Battle at the bottom: 1-3 WSU visits 1-3 Cal in a battle of the ages

Washington State will be coachless Saturday. Or at least, it might be. Wazzu’s head coach, Nick Rolovich, may not be allowed into Memorial Stadium under Berkeley’s recent vaccine mandate, as he has repeatedly refused to comment on his vaccination status.

Whether or not the Cougars have their head coach Saturday, Cal’s homecoming game should be one to watch. Washington State’s offense brings a lot of firepower — its two slot receivers, Calvin Jackson Jr. and Travell Harris, are already up to 20 and 24 receptions, respectively. WSU will also look to return star running back Max Borghi and quarterback Jayden de Laura this week, two players who could have a massive impact on the game.

Jackson, Harris and Borghi have accounted for 792 of Washington State’s 1,419 total yards this season — 55% of its total offense. Containing these three players will be a massive job for a so-far-lackluster Cal defense, but defensive coordinator Peter Sirmon thinks it’ll be up for the task.

“They do what they do. This is a team that is running the ball on what we call NDD: normal down and distance. Even with a four-wide-receiver look, they’re hitting a lot of inside zone, outside zone, and getting a few gap schemes,” Sirmon said in a press conference. “When you break it down, they are running the ball effectively.”

That run game might be especially important for the Cougars this week, as the starter for Saturday’s game is still in question. Wazzu has employed four quarterbacks so far this season and is looking to solidify a starter soon.

“We need consistency from that group. We need leadership from that group,” Rolovich said in a press conference. “It’s been a pretty roller-coaster-type ride with the quarterback position this year. Hopefully, we get down to some stability here soon.”

Stability will be key for both squads this week, and increased instability for Washington State might just lead to a better chance to secure some for the Bears.

“Ultimately, we’ll see who ends up playing and what the health of that player is,” Sirmon said.

Cal, which is giving up 418 yards per game on defense, will need to recoup against a WSU squad that is only putting up about 350 yards per game.

That being said, Cal’s offense will have a chance to do some serious damage to this Washington State defense, which is giving up more than 400 yards per game this season. Cal’s previous opponents, Washington and Nevada, surrender less than 380 yards per game to opponents, and TCU surrenders just more than 390 yards on average.

Despite the stingier defenses Cal has faced so far, the offense is averaging more than 440 yards this season, a testament to the work of offensive coordinator Bill Musgrave and the players as a whole. With more than 160 yards per game on the ground and about 270 per game courtesy of Chase Garbers’ arm, this California offense is no joke.

Cal will once again look to lean on its running game and use its size advantage to grind down the Washington State defense. Continuing to convert third-and-short situations with the running game will be a point of emphasis for Musgrave, who mentioned Wednesday that there is a “bundle of calls we’d like back” after the game against Washington last week.

Eliminating those situations will be crucial for the Bears going forward. With an offense that’s beginning to hit its stride and a defense that has some work to do to get back to performing at a high level, both sides of the ball must avoid simple errors.

On Saturday afternoon, two 1-3 teams will slug it out in a battle to stay out of the Pac-12 North’s cellar. Whether or not the Bears emerge victorious will be entirely up to themselves — their fate lies solely in their ability to avoid the small mistakes that always seem to stop them just short of success.

Jesse Stewart covers football. Contact him at jstewart@dailycal.org, and follow him on Twitter @jessedstew.

The Daily Californian

Recently, a tote bag craze swept the nation. It seems like everywhere you look there is a cute cotton tote — even on our shoulders. They are stylish, convenient and roomy. We love to bring our totes, filled with books, pens, planners and our favorite chapsticks to coffee shops, carrying the idea that we are cooler than everyone else. And, until recently, we too assumed they were the perfect way to broadcast our passion for sustainability and subtle political messaging.

However, the tote bag trend stems from a problematic culture of overconsumption and access to performative trends. It shouldn’t excuse us from taking substantial actions to reduce our environmental footprint. But, don’t worry, we can still look good while doing it.

