A new smoking policy that took effect Aug. 23 at City College will limit the areas where people can smoke to six specific locations on campus.
The policy, titled Change is in the Air, alerted students and staff members of the new designated areas and parking lots where they are expected to smoke in order to promote a smoke-free, clean air environment on campus.
“I’m very happy to see that we’re moving in a healthy direction for our students and our employees,” says Wendy Gomez, Health Services nurse at City College and chair faculty member for the Subcommittee of the Safety Committee who orchestrated the new smoking policy.
According to a survey conducted by the Subcommittee at City College in 2013 and 2014, smoking has been a long-standing concern for the employees and students on campus.
Ninety percent of the individuals who participated in the survey were students, and the results showed that 67 percent reported that they were negatively affected by smoking on campus, while 49 percent indicated that they would prefer City College to be an entirely smoke-free campus.
This concern resulted in the formation of a Subcommittee of the Safety Committee, assigned by City College President Kathryn E. Jeffery to review this issue, and establish Designated Smoking Areas as a solution to the growing problem.
This new policy will be an addition to the current smoking regulations practiced throughout the Los Rios Community College District that state smokers must stand at least 30 feet away from building entrances, outdoor air intakes, and operable windows.
While Change is in the Air tries to promote good health and protects non-smokers from second-hand smoke, the Subcommittee also realize that smokers desire a comfortable and convenient place in which to sit down, take a break, and indulge in a cigarette while they wait for their next class to begin.
There is a total of six DSAs at City College campus where students are requested to smoke from. These six spots will all be provided with ashtray receptacles, and will be away from building entrances to comply with the current LRCCD requirements.
Gomez and other members of the Subcommittee of the Safety Committee are also currently working on spreading awareness about the reserved smoking areas available to everyone on campus so they might be able to comply.
“We have signs up everywhere that we can possibly put them right now on campus,” said Gomez. “It’s also up on the television sets, it’s been on Facebook, and it’s been tweeted several times.”
These new DSAs are also implemented at LRCCD’s Davis campus and West Sacramento campus. The assigned sections are spread throughout each campus, and are known as ‘pop-up’ areas that can usually be recognized by its large tarp roof that is used as protection from the sun while students smoke. However these tarps are also only temporary shelter, and will soon develop into a more substantial DSA as the semester progresses
“They have six smoking areas on campus that I am aware of, but I don’t think that does justice to enough of the smokers at SCC,” says Eric Iverson, a 22-year-old philosophy and sociology major. “I’m glad that there is a smoking area because it is fair to the people who don’t smoke, and at the same time I think that you need to have an equal voice for those who do smoke, as well as those who don’t.”
These specific smoking locations can be found on several maps handed out to students on campus by staff members, signs posted throughout the campus, and on the Health Services section of the Sacramento City College website.
Students may have also received an email in their student gmail account on August 20th from SCC’s Public Information Office notifying them of the new policy regarding the designated smoking areas. Smoking outside these DSAs, parking lots, and inappropriate disposal of smoking waste can result in repercussions.
“I’m very indifferent about it,” says smoker and 19-year-old music major Darius Simpson. “It’s kind of annoying that you have to go out of your way to these spots to smoke a cigarette, but you got to think about it when there’s children around and other people.”
For individuals interested in quitting smoking, or open to the idea of switching to smokeless tobacco, they are encouraged to visit the Health Services department on campus, located in Rodda Hall North 125, for free resources and counseling directed at quitting smoking.
Students can also visit the California Smokers’ Helpline at 1-800-N0-BUTTS, or visit www.californiasmokershelpline.org for more information on how to kick their nicotine addiction.
Jinky-Jay Lampano began his career in the military, now helps make changes in students’ lives
Jinky-Jay Lampano, a Sacramento City College patrol sergeant and watch commander, says he has seen every crime from domestic violence to carrying firearms on campus. He says working for the Los Rios Police Department has changed his life, and the lives of others as well.
Lampano was hired in 2006, and he says it felt like his calling when he initially applied for the job eight years ago.
“I figure this is the easiest way to see if you’re making changes or not, because you’re working in a smaller environment and population,” says Lampano. “At the same time, you can actually see changes, or have helped in making changes in students’ lives because you see them on a daily basis—and I mean daily basis,” he says.
