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AGENCY

Women’s basketball coach steps down, past and present players discuss her legacy

Tuesday, June 8, 2021


Women’s basketball coach steps down, past and present players reflect on her legacy
By Simone Soublet


On the morning of April 5, Charity Elliott, the head women's basketball coach, stepped down from her position after nine seasons at LMU. 


In a statement, she said, “I’m very proud of the progress we accomplished and look forward to the memories of this adventure staying with me forever.”


Following Coach Elliot’s decision, several current and former members of LMU’s women's basketball team spoke out about their experience with Charity Elliot as their head coach and Charity’s husband Chris Elliot, who was the assistant coach. 


*Alicia, a former member of the team, posted an Instagram story detailing how her mental health suffered during Eliott’s tenure as coach. 


In an interview, Alica said that Coach Elliot doled out harsh punishments for certain players, saying, “Charity and Chris were very unfair people and were partners in crime.”


“She made me feel stupid. As if I didn't know how to play basketball,” Alicia said. “I had to have surgery and the recovery process took months. So when I was out, back-to-back from games I couldn’t play, she didn't even try and check in to see how I was doing. I was struggling to get back, struggling to really find my rhythm.”


Alicia also explained that after over 15 years of playing basketball she returned to LMU’s basketball court after not being able to play for almost two years. Alicia stated, “Coach Elliot demoralized me when my confidence was already very, very low because of my injuries and because I was unsure of how I would perform.”


Other former and current members of the women’s basketball team shared similar experiences in regards to Coach Elliot’s favoritism amongst certain teammates.


*Kristine, a former member of the team, also mentioned favoritism within her own team over the years 


“Some people could get away with stuff and other people couldn’t,” she said. “Even though I do feel like I could have done things differently, I didn’t feel like I was in an environment for that to happen, nor did I trust my own coach.”


Sophomore Laura Vaida, a former member of the team, really struggled with her mental health during her time as a player. 


“I was really not in a good place in my first year during those first few months around winter. There were a lot of things going on and the details are irrelevant, but I had a suicide attempt in the winter and it was a very big commotion because I didn't really show signs of anything.” 


Laura mentioned that Coach Elliot was very supportive of her at the time, “but that soon became a double-edged sword.”


“Charity was notorious for her ‘We did this for you, and now you're treating us and questioning us like that. How dare you?’ speeches,” Laura said. “I felt like a product of basketball, and I felt like they're only helping me so I can stay in line and perform well.” 


Some players also claimed that Coach Elliot didn’t help them develop as an athlete nor as a student.


*Nia, a current member of the women’s basketball team, and *Aubree, a former player, spoke to a pattern of rotating coaches that they felt resulted in players not being able to build strong relationships with them as athletes. 


“I had a different coaching staff every single year,” Aubree said. “They would come in and they're ready, they try to develop us, they try to work with us, as soon as they get a little close to us, as soon as they start putting in their own drills, they get booted.”


Cierra Belvin (‘20) described her negative experiences on the team until she was eventually kicked off during her time at LMU. As a senior, Coach Elliot put her in and out of the starting lineup at an inconsistent rate. “I'm over it,” Cierra recalls saying to Coach Elliot after practice. “This is too much. This is supposed to be my getaway and you guys just make it even worse.” 

 

Belvin claims that Elliot suspended her as a result before kicking her off the team.


“I felt like a big part of me was taken,” she said. “I played in three games my senior year, and the messed up part about that was that it literally ended my basketball career.”


Alicia also mentioned that she was almost kicked off the team and that Coach Elliot would hold her athletic scholarship against her when she disagreed with her. 


“She was vindictive and would treat certain players like trash and treat other players like royalty.”


Similarly, Cierra stated, “During my freshman year and every year after, my scholarship was always thrown in my face. If we ever had a problem or something, if she had an issue with how I reacted to something, or Charity didn't like my attitude, she would meet with me and say, ‘Basically, you shouldn't ever complain about anything because we gave you this scholarship. We gave these opportunities and you need to be grateful’.”


Alicia’s mentality was that Coach Elliot recruited her for a reason, so she should respect her as a player. “If I don't feel like I'm respected as a player, I'm not going to agree with how you are conducting yourself on this team and as a coach and how you treat other people in general.”


