Offering a space to reflect on the impacts of systematic oppression and healing from generational traumas, “Radical Healing Circles” have become a haven for students who are black, indigenous and people of color at the University of Miami.
“We need healing spaces led by and for BIPOC people who intimately understand our vast experiences,” said Luna Plaza, a BIPOC healer and double major in psychology and gender and sexuality studies. “When the standard is not empathy, intersectionality and decolonization, it is not a safe space for Black and Brown people.”
Facilitated by the Office of Multicultural Student Affairs and the Counseling Center, the most recent healing circle took place on Feb. 29 in the Counseling Center’s multipurpose room.
Chairs were arranged circularly, engaging all 15 people and creating connections. Healing bundles consisting of shells, herbs, plants and candles were laid in the center of the circle to symbolize intention, connection and purpose.
Leader Luna Plaza began the event by setting group norms including being genuine, honest, omitting gendered language and honoring each other’s experiences to create a safe space for everybody. Followed by a land acknowledgement, she highlighted how settler colonization was integral in the displacement of Indigenous peoples.
Beginning with an ice-breaker, the group discussed several methods they had been using to cope with recent events and their personal life. There was a primary focus on the Israel-Hamas War currently happening in Palestine and Israel. Several tears were shed as the discussion progressed, and the faint sound of sniffling could be heard throughout the room as attendees expressed personal experiences, stories and feelings. The circle provided an environment of support and understanding, allowing the group to feel comfortable being vulnerable and facilitating the healing process.
“Healing can happen in different ways particularly for BIPOC communities,” said Kisha Bazelais, staff psychologist at the Counseling Center. “It can happen by just being in a community together and knowing that people in that space are there because of shared interest, identities, etc.”
The healing circle concluded as Plaza shared community resources for specifically Palestinian mental health and led a guided meditation, learning the practice through the Sunflower Collective, a cohort of Black mental health professionals.
“Meditations are great practices to close out a healing circle,” said Plaza. “We need to recenter our bodies and take a moment to remind ourselves of our needs and our beautiful, long journey of healing.”
Providing more than just healing, the University’s BIPOC Radical Healing Circles also stand as a collective voice against systemic racism and cultural assimilation. These spaces have become a beacon of empowerment, allowing BIPOC people to use their voices in discussions and speak with their heart, something they may not have felt comfortable, or socially safe, to do so otherwise. These passionate discussions cultivate a stronger sense of identity and validates the feelings, thoughts and beliefs of attendees, which generates confidence and is essential in the stand against racism.
Celebrating traditions and cultures in healing circles through group activity also enables the reclamation of heritage, ensuring that culture is not forgotten, but honored.
“Healing can happen by engaging in a collective activity together, whether that be dance, meditation, storytelling, sharing food together or drumming,” said Bazelais. “We are intentional in our monthly BIPOC radical healing to reconnect to ancestral and indigenous forms of healing.”
Since February 2022, the University has been holding radical healing circles monthly and welcoming several guest speakers, educators and guides to lead participants through the healing process. The gatherings are held in different locations across campus, offering a wide variety of healing practices and techniques for attendees to improve their well-being and mental health.
Attendees are encouraged to hold space for people where they currently are and to honor the experiences of others to empower the community. What is learned is intended to leave the circle, and what is shared is intended to stay.
Compassion, patience and inclusivity remains at the epicenter of the University’s values, and the BIPOC Radical Healing Circle provides an environment highlighting these values, needed for everyone to be heard and heal.
“Our intention is to amplify and center the experiences and voices of the communities we curate spaces for,” said Plaza. “Through healing circles, we are creating a space for our community with free support and resources that uplift and support an individual’s need for emotional care.”
The University’s BIPOC radical healing circles are free for everyone to attend and express themselves. The dates, times and locations of upcoming events can be found on the Counseling Center’s Instagram (@umcounselingcenter) and with QR code links for registration.
Camryn Hamm (Beth), Hannah Taylor (Jo), Aaron Bower (Marmee), UM musical theatre major Noa Harris (Amy) and Rachel Pantazis (Meg) star in the "Little Women" National Tour. Photo credit: Josh Murphy // Chosen Creations
This spring, sophomore Noa Harris is taking a break from her usual studies in the BFA musical theater program to star as Amy March in the national tour of “Little Women: The Musical.”
“Little Women” tells the story of four sisters — Meg, Jo, Beth and Amy — living in mid-19th century Massachusetts with their beloved mother, Marmee, while their father fights for the Union Army in the American Civil War.
The girls befriend Laurie Lawrence, who develops an unrequited love for Jo. The show takes place over several years of their life as they grow into young women.
Harris plays Amy, the youngest sister who is quite a troublemaker in her youth. She began the audition process for “Little Women” with a self-taped video submission.
Self-tapes are a toss-up because actors don’t know if they will hear back, but Harris received a callback just a few weeks later in September.
She excitedly flew to New York City for the next round of auditions. She was called back for the subsequent round, so she stayed in New York for a week, joining her classes remotely.
A few weeks later, after leaving rehearsal for “The Threepenny Opera,” she noticed several missed calls from her mom and her agent. She called her mom, who told her she had booked the job and received the role of Amy March.
When she found out while leaving rehearsals, she was surrounded by her best friends, which made the experience even more special.
“I was definitely overwhelmed with emotion because there was so much excitement, but also fear, because I had to make a big decision,” Harris said.
“That fear was definitely overpowered by pride. I just felt proud that I was going to be able to be in ‘Little Women.’”
In the end, she took the opportunity to embark on her first professional acting gig.
This January, Harris traveled to New York City for three weeks of rehearsals, which is shorter than any rehearsal process she has had.
To prepare for such a short period of rehearsals, Harris familiarized herself with the script, studying her character and memorizing her lines. She also re-read the titular novel by Louisa May Alcott to fully immerse herself in the story and the life of her character, Amy.
