By Hannah Gleason
Southern secrets and untold stories enthralled guests at the Zuckerman Museum’s Hearsay Exhibit opening reception on Saturday, July 26.
As attendees enter the museum, the Cherokee Syllabary exhibit introduces the theme of hidden histories. Adam Doskey, the rare book cataloger at KSU’s Bentley Rare Book Gallery, curates the display. Original 1830s prints of the Cherokee Phoenix and Indians’ Advocate provide insight on Cherokee culture and language. Though English colonists often erased Cherokee culture, this exhibit exposes the potential in Cherokee writing.
Previously hidden cultures continue to appear throughout the exhibit. John Q, a creative collective, unveils an installation that combines artifact recreation with 8mm. video footage. The piece, titled “Take Me With You,” serves as a glimpse into the underground LGBT scene in the 60s. Intimate personal moments caught on camera display a young man’s road trip across the United States. These video fragments allow viewers to speculate and fill in the missing pieces of the man’s story.
A towering piece on the museum’s pavilion draws guests further into the exhibit. Pasted on the outside wall, George Long’s “Flipping Translations” shows vignettes of his southern childhood. Long’s canvas consists of pages from his personal copy of the now out-of-print Collier’s Encyclopedia. Describing his work as “a stream of consciousness activity,” Long displays various scenes in his piece, from a field of corn to children dancing. Though at first the paintings may seem random, Long’s personal history reveals deeper meaning. He describes the cornstalks in the painting as a “personal narrative,” which represent memories of his grandmother’s cornfields.
Inside the museum, an animation of Long’s artwork builds on the piece’s meaning. Viewers watch various components of Long’s work come together to create a patchwork of remembrances. Fitting with Hearsay’s theme, Long explains that his piece “[captures] moments in time and [creates] generations of information, some of which is gained, some lost, and some reconfigured.”
Photography by Nikita Gale builds on Hearsay’s speculative themes. Framed displays show contrasting images; Gale includes striking black and white mug shots from Mississippi placed right next to colorful, carefree portraits. Paired with the 60s photographs, an audio installment of vocals and typewriter sounds immerses guests in Gale’s art. The work demonstrates a unified vision, showing both strife and joy to illustrate a broad history. This new whole allows guests to wonder about the extensive stories behind each figure in the photos.
Hearsay focuses on southern stories with Robert Sherer’s “Heirloom” quilt. The multi-paneled piece focuses on local gossip from Marrietta, Ga and uses silhouettes to represent various anecdotes. Sherer’s unique method of using the blood of Mariettans to dye the cotton quilt shows his dedication to keeping the piece as “highly specific to Marietta as possible.”
Sherer’s research for the piece required connecting to Marietta via gossiping with locals and exploring gravesites. One particular Marietta gravesite, that of child beauty queen JonBenét Ramsey, served as major inspiration for Sherer’s artwork. Ramsey’s case exemplifies the major themes in Sherer’s quilt; sensationalized stories and local legacies work in tandem to show gossip’s effect on a person.
“I grew up in a small southern town where I learned the power of hearsay from an early age. I regularly observed the womenfolk in my family exert their influence upon social and civic matters via the World Wide Web of their sewing circles and quilting bees. As a result of exposure to their world I have an above-average appreciation for heirloom quilts and for the power of hearsay. I personally have witnessed gossip destroy people’s employment, careers, marriages and lives!” Sherer said.
Further exploration into local legends can be found on Sherer’s website “We Know Where the Bodies are Buried” at www.hearsay2014.wordpress.com.
Hearsay allows guests to discover previously unknown narratives. These artistic accounts encouraged conjecture and reveal hearsay’s influence on everyone’s lives.
Images and Words By: Brea Boutwell
I had never been away from home for more than a week or two at a time, but in November 2013, I was going on three months without seeing family or friends.A total of 276 miles away from home, and all I had in Kennesaw was a sister who I wasn’t close with, three friends from high school and a freshly dumped heart.
I sat in my room most nights,watching “The Originals” or “Vampire Diaries” and stuffing my face with Dunkin’ Donuts. The first two months at college hadn’t been terrible; just not what I was expecting college to be like after transferring to Kennesaw State University from Augusta State University. I made a big change moving to Kennesaw, considering I had lived at home in Thomson,Georgia, (30 minutes from campus).Plus, I had made friends and enjoyed wonderful memories at Augusta State.I just had dreams too big for that small town. I didn’t want to get stuck in a small town and miss out on any opportunities.
After receiving KSU’s acceptance letter in the mail, I packed up everything I owned and moved into my dorm early in August. This was my fresh start, my new beginning, my chance to make something of myself and meet tons of new people and just have the awesome college experience that I had heard all the adults telling me about. However, two months after moving in I had made maybe two good acquaintances, lost an irreplaceable best friend and fallen into a state of utter depression, where I immediately started doubting my choice in moving to Kennesaw.
On Nov. 8, I headed over to the Chattanooga River. As I walked by the river, I contemplated my decision about moving back home, making an imaginary list of pros and cons in my head. It all sounded good, and made sense to just go back home. I mean, that was the easiest way out and the best outcome, right? As I walked around the bend of the river, I saw a little nook beside the water. I ventured down and pulled out my Bible. I didn’t have the assurance I needed to make such a decision on my own, but I knew the Man upstairs did. He always did. I opened up my Bible to Acts 1 and started reading, searching the Word, hoping it would speak to me. I got nothing. So, I stopped reading, closed me eyes and prayed. I asked for a sign, for answers, for direction, anything!
As I finished the prayer, I opened my eyes and looked up. My eyes got stuck on the sight of a little bird sitting on my Bible. It cocked its head and looked up at me intently as I slowly reached out my hand to touch him. At first, the bird pecked my finger, but then it graciously let me pet it. Calmly, without scaring the bird, I grabbed my camera hoping the bird would stay long enough for me to take a picture, capturing the moment. Thirty pictures later I knew this was not a normal bird. What wild bird has ever sat on your lap and let you pet it and take pictures? I, of course, had to post this to Instagram immediately, so I grabbed my cracked phone,and took one more photo just before the bird flew off. I knew I’d get 100 likes, at least. I posted the photo with my phone, packed up my belongings and headed back to the car.
