BEYOND THE COMMONS
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CONTENTS Issue No. 1: October 2018
ART
5 Art in Real Life: Basquiat
7 Banksy-ed CITY SERIES: A LOVE LETTER 10 Atlanta, Georgia, 7 Berkeley, California 8 Los Angeles, California 9 Pittsburgh, Pennsylvania CULTURE 11 Cultural Appropriation: How Far is Too Far? LUNCH BREAK 12 Amy Serrano: Not Bland MUSIC 14 Iridescence by Brockhampton POLITICS 15 Kavanaugh Confirmation Threatens the Integrity of the Supreme Court SOCIAL ISSUES 17 Indie Band, “Summer Salt”, Accused of Sexual Assault and Rape
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BEYOND THE COMMONS Editor in Chief: Sarah Harwell Editors: Art Editor: Krista Nguyen Culture Editor: Destiny Hodges Music Editor: Joe Fayad Politics Editor: Laura Nguyen Social Issues Editor: Salem Suleiman

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EDITOR’S NOTE
WELCOME TO BEYOND THE COMMONS Bienvenue, ようこそ, kuwakaribisha, welcome. Beyond the Commons is a magazine dedicated to not only tell the narrative of people who have experienced real-life situations where we have felt oppressed, but to also educate - to educate others about the topics we love the most, the topics that we believe are crucial and important. We are strictly staffed by people of color, members of the LGBTQIA+ community, and other marginalized groups. The entire staff consists of college students, hoping to make a mark on the world as we encounter it. It is our promise to not only write about what we love about the world, but to also reveal how the world sometimes does not love us. Every issue is different, with no recurring theme or angle. We write what we know because we want to, not because we have to. The idea behind this magazine arose because we all have something to say - an opinion about the world that not everybody gets to hear, not everybody gets to feel or be able to comprehend. The mission for Beyond the Commons is to be able to educate - knowing so much about what we experience around us, we want everybody to know what we see, hear, feel. Our writing goes beyond the commons.
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ART To intrigue, to enlighten, to inspire.
ART IN REAL LIFE By: Krista Nguyen Jean-Michel Basquiat Jean-Michel Basquiat was born in 1960 in Brooklyn, New York. He is of Haitian and Puerto Rican descent. He is an American artist apart of the Neo-Expressionism movement. Basquiat’s artwork style consists of graffiti, street art, and primitivism. In Basquiat’s early life, his mother encouraged his craft. He learned how to draw and paint, showing remarkable talent. Together, with his mother, they attended museum exhibitions in New York City. Eventually, he became a Junior Member of the Brooklyn Museum at age six. His art career kicked off with graffiti street art with his friend, Al Diaz. Basquiat went under the name, “SAMO” and presented their art on buildings in Manhattan. By 1980, he became a well-known artist and had his first exhibition within the same year. Basquiat’s work typically addresses racial injustice within America and historical events, such as slave trades. His influences include renowned artists: Pablo Picasso and Leonardo Da Vinci. He also draws influence from punk and hip-hop.
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Neo-Expressionism The Neo-Expression movement appeared in the late 1970s to emerge from the formalism of Minimalism and Conceptual art. Common themes within this art movement consist of taboo or controversial subjects involving psychology, nationalism, history, or culture. The Broad đ&#x;“? Los Angeles, California Eyes and Eggs - 1983 - Acrylic, oilstick, and paper collage on cotton drop cloth with metal hinges - 119 x 97 in. Portrayed in the art piece is a cook holding a pan with sizzling eggs. He appears to have a skeletal-like head, glassy eyes, and gritted teeth. A blue outline is apparent in the cook’s hat and shirt. A splash of red adorns the egg yolks and heat waves. Basquiat himself also embossed the piece with sneaker marks.
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Obnoxious Liberals - 1982
- Acrylic, oilstick, and spray paint on canvas
- 68 x 102 in
In this piece, Basquiat utilizes vivid colors, markings, and figures to convey his message. The figures represent capitalism and its victims. This is clear due to the dollar signs and the “Not For Sale” text on the figures. On the left side is a trapped, chained figure that represents the oppression of African Americans within white American culture. The top hat, a reference to Uncle Sam, on the middle figure and the cowboy hat on the right figure represent white American culture.
