The Columbia Chronicle, February 5, 2018 by The Columbia Chronicle of Columbia College Chicago

Journalists, residents respond to Chicago media landscape PAGE 27

PAGE 16 Volume 53, Issue 18

February 5, 2018

ColumbiaChronicle.com

How audio engineers have adjusted in the DIY era » KEVIN TIONGSON/CHRONICLE

‘Here’s Meghan!’ New Second City show puts woman in Carson’s shoes » MIRANDA MANIER ARTS & CULTURE REPORTER

CTA proposes route for transportation desert

» SAVANNAH EADENS METRO REPORTER THE ANTICIPATED RED Line Extension project route proposed by the Chicago Transit Authority promises minimal community damage during construction and thousands of new jobs. But questions about how it will be funded still linger. The project proposal, announced Jan. 26, is designed to provide new access to rail service for far South Siders. The 5.3mile extension from its southern tip, 95th Street, would include four new stations near 103rd Street, 111th Street, Michigan Avenue and 130th Street, according to a Jan. 31 email interview with Jon Kaplan, a CTA spokesman.

“[The extension will] connect far South Side residents to affordable housing, jobs, services and educational opportunities,” Kaplan said. “The four new stations can help foster economic development in the area and serve as catalysts for neighborhood revitalization and help reverse decades of disinvestment in local business districts.” CTA chose the route after public feedback from the community, and construction’s scheduling still depends on funding. The earliest construction would begin in 2022, and the project would take about four years and cost about $2.3 billion, according to Kaplan. Kyle Whitehead, government relations director at Active Transportation Alliance, said the extension is a

SEE REDLINE, PAGE 30

» ERIN DICKSON/CHRONICLE

SEE IDENTITY, PAGE 21

MEGHAN BABBE, HOST of “The Tonight Show” in 1972, interviews Rachel Moore, star of the action-packed spy series “Jill Bond.” She chats with Moore’s onscreen eye-patched sidekick Edna and discusses Gladys Knight’s presidential bid. This is the imaginary world of “Identity Heist,” a new show at The Second City, 1616 N. Wells St., which is a partner with Columbia’s comedy writing and performance program. It poses the question: What if gender roles were entirely reversed? Babbe, writer and host of the show, is the conduit for the audience’s experience of a different 1972, in which Jill Bond has an arsenal of Bond boys and “The Godmother” is the year’s most successful drama.

editor’s note

Chicago is more than murder and mayhem

MANAGEMENT

EDITOR-IN-CHIEF MANAGING EDITORS

DIGITAL MANAGING EDITOR CREATIVE DIRECTOR AD & BUSINESS MANAGER

CAMPUS REPORTERS

» ZOË EITEL EDITOR-IN-CHIEF

2 THE CHRONICLE FEBRUARY 5, 2018

CAMPUS Tessa Brubaker Olivia Deloian Molly Walsh

ARTS & CULTURE

ARTS & CULTURE REPORTERS

Mayan Darbyshire Alexy Erouart Miranda Manier

METRO

METRO REPORTERS

responsibility as Chicago news outlets to stop that from happening. With the 2017 death of DNAinfo, OPINIONS EDITOR Chicago is lacking a media outlet that does boots-on-the-ground, neighbor hood reporting across the city. No other COPY CHIEF organization has the staff or the reach COPY EDITORS that DNAinfo had to do those hyper-local pieces on everything from a shooting to a gallery opening to a profile on a popular local restaurant to a new GRAPHIC DESIGNERS elementary school program. And while DNAinfo did cover crime, its more pos ADVERTISING DESIGNER itive stories never seemed to get buried under an avalanche of sad headlines. In a time when news outlets are SENIOR PHOTO EDITORS downsizing to save money or even closing their doors due to a lack of revenue, STAFF PHOTOGRAPHERS it’s easy to instinctively report the stories that will immediately grab people’s attention with photos of crime scene MULTIMEDIA EDITOR tape or mourning family members. MULTIMEDIA REPORTERS But the attitude toward these neighborhoods and Chicago as a whole will never change if the way our own news organizations frame the city doesn’t MEDIA SALES REPS change first. More attention needs to be paid to are trying MARKETING ASSISTANT the small news outlets that to highlight the good being done in their neighborhoods and the people WEBMASTER who are breaking the stereotypes of ONLINE CONTENT PRODUCER what the rest of the world seems to think a Chicago South or West sider is. We should ask the South and West OFFICE ASSISTANT side residents what the news in their neighborhoods is; we should spend time in those places we are GENERAL MANAGER covering to understand them more; FACULTY ADVISER we should resist the stereotypes ASSISTANT FACULTY ADVISER that we are all vulnerable to. And we cannot let ourselves fall into the belief that the outsider’s view of Chicago is the truth— because it isn’t. zeitel@columbiachronicle.com

hicago has a reputation of being a city of violence and anarchy resembling scenes in the film “The Purge” with buildings on fire, a soundtrack of gunshots and bodies littering every street corner. This exaggerated image has been perpetuated by prominent figures outside the city like President Donald Trump and people closer to home like our own news outlets. It’s so common to see headlines, tweets and breaking news alerts detailing the most recent shootings, robberies or school closures in the South and West sides that many people don’t bat an eye anymore. But those neighborhoods have more to offer than that, and residents know it. More than 50 percent of South and West siders surveyed recently by the University of Texas at Austin’s Center for Media Engagement said the news coverage of their neighborhoods is too negative, as reported on Page 27. As an editor of a Chicago-based newspaper, I know it isn’t always easy to root through all of the negative news around us every day to find the positive ones. And maybe we have a tendency to think that readers want to hear about the crime, murder and mayhem rather than anything uplifting. Or maybe we think those topics are more important to cover than an arts initiative, a black community project or an educational program. But the strides those neighborhood residents are making are important too. While crime does happen here, and 2016 was a particularly deadly year, we are no different from any other large city. Despite the reputation as the nation’s murder capital, Chicago’s murder rate from 2010–2015 was actually lower than 17 other U.S. cites when calculated per capita, according to a June 19, 2017, report from The Trace. But the rest of the country—and our president—will continue to see Chicago as an unsalvageable dumpster fire where everyone and their mother carries a gun, if that’s the picture the media is painting. It’s our

Zoë Eitel Eric Bradach Ariana Portalatin Brooke Pawling Stennett Zoë Haworth Micha Thurston

Savannah Eadens Blaise Mesa

OPINIONS Tyra Bosnic

COPY Lauren Carlton Jay Berghuis McKayla Braid

GRAPHICS Samantha Conrad Zack Jackson Jocelyn Moreno Hannah Li Anderson

PHOTOGRAPHY Mackenzie Crosson Kevin Tiongson Erin Dickson Zachary Keltner

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The Chronicle is a student-produced publication of Columbia College Chicago and does not necessarily represent, in whole or in part, the views of college administrators, faculty or students. All text, photos and graphics are the property of The Chronicle and may not be reproduced or published without written permission. Editorials are the opinions of the Editorial Board of The Chronicle. Columns are the opinions of the author(s). Views expressed in this publication are those of the writer and are not the opinions of The Chronicle, Columbia’s Journalism Department or Columbia College Chicago. Letters to the editor must include full name, year, major and phone number. All letters are edited for grammar and may be cut due to a limit of space. The Chronicle holds the right to limit any one person’s submissions to three per semester.

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Two Columbia teams win NRF student competition and earn scholarships » Page 7

Multimedia campus festival celebrates black artists » OLIVIA DELOIAN CAMPUS REPORTER

she is excited to have her work displayed in the festival. Siliezar said a music video she created as a final for her foundations course, featuring artist Oliv Blu, will be shown on Feb. 8 from 7 p.m.–10 p.m. It will be followed by a Q&A about her work, she added. “I want people to see that, even though I am a freshman, I am coming with a lot of talent,” Siliezar said. “To really look and appreciate what people do even when they’re just starting at Columbia.” Blade said those attending can expect to see paintings, prints, drawings and installation work. There will also be live models for fashion students and a speaker series at which students can then share their academic papers. Blade and Heath said one goal they share is to have the festival continue after this year. “It is a humbling position for me. It’s the first gathering of black artists at Columbia since 1968,” Heath said. “Whatever is going to happen next week is going to be an amazing event, but also something I hope will continue for a long time. This is the beginning of something amazing.”

