know that,

but does anyone read emails from the university?). It’s pure coincidence, but more than timely. To me, “rewind” does not mean “refuse to move forward.” Sometimes we need to take a step back and look at our history, at the regrets and failures, the changes and the progress. This helps us understand where we came from, how we got here, and where to go next. On page 13, check out the history of Sound Beat, a 90-second weekly radio show that highlights songs and speeches from the past. Meet Walter Dodge, an integral (and hilarious) fixture in the SU gymnastics community for more than 50 years, on page 9. Read about the veterans who have returned to Syracuse to complete

their education and the people who stand behind them on page 25. Check out our photojournal on page 29 to see images from the Syracuse University Archives of student life through the years, from freshmen beanies to protests. Be sure to check out our special announcement (and how you can get involved!) on page 34. I hope this issue brings you back in time as we all try to figure out how to move forward. Best,

Meredith Jeffers

EDITOR IN CHIEF Meredith Jeffers MANAGING EDITOR Meghan Rimol ART DIRECTOR Lucy Tomkiewicz MULTIMEDIA Xiaoyang Liao LONG FEATURES senior editor assistant editor

Jill Comoletti Annie Menna

SHORT FEATURES senior editor assistant editor

Nicki Gorny Alexa O’Connell

senior editor

Features A Change of Art

FRONT OF BOOK assistant editor

In This Issue

Hayden Willing Linda Gorman

PHOTO DIRECTOR Beaux Wongwaisayawan ART PRODUCTION Lise Sukhu Sophia Openshaw DESIGNERS Kasey Aleixo Sarah Brown Olivia Donahue Kelsey Francella Amy Gleitsmann Chris McCarthy Kristen Morici Lisa Nesbitt Alex Perle Emma Reed Jocelyn Teres Lucy Tomkiewicz ILLUSTRATORS Cara Adrianos Frances Matos Nate McClennen Kelly O’Neil Sophia Openshaw Tyler Poyant Natalie Reiss Lise Sukhu

A Family Affair

Online \ 16 \ 19

Back in Class

\ 25

Going Ghost

\ 11

Vaudeville to Vinyl

\ 13

Active Duty

\ 15

Twitter @360DegreesSU Facebook 360 Degrees Magazine YouTube su360degrees

Connect with us!

Front of book Top Ten: Nostalgia Fix \ 4x4: Retro Glam \ Profile: Sticking the Landing Social Media: #HeartMyPhoto \ Photojournal: Through the Lens Centerfold: Does Your School Have the Best Mascot?

VIDEOGRAPHERS Punika Limpanudom Eun Kim

Mission Statement: Since its debut at Syracuse University in 1998, 360 Degrees has always strived to achieve a balance between tradition and change. Founded by Lanre Mayen Gaba as a new lens to view culture, 360 Degrees has a different focus, format,

PHOTOGRAPHERS

and feel than its predecessors. Through the years, the magazine has become a general interest publication with a cultural twist,

Adham Elsharkawi Natalie Goldstein Abby Rose Sugnet Beaux Wongwaisayawan

dedicated to informing students about issues on campus, in the community, and in the whole world at large. Disclaimer: The views expressed in 360 Degrees are not necessarily those of the entire staff. 360 Degrees welcomes contributions from all members of the Syracuse University and SUNY-ESF community but retains the right to publish only material 360 Degrees deems acceptable to the publication’s editorial purpose.

COPY EDITORS

rewind

Taylor Georgeson Joeann Salvati Soleil Young Beaux Wongwaisayawan

Nostalgia Fix: Top Ten Throwbacks to Watch on Netflix Totally buggin’ over finals? Kick back with these classics for a well-earned breather Words : Meredith Jeffers Art : Sophia Openshaw 1. Clueless (1995) As if you’ll find a better combination of incredible lingo, plaid skirts, and young Paul Rudd. No guarantees you won’t be humming “Rollin’ with My Homies” during your biology final.

2. Rosemary’s Baby (1968) Studying doesn’t seem so rough when you compare it to being pregnant with the spawn of Satan. If demon-babies aren’t your thing, it’s worth a watch for Mia Farrow’s iconic pixie cut alone.

3. Ferris Bueller’s Day Off (1986) Pretend you’re playing hooky with Ferris, Cameron, and Sloane, even though you’re probably fighting for a table on the fourth floor of Bird.

4. Heathers (1989) The annoying students in your group project don’t seem so bad next to these mean girls. At least Regina George never killed anyone.

5. Carrie (1976) College might suck sometimes, but high school is total hell. It almost makes you wish you had telekinesis to survive it, too.

6. Gilmore Girls (2000–2006) Let Rory Gilmore be your ultimate role model during finals week: study, coffee break, repeat.

7. Twin Peaks (1990-1991) It’s better to be confused by a surreal murder mystery than by chemistry. Prioritize.

8. Johnny Bravo (1997-2004) Sometimes old cartoons provide the best insight—like how Johnny Bravo is basically a frat boy.

9. Buffy the Vampire Slayer (1997-2003) Let Buffy empower and inspire you to slay your finals. Get it?

10.

Breaking Bad (2008-2013) Too soon? Let’s face it, you’re already an emotional wreck. Just run with it. Sorry if this ruins your life. 6

RETRO GLAM Words : Rachel Lockhart Art : Frances Matos Photos : Natalie Goldstein

Check out Syracuse’s best-loved clothing and antique stores for a blast from the past Chrissy’s Antiques Shop 3122 Grant Blvd.

