Student Magazine of the University of South Carolina
Summer 2017
fk mt.
PUNK MEETS POLITICS
in the elements HIGH CONTRAST SUMMER STYLES
indie identity THE IMPORTANCE OF LOCAL ARTISTS
LGBTQ+ REPRESENTATION IN GREEK LIFE
STUDENT MAGAZINE OF THE UNIVERSITY OF SOUTH CAROLINA
EDITOR-IN-CHIEF JAKE MARGLE CREATIVE DIRECTOR CHARLOTTE PRICE PUBLIC RELATIONS DIRECTOR KELLI CALDWELL
ART ART DIRECTOR RACHEL JOHNSON STAFF DESIGNER ASHLYN MURPHY STAFF DESIGNER TAYLOR KANE
EDITORIAL ARTICLES EDITOR JULIA HOGAN ASSISTANT ARTICLES EDITOR JULIETTE LAFERLITA COPY CHIEF MADELEINE VATH
PHOTO PHOTO DIRECTOR JOSH THOMPSON ASSISTANT PHOTO EDITOR BRENNAN BOOKER STAFF PHOTOGRAPHER CHRISTIAN HINTY
STYLE STYLE EDITOR MYLEA HARDY STYLE ASSISTANT CLARA MARZOLF
WEB WEB EDITOR ROBIN HENDRICKS ASSISTANT WEB EDITOR ZOE NICHOLSON
DIRECTOR OF STUDENT MEDIA SARAH SCARBOROUGH
FACULTY ADVISOR SCOTT FARRAND
CREATIVE DIRECTOR EDGAR SANTANA
CREATIVE SERVICES WANDA FELSENHARDT ELIZABETH JENNINGS EMILY LOR
SOCIAL MEDIA MANAGER SYDNEY PATTERSON
ADVERTISING REPRESENTATIVES JOLIE DELIA ERIN LEE MORGAN MACLACHLAN ANDREW SNIGHT DREW THIEL CAMERON WHITE
Advertising: (803) 777-3018 To contact G&B, email sagandbe@mailbox.sc.edu or visit www.gandbmagazine.com Garnet & Black magazine is produced four times a year by students of the University of South Carolina and is distributed free to members of the university community. All editors and staff members can be contacted at (803) 777-1149. The office is located in Russell House room 339. Email letters to the editor to sagandbe@mailbox.sc.edu or to Garnet & Black magazine, Student Media, 1400 Greene Street, Columbia, SC 29208. Letters should be 250-400 words and must include name, address, phone number and academic information (if applicable). Garnet & Black reserves the right to edit for libel, style and space. Anonymous letters will not be published.
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Letter from the Editor EDITOR-IN-CHIEF JAKE MARGLE
IT’S FUNNY HOW HISTORY
repeats itself. I was flipping through Garnet & Black annual from 1940 in search of a picture to use for my feature, Status Quo on page 16, when I came to the letter from the editor at the time. I read through it expecting to find some indication of the difference between the lives of college students 80 years ago and their lives today, but what I found was a shocking number of similarities. “Sleepless nights, over-cut classes, coffee-nerves 4
and red-rimmed eyes were not the exception but the rule for a few of the staff,” Editor-in-Chief Hubert Harman wrote. Fast forward to 2017, and G&B has ended in quite a similar fashion. We’re now finished with our final issue—a feat I can scarcely believe— and I can confidently say that we’ve completed the pursuit I set out for in our first issue. As we started our first issue and looked at our blank layout board, I honestly wondered how we were going to fill 48
pages. As the months went by, we slowly refined our design direction, photography and editorial content, and as the summer issue came off the presses, I felt like we had finally found ourselves after months of experimenting. This final issue is a culmination of clean design, expressive photos and grounded stories. From Julia Hogan’s piece, The Roads Least Traveled on page 23, which explores the role of small towns in rural South Carolina, to Juliette LaFerlita’s feature, Indie Identity on page 27, which showcases Indie Grits and the importance of local artists, we’ve done our best to cover the culture of Columbia and its inherent southernness. Holly Heaton has returned to put the spotlight on more of Columbia’s culinary talent in her newest installment of Souls of the Kitchen on page 17. Rounding out the issue is Jenna Schiferl’s Student Experience coverage of the Vagina Monologues at Tapp’s Art Center and Robin Hendricks’ profile of Wesley Jeffries, this issue’s Artist in Residence, page 19. The emphasis on people of all types, art of all varieties and the inspiration behind is what I think makes this the most successful G&B issue yet. Like Harman said in his letter from 1940, “In every way the staff has tried to better the book, to give a complete picture of the entire campus, its groups, cliques, events, leaders and nonentities.” I hope we’ve done the same.
CONTENTS 8 recy l ci ng
the runway
Anne Coleman tackles sustainable fashion at USC.
10 en te r
at y o ur o wn ri s k
12 s i l v e r
s p o o n b ake s ho p
A controversial play hits Tapp’s Art Center.
A sit-down with Silver Spoon Bake Shop owner, Erin Nobles.
14 eas y
che e s y b i s cui ts
A hand-me-down recipe provides quick comfort food.
15 to uri s m
A poem by Samuel Amadon.
16 STAT US
Q UO
The state of LGBTQ+ representation in Greek life.
21 t h e
ro ad s l e as t trave l e d
What the back roads can teach us about our state.
25 IN DIE
IDE N T IT Y
Southeast culture is more than shrimp and grits.
29 und e r
go d
Three women discuss their faiths at USC.
32 I N
T HE ELEM E N T S
Searching for the “what’s next” in summer fashion.
40 rep u r p o s i ng
fo r re p re s e ntati o n
Wesley Jefferies tells stories with cut paper and more.
42 F K
MT.
A Columbia take on American punk.
45 s p i n
cy cl e
Yet another argument against Trump’s cabinet.
46 e ve nts
Beat the heat with the coolest events around town.
47 o v e rhe ard
at s t. p at’ s
“I’ve seen all circles of hell in five minutes.”
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CONTRIBUTORS & STAFF WHAT IS THE WORST QUESTION YOU COULD BE ASKED ON A FIRST DATE? E RI N B UT LER
Are you on birth control? OR Is that what you’re wearing?
JA K E M A RGLE
RO BIN HENDRICK S
So, when you say you watch The Bachelor sometimes, you mean you watch it ironically right?
HALE Y S PRANK L E
DAVID S MI T H
Can we ditch Hunter-Gatherer and go to Panera instead?
ZO E NICHOL SON
How’d you get that scar?
Would you give up Bojangles for me?
Do you want to split an entree?
C H A RLO T T E PRIC E
JULIE T TE L AFE RL ITA
J ULIA HO G A N
What’s your name again?
BRE N N A N B OOKER
So what does your recent medical history look like?
CA RO L I N E FA IREY
“Can you hold my spit cup?” There were three chewing tobacco cans on the floor of his car. He asked me to hold his cup so he could reach for another. True story.
TAYLO R KA NE
Do you normally eat this much?
Can I go home now?
RACHE L J O HNS O N
I’m almost out of gas, can you just Uber home?
JENNA S CHIFERL
Have you or a loved one been diagnosed with mesothelioma? If so, you may be entitled to financial compensation. Call today for a free legal consultation and financial information packet.
CL AR A MAR ZO L F
Is that your natural hair color?
Wait, is this a date?
CHRIS TIAN HI N T Y
Can you take me to my girlfriend’s after this?
J O S H THO M P SON
So obviously aside from mainstays like Nickleback and Bono’s sideproject U3, what would you say are your biggest musical interests right now?
K EL L I CAL DW EL L
Who’s your favorite player for the Patriots?