Hannah Taylor, Camryn Hamm, Aaron Bower, Noa Harris and Rachel Pantazis star as the March family in the National Tour of "Little Women." Photo credit: Aaron Robinson
Though Harris “felt thrown into the professional world,” the cast and crew were welcoming and kind to one another.
Her three semesters at UM — which have consisted of classes in acting, auditions, dancing, singing, dialect training, stage combat and more — have helped her in this professional production.
“I’ve used all of the technical skills that I’ve been building in my classes to succeed in both the rehearsal process and performances,” Harris said. “I’m viewing this period of time as a lab or internship.”
Harris loves being on stage with all of the March sisters because their close relationship is a central part of the story. Each of the cast members bring new perspectives to the performance each night, so it does not feel overly repetitive.
One of Harris’s favorite numbers to perform is “Five Forever,” in which the sisters essentially declare Laurie as their honorary brother.
“I get to dance with the sisters and Laurie, so it’s a really fun and joyful number,” Harris said.
Harris believes the storyline of Jo March will resonate with UM students.
“[Jo’s] passion is writing, and she wants to write to make a change in the world,” Harris said. “I think that can resonate with a lot of young people who are in school that are choosing to follow their own passions.”
However, Harris wants to remind viewers that her character Amy has more to her than it seems on the surface level.
“I think it’s easy for people to see Amy as a villain or brat, because she definitely does some questionable things,” Harris said. “But audiences have to remember she’s also a kid during a lot of those moments.”
Students can check out the dates of the “Little Women” tour and see one of our fellow ‘Canes shine on stage.
In their first road contest of the season, the Miami Hurricanes continued to struggle during the middle of the week. On Tuesday evening, the ‘Canes bullpen was unable to slow the Florida Atlantic Owls (FAU) offense, as UM dropped its third midweek game of the year, losing 6-4 at FAU Baseball Stadium in Boca Raton, Florida.
In the top of the ninth, FAU reliever Braden Ostrander shut down any hope of a comeback for the Hurricanes. Ostrander retired the side in order, getting Dorian Gonzalez Jr., Jason Torres and Jack Scanlon out on just 11 pitches, allowing the Owls to take the first of four games against their South Florida opponent.
UM had an opportunity to score some valuable runs in the sixth inning. Following back-to-back walks, freshman Daniel Cuvet was due up with two outs down two. Replacing Danny Trehey, FAU brought in Steven Andrews to face Miami’s best batter. On a 2-2 count, Andrews struck out Cuvet, holding the score at 5-3.
After utilizing a chunk of its pitching over the weekend against No. 13 Virginia, UM chose to rely on its bullpen this evening, with redshirt freshman Ashton Crowther getting the nod.
The lefty had some difficulty against the Owls’ offense in his first career start. Crowther, who usually comes out of the bullpen, struck out five batters but walked four and surrendered five runs on six hits in 3.2 innings of work. FAU scored at least one run in the first four innings of the game, all with Crowther on the mound.
For the sixth game in a row, the Hurricanes had to start from behind. In the bottom of the first, with the bases loaded, FAU first baseman Emilio Gonzalez sent Crowther’s pitch right back his way, hitting the lefty and ricocheting the ball toward second base. While Crowther was alright, a run was able to score and an out was not recorded, allowing the Owls to take an early 1-0 lead.
Earlier in the season, Miami head coach J.D. Arteaga told reporters that the team’s philosophy at the plate was to not rely on the long ball. This season, the Hurricanes happen to be one of the most home-run-dependent teams in the nation, ranking in the top 10 in home runs.
The trend of relying on home runs continued this evening, with two of the four UM runs being four-baggers. In the third inning, Cuvet smashed his ninth home run of the season over the wall in right-center field. Scanlon jacked his third dinger of the year to right-center the next inning.
After FAU starter Zach Abbey’s day was done after three innings, the Owls bullpen shut down the Miami offense. Trehey, Andrews and Ostrander surrendered just one run in six dominant innings of work, with Ostrander shutting the door in the ninth.
Last season, Miami finished the season with a 10-3 record during midweek games. This year, the ‘Canes have already matched their losses from the season before just four midweek games into the season.
Miami’s schedule does not get any easier, as it heads back home for a weekend series against the No. 15 North Carolina Tar Heels. Friday starter Gage Ziehl is slated to take the bump on Friday against lefty Folger Boaz. First pitch is scheduled for 7 p.m.
The regular season has been disastrous for Miami Hurricanes Men’s Basketball, who struggled to stay healthy all season and limped to a 14th-place finish in the ACC. However, the slim chance of winning the ACC tournament gave Miami some hope that it could still qualify for the NCAA tournament.
That hope was extinguished on Tuesday night by the Boston College Eagles as they coasted to an 81-65 win over Miami, ending the Hurricanes’ season in brutal disappointment.
“It’s been a very challenging season,” said Miami head coach Jim Larranaga, “I feel whatever strategy we had throughout the season didn’t materialize as the way to play our best basketball. Boston College was very, very good.”
All five starters were active in Miami’s first-round loss, a rare sight this season, but it was not enough. The Canes shot just 38% from the field, including 7-29 on three-point attempts.
Meanwhile, BC (18-14, 8-12 ACC) shot a stellar 49% on field goal attempts, along with 11 threes. Senior forward Quinten Post dominated Miami (15-17, 6-14 ACC) all night, posting 30 points and 13 rebounds to help the Eagles advance. Post was trailed in points by junior guard Jaeden Zackery, who scored 16.
Junior guard Nijel Pack and forward Norchad Omier led Miami with 18 points each, and Omier posted a double-double with 13 rebounds.
Both teams started the game hot, shooting the ball, with six threes between them in the first five minutes. However, a 14-0 run by Boston College gave the Eagles a 27-13 advantage nine minutes in, as Post scored more than Miami as a team.
The Canes battled back, reducing what was once a 16-point lead to eight, but their shooting struggles continued. They shot 33% from the field and found themselves in a 15-point hole at the half.