The current prevalence of tote bags is a fast fashion issue. We keep buying them because it’s a trend. And when we are constantly revamping our wardrobe to keep up with trends, we resort to cheap purchases to soften the financial blow. But with cheap purchases, comes cheap materials. These materials wear out quicker which doesn’t allow you to wear them beyond their practical use and production cost.

Tote bags are marketed as environmentally friendly products. Yet, “an organic cotton tote needs to be used 200,000 times to offset its overall impact of production.” We think that buying totes are a sustainable solution, but it’s counterintuitive to solve environmental issues with consumption.

At the end of the day, buying more textile products just increases our environmental footprint as more products take more time to decompose. Moderation is key when addressing our use of tote bags. There’s no need to keep buying totes when you can stick with a few good ones.

Capitalism perpetuates an overconsumption cycle. We buy into trends that we assume are good for the environment, so much so that there’s a market for tote bags. Stores are encouraged to sell tote bags because they know we will buy them — and we buy them because we see stores selling them.

We are surrounded by a culture that encourages us to buy more, even when we have enough. Instagram ads, TikTok Shein hauls and influencers encourage us to keep buying. No one needs 15 tote bags.

Beyond the fallacy of tote bags being sustainable products, they are also a status symbol. Corporations worldwide have created the perfect market for tote bags that have flourished over the last several years. But, like all forms of status, tote bag exceptionalism is only available to those who can afford it.

The perfect example of this is The New Yorker, which has given cotton tote bags alongside subscription purchases since 2014. By carrying around a tote bag from The New Yorker, you’re not only sending the message that you are a person who is intellectually advanced enough to read The New Yorker, but you’re also saying that you’re affluent enough to afford the annual $100 subscription.

Specifically, 41% of people subscribing to The New Yorker have yearly incomes of 75,000 dollars or more. To put that into perspective, only 26% of families in the U.S. have incomes greater than 75,000 dollars.

The trend has taken hold and shows no sign of stopping. Alas, the result: a cotton tote bag with the words “farmers market” printed on the front is selling for $24 at an Urban Outfitters near you. While unpalatable, the Urban Outfitter tote was undeniably inevitable.

Tote bag status is expensive, but when has price ever hindered a booming market? Never. The market moved with the demand — unsustainable tote bags and trendy girls (like us) are collateral. Tote bags make performative environmentalism exclusive to those who can afford the trend.

Even still, tote bag use is inevitable. We love our tote bags. But going forward, we’re going to reduce our purchasing of them, and you should too. And if the tote bag temptation gets the best of you, stand your ground, and buy your next tote locally and ethically.

As the weight of the world sits on the shoulders of our generation, we must claim the role of the well-informed consumer. We must know what we are buying into and question the corporations that tempt us with their very efficient, roomy, cute products.

You can still buy the products you like and that bring you confidence — for us, it’s tote bags. But let’s make sure to buy them intentionally and advocate for system-wide changes to make fashion more sustainable and equitable.

s.kincart@dailyutahchronicle.com

@sydjstar

t.soter@dailyutahchronicle.com

@SoterTheadora

The post Kincart & Soter: Tackling the Tote Bag Trend appeared first on The Daily Utah Chronicle.

Our Take: 4/5 Stars

“The Sopranos” is arguably one of the most iconic television series of all time. Fans of the series will be excited to step back into the Sopranos universe with the release of “The Many Saints of Newark” on Oct. 1. Taking inspiration from “The Sopranos” creator David Chase, the film, which is a prequel to the show, adds depth to the existing characters and provides new and exciting elements to the story.

The film follows Dickie Moltisanti, played by Alessandro Nivola (“Face/Off”). Dickie, who is mentioned several times in the series, is Tony Soprano’s uncle and ultimate father figure. The film deals with Dickie’s relationship with Tony and how he shapes him into the man that audiences know from the “The Sopranos.” But despite the many references made to Dickie in the series, creator David Chase wanted a fresh approach to the character.

“When we first started filming, he [Chase] told me that I shouldn’t pay any attention to anything anyone said in the series about the character because they’re all liars,” Nivola said in a roundtable for the film. Nivola’s powerful performance as Dickie provides an emotional core to the film that is very grounded. Dickie’s character provides some interesting layering to the legend of Tony Soprano, and Michael Gandolfini (“Cherry’’), who steps into the role of Tony, plays off Nivola’s strong performance to highlight the influence that Dickie has on Tony’s development.

