Expecting mothers are living in fear of having a daughter. Many Southeastern Asian women face this issue, which is evident in the documentary “It’s A Girl.”

Students Advocating of Gender Equality (SAGE) hosted the film, which was shown April 18 in Graf 100.

“It’s A Girl” focused on female gendercide in India and China. Many newborns are killed if they are girls and kept if they are boys.

Surviving girls are often abused  and neglected and girls under the age of 5 have a high mortality rate. One in four girls do not live past puberty.

In India, 100,000 women  are murdered annually because they did not give birth to a boy or their husbands were not satisfied with the dowry. Courts often ignore dowry crimes and crimes against women.

In 1979, the Chinese government enacted  a policy that allowed a couple to have only one child. Rural families were able to have a second child only if their first was a girl.

The Chinese family planning police actually enforces the once child policy, and anyone can report on anyone. The family planning police take the women who are ‘illegally’ pregnant and force them to have an abortion.

These women are also fined 10,000 Yuan ($1,500 U.S.). In the ’80s, parents were denied 10 percent of their income for 14 years. Many people tried to go into hiding to have their ‘illegal’ baby.

In China, there are 13 million abortions per year and 500 women commit suicide per day.

Gendercide has increased sex trafficking, child trafficking and prostitution.

Some young girls are kidnapped by families to become the wives of their sons. Hundreds of thousands of baby girls are orphaned or abandoned each year.

“I am at a loss for words. I had no idea about the dowry system, and I didn’t know a lot about gender issues and women killing kids,” sophomore Alex Lazar said.

Visit www.causes.com/actions and search female gendercide to sign a petition that encourages leaders across the world to address this issue.

It is dark.  The grey sky outside matches the gloomy feel of those hiding in the streets.  Food is scarce to none. Help is a word that has lost all meaning. Buildings are in ruin from the bombs that have threatened Sarajevo.  And yet, four brave musicians stand in spite of this scene and play for their people and the hope of their city.

This was the scene Dr. Dijana Ihas lived with for three and a half years during the Bosnian War in the ’90s.  Ihas played the viola in the Sarajevo String Quartet; a group that captured the attention of the Bosnian government, rewarding it with prestigious honors for its efforts of preserving human dignity, as well as the attention of the world.

“When we played, we juxtaposed the horrible things of the war with our beautiful music,” Ihas said when she came to visit Linfield on April 19.

She came to help the choir prepare for its spring show.

“Even though spring is usually about spring fever and sun and happiness,” Anna Song, assistant professor of music and director of choral activities,  said.  “We are singing about things that are dark and opposing to that, and Dr. Ihas can hopefully help give everyone a better sense of what those things feel like.”

The group’s first show after the war began was a remarkable tale. Bombing sirens sounded as the quartet walked to its performance. However, it decided to play anyway in front of an arbor of the bombed Jewish church.

It began playing for its families who were there when others, who had been running for the safety of their homes, stopped and began to listen as well.

“As I was playing, I began crying,” Ihas said. “Because for the first time, I understood that music was not just entertainment, it is a basic necessity in life.”

The Sarajevo String Quartet played 206 shows during those dark three and a half years; in broken churches and hospitals, but for people who were finally becoming unbroken.

“Music connects us with the meanings of our lives,” Ihas said. “It helps us find the pathway to self-actualization, and I think people are beginning to see that.”

The Linfield choir will host its Spring Choral Concert May 12, hopefully learning from Ihas and taking her words to heart.

Sara Miller/For the Review

Sara Miller can be reached at linfieldreviewculture@gmail.com

A mix of Wildcats and community members gathered in a lowly lit Ice Auditorium until a soaring sound hushed their quiet chatter. The powerful sound of John Harbaugh’s trumpet signaled the beginning of the show.

Joan Haaland Paddock, Linfield professor of music, and John Harbaugh, professor of trumpet at Central Washington University, combined talents during a faculty recital called “Duo Trumpets” on April 18 in Ice Auditorium.

