LEGACY Magazine - Spring 2014 | Issue 3 by Reveille

LOUISIANA S TAT E UNI VERSI T Y / SPRING 2014

/ ISSUE 3

LEGACY FASHION

MUSIC

C U LT U R E 1

L E T T E R

F R O M

MANAGING EDITOR Morgan Searles PHOTO EDITOR Jesse Guillory ART DIRECTOR Sarah Kershaw MULTIMEDIA DIRECTOR De’Andra Roberts WRITERS Logan Anderson Lauren Duhon Raina LaCaze Katie Macdonald Ashley Monaghan Aryanna Prasad DESIGNERS Claire Cassreino Cassidy Day Andrew Hebert

SALES MANAGER Katelyn Sonnier

E D I T O R

EDITOR IN CHIEF Sydney Blanchard

PHOTOGRAPHERS Kristen Barrett Lizzy Caroline Charles Champagne Jordan Hefler Whitney Huet

T H E

Sydney Blanchard EDITOR IN CHIEF

up? I’m Sydney Blanchard, and I’m happy to report that since I’ve taken over as LEGACY’s editor in chief, nothing has gone terribly wrong. We’ve had the usual hiccups that we’ve come to expect as a magazine staff, but the newsroom hasn’t burned down. No one is dead! I think I’ve done a pretty good job so far of not, ya know, messing up. This is a new experience for me. When faced with new experiences, we’re sometimes forced to ask a lot of questions to figure things out. What’s a great story pitch? How do we get sources to open up to us? Can we use photos and design to bring the story to life? And in this issue, we ask a lot of questions: What are some creative ways to make ends meet? How can personal struggle become a source of inspiration? Who’s responsible for keeping campus safe? What’s the real cost of studying abroad? What makes the perfect bowl of gumbo? We’ll ask the questions, but the answers are left open-ended. It’s for you to decide. Happy reading!

TECHNOLOGY ADVISOR Alex Cook ADVISOR Tim Schreiner PUBLISHER Office of Student Media

Mission Statement: LEGACY is a quarterly student-produced magazine that explores the diverse community of Louisiana State University through in-depth features, profiles and photography. LEGACY focuses on student entertainment, leisure and academics, and it strives to be informative, provacative and dynamic.

lsulegacymag.com LEGACY magazine @LSULEGACY

F E A T U R E S

Passport Privileged

Lost & Found

Welcome to the Jungle

Must be the Money

Degrees of Separation

Students discuss the ins and outs of making studying abroad work.

O P I N I O N

Should you pay or should I go?

Is the swag enough? LEGACY looks into paying student athletes.

Author and student Shanderrick Williams talks hardships, growth and publishing. When crime occurs on campus, who takes charge? Students strapped for cash seek alternative ways to make money. STEM and non-STEM majors defend their programs.

E X T R A S

Head Over Heels

All That Mumbo Gumbo

SpeakEasy

Acrobatic moves and yoga poses converge in acroyoga.

Smoked sausage, sliced okra and thick roux on rice: the science of gumbo.

LEGACY catches up with local funk band SpeakEasy.

Scene by Scene

American Graffiti

We get up close and personal with LSU on the silver screen.

Fashion from Time Warp inspired by an old Gumbo yearbook.

4 3

ZALIKA JOYNER, FLYER, AND LEE GUILBEAU, BASE

HEAD OVER HEELS ACROBATICS + YO GA

STORY // L auren D uho n

PHOTOS // J o r dan Hef l er

DESIGN // Claire C assreino

arefree. Playful. Weightless. These acrobatic yoga for its fun, creative movement are the three words biology freshman and the social element. Zalika Joyner used to describe her For Joyner, who said acrobatic yoga is like experience with acroyoga, a physical practice playtime for her, this is true. that combines mental reflection and “I’ve always been serious about self practice, interesting visual aspects to create a unique but acrobatic yoga can be more energetic partner experience and fun,” she said. as two people flow “Regular yoga can be together in and out of “EVERYONE IS VULNERABLE, BUT more of a workout, different poses. just depends, but acro IT’S IMPORTANT TO OPEN UP Lee Guilbeau, a always adds a positive YOURSELF TO DIFFERENT THINGS.” teacher of acrobatic energy.” yoga-inspired classes, Guilbeau said said the practice is an everyone joins at accessible way for students to partner up and different levels, and there is room for people explore flexibility, balance and strength. He to progress from beginner to advanced. Each said the movements are similar to traditional person is unique, and the main determinant is yoga, but this style is more of a mental game. body awareness, he added. “These are not movements you can do Joyner said she understands the hesitance without thinking,” he added. to try something new, because it’s something The practice is a mutual experience between she felt in the beginning. After practicing for partners, he said. The focal point of the exercise six months, she said she couldn’t see her life is communication between the base, the person without acrobatic yoga. who supports the movement on the ground, “Everyone is vulnerable, but it’s important and the flyer, the person who is elevated above to open up yourself to different things,” she it. said. “I started off being terrified of being “It goes beyond verbal communication,” upside down, but I’ve turned into a monkey Guilbeau said. “Almost intuitive. It’s a lot more and love it. It’s brought me back to my childabout cultivating a language of what you and like instincts.” your partner need.” “All you need is a partner,” Guilbeau said. The poses range in difficulty, and an For those who wish to get involved, example of a basic acrobatic yoga pose would class information stays up to date on the consist of the base supporting the flyer on his Facebook group Inside Out and Upside Down. or her feet while the flyer balances in a plank Information about acrobatic yoga and where position, like Superman. you can find others who practice this style can Guilbeau said most people are drawn to be found there as well.

A L L T H AT M UM B O

GUMBO STORY // Katie Mac donald

PHOTOS // Whitney Huet

DESIGN // Sarah Kershaw

mixture of gray, brown and tan, Louisiana winter is when the miserable damp cold seeps through your clothes into your bones. For the darkest, wettest of those days, there is a special name: Gumbo weather. Louisiana residents have used gumbo to combat the gloom for decades, but the origins of gumbo are as murky as the dish itself. Thought to be a combination of African, Native American, French and Caribbean cuisine, the first documented reference to gumbo appeared in the early 19th century. But agreement ends there. Regional and cultural differences across the state have created a dish with a few uniform ingredients and a lot of variety. Check out LEGACYâ&#x20AC;&#x2122;s list of gumbo essentials and variations.

