November 17, 2022

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University hosts historical 2022 NYS Gubernatorial Debate

OCT. 26, 2022

BY MANDI KARPO, Editor-in-Chief

This article was originally published on our website and has been shortened following the 2022 midterm election results. Head to thepacepress.org to read the full story.

The University hosted the only scheduled Gubernatorial Debate between Dem. Gov. Kathy Hochul and Rep. nominee, Congressman Lee Zeldin for the 2022 midterm elections for New York State Governor on Oct. 25. During the debate, each candidate had 60 seconds to respond to moderated questions while given the opportunity to respond if either was addressed by their opponent; a politically historical landmark for the University community.

Gov. Hochul ran for her first full term after assuming office on Aug. 24, 2021, when former Gov. Andrew Cuomo resigned following claims of sexual and workplace harassment and undercounting the nursing home deaths during the pandemic. Congressman Zeldin sought to be the first Republican Governor state-wide since 2002, having represented New York’s first congressional district in Congress since 2015.

Recorded live by Spectrum News 1 in the Schimmel Center and moderated by Errol Louis from NY1 News and Susan Arbetter for Spectrum News 1, crime and public safety took the hot seat as the first topic of discussion. Zeldin revisited the issue throughout the debate’s entirety as continued controversy swarmed Hochul in whether her administration is to blame for the rising crime rates in New York City and NYS.

Other topics that were addressed included economic inflation and abortion regulation, with a cross-examination and lightning round that touched upon the candidates’ opinions on several issues, like Zeldin’s anti-COVID vaccine mandate and approval of religious exemptions, Hochul reaffirming the legitimacy of her campaign practices after facing public scrutiny for making policy changes after receiving considerable donations from donors and a question curated by Pace Debates regarding the legalization of cannabis. Pace Debates played an instrumental role in organizing the debate with Spectrum News 1 and University Public Affairs.

“New York is in crisis… you’re poor and less safe because of Kathy Hochul and [her] extreme policies. This is your opportunity to save New York,” said Zeldin, who opened the debate after a televised random drawing Tuesday morning.

In her opening address, Hochul called out the congressman for being one of “Donald Trump’s strongest and most loyal supporters,” recalling his involvement in the Jan. 6 Capitol insurrection and sending text messages in efforts “to orchestrate the big lie,” referencing the attempt to overturn the 2020 Presidential election results.

After opening remarks were made as a framework for what was to come, Zeldin responded first to Louis’ question on public safety, which addressed the congressman’s promise to invoke a State of Emergency on crime, suspending several laws on bail reform to

Zeldin remained steadfast in his response in wanting to repeal cashless bail, the No-Fault Act, Raise the Age legislation and the Less is More Act, despite going

Justice Services statistical findings, which states it is too premature to draw conclusions about bail reform’s impact on incarceration.

NYS Governor’s debate sparks protest outside the University

BY MICHAEL HUERTAS, Staff Writer

Students chanted through megaphones, others held up signs that read, “What’s your plan to save clinic jobs?” More than 70 supporters congregated across from City Hall in an arranged demonstration.

University students unexpectedly entered the crossfire of passionate political demonstrators outside of One Pace Plaza and 3 Spruce St., while the 2022 NYS Gubernatorial debate between Dem. Gov. Kathy Hochul versus Rep. Congressman Lee Zeldin New York took place inside the University’s Schimmel Center on Oct. 25. The tense atmosphere permitted students to join in intense exchanges with opposers, chanting and reinforcing their favored governor’s ideology.

The crowds were split on either side of the street, with Zeldin’s supporters gathered beside New York Presbyterian Hospital. Zeldin, the Republican candidate for New York Governor, is an American attorney, politician and officer in the United States Army Reserve. He has represented New York’s first congressional district in the United States White House of Representatives since 2015.

His opponent Gov. Kathy Hochul, a member of the Democratic Party, became the 57th Governor of New York, as well as the first female leader in the state in 2021. She previously served as the Lieutenant Governor and assumed power after former Gov. Andrew Cuomo resigned.

Her supporters stood behind metal barriers beside the University’s Spruce Street entrance, chanting, “Healthcare is a human right. Fight. Fight. Fight.”

Recently, Hochul asserted her concerns over Zeldin’s relationship with former President Donald J. Trump, primarily referring to Zeldin’s congressional vote to overturn the results of the 2020 election. Her supporters seem to share her concern--among the crowd was a mobile billboard truck touting the words “Lee Zeldin helped the Trump White House try to overturn the 2020 election” and “Zeldin & Trump: Too Extreme for New York.”

A collection of street interviews was gathered to further understand the extremities of this event.

Remembering DJ Henry at third annual Social Justice Week

BY MANDI KARPO, Editor-in-Chief

In memory of former student Danroy “DJ” Henry, the University hosted its third annual Social Justice Week (SJW) on its New York City and Pleasantville campuses from Oct. 24 to Oct. 29. to raise awareness of racial injustice, white supremacy, societal insecurities and the historical significance regarding a multitude of elements that perpetuate racial and social indecency Henry, 20, was a defensive back for the University’s football team and a Business Management major on the Pleasantville campus. On Oct. 17, 2010, he played in the University’s homecoming game and while waiting for his friends to celebrate, Pleasantville Officer Ronald Beckley asked Henry to move his parked car from the fire lane. When Henry tried to comply, Officer Aaron Hess, moved his vehicle in front of Henry’s, drew his gun and shot Henry because he believed he blatantly disobeyed Beckley’s com- mand. Hess proceeded to mount the hood of Hen- ry’s car and shot him four more times through the windshield. Henry was then dragged from his vehicle, handcuffed face down on the pavement and did not receive medical treatment for nearly 10 minutes before paramedics pronounced him dead on arrival. Henry would have turned 32 on Oct. 29.

The University sponsored 36 events this year, including a conversation with New York State Senator Brian Kavanagh on housing stability and tenant protec- tion moderated by Pace Debates Vice President Taylor Mangus, a tour of the Financial District through a racially accurate lens and discussions surrounding the lack of access to feminine hygiene products, among many others.

“My advice is to dive in and take advantage of the opportunities and see where your passions lie and once you find that out, find where you can dedicate some of your time and energy to make a difference,” said Todd Smith-Bergollo, Senior Associate Dean for Stu- dents. Smith-Bergollo has overseen the planning committee behind SJW for the past two years.

University students Marisa Medici, SJW Committee Co-Chair and Tasfia Rahim, Co-Marketing Chair for the SJW Committee are exemplary to Smith-Bergollo’s advice, having co-founded Fare Trade, a 100 percent student-led mutual aid initiative working to alleviate food insecurity within the University. The program enables University students to give and receive dining dollars that are reallocated into a mutual fund at Cafe 101 registers. To reallocate funds, students can ask, “Can I also get a Fare Trade?” upon checkout; one fare trade equals fifty cents.

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Rep. Congressman Lee Zeldin (left) and Dem. Gov. Kathy Hochul (right) prepare for the debate minutes before the live broadcast on the Schimmel Theater stage. (Credit: Photo by Mandi Karpo)

Danroy “DJ” Henry’s football jersey hangs on the wall across from the Student Center in One Pace Plaza with a new plaque. A box of notes sits on the table, written at DJ’s Candlelight Vigil on Oct. 24 from students and faculty to reflect and remember those who have died at the hands of police brutality. (Credit: Photo by Mandi Karpo)

Protestors outside of 3 Spruce St. (Credit: Photo by Mandi Karpo)

University President Marvin Krislov provides insight into latest affirmative action Supreme Court cases

BY JULIANNA LAMOURT, Staff Writer

Diversity in higher education, particularly admissions, has been a contentious subject for the past 60 years, following the decision of Brown v. Board of Education. Since then, numerous cases have been brought to the Supreme Court regarding the use of race as a deciding factor in admissions.

Historically, the Supreme Court has upheld such policies, as long as they adhered to rigorous standards and the given university has been able to prove such policies are the only way to achieve a diverse student body. Despite this, on Oct. 31, the Supreme Court heard two oral arguments in Students for Fair Admissions v. University of North Carolina and Students for Fair Admissions v. President & Fellows of Harvard College that challenged the way universities can use race in their admissions processes.

“I would say when I first started taking courses at Pace, and being an African American, the student body did not look like me, and neither did the professors,” said Monisha Moore, the University’s Associate Director for Community Standards, Title IX Investigator and UNV 101 instructor.

“It is very important for me to make a difference that I didn’t see while I was in school, which is the reason I decided to become a UNV 101 instructor this semester,” Moore continued. “This position allows incoming first-year students of color to see someone else of color and at least feel a sense of belonging and connection.”

The two cases heard on Oct. 31 challenged the historically upheld precedent set by Grutter v. Bollinger, which confirmed in a 5-4 majority decision that universities’ have the right to use race as one of the determining factors in admissions as a way to achieve a diverse student body. In Students for Fair Admissions v. University of North Carolina, SFFA alleged that the university violated the 14th Amendment by using race as one of the deciding factors in their admissions process.

In the other case, Students for Fair Admissions v. President & Fellows of Harvard College, SFFA claimed that Harvard’s use of race in admissions caused them to unfairly discriminate against Asian applicants. Both Harvard University and the University of North Carolina maintain that they adhered to the legal requirements set in Grutter v. Bollinger and therefore their admissions practices weren’t discriminatory.

University President Marvin Krislov was the University of Michigan’s general counsel, representing Lee Bollinger, the Uni-

versity of Michigan’s President while serving as Bollinger’s Vice President at the time. Since his time there, the state of Michigan has banned the use of affirmative action practices at universities and the percentage of Black enrollment has dropped dramatically, with Black students making up only four percent of the student body.

“To me, these cases are really at heart about the way to make sure that the promise of the American Dream is really open to people of all backgrounds,” Krislov said. When asked about how the cases might affect affirmative action policies in university admissions processes, he said “I think regardless of the way these cases go, it’s still a very important question and if you look at the data, it suggests that the gaps are growing rather than narrowing.”

Krislov’s interpretation of these cases and the idea of equal opportunity behind the American Dream echoed similar sentiments from the late Judge Robert L. Carter, who was one of the primary litigators behind the Brown v. Board of Education decision. Carter opened his oral arguments explaining how Black Americans were denied equal protection of the law and therefore cannot secure equality in educational opportunities.

The same landmark Supreme Court case that helped affirm Black Americans’ rights to an education is the legal argument behind both of the Students For Fair Admissions cases.

“A century of resistance to race neutrality followed, but this Court’s landmark decision in Brown finally and firmly rejected the view that racial classifications have any role to play in providing educational opportunities,” said Patrick Strawbridge, the lawyer who delivered the oral argument for the petitioners in the case SFFAs v. The University of North Carolina.

The Supreme Court has seen similar arguments made in regard to a color-blind interpretation of Brown v. Board of Education. In a 2007 Supreme Court case, Parents Involved in Community Schools v. Seattle School District No. 1, Chief Justice John Roberts delivered the 5-4 majority opinion in which he quoted the exact words Carter used in his opening arguments for the Brown case.

“We have one fundamental contention which we seek to develop in the course of this argument, and that contention is that no State has any authority under the equal protection clause of the 14th Amendment to use race as a factor in affording educational opportunities among its citizens,” said Carter in his oral argument in reference to the segregation of schools that was taking place at

New York City passes law requiring job postings to include salary range

NOV. 7, 2022

BY JEREMY SANDERS, Contributor

The New York City Council has passed a salary transparency law in response to the city’s dramatic cost-of-living increase over the years, requiring NYC employers to include the salary of their jobs in the listing itself. The cost of living in NYC has continued its rapid rise over the last few years, leaving many residents to wonder if they can still afford to live in the city. Manhattan in particular has seen basic costs skyrocket, with a 13 percent increase in the average cost of rent compared to this time last year, as reported by Zumper.

New York City’s salary transparency law officially took effect on Nov. 1, requiring virtually all businesses within the five boroughs to include a salary range on job listings and promotions. The goal of this law is to help combat the wage gap, which has become an even more pressing issue for women and people of color due to the rising cost of living.

By requiring employers to be fully transparent about their pay practices, the salary transparency law encourages businesses to rethink their hiring and pay procedures to ultimately avoid discrimination.

Similar laws have been passed and implemented in other parts of New York State, including Westchester County and the City of Ithaca. Colorado and California also have introduced laws regarding salary transparency, with Colorado having enacted the first one in 2021 and California’s law set to take effect in January 2023.

Many employers viewed the law as a step in the right direction because the inclusion of salaries in job postings is likely to draw in more applicants since they are given an accurate idea of how much they are likely to earn. In addition to the anti-discrimination benefits, this makes financial planning and confidence in fair compensation easier for potential applicants.

Some companies have set broad ranges that

fail to offer an accurate scope of how much the average worker in the listed position would actually earn. For example, Citigroup listed multiple jobs with a salary range of $0 to $2 million. More commonly, postings have included wide ranges such as $50,000 to $150,000.

Students at the University who are either currently in the job market or who will be entering the job force upon graduation are impacted by this new law. “The transparency law will help me filter through jobs more swiftly. It will be easier to find jobs I’m interested in because more information is provided,” said University Sociology and Anthropology junior Kendall Carney, “However, I can also see this creating a more competitive environment in an already competitive application process.”

The salary transparency law also gives individuals greater insight into what they are actually capable of earning with their skill set. Negotiating for higher wages in certain positions will likely be easier as a result of this law. As stated by a senior Film and Screen Studies major who wished to remain anonymous, “I think it creates awareness for people applying for jobs in order to negotiate higher wages. Most people don’t even know that they can negotiate their pay or sometimes they don’t know they’re being underpaid.”

This new law is a step in the right direction for closing the wage gap and helping New Yorkers plan ahead financially, while ensuring they are fairly compensated. However, the issues surrounding inaccurate postings and creating an even more competitive job market need to be addressed in order for the benefits of the law to be maximized.

the time.

In 2007, the Court’s five conservative Justices used this logic to support the decision that public schools could not use race as a deciding factor in admissions to aid reintegration attempts, attesting to the fact that the conservative court today is likely to side with Students for Fair Admissions.

Despite the court’s ruling in 2007, when asked about what contributes to the need for affirmative action programs at selective universities, President Krislov said the majority of the issue stems from the fact that segregation still occurs in public schools.

“What we talked about when I was at Michigan is that there are two factors. One was that the pipeline of eligible students was not as strong—diverse ethnicity in particularly underrepresented groups, [like] Latinos, Blacks and Native Americans. The conditions that people were coming to the University from meant that this was an essential element to their education; they were growing up in communities that were largely separated and segregated,” Krislov said, in regard to facilitating the need for affirmative action admissions procedures.

“We said, when I was there, that the University cannot change the way people live and in fact, a lot of this goes back to public schools because they are based on neighborhoods to a large extent,” he continued.