“This is such a treat to collaborate with my friend, John,” Paddock said.

John Harbaugh’s wife, Teresa Harbaugh, was also an important element of the recital. She played the piano and the organ during various pieces.

Paddock, dressed in a black blouse with subtle bronze sparkles, and John Harbaugh, in a sleek black suit, marched on stage for an opening piece. They played “For Awakening the Good Fat Monkey King (Who always sleeps with one eye open).”

John Harbaugh launched the show with four pieces from “Concerto in D, TWV 51:D7,” accompanied by Teresa Harbaugh on the organ.

Paddock played her solo from “Concerto in Eb major, WoO 1, S49” with Teresa Harbaugh on the piano.

John Harbaugh took the stage alone again. Teresa Harbaugh joined him on the piano. This piece, “La Mandolinata,” carried a choppy tone.

Next, Paddock and John Harbaugh played their first full-length piece together “Airs de Triomphe.”

The duo often played extremely fast but were able to harmonize.

“I was impressed by their ability to not only skip octaves but to also scale through them,” junior Conner Varnell said. “Obviously these two have had much practice perfecting their niche.”

After a brief intermission, the duo performed three pieces from “Centennial Horizon” and  “She’s Gone Away.” Teresa Harbaugh performed a solo movement on the organ from the piece “Ein feste Burg ist unser Gott.” And the recital concluded with “My Spirit Be Joyful.”

Although there were not many students in the crowd,  the performance inspired at least one.

“I just want to make the most of my time here as a Wildcat. And tonight was a perfect example of why,” Varnell said. “The performers were marvelous, and they gave me chills of excitement. Now that’s worth getting off your couch for.”

Carrie Skuzeski/Culture editor

Sara Miller can be reached at linfieldreviewculture@gmail.com

English professor Katherine Kernberger discusses her recently published book, “Marie and her Passions,” on April 4 in the Nicholson Library. Kernberger’s mother began the process of translating Matie Bashkirtseff’s journals 40 years ago. Kernberger took on the job for her mother, and now the product is finally finished.

After 40 years dedicated to tireless translation, readers can indulge in the book “The Journal of Marie Bashkirtseff.” It was recently published by English professor Katherine Kernberger who discussed its contents April 4 in the Nicholson Library.

Kernberger’s mother spent nearly 20 years translating and editing the work of Marie Bashkirtseff, which was written mostly in French. Unfortunately, her mother passed away before she could finish.

Kernberger took charge of her mother’s project in 1991 and has finally completed it after an additional 20 years of perseverance.

Bashkirtseff was born into a wealthy family in the Ukraine in 1858. She was famous for painting, sculpting and keeping a diary throughout her fleeting life. She developed tuberculosis and perished just before she turned 26.

Bashkirtseff began keeping a journal when she was 14. In her book, Kernberger features only a fragment of Bashkirtseff’s complete diary that encompasses 106 notebooks.

Kernberger named her book after the countless passions that Bashkirtseff pursued.

“She wants so be remembered by several generations,” Kernberger said. “And she sets out to make her mark on the world in several ways.”

Kernberger said that Bashkirtseff believed she would succeed at all things she tried.

“Ambition. The dominant trait of my character is ambition. For which I would sacrifice all,” Bashkirtseff wrote.

Kernberger said that Bashkirtseff’s confident self-conception was supported by those around her. She was constantly admired by her family and members of her community.

“I am completely in love with myself,” Bashkirtseff  said.

Even though Bashkirtseff was privileged, she found it difficult to receive an education, especially one equal to the type offered to men.

“Marie sets out to get her own education. Hiring and firing, on occasion her governesses and tutors, Kernberger said.

“Working to learn languages thoroughly enough to speak, read and write well in French, Italian and English, along with her native Russian. And studying history, physics, chemistry, things not normally within the interests of young women.”

Bashkirtseff was infuriated by the oppression of women during her era. She longed for equality among men and women.

Kernberger said that Bashkirtseff often wasted her time on thoughtless activities. She fixated on shopping and having luxurious clothing.