THE TRINITY

THE PROTEIN

In an area that worships food like religion, it’s no surprise the essential trio of Louisiana cooking – onions, bell peppers and celery – has a holy title. Chopped and cooked down until soft, the combination of vegetables creates complex layers of flavor in a variety of Cajun and Creole dishes, including étoufée, jambalaya, sauce piquant and, of course, gumbo. In addition to onions, bell peppers and celery, some cooks add garlic, parsley or shallots for extra flavor.

While thickeners and the trinity are gumbo constants, proteins reflect Louisiana’s reputation as a diverse sportsman’s paradise. 1. Seafood: Residents along the coasts of the Mississippi River and Gulf of Mexico harvested fresh shrimp, oysters, crab and catfish for their gumbos. Typically paired with an okra or roux base, seafood gumbos are known for their lighter, cleaner flavors. 2. Meat: Chicken and turkey might be the most familiar gumbo combination, but the Louisiana culinary staple doesn’t discriminate. Creole and Cajun cooks have added a mix of game to the pot, including venison, squirrel, duck and quail. Long cooking times over low heat breaks down the meat until tender. 3. Sausage: While meat and seafood gumbos typically don’t mix, spicy Louisiana sausage straddles the line. Andouille, a smoked pork sausage with German origins, originally flavored Cajun pots, but now appears in Creole dishes. Likewise, the Creole Chaurice sausage, similar to Spanish chorizo, is now used across the state. *Information from Cajun chef and cookbook author Marcelle Bienvenu and the Southern Foodways Alliance.

THE BASE All gumbos include a thickener, an ingredient or technique that binds the rest of the dish together. Gumbo lovers can pick one of three flavors: okra, file or a roux. 1. Okra: The word “gumbo” stems from the rough, green vegetable, roughly translating to okra in West African dialect. Sliced and sautéed, okra transforms into a slimy, thick base traditionally used in seafood gumbos. 2. Filé: Characterized by its earthy flavor, filé comprises dried, finely ground sassafras leaves. Choctaw Indians first used it as seasoning, but Cajun and Creole cooks added the spice to their pots as a thickener when okra was not in season. Filé is sprinkled into gumbo right before it is served. 3. Roux: A combination of flour and fat over high heat, rouxs vary extremely. In north Louisiana, cooks create a rich, deep roux that complements smoked sausages prevalent in the area. Southern Louisianans traditionally make lighter, sometimes flourless rouxs to complement more delicate seafood.

( FROM LE F T TO RIG HT) GR A NT HUDSON, JOHN MA N N V, A NDRE A MITCHE L L , E L I WIL L IA MS, NICK GA RRISON A ND C HR IS P OL K

STORY // Log an Ander s on

PHOTOS // Kristen Barrett

DESIGN // Andrew Heb ert

SPEAKEASY 8

When asked to describe their sound, the musicians that comprise the local band SpeakEasy began to toss out words.

‘Soulful.’

‘ Eclectic.’

fter sitting back and thinking for a second, trombonist Nick Garrison leaned forward and said, “steamy,” in his low, deep voice. “Steamy,” the bandmates repeated in unison. The room agreed on steamy. “Steamy,” guitarist Grant Hudson repeated again a few seconds later. “Oh man, I can’t top steamy. That’s it.” He’s right. No word better encapsulates the music SpeakEasy makes. It’s all at once jazzy, sultry, eclectic, sexy and smooth. It conjures up the atmosphere of an invitingly dark, smoky room and demands you move your body to the rhythm. It is, in a word, steamy. Onstage, SpeakEasy is bewitching to watch. Lead singer Andrea Mitchell commands attention, with her big voice and even bigger stage presence. John Mann V can be found doing anything, depending on the number. One minute he is tickling the bars of his enchanting vibraphone and the next he’s banging a tambourine. Chris Polk transitions from bassist to rapper and proves himself skillful at both. Garrison’s trombone provides a deep, brassy voice that sings with Mitchell as he rocks back and forth in time with the music. Hudson plays his guitar deftly and smoothly, while drummer Eli Williams provides a beat to which all other players react. They are never out of sync, combining all elements to create a sound that demands listeners pay attention. That electric chemistry between musicians is constantly evident, even when the group isn’t performing. They laugh easily, tease playfully and joke often with one another. It’s evident just from watching them talk that this is not a group of people whose only connection is music.

‘Inviting.’

They’re a family, and that connection is the spark that makes SpeakEasy ignite onstage. Mitchell sits at the center of all conversation. Her presence is the uniting force of SpeakEasy and her decision to begin performing with a band is what set SpeakEasy’s synthesis in motion. Mitchell, with her vibrant personality and stadium-sized voice, pulled each artist in. When asked what sets their group apart from others, Mitchell’s bandmates immediately point to her. “That’s what people always tell us,” Hudson said as Mitchell shook her head modestly. “After shows, people always come up to us and say, ‘Man, your lead singer is amazing!’ That’s what they take away from it.” Mitchell is hesitant to take credit for the band’s success, saying she believes what sets SpeakEasy apart from other groups is the performance style. “I really do have fun every time I go onstage,” Mitchell said. “And it’s the most fun I have in my life. And I think that people enjoy that. They don’t want to be sang at, or performed at. They really want to see people doing what they do and loving it. And it allows them to get involved.” Coming off of a win at DIG’s “INDIEcent Exposure: Battle of the Bands,” SpeakEasy has set aside the month of February to record. “We don’t have any gigs, and we have a space rented out,” Mitchell said excitedly. After that, the group has big plans for the rest of 2014. “Record, tour,” Mitchell listed off goals, “and 5,000 fans on our Facebook page.” The other members nodded in agreement. In these goals, as in everything else, SpeakEasy is in sync.

