T H E I N D E P E N D E N T TSHTEU D NETP E PN UD BE LN I CTA S TT IO NA I VTEI R Y FA T T HBEU U FF E T1 B 9U 50 I NED UN D EO NFT TPH UEB LUI C OSNI T O NA I VLEOR,S S I TI N Y CA FFALO, SINCE 1950
wednesday, November 18, 2015
Music ISsue
Volume 65 No. 34
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MUSIC ISSUE
COVER DESIGN BY YUSONG SHI AND KENENTH CRUZ
NY#
goodbye Athletic Director Danny White leaving UB to take A.D. job at UCF TOM DINKI EDITOR IN CHIEF
Athletic Director Danny White will leave UB to accept the A.D. job at the University of Central Florida, according to multiple reports Tuesday. UCF Vice President Grant Heston confirmed the hire to the Orlando Sentinel Tuesday night. UCF is expected to introduce White Thursday morning. Calls to White’s cell phone were not returned Tuesday. The move ends White’s at times successful and at times controversial three-year tenure after he was hired as athletic director at
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the age of 32 in May of 2012. The Spectrum approached several UB officials at the women’s basketball game Tuesday night, including President Satish Tripathi, but all declined comment about White. UB Athletics did not officially comment Tuesday, but an athletics spokesperson, who could not confirm or deny the reports, said White’s work at UB during the past three years shows why he’s been considered for larger job openings. UB released a statement to The Spectrum saying it was pleased with White’s leadership, but the university would not comment on the reports of him leaving as “speculative discussions … does not serve or support the efforts of our student athletes, the athletics de-
Music professor brings culture and talent to UB
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partment or the university community.” White signed a five-year contract extension through 2019 with UB last fall in order to show “commitment to the Buffalo community and this university,” he told The Spectrum at that time. White was the highest paid athletic director in the Mid-American Conference in the 2013-14 fiscal year with a pay of $301,625, according to USA Today. White’s original contract included $75,000 to assist with relocation expenses, which he owed back to UB if he voluntarily ended his employment before June 3, 2017. UCF plays in the American Athletic Conference and has a larger athletics budget than UB. The lateral move up for White has been
“Legally Blonde” set to open at the CFA on Thursday
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SPECTRUM FILE PHOTO
The University of Central Florida has hired Danny White as its athletic director, according to multiple reports Tuesday. White spent three years in Buffalo rebranding the program and pushing for donations.
long expected since the A.D. arrived in 2012, as his youth, success, aggressive strategies and family connections in college athletics have made him a hot name for larger jobs. UCF’s athletics leadership has underwent several changes recently, with former athletic director Todd Stansbury leaving for Oregon State and interim athletic director George O’Leary stepping down and retiring from coaching last month. CONTINUED FROM PAGE 10
The Spectrum editors’ top songs of 2015
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NEWS
Wednesday, November 18, 2015
THE SPECTRUM
ONE VOICE AT A TIME GABRIELA JULIA
SENIOR NEWS EDITOR
When Tiffany DuMouchelle was a vocal teacher in California, one of her Iranian students composed a piece for her to sing. DuMouchelle wanted her performance to fully capture the meaning behind the words. As DuMouchelle sang, she covered her face with a veil and a man with a flute played over the sound of her voice. The performance embodied the lack of female presence in music. Her student told her than in Iran, women are not allowed to sing in public or in the company of men. This was one of the many moments that made DuMouchelle appreciate performing as a woman. DuMouchelle is an adjunct assistant professor in the music department and the head of the voice program. She is a soprano and received her bachelor’s and master’s from Mannes School of Music in New York City and her doctorate at University at Califor-
nia, San Diego. She specializes in new works but also enjoys multicultural collaboration. DuMouchelle knew she wanted to take the center stage since she was a child. She has been performing in plays since she was in first grade. Growing up she wanted to be a performer, whether singing or acting. She received immense support from her family to follow an artistic path since her mother is a painter. She’s traveled the world and has utilized different types of music. She has a background in opera and said she likes how she can use her voice in different ways. She has also sung in 35 different languages including Arabic, Japanese, Russian, and Swedish. DuMouchelle has had solos at the Lincoln Center and at Disney Hall. She has performed at numerous music festivals and was a recipient of the prestigious Richard F. Gold Career Grant for American Opera Singers. But there was a time when she thought she would have to put her career on pause. When DuMouchelle was completing her master’s, she learned that her mother needed a kidney transplant and she was faced with
GABRIELA JULIA, THE SPECTRUM
Tiffany DuMouchelle is an adjunct assistant professor in the music department and the head of the voice program. She specializes in new works but also enjoys multicultural collaboration.
a tough decision. She could donate her kidney to save her mother’s life, but there was a possibility she could somehow lose her voice. “It definitely distracted me from my career and my ambitions,” she said. “I was burnt out.” But DuMouchelle knew she was a perfect match and went through with the transplant. Once her surgery was over, she envisioned her life going in a different direction. “I realized I wanted to do something where I could interact and not be on the road alone,” she said. “When you’re singing opera, people want you to sing, act and look a certain way. I didn’t want my identity to be written about me.” DuMouchelle assures she still loves opera – she just loves other types of music as well and started working with composers. “Music isn’t about singing a pretty song,”
she said. One of DuMouchelle’s biggest accomplishments is being a part of Cultures in Harmony (CiH), a non-for-profit organization that encourages people from different cultures to interact through music. Through CiH, DuMouchelle has traveled to Egypt, Tunisia, Cameroon and Papua New Guinea. Each trip was a different project where members of CiH worked with musicians in those countries and raised money for local organizations. When she was in Cameroon, she performed at orphanages, visited prisons and held “jam sessions” with the natives. “It’s amazing because we don’t all speak the same language but once you start playing music it doesn’t matter who you are, it’s a very special thing,” DuMouchelle said. CONTINUED ON PAGE 6
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OPINION
Wednesday, November 18, 2015
THE SPECTRUM
Editorial Board EDITOR IN CHIEF
Tom Dinki
An open letter to the ignorant Lessons from the Bataclan
MANAGING EDITOR
Alyssa McClure COPY EDITORS
Kayla Menes Renée Staples NEWS EDITORS
Gabriela Julia, Senior Ashley Inkumsah Marlee Tuskes FEATURES EDITORS
Tori Roseman, Senior Dani Guglielmo ARTS EDITORS
Brian Windschitl, Senior Kenneth Kashif Thomas Tomas Olivier, Asst. SPORTS EDITORS
Jordan Grossman, Co-senior Quentin Haynes, Co-senior PHOTO EDITORS
Yusong Shi, Co-senior Kainan Guo, Co-senior Angela Barca . CARTOONISTS
Joshua Bodah Michael Perlman CREATIVE DIRECTORS
Kenneth Cruz Pierce Strudler, Asst.