Two years ago, Syracuse native Christine Fenocchi opened the doors of Chrissy’s Antiques to customers who shared her passion for the past. “Every year I would collect items from garage sales or house sales, pretty much anywhere that I could pick up vintage items,” Fenocchi says. “I would even pick people’s trash—I’m not beyond dumpster diving.” After her products sold well in a local antique show, Fenocchi decided to set up shop with a little support from her family. “My brother had a commercial building that had become vacant, and he said, ‘Why don’t you open an antiques shop?’” Fenocchi says. “So I did.”

This small shop on Grant Boulevard doesn’t disappoint. The entire space is filled with everything from antique furniture to classic military paraphernalia and vintage jewelry. Fenocchi says one of the best parts of her job is learning about the various items that come through her shop and witnessing the craftsmanship and quality of each one. “You learn something new every day in this business,” Fenocchi says. “It’s very challenging. There’s a lot to remember, a lot to take in, but to me, it’s fun. It’s a labor of love.”

Modern Pop Culture 306 W. Jefferson St When Nathan Schafer opened Modern Pop Culture in 2008, he sold the work of various independent designers, including his own screen-printed pieces. After meeting a woman who started her own vintage clothing business, Schafer cautiously ventured into the world of vintage. He added one rack at first, then increased the selection as the clothing became increasingly popular. “Because there were no other vintage shops in the area, the vintage part was growing,” Schafer says. “So I rebranded and became a vintage clothing store.” Now, the small space nestled in Armory Square is stocked with unique vintage clothing for men and women. Every item on the rack is hand-picked, including famous labels from brands like Valentino and Christian Louboutin. Schafer travels all over the U.S. in search of inventory. “I travel 40,000 to 50,000 miles a year, up and down the East Coast, throughout the Midwest, and all over the place to find the very best,” he says. The best is what you’ll find at Modern Pop Culture, because the best is all Schafer will take. He won’t buy anything that has rips or stains. “You can be vintage for the sake of being old, but I don’t want that. I don’t want it to

be in my shop just because it was made in 1984,” Schafer says. “I want it to be something that looks new, something that looks like what’s in the stores now.”

EcoChic Boutique 4314 E. Genesee St. EcoChic Boutique on East Genesee Street is a consignment shop with a twist. It does business with one goal: providing fashion for the environmentally and economically conscious shopper. Whether you’re looking to add some clothing to your winter wardrobe or donate those pieces hiding in the back of your closet, EcoChic is a great place to start. The store carries heavy-hitters such as Tory Burch and Michael Kors, as well as more accessible brands like Forever 21 and H&M. Additionally, their consignment inventory is supplemented by clothing they import twice a year from Italy. If you’re interested in consigning clothing, EcoChic accepts summer and spring pieces between January and June, and they’ll take your winter garments from August until November.

A soft-spoken and friendly mother of seven grown children, O’Toole has owned and operated the store since she opened for business 22 years ago. Both men’s and women’s vintage clothing and accessories fill the racks, with a few contemporary pieces sprinkled throughout. Stocked with everything from ’50s dresses to comfy oversize sweaters, it’s almost impossible to walk out empty-handed. The majority of her inventory is consignment pieces, many of them brought in by regulars who consider consignment to be their “side job.” She also says that she occasionally shops for herself. “I tend to cater to tastes that run a little bit out of the mainstream,” O’Toole says. “So that’s what I look for.” The atmosphere inside Cluttered Closet is warm, inviting people of all ages to stop in and look around. O’Toole says she gets customers that range in age from college students to senior citizens. “It’s better clothing. It lasts a lot longer—people love it, people get so excited to find it,” O’Toole says. “I like to sell. It makes people happy.”

Cluttered Closet 742 S. Beech St.

Only a 15-minute walk from the SU campus is Cluttered Closet, a vintage consignment shop owned by Kathleen O’Toole. 8

Sticking the Landing Long-time gymnastics instructor Walter Dodge talks coaching, athletics, and the ever-changing face of Syracuse University. Words : Linda Gorman Photos : Adham Elsharkawi

Walter Dodge’s Tuesday night gymnastics class is lined up at the end of a long blue mat, preparing to attempt the vault. One by one, the students run up to the springboard and jump onto the vault with varying degrees of grace. They may not have the skill of Gabby Douglas, but they don’t look too shabby considering this is a one-credit elective with no prerequisites. Dodge stands on the side of the mat, dressed to move in black sweats and an orange T-shirt. He’s tall and thin, with glasses, a shock of white hair, and a permanent grin. In between crowing out scores, he answers a few questions about his 50-plus years with Syracuse University. He’s not the type to take things too seriously.

“Graduate what? I got out of kindergarten...” Dodge was recruited by SU Athletics for gymnastics right out of high school, but the university would not take him initially because of his grades. He took a few classes at Temple University in his hometown of Philadelphia, got his act together, and applied again. While continuing to practice gymnastics, Dodge studied to be a teacher and graduated from SU in 1960. “Hey, wait a minute, I didn’t see a signal! Zero! Do it again.” He gets the attention of Mark Austin, a volunteer coach for the club gymnastics team, who is spotting the vault.