While the University does employ affirmative action procedures in its admissions, it does not use the applicant’s race in the same manner that these universities do. Instead, the University uses a holistic process where they consider all aspects of the applicant. These types of admissions processes typically measure a student’s test scores or GPA in relation to their unique experiences and attributes.

“We work with a lot of high schools with diverse populations and we end up achieving what we think is a very diverse student body, and we work very hard to make that the case,” Krislov said.

With a conservative majority and the Court’s willingness to overturn past precedent, many are eager to find out if the practice of affirmative action in university admissions will be sustained. The case will be decided before the term ends, meaning opinions might not be released until this coming June. With socioeconomic polarization at an all-time high, the Court’s decision will have an impact on deciding the future of Black Americans’ place in higher education.

House Republicans announce national “Don’t Say Gay” bill

OCT. 29, 2022

BY JACK PERDUE, Staff Writer

Louisiana Rep. Mike Johnson introduced legislation cracking down on “sexually-oriented material” in public elementary schools on Oct. 17. The “Stop Sexualization of Children Act,” which was supported by at least 32 other House Republicans, would restrict federal funding “to develop, implement, facilitate or fund any sexually-oriented program, event or literature for children under the age of 10.”

While Republicans pitched this bill as a way to restrict children’s exposure to sexual content, opponents claim that the vague language in the bill is meant to marginalize queer students and teachers.

The bill mirrors the Florida legislation dubbed the “Don’t Say Gay” bill, which was signed into law in March 2022 by Florida Gov. Ron DeSantis. Since its passage, the law has received sharp backlash from LGBTQ+ groups and Democratic lawmakers.

“While I am saddened to see this harmful bill signed into law, I am inspired by the outpouring of support for LGBTQ+ students we have seen from parents, teachers, celebrities and their peers,” said Amit Paley, Trevor Project CEO.

While neither bill explicitly outlaws discussion of LGBTQ+ issues in schools, teachers and student administrators are worried about how these laws will be interpreted. If a judge deems that a teacher being openly gay constitutes “sexual material,” teachers will be forced to either keep their sexual orientation private or risk being fired.

“The bill’s intentionally vague language leaves teachers afraid to talk to their students and opens up school districts to costly and frivolous litigation from those seeking to exclude LGBTQ+ people from any grade level,” said Florida Rep. Carlos G. Smith.

Educational limitations are just one of the ways in which Republican lawmakers have focused their scrutiny on LGBTQ+ issues. Fifteen states have either passed laws or are considering bills that would limit access to trans-affirming care for anyone under the age of 18. The Williams Institute at UCLA School of Law released a report estimating that one out of three transgender children in the U.S. is at risk of losing access to treatments like hormone replacement therapy due to these laws.

In many cases, this can be a matter of life or death as trans-affirming care has been shown to drastically reduce suicidal ideation among those experiencing gender dysphoria.

Education has been a primary campaign issue for Republicans this election, waging war over what they see as the “grooming” of children in public schools. “The Democratic Party and their cultural allies are on a misguided crusade to immerse young children in sexual imagery and radical gender ideology,” Johnson said.

The national “Don’t Say Gay” bill is unlikely to pass in a Democratically controlled Congress; however, Republicans are poised to take control of the House of Representatives following the Nov. 8 midterm elections.

Credit: Photo Sourced From CNBC.com

Credit: Photo Sourced From Human Rights Campaign

Elon Musk buys Twitter, lays off thousands of employees

Tesla, PayPal and SpaceX found er Elon Musk bought Twitter on Oct. 27 for an estimated $44 billion after months of back-and-forth negotiation and even a lawsuit. After buying the app, Musk tweeted “The bird is freed” and fired many top executives, including the CEO, CFO, the head of legal policy and dissolved the board. Since buying Twitter, an estimated 3,700 employees have been laid off.

On the evening of Oct. 27, a company-wide email was sent out to notify employees that layoffs would begin the next day and to not come back to work. The email ended with “This action is unfortunately necessary to ensure the company’s success moving forward.” Employees were then logged out of Slack and their work computers. Some employees were temporarily able to use their email and other work apps but eventually lost access as well.

This was also the case in other headquarters around the world. In Dublin, Twitter employees woke up to an email about the job cuts, and in Tokyo, employees received the email at the end of their workday. In all of these cases, former employees were asked not to speak about their experience of working at Twitter. The next morning, only a few employees were able to get into the San Francisco office while at least nine security guards patrolled the premises outside.

Many top executives were also swiftly fired once Musk took over. Some notable names were the CEO Parag Agrawal, who assumed the position after co-founder and previous CEO Jack Dorsey stepped down; CFO Ned Segal; and head of public policy Vijaya Gadde. The firing of Gadde was especially notable be cause she was in charge of who got suspended and was known as “Twitter’s chief censor.” This move reinforced Musk’s stance on

NOV. 12, 2022

content moderation on the app. Other teams such as the human rights and disability, communications and IT teams were all cut back significantly. Former employees expressed concern for those who lost their jobs while on work visas or were pregnant and even offered to be laid off instead of them. Under the hashtag #LoveWhereYouWorked, many employees tracked news from colleagues, expressed their gratitude towards bosses and other coworkers and talked about the company culture they would miss.

On Nov. 4, Musk tweeted, “Twitter has had a massive drop in revenue, due to activist groups pressuring advertisers, even though nothing has changed with content moderation and we did every thing we could to appease the activists,” in reference to the fact that advertisers, who make up 90 percent of Twitter’s revenue, have decided to pause activity based on fear of how Musk will change the platform. This pause accelerated after the mass layoffs.

Because of the buyout, civil rights organizations have warned that if the platform loosens content rules, it will lead to a rise in hate speech. Later on, Musk claimed that Twitter was losing $4 million a day in revenue. Musk is under immense pressure to make sure the app profits because of the $13 billion he borrowed for the buyout. Because Twitter is already losing money every day, Musk resorted to layoffs to fix the problem, convincing ad vertisers to stay and pushing Twitter’s subscription service Twitter Blue.

Before the buyout, Musk repeatedly tweeted about the lack of free speech on the platform. In response to advertisers questioning whether Twitter is the correct platform for their ads, Musk said he wants the app to become “a common digital town square where a wide range of beliefs can be debated in a healthy manner” but to avoid becoming a “free for all hellscape.” Musk has stated he

wants to significantly reduce content moderation on the app by bringing back suspended accounts. Musk plans on reactivating former President Donald Trump’s account after it was suspended in response to the Jan. 6 Capitol insurrection.

In a tweet, Musk said that laid-off U.S. employees would be on the payroll for an additional two months before officially being terminated and that all laid-off workers would be offered three months of severance pay. Former employees can also request an additional month of severance if they choose to. The move to keep former employees on the payroll was seen by many as a way to get away with not giving employees advance notice before the layoffs began. Twitter has not sent out any new information about how to access severance, and many former employees speculate that the pay will still not be enough in comparison to former man agement.

Five former Twitter employees filed a class action lawsuit against Twitter on Nov. 4 for not giving them advance notice of the layoffs. Federal employment law and the state of California, the headquarters of Twitter, require companies to notify employ ees about layoffs 60 days before, as per the Worker Adjustment and Retraining Notification (WARN) act.

Since the layoffs, it has been reported by Bloomberg that dozens of staff members have been contacted by Twitter and told that they were let go “by mistake.” Over the weekend, employees received a message on Slack that read “sorry to @everybody on the weekend, but I wanted to pass along that we have the oppor tunity to ask folks that were left off if they will come back. I need to put together names and rationales by 4 p.m. PST Sunday.” The company is reported to be putting a list of names they want to rehire.

NYS Governor’s debate sparks protest outside the University

NOV. 1, 2022

BY MICHAEL HUERTAS, Staff Writer

A large group of Hochul’s supporters is associated with Housing Works, a New York City-based non-profit fighting AIDS and homelessness. “We are here because community health centers like Housing Works rely on a program called ‘340B’…If the governor or potential opponent does not act, there will be a cut of $100 million across the states to community healthcare centers like Housing Works,” informed Seth Pollack, Housing Works Director of Community Mobilization.

340B is a Federal Drug Pricing Program that, according to The Commonwealth Fund, “is in tended to allow qualifying hospitals and clinics serving large numbers of low-income and uninsured patients to purchase discounted outpatient prescription drugs.”

Pollack also shared that Housing Works backers hope that the candidates recognize that this pharmaceutical cut will not be taken quietly, that their organization and other community healthcare centers are very concerned about it and they will have this top-of-mind as they vote.

Another attendee, Brooke Brailey, was in support of Housing Works as well. “We need our gov ernor, whomever that may be, to repeal the Cuomo carve-out, save 340B programs in New York and save community healthcare,” she reported.

On another note, Zeldin supporters collectively shared their opinions about the rise of crime cases—roughly aligned with his “tough-on-crime” effort. Justin, who did not disclose his last name, is in support of the congressman. “Going against crime, that’s the main priority… People are dying, people are getting slashed on the subways, people are afraid to leave their homes… I live in the Bronx, where all the unnecessary garbage happens. I want to see progress,” he commented.

Alisha, a mother of a University student, also expressed her support for Zeldin, saying, “I hope

to end the mandates, Lee will do that… make our streets safer, our city safer, our state safer and that’s what I care about. I care about my kids walking around here and not having to move out because it is not safe.”

continued from PAGE 1

Zeldin remains stagnant on his policies to prevent crime and criticized Hochul in his opening re marks, declaring, “You’re poorer and less safe because of Kathy Hochul and [her] extreme policies. This is your opportunity to save New York.”

Roger Williamson, a Navigator for Housing Works argued, “If Zeldin is such a good Governor, and he cares about the protection of his people, then why are they trying to eliminate these cost-ef fective programs that are saving lives? We are getting drug users off the street, we are getting dirty needles off the streets and we are giving them safe havens to use. I do not promote nor condone drug use, but an atmosphere where it is controlled is saving lives.”

Even students that were unaware that the New York Governor’s debate was taking place at the University were eager to share their opinions with opposers.

“The majority of the crowd were Democrats, and they were there to represent that healthcare matters and is a human right,” University junior Victoria Bahary observed, astonished at the ferocity of the demonstrators.

The General Election voting took place on Tuesday, Nov. 8. Students can register to vote for fu ture midterm elections at the New York State Board of Elections and find their local polling location.

University hosts historical 2022 NYS Gubernatorial Debate

BY MANDI KARPO, Editor-in-Chief

As part of Zeldin’s “tough-on-crime” cam paign, similar to that of Mayor Eric Adams’ campaign trail, he vowed to remove Alvin Bragg, the 37th District Attorney for Manhattan on his first day in office if elected. Louis iterated that the State’s Constitution “specifies that removing a DA is not sim ple and is not automatic,” the removal for which “requires specific charges of wrongdoing.”

“So much of the systemic issues that we’re seeing in our criminal justice system are a result of not understanding the com plexities behind it,” noted Taylor Mangus, the Vice President of Pace Debates. “It’s so easy to say ‘let’s be tough on crime.’ That’s what Mayor Adams said when he first came into office, and things didn’t change all that much. Bills have been changed, homeless people have been forcibly removed off the subways and streets, and yet, violent crime persists.”

When asked about the alleged misconduct that Zeldin would claim as grounds to remove Bragg from office, the Republican nominee used Jose Alba as precedent. Alba, a bodega clerk, was sent to Rikers Island on murder charges in July 2022 for fatally stabbing Austin Simon in self-defense. Zeldin claimed that “Alvin Bragg is not doing his job” after the DA’s office dropped the charges and Alba announced he is moving back to the Dominican Republic “because he didn’t feel safe here.”

“It seemed like [Zeldin] used a lot of buzzwords when it came to issues here in the city, as well as the state,” said Aman Islam, Student Government Association (SGA) Executive President. “Not really offering solutions, even saying things that are outside of his ability as Governor. For example, immediately firing a DA who is duly elected.”

Islam believes that “the Governor definitely had some pitfalls as well. She could’ve [been] a little bit tougher on him [for] cer tain things,” failing to “bring up racial injustice when it comes to crime and bail reform.”

Arbetter transitioned to the economy, noting that New Yorkers polled their top concern in the city being global record-breaking increased inflation rates. Zeldin claimed that he plans to imple ment a State spending cap, bring down tax rates, reverse NYS’ ban on the safe extraction of natural gases and create more jobs to generate revenue in providing relief to NY families.

The Governor denounced Zeldin’s assertion, calling him a disingenuous congressman for voting against legislation that would do so, like President Biden’s Infrastructure Bill and Infla tion Reduction Act. Hochul discussed her past initiatives that have provided relief to NY families like cutting taxes for middle-class families, providing individuals with property tax rebates and

OCT. 26, 2022

suspending the State tax on gasoline. If re-elected for a full term, Hochul plans to build a million more homes to “help drive down affordability issues for families.”

University students and NYC residents are familiar with the record-high surge in rent in the city, with a 34 percent increase since January 2022. Zeldin did not have a direct reply when asked how he would ensure families could access stable and affordable housing. He stated that affordable housing should be available for families and companies who have the money to invest in the state while “creating more good paying jobs [is]... important for us to be able to have individuals who can afford to have that dream of home ownership.” The juxtaposition of Hochul’s rebuttal summa rized the last budget her administration oversaw which allocated $25 billion to build 100,000 more affordable housing units.

Moving into more contentious waters, Arbetter changed the debate topic to abortion, clarifying Hochul’s support for prochoice before asking if there were any restrictions around abortion that she would approve of.

In an indirect reply, the Governor pointed the finger at her opponent, stating that “We can talk about policies all you want, but let’s look at the record. There are very few people in Congress who have a more pro-life record, someone who has said he’d bring on a pro-life commissioner… Women need to know that that’s on the ballot this November as well.”

The congressman claimed to have had conversations with fellow pro-choice New Yorkers who said they don’t want their tax dollars funding people’s abortions living “fifteen hundred miles away” from them. While true, Zeldin held the importance of following the will of the people on multiple occasions throughout the debate, yet conveniently adjusted the public’s opinion to align with his own agenda.

The cross-examination round began with Zeldin accusing Gov. Hochul of partaking in “pay-to-play” corruption that is “plaguing” her administration and asked her what mechanisms she plans to put in place to avoid these acts. Accepting the premise and on the defense, Hochul denied any participation in such cor ruption and stated “there has never been a quid pro quo, a policy change or decision made because of a contribution.”

Switching roles, Hochul asked the congressman point-blank, “Is Donald Trump a great President?” Rather than the yes or no response the Governor initially wanted, Zeldin took the full minute to explain the humanitarian research he and the former President collaborated on such as “work to secure the Southern border, ...moving the Embassy in Israel from Tel Aviv to Jerusa lem, getting the Abraham Accords pushed [and]... the effort to go after the Iran and nuclear deal,” among other examples. “I will

take that as a resounding yes, and the voters of New York do not agree with you,” Hochul replied.

