The Thursday, April 17 demonstration was organized by the Advocacy Chapter of the American Association of University Professors (AAUP) at GVSU. Over 100 assemblies were held across the country by the Coalition for Action in Higher Education to protest the Trump administration’s funding cuts to education and research, as well as the revocation of international student visas.

AAUP is a national organization of faculty and academic professionals that seeks to foster dialogue, raise awareness of issues and elevate university faculty voices. The day of action, endorsed by national AAUP, was established last year.

At GVSU, student organizations including The Olive Tree, Students for a Democratic Society, Progressive Student Union and Voices for Justice took part in the demonstration. University community members came together for speeches and chants, citing what they felt was the need to defend higher education from federal attacks.

Organizers and attendees said they believe universities are a space for social change, advocating for freedom in education and social equity.

“This space, university spaces, are potentially spaces of revolutionary social change,” said Brian Deyo, associate professor of English and the University’s AAUP president. “We’re all here to defend this place (GVSU).”

Joel Wendland-Liu, a professor in the University’s Integrative Studies Program, spoke to attendees about why he took part in the event.

“I feel like we’re under attack,” Wendland-Liu stated. “This university (and) the university system in general across the country is under attack.”

Wendland-Liu expressed that despite federal policies targeting diversity, equity and inclusion in education, universities have a duty to protect all members of their community.

“Diversity is a fact (and) a reality,” Wendland-Liu said. “It’s not something we shove under the carpet and ignore. It is part of our lives. When a member of our community is under attack, we fight back.”

National AAUP, alongside local chapters, have sued the Trump administration over the dismantling of the Department of Education and research funding cuts. AAUP is also part of a lawsuit alleging the federal government is violating the First Amendment by singling out noncitizens for their pro-Palestine beliefs.

English major Jackson Hicks and education student Ian McGuckin spoke to demonstration attendees. Hicks read from his class project, which centered on the role of the humanities and what he believes to be a for-profit education system. McGuckin discussed his view of public education’s function in democratic societies. 

“They (educational institutions) create informed citizens (with) the ability to critically evaluate arguments and analyze evidence,” McGuckin said. “Most importantly, they equip us with tools to work against structures of hierarchy, inequality and domination.” 

McGuckin claimed he wanted to challenge a “narrative of fear” that he’s observed among people who disagree with President Donald Trump’s actions. According to McGuckin, students are the voice of the future and have the power to create large-scale social change.

“We are here because we care deeply about the future of our nation,” McGuckin said. “Inner conviction is a power no government or leader can take from us.”

Wendland-Liu also mentioned this, asserting his belief that Trump wants college students and faculty nationwide to be silent out of fear for their current or future professions and finances. 

“That’s not gonna save any one of us,” Wendland-Liu. “That’s not gonna save this university (or) any of the people in our community who are under attack for their existence and being as people.”

The Saturday, April 5 demonstration was part of a national day of action entitled “Hands Off!” Shortly before the rally got underway, a community organizer was taken into custody by Grand Rapids police officers who had a warrant out for their arrest.

Over 1,000 events were planned en-masse across the country, with the Grand Rapids rally organized by Indivisible Greater Grand Rapids, which is part of a national organization that advocates progressive politics. Michigan demonstrations were organized in Holland, Big Rapids and Muskegon, among other cities. A Lansing rally also took place at the State Capitol.

The Grand Rapids gathering included speeches, a poetry reading and activists flyering for a variety of community groups. Protesters then took to the city’s sidewalks, chanting, “This is what democracy looks like.”

Before the event began, GRPD officers arrested Emerson Wolfe, the co-chair of Palestine Solidarity Grand Rapids (PSGR). According to Wolfe, they were apprehended for a warrant that was issued after an International Women’s Day march last month. Wolfe helped facilitate the demonstration and claimed the warrant was issued for failing to obey an officer’s order, a misdemeanor. 

According to a GRPD spokesperson, officers did not seek out Wolfe but placed them under arrest after they “approached a sergeant who was meeting with event organizers.”

Wolfe was held in custody at the Kent County Jail for a short period of time, but returned to the gathering following their release. They spoke to the crowd, commenting on their arrest.

“Instead of helping us (safely protest), the Grand Rapids Police Department decided to repress our movement and arrest me as a figurehead,” Wolfe said.

Wolfe encouraged community members to “fight back” by engaging in actions that support immigrants, unions, the transgender community and the Black power movement.

Protesters, including community member Savannah Harrington, also expressed upset over what they feel is a disenfranchisement of rights for transgender and immigrant populations. Harrington was glad to see people taking action in Grand Rapids and across the country, despite what she described as the Trump administration’s attempt to stifle dissent.

“The Trump administration has tried its darndest to incite fear in the general public, making them feel like they’re not allowed to have free speech or protest,” Harrington said. “The fact that people are standing up despite that is reflective of who we are as a society.”

Grand Valley State University student Dorian Fedewa took part in the protest. He has attended previous city demonstrations and feels community members are increasingly compelled to join rallies. 

Fedewa noted the “Hands Off” gathering and similar actions have the ability to foster solidarity in times that many deem “hopeless.”

“That feeling of solidarity helps give people hope and also helps show the leaders of Grand Rapids (and) the police department that we’re not going to put up with repression and oppression,” Fedewa said.

Community member Susie Krupp said she’s felt downhearted by the state of political affairs in the United States. Yet, she voiced her excitement about the nationwide demonstrations and is hoping for “dramatic” political change.

“I really hope and feel like this could be the tide that changes things,” Krupp said.

Editorial Revision 3/27- The original article wrongly stated that GVPD Interim Chief Leah Heaton claimed officers’ arrival time of 16 minutes was acceptable. Officers’ arrival time to the scene is unknown.

An Ottawa County commissioner brought a concealed firearm onto Grand Valley State University’s Allendale campus earlier this month. Although administration and staff were notified quickly, the University’s response time to the incident is questionable, despite a firm policy that prohibits such behavior.

Commissioner Joe Moss was one of many community members who traveled to GVSU on Thursday, March 13, to hear a speech given by Chloe Cole, an anti-trans activist. During the time Moss was on campus for the event, which was held by the GVSU chapter of Turning Point USA (TPUSA), multiple complaints were made to University administration and the campus police department stating that Moss was carrying a concealed firearm, which violates the University’s Weapons Policy. 

Those who reported Moss to GVPD said the University did not act quickly enough, nor appropriately, in addressing the policy violation. Although University leadership, including public safety officials, claim immediate action was taken, Moss remained on university property for over half an hour before he was told by a GVSU official to leave campus. 

The incident raises questions about how GVPD procedure is set up to respond to reports of weapons on campus, even if they aren’t active threats.

The GVSU Weapons Policy says no person, other than University police or authorized personnel, shall possess any firearm or weapon. Moss, who does not fit any of the aforementioned exemptions, did not notify University officials before he brought the firearm on campus, according to GVPD Interim Chief Leah Heaton.

When the Lanthorn reached out to Moss, he noted that he wasn’t aware of the incident and had no comment.

Moss, along with fellow Commissioner Sylvia Rhodea, founded Ottawa Impact, a far-right advocacy organization and political action committee, in 2021. The group has taken firm stances on gun rights, sided with anti-LGBTQ proposals and slashed funds to the county’s Department of Public Health.

During board of commissioners’ meetings at the county’s Fillmore Complex, Moss frequently carries a pistol on his hip. While going door-to-door on the campaign trail in 2022, homeowners reported to police they observed Moss’ holstered gun and felt threatened. On March 19, 2024, Moss also posted on X, formerly known as Twitter, a photo of a GLOCK G17 pistol, asserting “it’s not always easy to conceal a full-size (GLOCK G17), but it’s a wonderful firearm.”

