Tuesday, September 19, 2017 by The Brown Daily Herald

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THE BROWN DAILY HERALD TUESDAY, SEPTEMBER 19, 2017

VOLUME CLII, ISSUE #68

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Gov. announces initiative to fund DACA application fees RI to partner with local organizations to provide financial, legal aid to DACA recipients By PRIYANKA PODUGU AND SARAH WANG SENIOR STAFF WRITERS

JASMINE RUIZ / HERALD

Rhode Island Congressmen aim to counteract President Trump’s policies by supporting a 2017 version of the Dream Act that protects former DACA recipients from deportation by withholding their private information.

R.I. elected officials denounce end of DACA U.S. senators, representative from RI support plans that would put DACA policies into law By TANUSHRI SUNDAR CONTRIBUTING WRITER

Following President Donald Trump’s reversal of the Deferred Action for Childhood Arrivals program earlier this month, Rhode Island congressmen issued statements condemning the policy change. U.S. Rep. Jim Langevin,

D-R.I., and U.S. Rep. David Cicilline, D-R.I., both sponsor a 2017 version of the DREAM Act, a bill they hope to bring to the House floor. The bill would be a permanent legislative solution to protect former DACA recipients, or “Dreamers,” from deportation. Similarly, U.S. Sen. Sheldon Whitehouse, D-R.I., and U.S. Sen. Jack Reed, DR.I., both sponsor the Senate’s Protect Dreamer Confidentiality Act of 2017, a bill that withholds Dreamers’ private information to protect them from deportation. Approximately 800,000 Dreamers

are able to work and live in the United States legally under the policy, which was established in June 2012 by executive order by former president Barack Obama, after years of attempts at more expansive immigration reform stalled in Congress. Trump formally ended DACA Sept. 5. But the fate of Dreamers remains uncertain, given a tentative “DACA deal” struck by congressional Democratic leaders and Trump. On Wednesday, U.S. Sen. Chuck Schumer, D-N.Y., and U.S. Rep. Nancy Pelosi, D-Md., » See DACA, page 8

In a press conference held Monday, Gov. Gina Raimondo announced an initiative to help in-state residents enrolled in the Deferred Action for Childhood Arrivals program cover the application fee needed to renew their DACA status. To renew DACA status — which lasts for two years — prospective participants must pay a $495 application fee. As The Herald previously reported, in light of the Trump Administration’s decision, Dreamers whose DACA status expires on or before Mar. 5 must renew their status by Oct. 5 — for some, a daunting process given the steep application fee. Recognizing this, Raimondo said that the state is joining local organizations in an “effort to provide financial support and legal services to dreamers threatened by the president’s action.” The Rhode Island Center for Justice, Roger Williams Law School’s immigration clinic, Pro Bono Collaborative, Progreso Latino, Dorcas International Institute of Rhode Island and the Coalition of Advocates for Student Opportunities will work with

the state to support in-state DACA recipients attempting to renew their status, Raimondo said. Through a partnership with organizations like the Rhode Island Foundation and the United Way of Rhode Island, the state received “over $170,000 in philanthropic donations” to help eligible in-state Dreamers renew their DACA status by the Trump administration’s deadline, Raimondo said. “It is our goal and intention to be able to provide the money for anyone who needs it. … We’re not gonna let $495 stand in the way of someone’s dreams,” she added. She also urged her constituents to place pressure on Congress to pass legislation to replace DACA. At a press conference held in the immediate aftermath of President Trump’s decision to end DACA, elected officials present “all pledged to do everything in (their) power to stand up for Rhode Island’s more than 1,200 Dreamers,” Raimondo said. The governor also reassured her undocumented college-attending constituents that their ability to pay college tuition would not be compromised by the Trump administration’s policy decision. “If you are a Dreamer, you’re still eligible for in state tuition at URI, CCRI and Rhode Island College and that’s not going to change regardless of the Trump administration’s actions,” » See RAIMONDO, page 2

Fishman’s ‘What Remains’ gallery New York Fashion Week features Brown, RISD models juxtaposes synthetic, organic materials Brown, RISD students walk runway wearing designs from RISD seniors’ thesis projects By CINDY ZENG SENIOR STAFF WRITER

Last Wednesday, several Brown and Rhode Island School of Design students travelled to New York to walk the runways at New York Fashion Week, modeling designs by 13 RISD graduates from the class of 2017, who had presented these designs as their culminating thesis projects in May. The 13 graduates were selected from a pool of senior apparel majors by a panel that included department members and a number of guest critics, such as Kate Wallace, a design director at Club Monaco. Many of the models were new to the world of runway walking. “The first

