uhuru spring 2012 ii

uhuru magazine / / Spring 2012 / / 1

PRINT CULTURE

T H E F R E E D O M M A G A Z I N E

A N I S U S T U D E N T P U B L I C A T I O N V . X . I I .

T a l e s o f M a g i c

Saturday, May 12, 2012 • 10 a.m. - 8 p.m.State Capitol Complex - East Campus • Des Moines, IA

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Danika Schaaf - 24Is interning abroaad right for you?

eBook Revolution - 20How does the book fare against technology?

Visual Garbage - 28Stop cluttering campus with Comic Sans

Stephanie Pushaw - 25Creative writing in the technological age

31T a l e s o f M a g i c

Chicago Printer's Ball - 12An annual celebration of literature

Rise & Fall of Newspapers - 16Why you can't get a paper route

Typography - 18A historical view of letterforms

Harry Potter Translations - 13 Subtle differences in different languages

Creation Myths - 11 Differing versions of how the world was made

Minorities in Print - 14 Are minorites represented fairly?

C u l t u r e - 6 S t u d e n t S p o t l i g h t - 24

Spring 2012Table of Contents

Cultural Variation in Fairy Tales - 32Differences in literary legend

Tale Type Index - 34A system for legend and lore

Disney's Tall Tales - 36They don't always end happy ever after

Seuss in America - 38Is Geisel America's Grimm?

F e a t u r e s - 28

Troy Chebuhar - 26Revived interest in traditional printmaking

Ames Music & Poetry -42Our community's cultural connection

Culture Changing Novels - 46Oft-forgotten monuments of literature

Uhuru's History - 50Looking back at the publication's history

Spring 2012Letter from the Editor

As an English major, I find myself worrying often about the state of print culture today. The internet, e-readers and other technological advances have ostensibly decreased interest in printed media to the point where many ask the question, “Will we even have books in ten years?” For me, the answer is yes. They may not be paper books, and the availability of self-publishing opportunities may expand the range of publication and quality, but creative production is a key element of human civilization. We, as people, use poetry, literature, and music to connect to each other and to the world on a level that cold technology can’t achieve. Newspapers and magazines provide insight into our activities, our feelings and our cultural mores, further connecting us to each other. Our cultures’ dominant characteristics and themes manifest themselves in legend and folk tales, which can communicate our ideals both to the far reaches of our citizenry as well as to the rest of the world. Many people, especially those who aren’t big

on reading, will try to tell me that books and literature are a thing of the past, that I’m wasting my time on studying a discipline based on print. However, I think that human culture is improved by its cultural production, both past and present, and preserving and celebrating this production is vital to understanding culture worldwide. In this issue of Uhuru, we have striven to do just that--to celebrate the creative act of human culture and to provide an idea of the scope of print culture to you all. We hope that through this issue, you who read it will understand why we chose the theme we did, and that you will come to celebrate creativity and culture as much as we do.

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Spring 2012Masthead

Riley Dawson e d i t o r- i n - c h e i f

Jordan Beckerc r e a t i v e d i r e c t o r

E d i t o r i a lalli kolick, christopher biagini, emily hall, sarah huempfner, corey o’bannon, lauren johnsen, leah willadsen

A d ve r t i s i n g morgan sanders, trish reifenstahl, teryn hammes

P ro d u c t i o n zoe larson, teryn hammes, ashley diers, emily nizzi, nguyet bui, kathryn moore, tam vo

D e s i g nnathan kirkman, krystal kopp, amber haack, jennifer schrimper, tyler dehague, amber leick, lauren ehlers, donny chen, leah willadsen, abigail smith, hang michelle bui, mollie naig, lisa engler

Cory Witta r t d i r e c t o r

B ra n d o n A l va rad o , Pa i ge W i n te r s & Alex Register a s s i t a n t a r t d i r e c t o r s

Britta Mennecke & Jordan Matsonp h o t o d i r e c t o r s

B ra n d o n A l va rad ot y p o g r a p h y d e s i g n

B ro ok e B a t t e r s o nm a k e u p a r t i s t

S a ra h Hu e m p f n e rf e a t u r e s e d i t o r

Sometimes, sitting in your smoking jacket by the fireplace with a thick novel, all that’s missing is a good stiff drink that matches your literary mind.

the cryptonomicon: A Sloe Comfortable Screw

1 part sloe gin1 part Southern Comfort1 part orange juiceDash of Galliano

Combine over ice in a large glass.

the great gatsby: Gin Fizz

3 tbsp gin2 fresh basil leavesJuice of half a lemon1 tsp superfine sugarSeltzer water

Combine basil, lemon juice, sugar and gin in a glass and muddle. Top with ice and seltzer. Garnish with a lemon peel.

L i t e r a ry C o C k ta i L s

harry potter: Wizard's Brew

2 oz cranberry juice2 oz orange juice2 oz grenadine2 oz club sodaShot of vodkaSprig of mint

Combine over ice in an 8 or 10 oz glass.

dr zh ivago: The Russian Tundra

3 oz frozen Russian Blue Vodka½ oz creme de cacao1 oz whipped cream

Shake all ingredients together until drink resembles a snowstorm. Garnish with bitter lemon.

h o w t o s u r v i v e a g a r d e n g n o m e a t t a c k : d e f e n d y o u r s e l f w h e n t h e l a w n w a r r i o r s s t r i k e ( a n d t h e y w i l l ) c h u c k s a m b u c h i n o

1Q84 h a r u k i m u r a k a m i

t h e m o n s t r u m o l o g i s t r i c k y a n c e y

t h e f o u n t a i n h e a d a y n r a n d

t h e n i g h t c i r c u s e r i n m o r g e n s t e r n

t h e a l c h e m i s t p a u l o c o e l h o

o n c e o n a t i m e a . a . m i l n e

h o w t o g e t a t e e n a g e b o y a n d w h a t t o d o w i t h h i m w h e n y o u g e t h i m e l l e n p e c k

t h e s u m m e r t r e e g u y g a v r i e l k a y

t h e m a s t e r a n d m a r g a r i t a m i k h a i l b u l g a k o v

T o p T e n S u m m e r

r e a d S

With summer vacation on its way, we pooled our collective literary resources to provide some beach reading recommendations for you! Spanning quite a large variety of genres and lengths, our list has a little something for everyone.

b l a c k b e a c h , s a n d i e g o , c a

c o p a c a b a n a b e a c h , r i o d e j a n e r i o , b r a z i l

s t . m a r t i n , w e s t i n d i e s

p l a g e d e t a h i t i , s a i n t t r o p e z , f r a n c e

p a r a d i s e b e a c h , m y k o n o s , g r e e c e

p l a y a e l a g u a , m a r g a r i t a i s l a n d , v e n e z u e l a

c a m p s b a y, c a p e t o w n , s o u t h a f r i c a

e s t e p o n a , s p a i n

c a p r i , i t a l y

While many college-aged men seek out top-optional beaches for a view of the feminine gender, topless beaches are found all over the world, and some are located on some of the planet’s most beautiful coasts. Next time you want to let it all hang out or just look at someone who does, check out these possibilities.

Networks these days come with all sorts of creative monikers: HomeNet, Belkin 56A8, RAB-5G, HP-Guest, et cetera. If you ever find these truly groundbreaking identifiers to be a little more highbrow than your taste, try on some of these network names, found or thought up by our staff members.

T h e W a c k i e s T W i f i N a m e s

P R E T T y f Ly f o R a w I - f Ih 1 N 1

C o N N E C T f o R I d E N T I T y T h E f TI w aT C h y o U P E E

T- 1 0 0 0P o N g L E N I s

N a k E d P I C s o f y o U R g I R L f R I E N df B I s U R v E I L L a N C E va N 1

a B R a h a m L I N k s y sh I d E y o k I d s h I d E y o w I f I

( . ) ( . ) B o o B I E sg E T o f f m y L a N

w E C a N h E a R y o U h av I N g s E x

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t a n n e r

m e l a n o m a

s n o o k b a b y f l e x

s a n t i a g o d r e a m

bas ic quill ing coil : Gather these items

Strips of paper (⅛ or ¼ inches wide) of varying colorsSlotted quilling toolDrop of white glueToothpick

one

Insert the end of the paper into the slot of the quilling tool.

two

Turn the slotted tool towards you. Place your thumb or index finger at the very tip of the slotted tool: this prevents the paper from slipping off the tool. Using your other fingers, guide the strip of paper so that it rolls into an even plug (called a tight coil).

three

When done, turn the slotted tool a quarter turn away from you. Pull the plug out of the slotted tool. Hint: the coil comes off the tool neatly if you pull the coil off the tool and not pull the tool out of the coil.

four

Use a toothpick to apply a small smidgen of glue onto the free end of the tight coil. Use your finger, a clean toothpick, or forceps to press the free end onto the coil.

f ive

When dry (about 5 seconds), you will have a tight coil. These can be used to make flowers, grapes, eyes and more.

Several pieces throughout this issue feature the art of paper quilling. Quilling is an old paper art that has recently gained new popularity in art and design.

