Despite victory, DAPL reflects minority communities’ struggle

After nearly a year of protests by Native American tribes and supporters, the United States Army Corps of Engineers officially announced on Sunday Dec. 4 that construction of the Dakota Access Pipeline will be stopped. While this is an important victory that demonstrates the effective power of the water protectors’ courageous and long-term activism, it is crucial to remember and to examine the U.S.’s systemic neglect of minorities that largely caused this issue in the first place.

Indifference to the health and well being of Native Americans is consistently demonstrated in American society. The 2010 poverty rate at Standing Rock Reservation was triple the national average at 43.2 percent, according to Census Bureau data. This figure runs consistent with 2012 CB research indicating that approximately 25 percent of all individuals identifying as American Indian or Alaska Native in the country are living in poverty. In addition, racist depictions of Native Americans are ingrained in popular culture, from sports mascots to Halloween costumes.

Perhaps the most glaring example of disregard for the dignity of Native American life, however, can be seen with the DAPL’s proposed route that would not only have a high chance of contaminating the local water supply, but would also desecrate Sioux burial grounds––consequences that the U.S. government and many individuals did not seem to view as detrimental enough to immediately stop or to reroute the project.

This flagrant disrespect for human life would not be addressed so casually if it were happening in a predominantly white area. As Standing Rock protester and Sioux elder Faith Spotted Eagle commented in a CNN interview, “What would happen if the Great Sioux Nation decided to build a project through Arlington Cemetery?”

Native Americans aren’t the only minority group whose lives are being threatened by neglect and indifference from mainstream white society––just look at Flint, Michigan. The predominantly black city is still suffering from a contaminated water crisis that has been going on for over 400 days.

With media outlets deliberately stopping coverage of Flint––much like with police brutality against Standing Rock protesters––the continuing extent to which the health and safety of marginalized groups are neglected in favor of actions and narratives that appeal to the white majority is painfully obvious.

Yes, the DAPL being stopped due to peaceful protests from unified Native American tribes is indeed a victory that should be celebrated. But let us not forget that these protestors encountered nearly a year’s worth of violent opposition from law enforcement and civilians alike, with little to no resistance from the government and media.

With the election of President-elect Donald Trump, the lives of marginalized people are arguably in greater jeopardy than they have been in recent years. Look to Standing Rock not only as an example of the power in long-term, peaceful opposition to injustice, but also as a reminder of why becoming actively involved in protests and using whatever privilege you have to support minorities is imperative.

The health and safety of innocent individuals are on the line.

Orchesis exhibits range of talent with emotive dance

Student-run dance club Orchesis presented their annual fall showcase in Wadsworth Auditorium on Saturday Nov. 5 at 7 p.m. and Sunday Nov. 6 at 2 p.m. The show opened with psychology major sophomore Nikki Acierno and biology major junior Taylor Gerner’s moving “Rise Up.” Clad in military green and black, the dancers conveyed a sense of lightness and transience as they gracefully twirled and jumped around the stage. After running offstage and reappearing in groups, the dancers all came together once more for an uplifting finish.

In contrast to the airiness in “Rise Up,” psychology major junior Kat Estep’s “Tesselate” expressed a sense of grounding as she utilized simple and sharp movements in time with the musical beat. The music itself gave off an edgy, futuristic vibe, accentuated by the isolated––nearly robotic––motions from the dancers and their all-black outfits.

Early childhood/childhood education major senior Alexandra Weber’s “Elastic Heart” and anthropology major sophomore Abbie Guisbond and psychology major sophomore Sydney Klein’s “Retrogade” also gave off a darker vibe through their routines. The “Elastic Heart” dancers utilized a lot of creative partner interaction that struck an interesting balance between soft and sharp motions. The fast-paced ending featured Weber sprinting along a line of dancers that collapsed one by one. Eventually, the dancers left the stage with only Weber remaining on stage, kneeling and clutching at her chest in a powerful finish.

“Retrograde” also featured unique partner interaction, emphasized by the contrast between the dancers’ attire of white and black dresses. This was one of the more technically precise and emotional pieces. The dramatic ending of the dancers in white being shoved to the ground by those in black, who then slowly exited the stage, had the students behind me whispering, “Wow, that was really cool.”

Perhaps the star number of the show, however, was a contemporary piece: biochemistry major senior Alyssa Bowling’s “She Used to Be Mine.” The powerful choreography perfectly accentuated the song’s melancholic and heartbreaking resonance. The contrast between the sweetness of the dancers’ pink dresses and their strong movements was brilliant as well.

On a less serious note, physics major sophomore Emily Verhaeg and mathematics major sophomore Jenn Conflitti choreographed the charming and jazzy “Hairspray,” taking the audience back to the 1960s as the dancers shook and shimmied around the stage with high ponytails bouncing. The sole male dancer in the show complemented the female dancers well, entertaining the crowd with his enthusiastic booty shaking and tuxedo T-shirt.

