LEGACY Magazine — FALL14 by Reveille

LOUI S IA N A STATE UN IV ERSITY

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UNMASKED Effects studio talks technique

FASHION Keep it neutral this fall

LA SEX ED Are students being shortchanged? FALL 2014

Editor in Chief Sydney Blanchard Creative Director Sarah Kershaw Managing Editor Raina LaCaze Multimedia Director Ashley Monaghan Lead Designer Chase Whitney Designers Tyler Bascle Cassidy Day Anne Lipscomb Writers Logan Anderson Anna Jiang David Judd Aryanna Prasad Lucas Roberts Photographers Allie Appel Michelle Ayoubi Nichole Wierschem Sales Manager Matt Gallagher Technology Advisor Alex Cook Advisor Tim Schreiner Publisher Office of Student Media

’ll be honest: Legacy was my plan B. Two years ago I began my sophomore year, and I was positive I wanted to work in newspapers. When the Reveille didn’t hire me (and rightly so, I bombed the AP style quiz), a friend suggested I apply at Legacy. I put in my application, and after a painful interview with former Legacy editor Sydni Dunn, I got the job. She took a chance on me, and I worked hard to prove myself. Because of her faith in me, I now hold the position of Legacy’s editor. And I know that when I graduate, I want to continue to work in magazines. That’s something I may have never figured out if the Reveille had taken me on. Often, things don’t pan out the way we plan. A disappointment can turn into an opportunity, and a failure can become a new path. In this issue, we feature people who have found themselves on the road less traveled. An Englishwoman finds herself moving across the Atlantic to Louisiana, where one graduate course shifts her research focus from trauma studies to pornography. A New Orleans hip-hop artist uses his love of music to connect his hometown to his new home in Canada. Unforeseen circumstances can throw off carefully planned life trajectories. But keeping an open mind allows us to seize new opportunities that otherwise we wouldn’t. Enjoy.

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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, provocative and dynamic.

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lsulegacymag.com

Sydney Blanchard Editor in Chief

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COUNSELING CRISIS Students discuss the Mental Health Services at LSU.

STUDENT AFFAIRS Sometimes students really, really love their teachers.

BIRDS & BEES

Lack of sex ed leaves students feeling shortchanged.

LUKEWARM

Fall fashion full of monochromatic neutrals.

NSFW

Dr. Laura Helen Marks studies what turns us on.

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RUGGERS

Local rugby players explain why rugby > football.

ACE MASSIVE New Orleans native and hip hop artist opens up.

DEVILISH DISGUISES Two former LSU students take on the film industry.

HIDDEN GEMS

The best eats in Baton Rouge aren’t located in the Union.

BASIC BITCHES They’re everywhere and someone’s got to defend them.

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COUNSELING CRISIS 4

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words DAVID JUDD

illustration ANNE LIPSCOMB

Students discuss the successes and failures of the Mental Health Services at LSU.

very college student knows the metaphor that sums up the stressful environment of college: A Venn diagram of grades, social life and sleep, only two of which are attainable at once. This picture is grossly oversimplified. Considering the average student may have to juggle everything from grades, jobs, family and extracurriculars to research, friends, health and relationships, the more appropriate metaphor for managing time in college is like solving a Rubik’s Cube that changes colors over time. So it should come as no surprise that according to a 2010 Penn State study, 91 percent of counselors on college campuses have reported an increase of psychological disorders among students. Stress is not solely to blame for this increase. Some scholars say that past stigmas about mental illness are no longer present, so students are more likely to speak up about their feelings. Others attribute the increase to new programs at schools that better recognize and diagnose symptoms. Regardless of the answer, it is safe to say that competitive environments at universities play a significant role in the equation. Universities today must be equipped with the necessary resources to combat the growing number of students with mental health issues such as anxiety and depression. At LSU that job falls to the Mental Health Service (MHS) branch of the Student Health Center. Devoted to “aiding students in their personal growth and development” and “enhancing their mental and emotional well-being,” the MHS offers a diverse range of treatment methods such as one-on-one psychiatric counseling, crisis intervention, group counseling and stress management, all administered by licensed professionals and graduate students. Whether or not the MHS is effective rests with its clients, students who have been through the programs and received treatment. Of course, having some dissatisfied clients does not mean the whole system is incompetent. There are bound to be failures in all medical contexts; malpractice insurance exists for a reason. Nevertheless, the best way to evaluate the effectiveness of the MHS at LSU is to gauge student satisfaction. *Staci first started counseling for depression at MHS five years ago after struggling with family issues and final grades. She secured an appointment within a week. But it wasn’t just punctuality that left such a good