“The preoccupation she wastes most time with, however, seems to be her endless list of crushes and flirtations,” Kernberger said.

She liked to pursue scandalous men, and seemed to lose interest in any man who began to show interest in her.

Bashkirtseff often felt alone in the world because no one understood her intelligence.

Bashkirtseff aspired to be an opera singer above all things. However, symptoms of her illness began to develop, and she lost her voice for more than a year.

So Bashkirtseff looked toward a career as an artist.

“I must devote myself to painting,” Bashkirtseff wrote. “Because it creates an imperishable work.”

Bashkirtseff and her family moved to Paris where she attended an arts school called Académie Julian. She created an extraordinary amount of art during her short time in Paris.

Her most famous work includes a portrait of Paris children called “The Meeting” and a portrait of her fellow art students working named “In the Studio.”

She passed away in 1891 when she was 25.

It took great ambition to finish translating Bashkirtseff’s own ambitions.  And the Kernberger family will forever be recognized for such devotion to Bashkirtseff and her work.

Carrie Skuzeski/Culture editor

Carrie Skuzeski can be reached at linfieldreviewculture@gmail.com.

The older I get, the more I notice how theaters are running rampant with remakes.

With the highly anticipated new rendition of “The Great Gatsby” on the way, critics and moviegoers are realizing how remakes are becoming a staple in every theater.

Don’t get me wrong, I often enjoy remakes. However, it is disappointing that fewer and fewer movies are based off of original screenplays and innovative story telling.

Some say that nothing is truly original, that every movie is in some small way or another influenced by past movies and other forms of art, but that isn’t my main point.

I am saying that Hollywood is lacking creativity, and it’s our generation’s job to pick up the slack.

The last three or four movies I’ve seen in theaters were either based on books or previous movies. I enjoyed them all, but it seems to me that we are at a point in time when Hollywood’s creativity has hit an all time low.

I realize that recreating a movie or television show is a different form of creativity, but I’d like to see more movies or television shows that have an original plot.

The big screen isn’t the only place where this lack of creativity has taken place. Two of the biggest shows on TV right now, “Game of Thrones” and “The Walking Dead” are based on a book and graphic novel series.

Not that they aren’t fantastic pieces of television, but I’d like to see more originally produced shows like “Parks and Recreation” and “Breaking Bad” dominating the air. These original shows tend to be more thought provoking and have characters that are much more relatable to the times.

Remakes often aren’t culturally significant anymore, or at least ruin the original movie or television show.

For example, “Joey” was a spin off from “Friends” that almost made me dislike Matt LeBlanc. That is hard to do!

Or, the newest serial killer television show, “Bates Motel” is definitely lacking creativity in comparison to its competitor and the newest original show, “The Following.”

By no means am I saying remakes are terrible and that content should be based on nothing but the creator’s imagination.

However, I hope creativity will spark again soon for Hollywood in hopes that a more equal balance between original content and remakes occurs.

Alyssa Townsend/Opinion editor

Alyssa Townsend can be reached at linfieldreviewopinion@gmail.com

Fresh off the elephant ride after the stunning proposal by a pond, everything seemed perfect in the lives of the newly engaged couple Sean Lowe and Catherine Giudici.

If participating on a dating show wasn’t enough to start their relationship off on an unrealistic foot, then the events following don’t help much either.

Let’s start off with the fact that they had to keep their relationship a secret until the finale aired. This means no proper dates at Applebee’s, or if you are super classy, Olive Garden.

No putt-putt golf, no movies, no long walks on the beach, no nothing. You can’t even send flowers because the news would spread quicker than wildfire.

Oh wait, you thought no flowers were bad, how about not seeing each other at all. Talk about a set up for disaster.

The key to a relationship is that you spend time together. No relationship that has been kept a secret has been functional.  Just watch an episode of 90210, you will understand!

In addition to the fact that these two love birds could not see each other for quite some time after shooting, Sean also decided to sign up for “Dancing with the Stars.”  Um, come again, Sean?