Lampano, who is in his 40s, describes how gratifying it is to witness improvements on campus and in the daily lives of students, especially for students he’s had previous encounters with.
In terms of making arrests, Lampano says his officers “clean up our own mess” by completing the booking and paperwork, and submitting it to the district attorney’s office or attending court to testify in a case. He says they make sure those arrested receive the necessary punishment for their actions.
“I know officer Lampano because he comes through the Student Services building to make his rounds,” says Laura Reyes-Quillin, City College Admissions and Records clerk. “He made it a point to introduce himself to everybody. He’s a very friendly guy.”
Lampano moved at 17 to the United States from the Philippines with his parents, where his father had been a police officer. When Lampano was 31, he joined the U.S. Air Force.
“I wasn’t born here,” Lampano says. “I thought, as a person who was given the opportunity to live in this country, it was my duty and responsibility to serve the country that gave me shelter.”
With a sense of humor, but with an understanding of the American dream, Lamano says, “I’m the poor, tired masses they talk about on the Statue of Liberty. That would be me. I’m tired most of the time, and poor too.”
Lampano served in the military for 12 years, yet he says working for the U.S. Air Force was more docile than working for the campus police.
“It helped me to focus more, and at the same time it allowed me to understand what it’s like to work in a stressful environment,” Lampano says of his time in the military.
Lampano has seen many crimes on campus, with varying degrees of unlawfulness. Yet, in his opinion, the worst case he’s dealt with was during his first year as a City College police officer.
“The worst one I’ve seen was this person watching child pornography on his computer in the library,” says Lampano, with a look of utter revulsion on his face. “The people being victimized can’t even defend themselves.”
Lampano and his team were able to arrest the man and take him to jail where he awaited trial for his offense and is now currently a registered sex offender.
Part of being a sergeant requires that Lampano stand on call at least once a month. These calls are sent from campus dispatchers that are available 24 hours a day, seven days a week. Despite the stress and frequent injuries, Lampano says he still loves his job and is very passionate when he comes to work every day. During his days off, he takes time to relax with his daughter, walk his dog Bear and work off stress from work by going to the gym or the shooting range.
Natalie Lopez, a receptionist and clerk at the campus Police Department, describes her boss Lampano as a “pretty cool guy” who works very hard.
“He’s very strict, but he cares about all of his workers a lot,” says Lopez. “He looks out for them but also expects them to do their job properly. He’s always there for you if you need him.”
In the State of the the News Media’s 2014 report, featured in the Pew Research Journalism Project, Katerina Eva Matsa and Amy Mitchell examine “8 Key Takeaways about Social Media and News” and how news has evolved greatly into social media space. Both Matso and Mitchell present 8 key essential factors present in top social media outlets where people receive their news in 2013 and early this year, and how this is effecting the mass media market itself.
1. Half of Facebook, Twitter, and Reddit users receive their news on social media sites, yet only a minority of users on Instagram and Pinterest find their news on these sites.
- Facebook reaches out to more Americans than any other social media network, which allows room for an in-depth study and research on its consumers.
- On average, three in ten adults receive news while using facebook.
2. “Getting ‘news’ on Facebook is an incidental experience.”
- Majority of the time Facebook users don’t go looking for news, 78% of them are usually informed about current events through their “newsfeed” while operating the social media site.
- 34% of Facebook users’ news source comes from “liking” a news organization, an individual journalist, or what their friends may share.
3. “The Range of News Topics on Facebook is Broad.”
- Not surprisingly entertainment news is one hot topic that is reviewed most frequently for Facebook users. Other news topics that is popular among social media sites is people and events in my community, sports, national and local government, politics, crime, and health and medicine.
- International news topics reaches roughly one in four Facebook news consumers.
4. “Engagement with the news plays a key role in the social media news experience.”
- Matsa and Mitchell explain that not only do social media users exchange news stories, but with the growth in technology, and four in ten Americans now owning smartphones, a large portion of what is being shared contributes to news reporting by users taking photos or videos.