»ZACHARY KELTNER/CHRONICLE

STUDENTS CAN ENJOY Columbia’s first Black Arts Festival presented by numerous student organizations and committees to provide an interactive platform for black artists to share their work. The festival will take place Feb. 8–10 at 1104 S. Wabash Ave. and feature dance performances, music, films, fashion and academic presentations by more than 50 black Columbia student artists and alumni. Alivia Blade, a 2017 design alumna and the festival’s co-director, said she and 2017 dance and cultural studies alumna Bri Heath were brainstorming ideas during spring 2017 to build a community for black students on campus. After creating Safe Space Chicago, an organization intended to offer space for black students, Blade and Heath wanted

to create an even larger space that became the Black Arts Festival. “That space is all about creating that community for black students to be affirmed, to have community so we were thinking what does that look like on a larger scale?” Blade said. “That’s what made us want to do the Black Arts Festival.” Heath said it was challenging putting together such a large cultural event, while expressing the importance of the Festival being held at the college. “There’s always the push back of people saying, ‘Oh, this is the first segregated art show Columbia’s ever had,’” Heath said. “The challenge [is] making sure everyone’s needs are met but also try to make the case for why this is important on Columbia’s campus, and people not always seeing why that’s important.” Heath said the majority of the support has come from the Office of Academic

Diversity, Equity and Inclusion and professors, including Academic DEI Dean Matthew Shenoda and Robert Hanserd, an associate professor in the Humanities, History and Social Sciences Department. Shenoda said he was able to fund keynote speakers such as Ayanah Moor, a professor of printmaking at SAIC and prominent black visual artist in Chicago. Shenoda added that he is proud the students took charge to create this festival on their own. “I’m hoping it will create a sense of community between black students and black faculty and staff as well as community members and [then] create a space where people feel like they can gain insight,” Shenoda said. Hanserd said Blade and Heath had initiative in creating the event and was happy to work with them. “[The festival is] about letting students start to articulate their voices through their art, words, or their exhibition,” Hanserd said. “To express something critical, that has involved a process of thinking about blackness and then using those kinds of reflections to create art and culture.” Erica Siliezar, freshman undecided major in cinema and television arts, said

odeloian@columbiachronicle.com

campus

Alumnae Alivia Blade (left) and Bri Heath created Columbia’s first Black Arts Festival wto provide a space and build community for black students and alumni.

FEBRUARY 5, 2018 THE CHRONICLE 3

campus » TESSA BRUBAKER CAMPUS REPORTER

» COURTESY DEVLYN CAMP

IN THE 1950S, a secret organization worked to bring together gay people from all over and created political actions for LGBTQ

rights. It was called the Mattachine Society. Devlyn Camp, a 2014 cinema art and science alumni, created a podcast titled “Mattachine” and posted the first episode on Jan. 3 to highlight important moments of

American LGBTQ history. There are currently five episodes. While the original idea was to create a television show, Camp said it made more sense to tell the story as a podcast so the production would be available as soon as possible. “I was impatient and wanted to get this story out as quickly as possible, especially because as we saw [President] Donald Trump take power, it began to look like our rights were in jeopardy again,” Camp said. “Looking at this history, I was seeing we could learn.” Camp said they become interested in LGBTQ history while attending Columbia under the guidance of Albert Williams, an associate professor of Instruction in the Theatre Department. Williams, who also serves as an adviser on the podcast, said he has been involved in LGBTQ activism Devlyn Camp, 2014 cinema art and science alumni, has their podcast available on iTunes and Stitcher.

Extended BY MAGICAL DEMAND! ALL SEVEN HARRY POTTER BOOKS IN SEVENTY HILARIOUS MINUTES! “SMART, GOOFY, ZANY FUN FOR ALL AGES!”

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4 THE CHRONICLE FEBRUARY 5, 2018

since the 1970s. The stories he shared with Camp inspired their interest in LGBTQ history and the Mattachine Society. “This is very much an example of what Columbia talks about as being designed to train the people who will author the culture of their times,” Williams said. “That’s exactly what [Camp’s] doing and they’re a very good reflection on us.” Camp began creating the podcast about two years ago, they said. They spent countless hours researching the topic and currently records the podcast in their apartment. Camp said the more they looked into the research, the more they realized how relevant this topic is today. “The more I dove into it, the more I was learning about my own internalized homophobia and my own confusion about my gender, and it was all things that only became clear because I could see the things the community was fighting about 60 years ago and realized that they were still here very strongly,” Camp said.

Paul Di Ciccio, 2016 theatre alumnus, is the editorial adviser and said his job is to primarily read Camp’s finished scripts and edit them. Di Ciccio said it is important for everyone to learn about this moment in history in order to learn more about themselves. “It’s not only important for LGBTQ people to learn about how our movement started and how we’ve obtained the rights that we have today but also to learn from the struggle and tactics that we used in the past in order to move forward,” Di Ciccio said. “There is so much universality about struggle that can definitely apply to any marginalized person.” Camp said they plan to create more episodes because there is so much more they would like to explore. “[This podcast is] important to me because we can learn a lot about not just fighting outside pressure but fighting our own internalized pressure that we have on ourselves and on each other,” Camp said. tbrubaker@columbiachronicle.com

Alumni creates untold LGBTQ history podcast

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FEBRUARY 5, 2018 THE CHRONICLE 5

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6 THE CHRONICLE FEBRUARY 5, 2018

THE “HARRY POTTER” homage sport Quidditch has continued to develop at Columbia into a more hard-hitting and competitive sports team. Ben Dib, a junior cinema and television arts major and U.S. Quidditch coordinator, said the team has transformed from a student organization into a sports group since he joined in fall 2016. “We’re in this transition period where we’re going from more of a club to more of a competitive team,” Dib said. Lena Aubrey, a junior theatre major and secretary of the team, said the group originally started under the Muggles Association of Columbia and moved to the Student Athletic Association in 2014 before transforming into its own organization. “We’ve grown so much that we’ve turned from just being intramural to having the competitive team and intramural,” Aubrey said. “I’ve been with the team for

two years, so to see that really grow has been a wonderful process.” According to Dib, there are two separate teams—intramural and USQ. Every member is automatically on the intramural team, while a select number play on the more competitive and timecommitted USQ. There are about 20 USQ members and 32 players over all.

“USQ is its own organization schools and club teams play under,” Dib said. “There are certain requirements and procedures you have to do. Our first year was really difficult figuring out and achieving those parameters or requirements.” Tryouts to join the Quidditch Team for the spring semester began Jan. 28 to bring more SEE QUIDDITCH PAGE 9

» FILE PHOTO

Columbia’s Quidditch team has transformed from a club into a competitive organization, with hopes to make it to nationals in the upcoming year.

» COURTESY CCC QUIDDITCH

Quidditch team flies toward its goals

» OLIVIA DELOIAN CAMPUS REPORTER

campus

attended a Jan. 14 gala, during which they received first and second place, said Dana Connell, an associate chair and professor in the Fashion Studies Department. Kendall McDermott, a junior advertising major, was part of the three-person team that won first place and said she was proud of all the hard work they did.

TWO COLUMBIA STUDENT teams won first and second place in the National Retail Federation student competition, receiving thousands of dollars in scholarships. The NRF collaborates with STORY, a retail company in Manhattan that likens itself to a magazine, continually reinventing itself, to provide students an opportunity to pitch business plans for several sponsors: Staples, CVS and 3M. The teams prepare a 25-page pitch presentation and a 90-second video to present to a panel of judges. The three finalists are then invited to New York City to present their final projects and earn prizes. The two teams traveled to New York for their final presentations Jan. 11 in front of a panel of industry professionals and then

resume that they won this competition for the National Retail Foundation will get them noticed.” According to Connell, the third place winners receive $1,500 in scholarships each, second place gets $2,500 in scholarships and first place receives $5,000 in scholarships. The industry professional panelists who judged the students in New York City included Paul Morton, senior vice president of Nordstrom; Rachel Shechtman, founder of STORY; and Julie

» KEVIN TIONGSON/CHRONICLE

» TESSA BRUBAKER CAMPUS REPORTER

“We got really lucky that all three of us were equally as committed to putting in the time,” McDermott said. “With projects you never know how that’s going to go but we were all committed to it and it payed off.” Connell said students get many doors opened for them through this competition “The opportunities that these students get in networking and exposure across the industry is tremendous,” Connell said. “For them to be able to put on their

From left, Blake Fortin, Kendall McDermott and Ashley Cairns were among some of the students who competed in the National Retail Federation student competition. Their team took home first place.

