Freddie Freeman. Mookie Betts. Teoscar Hernandez. Tommy Edman. Yoshinobu Yamamoto.  Roki Sasaki. Blake Snell. Tyler Glasnow. Clayton Kershaw.

And Shohei Ohtani (the hitter and the pitcher).

Let that roster sink in. Or don’t – they’ve probably burned your team at some point already. 

With a half-billion-dollar payroll, a lineup seemingly built on MLB the Show and a stranglehold on baseball’s future, the 2025 Dodgers aren’t just dominant – they’re redefining what it means to compete at the Major League level.

According to most analysts, based on their early-season performance, the Los Angeles Dodgers are once again the most dominant and disciplined team in Major League Baseball, a fact as fascinating as it is unsettling. The reigning World Series Champions may be even stronger than the squad that convincingly took down the New York Yankees in five games last October. 

As of April 23, the Dodgers sit at 16-8, a game behind the surging San Diego Padres in the National League (NL) West – and are coming off an 11-10 extra-inning heartbreaking loss against the Chicago Cubs. That’s what makes them even more terrifying: they can collapse on a Tuesday and look invincible again by Friday.

Before the first games of 2025 were even played, MLB Network analysts and everyday fans casually speculated whether the Dodgers could break the all-time single-season win record. The record of 116 wins is currently held by both the 1906 Chicago Cubs and the 2001 Seattle Mariners. The general consensus is that they will not only make a run at the record, they might obliterate it. If they want it, that is. 

The Dodgers have the best roster in professional baseball – and it’s not particularly close. Despite playing in arguably the toughest division in the sport, their sights seem set more on securing another pennant or world title than simply clinching the NL West — a title they’ve claimed in 11 of the last 12 seasons. 

Yoshinobu Yamamoto has already made good on the hype, striking out 38 over 29 innings with a ridiculous 0.93 ERA. Dodgers manager Dave Roberts recently called him “the best pitcher in baseball.” 

Perhaps the most outrageous element of this team, or front office, is its payroll. Sitting at an estimated $390 million, their total payroll is likely to exceed $500 million. Los Angeles spent an estimated $445.5 million this offseason – an incomprehensible number. 

For comparison, the St. Louis Cardinals spent zero dollars, yes, you read that right – not a single penny in free agency. A true disgrace to the city of St. Louis and a blatant insult to the supposedly “best fans in baseball.” But somehow, the blame falls on the fans, as records continue to be set for the worst attendance in the history of Busch Stadium III.

Maybe the Savannah Bananas will bring fans back to the seats when they come to town in July, following their April reschedule.

But circus acts and stunt baseball aside, it’s time to take a serious look at what makes this Dodgers roster so terrifyingly effective, top to bottom, they’re built like a dynasty in motion. It’s not just that they have All-Stars, it’s that their All-Stars play multiple positions, hit for power and average, and casually carry MVP-caliber résumés.

Mookie Betts and Freddie Freeman remain two of the most consistent and complete players in the game. Shohei Ohtani is doing things no one alive has ever seen before – and now, he doesn’t even have to pitch this year if he doesn’t want to, thanks to a rotation stacked with aces like Yamamoto, Glasnow, Snell and the ageless Clayton Kershaw. 

That said, the rotation isn’t invincible. Blake Snell was recently scratched from a bullpen session and shut down with shoulder discomfort, putting a slight crack in LA’s otherwise untouchable armor. Roki Sasaki hasn’t even found his true groove yet. Then there’s Will Smith, Max Muncy and Teoscar Hernández lurking in the middle of the order like a second wave of artillery.

The Dodgers didn’t just build a starting lineup, they have assembled a galaxy. They have done it with such precision and foresight that even when one piece falters, the machine doesn’t – it merely reloads.

Bob Costas, the legendary color commentator, once said during Stephen Strasburg’s debut, “From up here, the game’s a rumor.” He was talking about the surreal view from the broadcast booth, but honestly, that line might as well apply to the rest of Major League Baseball looking up at the Dodgers. Because unless the league steps in with a salary cap, or at the very least, a salary floor, competitive balance might soon become just that: a rumor. 

The Dodgers aren’t just winning – they’re redefining what it means to compete, while the rest of the league scrambles to keep up with a team that seems like it was built in a baseball lab.

On a fall evening in 2022, the seventh floor of Grand Hall was loud with music. However, it was not a stereotypical dorm party nor a drunk karaoke scene. Instead, a group of business students were neatly huddled around a middle-aged man strumming an acoustic guitar. 

He candidly sang folk and bluegrass covers of mainstream ballads. Between each song, he would humbly interject with a fascinating musical anecdote or impactful business lesson he had learned throughout his playing career. 

The man was Rob Boyle, a singer-songwriter turned professor.

A distinguished associate professor of management at Saint Louis University, Boyle brings a unique blend of musical and academic expertise into the classroom. With five studio albums and over two decades of teaching experience, Boyle’s career has spanned major shifts in both the music industry and higher education.