Professional Staff OFFICE ADMINISTRATOR
Helene Polley ADVERTISING MANAGER
Nicole Dominguez Lee Stoeckel, Asst. Zach Hilderbrandt, Asst. ADVERTISING DESIGNER
Derek Hosken
THE SPECTRUM Wednesday, November 18, 2015 Volume 65 Number 34 Circulation 7,000 The views expressed – both written and graphic – in the Feedback, Opinion and Perspectives sections of The Spectrum do not necessarily reflect the views of the editorial board. Submit contributions for these pages to The Spectrum office at Suite 132 Student Union or news@ubspectrum.com. The Spectrum reserves the right to edit these pieces for style and length. If a letter is not meant for publication, please mark it as such. All submissions must include the author’s name, daytime phone number, and email address. For information on adverstising with The Spectrum, visit www.ubspectrum.com/advertising or call us directly at 716-645-8555 The Spectrum offices are located in 132 Student Union, UB North Campus, Buffalo, NY 142602100
AUBREY MCLAUGHLIN STAFF WRITER
On Friday night, people went to see Eagles of Death Metal, a popular California rock band, in Paris, France. Pictures were taken with a stagewide view of the audience just minutes before 9:40 p.m., when gunmen opened fire and murdered 89 people. In the photos, everyone appears to be having a great time – you can see the raised glasses, people playing on their phones, uncomfortable boyfriends, dancing girlfriends, the partying old, the awkward young, the loud, the quiet, the veteran fans and those new to the scene. Many salute the band with the universal hand sign of rock ’n’ roll. It was everything you could ask
for at a concert. Some surviving concertgoers said they assumed the shooting was part of the show. A picture of the same room after the shooting, a side view of the venue’s main floor, shows a different scene – cigarette butts, shoes, purses and handbags and bodies in piles coat the floor. There are wide streaks of fresh blood leading to the exits like a map. Nobody is listening to music. If you frame these pictures correctly, the massacre at Bataclan stems from neglect – neglect of the issues that have been occurring for months. Those at the concert were there because they all enjoyed the same music and the feeling it gave them. Everyone died on Nov. 13 from senseless violence, but that violence stems from ignorance. The powers in the Western world, from the seat of their leather couches and big-screen TVs, have failed to properly address ISIS – who claimed responsibility for the attack on the Bataclan and other areas around Paris – from the start. They’ve waited and waited, despite suffering all over
the world to take any action other than firing missiles from invisible war machines cowardly circling the skies at the expense of thousands of innocent lives. They have been ignorant of the bigger problem. They’ve failed to recognize what I believe my millennial generation has come to terms with. The world – not the United States, not New York, not even Paris – is our home. When a violent tragedy happens “there” – wherever it may be Lebanon or Kenya or where you stand now reading – it must be felt by all people. We must have the sort of togetherness that a concert brings about – it doesn’t matter if you know everyone in the audience, but you’re all there, existing, for the same purpose: to be happy. No longer can we neglect to have such an attachment. I don’t know how to solve the issues ISIS has caused, but I do know our ignorance has fueled them and it will continue to do so until the final word. In the wake of the Paris attacks, governors from across the United States have vowed to reject Syrian refugees, twisting the massacres and
expressing a blatant disregard of our generation’s belief in equality and justice and sacrifice. These individuals seem to miss the point that neglecting the Syrian people has nurtured this disaster. No matter what anyone says, the assault of Paris isn’t a political question – it’s an ethical one. Look at those pictures from the Bataclan again. Though you weren’t there, maybe you can see yourself in the audience. It could have been a concert at Webster Hall in New York City or the Staples Center in Los Angeles. I saw a concert in Buffalo a mere two days before the incident, so I know I can put myself in those concertgoers’ shoes. We as a global community, as civil people, as examples to our children, must put aside our prejudices and remember we were all in the concert hall. We all have suffered and we all must put our minds together to stop the greed and fear. We must end what causes, never simply react to what has been caused. email: features@ubspectrum.com
LETTERS TO THE EDITOR In a letter from a significant percentage of the faculty in Transnational Studies, I was helpfully informed that the undersigned, “support those students arguing that art cannot always be only for art’s sake...” I am only puzzled as to who might possibly be construed as having made that argument. Surely not me, as in fact my work, and the work of the vast majority of my colleagues is defined by an activist, progressive social practice: my work is queer, others here deal with racial, gendered, ethnic and/or economic inequity. No one here airs that tired bromide “art for arts” sake. I write as a faculty member of the Department of Transnational Studies who has taught at the University at Buffalo for over seven years. Ours is a department that houses several majors – among them African American Studies, American Studies, and Global Gender Studies – that focus on histories of social inequality. Several of my colleagues have submitted a letter to The Spectrum addressing the controversy over the “White Only” art project. I was not a signatory to the letter but not necessarily because I disagreed with it. Rather, I believe we must redirect our attention from the trees to the forest. The recent campus discussion on public art may give the impression that we are debating an isolated issue. However, it can’t be separated from the broader fact that Transnational Studies – the only department consisting entirely of faculty trained to teach and conduct research on social inequality – is woefully understaffed. During the past few years, a significant number of Transnational Studies faculty – three last year alone – have taken positions elsewhere or retired. The university administration has not prioritized replacing them. As students nationwide call for 1) a curriculum with more accountability to people of color and 2) recruitment
On the contrary we are on aggregate one of the most socially engaged art departments in the US. Just look at our course schedule. Ashley’s art project was precisely an anti-racist intervention designed to force to the surface a conversation, too long repressed in this country, around racial privilege and racial discrimination. We unabashedly support her freedom of expression, as well as her intent to spur a difficult conversation. This is a disagreement, if in fact there is any substantive disagreement at all, about how to hold a painful conversation. And as Chair of the Art Department, I still hold and retention of faculty of color, the University at Buffalo is stalling. I can only conclude from this inaction that the university believes our department’s mission is unimportant. Are we surprised when black students are not comfortable here? Are we to think this wasn’t the case before any art project was installed? Whose calls for action do and do not have legitimacy? Whose claims to injury are and are not heard? Who can and cannot walk across this campus with full assurance that they belong here? The need for us to hold these difficult discussions will continue. By instilling guidelines for public art as is President Tripathi’s plan, our teaching won’t suddenly become irrelevant. The need for coursework on racism, genocide, and colonialism won’t disappear. Social justice is always a process, never a done deal. So let’s talk … about public art and other things. Let’s keep on talking. The Department of Transnational Studies can help. However, we can’t do that without adequate staffing. Cynthia Wu is Associate Professor of Transnational Studies. She is a past recipient of the Milton Plesur Excellence in Teaching Award.
