St. Paddy's Day, Communication school dean departure

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Thursday, March 17, 2022 • Volume 75, Issue 23

Communication School dean to leave in June

St. Patrick’s Day parade. / Courtesy Creative Commons

Parades, partying, and Patrick: Emerson students celebrate St. Patrick’s Day Adri Pray

Emerson School of Communication Dean Raul Reis is set to depart the college. / Courtesy Raul Reis

Beacon Staff

Emerson students are eagerly anticipating Thursday’s St. Patrick’s Day celebrations—especially for those who are experiencing their first holiday in the storied Irish city of Boston.

First-year visual and media arts major Nikki Emma has dual citizenship between the United States and Ireland and remembers the proud celebration her family would partake in each St. Patrick’s Day. “When I was a kid, if [St. Patrick’s Day] was on a school day, I would skip school…and we’d go march in the [New York City] parade,” she said.

Her family marched with both Sligo, Ireland and Carlow, Ireland marching units both led by her grandfather. While she’s not home for the holiday this year, she still plans to celebrate with her friends at Boston’s St. Patrick’s Day parade on Sunday.

“I know Boston’s pretty Irish, so is New York City, so I’m curious to see which one is better because I haven’t seen the Boston one yet,” Emma said.

Senior marketing major Julia Reed from Rhode Island will also attend Sunday’s parade and recalled marching in her local St. Patrick’s Day parades in her youth.

“I would march in [parades] with my Girl Scout troop, and they were

St. Patrick’s Day, Pg. 3

Bailey Allen Beacon Staff After a six-year tenure at Emerson, School of Communication Dean Raul Reis will depart the college in June, moving on to become dean of the Hussman School of Journalism and Media at the University of North Carolina at Chapel Hill.

“It’s one of those situations where it’s kind of bittersweet,” Reis said in an interview with The Beacon.

“Emerson is one of the best jobs that I’ve ever had, but it’s a great opportunity for me in terms of thinking about the future, and my impact in education and society and everything else.”

Reis said the demands of working at UNC-Chapel Hill will be more challenging than Emerson, particularly due to the school’s large population—nearly 20,000, according to U.S. News and World Report, compared to Emerson’s 4,000.

According to a community-wide email from Interim Provost Jan Roberts-Breslin, Reis helped to grow

the School of Communication’s enrollment numbers exponentially—increasing from only 27 percent of Emerson’s student body in 2016 to almost 50 percent in 2022.

Despite overseeing a smaller student body, as dean of the School of Communication, Reis oversaw four different departments—Communication Sciences and Disorders, Communication Studies, Journalism and Marketing Communication—and contributed to the creation of 10 new degree programs, including Business of Creative Enterprises and Public Relations.

“I hired 40 new full-time faculty in the past five years,” Reis said. “The new faculty have brought so much to the school in terms of diversity, who they are, and the expertise that they have.”

Brent Smith, chair of the Marketing Communication Department, said the dean has supported the School of Communication’s efforts to be a vibrant, diverse faculty.

“I’m now just in my third year at the college, and I would argue that we’re probably one of the most diverse departments in many respects,” Smith said.

Reis also launched the school’s First Year Initiative, established four new internal staff positions, and supported the growth of programs including the Washington, D.C. Program, Emerson Launch, and Emerson Polling.

Before taking his position at Emerson, Reis served as dean of the School of Journalism and Mass Communication at Florida International University from 2011 to 2016. He also worked at California State University at Long Beach and at Monterey Bay. Reis completed his doctorate degree at the University of Oregon after working as an assistant editor and reporter at Gazeta Mercantil in São Paulo, Brazil.

“Dean Reis was my first dean in the School of Communication who actually had worked in journalism,” Journalism Department Chair Janet Kolodzy said. “In one sense, he and I had a personal affinity, because we could talk about journalism.

He is someone who understands the journalism culture, although it’s been quite a few years since Reis departure, Pg. 2

Robert Pattinson’s caped crusader reimagines ‘The Batman’

INSIDE THIS EDITION COVID Update Pg. 2 Beyond Racial Equity Pg. 3 Incident Journal Pg. 3 Opinion: Viewing white content as a Black person Pg. 4 Opinion: War doesn’t bring people together Pg. 4

Camilo Fonseca & Frankie Rowley Beacon Staff

Less than a year has passed since the world last saw Batman on the silver screen. With Hollywood’s latest take on the caped crusader, though, the world might just forget they ever saw another.

The Batman’s Batman is a far cry from the one in Zack Snyder’s Justice League last March—and indeed, might just stand apart from any that moviegoing audiences have experienced. It’s too early to call Robert Pattinson’s performance “definitive” but it is also clear that this Bruce Wayne is grittier, smarter, and angrier than ever before—and he knows it.

Batman has always been a mythos, looming over his city as a dark angel of justice. Whereas past adaptations have toyed with this idea, this Batman embraces it. Pattinson revels in the terror he brings to the criminals of Gotham City, ruthlessly inflicting his own sense of “vengeance” on any lawbreaker that should cross his path.

In charting a course for Bruce Wayne, director Matt Reeves maintains the essential aspects of the character’s backstory—his allies, his rogues gallery, and of course his orphaned backstory. Yet Pattinson’s Bruce Wayne possesses neither the suaveness of Christian Bale nor the maturity of Ben Affleck. He is moody, inexperienced, and vengeful—almost to the point of obsession.

“Rob, as Batman, is never really in control,” Reeves said to The New York Times. “He’s just barely making it.”

It’s a refreshing take on Bruce Wayne and Batman: less Tony Stark, more Kurt Cobain (as evidenced by Nirvana’s “Something In The Way”). Rather than the

The Batman, Pg. 5

Lex Torrington and Austin Franklin with Archie’s New York Deli owners Emilio and Michael the day of the official signing. / Courtesy Xinyan Fu

Emerson men’s lacrosse player signs the first NIL deal in college history Tyler Foy Beacon Staff Two men’s lacrosse players, Austin Franklin and Lex Torrington, combined to secure the first deal regarding a player’s Name, Image, and Likeness in the college’s history.

The NCAA changed its stance on players profiting from their NIL in July 2021, mediated by new state laws.

The deal was officially signed with Archie’s New York Deli on Mar. 10. Though the conditions include promotional videos on social media accounts, a fundraiser with the Daniel J. Hollis Foundation, and a few free t-shirts, the center of Franklin’s deal is the Yahoo Bacon.

Consisting of a fried egg, hashbrown, cheese, and bacon in between a toasted

Portuguese muffin, the Yahoo Bacon is advertised as a breakfast sandwich. It has significance to Franklin and the men’s lacrosse team.

Located across from Emerson’s fitness center, Archie’s became a hot spot for Franklin and a couple of his teammates in his junior year, as a place to grab a quick bite after a lift. Franklin introduced players to the location, which eventually became ingrained in the culture.

With the COVID-19 pandemic, though, the team doubted whether the tradition would carry on.

“We thought we were going to lose the culture of like Emerson lacrosse going to Archie’s Deli,” Franklin said. “We freaked out.”

Franklin said he and the team had Licensing deal, Pg. 8

Sophomore launches clothing brand Pg. 7 Tyler, The Creator concert review Pg. 6 Women’s Lacrosse win Pg. 8

588

positive COVID-19 tests

1.39% positivity rate

42,000+ tests completed

*Accumulated from Spring 2022 Semester

News

The Berkeley Beacon

March 17, 2022

2

Emerson professor releases debut feature ‘Come On In’

Emerson professor Daniel Callahan. / Beacon Archives

Abigail Lee

Beacon Staff

Emerson Business of Creative Enterprises professor Daniel Callahan’s debut feature film, Come On In, was released Feb. 8.

Come On In is a psychological thriller that delves into the inner workings of the mind. Callahan, who wrote, directed, and acted in the film, conceived the project while completing a masters’ degree in film and media art at Emerson from 2014 to 2017.

“The [Visual and Media Arts Department] doesn’t typically do feature films in the MFA program—but it was amazing,” Callahan said. “I had a lot of my classmates pitch in to help me complete it.”

The film centers on a 29-year-old artist named Leinad who feels stuck and directionless in his life. When Leinad makes an accidental phone

call, an unknown voice answers and commences the film’s dive into a journey “between fantasy and reality.”

Following its completion, Come On In entered the festival circuit, screening at several during the pandemic, and eventually got picked up for distribution at the Richmond International Film Festival, the only in-person event the film was screened at.