A native of Maine, Boyle’s musical journey began in his youth, playing guitar and performing in bands throughout high school and college. He signed his first record deal at age 25. This early experience, according to Boyle, “breathed momentum into my [his] music journey,” and resulted in three albums written while living out of Wisconsin and Toronto, Ontario. Over the years, Boyle has continued to record and perform, regularly playing weekend gigs and writing songs. 

This combination of real-world experience and teaching command, culminated in the Fall 2024 semester, when Boyle introduced a new course, Rhythms of Innovation: Charting the Course of the Music Industry (MGT 3930). A recent addition to the university’s Collaborative Inquiry Core requirement, the course explores groundbreaking changes in the music industry while equipping students with tools and discourse to analyze contemporary innovation across various fields. 

“Music has given me the gift of a nice side hustle, a lot of great friends and the catharsis of a side identity where I can shed my professional day job and become a musician at night,” Boyle said. “Music is such a universal language… I feel fortunate that it’s my avocation, which resonates with people and allows me to draw it into the classroom.”

Along with his musical pursuits, Boyle has built a longstanding academic career. With two master’s degrees in Administration and Organizational Management, along with a Ph.D. in higher education, he has found a passion for teaching while consistently incorporating his expertise. Before joining SLU, where he has been teaching for 20 years, Boyle held administrative positions at several institutions, including the University of Wisconsin-Steven’s Point and the University of Missouri. 

Boyle’s research largely provided the foundation for the new course. In 2022, he was asked by publishing company EBSCO to write a chapter on innovation for a book covering various business concepts. Drawing on his music industry experiences, Boyle crafted a case study exploring the shift from analog to digital production and the rise of streaming platforms.

Rhythms of Innovation, first offered following Boyle’s selection for an external faculty fellowship program, primarily examines the evolution of music creation and distribution. Beginning with a historical foundation, students ultimately analyze contemporary innovations such as Artificial Intelligence (AI) and the metaverse before applying them to their own respective fields of study. The course is housed within the Richard A. Chaifetz School of Business.

“It’s been partially my experience, my age and the idea that I had this [topic] researched on,” Boyle said. “When the fellowship program came in saying, ‘We have a little bit of funding if you’d be willing to develop a course,’ and I’m very grateful that it happened.”

In a class of about 20 students, Boyle’s administrative background helped foster a tight-knit, collaborative community among students from diverse majors and colleges. Each week, students engaged in discussions, analyzed guest speaker insights and shared ideas in pairs or small groups. Some memorable guest speakers include musician and educator Scotty Huff, singer Steve Ewing and songwriter and producer Nicole Witt. 

“If you are patient with the diversity that you have in your arsenal, it ultimately pays off in my experience,” Boyle said.. “It’s [diversity] got to be facilitated well, but it ultimately pays off.”

Students praised the course for its creativity and inclusivity. Senior Lily Kinnison, a marketing major minoring in music, said Boyle’s teaching style encouraged open dialogue. 

A musician and performer herself, Kinnison said she was initially drawn to the class because of the intersection of music and business. She also said the course would inform her future work. 

“I think a lot of classes can be very lecture-heavy, but this one was so interactive,” Kinnison said. “From day one, Rob was clear about creating a comfortable environment where no ideas were bad ideas. That made it easier to contribute my ‘half-baked ideas’ without fear of judgment.”

 Arthur Simões, a senior majoring in international business and minoring in marketing, appreciated how Boyle’s structure encouraged meaningful connections among classmates.

“I appreciated the way Rob put everyone together every single day to speak with someone different,” Simões said. “It was really cool how we could share our experiences with other students. I definitely think that his class is one every SLU student needs to take at least once.”

The course’s emphasis on creativity and innovation resonated with Brandon Truong, a senior studying international business along with leadership and HR management.

“Rhythms of Innovation with Professor Boyle was one of the most inspiring classes I’ve ever taken,” Truong said. “The collaborative environment made us feel like we were truly contributing to the future of the music industry — not by shying away from unfamiliar technology, but by embracing it and using it to our advantage.”

For Boyle, the course is about more than just the music industry. It’s a lesson in how innovation can shape yet disrupt any field. Each class offered insights into contemporary challenges, particularly with the integration of AI in daily life, from generative search engines to AI-driven customer service systems.

“One of the greatest ways to honor one’s past is to teach. You walk into a classroom and say, ‘This is how it worked for me,’ and share your story. All the things that shaped me as a musician since I got signed to that record deal in 1995 — I can bring so much of that into Management 3930 and offer it back. It feels incredible to share my experiences and say, ‘Here’s what I’ve learned,’” Boyle said. “It’s truly fulfilling in that sense.”

Editor’s note: This article’s author was a student in Rob Boyle’s Rhythms of Innovation in 2024. 

Directed by Academy Award nominee James Mangold, “A Complete Unknown” is a masterfully entertaining and compelling musical biopic that serves as a worthy entry in the genre. While occasionally playing it safe, the film’s eight Academy Award nominations in a bounce-back year for the industry highlight its narrative spark – fueled by Timothée Chalamet’s eclectic performance. 

