4 SPORTS
8 OPINION
Knicks legend Earl Monroe headlines high school opening ceremony
Social media companies should hire more moderators
6 CULTURE
Ranked: Places to cry in NYC
VOLUME LVII | ISSUE 6
MONDAY, OCTOBER 18, 2021
Sunrise NYU revives university divestment campaign
ALEXANDRA CHAN | WSN
Sunrise NYU held a rally in Washington Square Park on Oct. 15. The climate justice group relaunched its initiative pushing NYU to divest from fossil fuels and private prisons.
The campaign urges the university to divest from fossil fuels and private prisons. Organizers held the first rally of the semester on Oct. 15. By RACHEL FADEM Deputy News Editor Sunrise Movement NYU, the local chapter of a nationwide student-led climate justice group, is launching a renewed Divest NYU campaign that aims to pressure the NYU administration into ending its investments in fossil fuels and private prisons. The campaign’s first Rally for Divestment was held Oct. 15. Campaigners marched from Weinstein Hall to Gould Plaza through Washington Square Park. At stops in between, members of Sunrise NYU and NYU’s chapter of the Young Democratic Socialists of America gave speeches to the audience and passersby. Steinhardt junior Dylan Wahbe, the communications lead for the Divest
campaign, spoke about previous divestment campaigns at NYU and added that this year’s effort would be markedly different. Past campaigns had focused solely on divestment from fossil fuels, but Sunrise NYU’s current campaign also demands that the university divest from private prisons, further democratize university administration, and make NYU’s endowment more transparent and sustainable. The demands of the Divest campaign stem from a series of questions Wahbe voiced in his speech about the university’s financial practices. “How green can a school be when they have hundreds of millions of dollars invested in fossil fuels?” Wahbe said. “How can a school be a champion of social justice if they still support private prisons?” In her speech, CAS junior Karishma Chari, NYU YDSA’s campaign coordinator, said that NYU is failing its students by choosing to invest in fossil fuel companies and private prisons. CONTINUED ON PAGE TWO
ALEXANDRA CHAN | WSN
Sunrise NYU activists Dylan Wahbe and Paige Anderson address the crowd in front of Kaufman Management Center.
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Sunrise NYU revives university divestment campaign CONTINUED FROM PAGE ONE
ALEXANDRA CHAN | WSN
CAS junior Karishma Chari joins other student activists in demanding NYU’s divestment from fossil fuels.
ALEXANDRA CHAN | WSN
Gallatin sophomore Brianna Bellamy is one of the founders of the current Divest movement.
“The university would not be able to function if not for the endless labor and revenue from its students and workers,” Chari said. “Frankly, it’s time to show Andy and his little board of trustees that we have realized our strength as students.” Gallatin sophomore Brianna Bellamy, one of the founders of the current Divest campaign, emphasized the urgency of climate action, mentioning unusually heavy snowfall in Madrid, intense snowstorms in Texas, heat waves throughout the western United States and record amounts of flooding on the East Coast this year. “This is not normal,” Bellamy said in their speech. “This is not just a heatwave or random blizzard. This is the earth changing. It has already changed. We can’t stand by and wait for them to decide when it is most convenient to change.” LS sophomore Demetra Nikolopoulos said she chose to attend the rally because she believes that students have the power to pressure the university. “It’s definitely possible for NYU to do it,” Nikolopoulos said. “They just need to know that the student population cares. And they need to care themselves, and invest not only in our future as students and individuals, but in their future as a university. If the world explodes, they’re not gonna be here either.” CAS senior Ian Miller, who also attended the rally, said that although he only just learned about the Divest campaign, he supports it because he cares about the future of the university community. “I just want a better life for students,” Miller said. “I’m a senior. Next year, I’m gone. I want to leave the school better than when I came into it.” Members of Sunrise NYU believe that the call for a more democratic campus is central to improving the university. Wah-
ALEXANDRA CHAN | WSN
Sunrise NYU activists gather at Gould Plaza for their protest.
be said that democratic decision-making could be achieved by implementing systems and protocols for structured student input on all university decisions, including those which concern finances. The first petition for divestment dates back to 2013, and annual petitions were created in the years following until 2019. Although a resolution asking NYU to divest from certain industries was passed by the student government in 2015, it did
not prompt the university to take action. The campaign organizers hope to learn from past failed Divest campaigns and increase collaboration between its own members as well as with other NYU student organizations. “We’re really pushing for more student engagement, awareness and involvement,” Wahbe told WSN. “Every single student has a voice and they should be heard — which is not cur-
rently happening.” Sunrise NYU members encouraged students who want to get involved in the Divest campaign to sign the petition and attend future marches and direct-action events.
