e: 62 m u l Vo : 21 Issue
DRIFTWOOD The Community Newspaper of the University of New Orleans
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April 3, 2019
THE MORAL LIMITS OF COMEDY BY DEMI GUILLORY Reporter “Anyone have a joke they’re ashamed of?” Dr. Edward Johnson’s question started the March 28 lecture in the Earl K. Long library. Johnson, emeritus professor of philosophy, and Dr. William Kline, associate professor of business at the University of Illinois, were guest speakers at “Don’t Make Me Laugh: The Moral Limits of Comedy,” a talk presented by the Honors Program. The talk was an interactive discussion, with Johnson and Kline feeding off questions and comments from students throughout the course of the lecture. One student noted early on that comedy is a “release of tension” — Johnson and Kline agreed and spent the next hour supporting the claim and examining society’s changing views on what jokes are considered morally acceptable. Does finding jokes about serious issues funny make us morally corrupt? Johnson said the question is host to “complicated” answers. “It might sometimes be one [answer], it might sometimes be the other,” he said. Kline revealed that this ia 2,000-year-old debate, dating back to Aristotle and Plato. Aristotle believed that using comedy to deal with real problems was a form of “cathartic release,” while Plato insisted that laughing at bad jokes corrupts one’s character. “I fall a little more to the catharsis side. I’m quite a minimalist when it comes to ethics,” Kline said, expressing his belief in taking the “steam out of people with laughter.” Kline also questioned the role of comedy in relation to the natural human condition. “What if we need spaces to be bad?” he asked. He stressed the necessity for “designated” spaces like comedy clubs and bars where people can go to engage in vice. “I think it’s important to have spaces where you don’t have to be ethical.” Comedy, as Johnson explained, allows people an “arena” to externalize and share their feelings and concerns about socie-
tal issues, even when jokes are “from a strictly moral perspective, noxious.” However, he argued that society has changed through the years, and comedy has increasingly become a less acceptable form of approaching taboo subjects and “delicate material” than it was in the past. “We live in a very judgmental, holier-than-thou time, frankly,” where jokes are commonly taken out of context and shared worldwide on social media, Johnson observed. The person behind the joke becomes the “new worst person in the world,” he went on. Comedians face a dilemma, as Kline said. “To do comedy, you’re trying to generate a certain tension in the audience. Go too far, you break it, and they hate you. Don’t go far enough, and it’s boring.” Authenticity is a real problem comedians face, and Kline expressed his frustration with society’s inability to separate a comedian from their work. He used actors as an example. “There have been actors out there that have played really despicable characters, like in ‘Silence of the Lambs.’ Nobody thinks Anthony Hopkins eats people,” he said. The associations people make with comedians stick “forever,” Kline said. Comedians go from being “part” of the joke to the “whole” joke. “Somebody makes that [bad] joke, they immediately get associated with it, and that joke gets globally judged,” he said. Kline is hesitant to jump to moral judgement regarding questionable jokes made by comedians but said he realizes that “over time, small things can turn into larger things.” Similarly, Johnson and Kline agreed that there are obvious limits to some comedy and that some jokes are completely unacceptable. Johnson noted that it is the responsibility of the comedian to “test” the audience as a predictor of reaction before presenting their material. The talk concluded with Johnson and Kline addressing final comments and questions from the audience.
-Photo courtesy of stephenhicks.org and UNO Professors William Kline and Edward Johnson discussed, at length, comedy’s role in society and how the perception of comedy has changed through the years as society has changed.
K R E W E D U F O O L: A P R I L F O O L’S DAY PA R A D E
continued on pages 6 & 7
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APRIL 3, 2019
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NEWS
APRIL 3, 2019
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Fostering the next generation of engineers BY DEMI GUILLORY Reporter
-Photo by Demi Guillory. NSBE members Lauryns Rodrigue (left) and Kiara Horton spoke to Driftwood to encourage more people to join their growing group, share their club’s mission and their ongoing work to be a more present force on campus and in the community.
