LEGACY LOUISIANA STATE UNIVERSITY
Straight etting it
Tigers talk coming out in Baton Rouge, pg. 38
striped + LSU’s mascot: unmasked
Are Disney internships a dream come true? Fashion in Five:
Sleep in and still look great
Meet some not-so-typical conservationists
SPRING 2013
ISSUE 3
L
TABLE OF CONTENTS
MUSIC + CULTURE o6 o8 10
On the Record: Tiger Tenors Courtside with Caldwell Fashion in Five
FOOD 14 15
Weigh Your Options Dine-n-Class
15
FEATURES 16
Ducks Limited
Hunters turn to conservation to preserve the Sportsman’s Paradise.
20
Whistle While You Work
24 28
31
o8
Students seek coveted internships through Disney, but are they worth it?
Making Mike
Team Mike dishes on the habits and history of LSU’s most spirited student.
Studio Apartment
University student mixes music from the comfort of his own home.
Southern Adjustment
24
“Louisiana is southern but is unique even in the South.”
HEALTH + LIVING 35 36
More than Cups Tiger Trails
OPINION 38 2
Come Out, Come Out, Wherever You Are LEGACY
/
SPRING 2013
38
16
LETTER FROM
THE EDITOR
L
Katie Macdonald EDITOR IN CHIEF
ocated in the middle of LSU’s campus, the Quad is the heart of the University. Normally filled with students on their way to class, the sights, sounds and activities of the Quad are simultaneously entertaining and exhilarating. But what makes the Quad incomparable is its diversity. Where else could you find skateboarders, musicians, Frisbee-aficionados and temporary Sleeping Beauties? This semester, LEGACY has embraced this diversity. With a 20-person staff of varying ages and majors, we challenged ourselves to provide content that reflects the variety of LSU’s 30,000 students. Inside you’ll find stories of your fellow classmates, including the team that brings Mike the Tiger to life (pg. 24), hunters who are passionate conservationists (pg. 16) and students who are in the transition of making Louisiana their new home (pg. 31). In addition, our cover story features the reality of coming out in Baton Rouge, as told by one of our own writers (pg. 38). Although these are just a few of our stories, we hope that as you make your way through our magazine and our online content, located at lsulegacymag.com, you find a story that speaks to you.
EDITOR IN CHIEF Katie Macdonald MANAGING EDITOR Kevin Thibodeaux PHOTO EDITOR Jesse Guillory ART DIRECTOR Christina Li MULTIMEDIA DIRECTOR Mallory Richardson DESIGNERS Kelly Kral Ellie Platt Roland Parker WRITERS Samantha Bares Sydney Blanchard Joey Groner Austen Krantz Malena Moreau Morgan Searles Bria Turner PHOTOGRAPHERS Jordan Hefler Sarah Kershaw Rebecca Ratliff Lainey Reed
» CONTINUE THE EXPERIENCE ONLINE lsulegacymag.com
STAFF
@LSUlegacy
Like us on Facebook
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.
SALES MANAGER Fatima Mehr TECHNOLOGY ADVISER Alex Cook ADVISER Tim Schreiner PUBLISHER Office of Student Media l s u l e g a c ym ag .co m
3
L
DEPARTMENT NAME
d e e n u o y e s u beca
o d o t G N I H T E SOM
. s y a d r u t a s n e e Betwe textbooks
s school supplie
art supplies
ore.com 70 coopbookst 98 338 522 te Next to Southga 3960 Burbank
4
LEGACY
/
SPRING 2013
1c Pitchers and $1 calls untill 10 girls are free before 11 $6 double Ketel One
Open Bar 7-10
girls pay no cover till 8pm $2.75 Coors Light $6 double Crown l s u l e g a c ym ag .co m
5
L
MUSIC + CULTURE
On the Record:
TIGER TENORS
STORY MALENA MOREAU PHOTOS SARAH KERSHAW DESIGN ROLAND PARKER
Although their voices can make fans stand right up and roar, not many students know about the talented male a cappella group known as The Tiger Tenors. The Tiger Tenors formed just two years ago and now regularly sing at LSU baseball games and for sorority events. Tiger Tenors president, Harrison Daigle, spoke to LEGACY about the group’s development, music style and the popularity of a cappella as well as the fraternal bond among the group.
6
LEGACY
/
SPRING 2013
LEGACY: Why did you decide to get involved in a group like The Tiger Tenors?
Daigle: Coming to LSU from out of state, I wanted to get involved in something other than my major alone. My family has always been a supporter of the arts, and I grew up immersed in music and theater. At a young age, I was encouraged to participate in musicals along with my older sister and continued to be involved in theater throughout high school. Once I graduated and moved to Baton Rouge, an older friend from Tennessee already at LSU invited me to become a part of the group. I was excited to have the opportunity to again be involved in music and the arts and the different challenge that an a cappella group could bring.
LEGACY: How many members do The Tiger Tenors have? Are most of them musicians?
Daigle: At this point in time we have 15 members. Due to the nature of the group, we are all musicians in some right. However, most of the members of the group either participate in other musical groups or have chosen to pursue it as a major, but it most certainly is not a requirement.
LEGACY: What kind of pieces does the group typically perform? Can you try to define traditional a cappella for people who aren’t musically inclined?
Daigle: This is a very difficult question to answer because there isn’t necessarily a typical piece that we perform. Yes, we have songs that we usually sing, but they are not all from the same genre of music. A cappella as a whole is creating music with voices alone, and as a result, the “typical” song that we sing is that something that can showcase a blend of harmonies with melody.
LEGACY: What’s the most entertaining experience you’ve had as a member of The Tiger Tenors?
LEGACY: Would you say with movies like “Pitch Perfect” and shows like “Glee” that a capella groups are a popular trend these days?
Daigle: It’s difficult to single out a single experience to talk about because we try to do many different types of events. Singing the national anthem at the LSU baseball games is always exciting, as is singing for the sororities, but we also enjoy singing for more serious occasions such as the LSU Ring Ceremony and the Tiger Twelve ceremony.
Daigle: Yes, I think so. People are drawn to different styles of music depending on their interests, and the great thing about music is that it can express so many different emotions and cultures. Seeing the ability to blend these genres and styles together in “Pitch Perfect” and “Glee” as well as “The Sing Off ” and groups like Straight No Chaser is a way to express the original songs in a different light.
»
CHECK OUT THE ENTIRE INTERVIEW ONLINE AT
lsulegacymag.com l s u l e g a c ym ag .co m
7
L
MUSIC + CULTURE
l l e e d i w s d t l r Ca ou with
C
STORY BRIA TURNER PHOTOS REBECCA RATLIFF DESIGN ELLIE PLATT
Before each game, LSU women’s basketball head coach Nikki Caldwell uses the same method to prepare — by going into spiritual mode. So she turns on her Whitney Houston Pandora station. “She represented beauty in her voice,” Caldwell said about Houston. Caldwell said she loved Houston's versatility as a musician, and she wants the same for her team. When Houston performed, she could go into a concert, stun the fans and leave them wanting more all in the same night, Caldwell said. She said she wants her student-athletes to do the same for their fans. “She was somebody that was very diverse and could adapt to any situation and any crowd,” Caldwell said. “When you think about being a coach, you want to have a team that's adaptable, that can go into an arena and blow them away. That's her voice.” Caldwell's music choices range from Houston and Gretchen Wilson to Luther Vandross, Kem and Kenney Chesney. The songs Caldwell listened to during her time as a player at the University of Tennessee and now as a coach at LSU reflect her laid back, casual personality. Since giving birth to her daughter, Justice, last March, Caldwell has expanded her music library to children's music. Her favorites include “Wheels on the Bus” and
8
LEGACY
/
SPRING 2013
» Coach Caldwell rocking high-heeled boots after the Vanderbilt game on Jan. 20.