Post led the Eagles’ excellent first half with 17 points and six rebounds while also getting Omier into foul trouble. Zackery also contributed 11 points on perfect 5-5 shooting.
Pack notched 11 points of his own in the first half to lead Miami, with Omier following behind him with eight points but on only 3-10 shooting.
Boston College’s three-point shooting catalyzed its comfortable first-half lead, as the Eagles nailed eight threes at a 40% clip in the first 20 minutes. However, Miami forced five turnovers in the first half, which may have prevented the game from getting too out of hand early.
Miami came out in the second half playing with more energy. The ‘Canes cut the lead to 10 after a 6-0 run. However, Boston College’s defense stepped up and halted Miami’s offense, and the Eagles brought the lead back up to 16 with 11 minutes remaining.
The Hurricanes refused to go away, going on a 7-0 run to cut the deficit to 64-56. However, BC again had an answer for everything Miami threw at it. With three minutes left, the lead swelled back up to 14, and the Canes could not get crucial shots to fall.
Miami never got within single digits the rest of the way as Boston College won handily, 81-65.
Miami will now look to the NIT if they are extended an offer and accept it, or on to the 2024-25 season if not. A healthy and revamped Hurricanes squad should be a team to look out for next season, with the additions of No. 6 recruit Jalil Bethea and No. 43 recruit Austin Swartz, along with the possibility of returning stars such as Pack and Omier.
Olivia Rodrigo performs "Vampire" during the GUTS World Tour at the Kaseya Center on Wednesday, March 6.
A purple glow surrounded the Kaseya Center on March 6 as Grammy-winning pop star Olivia Rodrigo took the stage for her first-ever Miami show.
The “GUTS” World Tour, named after her second studio album that dropped in September, has 77 tour stops across North America and Europe, with Miami being the eighth stop
Rodrigo may only have two albums out, but her live performances are in high-demand, a testament to how much her music resonates with a large audience. She’s been credited with bringing back the pop-rock sound of the early 2000’s and giving it a modern twist, combined with lyrics about heartbreak and the teenage girl experience.
Once the lights cut off at 8:25 p.m., Rodrigo came out in a shiny, silver two-piece to applause and screams as the opening chords to “bad idea, right?” started blasting through the speakers.
The 21-year-old artist did not slow down at all, following up with “ballad of a homeschooled girl.” The visuals for this performance were fun as they showed Rodrigo and her various band members in yearbook picture frames.
The high energy turned down a couple notches when Rodrigo went to center stage and played her album’s first single “Vampire.” The full moon on the large screen behind her lit the arena as fans began to cry and sing along.
She followed this up with “traitor,” where the lights turned down and Rodrigo got closer to the crowd as raw acoustic chords blared through the arena.
Olivia Rodrigo sings in front of a yearbook photo-style background at the Kaseya Center on Wednesday, March 6. Photo credit: Elena Thomson
For her 2021 hit “Driver’s license,” Rodrigo brought out a piano and began to break into the famous song. Her powerful stage presence paired with her vulnerable lyrics and strong backing musicians made for a beautiful performance
After all the sad songs came a hard shift back into pop-rock songs like “pretty isn’t pretty” and “love is embarrassing.” The ending of the latter track included a small dance number where Rodrigo interpolated some of Toni Basil’s “Mickey.”
In an era where pop stars perform intricate dance routines, Rodrigo emphasizes her stage presence and her singing, interacting with fans in various ways.
When she got up on a makeshift crescent moon that took her around the arena for her songs “logical” and “happier,” Rodrigo waved at fans and acknowledged them by making subtle comments. It was a nice moment that allowed for something more intimate as she was able to reach more of the crowd during this portion of the show.
It’s also worthy to note the debut of “Can’t Catch Me Now,” Rodrigo’s contribution to the latest “Hunger Games” movie soundtrack. Before breaking into the song, Rodrigo asked the crowd, “Do we have any ‘Hunger Games’ fans?”
The show’s most intimate moment came when Rodrigo moved to the corner of the stage with just her and her guitarist. There was something so raw about how she sat on the little corner as she sang along to the chords of “happier” and “favorite crime,” the crowd echoing along.
“Deja vu” was the next as Rodrigo ran across different sections of the stage asking the crowd to sing the chorus with her. Purple lights glazed everyone as they watched the amazing backup dancers and the way Rodrigo commanded the stage.
Olivia Rodrigo sings amid a haze of purple, her signature color, at the GUTS World Tour at the Kaseya Center on Wednesay, March 6. Photo credit: Elena Thomson
The metaphorical curtain was burned down as Rodrigo broke into the loud, punky “brutal,” the opener from her debut album, “SOUR.” Now wearing a loud, satin red dress, Rodrigo jumped all over stage as the crowd bounced with her.
Rodrigo showed us that she is a bonafide rockstar with her performance of “obsessed,” a song only featured on the physical deluxe version of “GUTS.” Grabbing a purple St. Vincent signature guitar, she started riffing along with her guitarist.
This was the first time Rodrigo picked up a string instrument during the show, and it would have been perfect had she done it for a few more songs.
For her encore, Rodrigo came out in a sparkly dress and a shirt that read “I love vampires,” finishing her show off with the wildly popular, “good 4 u.” Hearing the song live, it’s clear that the track has a clear Paramore influence. Skipping around the stage, she lifted her mic into the air at several points, as if she was inviting the crowd to join in.
The ending couldn’t have been more perfect as Rodrigo held a megaphone to start off the lyrics to “get him back” before once again skipping around stage. During the bridge, Rodrigo and her dancers “stomped out” the camera as the climax led into the chorus while star- shaped confetti fell all over the crowd.
It was a magical night that further solidified that Rodrigo is the biggest pop star of her generation. Blending genres and going back and forth with her vibes, Rodrigo is like a combination of Alanis Morissette, Frank Ocean and Taylor Swift.