Atkinson, senior VP Global Digital of Tory Burch. “The exposure, the networking, the level of professionalism that they’re engaged [in], it really prepares those students to hit the ground running and get out into the real world,” Connell said. Ashley Cairns, junior fashion studies major, said a rewarding moment was getting to speak with industry professionals. “It was kind of weird being in the same room as all of those people because we’re just starting out in our careers and all these people are so established,” Cairns said. Blake Fortin, a senior cinema and television arts major, said being involved in this competition proved he can branch outside of his major. “This gives me so much confidence that I can really do more than just what my major and minor say,” Fortin said. “I would never think that I could do all of that but it’s cool when you push yourself and it’s so rewarding to receive such positive feedback.” tbrubaker@columbiachronicle.com

Students take home national retail competition scholarships

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8 THE CHRONICLE FEBRUARY 8, 2018

campus one tournament. The top teams at regionals are then qualified to go to nationals, according to Dib. Both Peachey and Dib said Quidditch has allowed them to build long-time friendships and find a sense of community at the college. “Quidditch attracts a very specific type of person,” Dib said. “You can’t take yourself too seriously, because you’re running around with a PVC pole in between your legs.” odeloian@columbiachronicle.com

keepers, seekers, chasers and beaters aboard. Aubrey said the team has extended tryouts for the next few weeks to encourage more participants to try the sport. “Our system is more try-us-out, so anyone in the school is welcome to join us,” Aubrey said. “If someone [thinks], ‘Well, this is a little too much for me,’ they are welcome to not come or choose whatever level is best for them.”

Dib said there have not been any official additions to the team for this semester thus far. “I would say, just give it a shot, and you might like it,” Dib said. Ben Peachey, a junior English and creative writing major and USQ coordinator, said the team’s main goal for the semester is to keep growing in order to make it to nationals during the upcoming school year. In order to first qualify for regionals, a USQ team has to play in at least three USQ games and

» COURTESY CCC QUIDDITCH

QUIDDITCH, PAGE 6

The spring 2018 semester marks the fourth year the college’s Quidditch team has been operating.

PRESIDENT KWANG-WU KIM IS PLEASED TO OFFER

STUDENT OFFICE HOURS FOR THE SPRING 2018 SEMESTER Share Your Columbia Story with Dr. Kim Appointments are 20 minutes and are held in President Kim’s office, on the 5th floor of 600 South Michigan.

Please RSVP for a date February 23, 2018 March 16, 2018 April 13, 2018

To register for a slot, please check your email for the "In The Loop" Newsletter and click on the link Space is limited so register today! Limit one slot per student. If you have any questions, please contact officeofthepresident@colum.edu

FEBRUARY 5, 2018 THE CHRONICLE 9

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LOVE Love housing fair

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Summer 2018, fall 2018, spring 2018

February 27, 11am–4pm stage two, 618 S. Michigan Ave. free food · special pricing · giveaways

10 THE CHRONICLE FEBRUARY 8, 2018

arts culture

Abercrombie’s gender-neutral line is a step toward fashion fluidity » ColumbiaChronicle.com

VIDEO GAME ENTHUSIASTS rejoice: The new wave of interactive gaming is here, pulling players and their virtual reality headsets from cramped living rooms into a fully interactive arena. This one-of-a-kind undertaking is headed by MassVR, a local startup focused on providing a low cost, interactive VR experience for people who like to play. Its flagship location opened near O’Hare International Airport Feb. 2 at 5135 Pearl St., where players pay $40 per person to engage in an untethered, four versus four, VR gameplay experience. Chris Lai, president and CEO of MassVR, said he wanted to create the first VR experience that catered to the modern gaming audience, one that was older and wanted something new and challenging. “When I was young, it was only people who were kids; no adults played games,” Lai said. “I’ve grown up to an adult and I still play. It’s just that you play less often, or you’ll play different types of games, but you still enjoy gaming.”

Players don their adjustable, headmounted displays to spin, jump and traverse virtual obstacles in real time. The technology behind MassVR has been built from the ground up, with a play arena totaling 6,000 square feet. According to Lai, it can be scaled up to 15,000 square feet and support up to 16 players. MassVR will launch with its first game, “VR Champions,” a competitive player-versus-player first-person shooter similar to “Halo” or “Destiny,” with more titles to come. “No one has attempted to do pure gaming; you might be shooting in there, but it’s like arcade rides; you never die,” Lai said. “In ‘VR Champions,’ you die a lot, there’s consequences to your decisions and actions, and we keep track of all your stats.” MassVR plans to have locations nationwide hoping to incite competition between teams that play “VR Champions,” Lai said. Julian Grant, associate professor in the Interactive Arts and Media Department, said VR development is still fairly new, with multiple models of VR gaming being tested. “This kind of multiplayer VR experience

MassVR’s proprietary technology will allow players to move untethered in the virtual battlegrounds of “VR Champions,” a competitive first-person shooter.

is definitely something to keep your eye on, as more and more people adopt VR gameplay into real athletic opportunities,” Grant said. Lai added that the company plans to release a second game, yet to be titled, that involves players having to solve puzzles, similar to the experience of an escape room. “Every title we release will cater to a different audience,” Lai said, “But we have one thing in common: We want to play together and we want to go out. We don’t just want to stay at home.” MassVR comes on a wave of new, more interactive entertainment experiences, such as escape rooms, that are capitalizing on a want for engaging activity. “So many amusement activities that

you find in the U.S. are completely prepackaged,” said Vincent Rubino, owner of local escape room Fox in a Box Chicago. “[Amusement activities] often are surrounded by alcohol and you experience it, but it’s a real lightweight form of experience. You actually have no agency in what you’re doing, you’re not part of the adventure, you kind of float through it.” MassVR has also partnered with the Chicago Comic and Entertainment Expo where Lai said the company will be setting up an 8,000 square foot arena for convention goers to try for themselves. Tickets went on sale Feb. 1. mdarbyshire@columbiachronicle.com

» MAYAN DARBYSHIRE ARTS & CULTURE REPORTER

» PHOTOS COURTESY MASSVR

MassVR opens virtual reality experience a gamer could love

“VR Champions” places eight people in four-versus-four combat, as they move to cover, ride zip-lines Players are given a gun-shaped controller, with which they can fire at their competition, to further and shoot at enemy players. enhance the experience.

FEBRUARY 5, 2018 THE CHRONICLE 11

arts & culture

» ARIANA PORTALATIN MANAGING EDITOR

‘One Day at a Time’ shows continued success in new season

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hile Congress debated the Deferred Action for Childhood Arrivals and immigration policies, Netflix released its second season of “One Day at a Time” Jan. 26, a comedy about a lively Cuban-American family dealing with everyday life but also unique matters that come with being a Latino family with immigrant roots. The show’s writers made the congressional topics more clear cut, defining what really matters, while also providing good laughs. The first season also covers important subjects, including gender inequality, LGBTQ issues and mental health, so I expected nothing less from the 13 episodes of Season 2. The new season added new topics, including gun control and immigration. The show demonstrated its relevance right off the bat. In the first episode, head of the household and single mom Penelope Alvarez struggles to figure out the cause of her son Alex’s behavioral problems. She later finds out they stem from Alex wanting to hide his Cuban heritage more after experiencing racist remarks from classmates. Despite the need to cover racism in a TV show about Latinos in the current political climate, I couldn’t help but cringe at the obvious political stances taken in the first episode, which felt a little too forced for my liking. However, I still support the show’s willingness to tackle realistic issues families face. The rest of the episodes are also enjoyable and blend together heavy and uplifting scenes easily. The rest of the episodes brought in new situations but continued previous storylines. Penelope maintains her work-life balance but is challenged when she returns to school and pursues a romantic relationship. She also deals with her children growing older and facing their own battles. Her daughter Elena has difficulties expressing her feelings for a girl she is interested in dating and also must face her father again after a year of no contact with him following her coming out before her Quinceañera in Season 1. Meanwhile Penelope spends more time

with Alex, hilariously teaching him how to save money at the movie theater by sneaking in personal food and hiding it from employees. This review would be incomplete without mentioning the legendary Rita Moreno. Despite being recently discredited when she was identified as a mere guest by The New York Times while attending the Golden Globes, she proved herself to be the star she is through her exuberant character Lydia, the grandmother who helps hold the family together with her consistently colorful personality. Fans suffered heartbreak watching the 13th episode, spent preparing for a tearful goodbye to Lydia, who spends the majority of the last episode in a hospital bed in a medically induced coma after suffering a stroke, leaving the family to wonder when or if she will wake up. She thankfully does and is instantly back to herself when she immediately checks to see if her nails are done, giving the audience some much needed laughter and ending the season on a cheerful note. “One Day at a Time” has proven itself successful for Netflix through comedy and diversity of storylines. I was impressed by each character’s development and the courage to tackle controversial topics other shows wouldn’t, even if it means multiple tear-jerking scenes that keep you on the edge of your seat. Although Season 3 has not yet been announced, I have no doubt it will be soon, and I look forward to the anticipation of another season.