“It was really sort of auspicious, a blessing that we were able to go to this festival in person and I was able to meet with a representative of a distributor,” said Callahan.

Callahan took inspiration from films like Michael Gondry’s Eternal Sunshine of the Spotless Mind and Ron Howard’s A Beautiful Mind, which both explore the psyche.

With this project, Callahan wanted to experiment with how perception can determine one’s reality—a compelling challenge for the medium of film.

“We can’t really picture what’s in our head, but we can at the same time, right?” Callahan said. “It’s clearly visual, and yet at the same time, it’s completely intangible.”

However, Come On In is more inclusive than its inspirations—which Callahan noted often lack people of color in lead parts.

“Very few of those films ever had a black lead—or even a person of color, period—as a lead,” he said.

“There are nuances to everyone’s identity, and if we don’t see those, then we won’t know them.”

The film builds upon the idea of identity informed by reality by incorporating a practice Callahan calls ‘MassQing,’ or painting one’s face as a process of self-discovery.

This technique is a signature of his,

utilized in his portrait series and in museum features. The merging of painting and film in Come On In is familiar to Callahan whose work spans multiple disciplines.

Originally from Philadelphia and raised in Greater Boston, Callahan studied at the University of Pennsylvania School of Design. After graduating, he moved to California to pursue music for five years.

“It was through shooting a music video that I got intrigued by what was happening on the other side of the camera,” Callahan said.

Callahan said his experience acting in plays primed him for this starring role, even as he faced uncertainty on the shoot.

“I did the whole method thing,” he joked. “I mean, the character spends most of the time not knowing what’s going on being confused and being overwhelmed and at his wit’s end. That’s pretty much how I felt.”

Callahan’s foundation in music also informs his filmmaking. He produced electronic music for the film to complement the classical instrumentation composed by partner Castle of Our Skins.

While he is taking this semester off, Callahan is keeping busy with multiple creative projects, including a documentary about the pandemic’s impact on communities of color in Boston. After nearly five years working on Come On In, he is moving on. “[The film] was definitely one of the hardest things I’ve ever done but also one of the most rewarding,” Callahan said.

abigail_lee@emerson.edu

‘This is a special place’: Dean reflects on time at Emerson Cont. from Pg. 1 we all worked in the business.”

According to Ruth Grossman, chair of the Communication Sciences and Disorders Department, Reis worked to facilitate cooperation between the school’s different departments.

“It’s been a consistently communicative relationship,” Grossman said. “He’s been very supportive of new programming, new hires and new initiatives that we’ve started in the department.”

Reis recalled the sense of excitement and awe he felt upon first arriving at Emerson in 2016. He moved to Boston from Miami in the summertime, before classes started.

“When I came to visit, I talked to the faculty and I talked to the students, and I said, ‘This is a special place,’” Reis said. “‘This is a place that I would love to be a part of.’ I try to remember that, so that even though I’ve been here for almost six years, I try to bring that sense of excitement every day.”

A third of Reis’ six-year tenure was clouded by the pandemic, but Reis said he focused on making sure students felt a sense of normalcy in the midst of such trying times.

“You can’t really talk about my

last six years on this job without talking about the last two years that have been so different,” Reis said. “I think that’s an accomplishment—making sure that we keep our doors open, receiving the students and making sure they have a good experience.”

Looking forward, Kolodzy said that there will probably be an interim dean in the meantime in order to keep the school moving forward and to avoid stagnation.

Most likely, the replacement will be someone who currently works in the school of communication, she said.

“I would be somewhat surprised if it’s not someone who’s been well-versed and has been around at Emerson for some time,” Kolodzy said. “We have a lot of people who have been chairs and who understand the demands of the curriculum and of administration in terms of managing finances and programs and working with enrollment.”

College spokesperson Michelle Gaseau wrote in an email statement that in the coming weeks, the college will name an internal interim dean who will help “continue the SOC’s and college’s positive trajectory.”

Moving to North Carolina, Reis reflected on the fact that he will endure milder winters than he did

“It’s one of those situations where it’s kind of bittersweet.”

-Raul Reis

during his time in Boston.

“I’m not going to miss the Boston winters,” Reis said. “Not only because of the cold but the fact that people kind of disappear— everybody goes indoors and you don’t see people when it gets cold and the days are short. I think I belong in warmer weather.”

“I have teased the dean,” Kolodzy said. “[Reis] had the puffiest puffy coats I could possibly imagine. The man grew up in Brazil, he spent most of his time in warmer climates—California, Florida. I’m going to think that he will enjoy missing New England winters.” bailey_allen@emerson.edu

Beacon Archives

COVID-19 cases continue to climb on campus, semestertotal at 588 positives Adri Pray

Beacon Staff Emerson reported three COVID-19 tests on Wednesday of the 930 tests administered, bringing the daily positivity rate to 0.32 percent.

The college also reported 10 community members in on-campus isolation. Zero were reported to be in on-campus quarantine.

Those in quarantine may have been exposed to COVID-19 but aren’t experiencing symptoms.

Those in isolation are symptomatic, have produced a positive test, or are “reasonably known to be infected,” according to the college. Off-campus students are not counted in the quarantine and isolation numbers.

For the week of spring break, March 7 to March 13, Emerson reported three COVID-19 cases of the 648 tests administered, setting the weekly positivity rate at 0.49 percent.

In regards to the returning positives and those accumulated during the break, Assistant Vice President of Campus Life and “COVID” Lead, Erik Muurisepp, spoke calmly stating that the college was expecting them.

“We know some folks while they were home, tested positive, and we were aware of that,” Assistant Vice President of Campus Life and “COVID” Lead Erik Muurisepp said. “I would say, nothing out of the ordinary, nothing that we were not expecting, if anything, less than what we were expecting.”

However, if the college were to experience a sudden uptick in cases—like the one experienced during the week leading up to and weeks during winter break— Muurisepp and other college officials believe the college would only make minor policy readjustments to accommodate the increase.

“Our wish and desire is never to go into lockdown mode or into [a stay-in-room order],” Muurisepp said.

“Just because we’re following other city and state guidance for masking doesn’t mean [the mask policy] is gone,” he said. “That shift comes down to us as individuals to make sure that our community as a whole remains safe. I still have no worries about our shift to mask optional next week.”

In regards to the college’s current position, Muurisepp said he is “confident and comfortable” in moving into the direction of living with the virus.

As of Jan. 3, Emerson has reported 588 positive cases and administered 42,325 tests. The cumulative positivity rate sits at

1.39 percent.

Students are expected to continue to test once weekly, per updated COVID-19 guidance put in place Feb. 7.

The state’s upwards tick of COVID-19 cases continued on Wednesday as Massachusetts reported 725 cases for Tuesday, with a daily positivity rate of 1.53 percent. The death toll rose to 14.

The state updated the guidelines to qualify a COVID-related death Monday. The state now counts a COVID-related death if someone has died within 30 days of contracting the virus. The new definition decreases the death toll by 3,770 and includes 355 deaths and probable deaths not previously recorded. All newly reported deaths occurred prior to April 2021.

Hospitalizations went up as reported on Wednesday as the state reported 229, with 138 of these hospitalizations occurring in those who are fully vaccinated.

The state of Massachusetts also tracks two kinds of COVID-19 positivity rates—one including higher education testing and one without. The seven-day positive rate without higher education sits at 2.13 percent as of March 9. Including higher education, the rate sits at 1.53 percent as of March 15.

Massachusetts reported 4,889 new vaccinations—including boosters—from Tuesday to Wednesday, bringing the state’s total to 14,030,213 doses.

Wednesday’s daily vaccination update reported that 5,308,436 Mass. residents—according to Mass. Department of Health data, approximately 77 percent of the state’s population—are fully vaccinated, meaning that they have received both doses of the Moderna or Pfizer/BioNTech vaccine or one dose of the Johnson & Johnson vaccine.

Starting Mar. 21, Emerson will drop the indoor mask mandate following an update to COVID-19 protocol. Students will not have to wear a mask indoors in any college facility except for classrooms, the Center for Health and Wellness, and Emerson’s Counseling and Psychological Services offices.