At such a young age with so much talent, it’s no surprise that some dedicated fans camped outside Kaseya 24 hours in advance of the show.
Jon Batiste performs at the Montreux Jazz Festival in Miami at the Hangar at Regatta Harbour on Saturday, March 2. Photo credit: Nicole Daitschman
On Friday, March 1, I visited Coconut Grove for the inaugural Montreux Jazz Festival Miami, which was held on the idyllic waters of Regatta Harbour.
Strolling through the festival space for the first time, I immediately became enveloped in the salty breeze emanating from Biscayne Bay, as well as the buttery sounds of trumpets and saxophones coming from the DJ booth nestled in the VIP terrace.
Although this music festival may have been my first, I knew within minutes that Montreux Miami was unlike anything I had seen before.
Over the course of three nights, the melange of set lists which skirted across calypso, funk, jazz, reggae and many other genres, brought me to places I never would have anticipated — from dancing and laughing to crying and yearning.
“The goal of having Montreux in Miami is not to be big. It’s to be strong.”
Singer DesZ, who was on the 19th season of "The Voice," performs alongside Jon Batiste at the Hangar at Regatta Harbour on Saturday, March 2. Photo credit: Nicole Daitschman
The original branch of Montreux Jazz Festival in Switzerland welcomes nearly 250,000 people to the shores of Lake Geneva every year. Founded in 1967, the festival has garnered international acclaim over the years for welcoming musical legends to the stage such as Led Zeppelin, Nina Simone, Prince, Quincy Jones and others.
The arrival of the Montreux brand and legacy to the Magic City illustrates how Miami is heading towards music festival domination on the global stage. Mathieu Jaton, CEO of the Montreux Jazz Festival, said that Miami’s culture, environment and reputation within the art world made the city the perfect place to expand the festival.
While Montreux Miami may not pull in tens of thousands of people like rivals Rolling Loud and Ultra Music Festival, its presence in the city shows how the local music festival and general art’s scene is extending its global reach.
“The goal of having Montreux in Miami is not to be big. It’s to be strong,” said Mathieu Jaton, CEO of the Montreux Jazz Festival.
Other Miami music festivals such as Ultra and Rolling Loud are known for their high-energy and almost rowdy crowds.
Yet at Montreux Miami, guests — most of whom were middle-aged or elderly — mingled at small, charming white-table tops before the start of the first night’s performances. Alcohol and food flowed freely from the various on-site restaurant pop-ups, and the venue even offered complimentary water for all in attendance, packaged in sleek glass bottles.
“We’re not trying to step on anyone’s toes. We want to create an experience that’s totally different,” Jaton added. “Monteux’s a spirit, a moment where people can share their passion for music.”
“It was worth every penny, every dime and every nickel.”
Background dancers perform at the Montreux Jazz Festival in Miami at the Hangar at Regatta Harbour on Saturday, March 2. Photo credit: Nicole Daitschman
At 5:00 p.m. on Friday, security finally opened the doors for attendees to access the main performance space — the Hangar at Regatta Harbour. Over the festival’s three days, I spoke with nearly 20 attendees at Montreux Miami, all of whom showered the festival with admiration and praise due to the venue’s intimacy, quality of the performances and overall elegance of the event.
Moments before the festival’s headliner and five-time Grammy winner Jon Batiste made his way to the stage, Imran Hylton, a 26-year-old performing arts teacher, and Jonathan Hopkins, a 45-year-old transportation consultant, found themselves crammed towards the front of the crowd.
The couple — who had their first date at a jazz club downtown — call themselves music fanatics. Hopkins purchased day-passes for Friday night as a surprise Christmas gift for Hylton.
“It was worth every penny, every dime and every nickel,” Hopkins said.
The couple said the music played by classical pianist Justin Kauflin and “jazz-rocker” ELEW at the beginning of the night left them astonished and wanting the night to never end — even though the pairing had primarily attended to see Batiste’s performance.
Both Hopkins and Hylton held high hopes for the future of Montreux Miami, considering the festival taps into a musical niche not offered by other festivals in the city.
“This festival will expand the minds of people in Miami and add another cultural layer to our beautiful city that’s already so diverse,” Hylton said.
“This is one of those festivals that puts Miami on the map.”
Daniela Mercury performs at the Montreux Jazz Festival in Miami at the Hangar at Regatta Harbour on Saturday, March 2. Photo credit: Nicole Daitschman
The second night featured a soothing performance from Mexican singer Adrian Cota, a lively show from Daniela Mercury and an electric set from Cuban Grammy-nominee Cimafunk.
Following these performances, 45-year-old Jessi Tamayo, a professor at the University of Miami’s School of Law, perched on a large rock away from the performance space to catch her breath.
After seeing an advertisement on Facebook for Montreux Miami in the weeks leading up to the event, Tamayo said she decided to purchase Saturday day-passes for herself, her grandmother and her daughter since the family shares a love for music.
Born and raised in Miami, Tamayo has witnessed first-hand the growth of the city’s music festival scene, a key driver in turning Miami into an international cultural destination.
“People are taking Miami more seriously as an arts and music city,” Tamayo said. “This is a different Miami than I was raised in.”
At the beginning of the festival’s third night, Kelsey Pulera, a 28-year-old digital media professional, sat outside with a friend for a refreshing cocktail. Pulera said she purchased a day pass for Sunday’s performance because she felt like the festival’s lineup provided a different experience from what other festivals in Miami have to offer.
Pulera, who is originally from Wisconsin and has only called the Coral Gables area home for three years, acknowledged how the Montreux name can boost Miami’s popularity and reputation in the arts world.
“This is one of those festivals that puts Miami on the map as a city that has something to offer for all sorts of demographics and cultures,” said Pulera. “The city is starting to cater to a more global audience and bring artists from around the world.”
“This may be the first edition, but it’s definitely not the last.”
