Year In Review

CLASS Faculty are a professionally active faculty who pursue significant original research, publish, present scholarly papers, write grants, and take leadership roles in professional associations at a remarkable level given their teaching obligations. Our excellent undergraduate anthropology program is exceeded in enrollment and program diversity only by the Univer-sity of Georgia. CLASS faculty members maintain a high level of mutual respect, intellectual stimulation, and cooperation. CLASS faculty organized a plethora of national and international conferences (e.g. British Commonwealth and Postcolonial Studies Conference, International Brecht Society, International Society for Education Through Art, International Clarinet Asso-ciation, etc.). Many CLASS faculty members serve as journal editors and/or editorial board members. The following journals are produced by CLASS: Journal of Commonwealth and Postcolonial Studies, Children’s

Literature Association Quarterly, Politics and Policy, and Newslook. CLASS holds accreditations from the following: National Association of Schools of Public Affairs and Administration (NASPAA); National Associa-tion of Schools of Music (NASM); National Association of Schools of Art and Design (NASAD); and National Council for Accreditation of Teacher Education (NCATE). The Betty Foy Sanders Department of Art received a $1 million art collection gift from Governor Sanders and his wife. They also received a $25,000 gift of stock and $100,000 collection of art from Smith Calloway Banks, entitled the “Smith Calloway Banks Southern Folk Art Collection.” Our Center for Irish Studies is emerging as the “go to” place within the BOR System and the region for research and outreach related to Irish Studies. We received a gift of $5,000 from Ms. Sally Powers for the Center. Judge Avant Edenfield gave Political Science a $25,000 gift for scholarships.

Academic Distinction

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“You’re very rude!” says the double, dressed in an elaborate

rain hat and poncho.

“And you’re wearing plastic,” Williams replies acidly.

“I’m going to be late!”

“And I’m going to get wet. I’m Wilhelmina Slater. I don’t

get wet,” Williams says. She slams the specially rigged door

on the woman’s hand and throw a ball of wadded bills at her,

adding, “This should take care of it.”

William’s flair for putting the mean in Wilhelmina earned

her an Emmy nomination last fall and added another line to a

résumé that already included R&B and pop artist, film star and

Broadway showstopper. In Ugly Betty, she brings intelligence,

poise and unapologetic assertiveness to the maddest of

Wilhelmina’s machinations. It’s a rare combination that makes

what could have been simply a cartoon villainess surprisingly

human and , yes, even likable.

“It’s so much fun to play a strong, capable woman who

isn’t an attorney in a suit or a doctor spouting medical jargon,”

Williams says, restuffing her purse with fake dollar bills for the

next take. “It’s great to be so broad. Usually you only get that

in theater. When a director on Ugly Betty says, ‘Go bigger’, it’s

like, ‘Yeah, we’ll give you bigger!’”

At this stage of her two-decade career, bigger is

definitely better. “I’m enjoying every moment,” she says. “In

your twenties, you think, I’ve got to prove something. In your

forties, you don’t. You realize you don’t have control over

everything. Many times I’ve said, ‘What is the lesson I’m

learning?’ It always reveals itself.”

It is the kind of 72-degree octocber day that southern

california natives take for granted, and Williams, dress in jeans

and a slate-blue sweatshirt, with scant makeup and her hair

pulled back in a ponytail, gets down to business, wing off a

patio table so that we can chat in her backyard. If her house – a

white contemporary on a hill, decorated with potted palms and

neutral fabrics - -feels a little unlived in, that may be because she

splits her time between L.A. , and Chappaqua, New York. But

the yard is filled with kid-friendly trappings: a swimming pool:

an oversize trampoline used by William’s youngest daughter,

who lives with her here; and a Yorkshire terrier that belongs to

her son, who is on the East Coast with his father. (Her two older

daughters are in college.)

Williams grew up in a suburban milieu not too different from

the canyon neighborhood she’s chosen for her California home

base. She and her younger brother were raised in Millwood, New

York; her parents, both public school music teachers, taught

her that she needed to work harder than other students. “ I was

the only black kid in my class,” she says, “and my parents said

that I’d always have to excel just to be considered equal to the

rest. Which was true.”

Excel she did, studying French horn, piano and dance;

performing in the orchestra, chours and marching band; and

landing her first lead role in high school, as the Madwoman of

Chaillot in the musical Dear World. But she doesn’t feel she

was an overachiever: “I did everything I wanted to do.”

In 1983, during her sophomore year at Syracuse University,

Williams was spotted by local beauty pageant scouts. She

turned down their suggestions that she compete, until on e of

her plays was canceled, freeing up the month of April. “I called

my mom and I said, ‘What do you think?’” she recalls. “And

she said, ‘Well, you get some scholarship money.’” The next

thing Williams knew, at 20 she was the first black Miss America

– although some African-Americans carped that her features

weren’t “black enough.”

“It’s a way different world now than 25 years ago,” she

says, shrugging off the issue. “There are many more images

today of women of color. There are networks just for people of

color. When I was growing up in the 1960s, black dolls were

rare; I had one whose name was Sasha, and I had such fond

memories of that doll that I named my youngest daughter

Sasha.”

Ten months into her reign as Miss America, nude photos

Williams had posed for at 19 were published in Penthouse,

and she had to relinquish the crown. “I was a teenager, and

someone took advantage of me,” she says. The scandal –

which today might result in nothing more than a week’s worth

of tabloid headlines and a “pardon” from the likes of Donald

Trump – made her a household name, but for all the wrong

reasons. The one bright spot was her publicist, Ramon Hervey,

who worked with her to weather the crisis. They fell in love,

and he helped her launch a recording career that resulted in

the chart-topping singer “Save the Best for Last,” two platinum

albums and multiple Grammy nominations. During their 10-year

“It’s so much fun to play a strong, capable woman who isn’t an attorney in a suit or a doctor

spouting medical jargon.”

120

She has gone from beauty queen to Ugly Betty’s queen of mean. Along the way, Vanessa

Williams, 44, has rewritten the rule book for women who know exactly what they want.

VANESSA WILLIAMS isn’t the kind of woman who would

risk breaking her ankle rather than ask for a better-fitting pair

of shoes. As the crew of Ugly Betty sets up a shot on a street

corner in downtown L.A., which is doubling for New York, she

sends a wardrobe person scurrying in search of something more

comfortable than her black stilettos. In less than a minute, she is

presented with open toe, patent leather pumps that won’t slip off

her feet.

Williams is now fabulous from head to toe, as befits her

character, scheming fashion editor Wilhelmina Slater – decked

out in a high-collared silver jacket; a gray, knee-length pencil

skirt; a sleek, streaked wig (similar to her own hair, but styled

for Wilhelmina’s larger-than-life persona) and an hour’s worth of

makeup. At 44, Williams is still the radiant beauty who, in 1983,

became the first black Miss America. But television doesn’t do

justice to the mischief in her striking blue-green eyes.

“She always says that she gets her ‘mean eyes’ from her

mom, because her mom would shoot her kids a look that would

just make their hair stand on end,” says Michael Urie, who plays

Wilhelmina’s flamboyant assistant, Marc St. James.

And then there is her voice: low-timbred, resonant, silky yet

insistent.

“Midtown Nobu, please,” she says, strong-arming past Betty

White’s stunt double into the backseat of a taxi.119