Contact Rachel Fadem at rfadem@nyunews.com
Supreme Court justice Sotomayor addresses judicial mansplaining at NYU event By KASHISH BHATIA Staff Writer U.S. Supreme Court justice Sonia Sotomayor said the Supreme Court changed its oral argument format after studies showed that women are more likely to be interrupted by male justices and their counterparts, at a virtual event hosted by the NYU School of Law on Oct. 13. The event featured Sotomayor and Kenji Yoshino, a constitutional law professor and the director of NYU Law’s Center for Diversity, Inclusion, and Belonging. It was a celebration of the fifth anniversary of the center. “After 12 years on the court, Justice Sotomayor has entered icon territory, reminiscent of the status Justice Ruth Bader Ginsburg achieved,” Yoshino said. Sotomayor said that a 2017 study conducted by researchers Tonja Jacobi and Dylan Schweers found that female justices were disproportionately interrupted by male court members. She attributed the dismissal of female voices to the broader issue of gender inequality. “Most of the time women say things and
they are not heard in the same way as men who might say the identical thing,” Sotomayor said. “People paid attention [to the studies] and it made for self-examination of behavior.” The Supreme Court launched the new oral argument format at the beginning of October, which supplements free-for-all questioning with one-on-one sessions, during which each justice can ask questions to lawyers individually. Before the change, Sotomayor said she often noticed the issue of interruption in court, and spoke about how she was sometimes able to fight it. “I interrupt back,” she said. Sotomayor also discussed the lack of diversity on the court and noted that no current justice has “been in the trenches” over civil rights, criminal defense, immigration or environmental issues. “When Ruth Bader Ginsburg passed, we lost our only civil rights lawyer,” Sotomayor said. “There are so many areas of law that the court touches and whose decisions impact in such tremendous ways, that I do worry that the authorities who are selecting judges are not paying enough attention to that kind of
diversity well.” She also spoke of the pressure put on people of color to work harder than everybody else to succeed. Sotomayor, who is of Puerto Rican descent, was the first Latina to be appointed to the Supreme Court. “It’s the nature of — the competitive nature of our society — where you have to prove yourself every day,” Sotomayor said. “I don’t know many people of color who don’t come into this enterprise without feeling that pressure of knowing they have to work harder.” Sotomayor added that the current 6-3 conservative majority on the court tends to take a firm stance of originalism, dismissing interpretations of the law that diverge from the U.S. Constitution as it was first written. “Whether and how that will lead to dissonance between what we are deciding and what the general population accepts as what the law should be is a fascinating question,” she said. “There’s going to be an awful lot of dialogue by the greater society about the role of the courts in our society today.” CAS sophomore Mia Daniels, a politics major, said she looks to Sotomayor as an inspiration to make
IMAGE VIA WIKIMEDIA COMMONS
Supreme Court Justice Sonia Sotomayor recently spoke at an event for NYU Law’s Center for Diversity, Inclusion, and Belonging. Sotomayor offered insights on diversity and gender bias in the Supreme Court.
change in the f ield. “This conference was inspiring to witness because of how much hope she has for the country and how much belief she has in the future of this practice,” Daniels said. “Even in
the face of dismay and hopelessness, she never fails to work diligently for the people.” Contact Kashish Bhatia at news@nyunews.com
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Bird-safe glass design at 181 Mercer saves wildlife and energy By ALEX TEY Deputy Managing Editor Custom-designed glass on 181 Mercer Street, NYU’s under-construction multi-use building, will help prevent bird-window collisions — a serious threat to native bird populations in the area — while also reducing energy usage. The design is intended to mitigate bird strikes, which frequently occur at buildings with clear or reflective glass. Research by conservation group NYC Audubon estimates that up to 230,000 birds die in New York City every year due to collisions with glass. The American Bird Conservancy estimates that the annual avian death toll from collisions in the United States is close to one billion. “That’s a huge number, especially when combined with all of the other things that are killing birds,” said Kaitlyn Parkins, an NYC Audubon conservation biologist whose work focuses on reducing bird-window collisions. 181 Mercer is the flagship development of NYU’s Core Plan, an expansion project initially called NYU 2031. Construction on the building commenced in March 2017, and the building is set to open in fall 2022 following delays caused by the COVID-19 pandemic. Its exterior is almost entirely covered in fritted glass, a type of patterned glass created by applying ceramic frit to clear glass. Christine Sheppard, director of the ABC’s glass collisions program, said that neither humans nor birds can actually see glass. Humans, however, have learned the concept of “an invisible barrier that can also be a mirror,” while birds seem take what they see literally — for them, reflections in glass are effectively indistinguishable from reality. This means that conventional glass on buildings of any size can be a death trap. Tall glass buildings,
though, are typically responsible for the mass mortality events that draw the most attention. Last month, buildings in the World Trade Center complex killed hundreds of songbirds after a heavy migration night. “It’s something that many people are not aware enough of,” said Deborah Laurel, principal at architecture f irm Prendergast Laurel. “Because glass has become one of our preferred building materials, it’s just very worrisome.” Laurel, who works with groups like the ABC and NYC Audubon to promote bird-safe architecture, said that fritted glass can help prevent collisions by making glass more visible to birds. Not all frit effectively deters collisions, though — the design must have high enough contrast and narrow enough spacing that birds are able to see the markings, but don’t try to fly between them. With this in mind, KieranTimberlake, the architecture f irm responsible for the design of 181 Mercer’s facade, increased the amount of frit and revised the glass pattern. Preventing bird collisions was a goal of the building’s exterior design plan and a key component of its sustainability strategy, according to KieranTimberlake partner Richard Maimon. “181 Mercer’s design is directly tied to environmental responsibility,” Maimon wrote in a statement to WSN. The f irm created the f inal design in direct consultation with experts at the ABC and the Bird-Safe Building Alliance, including Sheppard. She said that the f irm is known for designing with birds in mind. “They did it right,” Sheppard said. “KieranTimberlake is one of the architecture f irms that has really paid attention to this.” The glass frit demonstrates KieranTimberlake’s commitment to sustainability on 181 Mercer, which Maimon said was designed in sup-
MANASA GUDAVALLI | WSN
181 Mercer Street, located between Bleecker and West Houston Streets, is NYU’s new multi-use building.
RYAN KAWAHARA | WSN
181 Mercer Street, NYU’s new building, is being built with special glass windows to reduce energy usage and help prevent bird collisions. Up to 230,000 birds die every year in New York City from these collisions.
