DJ AJ: The man behind the music Introducing ‘Boombox Guy’ and the campus controversy infecting the internet JULIAN ROBERTS-GRMELA
UB pauses 80% of CAS funded Ph.D. recruiment for 2020-21 BRITTANY GORNY
ASST. FEATURES EDITOR
SENIOR NEWS EDITOR
It’s mid-day, and the Student Union is swarming with students. Lines are long and tables are full. The building is noisy with chatter. Suddenly, a deep bass riff starts to resonate throughout the building. The light buzz intensifies as its source leaves The Commons and heads toward SU. The glass doors open, and “Starboy” by The Weeknd explodes throughout the building. In walks AJ Franklin –– the freshman business administration major and campus legend –– with two JBL boomboxes, one for each hand. Some cover their ears and try to shut out Franklin’s music, others gather around to take pictures. Since arriving in Buffalo this fall, Franklin made a name for himself on campus as “Boombox Guy.” Every day, Franklin leaves his headphones at home and instead opts to play music aloud on his speakers. His unparalleled volume, coupled with his playlist composed of music from artists like Tupac Shakur, The Weeknd and Travis Scott, has made Franklin stand out and slowly turn into a campus icon. Franklin, the subject of many memes (particularly those found on UB’s subreddit) recently had the bull outside SU decorated in his honor. While he is known by most, the campus is divided between Franklin’s fans and foes –– some feeling his music is harmless, even pleasant, and others feeling his music is obnoxious and disruptive. He stands out on a campus –– and in an era –– where most use headphones to listen to music. Franklin got his first speaker in high school, where he played his music in school and on the streets of Brooklyn. He added another speaker to his roster after feeling discouraged by the noise of the city occasionally overpowering his tunes. Franklin then bought his first JBL boombox before coming to UB, after saving up all summer. Now, he prefers to go by the name DJ AJ. He said he attempts to express himself through his speakers, something he’s had trouble doing while growing up. Franklin struggles with depression and has had difficulties being himself around others. Growing up, he dealt with an abusive father and bul> SEE DJ AJ | PAGE 2
Twenty-three departments in the College of Arts and Sciences won’t be recruiting funded Ph.D. students in the 2020-21 academic year, UB announced Thursday. The College of Arts and Sciences has 29 departments, meaning roughly 80% of CAS departments will not be recruiting funded Ph.D. students next fall. The biology, communicative disorders and sciences, communication, chemistry, geology and psychology departments will still recruit funded Ph.D. students, according to an email from David Johnson, the associate dean of graduate education. The College of Arts and Sciences formed a nine-member committee to determine how CAS will “recruit and distribute teaching assistant resources in the future,” according to CAS Dean Robin Shulze. According to UB, Johnson’s email didn’t include the length of the pause. “What the memo from the College of Arts and Sciences failed to mention is that this is a one-year pause in recruitment of Ph.D. students within some programs in the college,” UB spokesperson John DellaContrada wrote in an email. “This measure is being taken in order to raise stipends awarded to current Ph.D. students to $20,000 for the 10-month academic year. The programs are not shutting down and the college is not recruiting unfunded Ph.D. students into their programs.” “Since the previous wage floor was $10,000 for a full-time student, we’re very heartened by the raise,” Macy McDonald, an English Ph.D. student, said in a statement from the Living Stipend Movement. “But for the administration to first provide basic material dignity to graduate employees, and then turn around and effectively penalize departments, destroy the future of some of our departments, is incredibly cynical and shortsighted.” English professor Kenneth Dauber said this is a plan to end the College of Arts and Sciences as a serious intellectual institution, according to the statement from LSM. The 23 paused programs can still recruit self-fund> SEE PH.D. | PAGE 2
2 | Monday, September 23, 2019
NEWS
“I really like the boombox guy because he’s playing music all around, and personally I’m a music buff,” Bhatia said. “Whenever I’m on the bus I’m searching like, ‘where is this guy that’s gonna play good music.’” Ryan Dils, a junior computer science major, also encourages Franklin to keep his music up. “If [Franklin] can make someone’s day a little better through his speakers, then I say keep doing your thing man,” Dils said. “I’m rooting for you.” Although some find the music entertaining, others find it disturbing. On UB’s subreddit, many memes have criticized Franklin for his volume. They insinuate that by playing music ‘Boombox Guy’ walking outside SU with four boomboxes. out loud, Franklin is forcing his Photo By Wayne Penales | The Spectrum music on others and being obnoxious. FROM PAGE 1 “There are like 200 people sayDJ AJ ing ‘f––k you’ to me on Reddit,” Franklin lies in school. said. “I expressed myself in a different way, After posting a message on UB’s suband they didn’t like that,” Franklin said. reddit encouraging students to voice their “Sometimes it felt like it was me against opinions about Franklin in addition to the world.” interviewing students in SU, The Spectrum As a result, Franklin became anti-social. was unable to find anyone willing to critiHe believes his speakers help him con- cize Franklin on record. nect with others. Still, many criticize Franklin anony“I’m not the most social person but the mously on the internet. speakers are speaking for me in a sense,” “[It’s] obnoxious to blast your music in Franklin said. “It’s showing who I am as a public places in front of people who don’t person through my music taste.” have the same tastes or don’t want to listen Franklin says he plays music out loud to loud-ass music while they’re trying to because it makes him happy. study or relax or eat or whatever,” a Reddit “It’s fun for me [to carry the boombox],” user wrote. Franklin said. “When I carry it around, I Another Reddit user agreed. put smiles on faces. There are parties that “Can he please stop? One of my biggest happen at bus stops because of me. I’m pet peeves is people blasting music while basically bringing joy to people around me walking around campus,” the user wrote. and that’s something that I always planned Kamya Shah, a freshman biomedical scito do in my life.” ence major, understands why some people As Franklin has learned in the last two find his music disruptive, even though she weeks since meme stardom, many find enjoys the music herself. it amusing when they encounter him on “I see why people get annoyed,” Shah campus. said. “Sometimes people prefer peace, so Dheerhaj Bhatia, a freshman computer when people hear this, they tend to get anscience major, enjoys Franklin’s music.