Mayor Wu lifted the proofof-vaccine requirement for all Boston residents citing the drop to previously established thresholds Feb. 18. Mayor Wu also dropped the masking requirement on Mar. 5 in close consultation with Commissioner of Public Health and Executive Director of the Boston Public Health Commission Dr. Bisola Ojikutu. adrianna_pray@emerson.edu

The Berkeley Beacon

March 17, 2022

3

Tara Jenkins (left) and Quionna Allen (right). Courtesy Tara Jenkins and Quionna Allen

Consulting firm to release accessibility, equity report Gabriel Borges Beacon Staff

A consulting firm will release a report on student accessibility and racial equity later this month, bringing renewed attention to a year-long, student-driven effort to re-examine the way Emerson treats its marginalized community members.

The report, slated to be released before the conclusion of the academic year, will draw on eight months of research by Beyond Racial Equity, a Maine-based group hired by Emerson’s Presidential Advisory Group. That decision came after Emerson’s Access: Student Disability Union unveiled the “Access Advocacy Project” in April 2021, urging the college to improve accessibility for its disabled community members, including the incorporation of policies in the classroom and the implementation of educational and training programs for community members on disability.

“The responsibility of rooting out ableism falls upon every person and institution,” read the statement from Access SDU. “That is one of the reasons why we are calling upon Emerson College to do more

and to do better for its disabled students and community members.”

In response, the college hired Beyond Racial Equity in September to perform an institutional review, with the goal of identifying areas for improvement in the diversity, equity, and inclusion (DEI) sphere. “[The obstacle to accessibility is] not necessarily one person,” said Quionna Allen, a co-founder of BRE. “We want to look at some of the processes and practices that may be in place, not because someone is doing it intentionally, but just because it’s been around for 100 years, or 50 years.”

Beyond Racial Equity set up interviews with faculty, administration, staff, and students to identify the college’s gaps and limitations.

“It was clear that people were saying, ‘There are some issues with the faculty and staff, or issues with the process [of the college’s DEI practices] itself,’” said Ruthanne Madsen, Emerson’s vice president for enrollment management who serves as interim supervisor of the Social Justice Center.

“If you go back to those demands and some of the things that were requested of the institution, you’ll see that, clearly, there are

some gaps there and some areas of improvement necessary,” she added.

Since its inception, Beyond Racial Equity has implemented focus groups, or “Student Visioning Sessions,” for select groups of students such as members of the LGBTQ+ community and students of color. The group also launched HiveWise, a virtual conversation platform designed to gather input from the entirety of the Emerson community.

“HiveWise is like a combination of a conversation and a survey,” Allen said. “We develop specific questions in HiveWise based on what we’ve learned about Emerson…We’ve spent the last couple months of this span of time really trying to figure out how to get engagement from students,” Allen continued.

While the interactive virtual platform was anonymous, each HiveWise contributor is able to see each other’s responses and respond with advantages and disadvantages to what people shared.

Allen said that Beyond Racial Equity’s priority in their work with Emerson is to create an environment where students, faculty, and staff can be themselves in spite of their identities.

“I do this work wanting people to have [inclusion] in their environments,” she said. “It’s an area that connects with wanting people to feel that they are in a place where they can be successful, where they belong, where they feel like they can be, [and] where they’re included.”

Jenkins said that Emerson’s efforts to seek an external party for structural evaluation of diversity, equity and inclusion is a sign that the college is heading in the right direction. However, Madsen noted that while the college continues to work towards DEI, the process of working towards an equitable campus will take time.

“There’s hope that we can be in a community where everybody feels comfortable, everybody feels included,” she said. “That’s the way the system was made and we’re breaking that down slowly.” gabriel_borges@emerson.edu

Students discuss holiday plans in Irish city Cont. from Pg. 1 pretty small, pretty local, very strong, community-based things which I imagine it’s like here as well,” she said. “I am going to the parade this year with some friends I have coming from home…I’m excited because I’ve never really celebrated here before.”

Irish Americans made up roughly 22.8 percent of the city’s population in 2014—according to an article by the Boston Globe—because of the colonial immigration of Irish citizens to the colonies. Aware of the large Irish population, Reed is expecting a lot of celebration on Sunday.

“I’m expecting to see a lot of people, I’m expecting a lot of commotion, but I’m excited for it,” she said. “I think it’ll be interesting. I love the people-watching aspect of it, so I think that I’ll get a lot of that on Sunday.”

Despite being excited to engage in the festivities, Reed said she doesn’t think a cancellation of classes on the day would be justifiable.

“People typically don’t do things on that day,” she said. “I know the parade’s a really big thing here and the weekend is a big thing and I don’t know anyone who has plans on doing anything tomorrow.”

With a fixation commencing around most Catholic or Christian-based holidays, other Emerson students, while excited, believe

“I know Boston’s pretty Irish, so is New York City, so I’m curious to see which one is better because I haven’t seen the Boston one yet.”

-Nikki Emma there should be more recognition of cultural and religious holidays.

Sophomore theater and performance major Alex Goldman grew up in a Philadelphia Jewish community. He’d never celebrated St. Patrick’s Day before, but growing up Jewish made him question why some holidays were honored at the expense of others.

“If it’s a holiday that’s important to people, then we probably should get school off…it really annoys me,” Goldman said. “For [holidays] in the Jewish calendar, we didn’t get school off and it really pissed me off.”

Ella Maoz, a first-year Creative Writing major from San Francisco, echoed Goldman’s sentiment.

Growing up Jewish, Maoz reflected on her middle and high school years, where she would consider herself “lucky” if the academic calendar didn’t fall on Hanukkah.

“The fact that I’ve never had to go to school on Christmas, but I’ve always gone to school on Hanukkah,” she said. “This year I had to be here at school which sucks because I want to go home and I can’t. It was so depressing. Somebody who celebrates Christmas has never had to deal with that, that’s what the annoying part is.”

Maoz sang in a choir before coming to Emerson. The repertoire contained mostly Catholic songs, but every Jewish holiday was honored.

“That was the first experience I’d ever gotten a Jewish holiday off. It was so funny too, because we were singing all Catholic songs but they were giving us every single Jewish holiday off and I feel like that was a respect for your religion or your culture,” Maoz said.

adrianna_pray@emerson.edu

Incident Journal: ECPD responds to campus security bypass

Beacon Archives

Vivi Smilgius Beacon Staff

The Emerson College Police Department provides the Incident Journal to The Beacon every week. Beacon staff edit the Incident Journal for style and clarity but not for content.

Monday, Feb. 28 ECPD identified a student allowing non-Emerson guests to access college property via their Emerson ID, which violates the college’s access policy. The student was referred to Community Standards & Student Conduct.

Tuesday, March 1 A bypass was reported at Piano Row residence hall, but an ECPD investigation found the person in question to be a registered guest of a Piano Row resident.

Tuesday, March 1 An unidentified person entered the dining center, filled up a water bottle and left. When ECPD arrived on the scene the person had left the dining center and could not be located outside.

Wednesday, March 2 ECPD assisted Emerson community members who had received a series of unwanted electronic communications. ECPD provided the community members with information on Massachusetts laws regarding electronic communications and possible solutions.

Wednesday, March 2 ECPD received a report of an elevator entrapment at 25 Boylston Place. When ECPD and Emerson facilities staff arrived, the elevator was working and no one was inside.

Saturday, March 5 An Emerson College staff member was assaulted by a dog at approximately 12:38 a.m. The individual was not injured and the dog owner was identified.

hall. HRE staff referred the involved students to Emerson’s Community Standards and Student Conduct.

Saturday, March 5 ECPD secured and destroyed contraband items obtained by Housing and Residential Education staff in the Little Building residence hall. HRE staff referred the involved students to Emerson’s Community Standards and Student Conduct.

Sunday, March 6 ECPD responded to a reported disturbance at the W Hotel. ECPD identified involved individuals, whom HRE referred to Community Standards and Student Conduct.

Wednesday, March 9 ECPD responded to a reported fire alarm and evacuation at the Little Building. The Boston Fire Department responded, confirmed a lack of fire and deactivated the alarm.

Wednesday, March 9 ECPD was informed of and began investigating a previous theft in the Ansin Building.

Thursday, March 10 An unidentified non-Emerson community member vandalized the Walker Building but did not bypass security. ECPD is investigating the incident.

Thursday, March 10 ECPD assisted a student with an off-campus larceny report. Another agency will investigate the report.

Friday, March 11 ECPD responded to a reported fire alarm and evacuation at the Little Building. The Boston Fire Department responded, confirmed a lack of fire and deactivated the alarm.