aportalatin@columbiachronicle.com

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FEBRUARY 5, 2018 THE CHRONICLE 13

arts & culture

PEOPLE INTERACT WITH the natural elements of water, fire, wind and the sun every day, but a new exhibit at the University of Chicago’s Renaissance Society explores if they truly consider how much. Curated by Karsten Lund, assistant curator at the Renaissance Society, “Unthought Environments” tackles topics such as geopolitics, philosophy and media studies through artists’ videos, photographs and installations. Lund said the exhibition— running Feb. 17-April 8—takes ancient ideas of elements and observes how they intersect with human infrastructure. The exhibition features work from 11 artists who each have a unique method and approach to the theme, according to Lund, who praised the show’s “dynamism.” According to Lund, two photographers, Revital Cohen and

Tuur Van Balen, are represented by photos they took of the Congo and other African countries where rare minerals are mined. “The minerals that were extracted are from places that we rarely see pictures of,” Lund said. Another artist with work featured in the exhibition, Marissa Benedict, examines research on the infrastructure of water both in California and Israel, two different parts of the world that have some notable similarities and differences, Lund added. “She has taken some of these structures and transformed them in surreal ways,” Lund added. Another piece took hundreds of hard drives and extracted gold, tantalum and aluminum and put them into a large sample to demonstrate how much is taken from the earth to meet society’s technological demands, Lund said. “The exhibition starts with this experimental premise. A lot of the work helps us to notice things

14 THE CHRONICLE FEBRUARY 5, 2018

that often do go overlooked and also appreciate this give and take between our environments and our own human activity,” Lund said. “I’m interested not just in the way humans leave our mark on the environments, but also the way it leaves its mark on us.” Robert Watkins, an associate professor in the Humanities, History and Social Sciences Department, said that natu- Among the art in Renaissance Society’s new exhibit “Unthought Environments” ral environmental structures are photos of rare minerals extracted from the Congo. are not always subject to human influence and control, Daniel Baird, a sculptor featured in change section of its website to contrary to popular opinion. the exhibition, said his immediate little public outcry, can erode what “No matter which environment environment influences decisions people enjoy on a day-today we’re speaking about, it’s import- in his work. basis, such as the sunlight. ant to recognize that we’re always “My studio is a direct space “We don’t have to lay out any acting in environments that we where [artistic] connections are money to enjoy the sunshine.” don’t have full control over,” made, [they] do occur outside the Watkins said. Watkins said. “Those environ- studio but in a different way; it’s a “It’s a public resource in ments set up certain possibilities more tactile engagement with the that way, which, ironically for us and discourage or elim- objects that are in here,” Baird said. in this day and age of capiinate other possibilities. They According to Watkins, pub- talism, makes it endangered, are always guiding our actions lic indifference towards the because if you can’t put a price even as we understand our- environment, such as the EPA on it nobody’s going to take an selves to be making free choices.” delaying updating the climate interest in it,” Watkins said.

aerouart@columbiachronicle.com

» ALEXY EROUART ARTS & CULTURE REPORTER

» COURTESY RENAISSANCE SOCIETY

Gallery shares thoughts on the ‘Unthought’

» MAYAN DARBYSHIRE ARTS & CULTURE REPORTER EXPECT TRANSFORMATIVE GLITZ

and glam when Femme FATales, an intersectional, body positive burlesque troupe, comes to Chicago Feb. 10. The troupe, made up of plussized performers, will bring its show to Center on Halsted, 3656 N. Halsted St. in Lakeview. The Femme FATales performance is subtitled “The Beyonce Edition” and is not the first time it has performed in the city, appearing at the Chicago Fringe Festival in 2015. The location was perfect for the FemmeFATales’ Chicago performance, said Carina Shero, co-founder and creative director, because it allowed the performers to curate their audience. “A lot of burlesque performances happen in places like bars, and

those types of venues,” Shero said. “We have our shows in theaters because we want to create a safe space for our performers and have the audience know specifically what they’re coming to.” Femme FATales formed in 2015 with support from established burlesque stars like Red Hot Annie and a need for more diverse representation on the burlesque stage. Most of the members had no formal burlesque experience, Shero said. Rather they were assembled from body-positive communities, which was intentional, said Femme FATales Producer Essence, who asked their surname be witheld. “We wanted to create the troupe with the purpose of transforming how people see themselves,” Essence said. “It was about reaching out to people whose main mission was doing that as opposed to just being a performer.”

Shero said she made it her commitment to have audiences come away from the show, not just entertained, but with a transformed view of themselves and other people’s bodies. Korey McWilliams, a sex therapist and adjunct professor in the Humanities, History and Social Sciences Department, said Shero’s troupe offers a helpful outlet for individuals struggling with their bodies. “Body image is one of those things that can be really challenging and deeply ingrained in people,” McWilliams said, “It takes an emotional experience to access some of those deeper points of pain and suffering.” Shero said burlesque made her try things she would never have seen herself doing, and wants the audience to feel that same effect “In today’s society, as a fat person, you just don’t get to experience yourself be represented in a glamorous light,” Shero said. “Our show gives people the opportunity.”

The Femme FATales, a body-positive burlesque troupe, will be bringing its show to Center on Halsted, 3656 N. Halsted St., Feb 10.

mdarbyshire@columbiachronicle.com

Femme FATales transform burlesque in big way

»PHOTOS COURTESY FEMME FATALES

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FEBRUARY 5, 2018 THE CHRONICLE 15

feature Story By: alexy erouart

» ALEXY EROUART ARTS & CULTURE REPORTER

filled with high-priced analog equipment and veteran engineers, are becoming a dying breed because of widespread availability of personal recording equipment. In response to this industry shift, engineers have begun to invest in their own hardware and create do-it-yourself studios to stay afloat. TRADITIONAL RECORDING STUDIOS,

Chicago was once home to five multiroom staff-based studios in the ‘80s—CRC, Streeterville, Universal, River North and Zenith/DB. Now that number stands at only one, according to Benj Kanters, an associate professor in the Audio Arts and Acoustics Department. DIY recording with lower equipment overhead has meant that engineers can scrape

» MACKENZIE CROSSON / CHRONICLE

16 THE CHRONICLE FEBRUARY 5, 2018

» ERIN DICKSON / CHRONICLE

DIY recording’s impact on musicians, engineering process

aerouart@columbiachronicle.com

“The great thing about coming to Glass Tree, or any other professional studio for that matter, “ Mefford said, “is that you can trust the person handling the process and in that sense you can be your truest form as the artist and let someone else be the medium for that.” Logan Meyer, a senior audio arts and acoustics major with his own home studio, said a technology-geared generation sees in-person, high-end recording studios as “intimidating.” Meyer said after visiting a well-known downtown recording studio, CRC, he was told that aspiring engineers who interned worked long hours with a lot of drudgery because of the field’s fierce competitiveness. “They [said], ‘If you want to work in this environment, you have to spend five years sleeping on floors, working doubles on the weekend,’” Meyer said. While engineers do not have as many traditional staff positions available at high-end studios, they do have the newfound ability to put down a large amount of cash to invest in their own gear and run sessions out of their home or dorm room. “Studios always have to adapt and overcome,” Kolar said. “At the end of the day the goal of a studio is to serve a young generation of artists. I’ve seen a couple of generations come and they all tackled [the recording process] differently. I feel my job [as an engineer] is to help facilitate and elevate what they’re doing rather than enforce the doctrine of how records were made at the time of when I was a young person.”

» MACKENZIE CROSSON / CHRONICLE

together a relatively small sum of about $300 to create studios in their apartments. Soundscape Studios, a professional recording studio in Ukrainian Village, started out as a DIY venture, owner Michael Kolar said. “The most entry-level Pro Tools rig was about $30,000,” Kolar said. “So instead, I started with a TASCAM Portastudio and recorded in the corner of my parents’ garage. That propelled me to make what is now a modernized non-DIY studio.” While Kolar said the age of DIY recording has shifted what Soundscape provides, studios offering experienced engineers will always have a place to make home recordings sound radio ready. “We provide a place where people can take their fleshed-out DIY recordings and give them that polished edge,” Kolar said. Kanters said the DIY revolution has allowed everyone the ability to record, much like how smartphone cameras have disrupted the personal camera industry, he said. This has restructured how people view the professionals and the job they do. “If you wanted to take pictures, you used to hire a photographer,” Kanters said. “Then Kodak came up with cameras that you can own personally. Now Kodak is gone because it’s all digital. So basically, the same thing has happened [with recording].” Rob Mefford, senior engineer at Glass Tree Creative, a South Loop recording studio, said he thinks recording at a specially designed studio space with professional engineers takes pressure off musicians by relieving them of technical responsibility.