Audiences capture performances on their phones at the Montreux Jazz Festival in Miami on Saturday, March 2. Photo credit: Nicole Daitschman
Returning to the Montreux Miami stage, the third and final night of performances concluded with Rock and Roll Hall of Famer Daryl Hall. Before Hall made his way to the stage, the stage-lights dimmed and morphed from a chilling blue to a euphoric violet hue.
“This may be the first edition, but it’s definitely not the last one,” Jaton said, introducing Hall on stage. “We will continue this festival here in Miami for many, many years to come.”
Once Hall began strumming his fingers on his electric guitar and playing the opening notes of 1982 hit “Maneater,” the crowd erupted into a thunderous cheer.
As the hit-single progressed, audience members bobbed their heads and danced to the song’s groovy baseline and soaring trumpets. The scent of liquor filled the room as people in the crowd downed Coronas with lime and fruity cocktails.
I looked around the room and recognized the tangible impact Montreux Miami could have on the city’s budding music festival scene. While this might’ve been Montreux Miami’s first year, I knew the festival would be back in the Magic City come next spring — and so would I.
Philanthropy is all it takes to convince fraternities to participate in elaborate dance routines–and maybe a little friendly competition.
From Feb. 25 to March 1, the social Greek Letter Organizations in the Interfraternity Council, National Panhellenic Conference and National Pan-Hellenic Council, participated in Greek Week, a series of competitions to increase the visibility and unity of Greek Life on the University of Miami campus. GLOs were divided into “Districts,” or teams, to fit this year’s theme of The Hunger Games.
Greek Week is managed by a variety of students on its executive board, including the head chair, co-chairs and secretary who oversee the majority of the week’s events. The board also includes students who oversee the blood drive, spirit and participation, merchandise and specific events, along with team captains for each GLO.
Jaden Cavazos, a junior majoring in microbiology and immunology and this year’s Greek Week chair, mentioned that Josh Abel, the president of Lambda Chi Alpha and Student Government vice president-elect for the 2024-2025 academic year, encouraged him to apply
Jordan Tisdale, a sophomore musical theater major and the director of campus activities for the sorority Chi Omega and organizer of Chi Omega’s participation in Greek Week, has been working since the beginning of the semester to get her chapter prepared and has enjoyed seeing everyone get involved.
“I’ve loved seeing everyone participate. I’ve been getting so many pictures and messages of how much fun girls have been having at each event,” Tisdale said.
For each GLO member who participated in Greek Week events, their team received a certain number of “points.” If certain team members were unable to participate in an event, they were able to check in to the event to help their team earn points. Teams received bonus points if 60-70% of their team members signed in.
Greek Week kicked off with a field day on the Foote Green on Feb. 26, where GLOs competed in activities such as tug-of-war, capture the flag, water balloon dodgeball and a potato sack race.
The next day, Chick-fil-A sandwiches were sold and all proceeds were donated to Habitat for Humanity. That same day, the Talent Show portion of the competition took place at Lakeside Patio. The Stand Forever ticket, which includes three students who were elected last week to be the 2024-2025 Student Government president, vice president and treasurer, were invited to judge the talent show.
Another point-earning opportunity for GLO members was the women’s basketball game versus the University of Pittsburgh in the Watsco Center, where teams earned points for each member who attended.
To finish off the week, teams took part in the OCheer competition. Similarly to Homecoming week, the teams made up dances and performed at the Lakeside Patio for fellow GLO members and the UM community at large to watch. Tisdale was especially excited about OCheer.
“I’m a performer so I really respect everyone who wants to be in OCheer,” Tisdale said. “It is just such a blast to see college kids like me have fun on stage.”
Throughout the week, blood donation trucks were also parked throughout campus as an additional opportunity for students to earn points for their teams. Students who do not participate in Greek life were also able to donate on behalf of a specific team if interested. Students could also choose to donate blood in the Shalala Grand Ballroom.
As one of the first Greek-wide events post-spring recruitment, many people found that the philanthropic week was a great way to get new members involved and excited about being a part of Greek Life on campus.
“I have gotten to meet new people within my sorority either at Greek Week events or just talking to them about Greek Week,” said Hannah Breen, a freshman majoring in neuroscience and new member of Zeta Tau Alpha.
Greek Week mixed up some typical pairings of GLOs when making teams, which helped Greek life members interact with those they may not otherwise.
“The fraternity and sorority pairings definitely got Greek orgs that do not collaborate very often to collaborate with each other,” said Cavazos.
The winners of Greek Week receive a trophy, get to donate money to their organization of choice and have the opportunity to select which week they would like their philanthropy weeks, the week GLOs spend hosting events to raise money for their organization of choice, to be for the upcoming semester.
This year, District 1 took home the win. As a member of the winning team, Tisdale is proud that her chapter, along with the entire Greek community, was able to make a difference.
“This week has felt so rewarding. I love that I can participate in really fun events with my friends knowing that it serves a greater purpose,” Tisdale said.
Districts:
District 1 – Chi Omega, Lambda Chi Alpha and Zeta Phi Beta
District 2 – Alpha Phi Alpha, Alpha Epsilon Pi and Zeta Tau Alpha
District 3 – Alpha Sigma Pi, Delta Phi Epsilon, Delta Sigma Theta and Tau Kappa Epsilon
District 4 – Beta Theta Pi, Pi Beta Phi and Sigma Alpha Epsilon
District 5 – Delta Delta Delta, Kappa Alpha Psi, Phi Delta Theta and Sigma Chi
District 6 – Alpha Delta Pi, Omega Psi Phi, Pi Kappa Alpha and Zeta Beta Tau
District 7 – Alpha Kappa Alpha, Delta Epsilon Psi, Pi Kappa Phi and Sigma Delta Tau
Frustration is growing within the student body after the university’s housing sold out within a few hours early this spring, leaving hundreds of students without guaranteed housing for the upcoming academic year.
Rising sophomores were eligible to apply for housing in both Lakeside Village and Eaton Residential College, but with thousands of students looking to secure housing in either of these on-campus dorms, many ended up with no housing at all.