When I got back, I looked through the notifications under the photo of the bird. There was a comment that read, “Trust is amazing.” I set my phone down and thought to myself, “Wow, that was really deep.” Then, I had an epiphany about the whole situation. I missed the whole point of the bird, focusing on how many likes I could get on a picture that I didn’t realize the important message about trust. Here I was sitting with a bird in my lap, petting and clicking my camera at it, and the whole time, it stayed and never flew away. It trusted me, a human! Had I not decided to get out of my room and get over my doubt long enough to take a walk, I would have never experienced such an intriguing moment. We all face obstacles in our lives that keep us from reaching for our dreams, especially as freshmen in college.
Not everyone will face obstacles of homesickness or depression, but something small could be your biggest obstacle. It’s not the end of the world. What you think might be a mistake could turn out to be the best thing to ever happen to you. Yes, I got this all from a bird landing on my lap, and no the bird didn’t speak this to me, but my choices did. I described my phone as being cracked, which means it’s a little hard to read at times. I read the Instagram comment as “Trust is Amazing,” but it didn’t really say that. I read it wrong. The comment said, “That is Amazing.”
Please read the July 2014 issue, which is available in print on campus at Kennesaw State University.
ABOUT KENNESAW STATE UNIVERSITY STUDENT MEDIA (KSUSM)
Kennesaw State University, KSUSM oversees the student organizations that are Talon Student Feature Magazine, the student newspaper, The Sentinel, Share Art & Literary Magazine, and OWL Radio, KSU’s streaming station, as well as their online counterparts. KSUSM also manages the Student Handbook & Planner, The OC Street Team, and all other revenue raising functions such as advertising and underwriting. KSUSM is part of the Department of Student Life and our media organizations are part of KSU’s 200 student groups and clubs. Talon Magazine is on the second floor of the James V. Carmichael Student Center, Room 277, along with other KSUSM publications. Inside Student Media, Talon is in Room 279.
ABOUT TALON MAGAZINE
Talon, KSU’s Student Feature Magazine, publishes 3-4 times per year and includes student, staff, faculty profiles, reviews, in-depth features and student photos in a slick, full-color magazine format. In fall 2014, we will publish 2,000 copies in August and in November. Issues for 2015 will be published in January and April, before a new editor in chief is elected for the 2015-16 academic year. Talon Magazine is part of Kennesaw State Student Media (KSUSM).
KSUSM MISSION STATEMENT
KSU Student Media is dedicated to the support and encouragement of responsible, ethical media to connect, explore and enrich the lives of the university’s many constituencies. It provides an open forum to the campus community for the free expression and exchange of ideas, concerns, issues, trends, and information, and outlets for the KSU community. KSU Student Media provides opportunities for interested students to learn and practice skills in art, journalism, design, production, photography, editing, business, advertising, web authoring, broadcasting, new media and management in a “true to life” setting. It encourages the values of integrity, tenacity, creativity and honesty in the pursuit of excellence.
Talon Student Feature Magazine
Kennesaw State University
MD 0501, BLDG 5 RM 277
1000 Chastain Road
Kennesaw, GA 30144-5591
TALON EDITOR IN CHIEF: Ellen Eldridge
KSUSM PROFESSIONAL STAFF
Associate Director of Student Life for Student Media (Student Media Adviser):
Responsible for all Kennesaw State Student Media (KSUSM) organizations. This position manages or advises the business, editorial, legal, advertising, and production facets of KSUSM. Provide leadership training to the student employees and volunteers associated with Student Media by using educational techniques to promote responsible and ethical professionalism. Champion the role of Student Media services to the University and its diversified populations. Professional member in College Media Association (CMA) and adheres to CMA’s Code of Ethical Behavior. Reports directly to the Director of Student Life. Supervises one full-time professional (KSUSM Marketing Manager).
Student Media Marketing Manager:
Provides management of the marketing, advertising, underwriting and promotional activities of KSU’s student media organizations: The Sentinel newspaper, Talon Feature Magazine, Share Literary Magazine, and OWL Radio. Major responsibilities include advertising/underwriting, distribution, and market research, and developing, establishing, and maintaining marketing strategies to meet organizational objectives. Specific duties include: overseeing the distribution of all print publications; managing and coordinating all marketing, advertising and promotional staff and activities; conducting market research (readership, listenership, distribution and purchasing) to determine market and other strategies; managing advertising, sales, and underwriting budgets; and assist with the general oversight and management of KSU’s four media outlets. The Student Media Marketing Manager directly supervises the Marketing Team, a group of student assistants who work in the office management, advertising, web, design and distribution areas. Like the Associate Director, this position is a professional member of the College Media Association and is a KSUSM adviser. This position reports directly to the Associate Director of Student Life for Student Media.
Talon timeline: a rough history of the Kennesaw State University student feature magazine from its beginnings as a yearbook to its present
Kennesaw State University | Fall 2013
This paper is part of a project created for the student media office and student media adviser Ed Bonza as an attempt to collect and organize a complete, accurate history of Talon Magazine. Personal interviews add detail to the timeline of names and dates from the archival material. This paper provides the groundwork for future student interns to collect, organize and report the history as it continues to unfold. The current Talon Magazine is published twice per academic semester, with a student staff led by the editor in chief elected by the Student Media Board. The collected video interviews done for this project are available online at: http://www.youtube.com/channel/UCRQaMk3WpImIFu7wzFWEyPg/videos
Keywords: Kennesaw State University, student media, Montage yearbook, Talisman, Talon
Additional video interviews and other information specific to Talon’s history as part of the KSU Student Media History Project, can be viewed on this site’s archives: http://www.ksutalon.com/the-ksusm-history-project-talon-magazine/
Talon timeline: a rough history of the Kennesaw State University student feature magazine from its beginnings as a yearbook to its present
Since the transition from Montage, a student yearbook, to a feature magazine, Talisman and now Talon, Ed Bonza has been at the helm, steering the ship of student media through the 1990s, 2000s and presently. Bonza’s dedication to student media is well documented from former editors in chief and readers should know that it was he who started the project to collect the history of student media publications. Without a doubt, the record should show that without Ed Bonza, there may well not be a history to document—at least as far as the feature magazine is concerned.