Set amidst the 1967 Newark race riots, the film quickly establishes a new element in both the world of “The Sopranos” and in the larger category of mob stories. While many mob stories allude to racism, very few deal with it in as outright a manner as this film does. The film jumps backwards to Tony Soprano’s youth and immerses the audience into the city’s racial tensions from the perspective of a family far removed from it. “This protest and riot happen in Newark, and all this is happening and then you get to the Soprano family and it doesn’t touch them,” said Gandolfini.

In contrast with the Soprano family’s detachment is Harold McBrayer. Harold is intensely connected to the riots and to the larger movement happening in the United States. Stepping into the role is Leslie Odom Jr. (“One Night in Miami”), who fits seamlessly into the story and provides a much-needed counterweight to Dickie.

In crafting his performance of Harold, Odom said that he “wanted to hopefully offer a character that was as psychologically rich and interesting as those they [the audience] have grown accustomed to.” And it is safe to say he succeeded. Not only does Harold provide the necessary conflict with Dickie, he also offers a strong voice as the film deals with the racial tensions of the time. “Brutal honesty” were the words used by Nivola to describe the film’s depiction of racism. Odom agrees. “Hey man,” he said, “my feeling is: do not clean it up. Not for me.”

According to Odom, the film’s honest depiction of racism creates the power of the message — a message that the audiences are supposed to hear loud and clear. “If art can be brave, the bravest thing you can do is knock out the fourth wall and let us see you live as you are,” he said. “To show us the ugly parts, because you showing me that forces me to look at the ugliness within myself.”

Another connection that this film has with its preceding series is the fact that the young Tony Soprano is played by Michael Gandolfini, the son of the late James Gandolfini, who portrayed Tony in the series. Gandolfini, an accomplished actor in his own right, spoke about the process of stepping into the role once filled by his father and the challenges and enjoyments he found when doing so. The personal aspect, he says, was not something he focused on in the day-to-day act of shooting the film. “When crafting the character, one thing I focused on was having these little bite-sized chunks,” he said. “I didn’t think too much about the macro.”

It is the little things, like the classic Tony Soprano accent and mannerisms, that brought the celebrated character to life through this different actor. In many ways, Gandolfini approached the role like any other. “I was playing Tony, I wasn’t playing James.”

But Gandolfini also discussed his feeling of pride at watching the final film for the first time. “I felt so much pride that me and him got to do it together, that I got to do this with my dad, as his son, as two Gandolfinis,’ and also as two actors,” he said.

In a lot of ways, “The Many Saints of Newark” is about guilt, about regret and about trying to do good things in bad situations. This idea, despite being told through the lens of a rather niche genre, is a universal experience. There is something very human and relatable about the story. These characters are nowhere near perfect, but like all of us, they walk a balance between good deeds and bad. This internal struggle draws audiences in and connects them to the story in a way that many films attempt, but rarely succeed, to do.

For those familiar with the series, the film provides some valuable backstories and explanations for the events of the series. For those who are just being introduced to the Soprano family, “The Many Saints of Newark” provides an excellent exposition to the series with only minimal spoilers.

When I heard about an art gallery of light fixtures, the first image I conjured in my mind was an IKEA lighting section filled with NÄVLINGE and SINNERLIG. “Electrifying Design: A Century of Lighting” felt like the nostalgic IKEA lighting section on steroids. The curators created both a visually stunning and intellectually enlightening experience for the viewer, guiding the viewer’s eye over everything from tube lights curled onto the floor of the space to massive multi-section chandeliers pulling attention to the gallery’s ceilings. 

The exhibition was organized into three sections: Typologies, the Bulb and Quality of Light, each of which added a nuance to both the past and future of lighting that I would not have previously contemplated. The sections addressed an array of lighting typologies, new representations of the common light bulb and innovative ways artists have manipulated the quality of light. The artworks in this exhibition represented a century of light, including artworks from 1927, 1977, 2007 and beyond. 