impression on Staci. “The group therapy was what made me who I am today,” she said. For Staci the recipe for success was a combination of personable professionals who “listened, cared and were compassionate” and the many resources available such as group therapy for women’s issues and personalized treatment. A common concern among clients of MHS is that too often unprepared graduate students handle cases before trained professionals do. Though Duhon had a good experience with two graduate students, she largely credits her primary therapist for recovery, saying that he was a force who seeks to help people every day. Duhon’s overall impression was excellent, and her only suggestion for improvement was to increase the amount of counselors on staff to better accommodate students. *Ryan did not have such a good experience. After struggling with social anxiety he called the MHS last March during his junior year and got an appointment two weeks later, a substantial time to wait for anyone suffering from mental illness. “They were so backlogged they could only fit me in for one appointment,” Ryan said. He emphasized the need for more staff in order to service all students seeking treatment, calling the MHS an important and valuable resource. Other clients have nothing but praise for the MHS. *Rachel has been getting treatment at the MHS for a couple of years now for dysthymia, a mild, long-term depression. Seeing both an art therapist and a psychiatrist, Rachel, though prescribed anti-depressants, primarily utilizes a style of treatment called “sand play.” With this treatment, the patient builds scenes in a sandbox with shapes, rocks, and toys while the therapist asks questions about the sand creation in order to explore difficult emotions or conflicts. Rachel said the treatment, which has been very effective for her, is all about figuring yourself out and trying to make sense of your emotions, adding the counselor can make all the difference. And yet both Rachel and Staci did not count this variable of an effective counselor as a defect, which speaks volumes about the quality of the staff of the MHS. But what of Ryan’s complaint of insufficient staff, nevermind the quality? Drayton Vincent, director of the MHS, said since

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the opening of the MHS in the mid-1960s not only has their staff increased from one part-time psychiatrist, but demand for service has increased as the complexity of issues presented by many students has increased. There are currently five clinical psychologists and five clinical social workers, all of whom facilitate individual and group therapy; one psychiatrist, who provides medical evaluation and treatment; and eight part-time clinical interns, who help with counseling under the supervision of licensed professionals. Furthermore, the MHS encourages group therapy and adheres to the “short-term counseling model,” with an average of “four to six sessions” per patient. According to Vincent the MHS strives to accommodate all patients, whether that means meeting weekly or every two or three weeks in order to fit everyone in accordingly. They also have a clinician available at all times for emergency situations. However, Vincent did acknowledge that some students wait longer than others, but he explained that long wait times are often the result of signing up late in the semester or at the busiest times like after midterms. He also mentioned several additional services available to students if they cannot receive treatment fast enough, such as The Phone, The Lighthouse, the Baton Rouge Crisis Intervention Center and the Psychological Services Center. The MHS may be doing all it can for students with the resources it has, but those suffering with mental illness require timely and effective treatment to improve their quality of life. *Sources requested they only be referred to using their first names for anonymity.

psychiatrist

30,000 students

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Sometimes students really, really love their teachers.

words ARYANNA PRASAD

photos MICHELLE AYOUBI

design CHASE WHITNEY

t the beginning of each new semester, single students glance around classrooms scanning for attractive seatmates or potential project collaborators. Some of these contacts wilt after one night stands; others blossom into fullfledged relationships. There are instances when students arenâ&#x20AC;&#x2122;t looking around, but ahead. Instances when hots for teacher become more than a Van Halen fantasy. These relationships, the ever more elusive, are a greater challenge than locking eyes with the undergrad across the room. Yet some students have successfully crossed the threshold, engaging in sexual relationships with their college professors and mentors. And some professors have wanted more from students outside of professionalism. With such a stigma on student-teacher dating, how do those involved cope with these feelings? FALL 2014

Lizeth was considered a non-traditional undergraduate at twenty-eight years old, and this term also applied to her year-long relationship with her professor. “It’s not so black and white,” she said. “Since we were the same age, there wasn’t as much of a hierarchy in place.” Lizeth knew she liked her professor before she set foot in the classroom—though Lizeth did not realize the woman who gave her directions to her first class was her professor, the professor knew Lizeth was in her class as she flirted with her. Though neither acted upon attraction during the semester, they exchanged a few casual emails about classwork and travel. “It was a super platonic exchange of emails, but there was always sort of an undertone,” she said. Lizeth said an intimacy was already established by the nature of the class. “It was a lesbian writer’s class,” Lizeth said. The professor came out in class, and although some students felt it was inappropriate, Lizeth said it established closeness with her students. What Lizeth and her professor did feel was inappropriate was openly being in a

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relationship. “We did feel like we had to sort of hide,” she said. “We did have an overall understanding we’d have to wait until the semester was over.” For several reasons, this is not particularly encouraged in the academic community. If the student is currently taking a class with a professor, the student may receive biased academic treatment. There is also a breach of professionalism when dating a student, taking an in-class relationship to a romantic one. “Generally speaking, I understand when there is a policy in place that forbids teachers from getting in relationships with students, such as fairness in grading,” Lizeth said. Though her friends were wary, Lizeth said it was because they “saw a red flags in her personality” since they knew her. However, Lizeth said the professor’s friends all seemed to be very accepting at social gatherings such as department parties. “There’s an overall negative connotation on student-teacher relationships that shouldn’t necessarily be the case,” Lizeth said.