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SCENE BY SCENE

PRIDE (2007) FEATURES A SHOT OF LSU’S CLOCK TOWER

12 PITCH PERFECT (2012) FILMED A SCENE IN THE GREEK AMPHITHEATER

STORY // Aryanna Prasad

PHOTOS // Lizzy C aroline

petite brunette sat in the quad one sunny day, listening to music as passers-by and cameras focused on her. But this was no ordinary LSU student — it was Anna Kendrick, an actress from the 2012 film “Pitch Perfect.” The spotlight has been shining on LSU recently, but campus has graced the silver screen for decades. The latest Hollywood clamor toward LSU comes from tax incentives and the campus’ ability to “play Anywhere, U.S.A.,” according to Ashley Territo, LSU’s liaison to the film industry. Like any University recruiter, she has a long list of why directors should choose LSU. The University boasts broad oaks, multiple performance venues and classic Italian stucco architecture. The scene is easy to transform, and in a state with a burgeoning film industry, LSU satisfies filmmakers’ wish lists. “It’s good because students get experience, graduates are hired and it adds to the economic development of the city,” Territo said. LSU’s film debut began with 1998’s “Everybody’s All-American,” starring Dennis Quaid. His character, football player Gavin Grey, played during breaks in a live LSU football game. Iconic films, such as “Easy Rider” and “Uncle Tom’s Cabin,” utilized Louisiana’s distinct plantations and swampland for key parts of the film. Newer films tend to use the more commercial and temperate climate of North Louisiana. But the recent influx of films seeking the tax incentive flooded the local industry after 2002. For every dollar spent in the state, a production receives a 30 percent rebate. Filmmakers can cut costs further with a 5 percent rebate if they hire locals for production. Baton Rouge boasts established film production companies such as Raleigh Studios at the Celtic Media Centre among others, making LSU even more attractive to out-of-state productions. LSU students and faculty can also benefit from film opportunities. LSU’s Film and Media Arts program expanded from a minor to a major in 2011. Since then, students in this field of study have

DESIGN // C assidy Day

education and opportunity on their own campus. LSU students from all majors can benefit as extras in films, adding to the novelty of having films shot on campus. Since 2005, LSU facilities have been spotlighted in five feature films. “The Dukes of Hazard,” “Glory Road,” “The Reaping,” “Pride” and “Pitch Perfect” have all been shot on campus. Films transform everyday locations on campus to satisfy the story line. Students may recognize locations such as the Pentagon, Swine Palace, the Quad and the Greek Theatre in “Pitch Perfect.” Previous films used locations such as the HoweRussell Geoscience Complex, LSU Natatorium and Middleton Library. Some locations did not serve their usual purposes, such as the façade of the LSU Law Building as an entrance to a swim competition in “Pride,” Territo said. Even LSU landmarks that are less apparent, such as the Huey P. Long fieldhouse and pool, were an additional bonus to the “Pitch Perfect” crew. “You wouldn’t think it’d be a film location, but it was where very memorable and important parts of the film took place,” Territo said. LSU continues to make film history with more productions frequenting the campus. In the fall of 2012, cameras rolled on campus for a Christian film titled “God’s Not Dead,” due in theaters in spring 2014. “Dallas Buyers Club” utilized LSU’s annual rodeo for a scene, and actor Channing Tatum was spotted on campus last fall filming a sequel to “21 Jump Street.” Fans took note, as many photos of Tatum with giddy students surfaced on social media. LSU has steadily transformed from an ordinary college campus to one worthy of some screen time. Huey P. Long funded many of the academic buildings we see today, and his contribution has helped not only LSU students but also film crews looking for transformable sets. LSU is celebrated for its attractive campus. “[It] showcases that LSU is doing a great job down here,” Territo said.

AMERICAN GRAFFITI P HOTOS

Whit ney

Huet

DE SIGN

Sarah

Ker shaw

PASSPORT PRIVILEGED STORY

// R a i n a L a C a z e

leen Kaltakdjian, biochemistry senior, had a stellar experience while studying abroad through Hidden Treasures of Europe. She visited six different countries through the month-long program. Kaltakdjian said applying for the wellorganized trip was a breeze. “[The Academic Programs Abroad staff] told us exactly what they wanted, when they wanted it,” Kaltakdjian said, referring to the piles of paperwork would-be travellers must turn in. The short-term program fee of $4,500 didn’t include tuition for the classes she’d credit for, insurance or airfare. Students were provided one meal in each country, but the rest of the meals and miscellaneous expenses fell to the students. Kaltakdjian’s parents were able to cover the costs, but this is not the case for many students. While Kaltakdjian’s summer classes took place in a beautiful garden behind an Austrian palace, students who lacked sufficient funds were left sitting in ancient desks under florescent lights, getting an earful of lecture. The APA offers short-term, one-semester and one-year programs. The summer shortterm programs taught by LSU faculty are considered to be more costly than the longer terms because the short-term programs are fast-paced with non-stop traveling and hotel expenses. Airfare is not included in the program fee so students with parents who have frequent flier miles can use them, or students interested in additional travel before or after the program can find the most affordable route. Harald Leder, director of APA, said each program maintains its own budget. So programs in the United Kingdom, one of

D E S I G N // A n d r e w H e b e r t

the most popular destinations, are generally more costly than programs in Italy. “The goal is to keep the fee as low as humanly possible for students,” Leder said. Usually, the scholarships a student receives on campus are also available abroad. There are also national funding opportunities such as the Benjamin A. Gilman International Scholarship Program, which offers up to $6,000 to cover study abroad expenses. Leder said about 75 percent of the students who study abroad choose the summer program. However, he said there are no major advantages to studying abroad versus on campus unless students are able to immerse in the culture. He said he believes the longer students can stay, the more they learn. “Instead of talking about history, I try to take them where history actually happened,” Leder said. “That is something you cannot replicate at LSU.” Students who choose to study for a full semester or longer become students of a host university abroad. Travelers can browse the three types of programs: bilateral, ISEPExchange and ISEP-Direct. Depending on the program, students pay tuition to LSU or to their host university and an application fee of $100 to $175, airfare and living expenses. Different destinations can be more or less expensive than the cost of living and food on LSU’s campus. Aside from possible financial complications, students who choose to study abroad can face other unforeseen challenges. Sam Breaux, an anthropology and French junior, studied in Belgium for a semester thanks to a full scholarship he received. Breaux’s professor helped him make

arrangements with two different families in France for four weeks prior to the program. After staying with the first family for one week, he transitioned to the second family, where he expected to stay for three weeks. On the fourth day, while he was touring the Louvre, Breaux received a text from his host sister informing him that her mother was giving him until the end of the day to leave their home and make arrangements elsewhere. “I went to the bathroom and basically spent 20 minutes crying and trying to figure out what to do,” Breaux said. After Breaux’s panic subsided, his day turned around when he boarded a train to stay with his host sister’s teacher until his first host family returned from out of town. The next day, Breaux gave a presentation to the teacher’s primary English class. Later, he was informed that the host mother’s reasoning for his dismissal was that he was untidy, disrespectful and distracting. Breaux and his first host family were dumbfounded by her claims. Despite the ordeal, he gained a passion for teaching language and a second family he still keeps in contact with today. “I feel so overwhelmingly indebted to these people,” Breaux said. “They helped me so much. Not only in this hard situation, but reflecting back, helped me in my current life. They inspired me to do what I’m doing.” Each experience abroad changes with student preferences and priorities. Some choose to travel, while others use an exchange to gain professional experience or make progress in their degree. Different programs work hand in hand with different majors. Even if there isn’t a program available for a certain major, credits