The other jazz piece––English major sophomore Samantha Schmeer’s “Pretender”––was fun and flirtatious; the dancers blew kisses from red-covered lips and swayed their bodies to the sultry female vocals crooning, “I’m nobody’s fool. Hey, baby, you’re just a pretender.”

No Orchesis show is complete without a healthy dose of Beyoncé, however, which was found in psychology major senior Laura Dolan’s sassy “Crazy in Love.” The dancers smiled wide from the start of the routine to finish, and while the moves weren’t extremely fast-paced, the choreography was well-executed and it was heartwarming to see the dancers beaming with genuine enjoyment.

Early childhood/childhood education major freshman Melissa Maliniak’s “No Problem” and business administration major sophomore Sunny Krupnicki’s “Werk” seemed to draw the most vocal response from the audience, bringing infectious attitude and energy with their dynamic hip-hop choreography. Both pieces featured mash-ups of poppy hip-hop tracks, including Kanye West’s “I Love Kanye,” Drake’s “One Dance” and an awesomely fast remix of Rihanna’s “Work.”

The classic Orchesis officer’s dance was clever and funny, as usual. The performance featured slow, stripped-down covers of Drake’s “Hotline Bling,” “One Dance” and Sia’s “Cheap Thrills.” The officers interspersed their graceful movements with overly exaggerated club moves, such as crumping and making it rain. The routine then transitioned into the finale––Justin Timberlake’s “Can’t Stop the Feeling!”––where all the performers joined the officers on stage to freestyle.

Orchesis gave a compelling show that allowed dancers of all experience levels to shine through the beauty, creativity and power of dance.

Asylum attraction stigmatizes treatment of mental illness

Halloween-centric movies and attractions designed to induce fear––and generate profit––often incorporate harmful stereotypes of “the insane” and “the insane asylum.” This plays off age-old tropes of mentally ill individuals being irrationally violent and horrifying and psychiatric institutions being nothing more than oppressive holding cells that are littered with these kinds of dangerous, dehumanized figures. One such attraction at California amusement park Knott’s Berry Farm––FearVR: 5150––was recently––and rightfully––shut down after protests from mental health advocates condemned the attraction’s exploitation of mental illness as a means of entertainment.

According to The Los Angeles Times, the description of the virtual reality attraction invited participants to “enter the mysterious Meadowbrook Institute and witness the abnormal case of a terrifyingly unusual patient named Katie.” In addition, the 5150 number referenced in the name of the attraction is the police code for a mentally ill person who is a danger to themselves or others who can then be placed in a temporary, involuntary psychiatric hold.

In addition to members of the National Alliance on Mental Illness, one of the first individuals to openly criticize the attraction was former Orange County sheriff’s deputy Ron Thomas, whose schizophrenic and homeless son, Kelly Thomas, was brutally killed by police officers in 2011. Ron Thomas described the attraction as “insensitive,” further noting that, “The mentally ill are people. They’re human beings. They’re suffering. They have illnesses, and we have to do something to help them––not demonize them.”

I wholeheartedly agree with Ron Thomas and the other individuals who expressed their concerns about FearVR: 5150. While certainly not the only attraction to do so, FearVR: 5150 positing this narrative of psychiatric patients as animalistic and out of control is incredibly hurtful––not only to individuals suffering from mental illness themselves, but to the public’s perception of mental illness and psychiatric facilities. In addition, it serves to undermine and ignore actual, documented horrors and abuse that many patients have endured throughout the history of psychiatric commitment.

Knott’s closing the attraction in response to legitimate concerns is undeniably positive; there still lies the glaring problem, however, in the organization’s claim that “the attraction’s story and presentation were never intended to portray mental illness.” Looking at the description of the attraction and the inclusion of the 5150 code, I would beg to differ.

By making a conscious choice to use a psychiatric facility and patients as fear-inducing spectacles––and then denying any implications of mental illness being portrayed––the organization expressed a disheartening ignorance and lack of empathy toward the very real problem of trivializing mental illness.

When combining Knott’s Berry Farm’s attraction and the company’s statement, the act serves as a sobering reminder about the continued ignorance and stigmatization of mental illness and psychiatric treatment that endures today. Whether meant to be cruel or not, narratives that only serve to degrade and stereotype mental illness have no place in our society––whether at Halloween or any other time.

Shakti Yoga provides stress-free environment for yogis

A new semester comes with a myriad of stressors for college students. It can be incredibly taxing trying to balance not only academics and social activities, but also budgeting time to take care of one’s own personal health and happiness. Fortunately for Geneseo students, Shakti Yoga studio offers a space to cultivate a positive sense of self. Located right near campus on 2 School St., Shakti Yoga studio was founded by co-owners and directors Angela Caplan ‘74 and adjunct lecturer in dance Jacki McCausland. Caplan said that during both of their times as undergraduates at Geneseo––she studied theater and McCausland studied dance––the two became close friends and sought to open a space to celebrate their shared love for dance.

After opening up the still-running Valley School of Dance at 63 Main St. in 1982, the pair expanded their offerings to include yoga in 1986 with the formation of Shakti Yoga. Caplan said that she first started practicing yoga in college when she assisted a professor in teaching it in a maximum security prison.