“The housing process at UM is very difficult and depends on the appointment time you are given,” Trenton Campbell, a freshman majoring in political science and journalism, said. “I was not lucky enough to get housing so I have to be put on a waitlist, with no guarantee if I will get off the waitlist.”
Campbell originally selected to live in Lakeside Village, but is now stuck on a waitlist hoping a room opens up.
The process to select housing began Feb. 5 when the application opened, and undergraduate students seeking housing had six days to fill out the application and submit a $500 deposit.
Upon submitting the deposit, students waited about a week to be given their appointment time to select their housing on Feb. 23.
Before appointment times are given, students group themselves into groups of one, two, three or four, depending on the size of the apartment they want. Then, that entire group is assigned a time to select their housing.
Groups of three and four students got the earliest times, but were only able to see housing units that correspond to their group size. Groups of one and two followed being able to see housing units for their size group as well as larger groups willing to accept roommates.
“If you get a late appointment time, you’re probably not getting housing,” Campbell said.
Miguel Blas, another freshman majoring in computer science and mathematics, felt disheartened after the difficulty and competitiveness of the entire process.
“The housing process at UM is very difficult and not promised. With the demands for the Lakeside housing option, it became really competitive,” Blas said. “Many students are forced to get off-campus housing or wait for any chance they might get for an open room.”
Because of this reality, some students aren’t even trying to get on-campus housing.
Betsy Muller, a freshman majoring in finance, is one of those students.
“My friends and I didn’t even try for Lakeside, because we heard it wasn’t worth it,” Muller said. “We decided to get Vox instead and it was really easy.”
Vox is an off-campus apartment complex located in South Miami, about a mile away from campus.
According to the University of Miami’s Housing and Residential Life website, once a student moves off campus, they cannot move back on campus. Therefore, Muller will not be able to apply to live at University Village her junior or senior year, which is usually an option for students in upperclassman standing.
Having issues obtaining housing is not abnormal for students at the University of Miami.
In 2023, The Miami Hurricane covered students who, despite having early appointment times and following all of the guidelines, did not receive housing. They were then forced to sit on a waitlist or find off-campus housing.
The waitlist did end up clearing, but it was because many students dropped off it.
Students rang the same tune in 2022 when hearing horror stories of logging onto the housing portal to find no rooms available was common.
Many even find the whole process confusing. Sebastian Gonzalez is a freshman majoring in public relations who will be living as a resident assistant in Centennial Village next year, but he is still disappointed in the university.
“I just don’t understand how sophomore housing isn’t guaranteed, especially at a school like the University of Miami,” said Gonzalez.
Gonzalez’s confusion is shared by many and it continues year after year.
This housing crisis for rising sophomores is not new for the University of Miami and every year the administration is unable to complete the process without facing a negative reaction from students.
Whether students are sitting on a waitlist or searching for off campus housing, they are dealing with the same issues many students dealt with before them.
Each year, hundreds of educational leaders and experts from around the world gather to discuss the most pressing topics impacting the global education system. This year, the event will take place at the University of Miami for the 14th annual Reinventing Higher Education conference.
The conference will take place on March 7 and 8 at the Newman Alumni Center on the Coral Gables Campus.
The conference’s theme, “Connecting The Dots,” signifies a reunion of the most important members of higher education around the world to “address the role of universities as global agents of innovation and will explore the need for education systems to be catalysts for positive change in our societies,” according to their website.
IE University of Madrid will be partnering with the University of Miami to host the conference, co-chaired by Julio Frenk, president of the University of Miami, and Santiago Íñiguez, president of IE University.
Frenk also expressed his belief in the importance of the conference.
“Preparing the next generation of university students includes investing more in research and assessment. We must advance the science of learning, and perfect the art of teaching,” Frenk said.
“I look forward to welcoming fellow leaders in higher education to our Coral Gables Campus so that we may engage in critical conversations and reimagine the student experience for an ever-changing world.”
Laura Kohn-Wood, dean of the School of Education and Human Development, who represented the University of Miami at the 2023 Reinventing Higher Education conference, and Kathi Kern, vice provost for educational innovation at the University of Miami, worked closely with Frenk to make the event happen.
“It wasn’t a typical conference in the sense that you had a presenter and then the audience, like a one-way dialogue,” Kohn-Wood said. “It really attempted to create a conversation both with the panels and also engaging the audience.”
Kohn-Wood hopes to bring this same feeling and more to this year’s conference.
“One of the things we’re trying to do this year is introduce what we’re calling provocation pills. These are short 10 to 15-minute sessions, in between the panels, where we highlight some really unique or innovative thing that’s happening in higher education,” Kohn-Wood said. “We have a couple of our university faculty presenting these provocation pills.”
This event serves as an opportunity not just for members of the University of Miami to learn about higher education around the world, but also to share best practices and new developments that they expect to transform the system for new generations of students.
Kohn-Wood believes “Connecting The Dots” is a crucial theme to this year’s conference, especially with rising skepticism of higher education.
“The real question of the conference is how we can connect all of the kinds of things that are happening in higher education. People questioning the value, the introduction of AI and content being readily available on the internet.” Kohn-Wood said. “How can we reinvent what we do in the classroom in higher education to really amplify and allow students to engage with the content in ways that aren’t possible when you’re just googling something on your phone.”
A new superhero is in town, but is she around to stay? Madame Web, the EMT-turned-fortune teller, may not be the success the Marvel franchise was hoping for.
“Madame Web” was released in theaters on Feb. 14 and was directed by S.J. Clarkson, who is known for his Marvel series, “Jessica Jones.” Currently, the film holds a mere 12% on Rotten Tomatoes and a 26% on Metacritic.
In a reversal of normal conventions, “Madame Web” tells the origin story of one of the most mystifying Marvel heroines. Cassandra Webb (Dakota Johnson), a paramedic in New York City, gains the power to see the future after a freak accident.