Many centuries ago, quilling began as wrapping scraps of paper around goose quills to create coiled shapes; this is the origin of the name quilling. Using tools, the thin strips of paper are tightly wound to create decorative designs from thin strips of curled papers.

With the impending birth of Jersey Shore’s smallest cast member, the staff of Uhuru thought that Nicole “Snooki” Polizzi may need some help keeping up with the likes of Frank Zappa and Beyoncé in her baby-naming skills.

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TUNa BaLLs1 can drained tuna½ cup cut turkey or chicken⅔ cup dry cat food

Mix all ingredients in a small bowl until well mixed. Form into small balls or anything you’re comfortable with. Chill for an hour in the refrigerator. After, cover the balls in bread crumbs for a crispy outer shell. Serve.

moUsEBURgER BITEs3 oz. sausage or finely ground beef2 Tbls. oatmeal1 eggCatnip, finely chopped

Knead the ingredients together thoroughly and form into a flat oval. Under a medium heat for 5-7 minutes, turning frequently until golden brown. Cool and slice into bite size chunks.

saLmoN sNaCksSalmon (chunked)Cat treatsDry cat food

Cut slice of moist, cooked salmon. Take a favorite treat and push it into the salmon. Then, take dry cat food and crush into finely ground pieces. Sprinkle the crushed food on the salmon snack.

saRdINE sURPRIsE2 flat cans of sardines in oil⅔ cup cookied rice1 tablespoon of pureed liver¼ cup chopped parsley

Combine all ingredients and mix well. Shape into balls of desired size or serve in a cat dish. Serve fresh or keep frozen for up to three days.

CaT PaNCakEs4 oz. ground sirloin3 Tbls oatmeal1 egg1 tablespoons catnip

Kneed the ingredients into a round ball. Place balls on a cookie sheet and flatten slightly. Broil under 425 degrees for 8 minutes, flipping halfway through until crisp. Let it cool for 30 minutes. Cut into bite sized pieces.

Many cat lovers want the best for their cat and are often concerned with keeping their favorite felines around as long as possible. A cat’s diet has a lot to do with their health and well-being. Commercial cat food can contain dyes, preservatives and miscellaneous food scraps.

Homemade cat treats not only save money, but offer a healthier, fun option for owners.

h O m e m a D e c aT T R e aT s

mewhuru

These are just a few verses of a popular Irish children’s song, but it was also a favorite to be performed in the pubs of Ireland. It was an amazing experience to have an entire pub singing along it was instant camaraderie for all involved. That was just one of my many unforgettable memories made in Ireland over spring break. Ask any of the other ten Iowa State Students who went and they would each have a favorite story or moment, whether

it was St. Paddy’s Day in Dublin or the beautiful country side of Ireland. All of these memories were made possible through EF College Break.EF College Break runs

trips to Europe and all over the world for 18-26 year olds during spring, summer, and winter breaks. EFCB makes it easy and straightforward to travel the world by incorporating your airfare,

hotels, transportation, daily breakfast, tour guide, and various sightseeing all into one low college student price. They make paying for the trips easy by allowing you to pay in full at sign up or putting you on a monthly payment plan leading up to your trip. Since the company is aimed at college students they make sure to have special seasonal sales so you get the most for your money. If you want to know more about EF College Break or my time spent in Ireland check out the website and blog: http://www.efcollegebreak.com/http://efcollegebreakstories.tumblr.com/Feel free to contact me any time about EFCB and you can get access to great deals with my Campus Manager Discount code: IOWAST8500.

Cheers,Brooke BodensteinerEFCB Campus Manager [email protected](641)-425-5924CM Code: IowaSt8500

i ’ l l t e l l m e m a w h e n i g o h o m e

t h e b o y s w o n ’ t l e a v e t h e g i r l s a l o n e

t h e y p u l l e d m y h a i r a n d t h e y s t o l e m y c o m b

w e l l t h a t ’s a l l r i g h t t i l l i g o h o m e

s h e i s h a n d s o m e , s h e i s p r e t t y s h e i s t h e b e l l e o f b e l f a s t c i t y

s T U d E N T sa B R o a d

one

Stack your paper, and using an awl, punch four equally spaced holes through the entire stack.

two

Break the stack into stacks of 5 sheets. Fold the pages in half. The holes should be on the folded edge. This is called a signature.

three

Sew the first signature.

In the first holeOut the second holeIn the third holeOut the fourth hole

This makes signature one.

four

Join the second signature to the first.

Into the first hole of signature twoOut the second hole of signature twoBack into the second hole of signature oneOut the third hole of signature oneBack into the third hole of signature twoOut the fourth hole of signature two

Continue this pattern until you reach the desired amount of signatures.

f ive

Once the signatures are sewn, clamp the pages together, and apply glue heavily. Leave clamped and set aside to dry.

s ix

Cut two pieces of book board, the same size as your folded pages, and cut a third board just smaller than the thickness of your sewn-together signatures.

seven

Cut book cloth or paper an inch larger on all sides than the size of these boards, allowing gutter-room between the boards so your cover will hinge open and closed easily.

e ight

Cut off the four corners diagonally so they won’t bunch up when folded. Brush glue on the inside edge, and fold the edges in so they stay flat.

nine

Cut two pieces of paper the same size as your book’s pages and fold them with their fancy side facing inwards.

ten

When your book block has dried, run a line of glue down the spine-edge of the first and last pages to glue these “end papers” to the block.

eleven

Apply glue to the inside of your cover and close it around the book block. Smooth the end pages down. Clamp it between boards or put it under something heavy, and let it dry overnight.

twelve

When it’s dry, open, separate any pages that are stuck together, and sign your book!

D I Y:

B o o k B i n d i n g


C r e at i o n M y t h s a C r o s s C u lt u r e s

In the Beginning. These three words are some of the most powerful in the English language; they bring to mind an all-powerful Creator, the Alpha and Omega. God. However, the Judeo-Christian story of the Creation as found in Genesis isn’t the only interpretation out there. Every culture has their own creation myth and it is most interesting to explore the similarities between them.

The Judeo-Christian creation myth is found in the Bible, and regardless of what version one may find, it generally goes something like this: the world was created by God out of chaos, beginning with light, and in seven days the Earth was created. Earth was a lush paradise of many plants and animals, mountains, valleys, fresh and salt water, and every sort of mineral we know today. Then he made man from a lump of clay and breathed life into him. When none of the other animals made a suitable companion for the man he named Adam, God took one of Adam’s ribs and made woman. (Many Christian marriage readings come from this passage; unfortunately we don’t have time to discuss it here.) The Fall is the second half of the Judeo-Christian myth. Eve, the woman God created, eats fruit from the forbidden tree and, because of this, God casts both Adam and Eve out of the Garden of Eden and life becomes much more difficult for humanity.

Another well-known creation myth comes from Greek mythology. Similar to the Judeo-Christian version, the Greek myth begins with darkness. Then a giant bird lays a golden egg. The egg hatches; inside is Eros, the god of love. The shell of the egg splits in two--one half becomes the sky, the other becomes the earth. Eros names the sky Uranus and the Earth Gaia and makes them fall in love. The story continues with the children and grandchildren of Gaia and Uranus, the most famous of these being Kronos; Kronos is afraid of losing his power to his children, so he routinely devours them upon their birth. Rhea, his wife, tricks him by giving him a rock in child’s clothing which he swallows, believing it to be his youngest son. Zeus (the most famous Greek God) grows to manhood, slays his father and frees his brothers and sisters, the familiar pantheon of gods and goddesses familiar to anyone who has touched Classical Studies with a 10-foot pole. Some religions do not have a single creation myth;

Hinduism, for example, holds that the world is created and recreated over and over again as its beings are reincarnated. The Hindu religion also assumes that this universe is one of many, as other similar and dissimilar universes exist on other planes. Also unlike many other cultures’ myths, the Hindu creation story does not feature a central god/goddess creating everything. Instead, it views the entire world as divine; every rock, tree, bird, and lump of dirt is endowed with inherent holiness. One of the Hindu holy texts, the Brhadaryanka Upanishad, describes the creation story as the Primeval One getting bored with being the sole living thing and therefore splitting itself into millions of pieces which became the universe. In this version of creation, every living thing is part of a larger whole, having originated from the same source in the splitting of the Primeval One. In another religious text, the Vishnu Purana, Vishnu is presented lying in an ocean of milk atop a great serpent. A lotus springs from his navel and the god Brahma emerges and creates the world (similar to the Judeo-Christian god) as well as fellow gods/goddesses. Vishnu eventually dissolves himself into the world Brahma created. While this is similar to the Judeo-Christian story, it is still unique; however, the notion of viewing the entire world, down to the lowliest plant or animal, as holy is not.

Many indigenous religions view the entire world as holy; the many tribes of North America often feature sentient animals in their myths and these animals often aid in the creation of the world. The Inuit, for example, revere the Raven as a wise creator of day and night. The Menominee believe the Bear, Eagle, and Sturgeon were the origins of their tribe’s people. These animals remain symbolic to this day.