The lightning round where candidates were tasked to answer with a brief yes or no, began with the usual question prompting debate candidates to answer whether they want to see their polit ical party’s affiliated President run for the 2024 election. Other questions that followed were specific to the candidates’ campaign promises or previous public statements.

The lightning round also touched upon drug administrator centers in NYC and immense public funding for the new $600 million Buffalo Bills stadium, but the only subject the opponents could agree on was lifting the cap on charter schools. The debate ended with Hochul and Zeldin in complete disagreement over COVID-19 masks and vaccination mandates, with the CDC now recommending the return of masks in public indoor settings.

“If you’re trying to understand why is that…in this very very blue state you’re dealing with a tied race. It’s because we’ve been obsessing over the issues that New Yorkers tell us are the most important issues today,” Zeldin said in a press conference held in the Schimmel Theater Lobby.

Because education policy reform did not make it to the debate table, The Pace Press asked Zeldin to elaborate on his understand ing to completely “end all indoctrination and brainwashing” ref erenced from his campaign website in relation to public schools. He used his 16-year-old daughters as examples, describing their experience with indoctrination when assigned to write an essay “on the side of the author,” based on Ta-Nehisi Coates, for his #1 New York Times Bestseller, “Between the World and Me.”

“In order to do the essay, you have to put yourself inside the head of the author,” he explained. While Zeldin first welcomed controversial debate with his opponent, he expressed the opposite sentiment for the classroom, stating that “What you shouldn’t be doing is having a setting in a classroom where these kids are get ting along just fine, [and] are somehow pitted against each other, where they’re not being encouraged to take whatever position they want on some of this instructional material,” suggesting that writing essays in this nature pits students against one another.

Pace Debates and the Student Government Association (SGA) welcome student participation to help bridge the gap between local, national and international political conversations and the University student body. Pace Debates meets every Thursday in Room W515 in One Pace Plaza at 3:25 p.m., and SGA has an open forum for students to come and express concerns during their weekly meetings every Tuesday at 3:25 p.m. in Room W509.

Going back to your roots: your November Press-Playlist

“Global Groove” by Squid Squid, an indie English post-punk band, consists of five members, with the drummer front and center. This band has received praise and recognition for their debut album, “Bright Green Field,” which features the instrumentally-driven track “Global Groove.” As a Rough Trade favorite, they were invit ed to do signings at the NYC location following their two shows at the Bowery Ballroom and Music Hall of Williamsburg. While not a single, “Global Groove” is just as driven as their other songs, with a rhythmic melody that will stick in your head for days. Squid is a band to watch, so get right into the “Bright Green Field” before the masses.

“Paris” by Taylor Swift

Off of the “3am Edition” of her re cord-breaking album, “Paris” is one of the more light-hearted songs on Taylor Swift’s “Mid nights.” Co-written by Jack Antonoff and Swift herself, this brings back Swift’s playful songwrit ing and carefree lyricism. This track has the perfect treadmill pace and beautiful acoustics in the shower–just be sure not to bother your roommate! It’s no secret that Swift is known for her bridges, and “Paris” has one of the catchiest off of the album.

While listening, feel free to check out The Pace Press’ review of “Midnights” and the rest of the Arts section for the latest infor mation on your favorite artists.

“Los Angeles” by HAIM

You can’t expect us to put Swift and not fol low with one of her openers for The Eras Tour in 2023! HAIM, a group of three sisters, is known for their pop-sounding albums and rock-influ enced live performances. Born and raised in Los Angeles, it’s clear that they adore their hometown due to their song with the same name. “Los Angeles” pays homage to their childhood and growing up while trying out a change of pace and scenery. This track is off of their third album, “Women in Music Pt. III.” Outside of their own music career, the sisters appeared in the feature film “Licorice Pizza,” with Alana Haim in a starring role, and the group has appeared as cameos in music videos, including Swift’s recent video, “Bejeweled.”

The University has a diverse stu dent body, with 49 states and 120 countries being represented across all campuses. Because of this, a lot of traveling happens over breaks, whether or not you’re visiting home or taking your checked bag to a new destination.

As you start booking your tickets for the upcoming breaks, the end of the semester begins creep ing up–which is what made this per fect for November’s tunes. Let’s take a look into some of the hometowns of the student body in this month’s Press-Playlist.

“TOKYO”

by BROCKHAMPTON

After their last performance at Coachella 2022, the well-known group BROCKHAMP TON’s indefinite hiatus shocked many, though their music is still loved worldwide. “TOKYO,” from their album “SATURATION II,” is a fan favorite, listed as “un derrated” and “god-tier.” Utilizing multiple instruments and includ ing a crisp production style, this track became an overlooked gem in the boy band’s discography. The second album in their collection-and third in the trilogy-is one to go back to from time to time. Sit back, relax and take yourself back to 2017 while listening to this song.

“Casablanca” by Dounia

A Moroccan-American singer that has spent her time in New York, Dounia is known for her modeling career, but released a few EPs and albums during her time as an artist. Still active in her career, she pulls from R&B and Soul influences in her music. “Casablanca,” from the album “Intro To,” has stunning vocals and an unforgettable melody. In an interview with Dazed, Dounia explained that she decided to release most of her music independently: “My music means too much to me to allow any sort of warranted tam pering. The idea of someone having control of any aspect of it is too wild to me. I’m so sensitive and particular about my music – being independent is the only thing that makes sense.”

“Mediterranean” by Babe Rainbow

“Mediterranean” from Babe Rainbow’s fifth album, “The Organic Band,” reflects their work in psychedelic rock from pre vious albums. While it belongs to psyche delic rock, it ties in elements of previous decades, providing a sense of benevolence in counterculture. This band has worked with Stu Mackenzie from King Gizzard & the Lizard Wizard, who you may recognize from October’s Press-Playlist. Nonetheless, their sound is vastly different from those we’ve heard on this playlist, reminiscent of a beach trip. Whether you’re actually adventuring out to the Mediterranean or not, give Babe Rainbow’s music a listen, and it’ll bring you right to that place.

“El Apagón” by Bad Bunny

Bad Bunny has been vocal about Puerto Rico and the struggles that its citizens endure, and “El Apagón” from his hit album “Un Ve rano Sin Ti” has made headlines for the same reason. With a docu-music video for this track, Bad Bunny has spread awareness of gentrification within Puerto Rico, drawing attention to the island. He is using his platform to advocate for his birthplace-which is admirable to many listeners. As one of the biggest artists at the moment, he doesn’t lose sight of what made him who he is today, as stated in GQ, “I continue to surround myself with the same people. I keep my same circle. I’m always in contact with my family, even when I can’t see them.”

“Hong Kong” by Gorillaz Gorillaz is a virtual band that creates alternative rock and electronic music. They currently have seven albums under their belt, with “Cracker Island” to be released in 2023. Having been around since 1998, they gained a cult following after releasing their hit single “Clint Eastwood” in 2001. “Hong Kong,” is a track off of “D-Sides,” a compilation of B-sides released in 2007. Intended to be re leased as a solo song by co-creator Damon Albarn, it was bare ly marketed, which led to it being one of their lesser-known songs until the Demon Days Live tour. Despite this, it has a loved reputation from its fanbase and gets its rightfully earned spot on this month’s Press-Playlist.

Taylor Swift shows vulnerability in reflective album ‘Midnights’

NOV. 1, 2022

Rating: 9.5/10

BY SARAH BERGIN, Arts Editor

Taylor Swift returns to pop amidst her re-releases with a synth lover’s heaven that heals open wounds from the past. With over one million records sold in the first week of its release, “Midnights” explores Swift’s “sleepless nights” and most vulnerable self through 13 tracks–and an additional seven on the “3am Edition.”

With a very different marketing approach compared to “folklore” and “reputation,” Swift and her team ap proached the “Midnights” release date with weeks of an ticipation, releasing song titles and plenty of Easter eggs. Despite this, fans were still unaware of what was to come in regard to its content.

The album opens with “Lavender Haze,” an exper imental pop track, which we had previously yet to hear from Swift. A fantastic album opener, it sets up a dreamlike tone that’s all-encompassing of the songs to come. “Maroon” follows with an unforgettable bridge and incredible imagery.

“Anti-Hero,” the lead single for the album, showcases Swift’s worrying thoughts for everyone to see. “Snow On The Beach,” Swift’s fourth track on the album features alternative icon Lana Del Rey, stunning listeners with beautiful harmonies and smooth musicality. “You’re On Your Own, Kid” is another addition to Swift’s beloved list of track fives, taking listeners through the timeline of her career in another astounding bridge.

Following this, the album continues to switch between soft ballads and hard-hitting pop anthems. “Midnight Rain” and “Question…?” arrive afterward, which are some of the weaker songs on the album. Despite this, they

still align with the overarching themes in the album and work well as a unit alongside the other tracks on the al bum. “Vigilante S***” seems to be inspired by the rhythm and tone of Billie Eilish’s ominous and bass-boosted pro duction, while “Bejeweled” acts as an older “mirrorball” that has grown from the trauma she endured.

“Labyrinth,” the strongest song (both lyrically and production-wise) on the original album, brings us closer to the present with Swift’s experiences. Her inflection throughout the chorus of this track allows listeners to peek through the window to see Swift’s heart and mind, all by the vocal interpretation of her words.

“Karma” and “Sweet Nothing” follow, and they differ in every way. It’s jarring at first to hear “Karma” between “Labyrinth” and “Sweet Nothing,” but it showcases the charm that this track brings to the plate. Swift has proven her lyrical ability multiple times before–she’s allowed to play around with fun, nonsensical writing carried by catchy production. “Sweet Nothing,” on the other hand, goes back to Swift’s heartfelt, emotional and artistic side, conveying how comfortable she is in a loving relationship.

“Mastermind” is the perfect album closer, telling a story about Swift coming to the realization that she has constructed and manipulated her relationship, and she’s afraid to admit it. Once she does, it’s clear that the other subject has known the whole time, and she finds comfort in that. Not only is the storytelling aspect of this piece a conclusion to the album, but so is the musicality used in this track.

The “3am Edition” tracks are mostly influenced by Aaron Dessner from The National, who was absent from the earlier tracks on the album. Standout songs from this

section include “Would’ve, Could’ve, Should’ve,” with some of the best lyricism and instrumentals on the album, as well as “The Great War” and “High Infidelity,” which could easily fit on the tracklist of “evermore.”

There are many recurring themes in the album explor ing her coming-of-age in the music industry and over coming personal struggles. All of these lead back to Swift accepting her own past while exploring the styles of music that she identifies with the most. Swift truthfully laid down all of her insecurities, experiences and late-night thoughts to create a vulnerable album that is her best work yet.

“Midnights” (with the exception of the “3am Edition”) is the first project that Jack Antonoff has fully produced for Swift, with other credits consisting of Lorde’s “Melo drama” and Del Rey’s “Norman F****** Rockwell.” An tonoff has a long history of working with Swift in the past, but his work in production has never been more apparent than in “Midnights,” with a “1989” sample in “Ques tion…?” and Bleachers’ obvious influence in “Bejeweled.”

This is a stark transition from her previous two albums, “folklore” and “evermore.” With “Midnights,” Swift brings back the essence of “1989” in both the sound and themes. It’s a breath of fresh air to witness Swift going back to her roots, even after her past two standout albums–and doing it in style.

It’s clear to see that Swift’s career is far from over as “Midnights’’ makes headlines as one of the biggest album debuts in seven years. She may be worried about fading with time, but it’s unlikely that it’ll happen with her dedicated, widespread fanbase and ever-changing musical style.

Taylor Swift becomes first artist to occupy Billboard’s top 10

NOV. 4, 2022

Taylor Swift’s release of her tenth studio album “Midnights” on Oct. 21 was quickly praised by loyal fans and casual listeners alike. Within merely 18 hours of the album’s debut, Swift broke the record for the most streamed album in a single day on Spotify and also set the record for the largest number of streams for a pop album’s initial release on Apple Music. The album went on to break even more records, the most accredited of which was Swift becoming the first artist in histo ry to completely occupy Billboard’s top 10 on the ‘Hot 100’ chart.

BY PRIYA PERSAUD, Opinion & Editorial Editor

Billboard is the highest acclaimed format for chart rankings in the United States, and the top 10 of the ‘Hot 100’ is a highly coveted position, especially in regard to album tracks and singles once they debut. Though Swift was initially projected to be the first artist to occupy Billboard’s top 10, her fans remained persistent and continued streaming the “Midnights” tracks and purchasing the singles as well as the album itself. Billboard later confirmed, “the streams for Swift’s songs in the Hot 100’s top 10 were strong enough that all 10 tracks would’ve ranked in the region even without any chart points from sales or radio airplay”.

In the aftermath of “Midnights,” Swift later released a music video for lead single “Anti-Hero” which ultimately hit number one on the charts. In the music video, Swift seemingly portrays her con fronting her internalized struggles, such as her public figure role intimidating those she wants genu ine connections with and her hypervigilance as a result of betrayals she has experienced throughout her career. One scene, in particular, seemed to stir controversy, where Swift steps on a scale that reads “fat” and her other self shakes her head disapprovingly.

This scene caused commotion online as many criticized the singer of fatphobia, verbiage that describes the stigma attached to bias against overweight people. Discourse over the topic was prev alent, with many defending Swift stating that she has been vocal about her eating disorder and body dysmorphia in the past, and was merely trying to share this insecurity in the music video. However, others expressed their concern that this scene is actively contributing to an ongoing stigma around overweight people.

Sophomore FTVC major Izzy Hodzic weighed in on the matter and said, “She was expressing her own insecurities and her own issues with disordered eating and body dysmorphia. I think that [scene] is relatable to people who do suffer from those issues and face the same personal issues when stepping onto a scale.”

Following the release of “Midnights,” Swift has also announced “The Eras Tour,” her first tour since the cancellation of the Lover Fest, due to COVID-19. Beginning in March 2023, the tour starts in Arizona and ends in California, with three nights back-to-back at the MetLife Stadium in East Rutherford, New Jersey. She recently added 17 shows at various stadiums as a result of high demand. This endeavor is projected to break the record for highest grossing United States tour in history, which is currently held by Swift herself for her “Reputation Stadium Tour.”

“Midnights” is one of only nine female albums in history to have debuted with more than 1 million copies on Billboard 200–and four others are also from Swift’s discography: “reputation,” “1989,” “Red” and “Speak Now.” Taylor Swift is no stranger to breaking records, and her career enabled her to reach achievements that her industry peers could only strive towards.

Credit: Graphic by Josh Ilano

BY CARLA PAZ, Staff Wrtier

Kevin Spacey found ‘not liable’ in sexual battery lawsuit

Content warning: This article discusses details of sexual assault and battery.