“Give ‘em scores, Mark. I’m being interviewed for, I don’t know, Sports Illustrated or something.” Syracuse was a much smaller community when Dodge was in school. All of the athletes lived together in a cluster of housing called “the shacks” near Manley Field House, ate at Slocum Dining Hall, and worked jobs on campus. At one point, Dodge’s job was cleaning the observatory. (“Did we ever get into trouble…”.) Tuition was $600 a semester. Freshman wore beanies and could be commanded at any time to “tip it, frosh” by upperclassmen, forcing them to concede a quick tip of the hat to the older students.

The scores keep coming. Attitude is almost as important as technique. “Eight... You’ve got to be like, ‘I’m the winner, I’m the queen of the world!’” Dodge did not originally plan to stick around Syracuse after graduating. He wanted to train for the upcoming Olympics, so he took a position as a graduate assistant to keep coaching gymnastics. He also found a job teaching at a local elementary school. “I was one of those free spirits. Nothing bothered me, I didn’t have plans. I wanted to be a veterinarian, but then the dean said, ‘Nah, your grades stink. You should be a teacher.’ So I switched.” A tall gymnastics student with a broken arm hops onto the vault and hops off. He crouches low on the mat, then straightens suddenly as if sticking the landing and looks at Dodge.

One of Dodge’s proudest achievements is a certificate hanging on a wall in his office: Coach of the Year, 1985. He mentions a few other highlights—coaching a few young men to the national vaulting championship, having teams recognized for academic success. But the most rewarding part of coaching is the everyday business of watching his students continually improve. “It is just constantly rewarding to see them get better,” he says. The students are packing up and heading off for the night, but a few of the club gymnasts are getting ready to play wallball. The interview comes to a natural end, as Dodge gets up and announces he’ll have to go and put on shorts. There’s a game being played, and he doesn’t plan to stand on the sidelines.

The most rewarding part of coaching is the everyday business of watching his students continually improve.

“Nine!” The student throws himself to the ground in mock despair. Dodge turns to the rest of the class. “Should we give him a ten?”

The Onondaga Historical Associationâ&#x20AC;&#x2122;s annual Ghostwalk reveals the hidden history of Fayetteville.

Words : Jill Comoletti Art : Natalie Goldstein Grover Cleveland stood on the steps of a clapboard house in Fayetteville, N.Y. With his formal suit and top hat, delicate white gloves, and sturdy hooked cane, Cleveland was a stark contrast to the surrounding modern neighborhood. Ironically, when our small tour group approached his doorstep, it was he who jumped in surprise. After a moment of recovery, he slowly made his way down the steps and shook all of our hands, declaring how delighted he was to meet us. To the unknowing passersby, the scene must have seemed surreal. Bringing back spirits from the grave is an annual affair at the Onondaga Historical Association’s Ghostwalk, which is held in a different part of Central New York every fall. This year’s walk focused on past Fayetteville residents, such as E.R. “Curly” Vadeboncoeur, a renowned Syracuse broadcaster; Matilda and Henry Gage, who offered their home as a station on the Underground Railroad; and, of course, former President Cleveland.

Fortunately, these ghosts are not actually rising from the dead. Scott Peal, director of the ghostwalk, hires skilled actors from local community theater groups to do the job. “Doing a ghostwalk is not just for fun,” Peal says. “You’re doing the same thing over and over again, six, seven, eight times a night, so it’s really kind of a grueling experience. It takes a lot of concentration.” But even when reciting back-to-back 12-minute monologues about their characters’ histories, these actors showed nothing but enthusiasm. David Baker, who played the broadcaster Vadeboncoeur, showed particular zeal as he sat on the front porch

of a historic house on Fayetteville’s Elm Street. “Can you imagine Broadway here in Fayetteville?” he asked our tour group as he gestured across the yard. Some people shook their heads—the tiny village hardly seemed noteworthy enough to attract bigname talent. Baker proceeded to explain how in 1946, he, as Curly, had co-founded the Famous Artists Series, which brought Broadway talent to Syracuse area. Famous actresses like Eartha Kitt, Vivian Vance, and Veronica Lake once displayed their talents on the nearby playhouse stage. Local historians provide these stories about past residents with Peal’s input, and Peal writes the scripts for each actor’s monologue. The actors begin practicing their lines anywhere from one month to one week before opening night. Peal says he finishes the scripts for newer actors sooner, so they have enough time to practice. This process is much more uniform than the early days of the ghostwalk, when the actors wrote their own scripts. But a well-written script is not the only prerequisite for a successful ghostwalk. “It’s always nerve-wracking, because I know just finishing the scripts is not the end of the process,” Peal says. Putting together the ghostwalk also involves choosing a location, finding two volunteer guides for each tour group, and staying organized when 50 to 120 people show up for the tour each night. When possible, Peal has the actors present their monologues at their characters’ actual former homes. In one of the last homes on this year’s walk, an actress portrayed Ladye Love Smith in the same home where she lived with her husband in the late 1800s. The sharp smell of sawdust greeted us as we entered and gathered around the stairwell to hear Smith’s heartbreaking story, which began with tales of devotion to her husband and ended with her death after childbirth. From her perch on the stairwell, Smith’s

character gestured toward the living room, where she said her funeral was held more than 100 years earlier. Everyone on the tour looked around, as if expecting to see Smith’s ghost floating in the space. But the feeling of eeriness was lessened by the home’s ongoing renovation, evident in its unfinished wood floors and spotless granite countertops. A couple purchased the home a few years ago and are attempting to restore it to its former beauty. “The lady who owned the house contacted me about the ghostwalk because she had done a lot of research and has a spiritual connection to Smith,” Peal says. This homeowner isn’t the only person asking to be involved in the ghostwalk. Peal has already received interest from surrounding areas about hosting the walk in their neighborhoods next year. Inquiries have come from Baldwinsville, Liverpool, Skaneateles, and the Strathmore neighborhood of Syracuse. The structure of the walk will remain the same in the future, but Peal takes the suggestions of attendees into account. “The walk changes a little bit every time we do it. From our surveys, people sometimes say it’s too long, or they say there should be more ghosts,” Peal says with a laugh. Regardless of its location or length, the ghostwalk brings the history of these towns to life. As we parted with our tour guides at the Fayetteville Village Hall, I glimpsed a portrait of Grover Cleveland hanging by the exit. After our night of ghostly encounters, I half-expected him to come alive as I walked out the door.