port of NYU’s Climate Action Plan. “They’re very interested in conservation, in ecological and energy advancement, and they have been from the beginning,” Laurel said. In addition to reducing bird strikes, 181 Mercer’s fritted glass contributes to the building’s sustainability strategy by reducing energy consumption. Because the frit reduces solar heat gain — heat generated from sunlight entering the building — cooling systems don’t need to work as hard, cutting energy use and costs. Energy savings can also offset the initial costs of fritted glass, a concern frequently expressed by those reluctant to implement bird-safe design. However, Maimon noted that the frit added to 181 Mercer to prevent bird strikes did not add a signif icant cost. In general, Sheppard said, the cost of fritted glass is typically “relatively negligible” in comparison to overall construction expenses. From a distance, the glass seems reflective. But from a few blocks away, a subtle, distinctive pattern on the glass — Laurel described it as “a f ine sprinkling of snow” — becomes visible. Though the “glass box” style of skyscraper design is often unsafe for birds, Sheppard said that buildings like 181 Mercer show that bird-safe design doesn’t have to mean compromising on aesthetics. “If somebody wants to build a bird-friendly glass box, they can do it, because the things that make buildings bird-friendly are materials that people have been using on buildings forever,” Sheppard said. The bird-safe design of 181 Mercer predates New York City Local Law 15, which in 2021 started requiring exterior glass on most new buildings to meet bird-safety standards established by ABC research. The law was a major step toward creating birdsafe cities, but many buildings built or approved for construction before 2021 still present hazards. “There’s def initely progress that has been made, but we’ve got a whole lot of buildings,” Laurel said. “We’ve still got a whole lot of work to do.” Buildings with large glass exteriors
across from abundant vegetation or urban parks are among the most dangerous to birds in the city, according to a 2009 study. Many NYU buildings fall into this category — the Kimmel Center for University Life and Bobst Library reflect Washington Square Park, and Warren Weaver Hall mirrors trees along Mercer Street. Campus buildings are not monitored for window collisions, but crowdsourced data suggests that they occur frequently. For existing buildings that are unsafe for birds, experts recommend retrof itting bird-safe glass to mitigate the danger. Patterned adhesive f ilms, usually in stripe or dot designs, are typically used to remediate existing windows. The main obstacles to implementation, Laurel said, are design preferences favoring large windows and insuff icient public awareness of bird collisions. “It’s going to take some time to get everybody on board to understand that we have to treat all of that glass that’s already installed, or at least the majority of it, to really begin to reduce the fatalities,” Laurel said. Retrof its can be extremely effective — at the Jacob K. Javits Center on the West Side, for example, replacing conventional glass with fritted glass reduced collisions by over 90% at a previous hotspot of bird death. With a new green roof, renovations transformed the building from a lethal hazard to a potentially usable habitat for wildlife. Creating bird-safe buildings like the renovated Javits Center and 181 Mercer allows developers to surround buildings with habitats that benef it people as well as birds. Without the fritted glass, birds drawn to the landscaping on and around 181 Mercer would have been put in danger. “It’s so important that you’re not creating an ecological trap,” Parkins said. With KieranTimberlake’s bird-friendly design, though, the building’s green spaces are safe for both birds and humans to enjoy. Helping birds benef its people as well, Parkins said — people won’t have to see dead birds at their school
or workplace, and having more birds around has ecological and emotional benef its. “I think that there’s inherent value in saving birds, but you can look at it from a biodiversity perspective,” Parkins said. Diversity of birds and birdsong has been linked to human wellbeing, and ecosystems with a greater diversity of species are more resilient to extreme weather and other natural disasters. As Sheppard put it, “birds are good for people.” Despite these benef its, bird-safe design remains rare. Although it is beginning to catch on, scientists are still left without much f ield data. Groups like the ABC conduct tests of bird-safe glass designs, but Sheppard said that these evaluations are not designed to replicate real-world conditions. Light and reflectivity conditions change throughout the day, making it diff icult to predict exactly how effective a glass design will be. When architects design buildings like 181 Mercer with birds in mind, they not only save birds but also help researchers learn which designs work best in practice. “The more of these installations we see, the more excited we get, because that means our research is implemented on actual buildings,” Laurel said. Though before-and-after data on retrof itted windows is the most scientif ically valuable, it’s diff icult to collect, meaning that data from new buildings is useful as well. Bird-safe design is increasing in popularity, but its adoption is not yet widespread. Unlike most new buildings, 181 Mercer’s design seeks to balance function, aesthetics and sustainability, making it an exemplar of bird-safe architecture, according to Parkins. “It sets a standard that other buildings, other architects can aspire to,” Parkins said.
Contact Alex Tey at atey@nyunews.com
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MONDAY, OCTOBER 18, 2021
Edited by MITESH SHRESTHA
Knicks legend Earl Monroe headlines high school opening ceremony
MITESH SHRESTHA | WSN
On Oct. 6, the Earl Monroe New Renaissance Basketball School celebrated its opening with a ribbon-cutting ceremony. The school is the first specialized high school in the nation that dedicates itself to preparing its students for different career paths in basketball.
By MITESH SHRESTHA Sports Editor The star-studded guest list of NBA commissioner Adam Silver, New York Knicks president Leon Rose, NBA Players Association executive director Michele Roberts and a smattering of former NBA greats did not divert the attention of onlookers at the new Earl Monroe New Renaissance Basketball School from the stream of students entering the gymnasium. Adorned in pristine white polos, they settled into the rows of seats in the middle of the gym amid the clicks of cameras and murmurs from the audience. The pageantry surrounding the ribbon-cutting ceremony celebrated the 124 students that made up the initial freshman class for the EMNRBS. Like its namesake, trailblazing Naismith Memorial Basketball Hall of Fame inductee Earl Monroe, the school is innovative in its own right.