earned abroad will likely be transferred as general education courses. Students can check the courses offered at a host university, then use a database called Tiger Tables Software to see how some courses have been transferred in the past. Leder recommends students think about studying abroad from day one at LSU. That way, each student has time to sort out every necessary credit and expense. Many students who first show interest have to drop out before they are financially obligated. One of the misconceptions, he said, is the belief that studying abroad is a vacation. The GPA requirement is 3.0 for a bilateral exchange, 2.75 for other exchanges and 2.5 for the short-term program. The APA takes academics seriously, but there is also room for free time and fun. “I wasn’t expecting the courses to be so incorporated with what we were seeing,” Kaltakdjian said. “It made me really pay attention to the culture. It wasn’t just, ‘Oh I’m going to Europe, see you later,’ you know? It was actually learning and getting to know the places that I was going.” Leder said studying abroad is for everyone because it serves as a smart investment in a student’s future. Graduates with experience abroad may have a leg-up in an employer’s eyes when interviewing candidates. Of the entire LSU student body, Leder said only 10 percent have studied abroad. Studying abroad still has the potential to contribute to a competitive resume. “Whenever you’re in Europe, or wherever you study abroad, take advantage of the time you have over there because those are the kind of memories that stick with you for your life,” Kaltakdjian said.

STORY // Raina LaCaze

PHOTOS // Charles Champagne DESIGN // Claire Cassreino

LOST

FOUND

LSU student Shanderrick Williams overcame a troubled childhood to become an author and motivational speaker.

ight-year-old Shanderrick Williams woke up at 2 a.m. in a Baton Rouge drug house to begin his drowsy search for the bathroom, only to find a buck-eyed being with crazed hair looking in the bathroom mirror. Williams screamed and woke up everyone in the house as he ran away from the beastly-looking figure. A woman caught up with him and covered his mouth with a firm grip, reassuring him, “It is me, your mother.” “My mom had no job, she had no income and she was addicted to drugs,” Williams said. “We roamed the streets because of her drug addiction. Many nights we went without a stable home and meals, but being together was more important to me than having the luxuries of life.” Williams said he gained a sense of clarity after that encounter. Before, Williams

never let the family jokes about his mother’s drug abuse sway him. Now, he knew the reason for the used needles on the ground, the inconsistency of their nightlife and the aimless walks through the Glen Oaks neighborhood of Baton Rouge. Williams, his younger brother Josh, and their mother would walk for hours at a time each day. After the exhaustion set in, they searched for shelter late at night as his mother sang at the top of her lungs. He trembled at the thought of one of his classmates hearing her and discovering they did not have a home. “I used to go to the park every single day of my life because I had no where to go, not because it was the place to be,” Williams said. He found himself on the basketball court with trashtalking men who challenged him

to shoot for a dollar. He used his winnings to purchase meals at the corner store for Josh and himself. After leaving the basketball court, they knocked on door after door in search of their mother. One night, after an unsuccessful hunt, they were forced to return to the park when they were refused shelter because of their mother’s theft the previous week. Josh cried in confusion, asking his older brother where they would go and what they would do. Williams comforted him, saying, “everything is going to be all right.” That was not to be the case. One day after walking back from Glen Oaks Park Elementary, Williams arrived at the house where they were staying to see 10 police officers surrounding his mother who yelled at them aggressively in the driveway. An officer put her face to the concrete,

WILLIAMS DRAWS INSPIRATION FOR HIS WRITING FROM THE WALL OF THE “THINKING TANK” IN HIS GRANDMOTHER’S HOME

and Williams witnessed his first arrest. His mother was hauled off to East Baton Rouge Prison for shoplifting at Walmart. Williams was 9 years old when his mother was arrested for the second time. She was given a three-year sentence in an out-of-state prison. He only saw and spoke to his mother a handful of times. During the few phone conversations he had with her, he was given an automated 30-second warning. Before he had the chance to say “goodbye,” or even, “I love you,” the sound of a dial tone sank into his eardrums. “I remember me hanging on and holding the phone for seconds after she had hung up to fill that void, to feel her

presence and to feel her love,” Williams said. Things changed for Williams after he and Josh moved in with their grandparents. His grandmother instilled values in his life. She taught him about God and how to protect a home. She also enrolled him in the Young Leaders Academy, an organization in Baton Rouge that nurtures young African American men to develop leadership abilities and help them become productive citizens. He formed relationships with role models who instructed him to speak boldly. Williams now had the opportunity to pursue the great things he was meant for. He never doubted his ability, even

when his third grade teacher told him she would see his face on the front page of The Advocate one day for a crime. In the sixth grade, he did not hesitate to visit her and boast the report card that gave him honor roll status. “I understood that my whole life, I was getting two educations; I was getting the street education and I was also getting the academic education,” Williams said. Growing up in a rough neighborhood, he learned hustles, and he said he believes entrepreneurship is similar to hustling someone or something. He said being book smart means understanding how to make deals legitimate. Williams

WILLIAMS REVISITS THE PARK WHERE HE AND HIS BROTHER JOSH, PLAYED BASKETBALL AS CHILDREN

combined the two when he established his own publishing company and became an author in 2012 while majoring in communication studies at LSU. Williams recalled waking up after a dream at 2 a.m. once again — this time at Herget Hall during his freshman year. He began to research the publishing industry with the intention to publish a book through his own company. “Every day of my life began to be about the publishing industry,” he said. That dream birthed his book, “The Lost Power,” in which Williams unveils intimate details about his life to the world in hopes of inspiring this generation to embrace their

situation and fearlessly move toward their aspirations. His book is his testimony and a source of encouragement for others to achieve greatness and pursue their dreams no matter their personal background, ethnicity or financial status. Williams and former LSU defensive tackle Anthony Johnson founded Generation X Club in 2013. The two first met when Johnson chose Williams to be on his basketball team at the UREC. Johnson then connected with Williams on Twitter. “Something was instilled in him that I had never seen before,” Johnson said. “You know what I mean? I just knew he was special.” The foundation’s slogan,

“We do the impossible,” is carried to crime and drugaffected areas where Williams visits and spreads his message to young adults. Having similar childhoods, Williams and Johnson formed a bond through their shared vision of helping impoverished youth to reach their full potential. “My entire life, I had this unshakable desire to be great,” Williams said. “I say unshakable because I was bouncing around my entire life and what I experienced — the adversity, the hardships — shook me away from greatness. And to me, greatness was being a servant and always smiling through whatever.”

