e: 62 m u l Vo : 17 Issue
DRIFTWOOD The Community Newspaper of the University of New Orleans
@unodriftwood
FEBRUARY 27, 2019
unodriftwood.com
LET THE GOOD TIMES ROLL
Krewe of UNO rolls through Photos by Brennan Probst
Continued on page 6
Mardi Gras field guide: KILLER POBOYS BY NICOLE GUILLEN Managing Editor Marching up and down streets caked with makeup and adorned in elaborate costumes, many parade-goers find themselves desperately in need of a snack or drink. Local New Orleanians know the inconvenience of walking countless blocks just to find one decent place to eat. The days of stumbling upon random eateries are over. Enter, Killer PoBoys. Conveniently located one street over from Bourbon St., the ironically traditional green restaurant allows customers to have the unique experience of eating within a secluded space while being sonically immersed in the usually rowdy Mardi Gras celebrations. The first steps into the open space instantly transport those intrigued to a place reminiscent of Los Angeles and its trendy yet sentimental feel. The laid-back atmosphere is supplemented with the cozy and modernized classic New Orleans staple of poboys. With menu items such as “Seared Gulf Shrimp Poboy” and “Roasted Sweet Potato Poboy”, it might seem like its made from a world-renowned chef. The chef in question is Camille Boudreaux who was once a student at UNO. Boudreaux has had previous experience working at Arnaud’s Remoulade, a place known for its perfect combination of a comfortable yet classy bar setting. According to a report made by Nola.com when it first opened in 2015, Killer PoBoys was meant to play with the dichotomy of old and new but eventually decided on sticking
with a new style of poboy altogether since “it’s difficult to make a classic poboy.” The decision to make a modernized poboy has served the establishment well as it has reflected New Orleans’ own changing times. With the push towards a modernized New Orleans after Hurricane Katrina, poboys
Alice Guidry, a New Orleans native, frequently comes to Killer Poboys even off carnival season. When asked about the aspects of the restaurant that she continues to be drawn by, she excitedly proclaimed, “The prices!” Like most college students, she looks for restaurants that are within her budget. Killer PoBoys boasts both modest prices and a guarantee of a good time no matter how old you are. Looking around the restaurant with a sincere smile, she confesses, “I’ve had some of the most engaging and insightful conversations here.” Though it’s primarily a place to eat or drink, one shouldn’t underestimate the power of an eclectic environment. Customers that tend to dine here go in with the goal of speaking to someone new and forming connections. There’s no shortage of intellectual conversation and summaries of the crazy things happening on nearby Bourbon street. -Photo via Killer Poboys website Killer PoBoys is for those who enjoy good Black Beer Beef Debris PoBoy is one the many original sandwiches to be eaten at Killer PoBoys comfort food and the company of a previous-stranger-turned-acquaintance. Have a couple laughs, a delicious like the seared gulf shrimp poboy have familiar flavors com- poboy, and talk to someone new. Who knows, you might end plemented by the exotic ingredients like daikon, a traditional up finding a lifelong friend from initially feeling hungry. Check them out at 811 Conti St. at the back of Erin Rose Southeast Asian root. Such inclusion of ingredients consumed mainly in Southeast Asia and more represents the now global- Bar and on 219 Dauphine St. ly-recognized and globally infused city of New Orleans.