Former and current team members expressed how they felt about the potential misconduct and student-athlete complaints in LMU’s cross-country program. 


Sophomore Morgan Deboard, a former women’s basketball player, describes LMU athletes as “one big family” and that she is “proud of the people who were strong and could speak about those issues.” 


Aubree said she knew many of the people who spoke out personally. “Athletes deal with so much shit day-to-day, so much pain, so much frustration,” Aubree said. “I realized that sometimes it's hard to see when your other fellow student-athletes are also hurting, just because they're not on the same playing field as me.” 


In regards to the allegations against Coach Elliot, while some former and current players were relieved, some were surprised and did not see it coming. 


“I'm actually kind of sad just because I had a good experience,” Morgan said. She gave me that opportunity to play basketball again.” 


Coach Elliot did not respond to Agency's request for comment.


When these women’s basketball team members were asked what LMU can do to change and make this a better experience for prospective and current student-athletes, it was unanimous. They all wanted for people in higher positions to actually listen to them, be transparent with them, understand them, make better accommodations for them, and make them feel safe and secure.  


On Friday, April 17, Athletic Director Craig Pintens announced that Aarika Hughes will replace Coach Elliot as head coach of the LMU women’s basketball team.


In an interview, Hughes expressed that she wants to be the type of coach to understand the balance between college athletics and being a student. 


“I think right now and along with the responsibility that we put on student-athletes in general, is something that I strive to build here,” Hughes said.


“It's not just about turnovers, rebounds, wins, and losses, it's also about the four years that you're going to grow and really experience things off the floor as well.”


*This source has requested to stay anonymous. 

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This Is My Jam: Brooklyn Kelly

Thursday, February 25, 2021

This Is My Jam: Brooklyn Kelly

By Simone Soublet, Edited by Myles Dement, Produced by Raven Yamamoto, Nick Canchola




Simone Soublet and Nick Canchola continue getting down and personal with artists and musicians from LMU with their podcast “This Is My Jam!” 
Through their conversations, they hope to shed light on these artists’ past, present, and future. And of course—listen to some music along the way. For the third episode, host Simone Soublet is joined by Brooklyn Kelly to talk about her most recent and future projects. 

BEGIN TRANSCRIPT

Simone Soublet (SS): I’m Simone Soublet and This Is My Jam. Thanks for tuning in! We’ll be getting down and personal with our favorite artists and musicians. Through our conversations, we hope to shed light on their past, present, and future and, of course,  listen to some music along the way. Today’s guest is Brooklyn Kelly, a junior theater arts major at LMU. 

SS: Brooklyn was inspired by the performers we all listen to and love.

Brooklyn Kelly (BK): When I was around seven years old, my mom was cleaning around the house and while I was watching her clean, she would actually put in, like, she had DVDs of Beyonce and J-Lo's tour videos from back then. So, she would play them while she was cleaning the house and I would just sit in front of the TV, just like, “Oh my God, I want to do that. I want to do that.” And I would sing along to all their songs and my mom was like, “Oh, okay. That’s interesting.” And I remember after that, I was like, “Can I go to do singing lessons? I want singing lessons.” So, yeah, that's what first inspired me was Beyonce and J-Lo’s tour videos.

SS: What got Brooklyn actually writing and composing music were artists like Alicia Keys, Nicki Minaj, Lady Gaga, Jessie J, and Little Mix. 

BK: Alicia Keys is probably one of my biggest inspirations, but also Nicki Minaj, because back then, like, you know, she's coming out with “Moment for Life”...Oh my God right? It’s like one of the greatest. I think I listened to it like last week and I was like, “Oh my God, I forgot about this song”. Like Nicki Minaj was really like that person for me too and I even dressed up as her for Halloween when I was a kid, because I loved her, I adored that woman. Also, I would say Lady Gaga and Little Mix as well and definitely Jessie J when I was younger. It's mainly because Lady Gaga, back then I was like 10 or 11, Lady Gaga came out with “Born This Way” and Little Mix came out with “Wings”.

SS: I asked Brooklyn about why these artists inspired her specifically when she was younger. When she was about 10 or 11 years old, she was being bullied. To cope, she started writing. Writing turned into journaling, and journaling turned into songwriting. Brooklyn explained how she has accumulated a lot of journals over the past 10 years. 