Saturday, March 5 ECPD secured and destroyed contraband items obtained by Housing and Residential Education staff in Paramount residence

vivi_smilgius@emerson.edu

Opinion

The Berkeley Beacon

March 17, 2022

4

Escapism or Erasure: the challenge of consuming white content as a Black person Hadera McKay Beacon Staff

This past spring break, I finally finished my three-month-long first watch of the late 90s classic, “Sex and the City.” As the end credits ran, I was more somber about it than I’d imagined I’d be.

“Sex and the City” is a six-season chronicle of the unsurprisingly politically incorrect, embarrassing, and hilarious sexscapades of four middle-aged working women and their search for love, good sex, and happiness, narrated by columnist Carrie Bradshaw.

The intensity of my interest wouldn’t have been so surprising if I hadn’t recognized the absurdity of myself, a young Black woman, finding ways to connect with the objectively privileged lives of these white women. I identified with Carrie’s habit of overthinking, Miranda’s glaring cynicism, Charlotte’s undying will to make the life that she wanted for herself, and Samantha’s rejection of emotional connections out of fear. I realized how much of a default it was for me to ascribe a connection to circumstances that were undoubtedly not mine, and I was at once slightly sad and also intrigued. How could I so easily find meaning in these objectively white stories?

Out of embarrassment for consuming a fictional experience so far from mine, I found myself jokingly describing it to my friends as a much-needed form of escapism. I hadn’t realized then how precisely I’d hit the mark. I realized that I’d not only connected with, but found solace in this white content—dealing with white characters and their white problems—and its isolation

from the historical and institutional racial oppression that I dealt with mentally, physically, and emotionally every day. Consuming white content in this way was a form of escapism that briefly distanced me from my oppression, exposing a coping mechanism that I hadn’t even known I had.

Due to the traditional lack of representation, BIPOC people have been forced to see themselves in content where no one looks like them. As a result, they foster connections with identities and circumstances that may seem very far from their own.

It’s a particular survival skill that has always unwittingly helped me navigate white spaces; from memorizing the lyrics to Taylor Swift songs so I’d know the words at sleepover sing-a-longs, to holding a comb and singing into the mirror, pretending I was Hannah Montana.

The same is true for books. I spent my entire adolescent life reading and loving books by white authors about white characters. I devoured young adult fiction novelists Sarah Dessen, John Green, and Morgan Matson, falling in love with coming of age novels and deeply connecting with the recurring themes of insecurity, decision-making, and identity-seeking. There was such comfort in these easy stories written by white people about white characters who have the privilege to exist in a bubble where they can interact with race at will.

It was like a magic trick where their power to hold the truth and impact of oppression at arm’s length in their lives transferred to me during the small periods of time where I got to immerse myself in those stories. By reading, I could experience the extreme weightlessness of whiteness that comes from being

the default representation of human existence.

Such practices, while deceptively comfortable, are born out of desperation and habit. They can breed a sense of internalized erasure that translates into the belief that these seemingly romantic experiences and stories are reserved for white people alone. After reading those books and watching coming- ofage films like “The Perks of Being a Wallflower,” “The Edge of Seventeen,” and “Lady Bird,” I understood the coming- of- age genre to be synonymous with whiteness.

Could there ever be a space where the varied and layered experiences of young BIPOC people were not relegated to their oppression or to playing sidekick number one#1?

Additionally, jumping through hoops to find the ways that I connect with these white, privileged characters (oftentimes stripping them to the core of their humanity to do so), takes a toll. Sometimes the privilege is just too thick to wade through. I know “Friends” is a classic or whatever, but I honestly can’t make it through more than the first couple of episodes of that show without thinking it too obnoxious to continue. I’d much rather spend my time rewatching the funnier and Blacker “Living Single,” similarly about a group of friends in New York, trying to make their way in the world.

Just because I’ve been forced to see myself in white stories, doesn’t mean I should. It also doesn’t mean I don’t have the right to find comfort in the lives of whites who don’t have to care about structural oppression on the levels that I do. It’s not a crime to find a sort of romantic comfort in the lives of people who will never be able to know your

Courtesy Hadera McKay struggle.

While I do not enjoy the realities of white ignorance, I do enjoy the romanticism of storytelling where characters live without the burden of interrogating the merit of their own existences in a world that is designed to work against them. Excuse me if I bask in the casual romance of white couples on screen like Carrie and Aidan from “Sex and the City,” or replay sweet teen movies like “10 Thing I Hate About You.” These are all specific romantic and mundane depictions of life that Black people can and should be represented in their own way.

Do not mistake this for envy. I am proud of the honesty and the range of Black stories that are lived and beginning to be told and in love with the essence of creating something so true to our language, values, and culture. I have never felt more understood than when I’m witnessing a story where someone who looks like me is going through the same things I am, or even going through something completely different.

I am tired of thinking it’s an honor or a privilege to have Black stories told when white people do not recognize what a privilege it is to always have their stories told with nuance and care. I am tired of translating their experiences to mine, but also glad of the skill it developed in me to be able to honor the distinctly human qualities of all stories. To find a way to relate my inherently Black story to everything I see, making it universal in its own way.

Deep down what I’m hoping white people take from Black stories is a recognition of the innate humanity and universality of our experiences without isolating the influence of our identities or the identities that they created for us as a form of oppression. That they can look at all of these things and love us as we are, without the armor of white references we’ve been forced to protect ourselves with thus far.

hadera_mckay@emerson.edu

War does not bring people together, it reinforces existing oppression Mariyam Quaisar Beacon Staff

The current war in Ukraine has left its residents in turmoil. The country’s main cities are incessantly bombed and innocent lives are being shamelessly taken. Despite the dire situation, Ukrainian officials granted themselves the authority to prioritize the lives of white Ukrainians over all other ethnicities that are escaping the country.

No matter the harsh conditions our world may be in, hierarchy continuously prevails, and those who are deemed inferior suffer. Whoever said war brings people together was undeniably incorrect.

At various Ukrainian borders, African people are being pushed to the ends of long lines and in many cases, beaten by Ukrainian authorities.

Many are left stranded in the cold with no food or shelter, while other Ukrainians are being let through to safety. Russia’s invasion of Ukraine displaced many people, it’s safe to say all those who reside in the country are in need of serious help, but humans have yet again found a way to create a superior group that deserves “more.”

While most who are fleeing the war zone are Ukrainians, many are also students and migrant workers from Africa, Asia, and other regions who

Courtesy UNHCR, Mariupol, Ukraine, January 2015 are desperately trying to save themselves and their loved ones. So, who decided that one person’s life was more important than another’s? Is the life of an African baby worth less than a 60 year old Ukrainian man?

Is an Asian woman worth less than a Ukrainian woman?

The situation in Ukraine is unimaginable for us, but it cannot be an excuse to act haphazardly with human life. Ukrainian border guards are not only not letting foreigners through to safe zones, but are beating them with sticks, tearing their clothes, slapping, and pushing them. Once again, our society’s constant need to have a socalled, “superior group of people”

has prevailed at the cost of innocent people.

At the border, guards are insisting that women and children pass through first. But apparently, that does not apply for all. They have been letting Ukrainian men through © 2022 The Berkeley Beacon. All rights reserved.

The Beacon is published weekly.

Anything submitted to the Beacon becomes the sole property of the newspaper. No part of the publication may be reproduced by any means without the express written permission of the editor.

while denying Black women passage, they say, “Our women first.” Ukrainians are allowed to pass freely through a specific gate into Poland while foreign nationals are all told to go to one gate at the Medyka crossing, where four people are processed every few hours. The list of unfair treatment goes on and on.

While many Pakistani students, Afghani people, Vietnamese workers, and more said their biggest issue in crossing the border was long lines, many others emphasize a harsh treatment—often comparing it to the treatment of animals—they faced from the Ukrainian army. Thankfully, neighboring countries like Poland immediately helped refugees, however that also only applies to certain people.

Many foreigners are warmly welcomed into the neighboring nations, but, according to President Muhammadu Buhari of Nigeria, there are multiple reports of Polish officials Editor-in-Chief Lucia Thorne Managing Editors Shannon Garrido (Content) Camilo Fonseca (Content) Marcus Cocova (Multimedia) Campbell Parish (Operations) Section Editors Frankie Rowley (News) Hadera McKay (Opinion)

refusing Nigerians entry. Again, the treatment of Africans is shallow and inhumane even during a time of war.

Why? When did one person’s life become more valuable than another?