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‘Boombox Guy’ in front of the SU Bull. Photo By Wayne Penales | The Spectrum
noyed. They’re like, ‘Why are you blasting tunes, let me study.’” Franklin said he makes sure to silence his music when he feels it would be disruptive. After talking with his RA, Franklin decided it would be best to restrict his playing time in order to avoid disturbing others. Now, Franklin only plays music in public from 9 a.m. to 9 p.m. He also silences his speakers when inside public buildings, aside from SU. “Blasting music, walking past classes: that’s not something I do,” Franklin said. “The only building that I full-on blast it [in] is the Student Union.” Shah, who lives in Franklin’s residence hall, can confirm his schedule. “He usually stops in the evening,” Shah said. “He doesn’t play it inside.” Franklin said he is also flexible about his msic during the day. If somebody respectfully requests that Franklin quiets down, he said he adheres to it. “If you’re respectful to me and tell me, ‘Hey AJ, can you turn this down,’ I’ll be respectful to that,” Franklin said. Tyrese Glenn, a freshman electrical engineering major and Franklin’s roommate, says that “as long as you talk to him, he at least lowers the music down.” Franklin intends to continue playing music despite the criticism. Soon, Franklin plans to begin DJing professionally around campus and at parties. His 314 song playl-
ist can be found on Spotify. “At the end of the day, as long as I’m being respectful, and as long as I’m expressing myself, then that’s what’s right to me.” Email: julian.grmela@ubspectrum.com Twitter at @GrmelaJulian
FROM PAGE 1
PH.D.
ed students, Arthur A. Schomburg fellowships and presidential scholarships. The total Ph.D. enrollment is 2,347, according to DellaContrada. Of these students, DellaContrada said roughly 1,400 Ph.D. students receive stipends and 1,016 will see their stipends increase to $20,000 this fall. “We recognize that this will be disappointing to nearly everyone, but the reduction of the size of our funded student cohort is the only way to realize the benefits of the Ph.D. Excellence Initiative,” Johnson wrote. “No currently funded student will lose his or her TA position and we are working to clarify how currently enrolled students will access the benefits of the new initiative beyond the stipend increase, which should become effective some time in October.” This is a developing story. Email: brittany.gorny@ubspectrum.com Twitter @BrittanyGorny
OPINION
ubspectrum.com
Monday, September 23, 2019 | 3
When catchy artists catch a case What do we do about
JACKLYN WALTERS MANAGING EDITOR
Note: This column contains sensitive content about sexual assault and domestic violence which may be triggering. No industry boasts problematic faves like the music scene –– with some of the most problematic holding titles as icons. But you still love them, you belt their lyrics and mimic their dance moves. When they come on, you probably don’t even consider hanging them. Because they make bops, bangers, even classics. You know their names, you know their
songs. And you know their charges. One count of felony assault, 90 days in anger management, three dropped assault charges, four arrests. Ten counts of sexual abuse and previous trials on 14 counts of child pornography. Two cases of alleged assault and a twopart, four-hour HBO documentary illuminating the victims’ testimonies. I don’t even have to say their names — you probably already know who’s who. We’re drawn to the allure of the bad boys and boss b-----s running the music scene, but what do we do when artists cross the line? The music industry has been rife with assault for nearly as long as it has existed. Rockstars were known for having child wives and artists have routinely gotten away with physical, verbal and sexual assault without losing their icon status. Abusers run rampant, not confined by any one crime, race, gender or genre, often skirting public scrutiny solely due to their influence. While some feel it appropriate to engage in these abusers’ media –– seeing Chris Brown at his Buffalo show, secretly jamming to the “Ignition (Remix)” in the car,
moonwalking in the club –– I don’t. (Listening to “Kiss Kiss” is almost as bad as boasting about O.J. Simpson retweeting you, but what can I say, it takes an abuser to know one.) I don’t believe that you can separate the art from the artist. A person’s experiences –– the good, the bad and the ugly –– play a key role in the lyrics they write. So how am I supposed to separate Chris Brown saying, “I’ve gotta give it to her rough but I better not get violent,” from his very real instances of domestic abuse? This is why I don’t listen to Chris Brown, R. Kelly, Michael Jackson, Melanie Martinez, BØRNS, Steven Tyler or Katy Perry, to name just a few of the accused, convicted and confessed musical perpetrators. Listening to abusers’ music undermines their actions and encourages victim blaming to ease listeners’ own cognitive dissonance –– if Rihanna never came forward, I wouldn’t have to feel bad about liking Chris Brown (who’s had three women file restraining orders against him). And I know there are Chris Brown fans who will fight me to death, begging me to hear him out or put his past aside and enjoy his music. But domestic abuse isn’t something I
Dancing with the ‘Boys in the Band’
The time I danced on stage with New Kids on the Block
BRITTANY GORNY SENIOR NEWS EDITOR
As a Buffalo Bandette, I’ve danced at the KeyBank Center countless times, but this time was different. I walked into an arena with no lacrosse players, no turf and more lights than I’ve ever seen in my entire life. And the experience was one I will never forget: dancing on stage with New Kids on the Block. I don’t think anything I do from this moment forward will top that feeling. It all started just a week before the show, when my coach texted our group chat, asking if any of us 12 girls were available on June 21. Without telling us why. Instead, she sent an ambiguous message: “If you can be available, you’ll want to be, and if you aren’t, you’ll want to make yourself available.” We all started gossiping separately, wondering what the message could mean. We were all clueless. Days later, we received another messag that read, “We were asked to dance with New Kids on the Block at their concert
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on Friday!” I couldn’t believe what I read. I already knew, in that moment, any obligation I had on that Friday night no longer mattered. There was no way was I going to miss an opportunity to be a back-up dancer. But I told him I wouldn’t be there. Being a back-up dancer was something I had always dreamed of. And this summer, that dream came true when I shared the stage with NKOTB. I danced in front of thousands of ‘80s babies falling head over heels for Donnie Wahlberg. I couldn’t have smiled bigger if I tried. The “Mixtape Tour” also featured Salt N’ Pepa, Debbie Gibson, Tiffany and Naughty by Nature –– even though I would have rather danced with Salt N’ Pepa during “Push It,” New Kids on the
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Block was just fine. NKOTB asked cheer and dance teams from each city they performed in to join them during “Boys in the Band.” We danced on stage for the entire song and during an ‘80s medley of songs like “Girls Just Want to Have Fun” and “Pour Some Sugar On Me.” The group chose the Bandettes because –– with the Buffalo Jills gone –– we are the only professional dance team in Buffalo. Once we officially got the job, we had to keep our gig a secret until after the performance. The rest of my team and I found time in our hectic schedules last minute to practice the routine. When we got to the arena, we ran through the routine twice on stage and then got to watch the show in a suite until we were called down for our performance. And finally the moment came.