what she calls “random Caldwell originals.” “You just make up songs like ‘We’re gonna put this on your right foot,’ and you just come up with songs and lyrics when you have a child. It’s funny,” she said. Although Caldwell said she didn’t grow up with as many originals as Justice, her mom played Diana Ross, Donna Summer and Lionel Richie frequently. Growing up in Oak Ridge, Tenn., Caldwell’s mother owned a
modeling school where Caldwell and her younger sister, Simone, were required to participate in fashion shows. Caldwell said she was too much of a tomboy to take interest in the fashion shows at the time. But things have changed, she said. Today, Caldwell and her coaching staff are known for their fashionable attire and high heels worn for every game. In fact, Caldwell and her assistant coach, Tasha Butts, share a personal stylist. Caldwell said her interest in fashion changed in high school. In her years at Oak Ridge High School, Caldwell’s basketball coach Jill Prudden made sure the girls dressed presentably for away games and got cleaned up after the game to support the boys — a tradition Caldwell continued in college. In addition to Coach Prudden, Caldwell’s mother emphasized the importance of good impressions through fashion. “She would always talk about being on your first impression wherever you go, by always making us aware that we are ladies first even though we played volleyball, basketball or track,” she said. “That you still need to represent yourself as a lady first.” In 1994, Caldwell graduated from the University of Tennessee with a degree in communications, but was unable to play basketball overseas because of numerous injuries. She started a job in color commentary, assisting announcers during games. After attending practices, watching the team and learning more about the players, Caldwell knew she wanted to do more that just report from the sidelines. “That drove me into coaching because sitting behind the scenes wasn’t enough for me,” she said. “Just talking about it wasn’t enough for me. I felt like I [needed to] do more and have more of a positive influence on these young ladies.”
»
CHECK OUT THE ENTIRE PLAYLIST ONLINE AT
WANT TO LIVE OFF-CAMPUS BUT STAY CLOSE TO THE ACTION?
LIVE AT
NEW SPRING 2013
lsulegacymag.com » How Will I Know Whitney Houston
»If You’re Happy and You Know It Traditional »Ring My Bell Donna Summer »“Preacher’s Wife” soundtrack Various Artists »Wheels on the Bus Traditional
Halo Bangles starting at $65
l s u l e g a c ym ag .co m
9
Even with a T-shirt, scarves give your wardrobe warmth and variety.
FASHION in
5 STORY KATIE MACDONALD PHOTOS JESSE GUILLORY DESIGN CHRISTINA LI
Whether class begins at 7:30 a.m. or noon, fashion quickly takes a backseat to those extra minutes of sleep. But adding a few simple accessories to your wardrobe can instantly transform any outfit, making campus fashion simple and easy.
Bring edge to your look with any styled boot.
Maxi skirts are a comfortable way to transition into spring.
Blazers transform the most basic outfit into a professional statement.
Keep it simple with blue jean shorts and button-down shirts. Let accessories like belts and jewelry speak for themselves.
l s u l e g a c ym ag .co m
11
L
MUSIC + CULTURE
Hide that bedhead with a hat.
Put a chunky sweater over any top to create a coordinated look.
12
LEGACY
/
SPRING 2013
l s u l e g a c ym ag .co m
13
L
FOOD
WEIGH YOUR
OPTIONS STORY JOEY GRONER PHOTOS LAINEY REED DESIGN CHRISTINA LI
ZIPPY’S
CHIPOTLE
$7.14 WEIGHT: 8.16 oz.
$6.81 WEIGHT: 17.6 oz.
PRICE:
PRICE PER oz.:
PRICE:
PRICE PER oz.:
$0.88
ARE THE SAVINGS WORTH IT?
14
LEGACY
/
It’s no surprise that there are five burrito restaurants in and around LSU’s campus. A cheap, quick way to get a day’s worth of calories, burritos are a cornerstone of any student’s diet. But which local eatery actually gives you the most burrito for your money? LEGACY magazine decided to find out by weighing burritos from the five restaurants closest to campus — Salsarita’s Fresh Cantina, Zippy’s Burrito’s Taco’s and More, Chipotle Mexican Grill, Izzo’s Illegal Burrito and Fuzzy’s Taco Shop. The ingredients were simple: chicken, beans, rice, sour
$0.39
cream and cheese on a flour tortilla. We discovered that not all burritos are created equal. While the on-campus Salsarita’s boasts a burrito that cost 38 cents per ounce, a similar meal at Zippy’s costs 88 cents per ounce. Even when the chips that come with the Zippy’s meal were factored into the weight, it only came to 60 cents per ounce, still being the least cost-efficient. However, it’s worth noting that the two heaviest burritos, from Chipotle and Salsarita’s, contained the most rice, adding significantly to their weight.
FUZZY’S
SALSARITA’S
$8.16 WEIGHT: 14.4 oz.
$7.29 WEIGHT: 19.2 oz.
PRICE:
PRICE PER oz.:
$0.57
PRICE:
PRICE PER oz.:
IZZO’S $7.07 WEIGHT: 12 oz. PRICE:
PRICE PER oz.:
$0.38
$0.59
Burritos are the poor man’s snack, but just because it’s cheap doesn’t mean it’s good. LEGACY ranks the local-area burritos by taste rather than price.
#1 CHIPOTLE #2 ZIPPY’S
SPRING 2013
#3 SALSARITA’S
#4 IZZO’S
»
#5 FUZZY’S
CHECK OUT THE REST OF THE REVIEW ONLINE AT
lsulegacymag.com
DINE-N-CLASS
STORY SAMANTHA BARES PHOTOS REBECCA RATLIFF DESIGN ROLAND PARKER
Every college student has had to lug his or her lunch into class at least once. The stress of a hectic schedule in college can make anyone hungry. Much mid-lecture munching may go unnoticed, but there’s always the chance one student lacking in snacking savvy could derail the class, distracting students and faculty members alike. Digital arts sophomore Jessica Sprick said eating in class is a major faux-pas. She said it tends to disrupt class, recalling in particular a story from a friend who was confronted by a teacher for eating sushi. “The teacher asked my friend a question, then said ‘Maybe if you weren’t eating in class, you would know the answer,’” Sprick said. This isn’t to say all students feel eating in class is distasteful. Graphic design junior Sara Granados said she has never been distracted by someone eating in class. She said most of her graphic design and art classes are small and laid back enough that there are always students eating. Granados said the only food she would find inappropriate to eat in class would be those that make noise, like potato chips. It’s true that loud foods are more likely to be noticed by a broader audience, but how incognito could strong-smelling foods be? “I ate a tuna fish sub in class one day
because I was running late. I felt really selfconscious about it. I kept thinking, ‘Are people grossed out by the smell of this sandwich?’” said English senior Jessica St. John. Unnerved by the feeling that everyone was watching her eat, St. John said she ate quickly and took care to avoid dripping anything. St. John said she makes allowances for the fact that people may not have time to eat outside of class, but everyone must be adults and realize how distracting or offensive their choice in food may be. She suggested eating a breath mint directly after consuming something smelly and avoiding the practice of eating in class if chewing with a closed mouth is a problem. As for professors, St. John said she has never had one call a student out for eating. However, she points out that most of her professors have been “highly distractionintolerant,” and many students didn’t dare risk it. Frank A. Anselmo, assistant professor of the French department, seems to fit this description. Anselmo said he could not believe the gall of one student bringing an entire lunch from Subway to his class — one in which the student would have to speak coherent French to earn her participation grade — and rudely not having enough to share with the rest of the students. “So I told her that my classroom was not a café and asked her to put her food away,” Anselmo said. On the other hand, Art History
Professor Mark Zucker said he rarely notices his students chowing down, if they do at all. When he does notice, he said he usually remarks, “I know my classes are picnics, but I’d still prefer it if you’d refrain from eating.” About 15 to 20 years ago, Zucker said it wasn’t uncommon to find both students and professors smoking in class. In his art history lectures, the smoke created a bigger distraction than food could, especially when wafting smoke would produce weird visual effects on the slide projector. The more serious problem today, Zucker said, lies in students bringing beverages to class. He said students tend to leave their cups of coffee or soft drinks on the floor of classrooms to be knocked over, resulting in unpleasant messes and lasting stains. Although most of the opposition classmates and professors have to conspicuous snackers is rooted in their distraction, the rest could be attributed to jealousy that they can’t follow suit. As Sprick said about one repeat offender in her night class, “… His really fragrant Panda Express made everyone hungry.” Anselmo is also more tolerant about students eating in class if they share. He recalled once having a student who, upon Anselmo’s request, milked his own cows the night before and brought enough of the refrigerated product to share with the whole class. Anselmo insisted that it is the best milk he has ever tasted.