Based on Elijah Wald’s 2015 book “Dylan Goes Electric,” the film is set in New York City in the early 1960s. It follows Bob Dylan’s rise to fame as a folk singer and his ultimately controversial decision to play electric at the 1965 Newport Folk Festival; this shift, seen by folk purists as a betrayal, marked a defining moment in his career. The film is bolstered by strong supporting roles from Elle Fanning, Edward Norton and Monica Barbaro, with Norton and Barbaro earning nominations for Best Supporting Actor and Actress, respectively.

Premiering at the Dolby Theatre in early December and released domestically on Christmas Day, the film has earned $100 million at the box office with a ballpark budget of $60 million. In addition, it has earned 81% positive reception from critics on Rotten Tomatoes and 96% from fans. Moreover, it was named one of the top 10 films of 2024 by the American Film Institute and the National Board of Review.

Some critics have noted that the film occasionally feels overly “Hollywoodized” – meaning it becomes typical or characteristic of Hollywood conventions – and lacks a certain grounding theme. Additionally, some fans have expressed a desire for a broader exploration of Dylan’s life beyond the brief 1960s window. However, it remains an incredibly joyful watch and has secured its place among the best musical biopics of the last decade, alongside box office giants like ‘Bohemian Rhapsody’ (2018) and ‘Elvis’ (2022). 

Chalamet, the 29-year-old lead actor who also serves as one of the film’s producers, steals the spotlight in more ways than one. Interestingly, the French-American actor had never played guitar or harmonica prior. However, after a five-year delay due to the COVID-19 pandemic, it “became a years-long side passion” for Chalamet.

“The name Bob Dylan – like Elvis Presley, like Freddie Mercury, like Elton John – is as iconic, but weirdly his face is imprinted less in some way than these other figures because he’s kept himself at a distance,” Chalamet said in an ABC News interview. “This movie doesn’t demystify him, but it honors the cryptic figure that is Bob Dylan… [The delay] just gave me a lot of time to live in this space, to live in this role and to soak in the embers of the 1960s. I want to be a bridge to this period and this music because it was a transformative artistic time – it was a time that was as fraught as our time right now, politically, culturally, socially and I hope this movie is a humble bridge to that period for all people to discover.”

The movie’s narrative does a great job honoring Dylan’s revolutionary artistry while staying true to historical details. Even though it takes some creative liberties, they don’t take away from the bigger story. Through the film, a new generation can not only appreciate Dylan’s commercial and cultural success, but also acknowledge his bold social commentary which challenged the societal and political practices of his era. At 83 years old, Dylan remains the only musician and songwriter to win a Nobel Prize in Literature. 

In a Dec. 4 post on X, Dylan said, “There’s a movie about me opening soon called A Complete Unknown (what a title!). Timothée Chalamet is starring in the lead role. Timmy’s a brilliant actor so I’m sure he’s going to be completely believable as me.”

Despite possessing a two-hour and 20-minute runtime, the film flies by. Its pacing is masterfully balanced and ensures that every scene feels purposeful and engaging. In a year of stiff competition for Best Picture – including Edward Berger’s “Conclave” and Brady Corbet’s “The Brutalist” – “A Complete Unknown” is a well-executed film worth the watch that honors one of the most iconic singer-songwriters in American history. 

The United States Men’s Hockey team upset team Canada 3-1 on Saturday, Feb. 15, at the Bell Centre in Montreal, marking their first best-on-best international victory over their northern rivals in 15 years. In a clash fueled by an undercurrent of political tension, the immensely physical round-robin game in the inaugural 4 Nations Face-Off tournament served as one of the most electrifying hockey games of the 21st century. 

Before the puck dropped in the first period, Montreal fans booed the U.S. national anthem for the second time in two games – persisting throughout the entire song despite the arena announcer’s plea for respect. This blatant disrespect evidently did not sit well with the American bench – igniting three fights within the first nine seconds of play. 

Two of the fights were started by Matthew and Brady Tkachuk – Chaminade College Preparatory alumni and sons of St. Louis Blues star Keith Tkachuk – amplifying the already deafening crowd. Ironically enough, Keith Tkachuk dropped the mitts in international play against Claude Lemieux 20 seconds into a World Cup of Hockey matchup against Canada in 1996.

“We’re one of the only sports that still has fighting in it. It’s a war out there,” said Canada forward Travis Konecny.

Despite serving as an alternate captain for the Philadelphia Flyers – one of the most passionate fan bases in all of professional hockey – Konecny commented on how the fights set the tone for a different type of night. 

“It’s funny: You put the flag behind the meaning of something and guys’ switches just kind of flip,” Konecny said.

The rest of the game proved to be just as exciting as its opening moments. Even after jumping to a 1-0 lead after a splendid transition goal by alternate Canadian captain Connor McDavid, the U.S. knotted the game when a Jake Guentzel shot found its way through goaltender Jordan Binnington’s legs. At the 13:33 mark in the second period, center Dylan Larkin scored on a blistering wrist-shot that provided a lead the Americans would never relinquish. Guentzel secured the win with his second goal of the night in an empty Canadian net with less than two minutes to play in regulation. A stifling Yankee defense, a brilliant goaltending performance by Connor Hellebuyck, and an unwavering refusal to cater to Canada’s transition-heavy style all played key roles in the upset. With the win Saturday night, the U.S. secured its spot in the championship on Thursday, Feb. 20.