BANKSY-ED By: Sol Jihn Banksy is an anonymous vandal, political activist, and guerrilla street artist. He is best known for his satirical themes and dark humor in his “hit and run” graffiti using handmade spray paint stencils. However, despite intense public scrutiny and fame, his identity still remains a mystery.
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Banksy's Girl With A Balloon - Credit: Getty
On October 5th, 2018, the 2006 version of Banksy’s painting Balloon Girl (or Girl with Balloon) was set up for auction with exactly 27 bidders held at Sotheby’s in London. As soon as the painting was auctioned to the winning bidder, the painting spontaneously self-destructed itself halfway to shreds as soon as it was sold for $1.3 million. It was later revealed that Banksy had intentionally installed a remote controlled self shredding device inside the picture frame 12 years ago. And while it was meant to be shredded completely, only half of the piece was destroyed. Balloon Girl is a painting of a young girl painted in black and white extending her arm towards a red, heart shaped balloon blowing away in the wind. Its original painting has opened many interpretations, with its most popular analysis depicting a child’s unwavering optimism and hope for a seemingly unreachable goal. Since its original release in 2002, Balloon Girl has been used as a universal symbol to express Banksy’s support to a number of social campaigns. Campaigns include the West Bank Barrier in 2005, the Syrian refugee crisis in 2014, and the 2017 election in the United Kingdom. 8
When asked about the motive behind such a prank, Banksy simply quoted Pablo Picasso, that “the urge to destroy is a creative urge”. This marks the first time in art history where a new work was created during an auction. Sotheby's now acknowledges that they were “Banksy-ed”. The remainder of the work that had not been shredded shows only the heart shaped balloon. The unshredded piece was officially retitled, called Love is in the Bin. Sotheby's comments that Love is in the Bin is not a destroyed artwork, but rather an intentional and creative piece made by the artist.
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CITY SERIES: A LOVE LETTER For the love of where we’re from.
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October 10, 2018 Dear Atlanta, I believe the saying goes, “if you love something set it free. If it comes back its yours. If not, it was never meant to be.” Hawaii. Tennessee. Illinois. Texas. Colorado. Five states later, and I never imagined after parting ways at the age of six, I’d get the chance to be back at my birthplace. Being a military kid, you really just never know. During my early years you paved my childhood. From my first real friendships, to walking to and from school every day with my sisters, to my earliest memories of holiday celebrations; my initial childhood impression belongs to you. When I moved back for high school, you were the gift that just kept giving. You gave me my very first concert at the Philips Arena, from none other than The Weeknd, whom I adore. You gave me two lifelong best friends that understand and accept me for all my quirks and imperfections. You gave me my first boyfriend. You gave me a prom-to-remember with a scandalous dress that my father will definitely never forget. Here is where I experienced the rollercoaster ride and phases that are being a growing adolescent. You were present every step of the way. Oh, and how I miss Centennial Park and its glaring Ferris wheel, and Piedmont Park with its endless green. I yearn to have again quality, convenient shopping in my vicinity. I have to admit, the shopping here in D.C. isn’t bad at all, but it does not compare. I miss thrifting at “Little Five Points” while soaking in the hipster-artistic-out-of-the-box vibes, or heading to Lenox Square or Perimeter to do some high-end spending. I can’t believe I’m saying this, but I even miss your bipolar weather. In my advantage, since no one in Atlanta can seem to drive in snow, I experienced the longest consecutive snow days off, ever. Although we went our separate ways once again; I loved you, I set you free, and you came back to me. For that, I am forever grateful. Love Always and Forever, Destiny Hodges