l s u l e g a c ym ag .co m
15
L
FEATURE
DUCKS UNLIMITED STORY AUSTEN KRANTZ » PHOTOS REBECCA RATLIFF » DESIGN ROLAND PARKER
16
LEGACY
/
SPRING 2013
THE LURE OF HUNTING
S
cott Duplantis shot a duck for the first time when he was 6 years old but pulling the trigger wasn’t as interesting as holding the creature in his hands. “Staring at this bird, looking at it for a while really made me appreciate it,” said the wildlife biology junior. “It’s really something sacred.” Duplantis explained “manipulating and harvesting” a wild animal nurtured a sense of pride, accomplishment and respect
he’s since fortified. “When you hunt, you appreciate the integrity of a wild animal, and you respect it. How you got it — that’s what really puts the love into it,” he said. “That’s what happened with me.” Duplantis duck hunts as much as he can during the 60-day season. During winter break, he often takes the 10-minute drive from his hometown of Erath for some quality time in the duck blinds
(camouflaged stands where hunters call and wait for birds to fly near). He also deer hunts at least once a year, which can take more work and organization, but is “just as fun.” Winter months mean hunting time for Duplantis. Rising early, watching a sunrise and eating Honey Buns on the wait all make hunting worthwhile, he said. He’s often shot his limit of ducks — six in Louisiana — and remained in his blind to take everything in for a little longer.
CHANGING LANDSCAPES Duck hunting in the marshes taught Duplantis how the ecosystem works, he said, and also how some problems can prevent it from functioning. With natural and manmade factors disrupting the processes of the marsh land, ducks are scarce and regulations are stringent, Duplantis said. “When my grandfather and my great-grandfather hunted, they could kill mass quantities of ducks,” Duplantis said. “Nowadays there’s been an increase in hunter numbers which really isn’t all a bad thing, but when you add a decrease in natural habitat to that, it becomes a problem.” This decrease in hunting grounds can largely be attributed to land development, according to Mike Benge, senior vice president of development for Ducks Unlimited in Louisiana. With more land used for residential or industrial growth, suitable habitat for migratory birds shrinks. And as more land is transformed for human use, this affects the hunting grounds around it. Benge theorised about a landowner/ farmer who is affected by land changing around his own property to explain these effects. “Your area’s changed,” he explained theoretically. “There used to be 25,000 acres around you of all marsh. Now it’s down to 5,000 because of all the subdivisions and golf courses and houses and plants. Or they’ve converted it to [agricultural] land
» Patrick Siener’s passion for hunting is reflected in many aspects of his life, even his truck. like sugar cane — that’s not suitable for ducks.” However other, more destructive issues can repel water fowl. Duplantis cited erosion as a major natural factor, but he also believes farming and oil production have proved detrimental to Louisiana’s marshlands. While some types of farming, like rice fields, can provide a good environment for ducks, farmers can also drain marshland to better suit their crops. “It’s nothing to turn a 100-acre wetland into a profitable crop,” Duplantis said. “That’s 100 acres less for ducks.” While Duplantis encounters few problems with farmers in his hunting experiences, the same can’t be said for the oil industry. After the effects of the Deepwater Horizon oil spill, Duplantis has little faith in the industry’s ability to prevent
environmental issues. “The oil industry has had nothing but negative impacts on the environment— there’s no way around it,” he said. “Ducks are not going to land in oil. That’s one of the things humans have done to demoralize the integrity of the wetlands.” Duplantis is more familiar with smaller platforms than Deepwater Horizon. He’s often spotted old, small-scale oil platforms that were once used in shallow marsh areas. Once these rigs drained oil from the area, they were capped off to prevent any leakage into the marsh. “You see a bunch of those in the marsh,” he said. “It’s just something that humans have come in and put artificially into a natural ecosystem, and that kind of messes up the flow of things. And when that happens, you’re messing up the flow of nature, and that is never a good thing.” l s u l e g a c ym ag .co m
17
L
FEATURE
COLLECTIVE ACTION Before 1937, more people were involved in hunting traditions, there was more land to hunt on and more birds on the land. But with destructive environmental effects from the Dust Bowl drought of the midwest and the Great Depression threatening duck populations, a collection of hunters, environmental enthusiasts and philanthropists sought to bolster North American waterfowl numbers. “There was a real concern over the diminishing duck populations, and it was all to do with habitat,” Benge said. As a result, 13 of the concerned founded Ducks Unlimited as well as a branch in Canada to buy and nurture habitats where ducks breed. But by the ’90s, Benge said the organization’s focus grew to include the entire migratory cycle of waterfowl. “We were doing some good stuff on the breeding grounds, but ducks were flying south,” he said. “It became apparent that we
had to take care of the entire lifecycle of the ducks. You have to take care of the breeding ground, and the fly ways — where the birds travel. They have to have good habitat going [from Canada], but they have to have good habitat coming back.” Different waterfowl use four northto-south routes running through North America. Louisiana lies in the active Mississippi Flyway, which encompasses Arkansas, Missouri, Iowa, Indiana, Illinois, Kentucky, Ohio, Wisconsis, Alabama and Mississippi. “Last year, Louisiana harvested more ducks than the Atlantic Flyway and Central Flyway combined — that’s one state alone,” Benge said. “If you throw in Missouri and Arkansas, that’s a hell of a lot of birds in the Mississippi flyway.” Benge said Louisiana sells roughly 100,000 duck stamps each season, or federal and state mandated stamps, both
of which hunters must buy each season to provide funding for waterfowl and habitat projects. But about 20,000 of these purchasing hunters are DU members, and Benge said he would prefer to see more of the 100,000 hunters in the state involved in waterfowl organizations. Migratory birds’ entire life cycles exist between their breeding grounds and the extent of the flyways. As a result, waterfowl organizations like DU or Delta Waterfowl buy and improve land along the flyways and work with farmers and other landowners to maintain and develop land that can also serve as habitat. “What our research has found is that hens that arrive back on the breeding grounds fat and healthy have a higher nest success than hens that arrive back in poor shape,” Benge said. “A lot of it’s not rocket science if people just stop and think about the realities of life in general.”
GOODWILL HUNTING DU seeks to preserve wetland habitat necessary for the future of waterfowl. The organization has improved habitats that Benge said benefits other animals and people. “People say, ‘You’re a conservationist,’ but we raise the ducks so we can harvest them,” he said. “They’re a renewable resource. If we hadn’t done what we’ve done through the years, there would not be duck hunting like we know it today.” University renewable natural resources professor, Delta Waterfowl interim president and biologist Frank Rohwer said these motives have been inherent in U.S. hunters throughout history. Because hunters need bountiful amounts of animals around to harvest, they inevitably want to improve those populations. “When you look back in the U.S. 100 years ago, the staunchest, most ardent supporters of natural resources have been hunters,” Rohwer said. As a result, DWF has largely committed to preserving the culture of hunting by advocating measures in laws
18
LEGACY
/
SPRING 2013
and regulations that make hunting more efficient and desirable, Rowler said.
“
When you look back in the U.S. 100 years ago, the staunchest, most ardent supporters of natural resources have been hunters.
”
Ultimately, Duplantis, a past member of DU and current member of DWF, said he thinks being out on a hunt can foster appreciation for and commitment to wildlife habitat. “The opportunity to go out there and see nature, quiet and peaceful and to see God’s works in action, it gives you another point of view, and it allows you to see land and habitat untouched by man,” he said. “It does something to you and you really respect it more. It’s all about respect.”
» Patrick Siener duck hunting in Louisiana on Jan. 12, 2013.
SHOW YOUR TIGER SPIRIT!
Available at the following locations: The Royal Standard 2877 Perkins Road
Martin’s Framing Bocage Village
Co-Op Bookstore 3960 Burbank Dr.
