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INERTIA
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CABRA Issue
No. 4
Spriing 2017
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This issue was produced in part through the kindess and generaosity of the following:
SHDW Studios Taylor Jarrett Dagny Piasecki Garment Modern & Vintage Rashad White ATX Food Mart
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THE Board E
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Editor Managing Casting Finance C
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of T
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in Copy
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Digital Marketing
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Chief Editor Director Director I
Photography Art Style Beauty
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Directors
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Director Director Director Director I
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Ethan Cummins Reilly Cardillo Christopher Gonzales Corinne Bates
Levi Thompson Jamaal Tribune Sharmeen Anjum Evelyn Cantu
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Editor Director
Margeaux Labat Ariadna Gonzalez
TEAM
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C o n t r i b u t o r s WRITING Fiona Balleret Corinne Bates Lillie Bruner Bridget Henderson Hank Holmes Morgan Hunnicutt Katie Okhuysen Gavin Quinn
PHOTOGRAPHY Daphne Kokkinis Camille Mayor Patricia Medina Kate Mulligan Joshua Rios Miriam Vicente Ashlyn weiner STYLE
DIGITAL Jennifer Irving Anton Plauche
MARKETING Kim Garcia Fatima Reyna Daniela Torres Dominique Zuno
DESIGN Anthony Nguyen Hailey Strader
Caycee Arreguin Joshua Bippert Kelsey Ford Taylor Garcia Jacob Gonzalez Isaiah Lange NaIs Louisor Natalie Mulin Monica Patel ChloE Royer
BEAUTY Maddie Cramer Kylie Garrett Alyssa Gonzalez Ana Jaime Laurel Salem Jordyn Walker
EDITORIAL NOTE
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Newtonian physics dictate that objects at rest will remain at rest unless acted upon by an external force. Likewise, objects in motion will maintain their motion in the absence of such a stimulus. Now, the law of inertia may seem a bit hazy to those of us struggling to remember the physics section of our seventh-grade science texts, but as it seems there couldn't be a more fitting way to analogize the state of fashion, the state of this magazine, and the state of this increasingly absurdist dystopia we call home. Foremost is the inertia of fashion. For the likes of Gvasalia and Galliano, it certainly seems that no external energy can derail the stylistic momentum of Balenciaga or Maison Margiela, two houses that seem to exceed expectations at every turn. In another sense, a creative thrust of the fashion underground has brought New York City from a confortable rest to full steam ahead. Namely, weirdos Walter Pearce and Rachel Chandler have brought subversive identities to the forefront of fashion with Midland, their homegrown DIY casting agency. Similarly, queer visionary David Moses (known cryptically by most as @ angelsmasturbatingsoftly) has galvanized a new generation with Vaquera, the runway’s most recent radical newcomer. In more ways than one, the continued undulations in fashion’s cultural hegemony reflect a new
and unprecedented era for the industry. Second in this discussion, but perhaps most pertinent, is the inertia of CABRA, as I'd be remiss not to report on the state of our humble publication. Although it would be certainly comfortable to continue with the creative conventions that CABRA has established thus far, we quickly understood that this could not be the case for our forthcoming issue. Reuniting as an organization concurrently with the inauguration of our current executive, we began to reevaluate our vision and our message. Ourselves artists and queers, coming from various countries and creeds, we set out to boldly pursue a new path, a path that negates normativity and celebrates subversion. It is my sincere hope that the following pages reflect equally our passion and our frustration, our craft and our despair, our hope and our refusal to be silenced or censored. In closing I offer this: in my previous editorial communiqué, addressing the latter of the above triad was a dialogue from which I reluctantly refrained. We now stand at a crossroads where such reluctance to discuss or engage in the political discourse is no longer advisable nor admissible. We cannot allow the momentous inertia of this administration’s divisive and dangerous policies to perpetuate unabated. This is our duty and our mission.
Inertia is the tendency to do nothing or to remain unchanged. People at rest will remain at rest, and a world in motion will remain in motion. We must be the external force to effect a change.
Ethan Cummins, Editor-in-Chief
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ISSUE On Menswear In the Eye of the Beholder I/O Zines The New New Romantics Heritage Hallowed Le Cirque Politique Alien Nation
CON TEN TS
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4 10 16 26 30 36 44 52 62
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Words
FIONA
BALLERET
Photography CAMILLE MAYOR & KATE MULLIGAN Styling Makeup
JACOB LAUREL
GONZALEZ SALEM
& &
ISAIAH JORDYN
LANGE WALKER
Featuring ROSANNA CUELLAR & DANIEL WILLIAMSON
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On Menswear
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ON Menswear
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Most of us, when we think about fashion, we have in mind a beautiful, thin woman coated in expensive and artistic clothes, walking in a fashion show. But not a man.
ON Menswear
This bias towards fashion is partly pruned by its representation through media. We hear, see, attend to and read about what women wear and how they portray themselves, what it means and who they are. They are the audience. In a world that teaches men to be aggressive, fashion remains inaccessible. Indeed, according to the psychologist Eddie Harmon Jones, positive emotional states (like vulnerability) broaden the mind, making them a key factor to creativity. If a person is emotionally suppressed, that negative emotional state will impact the subject’s capacity to produce and receive creativity. For this dilemma, the social construct of toxic masculinity is melted with the habitus. A reason not as noxious as the precedent, but much harder to overcome. It is this idea that things you do or like will appear natural and part of you but has in fact been learned from generation to generation from a young age. Many men will not consider fashion because they learn from their parents, friends and media that it remains women’s territory. It is important to consider the number of successful leading men in comparison to women in the fashion industry, whether it is as stylists, designers or other executive jobs. How is it that with so many men backstage, fashion remains alien for the average man?