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FEB. 27, 2019
NEWS
How Jay-Z went from Street Corner to Corner Office: book discussion BY MILENA MARTINOVIC Staff Writer The UNO Diversity Engagement Center holds book discussions each semester on the book of their choice. This semester, coinciding with the Black History Month, the book of choice was “Empire State of Mind: How Jay-Z Went From Street Corner To Corner Office.” Erin Sutherland, an academic counselor for the Honors Program, led the book discussion by asking “What is the first thing you think of when you hear the name Jay-Z?” “Rich.” “Musician.” “I didn’t know who he was,” admitted Peggy Gaffney, who works for the college of business administration. This is an unofficial business biography of Sean Jay-Z Carter. It was written by Zack O’Malley, a regular contributor to Forbes magazine who wrote articles about Jay-Z in the past. Everyone thought the book was entertaining and enjoyed the storytelling, journalistic aspect of it. His personal life wasn’t discussed much in this book, but there are other books which detail his biography. “I would like to hear more from him,” said a student, as the book consists of many interviews from people who knew Jay-Z, but not the man himself. One thing that struck readers was his strong motivation and entrepreneurial spirit. One student talked about Jay-Z being constantly told growing up, “you can’t be this, you can’t be that,” but that “He kept doing it and never gave up. I get discouraged. It made me motivated a lot,” she said. Ultimately, everyone in the discussion agreed that the book was about growing. “He’s a risk taker,” said Ms. Gaffney. Two words mentioned to describe Jay-Z’s business model were “winning” and “quality.” He likes to only make sure to have “the winning” brand, and only brings people who want to be “winners.” A descriptive example of this from the book is the New York basketball street tournament. Jay-Z had a team that played in
the tournament and he had arranged publicity for it by bringing hip-hop artists and sponsors. He also hired filmmakers to create a documentary about the team and the tournament. However, on the day of the finals, there was a huge blackout across NYC and the game had to be cancelled. Since it was impossible to reschedule all the music artists, or for Jay-Z to be there on another date, he called the game off and cancelled the whole documentary because his team didn’t come across as winners. Sutherland pointed out what a shame it was to lose the footage of young LeBron James playing. Another great entrepreneurial story has to do with Jay-Z and Cristal champagne in the late nineties. In his lyrics and music videos, Jay-Z spoke and used bottles of said champagne often. As a result, the company’s sales skyrocketed, becoming the staple of the high-end hip-hop drink of choice. However, when Cristal was asked how they felt about their champagne being used in hip-hop videos, the head representative said “Well, we can’t stop them.” As a response, Jay-Z created his own fake brand of champagne and used that one in his videos instead. The Diversity Engagement Center still has a limited number of free copies available at University Center room 201B. There will be another discussion of the book on Wednesday,
-Photo by Melina Martinovic The Diversity Engagement Center Book Discussion Group on Tuesday, February 19.
March 12 from 12 - 1 p.m. at the same location. “Life of Pi,” “The Joy Luck Club” and “Alexander Hamilton: the Graphic History of an American Founding Father” were some of the books discussed previously.
-Photo via Barnes and Nobel The book of choice this semester from the Diversity Engagement Center book discussion is an unofficial business biography of Jay-Z.
ASH WEDNESDAY Weds., March 6
Ashes will be distributed during Mass at the following times:
Newman Center Chapel All students, faculty, and staff are welcome to join us for Mass and the distribution of Ashes.
CATHOLIC PRIVATEERS
Catholic Campus Ministry at UNO
University Center Alumni Drive International Center
Newman Center
Elysian Fields
9:00 AM & 12:00 Noon
Weekly Mass Schedule: Sundays at 6:00 PM Mondays-Thursdays 12:00 Noon
SPORTS
FEB. 27, 2019
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Sugar Bowl Sweep: UNO vs. Butler BY STEFAN MURO Reporter After dominating Chicago State with 16 runs and Rutgers with seven, the Privateer baseball team went into Sunday’s game at Maestri Field hoping not only to win their fifth game in a row, but also to also sweep the Allstate Sugar Bowl Classic. The (2-2) Butler Bulldogs were the final opponents of the weekend and yet another high-scoring game was expected. In the bottom of the first inning, a Bulldog fielding error set up a Privateer run batted in by junior Luther Woullard, batting in junior Wade Radburn for the early 1-0 lead. However, a Privateer fielding error would score an equalizing run for Butler’s sophomore Maison Stites during the top of the third inning. Despite the errors, the majority of this game was highlighted by great fielding and pitching displays from Privateer freshman Steven Swift, junior Christopher DeMayo, senior Mathew Oset and junior Martin Reeves. Swift had the start and struck out two Bulldogs in four innings while DeMayo struck out 4 in his relief. Shortly before the final run of the game, Oset made a crazy diving catch by getting under a bunt. Reeves’ short stint cleanly relieved Oset’s diving efforts. In the bottom of the ninth inning, freshman Evan Francioni pinch ran for junior Tresten Kennard in scoring position. With two outs and a likely chance of going into extra innings, Butler subbed in junior Jack Pilcher to ensure that would happen. However, two wild pitches sent Francioni from second base to third, then eventually home plate for the walk-off steal! The Privateers won a low-scoring but electrifying game with a 2-1 final score. That impactful moment was actually Francioni’s first taste of in-game action as a Privateer. “It was exciting!” Francioni said after the game. “Based off some changes throughout the weekend, I knew that I was being looked at as the next guy to pinch run. As soon as Kennard
-Photo by Stefan Mura Privateer baseball team steals a win from Butler.
got on first, I got the word to get my legs loose and I knew I was going in as soon as he made it to second.” Head coach Blake Dean gave “kudos for [Francioni] for getting that dirtball read on second, moving up to third and putting more pressure on those guys. It forced them into a mistake, and we capitalized on it. It was a very savvy move
for a freshman.” The Privateers improve to 5-1 and resume home play on Friday at 6:30 p.m. for a weekend series against Yale at Maestri Field.