The Foyer 3655 Perkins Road
LSU Alumni Gift Shop Lod Cook Hotel
www.spiart.com
l s u l e g a c ym ag .co m
19
L
FEATURE
Whistle
while
you
Work
A Disney internship is a dream your heart makes. STORY SYDNEY BLANCHARD » PHOTOS JORDAN HEFLER » DESIGN KELLY KRAL
Where Dreams Come True?
M
ost of the world’s population has grown up with Disney: the movies, the characters, the theme parks, the empire. Walt Disney has captured the hearts of millions since the early 20th century, and Mickey Mouse is still one of the most recognizable characters in the world. It’s no surprise that kids who grow up experiencing the Wonderful World of Disney don’t want to let go in adulthood. So Disney offers an internship.
» Emily Smith operated the Space Mountain ride at the Disney parks during her internship.
20
LEGACY
/
SPRING 2013
Many students seek out internships during their time as an undergraduate. Internships, typically unpaid and grueling, help to bolster a student’s résumé and provide somewhat relevant job experience. Disney’s College Program is a paid, 6-month, highly selective internship, and the company has been working with LSU students in this regard since 1988. Disney offers a variety of job opportunities for students as well as classes on a variety of Disney-themed topics, though depending on a student’s major, these classes may not count for credit. In fact, depending on a student’s major, the internship itself may not count for credit. Undeniably, Disney has a reputation for perfection. From undercover security to underground tunnels, this Fortune 500 company spares no detail to make each family vacation “magical.” For guests, Disney runs like a well-oiled machine, and the cogs in that machine are often college students. Disney portrays its College Program as a résumé-building, life-changing opportunity to set oneself apart. For some, this may indeed be the case, but depending on the individual, Disney’s College Program may not be the preferred internship. Experiential Education Coordinator at LSU’s Career Services Center Kayla Lato spoke to the value of a Disney internship. She said employers are typically impressed when they see the word “Disney” on a résumé, but she noted that the interest comes mainly from brand association rather than the job performed while participating in the college program. And further, students may have to stretch to associate their job interning with Disney with their future career goals. “We do find that some students do have a hard time being able to identify, ‘What is this useful towards?’” Lato said. Students can elect to take classes during their time in the College Program. Disney offers nine courses, and while LSU offers credits for six of those nine, the courses only transfer as 3000-level Management courses. Class titles include “The Disney Corporate Analysis Course,” “The Advanced Human Resource Management
Course” and “The Disney Organizational Leadership Course.” Lato stated students must file the correct paperwork with the University and pay a fee to retain full-time status while away at Disney for the semester. Financial complications arise for students lacking disposable income. Affording Disney’s College Program without help can be a struggle. The cost of Disney fees, travel to Orlando and living expenses may overwhelm some students’ budgets. And as for scholarships, LSU offers none to help students fund their Disney College Program. “As far as LSU doing scholarships or things along those lines,” Lato said, “that doesn’t exist.” Furthermore, the internship can be a setback if a student isn’t already ahead in hours. Unless a student takes Disney classes during the College Program, it is essentially equivocal to taking a semester off in terms of credits. Lato said this fact deters some students from participating in the College Program. “It’s not for everyone,” Lato said. Despite working long hours for minimum wage and sharing an apartment with essential strangers, it seems most participants in Disney’s College Program enjoy their experience greatly, and highly recommend it. In the words of public relations junior Elizabeth Garcia, “My dad says I’ve had too much Kool-Aid. I’m part of the cult now.” Disney’s following is, for lack of a better phrase, “cult-like.”
» Morgan Armstrong dressed as one of Disney’s most beloved characters, Minnie Mouse.
Fitting the Role
Each semester, thousands of students from all over the world “audition” for “roles” at Disney in categories like “Entertainment” and “Attractions” or rides (the lingo is head-spinning). Would-be College Program workers, or CPs, go through a rigorous application process including a rapid-fire, timed, web-based interview and a grueling phone interview. Those who wish to be “Performers” (characters) must attend a special, intensive dancing and acting audition, often in another city. For public relations senior Madison Hentze, the Disney auditions took her to Atlanta, Ga. “I went to Atlanta, and I started in a room of about 250 and they cut down to the final 16 of us,” Hentze said. After the grueling audition, students wait weeks to hear back from Disney. To be hired, students must fit the “Disney Look.” On its website, Disney includes a mile-long list of standards to which students must adhere. From hair color to facial hair to jewelry, Disney is picky. For girls, nail polish and makeup must be neutral. As for jewelry, dangling earrings are not permitted, and only one ring can l s u l e g a c ym ag .co m
21
L
FEATURE
» Madison Hentze was a “very close friend” of Alice from Lewis Caroll’s “Alice in Wonderland” during her internship.
be worn per hand along with one religious necklace. Only recently have guys been permitted to wear facial hair, Garcia said. Once accepted, students may or may not be given their preferred job at Disney. For example, a student may apply to work in Attractions (rides) but get chosen for Quick Service Food and Beverage (fast food services) or Custodial (janitorial work). According to political science graduate Lindsey Miller, Disney hires most CPs for Quick Service Food and Beverage. Hospitality, Concierge and Character are the most highly desired jobs and the most difficult to land, Miller explained. Other jobs include Merchandise and Janitorial and Housekeeping. The lucky few are chosen as Performers under “Entertainment” and become “friends” with a certain character (to preserve Disney magic, CPs are not supposed to say they “are” a character). And in the world of Disney, success often boils down to height. “As far as it goes, Disney’s kind of run by height. So being that I’m under five feet tall, I had a general idea of who I was going to ‘be friends with,’” Hentze said. Characters go through intensive training to deal with anything, including handsy creeps and inappropriate comments. “As Alice, or ‘friends with Alice’ I should say, with my story, with caterpillars and hookahs and drinking tea and cookies that say ‘Eat Me’ on them, there [were] a lot ... of inappropriate comments all the time ... I had to just spin them,” Hentze said. Disney trains its employees to diffuse these types of situations or to walk away if they feel threatened, Hentze said. She said she never felt unsafe.
22
LEGACY
/
SPRING 2013
The Magic of Disney
Overall, students tended to enjoy their jobs. Marketing senior Emily Smith talked about the highlight of her job, creating “magical moments.” “One of the things that a lot of people don’t know is that ‘magical moments’ are actually planned events,” Smith said. “The computers come out with our schedules and say, at this time, you will perform a magical moment.” Magical moments typically include giving a family a set of “FASTPASSES” that allow them to skip long lines or giving a child ice cream. For Garcia, who worked in Guest Services (ticket sales), making a family’s vacation run smoother was rewarding in itself. Helping flustered customers solve their problems and then being thanked for it made the job easier, Garcia said. Hentze, who was “very close friends” with Mickey, Minnie and Alice of “Alice in Wonderland,” had her fair share of rewarding moments. She received a letter from a family thanking “Alice” for interacting with their child and making the child’s day. Smith had a similar experience. As an Attractions operator at Space Mountain, she encountered a child from the Make-A-Wish Foundation wearing a Saints T-shirt. They bonded over their Louisiana roots, and Smith gave the child the honor of being the “Space Pilot” for the day (certificate and all) which allowed him to cut to the front of the line any time he wanted to ride Space Mountain. “Just to know that his day was made ... was my favorite moment,” Smith said.
Another perk of the job is anytime access to the parks. CPs can enjoy any of Disney’s four parks for free on their time off. They can also win gift cards to grocery stores as an incentive.
The Darker Side of Disney
Everyone agrees that there’s a catch: Disney housing. There are three different complexes in which CPs live. Disney takes $90 a month out of students’ paychecks for rent. While working for Disney, students share a 3-bedroom apartment, two people in each room. Disney housing is known for strict rules and tight security. “You can’t have guests after a certain hour depending on their age,” Garcia said. “You can’t visit another housing apartment after 1:00 a.m.” Furthermore, Disney takes underage drinking and drug use very seriously: students caught are “terminated” or fired immediately. Pay ranges depend on the position and hours worked, but international studies and political science junior Morgan Armstrong said, “I generally did OK, I never felt like I was short on money.” Smith had a similar experience. “You make minimum wage while you’re on the College Program in most roles. They take your rent directly out of your paycheck, so you don’t have to worry about paying any bills or anything like that. So every week I was left with about $120 to $150 for spending money.” The internship lasts six months, and while Disney offers classes for college credit, most don’t take classes while working, and some won’t receive course credit for the internship itself.