Vaudeville to Vinyl Ninety-second radio program Sound Beat draws on SU’s extensive audio archives to take listeners back in time Words : Annie Menna Art : Cara Adrianos

Jenny Doctor fumbles around her desk for a moment, then excuses herself and exits her small office at the Belfer Audio Archive. “Bob, do you have a cylinder in here, lying around?” she asks her co-worker. When no one in the office can find the object, Doctor leads me into a classroom down the hall. She pushes a button beside the door, illuminating a line of gramophones, phonographs, and record players encased in mahogany boxes, all gleaming in pristine condition against the far wall of the classroom. She steps into the room and holds up what she was looking for—a short cylinder etched with lines. As director of the Belfer Audio Archive, Doctor is a wealth of information on the subject of musicology and, incidentally, it was these types of cylinders that paved the way for modern CDs. They are just one piece of the archive’s extensive collection, which is one of the largest in the world. But Doctor says it’s impossible to have an accurate count on how many audio recordings Belfer contains. “We specialize in recordings from the 1890’s to about 1970,” she says. “We also have an important archive of recordings that were produced by people in their personal collections.” Recordings and other items arrive at the Belfer Archive via donations or purchased acquisitions. Belfer was founded in 1963 with a collection of 150,000 recordings under the care of professor Walter Welch. As a way of sharing this incredible resource, Jim O’Connor writes and produces a 90-second radio program called Sound Beat, which consists of selected highlights from the Belfer Audio Archive. “I think it’s represen-

tative of what people have been listening to in America for the past 130 years. We bill the show as ‘vaudeville to vinyl,’ because it’s about the first century of recorded sound,” O’Connor says. Clips for Sound Beat, such as old folk recordings or speeches, are picked several months prior to airing. O’Connor then researches the clips, writes the episode, and records it in the Catskill Mountains with voice actor and S.I. Newhouse School of Public Communications alumnus Brett Barry. “What’s cool about the show is that, for every episode, we take a record off the shelf and digitize it,” O’Connor says. “It might have been in my grandpa’s attic and he dropped the box, and that’s why there’s a scratch at the 30-second mark of the song. That’s cool and romantic. It really is about the recordings—it’s about the songs—but it’s about the records individually.” Of particular note in the archive’s collection are the physical movie scores and recordings of Franz Waxman and Miklós Rózsa, both world-renowned composers in the Golden Age of Hollywood. Think Alfred Hitchcock—rousing overtures and orchestral swells. Belfer has also amassed an impressive collection of materials from the post-World War II arts scene in New York City. These include physical materials and films from Grove Press, a radical publication that has featured such notable figures as Samuel Beckett and Malcolm X. The Belfer Audio Archive began with Welch’s mission to preserve audio and related emerging technology, a novel concept for the time. “The idea of putting audio onto

carriers was only 50, 60 years old at that point,” Doctor says. The archive itself was mostly self-sufficient until it was shut down in 1992. Years later, Doctor and O’Connor were brought on board to revitalize Welch’s undertaking for the modern era. O’Connor writes almost all of the episodes for Sound Beat, which reaches listeners all around the world through iTunes podcasts, the Internet, Reader Services, and public radio—WAER, WRVO, and WCNY all broadcast Sound Beat weekly. The shows he doesn’t write come from the Sound Beat Class Partnership, a collaborative experience between Sound Beat and the class HNR 340: “Inside the Words and Music,” taught at Syracuse University by Jeffrey Pepper Rodgers. The students begin by writing 500 words for a specific episode, then edit down to a finished and recorded project at 125 words. Kelsey Francella, a senior communications design major and fall 2013 participant in the Sound Beat Class Partnership, says that she was interested in the wide variety of recordings available. “I think this is a cool way to showcase the archive, because it is a really unique thing SU has that no one really knows about,” Francella says. Through Sound Beat, Doctor and O’Connor are readily returning to and expanding upon Welch’s original mission to preserve and protect audio records. “This beautiful building lay dormant for so long. Since Jenny came on in the last three years, they’ve even physically changed the way you walk into the building, which makes it more inviting,” O’Connor says. “And I think it’s a great metaphor for the fact that they’re getting more people involved in the archives, and we’re happy to be a small part of that.”