can just put aside. Punching Karrueche in the stomach and pushing her down a flight of stairs isn’t something to put aside. Neither is punching a fan who wanted a photo. Or what he did to Rihanna. The police report quotes him saying, “I’m going to beat the s--t out of you when we get home,” and later, “Now I’m really going to kill you.” While driving, he opened her door and tried to push her out, shoved her head into the window, punched her repeatedly in the face, bit her and put her in a headlock twice. He caused her “mouth to fill with blood and blood to splatter all over her clothing and the interior of the vehicle.” So believe what you want about Chris Brown and the countless abusive musicians who make music after walking away from cases scot free in the court of public opinion. But I won’t be listening to Ameer Vann’s new album, or any music from abusers –– including the accused –– past, present or future. And I hope the judges and juries handling abuse cases yet to come care more about victims’ safety than how well their abusers can dance. Email: jacklyn.walters@ubspectrum.com Twitter: @JacklynAWalters
Once we got down to the stage, we all lined up and ran out. It felt like two seconds went by before we were running off stage, the performance of our lives was over, just like that. The moment went by way too quickly, but was still the best, most surreal moment of my life. It still doesn’t seem real. For the rest of the night I was on such a high. And now, I have a new fun fact for life. Because yes, I have two golden retrievers, was once a magician’s assistant and have traveled to Thailand but I also danced on stage with New Kids on the Block. And nothing will top that. Email: brittany.gorny@ubspectrum.com Twitter: @BrittanyGorny
neW kidS on the Block Perform at keyBank center With Brittany Gorny. Photo courteSy of Brittany Gorny
4 | Monday, September 23, 2019
ARTS & ENTERTAINMENT
Alumni, critics and fans reflect on Kanye West’s his- “I was definitely a Kanye fan, from early on. From ‘College Dropout,’ even before toric 2005 Fall Fest that from the mixtape scene, I thought performance he was super dope,” Yador said. “And I BRENTON J. BLANCHET EDITOR-IN-CHIEF
Kanye West wasn’t a big fan of presidents in 2005 and he probably never expected to dap one up when he visited Alumni Arena on Oct. 21 of that year. But Dela Yador –– the 2005 Student Association president –– thinks about his encounter with West often. He remembers waiting in the basement of Alumni and hearing the words “Oh, you’re the president,” followed by a friendly welcome from an artist who was on his way to becoming a 21-Grammy winning, eight Billboard No. 1 album-earning superstar. When Yador looks back on that day, however, he doesn’t just think about his encounter with West. He thinks about the impact he left on the student body by bringing the rapper and producer –– fresh off the release of his sophomore LP “Late Registration” –– to campus. “Now they can tell their kids they saw Kanye perform on tour in Buffalo,” Yador said. “They can tell their friends who were at other schools that Kanye West performed in ‘05. I love that people can take away those memories and still get reminded of it now, 14 years later.” Fourteen years ago, West announced his 2005 “Touch The Sky Tour” and the fourth stop, snuggled inside the 44-city spectacle of an announcement, was Alumni Arena. The arguably soon-to-be artist of a generation came to campus for a special two-hour set as part of Fall Fest 2005, rocked a UB T-shirt while playing through “All Falls Down” and took the venue of 6,000 on a trip into the mind of a musical genius. And despite some students complaining to The Spectrum in 2005 about West’s set “dragging on,” many look back and see the show as historic. Yador and his team had some things to figure out before fans could “Touch The Sky” in Alumni. He remembers talking about Fall Fest with his staff beginning in June of 2005. Some names that students requested were far out of SA’s budget at the time and were “always on the list,” but Yador knew West was on the radar from the jump.
2005 Sa PreSident dela yador PoSeS With kanye WeSt at fall feSt 2005 | courteSy of dela yador
thought his audience was such a diverse audience. I really thought that was a good reflection of entertainment that would’ve been a good look for UB at the time.” When Yador’s team mentioned West, they noticed he was about to depart on his “Touch The Sky Tour” featuring openers Fantasia, Keyshia Cole and Common. And then they saw the price of booking him –– $100,000 –– was right under budget. “I think at the time, when Kanye was a possibility, even a 1% chance, it was like full steam ahead. Let’s get the offer out there.” They locked it in. Students and locals alike were thrilled by the announcement of West headlining the show. “I was shocked by the big name, but I think more shocked by Kanye putting on an amazing show,” said Buffalo resident Nicole Nowak. “I was anticipating a quick, half-ass performance similar to what we see at Canalside –– a scaled-down, 45-minute performance.” What she got, however, was much different. “This was anything but. He performed like it was Madison Square Garden.” Buffalo News music critic Jeff Miers covered West’s performance. The show was one of roughly 10 fall and spring fests that Miers has covered in his tenure at the News. He says the show came at a pivotal point in West’s career. “Obviously, it was a big deal having Kanye come to UB,” Miers said. “Remember, this was well before his rather confusing image breakdown, his seeming embrace of [Donald] Trump and his display of what many have called a ‘mental struggle.’ Kanye was just a wildly creative hip-hop artist who gave every indication of being at the outset of an iconoclastic career.” Evan Parker Pierce, who at the time was a managing editor for The Spectrum, said he still remembers the magnitude of the West show, which followed years of students getting lackluster talent at fests, he says, like acts such as 3 Doors Down. “Kanye, at the time, might have been the most meaningful rapper or musician who appealed to every corner of the UB demographic,” Pierce said. “I do remember the excitement. It was a huge deal to