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FEB. 27, 2019
JOBS
NEWS
FEB. 27, 2019
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“Legislating Morality” by Dr. Christopher Wolfe BY DEMI GUILLORY Reporter “Should we legislate morality?” This is the question Dr. Christopher Wolfe proposed in his hour-long lecture last Thursday. Wolfe, a professor of politics at the University of Dallas, visited the UNO campus to lend his political expertise in exploring the answers to this question and the nature surrounding laws in general. “As I think about the world that you guys live in, I’m not sure that that question, in a way, even makes sense to a lot of people,” Wolfe began. Throughout the lecture, he referenced a paper he wrote in his earlier years answering this same question. The idea of legislating morality was “readily understandable” and a “burning” issue most people talked about then, he explained. Before delving completely into his question, Wolfe offered a brief look at the background of government operations through different historical periods. In the ancient times of Plato and Aristotle, government was generally positively perceived among society. It was seen as an institution that “aimed for the common good,” Wolfe said, which included “everything that was good for human beings, every kind of human excellence.” The role of the government was to “foster a kind of human excellence among the citizens,” as he described. Today, the influence of government and politics on human character and excellence isn’t as prevalent. Wolfe credits “trans-political institutions” like the church as factors in this global shift. He also credits the political philosopher John Locke, who he said had a particular impact on America and its “fundamental” shift in people’s views concerning the idea of the government’s role. During Locke’s time, “The idea of what government should do narrows dramatically,” Wolfe said. Locke strongly believed in preserving the rights of life, liberty, and property above shaping people into excellent human beings. “But, as Wolfe continued, “at the same time, Locke and the early liberals never thought you could get away from some concern of human character, human virtue.” Most Americans don’t think about killing, robbing, or sex-
-Photo by Hope Brrustar Prof. Chris Surprenant (left) sits with Prof. Christopher Wolfe before Thursday’s Honors Program talk. Wolfe visited campus last week to continue a conversation on morality and what a government’s role is in regulating it.
ually assaulting other people. Wolfe rhetorically asked his audience why — “is it because we fear that if we do that, we’ll be thrown in jail? For some people. ...I hope the reason you’re not killing other people is not because you fear getting thrown in jail, but because you think it’s bad to kill other people.” A society that depended on governmental reinforcement to prevent others from doing morally wrong things would not be very efficient, Wolfe stated. If force from the government was the only thing keeping people from committing criminal acts, “do you know what kind of police state you would have to have to accomplish that?” he asked. “The government would have to have cameras everywhere to make sure that they could enforce these laws,” he went on. To offer one answer to his question, Wolfe cited the British philosopher John Stuart Mill, author of “On Liberty.” “You may have read it; if you haven’t, don’t worry, it’s in your DNA,” said Wolfe.
Mill believed humans are born with virtues that are completely independent from political influences. And with this belief, as Wolfe explained, “the government shouldn’t have any interest in people’s character.” Wolfe spent the remainder of the hour presenting multiple examples to support Mill’s belief and ultimate answer to his question — government has no place in molding the character of most individuals. “What our society actually rests on,” Wolfe said, “is the fact that you and I, and the vast majority of people, are willing to respect other people’s rights because we think it’s the right thing to do.” This was the third lecture of the spring semester in a series of talks hosted by the UNO Honors Program, funded in part by the Student Government Association. Wolfe, also a published author and editor, concluded with a question-and-answer session with the approximately 20 students present.
Creative Writing Workshop hosts Roy Hoffman, Jeanie Thompson and Matthew Griffin
-Photos courtesy of Raymie Wolfe, Jeanie Thompson, and Roy Hoffman. Featured speakers (from left to right) Matthew Griffin, Jeanie Thompson and Roy Hoffman.