It was at least the second visit Moss has made to GVSU since the beginning of this year, with his attendance at the TPUSA event being his most recent known trip to the University. However, this is the first documented time he violated the campus weapons policy.

Moss visited GVSU in February to scrutinize “Pétalos De Cambio,” a painting that has since been removed from campus by University leadership, as some community members felt the artwork was blasphemous to Catholicism. 

After Cole’s talk on March 17, Moss and Rhodea exited the Russell H. Kirkhof Center just before 7 p.m., according to witnesses, where a transgender rights vigil was taking place to protest the TPUSA event. 

During the Cole event, there had previously been officers stationed near the outside demonstration, but they had left by the time Moss and other attendees went outside.

Moss hung around the clock tower, and engaged in conversation with students and community members. However, while he was doing so, a number of local residents noticed what they perceived to be a firearm peeking out under the hem of Moss’ jacket.

In photos time-stamped at 7:08 p.m., Moss is pictured interacting with students with a concealed firearm on his right hip.

Heather Martin, of Zeeland Township and parent of a GVSU student, said she was near the University’s Cook Carillon clock tower when her friend Sheila Dettloff, of Holland Township, said, “‘Oh, look, he’s carrying.’”

“I turned and I said, ‘Oh, that’s not good,’” Martin described. “We turned back to the top of the stairs where campus security had been during the whole thing. But everybody had already filed out and sort of dispersed.”

There was no security nearby, Martin said, as stationed security dispersed after the Cole event.

She said she went into the Kirkhof Center and reported it to an administrator she was familiar with: Milton E. Ford LGBT Resource Center Director DL McKinney.

“When I turned around, they (security) weren’t where they had been, but I saw the director of the LGBTQ Center who I know enough to go speak to, and I said, ‘Hold on. I know someone,’” Martin said. “I went to the top of the stairs and approached them (McKinney) and said, ‘Hi, remember me? Tell me, is open carry allowed on campus?’ They did a deer in the headlights and said, ‘Who?’ I said, ‘Commissioner Moss is at the bottom of the staircase, facing the clock tower, and you can clearly see it on his hip. After I spoke to them (McKinney), I came back to the bottom of the stairs.”

Meanwhile, Dettloff took photos to document what she saw — Moss with a gun on his right hip. The photos were time-stamped at 7:14 p.m.

That was the first of three attempts by vigil attendees to alert University staff and police of the policy violation. 

Charlie Zickus, of Allendale, was attending the vigil with his wife Meegan, a lawyer and biology ethics professor at GVSU. He also noticed the concealed firearm and took photos, time-stamped at 7:21 p.m.

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“Charlie took the pictures, and I went back and was kind of standing there because he and I were trying to figure out, ‘Okay, who has called, who hasn’t and where are we at here?’” Meegan Zickus said. “Some girls nearby said, ‘Oh my God, that man has a gun.’ I said, ‘Okay, guys, it’s okay. It’s under control. We’ve reported it. If you need to leave, then just get up and go, but you don’t need to be worried.’”

Charlie Zickus and lawyer Pete Walsh, of Grand Rapids, reported the situation to two student workers at Kirkhof’s 2020 Information Desk at about 7:20 p.m.

An ONN reporter has filed a Freedom of Information Act request to determine if the second report led to authorities being alerted.

Charlie Zickus then observed Moss walk west to Campus Drive with a group of people. Meegan Zickus said a GVSU officer pulled in, but was quite a ways away from Kirkhof and the clock tower, so they walked over to him.

“’Hey, we need to make a report of somebody with a gun on campus,’” Meegan Zickus told the officer. “He (the officer) took the report. He never called anybody, didn’t do a thing and was like, ‘Well, the most we can do is trespass him and tell him that he has to leave if he has it (a firearm).'”

The police report, the third attempt to notify staff and administration, was filed as of 7:25 p.m., according to the result of a Freedom of Information Act request.

Meegan Zickus said the officer made no move to approach Moss. At this time, Moss and the group he was with drifted further away from Kirkhof and the clock tower.

“He (the officer) didn’t even ask for a description of what he (Moss) was wearing or anything,” she said. “He just took the report, and was like, ‘Well, it’s technically not against the law.’ Pete and I were like, ‘Well, you better check on that, because you got two lawyers standing here, and we’re pretty sure that Grand Valley says we have a weapons-free campus.’ The cop was like, ‘No, no, that’s our policy, but all we do is trespass them and tell them to leave.'”

Pete Walsh, a retired attorney who attended the vigil with a group of community members, stated that while he found University police to be respectful of their concerns, he was perplexed by their response time.

“We thought it was reported,” said Walsh. “We stood around outside and no police officer showed up for like 10-15 minutes.”

Meanwhile, McKinney contacted Vice President of Student Affairs Jenny Hall-Jones, as McKinney felt a higher-level administrator should approach Moss. Hall-Jones approached Moss, who at this point was leaving of his own accord at about 7:30. 

Hall-Jones declined a request for comment by the Lanthorn. 

Martin said she was in the parking lot when she observed Moss reach his vehicle nearby at 7:36 p.m., which she noted in a text to Dettloff.

The incident report states at 7:41 p.m. that Moss had already left the clock tower by the time GVPD personnel arrived. According to Heaton, she does not have an exact time of the officers’ arrival.

Heaton claimed the arrival time was acceptable, considering the situation didn’t escalate into a direct threat, despite the three separate reports. Due to the incident not warranting an emergency response, according to Heaton, GVPD personnel obeyed all traffic laws on their route to the clock tower.

“We didn’t have any reports of the weapon being pointed or anything to escalate to an emergency response,” Heaton said. “At this point, we were responding to what is a Grand Valley policy violation.”

A University statement, which was forwarded to Lanthorn staff by the Assistant Vice President of University Communications Chris Knape, vouched for GVPD’s handling of the incident.

“Safety on our campus is our top priority,” read the statement. “GVSU has a policy prohibiting weapons on campus, and as happened in this case, the University took immediate action to assure conformance with our policy when made aware of a violation. At no time was the University aware of the person posing a threat.”

GVPD considers Hall-Jones’ interaction with Moss to be an enforcement of policy, as the commissioner left after talking with a University official. Heaton said the incident is considered “closed.” Had Moss remained on campus and not complied, the act would have been considered a trespassing violation.

“It was enforced because he was approached, informed and asked to leave,” Heaton said. “That (interaction) kind of ends that contact.”

Heaton said now that a warning is on record, the matter could be treated differently if Moss were to violate the policy again. 

Dettloff said she believed Moss to be deliberate in bringing the concealed firearm to campus. 

“For him to be an elected official who should have known (the policy), and to still do it anyway tells me that he had a motivation, and that he was trying to send a message,” she said.

Meegan Zickus said a number of community members she was with are long-term concealed pistol license (CPL) holders. However, those with licenses had all left their firearms at home, and Zickus felt that Moss shouldn’t have been treated any differently due to his commissioner title.

“Just because someone’s elected doesn’t mean they get to skirt the rules that are in place,” Zickus said.

According to Michigan law, concealed firearms are only prohibited in campus dormitories or classrooms. The legislation leaves gaps on campus, prompting many universities, including GVSU to adopt “weapons-free” policies on campuses. 

GVSU’s Student Senate voted against allowing concealed firearms on campus in November 2015. The University’s Weapons Policy has largely been the same since the senate’s decision. The policy is based on legal precedent, both in Michigan, and federally.

However, a case is currently facing the U.S. Supreme Court that could possibly challenge the ability of higher education institutions to enforce their own weapons bans. Wade v. University of Michigan is challenging UMich’s on-campus weapons ban. The Michigan Court of Appeals upheld the university’s firearm ban, and the Michigan Supreme Court denied the appeal. The case is being further disputed by SCOTUS. If the Court were to rule in favor of Joshua Wade, colleges and universities nationwide, including GVSU, would be forced to reevaluate their policies.