BK: I was getting bullied at school and the only way that I coped with that was by writing and journaling, which I thought was really cool because the moment I knew how to write and read, I did it, like I journaled. And pretty soon when I would watch videos of my favorite artists, I saw that they always had like these journals with like their thoughts and everything. So then I started writing music and I was like, “Oh, songwriting is journaling. This is how I can make music”, you know? And it was really cool because that seed was planted at a very young age. 

SS: As a musician, Brooklyn has settled into the genres of R&B and rap. After all, all of her favorite artists and musicians growing up were of that genre. Pop makes it into her rotation every once in a while, but R&B and rap have always been king. 

SS: Brooklyn’s creative process as a musician is intricate And all you artists and musicians listening to this podcast right now? Take notes.

BK: I think what helps with my creative process, where I start, is I always have to have a drink, so I'll always have like, water or like a tea, a hot tea, or always have boba. Like, I always need a drink, but I've definitely written a lot of things with boba. And then I'll start with stretching because I believe that, you know, if I can, well, obviously sound also resonates in our bodies, so as a singer, it's really important to stretch and warm up and then also warm up the voice, and then the process of songwriting, sometimes, I'll look back at old journals. I have a whole shelf of all the journals I've kept ever since I was 10, so now I'm 20. So 10 years later, I have a whole plethora of my own library right there next to me. So sometimes I'll pull old concepts or I have like a list of songs that are not fully finished that I can like come back to or sometimes I'm like, “I hate everything that I've ever written. I'm going to start from scratch. I'm going to go sit at my keyboard and I'm just going to try to see what comes up organically” or I'll hear one instrument or I'll hear one melody. It's just really sometimes, “okay, let me see what I can make out of this old thing” or ‘let me just see if I can create something new”.
[ MUSIC: “Main Character” ]

SS:  In her first single, cheekily titled “Main Character”, Brooklyn takes us on an emotional journey. She expresses how the combination of emotional lyrics along with the jovial tempo makes the song feel complete.

BK: It's crazy that I even released something out of what I was going through essentially. So, I mean, this might get a little dark and morbid, but, what I love about “Main Character” is that it sounds very jovial in the juxtaposition to where I was mentally and emotionally. At the time, I wrote it in September, I wrote it over the span of like 24 hours. Black lives matter had happened from the summer, and you know, we were already in the fall 2020 semester and I did 20 credits, so I was overwhelmed all the time. I was watching people on the screen that looks like me being killed. Now, that's nothing new, if you're black in America, like that's nothing, that's nothing new at all. But what was really unsettling was the friends that I've had that were other POC’s and white people from my whole life, you know, seven, eight, nine years of friendship, the way that they responded to Black Lives Matter was really unsettling. That's really sad because those kinds of relationships were part of my identity for so long, you know? Like those are your friends, that's your hometown, that's your people. And the way that they would respond to it was not as open-minded and not as woke. I hate using that word, but like woke was the only thing I could think of. And so what that did was that gave me a lot of anxiety, so I had a lot of all these multiple things affecting me at once, like a storm and I was so anxious all the time. As a result of my anxiety, I was dealing with derealization, which essentially is like, you don't recognize your reality is real. So I would wake up every day, go to class 20 credits, and I would stand in the mirror, brushing my teeth and I'd be like, “I do not like recognize that this body that I'm looking at in the mirror is me.” And I would look at my hands and I'd be like, “this doesn't look like me.” And I would like, look at pictures of myself and I would look at, you know, even inanimate objects on my desk and, what it was was I was like, “this life isn't mine.” Like, I felt like my life wasn't mine because I was seeing it being robbed and seeing the altercations of what I thought was my life flip, you know? And most people can relate to that. One day, I was on Tik Tok, I laugh about this now, but I was on Tik Tok, and, do you remember the trend that was like, “You have to start romanticizing your life. You have to start thinking of yourself as the main character.” And I was like, “Well, what does a main character look like?” We're given so many stories of POC’s, of people with different backgrounds, from different perspectives, and they're all main characters in that story. And I kept thinking to myself, like no one wants a main character that can't even recognize her reality. And I was like, “wait, that's actually kind of a cool concept. I'm not real right now, then I can be a different character in this song” and I was building this song essentially, where this person in this song was tired of her reality and she's anxious and she doesn't know what's going on, and she's like, “well I guess”, you know, “I guess I am”. This beat is by Tyler Jay, he's really cool, a very cool, cool, cool person to work with so when I first opened it, I swear, it was this weird thing that just like woke up inside me. If you listen to the beginning of it, it sounds like it's a sunrise. I don't know what it was about it, but it sonically sounded like hope and peace and comfort all in one. It sounded like a sunrise and when you associate a new day with something that means there's hope, like you can move on. So when I was writing it, I was really focusing on the cliches of like, “well, I'm not a fairytale girl and this is the real world I'm living. Like, there's no magic. I have to be realistic, but I don't even know where to start.” And I think that has a lot to do with where I'm at in my age, where I'm at in college, where I'm at in the world. To really write something like this, it basically was a way for me to reclaim my life because I said that it didn't feel like it was my own. So it was a way for me to reclaim my existence in the sole fact that I'm breathing and I'm here and I'm like real. And I want to someday say these words to myself. In the first chorus, “I guess I'm the main character” like the lyrics are, “I guess I'm the main character”. Then when the second chorus rolls around, it's like, “damn right I am'' like, “damn right I am the main character”, and that progression is really important because, you know, calling yourself the main character is like you're afraid of being egocentric. So that's, essentially, the birth of it, which I love because it's so juxtaposed by the… I think it's corny sometimes. “This is the real world”, you know what I mean? It's like, so cutesy and happy-go-lucky, and it's cliche, but I love it because of where it came from and its origin.”