The creation myths of all of these cultures have several things in common: the presence of water, the separation of day/night and earth/sky, and the creation of man from something else. These myths were not originally written, they were passed on by word of mouth. In today’s age of technology, we have access to other cultures that the tellers of these stories could not have imagined. Thanks to the internet, planes, trains, boats and telephones, our cultures are no longer so cut and dry; 21st century culture is permeable. These myths, stories and legends are available to us all; with the access we have to the lore of other cultures, there is no longer an excuse for ignorance. Understanding cultures different from one’s own, and emphasizing similarities instead of differences, could very well improve the current global policy of separatism and dissension.

by Sarah huempfner

designer MOLLIE NAIG

When was the last time you bought a printed book? In a time of e-books and online articles, the printed word seems to be going out of style, and fast. The number of Kindles, e-readers, and iPads sold has grown exponentially over the past few years. Last year, the large book franchise Borders closed down its shops, much to the dismay of avid shoppers. But fear not, young readers, the printed word still has a strong fan base. And those fans put on events like the Chicago Printer's Ball.

The Chicago Printer’s Ball is an annual festival of sorts held in Chicago to celebrate any and all aspects of literary culture in the end of July. Anything from books to magazines, live music to papermaking demonstrations and everything in between can be found at the Printer’s Ball. However, it is neither a ball, a festival, nor an expo. It’s a coming together of people, from all walks of life, to celebrate literature. Last year’s ball, the 7th, was named “It’s Alive”

– alluding of course to Mary Shelley’s Frankenstein. This theme attracted thousands of people, some in Zombie makeup, to read, drink beer, and be merry, all in the name of the written word.

The main goal of the Printer’s Ball is to collect and showcase as many pieces of written literature from as many different people as possible. They ask for anything and everything people are willing to share from books to magazines to CDs and everything in between. They also encourage back issues and older versions of materials to showcase to the festival attendees – they want to showcase the depth and breadth of literature. There are also no table fees if people would like to show off their goods in person, and everything about this ball is 100% free!

C h I C a g o P R I N T E R ’ s B a L L

Let’s celebrate literature!

by LAuREn JOHnSEn

designer JEnn SCHRIMPER


by EMILy HALL

designer ABBY SMiTH

The Harry Potter series is a multi-billion dollar franchise consisting of seven novels, eight adapted films, and a theme park dedicated to the wizarding world at Universal Studios in Orlando, Florida. But before this beloved collection of books could amount to what it is today, the original British novels had to be translated into hundreds of other languages so the story could be enjoyed by people from different cultures around the world.

There were four main translating strategies used throughout the Harry Potter books: copying (using the original word as it is, not necessarily transmitting the English meaning), transliterating (changing the word to form the most literal meaning into the planned language even if the word loses its intended meaning), replacing (with another name entirely), and translating (for the same meaning in both languages).

An example of uses of these strategies occurred in the translation of the first and second Harry Potter books into Russian. Since the "th" sounds doesn't exist in the Russian language, a translator for Harry Potter and the Philosopher’s Stone transliterated Slytherin (one of four houses in the wizarding school, Hogwarts) as Slizerin. In Harry Potter and the Chamber of Secrets, a different Russian translator replaced Ravenclaw (another of the four houses) with Kogtevran, taken from the Russian word “kogot,” meaning claw.

The language in British culture needed to be carefully modified in the translation process. Rebeus Hagrid’s (the gamekeeper at Hogwarts) unique dialect needed to come across the same way (meaning rustic and connotatively uneducated) in other languages. In the Japanese versions of the books, for example, the Tohoku dialect is used to best translate the use of slang.

In other areas, references had to be changed or sometimes omitted in order to clearly transfer a message. The Hebrew translations of the books change Christian themes since the Israelis were not as familiar with

Christianity as would, say, the British. Sirius Black’s parody of “God Rest Ye Merry Gentlemen” had to be replaced by Hebrew translators with a parody of a Chanukah song,

“Mi Y’malel.”New terms such as the examinations of O.W.L.s

(Ordinary Wizarding Levels) and N.E.W.T.s (Nastily Exhausting Wizarding Tests) spelled names which were associated with animals in the wizarding world; however, the abbreviations did not always translate into other languages. In Sweden, for instance, the acronym for N.E.W.T. was changed to F.U.T.T. (Fruktansvart Utmattande Trollkarls-Test, or Terribly Exhausting Wizard's Test) to better suit the tongue.

Another extremely diverse effect in translations occurred in the renditions of Professor Dumbledore’s (the headmaster of Hogwarts) name. Rowling chose

“Dumbledore” since the name was the old Devon word for "bumblebee." The Italian translation of the book isolated "dumb,” taking the word’s meaning as "silent," and translated the name as Professor “Silente” in Italian. The Czech translation, on the other hand, used the old Czech word for bumblebee literally and translated Dumbledore as "Brumbal."

A problem also arose in translating the titles of some of the Harry Potter books themselves. The final book in the series, Harry Potter and the Deathly Hallows, was a name particularly difficult for some translators to interpret. Rowling took it upon herself to help by releasing an alternate title which, in English, translates as Harry Potter and the Relics of Death.

It is astonishing to reflect on how much effort goes into not only publishing a book, but altering and releasing the text in dialects that can be read around the world as well. Translators may create complications at times, but without them, the fantastical stories readers have grown to love simply would not exist.

Now, get thee hence and read Harry Potter.

H a r r y P o t t e r& the Variances of Translation

m i n o r i t y

i n p r i n t c u l t u re

representation


The controversy of the "Just Sayin" column and the articles on the term “illegal alien” published in the Daily are not the only type of problems in newspapers across the country. Obvious racial slurs and inaccurate terms are caught right away and brought to the attention of the public. Glancing at a newspaper or the media, it is inevitable that racial slurs and cultural insensitivities will occur. The everyday media contributes to reinforcing stereotypes through misrepresentation and low representation of minorities. So is it really a surprise when offensive comments are printed about a particular group? The Iowa State Daily is not the only one paper printing such comments; it also happens with many major media outlets. It is a major issue throughout the United States, not just Iowa.

According to Joel Geske, associate professor of journalism and mass communication at ISU, “there’s a disproportionate number of persons of color that are shown as criminals, or illegal immigrants, or in very stereotypical rolls and we see that over and over again. That gets into our mentality, whether we want it to or not, it’s always going to be there.”

The primary reason for negative portrayals and misrepresentations is positive stories on issues such as politics and business leaders, “generally tend to be white men and that’s because in our society, white men still have the majority of power,” said Geske. “So it’s not really a good or a fair representation of what the spectrum of our society looks like, but that’s what you’re going to tend to see, especially on those covers and front pages (of newspapers).”

People tend to write about what they know, what issues affect them, their family, and friends. That’s why it is easier to have a diverse newspaper or magazine if the staff is more diverse. According to the American Society of News Editors, minorities in newsrooms only totaled 12.79 percent, a disproportionate amount to the population, since the United States is about 30 percent minorities.

When people are not represented accurately or rarely seen in a positive light, it is easy for stereotypes to exist. Roberto Orozco, majoring in Marketing, International Business, and Psychology said “When I say I’m Latino, people kind of tend to think something about me or something about my culture before getting to meet me.” Many stories on Latinos and Latinas often are related to illegal immigration; Orozco said, “that’s what a lot of people tend to think of Latinos when they first hear about them.”

This lack of representation makes it hard for people of color to connect with the media. No one wants to be related to a misrepresentation of his or her culture. “I do think that it hurts the self esteem of people of color and I guess it almost, just really paints a misinformed picture of who we really are and the different things that we’re about, and also maybe would make us feel isolated. There really aren’t many of us, and the ones that there are, they are out here doing these bad things, but in reality there’s a lot more people and some of us do bad things, but just like everybody else, we do good things too,” said Ruth Cardenas, a junior in Child, Adult, and Family Services and the president of Mexican-American Young Achievers Society (mayas).

Misrepresentation of minorities is a complicated problem to solve. Despite the continuing efforts of diversity committees in the media such as the Society of Professional Journalists, there still is barely any positive representations of minorities. The easiest way to prevent misrepresentation is to have more diverse newsrooms and have people of color as editors and on the boards. Cardenas said the media needs “to have more diverse representations. It’s not just about Latinos. It’s also about Asians and Indigenous peoples, or just even within the Asian group, there are a lot of different subgroups that are very different, or even Latinos, we are very different. It’s just really about exploring all those options and making it more diverse, and educating people more.”

by ROBYN NORRIS

illustration TYLER DeHAGUE

designer AMBER HAACK

that gets into our mental ity , whether we want it to or not, i t ’s always going to be there


Is print journalism becoming a lost art form? That is what Marcia Prior-Miller, Associate Professor and Meredith Apprenticeship Professor at Iowa State calls the 64,000 dollar question.