Active Duty From black-and-white photography to multimedia platforms, Newhouse’s elite program spans 50 years of military journalism Words : Nicki Gorny

In August 1964, the S.I. Newhouse School of Public Communications brought then-President Lyndon B. Johnson to Syracuse. But the commander in chief did not have Newhouse in mind when he took the microphone at the building’s dedication. The U.S. would engage in military action in Vietnam, he announced, reiterating his previous night’s vow in what history textbooks would later identify as his “Gulf of Tonkin” speech. Within the raptly attentive crowd, some heard his words with particular significance. These were the early students of Newhouse’s Military Visual Journalism program, many of whom would soon find themselves applying their newly acquired skills in a Southeast Asian battlefield. “When this program started, that wasn’t what they planned on doing,” says Fred Demarest, founding director of the program that trains active-duty military personnel to most effectively tell the military’s stories. “But then after a year or two in the program, when we got really involved in Vietnam, a lot of them were sent to areas where the action was.” The 10-month program, which began in fall 1963, tasked its inaugural class with honing skills in black-and-white photography and basic news reporting, says Nancy Austin, current deputy director of the program. In the 50 years that have passed since its founding, the MVJ program has adapted to an evolving media environment and world.

Good and timeless stories were what the military needed in 1963 when representatives from the Pentagon contacted Demarest, then chair of the photography program, with a proposal to start a military visual journalism program at Syracuse University. The Navy—the first and currently the only branch to sign on for the program—was struggling to get their intended message out to the people, an admiral told Demarest years later. Based on the portfolios of his first applicant pool, Demarest found that military journalists at the time were good at taking snapshots, but not as good at in-depth studies of their subjects. With this in mind, he designed a 30-credit curriculum that would teach students how to effectively relay stories, covering every step of the process from assignment to publication. Since Demarest’s original curriculum laid the foundation for the MVJ program, it has maintained its elite reputation. Enrollment was a career goal for Navy Petty Officer Second Class Chris Church, one of just ten students in the program this year. Like all students in the program, Church had military and journalistic experience before he submitted his application. He’d spent his childhood writing poetry and short fiction and knew that he wanted a writing-related assignment when he joined the Navy after a few years of college. With a little persuading, he landed journalistic assignment documenting the refurbishment of the U.S.S. Theodore Roosevelt.

In the 50 years that have passed since its founding, the Military Video Journalism program has adapted to an evolving media environment and world. Today, the MVJ program offers active-duty students a choice of two specializations with an emphasis in multimedia platforms: military photojournalism and military motion journalism. The idea behind the curriculum remains the same as it was in 1963. “The tools and technology may have changed,” Austin says, “but the basics of telling a good story, knowing how to write—those kinds of things are timeless.” 15

He spent about three years in the shipyard and went on to a broadcasting position based in South Korea. Currently, the 26-year-old is in the middle of his ten months of higher education at SU. “It’s the best training opportunity for us,” he says, adding that completing the program carries an additional responsibility of training others when he returns to his military assignment after graduation. “It’s

our job to pass that on to others.” Alumni of the MVJ program find themselves in a variety of roles, ranging from photographing combat areas to taking pictures of the president. Their work could appear on internal military TV stations or newspapers, or on public websites and in magazines such as Stars and Stripes and All Hands. In some cases, their photographs will even run in mainstream media, like when newspapers ran military-sourced photos after 9/11. The class of 2015 will not know their next assignments until later in the academic

“The basics of telling a good story, knowing how to write—those kinds of things are timeless.” year, meaning that students can now only speculate how, and if, this year’s presidential decision on limited military action against the Islamic State in Iraq and Syria, commonly known as ISIS, will affect their next steps. Regardless of where they wind up, the students will be able to effectively tell the military’s stories. “With a program like this,” Church says, “there’s no way for military media to go but up.”

Two centers bring communities together by educating and inspiring budding artists

AT 360 DEGREES, WE BELIEVE THAT ART IS ONE OF THE best ways to connect people. For this issue, we ventured into the city of Syracuse, seeking artists and organizations that are using their craft to unite members of the community. In the Near Westside, 601 Tully offers a safe space for local artists to practice their skills and share their work with the community. Closer to home, the SUArt Galleries bring culture to campus by showcasing pieces from all around the world in a space that welcomes both members of the university and the community. Take a look at how these organizations are connecting the art world to the city through education, engagement, and a little creativity.

Words : Tiffany Moran Photos : Abby Rose Sugnet On the corner of Tully and Oswego streets in Syracuse’s Near Westside stands a two-story building that was once a home and notorious local drug hub. This building now plays a very different role as 601 Tully, a center for engaged art and research.

students to work with local middle and elementary school students. The center evolved from the hard work and insight of artist and SU associate professor Marion Wilson. The founder and director of 601 Tully, Wilson opened the center to the public in June

“One of the reasons why I think we succeed is because we function as a neighbor.” The property appears residential, but its interior fosters a creative environment. Students created all of the furniture, including the floorboards made from rafter beams. Upstairs is the art gallery, which currently features a small six-by-six shack constructed from recycled and reclaimed materials from the destruction caused by Hurricane Sandy. The work, built by the Habitat for Artists group, is meant to depict the effect the hurricane had on artists. The entire center provides a safe zone for anyone with even the slightest interest in art. This creative space links Syracuse University and the surrounding neighborhood, bringing in undergraduate and graduate 17

2011. She hoped to revitalize and engage the surrounding community, which has faced stigma due to its high poverty levels. “One of the reasons why I think we succeed is because we function as a neighbor,” Wilson says. “We don’t look institutional. We are vulnerable in the same way this neighborhood is vulnerable. We share the strengths and weaknesses of the people here, as well as the ideas of the university.” At the moment, 601 Tully hosts college classes, an artist residency program, workshops and art classes for youth, and community events. “The mission of the place is that every program is a partnership between neighbor, university, and artist,” Wilson says.