5. “On Twitter, groups of people come together around news events they feel passionately about, but opinions expressed on Twitter often differ from broad public opinion.”
- In 2012, shortly after the shootings in Newton, Conn., nearly two-thirds of the comments shared on Twitter demanded stricter gun control measures while public opinion was far more evenly split.
6. “In the dynamic nature of conversations on Twitter, the sentiment expressed around an issue or event can change over time.”
- According to Matsa and Mitchell’s article, from April 1 to 14 last year, opinions towards same-sex marriage on Twitter had shifted dramatically, opposing the matter. During that time, 55% of the conversations was against the issue, while 32% supported gay marriage.
- From April 15 to the next four weeks, statements in support outnumbered those in opposition from 43% to 26%
7. “Audience for news on each social platform differ.”
- The social media and news consumers from LinkedIn stand out as being “high earners and college educated,” while Twitter consumers are significantly younger in comparison to not only LinkedIn, but Facebook, and Google Plus users as well.
- This study has also found that the gender majority of news consumers on Facebook are female and outweigh the news consumers on YouTube, Twitter and LinkedIn.
8. “Visitors who come to a news site through Facebook or search display have far lower engagement with that outlet than those who come to that news website directly.”
- Social media sites and online searches are one big factor to gaining more attention and readers to individual stories, but for those people who come to a news site directly show higher levels of “engagement and loyal” to the outlet.
In the March 11 Sacramento Bee’s “In Drought plan, salmon may be moved by truck”, Matt Weiser writes that starting next month, millions of young California salmon could be migrating to the ocean in tanker trucks instead of swimming downstream in the Sacramento River.
The state’s recent drought has made the Sacramento River and its tributaries inhospitable for fish, and state and federal wildlife officials fear the rivers could become too shallow and warm to sustain salmon trying to migrate back to the ocean on their own. This shrunken habitat could deplete the available food supply for young fish, and make them easier prey for predators.
“The conditions may be so poor as to produce unacceptable levels of mortality for the out-migrating juveniles,” said Bob Clarke, fisheries program supervisor at the U.S. Fish and Wildlife Service.
As a result, state and federal fisheries devised a drought plan with several hatchery managers to launch a massive migration of millions of young salmon via tanker trucks from Red Bluff hatcheries to San Pablo Bay near Vallejo. There they would be placed into floating net pens for several weeks to adjust to new salinity and temperature conditions before finally being set free to swim the ocean on their own.
Reading this article from an animal activist and environmentalist point of view, the state’s new drought plan can be extremely detrimental on both accounts. As an activist I am opposed to fish hatcheries as it can cause serious psychological suffering to smolts being kept in intense confinement with thousands of others in very small nets, for a long period of time. Evidence taken from farmed fish show that they are more susceptible to diseases that they can spread to other wild fish, and in some cases the salmon will even become cannibals and prey on other wild fish. In a Peta for the Ethical Treatment of Animals (PETA) blog on Oct. 5, Heather Faraid Drennan denounces hatcheries as fish can often develop serious injuries as well.
“In such filthy conditions, they are also susceptible to parasites that can eat their faces down to the bone,” Drennan Writes.
State hatcheries have historically trucked fish, even in normal water levels, to protect them from pollution and water diversions. Recently, the state has begun to release hatchery-raised salmon into rivers instead of the ocean after new evidence surfaced showing trucked fish are more prone to ‘stray’ into the wrong river when they return to procreate and lay their eggs as adults. This harms the unique genetic traits of each river’s salmon species. Looking at this situation from an environmentalist point of view, this confinement system allows waste and water to flow in and out of the oceans and rivers in which they are temporarily located, causing some of the same problems factory farms cause on land; such as waste, pesticides, antibiotics, parasites and diseases which are magnified due to the immediate contamination of the surrounding ocean water. This waste kills fish and other marine life and runs the risk of contaminating our drinking water. Some of these hatchery-raised salmon are also genetically modified, which makes us wonder what happens why they are released and either compete with or interbreed with other wild populations.
Weiser’s article in the Sac Bee goes on to explain that the California Department of Fish and Wildlife is adopting similar plans for hatcheries on the American, Feather and Mokelumne rivers. Each produces several million young salmon every year.