WELCOME TO THE

JUNGLE

STORY // Ar yanna Prasad

PHOTOS // Krist en Barrett

DESIGN // Andrew Heb ert

n October 25, 2013, The LSU Police Department sent out an e-text alerting the LSU community of a shooting on W. Roosevelt Street near Edward Gay Apartments. W. Roosevelt Street isn’t on LSU’s campus, so why was LSUPD involved? LSUPD Capt. Cory Lalonde describes their jurisdiction as “in some ways, more restricted, and in other ways, more expansive.” Simply put, LSUPD’s basic jurisdiction covers LSU property and adjacent streets. Running a red light on Nicholson or vandalism of Hilltop Arboretum is fair game for an LSUPD arrest. If a crime happens on campus and the suspect leaves, LSUPD’s jurisdiction can extend across the entire state. Though campus is their priority, LSUPD frequently works with the Baton Rouge Police Department. BRPD officers patrol four districts, with the Second District covering the LSU area. If crimes happen on nearby streets, such as Chimes Street, sometimes LSUPD can get to the scene more quickly than BRPD. If contacted, LSUPD protocol is to respond to the crime while also contacting BRPD. Lalonde stressed when someone is in danger, public safety comes before jurisdiction. Baton Rouge crime has worsened in recent years as thefts and assaults fill LSUPD files. In 2012, the Baton Rouge Business Report named LSU the ninth most dangerous campus in the United States. The ranking averages the number of reported crimes on campus and the size of the student body. For a campus of nearly 30,000 students, there was an average of 26 violent crimes and 474 property thefts per year between 2008 and 2011. With a large student population and high crime in the area, LSU has an overwhelming responsibility to accurately report crime data. Last semester, students received e-texts and emails concerning a robbery on State Street, which is not technically on the LSU campus. In addition to releasing a daily crime log on its website, the police department also informs The Daily Reveille of crimes. When sending out

urgent broadcasts, LSUPD has a “constant battle to weigh timelines and accuracy,” Lalonde says. They are wary of the possibility the public will become complacent with their communication, so LSUPD won’t be flooding students’ inboxes anytime soon. This only scratches the surface of the crime information LSUPD publicizes. Campus police compiles and publicly releases all crime reports as mandated by the Cleary Act, a federal act that requires colleges and universities accepting federal financial aid to report all crimes that happen on or near campus. LSU releases its crime information in the LSU Annual Security Report. The report includes “on-campus” crime statistics for the past three years. “On campus” includes “certain off-campus buildings owned or controlled by LSU, on public property within or immediately adjacent to LSU and or accessible from the campus.” The numbers are not always a fair indication of the severity of criminal activity. Of 22 robberies, more than half were cell phone thefts, Lalonde said. Another misrepresentation is the reporting of on-campus and residential crimes. Residential statistics are a subset of oncampus stats, but citizens have misunderstood this and double-counted crimes. Another issue facing crime transparency is underreporting. With the stigma associated with sexual assaults and the prevalence of date rape, sexual assault victims may not notify campus police because of embarrassment or confusion. Sexual assault is not restricted to an attack by an unknown person while on campus at night. A more realistic scenario takes place at bars or parties where, through intoxication and social ease, a perpetrator can easily take advantage of a victim. LSUPD offers help to any sexual assault victim, but they need the consent of the victim to further the investigation. The matter is also complicated when there are no third party witnesses, which is often the case with sexual assault. Alcohol, which affects memory and motor functions, is involved in

most reported cases. LSUPD officers encourage victims to seek help from health professionals, if not law enforcement. If victims do go to campus police, officials assure they will investigate the crime. Lalonde clarified that there is no particular crime that is drastically underreported, but he knows the statistics are not perfect. Some victims are not discouraged by the reporting but by the follow-up. Mass communication sophomore Brooke Hotard described two vastly different encounters with LSUPD officers. In the first, in which the bumper of her car was tampered with, Hotard said an LSUPD officer suggested she didn’t need to file a report. Since there were no cameras or eyewitnesses nearby, there was scarce evidence of the criminal. Hotard insisted on filing a report, but received no follow-up. The second incident involved someone keying her car in front of Acadian Hall. This time, Hotard said the police officer seemed passionate

about her case, taking photos and criticizing the previous cop who suggested she not file a report. However, she did not receive a follow-up for this case, either. Though she said she appreciates the first officer’s honesty, she would feel “at ease if I got one phone call saying there was nothing on the cameras.” Hotard said she does not know LSUPD protocol in these situations, and if she experiences yet another auto crime, she may not report it at all. “I know for me, if something happened, I won’t waste my time with the outcome,” she said. The likelihood of solving a crime can affect LSUPD’s treatment of the case. Sophomore digital art major Cameron Briggs, a victim of phone theft, described LSUPD officers as “thorough and understanding” in their investigation and the department as “well-organized.” Briggs, who confronted the criminals in the Hart Lot, found out he was the third in a string of four campus thefts that evening. Without a phone, he called

the police from West Campus Apartments, and an officer met him within two minutes. Briggs filled out paperwork, gave descriptions of the attackers and helped to identify them in a lineup. When Briggs explained he was focused on the assailant’s gun rather than his face and couldn’t identify him, the police explained that it was a common occurrence in such situations. The police investigation eventually led to an arrest, aided by Briggs’ testimony. Briggs agreed there was a difference in the officers who handled his case, with the first being “cut and dry” and the second making “an effort to talk.” Briggs considered not reporting his crime but felt differently after his experience. “After I reported it, I realized how much my personal input was useful,” he said. “Everyone’s encounter with a crime is different, and anything you can contribute to an investigation is important.” LSU provides services to protect and educate

students about the realities of campus crime. In addition to releasing crime information, LSUPD encourages students to report crimes they see with the “See Something Say Something” campaign. LSU Student Health encourages victims of sexual assault and other violent crimes to seek counseling services. The Cleary Act offers an idea of what crimes happen, but keeping up with crimes by checking the LSUPD website and interactive map give a better idea of what crimes are happening where. Lalonde noted that of about 34,000 people in the LSU community, nearly 30,000 have registered for LSUPD texts. When not covering crimes, LSUPD serves the public in unexpected ways. In the fall of 2013, they began the Adopt-A-Hall campaign, which pairs an officer to an on-campus residential community. Lalonde said he wants to expand this program while maintaining public openness to “bridge the proverbial gap between law enforcement and the public.”