The school represents the f irst speciality high school in the nation dedicated to preparing its students in the different career paths that exist in basketball. After completing the general education course, students have the opportunity to major in f ields like law, design, business, broadcast journalism and kinesiology. The school’s curriculum emphasizes f ield experience, as each student is matched with an individual mentor and an internship related to their interests. The ceremony was an emotional affair. It represented a culmination of an arduous eight-year-long campaign to realize Monroe’s and founder Dan Klores’ dream. The idea started with Klores, who saw an opportunity to connect new generations to a sport that was integral to his life. “I’m a basketball guy, [I’ve] written about the game, played the game, coached the game, made movies about the game, the game is my safe-
ty net,” Klores said. “Look at what the game can give you: You can take these skills and transfer them to everything. That’s the dream but who’s going to help you?” Initially connected by Silver two decades ago, Monroe and Klores developed a friendship while working on the 2008 Peabody Award-winning documentary Black Magic. They found a common bond in their shared love for basketball. When Klores decided to move forward with the idea for the school, he reached out to Monroe, who had experience working on a similar concept in the Earl Monroe Academy — a summer program centered around education through the context of basketball — during the 1980s. The process of bringing this idea to fruition was not easy. Klores presented his idea to education administrators for review, bouncing around at the different levels before reaching the governor’s off ice to formally
initiate development. From there, it became a matter of settling all the bureaucratic and administrative decisions. Klores formed a board of trustees. The f irst trustee he chose was the late NBA commissioner David Stern, who coined the school’s slogan “a ball and a book can change the world.” However, development continued to meet further obstacles. Issues with developers, tragedy in the form of the untimely passing of key contributor Lewis Katz, last minute staff changes and the pandemic nearly brought Klores to his breaking point. But, in the end, Klores was able to see his dream through. “I don’t integrate good feelings easily; I’m very critical of myself; I don’t watch any of the movies I’ve made, so it feels good I have to say,” Klores said. However, he recognizes the work that still needs to be done for the school to reach its full potential. Klores aims to hire four full-time
literacy interventionists who will not only work with students on an intimate level, but provide parents of students with nightly adult literacy classes as well. The school plans to move from Pelham Bay, Bronx, to its permanent location in Mott Haven, Bronx, in 2024. The total student body will reach 440, made up of kids from historically disadvantaged backgrounds. While there’s still work to be done, there’s optimism for the potential impact the foundation of this school will have beyond New York City. “That’s what we’re hoping for, [to be] that role model for other schools, other cities,” Monroe said. “Certainly what we’re doing now is kind of setting the table for these other schools.”
Contact Mitesh Shrestha at mshrestha@nyunews.com
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Edited by SASHA COHEN and ANA CUBAS
Review: Latest ‘Amélie’ musical fails to live up to the film
SAIGE GIPSON | WSN
“Amélie,” the musical adapted from the 2001 film, recently reopened at the Criterion Theater in the West End after a hiatus due to the COVID-19 pandemic. For some, the musical falls short of capturing the essence of the beloved film.
By SAIGE GIPSON Staff Writer LONDON — The most recent attempt at a musical-theater adaptation of the 2001 film “Amélie” disappoints. JeanPierre Jeunet’s romantic comedy depicted a French woman who, having had a childhood secluded from society, lives alone in Paris and changes people’s lives with her kindness — the musical follows the same plot and characters, but lacks the charm that made the film so beloved.
The first musical adaptation of “Amélie” premiered on Broadway in 2017 but closed shortly after. Critics said the show “lacked flavor” and disliked the score and staging of the musical. The show reopened in the United Kingdom in 2019 and arrived on the West End in 2021. Writers Daniel Messé, Nathan Tysen and Craig Lucas revised the orchestrations and added new songs. Director Michael Fentiman changed the show’s presentation, making actors play their own instruments for the musical ac-
companiment. Unfortunately, the show closed shortly after opening due to the COVID-19 pandemic. After receiving three Laurence Olivier award nominations, the show recently reopened at the Criterion Theater in the West End. The reopening was momentous since it coincided with the 20th anniversary of the release of the original film, a hit in the United Kingdom. It remains the highest-grossing French film in both the United States and the United Kingdom, and received five Academy Awards.
Despite the changes, the musical still lacks the endearing, playful elements and characters that appealed to fans of the film. The musical’s exclusion of these aspects makes it seem as though it were halfheartedly created for the sole purpose of profiting off of the cherished film. The “Amélie” musical neglects exposition, making it unclear as to why the quirky characters act the way they do. Little time is spent introducing the notoriously rude grocer Collignon (Johnson Willis); in the second act, Collignon is confusingly confronted about his meanness, despite having been portrayed merely as a mild-mannered, slightly grumpy old man. Similarly, the titular character Amélie (Audrey Brisson) and her love interest Nino (Chris Jared) are given almost no stage time together. This makes the final song of the musical — in which the two characters finally fall in love — perplexing. The musical reveals so little about Amélie and Nino that audiences are left wondering how they could ever relate to each other. Most musicals depict romance through their songs, but the numbers in “Amélie” fail to fully express characters’ emotions, acting more as filler or mere dialogue. “Sister’s Pickle,” the first song in which Amélie shows interest in Nino, fails to reveal why she likes him or even how she knows him. While the film version of “Amélie” is deliciously colorful and picturesque, the West End’s production is shockingly dull. The film would lend itself well to a vivid fairytale style like that of “Wicked” or “Peter Pan.” But “Amélie” remains more seri-
ous, shying away from the film’s childlike whimsy. The musical’s attempt at sophistication contradicts the film’s heavy emphasis on imagination and curiosity, as well as the importance of imagination to adults. Amélie’s imagination and curiosity about human nature comes from a childhood in which she was isolated by her parents. In the film, an omniscient narrator reveals Amélie’s daydreams, highlighting the adolescent, creative qualities that have remained with her in adulthood. These qualities spur Amélie’s desire to help the people of Paris. The musical adaptation forgoes the narrator and fails to establish Amélie’s childlike qualities, neglecting themes that are central to the film and the plot of the story. The production somewhat attempts to recreate the film’s childlike naiveté by using puppets and anthropomorphized figs in a scene where they come to life and terrorize Collignon. But both elements are out of place in the dull, serious scenery of the musical. Unlike the heartwarming film, the musical leaves audiences feeling empty and distant from its eccentric characters. The musical production follows the same plot as the film, but otherwise maintains neither the style nor emotions of the original. It seems as though the creators only wanted to exploit the film’s popularity. Their adaptation falls short of the beloved original.