I believe since fish are conscious, they have a right to be free from human use and exploitation. The best way to protect fish, and marine ecosystems is to go vegan.
Art historian’s passion for teaching
Aisha Shah | Staff Writer | email@example.com
Once a lawyer, and now a doctor in art history, Kidrick talks of her love for the Italian Renaissance, teaching, and the challenges she had to overcome to get where she is today.
“My dad—love him to death—but he told me when I was about 18 that I should get a degree in computers because that was the only way I was ever going to make any money,” says Kidrick. “He was very supportive though.”
Kidrick explains that while growing up in Utah, her biggest motivation was her mother, who was also an artist and very influential in her life.
Yet despite her love for art, Kidrick originally received her diploma in law, as it was one of her more practical career decisions at that point in time. As the graduation date approached, Kidrick decided that being in law school was more enjoyable than living the life of a full-blown attorney.
“I didn’t ever pursue the law, I liked being in school,” says Kidrick. “[I] liked learning and researching [law], but it wasn’t for me.”
After law school, Kidrick received her master’s degree in art history at the University of Utah, and for five years ran her own university art gallery. However, Kidrick says her true calling was teaching, after having realized that she “was better at teaching than running an art gallery.”
“So I went back and finished [school] and got a Ph.D.,” says Kidrick.
Kidrick explains that she tells her students that they can’t fully understand art, until they first understand the culture that created it and how the people in that century might have understood it.
Kidrick’s process of analyzing artwork—whether it be a famous painting by Leonardo Da Vinci or a lecture on the alignment of the pyramids of Egypt—is first examining the content.
Then, “if I understand the subject, and the content and the meaning of that, I will try and figure out the technique and how it was done,” says Kidrick.
The great thing about studying and teaching art, Kidrick says, is piecing together the history and culture behind it.
According to Kidrick, notable artists such as Michelangelo and Leonardo Da Vinci were enemies, doing whatever they could to promote their work, and secure the most fame and fortune.
“(They) absolutely hated each other, and would compete in any shape, way or form,” she says.
City College art professor Frank Zamora says his colleague has great insight as a person and is very persistent in the details of the things she teaches.
He said Kidrick will push her students for quality and excellence in their performance and will go out of her way to help them aspire to become successful.
“She’s really committed to what she is doing here as a teacher,” says Zamora. “I don’t think she likes mediocrity. She will stand up for anybody if she feels they’re right. I think that’s a good quality, that she stands up for what is right.”
Kidrick’s field of study, an area in art that she “naturally gravitates” toward, lies in Renaissance history and illuminated manuscripts. The works of Michelangelo are her favorite, along with other famous works that she enjoys, which “cover all the boundaries of time and space.”
“Today, we’re all about mass consumerism, conscious consumption, and people who compete with one another,” says Kidrick. “We learn that from the Renaissance. It is very contemporary, which is probably what I like about it.”
by: Aisha J. Shah, Random Lengths News Contributor
March 24 – April 7 , 2011
Baggage: The Dance of Love & Grief
While no two people mourn identically, one commonality of grief is the positive aspect of continuing life after the loss of a loved one, while still feeling their presence and influence.
A large number of people share this phenomenon, yet it is rarely mentioned. One of Louise Reichlin’s goals for her new dance piece Baggage, a four-part dance piece, is to encourage the audience to reflect on how their experience with death has changed their outlook and perceptions for better or for worse.
Louise Reichlin and Dancers brought Baggage to the Alva Showroom in San Pedro on March 20. This production features, “Mourning Light,” “Tap Dance Widow’s Club,” and “Remembrance,” featuring user-generated multimedia, plus a reconstructed revival of the 1981 theater piece, Woman Sleeping.” It explores the positive baggage we hold after the death of a loved one and our changing perception of life and death when the deceased is no longer corporal, but still present.