Steven Dulan, the attorney representing Wade, is part of the Michigan Coalition for the Responsible Gun Owners’ board of directors. Dulan believes GVSU is on “extremely weak ground” with its policy, much like UMich, although the latter is afforded certain protections compared to GVSU because it is chartered in the Michigan Constitution. 

“The legality of (campus firearm bans) is questionable because it’s being litigated right now,” said Dulan. “I honestly feel that most of the colleges and universities are on extremely thin ice legally because the state statute just says clearly that (you) cannot carry concealed in a dorm or a classroom.”

Dulan added that he feels the University’s policy is “sort of hollow,” and that he doesn’t think it has “any teeth.” 

Touching on the implications of carrying in places of education, Meegan Zickus expressed that she previously had students who had witnessed the 2021 school shooting at Oxford High School.

“(Students) were freaking out, and you know that’s where the issue is,” Zickus said. “If people aren’t clear on the rules, then it causes an alarm in the students.”

Zickus said she doesn’t believe the University’s procedure for handling weapons reports is well known among students and community members. 

“I’d like there to be some type of clear policy that this is what we do when somebody reports a person with a gun on campus, and I don’t feel there’s a clear policy,” Zickus said. “We all had to go looking for the rules.”

Zickus believes the policy and procedure, which from her perspective aren’t fully fleshed out, are cause for alarm if an emergency situation were to occur at GVSU.

“When you don’t take something seriously then all of a sudden it becomes an issue when there is an (emergency),” Zickus stated.

10. “Chemtrails Over The Country Club” (2021)

“Chemtrails Over The Country Club” was released at a time when Del Rey’s public standing was undergoing intense scrutiny by fans and the general public alike. The year before its release, Del Rey had posted a pronouncement on Instagram that she posed as a “question for the culture,” in which the singer haphazardly voiced her thoughts on other women performers in the industry. Del Rey also faced backlash in 2020 for wearing a mesh face mask at a book signing, which led her to respond, stating her mask had “plastic on the inside.”

On the heels of the aforementioned public spectacles, Del Rey released “Chemtrails Over The Country Club.” Despite being highly anticipated, “Chemtrails” doesn’t quite hit the mark of refinement and cohesion found in the singer’s previous work. The album’s latter half leans into a contemporary folk musicality seen in “Dance Till We Die,” while the first section delivers a mixed foray into alternative pop. While I appreciate the project’s deeply personal themes and the direction Del Rey was attempting to journey, the overall work feels somewhat lackluster throughout.

Favorite tracks: “Dark But Just A Game” and “Tulsa Jesus Freak”

Least favorite track: “Yosemite”

9. “Lana Del Ray” (2010)

Despite having released prior music under a variety of stage names, such as May Jailer, Sparkle Jump Rope Queen and Lizzy Grant, this release was the singer’s focal studio debut, although her moniker was spelled slightly differently at the time. The album was released digitally, but was removed from iTunes three months later and never underwent physical circulation, as the singer’s label couldn’t fund its continued sale. Del Rey ended up securing the rights to the tracks and intended to re-release the project, but didn’t end up doing so.

While the album is often ignored due to its informal and brief existence, many fans look back fondly on “Lana Del Ray” as a quaint reminder of the singer’s emergence in the music industry as a young artist. To me, the work pales in comparison to her later, more mature records, but unapologetically explores melancholic sentiments and soft sounds that Del Rey has attempted to return to in recent years.

Favorite track: “Kill Kill” 

Least favorite track: “Oh Say Can You See”

8. “Blue Banisters” (2021)

Del Rey announced “Blue Banisters” shortly after the release of “Chemtrails Over The Country Club,” and the project came out that same year. The record sweetly spotlights her introspective lyrics; the musician’s musings seem to have blossomed and taken on new form compared to their exposure on “Chemtrails.” When I’ve been in the mood for a delicate and ruminative assemblage of tracks, “Blue Banisters” has been a frequent favorite. 

Although certain songs like “Text Book” and “Beautiful” blend into the background for me, their actuality on the record serves to bolster the project’s more attention-provoking songs. “Dealer,” which features the Last Shadow Puppet’s co-frontman Miles Kane, is a raw and experimental track that leans on its drum beat to chug along. I also admire “Living Legend” for the distinct way in which Del Rey’s voice is used to mimic an emotive and stirring guitar solo.

Favorite tracks: “Dealer,” “Thunder” and “Living Legend”

Least favorite track: “Arcadia”

7. “Born To Die” (2012)

Ah, where do I even start with “Born To Die.” Regarded as Del Rey’s first large-scale, commanding project, the record’s tracklist is home to many of the singer’s most popular and commercially successful songs, including “Summertime Sadness.” As a testament to its favor, “Born To Die” became the second album by a woman to spend more than 500 weeks on the U.S. Billboard 200.

While the assertive and resounding “Radio” and “Off To The Races” make me nostalgic for the first time I heard them, “Born To Die” as a whole is steeped in rudimentary arrangements and naive sentiments. Regardless, I still hold dear Del Rey’s ascent to fame– in all of its cinematic glory and blend of sonorous beats.

Favorite tracks: “Diet Mountain Dew,” “Dark Paradise” and “Without You”

Least favorite track: “Carmen”

6. “Lust For Life” (2017)

There was a time when I would’ve wholeheartedly claimed “Lust For Life” as my favorite album by Del Rey. The record navigates between bohemian, soft rock inspired by the late 1960s and inversely, hip-hop and trap influences. “Lust For Life” also gives prominence to the artists featured on its tracklist– Stevie Nicks, A$AP Rocky, Sean Ono Lennon and Playboi Carti.

As a highschooler that used to revere vintage popular culture, I adored the album’s second half, especially “When The World Was At War We Kept Dancing.” Now, I’m irrevocably drawn toward the project’s first few striking and theatrical tracks that are unmistakably Lana. Looking at the album with the clarity of a seasoned listener, I can’t help but feel that while incredibly solid melodies dwell on “Lust For Life,” its overall lack of cohesion hinders any inclination to rank it higher.

Favorite tracks: “Love,” “Groupie Love” and “Tomorrow Never Came”

Least favorite tracks: “Summer Bummer” and “In My Feelings”

5. “Paradise” (2012)

“Paradise” is technically categorized as an EP continuation of Del Rey’s “Born To Die” musical era and cinematic persona. While “Paradise” focuses on many of the same themes as its sister project, to me, what sets it apart is its attention to darker lyricism and mature cultural references.

Where “Born To Die” comes across as an unrepentant jaunt through youthful idealism and harrowing ordeals, this record takes a more brooding and pensive approach while maintaining its palpitating rhythms and layered production. This stylistic route is heard in the track “Gods & Monsters,” when Del Rey proclaims, “innocence lost.” I’d also like to point out that the haunting “Yayo” was previously released as part of “Lana Del Ray,” and was re-recorded for inclusion on this album.

Favorite tracks: “Cola” and “Body Electric”

Least favorite track: “Bel Air”

4. “Honeymoon” (2015)

Emerging in the form of a beautiful orchestral arrangement, “Honeymoon” takes listeners on a stroll across an Italian beach, with the moon providing the jet-black night’s only lumination. The project’s tracks effortlessly transition into one another, whether their soundwaves lap the shoreline in dramatic, resounding tones or soft lullabies. 

“Art Deco” is an alluring example of Del Rey’s sonorous and electrifying ambient sound, and embraces jazz influences at parts. Conversely, “Salvatore” is the singer’s venture into a rich and romantic composition that’s sung partly in Italian. Put together, the album’s distinct, yet cohesive sounds formulate an atmospheric project that I would gladly plunge myself into any day. 