fast to the belief that art is a singularly effective way to raise complicated, politically charged, even traumatic issues too many believe are better left unsaid. But art isn’t the only way to have a difficult conversation, and that’s why the Art Department has been planning, in concert with the Dean’s Office of the College, a campus town meeting on how we talk about painful issues in and through art. We aren’t finished with the planning, but will be able to announce the meeting shortly. But in the interests of civil conversation and civil equity let us make sure to understand the complicatEditor’s note: The article “Pressure mounts for UB to take stance on ‘White Only’ art project” was published in the Nov. 11 issue of The Spectrum. We the undersigned faculty members in the Department of Transnational Studies, home of African and African American Studies at UB, would like to raise our voices in support of the position taken by the Black Student Union on the issue of race relations at our university. In the last issue of The Spectrum, in an article Pressure mounts for UB to take a stance on ‘White Only’ art project, Department of Art Chair Jonathan Katz is quoted as saying that “he wasn’t surprised by the student reaction to the project, but that many in the arts department faculty ‘were incredulous that people don’t understand that this work is anti-racist.’ He said he’s ‘shocked’ to see what he considered a lack of understanding about what art is.” “An art department stands for freedom of expression,” Professor Katz told the Spectrum. He added, “You’ve got black students saying this hurt me and you’ve got racists saying this hurt me. That ought to tell you this is doing the right thing.” We the undersigned support
ed relationship between the content of any political conversation and the form that conversation takes. Art may sometimes seek to deliberately upset you, in order to shock you out of complacency and force a recognition and conversation you’d rather not have. Ugly truths may take ugly forms that can cause pain. It is a deeply ironic characteristic of art that its beauty is so often to be found in its ugliness. Jonathan D. Katz Chair, Department of Art
those students arguing that art cannot always be only for art’s sake and that while we all stand for freedom of expression that all freedoms have to be contextualized from the standpoint of inequitable power relations. Who and what are anti-racist have always been subject to reasonable interpretation and limits. With deference to some of our colleagues, we believe it should be for those who feel the sting of racism to determine what is racist or anti-racist and equally to speak up. Therefore we do not think that it is at all surprising that students would reason that black lives matter more than merely as artistic expressions but as lived reality in its entirety. Cecil Foster, Professor, Director of Graduate Studies Keith Griffler, Associate Professor, Chair James Pappas, Associate Professor Donald Grinde, Professor Janina Brutt-Griffler, Professor Munroe Eagles, Professor Barbara Wejnert, Associate Professor Y.G-M. Lulat, Associate Professor Marla Segol, Associate Professor
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FEATURES
Wednesday, November 18, 2015
THE SPECTRUM
A play on words TORI ROSEMAN SENIOR FEATURES EDITOR
Bailey Humiston started acting in her mandatory fifth grade play, “Get on board with citizenship,” written for the class about acceptance. She sang “You Can’t Buy Friendship.” At that moment, she caught the bug. “I’ve been in love with it ever since then,” Humiston, a senior musical theater major said. “I’ve been in a musical or two every year since then.” Huminston is set to play Elle Woods in the upcoming UB production of “Legally Blonde.” The show will have ten performances, more than the usual six or eight that UB shows see, beginning Thursday Nov. 19. “Legally Blonde” is the story of a sorority queen turned dedicated academic who pursues law school to win back the boy who broke her heart. Along the way, she learns she is more capable than she had ever previously believed. “It’s a big show – the design, the splendor, the music, the comedy,” Humiston said. “We’ve been joking about it and calling it a freight train. If you fall off the freight train you’re never going to get back onto it.” Humiston cites the mass amounts of outfit changes – especially “quick changes” – as the main source of all the chaos. Sometimes the entire ensemble needs to change all at once during a transition, so everyone backstage is just rushing to get his or her outfit on and go back out. She’s not the only one who needs to move quickly. Sean Ryan, a senior musical theater major and member of the ensemble, said he has about 12 “quick changes.” “Dressers” – people who are assigned to help him do things like button shirts and tie
‘Legally Blonde’ hits the CFA
KAINAN GUO, THE SPECTRUM Bailey Humiston (left) describes “Legally Blonde” as a “freight train” - a nonstop, massive production that’s both exciting and exhausting. The show opens Thursday at the Center For the Arts.
shoes to make the process go as smoothly and swiftly as possible – aid in this process. “It takes practice; it’s something you have to do a few times,” Ryan said. “All of the clothes are laid out beforehand so once you’re offstage you just have to run over to them and move as quickly as you can.” Ryan has been in other UB productions including “Urinetown” and “Les Misérables.” He said that this is the largest cast he’s ever been part of and that the group has become close after being together so often. Ryan also said that the music may seem simple and catchy, but it’s actually very challenging. “At first glance it’s not difficult, but it re-
quires a lot of vocal strength,” Ryan said. “We’ve been working on it for a while, it’s a lot to learn since most of the show is singing.” The cast has been working all semester on this production, and the director was cast in April. The department is able to get a new director every semester for the show – this semester it’s Keith Andrews, a director from New York City who has worked on shows like “Spamalot” and “Saturday Night Fever.” In the final weeks before the show, Humiston lives in the theater department. “I’m here all the time. You don’t leave. It’s insanity – my alarm went off and I was late for class, but I accepted it. It’s part of
the craziness of the week and it hadn’t happened before today,” she said. Nicole Weitzman, a junior musical theater major, plays Paulette – an older woman who becomes Woods’ friend and mentor – in the production. She describes the weeks before the show as hectic, but in a good way. “The show is a marathon,” Weitzman said. “Every song is a big production and once it starts, it doesn’t stop.” For Weitzman, opening night is a chance to finally share something that everyone has been working hard towards. Not everyone in the production has experience in singing. Kevin Nagel, a senior theater major, has never really gotten into the singing portion of the stage. “I’ve been told I’m not tone-deaf, but I’ve never been trained,” Nagel said. “So I have a small, non-singing role.” This is the first UB production Nagel has been in. He has done other shows outside of the campus through Warped Productions including “Sexual Perversity in Chicago.” Nagel felt it was important he try out for a part and participate in the show in his last year. “I felt like in order to call yourself part of the program it’s important to try out and be part of the show,” Nagel said. “Being around musical theater people is great – they’re all so experienced and well-rounded. I’ve even learned to read sheet music and pick up on timing with song.” Humiston said her favorite production was “Spring Awakening” last semester, but “Legally Blonde” is definitely high up on her list of favorites. CONTINUED ON PAGE 6
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ARTS & ENTERTAINMENT THE SPECTRUM
Kid Rah proliferates artistry
KENNETH KASHIF THOMAS, THE SPECTRUM
Osei Mbhaso, whose artist’s name is Kid Rah, collaborates with friends to make music. He takes his inspiration from his home on Long Island and incorporates it with the diversity he finds at UB.