Above the door of room 308 in the engineering building is theAbove the door of room 308 in the engineering building is the acronym NSBE. It stands for the National Society of Black Engineers — a national organization that has had a chapter at UNO since 1980. Junior Lauryns Rodrigue and senior Kiara Horton are both civil engineering majors and members of NSBE who recently offered some insight into the work they do to inspire future generations of engineers. The club operates extensively on its commitment “to increase the number of culturally responsible black engineers, who excel academically, succeed professionally and positively impact the community,” as its mission statement reads. “We want to support and help members of our group succeed,” Horton said. Exceeding academically begins in the club’s meeting room, which doubles as a study space. Members frequently seek the quiet, comfortable space to study without interruptions or simply take a break between classes. “Some people even take naps here,” Rodrigue said, pointing to the large sofa nestled against a window in the room. “The room is always open, we always have someone in here to open and close [the room] for whoever needs to use it.” While a considerable amount of their time and work is devoted to academics, the group also coordinates recurring events that are designed to prepare members for their engineering careers. A few weeks ago, the group conducted a mock interview that all engineering students, regardless of their NSBE membership status, could participate in. The event, and those like the career fair, prepares members for a future outside the classroom. Horton describes the events as an “immediate” step toward her future, “a support system to make you better than just learning all the technical stuff you do in class,” she said. Both Rodrigue and Horton are encouraged by the fact the group’s former vice-president received a
job offer at one of the annual regional NSBE conferences in Dallas. Additional members have also been hired at some of the events held right here on campus. Academic and professional success of its students are products of the club’s work, but NSBE’s reach extends beyond the walls of UNO. Community service is an important aspect of their work. Events such as STEM NOLA and NSBE Junior Day engage K-12 students from inner-city schools and introduce them to a field foreign to many of them. “A lot of them hear ‘engineering,’ and they don’t know what it is,” said Rodrigue, noting that many of these students are seniors. “Our work pushes toward black people,” Horton said. “But it doesn’t matter who you are — anyone can come in.” However, their focus is aimed especially toward students in inner-cities because a lot of them don’t see engineering as a realistic option for their future. The work NSBE does with these students — tours of the engineering facility, educational talks and experiments — is all about instilling hope and confidence in their abilities. “When they see someone in our position, they can say, ‘I can do it now,’” she said. Rodrigue and Horton also reflected on the group’s growth in the years since they have joined the club. Rodrigue joined in her sophomore year and Horton became a member two years ago. Horton said NSBE was “just a title” and didn’t have an active force on campus during her freshman year. Since then, she said the club has “significantly grown and is going to continue to grow, hopefully, as long as we keep pushing and letting people know we’re here.” Students interested in joining NSBE can stop by the club’s office to fill out a membership form or email the club at nsbe@ uno.edu for more information.
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APRIL 3, 2019
FEATURES
Flag throwers in the business building
-Photo by Nicole Guillen On March 28, the Sansepolcro Flag-Wavers made a special appearance in Kirschman’s atrium for the annual Spring Business Carnival.
BY NICOLE GUILLEN Managing Editor In a wide lecture hall, I’m barely keeping my eyes open to a professor’s monotone lecture. It’s noon there are 15 more minutes of wasted time listening to a lecture as dull as a burnt-out lightbulb. Suddenly, a trumpet sounds from somewhere outside the classroom. “Alright class, I’ll let you go early. It seems like you’ve had enough.” The auditorium erupted with the creaking of seats going upright in unison. The trumpets crescendoed as students walked closer and closer to see...flags? On the easels of both entrances in the Kirschman
building, the Business Carnival was on the agenda but all that I see are colorful flags thrown by men in tights. The flag-throwers commanded the atrium with their swift and intentional swipes at each other. After their attack-dances, they found a new enemy with the wind. The students looked around to find that all students and faculty were just as mesmerized by the twirling of flags. Students were silent, phones held ready. “We’ve done different things to grab people’s attention, but never like this,” said Peggy Gaffney, assistant dean of the college of business administration. Gaffney, CBEC President Kevin Heuer and career counselor Bob Brown were responsible for this unusual yet intriguing event.