» ERIN DICKSON / CHRONICLE

design By: Zack Jackson

feature

1 - Kolar adjusted the levels of a track on the studio’s 20 Fader Avid Artist Series console. 2 - Inside Glass Tree Creative, 2248 S. Michigan Ave. 3 - Rob Mefford, a senior engineer at Glass Tree Creative, started working there in 2012. 4 - Mike Kolar, owner of Soundscape Studios, 2510 W. Chicago Ave., discussed his studio, the recording process and DIY music recording with The Chronicle. 5 - Soundscape studios is one of the few remaining studios in the city with multi-channel analog preamp gear. 6 - A look at Soundscape Studio’s Phoenix Mastering Plus Tube Limiter and mixing board. 7 - Mefford, standing in Glass Tree’s live room, said musicians should let engineers be the medium for their recordings. FEBRUARY 5, 2018 THE CHRONICLE 17

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18 THE CHRONICLE FEBRUARY 5, 2018

arts & culture

» MIRANDA MANIER ARTS & CULTURE REPORTER

With my music, I try to do a combination of the two of those, and I’ve tried to have the heart and grit and soul elements to that Motown stuff but including all of the funness and danceability of a fun pop song. To me, there’s nothing better than a fun pop song.

from one of my cousins and guitar lessons from another cousin. Having family [I was close to] that were into music that definitely helped, [too].

When did you decide to seriously pursue music? It’s been varying levels of seriousness. The How has your sound grown since you first time that I was like, “This is something began performing? that I want to dabble in,” was in fourth grade. I [My sound] definitely developed as I devel- took voice lessons from my cousin I took voice oped my songwriting. I didn’t realize how lessons from my cousin who lived two doors much I loved pop music until I started writing, and I realized the stuff I started writing that was poppier was the stuff I liked the best. A lot of times it’s uncool to like pop. People want to be more indie or hipster, [but] I realized as I was writing that I love pop music so much.

down, and it was so informal. She basically taught me whatever she was learning in her high school choir, but that was the first time that I sang in front of anybody and had the guts to say, “This is my thing.” What is your biggest goal for your career moving forward? I’m really excited about my single [“Old School,” which was released Feb. 2]. My biggest goal is that that [it] does well and that all of the video stuff I have coming out does well and I can do my label proud.

» COURTESY ATLANTIC RECORDS

osie Dunne, a native of La Grange, Illinois, grew up surrounded by the arts. Smack-dab in the middle of three other siblings who expressed themselves through dance, painting and theater, Dunne found her own path through her music, which blends a Motown vibe with pop tunes to create her unique sound. Dunne will play at Schubas, 3159 N. Southport Ave., Feb. 8 to debut some of the songs that will be on her EP, To Be The Little Fish. The Chronicle spoke with Dunne to discuss her musical inspirations, proudest moment and biggest goals.

Josie Dunne combines grit and fun

mmanier@columbiachronicle.com

audiofile

THE CHRONICLE To what do you attri- How did your artistic family influence bute your eclectic sound? you growing up? JOSIE DUNNE: A lot of what I grew up My family is really creative. My older brother on was the old Motown and R&B soul stuff, is an artist and a painter, my younger sister is and that’s the heart of what I love so much. a dancer and my youngest brother is a graphic Because my parents weren’t music nerds, designer and animator. Being a creative I also grew up on what was playing on the house, there was always music playing and radio at the time, so that super pop thing I there was always loudness and creativity, so also fell in love with. I’d say I fell into music. I took voice lessons

Josie Dunne will perform at 8 p.m. Feb.8 at Schubas, 3159 N. Southport Ave.

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FEBRUARY 5, 2018 THE CHRONICLE 19

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IDENTITY, FROM FRONT

“I was thinking, ‘If there’s a female host, what else is true?’” she said. “If women had always had these opportunities, then everything would be different.” “Identity Heist” will run in Judy’s Beat Lounge, in The Second City Training Center, on the third Wednesday of each month through

Meghan Babbe hosts a new show at The Second City, 1616 N. Wells St., that questions what the world be like if women were talk-show hosts and action franchise stars in the 1970s. It includes guests like Allison Pacino and has an in-house band.

April, with each performance acting as another episode of the show. The first performance on Jan. 31 included interviews with guests like Allison Pacino and Rachel Moore—instead of James Bond’s Roger Moore. It also featured Babbe’s clueless secretary Bill and jazzy music by an in-house band.

At the end of the show, a reallife sloth was brought onstage and all pretense fell. It was no longer 1972 but 2018, and a member of the Flying Fox Conservation Fund was talking about the group’s website while audience members captured Snapchat footage of Steve the sloth.

However, this departure from the theme and time warp of the show did not detract from it. Audience member Nick Mestad, a kindergarten teacher’s aide from Andersonville, said the sudden appearance of the sloth added to the absurd contrast within “Identity Heist.”

“[The gender role reversal] was an important thing snuck into the show, rather than being like, ‘This is what the show’s about,’” Mestad said. “The whole tone of the show was absurd. To have that switch within it was a nice touch.” While Natalie Toland, senior theatre major, thought a host like Babbe would have completely changed the way women in comedy are seen today, she recognized that a show like the one in “Identity Heist” could not have actually existed in 1972 outside of its absurd reality. “If you had an early icon like that, they probably would have received a lot of backlash,” she said. “It probably wouldn’t have been very successful.” Babbe agreed that a female host at the time would have been monumental. “If there had been more diverse voices in the room,” she said, “and they had been allowed to stay and evolve and change, what we would see [in entertainment today] would be completely different.” mmanier@columbiachronicle.com

» PHOTOS KEVIN TIONGSON/CHRONICLE

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our staff’s top 5 picks:

Column: ‘Gauchos’ style never died » SAVANNAH EADENS METRO REPORTER

seadens@columbiachronicle.com

sparkly shirt from Justice, golden sandals and the infamous brown gauchos. I thought I was hot stuff on the first day of second grade. All of the other girls were wearing their gauchos, in every color of the rainbow. I thought mine were the best, though, because I could wear them with any outfit. They were stretchy and had great airflow too: I could comfortably run on the playground at recess. Let’s be honest, everyone misses their gauchos. But the style never died. Last summer, I was overwhelmed with nostalgia when I noticed a girl on the train wearing a beautiful variation of the gaucho style. They were loose below the knee and tight at the waist, with a striped pattern and cute cloth belt. She was wearing a white blouse and loafers. I might have cried a little bit. The gauchos staple in girls’ closets were replaced with horrible yoga pants with Nike sandals and mismatched socks that I began to hate in middle school. But incredible fashion like gauchos are never gone forever: They simply evolve and make us long for the pristine fashion of elementary school. The style became more popular in spring 2015, but Kiera Knightley even went to the 2018 Sundance Film Festival earlier this month in a suede tux with gaucho pants. The truth is, not everyone can pull off a perfect gaucho look, but let us never forget the joy of throwing on those glorious stretchy pants and strutting our way to school.

REASONS I CAN’T SLEEP AT NIGHT

WHITE STRIPES SONGS

REAL AND FICTIONAL WITCHES

» ZOË EITEL EDITOR-IN-CHIEF

» TESSA BRUBAKER CAMPUS REPORTER

» OLIVIA DELOIAN CAMPUS REPORTER

“Call Me By Your Name” didn’t win any Golden Globes:

“Seven Nation Army”:

Stevie Nicks:

Obviously, this song would be on the top of this list. Even if you’re not familiar with The White Stripes, I’m sure you know this song. It’s a complete classic. This timeless tune can be heard chanted throughout sporting events worldwide. Its music video is also one of my favorites of all time.

Also known as “The White Witch,” Nicks has been a rumored Wiccan since her early days in Fleetwood Mac. Although she has never confirmed the gossip, her mystical aesthetic says otherwise, as does her guest appearance on “American Horror Story: Coven.” Nicks will always be my witchy fashion inspiration.

“We’re Going to be Friends”:

Lana Del Rey:

You may recognize this song from the iconic opening of 2004’s “Napoleon Dynamite.” With its simple tune and original lyrics, it will be on repeat in your head for hours on end. This song is so different and memorable, it will pass the test of time.

The beautiful and ethereal singer shared a series of dates to cast spells on President Donald Trump throughout social media in 2017. Del Rey even confirmed her hexing in a July 21, 2017, interview with NME. Who can deny she’s a witchy woman?

“Icky Thump”:

Elaine, “The Love Witch”:

This song comes from The White Stripes’ last album, released in 2007 before the band’s tragic split. It’s a great kickoff to the album, and it shows how far the band had come since its first album that was released in 1999.