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Dear Berkeley, California, You received me with open arms—I, a wide-eyed eighteen-year-old, born and raised in sleepy suburbia. I had known you before, but not closely, nor intimately. Our true meeting in the final days of summer overfloweth with nostalgia. I carried with me my wounds from being ripped from the beach and suddenly placed amidst the city; you took these wounds and kissed them. They told me that it would never work out between us—that you would chew me up and spit me out—but I had hope yet. Over time, I have learned of all your quirks and gems, some of my favorite being Yogurt Park and the homeless man who screams “hell yeah” at anyone and everyone who walks by. Sometimes I hunger for more, but I keep that a secret. Eventually I will leave you and go off to love another, but know that you have forever changed me. You will always remain this intellectual hub for free speech, boba, passion, and romance. I remember walking into Berkeley with clean Stan Smiths, and I can’t help but feel angry at you for beating them up. But sometimes when I walk these streets (with both earbuds very unwisely in my ears), I remember why I loved you in the first place. Can’t you just love me and not ask why? Love, Laura Nguyen
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October 1, 2018 Dear Los Angeles, Every waking day I think about you, every weekend I come visit you. Every time I see your sparkling lights, your grey skyscrapers in a cloud of blue, my heart grows warm, like the sunshine that beams on you every afternoon. The city of angels - angels like my dad grew up, my mom had her best moments in her youth, and where I currently hold mine. The sun greets you with open arms and the world blesses you with not a cloud or a drop of rain that does not take away your shine. People hope to become stars as they travel far and wide to live in you, as you create a heaven for them. A heaven that I call home, a heaven where my biggest worries are how hot the sand is, or where the shade lies. I find myself in memories of you, memories of Griffith Observatory, where I felt on top of the world; memories of soft, dreamy music humming in my ears at Hollywood Forever; memories of the wind blowing in my hair in late May in Malibu. I can never fathom the thought of losing you one day, but one day these memories will be just a rectangle of a moment I captured in my young adult life. Moments I will always remember, moments that remind me of who I am. I say I hate Los Angeles, but what I hate is having an innate, unconditional, never ending love for a city that I will have to say goodbye to one day. A goodbye to my youth, a goodbye of the heaven I took solace in. Thank you, for being you, and thank you, for letting me be me. Love always, Sarah Harwell
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Dear Pittsburgh, Your sun-kissed yellow bridges and three rivers connect to the heart and soul of the Point State Park Fountain, splashing with spirit. You range from being a busy metropolitan area to being a placid forest with bursts of nature. Every now and then, a deer comes prancing from the woods and I no longer find it strange. You have decades of culture embedded in yourself—each neighborhood is unique. From Lawrenceville with “hip” and “trendy” cuisine areas to the North Side with the city’s most colorful landmark, you never fail to bring upon new adventures. You bring upon mixed emotions. In the summer, I love you. In the fall, you grow cold towards me and I grow cold towards you. In the winter, you devour my fingertips, turning them into a bruised purple that I didn’t ask for. In the spring, we begin to warm up to each other. The cycle then starts all over again. I think I slowly get used to you as the years go by. Maybe we’ll grow to completely love each other someday. Still, I thank you for the memories and the endless discoveries. Love, Krista Nguyen
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CULTURE Stay woke.
Cultural Appropriation: How Far is Too Far? By: Destiny Hodges It’s that time of year again! With Halloween just around the corner; children, teens, and adults alike are brainstorming their costume debut as we speak. They take on every role imaginable from vampires, superheroes and princesses - to food, household items, and animals. Among the vast selection of options include modeling the customary appearances of cultures and identities from all over the globe. Doing so can and has caused a great deal of controversy. In 2015, a campus wide debate and protest at Yale University sparked from two emails about Halloween costumes fueled the conversation about this ongoing, nationwide argument. The first email was sent by the University’s Intercultural Affairs Committee to the student body; in its request it stated to avoid wearing “culturally unaware and insensitive costumes that could offend minority students. This statement includes the specific listings of pieces such as feathered headdresses, turbans or blackface. Is that too much to ask of people? The second email arose when faculty member and administrator at a student residence, Erika Christakis, responded by expressing that on behalf of those “frustrated” by the advice; students should be able to wear whatever they want, even if they end up offending people. So, the question remains, how far is too far?