“Drinking the Kool-Aid”
Low pay, long hours, strict rules and the lack of credit hours don’t seem to deter students. And, in spite of this, CPs speak highly of Disney and of their experiences. Some students like the program so much, they extend it for another semester. And some want to stick with Disney for the long-run. “I do want to stay with Disney forever ... I would love to stay with the corporation. It’s such a big family,” Hentze said. All agree that having Disney on their résumés is priceless. While their work experience in the program may not have been closely related to their majors, students insist working at Disney has prepared them for anything, and other employers know that. “Any person who I interview with, the first thing they ask me about is Disney,” Hentze said. Garcia echoes this sentiment. “You’re going to be doing a minimal job ... It’s going to be dirty and grimy, and you’re going to be doing hard work. But it’s going to pay off in so many different ways,” she said. Disney not only puts on a great show, but it knows how to please vacationers and employees alike. Students who have worked the College Program speak highly of it, despite its imperfections and the potential lack of credit. And perhaps that’s the real magic of Disney.
Un-jumbling
the Disney Jargon
“CP” slang for a student in the college program
“Performer” a “Performer” must attend an additional tryout to be a dancer or character at Disney
“Friends with” at Disney, Entertainment workers can’t say they are a character, they must say they are that character’s friend to preserve the Disney magic
Entertainment working in Entertainment means you are a “Performer”
Quick Service Food & Beverage Disney’s version of fast food
Attractions students working in “Attractions” are ride operators
Guest Services this can be selling tickets or concierge-type work
Magical Moments scheduled “spontaneous” acts of kindness by workers at Disney
The Disney Look the long list of dress code requirements for Disney employees l s u l e g a c ym ag .co m
L
24
DEPARTMENT NAME
LEGACY
/
SPRING 2013
*Names in this story have been withheld for privacy.
M I K E M
A
K
I
N
G
Each year, teams of students work to keep up the illusion of Mike the Tiger. But what exactly goes into making Mike the beloved mascot he’s become? STORY MORGAN SEARLES » PHOTOS LAINEY REED » DESIGN KELLY KRAL
A
more iconic individual than football players, Golden Girls or members of “The Golden Band from Tigerland,” Mike the Tiger is one of the few members of the LSU community who will neither graduate, retire or jump the flagship. While Mike the Tiger — the living, breathing Bengal-Siberian mix — has been part of the University since 1936, Mike the mascot has only been hyping athletics and hugging small children since the 1980s. But Mike’s responsibilities extend far beyond what meets the average tiger’s eye. Between athletic events, weddings, birthday parties, mascot competitions, photo and video shoots, being Mike proves to be a demanding role. Ready to go at the drop of a paw, Mike has a 24-hour job, and he can be called upon within 30 minutes of a gig. Team Mike is made up of students who help the mascot attend events, according to the LSU Sports website. “It is necessary to have Mike at every possible event, rain or shine, with the highest regard to spirit. The people in this group are also called to have a high spirit for LSU as they are also at various athletic events. Team Mike is looking for a well-rounded, dedicated individual who is outgoing and can help this program grow,” the website states.
» Children get the chance to meet
and play with Mike before a home basketball game; Jan. 12, 2013.
HI STO RY
O F
M I KE
The mascot wasn’t always supported by the Athletic Department. He was part of the Tigerband until the Spirit Squad — a group that includes cheerleaders and Tiger Girls — adopted him, and there grew a desire to bring Mike up to competitive
l s u l e g a c ym ag .co m
25
L
FEATURE
» One of the best parts of being Mike is meeting fans, Mike 13 said. mascot standards. Serrhal Adams, who served as the striped feline for a year in 1988, said although today’s Mike is athletic, Mike in the ’80s looked like “a beer belly Cajun” or “a poorly drawn Charlie Brown.” He said it’s strange to see the current Mike doing pushups, stunts and high energy routines. The student in the role of Mike the Tiger before Adams had come from the tuba section of the Tigerband, and when the position was passed down, the new, leaner students had to wear 50 pounds of padding to maintain the look. “Back when I was in school, this guy was a traditional-looking tuba player with a traditional walk, a bounce in his step and a big belly,” Adams said. “He was one of the few Mikes to be ejected from a basketball game.” Another tuba player acted as Mike just before Adams, who in his senior year was the first student to win the role through audition. As a mascot which had not yet garnered the fame and reputation Mike has now, Adams said the newness sometimes led to complicated situations. He described having to open his trunk to reveal the costume to a disbelieving parking attendant. “I had to show them this is who I am. There were no passes, nothing to identify you other than you had the Mike uniform in a bag.” he said. “There was no locker room for
26
LEGACY
/
SPRING 2013
me to change in, so I always had to find a bathroom stall with no one in it.” Adams described alumni events he appeared at as “not so much fun.” After holding guests’ attention for about five minutes, he felt out of place but had to remain in costume for three to four hours. But Adams declared 99 percent of his experiences were “full of fantastic highs” some of which included a cameo in the film “Everybody’s an All American,” holding a Mike cub and shaking “more politicians hands than I’d care to.”
M I KE
TO D AY
Now considered student athletes, members of modern-day Team Mike must maintain a certain GPA and submit to drug testing in exchange for excused classes, priority scheduling and a partial athletic scholarship. Mike participates in Universal Cheerleading Association competitions, where he placed third in 2012. He is ranked fourth for mascots in the country. He went to Orlando in January and placed fourth in the UCA’s mascot championship. Though responsibility is spread evenly between the six current members of Team Mike, The Captain puts in a few more
hours, handles scheduling and takes extra care to ensure Mike is where he needs to be through summer, winter break and the intersessions in between. “There’s never a break with Mike,” The Captain said. “He’s always going, so you don’t ever stop with him.” Tryouts for Team Mike will be held in April, and The Captain said he’d like to see a large turnout. “This is the chance to be a part of something really great,” he said. “This program is one of the best mascot programs in the country.” The Captain said he became involved with Team Mike because he wanted to bring him to the fans and to help improve the program. He described his experiences doing a commercial shoot in Los Angeles with Les Miles, visiting kids in the hospital and traveling around the country with Mike. “Being here on a gameday to see a fan who it could be their last game because of cancer, it’s really neat to be a part of,” The Captain said. Also a part of Team Mike, Member 13, a kinesiology sophomore, expressed similar job satisfaction. A trip to Orlando last year brought the team together with special needs children. “That’s the reason that I’m Mike, is bringing the joy that I saw [Mike] bring to those kids,” Member 13 said. “You don’t worry about judgment or anything like that. You’re able to express emotions more purely and not worry about what people think of you.” Up to now, there have been 15 students to help Mike with his duties, but these members of Team Mike stress there is only one Mike the Tiger. “Mike is never in two places at once,” Member 13 said. “Two years ago, Mike was in Beijing the day before the Cotton Bowl, but there will never be two Mikes at one time.” Aside from the demand of scheduling and professionalism, Mike must withstand physical challenges when performing and fulfilling spirited obligations. On a normal game day, Mike tends to be 50 degrees hotter than the outside temperature, often reaching about 140 degrees, in which he has to run, jump and dance. Crowd surfing, in particular, requires skill. “It’s scary, being supported by drunk college kids,” Member 13 said. “I’ve been dropped, but it’s awesome. It’s just scary because visibility is very reduced, and I can’t see behind me, don’t know if there’s going to be another set of hands to push me up.” Additional responsibilities — juggling classes, homework, social life and other jobs — add to the pressure. Though friends and family are supportive, keeping up appearances can prove difficult. “It’s hard to explain to some people,” Member 13 said. “My close friends understand, but it’s not hard to pick up on. It’s challenging to blatantly lie to people’s face that you’re not Mike the Tiger when people question why you have a giant hockey bag and are all sweaty. I’ll say I’m on LSU’s hockey team, I’m an equipment manager, I carry printers around in a bag or I work for maintenance. I have a lot of identities that I use to conceal what I do.”