have such a current, relevant artist play at UB. ... I remember how excited campus was. Relevant musicians! Hip-hop! Something that was ascendant and worth going to!” But just a week before the show, the tour’s lineup took a hit. On Oct. 14, 2005, The Spectrum reported that rapper Common dropped out of the lineup to focus on a movie role. Yador explained that SA wouldn’t be seeking a replacement opening act, as the tour was a package, according to the article. Instead, West expanded on his setlist and promised to give a set full of more material. Yador doesn’t remember Common dropping out of the lineup but recalled numerous times since 2002 when artists dropped from fest lineups. “There were artists [who] were supposed to perform but just didn’t for a million and one reasons,” Yador said. Students at the time didn’t generally seem too concerned, but some were understandably upset. “I was totally stoked he was going to be here, I have his CD and I love it,” freshman Cristina Bruni told The Spectrum at the time. “A lot of talented musicians go into movies and they’re usually bad. He should be on tour.” He wasn’t. And he never surprised fans at the show like Yador hoped he might at the time. But this just made it so fans could enjoy some extended ‘Ye. When the show rolled around, Yador recalls, he and SA Entertainment Director Marc Rosenblitt had meetings to discuss the magnitude of West’s rider (performance requests). West’s people brought in massive lights to the venue, and Yador thinks SA might have brought in an extra generator to accommodate. “This was an actual tour,” Yador said. “This was a national tour in which Verizon was one of the sponsors. For it to come to Buffalo was a pretty big deal.” But the lights weren’t
ubspectrum.com
Yador’s only concern on show day. West’s performance fell on the same weekend as Howard University’s homecoming in D.C., a huge weekend for the black community at UB. Many of the black organizations and fraternities on campus traveled to Washington to attend the event each year, and Yador was worried his fest would see a low turnout. “I just remember people [were] so conflicted on if they were going to Howard or staying for Fall Fest,” Yador said. “And a lot of people stayed.” A lot of people were right. Students piled into the venue for the show, as the Alumni Arena box office sold 1,100 general admission tickets –– leading to an audience of over 1,000 non-students –– and nearly the entirety of the 5,000 available student tickets were collected. In 2005, Yador called it the biggest fest SA saw in a “long time,” triumphing over 2003’s Lil’ Kim and Godsmack show. “I saw some grandmas in the crowd. It was so impressive,” said then-sophomore David Horesh in 2005. “I would say SA drew in a bigger crowd because they brought in a more up-to-date act. I mean, Kanye’s an up-and-coming star and everybody knows who he is.” Kanye’s set was long to say the least. Two hours long. Due to Common dropping out of the lineup, West remained on stage for wellover the usual fest performance timeslot, something not all students were happy about. “He put on a really great show, but I think it dragged a little bit,” said thenjunior biomedical science major Ben Cassidy. “The songs were a little bit self-in-
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ARTS & ENTERTAINMENT
Monday, September 23, 2019 | 5
the rapper feeding the audience bits of soul, rock, R&B and everything in between. “I felt like Kanye was a bright, vital and creative artist who was making a big mark on hip-hop and popular music in general,” Miers said.
fall S mS at rfor chiVe St Pe m ar e u r W t kanye 5 | the SPec 00 feSt 2
dulgent. However, I haven’t seen a better performance at a Fall Fest.” But West had every right to “drag on.” His show was laced with a grand curtain reveal, a tight string section of two cellos and four violins an overall “theatrical” approach, according to The Spectrum’s 2005 coverage. He spent some of the show lying on a bed, like during deep cut “Spaceship,” and other portions rocking a UB shirt, like during his performance of mega-hit “All Falls Down.” He seemingly sensed the diversity in the crowd, too. “To all my white people out there, this is the only chance you’ll get to say n---a. So join in,” West screamed during “Gold Digger.” Some said the performance stood out like a diamond in comparison to his openers as West even included a bit of dazzling confetti and a disco ball during his run-through of “Diamonds From Sierra Leone.” Keyshia Cole and Fantasia’s performances, however, featured some inaudible instrumentalists and backing vocalists, making West’s massive display seem even more massive. “I recall feeling a little bad for Fantasia and Keyshia Cole, because the event was so clearly all about Kanye,” Miers said. “People were psyched. Obviously, there is generally a party atmosphere for UB students at these events –– they’re for them, really. But I recall seeing a lot of people there simply because they wanted to see what the fuss about Kanye was all about.” Miers recalls West’s musical knowledge shining during the performance –– with
West essentially rewrote the script for UB’s hip-hop shows on that October day. Since West’s touchdown on North Campus, and his transcendence into stardom, SA’s fests have become predominantly hip-hop centered. Fests have since seen the likes of Nas, The Roots, Clipse, J. Cole, Kendrick Lamar and Travis Scott, who many current students still recall orchestrating mosh pits in Alumni in 2016. For Nowak, however, seeing West live at an early point in his career was more memorable than the last tour where she caught a glimpse of him. “I was a Kanye fan then,” Nowak said. “I still am. I’ve always said he put on the most amazing show then when he wasn’t as big. It’s just always stuck with me.” Miers understands the legacy of performances on UB’s campus, and still sees the West performance as a “rare” experience for fans. “So many legendary artists have played UB fests – from the Ramones to Peter Gabriel to the Tragically Hip to a young and largely still unknown Bruno Mars, to P-Funk, to the Goo Goo Dolls and Big Audio Dynamite,” Miers said. “What I’ve always loved about the fests is the diversity of talent. In many ways, these shows have transcended UB culture itself and become part of the broader Buffalo culture.” Yador is grateful to have been a part of UB’s musical history and still keeps the photo of him and West ready to share in his camera roll. “For me, I’m proud that I was part of a team that was able to bring someone who was at the top of the world,” Yador said. “If people are still talking about the show, just to be a part of that, it’s a real honor.” Email: Brenton.blanchet@ubspectrum.com Twitter: @BrentonBlanchet
Study here — or anywhere in the world — and earn UB credit. Enroll in UB’s three-week winter session and get ahead, stay on track or pursue a special interest. Online and on-campus courses begin Jan. 6.