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For those who agree with Christakis, is there a point where possibly-culturally insensitive overpowers creative expression? One of the main problems that occur when we decide to dress up as one another for a day, is that dressing up is all that we are doing? There are real experiences and oppressions that come with being in a marginalized population, and when we dress up as a particular group of these people, we don’t have to actually take on their reality. This can be very offensive when, for example, a white American decides to where dreadlocks on Halloween, when a black male who wears dreadlocks every day is discriminated against in the workplace. Another example would be dressing up as a Native American or in their headdresses for a “cool” aesthetic, when in fact while preserving their culture, there is deep history of genocide and deprivation. And then we have scenarios that are just downright wrong, with no ounce of justification. Let’s rewind to Julianne Hough dressed up in blackface as “Crazy Eyes” from the Netflix original series Orange Is the New Black. Whether her deliberate decision is pure ignorance or not, it is each of our own responsibility to educate ourselves on the historical context and implications of our actions. This isn’t to say little girls with blonde hair shouldn’t dress up as Mulan or Jasmine, but in situations like this, one should consider whether they are coming from a position of systemic Devone Byrd, Pacific Coast News/Jill Greenberg for Netflix.
privilege that reinforces stereotypes and not their own personal background, and proceed to make that apart of their decision. In our youth’s case, it is imperative for parents and/or guardians to have these 16
conversations with them. A start could be posing this question to them: “Imagine how someone else would feel if you dressed up like them?” It is not a simple concept, but it also is not as complex as we’re making it. We as a nation lack empathy, and it manifests through debates such as this one. Instead of placing oneself in another’s reality, we’d rather rationalize for our own overall benefit, or not even think twice at all. The reality is that there is extensively flawed history and present-day aftermath that we must always be aware of. And although our intentions may be innocent, it is our duty to face the repercussions of the past and present, and be carefully thoughtful towards how we appreciate one another’s culture. With that being said, don’t be a WITCH! When costume shopping this year, proceed with caution.
LGBTQIA+ History Month: Icons October is LBTGIA+ history month, and in honor of this month’s celebrations, we decided to compile all of the queer icons throughout time. Game changers, people who are proud of their sexuality unapologetically themselves. We thank them for their courage to speak up about something so personal to their life, and for everything they have done to inspire queer individuals everywhere. • David Bowie: David began breaking barriers of masculinity in the early years of 1972, when he created an androgynous persona, Ziggy Stardust, to defeat the means of gender identification. His constant fluidity with sexuality, fashion, and music allowed a gateway for others to do the same. He did not lobby for gay rights, but instead for a larger mission society’s acceptance. • Frida Kahlo: During her marriage with Diego Rivera, Frida was openly bisexual and had multiple affairs with women including: Georgia O’Keefe, Dolores del Rio, Paulette 17
Goddard, Jacqueline Lamba, and Josephine Baker. Frida was openly bisexual - which was extremely courageous of her time, and was not afraid of homophobia. She often dressed in men’s clothing, and was fascinated by the idea of androgyny. • Jonny Pierce: Lead singer of The Drums, Jonny is openly gay and celebrates pride, something very uncommon for an indie singer like himself. He is very personal about his life as a gay man, and has even stated on his Instagram, “I feel lucky as heck to be gay - and when I was a young boy growing up, I never thought I would be able to feel that way,” and later encourages young queers that with time, everything will be okay in the end. • Ellen DeGeneres: Ellen is one of the most iconic lesbians of our time, being the first openly gay lead on a prime-time television show. She has paved a way for the queer community in general when she talked about her sexuality and personal life openly on “Oprah” and has allowed a line of other queer people to do the same. Ellen remains authentic, and does not stray away from glamorizing her life in any way, and is truly herself.
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NOT BLAND.