Favorite tracks: “Music To Watch Boys To,” “Freak” and “The Blackest Day”

Least favorite track: “Terrence Loves You”

3. “Did you know that there’s a tunnel under Ocean Blvd” (2023)

Often the brunt of the joke for its comically long title, “Did you know that there’s a tunnel under Ocean Blvd” is Del Rey’s most recent album release. Following the receptions of “Chemtrails” and “Blue Banisters” in close proximity, the singer’s newest project originally faced a vast amount of suspense and scrutiny. However, I recall loving the project when it came out, and buying the “Ocean Blvd” CD from Barnes and Noble the weekend of its release.

A perfect mix of nostalgic themes from Del Rey’s earlier work and the experimentation of an industry giant, the singer surrenders a raw authenticity and classy elegance– even when fashioning autotune effects on “Fishtail.” The album is special to me because it embraces different stages of Del Rey’s past, from her Lizzy Grant days to a refreshed adaptation of “Venice B*tch,” an acclaimed song she released in 2019. The sole reason “Ocean Blvd” hasn’t garnered a higher spot on this list is because the project can feel a little all over the place at times since it navigates between so many sounds and ideals.

Favorite tracks: “Candy Necklace,” “Let The Light In” and “Taco Truck x VB”

Least favorite track: “Peppers”

2. “Ultraviolence” (2013)

While I wouldn’t classify “Ultraviolence” as Del Rey’s foremost project (we’ll get to that one shortly), it’s hands down my favorite. The singer hones in on her alternative rock sensibilities throughout the album, combining bewitching vocals with sensual guitar solos and instrumentals. Despite the fact that I first listened to its tracklist six years ago already, I will always revere “Ultraviolence” for its bold musical decisions and assortment of melancholic melodies.

Del Rey’s singing on “Shades Of Cool” articulates a resigned desire and emotive lamentations. The track ascends into a spiral that consists of a guitar solo layered atop the musician’s yearning. “F*cked My Way Up To The Top” is also notable for its reverberated production and crushing, yet lovely wall of sound.

Favorite tracks: “Brooklyn Baby,” “West Coast” and “Pretty When You Cry”

Least favorite track: “Old Money”

1. “Norman F*cking Rockwell!” (2019)

“Norman F*cking Rockwell!” was snubbed at the 62nd Annual Grammy Awards. The wholly cohesive project spans some of Del Rey’s most mature and poignant songs both lyrically and in composition. The tracklist is perfectly refined, and while subdued compared to other records on this list, “NFR” is a window into the nuances of Del Rey.

Somehow, the musician’s cover of Sublime’s “Doin’ Time” was my introduction to her discography. There’s a bit of everything woven throughout “NFR,” from delicate love songs to the laborious, guitar-driven “Venice B*tch,” which tallies in at almost 10 minutes. Although I may stray from time to time into the depths of Del Rey’s avant-garde portfolio, I’ll always come back to the singer’s intricate piano tracks backed by wistful production on this album.

Favorite tracks: “Venice B*tch,” “Cinnamon Girl” and “Happiness is a butterfly”

Least favorite track: “Bartender”

Opening the EP, “Perverts” begins with a rendition of the Christian hymn, “Nearer, My God, to Thee.” The lyrics reference “Jacob’s Dream,” a biblical story in which during a dream, Jacob discovers a ladder leading to the gates of heaven where he is blessed by God. The song begins with echoing vocals but transforms into an eerie experience as the track distorts before the hymn abruptly stops as if being switched off. The remaining 10 minutes of the song accent a pulsing and droning ambient sound and heavily distorted poetry, which features a quote displayed on Cain’s Instagram account, “it’s happening to everybody.” Overall, the song sets the tone for the gothic and ambient themes that appear throughout the EP. 

“Punish” is one of our favorite songs from this work. Opening with rich and drawn-out piano chords, Cain’s voice sweeps over her listeners slowly. The lyrics reflect feelings of self-loathing, guilt and shame. Repeating the words “I am punished by love” throughout the song, it feels as if Cain is wrestling with the harsh reality of failed devotions and the harm they have caused. The somber piano paired with Cain’s ethereal vocals makes for a stunning, almost transcendent piece. The final chord of the song fades into the next track seamlessly. 

Transforming the final note of “Punish” into rhythmic pulsing surrounded by a chorus of ambiance, “Housofaphycoticwomn” is rumored to be an evocative rendition of the story of Genesis. The missing letters “e” and “a” in the track’s title represent the biblical story of Adam and Eve. Interpretations entail Eve’s use of sexual power over Adam, alluding to the EP’s overall theme of perversion. 

Beginning with a repetitive thumping, as if someone’s knocking on the wall, “Vacillator” descends into measured drum beats layered atop low rumbling. Cain’s voice glides in serenely, and she softly promises that she won’t be lost to “thunder or lightning.” The track drives ahead, with resonating clamor in the background and humming that’s soft as silk. Triggered by indecision reminiscent of the song’s title, the listener is plunged into murkiness and calamity. Cain returns, and in melodic, hushed tones, repeatedly asks that one’s love for her be pushed to the wayside. “Vacillator” fades ominously, quickly cut off by stark silence.

Religious figures of speech are exhibited in “Onanist,” which pulls listeners into uninhabited, yet tumultuous lands. Stagnant piano notes permeate the heavy air, and Cain vocalizes a connection between guilt and self-gratification. Sacrilegious imagery gives rise to crushing waves of sound that stamp out any remaining trace of innocence. With an industrial uproar in the distance, Cain concedes defeat.

“Pulldrone” is an immersive experience, as Cain lists off the “12 Pillars of Simulacrum.” This is a spiritual exploration of the ways in which humanity desires to touch a godly being but inevitably fails to bring enlightenment, due to our desire for fleeting moments of intense relief. Cain’s voice sounds soft and far away, as she describes the concept over a quiet, ambient hum. The song ends with a 10-minute-long drone of abrasive strings that seem to be dragging slower as the song continues until they creak with resistance in the piece’s final moments. 

Utilizing piano instrumentals, Cain creates a somber and empty soundscape that triggers the reflection of forgotten memories in “Etienne.” As the seconds tick by, optimistic notes are thoughtfully added in and rudimentary guitar strumming looms in the background. With light shining through the cracks, the track encircles grimly and then backs away. Resonant buzzing ushers in a static, spoken-word outro that chronicles a man’s experience of yearning for death. In the eleventh hour, the man relinquishes to his fate of continued existence.

“Thatorchia” is an atmospheric piece that begins with a soft pulsing sound before descending into a chorus of dark enchanting vocals. The gritty tone of the guitar can be felt in listeners’ bones, drowning them in Cain’s ethereal ambiance. 

“Perverts” ends with “Amber Waves,” a track with warm tones and soft vocals that feel reminiscent of a peaceful countryside, as connoted by the title. Confirmed via Cain’s Tumblr, “Amber Waves” also represent the personification of love cast aside to get high. Describing waves of euphoria, the song’s narrator finalizes the EP. They seem to say goodbye, as addiction takes over their infatuations, perverting and eroding their previous devotions.

13. State Perceptory, Port Huron

I’ve enjoyed short little vacations to the town State Perceptory is located in, and despite efforts to develop a fondness for the store, I’ve never been able to come across any musical gems. While the shop has unique interior design and an eclectic feel, I expected to find a wider range of genres in their collection. My dad has made a classic rock purchase here but frankly, I would’ve liked to have seen more depth to both their used collection and new releases section.

12. Earworm Records, Niles

Earworm Records used to be one of my favorite music stores in Southwest Michigan. Having previously been named Rumor Records, I had found a variety of wished-for CDs and an Elliott Smith vinyl at the shop. I’m personally a fan of having to scour for my soon-to-be purchases, but that aspect isn’t really existent anymore with Earworm. There’s less hidden finds and fewer collections being purchased– from what I can tell, at least. Occasionally I stop in, but less and less do I leave holding any albums.