A jury found actor Kevin Spacey not liable for battery against actor Anthony Rapp on Oct. 20. Spacey was accused of having climbed on top of Rapp at a party in 1986 when Rapp was 14 years old and Spacey was 26. The jury deliberated for under 90 minutes before announcing the verdict.

As the verdict was being read, Rapp was stoic while Spacey stood up with tears in his eyes and hugged his lawyers. Later on Twitter, Rapp posted a statement in which he said he was “deeply grateful” for having this case being heard before a jury.

At the beginning of the #MeToo movement in 2017, Rapp, most known for his role as Mark Cohen in the musical “Rent,” accused Spacey of making sexual advances toward him in 1986. Rapp and his friend, John Barrowman, 19 at the time, were invited to go to a house party hosted by Spacey. Rapp wandered into a bedroom to watch TV. He turned to see Spacey standing at the bedroom door visibly intoxicated. Spacey then picked him up bridal style, placed Rapp on the bed and climbed on top of him. In the Buzzfeed article where Rapp details his experience, Rapp said, “I was aware that he was trying to get with me sexually.” Rapp managed to push Spacey off of him and hide in the bathroom before leaving Spacey’s apartment. Prior to parting, Rapp alleged that Spacey said, “Are you sure you want to go?”

Since Rapp came forward, over 30 men have also come forward with allegations against Spacey. Spacey responded with an apology statement towards Rapp, a claim including that he did not remember the incident and also officially coming out as gay. As a result of these accusations, Spacey was fired from the Netflix show “House of Cards,” where he played the lead role of Francis Underwood, was forced to pay $31 million to the studio for breach of contract and was also let go by his talent agency and publicist. In the years following, Spacey mostly retreated from the public eye albeit for a few videos posted to Twitter where he defended himself.

In 2020, Rapp, along with an anonymous victim, filed a civil sexual assault lawsuit against Spacey to seek damages for emotional distress. The lawsuit was filed under the New York Child Victims Act, which gives victims of child sexual abuse “the opportunity to file a

civil claim against the individual who hurt them and the institution responsible, no matter how long ago the abuse occurred.”

Spacey denied the allegations and attempted to dismiss the civil suit, but the judge rejected this. The anonymous accuser’s case was dismissed because he wanted to stay anonymous during the trial, but Rapp continued forward, which led to both Spacey and Rapp testifying before the jury with their respective versions of events.

In court, Rapp told the jury, “I knew something was really wrong,” when describing what he allegedly experienced. Spacey’s lawyers fought back by alleging that Rapp made these claims up for publicity and jealousy. “While Anthony Rapp has made a living as an actor, a working actor, which is not an easy thing to do, he never became the international star that Kevin Spacey is, who could play almost any role,” Spacey’s lawyer Jennifer Keller said. Rapp denied being motivated by jealousy and said that his stance was to seek justice for himself.

During cross-examination, Rapp admitted that certain details about the encounter could have been mistaken, such as details about which bedroom the incident took place in. In Spacey’s testimony, he said that he regrets ever posting his apology and that his publicist pressured him to post it. He stated, “I’ve learned a lesson, which is never apologize for something you didn’t do. I regret my entire statement.”

In Spacey’s account of the night, he recounted that he was not interested in Rapp, but instead, he was interested in Barrowman. Spacey stated that he placed Barrowman onto the bed, but both he and Barrowman sat upright once Rapp came back from the bathroom because they thought he was too young to see them in a compromising position. During the testimony, Spacey said, “I had no interest in Mr. Rapp joining us.” In a deposition, Barrowman recalled the night as Spacey had.

Spacey still has more legal battles not only in New York but in the United Kingdom as well. In the UK, Spacey has been charged with sexually assaulting three men a decade ago, which he pleads not guilty to. The trial will take place on June 6, 2023.

‘Will & Grace’ star Leslie Jordan passed away at 67 K-pop group BTS enlists in South Korean military

BY JULES KELLY, Staff Wrtier

BY CARLA PAZ, Staff Wrtier

World famous K-pop boy band BTS announced their enlistment into the South Korean military on Oct. 17. This announcement comes after years of speculation from the South Korean government of possible military exemption and a hiatus brought to light by the group in June 2022. The oldest member of the group, Kim Seok-jin, better known as Jin, will be the first to enlist at the end of October and will serve 18 months. The plan for the other six members’ enlistment periods has not yet been made public by their label HYBE, but all of the members will complete their service by 2025.

Since the Civil War between North and South Korea began, all able-bodied men between the ages of 18 to 28 have been drafted into the South Korean military. Though there has not been any recent active warfare between the two countries, South Korea has maintained the enlistment policy. The country gives the option to defer enlistment until the age of 28 for citizens. In 2020, the government amended the law to make it so that the K-pop idols can defer their enlistment up to the age of 30. This amendment gave Seok-jin, who turns 30 in December, the option to continue his music career. However, because of the success that BTS has worldwide, the South Korean government was debating whether BTS should qualify for a military exemption or not.

A military exemption is not new–many Olympic athletes and classical musicians have received military exemption in South Korea. If the government chose to approve BTS military exemption, they would’ve been the first idols to receive this permission. The possibility of BTS getting military exemption has been controversial among Korean citizens because it is viewed as a special privilege. In South Korea, joining the military is practiced as a rite of passage for men and anyone who finds a loophole is deemed to be wrong.

Famous Korean-American pop singer Yoo Seung-jun renounced his Korean citizenship to become an American citizen in 2002, and many South Koreans saw this as an attempt to avoid military conscription. This resulted in his being banned from entering the country, which is still in place to this day, even after multiple appeals. Even though the government decides on the exemption for BTS, the group and HYBE have never advocated for exemption.

The South Korean government wanted to wait before they made a decision due to the amount of money and positive attention that BTS brings to the country. Since 2013, BTS has brought in $29.4 billion to South Korea’s economy through tours, merchandise and sponsorships. In terms of tourists, the Hyundai Research Institute found that in 2017, one in every 13 tourists who visited South Korea came to the country because of BTS. Every year, BTS has generated an estimated $1.1 billion from merchandise alone.

This K-pop group has not only been a great contributor to South Korea’s economy but also to the perception of the country worldwide. In 2017, BTS launched a campaign with UNICEF called “Love Yourself,” which encouraged fans to overcome hardships and learn self-acceptance. The campaign led to the group’s appearance at the United Nations (UN) in September 2018. In 2021, they once again went to speak at the UN, but as Presi-

dential Envoys for Future Generations and Culture for former South Korean president Moon Jae-In. One million people tuned in to watch their address on the UN’s live stream. This month, the group performed a free concert in Busan, South Korea to 55,000 in-person fans and 49.07 million people watching through a live stream across 229 countries, to support South Korea’s bid for the World Expo 2030.

After it was announced that the members had taken it upon themselves to enlist, HYBE’s stock fell 2.5 percent. HYBE’s stock has lost half its value since BTS’ hiatus announcement in June. Many BTS fans are sad about the news, but they are supportive since it’s a decision that the group made themselves. In their statement, BTS referenced their recent single “Yet to Come,” promising fans they will come back stronger than ever.

OCT. 30, 2022

On Oct. 24, Leslie Jordan died at age 67 in a car accident and was pronounced dead at the scene by paramedics after crashing his vehicle into the side of a building in Hollywood, CA. In addition to acting, Jordan was a comedian, singer, writer and LGBTQIA+ icon.

Jordan was born on April 29, 1955, in Chattanooga, Tennessee, growing up Christian in a predominantly Southern, Baptist-led town before moving to Los Angeles in 1982. Jordan, who was openly gay, was vocal about his struggles while growing up in a Christian community and it became a catalyst for his work throughout his career.

Jordan’s acting career started in 1986 when he appeared in an episode of the ABC action show “The Fall Guy.” Jordan gained recognition in the acting world due to his unique southern drawl and his height–Jordan was only 4 foot, 11 inches. He was also a guest star on hit ‘90s and 2000s TV shows like “Star Trek: Voyager,” “Boston Public,” “Boston Legal” and “Ugly Betty.”

In 2000, Jordan started playing the recurring character Beverly Leslie on the popular, openly-LGBTQ sitcom “Will & Grace.” This performance ultimately led to a Primetime Emmy Award for Outstanding Guest Actor in a Comedy Series.

Jordan was considered a pioneer in the gay community. Before acting, he was involved in the AIDS Project Los Angeles and was a food delivery worker for the nonprofit, Project Angel Food. His work in shows like “Will & Grace” and “Ugly Betty” helped normalize same-sex relationships in many American households.

Later in his career, Jordan was a recurring guest on “American Horror Story,” another show with openly-LGBT+ characters. He was also a two-time guest judge on “RuPaul’s Drag Race.” In 2021, Jordan was awarded the Timeless Star Award by GALECA, The Society of LGBTQ Entertainment Critics.

Outside of acting on screen, Jordan had a history of working in theater. In 1993, he played his first autobiographical stage show entitled “Hysterical Blindness and Other Southern Tragedies That Have Plagued My Life Thus Far.”

The show featured satirical gospel music about racism and homophobia that Jordan had both witnessed and

experienced while growing up in Tennessee. Jordan also played the character of Earl “Brother Boy” Ingram in the play “Sordid Lives,” as well as in the film adaptation in 2000. In 2004, Jordan toured the country performing in his own one-man stage play, “Like a Dog on Linoleum.” Jordan published his first novel, “My Trip Down the Pink Carpet,” in 2008. The book was then turned into another one man-show in 2010 that played at the Midtown Theater in New York City.

Jordan, having explored Christian music in his career, put out a gospel album in April 2021 called “Company’s Comin’.” The album consists of covers of classic country-gospel songs that Jordan grew up listening to in church. “Company’s Comin’” featured Jordan on vocals and legendary artists like Dolly Parton, Chris Stapleton and Pearl Jam’s Eddie Vedder.

The performer reached a new height of fame in March 2020 via Instagram. Jordan, feeling stir-crazy from the pandemic, made a vlog-like video from his mother’s home in Tennessee where he exclaimed, “This is awful. It’s still March. How many days… in March?!” Jordan’s internet videos continued until his death, with many going viral on different social media, including TikTok. At the time of his death, Jordan had amassed 11 million followers between his Facebook, Instagram and TikTok.

Jordan’s death was completely unexpected, as he happened to be driving to the set of his new show, “Call Me Kat,” when he passed. For decades, Jordan had the ability to put a smile on anyone’s face. His comedy will be gravely missed, but his legacy and importance for the

Credit: Photo by BTS Group

THE PACE PRESS

EDITORIAL BOARD

Mandi Karpo Editor-in-Chief Jaeden Pinder Executive Editor

Gia Sparacino Events & Social Media Manager Lyndsey Brown Business Manager

Emily Shafer News Editor

Sarah Bergin Arts Editor

Zoe Poulis Features Editor

Priya Persaud Opinion & Editorial Editor

Chloe Fuller Photo Editor

Mikayla Meachem Assistant Social Media Manager Bella Micale Assistant Photo Editor

Adam Klein & Lanie Presswood Faculty Consultants

ADOBE INDESIGN PRODUCTION TEAM

Lexi Krakowski

Adobe InDesign Production Manager

Olivia Eleni Athan

Adobe Illustrator and Graphics Manager

Josh Ilano Adobe Photoshop Designer

Michael Huertas

Adobe InDesign Intern

The Pace Press is the student newspaper of Pace University’s New York City Campus. It is managed and operated entirely by members of the student body as it appears above.

The Pace Press reserves the right to not publish any submitted material, both solicited and unsolicited.

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Dear fellow readers,

Expectations will set you up for disappointment. This is a lesson I learned when I was 16 years old and one I continuously question and have an internal conflict with. Even now as a student, and especially in the job force, our superiors encourage us to set expectations for ourselves so we can live up to our best potential. With all due respect, that’s BS.

Hear me out when I say that expectations set a limit to what you are capable of. There is modestly establishing shortterm and long-term goals that you continue building upon, and then there is setting a potentially unrealistic standard of success that you force upon yourself to meet. Goals are what you strive for, and if you don’t accomplish them, then you create new goals to get there. Standards and expectations have a pitfall in which you beat yourself up if you don’t fulfill them, questioning your capability and creating self-doubt.

Expectations are applicable to more than just academia and the professional world, but your personal life as well. Anytime I have set an expectation for a desired outcome from my friends, my family or a particular scenario, in more instances than not I have been left high and dry in disappointment, with no one left to blame other than myself.

It’s why I try not to watch the trailer or read a description before seeing a new movie; it’s why I read a novel’s synopsis and not the reviews before I pick it up; it’s why when I experience something new, I don’t think about what to expect, because I know I’ll have a better time going in blind.

Maybe everything I said only relates to me. Maybe I am the only one that feels like this. My experience does not speak to yours, but even those in my life I have seen set expectations are left disappointed, either in themselves or the person or thing they have put on the pedestal. In the end, it does nothing but hurt your mind and set you back.

If you find yourself resonating with my monologue, I encourage you, dear reader, to set goals rather than expectations. Allow yourself to take baby steps towards long-term success rather than climbing a ladder sky-high with the potential to fall off and break a bone on the way down. Surely that’s not what they mean when they say “break a leg.”

On a more positive note, I have the same mindset whenever I enter a Pace Press pitch meeting or work with the Editorial Board, Adobe InDesign Production Team and Faculty Advisors to create the newspaper you hold before you. This organization has a goal of providing the student body with credible, entertaining and relatable writing, but never the expectation that what is inside will satisfy the entire University community. We have a goal of increasing our daily meeting attendance and regular reader retention, but never the expectation that if we don’t meet a certain quota, we are failing as a collegiate newspaper.

As always, I encourage you to assist in helping our goals come to fruition. The Pace Press is a rolling admissions-based organization, so it is never too late to join. We meet every Wednesday at 12:30 p.m. in Room W509 in One Pace Plaza. Please join us in continuing to provide a voice for the student body to be heard, recognized and appreciated; leave your legacy at the University with us, embossed in black ink on newsprint forever–or digitally within cyberspace.

With gratitude, Mandi Karpo President, Editor-in-Chief

DISCLAIMER: These opinions are expressed by contributors (students, faculty, administration and sta ) to The Pace Press. These opinions are solely those of the individual writers and do not re ect the opinions of The Pace Press, the members of The Pace Press sta or Pace University. The Pace Press is not responsible and expressly disclaims all liability for damages of any kind of arising out of use or relevance to any information contained in this section.