Prior-Miller indicated that she has always believed that the market for print journalism will endure, but is now uncertain about whether paper formats for magazines will survive. “Up until probably this year, I have always said that I believe the paper version will continue while the digital versions increased. I am now thinking that the economic and environmental impacts may lead to a final demise of the paper because it costs so much more to produce the paper version of a magazine,” she said. Mark Witherspoon, Iowa State Daily Advisor, echoes the same sentiments about the future of newspapers. “Eventually, you probably won’t see newspapers in print form at some point in the future, and nobody really knows when that is,” he said. Lindsey Schwarck, public relations team member of the Iowa State Daily, believes newspapers will not completely disappear but the print form of college newspapers is declining. “I think that newspaper history is going to rapidly evolve into predominantly online content, but many people still like to pick up a tangible newspaper. However, with our generation, it’s becoming more and more obsolete,” she said.

Yet, do not mistake the transformation of magazines and newspapers as a decline for the same style of media content. Digital devices such as the iPad and other tablets are going to keep newspapers and magazines current and intriguing. ‘It’s probably one of the most exciting times in the history of newspapers, and this is coming from me who grew up in which I thought was one of the most exciting time for newspapers because I entered the newspaper industry right after Watergate. [That was when] Woodward and Bernstein proved beyond a shadow of a doubt that journalists can change the world for the better by telling people what’s going on,” Witherspoon said. Witherspoon believes newspapers provide information that people need and want so they can make educated and informed decisions about how they want to live their lives, contribute to the community and communicate about various topics. “If we didn’t have newspapers, we wouldn’t have democracy. If we didn’t have the free and independent press that kept a watchdog on our government we wouldn’t have democracy. So, that’s the beauty of newspapers,” he said.

A downfall for journalism, according to Witherspoon, is not the format of the news but the source of the news. “Platforms will come and go. The need for what we call newspapers today will not,” he said. Schwarck explained that The Daily is keeping up-to-date by optimizing its content for digital devices. “They came out with a smart phone app last fall and there is now a tablet edition available for download. We're using these platforms to drive a lot of social media and contests,” she said.

There are many benefits to paperless news including: environmental aspects, the opportunity for unlimited content space and the increased transparency of information by providing links to online sources. Tablets are the vehicle that allows for easy access to the media that is also easy to share. You can carry several digital newspapers and magazines with you at once, drop a tablet in your bag and enjoy it at places such as the beach due to readability in direct sunlight.

Tablets are rapidly increasing in popularity and now they are being designed for children. According to Engadget.com, the kids' tablet market is up and coming with its rugged and durable designs that offer a host of accessories with some models including a piano keyboard, game controller and a creative case that serves double duty. Engadget.com also suggests that these kid-friendly tablets may be savvy enough for adults as well. Prior-Miller thinks a lot of people will grieve the demise of print media but adds that progress is necessary. “When you look at history there was a time when writing was all done on stone and if we still had to do all our reproduction on stone we’d be in big trouble,” she said. So, take the print version of this article and preserve it, because it is likely that in the future ink and paper may seem as ancient as carving into stone.

by SAMAnTHA EDWARDSillustrations BRAnDOn ALVARDOdesigner DOnnY CHEn

Typography is arguably the most widely viewed artform. It pervades much of our visual information. Typography has developed alongside our earliest civilizations and continues to shape itself to the changing trends and attitudes of our zeitgeist. Despite its noble origins, typography is best known at its lowest. It screams at us from magazine ads, TV commercials, and store signs, blaring with grunted textures, stretched, pulled, pushed, and shaken in the hopes of grabbing our attention. At its blandest, it lives in the requirements of high school essays, forever restricted to

Times New Roman, 12 point, double-spaced.

However strained our relationship with type has become, its

tradition is seated in art, its own dedicated craft, blending the beauty of form with the human need to communicate. It is an art that is beautiful when observed, and integral even when overlooked.

Typography's history follows the development of the written word; however, until recently, it has belonged, almost exclusively, to printed media. In printed media, type thrived and found room to respond to the needs of an ever-changing world. Gutenburg's famous press established typography in the tradition of "idealized writing," but, like other art forms, technology influences typography. Advancements in printing developed different techniques that allowed typography to branch

T H E B E A U T Y O F T Y P O G R A P H Yby BRAnDOn ALVARADO

designer MiCHELLE BUi

We have learned to enjoy typography out of its context, for

the beauty of its letterforms.


away from the written hand. It became decorative, illustrative, and emotional. Printing techniques from the typewriter to the letterpress took on their own visual language. In a world where most things can be communicated and/or replicated digitally, a collective consciousness has begun to revisit these unique visual languages, "dialects" of a visual history we are relearning.

Today's culture is increasingly aware of typography in our lives as a visual art and a tool for design. Typography is essential to our visual aesthetic. A walk through Target's home decor section welcomes you with wall art featuring no more than a nicely laid out alphabet. We have learned to enjoy typography out of its context, for the beauty of its letterforms. It is an appreciation that has extended beyond a dedicated (and sometimes nerdy) profession. Although type now exists in a world of 1080p screens and hyper-real clarity, designers and non-designers alike are participating in the heritage of typography, rekindled in older technologies and processes.

The resurgence of letterpress printing in design has revitalized the tradition of metal and woodtype. The Hamilton Woodtype Museum in Two Rivers, Wisconsin, preserves the history of woodtype and encourages others to interact with it through workshops and tours. After receiving attention from Justine Nagan's documentary film Typeface, Hamilton has worked with Target to offer a collection of letterpresses clothing. In addition, Art and Design communities in urban areas like Chicago and Minneapolis have Book Arts Centers dedicated to continuing and teaching the craft of letterpress design and techniques. However, an even simpler appreciation for printed typography is found in the revival of typewriters. This archetype to the typical digital word processor has gained enough popularity to bring people together in gatherings called "type-ins," where people come to commiserate and write. Even in typewriters, typography takes on its own distinct and recognizable style and those who use the typewriter get a sense for the tactile presence of type on the page and the mechanical processes behind it.

But while we celebrate the heritage of typography and its beauty, we also recognize the ability for typography to improve our lives. A good example of this is the recent work of Christian Boer and the Dutch firm Studio Studio, Dyslexie, a typeface which tries to improve readability for people with dyslexia. Rather than follow the tradition of typographic convention, Dyslexie breaks it, in order to make every character distinct enough to avoid "flipping" them when reading. Typefaces like Dyslexie, and others, illustrate the dual nature of letterforms, to be beautiful and to be read. The typography designed for our interstate signs, our screens, and our important documents are created with a purpose and they all strive to optimize aspects of readability and legibility under different conditions.

We should be thankful our visual culture has a strong acknowledgement of typography. In an advancing technological environment, typography continues to play an important role in presenting nearly all of the information we internalize on a daily basis. Typography makes it readable. Typography makes it beautiful.

Photos taken at University of Iowa's Center for Book Arts

by ALLi KOLiCK & LEAH WiLLADSEnphotos JORDAn MATSOn

designer LEAH WiLLADSEn

As the technological era rages on, people continue to live hectic schedules and grow more dependent on their electronic devices in their day-to-day lives. Many people are looking to simplify their lives by condensing all of their gadgets into one device. E-readers offer both simplification and ease of use for avid book lovers. The portability and vast amount of features available in devices like the Nook, iPad, and Kindle fit into many busy people’s lives. Combining games, apps, e-books, wi-fi, music, movies and round the clock support, this technology allows people to take everything with them in the palm of their hand. Like any other electronic device, e-books have both benefits and setbacks.

There is one form of reading that all students can relate to, even if they aren’t bookworms: textbooks. If one takes a full load of college courses it is likely that one is enrolled in four or five classes, all of which likely require at least one book. These textbooks vary in size, from a small novel to a thousand-page brick weighing around five pounds. With the advent of e-readers, these weight and volume problems become irrelevant. A major benefit of the e-reader is its portability. Within a 7-inch by 5-inch device you can fit close to 1,500 books. That’s about as many books that would fit on a

E - B o o k s v s . Pa P E R B o o k s

w h o w I L L w I N ?


124-foot-long bookshelf. As technology improves, so do the features and abilities of e-readers. Taking notes in the margins and highlighting passages is now possible on these devices, eliminating the need to carry around the heavy backpack and hurting your back every semester. E-readers aren’t just a great option for students, but for avid traveling readers as well. E-readers allow people to travel with large amounts of books all in their hand.When it comes to reading an e-book while traveling, for a class assignment or just for the love of books, there are cost saving options available. The Gutenberg project offers classic novels for free in an e-book format for all users. By visiting www.gutenberg.org, one can choose from over 38,000 free e-books. On Amazon.com’s Kindle store, thousands (if not a million) books published before 1923 are available for free. Each e-reader offers a bookstore within their company that, from time to time, also has free or deeply discounted books available. Other companies, such as Amazon, also run monthly, weekly, and daily deals on their e-books for more savings for readers.

For e-books that cost money, there are significant cost benefits for those in the education world. For students, the upfront cost of an e-book could be around $30-$50, when the same book in paper and glue could potentially cost up to $80 used or even over $100 fresh off the press. At the end of the semester, one no longer needs the textbook, but if one has bought the physical textbook, takes care of it and sells it back to the school, they still frequently get only 60-70% of the cost of what they paid for the original book back in their pocket. If the school doesn’t see a need for the book, if the book has lost value or if a new edition of the book is published, the student could lose money and only be given 50% or less of what they paid for the original book.Therefore, buying a physical copy of a book and attempting to sell it back to save money is no longer the best strategy for students.