SS: Brooklyn collaborated with Jozondi, a junior at LMU, and they created a song called “Voicemail”. “Voicemail” was greatly influenced by the Black Lives Matter Movement. 

BK: I mentioned people in my past were like, not really checking in on me. These people that I've known for my whole life had never once called me. That's why it's called “Voicemail” because I call myself in it and I tell myself the things that I wish that I heard from them because I never got those phone calls. I still have never gotten those phone calls. I still have never been checked on by half of these people and that still hurts, you know? One of the biggest things when digesting the news and talking to so many people about Black Lives Matter, it's like, I just don't understand how you don't support it. And, you know what, I've gotten to a point where I don't want to understand how you don't support it, because I'm not going to sit here and go through emotional turmoil as you try to negate my existence. Like, I'm good. So that was the thing is like, “I don't understand. I don't understand”. I wrote this song, talked to my producer about it, and I was like “yo what do you think?”, but like something's missing. I really, really, really want a male rapper. And I was like, I do not know anyone. So I was like, “damn well, I guess, I guess the song’s never gonna be made then.” I saw on my feed that Jozondi released a song called “Joker'' that was reflective of the Black Lives Matter movement. As soon as I pressed play on that video, I was like, “Oh my God, that's the voice. That's the voice. That's that exact tone quality, like his cadence. That is what I want on my track.” So I DM’ed him on Instagram and I was nervous because I've never had a conversation with him, not one conversation with him. Like, you know, we never had the formal meeting. So I was like, “yeah, I have this beat and dah, dah, dah, dah, dah, here's my number”. We set up a call and we talked about it. I showed him my ideas and he was like, “that's sick”. And I was like, “yeah so, send me your part, in two days or however many days”, he's like, “bet I got you”. I received it and I was playing it with Jiro while we were on FaceTime and I was like, “this is insane”. This man's vocals are insane and if you listen to it, when I first heard it completely done, I was crying to myself because I was like, “oh my God, this sounds like a real song.” It's really weird to think of something that I created to be on Spotify still so many years later, but it's so cool because it sounded so fresh, you know what I mean? It felt really good to release it, it was fun working with Jozondi, he's a really great person. So I was super excited when it came out.
[ MUSIC “Voicemail” ]

SS: During a time where social distancing and isolation have become the norm, many artists and musicians have felt their creativity dwindle during COVID. But for Brooklyn, staying in has helped her realize that taking a break, a breather, or a pause, is okay. 