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Lunch Break Featuring Amy Serrano
Lunch Break is a monthly segment in which we interview icons, creatives, and influencers from marginalized groups. We ask them to take us to their favorite lunch spot to talk about their background, their creative process, and what it’s like being on the job. Amy Serrano is a former celebrity stylist and YouTuber. She studied at California State University, Long Beach where she began her career in fashion. Amy has styled Katy Perry, Meghan Trainor, Shakira, and many more. She currently has 274 thousand subscribers on YouTube, and is notoriously known for being one of the most influential Glossier representatives. Amy currently lives in Downey, California where she continues to create videos, teaching women everywhere about beauty and style, for her YouTube channel.   20
BTC: Why is this your favorite lunch place? AS: This is my favorite lunch place because you can literally try something new each time, and I like that there’s always a new spin on tacos, like I love tacos regardless. BTC: I know that you have an infamous collaborative playlist called “Not Bland” on Spotify. Did you play any music whilst being a stylist, or is it something you like to listen to alone? AS: I listen to the playlist literally every single day no matter what I’m doing; in the shower I’ll put it on, while I’m editing my YouTube videos, in traffic when I’m feeling down, cleaning - it’s just my go-to playlist! BTC: What do you love the most about being a YouTuber/stylist? AS: I would definitely say the connections, I love meeting people, I love that my days are never the same and it’s never redundant. Everyday is something new and I need that. As a career, it goes with my lifestyle. BTC: Yeah, it’s not a wakeup, work, go to sleep, repeat type of schedule. AS: Yes! I tried doing that nine-to-five kind of job and I was so sick - like physically ill - because I didn’t want to go to work, which is why I love styling and doing YouTube because I can create my own schedule. Especially with styling, I get to meet someone new on a music video or meeting new directors, new makeup artists, and it’s always something fresh. With YouTube, it’s connecting and constantly making new content. BTC: Like your new fall trend styling series! I loved the 80’s inspired one. How long does that usually take you? AS: Thank you! Going through the rack of clothes maybe an hour or so, styling definitely takes awhile, and editing can take up to eight hours. BTC: What was the best advice or words of wisdom that some of your entrepreneurial friends, like Emily Weiss, have given you?
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AS: I remember at a Glossier trip in New York, we were talking about Instagram, and that our pages can be really well-curated. Emily said that it’s always better to be real, and raw, instead of very edited and trying to create the perfect feed. It’s also way harder to create a perfect, color coordinated theme, which is really beautiful and I’m so envious of people that have that gift but it’s so refreshing to hear from her, because Glossier is so successful, and they’re known for having a very real, raw aesthetic. BTC: What would you tell your 16 year old self now, in terms of style, confidence, etc.? AS: Definitely would advise to not care about what other people think; in my teen years, I would always want to meet a certain persona or fit into what I thought I wanted to be. We shouldn’t put ourselves in a box, and there’s no right or wrong way to be you. I feel like now, it’s more celebrated to be ourselves, and I love seeing that. BTC: I completely agree! With representation in mind, more people of color are becoming leaders for notorious brands, like Virgil Abloh for Louis Vuitton. Is seeing this make you think, “ugh, finally” or celebratory? AS: I think it’s more celebratory because for me, this is just the beginning. We’re not at where we need to be at all, but it’s also hope. I feel like even my generation isn’t fully there yet, in terms of integration, but I look at younger generations like my little cousins and I see that they’re more open minded and they are for sure the future. BTC: And finally, what are you most excited about, any future projects?
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AS: I really want to revamp my website, especially like “AskAmy” (a section on her website where anybody can ask styling questions to Amy anonymously for special events, what to wear with certain pieces, and more). BTC: I’ve actually asked a couple questions on it! AS: Really! I definitely want to get that going again, 2.0 it, make it more user friendly, responsive, and essentially just style the Internet. BTC: That’s so exciting! Thank you so much, Amy!
MUSIC We hear you.
Iridescence by Brockhampton By Joe Fayad On “FABRIC”, the final track off of Iridescence, Kevin Abstract raps “What about three CD’s in one year with no label? / Then we signed and our story turned into a fucking fable”. The latter half of 2017 saw “America’s Favorite Boyband” BROCKHAMPTON release the Saturation trilogy, a group of albums that demonstrated what the boyband is really capable of, as well as the fact that they were an act that won’t be gone anytime soon. The genres that they explore widely range and they execute them well, while still staying true to their hip-hop form. Each member of the collective has a unique and different contribution that all harmoniously works together. After the release of the triumphant Saturation trilogy, BROCKHAMPTON scored a fifteen-million-dollar label deal with RCA Records. Although things were looking up for the collective, controversy struck the group when Ameer Vann, a key figure in the group, was accused of sexual misconduct. This ultimately led to him being kicked out and their follow-up album Puppy being delayed. After a set of singles and an appearance on the Tonight Show 23