This triangular relationship is demonstrated through the programs that students and staff have developed together. Wilson wants to empower students and neighbors to run 601 Tully with programs that are relevant and exciting for them. The center’s after-school programs have been a hit, especially with younger students. Current graduate student Ryland Heagerty is working with a class of fourth-graders at Seymour Dual Language Academy. She educates the children about nutrition in a fun way by using natural chemicals to link food to color. Heagerty greatly appreciates the center and its work, saying, “I’ve come to know the city that I’ve grown up in completely differently. It was astonishing. I had never had this vantage point. I’ve been very inspired to stay here because of it.”

The galleries aim to provide a cultural haven on campus while also offering a practical educational setting for students in the fine arts and museum studies programs

Words : Abby Rose Sugnet Photos : Beaux Wongwaisayawan Just beyond the bustling crowds of students passing between classes in Syracuse University’s Shaffer Art Building, glass walls house an international collection of art right on campus. Known as SUArt Galleries, this collection is open to both students and the Syracuse community. The galleries aim to provide a cultural haven on campus while also offering a practical educational setting for students in the fine arts and museum studies programs. With an encyclopedic collection of nearly 45,000 objects ranging from drawings and paintings to ceramics and sculptures, the galleries focus on historic to contemporary American prints. However, pieces from different time periods and cultures in Asia, Europe, Africa, and the Americas are also part of the permanent collection in the galleries. “We have things that were created internationally. We have pieces that are 5,000 years old and pieces that were created this year,” says Domenic Iacono, director of the

SUArt Galleries. When asked which piece is his favorite, he says it’s like trying to pick a favorite child—every one of them is special. While the galleries’ main audience is the university community, SUArt has also had great success bringing in groups from local elementary and high schools. Approximately 30 to 40 people visit the galleries in a day. Student artwork is not SUArt’s main focus, but the galleries do host a collection of student and alumni work. For a period of time, SU’s College of Visual and Performing Arts had a program in which graduating seniors would leave a piece of artwork with the gallery, further adding to SUArt’s student collection. The galleries also receive a significant amount of alumni work. In addition, visitors can see artwork loaned out from the collection in offices and reception areas around campus. Sculptures chosen by the SUArt faculty are placed around campus, visible on the Quad and in front of the Maxwell School of Citizenship and Public Affairs, among other places.

The pieces in the collections are often used as teaching devices for students in the fine arts program, which was the original intention that founder George Fisk Comfort had for the galleries when he began acquiring artwork in 1873. With the addition of VPA’s museum studies program, the galleries have found renewed importance by providing students with practical experience developing exhibits, organizing the collection, and maintaining records. By bringing art pieces directly to the SU campus, SUArt Galleries hopes to continue to connect and engage students, faculty, staff, and alumni, as well as visitors from across the region, through art.

FAMILY AFFAIR

After almost four decades living side by side with SU students, this Lancaster couple offers their perspective on the local Syracuse community Words : Kelsey Burke Photos : Beaux Wongwaisayawan

Just a short walk from Syracuse University, in an area bustling with the steady traffic of students heading to and from their off-campus homes, is an oasis—literally. The garden behind Grace and Michael Flusche’s early 20th century home on Lancaster Avenue was dubbed a Certified Wildlife Habitat by the National Wildlife Federation. In the Flusche’s garden, you’ll find a birdbath and fresh water pond, a running stream with protective lily-pads, flowers, berries, shrubbery, trees, seeds, and animal homes ranging from birdhouses to treeholes. Grace proudly shows off the official plaque that sits in the garden next to the pond, informing all of the animals in the area of this safe zone.

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We don’t want to leave. We have invested in our lives here. We love where we live and we love our proximity to young people

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The couple has lived in this home for the past 38 years, remaining a permanent fixture in a student neighborhood of temporary residents. Grace and Michael met at SU, where Michael was an associate professor of history. Before long, they were married. “It was fate,” Michael says, “because two weeks after we were to be married, I was about to start a job teaching at a college in London for a year—”. “The same school I had originally planned to briefly leave Syracuse for, so it was perfect. I had a job!” Grace continues. She still looks at Michael like he makes the world spin. After their time in England, they decided to return to Syracuse, where 21

Michael went back to his history classroom and began instructing first-year forums. According to Michael, Euclid Avenue was once a faculty haven. “Twenty years ago, the amount of students you see walking at the end of the day used to be faculty,” he says. He reminisces about those times— the long walks with groups of professors, stopping at each street and talking for a few minutes at the corner before saying goodbye—just like he sees students do today. Their pride in this community eventually led Grace to establish what has become a core event in Syracuse during the fall: the Westcott Street Cultural Fair. Upon mention of the fair, Michael hurries to find a framed

newspaper clipping announcing Grace as “Syracuse Woman of the Year 2011.” The first to receive this honor from the Syracuse Commission for Women, Grace is noted for founding the Westcott Street Cultural Fair and the University Neighborhood Preservation Association. She has served on the Transitional Living Services program advisory board since her retirement from social work in 2006, and also works with the Catholic Charities of Onondaga County. Her involvement stems from a passion for helping others and her love of the community. The couple is active at St. Lucy’s Church and in Syracuse’s refugee community. They also support the local art scene, filling their

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We just show them that if they respect us, we will respect them.