The power structure can be seductive to both parties, but the inequality can cause rifts in the relationship. In her communication studies doctoral dissertation “The Effects of Sex and Context on Students’ Interpretation of Teachers’ High Immediacy Messages,” Carolyn Hornsby Rester concludes that there can be miscommunication between a professor’s intentions based on sex. “Students interpret high immediacy from male teachers as control but the same behavior from female teachers is interpreted as caring… [they] also perceive excessive immediacy as more inappropriate when it is from a male teacher than from a female teacher.” Communications professor Renee Edwards adds that students do learn more from moderately strong immediate behavior, but if immediacy is excessive, students do not learn as much. “The student probably becomes distracted by overly close and personal behavior or put off by it,” she said. For example, excessively immediate behavior such as smiling frequently and standing close to the student may

be uncomfortable, but because it’s in a classroom, it wouldn’t be perceived as harassment. However, a private setting such as an office lends itself to immediate behavior being perceived as harassment. When something did occur between Lizeth and her professor, it was toward the end of the semester at a bar. “The class is basically her life, so I felt like I knew her really well,” she said. “So when I saw her at Splash is when it got really sexual.” The power inequality in student-teacher relationships derives from the student’s compromising position as often younger and in need of a good grade and the professor’s advanced age and ability to grant that grade. In Lizeth’s case, the power inequality was hardly an aspect in the relationship. However, she did say, “there were times when it did feel a little bit awkward. Academics can be really pretentious and hang out in elitist circles.” Lizeth was understanding of these professors having worked hard to earn their PhDs and discuss their studies, but felt “super inadequate not just as a poor little undergrad but also because of what they were talking about.” On an individual level, Lizeth felt respected by her former girlfriend. “Intellectually, she respected me and respected me as a writer so I didn’t feel a huge gap,” she said. “Even though I was an undergrad, I had a lot of life experience. She spent twelve years in school – I had lived everything she had been theorizing about, so there was balance there.” However, it did play a role in her initial attraction to her professor. “It was hot to me that she was brilliant and a teacher,” Lizeth said. In cases of inappropriate conduct between students and faculty, LSU’s Human Resources and Management is the department that addresses such issues. According to student commentary on a case regarding a sexual harassment charge in the LSU Vet School, HRM seems “non-committal” and referred to the situation as a “personnel issue.” With this sort of response, students may feel discouraged from informing authority figures about sexual harassment from faculty. Student-teacher relationships are like any other collegiate relationship: one that must be regarded carefully, especially considering a possible power inequality. “There’s always this fantasy of maybe hooking up with a teacher,” Lizeth said. “I think it happens a lot more than people assume.” As Lizeth demonstrates, your teacher might be flirting back – but whether that remains an unfulfilled fantasy or becomes a relationship depends on the moves you make and the classes you take. *Sources requested they only be referred to using their first names for anonymity.

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birds & bees Lack of sex education leaves students feeling shortchanged.

LEGACY

words LOGAN ANDERSON

illustration ANNE LIPSCOMB

Louisiana has a long history of questionable sex education regulations. The law that currently governs sexual education in the state has been in effect since 1992. It states that “the major emphasis of any sex education instruction offered in the public schools of this state shall be to encourage sexual abstinence between unmarried persons,” and it mandates that all sexual education teachers “emphasize abstinence from sexual activity outside of marriage as the expected standard for all school-age children” and “emphasize that abstinence from sexual activity is a way to avoid unwanted pregnancy, sexually transmitted diseases, and other associated health problems.” The law also states that “no contraceptive or abortifacient drug, device, or other similar product shall be distributed at any public school,” and that “no sex education course offered in the public schools of the state shall utilize any sexually explicit materials depicting male or female homosexual activity.” This law not only keeps teachers from informing students on any kind of safe sexual activity, it also restricts schools from handing out condoms to students in K-12 or explaining how abortions work to students. Further, the law is written so that sexual education instructors must teach as if homosexuality does not exist. “Sexually explicit materials depicting homosexuality” has been interpreted to mean that any materials depicting homosexual activity of any kind, even in written form (such as a written out guide for safe ways to engage in homosexual activities) are sexually explicit. Lesbian, gay, bisexual and transgender students in Louisiana are ignored in Louisiana classrooms – and have been for two decades. This year, the Louisiana legislature updated the state’s sexual education law to restrict any organization that works with or has ties to abortion providers like Planned Parenthood from disseminating any sexual education materials at all in public schools. This means that any and all information, regardless of the topic, that comes from abortion providers (which includes women’s health clinics where many services besides abortion are offered) cannot be distributed within any Louisiana public schools. On top of all these restrictions on sexual education, the law also allows schools to decide at their own discretion whether they teach any form of sexual education. Sex ed classes are optional, and any public school may choose at any point not to give students any sexual health instruction at all. This law continues to fail Louisiana’s students. Not only are the state’s rates of teen pregnancy and teen birth higher than the national average, but the rate of HIV infection among young people in the state is alarmingly high – more than 22 cases are diagnosed per 100,000 young people ages 13 to 19 annually, as compared to a national average of seven – and that

number continues to rise. Legislators who oppose changing sexual education laws argue parents have a right to educate their children about sex in a way they see fit. This belief assumes that all parents will talk to their kids at some point about sex; however, many parents never have “the talk” with their kids, leaving some students completely in the dark. Monique Leblanc, an international studies sophomore, is one of the many Louisiana students who did not receive sexual education from her school or her parents. “The lack of sex ed was awful for me personally because my parents really depended on the school to teach me about sexual health,” Leblanc said. “I thought I was dying the first time I had my period. I would panic every time I’d use the bathroom and was too afraid to tell my mom. When I finally did tell her, she responded with ‘they didn’t teach you this in school?’” The Sexuality Information and Education Council of the United States has extensively studied the effectiveness of abstinence-only education programs. All of these studies have come to the same conclusion: abstinence-only education does not accomplish its goal. Students taught abstinence-only education programs engage in sexual activity at the same rate as other students. They begin having sex at the same age as the national average, have the same number of sexual partners, and contract sexually transmitted infections at the same rate as the average American student. There is also evidence that non-comprehensive sex ed can negatively affect students: some studies have found that students who take pledges to not engage in sexual activity until marriage may be less likely to use condoms, more likely to engage in oral and anal sex and are actually more inclined to have sex after undergoing an abstinence-only education program than they were before the program. Studies also show that students who are given comprehensive sex education feel more comfortable about their sexuality than those who are only given information about abstinence. Sam Lemoine, a mass communication senior, said she’s glad she was fortunate enough to attend a school that taught her about all aspects of sexual health. “Don’t get me wrong, they never handed us condoms and said have fun, but they were always open and helpful,” she said. Lemoine said that this kind of sexual education helped her feel more comfortable about her sexuality.