with Jimmy Fallon, BROCKHAMPTON finally released “iridescence”, the first album off their new trilogy. The album kicks off with the track “NEW ORLEANS”, an eclectic introduction that showcases the experimental nature of the production on the album. Throughout Iridescence, the sounds that the collective creates sound mechanical and industrial. The aforementioned track has a synth lead that buzzes throughout the whole song with moments of a distorted bass that punches through the mix. “J’OUVERT”, a song that BROCKHAMPTON hasn’t made that’s this aggressive since “HEAT”, sounds like it was made in a robotic hell that fills the listener with a sense of paranoia. “WHERE THE CASH AT” has Merlyn Wood and Matt Champion rapping over a warped instrumental that is greeted throughout with high pitched ringing and at some points, a camera shutter. These three tracks are all successful experiments done by the band, but that isn’t the case for all the songs. “DISTRICT” assaults the listeners with a lead that makes it difficult to understand the vocals due to the hectic mixing. Although there are some downsides to the experimentation, the majority of it still succeeds. There are still tracks that appear on the album that don’t play around with these elements of industrial sounds as much but are still experimental in nature. “SOMETHING ABOUT HIM” has Kevin Abstract singing with pitched shifted vocals, a production technique that BROCKHAMPTON uses quite a bit throughout their albums with different members, over a guitar that’s drenched in chorus. “SAN MARCOS” has the use of both electric and acoustic guitar but towards end of the track, the song erupts into a moving ballad with acoustic drums and a choir also in the mix. The opening track transitions into “THUG LIFE”, with the drum track of “NEW ORLEANS” continuing on. It contrasts to the opener heavily, as the continuation leads from the intense beat of “NEW ORLEANS” to a beautiful piano melody with Bearface harmonizing over the same choir that appears throughout the album.
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Iridescence also displays BROCKHAMPTON at their most introspective and mature. Unlike their previous albums, they’ve dropped the more “pop-y” tracks that the Saturation trilogy homed in for more of an introspective and mature sound. Sure, some songs on “iridescence”, like “HONEY” or “BERLIN”, are fun songs to listen to with friends in the car and have its “pop-y” elements, but the idea of the album is much more serious than their previous efforts. The album’s lyrical content displays the band’s struggles after their massive growth in the last year, how they’ve handled their success and the aftermath of kicking out one of their founding members. Although not really mentioning the removal of Ameer Vann, the group’s sound after the Saturation trilogy has changed drastically, displaying a shift in moods between the different projects. “WEIGHT” has Kevin rapping about his struggles with family and friends, as well as coming to terms with his sexuality at a younger age. The song is a heartbreaking testament that demonstrates how not only as a musician he has grown but also as a person. This growth can be seen in the previously mentioned track “SOMETHING ABOUT HIM”, where Kevin sings about his boyfriend Jaden Walker and uses his music as a platform to profess his love to him. It seems as though the music is a way for Kevin to release his true self. Joba takes the spotlight on a lot of the tracks in Iridescence and utilizes different flows to evoke various emotions in many of his verse. His verse in “J’OUVERT” is the most memorable moment on the album due to its sheer ferocity. This displays Joba in a raw and vicious state as he describes the amount of doubt that he receives from not only others but to himself and the fakeness of the people around him. As the song progresses, his aggression increases until his verse ends with an amazingly placed sample cut. The very introspective “TONYA” has the group remembering moments before their fame and acclaim, as well as their thoughts after achieving these. Merlyn raps about his parents’ lack of support for his aspirations of rapping and Kevin longs to “trade fame any day / For a quiet Texas place and a barbecue plate”. The group has a feeling of uncertainty and it seems that they are unsure of what this fame truly has changed for them.
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Although there are some downsides to the experimentation on the album, Iridescence is a fresh sound for BROCKHAMPTON. They aren’t going too far out of their boundaries and they’re perfectly balancing what was great about previous releases, as well as trying out some new ideas. This is the most introspective and serious project they’ve done and one of their bests for sure. Iridescence is a very promising start to the new trilogy from “America’s Favorite Boyband”. Memorable Tracks: SOMETHING ABOUT HIM, WHERE THE CASH AT, J’OUVERT, TONYA
POLITICS Are you with us?