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living room with artwork that was created by friends and artists they’ve met. Although students now outnumber faculty in the neighborhood, Grace and Michael are firm in their desire to stay right where they are. Michael says, “We don’t want to leave. We have invested in our lives here. We love where we live and we love our proximity to young people, but what we need is a solid, tight-knit community of people who aren’t just passing through.” After a short period of trial and error, the couple discovered the perfect way to keep the peace between residents and students: throwing an annual Labor Day weekend

party. Grace goes door to door inviting neighbors, and the couple makes it a point to introduce themselves to all those who show up. “We just show them that if they respect us, we will respect them,” Grace says. Michael tells a few anecdotes about his interactions with neighboring students throughout the years, and how they have given him an interesting relationship with the local police. “Noise isn’t the most common thing to call about,” he says, as he usually resolves that problem over a beer or with a simple knock on the door. But living near students can sometimes be a little loud, so the couple purchased a noisemaker to drown out the noise. “We have a noisemaker with over 26 sounds that sits between the bed and the window. It’s quite effective, really,” Grace says. However, occasionally a party is so loud that even the sounds of a soothing beach cannot overpower the noise. One time, Michael had to bust a party on the corner

of Ackerman Avenue and Clarendon Street that had speakers on the roof. After passing through the open front door and searching every room, he came across a hidden hallway that led to a room full of students sitting around a fake fire. They were singing folk tunes with a guitar. “It’s this type of moment,” Michael says, “that really makes living on Lancaster worth it.”

e on face th ti a c u d e civilian life rning to tu to e r in s k c n a a r b Vete ting f assimila o e g n e ll a ch Words : Sarah Schuster Art : Lise Sukhu

IT CAN TAKE 15 WEEKS TO MAKE A SOLDIER. For the U.S. Army, this means ten weeks of Basic Combat Training, followed by varied lengths of Advanced Individual Training. The Marine Corps requires 12 weeks of recruitment training, and when they graduate, according to the Marines’ website, the recruits have been transformed from individual civilians into a tight-knit group of Marines. It takes about a week of PowerPoints and lectures to become a civilian again.

When Kent Syverud was inaugurated as Syracuse University’s 12th chancellor, one of his goals was to make SU the best place for student veterans. He told the crowd in Hendricks Chapel, “We have the capacity, we have the opportunity, to be the best in the world at providing opportunity and empowerment to the veterans of our armed forces and their families.” But what does it take to be the best? The transition from high school to college is one thing. The transition from military to civilian life, then from college to a career leaves too

much room for veterans to slip through the cracks. If SU wants to be the best university for veterans, it not only needs to be the best at catching them, but also needs to take care of them once they are here. Returning to school is one of the best ways a veteran can ease his or her transition back to civilian life. Charles Preuss, vice president of the Student Veterans Association at SU, joined the Army in 2007 and was part of the prestigious 173rd Airborne Brigade Combat Team. In October 2013, he was medically discharged after suffering wounds in Afghanistan, and then enrolled at SU last January. When the post-9/11 GI Bill was passed in 2008, it extended educational benefits to service members and their spouses and dependents. This caused an increase in veterans returning to school. In response to this, SU created the now five-year-old Veterans Resource Center, which is often veterans’ first point of contact with campus. Keith Doss, head veterans’ advisor, personally works with veterans and addresses everything from questions about applications to concerns about being a nontraditional student: Where’s the best place to live with my family? Will I be the oldest person in all of my classes? Doss says the experience of transitioning to school depends on the individual, and the difference between a combat veteran and a noncombat veteran can have a huge impact. But once they’re here, they want to succeed. “Veterans are very

resilient,” Doss says. “The first month or two is probably their biggest adjustment period once they’re on campus.” For Jordan Robinson, it took about a semester to adjust. After serving in the Marine Corps for six years, and spending three years on embassy duty traveling around the world, it wasn’t leaving the Marines or applying to schools that proved challenging, but adjusting to civilian life. Without a rigid routine, she became depressed, finding it difficult to connect to nonveteran students. A huge part of leaving the service is a loss of camaraderie. In the service, bonds between soldiers are not only created, but also tested. Recreating these bonds in student life can seem impossible, because individual goals are a dominating force. “It’s huge because civilians don’t understand what they’ve gone through,” Preuss

The number one reason that veterans consider dropping out of school is the feeling that they don’t fit in, says Michael Haynie, founder and executive director of SU’s Institute for Veterans and Military Families. “There’s some irony that a student who may have spent three out of the last five years over in Iraq and Afghanistan is less afraid of that than they are of a college campus,” he says. “That’s not a failing on them, it’s on us. I’m not just talking about SU, but about higher education broadly.” As far as reaching out to veterans, the university doesn’t have a purposeful recruitment strategy yet. Haynie plans to bring a full-time worker to the Institute for Veterans and Military Families to help ease the transition for service members. Doss agrees that the Veterans Resource Center could do a better job integrating services. Unless a veteran has questions

“The transition from military to civilian life, then from college to a career leaves too much room for veterans to slip through the cracks.” says. “Nonveterans want to listen, but they weren’t there. I had a stronger family when I was in the service than I did my whole life.” For Robinson, finding a workout buddy—a veteran she met at the Veterans Resource Center—and returning to a rigid routine saved her. She became the public relations and event coordinator for the Student Veteran Association. She is also part of the Syracuse Veterans’ Writing Group, run by SU’s Writing Program. This group of veterans meets once a month to write and share their stories.

specifically related to the VA, the most the center can do is outsource him or her to services on campus. For example, if a veteran comes in with an issue related to mental health, the center guides him or her to the Counseling Center because it doesn’t have counselors of its own. The full-time assistant director of Career Services is a veteran herself, but there is no one in Career Services who specifically focuses on veterans. There is also no training for professors regarding student veterans, which sometimes leads to professors holding discussions in class that may be triggers for these veterans.

