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IMAROONTICER
CHRISTIAN L SAINT-VIL T4
EDITOR-IN-CHIEF
csaintvil03@yahoo.com
MANAGEMENT
TRE’VELL R. ANDERSON '13
MANAGING EDITOR
anderson.trevell@yahoo.com
AHMAD BARBER’13
CHIEF LAYOUT EDITOR
ah mad.barber@gmail.com
ZACH THOMAS’13
PHOTOGRAPHY EDITOR
zachthomas 199 / @gmail.com
JONATHAN MARCHEL ’15
ASSOCIATE PHOTOGRAPHY EDITOR
thejonshmoe@gmail.com
MAX TYLER'13
CHIEF COPY EDITOR
maxtyler.tyler2@gmail.com
CURTIS JACKSON ’14
ASSOCIATE COPY EDITOR
curtisdj3@aol.com
MORIBA CUMMINGS’14
ASSOCIATE COPY EDITOR
moribacummings@yahoo.com
SIERRA STOKES SC '13
ASSOCIATE COPY EDITOR
sstokes6@scmail.spelman.edu
EDITORS
KAYLA NELSON SC '14
CAMPUS NEWS EDITOR
DONNELL WILLIAMSON '15
ASSOCIATE CAMPUS NEWS EDITOR
AMAL YAMUSAH '14
WORLD & LOCAL EDITOR
JARED LOGGINS’15
ASSOCIATE WORLD 8, LOCAL EDITOR
GARRETT RANSOM ’15
BUSINESS & TECH EDITOR
REGINALD HUTCHINS’15
FEATURES EDITOR
ARIANNAH HOOD SC ’14
ASSOCIATE FEATURES EDITOR
NEAH MORTON SC 14
OPINIONS EDITOR
DARREN MARTIN '15
ASSOCIATE OPINIONS EDITOR
KEITH JONES '14
ARTS& ENTERTAINMENT EDITOR
KEVIN WEBB ’13
ASSOCIATE A & E EDITOR
CHRIS WOMACK ’14
SPORTS EDITOR
JORDAN HOLLINGSWORTH ’14
ASSOCIATE SPORTS EDITOR
MULTIMEDIA
RYAN RUCKER ’14
WEBMASTER
ryankrucker@gmail.com
JERRELL BAKER '15
ONLINE CONTENT EDITOR
jerrel.baker@gmail.com
JOHN WHATLEY '14
TIGER TV PRODUCER
johncwhafley@yahoo.com
PUBLIC DELATIONS
PAUL MAGA '13
CO-DIRECTOR
TIMOTHY A. HARRIS'14
CO-DIRECTOR
FANON N. BROWN ’14
ASSOCIATE DIRECTOR
FINANCE
AUNDRAY GANTT '13
ADVERTISING MANAGER
ADVISER
RON THOMAS
NEWS
IF ONLY CHARS
COULD TALK
Dawnn Anderson
Contributing Writer
du wnnariana@gmail. com
Recently the AUC students set aside
the burning desire to turn up at Thirsty
Thursday and stood in line at the Ray
Charles Performing Arts Center in sup
port of Chairs. On November 15, the
lights dimmed and a hush came over the
crowd. The plot centered around inti
mate discussion regarding sexual en
counters on a Black college campus.
Accomplished student director and
writer, Emmanuel Saint-Ange, shared
how he was directly influenced by per
sonas within the AUC and other Black
colleges. Some of the main characters
include the attractive and promiscuous
Lana “Ms. Scarlett & White,” Ellington,
the devout Christian who pledged his life
to a Greek fraternity, and Bradshaw who
struggles to come to terms with his sexu
ality.
Saint-Ange urges audiences to re
consider their disposition regarding is
sues such as homophobia, monogamy,
sexual promiscuity, rape, and even one’s
religious belief in the face of temptation.
Inspired by certain aspects of his person
al relationships and those of close friends
within the HBCU circuit, Saint-Ange
holds a mirror to the AUC. Students held
on to the edge of their seats with wide
eyes during the Elevator scene where
Lana and Amiko, the pompous college
football player, are unafraid to express
their feelings for each other making
P.D.A. an understatement.
The crowd lets out a hearty laugh
as another couple acknowledges the fact
that they attend the respective all women
Asia College and all male Addison Col
lege and are of the same graduating class
(sound familiar).
“Each story is told from the per
spective of the chair, not the students,”
Saint-Ange shared in an interview. “It
serves as a euphemism representing the
sexual domain of the character.”
The stories were convincing not just
because of the setting, but because the
characters showed great vulnerability. In
Ellington, “Greekdom and Christianity
are personified.” Without his many flaws,
and infidelities he and his girlfriend, Van
essa, would be the ideal SpelHouse cou
ple.
Daniel White, a junior studying
Business Administration at Morehouse,
believed the characters were very realis
tic. “Its HBO meets the AUC,” said White.
Saint-Ange, an aspiring writer and pro
ducer, plans on attending Loyola Univer
sity graduate school for dramatic writing.
“Be the best in your craft,” Saint-
Ange says. When asked about leaving a
mark on the AUC he shared, “I want my
work to serve as a memorandum to stu
dents after I graduate.”
As a senior mathematics major, the
Brooklyn native proves that it is possible
to be multitalented and succeed in many
facets of one’s life. In case you missed
Chairs, be on the lookout for future pro
ductions from this artist showing in
Spring ‘13.