UB artist works to become well-rounded, shine light on artist community
KENNETH KASHIF THOMAS ARTS EDITOR
It can be understood that everyone has a latent potential to create – it just has to be discovered and refined. Osei Mbhaso, a senior communication major who goes by the artist name Kid Rah, shows the truth in this statement. Through creation and collaboration, Mbhaso looks to temper himself and inspire. Coming to UB from Bellport, Long Island, the 21-year-old rapper and producer has taken his inspirations from home and meshed them with his collegiate experiences. Working to expand his skills, Mbhaso has experimented with music and visual arts, but has noted that, as with any craft, time has to be put in. From high school athlete to full-time creative, Mbhaso has been unlocking his talents through new experiences and collaborations; as well as creating a platform for other artists. “You have to be 100 percent true to your-
self – if you’re not 100 percent true to yourself, you won’t like your own music and the vibes will be off, as compared to the vibes that you carry in real life,” Mbhaso said. “You have to do that to make real genuine music, that’s just what I learned.” Starting out as a high school athlete who broke the 110-meter intermediate hurdle record for his track & field team with 14.7 seconds, Mbhaso wasn’t always arts-focused. Getting his feet wet, his mentor Darrell Johnson – a Bellport artist who goes by the artist
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Wednesday, November 18, 2015
name Freddy Laz – guided Mbhaso and he began to learn to create music at the age of 16. Described as his town’s “Kanye,” Johnson first met Mbhaso in high school through a mutual friend. “He had aspirations to do music and he was doing art as well, he was already into visual arts,” Johnson said. “He first sent me a track and I heard it, I said, ‘Oh, this is trash,’ but he was dedicated so I gave him some tips to improve his flow and lyricism.” Johnson first taught him to keep on beat
with a metronome when rapping – “an element of all music,” according to Johnson. Johnson was there to help with the production of beats and helped with songwriting, noting the speed in which his artistry improved. At the age of 18, Mbhaso released his first project titled Spectrum, which got favorable reception online. It’s intro song, “Violet” received over 5,000 plays on SoundCloud and the title track “Spectrum” received over 3,000 plays. Describing his sound as dark, he also finds inspiration in nostalgia, implementing elements from some of his favorite childhood memories, such as the anime shows he would pass the time watching. “I like to play with darker concepts and darker aspects of life, to kind of flip them on their head and make them positive,” Mbhaso said. “I like to speak about the things that people run away from and make it something they can learn from.” With legendary artists such as Rakim and De La Soul coming out of your town, there are some pretty big shoes to fill. Like artists before him, it was through experiences that would give his music life, making them both relatable and personal. Mbhaso cites coming to UB as being a mindopening experience, putting him in contact with people from wholly different backgrounds. “Coming to UB has slowed down my production rate, but … has matured my sound, in the sense that I’ve been able to be in the presence of artists and learn from them,” Mbhaso said. “I’ve been able to talk to different ethnicities of people and it’s expanded my worldview, it brings more depth to my sound, my material and content.” While at UB, Mbhaso has collaborated with various artists, such as MovesLikeJonny, Produced By Jugo – who produced “Living Life” for Bobby Shmurda – and Don Heem. CONTINUED ON PAGE 9
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Wednesday, November 18, 2015
FEATURES THE SPECTRUM
ONE VOICE AT A TIME
CONTINUED FROM PAGE 2
During many of her visits to other countries, she witnessed a lack of female representation in music. In some places, women weren’t given the same rights to speech as men, similar to what her student told her about Iran. DuMouchelle also recalls performing at a music festival in a rural town in Tunisia. CiH was performing with some of the local students when a conservative group came and shut it down because the women were too “open and provocative.” “We were worried about the welfare of the students,” she said. “What you see as a visitor is completely different from what people see who live there.” When DuMouchelle visited Alexandria, Egypt, she worked with children between the ages of 7 and 12, many of whom were girls. Most of them lived in underprivileged neighborhoods.
One of the projects was to write compositions with the children but DuMouchelle said it was difficult to get them to come up with ideas. “They had never been given this opportunity before,” DuMouchelle said. “Some wrote the lyrics, ‘I love my family.’ Another wrote about not wanting to get hit anymore and another about the children in Palestine. It was an emotional experience.” But there were still times when DuMouchelle and the children could fully immerse themselves in the music. DuMouchelle tried improvisational yodeling with a musical group in Nigeria that played talking drums and danced with a traditional Cameroon dance troop. “The world is a harsh place, so people look to music for reason and escape,” she said. DuMouchelle said music makes her feel safe and it’s where she’s “always wanted to
be.” Now she is in Buffalo, where she loves the snow and teaching. Rachel Kim was one of DuMouchelle’s vocal students in San Diego from 2009-2012. She said she still uses the warm-ups DuMouchelle taught her when she practices. She said she was very fortunate to have been able to start her start her vocal journey with her. “As a teacher, she had a great talent for explaining vocal techniques so that I could visualize them,” Kim said. “She was also always trying to help me experience other aspects of music other than just taking lessons and singing. She would practice constantly and always encouraged me to do the same.” DuMouchelle now teaches a vocal diction class at UB where students work through Italian pronunciation. Although the music department is only a small part of a huge research university, DuMouchelle sees UB as a “wonderful oppor-
tunity” for collaboration. “A lot of the technological advancements we have now were created by musicians,” she said. “So there is a definite correlation between the arts and sciences. Humanity created arts for a reason.” DuMouchelle said one thing that has changed her life is working with small groups of people. She said close-knit groups are how people get to know one another and it’s what makes the world “smaller, friendlier and more authentic.” It has also affected the way she teaches. “I try to look at my students as individuals,” DuMouhelle said. “Some of my students will be wonderful performers, some will be wonderful teachers and some will not be professional musicians. But I think what they find through music is still applicable to them as individuals.” email: news@ubspectrum.com
A play on words CONTINUED FROM PAGE 4
The actress always knew she wanted to pursue theater after high school, though it took some time to convince her parents it would work out. “I knew my parents wanted me to go into something ‘practical,’” Humiston said. “I knew that this was what I wanted. It was what I wanted to do with my life. This is the one consistent thing in my life that has made me happy thus far, so I feel like I need to pursue it.” The actress is from Orchard Park, so she
commutes from home to UB, along with her dog, who plays Bruiser – Woods’ chihuahua – in the production. “They needed a dog,” Humiston said. “Mine has played Toto in a production of ‘The Wizard of Oz’ before, so I knew she could handle it. She kind of has a résumé.” Humiston will be graduating this semester. She’s moving to Los Angeles post-graduation to begin pursuing a career in film and television acting. She knew that a move was inevitable – many go to New York City after graduation. She wanted to try the harder West Coast
first and see what happened there before heading closer to home. Though she’s excited about the move and pursuing something different than she’s been working through at UB, she will miss everyone at UB. “I’m moving in January, and it’s really bittersweet to be leaving them. They’re definitely my biggest inspiration and my biggest supporters,” She said. The theater department has a unique dynamic to it since students are forced to compete against each other for roles and then work closely together in the production for
months at a time. Humiston thinks everyone is very supportive of each other, despite the inherent competition. “It’s what you’d expect it to be. We are very loving of each other as well. Of course you’re going to have drama in any department you’re in,” Humiston said. “We’re a very small department – regardless of your role, we can all come together and make something that’s amazing every single time.” email: features@ubspectrum.com
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ARTS & ENTERTAINMENT
Wednesday, November 18, 2015
THE SPECTRUM
THE SPECTRUM 'S PICKS: OUR STAFF'S FAVORITE SONGS OF 2015 BRIAN WINDSCHITL SENIOR ARTS EDITOR
Music is a subjective art form, subject to the fickle whims of listeners who don’t know what they want to hear until they hear it. That’s what makes end-of-year lists so hard – everyone has an opinion they think is right. But music isn’t black and white. So, instead of compiling a substantive “Top 20 Songs of 2015” list, we decided to just keep it simple. Spectrum staff members submitted their favorite few songs from the past year. Among the in-office frontrunners are Drake and Future, Bryson Tiller, Ellie Goulding and, of course, good ol’ Justin Bieber. Check out the staff picks below.