Following the loss, Canada’s head coach Jon Cooper said, “The game is in a better place because last night’s game existed,” reflecting on a night that ended Canada’s 26-game winning streak with superstar Sidney Crosby as captain. 

As the NHL strives to remain relevant among the National Basketball Association (NBA), National Football League (NFL) and even Major League Baseball (MLB), innovative events like the 4 Nations Face-Off tournament can help grow the game’s excitement and appeal in the American sports landscape.

It’s hard to disagree with Cooper – as the television ratings back up the mastery that was laid out on the ice for all sixty minutes. At its peak, 5.4 million Americans watched the game, with a steady 4.4 million viewers throughout. Nielsen Fast National data showed a 473% increase from ESPN’s 2016 World Cup of Hockey matchup and a 369% rise compared to ABC’s NHL average this season. Moreover, it served as the most-watched non Stanley Cup Final hockey telecast since 2019.

The 2025 4 Nations Face-Off, which is temporarily replacing NHL’s annual All Star Game, consists of four nations: the U.S., Canada, Finland and Sweden. Due to a greater trend in the NHL, NBA and NFL of players not giving full effort in these events, the NHL took a bit of a gamble – and was a massive success. Thus far, the exciting tournament has not only filled the void left by the absence of the World Cup of Hockey since 2016 but also marks the return of elite, best-on-best international competition that largely defined the sport in the mid-20th century.

Despite facing potential elimination in the tournament, Canada pulled out a surprisingly close win against Finland on Monday, Feb. 17. Poetically, the Americans will face the Canadians Thursday night in Boston at the TD Garden at 7 p.m. CST on ESPN. In what will no doubt be an emotionally compelling and fiercely patriotic rematch, the outcome will not only bring immense pride to the winning country, but regardless serve as a massive win for the sport of hockey.

Country Music Television’s (CMT) “Campfire Sessions” provides a wonderfully intimate and authentic way to listen to country music. Originally a YouTube series turned mainstream musical program on the network, each segment watches established, as well as up-and-coming artists play acoustically around a crackling campfire. It strips aways the flashiness of big stage performances and brings country music back to its roots – a raw, unfiltered experience where the focus lies entirely on the voice, instruments and storytelling. 

Although viewership for the TV show may be limited by the greater decline in cable, CMT has made the series accessible via a comprehensive YouTube playlist that features over 120 songs and covers from the series. The first session, released on Jan. 28, 2021, showcases Granger Smith performing “Backroad Song,” “Happens Like That,” “Mexico” and “Hate You Like I Love You.” Since its inception, rising stars and country music legends have made an appearance, including Lainey Wilson, Cody Johnson, Riley Green and Scotty McCreery, among others.

What makes these sessions so unique is that they distinctly exhibit artists’ raw personality and talent. Without any autotune or plethora of instruments, it seems that artists genuinely enjoy telling their stories through music – whether the camera is recording them or not. The sound is rich and round, with sharp violins and buttery wooden guitars that help create an extremely relaxing atmosphere.

The Bolo Brothers Creative, a full-service media and video production agency out of Nashville, TN has worked extensively with CMT on the show’s production.

“Campfire Sessions is always a hit for us every year allowing us to demonstrate our talents of blending music and cinematography,” the Bolo Brothers wrote in an article on the project. “Our team carefully selected each location to create a unique and intimate setting that would complement each artist’s style. The use of creative lighting and the campfire created a warm and inviting atmosphere that perfectly suited the show’s laid-back vibe,” they said. 

Personal favorite performances of the series include Dustin Lynch’s cover of “Chasing That Neon Rainbow,” Darius Rucker’s “Let Her Cry,” Chris Young’s “Getting’ You Home,” Sara Evans’ “Suds in the Bucket” and Lainey Wilson’s “Heart Like a Truck.” These specific acts reveal the inherent humility that lies within country music, highlighted by the emerging grins, quick glances and raw emotion as they sing.

Margaret Comeaux, executive producer and vice president of production at CMT, commented in 2021 on the show’s premiere following the lift of COVID-19 social distancing protocols.

“It was an incredible feeling to have our Production team back together on-set and get to witness the magic of live music – something all of us have been desperately missing this past year,” Comeaux said. “CMT Campfire Sessions’ is filled with performances that reignite our love of live music – from world-class troubadours Jack [Ingram], Miranda [Lambert] and Jon [Randall] sharing stories of their creative process to Kane [Brown] and friends effortlessly entertaining with a laid-back, good time vibe, fans have a front row seat to their favorite artists and amazing music,” she finished. 

Whether or not you were raised on country music, the “Campfire Sessions” provide a welcoming and honest lens into the genre. They successfully capture the warmth and heartfelt stories that have defined the genre for the last hundred years.  

Following an equally rejuvenating yet taxing road trip to the Great Lakes in the second week of June, I found the near-six-hour return drive home to run particularly arduous. Growing increasingly weary on U.S. Route 51, I decided to trust the next exit the highway offered – which coincidentally housed something called a “Corn Crib.” 