‘Meet Me in the Bathroom’ showcases NYC rock renaissance

BY JAEDEN PINDER, Executive Editor

“Rock ‘n roll is dead!” is something that has been uttered by music critics since rock’s original form evolved into more progressive (or derivative, as some would argue) subgenres. Though droning, in the late ‘90s there existed an anxiety that rock music really was withering away on its deathbed, surrounded by its distant young cousins of early nu-metal and pop-punk. However, just before flatlining, a dose of adrenaline in the form of hungry and raucous talent was delivered straight to the genre’s heart and resuscitated it in New York City. The story of “Meet Me in the Bathroom” chronicles this emergency procedure, featuring the rise of The Strokes, LCD Soundsystem, Interpol, the Yeah Yeah Yeahs and more in the early aughts.

Based on Lizzy Goodman’s acclaimed titular book (who also serves as an executive producer on the project), the documentary is composed of nothing but archival footage and serves as a time capsule to the grimy and glorious NYC from 1999 to 2003. Directors Dylan Southern and Will Lovelace (“Shut Up and Play the Hits”) capture the essence of a turbulent and rugged NYC much like “Paris is Burning” did in 1990 with its exploration of ball culture.

“Meet Me in the Bathroom” opens with a recitation of Walt Whitman’s “Give Me the Splendid Silent Sun” as brief impressions of the frontpeople behind the film’s bands linger on screen: Julian Casablancas, Karen O, and James Murphy to name a few. “Manhattan crowds with their turbulent musical chorus…Manhattan faces and eyes forever for me.” It’s a scene that every New Yorker can resonate with and feel a somewhat bittersweet longing for.

The Moldy Peaches, most well known for their “Juno” track, are the first band we meet and set the documentary off with anti-folk delight. Their music becomes a throughline that eventually delivers viewers to a highly charismatic group of boarding school friends, often dubbed as “poor rich kids,” the early Strokes who didn’t know they were about to become the biggest band in the world.

The anxious cultural backdrop of the period is explored, bringing in the perspective of the musicians at the time; the hysteria induced by the Y2K glitch and jabs at bands like Limp Bizkit’s stylings, even the beginnings of streaming music on Napster contextualize the uncertainty of a new world, though most affecting, both emotionally and historically, is the wound of 9/11 on New York City. Footage of the toppling Twin Towers taken from Brooklyn to right underneath the buildings

is more than just haunting–it’s indescribably petrifying. Paul Banks, the vocalist of Interpol, is seen walking among the wreckage and debris on the familiar cross-street of Nassau and Fulton St., unrecognizable to its appearance today. The Moldy Peaches’ Kimya Dawson sings a stripped-back version of “Anthrax” only adding to this unease of an America post-9/11. Condensing the sprawling nearly 700 pages of the text into a feature film leaves out smaller acts that deserved more screen time; the history behind the band Jonathan Fire*Eater isn’t explored, and while their appearance in the documentary is provoking, art rock band TV on the Radio is merely touched upon. The documentary covers the Big Bang of the revival but not the finer calculations and formation of the genre.

Despite this, there are plenty of similarities down to the exact chapters of the book that are adapted for the screen to amusing effect. Quietly behind the scenes, a neurotic yet intensely-knowledgeable James Murphy’s early days with DFA Records and LCD Soundsystem showcase a turnaround moment in his career, featuring an ecstasy-fueled night in which he loses his edge and subsequently regains it through ironic humility.

“Meet Me in the Bathroom” showcases the beautifully ugly bits of the revival scene but also the ugly, ugly bits. Sex, drugs and rock ‘n roll aren’t always a wild and exciting ride, as Albert Hammond Jr.’s battle with addiction by way of Ryan Adams and Interpol’s attempts to define themselves beyond the immediate fame of The Strokes are specified. Karen O’s conflicts with her biracial identity and struggles to break away from the sexualization of her stage persona provide insight into the male-dominated scene. Even though at first O is liberated by creating her own formula unlike her male counterparts, she equally becomes objectified, and her freedom on stage begins to confine and isolate her from the scene she loves.

The film is clearly concerned with nostalgic yearning, even as Southern and Lovelace reuse and reverse the Whitman excerpt as images swirl and vortex on the screen until we arrive back at the start of the film. “Meet Me in the Bathroom” is an exceptional foreword to NYC’s ‘00s rock n’ roll renaissance for those who weren’t of age to experience it. Rock ‘n roll isn’t dead, as music is always evolving, so perhaps in another 20 years, another musical revolution covertly forming in front of us will be memorialized in a similar fashion.

Kanye West received $250 million lawsuit from

BY KAI JONES, Contributor

George Floyd’s family

OCT. 26, 2022

Through a series of insensitive remarks made within the past month, Ye, formally known as Kanye West, received a $250 million lawsuit for harassment, defamation and emotional distress from Roxie Washington, the mother of George Floyd’s daughter after publicly undermining the severity of Floyd’s death.

For nearly two decades, Ye has made headlines not just for his music but for a number of controversial remarks dating back to 2005 when he stated President Bush, “doesn’t care about black people” due to the way he handled Hurricane Katrina. In the last month, West expressed strong statements about Floyd’s death, labeling it as an overdose of fentanyl despite video footage of Officer Derek Chauvin’s knee pressed into Floyd’s neck for about nine minutes.

Witherspoon Law Group, one law firm representing the case, has deemed his interview with Drunk Champs interviewer, N.O.R.E., to be traumatizing for Floyd’s daughter. N.O.R.E claimed to have let the comment slide because he had spoken up, Ye would have “walk[ed] out,” due to a similar event happening in the past. Despite the interview’s removal from YouTube and Revolt TV, the clip still circulates with Ye’s statement spreading across social media.

A supporter of his accusations is a conservative commentator Candace Owens, who said on her podcast that she wanted to sue George Floyd’s family in response to their lawsuit against West. She proceeded to make a mockery of their lawsuit saying, “…if you can sue somebody because you’re feeling ‘emotionally distressed’… well then I think that I have grounds to sue George Floyd’s estate,” declaring the lawsuit as a “PR stunt.”

In addition to her support of Ye, Owens also made an appearance at Paris Fashion Week alongside the rapper as they both wore “White Lives Matter” t-shirts. Following further controversy, a box filled with the same shirts was delivered to homeless people on Skid Row, and although the rapper wasn’t physically there, he has issued responsibility for a recording.

“When it comes to Kanye, he needs help, like psychological help. He’s been getting around this for years,” said University freshman Grace Lopez. “If you know your people are suffering, then you should be able to relate to them and join them and help them with the movement instead of making it seem like you’re not involved.”

With Skid Row being associated with poverty and homelessness, those nearby don’t wish for this act to further affect their image, yet the community has received notice as people stop by the area to buy the shirts.

West has made an impact in fashion from dropping his line Yeezy back in 2009 with Adidas, to walking for Balenciaga during Paris Fashion Week as the fashion house’s opener. After spewing a string of anti-Semitic comments, Balenciaga was the first company to end its partnership with Ye along with any current projects and those in the future on Oct. 21. In September, West ended his collaboration with GAP, accusing the clothing brand of breaching its contract with him.

Adidas became the latest brand to end its almost decade-long partnership with the rapper on Oct. 25. With many urges from the public as well as the Anti-Defamation League (ADL), Ye responded, “I can say anti-Semitic things, and Adidas can’t drop me. Now what?” After an evaluation, the company released a statement that “Adidas does not tolerate antisemitism and any other sort

of hate speech” and that they will “terminate the[ir] partnership with Ye immediately, end production of Yeezy branded products and stop all payments to Ye and his companies.” Because of this, West is no longer considered a billionaire, as his net worth dropped drastically, Forbes reported.

In addition to the termination of brand deals, Creative Arts Agency, the talent agency signed with West, has “cut ties” along with “Hollywood production company and financiers MRC” who have refused to publish a documentary of Kanye West. Anna Wintour, the Editor-in-Chief of Vogue, stated that she has no intention of working with Ye in the future.

On Instagram, Ye released text messages between himself and Sean Combs, also known as P. Diddy, referring to the Jewish community who he claimed have convinced Combs to go against Ye’s “White Lives Matter” t-shirt sale. On Oct. 8 the rapper continued to express anti-Semitic views and threatened to go “death con 3 on Jewish people.” The ADL called the rapper out as his reasoning falls in relation to the stereotype of greed and power once associated with the community and the entertainment industry.

Consequently, the two social media platforms, Twitter and Instagram, banned West, who then announced his decision to buy Parler, a right-wing conservative alternative to Twitter. The site, which refers to itself as an “un-cancellable ecosystem,” was developed during Donald Trump’s presidency because his followers argued that Twitter didn’t allow them to express their conservative opinions.

University freshman Jakai Newman compared the actions of West to former President Donald Trump regarding the effects their comments have on those they influence with their platforms. “Kanye’s actions right now are becoming what America’s always wanted, and that’s the show of a spectacle,” Newman said. “Of course, there’s only so much you can do to help a person, but everyone’s just taking what he’s doing and either enjoying it, reveling in it or just being ashamed.”

Advancing his showcase of conservative opinions, Ye made an appearance on Fox News and was interviewed by commentator Tucker Carlson. A majority of the footage was omitted due to the amount of anti-Semitic and conspiracy theory claims Ye made. In an interview on Pier Morgan Uncensored, the rapper apologizes for some of his insults against the Jewish community, but then backtracked by saying he doesn’t regret it: “I’m sorry for the families of the people that had nothing to do with the trauma that I have been through.” West proceeded with his slander campaign as he exhibited advocacy for “straight white males” as well as bashing President Joesph Biden and went as far as to call him a slur while excusing himself for saying the word because he has “mental health issues.”

West’s mental health dates back to 2016 when he was checked into a psychiatric hospital and diagnosed with bipolar disorder. As this knowledge became publicized, attention was brought to this problem, not as a way to bring awareness to it and provide help but rather as a way to excuse his behavior and support his manic episodes as a part of his act. Despite coming forth and announcing the cessation of taking his medication across the duration of their marriage, ex-wife Kim Kardashian played into his ignorant statements as she used his mental illness to condone his behavior.

‘Just Above Midtown’ exhibition stuns at the MoMA

OCT. 25, 2022

BY TAMARA FRIESON, Contributor

On the third floor of Manhattan‘s Museum of Modern Art (MoMA) in The Edward Steichen Galleries is the liberating exhibition „Just Above Midtown: Changing Spaces“ that focuses on displaying African American art and establishing Black artists’ voices during the 1970s. „Just Above Midtown“ („JAM“) opened its first home in 1974 on the fifth floor of an office building in a predominantly white commercial gallery district.

Led by Linda Goode Bryant, the community transformed the office building into a creative, inspirational and extraordinary gallery where artists of color flourished. The gallery offered early opportunities for artists now recognized as pivotal figures in art in the late 1900s, including David Hammons, Lawrence D. “Butch” Morris, Senga Nengudi, Lorraine O’Grady and Howardena Pindell. Filled with fueled artistry, the „JAM“ gallery organized more than fifty exhibitions, a selection of which are displayed for public viewing at the MoMA.

„JAM“ was not just a gallery showing the art of artists of color. It was an act of activism that included broad and public engagement, helping to launch a childcare cooperative for Black creators and hosting $5 informational lunches about collecting art geared toward Midtown professionals. It organized exhibitions that explored the idea of artistic and racial mixture, encouraged artistic collaborations, the use of nontraditional material and offered a platform for consistent critiques of the commercialization of art. Goode Bryant believed in trying to “connect us to our innate ability to use what we have to create what we need.” This is exactly what the „JAM“ exhibition exudes.

There is much to be said about the exquisite nature of the art and artists portrayed in this limited-time exhibition. People would walk by an art piece and stare at it for long periods analyzing the superlative, abstract nature of the varying art pieces. When entering the exhibit, it‘s as if one is taken into a new realm of art, creativity and imagination. The way these artists used untraditional, everyday materials and created the most captivating pieces is incredible.

“I love how the exhibit captures the diverse art styles within the African American community and highlights the stories that they have to tell by showcasing them in a very well-executed and captivating way,” said University student Jayna Moskovitz who attended the „JAM“ exhibition.

When asked how the art pieces and atmosphere made her feel she said that it made her feel “educated on the „JAM“ movement and the African art styles and perspectives.” Moskovitzs‘ favorite piece was „MaeGame“ by Suzanne Jackson because of its “aesthetically pleasing acrylic wash and color choice.” To her, the three words that best describe the gallery are “eye-opening, empowering and abstract.”

There were impressive and conversation-evoking pieces by the artists Mallica “Kapo” Reynolds, Valerie Maynard, Noah Jemison and Senga Nengudi that expressed feminine and black power through the use of watercolor, oil paint, linocut, acrylic wash, nylon mesh, sand and tacks. These artists took aspects of black culture and exaggerated them to make beautiful pieces that screamed Black empowerment.

Artist Jackson, the creator of the „MaeGame“ piece mentioned earlier, said in the 1974 Synthesis group exhibition that “it’s political to make an artwork about peace and beauty.”

She “wanted people, especially Black people, to see the beauty.” Jackson firmly believes that “people need beauty. It’s a way to get people to think or consider other ways of being.” Jackson has produced multiple pieces for the „JAM“ project and is a firm believer and supporter of the Black artists‘ drive for equality.

As a Black female visual artist, it’s simple to see the passion, drive, and dedication that these artists put into their work and the development of the „JAM“ galleries. The art is captivating, and each work tells a story in and of itself that lures the viewer in, radiating a bit of history from each specific piece. Even with its recent opening on Oct. 9, 2022, this gallery has already had over 700,000 visitors worldwide. Staying open until Feb. 18, 2023, this exhibition is one that everyone would enjoy alongside the other phenomenal and breathtaking works throughout the MoMA.

Credit: Photo By Tamara Frieson

Credit: @utopiamovies on instagram

Non-Fiction November: November’s Literature Lineup

BY ZOE POULIS, Features Editor

NOV. 16, 2022

At this point in the semester, things are pretty hectic, and going home might add to some of that chaos. If you’re feeling stuck in your own reality, escape into someone else’s for a bit with one of The Pace Press’ non-fiction recommendations. While some are more light-hearted, others may be heavier, as memoirs tend to expose their author’s most inner thoughts–let this be a reminder that we are all carrying something and we do not have to do it alone. Don’t be afraid to embrace the power of another person’s story.

Zoe Poulis, Features Editor - “Eat, Pray, Love” by Elizabeth Gilbert

“Eat, Pray, Love” is so much more than just a chick flick starring Julia Roberts. There’s a reason Elizabeth Gilbert’s memoir sat at the top of The New York Times paperback best-seller list for 57 weeks. Gilbert seems to have everything she should want at 30–a good marriage, a beautiful house and a prosperous career as a writer. But instead, she finds herself overcome with emptiness and begins to spiral. This creative nonfiction piece follows her post-divorce journey as she travels through Italy, India and Indonesia in search of answers. Each place reveals valuable lessons to the author, focusing on things unique to each country–the art of pleasure, devotion and balance. Read with caution, however: this heartwarming story of self-discovery is sure to spark your wanderlust and have you booking plane tickets to all corners of the globe. If you’re craving some kind of change, this is the book for you.