From the minute Gaffney received the unexpected phone call from the American Italian Culture Center, she knew it was an opportunity that couldn’t go to waste. The Sansepolcro Flag-Wavers is a traditional Italian Renaissance-inspired group that bases their performances on the geometric patterns of Piero della Francesca. The performances of these international touring flag-wavers have an underlying goal of spreading the message of peace and friendship. In traveling to various parts of their home country and other countries entirely, they’ve wanted to spread the hope to give people a chance to experience a culture that connects both their present and past. While Brown admits that “the two events were not natural connectors, we saw this as a distinctive attention grabber.” The Business Carnival has historically been a place where students can learn about the overwhelming amount of business student organizations on campus. As a president of the American Marketing Association, Heuer states, “whatever brings attention to the middle of the building will benefit all organizations since they are set up in the atrium.” Many students were not aware of the “pull” of the flag throwers. One moment, they were watching them, and the next, they were in front of a table for Beta Alpha Psi. The goal was for students to discover student organizations they can get involved with, but never did they think that flags would influence the number of eyes and static foot traffic. They were entertained, they had pizza and they signed up for clubs that could change their lives. If students are inclined to take bigger “adult” strides, the Business Career Coaching Center will host a Career Fair on April 4 in the atrium of Kirschman Hall.
Trump’s free speech order: who does it really benefit? BY JACK WAGUESPACK News Editor On March 21, President Trump, Education Secretary Betsy Devos and Human Services Secretary Alex Azar gathered in the east room of the White House to sign an executive order for free speech on college campuses. Trump said signing the order was a “historic action to defend American students and American values that have been under siege.” While many were excited about this order, including the Young America’s Foundation, which is a large foundation advocating for free speech on both high school and college campuses, it still raised questions about why an order was being signed on something that was already supposed to be implemented. The order directs different federal grant-awarding agencies to ensure that colleges are following the law and policies to promote free speech and debate. In his address, Trump focused on how people can have different opinions but that the opposing side has to allow you to speak, regardless of how different their beliefs are. The president also promised that this order would be the first of many steps taken by his administration in protecting free speech and students’ rights. He said that federal funding will be contingent on whether universities follow the guidelines on free speech. With funding depending on how strictly the universities follow the order, it raises the question: Who will be the one to define free speech? The order begins with an outline of its meaning. “The purpose of this order is to enhance the quality of postsecondary education by making it more affordable, more transparent, and more accountable. Institutions of higher education … should be accountable both for student outcomes and for student life on campus.” Many believe this order stems from two years ago when conservative speaker Milo Yiannopoulos’ visit to the University of California at Berkeley was cancelled after protests arose on campus. There have been multiple instances where
-Photo via Flickr Darron Birgenheier
both liberal and conservative students felt silenced by their university for their political opinions. The order may have importance in defending students and how they express themselves. Freshman Desiree Peterson believes strongly in freedom of speech on campus. “There are many limits on what we can do, but we should at least have the right to say what we believe without fear of consequences,” she said. “Being able to speak my mind is important for me as a student, especially if I am voicing my opinions about the university.” She says it is important for students’ wants and needs to be
represented to the administration. “I believe UNO does a good job with listening to its students and acting on the feedback that they get from us,” Peterson said. “Politics aside, it’s just what is in best interest for all the students.” Said Peterson, while Trump’s order may be just to blur the line between free speech and hate speech, it is still important for all students to feel like they have a platform to safely express their views.
FEATURES
APRIL 3, 2019
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The chaotic mind of local artist, Sam Bayless
-Photo by Jack Waguespack The artist of many talents, Sam Bayless
BY JACK WAGUESPACK News Editor Sam Bayless is a freshman majoring in visual art and minoring in education in hopes of becoming an art teacher for young children. Bayless tends to be modest with his art, and teaching may help him come out of his shell while also giving
a larger meaning to his work. “I think getting a healthy mix of unbound chaotic energy and distilled, refined focus would be a lot of fun to work around,” he said. He says he has been drawing since he was 2 years old, which is evident because the majority of his first drafts are done in crayon. Encouragement from the people he surrounds
himself with kept him practicing his art. “If I didn’t have the support I did when I did, I might not be doing what I love today,” he said. “I don’t really get inspired by people, but that’s not to say I don’t find inspiration. The way I see someone draw an object, or a pairing of notes in a song that change the mood and message from what I thought it was, or even a word that someone uses that I don’t know what it means.” Drawing inspiration from things outside the art world isn’t anything new, but for Bayless, these connections come from something deeper. “I don’t have any people as inspirations for art, but in general life, I rely on my friends and family, like most people do,” he said. “The way they deal with things and succeed or fail is interesting to watch and participate in, and whenever someone triumphs, it’s an inspiration. When they fail, it’s a lesson to be learned.” As far as how he personally views art, Bayless said, “Art is so subjective, you can really assign any meaning or idea to any piece. It can be the most complicated way we can communicate with each other, or it can [be] the simplest.” Bayless works in many different art forms, but he has a clear favorite. “Music. I don’t know when I’m not listening to it or thinking about it. Either joking about starting a band or sitting on the bus just watching the world like a movie.” When he isn’t making art, he is working at one of his more “realistic” jobs. “I love working. It’s kind of strange. For some reason when I’m at a job, whether it’s working in a restaurant or in construction, things just make sense.” He also talks about stability and how sometimes it’s needed a little more when you’re an artist. “Even an unstable job like my current one can bring a sense of stability simply by virtue of being a responsibility with tangible, physical actions needed. There’s no fluff of deadlines or papers to fill out. I guess I find low-level jobs more satisfying than jobs when you sit in one place not moving.”