The overall cost of investing in an e-reader is shown to be less of a burden than most people may realize. This mostly depends on what company people choose--costs of models and e-books vary for each major company. The Amazon Kindle starts with the basic black and white model at $79 and runs all the way up to $199 for the

Full Portable Library

Unlimited Notes & Highlights

Saves Trees

Eliminate Waste

Easy Search Function

Save Money

Feel in Hands

Packaging

Unlimited Sharing

Physical Collection

Book Availability

Library Visits

p a p e r b o o k b e n e f i t s

e - b o o k b e n e f i t s

$15,000 in e-books

$39,000 in books

color tablet version, the Kindle Fire. Barnes & Noble also sells a standard black and white model at a slightly higher price ($99), and their top model color tablet costs $199. If in the market for a multipurpose tablet instead, the price of the model increases drastically. The most popular tablet, the Apple iPad, starts at a whopping $499 and only goes up from there. Since the costs of e-reader models are much lower and more similar, one must compare features to find the perfect device for the individual in question.

Between e-readers, there are many different qualities that buyers should pay attention to. Some, like most models of the Nook and Kindle, utilize the “paper” or

“e-ink” screen technology, which allows words to appear on the screen of your e-reader with a paper-like quality and no appearance of glare. However, all of the tablets, Nook Colors and Kindle Fires included, have high-quality color screens, to allow for magazines, apps, and movies to appear sharply in front of the user. In these cases, the color screen still has the shiny and reflective qualities that make it more difficult to read, especially outdoors. This is a major setback for many of those who like the feel and look of a paper book or have sight problems. Companies and technology continue to improve upon these issues and there are currently screen protectors available that help diminish this problem. Another downfall for some e-readers is the absence of page numbers; many e-readers show a reader’s progress in percentage rather than by a standard pagination system. This poses a challenge for those trying to read novels for classes, as they cannot properly cite anything one would want to quote in a college paper, nor can they follow along with assigned readings easily. Amazon’s e-books now offer standard page numbers, but many e-books available for free are produced by private individuals or non-profits and vary in their features.E-readers offer thousands of apps, games, wi-fi Internet, popular magazines and bookstores right at

your fingertips. Although there are many benefits to the e-reader, there are still readers that are not willing to give up the nostalgic feel of paper between their fingers, the ability to physically mark their pages, or the look of a row of books on the shelf in one’s home. Luckily for these readers, books will remain present for many years to come and the e-reader will only improve with time. For those who love to keep up with technology, doing research before purchasing one’s first e-reader (or upgrading to a new one) would be beneficial to get all that you can out of your reading experience.

pr ice of 1,500 books vs. 1,500 e-books

e-readers benef it the planet

In terms of carbon emissions, 22 books on an e-reader is equal to one paper book, provided that people are purchasing those books brand-new and never passing them on to anyone. The more e-books being downloaded on a single e-reader that holds hundreds of books, the more the environment will benefit.

3.1 billion books are sold in north America per year. using this number we can estimate that if all north American readers go digital:

49,600,000 trees could be saved every year

1,190,400 tons of CO2 could be absorbed by trees

192,926 cars saved on transportation


51% of e-reader buyers ac-tually stopped purchasing

printed books

53% of e-readers users say they read more now than

six months ago

15% oF NoN-USERS READ

THE SAME AMoUNT AS THEy

DID SIx MoNTHS AGo

amazoN kINdLE 47%

aPPLE IPad 32%

soNy REadER 5%

BaRNEs & NoBLE Nook 4%

e-reader dev ices

reading hab its

Every year, hundreds of students from Iowa State spend time abroad. Just because students go abroad does not mean that they have to be studying while they are there; they also have the option to work at an internship. That is exactly what Danika Schaaf decided to do.

Schaaf, 21, is a junior in global resource systems and has a minor in economics. She is spending this

current semester interning for Pioneer Hi-Bred in Beijing. Her desire to get out of Ames for a semester began last spring when classes were particularly stressful for her. Schaaf explained, “Simply put, I got sick of school and I knew that I wanted to do something really different.”

Acquiring the internship proved to be surprisingly easy. No real research was required, and she did not have to send cover letters and resumes all over the

by CHRISTOPHER BIAGInI

designer pAigE WiTnErS

Name: Danika Schaaf

Year: Junior

Major: Global Resource Systems

S t u d e n t S p o t l i g h t

place. Schaaf decided to take a very direct approach: “I wrote the President of Pioneer China [and asked] if there were any internship opportunities available. It turned out that there hadn’t been until I asked.” She was told the company had never offered internships before, but her determination got her an interview and ultimately, an internship.

So why did Schaaf choose to intern abroad instead of study abroad and should you consider trying it for yourself? “I hope that the internship sets me apart,” she said, “I think that it’s more challenging than studying abroad.” When speaking about the difficulties of interning, Schaaf exclaimed, “You don’t have anyone to catch you if you fall and you’re expected to be independent.”

Interning abroad is not for everyone. The difficulty of entering the professional workforce for the first time combined with the challenge of adapting to life in a new culture and country combine to create a uniquely challenging--and uniquely rewarding--experience. While being paid and not taking classes are appealing to many, those who are considering interning abroad should also consider Schaaf ’s warning, “This really isn’t for everyone. You have to be willing to push your limits.”v


S t u d e n t S p o t l i g h t

Stephanie Pushaw

Year: Junior

Major: Creative Writing

These days, with the tough economy and fewer jobs available for college graduates, most students are looking for the fast track to a decent salary as they enter the “real world.” Regardless of what the media says, there will always be students like Stephanie Pushaw that will follow their dreams regardless of what their paycheck will look like.

Pushaw, a junior at University of Southern California, is majoring in creative writing and is spending this spring semester studying literature and creative writing abroad in Edinburgh, Scotland.

When looking at today’s newspapers and print media, one can see multiple articles about how print is a dying art form and how English, literature, and creative writing will make next to no money in today’s ever changing world. However, when Pushaw was asked if these kinds of stories ever deterred her from entering the industry, her answer was simple.

“No. I believe [the media] in some aspects, but it makes me want to work in [the industry] more,” said Pushaw. “Print may be a dying art form, but words aren’t.”

She describes most of her writing as free verse poetry; she has also been working with sonnets and some other lyrical forms. Pushaw likes to write mostly from personal experiences but said she often take cultural phenomena to create a basis for her work. Her latest muses have been volcanoes and doomsday theories.

Eventually Pushaw hopes to be a published writer, but she happily pointed out that it is no longer the 18th century, which was filled with Romantic poets, and there is not a large following for poetry in today’s mainstream culture. She said that she would like to pursue her doctorate degree after she graduates so that she can teach creative writing at the college level one day.

by ALLI KOLICK

Name: Troy Chebuhar

Year: Senior

Major: Integrated Studio Arts

Troy Chebuhar’s major might be integrated studio arts, but his real passion is printmaking. So, what is printmaking? Simply put, printmaking is the process of creating artwork by transferring ink or other materials to paper, wood, fabric, or stone.

Printmaking’s history actually predates the printing press and began with engraving and cave art over 3000 years ago. At the time, it was considered a medium of communication rather than an art form.

After taking a required class that taught him some printmaking basics, he fell in love with the art. Chebuhar explained, “There are tons of different things to do and there’s a lot of time and effort that goes into the work, even though you can’t always tell by just looking at it.” Chebuhar also said that some people believe that printmaking has a lot to do with graphic design, but that nothing he does is digital and it is really about “working with your hands.”

Since then, Chebuhar has explored a variety of different printmaking techniques, been honored in the 31st Art and Design Annual Exhibit, involved himself in fundraising, and become the Printmaking Club President. Chebuhar’s journey at Iowa State will come to an end as he graduates this May. He does not have a clue where exactly printmaking will be taking him in the future, but he did say, “I’d like to return home to Chicago, keep creating, keep printing additions, and possibly sell my work.” Whatever Chebuhar ends up doing, he knows that it will take a lot of hard work, he will need to build more recognition within the industry, and he will always be creating something.

by CHRISTOPHER BIAGInI


LEEDZ ALONZDOUGLAS LEEDZ

Styling for our friends in UHURU

Iowa state daIly

V i s u a l G a r b a G e


I am a print designer. Print advertisements have existed since the origin of written language, ranging from hand-painted murals on the walls of Pompeii to the endless junk email we get. Our generation will see the rise of a new platform and its effect on other media, but will print ever be completely eliminated by the digital revolution?

There is no denying that the experience a person has with a brochure is much different than with an email attachment, but has our age of digital presses cheapened our experience with print? Thirty years ago, printing wasn't so advanced. The first laserjet printer was introduced, costing $2,995. It was limited to black

and white spreadsheets and could barely handle type. During the 1970's, our current printing technology was a thing of science fiction. Now, we can spend less then a dollar to print something made five minutes earlier. The fact is, people are not as impressed with a printed piece as they once were. Printing requires craftsmanship and skill, but people are losing the association because they do not understand that printing goes beyond the copy center. The printer used to copy your notes is not comparable to a press used to print things like this magazine.