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6 | Monday, September 23, 2019
ARTS & ENTERTAINMENT
Nashville-bound Buffalo-native Van Houten chases his country music dream BRITTANY GORNY SENIOR NEWS EDITOR
Country singer Eric Van Houten didn’t always want to play country music. It wasn’t until he was asked to play country one day –– and went home to listen to Ketih Urban’s 2002 record “Golden Road” for four days straight –– that he realized his passion. Van Houten, a 26-year-old Buffalo native, grew up in West Seneca with no initial plan to move to Nashville. But after opening for Kelsea Ballerini in January 2016, her record label told him he needed to move to Nashville to jumpstart a career and sure enough, he did three months later. Van Houten, who knew “deep down” he had to be in Nashville if he wanted to pursue country music, has since played all across the country and occasionally comes back to Buffalo for hometown gigs. “I always grew up listening to country. My dad listened to old-school country and my mom always listened to Shania Twain and the ‘90s and 2000s women of country,” Van Houten said. “It was always a part of my musical influence.” Van Houten remembers holidays and family functions growing up: His entire family would play guitar and sing, which he “always wanted to be a part of.” When his parents divorced when he was 11 years old, he decided to pick up the guitar and go for it himself. “I stayed in my room all day and taught myself how to play the guitar,” Van Houten said. “I would play until I could make sounds that made sense.” In 2015, he began playing shows in Buffalo and Rochester at local breweries and
beaches. Eventually, he was traveling to places like Nashville, New Jersey and Florida playing shows almost every weekend. He finally decided to make the move to Nashville in 2016, after opening for Kelsea Ballerini and her entire record label told him he needed to move. He still likes to come home and have a “good hometown show,” though. Recently he’s played at Woodlawn Beach, Jam in the Valley and St. John Vianney Church, all in Buffalo. His family knew how risky the move to Nashville was but was supportive. And Houten quickly fell in love with it. He said no one is there to win, just to make good country music. “The music community [in Nashville] is a very welcoming community of songwriters, artists and industry people who want everyone to win,” Van Houten said. “No one is out here trying to take the top spot and control it.” Van Houten tries to write as many of his own songs as he can, but has a few writers he trusts to write music for him. “I’m an artist too, and I get that sometimes you can’t write the best song and you have to have the best song to win in this industry,” Van Houten said. “Sometimes you have to go outside and find it.” Marc Antecki, Van Houten’s cousin, said he’s “incredibly proud” of his cousin’s musical development. “Being his cousin, we’re super close so it’s been fun watching him play at local bars and then watching him move onto
bigger stages like Taste of Country and Jam in the Valley,” Antecki said. “And you know, it’s just the beginning for him.” Antecki described Van Houten as “an angel” and a “loving, giving and thoughtful person.” “He really cares about his fans, he genuinely cares if someone wants an autograph or a picture, that’s always really exciting for him,” Antecki said. “He has a really strong
ubspectrum.com of his, as he said they’re all “like kids to him.” Van Houten said country music has evolved into more than just making a good country song, but telling a good story. “Whether that means a bit of pop or a little bit of all the genres, as long as it’s a good song that tells a good story, chances are the song will do well,” Van Houten said.
Country
singer
Eric Van Houton grew up in Buffalo Nashville.
with no initial plan to move to
Photo Courtesy of Eric Van Houton
focus, so he’s going to be a big shot.” His newest release, “Well Enough,” was written by three of Van Houten’s “good friends.” He said it was tough to say no to a song that resonated so well with his life at the time. “They put themselves in this place of heartbreak and ended up rolling on a title ‘Well Enough,’” Van Houten said. “They were like, ‘Hey everybody’s been in that scenario where they’ve had an ex run into you at a bar, ruin your mojo and all you want to say is, look, you know, I’m doing fine.’” Van Houten doesn’t have a favorite song
In the years to come, Van Houten said he would love to be on tour and playing shows for thousands of people. But Van Houten primarily cares about having an authentic connection with his fans. “I want to create a fan base that cares about the music and who I am as an artist, I want to continue to grow with my fans and not just for myself,” Van Houten said. “And if that leads me to playing at the same place for the next twenty years of my life, as long as it’s a fan base that cares, I’m good.” Email: brittany.gorny@ubspectrum.com Twitter: @BrittanyGorny
Running it back: Student DJ looks to expand business Jordan Nicholson brings unique style to the DJ game ALEXANDRA MOYEN ASST. NEWS EDITOR
Jordan Nicholson began DJing when he was 15 years old. But he had to “retire” for three years while he was a running back on Monroe College’s undefeated football team. Although an undefeated season is usually exciting, Nicholson and his teammates were bored. So Nicholson decided to borrow the baseball team’s speakers and change that. “The whole school wasn’t doing anything, everybody was just bored,” Nicholson said. “So I’m like, ‘No, we’re going to go into the lounge,’ and I just go party in the lounge and when I mean it was packed, it was packed.” This was when Nicholson, now a senior digital media studies major, realized he wanted to DJ again. When he transferred to UB in Spring 2018, he decided to end his hiatus. Nicholson no longer runs the ball and instead runs his own business, Clearview, and earns roughly $1,000 a month DJing for LIT Hookah Lounge, VENU and as the official DJ for Booty Bustas, a party services organization. Now, he’s looking to expand his business. “Once I got to UB, I heard other DJs [and] I didn’t like their craft, because I’ve been doing it for years and they’ve only been
doing it for maybe a year or two,” Nicholson said. “So I’m like, ‘You know what, I’m just gonna come out of retirement,’ and when people started to hear me, they were like, ‘Oh, he’s nice.’” Although passionate about his DJ career, Nicholson transferred to UB to play football again, but had to put it to the side for his future and his mother. “I started getting older and noticed I couldn’t provide for myself and I didn’t want to have to continue to depend on my mom because she was a single parent,” Nicholson said. “I decided to be a man myself and make my own money and that took time so I couldn’t continue to play football.” Nicholson has come far from a 15 year old using his father’s turntable. “[My dad] saw I was making money off of it so it was either give him [some money] or don’t use it,” said. Nicholson “My mom saw what I was doing and wound up giving me mixers and a speaker for Christ-
Jordan Nicholson discusses his unique tactics that set him apart from other DJs and where he hopes they will take him. Photo Courtesy of Jordan Nicholson
mas.” From there, Nicholson asked his father to use his laptop, download music and practice. He later began DJing at Mazi Nightclub in Brooklyn. Nicholson has a unique style of DJing, he says, and likes to use the “element of surprise” in choosing his setlists. He teases the crowd, making them think they know what song is coming on, but then surprises them with another. For him, it isn’t necessarily about the song he plays, but how he plays it. “I build anticipation, I bring the song in differently,” Nicholson said. “Another DJ will probably scratch and mix it in, but I talk and bring it in, because I want [the crowd] to think they know what song will be next.” Kevin Kubi, Co-CEO of Booty Bustas, said Nicholson is “one of the best DJs in the college scene.” “The ambiance he gives is just pure energy and he knows the sound so well,” Kubi said.