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APRIL FOOL’S
-Photos by Brennan Probst April 1 marked the third annual running of the Krewe Du Fool parade. This year’s theme was “Fool’s Gold.”
S DAY PARADE
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APRIL 3, 2019
ENTERTAINMENT
Ken Burns: the great American storyteller
-Photo Courtesy of Hillel Steinberg The man himself, Ken Burns.
BY DYLAN MININGER Entertainment Editor I walked in to search for a seat, and the house was packed
to the brim with an eclectic group of people, old and young alike, waiting for one of the greatest American storytellers to take the stage. Most who showed up expecting a seat were directed to a little room outside the ballroom with plastic chairs and TVs, some sort of spill-off area for the latecomers. What seemed like a bunch of distracted students piled in around me in the spill-off room, perhaps enticed to come as bonus for a lecture. Then the man himself, Ken Burns, walked into the spill-off room to say a quick hello, and the students were glowing. Ken Burns is the premiere American documentary filmmaker, who’s dedicated his career to making epic documentaries surrounding many pivotal aspects of American history and life. Some of his most famous works include “Jazz,” a 10-hour miniseries on the entire history and scope of Jazz music; “The Civil War,” which is an 11-hour documentary that just screams of something you had watch to in school growing up; and his more recent series, “The Vietnam War.” Ken is not only a filmmaker — he is also a storyteller of American history, as well as a pioneer of many pivotal documentary techniques. Steve Jobs dubbed his editing style “the Ken Burns Effect.” His films are essentially just still images moving around the screen and talking head interviews, but what is magnificent about his style is the way he takes these still images and displays them, as if showing the audience the movement that existed behind these photographs. Tulane Professor Walter Isaacson moderated the lecture. Isaacson wrote Steve Jobs’ official biography and was CEO of CNN and managing editor of Time magazine. A short reel of Burns’ life work opened the lecture. It was truly spectacular to see how many dense, important topics and events this man covered in in-depth documentaries about.
Burns’ list of upcoming works were shocking. He’s working on multiple films and has releases planned up until 2028. The man is an absolute workhorse. The lecture was a discussion of history. All of Burns’ documentaries are about race and racial divide within America. Isaacson asked intermittent questions about the gritty details about Burns’ Vietnam documentary, his upcoming documentary about the history of country music, and the recent removal of confederate statues. Burns was on fire, flexing his historical knowledge to talk about the racism in building and displaying Confederate monuments. The lecture was also chock-full of jabs at Trump and current politics, all coming from a man who has spent thousands of hours in libraries and with survivors and historical figures, a man who understands the importance of telling the full story. Ken Burns isn’t the world’s best documentarian because he picks important topics — he’s the best because he brings these topics to life again. Later that evening, I was sitting in a popular spot in uptown New Orleans where people go to drink, chat and watch the sunset. Suddenly, a large black SUV drove by. Who else but Ken Burns was hanging out the window, checking out the sunset as well. I was shocked. I yelled “Hey Burns! Great talk today!” He leaned further out the window and gave me a solid thumbs up.