A brief timeline of major contributors and advisors of the Montage follows, though collecting this information in a more detailed manor will be the task of future interns. Through an interview with Dr. Fred Roach, a solid foundation for the origins of student media appears, as he was the individual faculty member who helped get the money for student media to get started. “I will get the money for you from the administration, but I’m not going to write one word, and I’m not going to lay out one page. It worked well for both of us,” Roach said as he explained his interest at the time (the late 1960s and early 1970s) was on his research and getting published.
Dr. Fred Roach describes the origins of student media including the trouble that involvement with student media caused to students’ academics. Roach describes students involved with student media having to “walk a fine line” to get everything done for student media and their academics.
As far as the technology, Roach describes working without computers and without computer software; the Montage yearbook was created by hand. Roach said Jerry Roberson advised before Roach did, but Roach advised the Montage after helping secure funding from the school for student media.
The rest of the interview with Dr. Roach focuses on the construction and how rapidly the campus of KSU grew. According to Roach, the expansion and rapid growth, the additions of the dorms and the community pride in KSU led student media as well as other programs to success. “We couldn’t fail,” he said.
The Montage Yearbook
The student yearbook, “Montage,” published its first issue in 1968, and a copy exists in Ed Bonza’s office. What follows here is a timeline of names and dates to be followed up on more by future interns.
1970: Montage yearbook
This 1970 book includes inspirational quotes by Tolstoy, Goethe, and includes some student art and writing. Note that the student art and literary magazine, Share, did not exist at this time so the inclusion of art and literary quotes as well as poems in the yearbook show that Kennesaw State University students as far back as Kennesaw Junior College cared about the arts and diversity.
An editorial called “What Price Friendship” is printed in the 1970 yearbook without attribution and no masthead exists. The fact that student media has consistently been a student led part of academic life makes the typos feel more welcome. No teacher or adviser stood over students forcing corrections or even perfect grammar. The Sentinel staff picture has typo (Sentinal). Dr. Roach said that student media was at this time a “very infantile operation.”
Faculty listed in 1970
President of KJC – Dr. Horace Sturgis
Dean of KJC – Derrell C. Roberts
Coordinator of student activities – Richard E. Hanners
Dean of student affairs – Carol Martin
Montage Staff listed on page 162
Leslie Gaddis, Editor
Howard Morrow, Business Manager
Cheryl Morgan, Asst. Editor
Ron Ebright and Rodney May, photographers
1971: Montage Yearbook
Dr. Sturgis – President of KC
New Dean listed as Dr. Robert H. Akerman
Dean of Student Affairs: Dr. Thomas R. Ahearn
Coordinator of Student Activities: Richard E. Hammers
The 1971 Montage Yearbook contains splashes of inspirational quotes including Shakespeare, who is quoted alongside art and poetry: “Love’s Disguise” by Robert Graves. Pages 27 and 28 show the spirit zeitgeist with text “Stop. Turn and look where you have been…and where you are going.”
Theater students performed the play “A Streetcar Named Desire” and the 1970-71 Women’s Intramurals includes teams with names including Aardvarks and Cardinals, while Men’s Intramural team names for 1970-71 include Gorillas, Apes, Gamecocks, Cheetahs and Roadrunners.
The Sentinel staff photo was taken in the mirror at a convenience store!
Montage staff listed on page 110
Faculty Leader: Mr. Fred Roach (full interview conducted and added to Youtube in two parts)
Cheryl Morgan, Editor
Teresa Keith, Club Editor
Linda Spears, asst club editor
Cheryl Greenway, Class Editor
Charlene Hardy, Activity Editor
Sheila Marlow, Sports Editor
Jackie Weaver, Faculty Editor
Tom Williams (asst. photographer)
1972: Montage Yearbook
One of the most interesting aspects of this yearbook is the all-lowercase letters, even in the college president’s title. Poet e.e. Cummings, who is well known for using incorrect grammar and lowercase letters in his poetry, published the first edition hardcover book, The Collected Poems 1913-1962, in 1972. A definite theme of a “means to an end” perspective of college exists in the introductory text to the yearbook. More signs of the times include images of bands playing on campus and in front of library. Senator Gambrell spoke at Kennesaw Junior College in 1972 and additional student organizations including KJC chorus is listed.
The inclusion of eight students in each picture for “First year Nurses” and “Second year nurses” gives away just how small the student body is in 1972. On page 204, production notes list Ron Ebright as a photographer and 1400 copies of the yearbook were printed in 1972.
1972 Faculty as typed in Montage yearbook:
President of college: dr. Horace w. Sturgis
Dean: dr. Robert h. akerman
Dean of student affairs: dr. carol l. martin
1973: Montage Yearbook
President – Dr. Strurgis
Dean – Dr. Akerman
Dean of student affairs – Carol Martin
The opening statement of the 1973 Montage defines the word montage as “the art of blending separate, distinct pictures into a composite whole” and The Montage as “a composite whole pieced from the lives of students who, for a time, form the nature of Kennesaw Junior College.”
This 1973 book indicates a change in attitude about the purpose of college and seems to focus more on learning and the importance of education as an experience rather than merely a means to an end. This should be attributed to the individuals running the yearbook more than to the student body as a whole, but the interest for historical purposes remains. Page 84 quotes Kahlil Gibran, “Brief were my days among you…” and page 76 shows a toddler girl, which should seem unusual for a college yearbook, but betrays the nontraditional atmosphere of Kennesaw Junior College as well as the point in history.