Dr. Ford vs. Brett Kavanaugh By: Laura Nguyen Where Supreme Court justices are typically dignified and composed, Brett Kavanaugh was volatile and belligerent, the varying degree to which he took his combative behavior perhaps less significant—at least, by Republican standards—in providing substantive evidence as to whether he sexually assaulted Dr. Blasey Ford, and more indicative of his clear lack of the proper temperament and demeanor that a justice should have. He angrily accused the “Left” for “totally and permanently” destroying his name in an orchestrated “political hit.” Kavanaugh’s tone was not the tone of a man who would someday like to have the honor of being a Supreme Court justice; his tone was that of a man, privileged and wealthy, believing that he is entitled to a seat on the bench of America’s most powerful court. As incidences of unprecedented degrees of secrecy and backdoor partisan strategy permeated the news from the moment that Trump announced his nomination to the moment that Kavanaugh was finally 26
confirmed, those within the political circle scrambled to maneuver around the allegations. Senators Orrin Hatch and Lindsey Graham lamented the he-said, she-said manner of gathering evidence during the hearings, but the truth is that they partook in a collective partisan failure in very feasibly changing that. Instead of gathering evidence from such individuals as Kavanaugh’s classmates, Republicans only brought in two witnesses—not inadvertently, the two individuals that the hearings concern. Senators thus had to rely on Kavanaugh’s tears at the memory of lifting weights at his friend Tobin’s house, unchanging reiterations of his apparently wide circle of female friends who respect him, and constant affirmations of liking and drinking beer, his deliverance discomfort-inducing and and vaguely artificial. In addition to openly disrespecting the Senators on the committee, Kavanaugh misstated facts and misused evidence under oath, which means that even if there existed incontrovertible evidence that he did not sexually assault Dr. Blasey Ford, the evidence shows that Kavanaugh lacks the skills and qualities that Americans can expect from Supreme Court nominees. Alexandra Schwartz at the New Yorker called such behavior “a model of American conservative masculinity…directly tied to the loutish, aggressive frat-boy persona that Kavanaugh is purportedly seeking to dissociate himself from.” The American Civil Liberties Union rarely uses their platform to oppose the confirmation of Supreme Court nominees, but for Kavanaugh, the organization has made an exception. Although noting that Kavanaugh’s temper may be somewhat justifiable coming from a man who very possibly does believe he is innocent, what the ACLU and thousands of Americans find is that there is now and forever will be incontrovertible evidence made widely available to the public of unsettling anger and wild volatility in a man who is trying to persuade the nation of his proper judicial qualifications.
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Lest we forget that Brett Kavanaugh was nominated by a President who undermines daily the democratic order of our nation and has a long track record of both formal and informal statements that disrespect sexual assault survivors, Americans will have the Kavanaugh hearings seared into their memories the difficult direction that this nation has chosen to take. The fundamental problem here is that the Supreme Court has become an intensely partisan arm that pretends otherwise. The Founders envisioned the Court the branch of government free from the violence of faction, but justices have divided neatly along partisan lines, especially on controversial cases involving hot-button issues. Kavanaugh therefore threatens the integrity of the Supreme Court. And Republicans have been brushing this under the rug for a number of reasons, the main one being that while they hold unified power in Washington, most of their agenda is hugely unpopular. Even if Kavanaugh undermines the reputation of the Supreme Court, Republicans needed him on the bench before November came.
SOCIAL ISSUES For the sake of society.