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“No one can stop anyone from doing what they want to do, but the most important thing is to provide accurate information to our young people about the risks of sexual activity.”

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Though a majority of Louisiana’s legislators refuse to amend the sexual education law, there is a strong minority of Representatives working hard to ensure every student in the state has the kind of experience that Lemoine did. Rep. Patricia Smith has been a champion of comprehensive sex education for years. In 2010, a bill mandating that sex ed be made mandatory instead of optional was being debated on the floor of the Louisiana House of Representatives. At this time, sexually transmitted infections were running rampant among Louisiana students; the state ranked ninth in the U.S. for reported cases of chlamydia, fifth in gonorrhea and first in cases of primary and secondary syphilis. During the floor debate, Smith passionately urged her fellow legislators to approve the bill. “No one can stop anyone from doing what they want to do,” she said. “But the most important thing is to provide accurate information to our young people about the risks of sexual activity.” The bill was defeated 67-23. Despite it being consistently voted against, Smith continues to introduce this bill to the Louisiana House of Representatives every year. “It can be frustrating,” Smith says, “But I will never stop proposing this bill.” Smith has interacted with women across the state who believe that a lack of sexual education has affected their lives in a negative way. She has also spoken to people who sought out information about sexual health independently, and have been extremely misinformed. Smith said she believes that by not having mandatory, comprehensive sexual education in Louisiana schools, the state is endangering young people, leaving them vulnerable to unhealthy health practices. “A young woman once told me that she heard douching with Mountain Dew after sex could prevent pregnancy,” Smith says while shaking her head. An educated population, equipped with information, makes better decisions.

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L U K E WA R M by SARAH KERSHAW

Hair and make-up by Brooke Salter. Special thanks to Ashley Monaghan for her assistance in styling and posing.

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words ANNA JIANG

F S

photos ALLIE APPEL

design TYLER BASCLE

Laura Helen Marks studies what turns us on.

s the world moves forward in hyper sexualized discourse, our grand ole’ South still remains tight lipped and conservative. So why does an Englishwoman come to the deep American South to study pornography? Laura Helen Marks, a scholar from the United Kingdom, came to LSU to specialize in trauma studies, inspired by a course she took with Professor Marie-Luise Kohlke at University of Wales, Swansea. However, her life’s trajectory would change thanks to a graduate gender and sexuality course at LSU. Marks had always been very interested in films and literature that explored the body as a spectacle, particularly in terms of violence and sexuality. Marks took a graduate course on Gender and Sexuality at LSU with Professor Katherine Henninger, where the class watched a 1970s film called Mandingo. A week or so later, Marks discovered an African American male porn performer who called himself Mandingo. This struck her as unexpected and interesting. “I wanted to dig into the rhetorical gesture he and other black performers were making, using names like Mandingo and Nat Turner that are rooted in American slavery and racial histories,” she said. This research became a conference paper on rhetorics of interracial pornography, which she wrote while taking two highly influential classes about black feminist theory, race and trauma. At the time, she didn’t really think that pornographic and sexuality studies was feasible topic to pursue for the rest of her life, but the more she looked into porn studies, the more she realized how rich of a field it was. It wasn’t long before she entirely shifted her research in that direction. When Marks took a course on Dickens with Professor Sharon Weltman, she had no interest in Dickens, and viewed the class as criteria to complete her graduate requirements. However, thanks to Weltman’s support, she wrote an essay about a porn adaptation of “A Christmas Carol.” “Thank goodness I took that class,” Marks said. “It was amazing.” It was the deciding factor in what Marks eventually wrote her dissertation on: “Pornographic Adaptations and Appropriations of the Victorian Era and Victorian Literature.” Marks’ dissertation argued the frequency of Victorian themes in pornographic films as a reliance on class and gender related spatial transgressions for erotic appeal. Her argument states because of the nature of sexual repression in the Victorian era, pornography relied on this theme as a way to represent the perversity of sexual acts in a time with strict class boundaries and repressive social structures. With porn ultimately functioning as a media outlet, pornography continues to broadcast different cultural elements, and porn scholars often view porn as a mobile of social expression. And, by some sort of extraordinary coincidence, when Marks contacted Kohlke – her original inspiration – she