MIKE IN THE 1980s
Courtesy of Gumbo Yearbook
Serrhal Adams filled Mike’s paws as a senior in the spring and fall semesters of 1988. He studied political science and psychology as an undergraduate student at LSU. He remembers being interested in the role of Mike since high school. Adams said he expected to compete against 100 other students in tryouts, but was surprised to find fewer than 10 other hopefuls. Adams, who is originally from Baton Rouge, is now an ophthalmologist in Fayetteville, Arkansas. He still shares stories of his time as mascot with friends and acquaintances.
Courtesy of Gumbo Yearbook l s u l e g a c ym ag .co m
27
L
DEPARTMENT FEATURE NAME
» The separation between work and play is hard to distinguish in Adam Carrillo’s home, which doubles as his recording studio.
28
LEGACY
/
SPRING 2013
studi
apartment STORY JOEY GRONER » PHOTOS JORDAN HEFLER » DESIGN CHRISTINA LI
Musicians aren’t the only people responsible for making music. When the bands stop playing, that’s where Adam Carrillo comes in.
W
hile plenty of kids dream of being talent and creativity of the people playing rock stars when they grow up, few it,” Carrillo said. “But a lot of that talent dream of being the man behind the curtain. can be lost when the mixing and mastering But for Adam Carrillo, there’s never isn’t done properly. Plenty of decent bands been an option other than sound engineer- sound terrible because they don’t have a ing, the process of recording, mixing and good engineer.” mastering music. Though he was born in Georgia, CarCarrillo, general business junior, is the rillo’s father had an oil industry job that founder of Dizzy Records, a local recording moved the family to Michigan, Argenstudio Carrillo runs out of his apartment. tina, Texas, then to Dubai for Carrillo’s Though he played in bands as a teenager, he last three years of high school. Throughout quickly found sound engineering was what the moves, Carrillo taught himself how to he wanted to do. mix and engi“I used to neer music, purplay some instruchasing simple Plenty of decent bands sound ments, mainly equipment and guitar,” Carrillo reading through terrible because they don’t have a said. “I just did a number of good engineer. that for fun, I guides to hone never intended his skills. to be a musician “The fact by trade or anythat I’m selfthing like that. But playing those instru- taught, I don’t see it as a barrier of any ments led me to engineering, and I’ve been kind,” Carrillo said. “I didn’t know much focused on that ever since.” about this stuff when I picked it up, but my The job of the sound engineer can be dad’s an engineer, so my mind works that a tedious one. While a band can record a way too. I feel much more confident in my song in a few hours, Carrillo often spends skills since I learned, from ground zero, days tweaking each song to get the right how to do what I do and how to be good sound. Like most engineers, he believes the at it.” importance of the process is underestimatConstantly moving around the world ed by many. also allowed Carrillo to make connections “There’s tons of music out there that with a variety of musicians, from rappers to is really good, in terms of the level of members of hardcore bands.
“
”
l s u l e g a c ym ag .co m
29
L
FEATURE
» Carrillo mixes sounds for performers, including Bosco Stomp vocalist Colin Hyatt (top), drummer Ben Bryan, bassist Clint Himel (middle) and guitarist Reed Guillory (bottom).
“Through email and stuff like that, bands can record in a studio halfway around the world and send me the file to mix and master,” Carrillo said. “Currently, I’m working on some stuff with a guy I met when I was living in Dubai. The time abroad certainly gives me an advantage.” Carrillo officially set up Dizzy Records when he moved to Baton Rouge. His first studio was located in his apartment in Southgate Towers. For a year or so, he worked by himself, purchasing the equipment necessary to properly master music and elevate himself above the average setup. Eventually, Carrillo expanded his crew and now has three additional engineers, along with a friend who constructs recording setups and is jokingly referred to as the studio’s contractor by Carrillo. Carrillo has also moved into a different apartment near Tigerland with better
30
LEGACY
/
SPRING 2013
acoustics. He said he’s most proud of the living room, which inexplicably has the acoustics of an ideal recording studio. The difference, he said, is that plenty of studios pay millions of dollars to get a room that sounds exactly like his living room. Rather than establish a studio around his living space, Carrillo has essentially converted his apartment into a studio with a kitchen and bedroom attached to it. The apartment is spacious, and Carrillo keeps everything surprisingly in order. Carrillo is friendly with his neighbors, who have never complained about the noise. It’s a testament to his professionalism, something that local bands say sets him apart. “He may be a young guy, but he’s more professional than most people we’ve worked with locally,” said Reid Guillory, guitarist for Bosco Stomp, a band that frequently records at the studio. “There are a
lot of local studios, but I’ve never met anyone who knows what they’re doing more than Adam.” Though the job of the sound engineer is often overlooked, Carrillo said he takes pride in what he does. He knows he may not be noticed by casual listeners, but that doesn’t bother him. “The most rewarding thing for me is when a band comes in here, and they haven’t found their sound yet, they haven’t found the thing that makes them stick out,” Carrillo said. “When I can do that for someone, when I can mix a record that the band feels represents them perfectly, I’m really happy with myself.” Carrillo said it is difficult when his musical tastes get in the way of what some clients may want. But at the end of the day, he said, it’s up to the client. “I work with a band, I won’t name them, but they’re huge Nickelback fans and they want their music to sound similar to Nickelback,” Carrillo said. “Nickelback, Creed, I hate all of that shit. I’ve flat-out told these guys, ‘If your song came on the radio, I’d change the station immediately.’ But they’re some of the nicest guys to work with and some of my best clients. They’re always happy with the end results and even though I may not like the song, it makes me happy to know I’ve done exactly what they want.” Always keeping the future in mind, Carrillo has a distinct plan for Dizzy Records. He said he let school get away from him in the fall semester, so he’ll be stepping back from engineering to focus on school in the spring. “During the fall, there were weeks at a time that I just didn’t go to class because I was so focused on my job,” Carrillo said. “So my friends sat me down and had an intervention where they basically told me ‘Get your shit straight, go to class so you can graduate.’ So that’s what I’ll be doing while they run stuff here [at the studio].” But ultimately, he said, he wants Dizzy Records to be his full-time job. “I’ve got a good group of guys who will be keeping the studio up when I can’t watch over things 24/7,” Carrillo said. “Really, the future of this place all comes down to where we go in the next five years. But I know recording and engineering is what I want to do with my life, no matter where I do it.”
southern ADJUSTMENT
University members from across the globe as well as the nation describe their expectations and realities with living in the South.
» Psychology senior Rituparna “Ritu” Roy moved to Louisiana from India when she was 16. Like many international students, she has trouble adjusting to some aspects of Southern life.
STORY SAMANTHA BARES PHOTOS SARAH KERSHAW DESIGN CHRISTINA LI
L
ife in the South has been markedly different from the rest of the country even before the introduction of the Mason-Dixon Line. As Theresa Crupi, a 20-year-old New York native, said, “Louisiana is unlike any other place in the country. Louisiana is southern, but is unique even in the South.” In fall 2012, 15 percent of the nearly 30,000 undergraduate and graduate students enrolled at LSU were from out of state, and 5 percent were from another country. That means a fifth of the student body is in the process of acclimating to this culture. International students have the opportunity to do so through the International Hospitality Foundation (IHF) at LSU, which concentrates its efforts into a Friendship Host program. Executive Director Virginia Grenier said the purpose of the nonresidential program is “friendship and intercultural understanding.” Grenier said IHF organizes many events in order to assist the adjustment of the students to the South, like welcome events with jambalaya, Cajun music and dance instructors or a Mardi Gras ball theme. IHF even operates a loan closet of household goods with volunteers available to explain any objects. If left to their own devices, it is easy for students from another country or state to be drawn into the media’s representation of the region. Crupi, a wetland sciences junior, described herself as one such student. To prepare herself for life here, Crupi said she watched the HBO series “True Blood,” set in a fictional Louisiana town called Bon Temps, and listened to country music on the CMT channel. She said the media taught her that southerners were l s u l e g a c ym ag .co m
31
L
FEATURE
» A mural at Boutin’s Restaraunt
on Bluebonnet Boulevard showcases the surreal aspect of southern life that many University faculty and students find difficult to adjust to.
often poor and uneducated, but “somehow more wholesome and very religious.” Assistant Professor Richard Doubleday from the Art Department believes these extreme stereotypes stem from “something remaining of the prejudices between the North and the South.” A transplant from Boston, Doubleday said he had little trouble adjusting to Louisiana life. It wasn’t long after his move in August 2012, he said, that the startling novelty wore off.
southern drawl Unlike Crupi, international student Rituparna “Ritu” Roy moved to Louisiana from Kolkata, India, when she was age 16, with limited knowledge of the southern United States. Psychology senior Roy, now 20, doesn’t give the impression that she had ever felt out of sync here, but she found that the dialect of English in southern Louisiana was near unintelligible to her when she first moved here. Roy said she has always had an ear for languages, having learned five: Malai, Bengali, English, French and Hindu.