Contact Saige Gipson at arts@nyunews.com
‘Call of Duty: Vanguard’ beta revives the first-person shooter By BRIAN SAVINO Contributing Writer It’s mind-blowing that developers have churned out a new “Call of Duty” game almost every year since 2003. As November approaches, fans are dutifully preparing for the latest addition to the franchise, but this year’s release is anything but traditional. “Call of Duty: Vanguard,” developed by Sledgehammer Games and published by Activision, will be released on Nov. 5 as the newest installment in the long-running “Call of Duty” franchise. The multiplayer beta — a pre-release opportunity for the public to try the game’s multiplayer mode — was available for the PlayStation 4, PlayStation 5, Xbox One, Xbox Series X/S and PC at different time intervals until Sept. 22. Though the beta contained some gameplay mechanic issues, it felt exciting and novel, with potential for the upcoming release if Sledgehammer Games takes community feedback seriously. “Vanguard” shines in its deviations from rigid historical accuracy. The ability for players to use up to 10 attachments that alter a weapon’s characteristics was certainly not possible during World War II, and this is promising — it shows that Sledgehammer Games is willing to experiment. As long as they maintain the bleakness consistent with WWII, the developers should further push the game’s historical boundaries by adding more extreme elements to the final game, such as laser weapons and interstellar locations. There are also realistic ideas that the developer could include that players have not seen before, such as
the Japanese experimental Model 2 submachine gun and U.S. Vultee XP54 aircraft. Hopefully, the full game brings novel additions that differentiate the game from its predecessors. Although numerous weapons in the beta, such as the BAR assault rifle, have featured in past “Call of Duty” installments, the gameplay mechanics make everything feel fresh. Features like being able to slide across the ground or sprint quickly by sacrificing weapon use make the game feel fast-paced. Meanwhile, the weapons themselves require skillful control and flexible positioning, which keeps the battles intense and stimulating. While playing, content did not feel recycled — rather, it truly felt like a reimagining of the weapons with a modern twist. However, the beta displayed substandard power balancing between weapons. The StG44 assault rifle and MP40 submachine gun are so dominant that they flooded nearly every match, dissuading the use of other weapons. This is an issue in numerous first-person shooter games and it is exactly the type of problem that a beta is meant to identify. The revolving shotgun outputs inconsistent damage, even at the close ranges where it should excel, and the STEN submachine gun is simply too weak in comparison with other options. With only a few viable weapons, games quickly began to feel repetitive and stagnant, even though the beta technically offered plenty of guns for players to choose from. Sledgehammer Games must bring all the weapons in the game to a midpoint power-wise by improving the beta’s weaker op-
tions and tuning down the overbearingly powerful ones. By doing this, the final game will contain the maximum amount of content for players to use, which will keep the game exciting and varied. It is worth noting that the snipers are extremely slow. “Call of Duty” is known for its quickscoping — when a player rapidly zooms in with a sniper and eliminates an enemy immediately when the crosshairs appear. It feels like “Vanguard” is now trying to push snipers to be more traditional, longrange entities. Some attachments can decrease scope-in time on snipers, but not by much. In fact, some players removed the scope from their sniper rifles altogether in order to regain the ability to zoom in quickly. Given that the mechanic is such a vital and fun part of “Call of Duty” history, Sledgehammer Games should slightly increase the zoom-in speed for snipers to make them more viable for quickscoping. For the most part, the maps are well-paced and lend themselves to varied gameplay options: Players can rush through buildings and take part in close-quarters battles or stay back and pick enemies off from long ranges. Even on a small map like Hotel Royal, which is set on a French rooftop at night and lends itself to high-intensity gameplay, there are longer sightlines that allow players to slow down if they wish. Map designs are well thought-out and give players numerous route options — on Eagle’s Nest, set in a hideaway, there is always a different path to take if one contains too many enemies to deal with. Playing a six-versus-six game on
MANASA GUDAVALLI | WSN
“Call of Duty: Vanguard,” the newest installment in the “Call of Duty” series, will be released on Nov. 5. The multiplayer beta, which allowed players to try the game’s multiplayer mode before release, proves to be promising despite a few issues.