BK: Taking a break does not make you a failure. It doesn't mean that you're worthless. Doesn’t mean that you didn't do well. Doesn't mean that you're weak, doesn't mean that you're not strong enough to persevere; taking a break is sometimes what you need, you know? When I was around 15, 16, 17, I have these directors that would tell us all the time that if you take a break, then you're wasting your time and people are going to surpass you; people are always going to be better than you and that's really hard to hear. One thing is I was always so afraid, I will admit this now because anyone who's listening to this, I'm sure outside of artistry, you can relate. I was so afraid to take a break because I was afraid that I was a failure. That that would deem me a failure because if I don't take a break, then that means I was weak. I was a failure and therefore I'm not good enough to keep going. I was afraid to take a break because I was afraid that I wasn't good enough and that I was never going to be good enough. If you're not doing something sustainably and healthily, something is going to break. So it's either going to be you, or it's a break from this thing for now. For me, when I take breaks, that's when I become the most intuitive and the most wise, because I'm able to take a break, heal, do whatever I need to do to make sure I'm good. Self care is really, really, really important whenever, you know, you’re always constantly busy. Maybe I'll look at something from a different perspective because now I have the whole big picture. When you take a break, you're able to take away your focus from that one immediate circumstance and put yourself in the shoes of the greater picture of what you want or what you need to do next, and then I'm able to move. I think that's something that's so precious because taking a break comes with the accountability for myself, and that means that I trust myself because I trust that I'll be able to go back to work and be just as diligent and that's something that I think that is really, really, really, really, really, really important. There's times where I've done the 12 hour days and then there's times in quarantine where I also just was like, you know, I'm watching anime all day today, I'm going to get boba, I'm going to eat everything under the sun. I'm going to order in, I'm not going to use my phone. I'm just gonna watch TV all day and I think that is the most beautiful thing, because I'm productive in both forms. I'm productive in one, cause I'm taking care of myself and I'm productive in the other because I'm doing my craft, you know? I’m productive in both forms. It's a beautiful thing.
SS: So what’s next for Brooklyn? Well, she says that she ~might~ finally release an EP she’s had on lock for almost a year now. She's also learning how to produce music by herself and for herself has inspired her to create more and grow as an artist . So much so that on Friday nights on Youtube Live, she’ll be livestreaming weekly covering some of her favorite songs and taking requests from the audience. No plans, just vibes, so tap in!

SS: Alright Brooklyn, where can we find you? 

BK: Okay. My social is I'm going to just direct everybody to one, so it's much easier. So on my Instagram, which is @brooklyn.kelly.music. I have a link in my bio for my LinkTree, which has all my other links, such as YouTube, SoundCloud, Spotify, even Depop, if you want to shop my closet, that's an option. But yeah, you can totally tap in to any of my social medias, even my Tik Tok is listed there. I'm just going to direct you to Instagram, while you’re there, follow, DM that you listened to this and, “Hey, what's good.” And yeah, the rest of my links are underneath my LinkTree.

SS: Thanks for joining us today! I’m Simone Soublet, and this episode of This is My Jam  was brought to you by Agency LMU, the Bluff’s first independent student news source. This installment was edited by Myles Dement and produced by Raven Yamamoto and Nick Canchola with theme music brought to you by Dyalla. 

Graphic: Nick Canchola


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ASLMU approves spring budget, increases funding to Menstrual Hygiene Initiative and ASLMU elections

Monday, February 15, 2021

Photo: Christina Martinez
ASLMU approves spring budget, increases funding to Menstrual Hygiene Initiative and ASLMU elections

By Christina Martinez


On Jan. 24, at its first meeting of the semester, the ASLMU Senate voted on and approved a revised budget that cuts funding for in-person programs impacted by COVID-19 and redistributes them toward previously established projects.


As reported by AGENCY in November, ASLMU’s fall budget was approved under the assumption that the Spring 2021 semester would have in-person classes or at least run on a hybrid model, and ASLMU Chief Financial Officer (CFO) Isabella Ramin said that she had planned to reallocate portions of the budget elsewhere once LMU finalized their Spring instruction plans.


The approved budget proposal redistributes what remains of ASLMU’s $500,000 yearly budget toward different projects for the Spring 2021 semester.


$20,000 will be reallocated to the Menstrual Hygiene Initiative, which was launched in Jan. 2020. Prior to LMU’s shift to online learning in March, the ASLMU-funded pilot program placed period product dispensers in seven bathrooms on campus.