Ron Gilad, ‘Dear Ingo Hanging Light.’ 2007. (Emory Wheel/Zimra Chickering)

The first section, Typologies, highlighted how artists play with and challenge stylistic categorization. Many artists throughout time have resisted being creatively pigeonholed, whether it be genre-bending musicians or movement-defying painters. Lighting artists are no different. Experimentation was often the key to defying boundaries and expectations throughout history of art. An amazing example of this is the “Dear Ingo Hanging Light” by Ron Gilad — a spider-like and completely size-adjustable chandelier made from desk lamps. The artist is often described as walking the line between the abstract and the functional. Gilad’s work pushes us, as both artistic viewers and consumers, to question ideas of objecthood and function, especially when an ordinary, cheap desk lamp becomes extraordinary art in the form of an ostentatious chandelier. 

Similarly, Erwan Bouroullec’s “Square Vase Table Lamp” (2001) recalled both a lighted cuboid tank and a flower vase for orchids. The title alone betrays the multiplicity of the object as both a vase and a lamp. In essence, it was a fiberglass cube with a fluorescent bulb illuminating some suspended pink orchids within the square. Bouroullec made two of the most commonplace objects into something futuristic and otherworldly through a genre-bending, experimental combination.  

Not only was my understanding of lighting categories completely transformed in this exhibition, but my awareness of the parts of lighting was as well. The Bulb section made me incredibly aware of the light bulbs everywhere I passed. What color of light do they exude? What type of bulbs are they? What do bulbs look like when turned off? The bulb itself is what makes a light fixture functional, and in recognizing that pivotal role, some artists chose to illuminate the purity of the bulb, whereas others played with its “alchemy and potency of possibility,” as the wall label explained. Ettore Sottsass was one of the former, using a translucent layer to coat a curved tube light bulb, keeping the bulb in clear view for the user without a shade or decorations to obstruct it. Martine Bedin is one of the latter, as his “Super Lamp” exhibits the strange, nonfunctional playfulness one can achieve using the bulb. There is a certain wonder to this colorful lamp on wheels, and it brought an immediate smile to my face, which is an accurate way to describe the entirety of “Electrifying Design.” In the exhibition at large, the layered displays of light fixtures, primary blue and yellow walls and surprises around each corner made for a whimsical experience.

Martine Bedin, ‘Super Lamp. 1985-1989. (Emory Wheel/Zimra Chickering)

The joy of this exhibition made it feel as though the visitors had entered a world’s fair of light fixtures, with innovation around every corner. The final section, Quality of Light, was one of the most astonishing and eye-catching sections of the entire exhibition, and it was the perfect way to end this explorative journey. This section focused on some of the most dramatic and nonfunctional light fixtures and highlighted the way lighting can enchant, transform and emotionally stir the viewer. By this point in the exhibition, I was convinced of the way that lighting can be far more than a commonplace marking of humanity’s diurnal rhythms, but this final section truly cemented that idea. Each artwork created a very distinctive optical sensation, whether that be a physically immersive red shroud of light rings or a miniscule, elaborate rendering of lightened dandelions — the unnatural and the natural. 

DRIFT, ‘Fragile Future 3.13.’ 2013. (Emory Wheel/Zimra Chickering)

This exhibition addressed the ways in which light fixtures are both a modern necessity and an imagination-driven creative pursuit. Light itself is described in the exhibit as a “magical animator and activator of space that can transcend formal design.” If you want to transform your own understanding of lighting, I highly recommend you check out “Electrifying Design.” I was enlightened, literally and figuratively, by the entirety of my experience. 

The post ‘Electrifying Design’ exhibit forever changed the way I see my desk lamp appeared first on The Emory Wheel.

Living the camp life: Why I love making friendship bracelets

Photo by Traci Lawson under CC BY-SA 2.0

There’s something indescribably cathartic about making a friendship bracelet: separating out the strings, looping one over the other, pulling them tight and repeating it all over again. Individual knots turn into rows, rows turn into designs and the whole thing quickly turns into a mindless practice. Before I know it, the strings have woven themselves into an intricate pattern. This is something I’ve been doing since my parents first sent me to summer camp when I was five. Working as a camp counselor the past couple of summers has provided me the opportunity to experiment with more complicated patterns and to pass down the practice to campers of my own. This hobby serves many different purposes for me, and hopefully this article will teach you how it can serve you beneficially as well.