An offset printer is not operated by hitting ‘print.’ Each primary process color has a separate printing plate—cyan, magenta, yellow, and key (black). These plates are run through the press with the

principle that ink and water do not mix. The plate is hit with a roller of water, then with a roller of ink. The water keeps ink off non-image areas. It is a craft, and the operator is highly skilled and trained.

I was fortunate enough to have received a tour of Barnhart Press in Omaha, Nebraska. As soon as I walked into this offset print shop, I was hit with the strong aroma of ink and paper—somthing a person normally loves or hates. During my visit, almost all of the presses were running. They even had a few letterpresses operating. The press operators were covered in ink and so consumed in their work that our small tour group did not distract them from their passion. It was amazing to see this side of the printing industry. It sealed my fate as a print designer.

Maybe it is just my bias, or need of work, but with the availability of instantaneous printing, many people devalue the design process. Good design is not required to gain a person's attention anymore. Someone can spend an extra five cents and have their poster printed on neon "astro" colored paper. Of course, I am being sarcastic, but it seems the rest of the world does not get it. Our addiction to cheap, overly aggressive

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by JORDAn BECKERphotos JORDAn MATSOndesigner pAigE WinTErS

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printing techniques is killing peoples’ appreciation of well-concepted, designed, and crafted pieces. It is just like coffee—the more you drink, the more immune you will become to the caffeine. We are becoming immune to print. Every bulletin board on campus is covered in a mache of neon orange and comic sans filled letter-sized sheets. It is a battleground fighting for your attention. How much more effective would it be for these boards to only be allowed a certain number of posters? This is an issue of beautifying campus. I wouldn't drop my garbage off on central campus—why are we dumping our visual garbage off at common

spaces of our otherwise beautiful campus? Garbage—that is what it is. This is a problem advertisers are encountering today. Every ad campaign is louder than the next. I long for the days of well-designed advertisements, that were simple and did require large emotional type. So where do we draw the

line? When do we hit the point of visual overload, where people completely disregard all visual information? For some of us, this is already a reality. UHURU is not exactly exempt from contributing to this clutter. We are a publication that competes for your attention—but after finding a stack of last semester's issues covered by the trash of out of date posters, and mass produced ad-filled publications, I cannot help but think that we deserve it, not them.

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c u l t u r eby COrEY O'BAnnOn, EMiLY HALL, LAuREn JOHnSEnphotos BRITTA MEnnECKE


g E R m a N yA much different approach to the “children’s story” can be found in Grimms’ Fairy Tales. German siblings Jacob and Wilhelm Grimm, more commonly known today as the Brothers Grimm, composed 10 editions of their collection of folktales in Children’s and Household Tales, later titled Grimms’ Fairy Tales.

Over the timespan of 1812-1864, the editions underwent heavy examination and criticism for their content and were published 17 different times. The adaptations were due to the subject matter of the stories which was deemed inappropriate for children, especially when the word “children’s” was laid out in the title.

Throughout the editing process, the brothers removed sexual references – such as Rapunzel’s pregnancy being brushed under the rug when she naively questions her father as to why the stomach of her dress was becoming so close-fitting – and sometimes even amplified violence in the tales, though mostly aiming this at the villains.

C U LT U R a L va R I aT I o N s

I N fa I R y Ta L E s

g R E E C EOne of the earliest groups of fairy tales written down dates back to the 5th century BCE: Aesop’s Fables. The translations of these fables were found in both Greek and Latin text, though it was known that the Greeks and Indians often shared stories and therefore makes it difficult to pinpoint which culture started the stories first. Regardless, Aesop’s Fables were used as a tool for the moral education of children, similarly to how they are told today.

The fables were originally targeted for adult audiences, including preachers, moralists, teachers, and speech-makers. It wasn’t until the 18th century that philosopher John Locke suggested turning the gear toward children to help them learn and grow from the stories at a young age.

Familiar stories in Aesop’s Fables are “The Fox and the Grapes” – from which comes the expression “sour grapes” –

“The Boy Who Cried Wolf,” “The Tortoise and the Hare,” “The Ant and the Grasshopper,” and “The North Wind and the Sun.”

d E N m a R kHans Christian Andersen was a Danish author, poet, and writer of fairy tales in the 19th century. Unlike Aesop’s Fables which were intended for an older audience and the Brothers Grimm who clearly did not take into consideration the ease of creating nightmares in the minds of young ones, Andersen’s stories were focused toward children as well as beloved by them.

One of the most praiseworthy facts about H.C. Andersen, as he came to be known, was that his stories were eventually translated into more than 150 languages. If there have been stories in just a few languages recovered from the 5th century, imagine how set-in-stone Andersen’s tales will be.

Stories of Andersen’s familiar to those in the English-speaking world are “The Little Mermaid,” “The Princess and the Pea,” “The Ugly Duckling,” “Thumbelina,”

“The Steadfast Tin Soldier,” “The Snow Queen,” “The Emperor’s New Clothes,” and “The Little Match Girl,” most of which are often performed or have even been made into films.

Ever since there has been someone to listen, fairy tales have been told. Passed down through oral tradition as well as literary forms, these tales have been used as entertainment both lighthearted and haunting to tell stories which the auditor can interpret in a variety of ways. Some versions include fantastical creatures such as goblins, mermaids, and pixies, while others are considered to be more of the tall-tale genre.

There is no specific historical line tracing back to the exact conception of the fairy tale; however, as long as literary recordings continue to be found, the stories will continue to live on and be told just as they were more than 2,000 years ago.

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These days, if a person wants to read a fairy tale, a simple internet search can bring up the original text of the story in seconds. Fairy tales have been around for a lot longer than the internet, however, and were present even before books were as commonplace as they are today. Most of the stories were part of an oral culture, which required simple stories that could be easily memorized and then retold. Eventually, fairy tales were retold so many times that they became entirely different stories altogether.

These variations proved a challenge for scholars that studied folklore, so in the early twentieth century, a man named Antti Aarne, a Finnish folklorist, developed and published a tool for the classification, organization, and analysis of folktales. Since, it has been translated and updated twice by Stith Thomspon and is now called the Aarne-Thompson Tale Type Index. According to the index, each Tale Type is assigned an AT (Aarne-Thompson) number, indicating its fundamental characteristics. From there, several individual tales are classified under that same number, showing similarities between them.

If I were then to tell you I had a fairytale which was classified under 510a, you could discern that the tale consisted of magical elements and will have something

to do with a supernatural helper. If you were to look up the number itself, you would find that the number 510a specifically classifies tales that center around a kind, but persecuted heroine who suffers at the hands of her step-family after the death of her mother. Her father is either absent or neglectful, depending on the version, and the heroine has a magical guardian, sometimes representative of the heroine’s dead mother, who helps her triumph over her persecutors. Often, the tale will also include an epiphany sparked by an article of clothing that causes the heroine to be recognized for her true worth.

Readers may recognize this as a Cinderella-type story, and 510a is in fact the number under which Cinderella is classified. Other tales under that number include The Sharp Grey Sheep (Scotland), The Broken Pitcher (England), and even Pepelyouga (Serbia), which all share the same archetype. This classification, while separating the tales, ultimately shows that all kinds of tales from all over the world are connected. This is likely because fairy tales might have first been told in one place, but over many years could travel and evolve into something new as they were integrated into new and diverse cultures, building the broad array of stories we know today.

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T h E Ta L E T y P E I N d E x

The Walt Disney Company, currently the largest media conglomerate on the planet in terms of revenue, is well-known for its iconic Mickey Mouse sometimes overlooked, however, is the great discrepancy between the classic films and the original, often more gruesome fairy tales on which they are based.

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The Queen wants Snow White’s Heart in her pretty little box.

Cinderella’s father is dead.

Aurora lives with the three fairies until her sixteenth birthday.

The Queen makes a single journey to the seven dwarves’ cottage, bringing a poison apple.

A fairy godmother solves Cindy’s problems by singing

“Bibbity Bobbity Boo!”

Prince Phillip is a BAMF.

They lived happily ever after!

Maleficent kidnaps Phillip and turns into a giant, flesh-eating dragon.

A kiss from Snow White’s true love revives her.

They lived happily ever after!

The Queen wants Snow White’s lungs and liver. Why? So she can eat them. At least, when the huntsman brings her the organs of a pig and claims they belonged to Snow White, she eats those.

Cinderella’s father is still alive, simply neglectful. He just watches the step-mother’s wicked punishments for his daughter and does nothing.

Briar Rose knows she is a princess for the duration of her life and lives a life of luxury in the castle.

The Queen visits Snow White at the seven dwarves’ cottage three times. The first time, she ties Snow White’s corset so tight that Snow White nearly suffocates. The second time, she brings a poison comb which only has a temporary effect on the princess. It is not until the third visit that she brings Snow White a poison apple.