BY MATTHEW TUCKER Contributor UNO’s Creative Writing Workshop hosted a seminar featuring three writers from an array of diverse literary backgrounds to read from their heartfelt and energetic prose and poetry. Afterwards, they answered questions from students and teachers about their process and their influences. This is a part of a series of lectures intended to give students at UNO the opportunity to learn from some of the most exciting minds working in the field of publishing today. First, Roy Hoffman read two deeply personal short stories from his own life. Roy is an accomplished novelist, having written several novels focusing on Southern identity in different periods in U.S. history. Tonight, in the spirit of variety, he offered these short stories in contrast to the poetry and novel readings that came later. Hoffman’s first story, “A Reunion With My Younger Hitchhiking Self,” recalls a romantic time from the author’s youth travelling aimlessly around the country in between terms at Tulane. As he read, he pulled out an old and fraying notebook
with the words “Tulane University” written in block letters in front of a picture of Tulane. He held it up and thrust it toward the audience, indicating when he was quoting not just from his story but also from this, the original catalogue of his thoughts at the time. Detailing the adventures of “a failed Lothario” on a quixotic quest to nowhere, his romantic connection to his subject matter is palpable. There is a similar level of high drama and relatability in his second story “Tom’s World,” a story of his adventures with his late friend in the West side of New York City, originally published in The New York Times. Next, Jeanie Thompson read from her innovative collection of poetry, “The Myth of Water: Poems From the Life of Helen Keller.” Set from the perspective of the famous deafblind advocate and Wobbly-socialist activist and pioneer, these poems are captivating, inspiring and devastating. During the reading of the collection’s titular poem, Keller’s imagined reaction to the famous play “The Miracle Worker,” Thompson’s voice cracked and a tear formed in the corner of her eye. It is clear that her emotional connection to this material had elevated her style. Members of the audience were visibly affected by the power of her subject matter. The final reader of the evening was Matthew Griffin, a graduate of the Iowa Writers’ Workshop and winner of the 2017 Crook’s Corner Book Prize. He read from his debut novel “Hide,” an expansive and powerful love story covering the 50-year relationship of two men living in an isolated cabin in North Carolina. Griffin is able to capture the essence of his characters in a way that can be at once tragic and hilarious, highlighting pivotal scenes in the lives of these characters during his reading. Griffin is able to fully showcase his intense, witty and authentic style, and even the other members of the panel seemed positively charmed by his writing by the end of his reading. The following question-and-answer session covered an expansive range of issues. Each author had a great deal of advice to give on the topic of research and revision. Thompson, the poet of the group, spoke of her process of writing and revision using the analogy of “a hawk circling its prey”: doing research to find a compelling voice and subject, and then “swooping” down to strike at the poem, a rapid process which she described as thrilling.
Hoffman encouraged writers not to be “too uptight” in writing first drafts. He describes his initial approach to writing a story as a process of becoming inundated in voices. Once he becomes comfortable in a certain character’s perspective, he is able to speak in a voice that feels both real and natural. Then, he attempts to write a “freewheeling” first draft that allows the story to find itself, shoring up the truth in his revision. Griffin offers similar advice, adding that what worked for him in writing “Hide” was to do only so much research as to ensure that he did not pursue a plot tangent that was historically impossible. For the second draft, he did a second, much deeper level of research, bloating it with every possible detail and cutting it down to a much more manageable size in subsequent revisions. To close the session, event organizer and UNO assistant professor M.O. “Neal” Walsh asks the panel for their feelings on the current paradigm of Literary prizes as they pertain to the state of the publishing industry. A lively discussion breaks out and although no exact consensus can be agreed upon, one thing everyone does seem to think is that it does not make much sense to pay someone money to read your work and that new writers should be wary of pursuing this path to success. Walsh says he was excited to host this event because of the wide range of backgrounds these writers represented and the depth of knowledge they were able to share. Alex Tronson, a first-year student in the creative writing M.F.A. program, who helped organize the event, said he was impressed by the variety of speakers and the different perspectives they were able to cover. He also found this variety of backgrounds to be very instructive, as the advice given pertained to the reality of getting work published. The Creative Writing Workshop will continue to host events throughout the semester. On March 13, novelist Maurice Carlos Ruffin will speak at 6 p.m. in Liberal Arts room 197. On March 19, the Faculty Spotlight Reading Series will feature professors Randy Bates and Richard Goodman. On March 20, they will host Toi Derricotte and Chioma Stephanie Urama at 8 p.m. in conjunction with the UNO Write-A-Thon. On April 17, poets Stacey Balkun and Alison Pelegrin will visit at 8 p.m. as well.
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KREWE OF UNO
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-Photos by BrennanProbst “Big Bark Theory: Barkus Goes to Comic Con” was the title of the Mystic Krewe of Barkus’ 26th annual parade. Over 1000 dogs of all different breeds participated in the parade along with their human companions.