INSIDE

time I ever modeled was last year when (Designer Coleen Chan) texted me like, ‘Are you interested?’” said Valerie Zhu ’17, a model for Chan’s collection. Chan’s new collection was inspired by her mother’s journey from communist China. “The pieces that were (presented) earlier on were more structured and rigid. … As the collection progressed, by the end, it was more free-form … more organic looking,” Zhu said. “She used techniques on the clothes that were only available back in that time, so there were no zippers on anything. It’s all based on buttons and clasps.” Showing designs at New York Fashion Week was “the best opportunity I could ask for,” said Taylor Goldenberg, another RISD graduate who presented her collection, Pink Champagne, in New York. Goldenberg named her collection Pink Champagne “because it’s a celebration and introspection of » See FASHION, page 3

Students, faculty attended opening reception at List Art Center’s Winton Bell Gallery to celebrate work By ANNABELLE WOODWARD CONTRIBUTING WRITER

Last Friday, students and faculty from the University and the Rhode Island School of Design gathered in the List Art Center’s David Winton Bell Gallery for the opening reception of Richard Fishman’s exhibition, “What Remains.” Fishman, who has crafted inventively disruptive pieces since the ’60s, is renowned for his interdisciplinary works that juxtapose natural and synthetic materials to create striking sculpture installations. A recipient of both the Guggenheim and Howard fellowships, Fishman has been a member of Brown’s Depart» See FISHMAN, page 2

GUS REED / HERALD

Richard Fishman’s work with carbon composite in his pieces most notably evokes the feeling of difference between synthetic and organic materials.

WEATHER

TUESDAY, SEPTEMBER 19, 2017

ARTS & CULTURE Darren Aronofsky’s new film “Mother!” brings experimental film to the mainstream

ARTS & CULTURE “Reuse, Reconsidered,” explores intersectionality, diversity of different methods of reuse

COMMENTARY Maden ’18: Using S/NC option necessary in charting academic path for all students

COMMENTARY Richardson ’20: Through their music, black artists voice sentiments of resistance

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ARTS & CULTURE PAGE 2 • TUESDAY, SEPTEMBER 19, 2017

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» FISHMAN, from page 1 ment of Visual Art since 1965. He has also designed creativity workshops and served as the Director of the Creative Arts Council for the University. Fishman “has been a crucial part of the art (community) here at Brown for decades,” said Ian Russell, director of the Bell Gallery. “We’re hoping that the community will find it inspirational or enlightening to see types of artistic work that a leader such as himself can make.” For two hours, gallery-goers slowly meandered through the exhibition’s three rooms, all of which featured works that merited praise as standalones but collectively proved more meaningful. The walls showcased several “Untitled” pieces where carbon fragments were made to resemble wispy, wind-torn locks of black hair scattered about a creme canvas. “What Remains,” the gigantic, steely centerpiece and principle sculpture from which the exhibition derived its name, stands at least seven feet tall and is primarily constructed of carbon fiber fabric. In another room, two tree-like sculptures stood side by side. One was made of elm wood and the other of carbon composite, a synthetic material most commonly used in military aircraft that first appeared in Fishman’s work in 2009. Russell noted that Fishman’s current work with carbon composite makes viewers consider their relationship to the organic and the synthetic: “the contrast of wind-battered sails and sleek, techno-futuristic

» RAIMONDO, from page 1 Raimondo said. “The Trump administration’s decision is … just plain cruel and inhumane,” Raimondo said. “We have an opportunity in the next six months to make enough noise and let our collective voices be heard.” At the beginning of her speech, Raimondo cited Javier Juarez MA’18 as an individual who has benefited from the DACA program. “He arrived in Rhode Island 18 years ago when he was 10-years-old. … He grew up in Rhode Island and for all practical purposes felt like a Rhode Islander.” Though Raimondo cited Juarez as a DACA recipient during the press conference, he is unable to benefit from the initiative because his DACA status expires after March 5.

GUS REED / HERALD

Tree-like sculptures are re-created in wispy pieces of carbon composite, which exemplifiy the theme of integrating organic and synthetic materials. (materials) communicates a sense Media professor and filmmaker Miof meditative urgency,” Russell said, chael Udris was moved by the “rawadding that he suspected there was a ness” of Fishman’s work, “particularly social commentary element to Fish- with these large slabs,” he said, pointman’s work. “It’s hard not to think of ing to the twin tree sculptures. “It’s ‘Black Mirror’.” bewildering to look at.” Alternatively, Modern Culture and Artist Brien Weiz, said that

GUS REED / HERALD

Three rooms contained the pieces, allowing gallery-goers to experience the profound sense of urgency conveyed by Fishman’s creations. Fishman enjoys referring to the instal- our difficult emotions. That difficult, lation as a “cast of characters.” Russell fraught place can be profound.” was also impressed by the variations About Fishman’s work, Weiz said, in color: “It’s moving to see such a “I feel like (Fishman) is never not exspectrum of color within blacks. … perimenting. ... He’s always exploring It shows that there’s a tremendous something new. There’s a lot of depth range of possibilities and feelings in to the process.”