Cinderella plants a hazel tree over her mother’s grave and waters it with tears. A white bird comes to live in the tree and grants Cinderella’s wishes, magically supplying beautiful dresses and golden slippers not once, but three times, as the ball is a three day affair.

The Prince just times things right. As it happens, the amended curse put on Sleeping Beauty dictated that she sleep for 100 years – NOT until true loves first kiss. He just happened to show up 100 years after the finger pricking.

At Cinderella’s wedding, the white dove and its partner peck out the eyes of the wicked stepsisters and curse them to blindness.

The wicked fairy is only present in the story for long enough to curse Sleeping Beauty. There are no big battles.

The prince decides to take Snow White home with him (without her consent…because she’s still unconscious). Along the way, they hit a bump in the road and she hacks up a big ole hunk o’ apple that had been stuck in her throat.

The Queen attends Snow White’s wedding, where she is made to dance in red-hot iron shoes until she drops dead.

sNow whITE

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"You have brains in your head. You have feet in your shoes. You can steer yourself any direction you choose. You're on your own. And you know what you know. And YOU are the one who'll decide where to go.” –Oh the Places You’ll Go by Dr. Seuss.

Raise your hand if you were on the many high school graduates who received a copy of Oh the Place You’ll Go from a well-meaning aunt at your graduation party? After reading this quote I’m sure every American college student can go on to quote Green Eggs and Ham, Horton Hears a Who, The Lorax, and many, many other books written by the famous Dr. Seuss. Many of us were raised on these stories: personally, the first “big kid” book I read all on my own was The Cat in the Hat, which gave me a great sense of pride.

d R . s E U s s & T h E a m E R I C a N

fa I R y Ta L E T R a d I T I o NDr. Seuss was one of three pseudonyms used by the

American author Theodore Seuss Geisel. For books he wrote but did not illustrate he used the pen name Theo Lesieg (Geisel backwards), and for the children’s books he wrote and illustrated himself he used Dr. Seuss. People widely pronounce Seuss, “Sewss,” but it is actually pronounced “Soice.” Dr. Seuss switched the pronunciation to the widely used “Sewss” to evoke a Mother Goose-like figure, which helps him appeal to children. In his lifetime he wrote 46 children’s books filled with imaginative characters, rhyme, made-up words, and valuable life lessons. His books have been turned into feature films, television specials and even a Broadway musical.

The American literary culture is somewhat lacking in fairy tales that we can call our own. American writers beg, borrow, and steal from the likes of Hans Christian Anderson and the Brothers Grimm, but there have not been a lot of American fairy tale authors. Dr. Seuss is one of the few, if not the only, American fairy tale author in our literary history. His stories, written mostly in the 50s and 60s, have been delighting children of all ages since they were first published. The popularity of Seuss’ books make his tales the closest thing to a truly American legend that we have. His stories showcase childlike imagination, while throwing in commentary on consumerism, environmentalism, racial equality, and more of his own political views. His themes of hard work, equality and personal agency reflect the American dream ideal in ways that our borrowed tales do not. He did not want to make the stories only about the moral; he noted that every story has an inherent moral, but the point was to first tell a good story.

Dr. Seuss’s children’s books are fun and whimsical on their surface, but can be shown to bring forth his own political agenda as well as giving life advice to readers of all ages. Throughout his stories Dr. Seuss has taught readers many lessons, some of them include: “play your day” (life’s too short not to enjoy it), to “treat people fairly and squarely”, to “try it, you just might like it” – don’t be afraid to try something new, and most importantly that

“your voice counts” – speak your mind dear readers, for after all "a persons a person no matter how small."

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end

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a r T i s T s , a m e s h a s b e c o m e

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T h e c r e aT i v e ly m i n d e d .


In the past ten years, the musical and poetic scene in Ames has seen a major upheaval. Thanks to the efforts of a small (but rapidly growing) community of artists, Ames has become a Midwestern Mecca for the creatively minded. A growing number of venues with progressively more and more shows offer musicians and poets a wider range of gigs in which to perform, and many groups have built a loyal fan base here in Ames. I sat down with Isaac Norman of the band Longshadowmen as well as Bryon and Rachel Dudley, who both perform in Strong Like Bear, Liana, and Rockets of Desire, to talk about the culture of art and music in Ames today.

Norman emphasized the immense growth in cultural production that the Ames community has seen in the past several years. “Cultural revival would be a good way to put it,” he says of this growth. When he began to get involved with music in the late 1990s, the community was incredibly competitive; there was a sense among artists of working to get out of the Midwest rather than a desire to stay in it. Today, he says, the community has changed; he says that “Now it’s extremely collaborative, but most students don’t know much about it.” In the past year or so, though, Norman has seen a change in this ignorance. He expressed his gratitude that student publications, such as the Iowa State Daily (as well as several student magazines), have been willing to go out and discover what Ames has to offer culturally.

Norman and the Dudleys both spoke volumes of the Ames Progressive (also known as the Space), where local powerhouse Nate Logsdon works to foster a mindset of cultural inclusion and diversity. The Progressive not only

hosts musical acts, but also poetry slams, yoga lessons, and band practices as well. The community, driven by people like Logsdon who are wholly devoted to fostering greatness in the Midwest, has grown to the point where poets have to be turned away from slams because so many people want to compete in them, to produce creatively in a community that is fully supportive of their art. “Ames is so great,” Norman says, “because there are so many people focused on making [being] here better.” Of all their travels, Norman and the Dudleys rate Ames as the most musically vibrant and collaborative town they’ve seen (except for perhaps New Orleans, in Norman’s case).

In order to put on events at which Ames artists can express themselves, one must begin by banding together a crew of like-minded people. Once a venue’s been found and a date’s been set, all that’s left is to promote the show as much as possible. Bryon says that most promotion in recent years has been through word-of-mouth amongst the people of the community; he says that everyone has taken an interest in performance art in Ames, and that all it takes to find out what’s going on is to ask someone. Posters, he says, are making a comeback as well. “I love seeing posters up around town; it’s amazing to see walls covered in information about upcoming shows and there’s an art to them that I think is really unique,” he says. The media are getting more involved as well—publications such as Ames 247, the Ames Tribune, Juice, and Cityview have been more active in covering art and music in the past few years.

Several organizations in Ames as well as Des Moines have been working to promote awareness of music and art as well. The Des Moines Music Coalition, Ames Forever, and Maximum Ames Records are just a few examples of organizations that dedicate themselves to this promotion. The people behind these organizations, Bryon says, play key roles in fostering the growth of local musicians as well as helping to expand the available venues and contexts for performance.

As the musical community has grown in Ames, the spoken word or slam poetry community has exploded as well. In the past year, the Ames Poetry Revival has gone from a seedling organization to a vibrant community of poets, and its legitimacy and activity are such that course credit is available to students who participate in its slams

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and events. Advised by Jim Coppoc, the APR hosts slams in both Ames and Des Moines; these often feature musical acts as well as poets, drawing in a large and diverse crowd. The appeal of these events has become so much that sometimes poets are turned away because the slam is too full. The APR has reacted in the most appropriate way possible, by expanding and promoting the shows and slams even more to contribute to the knowledge of as many people as possible. Norman and the Dudleys know the APR well through its incredible events; they cite its leading member J Parry as “a powerhouse of poetry, fostering the creativity of Ames’ students.”

The collaboration in Ames has led to an entire cultural upheaval in the town’s artistic community. When asked how this came about, Bryon says, “Nate’s enthusiasm motivates the community, and community participation makes it happen.” The movement and growth have come to create an almost folkloric, legendary form of production. Bryon says this is driven mostly by the community participation that also grew the movement: “If there aren’t people to enjoy production, there’s no compulsion to do it; here [in Ames] there is a hunger for it.”

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o f w h aT i s ‘ o k ay, ’ a n d c o l l e c T i v e

c o n s c i o u s n e s s s p i l l s o u T i n a r T.


Norman provides a slightly different view of the Ames cultural legend; he says that the times drive the creation, that the state of the world as it is creates a void that we fill through creative production. “The age we live in is a pivotal point in the development of the human psyche,” Norman says. “People today are challenging the social acceptance of what is ‘okay,’ and collective consciousness spills out in art. There is an Ames microcosm of people who are tapped into a feeling of growth and they push the boundaries of it, artists take the influences that they have and they change it into something new.” Norman and Bryon agree that it’s the vast growth of technology and our attachment to it that have created a need for more and new outlets for art and creativity. They believe that the act of creation, especially the act of performing in front of a crowd, acts as a release valve for the tensions that society creates and that our community experiences. Bryon says,

“Seeing someone expressing themselves is something that people can truly connect with,” adding that watching art happen in front of you creates a feeling that one can’t get from listening over speakers. Norman adds, “Music fosters growth. It separates humanity from itself, and there’s a cathartic experience in seeing art and in experiencing life in a way that is impassioned.” Rachel adds her voice to their agreement as well: “Actually being there, seeing people do art, is something that you can’t capture from a YouTube video. There’s nothing like actually feeling the sound.”