Montage staff listed on page 142
Cynthia Rigsby, co-editor
Bill Wheeler, co-editor
Jeannie Trippe, associate editor
Jeannie Trippe, editor
Chuck Nixon, photographer
Advisor (not spelled with an –e) Bobby Olive
***Share staff listed for the first time
Jim Tingle – editor
1974 Montage Yearbook
Dr. Sturgis, President
Dean – Dr. Eugene R. Huck
Asst. Dean David M. Jones
Dean of student affairs – Carol L. Martin
Montage staff listed page 152 (before Share and Writers Club)
Editor – Cindy Johnson
Asst Editor – Mark Cesario
Advisor (faculty I think) – Bobby Olive
Photographer – David Wolfe
Art Editor – Barbara Byrd
Faculty Editor – Melonie Wall
Page 2 – full size pic perfect as example of 1970s
Pic of Dr. Roach page 85
STAFF listed page 188:
Judy Shurling, Editor
Wayne Hardman, Photo Editor
Faculty Advisor: Dr. John C. Greider
FOUR-YEAR celebration with HISTORY page139
Starts as summer 1975 – page 11
Staff listed page 35:
Fall 1975 – page 37
“The James V. Carmichael Student Center was dedicated Oct. 2, 1975, named for the late Cobb County native who served on the Board of Regents of the University System of Georgia. Carmichael was instrumental in gaining approval for the construction of the new student center at Kennesaw. The decision was made in 1971, which launched the planning and development of the J.V.C. building” (p. 45).
The 1976 yearbook includes a written history from 1966-1976 on page 180, with pretty much same info from 1975 but also acknowledges the bicentennial celebration of the United States (1776-1976).
Staff listed last page:
Susan Todd, editor
Cheryl McKeon, assistant editor
Doug King, photo editor
Paper – Hunter Naturale; Type Style – Palatin0, 2-point lead; trim size 9”x12”; ink color brown/black; Headline style Helvetica Bold Outline; Hunter Publishing Company
“Charles Kirbo quietly spoke to us about Jimmy Carter, and a Student Union was proposed and voted into existence, with Margie Fryman as the first Chairperson – and all of us as members” (p. 31).
Susan Todd, editor
Mary Walsh, asst editor
Bill Clay, Photography editor
Chris Brothers, student editor
Kathleen Moak – faculty editor
Sherry Scyphers, clubs editor
Mary Alice Baron, editorial asst
Debbie Bond, editorial asst
C.W. Kettering, photographer
Buddy Newton, photographer
Morgan Stapleton, faculty advisor
Montage specs of note:
2000 copies printed
1979 – Montage
In 1979 upper level courses are added and Juniors can finish a four-year degree at Kennesaw College.
Karen Moore – faculty advisor
Angie Brown, editor
Rodney Grant, asst. editor
Dan Treadwell, Brian Eubanks, Brent Keith, Billy Canada, Rusty Moore
*****Montage through the 1980s has yet to be added to this timeline. This paper will now jump to the change from printing a yearbook to printing a student feature magazine.
Talisman Quarterly: The first student feature magazine
Student Media Adviser Ed Bonza came to Kennesaw State University in 1991 and just five years later he helped launch and name the student feature magazine called Talisman Quarterly, according to R. Todd Fleeman who acted as its first editor in chief. Kennesaw State earned its University status in 1996, which was the year Fleeman and the Talisman staff published the first issues of Talisman. The only campus copy of the first Talisman issue exists in Bonza’s office.
During an interview with Fleeman, he admitted that he wanted to major in photography, but as it wasn’t available as a major he chose graphic design instead. Initially, Fleeman worked for The Sentinel developing prints for the newspaper.
After taking a course called “Computer Art,” which included graphic design software introductions for Adobe PhotoShop and Illustrator CS3, Fleeman wanted to “work for a magazine,” he said. “It was Ed’s [Bonza] idea to turn the yearbook into a magazine,” Fleeman said. Fleeman further describes running for the editor in chief position on the Student Media Board against a student who didn’t like the liberal newspaper and wanted a more conservative feature magazine. “I saw how diversity on campus was reflected in the county and the state,” Fleeman said. He attributes his election as editor in chief to his commitment to diversity on campus and his first cover for Talisman shows a mix of diverse students. “At the time (1996), the Million Man March was going on and funding was pulled from the arts at Cobb County because of the mention of ‘gay,’” Fleeman said. The goal for Talisman in Fleeman’s mind was to tie the articles to the campus. Taking that reflection of diversity and publishing articles relating to campus provided the framework for articles in Talisman. Though Bonza resisted new technology according to Fleeman, “he always promoted us to think forward, even though he wasn’t.” “I tend to be an idea guy; right now I write apps, and I was able to be on the cusp of graphic design, which led to web design then on to web development and now app and mobile device development,” Fleeman said. “I can keep up with technology because I am always looking for that next step; I love creating.”
The Talisman Quarterly magazine came out of necessity. According to Fleeman, the idea of a yearbook for a commuter college was “kind of funny.” Bonza recognized the need for change at the same time Fleeman discovered his passion for designing and creating so Talisman Quarterly was born despite Fleeman’s admission that he “didn’t know if I had a vision for the magazine going into the future.” Fleeman passed the editor in chief position on Talisman Quarterly, pending Student Media Board vote, to his managing editor, Daniel Dreiske, a communication major at the time.
“Because KSU was a nontraditional school at the time, meaning no dorms and mostly commuting students, a yearbook didn’t make sense” Dreiske said. “Students tend to come and go more back then. It was Todd’s [Fleeman] idea to make a quarterly magazine as a result.”
Dreiske, as Fleeman before him, wanted to work in publishing or on a magazine. In addition to concentrating his communication degree on journalism, Dreiske worked on The Sentinel newspaper staff. He confirms that Fleeman started as a photographer and continues to contribute to the newspaper industry doing web design for COX newspapers. “He worked for me before I left Atlanta and moved to Utah,” Dreiske said.
Putting the Talisman Quarterly issues together and coming up with ideas for features came as a result of the staff. “Todd, myself, Heather Fritz, Lynn Stevenson, Stephanie Thompson and Elizabeth Delaughter brainstormed over beers. Elizabeth was the features editor for the Sentinel at the time and we ran many ideas past her, and she contributed a great deal to editorial direction,” Dreiske said. The biggest struggles for the staff included actually producing a quarterly magazine. The students continued to use Adobe Photoshop, Illustrator and Quark Express according to Dreiske. “We nicknamed it TQ, as a GQ reference,” he said. “As we embarked into new territory with new technology, it slowed the production process. We learned a lot as we went.”
Though Dreiske only produced one issue of Talisman Quarterly as editor in chief and Fleeman produced two, Dreiske does boast that he got President Betty Siegel to “don an astronaut uniform” for an article.