THE FOLLOWING CONTRIBUTORS DID NOT OFFER RESPONSES: BEN CRAWFORD, HOLLY HEATON RESPONSES EDITED FOR CLARITY 7
REC YCL E RUN WAY Anna Coleman discusses her sustainable collection for USC Fashion Week. BY CAROLINE FAIREY PHOTOS BY CHRISTIAN HINTY DESIGN BY TAYLOR KANE
8 SP OTLI GH T
WHEN ANNE COLEMAN WALKED INTO COLLOQUIUM CAFE TO MEET ME, I WAS SURPRISED BY THE PERSON WHO SAT DOWN AT MY TABLE. HER IMPECCABLE M A K E U P, S L I M COMPUTER BAG AND TASTEFUL JEWELS ON HER WRIST AND IN HER EARS LED ME TO WONDER IF SHE WAS A BUSINESSWOMAN ON A LUNCH BREAK. IN A SENSE, COLEMAN’S ALREADY A W O R K I N G A D U LT — SHE’S A SENIOR TAKING SIX CL ASSES AND WORKING ON OPENING A BOUTIQUE AFTER GRADUATION. “I THOUGHT ABOUT GOING TO GRAD S C H O O L , M AY B E GOING TO SCAD,” S H E S AY S , “B U T I N THE END I DECIDED IT WOULD BE MORE BENEFICIAL TO SEE WHAT I COULD DO ON MY OWN.” On her own, she’s already accomplished quite a bit. Her portfolio site, which has a sleek and professional design, contains photographs of past collections, both high fashion and ready-to-wear. She’s designed for several runway shows and theater productions over the past few years, usually working unconventional, recycled materials into her pieces. Several
of her designs have walked the Reclaimed Runway, such as a skirt and top made from 1940s playing cards, a dress made of hot-glued, cut plastic bottles and a hand-woven cork and twine corset created on a selfmade loom. Coleman is a retail and fashion merchandising major paired with a theater minor. This unique combination allows her to learn the ins-and-outs of running a business while getting hands-on experience in the costuming department. “When I came here, they told me there was no major for fashion design, but I get basically the same training when I work with costuming,” she said. “The only difference is the structure — like right now, we’re designing for ‘The Importance of Being Earnest,’ so every outfit has to match the period. Next year, I’ll have more creative license with my clothes.” From a young age, Coleman and her mom have been involved in community theater in their hometown of Chester, South Carolina. “It’s a really big influence on my career path,” she said. “With community theater, you don’t have a giant budget, so you’re constantly looking for ways to improve things. For example, we’ve got a dress from the ‘30s and we need to make it ‘40s. How do we do that? Do we change the hem, or the sleeves or make accessories? It’s all about using the resources you have.” This is Coleman’s forte — upscaling and recycling clothing. Her collection this year, which must somehow relate to the “natural” theme, is called “Tropical Boho,” and it’s primarily constructed of donated T-shirts, which she dyes, cuts into strips and knits into shape. Seventy
percent of her collection must be created, but she thinks hers is closer to 90 percent. “When I worked in retail, it was crazy to see how much material they threw away,” she said. “My co-workers started calling me “tree-hugger” because I’d always ask to take things that they were planning on throwing out. I’m going to Florida over Spring Break, and my friend and I plan to spend most of our time at thrift stores and antique shops. Right now, I’m working on creating business cards for my store out of old promotional materials. I’m hoping that, top to bottom, my store will reflect my passion about upscale, recycled clothes.” I asked if she would sell or design high-fashion pieces at her boutique, like the hoop skirt made from a curtain from 2014’s Fashion Week. “I’m trying to focus on more ready-to-wear pieces,” she said. “I love designing high fashion, but it’s just not a practical business model. [A curtain hoop skirt] isn’t something that
normal women would look into their closet and choose to wear on a daily basis. “I’m also passionate about making my clothes accessible to women of all sizes. Only three percent of women in the United States have the same proportions as fashion models. The girls wearing my Tropical Boho pieces aren’t petite or six feet tall; I’m working to make recycled clothing a fashionable option for everyone.” As we stood up to leave, I asked Coleman if I could get pictures of her pieces before the showcase. “I don’t know about that,” she smiled. “I do my best work when I’m up against a deadline. Last Fashion Week, I changed my entire collection three weeks before the show because I didn’t like it. I don’t want to put my work out into the world unless I’m 100 percent sure it represents me.” Judging by her creative, independent spirit, her perseverance and practicality, and her passion for the environment, Anne’s Tropical Boho collection seems to represent her perfectly.
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THE VAGINA MONOLOGUES SPARK A CONVERSATION ABOUT THE FEMALE EXPERIENCE. BY JENNA SCHIFERL • ILLUSTRATION BY WANDA FELSENHARDT • DESIGN BY ASHLYN MURPHY
IT’S NO SECRET THAT there’s a
general aversion to discussing vaginas. They are regarded as a cultural taboo, and certainly not suitable for casual conversation. The above quote is from Eve Ensler’s famous play, “The Vagina Monologues.” In this scene, a woman recalled her experience at what she identifies as “The Vagina Workshop.” Prior to the workshop, the narrator had chosen to completely ignore her vagina. To her, it seemed like a foreign object that wasn’t actually attached to her body. Although this monologue was humorous and somewhat extreme, it is increasingly relevant today in a society where vaginas are often regarded as dirty, embarrassing and shameful. “The Vagina Monologues” confronts the societal reluctance to have an open conversation about female genitalia. Second-year co-director and fourth-year veteran of “The Vagina Monologues” Dayna Smith emphasized the cultural relevance of the piece. “It elevates women’s voices,” Smith said. “That’s the foremost and most important thing that Eve Ensler has been doing for
10 S TU D EN T E X PE R IE NC E
30 years. Prior to that, women weren’t allowed to talk about themselves, especially about their vaginas.” “The Vagina Monologues” first debuted in 1996 at the HERE Arts Center in New York City. It is comprised of episodes performed by a varying number of female cast members. Ensler originally performed every monologue herself, but it has since expanded to typically feature 10 to 15 women. Feb. 24 was opening night of “The Vagina Monologues” at Tapp’s Art Center on Main Street. Tapp’s hosted three consecutive nights of the performance, and all revenue benefited Sexual Trauma Services of the Midlands. Eleven women performed 18 monologues to an intimate group of a mostly female audience. Heather Jones, an attendee of the event, has seen a performance of “The Vagina Monologues” every year since she first saw the performance in college. “I think that there is not enough conversations about the topics that they discuss,” Jones said. “I wish more people
came. I wish more than women came. There are some guys, but I wish it were a little more diverse because it is an important conversation. Knowing that there are other people out there who have the same questions about vaginas is comforting.” To create the monologues, Ensler interviewed over 200 women about their experiences surrounding sex, love, masturbation, birth, menstruation, orgasms and many other elements of the female experience. In addition, she asked each woman “If your vagina got dressed, what would it wear?” Some answers included “a tutu,” “see-through black underwear,” “a taffeta ball gown,” “something machine washable” and “Armani only.” Women were also asked, “If your vagina could talk, what would it say?” Some responses included “slow down,” “enter at your own risk” and “Where’s Brian?” The monologues also addressed serious issues such as rape and female genital mutilation. An episode titled “My Vagina Was My Village,” performed by Ashley Chonka, is based on
a group of women’s experiences during the Yugoslav Wars. It is one of the systematic rapes of Bosnian women refugees as a wartime strategy. There was a strong and unnerving contrast between the pleasure and pride one woman took in her body and the disassociation and numbness she felt after she was assaulted in a refugee camp. “There’s a dead animal sewn in down there with thick black fishing line. And the bad dead animal smell cannot be removed. And its throat is slit and it bleeds through all my summer dresses,” she said. For every serious episode, there was a monologue that elicited loud laughter from the audience. “My Angry Vagina” is one woman’s rant about all of the torturous items women are expected to be OK with inserting into their vaginas. The list ranged from tampons to vaginal speculums. The narrator made several helpful suggestions to improve interactions at the gynecologist such as soft velvet robes, pink gloves and fur-covered stirrups. “The Vagina Monologues” is widely regarded as a piece
of modern feminist art — but not without controversy. It has received criticism for a negative and narrow view of heterosexual sex. Feminist scholar Wendy McElroy suggested that the play is misandrist in nature and has a one-sided approach to sexuality. In “The Little Coochie Snorcher That Could,” arguably the most controversial episode of the monologues, a woman chronicles her tumultuous childhood experiences. When she was 13 years old, an older woman provided her with alcohol and seduced her. The teenager later attests, “Well, I say if it was rape, it was a good rape.” This line was removed from later versions, and the narrator’s age was changed to 16 years old. However, the beauty of “The Vagina Monologues” is that it is not concrete. Teagan Shelton, a first-year monologues
performer, commented on the numerous episodes that have been added to the performance since its conception. “It’s really evolving and it’s beginning to be way more inclusive,” Shelton said. “The Vagina Monologues” is the basis of V-Day, a global movement with the objective of ending domestic violence. Lauren Goodnight, a co-director of “The Vagina Monologues,” explained that Sexual Trauma Services of the Midlands has partnered with “The Vagina Monologues” in previous years. “Getting involved in your community is important, not just for the people you work with,” Goodnight said. “It’s the people who are touched by what you do.” “Right now feminism, science and common sense are under attack,” Goodnight said. “To perform a piece so strongly associated with female biology is an act of defiance.”