32
LEGACY
/
SPRING 2013
She said her British education at the Calcutta International School caused her to mix up Indian, British, American and Southern pronunciations of certain words, like economics (ek-uh-nom-iks, ee-kuhnom-iks, etc.), making all the difference in her English comprehension. Without a discernible accent herself, Roy had to struggle to understand the strain of southern drawl unique to the region. Roy described once asking a woman to repeat herself so many times on a work call that the woman, who happened to be African American, accused her of being racist. Incomprehensible Louisiana accents are a common complaint among recent transplants. On a service trip in high school to New Orleans, Crupi could not understand a word from a fellow volunteer, a Baton Rouge man with a thick Cajun accent. This experience prompted her research of Louisiana culture through television and other media. Business freshman Alexis Valet, who moved to Louisiana last year from Villiers-Charlemagne, France, said the dialect of Cajun French spoken in southern
Louisiana often sounds like gibberish to him. Like Roy, Valet speaks several languages: French, English and German. Valet, whose hometown is 3 hours away from Paris, said most of the things other international students may find shocking about southern Louisiana aren’t too different in France, but he said the amount of pickup trucks here still surprises him. Doubleday said much the same of Boston, saying its version of rednecks are blue-collar, slightly less educated people with thick accents, dubbed “Joeys” and “Josephines.”
southern hospitality
The social behavior of Louisianans can seem strange or jarring. Roy said people in the South are surprisingly open with their lives, finding it appropriate to confess private details to a fellow bus passenger. She said no one asks in India how the other’s day is going in greeting or hugs each other hello and goodbye. “People all of a sudden wanted to know how my day was and wanted to make
awkward eye contact and exchange smiles,” Crupi said of being disoriented by the friendliness of southerners. Crupi said she was unaccustomed to a pace of life leisurely enough to admit habitual, casual conversation with strangers. Reserved and cool, Crupi was startled by what she felt was a barrage of greetings in passing. Professor Doubleday said the friendliness of people here won him over to LSU, motivating him to accept the teaching job. He called the students “respectful” and admires their easygoing relationships with each other. The amount of space Americans have at their disposal affects the dichotomy of their social system. Instead of being packed tightly together like in other countries, Americans have the luxury of personal space. Roy said the lack of personal space in India removes the need to be physically affectionate to those around you. In contrast, Americans are uncomfortable even with not leaving seats between each other, so they indulge in physical affection with close friends and family.
shifts in culture The effect sprawl has on American culture only applies more severely to the typically rural southern United States, namely Louisiana. Crupi said she thinks the prevalence of festivals in Louisiana shows how much the communities need to be gathered together to socialize. These events can bring new people together with the old, forging connections within the community. Doubleday frequents music events in downtown Baton Rouge. He said he and his wife “mingled with the locals and drank Abita beer,” enjoying the atmosphere. Strange foods indigenous to the South take many by surprise. Crupi said she still can’t wrap her head around cracklins, which took her a while to identify as pork fat fried in fat. Besides alligator, Doubleday said he was taken aback by the general spiciness of Louisiana cuisine in comparison to the simplicity of the New England region. The weak public transport system in Louisiana is a frequent point of frustration for recent and long-time residents alike.
Crupi, who, at 17, had never used her driver’s license past identification purposes in New York, said, “It was hard to wrap my mind around the fact that everyone has a vehicle, and that public transportation is so underdeveloped.” Roy was struck from the first by the dependence on cars here in America. While visiting family in Houston, Texas, soon after her move to the States, she was surprised by their insistence to drive to the grocery store just across the street. “I’d cross whole highways in India,” Roy said. “Some Americans would drive to their parked cars if they could.”
adjustment Despite any shocks, transplants consider their move to Louisiana a learning experience. Crupi even changed her major from biology to wetland sciences after a semester, determined to study something specific to the region. Doubleday said a former colleague often asks, “How’s everything in Gatorland?” He usually replies, he said, with “beautiful and sunny.” l s u l e g a c ym ag .co m
33
34
LEGACY
/
SPRING 2013
HEALTH + LIVING -- ---------- --
-- -------- --- --
--
-- ------ - -- ---- --
-- - - -
- -- -- -
-- --- ------- -- --
- -- -- -
--
- -- -- -- --
- -- -- -- - -
- -- -------- ---- -- -- - -
-- - -- -- - -
- -- -- -
---
----
M O R E T H -A-N -- -- --- - -
- -- -- -- -- ---- ----- --- -
- - -- ----- -- -
- -- -- -
-- -------- --- --
Cups
- -- -- -
-- --- --- -------
-- --- -- ------ -- -
- -- -- -
-- -
-- --- --- -------
-- -------- --- --
-- --- --- -------
-- ---- ----------
--
- ------------------ - -
- - -- - -
- -- -- -- - ----- -- - --
L
- -- -- -- -- ---- ----- -- -
-- -- ----- - ---------
STORY MALENA MOREAU » PHOTOS JORDAN HEFLER » DESIGN ELLIE PLATT
» Cups designed by The Party Starts Here
(top), Laine Culotta (middle) and Virginia Otto-Hayes (bottom).
There are many nights a college student has long forgotten, whether it was last week’s night at the bar or that great house party two semesters ago, some would say the memories are priceless; however, this may not be the case with one party accessory. In recent years, members of Greek sororities like the ones of LSU’s campus, have sought a unique route to cherish their memorable nights: intricately designed tumblers known as party cups. A trend that began in the late ’80s, sorority women began hand painting cups for themselves and their dates to drink out of at parties. The cups typically picture a unique design and the names of the pair. The unique design centered on the event’s theme like Toga or favorite celebrities. The trend has now become extremely popular for Greek events — nights like formals or bus trips. Many sorority women hold on to their cups as a way to remember the night. “I love making party cups and each one gets better, sort of like a simple souvenir,” said Evann Monju, a communication studies sophomore member of Delta Gamma. Today, the souvenirs cost an average of $15 after personalization and mug purchase. While the 22 oz. tumblers themselves cost anywhere from $4.50 to $5.00, cup personalization is where the money comes in. A lot of girls paint their cups themselves using paint pens; however, for those who lack artistic talent or are just too busy, Greek paraphernalia specialty stores like Balfour House charge about $10 for personalization.
“I personally enjoy buying and decorating them for me and my date as well as other people,” said Ashley Andrews, apparel design major and sophomore Zeta Tau Alpha. Balfour House employs 11 painters. Most of the 11 painters are sorority affiliated and paint an average of about 20 cups a week, making $8 per cup. Other stores, like The Party Starts Here, also personalize cups for the same price. Balfour’s owner of three years, Angela Quint, says that springtime tends to be an especially busy time because of spring breaks and proms. Merritt Parsons, an interior design junior and Delta Zeta, explained how handcrafting cups for Balfour isn’t just a job but something she enjoys. “I get to be creative,” Parsons said, “I’m told the theme, and I’m able to do what I want.” Painting company Rim and Stem owner, Katie Farris, has made a self-sustaining career out of party cup decorating. Farris, a long-time painter for Balfour, has turned her college hobby into a fulltime booming business venture. Other stores like The Party Starts Here have also begun customizing cups for a sizable profit of about $3,300 per week. Although the business continues to expand, the real lasting value for most party cup collectors is the reminiscence. “I mean I paint my own cups before events,” Monju added, “but as cheesy as it sounds, I really feel like I’m painting my own memories of an awesome night.” l s u l e g a c ym ag .co m
35
L
HEALTH + LIVING
T IGER
BIKE: 2 MIN * WALK: 7 MIN * RUN: 2.3 MIN
TRAILS
DALRYMPLE DRIVE
INDIAN MOUNDS
FOSTER HALL
MEMORIAL L I B R A RY
PEABODY
PMAC
PMAC
MEMORIAL TOWER
HIMES
LOCKETT
PRESCOTT STUBBS
H ATCH E R
NST
UNION THEATER
LSU UNION
ATKINSON
DESIGN JOH
COATES
NICHOLSON
WOODIN
FI
DEATH VALLEY
QUAD
AUDUBON
H ELD
E OUS
DR.