11. Phaseshifter Records, Benton Harbor

The store used to be 3 Pillars Music, but switched management in July 2024. Admittedly, I have little experience with the new Phaseshifter management, but due to its location, I’ve been to the store’s previous namesake more than any other on this list. In the past, and from what I can currently tell, the record shop primarily sells used vinyl from the 1960s through 1980s. While I have found pertinent CDs at the location, such as Blur’s “Parklife” and Bjork’s “Debut,” I’ve always felt the shop did little to increase its inventory. However, I have seen efforts by Phaseshifter’s new management to feature a bit of new vinyl, and I hope to see the store expand its reach in the future.

10. Peoples Records, Detroit

Peoples Records is a lively music store that centers jazz, Motown, folk and classic rock artists. The shop is jam-packed with record crates and wall ornamentation, and I even came across a few LaserDiscs in their collection. From my perception, the most acclaimed albums are kept behind the counter, such as John Coltrane’s “A Love Supreme.” While there are hidden gems, I did notice that records by many well-known artists were out of stock– such was the case when I searched for Lead Belly and Joan Baez.

9. Corner Record Shop, Grandville

I desperately miss Corner Record Shop’s previous location. The store used to feel like a maze to me, as part of its selection was held in a warehouse-esque room. When Corner Records transitioned to their new building in 2022, they opened their near-empty shop for customers to buy posters and furnishings. I rushed over after my class got out, and I still regret not having bought a large Jeff Buckley poster. Regardless, their new location is well put together and they host engaging events for Record Store Day. I haven’t been able to find many albums to purchase since their move though, aside from having convinced my dad to buy Patti Smith’s “Horses” on cassette.

8. Off The Record, Grand Haven

The subject of a few off-campus excursions, Off The Record spotlights a variety of artists and numerous time periods’ worth of albums. My favorite finds at the store include Deftones’ “Covers” and the Stone Roses’ self-titled release. Unfortunately, I do feel the shop’s atmosphere and selection has been altered slightly by its new management. I’ve had less luck coming across unique pressings and uncommon, older vinyl, but the shop still has an ample collection, and it’s a short driving distance from Grand Valley State University.

7. RPM Records, Traverse City

The first and only time I’ve been to RPM Records was during the summer of 2019 when I went on a short vacation to Traverse City. The shop is quite large, and there is a separate room devoted solely to 45 rpm vinyl. My favorite aspect of visiting was seeing the musical murals outside the store. The back side of the building was painted as Pink Floyd’s “The Wall” album cover and the side’s exterior illustrated the Grateful Dead’s Dancing Bears. Truthfully, it’s hard for me to take up a viewpoint on their selection, as my taste and standards have changed since I flipped through their stacks. However, I think the experience RPM Records affords is well-worth the visit.

6. Satellite Records, Kalamazoo

To me, Satellite Records is the definition of a college town’s record store, as it’s located near Western Michigan University. The customers and staff I’ve interacted with have seemed eclectic and conversational. A vast majority of the shop’s vinyl is used, and the new pressing selection is oriented toward alternative picks. My dad I’s purchases include My Bloody Valentine’s “Glider” on cassette and a Record Store Day release of “Stillwater Demos.” The latter is an album by the fictional band Stillwater, which is from my favorite film, “Almost Famous.”

5. Black Dog Books and Records, Grand Rapids

Having opened in April 2024, I’ve only been to Black Dog once. However, I was pleasantly overwhelmed by the shop’s comprehensive selection of both records and books. The store represents two elements of my personality– my love for alternative music and passion for political, non-fiction literature. After noticing unique titles on the store’s bookshelves, I was also able to come across many albums that I scarcely find on vinyl, including Have a Nice Life’s “Deathconsciousness,” Slowdive’s “Souvlaki” and Galaxie 500’s “On Fire.”

4. Third Man Records, Detroit

I didn’t quite know what to expect from Third Man Records, as it’s a record label, store, venue and vinyl pressing plant all in one location. The label was created by Detroit-native Jack White in 2001, and has locations in Detroit, Nashville and London. While I didn’t buy anything at the shop, which spotlights Detroit musicians and the label’s artists, I greatly enjoyed my experience stopping in. I was able to look through glass windows into their pressing facility and utilize the store’s listening booth. Surprisingly, I’d never been to a record store with a booth before, and I was instantly reminded of a scene in the 1995 film “Before Sunrise,” which showcases the feature.

3. UHF Records, Royal Oak

I went to UHF Records in May 2024 with a specific new release in mind. Billie Eilish’s “Hit Me Hard and Soft” had come out the morning I visited the shop, and I was excited to find it among their music collection. In my opinion, UHF is a perfect example of having not just a well-stocked used selection, but also a variety of new pressings and recent albums. Having browsed their wall of CDs and vinyl stacks, I specifically recall encountering numerous titles by The Cranberries, Alex G’s “Trick” and the Butthole Surfers’ “Electriclarryland.”

2. Green Light Music, Kalamazoo

I haven’t been to Green Light Music since I was in high school, but it’s one of my dad and I’s favorite record stores. The location has a variety of titles, and highlights one of the largest genre collections I’ve seen in West Michigan. Green Light is home to one of my biggest “album regrets,” as I came across Green River’s “Rehab Doll” at the store, and didn’t purchase it. I hope to visit the location again, and since the shop has been posting about the February release of Ethel Cain’s “Preacher’s Daughter” on vinyl, I might drive there in the near future.

1. Vertigo Music, Grand Rapids

My friends and I have made numerous journeys downtown to Vertigo Music. The massive location has everything that I could possibly wish for in a record shop– an exceptional selection of new and used vinyl, out of the ordinary CDs and the best experience of unearthing albums. Over the course of multiple visits, I’ve come to own The 1975’s self-titled release and Phoebe Bridger’s “Punisher” on cassette, among other finds. I was also excited to see that Vertigo sells unique pressings of Studio Ghibli soundtracks, which I hope to purchase someday soon.

At a meeting on Friday, Dec. 6, UAS discussed the poll, which aimed to gauge senators’ trust in the capability of SLT and UAS to sustain a productive, working relationship. SLT consists of GVSU’s president, provost and vice presidents, and is responsible for the University’s strategies, investments and resources. The vote occurred following conversations among faculty regarding transparency and a lack of involvement in University decisions– areas that GVSU President Philomena Mantella claims are being enhanced. 

43 of the University’s 49 senators completed the poll, and those in support of a future no confidence vote responded “somewhat in favor,” “in favor” or “strongly in favor.” When voting in the straw poll, some UAS senators expressed concerns regarding their anonymity. The unofficial vote was originally sent out via Qualtrics, software utilized by the University, but was sent out again through SurveyMonkey, which is not utilized by GVSU. The aforementioned poll statistics are an aggregation of the total survey results.

The straw poll was spurred, in part, by the results of another survey, the COACHE Faculty Job Satisfaction Survey, which was sent to all University faculty during the Winter 2024 semester. COACHE stands for Collaborative on Academic Careers in Higher Education, and is a project that was developed within Harvard’s Graduate School of Education. Utilized by over 300 colleges and universities, the survey evaluates faculty feedback to shape constructive work environments at higher education institutions. This was the first time COACHE had been utilized at GVSU, and the survey had a 57% response rate among faculty.

According to Courtney Karasinski, chair of UAS, the COACHE survey indicated that GVSU faculty members are looking for more consensus between SLT and UAS, and are wanting to have increased involvement in the early stages of decision-making processes. To some senators, the survey brought to light faculty concerns that have been laying under the surface for a couple of years. 