“I MUST TELL YOU THAT UP UNTIL THIS POINT EVERYTHING I KNEW ABOUT MY VAGINA WAS BASED ON HEARSAY OR INVENTION. I H A D N E V E R R E A L LY S E E N THE THING. IT HAD NEVER OCCURRED TO ME TO LO O K AT I T. MY VAG I N A EXISTED FOR ME ON SOME ABSTRACT PLANE.”
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SOULS O F TH E K I TCH E N
SILVER SPOON BAKE SHOP CL ASSICALLY TRAINED BAKER BRINGS HER TALENTS BACK TO COLUMBIA
BY HOLLY HEATON ∞ PHOTOS BY JOSH THOMPSON ∞ DESIGN BY RACHEL JOHNSON
There is a widely accepted cliché that chefs are dreadful people to work for. Many people imagine working in a kitchen to be as close to hell as it gets — getting harshly scolded for unintentional mistakes or being fired on the spot for measuring an ingredient incorrectly. They envision days in a brutally hot kitchen, void of friendly conversation or laughter. One might call this phenomenon the “Gordon Ramsay Effect,” thanks to shows such as “Hell’s Kitchen,” that depict chefs as devils in white coats — cold and egotistical. Pastry chefs, especially, have a reputation in the food world for being perfectionists that demand an environment free from mistakes. 12 S O U L S O F T H E K ITC H EN
THE ENVIRONMENT AT Silver Spoon Bake Shop on Devine Street, however, is quite the opposite of what you might expect from a kitchen commanded by an immensely successful pastry chef. Erin Nobles attended the International Culinary Center in Manhattan and studied under renowned cake artist Ron Ben-Israel, but she is a far cry from Gordon Ramsay. No egos, no shouting — only a radiant woman with a French braid, frequently covered in flour, who wants her employees to call her “Erin,” not “Chef.” “I try to maintain an environment where we’re all friends,” Nobles says. “Because we’re all working toward the same goal.” Many of Erin’s childhood memories growing up surrounded by her family in Bennettsville, South Carolina, began with flour and eggs. Her mother made all her birthday cakes from scratch and intricately decorated them by hand. Her grandfather is known for his craftsmanship of dozens of Christmas cookies each year. A childhood spent stirring cake batter and licking mixing bowls blossomed into a career as the
owner of Columbia’s most popular bakery — an accomplishment that has left her family beaming with pride. This was emphasized as I sat with Nobles on a bench that her father built for the shop and watched as her mother watered plants in front of the bakery. After she finished culinary school and moved from New York back to her home state, Nobles gained experience working in several bakeries in Charleston. It was while working in Charleston that she determined the kind of place she wanted to create — a small neighborhood bakery where she could become a part of her customers’ lives. This was in stark contrast to the very formal New York bakery she once worked in. As a USC alumna, Erin chose Columbia as the city to plant her roots. At just 26 years old, she made her dream a reality. Silver Spoon Bake Shop opened on Dec.7, 2013. With the “Treat Yourself” mindset slowly replacing diet mentality, Silver Spoon is the go-to spot for Columbians who are overdue for an indulgence. These indulgences are ultra-sat-
isfying in that every baked good from Silver Spoon is made from scratch daily with real, fresh ingredients that you can actually pronounce. Only the good stuff makes the cut, like butter, sugar, flour and eggs, ensuring that every bite is utter perfection. Nobles has quite literally dedicated her life to the quality of her product and it shows with every ooey-gooey cookie, buttery biscuit and flakey croissant. The life of a bakery owner is far from a piece of cake, however, as the work can be exhausting. Nobles starts most mornings at 5 a.m. and spends the majority of her day standing on her feet. As her own boss, she has to endure all the responsibilities that come along with this freedom. She often finds it difficult to balance her owns needs with the success of the bakery, like finding time to eat something other than leftover baked goods or getting enough sleep once the shop finally closes for the night. When asked how she manages
the early mornings, the 12-hour workdays and the constant pressure of precise measurements and perfection, Nobles answered without hesitation. “Baked goods make people happy,” Nobles says. “What makes someone more happy than a cupcake or a slice of pie?” At only 29 years old, Nobles has constructed one of Columbia’s most successful bakeries based on the mission of spreading joy. Although she is a classically trained chef with certifications in pastry arts and international bread baking, her genuinely humble and appreciative spirit leads her to consistently insist that she’d be nothing without her team and her family. Nobles truly sees herself as just a country girl from Bennettsville who decided to make a childhood passion her life’s work. It’s this aspect about Nobles, perhaps, that keeps her employees joyful at work and the people of Columbia walking through the front door of the charming bakery.
WHAT M AK ES S O M EO N E M O R E HAPPY THAN A CUPCAK E O R A SL ICE O F PIE?
13
EASY CHEESY
BISCUITS
BY ERIN NOBLES • PHOTOS BY JOSH THOMPSON DESIGN BY CHARLOTTE PRICE
This is my 92-year-old grandfather’s famous biscuit recipe. He taught me my love for baking at a very young age. I added Gruyere to the recipe, but you could use any cheese you prefer. My family loves to eat them the day after a holiday; sliced in half, toasted and topped with butter or cheese.
DIR ECTIO N S : 2.5 CUPS self-rising flour
Preheat oven to 475. Place flour and cheese in mixing bowl. Use a cheese grater to grate butter into flour. Toss butter in flour to evenly disperse throughout.
4 OZ. cold butter
Add buttermilk and stir, or use your hands, to combine. Be careful not to overwork the dough—you want a soft and tender biscuit.
1 CUP buttermilk 1 CUP grated Gruyere cheese melted butter for brushing biscuit tops
14 RECIPE
Place the dough on a floured counter and roll into a rectangle about ½ inch thick. Fold dough in half. Repeat this process three more times. Roll out your folded dough ½ inch thick and cut with floured cutter. I recommend making them about 2-3 inches in diameter. Re-roll the dough scraps until all the dough is used. Place on parchment lined sheet tray and top with extra cheese, if desired. Bake for 12-15 minutes until golden brown. You may brush biscuit tops with melted butter once removed from the oven.