Mandi Karpo, Editor-in-Chief - “The Glass Castle” by Jeannette Walls

A coming-of-age tale, and one of my all-time favorite books, Jeannette Walls’ “The Glass Castle” is a dysfunctionally heartbreaking yet motivational memoir that any reader can resonate with. Specifically plucking at the heartstrings of those with challenging father-daughter relationships, Walls recounts her childhood and the promise her father made to her, her three siblings and her mother to build a glass castle they will one day call home–a dream come true after being raised in poverty As she and her siblings get older, they find that the narrative their parents crafted with adventure and resourcefulness is really a life of betrayal and scheming, leading them to escape and find themselves in NYC. There, as Walls pursues her career as a writer, she stumbles upon her mother homeless on the streets and realizes the plot of her next story. This memoir was a New York Times best seller in 2018 for over 260 weeks and is a page-turner with life lessons that no person is too old to learn. I recommend this for anyone struggling with at-home difficulties as inspiration for overcoming personal strife and coming out swinging on the other side.

‘Fusion Magazine,’ the University’s latest fashion editorial

NOV. 14, 2022

BY ZOE POULIS, Features Editor

Truthfully, I’ve always found difficulty in enjoying nonfiction works beyond the world of memoirs, afraid that I will find it droning, but even more terrified that this makes me seem lazy or incompetent. I bought Lizzy Goodman’s “Meet Me in the Bathroom” last summer, partially because the title is a song by The Strokes but also because I was in a deep reading slump. Now, it has become one of the driving forces behind my love for and desire to pursue music journalism. While it focuses more heavily on popular and ongoing acts today, like the Yeah Yeah Yeahs and the aforementioned Strokes, it paints a broader landscape that includes the otherwise forgotten elements that made the ‘00s rock scene what it was, like groupies and DJs (who you can still find today!). If you’re a fan of any of the bands and artists highlighted in “MMITB,” this read is especially thrilling, but even if you’re just an audiophile or love NYC, it’s an accessible and impactful read about a period that ultimately changed the City in every possible sense.

- “Beautiful

Although it gained its popularity from its film adaptation starring Steve Carell and Timothée Chalamet, “Beautiful Boy” is an intricately layered and deeply emotional read that unveils the more private sentiments of parenting children suffering from addiction. Readers are guided through the childhood of Nic Sheff, the son of the author, who is suffering from addiction. Through the eyes of his father, the reader is taught all of his boyish quirks, niche interests, attributes of determination, kindness and wit and along with that, the earliest signs that point to the child growing into an adult plagued by addiction. Sheff also dips into the science behind addiction (particularly methamphetamine) offering just enough information to make readers feel informed without all the weight of feeling like you’re “learning.” From Nic’s early years of dabbling in the drug world, to his darkest moments as an addict, to wistfully describing the brightest days during his path to sobriety, this is an essential read for anyone who has ever been touched by addiction in any way, shape or form.

Emily Ratajkowski rose to fame at the age of 21 for her controversial role in the highly sexualized music video “Blurred Lines.” Her essay collection explores the issues and hypocrisies women face every day surrounding feminism, sexuality and objectification while highlighting her own experiences in the spotlight. As a runway model, Ratajkowski reflects on her experiences of self-sexualization and the shame that comes with it in the media. Through sharing her journey and her own personal thoughts, she creates a body-positive, moving and empowering book that rejects the stereotypes and misconceptions surrounding body politics.

Emily Shafer, News Editor - “Orange is the New Black” by Piper Kerman

It is likely that most students have seen, or at least heard of, the television show “Orange is the New Black,” but I’m not sure that many have read the memoir it is based on. The book follows roughly the same outline as the show: Piper goes to jail for ten years after smuggling drugs for a girl she briefly dated. However, some key elements are substituted in order to make the show more interesting. For example, in the book, she barely has any gay experiences and marries her boyfriend at the time after she is released from jail. This book reads as easy as “The Glass Castle,” with a similar coming-of-age feel, yet provides an introspective, first-person look into the problematic criminal justice system in the United States. If you’re looking for another reason to be disappointed in our country and also feel like you’re going on a journey with the main character, you’ll love reading “Orange is the New Black” by Piper Kerman.

Jennette McCurdy’s “I’m Glad My Mom Died” is able to teach you a thing or two about reclaiming your past, even for those of us who happen to love our moms (me included). This memoir sheds light on childhood stardom and parental abuse, unlike anything that has come before. Because of McCurdy’s bravery and perseverance, readers are sure to laugh and cry throughout this read. Take note of the content before reading though: eating disorders, OCD, PTSD, alcoholism and schizophrenia, as well as emotional, verbal, sexual and physical abuse are all discussed. All in all, this book is worth being picked up, especially if you are interested in the entertainment industry and want to read about the horrific occurrences of what happens behind closed doors.

My Name” by Chanel Miller

When her viral victim impact statement was published on Buzzfeed in 2016, she was known to the world as “Emily Doe.” In her 2019 memoir, Chanel Miller reveals her true identity and delivers a brutally honest testament of her experience as the victim of the Stanford sexual assault case against Brock Turner. Miller drives her readers through every part of her experience, from the initial night to the shocking six-month verdict Turner received, and reflects on her journey of difficult recovery between it all. Though this story depicts the heartbreaking reality of the criminal justice system and how sexual assault victims are treated, it also proves that outrage can spark change, as California changed its laws on mandatory prison sentences for perpetrators in the aftermath following the verdict. “Know My Name” is not by any means an easy book to get through, it is heavy and devastating in nature, yet Miller ’s powerful recounting of these events stays with its readers. Students are recommended to proceed with caution as the book’s topics are quite intense and detailed.

If you’re a fashion lover at the University and looking for a way to get more involved, Fusion Magazine might be the place to start.

Fusion is a fashion magazine that features different styles and ideas, serving as an outlet for all kinds of creatives. Whether you’re a photographer, model, editor, writer or graphic designer, there is a place for you.

“The inspiration behind Fusion is based on a previous magazine I made in 2016, Solara,” founder Alisson Martinez explained. The junior Business major and Fashion Marketing minor created Fusion with the hopes of developing her original idea and opening it up to student creatives to express their individuality.

Since there is no fashion major offered at the University with only a Fashion Marketing minor, students with a passion for the subject are left to find other ways to express it. “I wanted to bring this to the University because there is so much untapped potential within the school and Fusion gives these creatives a chance to showcase and highlight their work,” Martinez continued.

Building an organization from the ground up is never easy and takes an extensive amount of research, but having a good group of people working toward the same goal is what makes it possible. Everyone on the Executive Board has a different major, only two of the four being fashion-focused. This is good news for students with majors and minors outside of fashion. Individuality and diversity is encouraged.

The Executive Board is composed of four primary positions: President Alisson Martinez, Vice President Savianah Persaud, Treasurer Felicity Doran-Cressman and Secretary Carmen Ridley.

Everyone brings different ideas to the table, with the same end in sight. Being able to have fun throughout the process is vital; the work should never feel like a burden and members of the group have made sure that remains the case. The E-Board stated, “We want to create a living piece of art that changes as time goes on.”

The legacy the magazine hopes to leave behind is simple but powerful–to come back to the University in five years and see that their work is still alive. Fusion Magazine will look different in years to come, but that’s the beauty of it. The industry is ever-evolving and nothing is permanent, which is why Persaud, a junior Business major and Fashion Marketing minor, encourages students not to be owned by the world of fashion. “You decide what you are, what you want to express by the way you dress and the way you live.” In the long term, the organization aims to expand into different areas of the University, and the fashion community in general.

The creation of Fusion is a testament to making space for the things you love. The Executive Board shares the sentiment that it’s important to create where you feel something is missing–if there’s no club for the thing you love, make one!

Junior Criminal Justice major Doran-Cressman urges students to “do whatever you desire because if you look back and see you haven’t, you’ll regret it, and when you look back and see you have, you’ll remember what beautiful memories you have created.”

“If you want to create something, just create it. There’s nothing or no one to stop you,” Martinez remarked. The biggest goal for their first year is to make sure the organization is a safe space that everyone feels welcomed into.

“I am so excited for the Pace community to create and hang with us in a safe, fun and welcoming space,” Secretary Ridley said, a junior Psychology major, inviting everyone to join. Stay up to date on fashion, art and lifestyle content by following @fusion.mag on social media.

Credit: @fusion.ag on Instagram

Jaeden Pinder, Executive Editor - “Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001–2011” by Lizzy Goodman

Gia Sparacino, Secretary

Boy: A Father’s Journey Through His Son’s Addiction” by David Sheff

Lyndsey Brown, Treasurer- “My Body” by Emily Ratajkowksi

Sarah Bergin, Arts Editor - “I’m Glad My Mom Died” by Jennette McCurdy

Priya Persaud, Opinoin & Editorial Editor - “Know

Remembering DJ Henry at third annual Social Justice Week

NOV. 2, 2022

The two hosted an event surrounding food insecurity during SJW to paint a picture of “what [food insecurity] looks like on college campuses, how students can see the symptoms of food insecurities and also know that they have access to the resources that are available at Pace,” Rahim explained.

“[It’s] a great privilege to be in a community of learning and to have these amazing opportuni ties, particularly this week, to learn and grow,” said Smith-Bergollo. “It is such an opportunity for us to make a strong statement about what are the values of the Pace community. I believe those values include inclusivity, understanding and reaching towards justice.”

“Social Justice to me is when people are able to look beyond their own perspective, the privi leges and experiences that they’ve had and are able to put that aside to see the injustices that other people may be facing,” said Rita Scott, Black Student Union (BSU) Treasurer and member of the DJ Henry Memorial Committee. “To be able to recognize where harm is being done, whether that be from them personally or from the system, and being able to make moves to bring equity, proper recognition and resolution.”

Kicking the week off, the BSU and the SJW Committee hosted a candlelight vigil for Henry on Oct. 24 outside of the Student Center and inside the Zannino Conference Room. Students and faculty came together for a time of reflection and remembrance and were given the opportunity to write the name of or letter to someone they knew, or someone’s story that has resonated with them, who has lost their life at the hands of police brutality and racism.

Upon leaving the Conference Room, Scott moderated the Vigil with opening and closing remarks. Caitlyn Joi, a member of BSU, sang a heartwarming rendition of “Lift Every Voice and Sing,” the Black National Anthem. Courtney Chaney, Vice President of the BSU, followed with a speech that went into the grave details that led to Henry’s death.

The Creative Director of BSU and Vice President of the University’s NAACP Malaika Pedzayi-Ferguson’s speech was chilling to the core when she spoke about the reality of being a Black student and experiencing systemic racism within the University’s walls.

“Ask [a Black student on campus] what life at Pace is like, and you might think we are on two completely different campuses,” she said to those in attendance. “Our experiences are so different that sometimes the only place we feel safe to talk about them is amongst one another in a space like a Black Student Union meeting.” Despite reports of racial injustice and discrimination on campus, students have reported minimal change being done on the administration’s behalf.

Smith-Bergollo recognized that “It’s always disheartening to hear if any student doesn’t have the best experience at Pace.” He continued, “I want every student to have an amazing and positive experience and for each student to feel included and celebrated in our community. And that’s not the case, but that’s the hope and that’s the vision.”

According to Pedzayi-Ferguson, it took her four years at the University, watching her and her friends “suffer and defend [themselves] against rampant racism from students, faculty and adminis tration,” before learning about DJ Henry’s story.

Scott had a similar experience, stating that “especially at the New York City campus, it was something that was very under wraps for some reason,” having not learned about Henry’s story until

2020, when she asked a fellow BSU member the significance behind Henry’s football jersey that is now framed on the wall across from the Student Center.

When asked why it took nearly 10 years for the University’s NYC campus to memorialize Hen ry, Scott believes George Floyd’s case in May 2020 and the Black Lives Matter movement, which advocated upending racially driven violence, played an important role. “Because every company, every corporation, every university, was saying something, Pace knew that if they were to stay quiet like they had been, it would’ve had a negative impact on the University’s image,” she noted.

Amongst those responsible for orchestrating SJW are 39 University students and staff members, including BSU, Smith-Bergollo, Medici and Rahim. The purpose of SJW, Smith-Bergollo explained, is to welcome opportunities for students to share their experiences, concerns and successes as well, in hopes of continuing uncomfortable but necessary conversations around social justice issues that students are passionate about. The emphasis, however, is to have discussions and host events regard ing social justice issues year-round.

To encourage the student body to actively implement social justice and anti-racism practices in their everyday life, Scott advises students to be “open to hearing the viewpoints of other people that are saying you’re doing harm, to relearn different things that you might have learned along the way that you haven’t been corrected on, to acknowledge the privilege that you may be experiencing” and to execute these steps to make internal changes.

Students and faculty throughout the week additionally fundraised for the DJ Henry Dream Fund, founded in 2011 by Henry’s parents, whose mission is to honor their son’s legacy “by providing funding to Massachusetts youth who want to experience something they love but can’t afford it,” as seen on the DJ Henry Dream Fund pamphlet distributed at Henry’s candlelight vigil.

The Dream Fund caters to children from ages five to 18 to provide scholarships to attend athletic programs, summer camps, performing arts programs and community-based organizations while also collecting sports equipment later donated to children in need, as Henry once did for his fellow community.

SJW serves as a call to action to University students and faculty, educating the University com munity on topics of social and racial justice, inclusion and equality in honor of Henry. Students and faculty should consider making a direct donation at DJDreamFund.org to allow the Henry family to continue their son’s legacy.

Formal mechanisms that exist in the University to report claims of biases, harassment, discrim ination or sexual assault concerns can be reported to the Office of Institutional Equity or Title IX Compliance. According to the University’s Policy and Procedure, University officers, administra tors and other employees with managerial or supervisory authority must report any discrimination, harassment or retaliation that comes to their attention, regardless of whether a complaint is made. Any processed reports are kept confidential through the Title IX office and cannot be shared publicly with anyone under any circumstance. Informal and intimate support can be found in other offices like Student Affairs, Multicultural Affairs or the LGBTQA+ Center.

What to do when it's too cold: indoor activities for NYC winter

BY KATHERINE PAPPAS, Contributor

The warm and sunny New York City days are coming to an end as we begin to shift into a chilly winter. However, there are still plenty of opportunities to explore the city that never sleeps! Below are some of The Pace Press’ top NYC recommen dations to get you out of the cold.