the Red Star map, set in a destroyed Russian city, is excruciatingly slow. It is a struggle to find even one enemy per minute, which dampens the exhilaration that usually came with other smaller maps or modes with more players in the beta. Frankly put, Red Star should only support 10-versus-10 game modes in the final game — it flows well with that many players. The spawns — areas to which players return when they are eliminated — are a weak spot in “Vanguard.” During the beta, players constantly spawned directly in front of enemies and spawns often did not change when enemies were bombarding them. After running away from the map’s center and reaching a seemingly safe area, an enemy would appear out
of nowhere and take players by surprise due to these issues. This was a pervasive problem in the beta and the developers must make spawns consistent and safe in order to promote fairer and less frustrating gameplay. The “Vanguard” beta certainly had some issues, but they are fixable. Sledgehammer Games has shown their ability to make something traditional — a WWII first-person shooter game — feel brand-new and exciting. If they are able to incorporate player feedback, the final version of “Vanguard” has the potential to be one of the most memorable games in the franchise. Contact Brian Savino at arts@nyunews.com
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CULTURE
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Edited by SABRINA CHOUDHARY
Ranked: Places to cry in NYC By SABRINA CHOUDHARY AND
9. Times Square
There are so few places on campus where you can feel a real sense of privacy, but the reservable study rooms in Bobst are special. These won’t work for spontaneous bursts of feelings, but if you can plan your waterworks in advance, it’s a stellar option. The only other catch is that they’re not fully soundproof and the doors have windows in them, so take that as you will. The Lower Level bathrooms and the quiet stacks on the eighth floor are also excellent choices.
JOEY HUNG
It’s that time of year, babes. Whether midterm season is stressing you out or the changing weather is taking its toll on your mental health, now is the time to let those feelings out. Finding a private place for catharsis in New York City is a bit of a conundrum, especially if you have roommates. But fear not: We’ve ranked some noteworthy public spaces to consider for your next menty b.
5. Kimmel stairwell (eighth or ninth floor)
11. The subway
JAKE CAPRIOTTI | WSN
JAKE CAPRIOTTI | WSN
You can never get too crazy on the streets of this crazy city at crazy hours.
In one of the busiest spots in NYC, no one has the time to judge you for crying. You may not even be the only one.
If you’re already sad, then you can wallow in one of the worst places in the city! This is as public as it gets, but like many places in New York, no one is going to bother you about it. New Yorkers mind their own business, and tourists will be scared of you. Plus, if you’re drunk, the lights are a vibe.
JAKE CAPRIOTTI | WSN
Your crying can be safely covered by the roaring sound of the trains passing by.
Hands down the worst place to cry. Bad on the platform, and even worse in the train car. Especially if it’s 2 a.m. at the West Fourth station? Creepy men stare you down, the lighting looks like something from a horror movie and the ceiling is disturbingly low. We can think of no worse place to cry than a conf ined space f illed with strangers and buskers. Even worse: If you’re crying too hard, you miss your stop. Then you cry even harder.
8. Storage centers Imagine that you’re moving out of your apartment because it’s the end of the school year; you have to go back to your hometown to rot in your childhood bedroom, or you’re moving to Brooklyn because you can no longer afford the Lower East Side. Manhattan Mini Storage doesn’t have student discounts and it’s finals season. You’re crying, because of course you’re crying, but no one offers to help you or even asks if you’re okay. 7. Airport
SIRUI WU | WSN
The Kimmel stairwell is many people’s place to go when they want a view of the park as they cry and also offers some quietness and privacy.
3. Tisch School of the Arts MANASA GUDAVALLI | WSN
LaGuardia Airport might be one of the worst airports in the United States, but it’s a great place to cry.
This isn’t one you’d seek out, but if it happens, it happens. Like Washington Square Park and Times Square, everyone has their own business to attend to, so don’t be shy about sobbing in Terminal D after a disastrous Thanksgiving trip or after fighting the airline for overcharging you for checking a last-minute suitcase. JAKE CAPRIOTTI | WSN
Without a doubt, this is the most convenient option on the list for the Manhattan-based NYU student. It’s so public that it’s almost private — so much happens in Washington Square Park at any given moment that no one will pay a speck of attention to you. Go ahead and contribute to the chaos. The only downside is the likelihood of bumping into someone you know. On the bright side: If it’s a professor, they’ll probably go easy on you in class, and if you run into a classmate or friend, they’ll totally understand and your bond will probably strengthen.
Nothing hits more different than a mid-semester mental breakdown with your best friend. You’re having separate conversations in pajamas; all you’re carrying is your phone and keys. You’re no longer getting head highs from your Air Bar because you hit it way too many times. Random creepy strangers are staring at you and you’re lowkey sussed out by them, but you’re too in-your-feels to tell them to shove off. 1. The steps of a random brownstone
We’ve all taken photos of Washington Square Park from these secluded windows, or even some self ies when the lighting was right. The combination of the view and the isolation makes it a peaceful spot and a pleasant place to cry as well. Taking in the view of the busy park and the landmarks of the New York City skyline can give you some perspective on your place in this giant city and make your problems feel a little bit smaller. 4. The bathroom of a bar or club Depends on the type of bathroom. If it’s a multi-stall restroom and you’re under the influence surrounded by supportive drunk people, it’s a great place to have a mental breakdown and have people hype you up before taking mirror self ies with your besties while eyeshadow runs down your cheeks. If you’re in a single-stall bathroom in a dinky club throwing your brains up — less fun, but still a vibe.
10. Washington Square Park
While NYU doesn’t have a traditional quad, the park at the center of Greenwich Village offers many spots to cry between classes.
2. The streets of New York at 3 a.m. with a bottle of wine, your vape and best friend
6. Bobst Library
SIRUI WU | WSN
Crying just makes you all the more cinematic when you sit on one of these.
This one goes out to all the dramatic baddies who want a cinematic moment. East 10th Street is ideal, but the West Village is full of other beautiful options. Take a little stroll past the romantic old buildings, park yourself on a set of those multimillion-dollar steps and let it out. This is an ideal chance to FaceTime your best friend who lives across the country or cry on the phone to your mom. This experience is best for everyone involved if it happens under the cover of night. These areas are quiet, so broad daylight can be a bit much. The downside of this option is that said brownstone’s resident can kick you out at any moment. All jokes aside, if you’re truly feeling overwhelmed or sad, the NYU Student Health Center offers free counseling. Please make use of these resources and take your mental health seriously! Contact the culture desk at culture@nyunews.com
JAKE CAPRIOTTI | WSN
Crying at the right place can be considered a talent.