Talisman Quarterly Volume 2, No. 2 spring 1998
Editor In Chief Bethany Schultz
Managing Editor Wallace Edson
Copy Editor Marcellus Lewis
(writers and photographers listed)
Talisman Quarterly Volume 3 No. 1 (March 1998)
Todd Fleeman, Daniel Dreiske, Heather Fritz, Sharon Schindler, Carolyn Lawrence, Stefani Thompson, Melissa Humphrey, Tara Bates, Elizabeth Delaughter, Ron Cloud, Nicole Bates, Lisha Wood, Amanda Ben-Harush
Talisman Volume 4 No. 1 Fall 1998
EIC Megan McKoy
Assistant Editor: “open”
Production asst., production manager also listed as open
Photography editor: Kathryn Hill
Layout and Design: Megan McKoy
Talisman Volume 4 number 3 Spring 1999
EIC Megan McKoy
Asst Editor: Adam Miller
Online Editor – OPEN
Photography Editor – Joe Ovbey
Senior Page designers: Megan McKoy, Jaime Dempsey
Prod assistants: Melissa Sandbothe, Adam Miller, Jonathan Walker, Jeremy Stainthorp, Eric Field, Ashley Daniell,
More writers and photographers listed
Faculty Advisors: Ed Bonza and Ray Burgos
Talisman Volume 5 No. 1 Fall 1999
EIC Martha Bargerton
Asst Editor: Alisa Bennett-Hart
Senior Page designers: Martha Bargeron, Christian Rivera
Page designers: Daniel VanHiel, Sarah Breede
Production assts: Jeremy Stainthorp, Beth Phillips
Photographers: Ryan Barrett, Chris Norman,
Writers: Beth Binford, Eric Field, Darrell Greene, Ginger Hutchins, Kristy Kennedy, Glenda Maier, Jennifer Mathis, Michelle Nocera, Beth Phillips, Tricia Sanders, Brian Stillings
Faculty Advisor: Ed Bonza
Talisman Volume 4 No. 2 Winter 1999
***Talisman online announced
EIC Megan McKoy
Asst Editor Kelly O’Connell
Online Editor Doug Goodwin
Photography Editor Joe Ovbey
Senior Page Designers: Doug Goodwin, Matt McMillan, Megan McKoy
Production assts: Heather Keith, Jonathan Waller
(more writers and photographers listed)
Faculty Advisor: Ray Burgos
Talisman Vol. 6 No. 1 Winter/Spring 2000-2001
EIC Alisa Bennett-Hart
Asst Editor: Deanna Fambro
Editorial Asst: Jessica Parlapiano
Photo Editor/Manager of photography: Ryan Barrett
Master Page Designer: Sean O’Hare
Web Master: Tobias Quosigk
Photographers/Production assts: Daved Brosche, Stephen deSouza, Gina Harmon,
Page Designers/Production assts: Lonnie Clackum, Eric Allan Colson, Carisa King
Writers: Eric Field, Nadia (Aidan) Goodvin, Vivian Obagaiye, Tami Summerville
Magazine Layout: Alisa Bennett-Hart
Faculty Advisor: Ed Bonza
According to Noelle Davis (who was Noelle Gregg at the time she attended KSU as a graduate student in the Master of Professional Writing program), “Someone came in, got SABAC to agree to name change to Sphere and printed t-shirts, but never produced a magazine.” The student feature magazine disappeared for the period of time between 2000 and 2002, when Davis resurrected the magazine, naming it Talon.
The first published issue of Talon Magazine appears in summer 2002 with a disclaimer about the name change to Sphere. At the time of summer publication only a petition had been submitted to call the magazine Talon. The disclaimer states that SABAC approved name change to Sphere in Fall 2001, but no magazine was published and editors made name change during summer with a note to petition SABAC in fall. Cover image used with permission from Sentinel photographer Daniel Varnado, who won first place for best news photo from Georgia College Press Association of students praying at Legacy Gazebo on afternoon of Sept. 11, 2001.
Davis said she wanted a feature magazine, not a “hard-hitting” magazine. “No Pulitzers were coming out of this magazine,” she said. “I wasn’t trying to kiss any ass, but I wasn’t really trying to upset anyone either,” she said. The full interview in two parts exists on the YouTube channel.
Talon Fall 2002
EIC Noelle Gregg
Managing Editor Erin L. Ryan
Student Organizations Editor Kort Peterson
Assistant Editor Teresa Valentine
Faculty Advisor Ed Bonza
Talon Spring 2003
EIC Noelle Gregg
Managing Editor Erin L. Ryan
Assistant Editor Teresa Valentine
Student Organizations Editor Kort Peterson
Photo Editor John Legg
Advisor: Ed Bonza
Kiki M. Amanatidis became editor in chief of Talon Magazine, publishing her first issue in 2003, with Noelle Davis (formerly Gregg) listed as copy editor. She was the only student who ran for the editor in chief position in front of the Student Media Board, and felt that helped her cause, but “I also think that I probably could have used a little bit more time to grow before running. “I was only 17 when I started writing for both The Sentinel and Talon, and I was given this amazing opportunity at 19, and I think if I had been a little older, I could’ve done so, much more,” she said.
“Ed Bonza was my hero,” Amanatidis said. “He was always there to help and support me and my staff.” Bonza’s continued attention to leading and guiding students as they make their decisions for student media helped Amanatidis grow as well. “He was extremely knowledgeable, and was the perfect person to guide me along the way,” Amanatidis said. She admits that finding and creating a consistent staff was difficult, but Bonza reassured her that “things would be okay,” she said. “He looked at the situation with me, and helped me come up with a game plan. I always felt like I had the ultimate support system.”
Amanatidis felt she was a KSU student at a pivotal time, and that the university was becoming increasingly popular. “The student center, especially the student activities side, was ALWAYS busy” she said.
While she was editor in chief, Talon feature articles came from the community in part. “I think that the community did play a small role in determining content. There were always at least 1-2 pieces that involved our campus community. I loved finding students who h ad cool stories to tell, like our one student who jumped on a plane and flew to Tokyo for 24 hours, “ Amanatidis said.
The struggles for Amanatidis and Talon in the mid-2000s revolved around raising awareness and getting people to know about the magazine. “I feel like with Talon, it was hard to get the word out,” she said. “When a new issue would come out, we would advertise in The Sentinel. This was before social media was huge, so looking back now, I wish I would’ve done more in this department.”