The military has to meet universities halfway. Haynie, who is also the chairman of the external advisory counsel to the Secretary of Labor, says he is actively involved in trying to improve the military’s out-processing. In order for more soldiers to succeed when the uniform is off, the U.S. Department of Labor, which is in charge of discharging veterans, needs to do a better job. Inspired by his own exit from the Army, Preuss took matters into his own hands and created a program that focuses on the transition of veterans into civilian life. He was enrolled in SU’s Entrepreneurship Bootcamp for Veterans with Disabilities, and won first prize for his social entrepreneurship venture. While most efforts to transition veterans are reactive, he wants to create a program that physically goes to military bases up to six months before a soldier is released. He not only wants to focus on what makes a person employable, but also on quality of life. It’s not just taking off a uniform and putting on a suit, but teaching soldiers how to adjust to a more well-rounded civilian life: school, friends, family, lack of structure, and healthcare. The benefits of making SU the best place for veterans aren’t only evident to veterans and their families, but also to the university itself. Veterans, who are as diverse as the civilian population they serve, have extremely high graduation rates and bring different perspectives to classrooms. Considering less than one percent of our nation serves in the military, keeping an open arms policy when they return is the least civilians can do. “We do have some moral obligation to that population of American citizens when they come home from war and take off that uniform, to empower them to realize their full potential,” Haynie says. “Education is one of the most powerful ways to do that.”

DID YOU KNOW? SU has a history of reaching out to veterans. During World War II in the late 1940s, the student population of SU was only about 5,500. The chancellor at the time, William Tully, announced that returning veterans were welcome to attend SU. By the end of the ’40s, when the war had begun to wind down, the university population almost tripled, about 10,000 of them student veterans. By the end of 1947, SU was ranked first in New York and 17th in the nation for veteran enrollment.ked first in New York and 17th in

Through

the Lens

Take a peek at life at SU throughout the years

Words : Meredith Jeffers Photos courtesy of SU Archives

SOMETIMES IT’S HARD TO IMAGINE life on this campus before all of the building renovations and additions of new technology. But the extensive photograph collection in the Syracuse University Archives allows students and faculty to get a glimpse into the past. Up on the sixth floor of Bird Library, in a bright, quiet room, you can flip through the history of campus, with photos dating all the way back to the 1800s. Some themes, like student activism, have popped up throughout SU’s history, while other traditions, including mandated beanies for all freshman, have died out—thankfully.

Although SU has gone through countless mascotsâ&#x20AC;&#x201D;from Roman gladiators to our beloved Otto the Orangeâ&#x20AC;&#x201D;the cheerleaders have remained a constant. Here, the coed cheerleaders pump up the crowds in the 1950s in front of Archbold Gymnasium. Fun fact: Otto was named by SU cheerleaders in 1990, and an SU alumnus was responsible for designing the first Otto costume.

SU students have written and published The Daily Orange for more than a century. In 1971, the students officially broke from the university after budget cuts, and have published the newspaper independently ever since. This photo shows students hard at work on an issue of the DO in 1950.

Be thankful you never had to hear an upperclassman shout, “Tip it, frosh.” The tradition, seen in this photo from 1946, started way back in 1893, when first-years were required to wear lidded orange beanies. To tip it was a sign of respect for their elders. The Goon Squad enforced the rule, and anyone caught not wearing the beanie would be punished with public humiliation. After freshmen began to burn their beanies in 1964, the tradition kind of flamed out. Pun intended.

Goon Squad members like these were responsible for far more than freshmen move-in during the 1950s and ‘60s. Goons also enforced the beanie dress code and led cheers at football games, all while wearing those stylish straw hats.

Syracuse has a long history of student activism and protests, from the 1970 student strike that shut down the university for two-and-ahalf weeks to the sit-ins, protests, and rallies organized by student coalition THE General Body. This photo is from the 1985 anti-apartheid protest at SU, where students camped out and called for the administration to divest from South Africa.

#HeartMyPhoto What if SU used hashtags on Instagram like students? We investigate this hard-hitting question Art : Kelly Oâ&#x20AC;&#x2122;Neil

#transformationtuesday

#mancrushmonday

#throwbackthursday

#womancrushwednesday

#flashbackfriday

From study abroad throwbacks to photo transformations of awkward freshmen to slightly less awkward seniors, itâ&#x20AC;&#x2122;s almost impossible to check out social media without seeing hashtag after hashtag. We decided to take some of our favorite day-of-the-week hashtags and make them SU-themed, from the swoon-worthy, vice presidential alumnus to one of our favorite recent visitors: Oprah. #LoveIt.

WE NEED A NEW

LOGO

Weâ&#x20AC;&#x2122;re revamping 360 Degrees, and we want your help!

When 360 was first founded by Lanre Mayen Gaba in 1998, the vision for the magazine was one of solidarity, engagement, and the balance between tradition and change. Now, sixteen years later, weâ&#x20AC;&#x2122;re returning to our roots.

YOUR DESIGN

HERE TO ENTER YOUR DESIGN: Tweet us your best design @360DegreesSU with the hashtag #360Revamp or shoot us an email at su360degrees@gmail.com for the chance to earn a spot in 360 Degrees history and, of course, the ultimate bragging rights. 34

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