“I said, ‘Wow, this is really powerful stuff,’” she said.

Named after the Hindu word for divine feminine energy, Shakti Yoga remained at 63 Main St. until 2004 before permanently moving to its current location in December 2014. Caplan noted that her husband, Barry Caplan––founder of Sundance Books––actually owned the property of the 2 School St. location. When she attended Geneseo, the location was occupied by Gentlemen Jim’s Bar.

Caplan emphasized that the personal benefits gained from yoga are especially important in today’s culture.

“In this day and age, the pace of life is fast. And that’s great––there’s a lot of fun, there’s a lot of good stuff going on,” she said. “But how do we pace ourselves in the midst of it all? … Yoga helps us to be centered and to stay calm and quiet within ourselves, and then we can make choices that are nurturing and supportive of what we really want in life.”

For beginning yoga students who feel intimidated by the extremely experienced and flexible “wet noodle” students, Caplan encouraged them to remember that yoga is about embracing one’s own personal physical and psychological journey.

“It’s about finding that the source of your happiness … is inside us. We can be on our mat –– even if it’s crowded and there’s 15-20 mats in here, you’re with yourself,” she said. “Get out of the mindset that you’re competing with anyone, even yourself. You’re just being with yourself––we learn to accept ourselves.”

This idea of self-acceptance and kindness is a crucial cornerstone of the teaching at Shakti Yoga. Caplan encourages her student teachers to teach from that perspective that “we’re a community and we’re here to support each other.”

Addressing the sometimes notoriously expensive nature of yoga classes, Caplan explained that the studio aims to be accommodating, especially to students. Geneseo students receive a 50 percent discount on singular classes, class cards for five or 10 classes or the option of an unlimited semester of classes for $100.

To further encourage students to take time for their personal physical and mental wellbeing, Shakti Yoga will also be offering a new combination yoga and dance class entitled “MOVE” class starting Sept. 16, featuring adjunct instructor of dance studies Deborah Scodese-French ‘85.

“There’s something for everyone,” Caplan said.

82 Main Street offers delicious choices, affordable prices

With roughly three weeks of classes left in this semester, trying to find a good—or even available—spot to do work can feel like one is a participant in the Hunger Games. Competition is particularly fierce in venues like Cricket’s Coffee Company that not only offer free Wi-Fi, but coffee and food to fuel the most intense homework or study sessions. So, because I’m a kind and unselfish person, I’ll let you in on the “secret” location that is Geneseo’s most underrated study haven: 82 Main St. Previously known as Miceli’s Deli, 82 Main St. is a nestled café located right next to Aunt Cookie’s Sub Shop. I didn’t even know the restaurant was in business—its windows are often dark—but upon closer examination, I realized that this is because of its somewhat unconventional hours: 8 a.m-3 p.m. Monday-Thursday, 8 a.m-8:30 p.m. on Friday, 10 a.m.-8:30 p.m. on Saturday and 10 a.m.-3 p.m. on Sunday.

Now knowing the scheduling, my boyfriend and I ventured into the café for breakfast on Wednesday April 20 and to say I was amazed is an understatement. Here was this gorgeous, eclectic little restaurant right under my nose the whole time—and with an incredibly affordable menu.

My mood lifted almost instantly as I entered the building and was met with the sight of cheery yellow walls, floral chairs next to a small table with a stack of Lamrons and two huge chalkboards with handwritten menus. While the breakfast options were fairly limited to breakfast sandwiches and bagels, they are served all day and there is an array of options for signature sandwiches, burgers, grilled cheeses, salads and sides. They also have a pretty sweet Panera-esque combo deal: half a sandwich, soup and a side for $9.

The drink selection is fairly expansive as well, boasting eight different types of coffees that range from only $2.75-$5.25, depending on price and type. Most small coffees, however, are about $3—absolutely perfect for a broke college student trying to boost their energy and focus. In addition, if you’re at least 21 years old, you can enjoy the myriad of 17 beers—five on tap and 12 bottled—or try a glass of one of seven different wines with your meal. The beers are only $4 and a glass of wine is $5—did I mention how affordable this place was?

I already had an iced coffee waiting for me in my fridge at home, so I just ordered “The Freshman” breakfast sandwich: fluffy eggs, perfectly cooked bacon and melted cheese on a hard roll. My boyfriend opted for a small cappuccino—which I stole a sip of and found to be quite good—and the vegetarian “The Super Senior:” eggs, feta cheese, roasted red peppers and spinach. Not only was the quality of our meals great, but so was the price.

The atmosphere of the café equally matched the awesome-ness that was our breakfast. In addition to the ordering area I described, 82 Main St. has a whole other section separated by a beautiful white arch decorated with twinkling light bulbs. This large dining area combines rustic elements with modernism: wooden booths, exposed brick, dark walls with framed artwork and hand-chalked sayings—my favorite was “Life happens in between coffee and wine”—and lime green walls with an unbelievingly striking mural done in an almost Van-Gogh-esque style of violets, pinks and blues. Oh, and Wi-Fi is also available.