“I think it’s great that Rhode Islanders are standing behind their Dreamers and their DACA recipients by raising these funds,” he said. “But it only helps less than 10 percent of the whole DACA recipient population in Rhode Island.” Juarez also said he wished the governor had spoken about passing an executive order to allow DACA recipients to continue renewing their driver’s licenses. It is “one of the most important documents that you can have.” “Without the license you’re basically back to being fully undocumented,” Juarez said, adding that if the governor wanted to really “do the right thing,” she would sign an executive order allowing DACA recipients to renew their licenses on the standard five year cycle rather than a two year cycle, which is more expensive.

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ARTS & CULTURE TUESDAY, SEPTEMBER 19, 2017 • PAGE 3

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COURTESY OF TAYLOR GOLDENBERG

Students, many of whom had limited traditional modeling experience, walked the runway to model designs made by RISD graduates at New York Fashion Week last Wednesday. The designs of the clothes had many different inspirations and explored a myriad of topics, such as femininity, the experiences of families and everyday objects.

» FASHION, from page 1 feminine dress,” as well as an exploration “between nostalgic and contemporary femininity,” she added. Pink Champagne explored notions of “femininity from the past and femininity in

present day … and kind of (blended) the two to figure out my identity in the scope of feminine dress.” Goldenberg said she derives inspiration from everyday objects and forms, basing her silhouettes off of the human body, such as using “the folds of skin to

make folds in the fabric.” Her designs were hand-made over a period of two semesters, spending approximately three weeks per garment for a total of nine pieces. She described the collection as “a princess dress-up but for an adult woman.”

Maya Menefee ’18, a model in Goldenberg’s collection, described Goldenberg’s design as a mixture of streetwear and “otherworldly” art. “I was wearing a mix of … this poofy black top and this sheer dress that was semi-transparent and then underwear

underneath,” she said. Menefee estimated the venue was big enough to fit 600 people, with an audience consisting of a number of influential figures in the fashion world, including designer Zac Posen and model Coco Rocha.

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ARTS & CULTURE PAGE 4 • TUESDAY, SEPTEMBER 19, 2017

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Aronofsky’s “Mother!” mixes allegory with chaos ‘Mother!’ forgoes character development for cinematic experimentation By ZACHARY BARNES STAFF WRITER

What is “Mother!”? An environmental allegory? A perverse retelling of the creation myth? A cautionary tale about dating a film director? A home improvement thriller? “Mother!,” the new film from director Darren Aronofsky, is all of these things. Maybe. There has to be a point, one figures, where multivalence crosses over into incoherence. And the further along this film goes on its tense acid trip of a narrative, the more it seems to cross that line. The film begins with the character credited only as “Him,” played by Javier Bardem, placing a jewel in an austere steel nest, which refreshes his decrepit and burned house. Ashes and debris disappear, colors reemerge and the house becomes an idyllic island in a sea of tall grasses. A paradise, if you will. But the

most important restoration happens in the bedroom, where the form of a sleeping woman materializes, rising like a soufflé beneath the bedsheets. The woman is “Mother,” played by Jennifer Lawrence, and she has a good deal of baking, cooking, cleaning, doting and fretting ahead of her. Married to a poet, she is a devoted wife, content to work on the house, still unfinished, while her husband cloisters himself away in his office. But from the first moment we see the two of them together, an unease sets in. Bardem enters with a jump scare, and Aronofsky shoots Lawrence in a tight close-up, crowding the audience with her pleading, anxious face. She doesn’t just love her husband; she reveres him. Yet the thrill of having a beautiful young woman around to praise and support him has begun to wear off. When she tells him that she loves his work, he brushes her off with a weary “I know you do.” Soon enough, the couple has visitors. First comes “Man,” played by Ed Harris, a doctor who claims to have mistaken the house for a bed and breakfast. When Him invites Man to stay the

night, Mother reacts with confusion and distress — why is her husband inviting this strange man into their private paradise? The next day, when Man’s wife — “Woman,” played by Michelle Pfeiffer — arrives, Mother becomes even more distraught. Who are these people, and why are they here? Lawrence, Bardem, Harris and Pfeiffer form the heavyweight core of actors here, and the film is at its best when focused on them. The tensions within and between the couples make for discomfiting marital drama. When Harris and Pfeiffer lustily lock lips in front of Bardem and Lawrence, Bardem watches with a strange, quiet excitement. The very best scenes, though, are those that spotlight Lawrence and Pfeiffer. Woman peppers Mother with questions about her home and sex life, musing that Mother and her husband ought to have children, since then they’d be “creating something together.” Pfeiffer, slightly drunk off spiked lemonade, dispenses withering glances and condescending put-downs with shattering, hilarious precision. For a few minutes, she transforms “Mother!” into something like a Nancy Meyers production