Instead of doing the “sexy fox trot” with Peta Murgatroyd, you should probably be doing it with Catherine.

I mean, come on, what are you thinking?

Despite how strong you claim your bond is with your fiancée, a normal girl is going to get jealous of you swinging your hips and having fake (but probably slightly real) chemistry with another girl, especially one who is a skilled dancer.

We have all seen the tabloids claiming that their relationship is ending before it really began.

Who knows whether US Weekly can be trusted, but let’s be honest with ourselves, the situation does not play in the favor of Catherine.

Sorry, girl, but welcome to what just might be round two of the “Bachelor.”

If I were you, I would start learning some dance moves because it probably won’t be long until you have to compete with Peta for some one-on-one time.

Watch out for the rose ceremony in the near future because you might not be getting a rose this time.

Needless to say, I am hoping for the best. We don’t need another “Bachelor” couple hitting the dust, but the way their relationship is put together, they are being set up to fail before they even get out of the blocks.

As amazing as the “Bachelor” experience may be, it’s not realistic.

Sorry ladies, back to the bar.

Kate Straube/Photo editor

Kate Straube can be reached at linfieldreviewphotos@gmail.com.

Being at the forefront of the 21st century, there is a wealth of great technology at the disposal of the college.

However, Linfield chooses not to use many of them. Students are not even required to own a personal computer. There are many things that can be done to change the way the campus deals with technology, which will only improve the communication lines between students, faculty and staff.

An area that can be easily changed by embracing technology is the amount of paper that students and staff print.

Blackboard is a great way to share documents with students and also turn in assignments, but students print way too much.

As a student taking a lot of social science classes, I read hundreds of pages worth of Blackboard documents a semester. I read them on my computer or eReader, but there are a great majority of people in my classes that print everything out.

Some teachers even require that the documents be printed.

This is not only bad for the environment, but is a huge waste of money.

If students are printing this much, just imagine what administrative departments are printing. I expect it to be a lot.

The school would save a massive amount of money if there were to be a paperless campaign on campus. It is impossible for the school to completely get rid of paper, but we should stop relying on it.

Modern electronics make it so easy for the school to curb its reliance on paper.

One tool that has been adopted by some teachers is the use of Google Documents.

This free word processor allows for collaboration on assignments and projects. Google Documents can also be integrated into Blackboard. This seems like it would make life easier for students and professors.

Many schools are starting to make tablets, like the iPad, part of tuition.

If Linfield were to do this, then students would be able to use them for reading Blackboard documents without printing and still be able to make comments.

They would also be able to save money on textbooks by having the option to buy digital textbooks. Professors who use their own texts as materials can use programs like Apple’s iBooks Author to convert their books into easily shared ebooks.

It is obvious that there are many things that the school can do to create a paperless environment. Now, action must be taken for the change to actually occur and become a daily staple to the Linfield community.

There are some people on campus that are already starting to move in this direction.

Some of the current ASLC Cabinet members are starting to work on creating a paperless office.

Other departments needs to get behind this effort to save money and the environment.

Julian Adoff/Multimedia editor

Julian Adoff can be reached at linfieldreviewonline@gmail.com.

For all of you who frequent the frats here at Linfield, you’re probably familiar with the Tyga song “Rack City,” released in early 2011.

How would you react if you heard that Tyga was coming to Linfield to perform as the main act in this year’s Wildstock?

Probably quite differently from how Harvard students are reacting to the news of the artist’s performance in their annual Yardfest music festival April 15.

Many Harvard students are protesting the arrival of the controversial artist on their campus, whose lyrics they have called “explicitly and violently misogynistic” in an online petition urging students to eliminate Tyga from the lineup.

“Rack City” is undoubtedly sexist, uses offensive language and is named number nine on BET’s “25 Best Strip Club Anthems.”

So, what is it that is making us sing along?

Have we decided to ignore the message in order to appreciate the beats in many of the popular rap and hip-hop songs of the day?