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started the journal “Neo-Victorian Studies.” But is it truly surprising to see a scholar make a career out of studying pornography? On the topic of pornographic studies, Henninger, an English professor, attested to the validity of studying porn. “Porn as an element of popular culture is a rich topic for academic study,” she said. “As Laura’s [Marks’] work shows, it partakes of all sorts of cultural tropes related to gender, race, class, and ethnic and national histories. You can learn a lot about cultures by analyzing what turns them on.” Henninger said trained literary critics like Marks are particularly adept at seeing and explaining the ways that literature, art, and mainstream popular culture filter through to pornographic texts, and vice versa. “The borders between ‘high’ and ‘low’ culture, between ‘serious’ politics and ‘base’ entertainment, are not as firm as we sometimes like to imagine,” Henninger said. Nevertheless, with so much political and moral tension in the Deep South, it seems remarkable. When asked about her experiences with LSU, Marks exclaimed “I love LSU! For the most part, the English department and LSU have been incredibly supportive.” Marks said she believes the university rewards dedication and innovative scholarship, and that her committee members have been challenging and supportive in all the right ways. While Marks had a hugely positive experience at LSU, she doesn’t deny that she has been asked very difficult questions and encountered uncomfortable conversations. But Marks believes that these conversations have informed her and helped cultivate her work in dynamic and productive ways. “When I have encountered resistance, skepticism, or hostility, it has always resulted in better thinking and better work on my part,” Marks said. “Some people have asked me if it was hard doing this research in the South, at LSU, or what have you, I say yes it has been hard in some ways, but I wouldn’t change a thing.” In addition to her fervent studies, Marks works with the LGBTQ community at LSU, especially the student organization Spectrum. Marks has collaborated numerous times on projects such as film screenings, talks and workshops at the Louisiana Queer Conference, and last semester her English 2000 class, with a special emphasis in gender and sexuality, partnered with Spectrum for service-learning. Various organizations have all been supportive of Marks’ work. Marks continues to be passionate in her studies as she was awarded a Dissertation-Year Fellowship by the university and had recently won the department’s Lewis P. Simpson Distinguished Dissertation Award.

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RUGBY TRUMPS FOOTBALL FOR SOME words ARYANNA PRASAD

photos NICHOLE WIERSCHEM

design CHASE WHITNEY

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ome LSU students don’t know LSU has a rugby team. Some LSU students do, but don’t know much about the sport. “I know there was a movie Invictus, and that’s about it,” says chemical engineering junior Alex Thistlethwaite. As in the poem for which the film is named, the LSU Rugby team invokes the spirit of the author: retaining strength in the face of adversity. History Football garners the most attention at LSU, but for athletes who tackle combat sports differently, rugby offers a rugged alternative to an American classic. For American and international students alike, rugby delivers a fierce game that requires grit and bravado. Without padding, rugby players rely on thick skin to barrel through one of LSU’s most intense—and rewarding—club sports. According to its website, the LSU Rugby Club has thrived on campus since its inception in the early 1970s. Rugby outof-towners Rob Haswell and Jay McKenna were relying on flag football when McKenna shouted, “With you!” This signaled to Haswell, who played rugby in South Africa, that he was not the only player on the field. The two went to the LSU Athletics Department, who sent them in the direction of Hal Rose.

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The three came together and round- ence. In the arena of sports, this means, as ed up enough ruggers to play on both sides. Egbelu says, “how to transition [rugby] to a The team’s first match against Tulane ended profitable, institutionalized sport.” in a 15-5 victory. Haswell’s emphasis on rePart of the struggle with institutionlentless offense and comradery is something alization is retaining the amateurism while the team values to this day.. making rugby “family-friendly.” Rules reFormer LSU rugby player Gift Egbelu stricting violence could, as Egbelu says agrees the team has been relatively success- some claim, “soften the sport.” It takes an ful, although it has “devolved in the last five understanding of the game’s mechanics to years.” Baton Rouge has not implemented know how softening the blows on the field any youth or high school programs, which might compromise the game. prevents young athletes from being exposed How it Works to the sport unless they travel to New OrWithout any context, rugby doesn’t exleans. actly translate to American audiences. As “It’s trying to find itself, but without with most sports, the object of the game the ability to grow,” Egbelu said. is to score as many points as possible. In Despite difficulties in cultivating Lou- rugby, this is done with successful “tries,” isiana youth for rugby, the Tiger Ruggers which means grounding the ball in the ophave posted winning seasons every year, position’s in goal area, marked between two earning top honors in the most competitive goal posts. Each try is awarded five points. U.S. tournaments. The team has clinched A player can also score points by kicking championships in Louisiana, the Deep the ball between the goal posts. In rugby, South and Texas divisions of the sport. any player can score a try — which may exTraveling has become integral to play- plain the chaos seen on the field. ing this rare sport, with tours in England A drop kick gets the ball going, simiand the Bahamas and hosting teams from lar to the drop point guards experience in England, Wales and France among other basketball. The ball must be bounced for countries. this kick, but it is not bounced while the Continentally, the team has hosted ball is in play. The ball must stay within the and been hosted at universities across the parameters of the field, and it must travel country. at least ten meters. Within these guidelines, Growing it here at home faces another challenge: how to maintain the traditions of rugby while adapting it for a modern audi-