For dance director and choreographer, Reichlin, Baggage was a cathartic work that helped her come to terms with her own grief after her husband and business partner of 39 years, Alfred Desio died. While attending Alfred’s tribute concert in the Spring of 2005, hosted by his close friends and colleagues, Louise describes reflecting on the way they all had put together photos and videos of her husband
with his students, on vacation, and doing what he loved best: dancing. After that, she realized there are many ways in which people
mourn the loss of a loved one, some can be more positive than others, and wanted to share this idea with the rest of her community to let them know that they are not alone in their grief, and that they all share a ‘similar bond.’
“At the time, I didn’t know where the inspiration came from,” Reichlin said, “but now after almost 100 dances and the death of Alfred Desio… I understand the sources better. I see the world differently as I carry the spirit of his vitality with me. Knowing that many others share this with their own departed I think of this as “baggage.”
Reichlin began writing and choreographing Baggage about four years ago. Then she auditioning dancers to find the right ones who
could bring her creation to life.
“Woman Sleeping” was first performed in 1981 with Reichlin in the title role. It focuses on themes associated with death and how we manage to find the will to continue life while integrating the experience and emotions that remain. While writing the script, Reichlin said she ‘felt things,’ ‘expressed things’ and soon became a great part of Women Sleeping.
The revival, Reichlin describes was very ‘tremendous,’ about a great loss, and the dancers performed their parts brilliantly; their movements were very expressive the themes in the piece. Reichlin revised the “Women Sleeping” excerpt to include new multimedia, and incorporated several more women-instead of just one in the lead, changes that will be featured in the final of the production.
“Mourning Light” is the opening act in Baggage. Written between 1996 and 1998, this piece depicts themes associated with great loss and the out-of-body experience of having someone’s presence with you constantly. The centerpiece of the production is “Tap Dance Widows Club” featuring recorded meetings from Reichlin, Loretta Zerby and Katherine Hopkins-Nickolas; widows of the prominent dance-masters Jon Zerby and Fayard Nicolas. These three ladies’ hilarious conversations about moving forward, shared memories and photos and videos of their well-known husbands serve as the audio and media for the piece.
“Doing this project has me looking though photo albums I haven’t seen in a while,” Says Louise Reichlin. ““Tap Dance” is very contemporary and expresses bereavement, yet is also the happiest piece in the production.”
Reichlin said that creating Baggage with Loretta and Katherine not only greatly strengthened their friendship, but
the emotional intensity of the play as well.
“One of the first questions that we asked each other,” Reichlin says with a laugh “is how we met our husbands.”
The third act in Baggage is “Remembrance,” with a run-time of under 10 minutes. Reichlin describes this piece as very ’different,’ very ’metaphysical.’ The audio and multimedia was constructed by a user-generated campaign on Facebook in which users are encouraged to post their own photos and stories of the ones they loved and lost, share their perceptions of death, and how they have managed to integrate those experiences and emotions into their future. One story that was used, Reichlin said, was about a girl whose grandfather had died but still felt his presence, almost as if “his ghost still lingered in the house,” Said Reichlin.
“When someone you love passes it is a surreal feeling,” says Baggage dancer, Angela Todaro. “Many feel helpless; many feel that they are to blame. We are remembered of them at random times, somehow they still are present after their lives on this earth are over.”
Originally, ‘Remembrance’ was written and choreographed for another piece called ‘Urban and Tribal Dances’, which expressed grief
after the war in Vietnam.
“How do we incorporate continuing life with a loved one who is still present, but no longer corporal?” Baggage dancer Angela
Prendergast asks from the Remembrance Facebook page.
“This is one of the questions in this work… This piece will be formed of images and stories of others, as well as myself, who has discovered that death changes their perception of reality.”
Despite its release to the public, Louise says that Baggage is only two-thirds done and has plans for an extension which will be longer than its original 45 minute run-time, include more dancers, new multimedia for certain pieces, and possibly more dance scenes involving include children. When using kids in a dance piece like Baggage, Louise says, they unlock something in adults, it becomes very inspirational and moving.
Louise Reichlin’s company, Los Angeles Choreographers and Dancers, which regularly offers educational programs to schools in the Los Angeles School District teaching dance to students as young as 3 years old. Using her 30 years of experience, Reichlin blends modern to contemporary dancing techniques, with metaphysical imagery that draws movement and music from different cultures.