The most incredible thing to me was the fact that my boyfriend and I were the only customers there. I have to believe its simply on the part of ignorance—what college students would pass up such a peaceful, unique eatery to get work done or to just have a beer?

Skip the struggle of finding a seat and come to 82 Main St. Your brain, stomach and wallet will thank you.

Ambassadorship recipient to conduct research on non-white cultural experiences

Many eager students dream of being able to study abroad during their time in college, but financial limitations may restrict them from being able to accomplish this goal. For English and French double major junior Chloe Forsell, receiving the Dr. Gerard R. Gouvernet Ambassadorship is not only a prestigious honor, but also the blessing of a lifetime, as this will allow her to study abroad for a semester in Montpellier, France while conducting unique cross-cultural research.

According to the Geneseo department of languages and literatures, “The Dr. Gerard R. Gouvernet Endowed Ambassador in French Language and Culture is selected through a competitive proposal process with high preference given to students studying the French language.” Forsell explained that applicants for the $5,000 award must submit a research proposal for a “project that connects Geneseo’s campus to where you’ll be studying abroad.”

She added that while she had looked at scholarships to hopefully fund a study abroad experience in France, she had not considered applying for the ambassadorship simply because she hadn’t thought of a definitive project idea. At the encouragement of professor of French and Western humanities Beverly Evans, however, Forsell became determined to create her own innovative proposal in order to apply.

“I came up with something that I thought was really close to me personally and would advance me academically as well,” she said.Forsell’s research “will explore the complexities that surround non-white identity, particularly in Western nations with a history of Eurocentric oppression, mistreatment and misunderstanding of non-white peoples, with a focus on the city of Montpellier in France.”

Forsell explained that the idea for her project came from personal reflections on her experiences as a biracial individual.

“I’ve been thinking a lot about my own identity—cultural and racial—and what that means in the United States as a nation that was sort of founded on ideas of slavery and appropriation,” she said. “I was considering if I would feel similarly in another country that is similarly a world power, a Western nation founded on similar Eurocentric ideals and built on slavery.”

Forsell emphasized that while non-white individuals are part of minority groups, different races and cultures all over the world explore notions of identity in individual and collective contexts.

“I think that as a non-white student in Geneseo, cultural and racial identity is something that I’m thinking about all the time,” she said. “I think that there’s a small group on campus that is forced to think about this, but there’s a large community of thought when it comes to identity. So, I think that sharing non-white experience cross-culturally from nation to nation can help explore those ideas.”

While many students are enticed to travel to France because of the beauty of Paris, Forsell noted that she specifically chose Montpellier for its unique amalgamation of cultural and racial identities. She cited Montpellier’s proximity to the Spanish border and the displacement of Africans moving to the city after the Algerian War as contributing factors to the city’s “cultural richness.”

This multi-faceted ethnic blend within the encompassing French culture resonated profoundly with Forsell. “People perceive me as black or African-American—even though I’m Haitian-American, so I don’t even identify with that—but I’m half-white, so culturally, I come from a very white background and, because I’m half-white, people don’t always perceive me as being black,” she said. “I’m often perceived as being Hispanic, so it’s kind of complicated.”

Forsell will conduct her research through interviews with other non-white individuals—including people in her integrated classes—and also through her own observations about those around her, comparing her experiences in both Geneseo and Montpellier.

Forsell added that she was astonished to receive the impressive ambassadorship.

  “I cried. Coming from a low-income family, I honestly didn’t think I was going to be able to study abroad … and being blessed with this ambassadorship … it’s been pretty awesome,” she said. “It’s actually something I can do now and it’s affordable. And it feels great to be the person chosen to represent Geneseo on this program.”

Anxiety medication does not erase personality

As managing editor of The Lamron, I come across a variety of differing perspectives while editing articles for publication—opinions that I may not agree with. This occurred most recently—and most profoundly—for me with the article “Equating mental and physical illness pressures medication use” in the Thursday March 31 issue. I cannot emphasize enough how troubling and disheartening it was to read a piece that centers on ignorant disparagement of the use of psychiatric medication to treat anxiety.

As an individual who benefits immensely from taking anti-anxiety and depression medication—and who knows a myriad of wonderful, unique individuals who do the same—let me first address the writer’s claim that the use of psychiatric drugs to treat anxiety may “result in the partial or even total erasure of one’s personality.”

This is an antiquated, dangerous misconception surrounding psychiatric medication to help treat mental illness: that it will turn you into some kind of dependent zombie devoid of any uniqueness or personality. The imposition of this ignorant belief perpetuates stigma that may very well turn struggling individuals away from trying this form of treatment for fear of the best parts of who they are suddenly being destroyed. The only thing that psychiatric medication truly changes is brain chemistry, not a person’s character.

The National Alliance on Mental Illness explains that psychiatric medication works by “influencing the brain chemicals regulating emotions and thought patterns” and that anti-anxiety medications specifically “work solely to reduce the emotional and physical symptoms of anxiety.”