shot with the nervy psychosis of Roman Polanski. Pfeiffer’s performance is the one out-and-out triumph of the film. As “Mother!” progresses, it becomes larger and weirder in scope. More visitors arrive, blood is spilled, an apocalypse is nigh and a woman gives birth. Yet the chaos feels too broad to ever become as disquieting as Aronofsky wants it to be, and the allegories become at once confused and obvious — in a few choice moments, he conveys themes with all the subtlety of a crowning baby. Throughout all of this, Lawrence carries out the unenviable task of repeatedly screaming things like, “No, it’s not yours!,” “What are you doing?” and “You need to leave!” She’s not bad, but she doesn’t quite transcend the limits of the role, either. What exactly those limits are, and why they are there, is difficult to pin down, and only complicated by the fact that Lawrence and Aronofsky are currently in a relationship. One of the film’s themes is the idea of the muse as victim, subject to the moods and tempers of the artist. It’s hard not to wonder: is Aronofsky trying to tell Lawrence something here?

Whatever their relationship may bring to bear on the film, the fact remains that the trope of the inscrutable male artist is growing old. “Mother!” seemed as though it might take it on from a new angle, focused as it is on the woman, narratively and visually. Aronofsky claims that 66 minutes of the film are a close-up of Lawrence’s face, which seems right. When the close-ups aren’t on screen, the camera rotates around Lawrence, showing everything in relation to her. For all but a few frames, Lawrence is the center of gravity. Even so, Mother never comes into her own. She is God, Mary, womanhood, nature and muse. Subject to and abused by the film’s thematic agenda, she is everything but a real character. Stories of victimhood are only as interesting as their victims, and Aronofsky has neglected his. This isn’t to say, however, that Aronofsky has a complete failure on his hands. “Mother!” is polarizing and personal, and the fact that it received a wide release is as puzzling as it is welcome — lunatic cinematic craft is in short supply at the multiplex these days. It deserves to be rewarded.

Conference highlights utilization of recycled artifacts, spaces, trends ‘Reuse, Reconsidered’ brings speakers on history of art, architecture to Granoff Center By ELIZABETH TOLEDANO SENIOR STAFF WRITER

“Reuse, Reconsidered,” a three-day conference organized by the department of History of Art and Architecture, took place this weekend in the Granoff Center for Performing Arts. The conference set out to explore the idea of recycling physical artifacts, spaces and aesthetic trends in human history. Lecturers came from different academic institutions across the country and the world to share work that exemplified this theme. The program began Friday with opening remarks entitled “The Alchemy of Moments: 150 years of reuse in Delhi, India,” by Mrinalini Rajagopalan, associate professor of history of art and architecture at the University of Pittsburgh. The conference was organized into 11 panels each exploring different sub-themes. Saturday lectures included topics ranging from “Appropriation and Power” to “Reconstructed Meaning.” The next day, the panels went on to address themes of “Continuities and Discontinuities,” “Politicizing Reuse” and “Fragmentation and Reassembly.” The conference also included a tour of campus, addressing examples of reuse in university spaces. “It’s always amazing when you pick up on … vast, grand similarities in extremely different time periods,” said attendee Josie Johnson, Ph.D. Each panel, which ran one hour and 40 minutes, included a series of short lectures on specific topics in the field of history of art and architecture related to the panel’s theme and the overarching concept of reuse. Lecturers covered topics ranging from the Denver Medical Center to

Scandinavian Architecture to Medieval Architecture in America. The discussions, even within each of the eleven panels, featured diverse areas of study. For example, Johnson’s lecture, entitled “Refuse to Reuse: Photographs of St. Basil’s Cathedral in Moscow, ca. 1930,” was accompanied with lectures that focused on various themes, such as Salvador Dali, coffin reuse and architecture, in the Dominican Republic. “‘Thy Neck is like the Tower of David’: The Jerusalem Citadel and the Cult of King David in British Mandate Palestine,” hosted by Michal Goldschmidt PhD, discussed the use of the historical tower as an exhibition space by the British, she said. The conference as a whole gave her a chance to take in information about different time periods, researched by a diverse group of art historians, that encountered the same issues, Goldschmidt said. H.C. Arnold, associate faculty of humanity at Riverside City College, made a similar observation. “What I have been … most impressed with is the breadth of scholarship here,” he said. His lecture on “Brazil’s Graffiti Community” was followed a presentation by a Princeton professor working with nineteenth-century Japanese art. Following each panel, the lecturers spoke to the audience more specifically about their work and the concept of reuse. Many onlookers had pertinent questions about the lecturers’ research. But the conversations following the lectures extended beyond questions about presented material and began to assess the vocabulary of “re-appropriating” versus of “reimagining.” By closing reception on Sunday evening, more than forty speakers had had the opportunity to share their research. Each speaker left with insight into the overarching commonalities across their collective fields, as well as a reusable name tag that, if planted, will grow into wildflowers.

COURTESY OF LIA DYKSTRA

Lecturers from various institutions across the world came together to speak about recycling in the world of art. Though the specfic topics of the lectures differed, they all centered around the theme of reuse.