At a time of conflict such as the one currently occurring in Ukraine, every human being should have the right to safety. Discrimination and racism has no place in this world, but it especially not during a time of war. War does not bring people together, instead it becomes another excuse for humans to create a system of superiority where, most often, people of color are pushed to the bottom.

Racism has become this world’s universal religion, and it’s sad that this practice rears its ugly head even when unnecessary guns are being fired and families are being torn apart. In what situation, if there ever will be one, will humans decide to maturely treat all lives as equal? mariyam_quaisar@emerson.edu Karissa Schaefer (Living Arts) Tyler Foy (Sports) Kaitlyn Fehr (Copy) Advisor David Dahl (617) 824–8687 berkeleybeacon.com contact@berkeleybeacon.com

The Berkeley Beacon

March 17, 2022

5

Robert Pattinson is the Batman for the 21st century Cont. from Pg. 1 playboy version we’ve seen, Reeves leans into another vision of the character—one who has “gone through a great tragedy and become a recluse.”

The ultimate result is a tantalizingly elusive man whose trauma and anger have overtaken him to the point of hibernation and salvation through vengeance. He’s an outcast, more than ever before, feared by the Gotham underworld and distrusted by the Gotham elite—including his usual police partner Jim Gordon, played by the relentless Jeffrey Wright.

Like his character in Robert Eggers’ The Lighthouse—Pattinson turns Batman into an enigmatic Byron: a deeper voice, pale complexion, flowing black locks, and a 90’s grunge aesthetic that makes us ask, what have we been watching?

As Batman, Pattinson delivers a perfect balance of rage, tragedy, and sophistication. The trials of his life match the character more, as the emotional depth of this Batman is one we’ve been craving to see.

The lack of a playboy nature and

“The ultimate result is a tantalizingly elusive man whose trauma and anger have overtaken him to the point of hibernation and salvation through vengeance.” supplemental disturbed bad boy is an interesting twist that is long overdue. After the failure that was Affleck’s portrayal of the Batman, Pattinson’s take is a refreshing sigh

Illustration Lucia Thorne of relief despite the actor’s concern over his performance.

Pattinson’s tour-de-force performance does not overshadow the rest of the cast. Zoë Kravitz embraces her inner femme fatale for Catwoman. Colin Farrell is unrecognizable in his Penguin prosthetics, though his uproarious Robert De Niro impression manages to toe the line between cartoon and menace. And John Turturro quietly steals the show as a slimy mob boss that ends up being much more important than the audience initially suspects.

It would be a disservice, though, to reduce the film to the sum of its performances. The score by Michael Giacchino, award-winning composer of “Spider-Man: No Way Home” and the Planet of the Apes series (where he also collaborated with Reeves), is the perfect accompaniment to the dismal mood of the picture. The choir vocalizations and echoing instrumentals build alongside a tip-toeing bass—especially in a central track in the film, “A Flood of Terrors.”

And “Something in the Way,” slow and yearning, is the perfect song to be dubbed as “The Batman’s Song.”

Greig Fraser’s cinematography oozes with neon hues of orange and blue, with an apocalyptic grain that the filmmakers achieved by

running the digital image through film and scanning it again. The color scheme and grading makes the tragic and vengeful reality of

“Greig Fraser’s cinematography oozes with neon hues of orange and blue, with an apocalyptic grain that the filmmakers achieved by running the digital image through film and scanning it again.” the city all-encompassing. The audience is forced to experience the

characters enough to glue them in their seats for three hours.

The film, more than any other, transforms Gotham City into a truly lived-in character. Previous adaptations ranged from Christopher Nolan’s no-frills Chicago and Tim Burton’s Gothic extravaganza, this Gotham seamlessly blends the decaying monuments of New York, Glasgow, and Liverpool into a single gruesome and fantastical city.

Leaping from the Gotham Police headquarters— Liverpool’s famed Royal Liver Building—an immaculate shot follows the caped crusader soaring across the city in his wingsuit. For someone from Liverpool, it became almost a running joke to see the Liver Building serving as GCPD or St. George’s Hall serving as Gotham City Hall—the best cinematic display of Liverpool ever put to screen (perhaps better if Anfield Stadium had been in it, but beggars can’t be choosers).

Reeves’ Batman actively grapples with the notions of class, inequality, and corruption—all tied, implicitly and explicitly, to the paradoxical concept of a billionaire fighting on behalf of the poor and marginalized. Bruce Wayne relies on his parents’ optimistic vision of Gotham as justification for his own brand of vigilante justice, not realizing the negative effects of his campaign of terror.

“ Br u c e Wayn e re l i e s o n h i s p a re n t s ’ optimistic vi s i o n o f Gotham as j u s t i fi c a t i o n fo r h i s own b r a n d o f vi g i l a n te j u s t i c e, n o t re a l i z i n g t h e n e ga t i ve e ffe ct s of his campaign o f te r ro r. ” Central to the film is the realization that Batman’s corrupt world is too much for him to change alone—despite all the flowery notions of “progress” and “renewal,” the rot in Gotham goes to the city’s very core. And though this Batman works closer with the police than ever before—literally invited onto murder scenes as a consultant—it is clear that this film is anything but the “copaganda” that other popular movies fall into. In the course of the film, Batman realizes that he is surrounded by a horrible system rife with abuse, crafted by his heroes just as much as his enemies.

The movie, of course, is not perfect. Paul Dano’s talent as the Riddler is criminally underutilized and Catwoman’s story arc becomes unnecessarily convoluted, with a significant twist falling short due to the surface level representations of her relationships. And the third act, in general, is short on set-up and long on runtime.

That said, the film is the freshest take on Batman we have seen in years. Reeves’ vision for Gotham is generational, and it can only get better from here. contact@berkeleybeacon.com

The far right is being manipulated by Vladimir Putin to spread false information Justin Chen

Beacon Staff As the Russian military advances deeper into Ukrainian territory, Russian propaganda has been referring to the invasion as a “special military operation.” However, here in the United States, many within the right-wing political sphere have been firm apologists for Vladimir Putin.

Take North Carolina Congressman, Madison Cawthorn, as an example.

Since the beginning of the Russian aggression towards Ukraine, Cawthron has given several controversial statements on Ukrainian President Volodymyr Zelenskyy. In a video that was taken by the local TV station, Cawthorn called Zelenskyy a “thug” and the Ukrainian Government, “incredibly evil.”

It is downright laughable to hear Cawthorn call the President of Ukraine a “thug.” Zelenskyy is arguably one of the bravest men in the world at this point in history. While Russian troopers have been coming

after him, he has remained present in Kiev aiding the fight against Russian onslaught. This is something that Cawthorn would never have the courage to do.

The only association Cawthorn has with military action is the public lie he told on his rejection to the U.S. Naval Academy. He claimed that he could not attend the military academy due to an injury resulting from a car crash when in fact, the car crash happened after he got rejected by the naval academy.

Cawthorn’s comment have received criticism from his own party. South Carolina Senator Lindsey Graham called Cawthorn an “outlier” while Iowa senator Joni Ernst told to her colleague in the House that it’s not Ukraine that is invading Russia, but it is Russia invading Ukraine. What an insightful thing to say. Longtime conservative political commentator Carl Roves also joined the force of criticism against Cawthorn.

Meanwhile on Fox News, the chief Russian propagandist Tucker Carlson and former Hawaiian Con-

gresswoman Tulsi Gubbard have also taken on Putin’s side, blaming the U.S. stating it had directly prompted the Russian invasion. In a monologue, Carlson asked, “Has Putin ever called me a racist? Has he threatened to get me fired for disagreeing with him? Has he shipped every middle-class job in my town to Russia?”

It is funny to see Carlson calling himself “not-racist” when he has been criticized on his racist point of view since the beginning of his career at Fox News. Moreover, Carlson’s Pro-Russian comment made Russian national television and a Pro-Putin political commentator praised Carlson’s comment as good analysis.

Meanwhile, former Hawaiian Congresswoman Tulsi Gubbard has also been promoting misinformation stating that the Ukrainian government has been making chemical weapons. Criticism is mounting regarding their position on the conflict. CNN political commentator Ana Navarro suggested that they

Courtesy Creative Commons should be investigated by the Department of Justice.

A lot of this rhetoric comes from former President Donald Trump.

During his presidency, Trump was known for praising and shielding Putin from U.S. intelligence. One prominent example is the events that took place at the Helsinki summit.

During the joint press conference between Putin, a reporter asked Trump whether he believed his own intelligence assessment or Putin regarding the 2016 election. Trump declared that “President Putin says it’s not Russia. I don’t see any reason why it would be.”