rugby players are allowed to try nearly anything. There are no limitations once the ball is in possession—unless you’re tackled, that is. The opposing team may not tackle a player who does not possess the ball, but the ball-bearer gets the brunt of the defense. The catch to rugby is that players cannot pass the ball forward. It can fly sideways or even backward, but “forward passes” are not allowed. Kicking is an option, but players normally kick to gain ground or avoid being tackled. Strategy-wise, kicking is not often used to advance the ball in place of passing or running, so players are advised to kick rarely. The iconic images of rough rugby play are from the practices of rucking, mauling and the scrum. A ruck is when the ball is touching the ground, a scenario in which players come together to gain possession by pushing and stepping over the ball. If the ball is off the ground and players are attempting to gain possession, it’s a maul. Players must be bound together, pushing and grappling for the ball. A maul must be in constant motion or the game will be stopped. A scrum is when the eight forward of each team lock down together, head to head, and grapple for the centered ball with their legs and feet. Hands are not allowed for this

part of the game. These plays in rugby cause tennis, rugby is also a lifetime sport, with more physical contact and interlocking eighty-year-old men getting their heads in than any other sport. Because every mem- the game. ber contributes equally, the team ethic must “It’s not about athleticism; it’s about be strong for a team to succeed. skill,” Egbelu says, which challenges ideas The physical ruggedness of rugby does that rugby is all brawn. not always communicate the importance of On the field, the battle is intense; the skill to those unfamiliar with the game. “rawest person you can be without judg“You can be an amazing athlete, but not ment,” as Egbelu describes. at rugby,” says Egbelu. “How you think and According to Egbelu, to release tension see the field is crucial. It’s a reactive game, off the field, everything is solved with a and you must play within the moment. beer. Running fast doesn’t mean scoring.” “There will be fist fights on the field,” Strategy is also crucial because rugby Egbelu says. “Off the field, you’ll buy that cannot be played alone: the sport is devised person a beer.” to necessitate the involvement of various The beer culture that is a part of rugby players. culture gives players a chance to celebrate “It’s not what you do for yourself, but victory and make friends out of former eneyour teammate,” Egbelu says. “It gives you mies– and perhaps numb some of that pain no choice but to be team-oriented. Every- from sustained injuries. one has a job, and when everyone does it Rugby is a sport for which 98 particcorrectly, the team can win.” ipants are not paid, according to Egbelu. For Love of the Sport Whether to utilize strategic skills, share At risk of being considered cliche, Eg- glory with teammates or forge lifelong rebelu says that camaraderie is crucial to the lationships, rugby is a game where reward sport. outweighs risk. “If you have ever played rugby, it’s an Egbelu did not say why he first stepped automatic fraternity,” he said. “You’re con- onto the field several years ago, but he exnected with people all over the world.” plained why he and others stay on the field: Rugby not only transcends geographic “For love of the sport.” barriers, but also age. Like golf, sailing and

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ACE MAS sIVE

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words ANNA JIANG

photos MICHELLE AYOUBI

design CASSIDY DAY

New Orleans native Gabriel Stovall never imagined he’d shape the music scene in both his hometown and Regina, Canada, as his hip-hop alter ego Ace Massive. Q When you first moved to Regina, how different was it from New have something brand new. Q Are there any specific artists you identify with the most? Orleans? A Well, moving to Canada was kind of like moving from A When I was growing up, according to my mom, I was one extreme to another. The people and the culture are very different, but it was kind of like you got the extreme heat and independent thinking. In Canada it’s extremely cold, and everything is more entwined.

Q How was the music scene in Regina? A The music scene in Regina was very small when I got there. There was a lot of extremely passionate artists that were still doing their thing and fighting for it, to express themselves and make it in the industry, but there wasn’t a lot of opportunity there. That’s why I wanted to start my own label and radio station. I got there and saw so much talent and not a lot of opportunities for them, so I wanted to create a portal to funnel talent from there to here and vice versa.

always dancing on the floor to Michael Jackson. A lot of people were influenced by him, but what I took from Michael was that you could be the greatest at what you’re doing with positive music. I mean I wasn’t a fanatic but I wanted to be a positive influence since I grew up in a church upbringing. So, I wasn’t really allowed to listen to hip-hop and rap. I was listening to acoustic, indie and playing the guitar. And it’s kind of weird I bridged over to hip hop, but I just looked into everything and found my sound there.

Q What are your inspirations from current hip-hop artists? A Once I was more into hip-hop, I was looking at

Run-

D.M.C. and Common.

Q What do you think about the hip-hop industry today? Q So tell me more about the record label and the radio. A I think hip-hop is missing a lot. I mean…hip-hop was A Well, the label is Tritanium Records. It was an idea I more constructed from soul and R&B, but now people just

came up with in 2010, but I kind of wanted to do music on my own and also be on the business side to help other starting musicians. I then kind of baby-stepped into my own radio station.

want to make money, and the heart and passion doesn’t come across the mic anymore. I think music has kind of shifted, and if you want to talk about rims and drugs and strippers, then to each and his own, but I feel like this generation still wants to hear a story.

Q How do you describe your sound? A I always like to land on no genre. I really like to experi- Q Do you think there’s still a lot of growth for underground musiment until I surprise myself. I want people to hear my mu- cians in this era? sic and not want to compare it. My goal is just to always A I think there is, when they make the decision to stop

Q&A FALL 2014

chasing the deal. We’ve kind of been programmed to believe that you just go from the bottom to famous sometimes since that’s all that’s promoted. The struggle to become a musician isn’t promoted as much as gold chains and Bugattis, so you really have to just put in your own work. That’s why I kind of started my own thing, because I want to study the industry and be on both sides of it. A perfect example would be like Macklemore. He went for his own thing and made it.