My curiosity had suddenly piqued, and I hastily fumbled with my iPhone’s GPS to discover whatever the hell a Corn Crib was. This detour, though sporadic and impulsive at the moment, was not one I soon regretted – as it ultimately reinvigorated my passion for a game I had once devoted my entire life to. 

Within five minutes, I found myself eagerly pulling into the parking lot of 1000 W. Raab Rd. of Normal, Illinois as quickly as my Honda Civic would permit. When I saw the Crib for the first time, I saw a baseball diamond – a ballpark – unlike any I had ever seen before. After parking, I purchased a mere $10 ticket and roamed around the stadium’s upper concourse – sneaking into a vacant suite section to catch what appeared to be a college prospect game. 

The experience flooded me with emotions. It was the first game I’d watched in a long time. The crack of wood bats, the umpire’s authoritative calls, and the players’ calm swagger transported me back to simpler times. This peaceful, charming display of America’s Pastime was difficult to put into words.

Although I aimed to observe my newfound environment rather discreetly, my pale blue collared shirt and khaki pants from Kohl’s seemed to draw inquisitive glances from neighboring spectators and employees. Nonetheless, with my yellow legal pad and sketchbook in hand, I carried myself as if I were some sort of wide-eyed, youthful scout, perhaps of Creighton or Ole Miss, who possessed a unique grasp of the game and its young talent.

I soon discovered that the stadium broke ground in March 2009. It opened in May 2010 and has a maximum capacity of 7,000 spectators. It cost $9 million to build and possesses brightly saturated Sprinturf, the “first fully integrated polyethylene turf” produced in North America. Comfortably seated on the campus of Heartland Community College, the stadium serves as a multipurpose venue that consistently fields the Prospect League’s CornBelters, the Heartland Hawks (of varying sports), and FC Diablos.

I later had the pleasure of speaking with Jarrett Rodgers, the general manager of the CornBelters. He emphasized the Corn Crib’s role in central Illinois as a premier hub for sports and entertainment via email.

“Our mission is to be the No. 1 sports and entertainment choice in central Illinois… This means that we work to create fan experiences of all kinds, from baseball games to concerts, and everything in between,” Rodgers said. “As a turf facility with unique dimensions, we are an ideal spot for baseball, softball, soccer, outdoor concerts and just about any other outdoor sporting/social event you can think of,” he continued. “Our games and special events give families a fun reason to leave the house and visit the ballpark, engaging the civic pride of our community and offering affordable entertainment during a time when kids are out of school.”

Rodgers also mentioned that the Crib has welcomed a variety of high-profile guests, including Pete Rose, Snoop Dogg, Ludacris, Flo Rida and the late Toby Keith. 

Darian Crisp, a De Smet Jesuit High School and Heartland baseball alumni, commented on the Corn Crib and its impact.

“The Corn Crib means a lot to me,” Crisp said. “It taught me [how to deal with] adversity, it taught me how to overcome tough battles and it also taught me to trust God.”  

Even though my heavenly trip was unfortunately cut short that cloudy June day after the first of two prospect games ended, I left the ballpark more content, more at peace than before I had entered its gates. The remaining three hours left on my drive home flew by, allowing me to recall childhood dreams associated with the game. Building my own Major League stadium is one that still rings true to this day. 

Stadium Journey has long been dedicated to documenting the unique experiences of sports fans around the world, with a focus on the charm and character of each stadium. Eric Hasman, a seasoned traveler who has visited over 130 ballparks, captured the essence of the Corn Crib in his 2020 review, noting its affordability and distinct atmosphere.

“The concession stand prices for food and beer are also inexpensive. A night at ‘The Crib’ won’t break the bank and is kind to your wallet,” Eric Hasman wrote. “The Corn Crib is a nice stadium…It is a place that I would recommend seeing but don’t count on getting a foul ball.”

Experiences like this spontaneous detour to the Corn Crib highlight the charm and appeal of independent and Minor League baseball. Unlike the major leagues, where commercialism can sometimes overshadow the game, minor league venues offer a more intimate and community-focused atmosphere. It is these unexpected moments and hidden gems that remind us of the joy and simplicity of the game – reinforcing our love for baseball in its purest form.

Today, I encourage anyone traveling through central Illinois, or merely just America’s Heartland, to spend an afternoon or evening at the Corn Crib. Whether you’re a die-hard baseball fan or just looking for a pleasant way to spend an afternoon, the Corn Crib offers an enriching and enjoyable experience: baseball how it was meant to be played and observed. To this day, I remain grateful for the unexpected reminder of why I fell in love with baseball in the first place. 

Much like Iowa’s “Field of Dreams,” the Corn Crib is a place where dreams do come true.

OR–uh–flamm / noun: a banner, symbol or idea inspiring devotion or courage.

When I first stepped foot on campus in August of 2022, I had no idea what to expect of the days ahead. Although I felt anxious and jittery once move-in day arrived, my nerves were settled when I was greeted by an unmistakable sea of orange. 