MUST BE THE MONEY STORY // Logan Anders on

ohn Anny’s parents have no idea he spent a semester working as a model. A nude art model, that is. “My Mom probably would have been okay with it,” he said, laughing, “but I have no clue how my Dad would react. I mean it is a job, and there’s nothing wrong with it, but I’m not sure how they’d feel.” Parents tend to have mixed feelings about their children being naked in front of large groups for extended periods of time. But bills have to be paid.

PHOTOS // Charles Champagne

Between tuition, textbooks and enough coffee to survive 7:30 a.m. classes, student expenses add up quickly. To help ease this monetary burden, many pick up part time jobs. While some students work in retail, wait tables or get jobs working on campus, others find less orthodox ways to make ends meet. Most students wouldn’t apply for Anny’s job. For $12 an hour, the computer science junior stood perfectly still in front of art classes, completely nude. Students learning how to

DESIGN // Cassidy Day

draw the human form studied Anny’s body and spent a semester translating his physique to paper. The experience was daunting for him in the beginning. Then, it became like meditation, he said. Once he got past the awkwardness, art modeling became an escape from his hectic student life. While modeling, Anny had time to zone out and relax, something he said improved his life. “Whatever stress you have, it all just kind of goes out the window.”

Anny found a job that paid more than minimum wage, didn’t require working late nights or weekends and was tolerable for him. Unfortunately, unorthodox means of making extra cash aren’t always so easy on students. JUST A SMALL PRICK Rebecca Stewart doesn’t share the same fondness for plasma donation that Anny has for nude modeling. That’s not to say the film studies senior hated the experience; she recommends it to any student who meets the donor eligibility requirements and feels strapped for cash. She describes the process the way most people would describe a doctors visit – not terrible, but not exactly great either. “You go through a screening process, they check your vitals, they do a basic check up just to make sure you’re suitable to donate physically,” Stewart said. “They also get a very detailed history – basically like when you donate blood — and they ask you those personal questions, but much more extensive.” Once nurses cleared her for donation, Stewart’s blood was drawn and put through a process known as plasmapheresis, which separates plasma from red blood cells and other cellular material. The red blood cell and cellular material mix was then returned to Stewart, ensuring that she left the clinic with the same volume of blood as when she arrived. Having blood removed, filtered and returned can be taxing. The few times Stewart had not prepared herself for donation, her body experienced the ramifications instantaneously. She passed out twice after donating. “I hadn’t eaten in a while, and I was thirsty too,” she said. “It was definitely a situation where I just wasn’t taking care of myself.” Despite a few unpleasant experiences, Stewart said she’s glad she donated her plasma. For her, all of the negative aspects of plasma donation are outweighed by the beneficial outcome – and, of course, the financial compensation.

“You’ll see these posters on the wall of a kid who has some kind of terminal illness, and they’re thanking you because your donation because it’s helping them be able to play baseball or something,” Stewart said. “It’s an awesome way to make money, but you’re still there to make money.” Stewart said payment varies. Donation centers set their own rates, and sometimes clinics have “specials” to entice more people to donate. Stewart said that on the right day, first-time donors can make as much as $95 a week. The combination of altruism and financial benefit was exactly what Stewart wanted. “I’ve always had a desire to help other people, and that usually doesn’t pay well,” she said. “So this was one of the nice ways I could do something that I actually got money for, and I was helping people at the same time.” TA L K I N G I T O U T Mass communications senior Rachel Weaver briefly considered donating her plasma, as Stewart had. But unlike Stewart, the physically taxing costs didn’t seem to outweigh the benefits. But Weaver has always sought less traditional jobs. “I hate working weekends,” she said, “so a restaurant waiting job – like a lot of college kids have – just seems super unappealing to me.” Weaver found a job that incorporated her experience and her hatred of working weekends, with an added bonus – an hourly salary most students would kill for. Weaver works for Louisiana Economic Development, a small branch of the Louisiana state government tasked with enticing companies to bring their business to the state. One of LED’s programs, Fast Track LED, makes training videos for companies. Weaver does voiceovers for those training videos. Weaver has worked as a radio DJ since she was in high school. Her experience in radio helped land her the voiceover job. A representative from the company brought flyers to the KLSU office, where Weaver works, looking for voice talent. For Weaver,

RACHEL WEAVER DOES VOICE OVERS IN THE STUDIO

the money was too enticing for her to pass up. Weaver was hired by Fast Track. The work is not consistent enough to live off. Weaver only gets called in when new companies need training videos, meaning she can go six months between gigs. Weaver sits in an isolation sound booth reading out employee safety measures for three or four hours at a time. Weaver described the work not as tedious or boring, but exhausting. However, the pay is good. Just how much does she make? “I’d rather not say, because I don’t want everyone climbing after my job,” she said, “but it’s a pretty high hourly rate.” THINK SMALL Unlike Anny, Stewart and Weaver, who found their unorthodox jobs after arriving at LSU, Blair Brown, communication studies sophomore, brought her job with her from home. Brown

began crafting at a young age as a way to bond with her younger sister. “It was always really fun for us to be able to do tactile things together,” Brown said. Brown molded doll-sized items out of polymer clay. She also made a dollhouses, which she donated to local children’s shelters. When she got to middle school, Brown realized her tiny recreations had the potential to be more than dollhouse dressings. “This can be an earring,” Brown said excitedly, as she reenacted her middle-school realization. “Everything can be earrings! So I’d learn how to miniaturize it so I could make earrings.” Brown’s idea that she could make anything into jewelry has stuck with her ever since, and it led Brown to her current career as an Etsy shop owner.

On “The Blarify,” Brown sells her polymer clay miniatures as earrings, necklaces and bracelets. Brown has sold “Despicable Me” minion earrings, charming clay replicas of the titular character from “The Brave Little Toaster,” sugar skulls, depictions of Powerpuff girls, Dexter and Snoopy. But her most popular items right now are Poké Bras, bras with Poké Ball designs on them. The product description for the Poké Bra on Brown’s website reads, “What’s that? A wild titty appears! Good thing this bra can capture them!” Brown’s products generate a solid flow of cash. Since her shop’s rebrand last year, Brown has made $500 selling her handmade items online, and she believes anybody can succeed the way she has, if they use a little creativity. “If you find yourself with a lot of free time and you like to do artwork, absolutely pursue it.”