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FEB. 27, 2019
ENTERTAINMENT
Award-winning trio graces the recital hall stage BY HOPE BRUSSTAR Editor-in-Chief A blend of traditional and modern visited the Performing Arts Center last Wednesday evening in the form of pianist Yael Weiss, violinist Mark Kaplan and cellist Peter Stumpf, widely acclaimed members of the Weiss Kaplan Stumpf Trio. Amidst rainy weather and a small timing gaffe advertising the performance to be at 7 p.m. rather than 7:30, about 50 people populated the recital hall to hear three pieces, including the world premiere of Paul Lansky’s “Angles.” With a composing style thoroughly steeped in electroacoustic music, Lansky brought forth several different “textural or procedural” angles in this piano trio. “Angles” was the modern piece hugged on both sides by two of Ludwig van Beethoven’s piano trios, Trio in C Minor, Op. 1 No 3 and Trio in E-flat Major, Op. 70 No. 2. “[Lansky] spent a lot of his life writing for electronic instruments,” said Kaplan to the audience after the trio finished the first piano trio. “I think it’s a wonderful piece.” “Angles” is divided into four movements: “With Pluck,” “Take a Bow,” “About a Minute Waltz,” and “A Sad Song.” “With Pluck” was steadily underlined by a constant, one-note beat given by the piano, fulfilling Lansky’s description that there is “virtually no use of the pedal.” “Take a Bow,” which may be a reference to the violin’s implement, was thoughtful and gave the feeling of something coming to an end. “About a Minute Waltz” was exactly that, and was likely intended as the scherzo of the piece, cheerful Photos courtesy of the Weiss Kaplan Stumpf Trio. and playful as it was. “A Sad Song” finished the piece with gentle harmonies that The trio brought the world premiere of Paul Lansky’s “Angles” alongside stunning rendibuilt into phrases with greater tension, like a slow cry that tions of two Beethoven piano trios.
quickens into a panting, deranged sobbing. Like a mourner, it grew gradually calmer and more accepting of the strife that was presented earlier in the movement. It closed with more hopeful, or at least peaceful, thoughts of recuperation. The room always fills with splendour when Beethoven’s music plays. It would be impossible to decide which of his two trios were more impressive, but as always, the composer brings an unmistakable presence to the stage. The Trio in C Minor presented bold, cunning melodies with strong voices. Though romantic, it was neither sweet nor sorrowful, but rather determined and hurried. Its final movement, “Finale: Prestissimo,” was as dramatic as its name might imply. There is a tragic burst, and an ineffable movement of the whole piece that shoves aside everything in its way, demanding the listener’s full attention. Clever and self-assured, this is a piece everyone must hear at least once, and which the Weiss Kaplan Stumpf Trio presented with perfection. The Trio in E-Flat Major began with a slow hum, demonstrating what “bated breath” might sound like in musical form. After one strong stroke of the violin, all the musicians went studiously to work, producing a pretty, right-angled piece, featuring several moments of call-and-response between the piano and the strings. The Musical Excursions series brings renowned classical musicians to UNO throughout the academic year. The next performance this season will be the Akropolis Reed Quintet on March 21 from 7-8 p.m. according to the UNO website. Said the music department chair Charles Taylor of Akropolis’ performance of Gershwin’s “An American in Paris,” “You could swear an entire orchestra was on stage when they perform.”
“Pleasure, Love and Run Fast:” film review of “Sorry Angel” The 22nd annual French Film Festival took place from Feb. 15 - 21 at the Prytania Theatre. The film festival isn’t just for foreign cinema lovers: New Orleans, deeply rooted in French culture from history to cuisine, celebrates France through its strong, specific visual art as well. It is an opportunity for the local audience to see films they otherwise would not get a chance to know or see anywhere else. French cinema is at once intimate and public, crude and intellectual, consisting more of character studies rather than a formulaic Hollywood three-act story structure. “Sorry Angel” is a good example. The film is similar to a
novel: its story consists of many scenes of the two characters’ worlds and their interactions with their part-time lovers, friends, roommates and family members. The film follows two gay men and their relationship starting as a casual fling in Paris in the early 1990s. One is a prominent 30-something author, Jacques, who has a son, while the other is a 22-year-old college student Arthur, who has still not fully accepted his own sexuality. He is in a relationship with a woman, although he “cruises” the park by the river for gay hookups. The fact that the author is HIV-positive in Paris in the early 1990s is delivered casually and unsentimentally; after all, he is surrounded by friends and the lingering AIDS epidemic. He is dry and bitter in general, so his life almost continues as normal, not changing him on the surface.
Charter School Teacher Fair
N E W O R L EA N S
BY MILENA MARTINOVIC Staff Writer
SATURDAY, MARCH 16, 2019 Pre-registrants 9 a.m. to 1 p.m. | Walk-ins 10 a.m. to 1 p.m.
Hynes Charter School, 990 Harrison Ave., New Orleans, LA 70124 Attn: Teachers!
Check vacancies now!