TODAY

TUESDAY, SEPTEMBER 19, 2017 • PAGE 5

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c o n s ta n t c o n s t r u c t i o n

SATELLITE DINING ANDREWS COMMONS

Pizza: Bacon Chicken Ranch, Spinach & Feta, Pepperoni, Cheese Poke Bowl JOSIAH’S

BLUE ROOM

Chicken Wings Bar, Bacon Burger, Quesadilla Station

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DINNER

Chicken Vegetable Soup, California Salad Bar, Italian Meatball Subs, Blondie Bars

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sudoku

Construction on the new engineering building continues, as countless students on the street adjacent narrowly avoid cars, construction trucks and passing strangers.

Q U O T E O F T H E D AY

“There have been a couple occasions on tour when we’ll lose someone in a foreign city, and that’s kind of where

”

the term ‘Unaccounted For’ came from.

—Oliver Hu ’18, Brown Derbies music director

See derbies on page 1 R

ACROSS 1 Employment agency listings 5 Fried Cajun veggie 9 WWII conference site 14 Billion extension 15 Steady guy 16 He hunted with a club in the “Odyssey” 17 Club used as a weapon, say 20 Nonagenarian actress White 21 Yeats or Keats 22 Color, as Easter eggs 23 Summer quencher 24 Dorm VIPs 27 Where Lux. is 29 Kid-friendly comfort food 36 Soothing additive 38 River through Sudan 39 Country rocker Steve 40 Sable maker, briefly 41 Turn __ ear 43 Pub projectile 44 Former Portuguese territory in China 46 Prefix with -pus 47 Abates 48 Tests during which checking notes is allowed 51 Gymnast’s goal 52 Deli bread 53 Art on skin, slangily 56 Draw upon 59 Not as much 62 Calf-roping gear 64 Candid sort 68 Street toughs 69 Diamond Head’s island 70 Aromatic drinks 71 Go on tiptoe 72 Small songbird 73 Wine area near Turin DOWN 1 “Star Wars” gangster 2 No longer squeaky

c r o s s w o rD d

Edited by Rich Norris and Joyce Nichols Lewis 3 Xbox battle game 4 Told to go 5 Asian tie 6 Barbie’s guy 7 Grating voice 8 One might get stuck in a jam 9 Video-sharing website 10 Radius’s limb 11 Committed perjury 12 Randall who played Felix Unger 13 Chip in a chip 18 Supermodel Banks 19 Marsh stalk 25 Tolstoy’s Karenina 26 Snowmobile brand 28 “__ and weep!”: poker winner’s cry 30 Take back 31 Smart guy? 32 More like Felix Unger 33 African countries on the Mediterranean, e.g. 34 Mediation agcy.

35 Congeals 36 Target practice supply 37 “... one giant __ for mankind” 42 Cunning 45 Washington Monument, for one 49 Universal blood type, for short 50 Related to flying 54 Had lunch in

ANSW R

55 Foot bones 56 Letter carrier’s org. 57 Leave speechless 58 Marine eagle 60 Vegas event 61 Kindergartner’s reward 63 Tiny bit 65 Wanted-poster letters 66 Sailor’s pronoun 67 Attila, notably

O S

calendar TODAY SEPTEMBER MARCH

Conversation and Q&A with Yanick Lahens 11:30 P.M. Rochambeau House

Vinyasa Yoga 6:00 P.M. Hillel, Winnick Chapel

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How to Use a Calender & Planner 12:00 P.M. Salomon 001 Gendo Taiko Drumming Workshop 8:00 P.M. TF Green Hall, 205

TOMORROW Quaker Meeting for Worship 12:00 P.M. J Walter Wilson, 409

LingLangLunch 1:00 P.M. Metcalf Research Building, 305

Latinx Welcome Back 5:30 P.M. Sayles Hall Auditorium

Lean In Kickoff 7:30 P.M. Smith-Buonanno, G01

COMMENTARY PAGE 6 • TUESDAY, SEPTEMBER 19, 2017

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COMMENTARY TUESDAY, SEPTEMBER 19, 2017 • PAGE 7

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S/NC is a tool for self-care and equity CYRUS MADEN

op-ed contributor The S/NC grading option is a cornerstone of Brown’s academic experience. It provides students with the freedom to try courses without worrying about letter grades or GPAs. However, the value of the S/NC option often comes under debate. Most recently, a column printed in The Herald, written by Nicholas Esemplare ’18, raised criticism on this very issue. Esemplare writes that, without grades, there’s no incentive to invest in the course material, so students in S/NC courses tend to put less effort into those classes. Clearly, S/NC isn’t for everyone. That’s fine. Taking courses for a grade, as opposed to S/NC, is part of the academic agency we get here. But that doesn’t mean S/NC, as a rule, fails Brown students. Esemplare’s article contains a key contradiction that made me reflect on the way people perceive the S/NC option and how negative perceptions of S/NC are what actually fail us. Esemplare states that students shouldn’t use S/NC to reduce their workload, but also believes that it’s wrong for students to do all of the work in an S/NC course. In one instance, Esemplare writes that people often use the S/NC option for “less noble academic reasons” like “reducing their course load.” At this point, Esemplare seems to believe that students should try as hard to earn an “S” as they do to earn an “A.” But