A few Oriflamme leaders approached me in Laclede Garage, quickly guiding me into my residence hall and showing me Saint Louis University’s north campus. They also invited me into conversations that helped ease the transition to college – topics focusing on campus involvement, college academics and SLU’s Live the Oath Mission. Many of my Oriflamme leaders would check in on me throughout the year often with a wave or a smile on West Pine, the signature strip in the middle of SLU. 

These simple gestures, subtle as they may seem, made me feel seen for the first time in college. And being seen — really seen — for the first time in college is an experience that stays with you. It is the first time you actually feel like you belong, like you are remembered. It is one of the most uplifting and heartening sensations a person can experience and one that is rooted at the absolute heart of Oriflamme’s mission.

Founded by 16 male students in 1963, Oriflamme has grown and evolved into one of the most recognizable and enduring organizations at SLU. Since becoming co-ed in 1972, thanks to the late, beloved Mary Bruemmer, generations of servant leaders have committed their time, energy and patience to assisting first-year students with their transition to college. Today, Oriflamme’s identity and mission are stronger and more zealous than ever – a tangible symbol of the absolute best that SLU has to offer.

Susan Fanale, the director of orientation, has guided Oriflamme for 16 years and describes her work welcoming new students and families as “an honor and blessing.” She highlighted her role in evolving the program by strengthening training and creating the Team Leader position. 

“My why has always been working with amazing student leaders that embody the true meaning of being a servant leader and living out the University Mission,” Fanale said. 

As she moves on to new professional endeavors, Fanale said she will leave the role remembering how Oriflamme leaders have inspired her to always lead with love. “As we talked about during training, ‘if it doesn’t challenge you, it doesn’t change you’ and I know I have been positively challenged and changed each year that I was able to lead/supervise Oriflamme,” Fanale said.

Reflecting on my freshman Fall Welcome – a two week period designed to help acclimate students through a variety of on-campus events – I can easily say that Oriflamme leaders gave me the confidence, motivation and reassurance to pursue several different areas of involvement on campus. Even though I did ultimately carve out my niche at SLU during my first two years through a variety of clubs and organizations, Oriflamme still remained atop my SLU bucket list. So, when I learned that I would become a part of the Oriflamme team in February 2024 after a competitive interview process, I knew I was stepping into something much bigger than myself.

Serving as an Oriflamme Leader for this year’s Fall Welcome has been one of the most inspiring and uplifting experiences of my entire life. From sweating it out as “Gries[edieck] Stairs Warrior” on move-in day to leading an intimate small group through “Life on Campus” talks, the experience has been fulfilling beyond words. It has allowed me to connect deeply with countless other Oriflamme leaders and first-year students. I want to especially thank the four student coordinators – Reueline Arulanandam, Laura Menendez, Emily Tran and Michael Poirier – all of the Team Leaders, and Fanale. 

“My favorite Saint Louis University tradition is that of the Oriflamme team,” said senior Oriflamme Team Leader (TL) Mary Leonardi. “Oriflamme leaders represent all that it means to live one’s life for others – all that it means to be a Billiken.” 

Known amongst her peers for her contagious positivity and optimistic outlook, Leonardi served as the TL of my ‘Flamme and has quickly become one of my role models within the greater organization.

 “Now, as a senior and member of the leadership team, I have this community to thank for showing me how special of a place Saint Louis University is. Oriflamme has pushed me to grow immensely and led me to learn about various new involvements, people and emotions,” she said.

That sensation of being truly seen hit me once again just a few days ago after a late-night Fall Welcome event. I was walking down the hallway of City Lofts when I stumbled upon a familiar scene — about 10 Oriflamme leaders clustered together in their unmistakable orange shirts. Though I had only met most of them two weeks prior, they greeted me with such warmth and excitement that it felt like reuniting with old friends. Their simple, genuine welcome lifted my spirits after what had been the longest day of Fall Welcome, and I realized I couldn’t imagine my SLU experience without having met and served beside them. 

That moment perfectly encapsulated what Oriflamme means to me. It’s a community — a family — possessing such character, passion and grace unlike any I’ve ever encountered. It’s a group that brings out the absolute best in you and others, whether you serve as a leader or are merely a recipient of their service(s). It’s an experience I have been unknowingly craving my whole life. 

“One of the most important themes I’ve learned from Oriflamme was how important it is to surround yourself with the right people,” junior Oriflamme leader Landon Winters said. “If you see someone trying to accomplish a goal beside you, be their biggest cheerleader…Be the light that guides others to become the version that they are meant to be.”

Oriflamme has given me more in two weeks than I could ever hope to pay back in my entire life. It has transformed me as a leader and allowed me to pay forward the warmth and encouragement I received when I first arrived at SLU. I believe that Oriflamme represents the heart of SLU’s Jesuit tradition, and I will forever be honored to have served with my fellow Billikens. 

Go Oriflamme, Go World. 

The Teskey Brothers played at The Pageant, a midsized live music theater in the Delmar Loop, on May 8, 2024 – a mere eighth stop on their 20-city “[The] Winding Way” tour. The Heavy Heavy opened for the Australian blues rock band around 7:30 p.m., with the Aussies meeting a restless, buzzing crowd closer to around 8:48 p.m. 