This film is an iconic homage to 1960s technicolor thrillers, and Elaine adds to the tribute. She rocks blue eyeshadow, enchants bohemian gowns and casts revenge on those who break her heart. All she wants is love; what else is a witch to do?

“Fell in Love with a Girl”:

The Sanderson Sisters, “Hocus Pocus”:

With Timothée Chalamet and Armie Hammer’s brilliant acting, the unique storyline, the beautifully adapted screenplay and its amazing execution by director Luca Guadagnino, how “Call Me By Your Name” didn’t take home any Golden Globes will forever be a tragic mystery to me. I will start a riot if it doesn’t win any Oscars. Well, maybe not a riot, but I will absolutely send a strongly worded tweet. Watch out, Academy. Tamarind is closed: Tamarind was my favorite place to get cheap, delicious Asian food on campus, but it unexpectedly closed about a year ago, and I’ve been craving it ever since. Other Asian restaurants in the neighborhood can’t compare or fill the hole in my heart. Rest in peace, $6 beef lettuce wraps. Harry Styles exists: I mean, come on. Don’t you ever just sit back and realize that Harry Styles is a real, living and breathing human being and then want to cry for a while? No? Just me? OK, never mind then. “Game of Thrones” won’t be back until 2019: We all knew this was going to happen, but with the official announcement that “Game of Thrones’” final season won’t air until April 2019, we can officially weep. And don’t get me started on the shortness of this final season. At least this means we have more time to live in a world in which “Game of Thrones” isn’t over yet. Everything else in the world: ...yeah..stuff’s bad.

22 THE CHRONICLE FEBRUARY 5, 2018

If you haven’t heard this song yet, you need to drop whatever you’re doing and listen to it right now. This short song is jam-packed with a ton of punch, and Jack White’s vocals ringing loud and clear over his impressive guitar is nothing but pure perfection. “Dead Leaves and the Dirty Ground”: This was the first song I had ever heard from The White Stripes. I stumbled upon it while watching YouTube videos and was immediately hooked. This song comes from one of the early albums by the White Stripes and is a good example of what it was like in the beginning.

I couldn’t possibly choose a favorite. Sarah, Mary and Winifred Sanderson are all a must for this list. Their quotable dialogue in the Halloween classic work for anytime of the year, which is why “amuck” is always running through my mind. Samantha, “Bewitched”: Having watched “Bewitched” as a child, I’ll always remember the good witch Samantha. Through the twitch of her nose, she can make things happen, and with that same twitch, she is wrapping up my list.

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VIDEO

VIRAL

RANDOM

AWOLNATION’S ‘HANDYMAN’

‘PORTLANDIA’S’ FINAL SEASON PREMIERE

PRESIDENT DONALD TRUMP CLAPPING

‘TREASURE PLANET’

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» SAVANNAH EADENS METRO REPORTER

» MAYAN DARBYSHIRE ARTS & CULTURE REPORTER

I was excited to see AWOLNATION released his new single “Handyman” Jan. 26, only to be left disappointed and confused. With former singles like “Sail,” “Woman Woman” and “Howl Moon (Bad Wolf),” I expected a powerful, electronic tune I could blast in the car with my sister. Instead, it’s a mellow track, more the likes of what I would go to Børns for. While it’s an OK song, that’s all it is: OK. I’ll stick to his earlier work.

The new and final season of “Portlandia” premiered Jan. 18, and it has been everything I hoped it would be. This show has managed to make me cry from laughing so hard. I have particularly enjoyed the sketch in which Carrie Brownstein and Fred Armisen create a podcast in the middle of a police station. This show has entertained me throughout the years and I will be emotionally destroyed when it comes to an end.

After President Donald Trump clapped excessively during his State of the Union address Jan. 30, both Daily Mail and USA Today created a compilation video of all the times he clapped for himself. Perhaps the only thing that improved during his presidency is the quality of the memes. Although I appreciate it, it’s getting old. Memes are just another platform for his antics, and I don’t care how many times he clapped.

Despite the movie’s poor 2002 box office performance, lukewarm critical reception and being the reason Disney stopped producing hand-drawn movies, “Treasure Planet” is still the greatest Disney movie. This film is Disney’s hand-drawn magnum opus and a timeless piece of western animation history. The movie sports inventive, mind-blowing adaptation, an 76948 interesting score and has a history almost as tantalizing as the film itself.

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opinions

GoFundMe can show what we get wrong about charity

oes a Chicago Police Department officer with a history of harming civilians deserve your donation? Officer Robert Rialmo and his attorney think so. Attorney Joel Brodsky posted a GoFundMe campaign Jan. 23 to cover his client’s legal fees as Rialmo faces misdemeanor charges for an alleged Dec. 17 bar fight. The city refused to cover the cost of Rialmo’s legal representation after he fired the law firm provided to him by the city and chose to appoint Brodsky instead. In the GoFundMe campaign’s description, Brodsky writes that Rialmo is being unjustly targeted by the city and claims his client is innocent of all charges—including the December 2015 fatal shooting of Quintonio LeGrier and Bettie Jones that the Civilian Office

of Police Accountability ruled unjustified, which is another controversy in which Rialmo has been embroiled. This GoFundMe campaign symbolizes many of the problems acknowledged in our national dialogue in which the public remains divided. But it also brings into question our modern sense of charity. This campaign is emblematic of the exploitation of generosity. Within a week of Brodsky posting the campaign on the crowdfunding platform, more than $8,000 of the $50,000 goal had already been raised. For misdemeanor charges, $50,000 seems like an excessive sum to ask of people, but Brodsky claims the money is needed for a “full-blown defense.” This isn’t a new phenomenon. Those intent on taking advantage of others’

‘Heathers’ reboot isn’t diverse, it’s insulting

COMMENTARY » TYRA BOSNIC OPINIONS EDITOR

ne of the greatest tropes of film and television history centers on the underdogs who fight the oppressors. Embodying historic resistance to fascism, the rebels in “Star Wars” rise up against the Empire. In “Shawshank Redemption,” viewers cheer for protagonist

Andy Dufresne as he exposes the prison guards’ crimes and resists injustice. In the 1988 film “Heathers,” the popular girls in high school, known as the Heathers, become the perfect metaphor for privilege. As thin, white, cisgender and financially well-off teenagers who love to terrorize their classmates for their differences, the Heathers are an apt representation of the villains young people who don’t fit the norms confront every day. The trailer for the television reboot of the film, however, gets that representation wrong to a frustrating extent. Released Jan. 18 by Paramount Network, the trailer shows the reboot will closely follow the original plot. Protagonist Veronica Sawyer and her sadistic boyfriend JD want revenge against the Heathers because of their bullying. However, the new Heathers represent groups that have traditionally been the targets of bullying: a plus-sized girl, a black girl and a genderqueer character.

generosity have existed as long as charity itself. However, social media and the internet have created new ways to continue that exploitation. Platforms like GoFundMe are vital for people who have no other options for funding needed services or care. The campaigns include cancer patients asking for funds to pay for life-saving treatment or families urgently trying to raise money after losing their homes to hurricanes or fires. However, as easy as it is to create a campaign, these pleas often go underfunded and we bear witness to this selective generosity. The controversy involving a figure like Rialmo can lead those in his favor to vigorously show their support—even if that support is not needed. Since charity is mostly a popularity contest, anyone with the status to get people’s attention can expect vigorous donations. It is common to see donation campaigns sprout up when situations go viral online, such as the case of Keaton Jones

EDITORIAL in a Dec. 8 video. The Tennessee boy appeared on camera visibly distraught because of bullying and his video gained thousands of views. A third party created a GoFundMe campaign for Jones that quickly raised more than $56,000. The image of a teary-eyed boy denouncing bullying was used to raise thousands of dollars, yet it is still unclear what the donations would go toward, leading some to become wary about the intent behind some campaigns. We have unprecedented accessibility to the world around us thanks to an era of technological advancement, and this means we have a clear view of all of society’s faults through our monitors. A problem such as capitalizing on others’ kindness or ignoring people’s calls for aid doesn’t stem from the digital age. Instead, the internet and social media gives us a stark image of how we have not advanced at the same pace as technology. We must take advantage of this technology in order to show us how we can improve with it.