then Esemplare writes that it’s “borderline irresponsible” to focus on an S/NC course over a graded course. To Esemplare, there is seemingly no good reason to take a class S/NC. If it’s wrong to use the S/NC option to make your semester easier and you can’t use it to challenge yourself, what is it for? In reality, Esemplare may have omitted from his article some important benefits of the S/NC option, such as the freedom it provides. Full disclosure: I take all of my classes S/NC. Crazy, right? S/NC helps me because

students to navigate course options. It’s important to recognize that other people have unique approaches to their academics and that for some students — especially FLI students — S/NC courses can be great. I use the S/NC option firstly because I don’t feel confident in most of my courses but still want to challenge myself. Secondly, taking courses S/NC also gives me flexibility to support my family during the semester. Thirdly, it reduces the stress associated with traditional grading and helps me manage my mental health. These factors are tied

That said, there isn’t a problem with disliking S/NC courses or deciding that they don’t suit you. The problem is conflating a personal preference for graded courses with a systemic issue. A systemic issue suggests that there’s something inherently wrong with taking S/NC classes, which creates a culture where grades become the priority. Instead, we should discuss what drives one’s personal preference and prioritize introspection. In practice, that means providing advice on course selection that emphasizes self-reflection and self-care.

It took a lot of introspection to realize what I want out of my time here at Brown and it took a lot of introspection to be comfortable leveraging the S/NC option in a way that works best for me. It hurts that the cultural stigma around the S/NC option makes this work feel worthless.

I’m a low-income student, and it’s likely helping other first-generation and low-income students for similar reasons. There’s no need to conflate personal preference with institutional failure. Doing so just makes navigating Brown more confusing, especially for students already unfamiliar with its culture. While I can only speak for my own experience as a student from a low-income background, the reality is that articles like Esemplare’s perpetuate the idea that S/NC is inferior, which makes it harder for FLI

to my identity as a FLI student. I feel less confident with course selection because I’m a FLI student, I need flexibility because I’m a FLI student and I struggle with poor mental health because I’m a FLI student. You might decide grades are important to you (law school, anyone?). But there isn’t a “right” way to take classes at Brown, despite what the S/ NC stigma may suggest. FLI students, in particular, may have alternative mindsets or approaches to course selection. We have to work hard to recognize this and validate these views.

When discussing course options, we too often hold preconceptions about what is the right and wrong way to approach academics at Brown. So before we give rash advice, we should ask questions that prompt reflection. Will this class make you happy? What do you want to get out of this course? What other commitments does this course intersect with? The answers are different for everyone, so it’s important not to stigmatize certain academic options. When I take a course, my number one concern is how it’s going to

help me graduate and provide for the people I care about. Will I develop a marketable skill set? Will it help me complete my concentration requirements so I can actually get my degree? Will it be an easy class so that I can put more effort into other courses more relevant to my career goals? The S/NC option can help with all of these things, and it has helped me many times. But it hurts when people with different academic goals don’t recognize that my goals are, in fact, different — or think that I don’t have, as Esemplare states, “noble” reasons for clawing through four years of classes. It hurts because the stigma associated with S/NC classes makes me feel like I shouldn’t take courses S/NC at all. It took a lot of introspection to realize what I want out of my time here at Brown, and it took a lot of introspection to be comfortable leveraging the S/NC option in ways that work best for me. It hurts that the cultural stigma around the S/NC option makes this work feel worthless. Dismissing S/NC courses as something tangential to a “real” and “proper” academic experience makes it harder for me — and probably other FLI students — to feel comfortable at Brown. For some, S/NC courses are a great choice. For others, maybe not. But either way, self-reflection and self-care should come first. Students should be able to use the S/NC option in the way that works best for them without having to feel bad about it.

Cyrus Maden ’18 can be reached at cyrus_maden@brown.edu.

Sounds of resistance RANDI RICHARDSON staff columnist On June 15, Jay-Z became the first rapper inducted into the Songwriters Hall of Fame. In the induction ceremony, former President Barack Obama recorded a video tribute as an introduction to Jay-Z’s acceptance speech. During the tribute, Obama said, “So, I’m pretty sure I’m still the only president (that listened) to Jay Z’s music in the Oval Office.” Obama went on to compare himself to the rapper, joking about how both of their wives are “significantly more popular” than they are and how “nobody who met (them) as younger men would have expected (them) to be where (they) are today.” Given their longstanding friendship, it is no coincidence that Jay-Z dropped his new album, “4:44,” at the height of the political unrest unsettling the nation. For a start, “4:44” phonetically reads as “for 44,” leading many to believe that it was in homage to the 44th president. This seems especially convincing given the timing of the album’s release: It dropped just as Obama’s successor was actively working to dismantle his eight-year legacy and jettison the core values and norms that have historically embodied the presidency. With lyrics such as, “Y’all stuck in La La Land/Even when we win we gon’ lose,” which blatantly point to broader cultural debates, it is clear that Jay-Z wanted to make an overt political statement — and he is not alone. In the last year, songs by black artists such