Lead vocalist Josh Teskey eagerly introduced himself and the band members once they took the stage, extensively thanking the tightly packed St. Louis crowd. Teskey’s gravelly, husky voice instantly transcended into their 14-song setlist, which included a two-song encore with their fan-favorite song, “Man of the Universe” (“Run Home Slow,” 2019). The live performance of the popular hit perfectly captured the raw, lone sound of the band, especially when Sammy Teskey began boastfully ripping on the guitar. Consequently, with their distinctive melodies and flawlessly incorporated instruments, the band created an abnormally thunderous, yet intimate environment in the theater. 

Saint Louis University senior Amy Wildes secured tickets to the concert at the last minute to relieve stress from her upcoming finals and approaching graduation. 

“Right before the band came out, the tension in the air was palpable; everyone was so excited to see a band that came all the way from Australia,” Wildes said. “I’ll be the first to admit I’ve never been the biggest fan of the blues, but the soul and the rasp in Josh Teskey’s voice is something I’ve never heard before… the way the crowd roared, the way people yelled and got on their feet – it made me realize that it’s one thing to listen to the studio recorded versions of songs, but hearing them live is truly indescribable.” 

The Teskey Brothers put on an exciting show throughout the night, beautifully transitioning between soulful ballads and foot-stomping rockers. Audience members continually sang their hearts out during the show, with Josh Teskey continually encouraging the crowd to sing, dance and harmonize along. Songs “Crying Shame” (“Half Mile Harvest,” 2017) and “Oceans of Emotions” especially showcased the band’s versatility, while tracks like “Take My Heart” (“The Winding Way,” 2023) and “So Caught Up” had the crowd actively singing and dancing. 

The band, founded by the Teskey brothers out of Melbourne, Australia, was heavily influenced by their parents’ diverse music collection and notable artists, such as Otis Redding and Ray Charles. Initially performing at local venues, the duo quickly gained attention for their soulful renditions and musical chemistry, and with the addition of bassist Brendon Love and drummer Liam Gough, the band found their voice. Their breakthrough came with their debut album, “Half Mile Harvest,” in 2017, which garnered widespread acclaim for its authentic blend of blues, rock, and soul. The band currently has 3.8 million average monthly listeners on Spotify.

The Teskey Brothers’ performance at The Pageant was only a mere glimpse into their remarkable journey and ongoing success. The band has created, and continues to create melodies, that deserve to be listened to by the masses and played on national radio stations. The band’s sound is unique in that it takes only one listening session for it to change one’s life and to listen to music in a way that one has never heard before. 

Setlist:

1. “Man of the Universe” (4:10)
2. “Crying Shame” (3:52)
3. “Oceans of Emotions” (3:53)
4. “Take My Heart” (4:19)
5. “So Caught Up” (3:49)
6. “Let Me Let You Down” (4:14)
7. “I Get Up” (4:24)
8. “Rain” (4:14)
9. “Carry Me Home” [Acoustic] (4:01)
10. “ Blind Without You” (4:34)
11. “Paint My Heart” (6:00)
12. “What Will Be” (7:42)

Encore:

1.  “Forever You and Me” (2:56)
2.  “Hold Me” (3:08)

Saint Louis University’s Vandeventer Field, a popular recreational and intramural field, has undergone a remarkable $1.3 million transformation to improve the athletic experience for students and community members alike. Located on the corner of Laclede and Vandeventer avenues, the field serves as a cornerstone of SLU’s underlying athletic and intramural community. 

The project, aimed at addressing persistent criticisms and modernizing the facility, has introduced many improvements to enhance the user experience. Among the notable changes are solutions to the draining problems, installing a state-of-the-art light system, expanded safety netting and a redesigned layout reflecting SLU’s current branding. 

Director of Campus Recreation and Wellness, Todd Robben, said that this project was an opportunity to envision potential enhancements for the space and believes that the biggest success was the timing of the project.

“Although this [winter break period] put some pressure on us with regard to planning, it allowed us to address our safety concerns sooner than we had anticipated and allow our students to take advantage of a new field this spring…thanks to a mild winter, we were able to complex the project two weeks ahead of schedule,” Robben said.

The field turf was last replaced in the summer of 2012 and it has since reached the end of its useful life. Safety had been one of the field’s chief concerns, seeing an abundance of non-contact injuries throughout its extended tenure according to a variety of students. 

SLU Junior and Ultimate Frisbee Co-Captain Danny Juergens, who’s played on the field since freshman year, typically practices on the Vandeventer field three times a week.

“To be quite honest, the Vandeventer field was not a very high quality field. I’m glad that they are redoing it, because we would get a lot of people that would get injured on that field,” Juergens said. “It has always been a running joke that the Vandeventer turf is pretty tough to play on… I hope that when it does get finished that it will be a good field.” 

Behind the scenes, the reconstruction process has demonstrated collaborative efforts and efficient project management. Despite challenges, such as size restraints and logistical hurdles, the project was completed two weeks ahead of schedule. 