Climax: dance, drugs and a descent into hell BY MILENA MARTINOVIC Staff Wrtier Anyone who’s seen Gaspar Noe’s films will not be surprised by these themes. Yes, there is sex and violence in “Climax,” just like in his previous works, but here they are explored with more finesse and sophistication. Noe’s filmmaking style can be described as “cinema of body” — the images are loud, and the sex very much in-your-face. The bodies become a large part of the narrative’s texture, with actors used as instruments. Noe’s films lack the conventional emotional depth of narrative films — the characters are usually shallow, left unexplored without much plot or narrative. However, what he lacks in storytelling he compensates for with larger philosophical themes such as existential despair and death itself. The plot is very simple — so simple there can be no spoilers: 20 or so dancers rehearse in a space near the woods, then party. Someone laces the sangria with LSD, and things then take a nightmarish turn. The film takes place in the 1990s, making it easy to leave the cell phone technology behind. It also follows a trend of recent counterculture films that are set in the same decade, like “Mid90s” or “Landline.” After all, Noe’s films are the epitome of dark and trendy, although he would probably claim to be more intellectual than that. Just think of “Enter the Void,” shot much like a video game about an American drug dealer in Tokyo, “Love,” which features an American film student in Paris troubled by the memories of an ex-girlfriend and lots and lots of graphic sex. Noe, a French filmmaker citing Kubrick as a main influence, may share the rest of the world’s fascination with American culture when it comes to entertainment. The fact that the dancers in “Climax” are about to embark on a first-time tour to the U.S. is no coincidence. They are super excited about the trip, building up the contrast for the ensuing nightmare. It can be said that the most effective type of horror films are the psychological, somewhat violent and suspenseful ones. The first half of the film is mostly blasting 1990s electronic music choreography scenes, filmed with a nonstop moving light Arri camera, giving the viewer a breathtaking 3D feel of a musical. This is the work of Noe’s long-term cinematographer Benoit Debie, whom Harmony Korine “borrowed” for his last two pictures, “Spring Breakers” and “The Beach Bum.” The flawless camera movements of the dancing scenes were also achieved by the use of glass floors. The filmmakers did not shy away from using extremely long, Hitchcockian moving
-Photo courtesy of A24 One of the extensive choreographies in the film.
takes following one character to the next. The second half of the film is what places it in the horror genre, with fluorescent lights dimming and turning on and off as characters wander through the abandoned, orphanage-like dark building, chasing the animal instincts of their subconscious desires. Out of the 20 dancers, only a few are truly spared; the ones who try to do the right thing are punished or self-reprimanded. A main theme of the film involved trying to protect loved ones for the wrong reasons, doing it in the wrong way, or not knowing how to do it. The lights dim as the each character walks and interacts with others, similar to theatrical stage lighting. The film is visceral, thanks to its strong aesthetic and the
inner psychological desires of some characters. It is difficult to critique on an emotional level, as there are simply too many characters to track. Perhaps that was Noe’s point— for the audience to witness the characters’ psychological hell when left to the mercy of others’ deepest inner nature. The original version of the film on VHS tape is visible in the long opening shot of the film, along with the book entitled “Schizophrenia,” and other titles. It would be appropriate to describe the leftover feeling of “Climax” as “Suspiria-meets-schizophrenia-in the club” — in a very dark, torturous, trendy, strange, trippy, good way.
ENTERTAINMENT
APRIL 3, 2019
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Payton prevails:the NFL makes rule change
Saints’ head coach convinces NFL owners to vote in favor of rule change.