as Jay-Z, Kendrick Lamar, J. Cole and Beyoncé offer resistance to the racism that is spreading across the country. Their lyrics focus on black liberation, colorism, financial stability and broader ideas that impact communities of color — and indeed, Brown students (pun intended). Songs like “Alright,” “How much a dolla’ cost,” “Kill Jay-Z,” “Freedom” and countless others act as a mouthpiece for black America, especially during these uncertain times under the Trump administration. These prominent artists are using their platforms politically, and

speech with recent music from any one of these artists. As president, Obama’s speech was addressed to the American people as a whole. He aimed to highlight the importance of every occupation, gender and citizenship status by acknowledging that “democracy won’t work without a sense that everyone has economic opportunity.” This idea is well-liked among listeners from across the political spectrum — but it doesn’t get to the heart of the overlooked systems of oppression halting social and economic mobility for minorities.

In the last year, songs by black artists such as Jay-Z, Kendrick Lamar, J. Cole and Beyoncé offer resistance to the racism that is spreading across the country. Their lyrics focus on black liberation, colorism, financial stability and broader ideas that impact communities of color. it has proven to be a powerful way to start conversations about social equity and civil rights. With stark language and confrontational delivery, their music transcends the careful and diplomatic molds in which politicians are expected to act. In a spectrum defined by cautiously political conversations on the one side, and passionate emotions and lived experiences on the other, this music offers a raw, unfiltered alternative that reaches a different audience. For example, contrast Obama’s farewell

After all, if your great-great-grandmother was lynched for attempting to read, earning a high school diploma might as well be the Congressional Medal of Honor. If your neighborhood is plagued with all of the county’s incinerators and landfills, it’s easy for environmental disparities — contaminated water or poor air quality — to stunt the growth of youth and impact standards of living. More often than not, these situations and others like it disproportionately affect black and brown bodies to the

extent that political cliches such as “economic opportunity” for everyone don’t seem very equitable. And it is at this point that black artists’ rhythmic phrases claim their power. Instead of speaking to the country as a whole, artists are able to tailor their lyrics to certain groups. Artists such as Kendrick and Beyoncé are able to speak to an assortment of groups because they belong to multiple identities — black, male or female, single or married, southern or from other regions in America. Their art is important because it’s usually more digestible than political speeches. They can also shed light on microaggressions and racial injustices without having to hide behind carefully-chosen platitudes. They can make music about issues facing their communities with unapologetic lyrics that influence their fans. That isn’t to say that everything associated with these artists has to be about blackness, rather their ability to make art about whatever they want and black issues is a step in the right direction for the entire community. Artists — and frankly, all public figures — are leading acts of resistance through their platforms in a way that politicians cannot. There is an ever-moving line between art and activism, where beats and politics cannot be separated. For walking this line, the work of black artists to start these conversations should be recognized, celebrated and supported.

Randi Richardson ’20 can be reached at randi_richardson@brown.edu.

NEWS THE BROWN DAILY HERALD

TUESDAY, SEPTEMBER 19, 2017

» DACA, from page 1 announced that they and Trump had “agreed to enshrine the protections of DACA into law quickly,” in exchange for tougher border patrol. But Trump refuted the statement Thursday morning via Twitter, the New York Times reported. As senior Democratic party leadership continue their negotiations, Rhode Island congressmen stand firm in their mission to protect Dreamers from deportation and produce comprehensive immigration reform. The Center for American Progress estimates that there are approximately 1,229 DACA recipients in Rhode Island who annually contribute over $61 million to the state’s GDP. For these Dreamers, the confusion and uncertainty in the White House is a cause for concern. But Rhode Island policy makers are clear about the Dreamers’ role in American society: “These young people are contributing enormously to our country and are Americans in every respect other than a piece of paper,” Cicilline said. “These are people we want to be part of our country.” “President Trump’s priorities are backwards. He stands behind divisive figures like Joe Arpaio, but shows no compassion for bright, hardworking kids,” Reed wrote in a statement after Trump’s executive order, adding that ending DACA would send children to “countries they have never known.” “We are absolutely unified in our demand that the Speaker of the House bring the DREAM Act to the floor. That’s the easiest way to fix this problem and provide a secure future for the Dreamers,” Cicilline said. Congressional Democrats are exploring every legislative possibility to pass the act, Cicilline said. He told The Herald that in the next few weeks, the Democrats could issue a discharge petition, which would force the Speaker of the House to bring a bill to vote. Other options include finding a must-pass bill that the DREAM Act can attach to or simply encouraging more Republican senators to support the DREAM Act.