Indie Band, “Summer Salt�, Accused of Sexual Assault By: Anonymous Submission One of the best concert experiences for many people who listen to indie music stems from the band Summer Salt, who is open to meeting fans after concerts, taking endless photos, signing shirts, and following them back on Instagram. This friendliness and interaction with fans allows a gateway for the members to abuse and hurt the ones who support them the most - one in particular, Phil Baier. Former member Phil Baier has been accused of toxic behavior and sexual misconduct a multitude of times. This mindset is solely caused by the fact that his small amount of fame that he receives is sent straight to his 28
head, and he feels as if he can merely get away with such actions unscathed. An entitlement that he will continue to get if he resumed making music. In the abuse of his very own fans, he assumes consent and the ability to take advantage of vulnerable girls who were only trying to get to know a musician that they admired so much. This admiration would grow into hate, as fans nationwide would discover that one of their favorite music groups contained a abuser. This hate began on Twitter, as women would begin to tell their story of how they were sexually assaulted, which would later be compiled into a shareable GoogleDoc. Two of these women included in the document were concert attendees Abby Jones and Vanessa Herb. Abby Jones was seeing Summer Salt in Brooklyn, her fifth time seeing the band, and has met Phil Baier before. They had followed each other on Instagram and occasionally messaged each other. At this particular show, Abby states that she felt “a bit more unsafe” from Phil’s continuous physical contact and compliments. She kept her distance, and would refuse Phil’s offers to pay for drinks and food, as a caution to not “owe” him anything later in the night. Phil continues to compliment Abby, and tells her that he wants to kiss her. She tells him, more than once, that “it wasn’t a good idea and [she] didn’t want to kiss him”. After this rejection, he then interrogates her of the last boy she dated, and making her feel more and more uncomfortable by the minute. “Was the sex really good?” “He’s not gonna find me and kick my ass, is he?” At this point, Abby feels uneasy and anxious. Phil Baier ultimately resorted to her last partner as a way of conceiving her, making her feel as if there was a reason the last boy she dated had a need to “kick [his] ass”. In reality, Abby consented to nothing. Abby allowed nothing. But allowing nothing did not stop Phil Baier. As Abby was leaving, Phil “forcefully kissed [her] cheek and then [her] lips” leaving Abby “violated and upset”. She made it very clear to him that she did not want to be kissed by him that night. He had to force her - for a kiss she never wanted. Phil was told multiple times that kissing Abby was not a good idea, obviously indicating that what he did was nonconsensual. But, Phil
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still found it within himself to kiss a girl that was nervous, and disturbed of what was to come - and what was to come was something she had been avoiding all night long. “I never thought [telling my story] was something I would ever have to do”, a statement made by Vanessa Herb, another victim of sexual assault by Phil Baier. Vanessa was attending Summer Salt’s concert in Phoenix, in which prior to the show, she was messaging Phil through Instagram about how excited she was to see them live. In Summer Salt’s usual tradition of meeting fans after the show, Phil asked Vanessa for her phone number to invite her and her friends for a party afterwards. After picking up the band from their Airbnb and arriving at the party, Vanessa steps to the side to get some fresh air, where Phil follows her. With very little sitting room in the area she migrates to, Phil forcibly lays her on his lap to sit on him. To her surprise, and with other people around, she had no other choice but to accept her situation and does not try to “cause a scene” but nonetheless feels extremely tense. “I laughed and acted happy as can be, all [the] while hoping I could just disappear.” Vanessa had to hide her intolerable situation, and was stuck where she was. With the noise of the party bubbling, Phil takes advantage of Vanessa’s vulnerable environment and kisses her. After the party, she feels obligated to take the band back to their Airbnb; after dropping the rest of the band off , Phil and Vanessa pick up snacks, in which he comes at her and kisses her while they are alone - again, taking advantage of her vulnerable state. Whilst at the Airbnb, Phil, for the third time,”throws himself at [her]” and pressures her to cuddle, and kisses her aggressively in which she immediately squirms her way out of his grasp. After Phil gets into a fist fight with Eugene Chang, another Summer Salt member, in an attempt to get a bedroom, Vanessa finally has had enough and feels out of place, and decides to leave “feeling totally violated and disgusted”. Not once, but three times Phil Baier took advantage of Vanessa Herb. Three times she was not even allowed to give consent. Three times she was assaulted.
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Vanessa and Abby are two of many victims by not only Phil Baier, but the entire band. The document contains a plethora of stories of brave women telling their side, allowing more victims to feel courageous enough to speak up about their experience, as the document creates a feeling of not being the only one who was taken advantage of by the band. This attitude towards women - towards women who supported a music group enough to buy tickets and drive to see them perform - portrays the unending acts by men who see women as commodities, mere “things� that they have at the palm of their hand. This attitude needs to end. Phil Baier has been removed from Summer Salt, and hopefully, this is a wakeup call for not only Summer Salt, but for men everywhere. We are not your commodity. Editor’s note: Quotes are directly from the document given to victims to write about their experience on. Both Abby Jones and Vanessa Herb have allowed to be mentioned in this article.
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NEXT BEYOND THE COMMONS ISSUE Issue No. 2: November 2018
Thank you for reading! Instagram: @beyondthecommons Submit your writing: beyondthecommons@gmail.com
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