Certified teachers and teachers working on their certification: full and part-time positions available in Louisiana Charter Schools!
Updated vacancies are posted year-round at www.gnocollaborative.com Post your resume for review and contact Charter School Principals.
Register Now! Pre-registration for the fair is NOT required, but encouraged.
Over 90+ schools participated last year. Bring multiple copies of your resume. Presented by:
This is a free service for ALL charter schools in Louisiana. For more information call (504) 897-6110 or email hharper@h2nola.net
Event registration www.gnocollaborative.com
-Photo courtesy of the Cannes Film Festival Vincent Lacoste and Pierre Deladonchamps star in "Plaire, Aimer, et Courir Vite" ("Sorry Angel"), directed by Christophe Honoré.
This is the beauty of French cinema: the characters usually are unsentimental until we see them in the moment of despair, cathartically eliciting pity from the viewers when they least expect it. There is a moment like that in the film by the end; even Jacques’ harshness and cruelty toward his dying friend can perhaps be somewhat excused, because he struggles with his own mortality. Jacques and Arthur meet at the movies where Arthur, an aspiring film student, is watching “Piano” and trying to like it. Jacques walks in to escape the crowd and gather himself before his book signing, and there is instant sexual chemistry. However, the film fails to turn this into something deeper. We follow each character’s life and they kind of stay in touch, Arthur living in Brenton and Jacques in Paris. But the fling never truly escalates to something deeper, though the film tries. The original title in French translates to “Pleasure, Love and Run Fast,” a title that may reflect Jacques’ fear of love. Even though the auteur of the film, the diverse and unpredictable Honore, tries to show that there is something meaningful there, he does it mostly through young Arthur. However, the lack of sentimentalism we are conditioned to see in movies comparable to this one, such as “Blue is the Warmest Color,” or even more recently, “Call Me By Your Name,” leaves the audience feeling a tad dry, unfulfilled, and as if the audience were missing the emotional backbone of the film.
FEB. 27, 2019 9 NEWS All power to all the people: “High Flying Bird” film review
-Photo courtesy of Netflix A tough talk with Ray Burke (André Holland) and Erik Scott (Melvin Gregg).
BY DYLAN MININGER Entertainment Editor There’s basketball films out there, such as “He Got Game,” “Hoop Dreams,” “White Men Can’t Jump” and yes, even “Space Jam.” Steven Soderbergh’s newest film, “High Flying Bird” is not an average basketball film; it’s a revolutionary swan song dedicated to the hard-working players of the NBA in the modern day. Similar to modern Soderbergh films, which have been a constant stream of caper comedies and complex heists, this one revolves around a sort of coup d’etat of the capitalist wet dream that is the NBA. André Holland of “Moonlight” fame plays Ray Burke, a quick-witted sports agent to newly drafted player Erick Scott, played by Melvin Gregg.
The setting is New York City during the NBA lockout of 2011, an unprecedented hold on basketball, lasting a record-breaking 161 days. Tensions are high, as all players are unable to play and are unable to be paid, agents included. When the lockout occured in reality, it came down to contracts with the association and TV networks, but players were fighting for higher pay as well. Tarell Alvin McCraney, known for “Moonlight,” writes the perfect script for Soderbergh’s in-depth and equally patient style. The writing is patient, technical and realistic. The film is a powerhouse in every way, except for one huge factor: cinematography. Soderbergh, helming the camera and being his own director of photography under the pseudonym Peter Andrews. Most noticeably, Soderbergh shoots the entire film on an iPhone combined with a series of gimbals, steadicams
“Dr. Dew, because he was a very enthusiastic biology teacher who enjoyed teaching and who I enjoyed learning from, and [he] has the cutest pet parrot, which he showed off to class at the end of the semester.”
and small dollies. The movement of the camera is flawless, and the framing is even more incredible, with the exception of the look the iPhone provides. The whole film is seen through a wide-angle lens that feels incredibly disorienting and unnecessary for the film. Soderbergh is considered a pioneer with movie technology, but this was completely unnecessary, particularly considering that the film has absolutely no basketball or quick movement in it whatsoever. His choice of camera is meant to evoke a documentary feel, including brief interviews with actual NBA players intercut into the film itself. The film takes a considerable amount of time getting to its main point of being anti-capitalist, and picking up heavy themes of black resistance within the association, but when it does, it’s treated in the most perfect way. It’s not an all-out showboat; it’s a cold, restrained factor, and a truth that athletes themselves need to face. The film drags slightly around the middle, but is held up incredibly well with the talents of the main cast, as well as Zazie Beetz playing Sam, Ray Burke’s assistant. The film displays the complex perspectives of various people involved in the league outside of the management and team owners: it highlights the perspectives of the sports mothers, assistants, players and those who didn’t make it into the league. Although I have personal gripes with the film itself, it does deliver an important message that people are afraid to make: all power to all the people. The players are the ones who deserve the profits. Sitting back and watching the higher-ups float on the backs of the players who are actually making the game worth watching. No one wants to watch elderly white team owners trudge their out-ofshape bodies up and down the court only to miss a layup. We watch the most incredible athletes in the world pushing their bodies and minds to the limit to give the world an exciting experience and to keep basketball alive.