While anti-anxiety medication doesn’t completely eviscerate all symptoms of mental illness, it can help to assuage and limit the physical signs of anxiety attacks along with helping the individual achieve a greater state of mental and emotional stability. For me, my medication helps me feel significantly more in control of my anxiety and more adept at handling my day-to-day activities and stressors. I’m still myself on my medication, just a more capable, rational and generally happier version.

Plenty of other individuals have cited the usage of psychiatric medication as beneficial as well, something poignantly demonstrated in a Oct. 1, 2015 Think Progress article entitled “How one Woman is Fighting the Stigma of Mental Health Meds.” Blogger Erin Jones made an incredibly well-received Facebook post—spurring the “#MedicatedandMighty” movement promoting open support and display of personal psychiatric medications—that showed her prescriptions for anxiety and antidepressant medications.

Jones wrote, “I have tried living this life without prescription help. It seems to have me on top of the world one minute and rocking in the corner the next ... Anxiety and antidepressant medication to the rescue. Sometimes, folks, we just need help.” Jones’ post reasserts the crucial idea that there is no shame in taking medication for mental illness and it helps to educate others on the real purpose of psychiatric medication.   

The editorial in question asserts that addressing mental illnesses such as anxiety disorders shouldn’t be treated with a “one-size-fits-all approach”—which is a statement I firmly support—but this claim is contradicted later in the article by condemning the use of psychiatric medication as a viable means of dealing with one’s anxiety. If handling anxiety can—and should—be looked at as something that is differently handled according to personal choice and circumstance, then a piece attacking pro-medicine approaches while implying that non-medication methods are superior is incredibly hypocritical.

If a person wants to use medication to treat their anxiety, that’s totally fine. If a person doesn’t want to use medication, that’s fine too. But what isn’t fine is the blind condemnation of psychiatric medication as a means to combat mental illness. You can’t ignore the fact that so many individuals have—and can—publicly attest to the way anti-anxiety medication helps them live more fulfilling, stable and happier lives.

Marvel takes step forward in minority inclusion with Black Panther

Minority representation is an undeniably critical issue in contemporary media entertainment, something that has been recently highlighted in a perhaps surprising arena: superhero fandoms. With Marvel and DC Comics cranking out blockbuster films left and right, there has been a renewed clamor among fans calling for the incorporation of more diversity into these works—both on screen and on the page. With the inclusion of the black superhero Black Panther in the upcoming Captain America: Civil War film and the release of the new Marvel comic book series Black Panther on Wednesday April 6, it seems that industry higher-ups are taking a step in the right direction.

For those unfamiliar with the character, Black Panther—or T’Challa—was the first black superhero to debut in a mainstream comic book in America in 1966. He is the protective king of the technologically advanced, fictional African country Wakanda and is, as explained by Marvel’s website, “a brilliant tactician, strategist, scientist, tracker and a master of all forms of unarmed combat.” Black Panther has enhanced physical abilities as well as a tactical, mesh suit lined with Vibranium—the same material that Captain America’s shield is made from.

While it’s awesome to see that Black Panther will get his time on the big screen—actor Chadwick Boseman currently has a five-film deal that will include 2018’s Black Panther—the stand-alone comic series is arguably more groundbreaking when considering its celebrated African American author: journalist Ta-Nehisi Coates. Coates is not only a national correspondent for The Atlantic, but is also the author of Between the World and Me, which won the 2015 National Book Award for Nonfiction for its harrowing exploration of the struggles of being black in the United States.

According to The New York Times article “Ta-Nehisi Coates Helps a New Panther Leave Its Print,” Coates became involved with the project after working at a conference hosted by The Atlantic in 2015, catching the attention of Marvel editor Tom Brevoort as Coates conducted an interview during a seminar entitled “What if Captain America were Muslim and Female?”

Brevoort asked Coates if he would be willing to write for any characters and while Coates immediately listed Spider-Man and X-Men figures as personal favorites, he was ultimately captivated at the suggestion of writing for Black Panther.

What is truly admirable about the new series is that it won’t just be strictly focused on classic superhero action; it also strives to present a thorough exploration of both the multi-faceted nature of Black Panther’s character and the kingdom that he reigns over. Coates explained that while racial issues will be addressed—commenting that, “Race is always there”—he noted that problems with gender, culture, political structures and morality will also be brought to light.

And for any fans who may be skeptical about Coates’ ability to work with the fictitious, previous Panther comics author Jonathan Hickman expressed his full confidence in Coates’ writing talent and devotion to the project.

“The thing that people should understand about Ta-Nehisi is that he’s a comic-book superfan,” he said. “He knows his stuff.”

Bringing in such an eloquent and renowned African American author to craft this new, in-depth Black Panther series is exactly the kind of minority representation and recognition that the world of superheroes desperately needs.