Q Is ‘Culture Shock’ a reminiscence of your move to Regina and the mesh of your New Orleans style with Regina? [Culture Shock is the 10th song on Ace Massive’s debut album ‘’The Silent Take Over.” Culture Shock is among his most popular songs. A I knew America, but I didn’t know Canada, right? When I got there I studied it and looked at it and then I decided I was gonna be the person to bring it. I wanted to bring some of the American life to Canada, and that’s kind of what ‘Culture Shock’ is about.

Q ’Culture Shock’ also reflects on a lot of your own style. How would you describe your personal fashion style? A I mean I’ve always had a passion for fashion I guess. I used to do some modeling for brands like Diesel and stuff, but I was in Dallas. I remember I was in this art school and there was like a hub of talent there, so I got really connected with the fashion there and the fashion students. I always kind of felt like I had to have the fashion to go with it. I came up with a style called ‘retro-future-metro’ and just blend in pieces which is also kind of what I was doing with my music.

Q What are your future plans? Is there gonna be another Massive Motivation tour? A My plan is to go to Europe and kind of move onto the next continent, but I had to put that plan on hold since I’m working with a guy from LSU on a film project called “Carpe Lucem.” But I definitely want to keep expanding, especially with the label. I just want to motivate rising musicians and help them tell their stories.

LEGACY

unmasked Two LSU grads take on the film industry with their special effects company.

FALL 2014

words LUCAS ROBERTS

photos MICHELLE AYOUBI

design TYLER BASCLE

roudly sporting his company t-shirt, Johnathan Simoneaux walks into a hot, humid warehouse filled with various disturbing contraptions and creepy oddities. Among everything, one particular monster stands out. It’s Audrey II, the vicious plant with fangs from Little Shop of Horrors. “She’s special,” Kenny Decker said. “It’s how I got my start in effects.” A real little shop of horrors exists in Baton Rouge. Resting in a modest warehouse on the outskirts of the city, Composite Effects strikes to meet the growing demand of silicon masks for movie sets, LARPers and even fetishists. In high school, Composite Effects co-founder and artist Kenny Decker participated in the Talented Art Program. His Talented Art teacher, who also taught theatre, saw his passion for effects and

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put on Little Shop of Horrors as that year’s school play. She allowed Decker to coordinate and design set pieces, which included Audrey II. Decker met co-founder and artist Wes Branton in an LSU studio art class. The two felt they were not learning enough and decided to teach themselves. From there, the pair conceived the idea of Composite Effects and established the business in 2006. Continuing through the warehouse, marketing director Simoneaux explains that masks, like onions and ogres, have layers. The layers lie in the process — sophisticated machines and tubes that combine to look like something out of Frankenstein. First, the Frankenstein-like machine casts the mask by filling silicon into large metal encasings that resemble jello molds. Once dry, the masks are then de-cast from the encasing manually by an artist. The artist will then trim and patch any defects present after the removal. Here, the mask begins to take its final shape. In the next room, the artist applies scars, blood and other gruesome features in a salon environment. Finally, the hair department steps in, and the mask receives the full treatment of teasing and sewing to ensure maximum hair volume, because no one is going to take a monster with split ends seriously. Recent projects for Composite Effects include “2 Guns,” “Abraham Lincoln: Vampire Hunter,” and “The Final Destination.” The company also acquires the rights to create masks of Game of Thrones and Marvel’s comic book characters, which excites the employees who are self-described “huge geeks.” Composite Effects casts itself as a pioneer in the industry with its patent pending technology known as DuraFlex. DuraFlex allows for the masks to endure the constant removal of the masks without sacrificing the flexibility or texture of the masks. The company expects more growth in the future. What started as two students has since evolved into a company with more than 30 employees. Simoneaux said he hopes the company becomes a household name in effects and will continue to support the burgeoning film industry in Baton Rouge.