Because they’ll just think you’re acting. Duh.
SIRUI WU | WSN
A Bobst study room is without a doubt the most convenient place to cry as you study for your midterms.
MONDAY, OCTOBER 18, 2021
UNDERTHEARCH@NYUNEWS.COM
Washington Square News | Under the arch
7
UNDER THE ARCH
Edited by JULIAN HAMMOND SANTANDER
Dear New York City
BROOKE NGUYEN | WSN
By LORRAINE OLAYA Copy Chief New York, this is my love letter to you. It’s been some time since I’ve seen the sparkle in your water and sunset reflecting off your buildings. And it’s been a while since I’ve stared up at the sky between your leaves or listened to the sounds of the city. Living in New York for my whole life, the glamour has been lost on me for many years. But once the snow defrosts and the sun peeks into windows again, New York City’s beauty reemerges to me. Everyone always seems happier after months of winter. White blossoms sprout from city trees whose roots push up against the concrete. The summer breeze sinks into your skin and rustles through city leaves, light glinting through lush green. And sand, sun and salty sea can be found not far from roaring subway trains. When the sun sets, the clouds are tickled pink, orange and yellow. When autumn returns, the leaves drop one by one with a swish of yellow, red or orange. It’s funny how nature is found everywhere within the city. A manmade nature: skyscrapers are my
mountains, lights from city windows replace the stars and air conditioners drip water like rain. Streetlamps guide light like the moon, and angry cars replace calming crickets. Who hasn’t thought of leaving you, New York City? The winters are too cold, and rats scurry across sidewalks. With the rising cost of rent, gentrif ication and police brutality, who would want to live here anymore? But when I focus on the people and nature of New York City, I get pulled in and convinced to stay again. Las personas trabajadoras: the churro lady at the 74th Street Jackson Heights station, the immigrant parents on the trains making their way home. The characters that are found in Washington Square Park: the pigeon man, the grand pianist. The history seeping out of the bricks of Lower Manhattan buildings, and the water and breeze of the Hudson River always keep me coming back. Living in New York my whole life has spoiled me. I’ve gotten used to stores that stay open all day and night, and the variety of food — from Korean barbecue to bandeja paisas. The sound of passing Q65 buses has lulled me to sleep for most
of my childhood. I’ve gotten used to Mr. Softee ice cream trucks and their tempting siren song. I’ve found beauty in the routine commute of the 7 train, spotting artist tags on the side of buildings, walls and anything with a surface. I’ve always loved how the orange sunset reflected off the windows of Long Island City buildings. And in the summer, when the doors open on 111th Street, you can sometimes smell sizzling home barbecues. I’ve taken the subway for granted; it’s such an easy way to just get around to almost anywhere you need to go. What other city has such a variety of places? Every spot, every borough, every neighborhood is different. Sure, it all blends together when you don’t know where you are, but everywhere you look, there’s something unique. New York City is many cities in one. From the artistry of Greenwich Village to the greenery of Inward Hill Park; from the history in Harlem to the culture in Jackson Heights; from the community in Sunset Park to the people in Mott Haven. Nothing looks the same. Nothing stays the same. For the past couple of years, my dream included moving away from the city. But now that the inevitable end of my college years is breathing down my neck, I’ve decided to savor every moment. And so, I sit in the heart of my city, in the middle of the parks, in the middle of chaos, in the middle of my home. Listening to the sounds. Breathing it in. Enjoying the moments before I change, or my city changes, again. Contact Lorraine Olaya at lolaya@nyunews.com
Washington Square News
8
MONDAY, OCTOBER 18, 2021
OPINION
OPINION@NYUNEWS.COM
Edited by KEVIN KURIAN and ASHA RAMACHANDRAN
TECHNOLOGY
HOUSE EDITORIAL
Social media companies should hire more moderators
Larry Fink is a climate hypocrite
JORENE HE | WSN
Facebook whistleblower Frances Haugen lifted the veil on the company’s harmful practices. The social media powerhouse must adopt new practices to regulate harmful content immediately.
By CAROLINE THOMS Staff Writer Earlier this month, Facebook whistleblower Frances Haugen spoke to Congress about the harms of Facebook, including the spread of misinformation and the damage to young adults’ mental health. Haugen revealed that, despite being acutely aware of the harm that Instagram does to young girls, Facebook has continued to push forward on its plan for a social media app for kids. As consumers, we deserve better experiences on these platforms so that we can protect our personal wellbeing. The type of content we consume daily through social media apps can greatly affect the way we see ourselves, so it’s essential that people are not exposed to harmful graphics or images. Last year, an NYU Stern study called on Facebook to make internal improvements that would better regulate content on the platform. The researchers called for Facebook to hire more moderators in order to curtail the spread of harmful online content — and not just outsourced content moderators, who have proven less effective. In light of the recent Facebook hearings, Mark Zuckerberg and his board should follow NYU’s recommendations and implement these changes. In my experience, my Instagram feed has made me feel less than satisfactory. I felt like I wasn’t pretty or skinny enough, which in turn made me hyper-aware of my self-image. As someone who considers herself confident, becoming self-conscious of my body and what I present to the world made me feel out of control — and I’m not the only one who has had this experience.