TOM DINKI
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Rihanna, “BBHMM” – Anti
EDITOR IN CHIEF
Drake, “Hotline Bling” – Hotline Bling Drake, “Know Yourself” – If You’re Reading This It’s Too Late Fetty Wap, “Trap Queen” – Fetty Wap
ALYSSA MCCLURE MANAGING EDITOR
Adele, “Hello” – 25 Ellie Goulding, “Love Me Like You Do” – Delirium JoJo, “Say Love” – III Marianas Trench, “Wildfire” – Astoria The Weeknd, “Tell Your Friends” – Beauty Behind the Madness
KAYLA MENES COPY EDITOR
The 1975, “Love Me” – I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It Disclosure ft. Lion Babe, “Hourglass” – Caracal Miguel, “Waves” – Wildheart
RENÉE STAPLES COPY EDITOR
Adele, “Hello” – 25 Bring Me The Horizon, “Run” – That’s The Spirit Kendrick Lamar, “Alright” – To Pimp A Butterfly Missy Elliott, “WTF (Where They From)” – (Untitled)
GABRIELA JULIA SENIOR NEWS EDITOR
“Sorry” – Justin Bieber - Purpose “Exchange” – Bryson Tiller – T R A P SOUL “Runnin’” – Kehlani - You Should Be Here “One Man Can Change the World” – Big Sean – Dark Sky Paradise
ASHLEY INKUMSAH NEWS EDITOR
The Vaccines, “Dream Lover” – Eng-
lish Graffiti Ellie Goulding, “Love Me Like You Do” – Delirium Marina & The Diamonds, “Immortal” – FROOT
MARLEE TUSKES NEWS EDITOR
Drake and Future, “Jumpman” – What A Time To Be Alive The Chainsmokers, “Roses” – Bouquet EP Halsey, “Colors” – BADLANDS Justin Bieber, “Where Are Ü Now” – Purpose Taylor Swift, “Bad Blood” – 1989
TORI ROSEMAN Big Sean, “All Your Fault” – Dark Sky Paradise Donnie Trumpet & The Social Experiment, “Slip Slide” – Surf Justin Bieber, “What Do You Mean” – Purpose Panic! At The Disco, “Emperor’s New Clothes” – Death of a Bachelor, Too Rare To Die!
FEATURES EDITOR
at the AMHERST Theatre
Avicii, “Can’t Catch Me” – Stories The Chainsmokers, “Roses” – Bouquet EP Imagine Dragons, “Shots (Broiler Remix)” – Shots EP Justin Bieber, “Sorry” – Purpose Justin Bieber, “What Do You Mean” – Purpose
BRIAN WINDSCHITL SENIOR ARTS EDITOR
D.R.A.M., “CHA CHA” – #1EpicEP Grimes, “Realiti” – Art Angels Jamie xx, “Loud Places” – In Colour Tame Impala, “Let It Happen” – Currents Unknown Mortal Orchestra, “The World Is Crowded” – Multi-Love
KENNETH KASHIF THOMAS
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Calvin Harris ft. Disciples, “How Deep Is Your Love” – How Deep Is Your Love Drake, “Energy” – If You’re Reading This It’s Too Late X Ambassadors, “Renegades” – VHS
QUENTIN HAYNES CO-SENIOR SPORTS EDITOR
Future, “March Madness” – DS2 Travi$ Scott, “90210” – Rodeo Bryson Tiller, “Overtime” – T R A P S OUL Kendrick Lamar, “Alright” – To Pimp A Butterfly
KAINAN GUO CO-SENIOR PHOTO EDITOR
Maroon 5, “Sugar” – V Rihanna ft. Kanye West & Paul McCartney, “FourFiveSeconds” – Anti Wiz Khalifa ft. Charlie Puth, “See You Again” – Furious 7: Original Motion Picture Soundtrack
YUSONG SHI CO-SENIOR PHOTO EDITOR
Drake, “Hotline Bling” – Hotline Bling Drake, “Back to Back” – “Back to Back” Mark Ronson ft. Bruno Mars, “Uptown Funk” – Uptown Special Sam Smith, “Writing’s On the Wall” – Spectre (Original Motion Picture Soundtrack)
ANGELA BARCA PHOTO EDITOR
Bryson Tiller, “Right My Wrongs” – T RAPSOUL Drake and Future, “Change Locations” – What A Time To Be Alive Sam Smith ft. John Legend, “Lay Me Down” – In The Lonely Hour Tekno, “Duro” – Duro
KENNETH CRUZ CREATIVE DIRECTOR
D.R.A.M., “Gotta Go” – #1EpicEP Future, “March Madness” – DS2 Villa, “January” – Vertical Post Malone, “Too Young” – Too Young
Disclosure, “Magnets” – Caracal Halsey, “Drive” – BADLANDS Lana Del Rey, “High By The Beach” – Honeymoon Purity Ring, “Begin Again” – another eternity
TOMAS OLIVIER
PIERCE STRUDLER
ARTS EDITOR
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CO-SENIOR SPORTS EDITOR
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JORDAN GROSSMAN
ASST. ARTS EDITOR
Bring Me The Horizon, “True Friends” – That’s The Spirit Drake, “Legend” – If You’re Reading This Its Too Late Miguel, “Destinado A Morir” – Wildheart
ASST. CREATIVE DIRECTOR
Adele, “Hello” – 25 Rihanna, “B*tch Better Have My Money” – Anti Selena Gomez, “Good For You” – Revival email: arts@ubspectrum.com
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ARTS & ENTERTAINMENT
Wednesday, November 18, 2015
THE SPECTRUM
The Spectrum Grammys: Highest rated albums of 2015
able to completely shift its genre, in a completely new timeframe and social context, and still be able to make an album that is sharply written and laden with personal and political influences. In a way, No Cities To Love builds on the thematic foundations of its punk rock roots by extending the consideration of gender into an exploration of self-identity.