Go see a Late Night talk show

Manhattan is home to several talk show studios that record hit TV series, including “The Late Show with Stephen Colbert,” “The Tonight Show Starring Jim my Fallon,” “Late Night with Seth Meyers” and “The Amber Ruffin Show” to name a few. And the best part: tickets are completely free! Just add your name to the wait list and you will receive an answer within a few days. This is such a fabulous way to experience the behind-the-scenes of some of America’s most popular television shows and watch live interviews with your favorite celebrities.

NOV. 17, 2022

Visit a unique museum

We all know and love museums such as the MET and the Museum of Natural History, but the Spyscape Muse um is another wonderful choice; a hands-on, two-hour interactive experience that gives each visitor the opportunity to participate in several experimental spy tasks. Hack into computer systems, dodge laser beams and interview po tential suspects during this one-of-a-kind adventure. At the end of your journey, your strengths and weaknesses will be calculated and your results will reveal which type of spy you are–Hacker, Cryptologist, Intelligence Operative or the Ultimate Spymaster. Get tickets, starting at $39, for a thrilling visit.

For all those movie lovers out there, the Museum of the Moving Image, located in Astoria, Queens, “is the country’s only museum dedicated to the art, history, technique and technology of the moving image in all its forms.” Learn about what goes on behind the screen on Thursdays from 2-6 p.m. for free admission! For an addi tional $5, get a chance to attend a movie screening at the museum where the director ’s cut of fan-favorite movies such as The Godfather, The Cotton Club and Heaven’s Gate are played throughout the day.

If you want more of a classic museum option, head over to the Whitney Museum of American Art, which con tains a wide variety of pieces ranging from 12th-century work to a contemporary living artists’ exhibit. Get to see creations by Berenice Abbott, Matthew Abbott, Zarouhie Abdalian, Michele Abeles and more. Pro-tip: get advance tickets to go on a Friday from 7-10 p.m. when admission is “pay what you wish.”

Laugh it up at a comedy club

If you’re in the mood to laugh off the chill of winter, register for a free ticket to Monday Night Mob. There is a one-drink minimum for each guest, but don’t worry, drinks tend to run on the cheaper side! Enjoy some stand-up featuring a surprise lineup every night and, who knows, your favorite celebrity comic might even drop in.

If you want to splurge a bit more, another great spot is New York Comedy Club, which has featured a variety of comedians such as Ashley Austin Morris, Em ily Walsh, Pat Burtscher, Mike Finoia and many more. You’re destined for a great time. Like most comedy clubs in the City, there is a cover charge of $18. There are two locations—Midtown and the East Village—and tickets start at $31.

Credit: @movingimagenyc on Instagram

Credit: @stephencolbert on Instagram

BY JACK PERDUE, Staff Writer

The Supreme Court is fundamentally broken

NOV. 6, 2022

On June 24, the Supreme Court officially overturned Roe v. Wade, the 1973 decision that reaffirmed abortion as a right in the United States. To date, this was the first instance of the Court revoking a previously es tablished right raising questions about the legitimacy of the institution itself. After all, anyone under the age of 49 has lived their entire lives in a country where the right to an abortion has been unques tioned, and all of a sudden, the ruling of an unelected body of nine judges can imperil that.

The destruction of Roe, as judicially earth-shattering as it is, seems to only be the first step in a bid by the conservative-majority Court to roll back established precedent. In his concurring opinion of the Roe reversal, Justice Clarence Thomas stated that the Court should also reassess the right of same-sex couples to get married, and two weeks ago, the Court heard a case that would call into question the ability of universities to grant admission based on the consideration of race. These issues have been on the chopping block since they were initially ruled on, and with the delivery of three new conservative Justices appointed by former President Donald Trump, the Court has now been given carte blanche to ax any ruling it wants regardless of precedent.

This, however, is not the function of the Court. The role of the Judicial Branch is to decide whether laws are constitutional or not, and its members are supposed to reside above the partisan clashes of the other two branches. Technically speaking, the overturning of Roe v. Wade wasn’t a political decision; the Court ruled that because the right to an abortion was not “deeply rooted in this Nation’s history,” it was not protected by the Constitution. But to outside ob servers, the motive of the Court was clear. There were no new facts contextualizing this ruling that didn’t exist in 1973, and the only thing that changed was the makeup of the Court. The reversal of Roe v. Wade had nothing to do with constitutionality, the rule of law or states’ rights; it was a purely political decision that social conservatives had been itching for nearly half a century.

So, what should become of the Supreme Court? Reformers have suggested “packing” the Court with more Justices as President Franklin Delano Roosevelt proposed. While such a solution would act as an effective counterbalance to the conservative majority, it opens the door to an ever-expand ing court that could be packed any time the President sees fit. A more effective approach would involve revoking the lifetime tenure granted to Supreme Court Justices by imposing term limits on the Court.

Currently, Supreme Court Justices are appointed for life, a privilege granted on the grounds that they remain apolitical. But the Court is inherently political, and there’s no putting that genie back in the bottle. Implementing term limits would ensure that the Court is dominated by fresh faces every few years and would relieve the pressure placed upon the highly partisan judicial confirmation process. More importantly, it would send a signal to the American public that the government can adapt to a changing political climate and leave the law-making to the Legislative Branch.

While such reform is unlikely to pass in the near future, it’s not completely unfeasible. Imposing term limits on the Court wouldn’t require a new constitutional amendment and could be done simply by the passage of a bill through Congress. In 2021, Rep. Ro Khanna floated a bill that would restrict the tenure of Su preme Court Justices to 18 years with a new justice being appoint ed every two years. This would mean that every President would have the opportunity to appoint at least two justices regardless of if a justice retires or dies during their time in office. In an era in which the Court is increasingly out of step with public opinion, judicial reform is crucial to prevent justices from rolling back rights with impunity.

Congestion pricing will ruin the New York City taxi experience

OCT. 16, 2022

BY MALAK KASSEM, Contributor

The New York City taxi is an icon of the city. The bright yellow paint swerves through inner-city roads and aligns in front of John F. Kennedy and LaGuardia Airports with its classic meter-run fare. It’s what tourists wait to see and many immigrant families rely on for income. It’s been a staple of transporta tion for city-dwellers since 1907, yet state and local offices do not do much to help it. Instead, they implement laws that benefit the New York City subway, while disregarding thousands of people who rely on taxis for survival. Congestion pricing is the latest proposal predicted to raise $15 billion for the city, paid for by working and middle-class workers and is set to be implemented by late 2023.

Congestion pricing is a toll-like fee for cars to enter certain parts of the city, which would affect all roads south of 60th St. in Manhattan, except for the FDR Drive, the West Side Highway, sections of the Battery Park Underpass and Hugh Carey (Brooklyn-Battery) Tunnel that connects the FDR Drive to the West Side Highway. The pricing could range anywhere between $9 and $23 depending on specific off and on-peak hours.

The main objective for congestion pricing is to create a greener New York, however, conges tion pricing in Midtown and Lower Manhattan will push cars away from upper-class neighborhoods into boroughs and neighborhoods where there are lower and middle-class families and fewer luxury buildings. This means that already struggling neighborhoods, where people are paying less to drive, will have a significant increase in air pollution.

Manhattan has the most reliable transportation compared to the other four boroughs, where there aren’t enough buses or trains that reach every neighborhood. Many are reliant on their cars in these areas, and pushing cars into these neighborhoods will have a higher traffic density, which cre ates more hardship for these families who are just as much New Yorkers as their Manhattan counter parts.

Since yellow cabs make most of their trips and fares within Manhattan, congestion pricing will simply increase fares for customers who need to travel below 60th Street. The increase in fare will not go toward the driver but paid to the MTA, which does not fund the Taxi & Limousine Commis sion or organizations that assist medallion owners or drivers.

Congestion pricing will be especially difficult for taxis compared to private vehicles. There are

already expenses that taxi cab owners have to endure. There is a long and pricey process to become an NYC medallion owner, certain requirements you have to meet and everyday hassles you have to overcome.

Taxi drivers have to obtain a specific license from the Taxi & Limousine Commission and go through three vehicle inspections a year, which can cost between $40 and $75 each. These in spections are very particular. Oftentimes, taxi drivers have to stop work for simple repairs, such as a coat of paint.

Congestion pricing serves and favors New York’s excessive upper class and it’s making the city impossible for immigrants to live in. The costs and consequences of congestion pricing may not be a challenge for those who have a high income, the MTA or luxury inno vators, but for someone making their living off driving a taxi, middle-class families or those who live outside of Manhattan where there is less funding for transportation or infrastruc ture, it simply removes everything New York was built from. All congestion pricing will do is make a greener Manhattan, but a more polluted Brooklyn, Bronx, Queens and Staten Island.

Esports is changing Gen Z’s view on traditional sports

BY STEFANIE GIACOUMOPOULUS, Contributor

It’s been reported within the last two years that Gen Zers are the least interested in sports compared to previous generations. In a survey done to identify the level of sport enthusiasts among Gen Zers, 21 percent identified themselves as an avid fan, 32 percent identified themselves as a casual fan, and 47 percent considered themselves not to be a fan in any capacity. Although viewing of live sports is more accessible than ever before via subscriptions and app services such as ESPN+ and NBC Sports, Gen Zers are not participating in sports culture. Instead, it seems they are leaning towards esports and online gaming.

The younger generation is more interested in activities they can be deeply immersed in–Esports and online gaming offers that. With thousands of content creators live-streaming their video game playthroughs for hours upon hours on websites such as Twitch and Youtube, Gen Zers are able to be part of smaller communities and feel a deeper, more personal connection with the person they are watching. This is known as a parasocial relation ship, in which the consumer engages with a media persona in a deeply personal way. Gen Zers cannot obtain this type of relationship with an athlete; the most they can do is follow the athlete on social media and watch their interviews during their respective sports season, but they cannot know the athlete the same way they know the content creators and gamers they heavily engage with on a daily basis.

Additionally, with the short attention span most Gen Zers have, they cannot sit down and watch a three hour football game. This is why those who do enjoy sports turn to recap videos and highlights where they can see all the exhilarating moments of the game in a 60-second clip. Whereas for online game play, they are not just watching a livestream, they are engaging with the content creator, with other viewers watching the livestream

and sometimes playing alongside at home. With one media platform they are receiving four different types of stimuli. That is not something they can get through live sports.

It deserves to be said that traveling to a sports stadium to witness a game in person is an entirely different experience. Within that environment you are much more immersed in sports culture. The atmosphere of a live game allows you to feel more part of the sports community and lets you feel more engaged with the game. You get excited when the crowd cheers, you get agitated when a play fails and you have the chance to walk around and be more active than you would be at home. Yet this experience cannot be obtained by many due to ticket prices and travel difficulties. On top of that, you can only go to one game at one specific time in this one place. However, online you can view any gaming live stream, for free, from any platform you have and connect with other viewers. The at-home experience of live sports to online gaming cannot be compared.

The sports industry is incredibly lucrative and popular, with thousands upon thousands of people attending sporting events every year. Whether the participation of Gen Zers will actually impact the industry is something that is difficult to predict. Nevertheless, if sports companies have the goal of attracting more Gen Zers, they need to put them selves in their shoes. Sports games already exist, so let’s take it to the next level–have athletes be more interactive with fans to create a larger audi ence, and bring in popular online gamers to attract their fanbase. It may be difficult to increase the viewership and involvement of Gen Zers, but it’s not impossible if the correct method is put in place.

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Spotify is better than Apple Music

NOV. 15, 2022

BY GIA SPARACINO, Secretary

If you’re still using Apple Music—grow up. I myself am a recovered Apple Music user and now blissfully live with Spotify elitism coursing through my veins. Given that I listen to more music than 99.5% of Spotify users in the United States (a statistic I learned using a wonderful feature exclusive to Spotify), I consider myself an expert on the topic. I am also extremely pretentious.

Now, don’t get me wrong, I’m not deaf to the features that may lead someone to choose Apple Music over Spotify. They offer lossless audio, where no data contained in the original music file gets dropped during the process of compressing it for download, which appeals to listeners with a sensitive ear, and Apple Music also recently reached 100 million songs on their platform, beating out Spotify which only has 82 million.

However, not all of these perks live up to their expectations. Although lossless audio may seem like a cool and new innovation, lossless technology has been around for years and is offered on an array of listening platforms. Its lack of popularity stems from the audio quality only being as good as the headphones or speaker it’s playing through. Meaning even if you’re listening to lossless audio on Apple Music and using a cheap pair of earbuds, the Spotify user with the nicer headphones has you beat.

Although it’s impossible to deny Apple Music has more music than Spotify, despite the semi-large variety of music I listen to, I have never had trouble finding an artist or song I was searching for. Spotify also gives listeners the option to listen to local files downloaded to their device, so even if there was a song Spotify didn’t offer, just download it and upload it to Spotify in order to include it on all your favorite playlists. Other Spotify users also often upload unreleased music as podcasts so you may run into a song you were craving that way.

Speaking of podcasts, Spotify offers 4 million shows on their platform while Apple Podcasts (a totally separate platform from Apple Music) offers just a little over 2 million. Spotify also recently began offering a selection of 300 million audiobooks in September 2022. Although listeners have to pay for the individual titles, Spotify already offers 100 million more audiobooks than the popular audiobook platform, Audible. With Spotify, music, podcasts and audiobooks are all on the same platform, unlike Apple where you need three separate apps in order to enjoy these aforementioned features.

Spotify and Apple Music both offer student, individual and family plans, but users who

use Spotify’s student discount also get SHOWTIME and an ad-supported Hulu account with their plan for a dollar cheaper than Apple Music. Spotify’s plans are less expensive and don’t require families (or groups of friends who choose to use the family plan) to connect their Apple ID in order to be in the same plan.

Spotify has been encouraging users to listen to more music off-platform by advertising shows in their area put on by artists they love.

In an attempt to get tickets into the hands of real fans and out of ticket scalpers’, they also email out exclusive Spotify presale codes to fans who follow artists going on tour.

What I feel is the biggest attraction and the overarching reason why Spotify is so undeniably better than Apple Music is the community. Spotify gives you the ability to connect with friends by giving users the option to share their listening activity in real-time, generate playlists using a blend of friends’ music, collaborate on making their own playlists together and start remote group sessions from long distances.

Spotify users are constantly trading playlists, offering up mixes as broad as “rainy day music” to soundtracks as niche as “productive in a ‘Gilmore Girls’ autumn in the ‘90s way” (yes that was a self-plug). Spotify also recommends playlists based on your listening history made by Spotify Curators—a title any user can get if their playlists get enough likes.

Not to mention, that there is no greater shame than being an Apple Music user the day everyone’s Spotify Wrapped comes out. Every December, Spotify packages their users listening statistics of the year, including the number of minutes listened, their top songs, top artists, top genres and even recently including listeners’ “vibes” based on their listening history. They also give users statistics comparing their listening habits to other listeners, letting them know if they listen to more or less music than the average user, or if they’re a top listener for a specific artist. Spotify listeners then go off to flaunt their music taste, sharing their Wrapped with friends and social media followers.