CEO of Booty Bustas Justin Young said he believes Nicholson keeps “getting bigger” because he expresses his “unique personality” through his DJing. “He doesn’t try to be like somebody else, he is a unique individual,” Young said. “No words can do his personality justice.” Although being a DJ is his passion, Nicholson “was always a hustler.” He understands the importance of being a businessman with a side hustle. In addition to DJing, Nicholson also dabbles in videography, photography, movie production, rental service and personal training. Nicholson said he doesn’t find it challenging, either. He goes to school Monday through Wednesday and does bookings Thursday through Sunday. “It’s not hard because my schedule [revolves around my] business,” Nicholson said. “I make sure my weekends are freed up and I make sure I [don’t] accept a booking from Monday to Wednesday.” Nicholson said he foresees his business going “nationwide” and wants to garner attention all over New York and eventually expand to Florida. He advises other aspiring artists and entrepreneurs to persevere, just as he did when he rediscovered his love for DJing. “If you continue to move forward, you never know who may come or the connections you might get from someone that could just spark a name for you,” Nicholson said. “If you ever get that chance in life, stand with it, don’t just give up.” Email: alexandra.moyen@ubspectrum.com Twitter: @AlexandraMoyen
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UB Gospel Choir prepares for upcoming concert JULIANNA TRACEY SENIOR ARTS EDITOR
Temara Cross, the vice president of UB Gospel Choir, says she believes gospel music is not exclusive to a specific race. And she doesn’t think it’s exclusive to a set of skills or someone’s faith, either. When recruiting for the choir, Cross, a junior public health major and pre-med student, is more focused on students’ willingness to help grow the group. The UB Gospel Choir is a student-run organization, which has performed on and off-campus at various colleges, churches and weddings. The choir, formed in 1972, currently consists of roughly 10 members and is involved with other ministries like praise team and praise dance. It prides itself on its inclusive and family-like environment, and is open to all students, regardless of race or denomination. Recently, the choir has been preparing for its Nov. 10 concert. The concert’s theme is “God’s Plan” based on the Drake song of the same name, and the bible verse Jeremiah 29:11. “UB is so diverse, so there would be no sense in closing UB Gospel Choir off to primarily black people,” Cross said, “There
ARTS & ENTERTAINMENT are multiple cultures that are Christian, so it doesn’t necessarily mean gospel music is for [one group].” The group begins practice by joining hands and bowing their heads in prayer. Their focus: to join in spirituality and prepare to share their message, God’s message. Toyosi Oladepo, the president of the choir and a senior computer science and media studies major, says that the group is open to all students despite performing Christian songs. “We are a gospel choir, we are a ministry, we are a group that does things like sing Christian songs, but everyone is welcome,” Oladepo said. The group, which practices two times a week for two hours each session, hopes to expand its members and Oladepo hopes the stereotype of gospel choirs doesn’t deter new members from joining. “We are inclusive, but people don’t know that, I would say, because when we think about gospel, you think about African-American people,” Oladepo said. Members of the choir say the welcoming environment has allowed them to develop their music skills. Charles Sanders, a junior psychology major said being involved in UB Gospel Choir has allowed him to step outside of his comfort zone. “I used to tell everybody ‘I’m not singing in front of anybody.’ Like this thing is
Monday, September 23, 2019 | 7
The UB Gospel Choir rehearses the song Perfect Praise by Walt Whitman. Photo By Alexis Heng | The Spectrum
for the bathroom only, like when I’m in the shower. But when [Toyosi] asked me [to join] I was like, ‘I’ll take a chance, why not?’” Sanders said, “I slowly started to become more comfortable with it, even though I don’t know any technical music jargon.” To prepare for its concert, the choir has been practicing several songs, including “Perfect Praise” and “Love Theory.” Members of the choir are excited to perform the latter. Andrea Botchway, a sophomore intended nursing major in the choir, remembers screaming when the song was announced. “You should have seen my reactions. So, ‘Love Theory’ is my favorite song,” Botchway said. “I’m so excited to perform that song.” Oladepo hopes that students who are unfamiliar with the choir will come to its concert and that UB Gospel Choir will
have more opportunities to participate in big events. “We always like to have our concert as our big event, and even at that we don’t usually have as many people as we want to come to the event,” Oladepo said. “I think our goal is to have other big events around the semester and just have new events that people can come to, so we can reach people more and also collaborate with other clubs.” Oladepo hopes students will be encouraged to step out of their comfort zones and join the choir. “Just come and check us out. I feel like any people who want to grow musically can actually grow through the gospel choir, because personally, I have,” Oladepo said. “We’re really open, nice people. Just come through and check us out. It’s a fun place to be.” Email: Julianna.tracey@ubspectrum.com Twitter: @JTraceySpec
UB’s fall performance radar A guide to upcoming on-campus theater and music performances
JULIANNA TRACEY SENIOR ARTS EDITOR
At the beginning of the semester, it’s hard to know all of the entertainment opportunities the Buffalo area can offer. And for some students, it can be difficult to make it downtown to enjoy a play or musical performance. But excellent performances may be closer than students think. Venues across campus provide unique and exciting performance opportunities for students to enjoy. We compiled a list of on-campus shows and concerts coming up this semester for students to check out. “Dr. Seuss’ The Cat in the Hat” Sept. 27-28, Katharine Cornell Theatre UB’s Student Directed Series has given students the unique opportunity to perform and direct full-scale theatrical productions. This semester’s student-directed performance is “Dr. Seuss’ The Cat in the Hat.” Directed by senior music theatre major Jill Anderson, the energetic 30-minute production will feature fun visual gags and outlandish performances. The performance caters to audience members of all ages. Before the show, younger audience members are given the opportunity to make crafts, color and read various Dr. Seuss books. The play concludes with photo and meet and greet opportunities with the cast. Urban Bush Women: “Walking With ‘Trane” Sept. 28, Center for the Arts UB provides opportunities for unique touring artists to perform for students, and will bring the innovative performance ensemble Urban Bush Women to campus. Urban Bush Women’s goal is to motivate artists, activists and audiences through performances and community outreach. This year, Urban Bush Women is celebrating its 35th anniversary. The group’s performance at UB, “Walking With ‘Trane” takes inspiration from legendary saxophonist and jazz artist, John Coltrane. During the performance, the ensemble will perform movements inspired by Coltrane’s album “A Love Supreme.” Slee Beethoven String Quartet Cycle Concert I: Calidore String Quartet Oct. 4, Slee Hall Since 1955, distinguished music groups
have visited UB to participate in the “Slee Beethoven String Quartet Cycle.” The concert series consists of six annual concerts that go through the complete cycles of the Beethoven String Quartets. This year, the concert series features the Calidore String Quartet, which is celebrating its 10th anniversary in the 2019-20 season. The group has performed in prestigious venues around the world, including Carnegie Hall, Wigmore Hall and Berlin Konzerthaus. Students are given one complimentary ticket to any UB Music Department performance with a valid UB ID.