Grimes, Art Angels
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A comprehensive list of 2015’s most impressive LPs so far forceful redistribution of bass, drums and synths over guitar alone makes Currents incomparable to Innerspeaker or Lonerism. But, that’s not a bad thing. All special albums have a quality about them that makes them incomparable to the artist’s previous work as well as any other artists out there. For this reason, Currents stands alone – at the top of our list.
Between Future and Drake, One Direction and Justin Beiber, Taylor Swift and Carly Rae Jepson, this year’s top albums were nearly impossible to narrow down to 25 LPs, let alone 10 standout albums. But The Spectrum did its very best. Here’s our end-of-year, top-10 album listing.
Jamie xx,
Tame Impala,
In Colour
Currents
Jamie xx’s career, as a musician and especially a producer, has quickly blossomed into something noteworthy. It is almost as if Jamie xx is able to perfectly encapsulate the sound of emotion by adding loop after loop after loop. In Colour blurs the line between producer and artist, to the point where they are indistinguishable. But it hardly matters – his ear for sampling and fitting pieces of sound bytes together is unparalleled – and the result is In Colour, a strikingly complex, layered piece of work,
Kevin Parker’s introverted tendencies, expressed poignantly on Innerspeaker and Lonerism, have seemingly given birth to something great in Currents. The album, sonically, is a near-impossible blend of genres and styles, from dance and disco, to ambient progressive and psychedelic rock and even pop. As always, Parker’s artistry forces boundaries to be redrawn – Currents is unlike anything else Tame Impala has released; its
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that, through sampling and looping, comes as close to sonic perfection as humanly possible.
Courtney Barnett, Sometimes I Sit and Think, and Sometimes I Just Sit Light years apart from the sonic perfection that both Richard Parker and Jamie xx seem to chase after, Courtney Barnett is the contradictory force at the opposite end of the spectrum. Devoid of heavy-handed synths, precise arrangements and intricate sampling, Barnett is the poster girl for the world of lighthearted, easygoing rock ’n’ roll. She doesn’t pretend to be, or even aim to be, the “next big thing,” which, ironically, has made her the next big thing. Her music is never fussy or convoluted – it’s music a listener can slip in and out of with ease. Armed with a wry, direct sense of humor, Barnett’s tongue-in-cheek lyricism, combined with her classic rock ’n’ roll sentimentality, makes her follow-up to The Double EP: A Sea of Split Peas, Sometimes I Sit and Think, and Sometimes I Just Sit, a record that is guileless, frank and unpretentious about what it truly is: a great album from a good artist.
Sleater-Kinney, No Cities To Love Including one of music’s most formative feminist rock ’n’ roll group’s 10-year comeback album on the list seems like a no-brainer. But, it’s less of a comeback album than a complete reimagining of the formerly known ’90s DIY punk band into a modern, 21st century, fully-fleshed out rock band – a completely new organism from its early roots. It’s actually incredible, how the band is
Claire Boucher’s first real claim to fame - albeit underground, indie level fame - came after the release of her third studio album, Visions. But as much as Visions helped Grimes reach a certain level of fame previously unknown to her, it also pigeon-holed the young artist under the umbrella of experimental electro pop, as much a dismissal of her artistic conception as a write-off of her potential longevity. But, after a three-year hiatus, Boucher, with Art Angels, proves that her vision is more expansive and authentic than anyone could have ever guessed. Her blend of ’90s and ’00s bubblegum pop, K-Pop, electronic and EDM music, anchored by empowering feminist ideals, forces listeners to not only redefine what “pop” music is and can be, but also consider what the entity known as Grimes is truly possible of.
Björk, Vulnicure Björk’s ninth studio album, despite her sighing, breathy voice and low-key, streamlined production, feels like an epic, exhausting emotional undertaking. Centered on the timeframe of the fallout of a failed relationship, Vulnicura is heavy, vulnerable and sad. But, it’s also empowering, especially as a “feminist” work; vulnerability, long identified as a female sentiment, is the main driving force of this album and it serves to connect the themes of this album, far beyond Björk, to past and future generations of women seeking validity in vulnerability. Production-wise, the coalescence of her simple, yet expert usage of traditional drum and bass only helps to enhance the emotional current of the album: a dense, hefty rip tide that pulls listeners underwater in a whirl of love, love lost, and female pain.
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Father John Misty,
Drake,
I Love You, Honeybear
If You’re Reading This It’s Too Late
Emotion serves as the underpinning for pretty much all of Father John Misty’s work, especially so in I Love You, Honeybear, the artist’s second studio album as his current artistic persona Father John. But emotion, as everyone well knows, can turn from happiness to sadness in the blink of an eye. It’s this contradiction that Father John plays on so well in I Love You, Honeybear, as he evaluates the connection between being an emotional train wreck and just being human. His music is driven by contradictions – in one moment, Father John can be joking around and humorous, but still be selfdepreciating and bitter at the same time. He’s only human, trying to get by the best he knows how, which means he’s just like the rest of us – caught between moods and moments that bring clarity and tragicomedy into our lives all at once.
No matter how you might feel about Drake or his latest solo project, If You’re Reading This It’s Too Late was the undoubtedly the biggest album of the summer. It was impossible to walk down the street or go into a restaurant or bar without hearing a song off of IYRTITL spun. And despite the heavy debate over which Drake album is indeed, the best, IYRTITL proves to be a crossroads for the now-famous artist. Drake, forced to answer questions about his longevity as a rapper for the first time, is at a crossroads where the next couple musical projects will decide his fate as a good, great or potentially iconic rapper. It’s not the bars or the incredible lush production of IYRTITL that makes it so good – it’s Drake’s hunger, his ambition to be the greatest, so clearly evident in each song, that brings this project to the next level.
Julia Holter,
Kendrick Lamar,
Have You In My Wilderness
To Pimp A Butterfly
Have You In My Wilderness, Julia Holter’s follow-up to her 2013 Loud Song City, is by far the artist’s most beautiful, intimate album to date. Holter, a standout songwriter, deals with the impossibly intricate link between the ambiguity of emotion and the ambiguity of time – over time, emotions change and shift dramatically until they are no longer recognizable. Anger turns to acceptance or forgiveness and sadness is eased with the passing of time. Holter, who said she wrote a specific story for each song, seemingly tries out the different personas and personalities throughout Have You In My Wilderness’s tracklist each song a different getup, overlaid with Holter’s crooning, swooning vocals. But it’s the ability to track the artist from story to story and from personality to personality amid the songs that makes this album exceptional. Each song adds to the album’s sense of intimacy, despite constantly holding the listener at arms length – Holter never gives too much of herself away but shows enough to entrance anyone into her world.