Coffee House event offers unique Friday option

I honestly didn’t know what to expect as I walked up to the MacVittie College Union’s Kinetic Gallery for Geneseo Late Knight and Geneseo Campus Activities Board’s Coffee House event on March 4 from 9–11 p.m. I was drawn in by the promise of free coffee and acoustic music, but I really didn’t know much about the performers or how much fun I would actually have at a school-sanctioned Friday night event. My uncertainties were replaced with contentment, however, as the Coffee House event provided the perfect blend of engaging entertainment and a welcoming atmosphere. Any trepidation that I had about attending the event seemed to dissipate when I saw—to my surprise—a line of students waiting to go into the Gallery, stretching from its opening to the front doors of the Union itself. My friend and I were intrigued; we both thought that we would be two of a small number of attendees.

We then realized why so many people arrived so promptly: GLK was giving out free travel mugs to the first 50 people in attendance. To say I was thrilled was an understatement; I desperately wanted a good travel mug, but was too cheap to buy one and this wonderful freebie put me in just the right mood to enjoy the upbeat music of performers Meg Williams and Sara Rogers.

While attendees settled in with their selections of free coffee, teas and cookies, Williams and Rogers introduced themselves, noting how excited they were to be playing. They apologized in advance for their “awkwardness” in making conversation, as the guitar-playing duo typically only plays together in bars or restaurants. Williams and Rogers also play in Meg Williams Band, featuring Williams as the songwriter and lead vocalist and Rogers as the trumpeter. The band’s first album Troubles to the Wind was released in May 2014 and is available for purchase on iTunes.

Both recent graduates of Nazareth College—where Williams studied music therapy and Rogers studied both jazz and classical trumpet—the duo beamed at the audience before starting their set, sporting similar T-shirts, jeans, messy buns and acoustic guitars. This laidback, cheerful vibe that Williams and Rogers exuded carried through in the music that they played.

I was immediately impressed by the vocal prowess and strong guitar skills that both women demonstrated. The pair’s singing abilities complemented the other greatly, allowing both to uniquely shine in each song. They rotated through a solid set of upbeat, carefree tunes that had the audience members singing and swaying happily along in their seats. Even though the duo made performing with such passion and precision look effortless, there was no denying the immense technical control present in both their instrumental and vocal exhibitions.

Williams and Rogers played a few original tracks, such as the sultry “Take Some Time,” but their undeniably catchy and well-executed covers seemed to resonate the most with the audience. I particularly enjoyed their cover of Mark Ronson and Bruno Mars’ “Uptown Funk,” highlighting Rogers’ soulful vocals and impressive range in an innovative way. Other notable covers included the Jackson’s 5’s feel-good “I Want You Back,” Amy Winehouse’s jazzy “Tears Dry On Their Own” and Pharrell Williams’ radio hit “Happy.”

Like myself, attendee freshman Jessica Lisi noted that she “didn’t know what she was getting herself into,” but was ultimately glad with her decision to come to the event. “It’s just something nice to chill to,” she said. “I really like it; they’re really talented.”

Not only should Williams and Rogers be commended for their warmth and musical aptitude, but GCAB and GLK should also pat themselves on the back for arranging such a fun and relaxed Friday night event for the campus community to enjoy.

Deadpool slams box office, emphasizes comedy over drama

Sorry Avengers members, looks like you’ve got some competition. Debuting as the eighth installment in the X-Men film series, the R-rated Deadpool has all but obliterated its competition in the box office, currently grossing $497.6 million since its release on Feb. 12—a total which The Guardian notes is greater than the totals from Iron Man, Iron Man 2, Thor, Thor: The Dark World, Captain America: The First Avenger and Captain America: The Winter Soldier combined. While I am a huge Marvel fan and love all of the aforementioned movies, it’s clear after watching Deadpool as to why the film has done so well. The prototype for a superhero-centric film is drama with bits of comedic relief sprinkled throughout. Deadpool, however, flips the script on the generic model, using incessantly outrageous and clever humor throughout the movie to create a refreshingly new addition to the Marvel Cinematic Universe.

For instance, watching protagonist Wade Wilson—Deadpool—break the fourth wall in intense action scenes to quip with the audience about whether or not he left his stove on or why “that guy in the suit just turned that other guy into a fucking kebab” brings a much-needed sardonic playfulness into a film genre that is often executed with excessive seriousness.

Arguably, the largest factor in Deadpool’s success is the superb acting of Hollywood heartthrob Ryan Reynolds as Deadpool. Reynolds plays the sassy, obscene pansexual mercenary with endearing charm and authenticity, dropping F-bombs and sexual innuendos left and right while fighting off bad guys. Reynolds’ ability to portray the multi-faceted nature of Deadpool’s personality keeps the film from becoming too kitsch. He is a sweet and devoted boyfriend one minute, an immature teen giggling about teabagging a villain the next. He’s fun, he’s flirtatious and he uniquely brings both elements into his fighting style.

Not only did Reynolds shine in his role, but so did the supporting cast members. Deadpool’s bespectacled bartending best friend Weasel—played by T.J. Miller—is sweet and funny, deadpanning brilliant one-liners like, “You are haunting, you look like an avocado had sex with an older avocado.”