The former President’s comments are not only some of the most scan-

dalous moments in U.S. politics, but it is also making Moscow complacent. Due to their complacency and lack of defense from the former administration, Moscow attacked the 2020 election by posting false information of the media. Sadly, the former administration and the far right has been ignoring it.

Cawthorn, Carlson, and Gubbard’s language is an act of treason and anti-democratic. Their behavior is an attempt to defend Putin—a war criminal with blood on his hands.

The Republican Party needs to suppress the absurd apologist language coming from these forces. justin_chen@emerson.edu

The Berkeley Beacon

March 17, 2022

6

Living Arts

Sophomore Jacob Warman launched brand KNUCKLEHEAD in 2021

Courtesy Jacob Warman

Hannah Nguyen Beacon Staff

In high school, Jacob Warman found himself hanging out with the wrong crowd and needed to escape it. He turned to his childhood hobby of drawing. Later, his doodles became a part of his clothing brand.

“I’ve just been dreaming of it for so long,” Warman, a sophomore visual media arts major, said.

As a kid, he’d meet with his mom on Fridays to go to Barnes and Noble, and once he got older, it became a safe space where he would go and study anatomy books and draw.

“I would just be there until they kicked me out,” Warman said.

Drawing became an outlet he could always rely on. During a train ride one day, he made a doodle based on the word “knucklehead,” a name his mom used to call him.

“It’s an insult, but it’s endearing, and that’s why I love it so much,” he said.

He then started drawing char-

acters based on the style of his knucklehead drawing. His “No

duced him to streetwear and skater designs, he based many of his drawings on them. He was also

Courtesy Jacob Warman Monkey Business” t-shirt design was based on a drawing he did at Chipotle. When his friends brought him to Zumiez and intro-

inspired by traditional Japanese tattoo art.

Warman decided to start his own clothing brand called KNUCKLE-

HEAD when he saw that he could incorporate his art with his clothing. At the time, however, he was still a sophomore in high school and couldn’t afford it, putting the project on hold. In summer 2021, he saved up money from his film internships and brought it back.

“It’s always been my goal to fuse high fashion and skate streetwear,” Warman said. “I knew that every single part of the garment needed to be really thought through for the highest quality.”

He found a manufacturer in Los Angeles that was ethical and sustainable, which he wanted to prioritize for his brand. Garments are made with 100 percent cotton by sewers paid at least $18 per hour. They are silkscreen-printed with eco-friendly water-based ink made in New York City.

“I just really wanted to make sure that when people put on a knucklehead shirt, they would say, ‘Wow, this is the best shirt that I’ve ever had,’” Warman said.

The designs on the clothes are characters—some that he started drawing in high school—who each have their own stories and meanings. He said each character’s meaning is a reflection of himself and who he was.

“For me, a knucklehead is someone that is able to display resilience in hard times,” Warman said. “[It is] someone who doesn’t shy away from doing things that they may love, even if it’s against the grain. It’s not a very popular term, so that’s also exciting for me that I can almost reinvent it.”

KNUCKLEHEAD has also had pop-ups at an Afterlife Presents LLC concert at Middle East Restaurant and Nightclub and Emerson’s Double Exposure Event.

“I made good sales, but just the fact that people were genuinely interested in the store, it was pretty emotional,” Warman said. “It’s a really terrifying thing putting yourself completely out there to the world where the designs that you’ve been sitting on for like five years are just there for people to look at and can say they don’t like it.”

The people who bought his clothes were mainly his friends.

The first stranger who bought a hoodie was an Emerson student who attended the first pop-up he went to.

“I was just having a bad day, and I was going in the dining hall just to grab something to eat,” Warman said. “I [saw] her sitting with the hoodie on, and I have no idea who this person is, don’t

know her name. And I was just like, ‘Wow.’” In the future, Warman hopes to create animation skits to tell the backstories of the characters on his clothing. He is also passion-

“It’s always been my goal to fuse high fashion and skate streetwear.”

-Jacob Warman

ate about mixed martial arts and hopes to donate proceeds or fighting gear to a nonprofit organization, which his cousin introduced him to in Rio de Janeiro that helps formerly incarcerated people learn self-discipline through martial arts. Warman also hopes he could potentially sell his clothing at consignment stores.

KNUCKLEHEAD has been five years in the making with Warman constantly dealing with trial and error, but he said he is proud of how far his brand has come.

“Those moments of just getting so close to failure, I’m just really appreciative of how far I’ve come and that people are wearing it,” Warman said. “That’s the craziest part.”

hannah_nguyen@emerson.edu

Soundtracks to your ‘Slainte’ Payton Cavanaugh Beacon Staff

St. Patrick’s Day in the City of Boston is in full swing, and what better way to kick off the festivities than listening to some authentic Irish music—and no, I’m not just talking about the Dropkick Murphys “I’m Shipping up To Boston,” (I know, it’s so underground).

Starting off strong with a personal favorite, this St. Patrick’s Day listen to, “Love You Till The End” by the Pogues. Yes, it’s sweet and sappy, but you have to balance out the extremity of the Dropkick Murphys and The Dubliners.

To follow the same vibes, “If I

Ever Leave This World Alive” by Flogging Molly is sure to give you all the bittersweet feels but as the song says, “don’t shed a tear.”

To celebrate St. Patrick’s Day with those you love is something to hold dear, but to commemorate those you can’t hold near, “Rose Tattoo” by the Dropkick Murphys.

To kick things up a notch, “Johnny Tarr” by Gaelic Storm is the best pick for you and all your caras.

If you’re searching for that main character mood, a song that can be your perfect match is “Dreams” by The Cranberries. Perfect for strolling through the city amidst the chaotic celebration.

Of course, it wouldn’t be St. Patrick’s Day in Boston without “I’m Shipping Up to Boston” by

the Dropkick Murphys. Whether or not you’ve heard it a million times over, singing the chorus in a crowd of Bostonians always hits.

And for lucky number seven, “Galway Girl” by Steve Earle.

Whether you’re serenading the love of your life in a local pub in epic P.S. I Love You fashion, singing in a crowd of all the best people, or a hopeless romantic with a soft spot for love at first sight, it’s your perfect tune.

Hoping this St. Patrick’s Day is filled with lots of love and luck, and these soundtracks to your slainte bring the sweetest serotonin fix. Lá Fhéile Pádraig sona duit!

payton_cavanaugh@emerson.edu

Illustration Lucia Thorne

The Berkeley Beacon

March 17, 2022

7

Cirque du Solheyy Shannon Garrido Beacon Staff

Tyler, The Creator performing opening song on his “Call Me If You Get Lost” Tour. / Karissa Schaefer Beacon Staff

Tyler, The Creator sure knows how to create a memorable performance Karissa Schaefer Beacon Staff

Tyler, The Creator hit Worcester’s DCU Center on Mar. 3 with his “Call Me If You Get Lost” tour—well Tyler, what’s your number because five Bostonians got lost.

A nearly two-hour rail ride from Emerson to the mid-sized city of Worcester, where fans flooded the late afternoon commuter trains. During the walk from the station to DCU, it would’ve been easy to get lost if it weren’t for the flocks of people all headed to the same place. Doors were already open upon arrival, and for anyone in general admission, the first stop is always the bathroom.

Though not one of the biggest arenas, the crowd filled the floor, getting progressively larger as each opening act came on. There were three openers, making for a fairly long concert. First up was Teezo Touchdown, a largely unknown name. Starting a mini mosh pit way before Tyler even set foot on stage, Touchdown was full of high energy. The booming bass, however, made it hard to hear anything he said.

He’s the embodiment of a Soundcloud rapper. At one point, he signed a prop hard hat and threw it into the audience, one where multiple people weren’t totally sure who he was, but were having a good hyped time regardless.

Vince Staples was next, a recognizable name yet unfamiliar as an artist.

He was the hardest to see from the sea of people, as more crept in. Set on the secondary stage at the opposite end, the room’s lighting was dark, with changing cool-tone colors. Though a very talented rapper, Staples’ overall performance wasn’t all that thrilling. But then again, it’s hard to be sandwiched between two jaw-dropping performers.

Knowing she was up next, the crowd chanted Kali Uchis’ name with excitement. She started with one of her classic singles “Dead to Me,” the audience roaring after those first three words. She came fit in a bright red outfit with four backup dancers, who wore revealing clothes themselves in sheer, full-body bodysuits—certainly the hottest performance of the night. With the start of every new song, restlessness grew for her to perform her popular song “Telepatía,” which was her final one of the night, truly leaving the best for last.