LOCKE T T
HATCHER
PARADE GROUNDS
MIDDLETON LIBRARY
EXXON QUAD
ALLEN
ES HODG
THOMAS BOYD
TO W E R D R I V E
BIKE: IKE: 3.2 MIN3.2 MIN WALK: 8 MIN * WALK: 8 MIN 4.1 MIN * RUN: UN: 4.1 MIN
BIKE: 15 SEC * WALK: 2 MIN * RUN: 43 SEC
L E G A CY T I ME S T HE W A L K B E T W E E N CL A S S E S
THE PENTAGON
ENGINEERING ART QUAD
HOWE-RUSSEL
ON
MEMORIAL OAK GROVE
STUDIO ARTS
SO UT H CA MP US DR .
SCIENCE BUILDING
SCIENCE BUILDING
* Walking and running routes through quad, not pictured
36
LEGACY
/
SPRING 2013
STORY MORGAN SEARLES » DESIGN KELLY KRAL
You’re late. The alarm didn’t ring, the roomie had a meltdown or lunch ran into overtime. We’ve all been there, but just how long is that cross-campus commute? Trying to squeeze by 30,000 fellow students on the way to class, work and home can take longer than expected, but do you know how much time you spend traveling through the stately oaks? Whether you’re walking, biking or running like a champion, check out the timestamp on your daily route and avoid late arrivals and wasted time.
UNION TO U-HIGH BIKE: 2 MIN WALK: 8.22 MIN RUN: 2.56 MIN
UNION TO GREEK ROW BIKE: 4.2 MIN WALK: 13.2 MIN RUN: 5.44 MIN
UNION TO BEC BIKE: 2.35 MIN WALK: 8.45 MIN RUN: 5.52 MIN
UNION TO COMMUTER LOT BIKE: 4.08 MIN WALK: 10.3 MIN RUN: 3.35 MIN
UNION TO 459 BIKE: 5.5 MIN WALK: 2.36 MIN RUN: 2.52 MIN
UNION TO HORSESHOE UNION TO HART LOT BIKE: 2.49 MIN WALK: 9.54 MIN RUN: 3.47 MIN
BIKE: 1.05 MIN WALK: 3.15 MIN RUN: 2.26 MIN
l s u l e g a c ym ag .co m
37
L
OPINION
come out, come out, WHEREVER you are College is a time to try new things, but coming out can be difficult in a city like Baton Rouge, which ranks low in gay friendliness. *Names in this story have been withheld for privacy.
STORY SYDNEY BLANCHARD PHOTOS SARAH KERSHAW DESIGN ROLAND PARKER
College, if anything, is a chance for exploration. Away from the harsh judgement of parents, students often begin experimenting with drugs and alcohol, different religious beliefs and sex. Sexual exploration in college is nothing new. Fueled by alcohol and hormones, it seems fated that college kids will “get it on” in inventive ways. It’s no surprise, then, that many students don’t “come out of the closet” until college. Conservative parents, religious affiliations and fear of judgement along with the exposure to new ideas through “liberal academia” are all reasons typically assumed for why kids wait until college to admit their preferred sexual identity. I offer up myself as the textbook case: Growing up Catholic with fairly conservative parents, I didn’t think a sexual orientation besides “straight” would be accepted. At the beginning of my
38
LEGACY
/
SPRING 2013
freshman year at LSU, I joined Spectrum, the LGBTQ and allies (lesbian, gay, bisexual, transgender, queer) organization on campus. There I met students whose identities ranged from homoerotic asexual (someone who is nonsexual but romanticizes the same sex) to simply “queer” (an umbrella term for anyone who identifies as something other than heterosexual and cisgender). Interacting with others in the community inspired me to come out to my friends and classmates as bisexual. And, after a year of being out, I decided to drop the bomb on my family. Surprisingly, my parents were beyond supportive though uncomfortably inquisitive at times. Being away from home and participating in a group like Spectrum gave me the freedom and courage to be myself openly. But things don’t always go over so smoothly. It is not uncommon for families to react badly to their queer or questioning children. According to Upworthy.com, a social media activist site, one in two adolescents experience a negative reaction
when coming out. A staggering 86 percent of lesbian and gay youths surveyed report verbal harassment at school due to their sexual orientation. Out of 1.7 million homeless adolescents in the country, 20 to 40 percent identify as LGBT. And in my personal experience, I have known parents to flat-out disown their children because of their sexual identities. Coming out under tough circumstances can be a nightmare, as R.S., an LSU student, knows all too well. Living in a small town, R.S. feared the reaction of his family and friends to finding out he was gay. After a messy breakup with a girlfriend, R.S. decided to test the waters and come out to his closest friends. They were all supportive. But coming out to his religiously conservative parents (his mother a Jehovah’s Witness and his father a Catholic) would be no easy task. R.S. waited until he had moved to Baton Rouge for college to tell his parents. He made sure he was financially independent because he worried they would take everything from him. Unfortunately, his
worries came true. Upon finding out their son was gay, his parents took his car, his phone and his laptop, cutting him off from the support of his friends. His father even told his extended family their son had died, and when they drove from out of state in tears to find out what happened and saw R.S. on the couch, his father said they’d lost a son and he was dead to them. Days of arguing ensued. When R.S. finally returned to his apartment in Baton Rouge, he was exhausted emotionally. “The hardest part of coming out was having my parents turn away and forget me because they believed I was their biggest failure. I want my parents to be proud of me, but they can’t see past my sexuality. I’m not even their son anymore, they announced that I was dead,” R.S. said. A year later, R.S. still holds out hope that he and his family will be able to work things out. “I want them to be the adults and take a mature stance,” R.S. said, “but I don’t think that will happen.” Coming out is hard, but it’s even harder in Baton Rouge. According to a 2012 survey by the Human Rights Campaign, the city scored 2 out of 100 points in gay and transgender friendliness, ranking it the fourth least-friendly LGBT city surveyed. The survey rated cities on six categories including “non-discrimination laws, relationship recognition, the municipality’s employment practices, inclusiveness of city services, law enforcement and municipal leadership.” This largely came as no surprise to me and some of my close friends, many of whom have first-hand accounts of having met with discrimination and even violence. Let’s not forget the alleged hate crime that occurred September 23, 2011, at Reggie’s. A gay couple involved claimed they sustained injuries at the hands of a Reggie’s employee. Discrimination from Tigerland bars is nothing novel, and it further emphasizes Baton Rouge’s place as a non-friendly city for members of the LGBT community. There’s never going to be a “right time” to come out of the closet. However, the college years seem to be a time in which openmindedness and experimentation are most accepted. For many students, this holds true. For others, fear of rejection and discrimination by family and friends keeps Even though them from opening up about certain aspects of themselves. coming out LSU as a campus and Bahad terrible ton Rouge as a community have consequences in never been on the forefront of my situation, the social change. In fact, LSU didn’t shackles are off. integrate until the federal court My two lives have mandated it in 1964. It comes, become one, and then, as no surprise that the flagI’m whole. ship University and its home city are far behind the rest of the na- R.S. tion in acceptance of LGBT people. Coming out is hard, but it shouldn’t have to be. “Even though coming out had terrible consequences in my situation, the shackles are off,” R.S. said. “My two lives have become one, and I’m whole.”
Thanks
“
”
l s u l e g a c ym ag .co m
39
Gala Productions L DEPARTMENT NAME
Modern Event Design
40
LEGACY
/
SPRING 2013