Talon Summer/Fall 2003
EIC Kiki M. Amanatidis
Copy Editor Noelle Gregg
Writers: Dana Bruner, Eric Croas, Leslie Thompson
Advisor: Ed Bonza
Talon Spring/Summer 2004
EIC Kiki M. Amanatidis
Asst Editor Betty Kate Bryant
Copy Editors: Noelle Gregg, Ashlie Adler and Meredith Pruden
RSO Editor Brent Ashworth
Staff: Eric Croas, Nick Kelland, Leslie Thompson, Melissa Spielholz, Alica Bumpus, Penelope Kim, Kathleen Steele-Larsen, Sara Coleman, Amy Demasse, Emily Daniels
Talon Fall/Spring 2005
EIC Kiki M. Amanatidis
Asst. Editor Heidi Paruta (interview with her below)
Senior Copy Editor Meredith Pruden
Copy Editor Ashlie Adler
Webmaster Alex Danaila
Candice Collins, Alexis Dawkins, Andrew Eugenes, Jennifer Garrett, Ryan Garner, Nathan McCreary, Matt Nicholson, Nicholas Kelland, Adam Stephens
Talon Fall 2005
EIC Heidi Paruta
Talon Spring 2006
EIC Heidi Paruta
Managing Editor Jessiaca Castillo
Public Relations Allison Mallory
Layout: Tiffanni Spann and Brianne Norris
Staff: Courtney Henderson, Sydney Vinson, Katrina Wood, Jessica Forkel, Alison Steinmetz, Jaime de Costa, Lauren Moon, Jamie Witter, Joe Pettis, Erica Hamilton, Jeremiah Byars
Talon Winter 2006 (happy 40th to The Sentinel)
***This is where Spaceship Earth comes to campus
EIC Heidi Paruta
Jaime da Costa
Talon Spring 2007
EIC Heidi Paruta
Asst Editor Jessica Castillo
Interview with Heidi Paruta
Heidi Paruta started with Talon as an assistant editor in 2005 when Kiki M. Amanatidis was the editor in chief. It was about 2005-2007, I guess and it was before a ton of the construction on new buildings was done,” Paruta said. “The new student center did not exist.”
Contributing to what Amanatidis said in her interview, Paruta adds that though the atmosphere felt busy it also felt hurried like students were spending less time on campus. “The atmosphere felt busy but hurried, to me,” she said.
According to Paruta, feature content came from staff interests and current events, including a memorable article about two students displaced by Hurricane Katrina in 2005.
Paruta became the editor in chief because she had a passion for the magazine, she said. “I originally started as a Sentinel writer and photographer,” she said. “I realized I did things more artsy and visual rather than newsy.” When Paruta started working with Amanitidis, “it felt like a much more creative environment for me,” she said. “Ed [Bonza] was a big contribution to my success, as well.” Of adviser Ed Bonza, Paruta further said, “He always made time for us. We still keep in touch and he is the most encouraging, kind, creative person.” According to Paruta, she couldn’t have asked for a better adviser.
Her time on student media as editor in chief for Talon taught her that taking the time to see people in person makes it easier to hold tem accountable for things like timely responses and adhering to deadlines. “It’s awesome to be able to handle business through technology, but don’t take for granted the power of looking someone in the eye,” she said.
Taking over Talon was no small task for Paruta, but she said she had a lot of freedom and creativity handed to her from Amanatidis. “I think at the time we worked together, I didn’t realize I would run for editor in chief,” Paruta said. She didn’t realize Amanatidis was leaving. “I don’t think I realized at the time that she was leaving. Maybe she didn’t either – She ended up moving to Arizona, but I can’t remember if she graduated before her move,” Paruta said.
As editor in chief Paruta said she welcomed suggestions from the writers and wanted to encourage passion and creativity. The workload and a lack of contributors made production difficult according to Paruta. “Kiki, the previous editor in chief, didn’t have a lot of contributors to Talon,” Paruta said. She often wrote the stories, took the photos, designed the magazine, etc. So, when I became EIC, I essentially started from the beginning, in the same fashion.” Paruta admitted that I took her a while to get off the mindset of having to do something herself if she wanted it done right. “I was better at doing things myself than telling others how to do it, or how I wanted it, she said.” “However, once I started building up the staff, I realized was very happy to get to the position of compiling other peoples’ work and creating the magazine, without having to provide the content.”
On the suggestion of adviser Bonza, Paruta and the Talon staff decided to redesign the magazine to make it look more uniform and add life to it.
“We held a contest among students in one of the design classes,” Paruta said. “They presented their designs – there were three of them – and Ed and I chose the one we liked the best. From then on, we had templates for pages, and for a while, I did all the construction of the magazine. “
Another important lesson learned from her time on Talon was time-management. As an off-campus student who worked a couple jobs and took many classes, Paruta said she couldn’t have as many meetings as she wanted. “However, I often spent all my in-between time in the office so writers and contributors could stop by, work alongside me, ask questions, etc.,” she said.
“I think my purpose with Talon, looking back, was to give it a new foundation,” Paruta said. “We perhaps didn’t do anything ground-breaking, but we had great articles, photos, themes, and, in my opinion, overall a good looking cover design (which was one of my favorite parts – setting front and back cover photos). I’m proud to have helped give Talon a new identity and provide future staff a sort of diving board to take it further, faster.”
Talon Spring 2008
EIC Jennifer Kreitzer
Production Editor Maria Yanovsky
Managing Editor Jaime Da Costa
Campus Life editor Beth Sheppard
Entertainment Editor Matt Logan
Technology Editor Jaime Witter
Photography Editor Maria Yanovsky
Copy Editors Callie Aubrey and Elizabeth Powell
Advisor Ed Bonza
Elizabeth Johnson wrote her first article for Talon in January 2009, before she and Editor in Chief Maria Yanovsky (now Stephens) graduated together in July 2010. While editor in chief of Talon, Yanoysky changed the magazine name to TM! Quarterly and made it a smaller size. Rachel Goff then took over as editor in chief and she is still in the local Georgia area.