Has popular music lost its ability to inspire political and social change?

I believe these questions are central to the debate over hip-hop and rap lyrics today, which some people applaud as fun, dance-worthy songs, while others condemn them for their treatment of women, focus on drug and alcohol abuse, and general lack of artistic purpose.

The issue with putting hip-hop into either of these categories is that it ignores the varied history of the genre, which has never been accepted by those of the “high culture” set as legitimate art.

Critics would rather over-simplify this type of music as angry, violent, anti-feminist and homophobic, ignoring the music of artists like Tupac, Run-D.M.C., Wu Tang Clan and many others.

These artists in the ‘80s and early ‘90s, known as the Golden Age of hip-hop, are remembered for their innovation and subject matter.

They stimulated change socially and politically for a generation that grew up in the wake of the Civil Rights movement.

Hip-hop proved to be an important tool in educating and acknowledging the struggle of the black population in urban areas, with songs like Tupac’s “Changes” addressing drug use, police brutality and gang violence, that seemed inescapable in some areas.

Hip-hop never had a completely unified front on how to address these issues, or even on the changing sound of the genre, typified in the Common song “I Used to Love H.E.R.” about the rift between the East and West Coast rappers of the time, but at least they were addressing these problems.

Contrast that with quotes from artists of today, like Drake, who famously said that “we live in a generation where there is nothing necessarily to fight for politically.”

I would disagree with Drake. I feel there is still a strong platform for hip-hop artists to advocate for social change, as Macklemore proved in his single “Same Love” about equal rights for gays and lesbians.

While Tyga’s raps definitely push the boundaries of what is socially acceptable, it is the lack of a strong social message that makes songs like “Rack City” appear to be pointless violence.

Popular rap of the day, if not fighting for a clear message, is nothing more than fancy rhymes over strong beats.

What Harvard students are realizing is that music is not simply entertainment, but can become a powerful force for change in a world in desperate need of direction.

Olivia Marovich/Staff writer

Olivia Marovich can be reached at linfieldreviewopinion@gmail.com

As students begin to scope out new rooms, decide which friend they want to live with and stare hopelessly into their savings account, it is quite obvious that housing registration is beginning in only 11 days.

An email sent out about off-campus regulations from Jeff Mackay, associate dean of students and director of Residence Life, has many students hoping that their dreams of cheaper rent and more freedom will pull through.

Mackay announced in an email that off-campus housing is now only available to students who are in their fourth year, 21 years of age prior to the start of the 2013-14 academic year, living with parent(s) or guardian(s) in their primary home of residence within 20 miles of the Linfield campus, married or in a registered domestic partnership or have a qualifying dependent living in the primary home of residence.

This is a change from the old exemption rules in which off-campus housing was determined by amount of credits.

Some students have expressed their outrage at the new exemption rules being released so late in the year. With only a month before housing registration, many students have already been making their arrangements months ago.

One student already signed a lease to live off-campus because the old exemption rules worked for this particular student. Now, the student has a house and is also forced into renting an on-campus apartment.

Other sophomore students have been taking harder and heavier credit loads in order to meet the correct number of credits for off-campus housing. However, since they will only be juniors, the new exemption requirements do not apply.

These students have worked hard to get the correct number of credits or figure out extensive financial need situations in order to live off campus and save a little money.

Linfield is an expensive school, and it would be nice if students were given a break here and there.

With little warning, it is understandable why students are so upset by the new change.

To respond to student concerns, administration has agreed that old exemption rules continue to apply to some existing situations, while the new exemption rules will apply to future situations.

If a student lived off campus this year and will not meet the new criteria, they will be allowed to continue living off campus as long as they meet the old criteria again.

Administration will be following this grandfather clause for any student who was exempt last year as a result of the financial criteria.

Hopefully, next time housing exemptions and regulations are changed, students will get a more advanced warning; otherwise, student trust and morale will continue to drop, and no one will be happy with where they are living.

-The Review Editorial Board