OURIS
THIS POEM PREVIOUSLY APPEARED IN THE NEW YORKER. BY SAMUEL AMADON
I think I think of what I want en masse, as concrete thinks it wants the overpass— while wind and broken glass want heavy rains, Los Angeles I want across the plains. I hear myself collecting what I’ve caught, like “in the hospital and you’ve been shot.” As time so clearly in the precinct falls, with phone calls mounting crisis on the walls, police are humming parts of prime-time hooks: I want their fade-out lines and distant looks. I want this pickup idling for a beat, then turning, backing quickly up the street. I want the time it takes the sound to reach across from where the tires this moment screech. I think I often, eyes half-closed, will veer; I want inside the truck or walking near. I want the pillow I passed absently, not wind holding a bag against a tree. I think I’m in a transformation mood. I’m going to the diner for some food. I asked for coffee, but it’s not been brought. I think I’ve seen this menu quite a lot. As children love to turn in spinning doors, I keep rerunning these Formica floors, though each time through I see there less to take. I want the leaves from neighbors’ trees to rake. The grass across the street is overgrown. This was a scene for several years I’d known. Something I saw there right before it burst. It’s darker later than it was at first.
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16 F EATU R E
EXA MININ G T HE VI SI BI LI T Y AN D ACC EP TANC E OF LGBTQ + P EOP L E I N G R E E K L IF E BY JAKE MARGLE • ART BY BRENNAN BOOKER • DESIGN BY CHARLOTTE PRICE
17
GREEK LIFE HAS BEEN A PART OF U S C S I N C E T H E E A R LY D AY S O F T H E UNIVERSIT Y’S INCEPTION. AS THE STUDENT BODY HAS BALLOONED OVER THE COURSE OF THE PAST 100 YEARS, SO TO HAS THE NUMBER OF STUDENTS W H O P L E D G E T O A F R AT E R N I T Y O R S O R O R I T Y. T H E S E D AY S G R E E K L I F E IS AN ANALOGOUS COUNTERPART TO USC WITH OVER 26% OF THE STUDENT B O D Y I N A F R A T E R N I T Y O R S O R O R I T Y. I N T H E C U R R E N T C U LT U R A L C L I M A T E I T G O E S W I T H O U T S AY I N G T H A T SUCH A SIZABLE PROPORTION OF A P O P U L A T I O N U N D O U B T E D LY I N C L U D E S M A N Y L G B T Q + P E O P L E . A S AT T I T U D E S TOWARDS THOSE IN THE LGBTQ+ F A M I LY S H I F T T O W A R D S A M O R E L I B E R A L S TA N C E N AT I O N W I D E , T H E QUESTION IS HOW HAS GREEK LIFE, AN I N S T I T U T I O N S O A S T U T E LY F O U N D E D IN TRADITION, ADAPTED TOWARDS T H E I N C L U S I O N O F G AY S , L E S B I A N S , BISEXUALS AND TRANSGENDER PEOPLE? **NAMES HAVE BEEN CHANGED FOR ANONYMITY
Like most college experiences there is no one story that is illustrative of all, but it seems that through interviews with past and current students, including those who were closeted, out or just allies, Greek life is indicative of the hegemonic nature from which it was born. George* graduated in 2016 and grappled with his sexuality for the first half of his college 18
career. He dated girls sporadically, but never confronted his apparent sexuality until his junior year, and he didn’t come out to his fraternity brothers until his senior year. “Sexuality is a very unspoken thing. It’s very much don’t ask, don’t tell,” George says. He came out to little fuss during the last semester. “I was on exec and people respected
me, I guess because I wasn’t very in-their-face about it,” George says. Discreetness is a practice that many are familiar with in Greek life, closeted or out. When George came out and started dating a guy from Clemson, he avoided taking him to fraternity functions, relegating their public interactions to pregames, parties and less formal occasions. “They knew who he was. I never said, ‘This is my boyfriend,’ but they knew who he was when he would come to parties, but when it came to functions like semi-formals, I just took one of my girl friends,” George says. While he’s glad that being gay didn’t draw a lot of attention to him, he mentioned that if he was more femme his acceptance would have been less than ideal. The alpha-male culture of fraternity life is arguably the most characteristic image of the society. Browse through the Total Frat Move Instagram for five minutes, and you’ll see numerous displays of strength or just blind courage. It’s this ideal of hyper-masculinity that is the root cause of homophobia in fraternities. The alpha-male culture of a heterosexually dominated group of men leaves little room for anyone that deviates from that image. Alex is a third-year student involved with recruitment in his fraternity. “If you were to line up all the Greeks and take a look at them, in general, they’re white and at least appear affluent,” he says. “They’re probably more
religious than the average USC student, and I think those three factors, unfortunately, seem to be at odds with LGBTQ acceptance for whatever reason.” Male and female sexuality also seem to be at odds with each other, both culturally and in Greek life. Mary Shea Converse is the wellness chair of her sorority and came out to her sorority sisters during her freshman year. Her reception was overwhelmingly positive, she says, and has inspired a few of her sisters to come out to her in confidence. “Is it rude to say that men are more likely to be homophobes?” she says. “I think hyper-masculinity is really bad in fraternities. The whole bro culture can be very toxic.” Converse’s visibility has placed her in a valuable position among her sisters and peers. “For a lot of girls, I’m the first gay person they’ve met, so they ask me a lot of questions,” she says. “If they say something offensive, I’ll tell them they shouldn’t say that and I attempt to educate them.” In terms of sexuality, there’s less educating to do and more experiencing to be done. Just because a brother is gay doesn’t mean he wants to sleep with his fellow brothers, and a sister’s sexuality is not to be treated as a phase. These types of preconceptions are easily broken down by sharing a space with LGBQ people. Where the education is needed is in that missing letter, T. As of now, there are only three so-
rorities that have issued official policies that admit transgender members: Kappa Kappa Gamma, Sigma Sigma Sigma and Delta Gamma. There’s a massive amount of work to do to educate people on the importance of proper pronouns and dialogue surrounding someone’s transition. People like Converse make up a very small unit of influence that could potentially shift Greek life toward a more socially liberal approach to its recruits, but the policies and large-scale influencers that one would expect are few and far between. Executive staffs have less influence over recruitment policies than the average person might think. “The process is much more decentralized than people understand,” Alex says. “As to affecting change, it doesn’t come from a group of 10. I think in three years, you’ll see maybe five fraternities that don’t care anymore, with two or three that will remain hard-lined and won’t change. Each culture is really different, so you’ll see change at different speeds.” The recruitment process is the first representation for
possible Greek life recruits, and it’s during this rigorous process that those who are out are faced with the reality of the heteronormative landscape they’re trying to enter, while those in the closet may attempt to conceal anything that would give their potential brothers or sisters a clue to their sexuality. “Well you know it’s all case by case. In general, it’s not accepting,” Alex says of the recruitment process. “It’s that way not because people are worried about having a gay brother, it’s more, ‘If we take this guy, and people know we took this guy, that damages our reputation.’ And i think that’s really what limits it, which is terrible.” The line of defense lies in the pledging and recruitment process. The university announced over the summer that it would explore the possibility of ending pledging in an effort to make the Greek Village a more constructive environment. USC spokesman Wes Hickman told The State in June that the university is aware of the “negative behaviors associated with pledgeship,” and on the face of it, it would seem
the doing away with the very process that gives substantial grounds to discriminate would open the door to those who had been shut out, but some aren’t so sure. “Well that would really turn the whole process on its head,” Alex says. “It would matter how the university enforces it because there’s going to be some kind of ringing-out process of the mass public. That may happen in a formal university setting, but if that’s not allowed, then it will just happen somewhere else.” As cultural attitudes and acceptance levels shift toward a more accepting society, it’s hard to find where this discrimination comes from. Think of your surrounding friend group and think of the number of people who have adopted accepting or, at the very least, indifferent attitudes toward gays and lesbians. The majority of individuals, yes, even in the South, have changed their stances drastically on LGBTQ+ issues. So why has Greek life lagged behind for the most part? The biggest contributing factor is their image-conscious presentation. “There are a lot of guys, and they have different views, so I know, for instance, one guy was pretty much out, and everyone knew, and it was fine,” Alex says. “But I know, on the
other side of the coin, during rush when we’re recruiting new members, if we know someone’s gay going into that, and that gets raised as an entire group when deciding to let him in, it’s going to hurt him. But the thing is, so would having acne, so would looking weird.” It would seem that for Greek life to shed this persistent image of exclusivity and quiet discrimination, there would need to be a fundamental shift in the way it’s operated. Whether that shift comes from a no-pledge process or more direct policies for gay and trans-inclusive memberships or some other major overhaul remains to be seen. As for now, change and acceptance is happening, albeit slowly. “In general, these groups are all composed of college students, and that’s the important thing to remember. They’re all just student-run organizations, and individual people in general are pretty accepting. The real trouble comes with this collective identity that people try and protect, and the notion that a homosexual person damages that, but equally an ugly person damages that, someone foreign, someone dumb. It’s all protecting that social status, and I think that’s the root of any kind of discrimination, and it’s bizarre to me.” 19
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A student writer travels through small-town South Carolina.