The Midwest itself is conducive to this kind of cathartic art. All three agree that there’s something about being in the Midwest and experiencing this culture that leads to a bigger outpouring of artistic creation. Speaking to them, I get the impression that there’s almost a legendary well, secreted away in the basement of the Progressive, where

the artists of Ames come together to tap into the human experience in a unique way. Norman says that Ames’ artists

“have tapped into the most pure part of themselves. The creation and expression of this art is multidimensional—it both caresses and assaults in an expression of human life.” They believe that through artistic creation, Ames is creating its own folkloric tradition; after all, Bryon aptly says, “folklore is local.” For those who want to get involved with the creation of the Ames legend, there are plenty of opportunities available. All that’s required is to ask around, and to pay attention to the posters on the wall and the papers in your hands. And keep your mind open. As Norman says, “Challenge yourself to see something that you might not like. It will challenge your understanding of how the world works. You’re students, that means you’re here to learn. There’s no better place for it.”

culture

Despite Oprah’s claim, very few books are truly life changing; any book on her extensive book club list is most likely poignant and well written (not always, but O usually has decent taste), but it most likely is not a monumental work of literature. These world famous books are rooted in history and culture and do not come around very often. The authors of these novels usually are victims of personal trauma or cultural suffering and write for change.

For example, Mikhail Bulgakov’s masterpiece, The Master and Margarita, was produced over the course of a lifetime. Bulgakov continued working on it until his death. It is autobiographical and simultaneously the story of hundreds of men and women who suffered under the sweet, soft hand of Soviet Russia. The tale of the star-crossed lovers to whom the title refers is mixed with a retelling of a very familiar tale: the crucifixion of Jesus Christ. This retelling focuses on the villain of the original, Pontius Pilate and his internal agony and suffering. Perhaps the most interesting part of this novel is the way Bulgakov treats reality. In his book, the fantasy world of Satan, Pontius Pilate, demons, devils and angels is more nuanced, more logical and more realistic than the fairly accurate depiction of Moscow’s bureaucratic reality. What makes this book a culturally significant novel is not only how truly spectacular it is to read, but the subtle (and not so subtle) criticism of the Soviet Union written at a time when he could have suffered greatly for doing so.

Chinua Achebe’s Things Fall Apart was published in 1958. It tells the story of Okonkwo, a powerful warrior determined not to show weakness in any form and a powerful protector his people’s traditions. However, things are changing for Okonkwo, and the intervention of the white man in Africa eventually leads to his death. This novel is one of the first African novels published in English; it is openly critical of colonialism but also criticizes the strength societal norms and mores have over the individual. Achebe also criticizes the sense of superiority whites have over Africans, a criticism which still rings true today. This novel is the beginning of popular African literature and a must read for anyone interested in post-colonial literature.

BOOKSc h ∆ n g i nby SARAH HuEMPFnERdesigner CORy WITT


Going even further back in time, back to the Roman Empire, (which is where Europeans went to justify their colonial expansion), we find Marcus Aurelius’ Meditations. This is not a novel, but a series of writings intended for improvement; one might say it’s the original

“self help” book. More importantly, however, it is the keystone piece of literature for Stoic philosophy. Stoicism may not seem prevalent in the 21st century, but the driving philosophy to maintain a will in accordance with nature and the belief that virtue is what makes man truly happy is something to which this despotic, self-absorbed world of ours might want to attune. Aurelius explores the Stoic tenants of human knowledge, self-control, and logic in his Meditations and his work is still read today. It is important to remember the wisdom of the ancients and to remember that virtue is more important than material goods. Some of Aurelius’ more famous quotations are: “When you wake up in the morning, tell yourself: The people I deal with today will be meddling, ungrateful, arrogant, dishonest, jealous, and surly. They are like this because they can't tell good from evil. But I have seen the beauty of good, and the ugliness of evil, and have recognized that the wrongdoer has a nature related to my own—not of the same blood or birth, but the same mind, and possessing a share of the divine.” Or “Not to feel exasperated or defeated or despondent because your days aren't packed with wise and moral actions. But to get back up when you fail, to celebrate behaving like a human—however imperfectly—and fully embrace the pursuit you've embarked on” These quotations and the rest of Meditations can be helpful for college students (or anyone, really) who needs a little boost of confidence or morale.

Jumping back into the 20th century, we have a plethora of non-American and non-European writers. This is important to notice primarily because so few of these great books have the attention they deserve from the American people. Some of these writers include Steven Galloway (a Canadian), Vikram Chandra (an Indian writer) and Haruki Murakami (a Japanese writer) among many others.

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Galloway’s The Cellist of Sarajevo is an artistic interpretation of a true story of famous cellist Vedran Smailovi⅔ who played his cello for twenty-two days in honor of those dying throughout the city despite the presence of snipers so very close to his location. This moving novel captures the devastation of Sarajevo, the capital of Bosnia and Herzegovina, during the Bosnian war. This novel won several prizes, including the 2009 Evergreen Award, the George Ryga Award for Social Awareness in Literature and the Borders Original Voices Award. It follows the lives of three people trying to survive the war and exploring themes of humanity, healing and the power of music. This is one of the most powerful books written about a war that has seen little press coverage in the 21st century despite being one of the most devastating in history.

Chandra has written two long novels, both of which were well received: Red Earth and the Pouring Rain (1995) and Sacred Games (2006). The latter delves into the complex world of contemporary India, highlighting corruption, poverty, violence, prejudice and crime. This novel is ambitious, emotionally charged and a representation of modern India that is gritty but hopeful. Winning 3 awards and selling over 200,000 copies, Chandra’s novel was a success. The themes in the novel accurately reflect the concerns facing modern India: nuclear armament, corruption within the government and police force, wealth disparity, conflict between religious groups (Islam vs Hinduism), organized crime and a burgeoning economy. This book is thick, but worth it if you’re looking for a fictional route to learning about modern India.


Murakami’s work is wildly popular in Japan, several of his books being made into movies as we speak. His most recent publication is his magnum opus: 1Q84. This book looks at the seemingly insignificant human interaction and the incredibly significant impact we as humans have on each other. The simple act of kindness that one may do with no forethought may have long reaching implications for one or both parties. Murakami’s characters are engaging, his writing complex, and his understanding of the human psyche unparalleled in 21st century fiction. This particular novel also explores the effects parents have upon their children, the willingness of society to look past domestic violence and rape in order to maintain the façade of harmony and the ability of one person to make a difference. The violence in the novel is tame compared to some of Murakami’s other novels, and the sexuality of the characters is just as present in this one as it is in others. Murakami’s other novels explore the human perception of reality and what it means to be human. Murakami is the quintessential 21st century postmodern author, and his work is a refreshing change for the American reader.

Of course these are not all of the culture-changing or forgotten novels in the world. Ernesto “Che” Guevara’s The Motorcycle Diaries or Basho’s Narrow Road to the Deep north or the anonymous epic Beowulf, are all more examples. It is important to explore these works and expand one’s view of the world. Next time you’re in your favorite bookstore, pick up one of these and open your heart and mind to their themes.

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Uhuru's first incarnation was in 1991 as an African American issues magazine. This first attempt had a successful run, but eventually became defunct. In the spring of 2005, Uhuru: The Freedom Magazine was revived as a more broadly defined multicultural publication. Sulianet Ortiz, now an ISU graduate, was responsible for the magazine’s rebirth, and served as its first editor. The magazine was dedicated to presenting the issues and perspectives of the alana community - African (Americans), Latinos, Asian (Americans), and Native Americans.

Within the past few years, Uhuru trended away from alana to focus on different aspects of multiculturalism. In the transition, the mission of the magazine evolved to use a multicultural perspective as the platform from which to address contemporary issues facing our campus and our larger society. Since this change, Uhuru has organized poetry slams, exposed racial discrimination in the workplace, and covered subjects from death to Muslim culture to racial, gender and sexual stereotypes. In February 2008, Uhuru collaborated with the Student Union Board and the Committee on Lectures to present the “Say Something” poetry slam. The event was one of the largest in Uhuru’s history and considered a resounding success by all who attended. The slam welcomed guests E. G. Bailey, Sha Cage, Truthmaze and Kate Kennedy. More recently, Uhuru has collaborated with both the Greenlee School of Journalism and the Study Abroad Center to present articles in the magazine (the latter of which is included in this issue).

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This year, the magazine has been moving past the transition phase to focus on identifying itself through consistent, quality articles. Our staff have been working together to solidify a more precise and definitive style and statement for Uhuru as a publication. The current writers and editors of Uhuru have diverse and complementary writing styles, and the same can be said of the design staff with respect to their designed content. Our Photography Director, combined with the strong photography staff, a new Public Relations Director, and our Faculty Advisor complete the roster.

The true essence of Uhuru can best be discerned by looking back at the stories that are now part of our foundation. As we look back on the highlights and hallmarks of Uhuru’s past issues, we can better understand both the magazine’s original purpose and how better to continue bringing the student body what we hope is a fresh look at multiculturalism and diversity in our world.

uhuru spring 2012 ii

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