From “Dr. Seuss’s Cat in the Hat” to Zodiaque Dance Company, The Spectrum compiled a list of on-campus performances that students shouldn’t miss. Photo Courtesy of Meredith Forrest Kulwicki
Zodiaque Dance Company Oct. 17-20, Center for the Arts Zodiaque Dance Company celebrated its 45th anniversary last year. The dance company will continue its tradition of artistic dance numbers and excellent choreographic techniques in its upcoming fall performance. Zodiaque Dance Company is comprised of members of UB’s dance department. The company prides itself on the motto “versatility matters,” embracing various choreographic ideas and styles. Students can experience this from Oct. 17-20 in the Center for the Arts Drama Theatre. “The Prime of Miss Jean Brodie” Oct. 23-27, Center for the Arts The UB Department of Theatre and Dance will perform “The Prime of Miss Jean Brodie” Oct. 23-27. The play tells the story of the school teacher Miss Jean Brodie and her clique of favorite students, known as the “Brodie set.” The play deals with love affairs, betrayal and manipulation. This classic will be directed by Associate Professor Vincent O’Neill, cofounder and artistic director for Buffalo’s Irish Classical Theatre Company. The play take place in the Center for the Arts Black Box Theatre. “Guys and Dolls” Nov. 15-17, 22-24, Center for the Arts Often described as the “perfect” musical comedy, “Guys and Dolls” tells the story of gamblers, Nathan Detroit and Sky Masterson, as Nathan tries to win a bet with Sky in order to run an illegal gambling ring safe from the cops. Throughout the musical, the pair try to win over their “dolls,” Miss Adelaide and Sister Sarah Brown. Guest director Keith Andrews will both direct and choreograph the piece, while Director of Music Theatre Nathan R. Matthews will serve as the production’s music director.
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8 | Monday, September 23, 2019
Haley Reinhart talks Anderson .Paak, “Lo-Fi Soul” and October show ‘I’m proud of all my albums, but this one hits my core on so many levels’
properly represent this change with “LoFi Soul?” What do you hope this record says about your musical development in the last couple years? R: Releasing my fourth album, “Lo-Fi Soul,” may just be the most comfortable, natural and me that I’ve felt with a release.
ubspectrum.com TS: Since we last spoke about your friend and former drummer Anderson .Paak, he secured the 2019 Grammy for Best Rap Performance with “Bubblin.” Does his story give your current band members –– and drummer –– some added motivation? R: I am so happy for Anderson. He’s
BRENTON J. BLANCHET EDITOR-IN-CHIEF
There’s something magical about Haley Reinhart’s aura. It’s in her ‘60s appeal, it’s in her freespirited live shows and it’s in her band, which once included the now Grammy-winning hip-hop heavyweight Anderson .Paak. Reinhart, quite like her former drummer-turned-performer extraordinaire, has evolved her sound over her career. Her new record, “Lo-Fi Soul,” is a coverless call to the ‘60s, full of organs, lovely backing harmonies and vocal effects that carry the record throughout. Unlike her previous effort, “What’s That Sound?,” Reinhart’s originals run her latest and feel straight out of The Monkees’ or The Doors’ organ-heavy catalog. It’s vintage, but it’s her. Reinhart’s show at Babeville on Oct. 13 should exude just as much soul as the project itself, with a nice student ticket discount, too. We caught up with the former American Idol star to chat about the show and everything we missed since our last 2017 interview. Our conversation, lightly edited for length and style, follows below. The Spectrum: We last spoke after you released “What’s That Sound?.” What’s been the biggest change in your life since 2017? Reinhart: The biggest change for me in the past few years is that I am now a fully independent artist and just started up my
Soul SinGer haley reinhart iS cominG to BaBeVille on oct. 13 and cauGht uP With the SPectrum Before her “lo-fi Soul” ShoW. Photo courteSy of haley reinhart.
own record label called Reinhart Records. I’ve taken full control and it has truly been liberating. I’m free from industry folks’ opinions, weighing in on everything and the doors of opportunity continue to open more than ever. Being an artist and running a corporation is a 24/7 job, so my timeline is full of different gigs, tours, voice overs, acting, auditions, music videos, shoots and recording. Content is queen and now I can put out as much as I want, whenever I want. TS: Do you feel like you were able to
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I had a crystal-clear vision for this record and I pieced it together with many amazing co-writers and co-producers. There was little to no compromising. In the past, I’ve felt I needed to hold back a bit, or tame the unique, quirky qualities in my voice, all the while knowing if they just let me do my thing, however gritty and raw as it may be, the more original it would be. I’m proud of all my albums, but this one hits my core on so many levels. TS: Since “Lo-Fi Soul,” you released “Bulletproof ” in June. Are you a proponent of holding music for full-length records or moreso releasing it whenever feels right? R: I’ve always been an album, full body of work kind of girl. But I’m growing with the times and I think it’s neat nowadays to create different projects right around each other and keep pumping out content, from singles, EPs, features, to full-length albums. So long as music is still a thing, I’ll keep releasing it. TS: Do you remember where you were when you decided to record your rendition of “It Ain’t Over Till’ It’s Over?” R: I teamed up with a company that wanted to pitch this three-song EP to TV shows. I picked “It Ain’t Over Till It’s Over” because I’ve always dug that tune. It’s so ‘70s, although it was recorded much later. I like stripping great tunes down and making them all the more intimate. It goes to show a great song is a great song, no matter what kind of backing track.