When I learned everything Spotify had to offer, I knew it was time to put my big-girl pants on and just spend the hour-ish it took to open an account and transfer over all my favorite music. So, if you’re an Apple Music user—it’s time. If you’re a Spotify user—follow me.

Award shows have never been fair to POC

BY FLAVIO MOREIRA, Contributor

OCT. 23, 2022

The Weeknd’s album “After Hours” was a commercial success. The record became the most pre-saved album on Apple Music at the time of its release and peaked at number one on the Billboard 200, with lead single “Blinding Lights” being the most streamed song in 2020. Yet, Abel Tesfaye was outraged when his body of work did not receive any nominations at the 63rd Grammy Awards despite being met with critical acclaim. This sparked an ongoing conversation about the fairness of award shows and the voting committee in such organizations, especially with creators of color.

Tesfaye is not the first person of color snubbed by the Grammys. In 2015, Beyoncé lost album of the year to Beck and then again in 2017 to Adele’s “25,” both white singers. The great criticism is that in each case, Beyoncé ultimately submitted one of her best body of works: her self-titled album, “Beyoncé” and follow-up “Lemonade,” respectively, which were filled with such cultural reference that was undeniably the explicit ignorance of the Grammys’ board. But moreover, the award seems to separate Black artists into R&B categories, despite the fact that their work transcends this genre.

In 2013, Taylor Swift submitted her record-breaking album “Red” which conclusively lost to Daft Punk’s “Random Access Memories.” The fans of the singer always categorized that loss as “memorable” for Swift who after that year, transitioned completely to mainstream pop with her acclaimed album “1989,” which ended up winning Album of the Year in 2016. Now, almost 10 years later, Swift has a chance to reclaim the title with “Red (Taylor’s Version).”

After a dramatic battle against Scooter Braun who bought the album’s masters without her consent, she decided to re-record her six previous albums to gain entire creativity and commercial compensation from her career. At first, Swift claimed she wouldn’t submit any of the re-recordings for any awards, but recently, Pitchfork reported the 32-year-old icon submitted “Red (Taylor’s Version)” for the 2023 Grammys consideration.

This sparked a new chapter in the discussion for eligibility and fairness among musical artists. Her re-recordings were almost exact copies from the original masters albeit with some “From the Vault” tracks included. Swift has already won three times in the Album of the Year category, even against iconic albums like Beyoncé’s “I am… Sasha Fierce” and Kendrick Lamar’s “To Pimp a Butterfly.” There is no doubt that Swift is talented; however, the greater discussion here is if a non-white artist would be able to do the same with a re-recording with ease.

The Grammys are not the only award institution under scrutiny, as minority representation has been an ongoing issue at the Oscars as well. Last year marked the first time that more than one woman was nominated in the Best Director category. Of the 10 nominees for best picture, only “King Richard” made it with a predominantly Black cast. “Drive My Car” was also nominated with a Japanese cast. The institution still favors predominantly white and male majority nominees. As of last year, only 33 percent of nominees were women and only 21 percent came from underrepresented racial or ethnic communities. This is reflected in the nominations and winners every year where the Academy still misses the mark.

For many years, award ceremonies have seen a decrease in audience and prestige, likely contributed by the lack of representation in the events as well as other factors. As society becomes more recognizably plural and minorities rise to take their place, these voting boards continue to insist on favoritism for old and white males, ultimately ignoring the cultural relevance of non-white groups in a global community. It is time for a reform of such institutions while the award shows still hold some status. If not, we will all say goodbye to them as their reputation fades obsolete.

Modern Hollywood is exploiting race and femininity

OCT. 18, 2022

It seems as if the film industry has progressed so much since outwardly problematic films such as “Birth of a Nation” or as apologist as “Gone with the Wind.” In the modern age, Hollywood displays itself as something inclusive, something woke, something aware. Yet, modern Hollywood presents itself through a theater of progressiveness. The industry has assigned values to cultural progression and its relevance to then profit off those values. This concept joined with a systemic and historical precedent of the exploitation of those employed, has created a sinister environment to produce “progressive stories.”

BY JOSH ILANO, Staff Writer

The timeliest discourse surrounding a new age of exploitation has been provoked by Andrew Dominik’s “Blonde.” “Blonde,’’ released via Netflix on Sept. 28 tells a fictional biography of the iconic Marilyn Monroe. Defenders of the film use this vehicle of image and iconography to justify the volatile nature of the film. “Blonde” depicts several scenes of heinous acts inflicted upon Monroe to accomplish a story of how abuse permeates all stages of life. It seeks to use Monroe as a martyr, a golden age tragedy of the objectification and commodification of women’s bodies in Hollywood. This sentiment sounds alright—and whether this is accomplished is completely up to the viewer, but where the theater of progressiveness truly reveals itself is an ongoing battle between whether or not an industry rooted in the male gaze serializes and chronicles that story for entertainment.

“It seems that every few months, a feminist tale of women is presented through the media. But rarely do these outlets ever truly understand what it is to be a woman,” said Eliza Miller, University Film & Screen Studies major. “If it is a tale of a woman suffering, it is sexualized down to the very core. Why? Because the people that run Hollywood are men.”

Miller continued saying, “Years ago a man choosing to tell the story of a woman was seen as a beautiful thing, but what qualifications does a man have that a woman doesn’t? Especially when it comes down to the conditions that women go through. It seems so mind-boggling to me that in the 21st century, men are still telling women’s stories.”

The nature of any art stems from the abstraction of reality. Whether that abstraction is minimal in a hyperreal presentation or maximal in an expressionist landscape, art is subjected to the lens of a missed reality. This aspect of artistry becomes problematic, however, when it concerns the abstraction of real people. Especially in a film like “Blonde,” they use a real person’s genuine struggle and reduce it into an image. Whatever grounds in which Joyce Carol Oats sought to explore in her original novel had been bastardized in this adaptation by Dominik.

In a similar view, Hollywood’s roots in the objectification of femininity can also be seen in the exploitation of race and culture. It’s people using identity and race as a vehicle to tell stories that concretely do not belong to them. It’s been acknowledged that the “white savior,” a common trope that presents a fantasy that non-white issues can somehow only be resolved by a white person. This is perhaps the easiest and most apparent instance of Hollywood’s exploitation of race; it satisfies the profitable perception of inclusivity while preserving a perception that Black, Indigenous and People of Color (BIPOC) are subject to white executives.

However, more recently we see a trend in the consumption of colored cinema to be an area in which to displace any subconscious racist guilt—in that the consumption of this media substitutes any real industrial change. Every few years the main media unifies behind one film that oversees a topic of race and marginalization and persuades the public that it is sufficient or that it is the peak of progress. Through an Asian cinematic lens, we see films like “Crazy Rich Asians,” or even “Parasite” and “Everything, Everywhere, All At Once,” which became the poster child for progress in Hollywood. The exploitation and reduction of these few films become a monolith for a race whose consumption of such becomes a decry of ignorance. The fact that films like these are getting widespread attention is wonderful, but the “Black Panther-ification” of these films—as in the consumption of these films become acts of wokeness—is not only absurd but embarrassing for its participants.

The pervasive issue with all these controversies stems from the people who seek to tell these stories and their proximity to the subject matter at hand. I attribute the widespread critical distaste towards Dominik’s warped view of the subject at hand. As someone whose fundamental experience is so detached from the subject matter, no amount of research or virtue by Dominik could perfectly encapsulate the unique feminine experience.

This sentiment spreads beyond the feminine experience but to race, as well. The woke values are filled with tokenized and arbitrary inclusion. Hollywood’s output would see white as the status quo for casting and for color to be a novelty. This is not to say that there is no room for stories by non-marginalized groups or that they are of any lesser value. But rather it should be: those of non-marginalized groups being able to tell their own stories and their voices becoming the louder ones, rather than having a third party speaking on behalf of them.

Credit: Image sourced from www.theknotnews.com

Credit: @matthew_b_roberts on Instagram

The lasting impact of gender stereotypes in dating

BY HEAVEN NESBITT, Contributor

Society has a strange way of holding onto bad habits. 102 years following the Nineteenth Amendment, 59 years post Equal Pay Act and seven years of androgynous toy aisles later, American society continues to be haunted by the threat of gender-oriented stereotypes. Despite social efforts to uproot the misconceptions fueling gender inequality and discrimination within public, professional and private settings: the ageless debate regarding gender roles in dating remains prevalent. Exposing the question, is the presence of gender roles in relationships always a harmful one?

Before anyone can attempt to identify the presence of gender roles in dating, it is important to understand what gender stereotypes are and what they aren’t. The United Nations Office for Human Rights (OHCHR) provides this definition of gender stereotypes for which this article will rely upon;

“A gender stereotype is a generalized view or preconception about attributes or characteristics, or the roles that are ought to be possessed by or performed by women and men.”

In other words, gender stereotypes are preconceived ideas on what behaviors are appropriate for an individual based on no factors outside their gender. Gender roles refer specifically to these assigned behaviors. It is important to remember that gender stereotypes are not inherently misogynistic, prejudice against women, nor misandrist, prejudice against men. However, gender stereotypes can be the tip of a very isolating and dangerous slope, and can also become transphobic if a transgender individual’s identity is viewed as nonconforming.

In romantic relationships gender stereotypes can reveal themselves in a variety of ways, some appearing more explicit than others. An example of such stereotypes would be the misconception that women are better suited to handle domestic matters while their male partners behave as the provider and protector. Gender roles can also play off one another further fueling the misconceptions. For example, a woman who decides to work from

BY PRIYA PERSAUD, Opinion & Editorial Editor

NOV. 4, 2022

home may feel pressured into assuming sole responsibility for home maintenance. Similarly, a man may refrain from emotional vulnerability due to the stereotype that men should remain stoic. Hyper-femininity, the exaggeration of one’s feminine attributes and hyper-masculinity, the exaggeration of one’s masculine qualities, can both be seen as implicit individual manifestations of gender stereotypes.

Gender stereotypes can be extremely harmful to an individual’s self-image. This can be especially alarming when viewed through the lens of dating. Gender roles pose the threat of stunting someone’s comfortability with vulnerability, and other times influencing another to disregard their partner’s emotions. It is important to remain mindful of the ways we perpetuate gender stereotypes through our own behavior and how we allow them to cloud our judgment of others.

Yet despite everything society understands regarding gender stereotypes and their implications, we can still identify gender roles in relationships today. This may be because the behaviors perceived to be indications of gender stereotyping within some relationships is consensual. This change of perspective is what inspires the question of whether gender roles in relationships are always negative. A 2016 study performed by Pew Research Center, a U.S based think tank, concluded that 18 percent of American parents fulfilled the position of full-time caregiver, including 7 percent of men and 27 percent of women. Although these statistics show that more women are deciding to stay home compared to their male counterparts, it also exposes the reality that stay-athome parenting is not exclusive to women. While the idea of a stay-at-home dad directly contradicts gender stereotyping, the idea of a stay-at-home mom can be burdened by the stigma of conforming to gender roles even when it isn’t earned.

Another example of behaviors that could be misinterpreted as gender roles can be found in my own relationship. Three years into my current relationship, I often find myself cleaning up after my male partner. From an outside perspective, someone watching

me clean up after him may assume that our relationship subscribes to gender roles. However, the reason I occasionally find myself picking up after them is really due to my desire to organize things in a specific manner–I am not in any way responsible for cleaning up after him.

Gender roles in relationships can be an indication that the relationship is plagued by gender stereotypes, however the correlation is not always relevant. It is everyone’s job to remain mindful of the stereotypes we perpetuate and force on to others. Gender roles are never acceptable, as the term implies that they are a product of gender stereotypes. But it is important to remember that not every relationship we perceive as conforming to gender roles is guilty of doing so. The key here, as it is in every aspect of dating, is consent.

How to read your birth-chart

NOV. 15, 2022

Getting thrown into the world of astrology where terms like Gemini rising, Seventh House and 22° Mercury are utilized can be challenging to understand as a novice and may put someone off from studying astrology further. Even the Internet is not the easiest to learn from and because there are so many different facets within the realm of astrology, it can put beginners at a disadvantage in consuming all the information there is to take in.

Luckily, as someone who has been studying astrology since I was nine, by going through my family’s books and listening intently to my grandmother carefully explaining what each part of the birth chart meant, I have accumulated quite a bit of detail that can ultimately assist in navigating your birth chart and others’.

Unbeknownst to many, astrology is largely cultural and its influence across different civilizations has created different versions of astrology over time. Originating in Mesopotamia and later spreading to India, the Hindu influence of the region birthed Vedic astrology. From there, several versions of astrology began to sweep cultures to fit their own depictions of the subject. The two most notable systems of astrology today are Vedic and Western astrology, the latter which is most widely known in the modern age.

Vedic astrology uses the sidereal zodiac, a system where the positions of each planet are calculated based on where the planets are in respect to their constellations. Western astrology uses the tropical zodiac, a system that bases itself heavily on the Sun’s movement and therefore is adjusted to the seasons and Earth’s axis. Despite this, there is no “right” form of astrology and many in the community will simply tell you that each has its own benefits to learn from, and it is ultimately up to the astrologer to decide which is best for them to encapsulate themselves fully into.

When analyzing a birth chart, it is imperative to know which system you are using as it will significantly change the signs in each planet, as someone who may be a Capricorn in the tropical zodiac can be a Sagittarius in sidereal. Not everyone aligns with the signs of each, but if you find yourself not particularly attributing with the characteristics of some signs it may be worth checking into a different system of astrology.

The next step is finding your birth time, as this is an integral part of the birth chart. The birth time creates the chart as a whole as it is the only way to find your rising sign which ultimately sets up both the houses for your chart, as well as the degrees for each house and sign. Asking your parents directly could prove a difficult effort especially if you’re older, so if you have access to it, try to find your birth certificate itself for utmost accuracy. Even approximating your birth time from the exact and actual time can change the chart and its interpretations drastically.

Once you have your birth time, the fun begins! Websites like Astro-seek, a personal favorite of the astrology community, will calculate your birth chart and provide objective information with accessible interpretations for beginners.

Though many know what the signs are and what each entails, people are less versed in the topics of Houses. When receiving a birth chart, the First House will always be in the sign of the ascendant (rising) and go in sequential zodiac order from there. Each house means something different whether it’s the First House of self, Sixth House of health, or Tenth House of career. Depending on the planets in the House, these Houses may be affected in different ways accordingly. If there are three or more planets in a House, this is called a stellium and will affect the birth chart’s holder.

Once you learn the basic principles of astrology and become well acquainted, it makes understanding the rest seamless.

Credit: Image sourced from www.mashable.com. Graphic by Vikcey Leeta from Mashable

Credit: Graphic by Olivia Athan