Submitting to
The Instagram algorithm recommended content relating to eating disorders to a 13-year-old girl after her account suggested an interest in weight loss. The algorithmic nature of this issue is especially concerning, as Facebook and other companies are able to profit off of consumers while feeding them harmful content. Increasing the amount of moderators on the platform will serve to curb this harmful content. While Facebook devises a longer-term solution to the Instagram algorithm’s issues, moderators can serve as a temporary stopgap against displaying harmful content to young kids. NPR reported earlier this year that the more content an individual consumes on these apps, the more at risk they are for depression. Social media warps our perceptions of the realities of daily life. In light of Haugen’s testimony, we more clearly see the link between harmful content that Facebook algorithms recommend and the mental health of its users. The company has a moral obligation to do whatever it takes to make its products safe for users, and hiring more moderators is one way to achieve this. Consumers deserve more transparency about where their personal data is going and information that may be circulating, especially if that information is misleading or false. With more moderators, Facebook could more reliably remove misleading or harmful content and improve users’ experiences. It is worth noting, however, the immense amount of pressure that Facebook content moderators face. They are tasked with moderating some of the most horrific content on the internet, and are often forced to work grueling hours viewing traumatizing images. Facebook must not only hire more moderators — it must also provide them with more support. How can we continue to believe that social media companies are acting in our best interest when, time and time again, they have failed to address internal issues that harm its users? Facebook needs to make improvements by hiring more moderators as soon as possible. Contact Caroline Thoms at opinion@nyunews.com
ALEXANDRA CHAN | WSN
NYU trustee and BlackRock CEO Larry Fink has called on wealthy nations to reduce carbon emissions. As an investor in the fossil fuel industry himself, his actions contradict his rhetoric.
By WSN EDITORIAL BOARD NYU trustee and BlackRock CEO Laurence Fink wrote an op-ed in The New York Times last Wednesday arguing that wealthy countries must continue to invest more money in green infrastructure. In the article, Fink emphasizes how many countries in the Global South cannot shoulder the cost of building climate-friendly infrastructure; he also points out how private investors, like himself, are unwilling to help alleviate those costs. His solution: “Rich countries must put more taxpayer money to work in driving the net-zero transition abroad.” As one of the main investors in the fossil fuel industry, however, Fink’s supposed climate advocacy rings hollow. As of February, BlackRock holds more than $12 billion in investments in the coal industry and almost $90 billion in the oil and gas industry. These investments endure more than a year after Fink made a statement pledging that BlackRock would integrate climate change into their risk assessments, invest in sustainable industries, and launch new financial securities that do not include fossil fuel holding. In the fourth quarter of the 2019 fiscal year, BlackRock had invested nearly $160 billion in the oil and gas industry and $13 billion in the coal industry. Although BlackRock’s fossil fuel investments have declined since 2019, activists point out that BlackRock’s rate of divestment is insufficient. Additionally, a loophole in BlackRock’s new policy allows the corporation to maintain holdings in companies that earn less than 25% of their revenue from coal — meaning the policy affects around 17% of all companies in the coal industry. Ultimately, BlackRock is still investing in some of the world’s largest polluters: Adani, Glencore, BHP and RWE. BlackRock is also investing a whopping $24 billion with Sumitomo and KEPCO, despite their own intentions to expand their coal production.
In writing his op-ed under the guise of climate advocacy, Fink is engaging in greenwashing. He is advertising his investment management firm and personal brand as sympathetic to sustainable climate policies, while maintaining significant holdings in fossil fuel industries and making a handsome profit. Fink is contradicting himself by urging climate action even as his corporation funnels capital to companies contributing to the climate crisis. In an attempt to justify his complicity in the climate crisis, Fink has stated that much of BlackRock’s investments in fossil fuel companies are made through passive funds, which simply track the performance of market indicators like the S&P 500 or the Nasdaq. However, it has been disproven that market indicators are blind reflections of market trends. Adriana Z. Robertson wrote in the Yale Journal of Regulation about how passive fund managers are still setting “selection criteria,” intentionally including fossil fuel companies in their products. There are numerous sustainable passive funds that align with standards set out in the Paris Climate Accords. If Fink’s concern for the environment is genuine, perhaps he should immediately divest from fossil-fuel backed funds and invest in securities that, at minimum, are not causing the destruction of the earth. Fink continues to advocate proactive global policy that will prevent the worst of climate change, but he doesn’t practice what he preaches. His company — one of the biggest asset management firms in the world — enables the worst offenders of pollution and overconsumption. Instead of telling governments to invest in fighting the climate crisis, he should use some of BlackRock’s money to accomplish that goal. By shifting the onus of climate action onto government, Fink is fleeing his moral obligation to halt the flow of capital to fossil fuel corporations while hiding his dirty personal image under a veneer of green paint. Don’t let him get away with it.
SEND MAIL TO: 75 THIRD AVE. #SB07, NEW YORK, N.Y. 10003 OR EMAIL: OPINION@NYUNEWS.COM WSN welcomes letters to the editor, opinion pieces and articles relevant to the NYU community, or in response to articles. Letters should be less than 450 words. All submissions must be typed or emailed and must include the author’s name, address and phone number. Members of the NYU community must include a year and school or job title. WSN does not print unsigned letters or editorials. WSN reserves the right to reject any submission and edit accepted submissions in any and all ways. With the exception of the staff editorial, opinions expressed on the editorial pages are not necessarily those of WSN, and our publication of opinions is not an endorsement of them.
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We are telling big stories — the Bling Ring, Venmo fraud, drug donkeys — ones that expanded past our printstandard 500 words, ones that paint pictures with words. This magazine aims to be a platform where undergraduate and graduate students alike can mutter on about their love of the blue-seated MTA trains or put into words the flavor of their love of grandma’s dumplings.
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