“Yvette Green. She has taught three of my classes, and I have learned the most important things about my major from her, especially in regard [to] the restaurant industry.” Colette Muro senior, hotel restaurant & tourism administration
Juan Brenes sophomore, chemical engineering
“Who is your favorite instructor and why?” “I have to say my favorite is Erik Hansen. He really takes the time to read his students’ screenplays. He always gives positive feedback, and encourages his to students to follow their visions. He’s worked on a lot of projects with me, and I think he’s a special teacher.”
“Ryan Gray. He’s very understanding; he’s in archeology and that’s where I want to be. He is very helpful.” Magdalene freshman, anthropology “Katie Joseph Franklin. She’s just a really chill teacher, and she’s really relatable. She truly loves what she does and it helps us become better writers.” Piero Berrios freshman, mechanical engineering
QUESTION OF THE WEEK WITH STEFAN MURO
Maggie Earles senior, film “My favorite is Cory Dumesnil. He’s very engaged in his lectures and gets his class involved.” Marvin Kador sophomore, mechanical engineering
“Ms. Hembree and Dr. Dew, because the classes are fun and the projects are easy.” Jessica Rameriez freshman, pre nursing
“My favorite instructor is Mr. Bryan. He’s an English teacher and actually gets you engaged in class. (He) also keeps you entertained during class.” Jarvis Royal freshman, biology
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FEB. 27, 2019
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OPINION
EDITORIAL
Lie, lie, lie
Lies. We catch people in them, we watch the consequences of them, yet we do it ourselves in one capacity or another every day. According to psychologist Dr. Angela Evans, the concept of lying starts to be used when children are around three years old. This early exposure is typically met with the iteration that lying is bad and should be avoided if possible. Adults take the “if possible” a little too seriously as a University of Massachusetts study reveals that “60 percent of adults can’t hold a 10-minute conversation without lying at least once.” Why do we do this? As humans, lying is a natural trait that we unfortunately possess. Our desire to have someone to trust mixed with our inherently easy tendency to lie sets us up for much disappointment. The trust we put in someone is almost similar in intensity to the love we feel for those we are close to. The most
frightening thing to think about is the fact that anyone can lie at any given moment. The days of warning signs being those who are shifty-eyed entrepreneurs or overconfident presidents are over. Think about the last time someone lied to you? Could you tell it was a lie or did you believe what was said? The most recent and unfortunate instance of lying on the national level was Jussie Smollett, ex-star of Fox’s Empire. With the country at his feet hanging on every excruciating detail spoken, Smollett told the world of his experience with violence done to him due to him being homosexual. The majority of Americans felt empathy for this man and countless others who have faced similar disheartening hate crimes. The powerful confession of his experience as a victim to these crimes had the perfect backdrop of a currently more progressive society. His story was too believable to be false. And then it came out to be that it was indeed false. His profession as an actor definitely helped out his case, but more than that he took advantage of the present societal stage of an emphasis on listening. Recent movements like Me Too and Black Lives Matter have forged a path for people to
COLUMN
Tuck Tuckson’s fussin’ corner BY TUCK TUCKSON Reporting by Matthew Tucker Contributor
Tuck Tuckson is the university’s first and only 120-year-old student. In his spare time, he enjoys shouting at the news and watching reruns of “Columbo.” Due to a misunderstanding with his optometrist, he is currently pursuing dual degrees in gender studies and animal husbandry and hopes to graduate sometime before his 130th birthday. Hey y’all, it’s me, da Unaverseties of Nawlins’ only super-centenarian student, Tuck Tuckson, back for another edishin’ of eryone’s favorite column “Tuck Tuckson’s Fussin Corner” and whoa nelly! Have we got a humdinger for ya dis week! When ya get to be as old and crotchety as me, ya get ta know a thing or two bout what them fancy folks in their uptown mansions call “mannas.” Now, mannas is a funny thing, cause some of the worst people I’ve ever known in my long and illustrious lifetime have also been the sweetest talkers. Why, my poor ol’ mama practically swooned from lust right in front of my papa when the man from the bank came to take the farm out from under us, on account of how smo-oo-oth he was. “What a well manna’d fella that man from the bank was,” she sighed as we walked barefoot to da workcamp. Yep, “mannas” is a real mystery, but