Some have lauded this casting decision as making a stride in diversity, but what is so progressive about making already underrepresented groups the villains in a television show? The trailer makes it obvious that the new Heathers are meant to be viewed in the same negative light as their original incarnation, constantly making references to how marginalized people can be evil through the short bits of dialogue in the clip. One character in the two-minute trailer even says, “Fat kids can be popular.” Brendan Scannell, who plays genderqueer Heath Duke in the reboot, told Deadline in a Jan. 15 article, “Our modern retelling centers around marginalized communities—a plus-size, a black girl and a queer—trashing everyone around them.” What is also telling is another aspect of the film that has been left unchanged. Like the original film, Veronica Sawyer is still a thin, white and cisgender character. The reboot trailer shows an offensive role reversal that refuses to acknowledge realistic power imbalance while half-heartedly pandering to pleas for diversity. The reboot has corrupted the commentary evident in the original film.

Through high school relationships and feuds, the original showed viewers that those with privilege wield their power over those who don’t. Marginalized groups—including people of color, transgender people and plus-size people—have been cast for generations as the ones deserving of violence in our culture and media. This television show is not revolutionary in its casting, and it is a dark reminder that much of the public does not understand the concept of diversity. Having diverse characters represented in media is more than just freely giving roles to people whose identities we rarely see on screen. Diversity is about accurate and honest representation that combats the dehumanization marginalized groups have and continue to face. Black, transgender or plus-size young people aren’t fighting for representation to be told they are hated; they are fighting to watch stories that can empower them and give them at least a temporary escape from the real world where their agency, existence and right to happiness are constantly denied. The makers of the “Heathers” reboot have forgotten whom the underdogs really are.

Editorial Board Members Brooke Pawling Stennett Digital Managing Editor Tyra Bosnic Opinions Editor Blaise Mesa Metro Reporter Jay Berghuis Copy Editor Mayan Darbyshire Arts & Culture Reporter

24 THE CHRONICLE FEBRUARY 5, 2018

Hawk Thottupuram Multimedia Reporter Zachary Keltner Staff Photographer Kami Rieck Media Sales Rep Eric Eldridge Webmaster

Did you catch a mistake, think we could have covered a story better or have strong beliefs about an issue that faces all of us here at Columbia? Why not write a letter to the editor? At the bottom of Page 2, you’ll find a set of guidelines on how to do this. Let us hear from you. —The Columbia Chronicle Editorial Board

opinions

XFL needs to focus on safety, not reinventing football » BLAISE MESA METRO REPORTER

» JOCELYN MORENO/CHRONICLE

fter failing to have a successful inaugural season in 2001, the Xtreme Football League is rebounding with a brand new image. But even though it has rebranded, the XFL is still not ready to compete until it starts taking its players’ safety seriously. Before embarking on rebooting the XFL into a smaller league in which more games are played in the spring, founder Vince McMahon sold $100 million worth of World Wrestling Entertainment stock shares to help fund the league. In a Jan. 25 press conference, McMahon announced the league’s return along with a focus on a faster-paced, more family-friendly game, unlike the previous XFL, which sold tickets based on excessive violence and sex. However, when McMahon was asked what safety initiatives he will be taking, he vaguely responded that the league will listen to medical professionals, which is something every professional league already does.

bmesa@columbiachronicle.com

COMMENTARY

Although the league has a $100 million budget to start with, it won’t be enough to invest and develop player safety. Not every detail of the revived XFL is known, but what is known is the league will play a 10-game schedule—similar to the schedule it had in 2001—and three rounds in the playoffs. The schedule may be shorter than both the NFL and Canadian Football League, but the XFL doesn’t have a bye week—a week during which a team doesn’t play a game. Both the NFL and CFL offer mid-season bye weeks to provide players with much needed rest for recovery. Without one, players have less time to heal and spend more time playing injured. The NFL, which invested $100 million in 2016 alone on research involving head trauma, still has its hands full keeping its players healthy on and off the field as players continue to retire after a short career due to injuries. If the largest, most profitable sports league in the country struggles with keeping players safe, an upstart league like the XFL has nowhere near the capital to ensure player safety. The XFL won’t be able to provide the day-to-day care that NFL players enjoy. The NFL spends up to $5,250 in health care for each player’s joint replacement surgeries, as well as offering $350,000 to help eligible retired players pay for out-of-pocket health care, according to the NFL’s Play Smart Play Safe initiative. Furthermore, the NFL offers long-term care and life insurance, which costs from $20,000 to $50,000 per eligible player. If the XFL cares about player safety and heeds the warning of medical professionals, it will attempt to provide health care similar to the NFL. But with the league’s small size, that may not be feasible. The new XFL has more important questions to answer before it tackles improving football game play, and if the league focuses on changing the game, it won’t have the time or money to address these issues. There are other, more developed alternatives to support up-and-coming players like those who play in the CFL, an organization which has worked to improve player safety and has been established for 60 years. The XFL has players’ lives in their hands, and even though the players choose to be a part of the team, it’s irresponsible to dangle someone’s lifelong dreams in their face and not be responsible when they are inevitably seriously hurt.

In response to Student Veterans Society closing: LETTER TO THE EDITOR

students need to know the space is there even if they don’t use it regularly because one day they might. Someone who hasn’t been to war or been to conflict cannot understand that, how war can creep up on you. It sends the wrong message to veteran students—and their non-veteran peers—about how the college values their service. If I were a veteran interested in Columbia, I’d think twice about an institution that didn’t offer this basic support for me. It’s really quite shameful.

was dismayed to read that the college has taken away the dedicated veteran student space on campus. Veteran students come to Columbia with unique skills and experiences that are vastly different than our other students. One of the reasons I teach a war stories class in J-term is to help students understand what it’s been like for their peers to go to war, a war that the United States has been fighting most of their lives. Veteran students have used this space to connect and to support each other during a huge and sometimes difficult transition into college life. The

Jackie Spinner, associate professor, Communication

In response to Dec. 13, 2017, P-Fac email on strikebreakers: LETTER TO THE EDITOR

n Dec. 13, 2017, I received an email from the steering committee of the Columbia part-time faculty union, the last paragraph of which reads as follows: “Strike breakers: On a more difficult note, it has become clear that some of our members crossed the picket line. Some of these people were in the minority and against the strike, but others—amazingly—voted for the strike, but somehow rationalized the need to teach their classes, anyway, thereby undercutting their own union. This is a very serious offense. Union leadership is being advised by our lawyers and labor leaders to deal severely with these transgressions. We cannot allow individual members to work against the democratic decision and subsequent efforts of the group. The leadership is currently considering the range of options available.” I have been a part-time faculty member at Columbia for 15 years. Perforce, I am also a member of the parttime faculty union. Although I am a member of the union, I don’t vote; I don’t go to meetings; I don’t acknowledge the picket line. I will not voluntarily participate in the activities of an organization of which I am compelled to be a member. The coercive character of the union is the fundamental issue. They say they

are fighting for my rights, and yet at the outset, they take away a right that is more important than the rights they say they are fighting for—my First Amendment right of free association, a right that is essential to intellectual freedom. The union says there is no compulsion, and membership in the union is not a condition of employment because I have the option of non-member status. I chose that option for a year or so as a matter of principle, but I dropped it when I realized that it made no difference and was merely a subterfuge. As a non-member, you are still paying ninety percent of the union dues, you are still supporting the union, and it is still a condition of employment. There is no meaningful difference between member and non-member status. I don’t have to agree with all of the positions of a union to be willing to be a member—so long as it is voluntary. But a compulsory union is a non-starter. Most of my colleagues still believe in compulsory unions, but perhaps the thuggish email we have all just received will start to change some minds.

John L. Sutton, Jr., adjunct professor, English and Creative Writing

FEBRUARY 5, 2018 THE CHRONICLE 25

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» SAVANNAH EADENS METRO REPORTER

» SAMANTHA CONRAD/CHRONICLE

IN CHICAGO’S SOUTH Side, residents know the crime statistics and have become accustomed to images of mothers crying in the street with yellow tape around the crime scene, said Mary Datcher, managing editor of the Chicago Defender. What the community hungers for is the story behind the numbers, of a mother’s faith sustaining her in grief—a narrative that large Chicago publications often ignore, Datcher said. A study released Jan. 10 by the University of Texas at Austin Center for Media Engagement found that Chicago’s South and West side residents think Chicago’s news coverage does not accurately represent life in their neighborhoods. Researchers surveyed 900 locals via phone from the north, south and west regions, and more than 50 percent of West and South side residents said news coverage of their neighborhoods is too negative. Fifty-one percent of West Side and 41 percent of South Side residents said journalists quote the wrong sources. Emily Van Duyn, a research associate for the study, said the center translated the

survey into Spanish to make sure every Chicago area was represented. The study should serve as a “report card” to Chicago media to consider its coverage, she said. “My guess is that this is happening in neighborhoods all over the country, in cities with the same [distinct] segregation,” Van Duyn said. “This is a [future] conversation that needs to happen.” Gloria Williams, an Englewood resident since 1970 and founder of Voices of Englewood, a local nonprofit that promotes community engagement, said 90 percent of the neighborhood’s activity is positive, but the media only focuses on the 10 percent that is negative. Smaller publications such as Chicago Crusaders or the now-defunct DNAinfo covered the community accurately, but the Chicago Tribune and Chicago Sun-Times are interested in “major crisis” stories, like the four Englewood high schools closing, Williams added. “People in the community do not trust the media or feel it accurately represents them,” Williams said. “We’re not being recognized for the good work that we are doing.” Williams said residents often “shy away” from interviews with journalists because their words are misrepresented.