BY JULIA HOGAN • PHOTOS BY CHRISTIAN HINTY • DESIGN BY TAYLOR KANE
FEATURE
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DURING SPRING BREAK, MANY USC STUDENTS ESCAPE THE STRANGLES AND STRESSORS OF COLUMBIA TO RELAX ON BALMY BEACHES, OR PERFORM SERVICE W O R K I N D E V E LOPING COUNTRIES. HOWEVER, STUDENTS WOULD BE REMISS TO FORGET THE FANTASTIC JOURNEYS THAT THEIR HOME OR ADOPTED STATE CAN OFFER. The backroads of South Carolina are the forgotten treads of old highways, drawn before the interstate system took over. They lead through one-street towns like honeapath, grambling, prosperity, and union, through places that are considered lucky to be mentioned on an interstate sign. And they hold the forgotten
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culture of the south, one that isn’t built on political ties or separation, but on homeliness, and a pride for where you’re from. Through my college career, I’ve felt a draw for the old Gothic South found in Flannery O’Connor’s short stories or in the rifts of a Muddy Waters song. Maybe it’s because I’m a writer. Maybe it’s because, as a student born and raised in South Carolina, I’m finally seeing my home state for what it’s worth. Though this history seems to be dead, it can still be found in the worn creases of a map, on the roads, most literally, least traveled by. “Interstates just don’t make any sense to me,” says Buddy Kirby, a resident of Honeapath, South Carolina. “People are driving too fast, just trying to get from one place to another. They don’t take the time to appreciate the scenery, to appreciate where they are.” And it’s true. Interstates are a great way to get to where you’re going, but to appreciate where you are, and where
you live, you should step off of these roads and into the heartlands of the state. I found the beauty of South Carolina to be truly preserved along these roads. As you drive south from Columbia, with the sun hitting the live oaks and kudzu-ridden fields, there is an austere sense of traveling through time. This isn’t to say that the political or social climates of past ages are to be desired. The history of the American South is rife with conflict, racism and a darkness that still lurks in these politically trying times. It is hard to learn to love where you’re from when that history is the first foot forward. As a liberal, queer, young person, I struggled immensely with trying to love the South, and equally moving beyond its trying history. But there is a sense of welcoming, of love and appreciation for others, that comes to light in these small towns. Sylvia Duncan, who owns JD’s Good Food and Community Store, on Highway 601, welcomed me
“I DON’T THINK YOU COULD UNDERSTAND, UNLESS YOU LIVE IT, HOW MUCH A PLACE CAN MEAN TO YOU.” into her restaurant and brought me a glass of water when I said I was working for a student publication. “I think it’s good to get people out here,” she said. “We need people to come into our community, to see who we are and what we’re doing. That’s the only way places like this will survive.” Many of these towns were once mill towns, at their liveliest during the textile boom, or towns that prospered by being along a well traveled road. Now that times have changed, they are being taken over by kudzu and abandoned buildings, lotfor-sale signs and empty fields. But even in this degradation there is a sense of beauty, a sense of history and self. To travel by an abandoned house is to see a home, a place where families lived and grew, where history was made. As a writer, these places, to me, hold a sense of identity that is as tied to southern culture as the
tumultuous past. There is an identity here that isn’t built on Confederate flags or redneck stereotypes, but rather on family, on sense of place and home. When asked why they didn’t leave smaller towns for larger cities with more opportunities, like Greenville or Columbia, most residents had the same answer. “This is my home,” Duncan said. “This is where my parents lived, and their parents before them. This is where I raised my family.” “I don’t think you could understand, unless you live it, how much a place can mean to you,” Kirby said. “How much it can be tied to who you are.” But I think I can understand. As cities grow and become more gentrified, and more homogenous, these towns are pockets of culture. They preserve a sense of identity that is important to understand, a
piece beyond just the history books. Large events didn’t take place in these towns. They are not famous in the cultural sense of Atlanta, they are not known for their luxury vacation sites or beautiful, well-designed city-centers. But they are equally important, in their smaller, less understood ways. People were born, and died here. Families grew, and prospered or suffered. If you are from a small town, you may be tired of it. You may see it as backwards, culturally irrelevant, and incomplete. But I implore you to take a step back. Travel down roads that you need a map to find. Stop and talk to owners of the stores and restaurants along the route. Listen to their stories. And perhaps you will find what I have found. That the best spring break can be spent finding yourself, in the recesses of your home place, where you thought you’ve always lived but never really seen.