today I’ma talk to you bout nose mannas. “Nose Mannas!? Tuck, you old codger, you finally lost it!” Yeah, I lost it, but it’s ya young no-goodnicks with ya bad nose mannas that made me do it! Y’all got phones that know evrything there ever was to know, but no one ever taught ya no nose mannas! Midterms is jus round the corner and wit it coming that old cat-coffin-knee, making a bigger racket than the summer cicadas. I’m speaking, of course, of yo’ nasty sniffles. Let me learnify you a thing or two, in case you are not privy to the mysteries of human anatomy. There is in fact, no portal to a secret bugger dimension in the back of your sinuses, my chillin. When that long, stringy, goopy strand of poisonous excrement comes slithering out ya nose hole and you suck it back up into ya face making a nasty noise like an ornery bulldog chewing on hisself, that snot didn’t go nowhere, junior! It’s still clogging up your face hole just waiting to creep down your nose again just so ya can suck it back up! You’re distracting ole’ Tuck, havin’ a hard-nuff time takin’ his midterms, what with his bad eyes and bum hip and his creeping dem-nentia. Blow ya dang nose, ya young fool! That booger ain’t doing you no favors clogging up your face hole! Ain’t you got no sense, sucking sludge up into your face all day is nasty, and it’s rude, and it’s bad for ya, too! Speaking ‘a sense, you know what makes no sense? I’m an old man wit da hayfeva and I’m prone ta sneezin’, but it don’t do no nothing for me to have you fussing over me afterwards. “God bless you, Tuck!” No, god bless you, you dumb pup, cause you ain’t done a damn thing but embarrass me! When you hold a door for me ya, saving me some time and the trouble of moving a heavy door, when ya
FEB. 27, 2019
chew with your mouth closed, ya keep an old coot from getting stomach-sick at the table, and when ya cover ya nose when you sneeze, ya stop a geyser of face juice from shooting out your head and spraying me in my church clothes. But when you say “God bless ya,” ya just calling me out for being an old man that sneezes too much. My daddy explainified to me that way back in the time of the black plague, fellas were dropping dead left and right in the street, just a-sneezing and a-dying, when some old pope in his funny hat, medical expert that he was, decisioned that what was killing these fellas was the devil snatching their souls out their bodies when they was sneezing, and like any rashnal-thinkin’ doctor of this here 21st century, ole Pawpaw Clem prescribed a prayer of “God bless you” to cure one from the devil’s grip. Now I’m not one ta question the voice of God hisself on earth, but I do believe the bubonic plague was caused by tiny bacter-e-i or some such nastiness and not no soul-snatching devil, so a “God bless you” did a fella about as much good today as it did him back then, lying face down dead in the mud. No Sir! I won’t have it and my pappy never did neither! Why, when I was a boy, if we sneezed, my daddy would come running over and punch us right in the belly and then makes us give him a quarta and he was right to do it too! So, I’ll make ya’ll a bargain: you save your God-bless-yous when I sneeze, and when y’all sneeze, I won’t punch ya in ya little tummies and steal y’alls lunch money. So what have we learned here taday, my chillin? Well firstly we learned that ole Tuck’s still a mean old son-of-a-gun, but you already knowed that, didn’t ya? We also learned ‘bout nose mannas, what they is and what they ain’t. They is blowing that nasty nose juice inta a clean-ex and not sniffling through midterms, but they ain’t saying no God-bless-yous ‘cause the devil can’t kill me anyhow! I been one-foot-in-the-grave
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listen to anyone’s story first and then express their opinions outwardly. These ultra personal stories have no reason, in theory, to be perceived as a lie. In the average person’s mind, someone who shares vivid and vulnerable parts of themselves to such a wide audience should have people believe their story. Even better, add a dash of emotionality to the words you say and you’re golden. The more people believe your story, the less of a chance someone will become skeptical of what you’re saying. Due to the sleuthing of policemen, Smollett was found in an embarrassing lie. America was shocked and felt betrayed by such a well-told story. It enraged many because Smollett used this lie for the sympathy and attention it would bring to him. He used the fact that he was a part of both the LGBTQ and Black community to gain solid credibility which wound up costing him his career. So before you believe a well-told and emotionally passionate story, think about what’s to gain if you believed them. More times than not, you’re not being told the truth and your credibility can be used for a more calculated plan.
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