Johnson describes the dorm construction and how KSU was becoming less of a commuter school at the time she was a student as “a more university feel; I think that was the idea, to get people more involved,” she said during an interview at CNN Atlanta where she now works. The complete interview with Elizabeth Johnson is posted at http://www.youtube.com/watch?v=8ss34mWThy0.
Recent History of Talon
Meghan de St. Aubin became the editor in chief of Talon after Rachel Goff . The size and name reverted to full size during the time Goff acted as editor in chief and this project should consult Goff for an in-depth interview.
The 2013 and current staff lineup of Talon Magazine includes Rachel Burel, who became editor in chief after de St. Aubin graduated, Steven Welch, creative director, Ashley Frew, managing editor, Ellen Eldridge, photography editor and Kayla Rowe, copy editor.
~ This paper is part of the KSUSM History Project and will be added to, edited, and expanded on over the years.
These videos accompany the written portion of the history of Talon, available here: http://www.ksutalon.com/history/
The KSUSM History Project
Talon Feature Magazine
Noelle Davis (formerly Gregg) talks about naming and reviving the Kennesaw State University feature magazine, naming it Talon. She was Editor in Chief of Talon in 2002 while she was a student in the Master of Professional Writing graduate program. Produced by Ellen Eldridge (Published on Nov 26, 2013)
A student gives her insight into owning pets, and how her experience can help you decide whether to go down that road or not.
By: Ashley Jennings-Frew
So, you’re thinking about getting a new pup and you’re in college…
I know this sounds like a great idea, but it is not. Trust me, I’ve
been there. While some people can make it work, I’ve seen very
few who can do it without the dog suffering some consequences.
Also, there are some awesome low maintenance pets that can be
great alternatives. This is simply my opinion and my experience. You can
take it or leave it.
It all started when I arrived at college. I was out on my own, enjoying the
freedom, and dying for my own little furry bundle of responsibility. However,
I started out living in a dorm. I tried the whole keeping pets under the bed
thing. First, I got a rabbit. Well, that made the whole place smell like a poorly
maintained barn. My roommates were less than thrilled, and I wasn’t too
happy about it either. Next, I got the boring Betta fish, but that just wasn’t
cutting it so I went and got a hamster. I can happily say that the hamster
stuck around for the next three years until she bit the dust. May you rest in
Between those years, I moved into an apartment and only waited about
a week before finding my cute little dog. I can at least say that I was and am a
firm believer in rescuing animals from shelters. Once the puppy-face charm
wore off, there was the chewing everything, peeing everywhere and annoying
yapping that had to be corrected. Of course, those didn’t come without a few
nervous breakdowns either. However, I stuck through it until he became the
best little dog I could ever ask for and it was fine, for a while.
As time went on, there were the nights I couldn’t stay out because, “I
have to get home to the dog” or “the dog has been up all day so I can’t come
out tonight” or, “I can’t go away for the weekend because no one could watch
the dog.” There was a certain point where I had just had enough of giving up
my fun college times because of a dog and I felt bad that he wasn’t getting
the time he deserved. Sometimes I look at giving him up as the most selfish
thing I’ve ever done, but then I realize, it was the most selfless thing I’ve ever
done. If you knew me and Barkley, you would know how much the dog was
like a child to me.
Now, I don’t expect everyone to understand my situation so I’ll just tell
you about my wonderful, low-commitment animals as alternative pets during
college. I’ve managed to create a little zoo in the process of finding these fun
and interesting little creatures. I now have six turtles, two hamsters, two tree
frogs, four fire belly toads and a few other amphibians and fish. While this
seems like a lot of commitment, all of these animals are so easy to maintain
and you could even go away for the weekend without having to worry about
them or having to board them. All of the above are fun options for pets that
don’t smell to the high heavens. Also, setting up their habitats can turn into
its own little adventure.
So, next time you’re thinking about getting a dog, think about the dog
before thinking of yourself. I wish I had listened to everyone who warned me.
Plus, you never know what fun low maintenance pet you could find and enjoy!
By: Daniel Lumpkin
Photos By: Travis Clark
Standup, like most anything else, has good nights and bad nights. Maybe the comedian is a little jetlagged from his flight or had some bad sushi or any other common, everyday issue that would throw off a performer. These things happen. Everybody has bad nights in comedy. But then (ominous “dun-dun-dun”) there are the nights comedians have nightmares about, nights where an entire audience becomes a gang of indifference and ridicule.
What happens to comedians when they are onstage and realize that the audience has no interest in laughing at the jokes?
The late Friday evening show at the Laughing Skull Lounge, usually an amazing place for comedy, was headlined by veteran comic Andy Kindler (Everybody Loves Raymond, and regular guest on Late Show with David Letterman) and should have been great. Unfortunately for Kindler and the opening acts, the audience that night was led by a group of women celebrating (aka: throwing back shots like they didn’t know what a hangover was) a birthday. For some reason they thought that talking to each other during sets, taking pictures of each other on their cell phones, and even taking off their shoes and resting their feet on stage was appropriate.
One of the openers did his best to ignore it but he did not survive very long. The next comedian tried confronting the women but that methodfailed as well, and he did not even finish his set. How do you embarrass someone that lacks dignity or inhibition? The last opener, Atlanta comic Mike Kaiser, did his best to win the audience back but the packed club remained chatty and disinterested.
Finally Andy Kindler came onstage. It would have been easy for the former Last Comic Standing judge to use the failures of the first three comics as fodder for cheap laughs. Just throw the other guys under the bus, so to speak. This tactic is quite popular and sadly reliable in the comedy world. Instead, Kindler began the show criticizing the audience for being rude. Usually this is not a great way to start a comedy show, slamming the audience for being horrible at the simple task of sitting quietly and paying attention. Right away, the audience viciously turned on Kindler like they had done to the other comedians that night. Why would the successful, experienced comic choose to side himself against the crowd right at the beginning of a 45 minute set?
“If the audience is not listening or they are tuning out or they are not getting involved with what you are saying,” Kindler said. “It’s not a show.”
“I think a lot of people go to comedy shows because they don’t want to think. It’s not a matter of thinking. Audiences must be engaged in the show. Acts like Larry the Cableguy or Dane Cook are simpler to get and don’t require much effort on the audience. Their popularity is based more on a one-dimensional lowest-common-denominator.”