X-man Colossus—voiced by Stefan Kapičić—is a giant teddy bear of solid steel, acting as a patient advisor to badass female trainee Negasonic Teenage Warhead—played by Brianna Hildebrand. When teaming up with Deadpool, the chemistry between the three was great and I hope to see them work together again. I also really liked Morena Baccarin as Deadpool’s girlfriend Vanessa, but since Reynolds has hinted that his character may have a boyfriend in the sequel, it’ll be interesting to see if she sticks around for long.

The only time I thought the characterization fell flat was when it came to the antagonists. In the opening credits, we learn that the movie features “a British villain.” And that’s pretty much all the substance we get from said villain and mutant: Ajax. His motivation to experiment on humans to make and sell mutant “slaves” to wealthy clients wasn’t developed well at all—neither was any indication of how these individuals lose their agency. Ajax’s henchwoman Angel Dust is no better in terms of personality—or lack thereof. I was surprised and disappointed that both villains were so underdeveloped.

While I do agree with many critics that the plotline is pretty standard, the utterly unique characters presented in the film, their hilariously shocking actions and their comments kept the audience captivated and itching for more. Deadpool unapologetically tore down antiquated constructs of what makes a superhero film great—and judging by these box office numbers, people are very happy with the result.u

“Slut-shaming” archaic, detrimental to social progress

For years, conventional American social constructs and sex education have helped to perpetuate “slut-shaming” by promoting the unnerving notion that partaking in sexual activity—especially with multiple partners—negatively alters a woman’s moral or intellectual standing. As comedian John Oliver noted in his “Last Week Tonight” segment on sex education, “This idea that sex is something which devalues those who have had it—particularly women—crops up again and again.” The shaming of women for having sex is not only archaic and absurd, but it can prove to be detrimental to young adults learning about human sexuality.

This abhorrent perpetuation of “slut-shaming” not only devalues and dismisses a woman’s right to choose to engage in sexual activity, but it also serves to turn women against one another rather than promoting openness and support regarding a woman’s sexual experiences. I don’t like to remember it, but I recall—like I’m sure many other women do—chatting at lockers or lunch tables with fellow freshmen females in high school and shaking our heads as we heard about what “slut” slept with *insert popular boy here.*

Looking back now as an open-minded and sexually empowered 20-year-old college student, my indignation and anger is not so much directed at my young and naïve self, but rather at these socially-construed messages targeted toward other young women and myself. The aim of these constructs were—and are—used to convince us that sexual activity is unequivocally equated with a lack of self-respect or morality. Rooted in misogyny, these messages—coupled with the sexual objectification of women in media—impart an idea of male power and control that still continues to hurt and hinder women to this day.   

Women are sexual beings that have desires and curiosities just like men do—and there is absolutely nothing wrong with that. There is nothing wrong with a woman having sex, but there is something wrong with social standards that seek to demean and disempower women in the realm of human sexuality, which is something—as Oliver emphasized—that “unlike calculus is something you need to know about for the rest of your life.”

While personal growth and education can eradicate the problematic perception of women and sex from one’s psyche, the sad fact remains that many people still do stand by it. If we are to progress forward as a nation in terms of gender equality, this is one area that drastically needs to change. Sex is a normal, human activity that women should be able to participate in consensually without fear of being looked at as a bad person or a “slut.” Women deserve to have access to honest and open information about sex so that they can stay safe and healthy if they choose to become sexually active. It’s 2016, not the time of The Scarlet Letter. 

I don’t think I can conclude this anymore fittingly than with a quote—again—from “Last Week Tonight’s” revamped sexual education talk featuring actresses Laverne Cox, Kristen Schaal and Megan Mullally: “A woman who’s had sex is not like a dirty shoe. A woman who’s had sex is like a shoe with laces—completely fucking normal.”

Peanuts cast have heartwarming reunion, foster hope in despondent time

With so much horrific violence and prejudice spotlighted in the media this holiday season, it can be hard to look at the world in a positive light. Luckily for all of us weighed down by the lack of apparent goodwill in our society, there is a heartwarming cinematic work to renew our sense of hope and belief in the best of ourselves and others: The Peanuts Movie. I know the notion of an animated children’s movie instilling a newfound sense of joy and comfort in college students and adults everywhere may seem far-fetched, but I’m not exaggerating when I say that I left the film feeling changed—or at least feeling a lot more optimistic. I laughed, I cried, my boyfriend laughed at me for crying and I laughed some more.

The main plotline of the film centers on the lovably insecure underdog Charlie Brown and his misadventures with the Peanuts gang as he attempts to show everyone that he’s a winner to win the heart of the Little Red-Haired Girl—a character who he is hopelessly and adorably smitten with in both the comics and previous films. The inclusion of canonically accurate elements such as this, the Kite-Eating Tree, Lucy’s counseling stand, Snoopy’s typewriter and the “B” story of Snoopy’s encounters with the Red Baron all serve to enhance the overall quality of the film—and make it that much more special for long-time fans like myself.