Since 1996, Reichlin has created works like ‘The Email Dance’, and ‘The Patchwork Girl of Oz’, which integrates innovative dance methods with narration. Sometime in May of 2011, Reichlin states how she would like to tour Baggage with her other two productions, ‘Better to Bite You With’, written for the younger audience that deals with dental hygiene, and ‘The Patchwork Girl of Oz’, to other states and possibly make it international; since Western culture is not the only society that experiences death, and must under-go
emotional and psychological reconstruction after a great loss.
The British panto style in “Alice in Wonderland” encourages audience-interaction either through clever scenes that require audience participation, or simply shouting out a command during key points of the play.
Nicholson’s “Alice in Wonderland” gives audience members a chance to view a new form of theater not widely practiced in the United States, all for the price of an admission ticket.
A little after 8 p.m. the auditorium lights dimmed down, fog poured out of an unseen chamber on stage and the show began with the most fabulous character —none other than the Dame herself.
The Dame—or Madame Loretta Fey played by Bradly Moates—was portrayed as a middle-aged man in drag, and costume director Nicole Sivell designed the Dame’s garb spectacularly well.
Dressed in a bright purple, polka-dot suit, bubble-gum pink hair with an enormously large flower perched on her head, the Dame started the show off by addressing the audience, and observed how they were gathered in the auditorium for the sake of a joke.
The Dame and the White Rabbit served as comic relief, delivering witty jokes and comical lines that caused the audience to crack up and shout rambunctious remarks for an encore.
Some scenes involved the Dame directly asking the audience for help against the tyranny of the Red Queen and her continuous threats to cut off the character’s heads. These requests sometimes involved the audience shouting out a particular line during key moment in the play, a warning or an activity where the Dame will ask for volunteers from the audience.
One skit that was particularly interesting to partake in came after the show’s 15-minute intermission. The activity here involved participation from everyone in the audience and happened when the Red Queen made her appearance on stage. The crowd was very rambunctious during interactive moments, and without giving away this pivotal scene, be warned that it’s something most will not have already experienced before in traditional American theater.
The production also depicted several familiar scenes such as Alice’s plunge down the rabbit hole and the tea party with the Mad Hatter. The play also introduced direction the audience to new characters such as the Nutcracker Prince and Clarida from Disney’s “Brave” that all tie easily into the plot.
Original characters such as the Mad Hatter, the Caterpillar, the Cheshire Cat and Tweedle Dee and Tweedle Dum are featured here with more of a urbanized and cartoonish
Nicholson’s Tweedle Dee and Dum are known in this production as ‘Froghead Long Horn’ and ‘Beevis Carpehead and might be more familiar to some as the notorious MTV cartoon couple, “Beevis and Butthead.”
One thing about the production that clearly stood out were the actor’s performances.
The cast mirrored the storylines’ satire, such as the Mad Hatter’s quirky trademark jump and jittery movements, and the Red Queen throwing pepper into her wailing baby’s face whilst screaming, “more pepper!”
Although the production is a satirical parody of the original “Alice in Wonderland,” the script and songs also had moments where they appeared a bit too childish and cheerful considering that the play supposedly takes place in a strange, dark, wonderland, not a cheerful and cartoonish Disneyland. However, several scenes were set up so that the backdrop and the lighting created a very bright and inviting environment.
Alice, played by Ashley Olson, performed her part exceedingly well, delivering her lines with much enthusiasm and conviction— unlike the original version of Alice who was usually depicted as quite reserved and cautious.
Alice explained this difference not far into the play, remarking to the Nutcracker Prince that the original Alice was “much more annoying and witchy.”
With a last cheerful farewell song delivered by the entire cast, “Alice in Wonderland: A British Panto” concluded brilliantly, and over-the-top as expected. This unique play is a production that no one should miss.
“Alice in Wonderland: A British Panto” runs until Dec. 16. Friday and Saturday showings start at 8 p.m. with on Saturday showing on Nov. 24 at 2 p.m. Sunday showings start at 2 p.m.
General admission is $15. Students, seniors, military, SARTA, ADA and children 6 and up are $12. Kids under 5 are free. Purchase tickets at the City Theater Box Office or at the City Theater website at citytheatre.net