Everyone’s eyes were on Uchis and her dancers, who weren’t the typical high-energy hip hop, jazzy dancers people usually see commercially with concerts. It added an extra layer to the singing, providing a whole show that someone wants to watch instead of just listening to. In a more contemporary type of performance, with the occasional joining in from Uchis, the audience was mesmerized.

Something about female artists is just so captivating to watch. With two raised platforms, Uchis and the dancers utilized their space well, constantly moving in a visually appealing way, while a big screen projected pretty moving images of purples and pinks.

She sang numerous notable songs from her discography, switching between English and Spanish lyrics just as she does quite effortlessly.

What was disappointing were the collabs that never came to be. Tyler has various songs with Uchis—great ones, one may add—as well as a feature of Touchdown on Call Me If You Get

Lost’s “RUNITUP.” Though Uchis sang “After The Storm,” a popular song that features Tyler, he never came out to sing with her. If there was ever a missed opportunity, it’s this one. The pair has created numerous top singles together through the years, including “See You Again” and “FUCKING YOUNG / PERFECT.” A common theme is how Tyler works with the same handful of people every so often. It’s no surprise how frequent their collaborations are because they work really well.

Tyler is rightfully named “The Creator” because when he puts his mind to a project, he sticks and fully commits to it. His 2017 album Flower Boy debuted on U.S. Billboard 200 at number two, and it was all the rave on social media. Tyler trended again with his first number one album Igor in 2019.

Some songs from that album, like “I THINK,” were included in his concert setlist, and it was definitely one of the best songs he performed.

Ever since he started creating music in 2009 when he began with his mixtape Bastard, he’s been on a roll.

Opener Kali Uchis performing with her dancers. / Karissa Schaefer Seriously, does this man take a break?

Though there are no complaints from over here. If he’s not on a hit featured song, it’s evident he’s always got a plan for new music of his own.

Though the musical beats and rhythms of his songs are a big part of what he does, there’s a lot of rapping that goes on, in terms of him hitting bars for a straight four to eight minutes.

For instance, “WILSHIRE,” a track off his newest album, has Tyler rapping for eight minutes straight. Though it’s hard to learn and remember all the words, the song is great. It’s like listening to someone tell a story playing in the background while you’re doing something else. There are no pauses andno misses as he speaks every word clearly. The music paired with the lyrics makes the listener feel like it’s a laid-back, rainy day. It’s a long song, but it doesn’t feel like it. Nevertheless, it’s not the most concert-worthy song, so it wasn’t performed and has so far yet to be.

His talent also oozes with his “double songs,” something he’s done a few times where he has one giant extended song that combines two different ones. He carefully crafts this style of songs, melding two sounds that could probably be separated into one. For lovers of lengthy songs, it’s genius.

Call Me If You Get Lost’s two-part song is “SWEET / I THOUGHT YOU

WANTED TO DANCE,” a song he did perform that had the audience singing along to the lyrics: “They should call you sugar, you’re so sweet.” Definitely one of his recent best.

His creativity flowed onto the stage’s set. Though simple, it worked really well and there were constant minimal changes throughout the performance. The time between when Uchis’ stepped off the stage and Tyler arrived on stage had fans growing with both impatience and anticipation, as the set could be seen being put together behind the curtain.

He entered by rising up through his mint green Rolls Royce car, wrapping while having his head out through the overhead window. During one of his breaks he took to speak to the crowd, he asked if they liked his car, getting a roar of cheers in return. The backdrop was a house with a changing screen in the background showcasing different settings, going from bright and sunny to snow, from day to night. Something unique to go with every song.

There was also a boat he went in at one point, docked at the edge of the stage. As he used it to travel across the gym basketball court floor, he was brought to the stage on the other side.

Though not visible because of how far away it was, the big TV screens at the main stage projected Tyler and everything else clearly for all to see from no matter what vantage point. There laid a flowerbed, emulating a call back to his Flower Boy era and album cover.

That’s when his name first caught attention, making this specific stage setting feel full circle.

While taking another break to address his fans, Tyler asked how many Bostonians were there, following up with who lives in Worcester. A notable moment because of the hilarity of him proceeding to pronounce the Massachusetts town wrong multiple times— so relatable Tyler.

The GA mosh pit experience of a Tyler concert is quite literally insane.

It’s not for everyone, especially those that get even the slightest bit claustrophobic. Beware, separation from your friends is highly likely with low hopes of actually being able to control your movement in the crowd, which you will get lost in. For those people, perhaps a seated spot not too far, but just high enough to see the entire stage would be worthwhile. Also, remember to drink water—a MUST—before getting to the floor, or at least take it with you, because is a six-dollar water worth it? If you’re desperate enough, yes, yes it is.

After Tyler addressed the audience once again and sang a few more songs, departing at 11 p.m. just before the conclusion of the concert was the smart move. Though getting home should’ve probably been planned better, considering the distance between Boston and Worcester, on top of the fact that every public mode of transportation stops running early.

Finally, after being stranded in the train station for about an hour with three dead phones and two on the verge, then taking two Ubers to and from a halfway point at Framingham High School, five Bostonians were able to make it back home in one piece. The concert was a blur, definitely one to remember, and maybe a little too hyped for this house.

karissa_schaefer@emerson.edu

Cirque du Soleil welcomed its audience back after temporarily pausing its operations with clownery, camp, and circus magic in Punta Cana, Dominican Republic over spring break. When the production was forced to a stop in the height of the COVID-19 pandemic in Mar. 2020, according to MIX, it gave the cast and crew time to truly amp up their show, and they did just that.

Although they had other productions planned, their show KOOZA in Las Vegas, London, or Punta Cana really went all out. For those who share no acrobatic or acting talent, KOOZA is almost like watching a magic show. It’s difficult for our little brains to grasp the impossibilities of each performance.

KOOZA revolves around a blue and yellow sky where the art of clownery is used to move the story along, as acrobats create impossible gravity-defying stunts in fab-

incredible acrobatic feats while spinning and swinging her body every which way. Unlike the other performances, this one felt innately feminine—there was something delicate, subtle, and powerful about how she moved while sustaining her weight high up in the air. Sometimes she spun her body in a perfect motion with just her neck keeping her up.

The ‘Wheel of Death’ duo forced several gasps from the audience, as two performers ran above and within two giant spinning wheels that are simultaneously rotated by a bar connecting them. The music for this performance consisted of loud drums in a thematic, almost ritualistic tone. Each drum grew louder and more intense as the speed of the wheels turned faster.

This set contradicts the aerialist performance because although it is powerful to watch the performers beat gravity through sheer force, it feels much more masculine. The display involved boasting strength and an unflinching attitude as a giant wheel comes their way. There were moments they stood feet

Cirque du Soleil contortionists performing. / Shannon Garrido Beacon Staff ulous costumes and makeup. For a show so extravagant, the plot was quite simple. KOOZA refers to a box or ‘treasure chest’ that is opened by a curious little boy. Inside is a cast of about 50 acrobats, actors, and musicians that create a world of funky jazz and old Bollywood that truly makes for a great experience.

The amazing live vocals, along with an enthralling array of instruments, did wonders to build up the hype around each performance.

Some of the music was made to keep the audience on its toes, making them wonder if they’ll pull it off. Other times, a soft and supple hum kept my eyes and ears glued to the acrobat, appreciating the delicacy and detail in each movement.

The story follows a little boy who is submerged in a magical, Peter Pan-esque alternate reality filled with kings, pirates, comical adventures, and more. The childishness of the story and ridiculousness of every actor on stage made for the perfect chaser to the intensity of the tumbling, taunting gravity suggestive gymnastics on stage.

One performance that truly stood out was the tightrope walkers, consisting of four acrobats walking, biking, and balancing on large poles 15 to 25 feet in the air, across a thin rope. It was astonishing to watch all four walkers work together to quite literally balance each other out while simultaneously keeping the audience entertained by pretending to fall or literally enticing the audience to scream louder.

Another ferocious performance was the aerialist who soared to

away from the wheel hurtling towards them and their heads would avoid it for half a second, almost to brag.

The acrobat was one with her rope, as if she herself was gravity and not defying it. This duo, however, were battling the ‘Wheel of Death,’ boasting that gravity can’t keep up with them. Both were incredible and it was exciting to be able to scream at their successes, with the audience left to bite their nails in fear after realizing that it was a human being suspended midair.