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DEGREES OF

S E P A R A T I O N STORY // Ashley Monaghan

PHOTOS // Lizzy C aroline

he saying goes, “behind every successful man stands a woman.” While this trite saying may be debatable, one thing seems to hold true: behind every successful STEM graduate stands a non-STEM graduate. Behind every mechanical or electrical engineer working on a building stands an architecture firm that designed the foundation. Behind every computer science web developer stands a graphic designer creating a visual aesthetic for a company’s brand. In the modern workforce, STEM and nonSTEM graduates’ work goes hand in hand. Yet universities around the United States have yet to catch on. SE NSE AND SENSIBILITY The practicality of students’ degrees and the value of STEM education (science, technology, engineering and mathematics) compared to non-STEM education (liberal arts and the humanities and social sciences) is an ongoing debate that rages on. Contrary to some beliefs, the divide between STEM and non-STEM education has not always been instilled in universities. In ancient Greece, formal education focused on teaching a wide range of topics. Maths and sciences were taught alongside music and literature, and these subjects were valued equally. Now, this is not the case. Inherently, it seems people place a higher value on STEM degrees. They’re viewed as

DESIGN // C assidy D ay

practical and necessary in the job market. Non-STEM degrees are often viewed as unnecessary, impractical or even just a hobby. Jacqueline DeRobertis, an English literature and philosophy senior, feels that non-STEM educations are undervalued. “When I was younger, people told me that you go to college to get a degree to get a job,” DeRobertis said. “I wanted more out of my college experience.” Students like DeRobertis who are more interested in liberal arts find defending their non-STEM degree difficult when the job market tells them they will not make it once they graduate. DeRobertis thinks liberal arts should be more respected. “Non-STEM education teaches us how we live and why we live,” DeRobertis said. FAC T OR FIC TION STEM students are not solely concerned with practicality. Many STEM majors don’t inherently lack creativity, and many are following their dreams of becoming a scientist or a mathematician. On the other side, non-STEM students don’t inherently rebuke the idea of practicality. Many non-STEM students consider practicality when choosing their field, but they are willing to risk financial instability upon graduation so that they can pursue their passion, said ceramics junior Patrick LeBas. It is assumed that those studying STEM subjects have a set plan for their career.

B E H I N D E V E R Y S U C C E S S F U L S T E M G R A D U AT E S T A N D S A N O N - S T E M G R A D U AT E .

Graduates think they are guaranteed jobs because of the consistent need for STEM workers in the United States. However, this is not the case. The “STEM crisis” refers to the desperate need for more STEM workers in the U.S. Though a study done in 2013 by IEEE Spectrum suggests that the STEM crisis is a myth. In fact, there are more STEM workers available than suitable jobs. According to Dean Richard White of the College of Business, a graduate in any field is in an unstable position. “A graduate today, by the time they are 40 years old, will have had 14 jobs,” White said. The real crisis is how graduates in any field are going to find jobs, not just non-STEM majors. According to the Bureau of Labor Statistics, the projected overall employment in the U.S. from now until 2020 is expected to increase in only four fields — registered

nurses, retail salespersons, home health aids and personal care aids. THINGS LO OK BLE AK With the future job market in decline, a lot of things are at stake. A STEM graduate’s promise of a sustainable living is in jeopardy according to the job market, yet students still believe that they will get a job upon graduation. For non-STEM graduates who risked a non-traditional degree, the situation seems even more dire. Not only are jobs at stake, but certain departments face being axed. LSU is not expected to drop programs like the termination of Univeristy of Louisiana at Lafayette’s agriculture and fashion departments, but there is an underfunding problem. The recent fall of a 300-pound ceiling tile in the studio arts building is one of the many examples of the literal dangers of underfunding at LSU.

When it comes to non-STEM departments being underfunded, the University isn’t the only one to blame. Many colleges’ non-STEM departments struggle with funding. Because LSU is a research school, many grants go to STEM departments. Art students are not bringing in money with research. College of Art and Design Dean Alkis Tsolakis agrees that the liberal arts do not usually create measurable research. “How do you recognize the value of what a painter does?” asked Tsolakis. “What a sculptor does? What a creative writer does? How do you articulate the kind of research that we do here, which is not the research that brings you the big bucks?” Many donations come from alumni, fundraising or external affairs — something the arts also struggle with. Further, nonSTEM departments tend to cost more to fund than STEM departments. Some don’t give the payback that other departments do, White said. For example, a music major may be in studio classes with three or four other people. The faculty-to-student ratio for these classes is high, not to mention costly. Oppositely, an accounting student—who does not cost the school as much to educate—will leave LSU with a starting salary of $80,000 a year. “We’ve got to look at the bigger picture,” White added. “All of our graduates have value and you can’t put a dollar value on it.”

graduates do get jobs. The pay may not be great, but the jobs are interesting. “Although they do not make a lot of money, at least at first, they are happy,” Tsolakis said. “These are the things this college is all about: creativity, imagination. That is rigorous and constructive. It’s not finger painting.” Non-STEM education teaches skills that enhance students not only as people and employees, but leaders, DeRobertis said. They’re taught how to think and communicate holistically instead of the more linear approach taught to STEM students. This makes non-STEM students more marketable post graduation, according to DeRobertis. “In the job market, it’s not just your resume or credentials, but you have to sell yourself,” DeRobertis said. “You have to be able to pitch yourself and pitch your ideas and in the more creative disciplines, we’re much more prepared than people who haven’t been taught how to interview or even been taught how to face rejection.” A lot of non-STEM programs esentially study humanity. DeRobertis loves literature because it breaks down barriers in ways that math or science cannot do. “We need to look at people, not merely as an equation of a compilation of cells, but as people with thoughts and feelings and creative expressions that I don’t think we can explore without non-STEM majors,” DeRobertis explained.

WEIGHING IT OUT

PA S S I O N

Looking at the numbers, a STEM degree’s value is more easily measured in concrete terms. Yet most published research limits the measure of the success of certain industries to monetary terms. According to Tsolakis, non-STEM

Tsolakis agreed that in many ways, non-STEM programs teach people about humanity and how to live in a society that is constantly changing. “How do you expect people to be citizens if you train them like robots?” Tsolakis asked.