FALL 2014

Top- rate Baton Rouge Restaurants Off the Beaten Path photos DAVID JUDD

photos NICHOLE WESTER

design CHASE WHITNEY

aton Rouge may be best known for LSU football, Lover” sandwich includes globs gooey, cheesy goodness but the capital city has a solid selection of delicious with provolone, swiss, mozzarella, American cheese, and restaurants. Out-of-state students tend to stick to tomatoes; and the tiramisu is so good it’s dangerous. eateries around campus or limit themselves to LSU’s din- Anthony’s has plans to move to Government Street in ing halls. But arguably some of the best meals to be had January. in Baton Rouge can be found a quick drive from campus. If you’re looking for something a little closer to Jasmines on the Bayou, located at 6010 Jones Creek home, Downtown Seafood & Grill at 130 3rd Street Road, serves up Cajun fare in generous portions. The is your one-stop shop. Family-owned for more than 28 menu includes seafood po-boys, burgers, fried pickles, years, the restaurant boasts a menu with seafood po-boys, seafood platters, pastas and decadent desserts. hamburgers and seafood platters, all made from family “We like to do a fusion of different cultures,” says recipe with fresh local ingredients. Michael Taranto, owner of Jasmines. Don’t be intimidated by the austere atmosphere This culinary diversity shows throughout the menu – the food more than makes up for it. Crunchy sweet such as spring rolls (also in a dessert form made with potato fries complement catfish fried to perfection, in cookie dough) and Rocket Pasta, a tangle of linguine between a crispy French bread loaf that tastes like home. soaked in olive oil and topped with tangy, spicy shrimp Court Street Cafe on 805 Court Street in Port Allen and vegetables. According to Taranto, everything is is located about five minutes outside of Baton Rouge made in-house from family recipes, including the home- and serves up scrumptious soul food for breakfast, lunch made dressings and remoulade. This becomes obvious or dinner. A quaint cafe with table service and a breezy upon tasting the food, which has been featured on the patio, Court Street specializes in adding some Southern Food Network’s Restaurant Impossible. Jasmines also of- spice to traditional dishes like po-boys, burgers, omelets, fers a gluten-free menu. and etouffees. The Catfish Acadian, a filet of fried fish Anthony’s Italian Deli at 10248 Florida Blvd. offers over fluffy white rice with crawfish etouffee drizzled on a combination of the delicious tastes of Italian cuisine top, is one of their top-selling menu items. According to and warm, Southern hospitality. Opened by first-gener- manager Emily Megen, the manager, once you taste it, ation Sicilian immigrants in 1978, the Saia family still you will realize why. owns what is now the oldest Italian deli in Baton Rouge. For dessert, Megen suggests the white chocolate Manager Marco Saia says that the food is so good it bread pudding made from scratch with rum sauce. speaks for itself. Frostop at 402 Government Street near downtown “We get people from Australia, Ireland and England,” Baton Rouge is a local favorite. Serving up all-Amerihe said. can-style burgers, po-boys, hot dogs, fries and onion Their specialty is the “New Orleans Style Muffulet- rings, Frostop is most known for its homemade root beer ta,” a succulent sandwich stacked with provolone, ham, floats. The restaurant itself has an aura about it – it’s Genoa salami, olive dressing, and more. The “Cheese been around since, well, no one really knows.

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COURT STREET CAFE

JASMINES ON THE BAYOU

ANTHONY’S ITALIAN DELI

FROSTOP

COURT STREET CAFE

DOWNTOWN SEAFOOD & GRILL

ANTHONY’S ITALIAN DELI

FROSTOP

COURT STREET CAFE

JASMINES ON THE BAYOU

ANTHONY’S ITALIAN DELI

DOWNTOWN SEAFOOD & GRILL

FALL 2014

BASIC Bitch words LOGAN ANDERSON

LEGACY

design CASSIDY DAY

“Them basic bitches wear that shit, so I don’t even bother.” – Kreayshawn

he term “basic bitch” originated within self as a “Carrie,” though she strives to be a Charlotte – and her the black community as an extension of Samantha can come out when she’s had too many vodka waters. the term “ratchet.” The original basic She has so many monogrammed items that you could assume she bitch was a stereotypical lower class Afri- suffers with amnesia and must constantly remind herself what her can American woman – someone who wore initials are. She recently given up gluten. Rainbow clothing, lace front wigs and drew People hate this girl, and they always have. Most see her as a on her eyebrows. Wearing large gold bam- person with no identity of her own, who passively consumes culture boo earrings, for example, was the trade- and mimics what is popular. In most people’s imaginations, she does not have any personality of her own. She is the well-liked girl in mark of the basic bitch. Picture a woman that a highly ranked, every ’90s high school movie; she dresses well, and she’s very sweet, white, male Republican would derisively re- but there is nothing unique about her. Though it seems this girl is the imaginary invention of a sofer to as a “welfare queen.” That’s the epitociety that prizes individuality, these women do exist. The original me of a basic bitch. However, the phrase has recently “Common White Girl” Twitter account, @girlposts, has 4.5 million evolved to describe an entirely different followers. Tumblr was recently sold to Yahoo for more than one woman. As they are wont to do, white peo- billion dollars. While printed media across the country fail to turn ple appropriated the term for their own a profit, Cosmopolitan continues to publish questionable sex tips. use; and, as often happens when the white These are all indications that basic bitches are living among us, and community begins to utilize something they they are thriving. But, as tempting as it is, we cannot judge these women; after have appropriated, they replaced the origiall, we created them. nal definition with their own. We crafted these imaginary “perfect” girls, using a combination Now picture a woman that a white, male intellectual would derisively refer to of romantic comedies, melodramatic television shows about high as a stereotypical sorority girl. That is the schools in New York City, and celebrity profiles in weekly gossip magazines. We are the ones who mass-produced posters of Marilyn new basic bitch. The term as it is currently used de- Monroe and Audrey Hepburn. We purchased more than 20 milscribes a girl who has worn Ugg boots and lion Taylor Swift albums. We allowed crop tops and high waisted Nike shorts at the same time. Her favorite shorts to come back into fashion. Society built this Frankenstein designer brand is Tory Burch. She Insta- monster, and now that it has become sentient, we must deal with grams pictures of her non-fat iced caramel the consequences. macchiato with the caption, “Thank god Instead of judging a basic bitch, take responsibility for your for Starbucks.” She and her best friend got part in creating her. Think more carefully at the messages within matching infinity symbol tattoos on the in- the media you consume. Take an active role in promoting smart, side of their wrists when high school ended freethinking women. Don’t share listicles about how to be the “peras a way to slow the inevitable erosion of fect Southern woman” on social media. Remind the people around their friendship. She mostly identifies her- you that liking pizza is not a trait on which to build an identity.

FALL 2014

Turn to p. 14 for more fall fashion.

LEGACY