been grinding in this industry for a long time and he truly deserves it all. I love blowing people’s minds when he comes up in conversation and telling them he used to drum in my first band I put together in L.A. Hoping we can collaborate someday. I know we’d blend like butter on toast. TS: You touch down at Babeville on Oct. 13. Your good friend Casey Abrams made an appearance at the venue in 2018. Do you think previous performers add to a venue’s energy? R: I definitely think a room can hold energy, even years down the line. More than anything, it’s up to us as the artist and audience to tap into the history of the venue and who’s played it. Some venues have that crazy electricity in the air that you can almost grasp it’s so dense. Glad Casey came through as well. TS: What do you hope students who drop by the show can take away from it? R: I hope students can feel confident in their own skin, free of judgement and unabashedly themselves as soon as they enter the room and even after they leave the show that night. I want to create such an intimate experience we can all share together, forever. “Lo-Fi Soul” taps into all the colors of who I am and all of my influences along the way. I hope that rubs off on the crowd and everyone can simply feel good. Email: Brenton.Blanchet@ubspectrum.com Twitter: @BrentonBlanchet
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10 | Monday, September 23, 2019
Volleyball finishes 2-1 in Blue and White Classic
Bulls wrap up last tournament before conference play SARA HOLLAND STAFF WRITER
UB volleyball (4-8) finished 2-1 overall in the 2019 Blue and White Classic, concluding its last tournament before conference play starts. The Bulls split the opening day of the Blue and White Classic, with a sweep of St. Franics (PA) and a 2-3 loss to Cornell in the final matchup of the day. On Saturday, the Bulls faced off against Canisius and finished the tournament with a win in the final match to make their record 2-1 for the weekend. “This tournament, we really stepped it up with our energy, we stepped it up with kind of our unified presence,” said senior Kristina Nieves. Head Coach Scott Smith was impressed with the team’s perseverance in their last game against Canisius. “They’re really strong in the first two and we have to find it within ourselves to respond. We did a great job blocking, got us back into it. And transition offense was really strong.” Before MAC play begins, Smith emphasizes the importance of the team’s mental game. “Our focus is always on our mental approach to the game, when we are firing on all cylinders,” Smith said. “We are a strong offensive team or solid defensive team. Making sure we stay in the right frame of mind is really important.” “We’re really excited to go into conference play off of this one, because now we know what it feels like to fight, and to fight and come back,” said Nieves. The Bulls are now preparing for conference play to start, which begins on Sept. 26 with a home game against Akron (7-4).
SPORTS
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Bulls de-feather Owls after huge second quarter MYAH GONZALEZ, SEAN STANTON STAFF WRITERS
The Bulls football team (2-2) defeated the Temple University Owls at UB Stadium on Saturday night. UB relied on their defense and run game in a matchup where it was heavily favored to lose. The Bulls bounced back from a rocky start, giving up an interception and a touchdown in the first drives of the game. But a huge second quarter for both their offense and defense blew the game open. After losing two in a row, this game is a huge confidence booster going into conference play. After coming out of the first quarter down 7-0, it wasn’t looking good for the Bulls.
Wide receiver Antonio Nunn catches a pass with a Temple defender on his back. Photo By Alexander Brown | The Spectrum
Running back Jaret Patterson scoring his first of two touchdowns on the day against the Temple Owls. Photo By Alexander Brown | The Spectrum
Then their running game broke out. The Bulls ran for 243 yards and four touchdowns in the game, three of those coming in the second quarter. UB then went on to score 31 unanswered points. Jaret Patterson and Kevin Marks carried Email: sports@ubspectrum.com the running game, running for 214 yards and three touchdowns combined. Patterson credits his success to the offensive line. “Hats off to them, they did their thing today,” Patterson said. “They do a great job each and every week.” The duo also made school history by beJunior tight end Jake Molinich declares a touchdown in the endzone. ing the first runningPhoto By Chris Yang | The Spectrum backs since Nov. 7,
rushing
2015 to each carry the ball 20 times in a game. UB’s run game flourished because of its defense, holding off the Owls until the Bulls were too far out of reach. UB had three interceptions this game after failing to have any in the three previous games this season, one of which was taken all the way in by Joey Banks for a pick six. The defensive line heavily pressured the Owls, which resulted in three sacks and a fumble. Banks credits them for the secondary’s success. “They were causing havoc up front which trickled down to the secondary and their quarterback was just throwing money out there and we were taking it.” This performance severely limited the output from Temple quarterback Anthony Russo, who ended with only 25 completions of 51 attempts on the night. Temple didn’t go out easy though, putting up a fight toward the end of the game.
The Owls scored a total of 15 points in the third quarter and into the fourth, after not responding to the Bulls for the better part of three quarters. It wasn’t enough to come back though, with the Bulls easily securing the win in the final minutes despite desperate efforts from the Owls. Getting a win against a tough opponent like the Owls is important for this young Bulls team going into conference play. “This is a great win, a huge win, this builds confidence,” Patterson said. “We’re still finding our identity so we can make a strong statement in conference play.” UB faces the Miami Redhawks (1-3) next week. The Bulls have a 7-14 record against the Redhawks, with UB being the last to win in the match-ups. Email: sports@ubspectrum.com
Pregaming: A UB football music rundown What do the Bulls listen to before games? ZACH MCADOO STAFF WRITER
We all have different songs for different moods. The same goes for the Bulls football team, which warms up, practices and trains on music. So we took to UB Stadium to discuss the Bulls’ favorites, recommendations and genres they avoid before their biggest games.
Matt Myers: Drake, Future UB’s starting quarterback says he regu-
larly listens to Future and Drake before big games. He also said he’ll occasionally throw on some Meek Mill or Juice Wrld and Lil Uzi Vert on the field. “When I am just by myself before games I like to be cool, calm. Then pregame I turn it up a little bit,” said Myers, who admits you’ll probably catch him headbanging pregame.
Aapri Washington: Drake, Future, Meek Mill
Sophomore cornerback Aapri Washington says he likes to start his game day with some slow, classical music during the team’s pregame meal. “Then I ramp it up a little before the game, so a little bit of hip-hop and R&B,”
Washington said. Washington added that he listens to Drake, Future and Meek Mill as games approach, right before kickoff. And although he’s a huge supporter of DaBaby, he says “it really isn’t the mood before the game.”
Tyrone Hill: 50 Cent
Junior safety Tyrone Hill says he likes to listen to rap before games. More specifically, he gets “old school” with some 50 Cent. Hill adds that he typically listens to jazz music, but doesn’t before games. “Jazz is more like smooth and relaxing,” Hill said. “Listening to that before a game might throw me off my game.”
Fabian Weitz: Drake, Meek Mill, Rick Ross
Weitz, the Bulls’ German recruit, listens to hip-hop before games. Weitz, who once attempted to learn guitar but decided it wasn’t for him, said he doesn’t have a particular song that he listens to pregame. “I got a playlist with a couple songs on it, most of them Meek Mill, Drake, Rick Ross.” Weitz said there are genres he enjoys off the field that he don’t give him the energy he needs to pregame. “I don’t listen to R&B before a game, that [doesn’t] really get me fired up.” Email: sports@ubspectrum.com