According to information released in the Spring 2020 semester, ASLMU’s original plan was to “conduct listening sessions and launch student surveys to collect data that will help secure funds for the second phase...a full-scale, university-funded free-product program.”


Ramin says that the increase will allow ASLMU’s program to cover more bathrooms on campus when LMU returns to in-person instruction.


“This initiative is very important to this year's administration, and we hope to expand it for when we are able to go back on campus,” she said.


Another $7,500 was appropriated towards the ASLMU Elections Committee. According to the ASLMU Elections LEO page, the duties of the committee are “to recruit candidates to run for the positions of President, Vice President and Senator [in ASLMU], as well as encourage the entire undergraduate community to vote.” 

According to Ramin, these new funds will be utilized for the Election Committee’s “rebranding and [Committee] member stipends.”

The Elections Committee will have 150% more funding than previously budgeted., The revised budget comes during the Elections Committee’s recruitment period; ASLMU is currently accepting applications for upcoming student government elections.


To account for these reallocations, cuts were made to general administrative costs, the Vice President’s discretionary fund, the Senate administrative fund, and overall student programming.


“The majority of funds were cut from [ASLMU’s] in-person events that were originally planned for the Spring Semester,” said Ramin, referring to past programs such as Waiting Out Traffic.


There were no budget cuts or increases to the other discretionary funds, salaries of paid ASLMU officers, or the Student Activity Fee Allocation Board (SAFAB).


A new summarized budget breakdown of all branches and initiatives of ASLMU was provided to the Senate at the Jan. 24 meeting as follows:


  • Salaries & Wages - $53,500

  • General Administration - $32,921

  • President - $7,500

  • Vice President - $10,000

  • Chief Financial Officer - $150,500

  • Chief Communications Officer - $500

  • Chief Programming Officer - $188,829

  • Cabinet Historic Initiatives - $43,000

  • Senate Administration - $500

  • Elections Committee - $12,500

  • Judiciary - $250

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Poem: The Unintelligibility of Love

Sunday, February 14, 2021

Photo: Raven Yamamoto

Poem: The Unintelligibility of Love

By Jolie Brownell


We can love without fully making sense to each other.


my body, an unfamiliar language,

the way i move does not speak to you,

a language not made for you, my body not made for you.


my existence not yours to make sense of.

not yours to interpret.

not yours to understand.


we fear that which we do not know.

yet, you may not know my name,

but you know my body.

the language of human.


what my body does, what my body does not do,

does not need to make sense to you,

to still be a body.

what my language says, what my language does not say,

does not need to make sense to you

to still be a language.


to equate ‘understanding before’ to respect,

to equate ‘familiarity with’ to dignity,

is to violate my body, 

is to misinterpret my language into the sound of your comfort.


i do not owe you an explanation for who I choose to be.

i do not owe you access to my language.

ask yourself what gives you the right to fully understand me?

what gives you the self-entitled power to own my body?

own rights to my language?


me not giving you rights to my body, 

is not my body harming you.

me not giving you translations to my language, 

is not my language insulting you.

it is the truth that the interconnectedness of our humanity,

the interconnectedness of our language,

still powerful without fully making sense to each other.


the details of my sways, my steps, whose hands i hold, 

whose body my body rubs,

irrelevant to you,

yet not unimportant.


the details of my words for joy, my phrases for love, how i call myself,

my language for tomorrow,

not the same as yours,

yet not unimportant.


there is love in difference,

there is difference in love.

there is love in irrelevancy,

there is irrelevancy in love.


to believe you can only love what fully makes sense to you,

to believe you can only respect what first makes sense to you,

is to believe yourself as undeserving of love.

do you fully make sense to yourself?


there is this unintelligibility about love,

the ‘what words just can’t quite fully describe,’

the ‘i don’t have the words to explain it, but you…’


there is this ‘i don’t know’ in love.

do not fear this ‘i don’t need to know’ in love.


-\jolie brownell

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Trouble in paradise: Mass layoffs at private universities continue as the pandemic rages

Tuesday, February 9, 2021

Photo: Brook McArdle, for The National Catholic Reporter

Trouble in Paradise: Mass layoffs at private universities continue as the pandemic rages

By Aaron Padilla

In late November of 2020, a group called the Coalition of Jesuit Higher Education Workers and Students organized against austerity measures enacted by Jesuit universities hoping to ease the financial blow caused by the COVID-19 pandemic.