UAS has been working in parallel with the Executive Committee of the Senate (ECS) and the COACHE Steering Committee, which has shared members on UAS, to discuss the survey. After COACHE-related dialogue, the decision to send the no confidence straw poll was made at a UAS meeting on Nov. 1. Many faculty members felt it was essential to ascertain senators’ trust levels in SLT to move forward. 

At the Dec. 6 meeting, faculty members expressed an assortment of viewpoints and concerns regarding both the COACHE survey and subsequent straw poll. Despite voicing that the relationship between UAS and SLT has become “strained,” many faculty members emphasized they were against a no confidence vote in SLT, and felt such a vote would feel premature. Others conveyed a lack of trust in SLT, and were unsure if UAS and the University’s administration will be able to move forward together.

Karasinski feels these varying opinions are representative of a need for more discussion among faculty.

“These mixed results and subsequent discussions suggest that there is not a shared understanding of what votes of no confidence mean, or what could happen as a result of them,” said Karasinski. 

Addressing faculty concerns, Mantella sent an email to faculty members on Friday, Dec. 13 entitled, “Strengthening Our Communications to Deepen Our Relationships.” Mantella claimed that moving into the winter semester, she expects communication will be enhanced between administration and faculty as a result of the discussions being had. She maintained there will be increased updates on University initiatives, earlier notification of University announcements, “better explanations” of decisions and increased feedback opportunities for faculty. 

Similarly, in a statement sent to the Lanthorn, Mantella affirmed that the COACHE survey was initiated to facilitate deeper collaboration between faculty and administration. She is confident the work being done by the COACHE Steering Committee and faculty governance will lead to enhanced collaboration between UAS and SLT.

“While tensions are an inevitable part of adapting to the disruptions facing higher education, we must remember each member of our community is laboring diligently, and in good faith to advance our mission,” said Mantella in the statement. “Working through tensions, we must forge solutions based on shared understanding and common ground.”

To Mary Bower Russa, a psychology professor at GVSU, the conversation surrounding UAS and SLT’s relationship has highlighted concerns that many faculty members have struggled to articulate for some time. Bower Russa remarked that in particular, some University faculty are feeling overwhelmed by the fast-moving nature of administration. This had led to a lack of faculty input in decision-making processes, according to some UAS senators. However, many in attendance at the meeting noted there have been mechanisms put in place to foster the engagement of faculty governance.

“We have an administration that’s moving at like 90 miles an hour, and the senate is moving at like 50 miles an hour,” Bower Russa said. “Unless the senate can find a way to move faster, we’re getting run over by programming that’s coming through from the administration.”

Bower Russa noted that to her, UAS and SLT moving forward together is essential to the University’s health. The discussion surrounding how to navigate concerns has been difficult, according to Bower Russa. She attributed this, in part, to a lack of precedent at the University.

“There is not a policy or a procedure that we have here at GVSU that describes how to handle a situation where we have a schism like we’re experiencing between the faculty and the Senior Leadership Team,” stated Bower Russa.

Krista Benson, a faculty member on the COACHE Steering Committee, explained that while there isn’t yet consensus among faculty on how to move forward, the discussions being had are very beneficial. 

“The discussion around a vote of no confidence, I think really highlights exactly how much of a crisis point, not only that we are at, but that we’ve been at,” Benson said. “I do not think it is productive for things to lay underneath the surface (and) I think the discussion around the vote of no confidence is actually incredibly productive.”

Benson also noted that the relationship between faculty members and administrators on the COACHE Steering Committee has felt “extremely collaborative.” They elaborated that to them, the committee could be a model of how to proceed.

Many UAS members also pointed out that while they are steadfast in advocating for increased engagement between SLT and faculty governance, they feel progress is being made. Some senators attributed this headway to the COACHE Steering Committee, and the action plan created collaboratively by members of the committee. The plan seeks to initiate constructive dialogue, enhance faculty engagement and strengthen community by April 2025.

“In the springtime, several of us commented (that it seemed) we were at an inflection point with SLT, and we needed to see some things happen,” John Gabrosek, a statistics professor at GVSU commented. “Having the COACHE Steering Committee and committing to a timeline, to me, that feels like something’s happening.”

Gabrosek and many senators expressed that, at the moment, they feel there’s commitment from SLT and UAS to bring about change. Gabrosek explained that to him, it’s essential to see the timeline’s promises fulfilled in the coming months.

Karasinski stated that while UAS is asking for increased transparency and earlier decision-making input, faculty governance needs to continue having thorough discussions of what a successful relationship could look like. Through these conversations, she feels UAS senators will be able to come to an agreement on specifics relating to the relationship between faculty and SLT.

In an effort to continue such dialogue, a resolution was passed to hold an additional UAS meeting on January 17. While UAS meets monthly, the resolution proposed another opportunity for dialogue, with the sole agenda item being “further discussion of the COACHE survey and related issues.” It was also requested by senators that the meeting be closed. The resolution passed unanimously during a vote by UAS members. 

While the result of COACHE and no confidence discussions remains to be seen, many faculty members expressed that those engaging in these conversations are driven by love for GVSU and its students. Bower Russa conveyed that those initiating dialogue are acting out of dedication to the long-term integrity of GVSU.

“I think that for many of us, the need to have (this) conversation today is exactly because of our loyalty to this institution,” Bower Russa said. “It is because we care about the long-term health of the institution, (which) surpasses our commitment to any particular administration that may be here.”

I first heard about Hoover in 2021 when my high school classmates began to seek out her work. This was right around the time the Texan author was first becoming popular on TikTok’s reading community, BookTok. Although she’s been writing since 2012, her quick turnaround time has attracted hoards of readers in recent years. Hoover’s fanbase, primarily teenage girls and middle-aged women, gravitate toward her novels because they are notoriously fast reads, and entice readers with their promise of eventful plotlines. 

A user on Goodreads by the name of Sasha Alsberg posted, “Finished ‘Ugly Love’ in exactly 24 hours, couldn’t put it down! Now I know what all the fuss is about with Colleen Hoover books.”

Although I understand the appeal of a quick read every now and then, especially to get out of a reading slump, I truly believe there’s better options. Considered “beach reads,” Hoover’s novels are categorized as “romance,” although some of her books have overtones of suspense or traits associated with the psychological thriller genre. I take issue with her novels being marketed as romance since they entail themes such as manipulation and physical abuse in intimate relationships.

“I went into this (“It Ends with Us”) with the intention of liking it, but ended up feeling uncomfortable by the tone of this book,” said a Goodreads user by the name of Olivia. “This book is marketed as romance, and the synopsis makes it seem like a lighthearted love triangle instead of a woman’s experience with spousal abuse.”

It is extremely important to raise awareness of abuse– however, I believe the way in which Hoover goes about writing such a topic is in bad taste. “It Ends with Us,” which was also released as a film in August, stands to illustrate my point. The novel follows Lily Bloom, the main character, as she experiences manipulation and physical abuse from her partner Ryle Kincaid. While the plot speaks to the complexities and difficulties of leaving an unhealthy relationship, Hoover offers excuses for Ryle’s behavior throughout. His character is painted in a light that continually begs readers for forgiveness.

Many readers have noted that “It Ends with Us” allowed them to reflect on their own domestic abuse experiences. Hoover has been open about the book’s inspiration, which drew on the experience of her mother, and having grown up in an abusive household. While Hoover seems to have been well-intentioned in bringing attention to intimate partner violence, she did so in a way that manages to gloss over and excuse abusive behavior.

In “November 9,” the protagonist Fallon is prevented multiple times from leaving the presence of the book’s love interest, Ben. Throughout the novel, he makes comments about exerting physical force and continues to touch Fallon after she explicitly asks him to stop. Hoover employs the same writing style as she used in “It Ends with Us,” which posits such scenes in a romantic light.