How legitimate would a top-10 albums list be without To Pimp A Butterfly? Listening to the album is like watching a talented artist live up to every inch of his considerable, world-class potential. The album cements Lamar as, unquestionably, one of the most talented rappers in the modern era. Whereas in good kid, m.A.A.d city, Lamar primarily explores the hyper-serious day-to-day struggles of growing up in Compton, Lamar broadens his artistic scope in To Pimp A Butterfly to create an expansive exploration of racial oppression and black culture within America. It’s an examination as tragic as it is inspirational, highlighting Lamar’s, and Black America’s, quest for individual empowerment and cultural freedom amid a dominant culture of white oppression. email: arts@ubspectrum.com
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Don Heem, whose real name is Donald Kelly, described first meeting Mbhaso and said he intuitively knew Mbhaso had a background in music. “I met him a few years back, he looked like he was into music,” Kelly, a senior sociology major, said. “We started talking and then had a quick freestyle session and since then it’s been all about music.” Since then, the two have worked together in producing the Midoriginal Showcase, an annual showcase held on campus, highlighting the talents of the UB student population. Mbhaso is also mixing and producing Kelly’s upcoming project, currently untitled, as well as giving creative input. Mbhaso founded the showcase with Kelly working as the creative director. “It’s an underground artists showcase, usually around 100 people attend it,” Mbhaso said. “It builds UB’s familiarity with the art community, that’s the purpose.” Longtime friend and creative collaborator of Mbhaso, Naeem Rigaud, a senior media study major who goes by the artist name Pharaoh Rigaud, DJs and assists in the creative process for the show. “We’ve both had a common interest in photography and taking dope photos when and wherever we found cool places in and around campus,” Rigaud said. “Early on we knew the importance of giving our creative input into the world. As much time as we spent together, we spent a lot of time identifying ourselves and understanding our true talents and nature.” As a filmmaker, photographer and designer, the two connect on certain planes of creativity, but they understand it is in
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Wednesday, November 18, 2015
where they differ that offers the most significance in their creative interactions. Mbhaso is currently working on his first proper project, Dark, with a release date to be announced. It is a project he is producing, mixing, mastering and recording entirely himself, calling it his “rite of passage as an artist.” Although creating music since 16 years old, Mbhaso has been mixing and mastering for the past two years. Mixing the aforementioned project for Kelly and other student artists such as Da Da Suave and Blaq Kush. Mbhaso looks to put the growth of himself into his upcoming project. “Instead of talking about things that are typical or are expected of me to say, now I have more to add to it,” Mbhaso said. “For my next project, I’ll be able to relate to the street cat and relate to college cat, and mesh both worlds and act as a bridge for that.” With the next Midoriginal showcase approaching next semester and finalizing his project, Mbhaso has a lot on his plate. Utilizing experiences and collaborations embodies much of the collegiate experience for students, whether in a creative or academic setting. It’s a time of self-exploration and discovery, much like what Mbhaso has gone through. “In the beginning you want to be like other artists, but over time you realize no one else can mimic you because that’s your true sound,” Mbhaso said. Mbhaso looks to inspire and uplift with his music, hoping that listeners will be able to take and enjoy from it. For the love of the craft and the hope that others will also find their “true sound.” email: arts@ubspectrum.com
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outrebounded the Griffins 19-6 on the offensive glass as nine players grabbed at least one offensive board. Reid, the team’s second-shortest player at 5-foot-9, tied Smith for a team-high six rebounds Tuesday. Buffalo travel to Massachusetts (1-0) as they face the Minutemen for its first road matchup of the season on Nov. 21. Tipoff is set for 5 p.m.
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Junior guard Joanna Smith was supposed to be Buffalo’s mains coring threat, but she has just 33 percent from the field and 20 percent from three-point range in the first two games. As a tea, Buffalo is shooting just 21.7 percent from beyond the arc. But sophomore guard Katherine Ups, who is 1-of-7 on the season from three, wasn’t all too worried about the team’s low shooting percentage. “I think that just this game wasn’t a game for the three’s,” Ups said. “Either way we find ways to attack, and if our shooters are not having an on night, they still have to defend our threes, it just opens up our driving lane and even our lanes for the post.” Buffalo outrebounded Canisius 46-30 on the night. More impressive, the Bulls
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email: tom.dinki@ubspectrum.com
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The university’s football team is currently winless (0-10) and saw a $1 million drop-off in ticket sales, according to the Orlando Sentinel. White is expected to help UCF bring in donations and find its next football head coach, two areas he had success with at UB. White was able to hire Division-III football coaching legend Lance Leipold and the department has seen record donations to the Blue and White Fund during White’s tenure. Buffalo won a total of three team MAC Championships under White, including the men’s basketball team’s first-ever conference title and NCAA Tournament appearance last season. He also brought improvements to the football game day atmosphere, including the recently opened Edmond J. Gicewicz Club in UB Stadium and the creation of the Tailgate Concert Series. The Bulls have ranked first and second, respectively, in the MAC in attendance in 2013 and 2014. But White’s tenure may be most remembered for the rebranding that has occurred across the entire athletics’ department. In what was a controversial move for some, White rebranded UB Athletics through the New York Bulls Initiative, or NYBI, to emphasize UB’s standing as the largest public university in the SUNY system. UB Athletics’ logo, jerseys, football field and basketball court now prominently feature the words “New York” as opposed to “Buffalo,” which some in the local community opposed. White would often tweet with #NYBI and said UB was building “America’s next big-time college athletics brand.” Bulls fans had mixed reactions on social media Tuesday about White leaving,
with some appreciating the work he’s done and others saying they are glad he’s gone and questioning if UB will drop the NYBI movement. White was unafraid of making coaching changes. White fired eight coaches, all of whom were at UB before he arrived in 2012. His most memorable and perhaps controversial firings were of men’s basketball head coach Reggie Witherspoon and head football coach Jeff Quinn. Many in the local community disagreed with White’s decision to fire Witherspoon, who had coached UB for 14 years. White fired Quinn during the middle of the 2014 season, but only after extending Quinn’s contract in 2012 when the coach’s UB record was just 9-26. White’s biggest hire was Duke legend and NCAA all-time assist leader Bobby Hurley in 2013. Hurley was successful in leading the men’s basketball team to the NCAA Tournament last season, but left for Arizona State in April after contract extension talks between him and White fell apart. The two no longer follow each other on Twitter. White often spoke of raising donations for a field house on campus and released a facilities master plan in 2014 with such a facility, but he will leave UB without completing the goal. UB remains the only school in the MAC without a field house or set plans to build one. White does have some connections to UCF and Florida. White’s father is Duke Athletic Director Kevin White, who hired O’Leary at Notre Dame when was he was the university’s A.D. in 2001. But O’Leary resigned five days later after inaccuracies in his résumé came to light. White is the brother of Michael White, the head men’s basketball coach at Florida University.