The lowest-common-denominator is a theme Kindler refers to when he is discussing comedy. For the past twenty years at Montreal’s Just For Laughs Comedy Festival (the biggest comedy festival in North America) Kindler delivers his famous “State of the Industry Address” where he mocks members of the industry that are ruining comedy.
“To take it further, the people that I make fun of, except Dane Cook, I go after people who I feel could be doing better work. Somebody who is not capable of being funny, it’s not fun to go after that person because they are really operating at the top of their game. Like Adam Sandler, I loved him when he was on Saturday Night Live so when he started making these wacky movies, I didn’t understand it. [Lazy comedy] is something that should be talked about more.”
It is easy to see that Kindler has a true passion and respect for his craft. He implores people to truly question why a comic or a joke is funny. Kindler wants people to find the deeper value in comedy, one that goes beyond generating laughter. “Standup comedy really is this relationship between you and the audience. I would hope people wouldn’t take me on a one-dimensional level and I think what I do doesn’t attract people who are going to want that. It’s what audiences like about Larry the Cableguy or Dane Cook. They are these predictable things.” Kindler went on to explain why popular comedians take this route after some type of arrival on a larger level.
“I think what happens when people reach a certain level of success doing something, it’s very hard to turn the bus around. It’s very hard to continue to be yourself. Being gimmicky or one-dimensional to [get laughs], it’s both boring and I don’t do it very well. I’ve never been good at that but some people are. They get popular for something and then it is very hard to grow from there. Even Eddie Murphy said that after he got famous, it was terrible for his standup because he didn’t know what was funny anymore. People were just coming out to just cheer him on. That’s not a good environment for standup. It’s something that people face all the time.
“I’m lucky because when I was just starting out I did one show angry. The guy I was working with said that I should be more angry (as a comedian) so I tried being angry the next few shows and it failed miserably. “The hard part of standup is that it takes so long. For a couple of years I was conscious of the fact that I was holding a microphone and I would think Now I am looking to the left… Now I am looking to the right… The mind plays crazy tricks. I’m past all those things, hopefully. “[Comedy] gets misconstrued as hard work. I’m not a hard worker, you know.
I write comedy when it comes to me but I don’t sit down for eight hours a day writing comedy. It’s not as much as how hard you work as much as it is being open to wanting to grow through rough patches by constantly trying to be as honest with yourself as possible.”
Throughout the set, Kindler would say “I’m going to pretend to need a drink of water just so I can see how much more time I have to spend with you people.” As the audience migrated in between their seats and the bar, Kindler soldiered on, spitting out material to a disengaged crowd. Then, at the forty-fifth minute, the time Andy Kindler had to reach in order to get paid that evening, he should have just dropped the microphone and walked away.
Honestly, two middle fingers as a departing salute would have been an appropriate way to end the show. But Kindler did not leave the stage cursing the abysmal crowd. He did not even leave the stage. Andy Kindler finished his entire set, going on nearly a half hour longer than he was contractually obligated. Why? The same reason he wasn’t going to use the failures of the opening acts for laughs. Comedy is much more than just getting laughs. Using cheap tricks or only going to venues where the audience will love you isn’t true stand-up. It’s just a gimmick. Andy Kindler is a performer who takes his talents too seriously to ever stoop low enough for gimmicks, which is such a rare and refreshing take in comedy today.
Check out Andy on Twitter (@AndyKindler) and his Comedy Special “I Wish I Was Bitter” on DVD.
By: Richie Essenburg
The idea that the United States is “a nation of immigrants” is a big problem for some people. While the phrase came into being sometime during the 1960s, its implication and meaning extends as far back to the foundations of this country and certainly resonates today. The immigration issue seems to make its way into nearly every other. Some argue about rights, others take an economic angle. Even more argue about what they often call “culture,” which usually includes all of the above—race, religion, ethnicity, political philosophy.
Many go so far as to characterize immigration to the U.S. as an “invasion,” particularly from the so-called “Third World.” Some immigration restrictionism is based on maintaining the equation America = white. Some are more outspoken about this equation, others less so. This characteristically nativist sentiment is on the rise in the U.S. Other concerns about “the welfare state” and even national security are included in the national discourse about immigration. Georgia’s recently passed law, the bill known as HB87, made national headlines, and the state is not alone in legislating anti-immigrant bills on the state level. Since the passing of the bill, Georgia’s agricultural business has plummeted. It is so bad that Governor Nathan Deal pitched the idea of replacing the now absent workforce with prison labor. The passing of the bill seems to have had its intended consequences of running out many immigrants, but greatly affected Georgia’s economy at a time when the state is already struggling.
There is no question that immigration policy in the U.S. needs reform, but we must separate reform from meaning building two or three walls surrounding the entirety of the United States’ borders. “Controlling” immigration shouldn’t mean militarizing the U.S.-Mexico border, mass deportation, and mass imprisonment in socalled “detention centers.”
President Obama, contrary to popular belief, has maintained and even strengthened all of these “control” measures. More people have been deported, as one example, under Obama in the past three years than the entirety of Bush’s eight years. Still, these actions are not enough for many.
Which should make you wonder, what is? Some say they are concerned only about “illegal” immigration, and some others, like Kansas Secretary of State Kris Kobach, want to end all immigration. When we talk about “illegals” we dehumanize a great population of people. Groups like the Federation for American Immigration Reform (FAIR) insist on using the term when referring to more recent immigrants. If the problem is only legality, then why is the term reserved especially for Mexican and other Latino populations?
Georgia’s state senate is now considering a bill, known as SB 458, that would exclude those who cannot prove legal status from attending all of Georgia’s public universities. Currently, this population pays out-of- state tuition to attend, effectively subsidizing other’s education.
We have to ask why the state of Georgia would want to deny access to education to someone willing to pay for it. Why? Why would you bar someone who would eventually contribute more to the economy than someone who hasn’t gone to college? In economic terms, it simply makes no sense. Apparently the state thinks they did such a great service to Georgia with HB87 that they figure they’ll take us all the way back to 1950. Have your papers ready…all 23,000 plus KSU students.