Book influencer Whitney Atkinson told CNN, “It was the same theme over and over again: timid female characters and overbearing, abusive love interests. I don’t think anyone’s arguing abusive or controlling behavior can’t be written about. It’s the way it’s written, as if it can be excused or is just part of a normal relationship.”

Hoover’s readers generally fail to offer critiques of the portrayal of partner violence in her books. To me, this is extremely concerning given the platform she has been given as a New York Times Bestselling Author. 

Ultimately, I agree with Atkinson; it’s important to give abuse survivors a voice in literature, but it should be done in a way that doesn’t inadvertently justify the manipulation and violence represented. Since many young girls read Hoover’s novels, I believe it’s harmful to continually be exposed to such warped perceptions of intimate relationships. Not only should her books not be marketed as “romance,” they should also be facing large-scale critique from audiences instead of being placed on bookstores’ bestselling shelves.

Omni, described as a flexible and accessible adult learning program, was announced at a Board of Trustees meeting on Feb. 23, 2024, and builds on prior online learning initiatives by the University. The program is offered in the form of hybrid courses throughout the state of Michigan, and is based in a partnership with five regional campuses and community colleges that will create a network for higher education. The initiative is being led by the Chief Executive of Omni, Kara Van Dam, previously the University’s vice provost for Graduate and Lifetime Learning.

According to Courtney Karasinski, the chair of the GVSU University Academic Senate (UAS), Van Dam met with the senate’s Executive Committee (ECS), and Philomena Mantella, president of GVSU, met with a small group of the UAS to listen to what some felt was a rapidly moving initiative with minimal faculty involvement. An Omni task force was also convened in May by the Senior Associate Vice President for Academic Affairs, Ed Aboufadel. The task force comprised of Omni staff and individuals from the Division of Academic Affairs.

“Although faculty did not create Omni, the Omni task force provided an opportunity for faculty to provide input into the implementation of Omni,” Karasinski said.

The task force created a Shared Expectations of Engagement document, which was shared with members of administration, including Mantella and the University’s former provost Fatma Mili. The document, along with a cover letter detailing recommendations, outlines aspects of the Omni initiative, ranging from the program’s hiring processes to course assessment guidelines. The Shared Expectations proposal, dated June 17, 2024, was obtained through a Freedom of Information Act (FOIA) request.

The proposal states that part of the tuition from Omni should be reinvested in the program’s participating colleges and programs. With University administration and Omni leadership expecting the GVSU student population to increase as a result of the initiative, the document also notes that relevant student services at the University will expand to support the student body.

“We appreciate the engagement in Omni of GVSU’s faculty members, including those who took part in an Omni task force,” Van Dam said. “This group shared dozens of ideas with us and we are in the process of implementing many of those.”

The task force’s cover letter included a recommendation to create an Omni advisory group. The group would comprise relevant faculty members, and would continue dialogue and discussion with Omni leadership and Academic Affairs.

In an memorandum procured through a FOIA request, which was sent from the University’s Acting Provost and Vice President for Academic Affairs, Jennifer Drake, to Karasinski, Drake wrote that the advisory group would be implemented. 

The Omni Collaborative Advisory Group (OMAG) will continue collaborating with Omni and Academic Affairs regarding the shared expectations. According to Drake’s memorandum, Van Dam and one representative from the Office of the Provost would serve as the group’s co-chairs, along with one dean or associate dean selected by the provost. Drake noted that initially, Aboufadel would serve as the Academic Affairs co-chair. In addition, two faculty members from the University’s colleges were to be selected by ECS, two faculty members were to be selected by the provost and two Omni staff members were to be selected by Van Dam.

Membership appointments to OMAG began on Sept. 1, and are slated to last for one year. OMAG will meet at least three times during the academic year, and maintain communication with the faculty in the University’s colleges. Drake wrote that possible topics of consideration by OMAG could include the mentoring of Omni-hired faculty, and the ownership and use of instructional material in Omni-delivered courses.

In addition, the Omni Operational Team (OOT) was also created to address any potential Omni issues and problem solving that could arise. According to Drake, the OOT would be composed of Omni staff and faculty members from each GVSU college– primarily associate deans.

While GVSU’s Division of Academic Affairs will not be leading the initiative, Academic Affairs will work alongside the Omni division’s leadership of the program. Courses in Omni’s programming will be taught by Omni faculty– adjunct and visiting faculty candidates that meet qualifications established by units within the University’s colleges. Omni-delivered classes will be in collaboration with the University’s academic departments regarding instructional materials, and will follow GVSU’s preexisting syllabus of record. Students enrolled in Omni courses will be admitted to the University in a process similar to that of transfer students.

Named after the Latin word for ‘all,’ Omni was crafted with the intention that every adult in the lower peninsula of Michigan would have access to GVSU’s courses and degree programming at a campus within 100 miles of their home. According to GVNext, each region in the state will have an ‘anchor campus’ that is connected to a network of colleges within the region that will deliver GVSU programming. 

Inside Higher Ed reported that the University hopes to reach 50,000 students in the first five years of Omni’s programming. Of those 50,000, GVSU is aiming to educate 10,000 Michigan adult learners through the process of obtaining degrees. The other 40,000 are slated to receive “some type of upskilling by earning a certificate or credential.” This is in comparison to the 22,269 students enrolled in the University, as of 2024.

“It’s a bold goal,” Mantella said to Inside Higher Ed. “But we’re committed to it and not afraid to say it.” 

Regional campuses across the state include Kellogg Community College, Jackson College, Southwestern Michigan College (SMC), Northwestern Michigan College in Traverse City and an unspecified location in Detroit. According to Van Dam, Omni will be offering a GVSU College of Health Professions’ Bachelor of Science in Allied Health Sciences degree at Jackson College. At Kellogg Community College and SMC, students taking Omni courses will have access to GVSU’s Brooks College Bachelor of Applied Science in Leadership and Business Fundamentals degree program.

“Around the state, reception to Omni has been strong, with multiple institutions and philanthropic groups becoming part of Omni’s work to build an inclusive and equitable community for learners across Michigan,” said Van Dam. 

The Omni initiative aims to address the number of adults in Michigan with a postsecondary degree or credential equivalent, which is lower than the national average. As of 2024, Michigan ranks thirty-seventh in the United States for postsecondary attainment, with 51.1% of the state’s population having either a degree or comparative credentials. In 2021, the national average of adults with postsecondary attainment was 53.7%.

To remedy this, Michigan Gov. Gretchen Whitmer announced her “Sixty by 30” plan in her Feb. 12, 2019 State of the State address. The plan strives to increase the state’s postsecondary attainment rate to 60% of adults by 2030.

SMC became the most recent regional partner to connect with GVSU for its Omni programming. On July 17, 2024, the community college signed an agreement with the University to provide students at their Dowagiac, Michigan campus with access to GVSU’s degree program through hybrid and in-person classes. The University will have office space at SMC, and the Omni initiative in Dowagiac will be led by an in-person GVSU staffer that will oversee student support and transfer guidance. 

Joseph Odenwald, the president of SMC, emphasized his excitement about the program and the opportunities it will provide for students in Southwest Michigan. Odenwald noted that until the Omni partnership, the community college had not had a face to face bachelor’s degree program for sometime.

“This opens the door for a four-year degree for a whole group of our graduates who may want to advance in management and entrepreneurship,” Odenwald said. 

Odenwald elaborated that the goal of GVSU and SMC’s partnership is not simply increased transfer credits, but also transforming education in the local community.

“The goal is to build the Omni site communities, not just transfer credits,” said Odenwald. “Omni is a form of omnipresent. What it means for our community, students and graduates is that a highly-regarded university is here. This means career advancement, personal development and economic power.” 