Michael Romain, the editor for Austin Weekly, a publication that covers Chicago’s West Side, said there is a misconception that crime victims in low-income neighborhoods either did something to justify the crime or are not working to make the area safer. “It’s common for people who don’t have direct experience about a way of life or particular place,” Romain said. “[Journalists might] cast [neighborhoods] off or speak of them in a generality that is often offensive and grossly inaccurate.” As a small newspaper, the Austin Weekly does not cover crime or shootings because they happen too often, Romaine added. Instead, the newspaper works on hyper-local news and follow-up stories about crime that reporters from the Tribune do not have the opportunity to tell. “It’s dangerous when cynicism about larger media outlets extends to neighborhood media outlets without any type of nuance,” Romain said. Dan Haar, editor of the Chicago’s Tribune Breaking News desk, deals directly with what is often perceived as the negative news about neighborhoods. “Our work takes us into neighborhoods where often, unfortunately, there are some of the worst moments in people’s lives and the best we can do,” Haar said. The Tribune tries to cover the effects of violence in Chicago, he added. Haar added that Tribune reporters try to listen and help the public understand the problems in these neighborhoods. He said local papers are rooted in their communities and have a better perspective of what happens in their neighborhoods. While the Tribune tries to follow up on stories in the South and West sides, it is a large publication that covers the entire city and does not always have the resources. “Local papers stay on issues that are promised and not delivered, and [Chicago] needs that to make sure those voices are heard,” Haar said. But a lack of representation in the newsroom is the heart of the public’s distrust in the media, Datcher said. “There are very few people of color in these newsrooms,” Datcher said. “There are excellent reporters that try to get down to the heart of the matters, but it is hard to put a genuine spin on it if you don’t have an

understanding of the people and the history of the community, or how to frame the story without it feeling like a death notice.” Williams said a journalist’s race or background does not matter as long as their reporting is accurate. Adequate news coverage balance is necessary across the city, Datcher said. As a black newspaper, the Chicago Defender reports the accurate narratives the community craves, she said. The Chicago Tribune and Sun-Times did not respond to questions about their newsroom demographics as of press time, but Haar said he agreed with Datcher’s comments, and that it is important for reporters to go back to scenes, listen to the people and understand neighborhoods. Van Duyn said an interesting finding from the report was that, despite feeling poorly represented by Chicago news media, South and West side residents are more interested in volunteering to participate in a public meeting than North Side residents are. “Before [journalists] start trying to change their rhetoric or coverage, it might be important to just talk to people and see what they think,” she said. “[This could] be an opportunity for news organizations to do something—to engage people because they want to be engaged.” Chris Fusco, editor-in-chief of the SunTimes, said in a Feb. 2 emailed interview with the Chronicle that he agreed more coverage of Chicago’s West and South side neighborhoods is needed. “The question is: How do we afford to fund this coverage as we face the same financial challenges as other news organizations across the country?” he said. “My hope is that the coverage we provide is fair and balanced, that people will support us because of this and we can keep adding more coverage in the future.” seadens@columbiachronicle.com

Study: Chicago South, West sides feel misrepresented in media

» COURTESY UNIVERSIT Y OF AUSTIN CENTER FOR MEDIA ENGAGEMENT

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FEBRUARY 5, 2018 THE CHRONICLE 27

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» BLAISE MESA METRO REPORTER

can be dangerous for athletes, Degel said. “CTE is 100 percent preventable,” Degel said. “Our kids, adults and family members do not need to get CTE. All you need to do is stop the repetitive hitting, and you will not get CTE.” Despite the proposal’s intent to protect the health of young players, some residents think the proposed

Brains in children from ages 6–8 develop rapidly, and much of their mental skills are established during that period of their lives, according to the Centers for Disease Control and Prevention’s website. After the discovery of CTE, an estimated 20,000 former players from the NFL sued the league over head-related trauma and problems related to football. “The more you hit the brain, even just a little bit, you’re going to start [having] inf lammation,” said Karen Degel, co-founder of Stop CTE, a CTE awareness group. “The only way to get [the swelling] down is to not play for a long Illinois legislators are attempting to pass a law that would ban tackle football for all children period of time.” until the age of 12.

28 THE CHRONICLE FEBRUARY 5, 2018

» GETTY IMAGES

THE FUTURE OF youth football is up in the air as state lawmakers look to put a halt on tackle football. In an effort to reduce Chronic Traumatic Encephalopathy, a brain disease that results from repetitive trauma cases, state Rep. Carol Sente, D-Buffalo Grove, introduced the Duerson Act, House Bill 4341. The bill would ban tackle football in the state for children under the age of 12, according to state legislature records. “More has to be done in order to decrease the number of people who suffer from CTE and other brain trauma issues,” said Alison Epperson, chief communications officer at CTE Hope—a research group that sponsors other measures to reduce CTE. “We need to explore all options.”

Other youth sports leagues have taken steps to reduce head trauma. Youth soccer leagues nationwide have eliminated headers, a move in which a player directs the ball with their head, and youth hockey has eliminated checking, a hit to separate the opponent from the puck—both until age 12. All these leagues eliminated unnecessary contact because it

law steps over the line and does not allow parents to choose what is best for their children. There is enough education on CTE available for parents to make informed decisions on their child’s safety, said Katrina Shelton, 38, a student at Moraine Valley Community College in Palos Hills, Illinois, who has four boys who play football, two of whom are younger than 12. Some youth football leagues can put their children in harm’s way, Shelton said. However, others are working to improve player safety by educating coaches, while teaching them basic skill techniques— such as tackling—and ways to play football safely, she added. Even with her four children playing football, Shelton has never been concerned for her children’s safety during practice or games. “[People] need to stop looking at it as [if] the state [is] preventing their kids from playing football,” Epperson said. “Instead, [of] the state trying to save their kids’ lives.”

bmesa@columbiachronicle.com

State lawmakers aim to tackle head trauma in youth football

metro

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CTA’s proposed 5.3-mile Red Line Extension would add four stations and extend the route to 130th Street.

“From [ATA’s] perspective as advocates, the service will be similar regardless of which routes they chose,” Whitehead said. “The most important thing is that a route has been chosen and the project is entering the next stage.”

The South Side has long been considered a transportation desert, and the lack of public transit has hindered its communities, Whitehead said. “While this investment would not completely solve the problem,

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30 THE CHRONICLE FEBRUARY 5, 2018

it could dramatically change the situation for people, businesses and organizations,” Whitehead said. “But it’s important that people living there are benefiting from it and a part of the process of determining how their community

is going to be changed and affected by this project.” CTA will host a public open house at 6 p.m. on Feb. 13 at the Gwendolyn Brooks College Preparatory Academy gymnasium, 250 E. 111th St., to present the plan and get feedback from residents and business owners, Kaplan said. P.S. Sriraj, director of the Urban Transportation Center at the University of Illinois at Chicago, said the city needs to look carefully into how the project may change the “flavor” of the neighborhoods. Railways have historically had a positive economic impact on communities, but gentrification cannot be predicted, Sriraj said. “The only negative with improvement and accessibility [to the Red Line] is that some people may be bought out or forced to move, and it may end up happening in a manner that we might not recognize it,” Sriraj said. “With improvements in accessibility we have to question: Who will be the beneficiaries of those?” seadens@columbiachronicle.com

» ERIN DICKSON/CHRONICLE

long-overdue project that has been discussed for decades. The timeline of the project is typical for a major transportation construction, Whitehead said, but the challenge will be securing funds from state and federal administrations that are trying to spend less on transportation. “We’re advocating for public dollars to be spent because it is important to have direct spending at every level of government on public transit,” Whitehead said. “That pays dividends for our communities towards economic development, public health and the environmental benefits that come with major transit projects like this one.” The extension at 95th Street will run along the west side of the Union Pacific Railroad tracks from I-57 south to about 109th Street, then cross the railroad tracks and run along the east side of the tracks until crossing the Metra Electric tracks near 119th Street, where it will continue to 130th Street.

» COURTESY CTA

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