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i D ENT i T Y Indie Grits Film Festival explores the diversity of the Southeast. BY JULIETTE LAFERLITA • PHOTOS BY JOSH THOMPSON • DESIGN BY ASHLYN MURPHY
FEATURE
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A S P O P U L AT I O N A N D D I V E R S I T Y I N C R E A S E I N U R B A N A R E A S S U C H A S C O LU M B I A , R E S I D E N T S O F T H E A M E R I C A N S O U T H E A S T A R E AT T E M P T I N G TO C R A F T T H E I R O W N I D E N T I T I E S T H R O U G H A R T. W H E T H E R I T I S TO D I S A S S O C I AT E F R O M T H E C O N T R O V E R S I A L S T E R E OT Y P E S T I E D TO T H E S O U T H O R TO C O N V E Y I N D I V I D U A L I S M I N I T S P U R E S T F O R M , C O M M U N I T Y G A L L E R I E S , T H E AT E R S A N D P U B L I C S PA C E S O F F E R A R T I S T S T H E O P P O R T U N I T Y TO E X P R E S S T H E M S E LV E S . INDIE GRITS, FOR EXAMPLE, The
Nickelodeon Theatre’s premier annual arts festival, is paving the way for independent artists to connect with the community by developing works that are specifically geared toward Southeast culture. Indie Grits started in 2007 as a festival to simply showcase experimental film from around the Southeast region. Three years ago, however, co-directors Seth Gadsden and Andy Smith decided to feature more than just film by curating contextual art that was relevant to the Columbia community. The festival directors began working with cohorts of 15-20 artists throughout the year, developing new art using an expansive list of mediums. These artists were encouraged to collaborate on work that responded to a particular theme that was presently affecting the region. “We started theming the festivals in 2015 to curate art and initiate discussion,” Gadsden says. “A big part of Indie Grits and The Nickelodeon’s mission is social justice … We like to take on issues in the community and then figure out how art functions within that community.” In 2016, Indie Grits theme “Waterlines” demonstrated the effects of the thousand-year flood that occurred in Columbia the previous October. Indie Grits selected a group of local and regional artists to explore the city’s new relationships with South Carolina waterways while attempting to heal and strengthen community members who were affected by the natural disaster. “That opportunity became front and center,” Gadsden says. “Our theme for 2016 was already ‘The River’ but we decided to change it to ‘Waterlines’ to target the recent flood. We work to commission art that responds to issues. We feel like it’s not good enough to just exhibit and present. We also need to be out there engaging … Our goal is to manufacture empathy
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and to manufacture art that leads people to care and see something in a new way.” This year, the Indie Grits theme “Visiones” will explore the Latino influence in the South, allowing Latino artists from South Carolina, South America and beyond to define their identity through art, music, film, technology, dance, sculpture and more. Though Indie Grits is a celebration of all cultures, the participating artists will highlight how their Latino roots have shaped their experiences. Columbia residents and Indie Grits attendees are then invited to engage in conversation about the artist’s exhibit. With “Visiones” proving to be such a relevant theme in today’s political climate, Gadsden has emphasized the importance of collectivity for the artists and the community. “How do we have difficult conversations and make pieces that are challenging, but at the same time not alienating?” Gadsden asks. Gadsden and Smith explain that the festival gives its thousands of local and outof-state attendees access to a progressive cultural lifestyle that is unmatched in the Southeast. Advanced media makers are given this venue to share their interest in independent art and further define their identity. “Depending on who you are, there is a sort of assumption of what Southern identity is,” says USC Southern Studies instructor Jennifer Taylor. “I think that tends to be why many people think of white, rural conservative characteristics as an overarching personality of the South.” But if Indie Grits is any indication, it’s clear that southerners reach far beyond the confinements of a stereotype. Particularly in urban areas such as Columbia, there are a number of opportunities to craft a unique identity. In addition to The Nickelodeon, Columbia has venues such as Trustus
Theatre and Tapp’s Arts Center, which enable residents’ freedom of expression. “In general, I think southerners are creative beings,” Taylor says. “When we think of distinctly American music, for example, we think of jazz, R&B or bluegrass … We think of William Faulkner, who has written these amazing works. We think of shrimp and grits, which are now a sort of national phenomenon … So it doesn’t surprise me that there is an artistic, independent movement within Columbia based on our history of creativity.” The influx of new residents also allows for different movements to gain momentum in Columbia and similar areas such as Charleston, Atlanta, Raleigh, Charlotte and New Orleans. These cities, which have established large universities, government buildings or business hubs, attract a wide range of individuals who then find one another and create something new. “It’s not to say that smaller towns don’t have this diversity,” Taylor says. “It’s just that we have more resources here. This allows us to see a lot of different identities and communities taking shape beyond what people could have imagined 40 to 50 years ago.” Taylor notes the recent emergence of minority communities in Columbia. It is easy to see the overlap of these communities on campus, in Five Points, in the Vista and on Main Street. “You know that a community exists because those involved share a like-mindedness,” Taylor says. These communities could stem from the love of a favorite sports team, shared religious beliefs, a common goal or, in The Nickelodeon’s case, a passion for the arts. The Nickelodeon encourages this creative community by hosting a number of educational programs for children, minority groups, theatre mem-
bers and general art enthusiasts. Other small businesses on Main Street also work together to showcase artists, musicians, chefs, farmers and independent business owners with events throughout the year such as Soda City Market and First Thursdays on Main. “You can see [these organizations] reaching out philanthropically as well,” Taylor says. “One of the organizations that comes to mind is Girls Rock Columbia, which hosts a summer camp that is meant to uplift women through music. I don’t think something like that would exist if you didn’t have these vibrant, independent thinkers taking charge.” It’s important to support these organizations that encourage independent thought as they can influence our future. “Creative people are the leaders in my mind,” Gadsden says. “The Nickelodeon can facilitate creativity in a way by building work environments and spaces to support artists’ ideas and help them complete their visions,” he continues. Indie Grits embodies exactly that. Crafting an identity is challenging in itself. Presenting that identity to an audience who might not be able to relate is even more difficult. The selected “Visiones” cohort artists will bravely demonstrate their journeys to Indie Grits audience members with an ultimate goal of mutual understanding. This type of communication across cultures can potentially benefit all parties involved. As featured artist Jorge Intriago states,“I hope that my work with Indie Grits will highlight that the fabric of America is beautiful in its diversity.” SEE INDIE GRITS “VISIONES,” HOSTED BY THE NICKELODEON THEATRE, FROM APRIL 20 TO 23. INDIEGRITS.COM
“ I HOPE THAT MY WORK WITH INDIE GRITS WILL HIGHLIGHT THAT THE FABRIC OF AMERICA IS BEAUTIFUL IN ITS DIVERSITY.”
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FEATURE 29
BY HALEY SPRANKLE • DESIGN BY RACHEL JOHNSON
All across the states, children recite these words at ungodly hours, counting down each tick of the clock and hoping for the respite of lunch or recess. These unifying ideals teach tolerance to children in their most malleable state, but in perilous political times these elementary ideals seem to escape adults. In a nation founded on freedom and immigrants, Nazi imagery and muslim bans plague the country, making indivisibility seem like a distant dream. S O W HOS E G O D A RE WE REA L LY U NDER? I sat down with women of three different faiths during the most trying of times—exam week—to discuss how Christianity, Judaism and Islam fit their lasting religious institutions into a modern, collegiate environment.
“Oh… Ok… So I guess I’m a Christian now.” Third-year USC student Christy Conlon invited me into her home to discuss her involvement at Midtown Fellowship Church, a Christian organization with a strong presence on campus. We cozied up on her couches as she opened up to me about her journey to faith and how it fits into her world. She found a relationship with God her freshman year of college after attending three different church services in one day with her roommate. During a service at a gospel church that day, the preacher spoke to her, calling her to come home to God. “The worst that can happen is that I become a Christian,” Conlon said jokingly as she recounted this defining day in her life. As a social work major and an active participant in her congregation, she has found ways to serve those who need it most. Through working with the youth programs at church, she created a partnership with 30
Epworth Children’s Home to give disadvantaged youth a safe haven. “These are the kids that don’t have consistency or understand what it means to have people there for you,” Conlon said. “We try to make it like they’re coming home to spend time with their family. For those of us who are Christians, we do have that family in Christ, and we want to try and share that with them.” At the end of the day, Conlon’s beliefs and exposure to other cultures shine as she adamantly advocates for the rights of all people, stressing the fact that there should be a clear separation of church and state. “God’s words are just to love each other,” she said. “By no means would I ever try to force my opinions or political views on anybody. I’m gonna fight so that you can live the best life you can live. Anything else, that’s between you and God, not you and me.”
“In my synagogue, our cantor was gay.” Jenna Rosen sat down at a small table in Cool Beans, her outgoing presence palpable and inviting. With lavender lemonade in hand and current events on our minds, she left no question unanswered as we traversed topics from latkes to presidential relations with Israel. Rosen, in her third year here at USC, is the president of Hillel, a Jewish student group on campus that often partners with Alpha Epsilon Pi, the Jewish fraternity on campus. “What sets Judaism apart from a lot of other religions is it’s more cultural than it is religious,” Rosen said. “We focus on community and just loving our neighbor, loving one another and being open to everyone.” That universal acceptance and progressive mentality has not been reciprocated of late. About 90 threats have been made to Jewish facilities since the start of the year, including local Jewish community centers. Rosen recounted hearing threats in the form of an automated recording, making vicious statements such as, “The Jews will die a horrible death.” “The Jewish past is prejudice,” Rosen said. “It’s been since the beginning of time. It’s something that, unfortunately, we’re kind of used to. The Holocaust only happened 80 years ago. It’s frightening, but Jews are extremely resilient. We’ve gone through so many things, so it’s just another hurdle we have to jump.” While President Trump claims to be the “least anti-Semitic” person, Rosen wishes he would take a stronger stance against threats to the Jewish community. Alongside Mr. President, she wishes that the progressive narrative was more inclusive of the Jewish struggle in America as well. Overall, Rosen just wants and embraces unity. “It’s a scary time for Jewish people,” she said. “I think we just have to stick together as a community and stay strong.”