Previously, Van Dam was employed by the University of Maryland Global Campus (UMGC), one the country’s largest online public universities, and the private, for-profit Kaplan University, now a public institution known as Purdue University Global. Although both UMGC and Purdue University Global are online universities, Van Dam believes it is important to combine in-person and online education. 

“I became enamored with the power of place-based education with online degrees,” Van Dam said to Inside Higher Ed.

At UMGC, Van Dam served as vice provost and dean of the undergraduate school and overseas academics, and later became the school’s vice president and dean of the School of Arts and Sciences. Throughout her time at UMGC, she oversaw a Department of Defense contract utilized by over 120 U.S. military bases, and the expansion of the college’s online programs.

In 2019, The Washington Post reported that UMGC and its faculty were grappling with the direction the school was taking by shortening the length of classes from 14 weeks to 8 weeks, and expanding its online presence. 

“Tensions over the direction of the school speak to a broader conflict in higher education, where faculty and administrators are caught between traditional notions of learning and evolving online education,” reported The Washington Post. “Current and former employees lament that the school’s administration prioritizes revenue and enrollment over academics.”

Barbara Gayle, a former UMGC professor of business and communications courses, was interviewed by the Washington Post, describing what she felt were mistaken steps by UMGC administrators.

“Programs are designed with outdated, poorly conceived materials because faculty is not involved,” said Gayle. “Students don’t get the breadth and depth of the experience of their professors.” 

During UMGC’s restructuring, the institution streamlined its departments, forcing faculty to recompete for jobs after more than 100 employees of the school were told their contracts would be terminated, according to The Chronicle.

In an email to UMGC employees obtained by The Chronicle, Van Dam wrote, “I know this is a tough transition to get us to what I firmly believe is a better future state.”

Although Omni’s online learning programming is only part of GVSU’s offerings as an institution, similar concerns to that of UMGC faculty were echoed by GVSU faculty during Omni’s rollout.

Prior to the Feb. 23 announcement of Omni, the UAS discussed the implementation of the online learning program, which was unnamed at the time. At a Feb. 9, 2024 meeting, UAS representatives were concerned about the lack of transparency on behalf of GVSU regarding resource allocation, and faculty involvement in the programming. According to the University’s former provost, Van Dam was able to start work on the Omni initiative without the approval of a Board of Trustees vote.

There had also been confusion surrounding the relationship of Omni to LEADS, an asynchronous, online learning program for adult learners that has been run by the University’s Brooks College of Interdisciplinary Studies since 2020. LEADS was created through a collaboration between the University’s colleges and the Center for Adult and Continuing Studies, which are part of the Division of Academic Affairs. While the division leading Omni is collaborating with Academic Affairs, LEADS was not led primarily by a different division, such as that of Omni.

“When it (the online learning initiative that would become Omni) was first presented to us (the UAS), it was just a mystery,” said Andrew Spear, a philosophy professor at GVSU and a senator on the UAS. “Questions didn’t seem to have answers then.”

Spear noted that GVSU has primarily focused on in-person education, and that he has apprehensions about potential impacts of Omni on current University students.

“One of the questions that I have is, ‘Will we keep giving the resources and attention we need to the students (that) we (currently) have?’” Spear said. 

Spear emphasized that continued collaboration between faculty and Omni leadership is integral, not just to the development of the Omni initiative itself, but to the University as a whole. Spear deems faculty involvement essential so that concerns regarding online education among the University’s faculty can further be addressed.

“They (Omni leadership) seem to have slowed down a little to engage (in) our (UAS) governance process,” said Spear. “Given how this (Omni) started and what it is, there is still this lingering concern about faculty involvement (and) impacts on students. We want to know that it’s (Omni) going to be done with the same quality that we (have) as a university.”

Mantella declined to answer questions for this story. Her office referred all inquiries to Van Dam.

5. Clairo, “Charm”

Surrounded by piled up measuring cups and ensconced by my newfound love of cooking, the July release of “Charm” by Claire Cottrill, known professionally as Clairo, often filled my kitchen with its warm melodies and songwriting. The soft rock record accompanied me, mixing its sweet and whimsical strings and piano with a jazzy ‘70s inspired aura. “Nomad” and “Juna” are sparkling and smooth tracks infused with romantic tranquility. Lyrically, “Charm” is meditative and intimate, mingling personal reflections with silky and tender rhythms. Cottrill breaks slightly from the album’s signature whispered vocals on “Sexy to Someone,” which flaunts upbeat harmonies and instrumentals that twirl and cushion Cottrill’s musings.

4. Trent Reznor and Atticus Ross, “Challengers (Original Score)”

Sitting next to my hometown best friend at the theater, I was entranced by the tennis movie “Challengers,” in part due to its electronic, synth-heavy soundtrack that made time feel as if it was suspended in a standstill. While this isn’t a rumination on the film itself, the tense and electric score crafted by Trent Reznor and Atticus Ross frequented my summer playlists. “Challengers,” and its similar rendition, “Match Point,” are saturated in dramatics, the snappy pops of each beat reminiscent of rhythmically striking tennis balls to an ephemeral range in tempo. “Compress / Repress,” the only track with Reznor’s relentless vocals, tempts listeners to just surrender to the song’s pulsing and athletic movement. 

3. Billie Eilish, “HIT ME HARD AND SOFT”

Billie Eilish’s third studio album, released on May 17, 2024, defined an early summer road trip for me, as I worked my way through its tracklist while watching the morning sun cast a glow across I-94. Merging onto the highway, I was allured by “LUNCH,” a fast-paced and seductive track that quickly builds into a dynamic entanglement of bass, keys and guitar. Unpredictable transitions, seamlessly mastered by Finneas, are a standout trait of the record– ranging from a soul-crushing plummet in “THE GREATEST” and the gliding in of shimmering dance floor beats during “L’AMOUR DE MA VIE.” On the album’s reflective last track, “BLUE,” Eilish reworks a previously unreleased melody into a patchwork of emotion, entrenched in references to the previous nine songs. 

2. Charli xcx, “BRAT”

Brat summer this, Brat summer that. After locking up for the evening at my quiet bookstore job, I’d drive home along Lake Michigan’s shoreline, with the pounding and accelerated beats of Charli xcx’s “Brat” floating out my car’s open windows. The dynamic “B2b” oscillates between sprawling pulses that are layered under assertive vocals, rewinding listeners back to what can only be described as a reverberative and ablaze nightclub. The record cherishes candid confessions in “I might say something stupid,” a tender and haunting piano creation evoking the singer’s doubts about her place in the music industry. Taking “360” to more thunderous, substantial lengths, “365” is a heavily layered track, one that descends into a melodic cacophony to close the expansive electropop album.

1. Chappell Roan, “The Rise and Fall of a Midwest Princess” 

While Chappell Roan’s first studio album wasn’t unveiled during the summer months– it garnered a modest reception in September 2023– few can argue the record wasn’t a theatrical spectacle in the music industry this summer. I was introduced to Roan’s music in the spring, while journaling at the library about the type of unforeseen events that can only happen in Allendale. During the first weeks of summer, “The Rise and Fall of a Midwest Princess” became a euphoric retreat as I moved back into my childhood bedroom and recommenced life in my hometown, missing my college apartment and the loved ones that frequented it. 

It’s an incredibly honest pop record that spans Roan’s desire to create, leave her hometown and experience joy within her sexuality. Vividly fusing glittering production and lively bass lines, the confident “After Midnight” and 2000s influenced track “Super Graphic Ultra Modern Girl” are energetic and lighthearted romps that celebrate queer joy. Shifting tonally, the bold and direct “Casual” chugs along in a dreamy reverie, ascending into a forceful bridge that resigns Roan to reminisce, inquire and grieve. Likewise, the stripped back “California” shines a spotlight on Roan’s vocals, layered atop speeding drum beats that mimic her sentimental desire to return to the Midwest.