REID, DEFENSE LEAD WAY FOR BULLS
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THE SPECTRUM
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12 Athletics tries to appease both students
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THE SPECTRUM
and local fans with Tailgate Concert Series JORDAN GROSSMAN SENIOR SPORTS EDITOR
The first time Edward Goldschmid, a sophomore communication major, went to the UB Tailgate Concert Series last year, he felt out of place. The ratio of adults to college students was, as he put it, “mind-blowing.” He gave the series another chance this year and the results were nearly the same. “I haven’t been to many, but the ones that I have been to, I didn’t have that much fun at,” Goldschmid said. “It was a huge older crowd and I kind of felt out of place.” The Tailgate Concert Series, a free UB Athletics-sponsored concert held roughly two hours before home football games, often brings in a mix of oldies, country and cover bands that don’t always attract students. Todd Garzarelli, senior associate athletic director for external affairs, said it’s a balancing act between finding an affordable act and an act that can appease to both the older crowd and student crowd. “You don’t want to overspend on it,” he said. “We’re trying to attract the students and the general public. You build a vibrant pregame atmosphere. So we don’t want to overspend on it because it’s not our primary focus of the day. It’s really the football game … A family-friendly atmosphere.” Still, Garzarelli views the third installment of the Concert Series this season as a success. “I think each year, we continue to build on the previous year and continue to grow it with different amenities we offer on game day with the Concert Series,” Garzarelli said. Garzarelli, who oversees the communications, ticket sales and promotions for UB Athletics, did not have the exact costs and attendance of the concerts immediately available. But he said there was a “nice increase” in attendance from the first year of the Concert Series to the second year, and a “modest increase” from the second year to the third year.
Garzarelli said the program isn’t spending “as much as you think” on the Concert Series and states that the focus is more on a “family-friendly atmosphere.” Some of the acts have been cover bands like Rumours and oldie bands like KC and the Sunshine Band. Garzarelli said KC and the Sunshine Band was a popular band for homecoming last month because the alumni from the ’70s and ’80s were appeased. But one genre has begun to take over the Concert Series: country. Three of the six scheduled acts this year – Old Dominion, Thompson Square and Eric Paslay – are country artists. According to Garzarelli, Buffalo’s appeal as a whole for country music is roughly 65-70 percent. But UB students may not think the same way. David Brunette, a senior exercise science major, isn’t a country fan, but he “doesn’t mind it” and said the genre is “growing on him,” due to exposure to it from the concerts. He said he thinks the Tailgate Concert Series is more geared toward the adults that come to the game rather than the students.
YILIN LI, THE SPECTRUM
KC & The Sunshine Band was the third band to play at the UB Tailgate Concert Series this year. The Grammy-award winning band played many of their countless hits including “Get Down Tonight” and “(Shake Shake Shake) Shake Your Booty.”
Garzarelli said each year UB Athletics screens students and have “dialogue” with them before signing acts to a contract. Garzarelli said the department asks members of True Blue, student-athletes and the overall student body for perspective and opinion. Before officially signing artists, UB Athletics goes through a process that analyzes their possible acts, inquiring about ticket sales, recent success and overall likeability. “A lot of what we brought in is that if you look at the photos, what we brought in appeals to the students,” Garzarelli said. “They may not be familiar with the band, but a lot of weddings, a lot of songs that they hear when they’re out and about in the community are coming from those individual bands.” But Goldschmid, like Brunette and other UB students, would like to see a change. Goldschmid is not a fan of country music and would like to see some variety in the
acts. They are both not fans of country music, despite the country upswing. Possible acts Goldschmid would like to see would be ’90s alternative acts and possibly hip-hop, even though the latter is unlikely. Brunette just wants to see variety. “Maybe more of a balance,” Brunette said. “Everything seems to be like old-disco, which is great, but they need more of a balance. You throw country in there, maybe some alternative.” Garzarelli said there will be a fourth installment of the Concert Series next season and the hunt for acts has already begun, but UB Athletics cannot set the concert schedule until next season’s football schedule is set in place. Next season’s homecoming act has been narrowed down to certain artists, but they have not been announced. email: sports@ubspectrum.com
REID, DEFENSE LEAD WAY FOR BULLS Buffalo defeats Big 4 rival Canisius behind point guard and shutdown ‘D’ KAINAN GUO, THE SPECTRUM
Sophomore guard Stephanie Reid plays as a signal caller on Tuesday night in Alumni Arena. Reid scored a team-high 12 points with six assists, seven rebounds and three steals.
ROMULO ROMERO STAFF WRITER
Sophomore guard Stephanie Reid wanted to celebrate her mother’s birthday in a special way from across the world. Her gift: A stellar all-around performance on the court to continue the women’s basketball team’s undefeated start. “She couldn’t be with her mom in Australia but she celebrated her on the basketball court, pretty good day,” said head coach Felisha Legette-Jack. The Bulls (2-0) defeated Big 4 rival
Canisius (0-2) 54-40 in Alumni Arena on Tuesday night behind Reid and yet another impressive defensive performance, as Buffalo has allowed just 78 points in its first two games. After only scoring just seven points in the first quarter, Buffalo went on a 23-4 run in the second quarter that helped propel it to its second victory. Reid logged eight points, four assists, three steals and two rebounds in the second quarter and finished the game with six assists, seven rebounds, five steals and led all scorers with 12 points – a stat she’s not used to leading in.
“I’m not a score-first player, I look to assist but when they have to defend everyone on the court, it just makes it easier,” Reid said. Reid dazzled with her aggressiveness throughout the game, most notably around the rim. She constantly was charging taller and bigger defenders, but was able to squeak her shot past the swatting hands and connected on multiple layups. She also crossed up multiple defenders, especially in that huge second quarter, around the rim and showcased her impeccable ball handling. She also came away
with three steals. “You can’t leave her, if you leave her she’s going to finish with a layup,” LegetteJack said. “So you stay with her and [Reid] has another crease to get to the basket so it’s just a wonderful thing when no one really cares about who gets the credit, and a team and the locker room is about a oneness, a unity, so it’s just us.” Entering the season, Buffalo’s game plan was focused on getting the shooters the ball in open areas of the court to score. But it seems defense may be the new success model for the team. The Bulls allowed 40 points or less in both games this season. The Griffins shot just 31.9 percent from the field. “With our defense, it’s something that we really believed in,” Legette-Jack said. “We were willing to go to the player-player kind of defense, we think that we have the lateral quickness, and so we just decided to go after it, I am still uncomfortable at the fact that we’re not boxing out at the end, but we’re getting better every day, they’re raising their hands when they makes mistakes and that’s pretty cool.” Although the Bulls walked away with the victory, they have been having trouble from beyond the arc this season. Buffalo has made only 10 three-pointers this season to an astonishing 46 attempts – just 22 percent. CONTINUED ON PAGE 10