Regardless of the project’s rapid progress, it did not come without flaws. The lack of formal communication with clubs, intramural team leaders and the public seemed to be the main recurring complaint surrounding the project.

Laelle Novotny, a SLU junior who serves as the president of the women’s club soccer team, commented on the communication and less-than-ideal circumstances that club sports teams had to deal with in order to find suitable practice spaces. 

“It [the communication] was very informal…the silver lining was [that] our big season is in the fall – so it didn’t interfere with that,” Novotny said. 

Novotny also discussed how the women’s club soccer team has to regularly practice on SLU’s Medical campus field, which has less-than-optimal conditions – since intramural teams are typically prioritized.

“It’s rough for us to practice on, even in the fall, because Rugby tears it up since it’s grass and there’s a lot of holes, and that’s not good… It’s definitely not what we would ever picture as a club and it’s not helping us prepare as well as we’d like.” 

Students like David Garcia, a freshman at SLU, was one of a handful of students who played soccer leisurely on an early Saturday afternoon in March after the field was completed.

“It’s a really great field to have open to the public,” Garcia said. I’ve taken advantage of it since it’s been open…I think it’s a great space to come out and make new friends—it allows people to get involved in different things, and it helps build that community, especially freshman year.” 

Born Jaten Collin Dimsdale in Conyers, Georgia, the 31-year-old goes by the pseudonym Teddy Swims, with the former referring to a childhood nickname that references his teddy-bear-like size and the latter serving as an acronym for “someone who isn’t me sometimes.” The Georgia native currently has 40.3 million monthly listeners on Spotify, with “Lose Control” continually elevating that number with over 450,000 million streams. The American singer-songwriter has gone on to harmoniously blend R&B, country, soul, blues and pop into an unmistakable sound that is governed by his raspy, honeyed voice.
Growing up in the Peach State, Swims was raised in a southern, traditional football family, where music played an important role in his life. Swim’s father introduced him to soul music from a very early age, with artists such as Marvin Gaye, Stevie Wonder and Al Green profoundly influencing his music taste and style. Despite playing football for ten years, a few of his teammates and teachers suggested that he join a musical theater class and the school’s choir during his sophomore year of high school. Swims ultimately fell in love with performing through these experiences and starred in several of his high school’s musicals.
Swims originally burst onto the music scene in 2019 and 2020 when he began posting song covers on his YouTube Channel–which has gained over 3.3 million subscribers on the platform; some of his most popular covers to date include Shania Twain’s “You’re Still the One,” Mario’s “Let Me Love You,” Michael Jackson’s “Rock With You,” and The Weekend’s “Blinding Lights.” Although his music began gaining some traction, it took more time than the artist expected for everything to “click.”
“It [the choice of which songs he chooses to cover] always comes from things that I love or things I grew up on – or like real soul music,” Swims said on the Jennifer Hudson Show on Jan. 4. “I’m so fortunate I got to grow up on Stevie Wonder because Stevie Wonder didn’t get to grow up on Stevie Wonder.” Swims also summarized the importance of emotion has played in his musical journey: “The best member of the band is the song.”
While Swims has enjoyed a steady ascent in the industry, his first four extended play (EP) releases did not exactly connect the way Swims intended; while they have gained more critical acclaim since his recent rise to the top, Swims’ breakthrough was delayed because of his prolonged search to distill his own sound – especially considering he dabbled in virtually every genre from traditional country to hard rock to club music. However, Swims’ latest album, “I’ve Tried Everything but Therapy (Part 1),” which features “Lose Control,” has propelled him to international stardom and cemented his place as a top artist in the world.
Swims also spoke of the success of his latest hit single in a Feb. 7 Variety article and the unorthodox journey he’s taken to get where he is today.
“For the first time in my career, I thought, ‘God, this is going to change my life,’” he said. “A lot of times in the past I was very close to hitting the mark, but I was still defining what I wanted to be,” Swims said. “I don’t think those were failures per se, but we were experimenting and trying to find something authentic to me – ‘Lose Control’ is just the first time I really hit the mark.”
While Swims is a brilliant songwriter and a musical genius at conveying raw, vivid emotions from his listeners, his voice is also technically remarkable.
“I just love this combination of a rough, raspy timbre with these really clean, fast runs–it’s so delightful!” Elizabeth Zharoff said on her YouTube Video titled, “Absolute Pristine GRIT! Vocal ANALYSIS of Teddy Swims ‘Lose Control.’” Zharoff, who frequently analyzes and breaks down famous musicians and music videos on her YouTube channel The Charismatic Voice, has accumulated over 1.6 million subscribers. “It [the ending of the song] made me want to go and loop the song again and just go over and over and over. Teddy deserves tons and tons of love,” she said.
Altogether, Teddy Swims embodies the essence of musical innovation and emotional resonance. His journey from Conyers, Georgia, to the top of the charts with “Lose Control” showcases his unwavering dedication to authenticity and genre-blending prowess. As fans continue to be drawn to his soulful voice and relatable lyrics, Teddy Swims solidifies his place as an unmissable artist in today’s musical landscape.