It’s inexpensive and relatively easy 

The only supplies you need for a friendship bracelet are the string and something to secure it to as you work on it! Friendship bracelet strings can be purchased for just a few dollars in packs with hundreds of colors that last you for quite a while. The most basic stitches, candy stripes and the chevron pattern, are very straightforward — once you learn how to do it, you simply repeat the same steps until your bracelet reaches the desired length. After mastering these basic stitches, you can start to experiment with variations such as diamonds and X-shaped patterns that create a more intricate finished product.

It’s great for stress relief

Like many others, I’m a huge proponent of forms of productive procrastination. What better way to put off studying for your midterms than to make a bracelet for a friend? I find that the more anxious I am, the tighter I pull the strings as I work and the more relieved I feel when I’ve finished.

It gives you something to do with your hands

Whether it’s clicking a ballpoint pen, twirling a fidget spinner or playing with a Pop It, many people find that they focus better when they have something to do with their hands. For example, I personally don’t have much patience for watching movies, so I take movie nights as the opportunity to make progress on a friendship bracelet. I’ve been tempted to work on bracelets during those lectures when I absolutely cannot keep my eyes open, but I’ve managed to refrain from doing so thus far.

They’re a meaningful gift

As I’ve gotten older I’ve found it more and more difficult to think of meaningful gifts to give to my friends. Friendship bracelets may not fit everyone’s aesthetic, yet the friends I give them to always express their appreciation because they know I put time and effort into making them. As I’ve made friends from across the globe and as my friends from home have moved around, it’s comforting to know that a piece of me stays with them wherever they are.

Whether you choose to make a bracelet as a way to kill time or to show someone in your life how much they mean to you, you’re sure to get something important out of the experience. It’s a hobby that takes me back to carefree summer days even in the most trying moments of college life, and one that I’m sure I’ll keep practicing in the years to come.

Contact Beatrice Aronson at baronson@dailycal.org.

The Daily Californian

Students marched around campus during the Socialist Alliance protest on Sept. 30, 2021 | Katrina Kuwaja/The Cougar

Two protests at UH against Texas’ Senate Bill 8 happened Thursday, both advocating against the abortion bill and for women’s reproductive rights in the state.

One took place around noon and was hosted by the Houston branch of the political organization, Socialist Alternative. The other was hosted by the Student Government Association at the University at 4 p.m.

“This bill makes abortions functionally illegal, as well as allowing vigilantes to sue,” said Social Alternative member and air pollution Ph.D student Alex Spike at the earlier protest. “Making it so that anyone who receives, assists in or even performs an abortion hesitant.”

Spike was joined by tens of other UH students who shared the same sentiments. 

“We want to rebuild the kind of movement that won Roe v. Wade in the first place,” Spike said. “A mass women’s movement, a mass workers movement, that striked, marched and demonstrated for the rights of women.”

Demonstrators echoed his sentiments during the noon protest, chanting “our body, our choice” while marching around the M.D. Anderson Library in the rain.

“It’s ridiculous that the state gets to tell us as women what we’re allowed or not allowed to do with our own bodies,” teaching and learning junior Leilani Cantu said.

During the later protest organized by SGA, director of external affairs David Ngyuen said similar things about why their organization stood up against the Republican dubbed heartbeat bill. 

“We’re offering our support and solidarity for every woman in Texas,” Ngyuen said. “People are usually against the heartbeat for religious reasons, and the legislature is mostly made up of men, who don’t have pregnancies or abortions. What do they know?”

Transgender students, like women and studies junior Ray Mattes, were at the later protest since SGA advocated for all reproductive rights, regardless of sexuality.