WITH
MILES MARSHALL LEWIS
Donnell Williamson
Associate Campus News Editor
donnellwiUiamsonjr@yahoo. com
The Bronx native, Miles Mar
shall Lewis ’93, came back to visit his
Alma Mater to expose students and to
give them a different perspective of
Black Journalism. Currently, Lewis is
a resident of France. He is the Arts &
Culture Editor for Ebony Magazine,
author of two books, and the founder
and editor of his literary journal,
Bronx Biannual.
Lewis was brought to More
house to speak to the Cinema, Televi
sion & Emerging Media Studies and
Psychology Department. He spoke to
the students about his life as a jour
nalist and an author as well. Check
out his webpages and follow him on
Twitter @furthermucker, further-
mucker.com, and/or facebook.com/
furthermucker.
thoughts, outlining is a good idea.
When I write an article, chances are
there are a certain amount of things
that I make sure that I want to say,
so I’ll write those things down, and
it somewhat takes on it’s own life.
Once you have the things that you
know you want said, then you kind
of figure out the order that makes the
most sense. Then you start building
paragraphs out of things you want
most to say, and then it becomes it’s
own thing. It’s somewhat like a puzzle
as well. I can switch different piece
around, and see what makes the pic
ture of what you looking for
Donnell: When you were speaking,
you spoke on how you were inspired
by James Baldwin, and the Renais
sance Era. Was he your biggest inspi
ration, or were there any other peo
ple that inspired your career choice
as a journalist?
Donnell: What brought you into this
arena of being a black journalist?
Miles: Well—I’ve been black all my
life! In turns of being a journalist, it
was just something I grew into. Writ
ing was always very important to me.
I grew up on comic books and al
ways notice the names of people who
wrote the comic books. There are two
big comic cons that happen, one in
San Diego and the other in New York,
twice a year. When I was a kid, no
one was devoted to bigger pop cul
ture super hero movies; it was strictly
about comic books. I always had a
fertile imagination and I grew up on
science fiction novels. By the age of
12,1 tried to read all of the collected
works of Sherlock Holmes by Sir Ar
thur Conan Doyle because I read in a
comic book that Batman did it. I was
the only child until I was 8, so I spent
a lot of time reading. It blossomed,
like even now I write fiction as well.
There are a number of short stories
that I had anthologized in different
books. I just consider myself a writer,
sure a journalist. I interview differ
ent celebrities, but I do my share of
fiction writing as well. You exercise
different muscles for each one, but I
honestly just call myself a writer.
Donnell: There’s a large population
of students who are illiterate, or they
just don’t like to read or write as
much as they should. What is some
thing that you could personally tell
them to encourage them?
Miles: I’ve read everything that James
Baldwin has ever written. There’s a
big collected anthology called The
Price of the Ticket, which has all of
his essays. I’ve read all of his plays
and fiction works as well. I went
through a few years of that, and
reading everything that Toni Mor
rison wrote. Alice Walker, I read up
to a certain point! But I do love Alice
Walker. Maya Angelou, and all the
memoirs she wrote back-to-back. My
son’s middle name is Morrison, be
cause Toni Morrison is my all-time
favorite living writer. Definitely Au
gust Wilson, a playwright who passed
away. I had the honor of interviewing
him in probably his last major inter
view that got anthologized in a book
called, “The Believer Book of Writers
Talking to Writers.”
Since high school, I was a part
of a Black Alliance club that would
take us to Broadway plays in New
York. I saw “Fences” on Broadway
when I was 17. After “Fences” he
haves at least 10 plays and one takes
place in every decade of the 20th
Century, and reflects on what Black
life was about in that decade. So, of
those 10 plays, I’ve seen about seven
of them probably eight of them. The
last one was “Radio Golf,” I was in
Paris and I didn’t get to see that one,
and he had passed away. He’s defi
nitely an influence! His dialogue is
amazing, especially for, true, African-
American dialogue. It just sounds like
you listening to your grandparents, or
your older aunts and uncles speaking.
Miles: Get in where you fit in! There’s
a writer for everyone. If you don’t
like to read and someone gives you
James Joyce’s Ulysses, you’re really
going to hate to read. Whereas if you
get something like Toure’s Soul City,
it might appeal to you because there
are Hip-Hop references and magical
realism that you can deal with. Even
for women, if you consider yourself a
feminist and don’t really like to read,
you’ll be surprised certain works by
Alice Walker. Find the writer that’s
for you, there are so many books, it’s
impossible that you wouldn’t find
someone that fits your sensibility. In
terms of writing, keep a journal. Not
everything has to be spell checked
and stuff like that; you don’t have to
be Toni Morrison out the box. You
don’t ever have to be Toni Morrison,
I mean—I’ll never be. It’s all about
finding your own lane and finding
your own voice, and speaking in that
voice.
Donnell: What are some techniques
that you may use to gather your
thoughts before writing?
Donnell: One thing I have issues with
is finding critiques on Black litera
ture. We have all of these academic
critiques on Plato, Aristotle, and etc.;
however, we lack these same benefits
and spaces for academic dialogue
amongst Black students and Black
authors. What are some things that
you can recommend to students/writ
ers to expound, or make the area of
critiquing Black literature better for
readers?
Miles: That’s very true! Those cri
tiques don’t exist anymore. It’s kind of
hard to answer, because what you’re
saying is very true. In terms of aca
demic critiquing, as in Plato, there
is a dearth of that, and I’m not really
sure what the answer is. In terms of
creating a bigger space for that, or
even creating a better space for our
own ideas. That’s what we definitely
need, a place to be able to think
freely, our own space. Somewhere to
have our own thoughts and our own
dialogues, I believe that dissecting
Black literature, and later critiquing
it can come from these spaces.
Miles: As far as gathering your
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