Brown’s determination to impress his crush is endearing and relatable. I couldn’t stop smiling while watching him work so hard to try to win the school talent show with a magic act or practicing dance moves in his room with Snoopy so he could be crowned the contest winner. The funniest attempt for me, however, was watching Brown complete an entire book report on Leo Tolstoy’s War and Peace while the Little Red-Haired Girl—his assigned project partner who was visiting her sick grandma—wouldn’t have to worry about finishing the assignment.

In true Peanuts fashion, however, all of his attempts to triumph are met with failure. He sets off the fire sprinklers at the dance contest and his book report is shredded to bits. But in these failures, we see the unyielding selflessness and perseverance of his character.

He skips his chance to perform at the talent show by helping out his sister Sally, who is bombing miserably onstage with her cowgirl act until her big brother comes to the rescue by running onstage as a cow. Despite his own struggles to successfully fly a kite, he helps another child to do it and doesn’t feel bitter. When he receives a “perfect” standardized test score and suddenly becomes the most popular boy in school, he sacrifices the admiration of his peers when he realizes that the score was actually Peppermint Patty’s—and admits it to a whole auditorium. These simple, moral acts show who he really is—as blanket-toting Linus gently reminded him, “a good person.”

The Little Red-Haired Girl, too, is able to appreciate Brown and chooses Brown as a pen pal at the end. I cried not only at this, but with his sincerity in asking her, “Why me?”—a really poignant moment for any of us who have ever failed to see our own worth. She explains that she loves his compassion and his honesty—I was left smiling with mascara-smudged cheeks.

The film’s narrative and thematic elements shined through to convey an important message about the power and beauty in the kindness and support of others, as well as the importance of believing in oneself. And in a world with so much darkness, it was a refreshing reminder that you and those around you can make all the difference in creating light.

Class Profile: Course explores Hebrew Bible through feminist lens

Offered for the first time this semester, ENGL 443: Gender and Sexuality in the Hebrew Bible presents students with a unique lens for literary and historical analysis, incorporating—as adjunct lecturer in English Christopher Anderson explained—“discussion of feminist criticism, gender theory and how that relates to biblical studies.”

Anderson said his idea for the class emerged largely from student interest in the portrayal of women in historical texts in his course INTD 105: Gods, Myths and Monsters: Myth and Religion in the Ancient Near East.

“There are a lot of texts about goddesses. I found that my students were very interested in that and wanted to write their papers on those issues. We discussed questions like: how humans project their problems onto female and male deities and if goddess’ actions reflect everyday human and female concerns,” he said. “And I thought, ‘Why not extend this to the Bible?’ Because that’s another thing that people were interested in in that class.”

Originally, the class was slotted as a women’s studies minor course, but it was shifted to a four credit English class. It still counts, however, toward the women’s studies minor, medieval studies minor and early English credits.

One of Anderson’s primary goals for the course is to allow students to explore the Hebrew Bible—the Old Testament to Christians—and critically analyze the literal text and the way that many people interpret it with an emphasis on women’s issues.

“I think that people will tend to say, ‘The Bible says this’ about an issue particularly related to women or sexuality, but it doesn’t. It’s much more multi-vocal,” Anderson said. “In general, there’s a lot of misinformation about what the Bible says about these issues and it’s used a lot with particular political agendas. I think people need to confront that and talk about it.”

Anderson noted that his ultimate goal is “increasing Biblical literacy” amongst students. “If people know more about it, they could engage in political issues and confront people and have a discussion about it,” he said. “Hopefully, in some way, that’ll knock the Bible down a few pegs in our common discourse. I think it [the class] has a very practical aspect to it.”

Senior Lizzie Landrum emphasized the importance of learning to critically examine the Bible and partake in discussion about such a pervasive text. “I’d say that it’s important to learn in detail about something that is so influential in our society; to actually study it and learn about the Bible in an educational, scholarly setting,” she said.

Sophomore Brendan Mahoney added that learning about history and cultures from Biblical times in correlation to women’s studies is a very engaging and compelling opportunity to critically discuss both historical and gender-based issues. “I’ve been enjoying learning about cultures from the past—not only through discussion of the gender roles of those cultures, but of those ancient societies as a whole,” he said.

While the ratio of males to females in the class is 1:4, Anderson stressed the importance of having both sexes in the course for educational and social progression.

“That’s something that I’m very cognizant of as a man teaching this class,” he said. “I would consider myself a feminist and fall within the category of people who think that it’s important for men to be aware of this, too … If history needs to be rewritten … it requires rewriting the whole set of issues concerning both men and women.”

He added that the variety of viewpoints shared by students allows for great discussion in the class. This not only helps the students to learn from one another, but gives Anderson new insight as well.

“I really love just being in the classroom. I don’t know what any of them are going to say,” he said. “It’s a lot of class discussion and hearing their reaction. It’s a cliché, but it really opens up my mind to new perspectives. It’s just so much fun being in the class.”