When the lives of three girls — played by Sydney Sweeney, Celeste O’Connor and Isabela Merced — become intertwined with hers ,she is forced to confront her past, realizing that she can use her visions to save their lives from imminent danger.
This movie was a hard-watch. It moved slowly and the plot felt all over the place. The action scenes were comedic, the dialogue was lacking and at some point, it felt like the actors stopped trying.
Making matters worse was the film’s confusing storyline. Since Madame Web can see into the future, there was a lot of back-and-forth between the soon-to-be present and the actual present. It was often difficult to follow the plot and keep track of the timeline.
The lack of good acting and storytelling was outstanding. “Madame Web” looked like a movie that Marvel spontaneously threw together with no effort, relying on their previous success as a franchise to receive money and praise. Instead, it flopped at the box office.
Hopefully, the horrendous feedback from critics and audiences worldwide wakes Marvel up and makes them realize that at the bare minimum, they have to try.
Inter Miami defeated Real Salt Lake 2-0 to open the 2024 MLS season at Chase Stadium on Feb. 21, 2024. Here’s a look back at the action:
Fans cheer before Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024. Photo credit: Jared LennonInter Miami forward Luis Suarez poses with his family, owners David Beckham, Jorge Mas and Jose Mas as he’s introduced ahead of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024. Photo credit: Jared LennonActor Will Smith and owner David Beckham watch warm ups before Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.The Inter Miami starting XI poses ahead of their match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.Inter Miami forward Lionel Messi prepares to take a free kick in the first half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024. Photo credit: Jared LennonInter Miami midfielder Julian Gressel and Real Salt Lake midfielder Braian Ojeda go up for a header in the first half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024. Photo credit: Jared LennonInter Miami forward Luis Suarez makes a pass in the first half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.Inter Miami forward/midfielder Robert Taylor shoots and scores a goal in the first half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.Inter Miami midfielder Diego Gomez winces after missing an opportunity in the first half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.Inter Miami forward Lionel Messi dribbles downfield in the first half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.Inter Miami forward Lionel Messi dribbles downfield in the second half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.Inter Miami midfielder Diego Gomez and forwards Lionel Messi and Luis Suarez celebrate Gomez’s goal in the second half of Inter Miami’s match versus Real Salt Lake at Chase Stadium on Feb. 21, 2024.
Hollywood’s best will flock to the infamous Dolby Theater this Sunday at 7 p.m. for the 96th annual Oscar Awards. Actress Lily Gladstone looks to make history as the first-ever Native American to win an award while Cillian Murphy hopes to become the first Best Actor recipient for a Christopher Nolan film.
Will pretty-in-pink “Barbie” beat Nolan’s “Oppenheimer,” or will “Killers of the Flower Moon” leave them both in the dust? Keep reading to see what the A&E staff predicts will happen at the Oscars this Sunday.
Best Picture: Oz
The biggest award of the night is split between some of the year’s biggest films — Martin Scorsese’s latest masterpiece, “Killers of the Flower Moon,” Nolan’s magnum opus “Oppenheimer” and the pinkest nominee ever, “Barbie.”
There is usually much more discourse over who would win this prestigious award, but one name seems to be taking over the award season: “Oppenheimer.” Due to the giant event that was “Barbenheimer,” the Academy is more than likely going to award the second-highest-grossing R-rated film.
“Oppenheimer” was a technical achievement combining great storytelling, visual effects galore and an ensemble cast that is only matched by “Barbie.”
The only reason why “Barbie” isn’t a credible threat is the Academy’s treatment of it as a “blockbuster” instead of an “art film.” In recent history, Oscar voters have avoided rewarding blockbusters in favor of independent films.
The Academy snubbing both Margot Robbie and Greta Gerwig for Best Actress and Best Director further validates that claim.
Best Director: Lucia
This year’s race for Best Director is highly competitive, with the acclaimed Scorcese and Nolan leading the race. Despite Scorcese’s “Killers of the Flower Moon,” the fan favorite and expected winner of this award is Nolan for his breakthrough film, “Oppenheimer.”
Arguably his best film to date, Nolan’s “Oppenheimer” explores the story of J. Robert Oppenheimer and the capacity mankind has for destruction.
A truly psychological story told in the structure of time jumps and complex character studies, “Oppenheimer” captured the attention of audiences around the world and truly cemented Nolan as one of the greatest filmmakers of this generation.
The film delivers breathtaking visuals and an overall immersive experience. Despite its nearly three-hour runtime, its entertaining, thought-provoking narrative makes three hours feel like a second.
Both Nolan and Scorcese demonstrated excellent directing, but the odds are likely in Nolan’s favor for this year’s Academy Awards.
For Best Actor, the year gave us some undeniably amazing performances. However, two out of the five nominees stand out among the group.
Bradley Cooper in “Maestro,” Colman Domingo in “Rustin” and Wright in “American Fiction” were good performances, but the clear competition stands between Paul Giamatti’s portrayal of Paul Hunham in the “The Holdovers” and Cillian Murphy’s portrayal of the titular character in “Oppenheimer.”
Both performances gave us some of the rawest sense of emotion and movement that the film industry has seen in a while, leaving audiences with iconic, memorable moments and scenes.
Murphy will likely take home the award due to his iconic speeches in the film. But it would also be no surprise to see Giamatti giving the acceptance speech.
Best Actress: Lucia
This year’s race for Best Actress looks like it will be a battle of the stones between front-runners Lily Gladstone from “Killers of the Flower Moon” and Emma Stone from “Poor Things.”
Gladstone is the first-ever Native American to be nominated for Best Actress. Both women gave phenomenal performances in vastly different films, making it difficult to compare them.
Stone displayed a range of talent and dedication to her craft in “Poor Things” which took her character to another level. For this, she was awarded the British Academy Film Award for Best Actress, making people predict she would secure the Oscar easily.