JASMINE RUIZ / HERALD

On Sept. 8, crowds gathered at the State House to protest the end of the Deferred Action for Childhood Arrivals program. Rep. Langevin and Rep. Cicilline state that they aim to secure protection for DACA recipients.

The best approach to reform is passing comprehensive legislation that “funds proven strategies for securing our borders, while giving hardworking immigrants a way to continue contributing to our economy and communities,” wrote Meaghan McCabe, press secretary for Whitehouse, in an email to The Herald. Whitehouse has advocated for immigration reform throughout his time in Congress and, in 2013, voted for a Senate-passed bipartisan immigration reform bill that would have significantly increased border security and made it possible for undocumented immigrants to gain legal status, McCabe wrote. The bill stalled in the House. Similarly, Langevin wrote in a press release that he would do “everything in (his) power to protect DACA recipients from the Administration’s cruel actions and to find a permanent legislative solution to fix our broken immigration system compassionately and effectively.” Reed, Whitehouse and Langevin all voted for the DREAM Act in 2010. Cicilline was not a member of Congress at that time. A debt-limit deal Trump struck with Democrats earlier this month will give the party “a lot of leverage,” said Richard Arenberg, visiting professor of political science and international and public affairs. But that deal, which lifted the debt ceiling and provided government funding, only addresses the next three months, meaning the same issues will come up again in mid-December, he added. “Addressing a legislative approach to dealing with the extension of DACA and a path to legalization and citizenship will be on the table” in those mid-December negotiations, he said. Were the DREAM Act brought to the floor immediately, the momentum gathering for immigration reform means “it would likely pass with all of the Democrats and enough Republican support,” Cicilline said. But the decision about whether or not to vote lies with Speaker of the House Paul Ryan, R-Wis., which means that the process to protect Dreamers will likely be more tedious.

Hats off: Brown Derbies drop new album, “Unaccounted For” With tracks like ‘Chandelier,’ ‘Don’t Wanna Fight,’ release marks group’s new chapter By AMY WANG STAFF WRITER

Sept. 15 marked a special day for the Brown Derbies: the release of their latest album, “Unaccounted For.” The 13th album released by the a cappella group, “Unaccounted For,” features a variety of contemporary music, all drawn directly from the Derbies’ repertoire. Tracks range from pervasive pop hits like Sia and Jessie Shatkin’s “Chandelier” to the soulful rock of Alabama Shakes’ “Don’t Wanna Fight.” The Derbies harmonize flawlessly throughout each number, building off the central melody and taking advantage of the flexible nature of a cappella. There’s no shortage of swelling crescendos, shining solos and weighty moments of silence. The album is a product of three

years’ work, consisting of tracks recorded from 2014-2017 and featuring the voices of Derbies from six years’ worth of graduating classes. With their iconic hats and vests, the a cappella group has been a presence on the University’s campus since the ’80s, with their first album released in 1986. Their most recent performance, “Smoked Salomon,” a joint event with the Chattertocks a cappella group, took place in Salomon Hall last Friday, the same day “Unaccounted For” was released. The Derbies “had a very engaging stage presence, as well as amazing vocals,” said Estefany Delgadillo ’20, who attended the performance. The Derbies have also been a presence on other college campuses, going on tour every year to national and international venues. Last year, they visited U.S. cities like New Orleans and Austin, Texas; the year before, they toured in China. “There have been a couple occasions on tour when we’ll lose someone in a foreign city, and that’s kind of where the term ‘Unaccounted For’

came from,” said Oliver Hu ’18, the Derbies’ music director. “We always find them — don’t worry!.” All of the music in the album is arranged by members of the Derbies themselves. “A lot of beginning arrangers listen to the song and essentially just make a carbon-copy of the song for voice,” Hu said. “And it works — you make this faithful recreation of a song …(but) voices have unique qualities and abilities that instruments don’t have, and vice versa, so I think it’s very important to adapt a song so that you take advantage of the fact it’s a group of singers.” Musically, “Unaccounted For” is “pushing the envelope,” said Iladro Sauls ’19, co-business manager of the Derbies. “We really tried to branch out in terms of bringing some unique stylistic twists to the songs.” He noted the album’s use of silence as one such twist, remarking on the way the Derbies would “really (strip) things down to dynamics, sometimes just the beat and the solo… down to the main essential parts, and then (use) swells and stuff to bring everyone back in.”

COURTESY OF THE BROWN DERBIES

The Brown Derbies have gone on tour every year, including trips to New Orleans, Austin and China. The album is already on streaming services including Spotify and iTunes, and hard copies of the CD will also be for sale at future Derby performances. “It sounds a little bare bones, but we

just try to make music that people enjoy listening to,” Sauls said. “The goal in going into it (isn’t that) we want to make good a cappella music — we just want to make good music.”