No other performance disappointed either. There was a trio of acrobats that looked like they had no bones, as they bent their bodies in every angle and made beautiful sculptures of visual art together.

Another young performer, recently reincarnated from Ancient Greece, stacked and balanced his chiseled body on chairs. They ended up creating a 23-foot tower where he balanced his body upside down with nothing other than the will of God to prevent him from falling and breaking his perfect physique.

From swinging their bodies from a single cord in the ceiling to walking and jumping in between a moving wheel mid-air, Cirque du Soleil does a great job in keeping the audience on its toes. There were one too many moments where it seemed the audience was inches away from witnessing a brutal accident or a wire would appear from behind them unveiling the truth that this isn’t possible.

shannon_garrido@emerson.edu

Sports

The “Lunch with Dan” fundraiser will be active on Monday, March 21 from 5:30 AM to 2 PM. / Courtesy Lex Torrington

Lacrosse player signs licensing deal Cont. from Pg. 1 worried that Archie’s, which became a “major piece” of Emerson’s lacrosse culture, could die out during the pandemic. But the

“[Franklin] has really helped build the culture and gets the right way of doing things and always puts the team first. He’s a pretty creative guy and he’s always thinking about different ways to do stuff.”

NIL deal potential posed a unique opportunity for players to collaborate with the company.

“When NCAA athletes were able to do stuff with their name, image, and likeness, I was like,

‘How can we work together?’

Franklin said. “It felt like the perfect fit.”

The fundraiser is in partnership with the Daniel J. Hollis Foundation. “Lunch with Dan” will be in full effect on Mar. 21 from 5:30 a.m. to 2 p.m. Archie’s will donate all of its profits to the foundation, which will continue its goal to provide opportunities to young athletes with the money.

Torrington said he was surprised, and grateful, that Archie’s was willing to donate 100 percent.

“It really meant a lot,” he said.

“They said that they knew about the whole story and so they and they were touched by us wanting to do a fundraiser for him. That’s definitely a highlight for me.”

Franklin has built a social media presence over the course of his collegiate career with his brand “LMFAO Sport” which produces short-form sports-related content.

The account has accumulated 319,000 subscribers on Youtube and 11.3 million likes on TikTok. Torrington said social media is an example of how Division III players could use their NIL moving forward.

“It’s also really good for Austin’s brand because he has his own sports, comedy, social media presence on Instagram, TikTok, and YouTube’s got over 300 thousand subscribers,” he said. “His brand sort of fits into his business model… I saw an opportunity to establish a culture of Division III athletes making NIL deals with small businesses that everyone can benefit from.”

Franklin said having a decent social media presence can be a very important asset for all college students.

“Social media can be used as a really unique tool to create leverage for yourself,” Franklin said.

Head Coach Matthew Colombini said this opportunity could inspire other players on the team to make their own NIL deals.

“The guys on the team here think it’s fun and exciting,” he

The Berkeley Beacon

said. “It’s open to anybody as long as you get to pursue it yourself…

If you’re willing to put in a little bit of work and be creative about it, which Emerson students are certainly known for, you could do something pretty unique.”

Franklin was named a captain of the men’s lacrosse team for the past three seasons and decided to return to Rotch Field with his extra year of eligibility because of the team atmosphere. Colombini said Franklin has always been able to look at things from different perspectives.

“He’s a tremendous leader,” he said. “He’s really helped build the culture and gets the right way of doing things and always puts the team first. He’s a pretty creative guy and he’s always thinking about different ways to do stuff.”

Teammate Pierce Elderage said when he and other players heard about the potential deal, they were unsure about its legitimacy.

“I didn’t know what was going on,” Elderage said. “Then all of a sudden, he made it into something really cool and it’s gonna be really special.”

As the agent for Franklin, Torrington worked with a law student at Brandeis University. Colombini said the opportunity is representative of what Emerson’s sports

“We thought we were going to lose the culture of like Emerson lacrosse going to Archie’s Deli. We freaked out.”

-Austin Franklin communication and athletics department provides.

“It’s pretty cool that [Franklin] is using one of his teammates who wants to be involved in the agency,” he said “In some fashion, Lex is getting the real-world experience of helping negotiate the deal.”

Moving past Emerson College, Torrington is interested in being a sports agent and Franklin will continue his work in content development and accept a job from DraftKings joining their social media team.

tyler_foy@emerson.edu

March 17, 2022

8

Women’s lacrosse dismantles Rhode Island 16-1 Tyler Foy

Beacon Staff

The women’s lacrosse team beat Rhode Island College 16-1 on Wednesday night, pushing its record to 4-1.

The Lions got off to a quick start to the 2022 season, winning the first three games but encountering a road bump in a game against Drew College losing 18-6.

Head Coach Jessie Koffman said this loss motivated the team to bounce back.

“I think they really just wanted to snap back from [the loss against Drew College] and they did,” she said after the win against Rhode Island College.

Emerson’s women’s lacrosse team has been very limited over the course of the past two seasons, only playing a combined five games. Koffman said the team is a close-knit group which has helped their success on the field.

“There’s more camaraderie and understanding that we have to just take advantage of the opportunity that we have right now,” she said after the game. “Everyone’s really on the same page and working towards the same goal of just having a fun and winning season.”

Emerson won the initial draw but was stopped on their first possession. It wouldn’t be too long before the Lions’ sophomore attacker Lauren Longstreet pulled off a spin move to score the first goal of the game.

The next goal came from a free position shot just in front of the crease by senior midfielder Ainsley Basic who scored another two goals in the first six minutes.

After just over six minutes, Rhode Island hadn’t shot the ball and was down 4-0. The spree of goals and upper field pressure caused Rhode Island to call their first timeout of the game.

The stoppage of time didn’t slow the Lions’ momentum, and when play resumed Longstreet netted her second goal of the game. Less than 30 seconds later, sophomore attacker Jules Rein extended the lead to six.

Rhode Island had its first look at a goal nine minutes into the game, forcing Emerson’s junior goalie Nina Khosla to make her first save of the night. The ball went down to the other side of the field which ended in another save from the Anchormen.

Rein scored her second goal of the game, making the score 7-0.

An intercepted pass by sophomore midfielder Maddy Reyes would start the Lions’ next successful possession, which ended with a goal put into the bottom left corner by Basic.

Before the end of the first quarter, Kohsla was put to the test once again but made the save. The 15-minute quarter ended with Emerson up 8-0.

The second quarter got off to a much slower start and after 90 seconds the Lions were penalized for a clock violation. During this time Khosla made two pivotal saves to keep the shutout going.

Basic scored the first goal of the second quarter on a free shot, starting the Lions on another

Senior midfielder Hannah Beck an assist and two groundballs against Rhode Island College on March 16, 2022. / Sydney Ciardi Beacon Staff scoring spree including a goal by Reyes running the score up to 100.

The Rhode Island defense kept the Lions away for five minutes, but within the last two minutes of the half, Emerson started to strike again.

Anchormen goalkeeper Shannon O’Connell stepped up to make three saves in less than a minute, but she couldn’t keep the ball out of the net for too long. Basic found an opening to extend the Lions’ lead and on the next draw, Emerson won and scored off a shot by first-year attacker Callie Krosen.

The Lions entered the half leading 12-0.

Following the 10-minute intermission, the Lions’ offense came back onto the field with high energy, scoring off a shot from Longstreet to open the second half. It was back and forth for the next nine minutes of play but Rhode Island scored their first goal of the game, breaking up the clean sheet.

First-year midfielder Samantha Duggan scored with less than a minute left to play in the third quarter, extending the Lions’ lead to 14-1.

The fourth quarter played out in a similar fashion as the Lions tallied a goal at the start of the period and another within the last minute. Basic scored six of the team’s 16 goals. The senior captain said the team’s offensive cohesiveness led to the dominant performance.

“Our attack works really well together and it really is a team performance,” Basic said after the game. “We’re really able to work together and play to their strengths on attack.”

The team’s next game will be this Saturday away at Coast Guard Academy for the first NEWMAC match-up of the season. Koffman said the pathway to claiming their first conference win of the season is a repetition of the showcase against Rhode Island College.

“The Coast Guard is going to be a tough opponent,” she said.

“We’re going to try and bring the same energy and just go out there and execute the same way that we did tonight.”

tyler_foy@emerson.edu