BY STEFAN MURO Reporter Sixty-five days after the controversial “no-call” that most likely robbed the New Orleans Saints of a trip to Super Bowl LIII, the NFL has taken significant actions to address the issue. It was all thanks to the persistence of Saints’ head coach Sean Payton. Last week, coach Payton led an eight-man competition
committee (including Dallas Cowboys head coach Jason Garrett) at the NFL owner’s meeting in Phoenix, Arizona to once again address the officiating issue. He said to a crowd of reporters and NFL owners that “with all of the technology we have available to us, our fans are closer to the game. Our fans are way more tuned and educated as to the correct calls in the game, and we just need to be better.” After Payton’s speech, all 32 NFL team owners voted 31-1 in favor of making a new rule that would correct errors like the missed pass interference call by Rams cornerback Nickell
Robey-Coleman on former Saints wide receiver Tommylee Lewis. Cincinnati Bengals owner Mike Brown was the only owner who voted against the new rule. Starting this upcoming season, officials and coaches will be able to challenge called and non-called pass interference penalties. Like any other coach’s challenge, it can be called at any point in the game except for the final two minutes of each half. Within those final minutes, only referees will be able to review pass interference calls. This new rule was voted to be a one-year test trial. Saints’ owner Gayle Benson had vowed to “aggressively pursue changes” in an open letter to the fans and the NFL in the wake of the NFC Championship Game. After the meetings in Arizona, she told USA Today “it could’ve happened to any of the 32 teams. It happened to us, but I wanted the rule to change. Going forward, it’ll be better for everybody.” This seems like a moral victory for Benson, Payton and the Who Dat Nation. However, not everyone is on board with the new rule. On the national scale, many sports personalities on major networks are actually surprised by the outcome of the votes. Popular opinion is that this new rule would extend the time of the game, while the league’s goal is doing the opposite. On Fox Sports’ The Odd Couple with Chris Broussard and Rob Parker, Parker said “Why not take a look at obvious holding calls when a game-winning touchdown is thrown? If you go down this road, there will be another coach who loses on some sort of judgment call… make a stake like Sean Payton… and that penalty will be added too.” On ProFootballTalk, Bengals owner Mike Brown says, “It’s remarkable to me that we have as many stoppages in the game as we do. I don’t want more of that… Instant replay is one of those… I am willing to accept the calls on the field. Sometimes are better than others. It’s part of the game.” The opposing case is actually quite valid. Although Brown was the lone voice of the NFL owners, many believe this rule change will extend the NFL’s goal of keeping games under three hours. Roger Goodell asked the media, “Will this get us to perfect? It’s the old saying: Don’t let perfect get in the way of better; this is a very natural evolution and obviously a very positive thing.” Only time will tell. This one-year experiment could extend games into people’s favorite television shows. However, it could save a team’s season in a way it could’ve saved the Saints back in January.
QUESTION OF THE WEEK What is your favorite thing about spring and why? With Stefan Muro
“Everything that was once dead comes back to life in the spring. That’s my favorite part about it.”
“When Mardi Gras happens, crawfish season and the weather!” Key Weber sophomore, business administration
Jillian Gutierrez freshman, early education
“Daylight savings time in the spring keeps me motivated to get more done during the day.” Kit Devillier freshman, film
“Lots of music festivals happen in the spring. I enjoy going out in the weather with my friends.” Linh Ngo junior, accounting
“Spring is about renewal and new beginnings. My birthday is the first day of spring, so I always like to think of it that way.” Myles Hentler sophomore, film
“Spring is like planting a seed of all kinds of possibilities. The sunny weather gives me the motivation to pursue new beginnings and goals!” Rachel Dooley sophomore, art
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DRIFTWOOD STAFF Hope Brusstar, driftwood@uno.edu....................Editor-in-Chief Nicole Guillen........................................................Managing Editor Jack Waguespack.........................................................News Editor Dylan Mininger............................................Entertainment Editor Stefan Muro.........................................................................Reporter Demi Guillory.....................................................................Reporter Milena Martinovic.............................................................Reporter Christine Bourgeois.................................Distribution Manager Kimberly Williams..................................................Visuals Director Nate Nguyen...............................................................Layout Editor Brennan Probst.........................................................Photographer Matt Stennis......................................................Business Manager Missy Wilkinson...................................................................Adviser
2000 Lakeshore Drive, UC 252 New Orleans, LA 70148 (504)-280-6377 Driftwood is produced solely by students of the University of New Orleans. Driftwood publishes every Wednesday during the fall and spring semesters, with the exception of holiday breaks and midterms/finals week. Letters to the Editor and columns are the opinions of the author and do not represent the opinion of the Driftwood editorial board. All letters to the Editor are subject to editing for length, style and grammar. Editorials are the opinions of the Driftwood editorial staff and do not reflect the opinions of the University of New Orleans, its administration or staff. Please limit letters to 500 words. Submissions can be emailed to driftwoodeditor@uno.edu and must be sent no later than 5 p.m. on the Monday before publication.
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