The coalition’s petition called for a moratorium on job and pay cuts, demanding that Jesuit universities “seek all other avenues of ‘fiscal solvency.’” The petition also advocated for staff and faculty oversight of budget decisions, greater budget transparency, a fair process for unionization, and to give faculty the choice of how they wish to work during the pandemic.

The petition additionally emphasized that the firing of such workers and faculty was in violation of the Jesuit value of “cura personalis,” which holds that Jesuits have a commitment to the nurturing and care of the spirit, intellect, and body. The Coalition extended the interpretation of “cura personalis” to mean that this care is extended to all students, workers, and faculty who make up Jesuit institutions.

The Provost’s office at LMU stated that austerity measures were taken to provide additional student aid in an email. 

“The [student aid] funding comes from budget reductions, employee furloughs, executive pay cuts, and other sacrifices made by faculty, staff, and administrators working around-the-clock to support our students through this pandemic,” the email read. 

Many ASLMU senators and body members including Vice President Elsie Mares, Speaker of the Senate Kyle Saavedra, Senator for Diversity and Inclusion Camile Orozco, and Senator at Large Sally Dean signed the petition.

Marquette University in Milwaukee received perhaps the harshest criticism among these Jesuit universities. According to Inside Higher Ed, the university laid off 225-300 faculty and staff in response to enrollment deficits and other financial shortcomings resulting from school closures. 

In an email to Inside Higher Ed, a Marquette spokesperson claimed that leadership pay cuts, 403(b) suspensions, and spending reductions were not sustainable for the university.

This response fueled mass in-person protests at the university by faculty and staff. Because of these protests, petitions, and widespread criticism, Marquette entered into labor negotiations with its workers. 

Other universities also faced fierce backlash, according to the National Catholic Reporter. The American Association of University Professors (AAUP) is investigating Canisius College in Buffalo and threatened John Carroll University in Ohio with investigation if they enacted austerity-driven layoffs.

This pattern of austerity cuts and backlash from students and labor groups has continued as the pandemic drags on and universities endure further financial shortfall.

On Dec. 31, 2020, the University of Southern California (USC) laid off a large number of its janitorial and service employees, as well as several adjunct faculty. As a result, organized labor groups such as USC’s Student Coalition Against Labor Exploitation (USC SCALE) organized in-person protests and drafted a petition in hopes that President Carol Folt would hear their demands.

President Folt responded to SCALE via email, citing financial troubles and cut revenue streams brought on by the pandemic to justify the recent wave of layoffs. Since the start of the pandemic, USC has reported an estimated $34 million in damages and lost revenue. In response, the university furloughed and later fired employees who worked in services that made up a large portion of its revenue, such as housing, retail, and janitorial and food services. 

Although the university claims that fired employees will return to work as soon as it is possible to do so and will receive the same benefits, labor groups at USC are suspicious of such claims, as many of the employees furloughed in late June were informed their contracts would expire on Dec. 31.

“In June, we informed the employees that the benefits program would expire on Dec. 31 if we were unable to return to normal campus operations. Even with six months’ notice, it is not a welcome situation,” President Folt wrote in an email to SCALE.

Stephanie Solis, a representative from USC SCALE, says that the university has been secretive and dismissive in its response to workers, faculty, and labor groups. Solis characterized Folt’s response as “generic,” delivering the same message with small alterations to all groups at risk of being laid off.

“Time and time again, throughout contract negotiations in the past, this has happened,” Solis said. “This shows its true colors, that it’s not looking out for its ‘Trojan Family’. Most workers are getting their healthcare cut off in the next couple of months, in the middle of a pandemic.”

The petition sent by USC SCALE posed alternatives to furloughing workers during the economic downturn. Signed by over 1900 students and faculty, the petition proposed liquidating assets from USC’s endowment fund, estimated to be worth nearly $5.7 billion.

In one of SCALE’s Instagram posts, SCALE highlighted the fact that the $34 million lost due to closed athletic facilities, postponed seasons, closed student housing, and closed student hospitality services is worth “less than 6/10 of 1% of the university’s endowment.”

The president’s office did not respond to Agency’s request for comment.

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