“I actually feel empowered when I put it on.” We sat on the soft, red carpet of the women’s prayer room. Adorned in hijabs, thirdyear Fatima Askar and first-year Aya Ahmed opened up about what it’s like to be a Muslim woman in a modern society. “Some people who are more conservative do force their daughters to wear the hijab, but the majority of women who wear it do not wear it because they are forced,” Askar said. “They wear it because they want to. It’s just like a Christian wearing a cross. It’s just a symbol of our religion that we want to show.” Askar and Ahmed are both members of the Muslim Student Association on campus. College students are often faced with a multitude of important decisions that could impact the rest of their lives. For Ahmed, those choices become much easier with Allah in her heart. “Being on a public university campus, there is temptation everywhere,” Ahmed said. “Often times, at this age and this day that we’re living in, it’s very easy to fall astray and make the wrong decision that will harm you later on. With Islam, I feel like it guides me to make the right decision in those hard times.” Although Islam is often
portrayed as an oppressive institution, the ideologies of the religion itself are quite progressive. Askar explained that women do not take their husband’s last name because they are “no man’s property.” She also added that husbands are never entitled to their wives’ wealth and that diversity is specifically encouraged by their holy book. “Your culture or your race has absolutely nothing to do with Islam itself,” Askar said. “There’s a verse in the Quran that says that God purposefully made us from different nations, different cultures, different colored skins so that we can get to know each other, overcome our differences and make us better and stronger.” With bans targeting majority Muslim countries and propaganda circulating the media, it’s easy to get swept up in preconceived notions. Ahmed and Askar emphatically said that Muslim people would be happy to discuss their lifestyle with anyone. They even laughed that their community leader loves to invite people in for tea. “Don’t be so quick to listen to what you hear on the media,” Askar said. “Just at least be willing to come and see it for yourself. View it with your own eyes before you make a decision on it.”
Somewhere, Schoolhouse Rock echoes in a silent classroom. It doesn’t matter where you’re from, or your religion, you jump right into the great American melting pot. These many differences that make up America are not just some gimmick for a children’s song, but rather a clear reality for many. While these women all worship differently, they all seemed to embody traits of unity and progression in their faith. Through them, liberty and justice for all doesn’t seem that far off after all. 31
eleme
IN THE
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ents Finding your element is much like embarking into the wild. It’s a lot of the unknown, and it takes grit and resolve and a carefree spirit. It’s about loosening your grip and letting go to change your perspective, and reaching for a firmer grasp on what inspires you. It’s about progress and finding your element. Some find their niche right away, and others need to leave the beaten path to find an environment that they can thrive in. Some will always run with the pack, and some need to find their own way. Finding your element is a journey, and it looks different for everyone. It looks like being carefree and open to the unusual, accepting of the unorthodox and being determined to face the unknown. It can be mixing patterns or trying new textures. For some, it’ll look like using bold color and challenging the laws of proportion and balance. Regardless of who you are though, finding your element is finding what you love, what will cause you to thrive and how you can best communicate who you are to the world. Finding your element is finding the truest you and discovering what is the best you. STYLED BY MYLEA HARDY • PHOTOS BY BRENNAN BOOKER, CHRISTIAN HINTY & JOSH THOMPSON • DESIGN BY RACHEL JOHNSON & CHARLOTTE PRICE STYLE ASSISTANT: CLARA MARZOLF • MODELS: JILLIAN BURCHETTE & DANI LYNN DICKENS • HAIR AND MAKEUP BY KATE STUCKY
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REPURPOSING FOR REPRESENTATION Wesley Jefferies rediscovers her roots through several mediums of art. BY ROBIN HENDRICKS PHOTOS BY BRENNAN BOOKER DESIGN BY ASHLYN MURPHY
FOR MANY STUDENTS,
college might be the first place they are surrounded by others who share similar interests and goals. Artist in Residence Wesley Jefferies, however, has been surrounded by a common passion for the arts from a young age. Jefferies attended the Fine Arts Center in Greenville, South Carolina, starting in fifth grade until she attended the South Carolina Governor’s School for the Arts & Humanities during her last two years of high school. Her interest in art did not begin with the Fine Arts Center, however, but has been with her almost all her life. “For as long as I can remember [I’ve been doing art in earnest]. Ever since I could pick up a pencil,” Jefferies says. Scrapbooking with her mother, Eric Carle books and paper dolls have shown Jefferies how paper could be an art form. Now a junior in USC’s Art Education program, she works with various mediums but prefers cut paper to all else. 40 ARTIS T IN R E S ID E N CE
From this, Jefferies develops books, portraits and animations. A book she created in high school is still her favorite piece she’s done to this day. “There’s only five pages,” she says, “but each page opens up and there are three layers in the image. I used my grandma’s old family photos from the ‘40s and ‘50s [and] photos of my family in Easley, South Carolina, farming and doing their daily lives.” Another cut paper piece Jefferies created is an animation titled “Representation Matters.” This animation portrays a black girl’s newfound confidence when she notices women with natural hair appearing on television. Jefferies notes that the media portrays narrow perceptions of beauty that may affect a woman’s self esteem. Oftentimes, diversity goes unrepresented in this realm. A high school sculpting teacher once told Jefferies “art is a form of activism.” She will continue making art that attests to this idea.
Jefferies hopes to teach art in the future for elementary school children or at a museum. Her enrollment in USC’s Art Education program, at a school that is not solely focused in the arts, has helped Jefferies see art in a new light. People who aren’t artists “bring with them a different lens when they are looking at my work … their perspective has pushed me in a different way,” Jefferies says. In addition to this new perspective, her art education classes have helped her to distinguished how to make art versus how to teach it. “When you’re teaching art, you have to be very aware of the steps and you have to know
how to convey that to a young child. You have to know how to go through the steps and you have to repeat that maybe five different times for them to understand.” Jefferies has been through this learning process many times while studying in the Upstate, at USC and in Florence, Italy, on a study abroad trip. Right now, Jefferies is looking forward to May 2017 when she will attend Penland School of Crafts in North Carolina for a two-week art workshop. Jefferies encourages aspiring artists to work consistently. “Draw as often as possible,” she says. “Draw from life, draw from your imagination. Just pick up a pencil.” 41
fk mt.
DISCUSSING THE INTERSECTION OF MUSIC AND AND POLITICS WITH FK MT. BY ERIKA RYAN PHOTOS BY JOSH THOMPSON DESIGN BY TAYLOR KANE
SOMETIMES BAD LUCK ISN’T ALWAYS BAD. FK MT. BECAME WHAT IT IS TODAY AFTER RYAN MORRIS’ GEAR WAS STOLEN.
42 S CE NE & HE ARD
The first fk mt. (pronounced “f--- mountain” release was actually a set of solo acoustic tracks by vocalist Morris. Even though it worked out well, the switch to electric wasn’t planned. After someone broke into his previous band’s shed and stole his drum set, he used the insurance money to buy an amp and electric guitar. During the same summer, fk mt. became a three piece after Morris asked Ony Ratsimbaharison to join on bass and Brandon Johnson on drums, which is the same line up they have now, nearly four years later. Though there are a few local bands they frequently share bills with, such as MyBrother MySister, they find themselves playing with out of town bands more often. They’re not heavy enough for most of Columbia’s metal lineups but too much for the alt-rock shows. That is what’s landed them in the niche of indie punk. fk mt. has the innate energy of American punk without the aggressive urgency that’s often associated with the genre. They’re forceful but fuzzed out, like a stoner’s take on the lighter garage punk of today. Morris says most of their songs discuss anxiety and depression and its effects on everyday life, and these emotions come through on every track, with lyrics such as “You probably hate my guts / I hate my guts too.” But just because their songs aren’t overtly political doesn’t mean the band isn’t vocal about the current political climate.