“Oftentimes, my trans brothers and sisters are forgotten about when lawmakers write laws about pregnancy or abortion,” they said. “Today, I’m here for anyone that can get pregnant, not just who SB 8 says can get pregnant.”

news@thedailycougar.com

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“Socialist Alternative, SGA protest Texas’ abortion ban” was originally posted on The Cougar

After stellar performances in Halloween 4: The Return of Michael Myers and Halloween 5: The Curse of Michael Myers, Danielle Harris made her way back into the Halloween franchise as she played the role of Annie Brackett. She was able to survive an attack by Michael Myers in the first film but that luck ran out in Halloween II (2009). While home alone, Annie comes face to face with the boogeyman himself once again. Now, this is a weird sequence as the kill is shown in more of a flashback once she is found by Laurie (Scout Taylor-Compton), who discovers her in a bloody, demolished bathroom. Barely alive, Annie is gasping for breath as she is slowly dying after a brutal encounter with Myers. For the most part, this list contains on-screen kills only, but the way Zombie uses suggestion here is just so memorable.

In the teaser, Serkis also gives a little more insight into what viewers can expect from the pair’s relationship, now that the two have had time to adjust to ‘living’ with one another, stating “it’s like the seven-year itch cycle of a relationship,” with the pair being “literally stuck with each other.” The director also confirms “that odd-couple relationship is what this movie was always gonna be about.” It seems audiences will see the conflict of interests between the pair, with Venom simply wanting to eat criminals for dinner while Brock tries to salvage what remains of his normal life.

The first Into The Spider-Verse film used the concept of the multiverse to bring audiences a variety of different versions of Spider-Man, including Peter Porker A.K.A Spider-Ham, Peni Parker, and Spider-Man Noir. Now with this fan-made clip emerging, it is likely that fans will be calling for Lego Spider-Man to be the next iteration that gets to hop over from the multiverse. Since the Lego franchise and Spider-Man are owned by two different companies, this could make the chances of a Lego Spider-Man cameo a little less likely. However, given Miller’s involvement with both franchises, perhaps this crossover is something fans of Spider-Man: Into The Spider-Verse can keep their fingers crossed for in the future.

a.hibben@dailyutahchronicle.com

@aya61987269

The post Hibben: In-Person Learning Isn’t a Cure-All appeared first on The Daily Utah Chronicle.

The Como Cookout, a neighborhood barbeque event, will return on Oct. 2 from 11 a.m. to 3 p.m. at Van Cleve Park for the first time since before the pandemic, inviting neighbors to enjoy free food, entertainment and activities.

The event will include mini-golf, an obstacle course and free food such as sambusas from Afro-Deli and Qdoba mini burrito bowls.

Jessica Focht-Perlberg, executive director of the Southeast Como Improvement Association (SECIA), said they wanted to branch out from the style of the event in past years.

“There usually has been a focus on bringing some different kinds of cultural influences,” Focht-Perlberg said. “We’re excited to have the sambusa option to offer a different cultural cuisine, and also something that represents a little bit broader dietary preferences as well.”

While many other activities will be offered, Focht-Perlberg said traditions such as face-painting and arm-wrestling contests will not be present in order to prevent the spread of the COVID-19 virus.

SECIA partnered with the University of Minnesota Office of Off Campus Living for the cookout. Grace Sweeney is a neighborhood liaison for the Office of Off Campus Living and said she worked with SECIA to get a grant to set up mini-golf.

“We were looking for different ways to create an interactive activity that all ages will enjoy, so we landed on mini-golf and I’m excited about that,” Sweeney said.

The cookout will also feature live music and dance performances.

Zehra Hassan is a singer and pre-law student at the University. Hassan said she is looking forward to performing at the cookout because she invested a lot of time into her songs.

“It’s the first time that I’ve really gotten to showcase my original music for what it is,” Hassan said. “I’m really excited to do that.”

Phillip Saint John is a hip-hop artist who will be performing at the cookout. Saint John has lived in the area since November 2020 and decided to perform after seeing a flyer for the event.

“I just wanted to connect and figure out a way to get more involved with the community and just spread some positivity, light and truth from my own perspective and journey,” Saint John said. “I’m looking forward to seeing how the community interacts and how we can come together.”

Gallery|5 Photos

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