DeRobertis chose her degree path because she fell in love with language, critical thinking and words. Most students study a non-STEM discipline because they choose to do what they love in spite of monetary prospects. For those students, it’s about passion. LeBas happened upon his passion in an interesting way. After planning on receiving degrees in painting and education, LeBas happened upon the ceramic club’s biannual Print and Pottery Sale and spotted a cup on the shelf. He decided that it was a craft he’d love to learn. The next semester, he enrolled in four studio classes: both intro to ceramics classes as well as printmaking and painting for a total of 18 hours. When midterms rolled around, Lebas’ prioroties changed. “I spent the entire night working on the project for ceramics instead of painting.” Since then, LeBas dropped his painting degree and has continuously been working in the ceramics studio. Happiness, Tsolakis said, is key. “I could not see myself not working in clay for the rest of my life,” LeBas said. “I know that it’s not the most stable employment, but I’m willing to risk that to be happy.” GET IT TO GETHER According to Tsolakis, a graduate’s happiness is paramount, but happiness does not pay the bills. Thinking realistically shouldn’t happen after a student receives their diploma. Realistically, happiness doesn’t get you a job. According to a 2013 study by Georgetown University, from now until 2020, employers will seek cognitive skills such as communication and analytics from

job applicants rather than the physical skills associated with manufacturing. This fact opens up a completely new dialogue among students and faculty. Instead of being pitted against each other, students will be more successful if they integrate their STEM studies with their non-STEM courses and vice versa. Gaines Foster, Dean of the College of Humanities and Social Sciences, said one of the best preparations for business is to have a liberal arts educational background and a business school degree. “Our students get a tremendous emphasis on analytical skills; how to write and how to speak,” Foster said. “Those skills are applicable to all sorts of degrees.” Unfortunately, especially at LSU, dividing time between STEM and non-STEM can be challenging. “We’ve gotten so specialized in higher education that it’s difficult for students to really branch out, especially when they’re in STEM,” White said. Although it is demanding, the task of integrating studies is not impossible. For now, it’s up to LSU’s administration to make it easier. White said that he and the other deans are familiar with the struggle of LSU students receiving a very liberal education. Balance is something to strive for. There are many things to gain on both ends of the spectrum. Receiving a wellrounded education seems like the end game here. For their own benefit, students must erase the line drawn between STEM and nonSTEM education. Neither is better than the other. “We’re here to enhance society,” White said. “If that is a better accountant or a gifted violinist, it’s part of the big picture.”

SHOULD YOU PAY OR

SHOULD I GO? STORY // Katie Mac donald

PHOTOS // Jordan Hefler

DESIGN // Claire C assreino

housands of fans flock to the fields and courts of LSU Athletics every year, generating millions of dollars that form a sizeable portion of the University’s revenue. But the collegiate players who step onto the fields, courts and tracks don’t collect multimillion dollar paychecks. Instead, they receive thousands of dollars worth of athletic gear, training, education and media exposure. That’s not enough. College athletes who develop marketable images make millions for the University during game time and through merchandise sales. Student athletes should receive compensation for commercial uses of their images following graduation. National Collegiate Athletic Association (NCAA) President Mark Emmert disagrees. In December 2013, Emmert reiterated the association’s firm stance against paying college athletes cold hard cash: “There’s certainly no interest in turning college sports into the professional or semiprofessional.” Emmert, with most college representatives, feels the $100,000 to $250,000 spent on training, tuition,

board and meal plans for each student-athlete adequately compensates players for their work and talent. But this system is far from perfect. While colleges provide athletes with scholarships and training, their

in revenue, making LSU one of only 23 colleges that earns enough money to cover its athletic expenses. LSU and the NCAA generate a large portion of their revenues through commercially licensing video games, reruns, jerseys, oftentimes after collegiate athletes have graduated or dropped “THIS IS A VERY out for the draft. IMPORTANT ISSUE AND Student athletes PRINCIPLE FOR WHAT IS never see a dime. OR IS NOT A DEFINITION In 2009, former OF COLLEGE ATHLETICS.” UCLA basketball star Ed O’Bannon sued the NCAA for its use of educations are hardly free. past student athletes’ images Student athletes are expected in licensed merchandise. He to perform in top condition argues that collegiate players and must complete dozens of should receive compensation mandatory and “voluntary” for the commercial use training hours every week. of their images following Schedules packed with graduation. schoolwork, training and The NCAA disagrees, performance time leave little saying the organization will room for outside jobs, which take the matter as far as the must be approved by the Supreme Court. Athletic Director during the “This is a very important academic year. issue and principle for what LSU Athletes cannot is or is not a definition accept financial aid that of college athletics,” exceeds the cost of attending Emmert said. LSU. The rule aims to Emmert defends the eliminate unfair recruiting amateur nature of collegiate and bribery, but it also sports, but the only true limits the amount of money amateurs are the players. The student athletes can earn coaches, agents, television while in college. stations with prime time In 2012, LSU Athletics slots and the association reported nearly $115 million with its exclusive licensing

COLLEGE ATHLETICS STATISTICS IN 2012, LSU ATHLETICS REPORTED NEARLY $115 MILLION IN REVENUE

$ WHILE THEIR IMAGES GAIN MILLIONS FOR THE UNIVERSITY,

AND UNFORTUNATELY,

ON AVERAGE,

OF COLLEGE ATHLETES MAKE IT TO PROS

OF THE COMPENSATION IS RECEIVED BY PLAYERS

agreements treat collegiate sports like the multimillion-dollar industry that it is. In the 2009-10 academic year, 14 percent of LSU’s gross income came from football alone. The NCAA reported revenue of $871.6 million in 2012. Talented players become celebrities. Legions don Tyrann Mathieu’s No. 7 athletic jersey for $59.95 each and the “LSU Tigers #33 Shaquille O’Neal Player Plaque” for $29.95 on lsushop.net. Recently, the NCAA removed players’ names from the backs of jerseys, recognizing that selling personalized jerseys for profit could be seen as hypocritical. However, universities such as LSU, Alabama and Texas A&M continue to sell jerseys embossed with the numbers of prominent players. The issue is the current system, which bars college athletes from the unique market value of their collegiate image – an image that makes the University and NCAA millions. Some argue successful athletes such as Eric

MUCH OF THIS REVENUE IS GAINED FROM MERCHANDISE BASED ON PLAYERS’ IMAGES

Reid, Lolo Jones or Seimone Augustus don’t need more money; collegiate sports paid these athletes with the exposure they needed to join the professionals. But the number of athletes who play for professional leagues following college is small. In football, only 255 out of 67,887 college players made the cut in 2012. For women’s basketball, less than one percent of college players play professionally. For an overwhelming majority of student athletes, college is the only time they can create a marketable image. It’s time to compensate players. It’s ridiculous that student athletes cannot benefit from the sale of a University or NCAA-approved t-shirt, DVD or video game that bears an athlete’s name, number or likeness following graduation. As ESPN analyst Jay Bilas said, “It’s not about need. It’s about exploitation. Any time an entity or a person makes money off of another entity or person, while at the same time restricting that person or entity, that’s exploitation.”

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