But after Gladstone won the Screen Actors Guild Award for Best Female Actor in a Leading Role, the outcome of this Oscars category is less clear.
Best Supporting Actor: Oz
This year’s Best Supporting Actor award is easily the most competitive of the year, featuring a stacked list of top actors. With nominees including Ryan Gosling, Robert Downey Jr., Sterling K. Brown, Mark Ruffalo and Robert De Niro, there is so much talent on display.
Downey Jr. reminded audiences in “Oppenheimer” that he can act beyond the capacity of Tony Stark as the mischievous Lewis Strauss. He’s been storming the award show scene, taking the Golden Globe, Critics’ Choice, BAFTA and SAG awards in the category. It would be quite a move if anyone else got the award.
Da’Vine Joy Randolph from “The Holdovers” is favored to win the award for Best Supporting Actress as her riveting performance continues to dominate the competition, earning her Best Supporting Actress at the Golden Globes, Critic’s Choice, BAFTA and SAG awards.
Randolph’s grit and complexity shines in “The Holdovers,” which made viewers grieve alongside Randolph over a deceased character who was barely mentioned in the film. “The Holdovers” gave the spotlight to lonely characters who felt betrayed by society, making Randolph feel more relatable.
Emily Blunt’s performance in “Oppenheimer” stands as a runner-up as one glance at her character’s unwavering eyes made her the strongest person in the room. Blunt maintained a compelling on-screen presence alongside Best Actor nominee Cillian Murphy. Her ending monologue is one for the ages, but doesn’t surpass the tears Randolph made many shed.
Best Original Screenplay: Vivica
The current favorite for Best Original Screenplay is “The Holdovers,” written by David Hemingson, known primarily for his writing and producing for tv projects like “Family Guy,” “Bones” and “Black-ish.” Hemingson brought his comedic chops to the silver screen, combining humor with a more humanist perspective.
A24’s indie darling “Past Lives” has the potential to be the black sheep of this race, overtaking “The Holdovers” and surprising the Oscars audience.
Both films are intimate portraits of individuals trying to figure out the next stage of their lives and work through the traumas that they have endured in the past.
Best Adapted Screenplay: Samantha
Nolan’s powerful adaptation of J. Robert Oppenheimer’s Pulitzer-prize-winning biography stands as the likely victor for Best Adapted Screenplay. “The Zone of Interest” writer Jonathan Glazer faces major competition with blockbusters like “Barbie” and “Oppenheimer” holding the reins.
Though “American Fiction” writer Cord Johnson has impressed with his adapted screenplay victories at the Critic’s Choice and Independent Spirit awards, his story didn’t move the masses like Nolan’s $959 million blockbuster.
Greta Gerwig and Noah Baumbach wrote Warner Bros’ highest-grossing film “Barbie,” refining feminist films’ standards with quirky and intelligent dialogue. However, with “Barbie” not being as successful in the awards circuit, its winning chances are low.
Tony McNamara’s “Poor Things” reintroduced Emma Stone to the spotlight with bizarre, yet heartfelt characters. But its exploration of life and romance holds no leverage to the dynamic re-telling of humanity’s darkest era in “Oppenheimer.”
Despite the buzz surrounding “Spiderman: Across the Spider-Verse” and its groundbreaking animation style, the most likely candidate to win this award is “The Boy and the Heron,” also known as “How Do You Live?”
Renowned animator Hayao Miyazaki of Studio Ghibli’s return to the big screen gives the Academy a chance to award him again following his 2003 Best Animated Feature for “Spirited Away.”
Miyazaki has gained cultural relevance in the past decade since his original retirement and has become an influential figure in animated filmmaking. Although “Spiderman: Across the Spider-Verse” is well-loved, it doesn’t hold the legacy of “The Boy and The Heron.”
Best Cinematography: Samantha
Hoyte van Hoytema’s masterclass in combining camera work with storytelling makes “Oppenheimer” the probable champion. Hoytema enthralls viewers through capturing scientific phenomena and emotional breakdowns with identical precision.
“Poor Things” cinematographer Robbie Ryan equips various lenses and unique filmmaking techniques to transport viewers to a whimsical world. Ryan’s work shows more style, but lacks Hoytema’s intense melodramatic substance.
Rodrigo Pietro and Matthew Libatique from “Killers of the Flower Moon” and “Maestro,” respectively, equip shadows and coordinate lighting to have a character’s feelings pour onto the screen. Hoytema doubles down on this technique with his film’s powerful ending, which features intense light that symbolizes Oppenheimer’s crushing guilt.
Edward Lachlan from “El Conde” uses black-and-white imaging to highlight the film as a period piece and its undead character. “Oppenheimer” takes this technique to the next level by using B&W to represent the world’s lack of understanding of the events leading to the atomic bomb.
Best Original Song: Riley
After garnering a whopping 15 awards since its release, including two Grammys and a Golden Globe, Billie Eilish’s “What Was I Made For?” from “Barbie” is sure to win the Academy Award for Best Original Song.
The lyrics beautifully encapsulate the feelings that many girls go through as they grow up. The smooth production by her brother FINNEAS, combined with Billie’s soft, emotional voice, make for a gorgeous, yet heart-wrenching ballad.
The song fits its scene in “Barbie” perfectly, bringing audience members to tears as Barbie learns of all the tumultuous feelings girls and women endure. “What Was I Made For?” stands out among all the nominees, and viewers would be shocked if it does not win at the Oscars.
With Ryan Gosling confirmed to be singing “Barbie” hit song “I’m Just Ken” at the show, this year’s Oscars will be nothing but newsworthy.
Witness past Oscar winners like Jaime Lee Curtis and Matthew McConaughey bestow award-winning status to rising stars this Sunday at 7 p.m. on ABC. Though “Oppenheimer” stands as the leading winner, upsets have happened in prior years, so don’t count your favorite out just yet.
Osvaldo Espino, Riley Simon, Lucia Moglia and Sam Billok contributed to the writing of this article.