While performing in front of the Columbia Museum of Art several days after the 2016 presidential election, fk mt. dressed the stage with a “F--TRUMP” sign. Like many musicians before them, they use their stage time as a platform to discuss social issues. “I’m not opposed to writing political lyrics, but I like talking about politics on stage more,” Morris says. “I use that as my time to say something that I want to get off my chest that’s bothering me.” If people are in the crowd watching, they’re listening, and they might agree with what you have to say. Music—all art—is a vehicle for change, even if just on a local level. There’s a unifying, almost comforting feeling of seeing people in the surrounding community fed up and striving for change together through the only ways they know how. According to Ratsimbaharison, if there’s something that’s upsetting you, it’s important to put it out there. Whatever problem is on the forefront of their minds manages to make it into
their music somehow, whether intentional or not. “I don’t write the lyrics, but that stuff affects me all the time,” she says. “Even if people aren’t thinking about [social issues], if they like your music and see that this is what you’re actually writing about or thinking about, they’ll be interested in that too, hopefully.” Ratsimbaharison is one of many local women in music that volunteers with Girls Rock Columbia, a non-profit camp that challenges gender stereotypes and builds self-esteem in girls through teaching them to play instruments. Part of GRC’s goal is to encourage diversity and create more role models within the scene for a younger generation of musicians to come. “Not seeing yourself enough has a really big effect on you picking up an instrument,” Ratsimbaharison says, because it’s intimidating to start playing music when there’s no one to look up to. The music industry hasn’t historically been a welcoming place for minorities, women or the LGBT community. There’s
always more work to be done, but Columbia’s scene is more diverse than it was even a few years ago. “More women, more people of color are saying, ‘hey, we’re here — we want to be involved too,’” she says. “The landscape is changing, so I think [Columbia’s music scene] has grown in a really good way.” The growing inclusivity of scene like Columbia’s is thanks to people taking matters into their own hands and not waiting for venues to change their lineup patterns. Although they’ve played plenty of shows at small venues like New Brookland Tavern around the Southeast, their most common touring circuits involve setting up and playing in someone’s living room, or other non-traditional spots, like Blue Tile Skateboards in Five Points. The DIY scene is home base for fk mt., figuratively and literally — Morris and Ratsimbaharison are two of the residents at one of Columbia’s most trafficked house-show houses, Queen Punx Palace.
While different people book shows at Queen Punx regularly, when fk mt. books shows, they try to bring in similar sounding bands from different cities to match their sound while also exposing a scene that might have gone unnoticed. They actually credit a lot of their growth to the groups they’ve met and worked with from around the Southeast. Their sound doesn’t fit precisely into how many venues stack lineups, so they’ve taken booking and touring into their own hands like so many DIY bands have done before them. House show culture is the backbone for punk communities everywhere, not just in Columbia. “When we tour, we meet people and tell them we’re from South Carolina and they’re like, ‘I never even thought to go there,’” Ratsimbaharison says. “Then they’ll come, and they’ll come again…The more people go out there and travel and tell people about Columbia, the more it grows.”
“MORE WOMEN, MORE PEOPLE O F CO LO R A R E S AY I N G , ‘ H E Y, W E ’ R E H E R E — W E WA N T TO BE INVOLVED TOO.’”
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S P I N CYCLE TRUMP’S SPIN TEAM STILL CAN’T CLEAN UP THEIR ACT. BY BEN CRAWFORD • DESIGN BY CHARLOTTE PRICE
DIRT-BAG POLITICAL OPERATORS, blinking idiots, paranoiac
advisors, strategists more booze than person, wide-eyed racist maniacs, shifty press secretaries: such persons are no stranger to the White House. This country has a long history, and a good number of those who have been shuttled into the West Wing under a new president were outright, if well-meaning, mediocrities if not outright monsters. But as evil and stupid as these men were, even they are overawed by sheer tonnage of freeze-dried idiocy that makes up the people surrounding Trump. Let’s start with Sean “Continually Emasculated” Spicer, whose job — ostensibly — is to perform the duties of White House press secretary. His real job is to be publicly humiliated for the president’s amusement. He chooses to debase himself every day, repeating the lies his boss demands him to repeat, and for his effort he is laughed at by a room full of reporters, none of whom trust or respect him. To borrow a line from Christopher Hitchens, he is so full of crap, that if you gave that man an enema you could fit him inside a matchbox. Other than the president, only one official lies with more poise and ease than Spicer: Kellyanne Conway. Most Sundays, she spends her time on the morning cable news rounds, spouting falsehoods like a champ. The thing is, she also feels this weird need to be accepted and given pats on the head by the media she distains: “I spoke for 35 minutes on three network Sunday shows,” Conway pouted on Fox News in January. “You know what got picked? The fact that I said ‘alternative facts.’ Not the fact that I ripped a new one to some of those hosts.” Note that this sounds like the complaint of a child. The self-pity, the whining lilt of not being rewarded adequately for doing her job. Trump’s cadre share characteristics of a certain kind of Kindergartener, who sucks on the front of their shirts and sobs, sobs at how unjust it all is. And who will inevitably rise and begin to slap and scream at the other children in righteous anger, as carrying out a just revenge on those who slighted them. If we can take any consolation from the power these people have, it is that they appear to be absolutely miserable.
RA NT
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EVENTS
THE SCHOOL YEAR MAY BE WINDING DOWN BUT THAT DOESN’T MEAN COLUMBIA IS— CHECK OUT THE COOLEST EVENTS GOING ON THIS SUMMER IN COLUMBIA. BY ZOE NICHOLSON ∞ PHOTO BY JOSH THOMPSON ∞ DESIGN BY TAYLOR KANE
IN DIE GR I T S
APRIL 20-23 IN DOWNTOWN COLUMBIA Indie Grits, The Nickelodeon Theater’s premier arts festival, presents Visiones, a collection of Latino inspired art and culture. Gallery exhibits, film screenings, live music and food trucks will pepper downtown Columbia from April 20-23. Enjoy live music at the opening night block party and relax with a Sunday BBQ after the chaotic schedule of events. Ticket prices to shows and workshops vary, so visit www.indiegrits.com for more details.
G R EATER CO LUM BIA R ECO R D FAIR
TOTAL ECL IPS E WEEK EN D CO LUM BIA
The 10th Annual Greater Columbia Record Fair is set for April 30 at the Columbia Museum of Art. Record vendors from across the East Coast will offer thousands of vinyls—new and old, classic and indie. There will be a popup beer garden, live music and an after party at The Whig. Admission is free and the event is from noon to 5 p.m.
AUG. 18-20
APRIL 30 NOON-5 P.M. @ COLUMBIA MUSEUM OF ART
M OO NL I G H T C EM ETERY / S ECR ETS FRO M THE G RAVE TO U R S ALL SUMMER AT ELMWOOD CEMETERY Join Historic Columbia in Elmwood Cemetery after-sundown and explore the creepy recesses and inhabitants of the cemetery. An earlier tour, Secrets From The Grave, begins before nightfall. Tours are held on the second Thursday of each month starting in April. Tickets are $8-12.
Columbia is gearing up for its front-row seat to a rare astronomical phenomenon. All weekend, events around town will focus on the upcoming eclipse and cater to the masses of spectators that will be in attendance. A series of “Eclipse Plays” from renowned South Carolinian playwrights sponsored by The Jasper Project will help fill the time you’re not staring up at the sky. Visit www.totaleclipsecolumbiasc.com for a complete list of events.
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