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ON Menswear
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In the Eye of the Beholder Photography KATE MULLIGAN, JOSHUA RIOS & MIRIAM VICENTE
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Featuring MARIE FOUQUE
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Makeup EVELYN CANTÚ
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Featuring ROBYN VILLALPANDO
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Makeup ALYSSA GONZALEZ & ANA JAIME
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Featuring COLLIN MIMS
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Makeup MADDIE CRAMER & JORDYN WALKER
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Featuring DEJA WHITE
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Makeup KYLIE GARRETT & LAUREL SALEM
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I/O
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Black and White Black and White is ambiguous. When we make decisions, there are small accumulations of ones and zeros within that result in a finished product. Black and white decisions accumulate to create a monochromatic result of many tones in meaning and aesthetic. To many, the idea of black and white could be thought of as a limiting of field ones and zeros firing to produce an intended result. But this accumulation of different decisions will always result in a mashup of something greater than just black and white.
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I/O
I/O
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I/O
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this semester in
ZINES
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ZINES
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ZINES
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w e n the s c i t n a m o r w ne Words KATIE OKHUYSEN Photographs LEVI THOMPSON Styling MALI TRIBUNE & CHLOË ROYER assisted by NATALIE MULIN Makeup MADDIE CRAMER & JORDYN WALKER Featuring NICHOLAS FENJVES & NICOLE JOHNSON
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It doesn't matter what you look like! I mean if you have a hunchback, just throw a little glitter on it, honey, and go dancing! James St. James
The year is 1987. It is buzzing with noise and novelty and excitement and amphetamines. They’ve spent countless long days and nights maneuvering through the dark slickness that characterizes New York City’s intricate urban sprawl. They populate the unpopular spots, take up camp in the cracks, make themselves comfortable at conceptual intersections. They are the club kids. The original club kids constituted an amorphous yet tight-knit coterie of ambiguous New York City “others” in the time of Reagan’s moral conservatism. The club kids were everything the prevailing Christian Right of the 80’s was not — young, flamboyant, lurid, conspicuous. In a climate hostile to change and difference, the club kids found sanctuary in the margins of society where they not only took root, but blossomed. Their very essence was antithetical
to the mainstream culture. Queens and queers met and mingled, paraded and danced with abandon, all in a time when being gay was still technically illegal. The primary objective: party, and then party harder. Nightclubs were packed from dusk till dawn, filled to the brim with elaborately costumed attendees. The original clubs kids had astronomical personalities and the dazzling facades to match. Intricate looks were made completely by hand. Opulent full-face makeup was a staple. There was no such thing as “subtlety,” only excess. The infamous Michael Alig, a club kid and promoter, once threw a bash that had the theme of “emergency room”— attendees wore skimpy scrubs complete with fake blood and medical apparatus. Other
celebutantes, with names indicative of their personas—Walt Paper, Kabuki Starshine, and Richie Rich—helped organize spontaneous public discos. Outlaw parties, as they became to be known, typically occurred at lowbrow places like McDonald’s and consisted of fully outfitted club kids partying as hard as possible until the cops arrived. It was the New York City club kids who paved the way for later experimentation in fashion, makeup, and personality. The now-famous names of RuPaul and Leigh Bowery both emerged from the gritty technicolor club scenes of the 80’s. Drawing from the precedents achieved by the first iteration of club kids, RuPaul and Bowery both worked to hone their craft. Bowery was particularly skilled at design; his innovations took the initial rough and wild creations of
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the club kid scene to a new level. Rather than pull from the external world for his inspiration, he turned to club kid-ism itself, becoming increasingly self referential and achieving technically masterful looks. Likewise, Madonna and Gaga built upon the established club kid foundation, opting for large personas and controversial costumes. Makeup artists, queens, and costume designers around the world today
carry on the club kids’ original creative and revolutionizing impetus. The global impact of the club kids speaks to their pioneering efforts. They broke down boundaries and destabilized an entire culture, laying the groundwork for such wide ranging modern staples as contemporary fashion, reality television stars, and LGBT+ rights. Their vibrancy, individuality and perseverance are remarkable to this day.
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Introduction In the months following the great political disrupt of November 2016, a deeply rooted divide in America was brought to the forefront of public conversation. Many ideas that felt like conversation pieces became terrible, harsh realities for some individuals. In the wake of this grief and unrest, there has also come a time for healing and understanding. In trying times such as these, it’s important to not give in to the allure of nationalist ideals and general fear of Others. One of the best ways to celebrate the unique lives we experience is embracing distinct cultural identities.
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Words GAVIN QUINN Photographs DAPHNE KOKKINIS & JOSHUA RIOS Styling TAYLOR GARCIA & JACOB GONZALEZ Makeup ALYSSA GONZALEZ & ANA JAIME Featuring ALEX ESQUIVEL & CHRIS PEREZ
Heri t a Hall ge owed
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Julian's Story
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Heritage Hallowed
I think to me, Hispanic is both race and culture. I’m personally Mexican, but there’s a lot of other ethnicities that also get umbrella-ed into “Hispanic.” Even though it’s my race, I don’t feel like I have much experience with Mexican culture. My family was a single mother raising an only child, so most of my experience with traditional Mexican culture comes from family reunions. In a way, I think that’s what defines
Hispanic culture. Family interactions. You know, tons of people crammed into a small room for any contrived excuse to party. I actually like the stereotype of the hardworking Mexican though. I’m proud of that label. I own being Hispanic now, I’m proud of my heritage. I’m a hardworking person, and I think the culture of my heritage reflects that.
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Gavin's
Story
I wish I had let my body rest sooner, and let it find a home in the place it was born. I feel a peace with my previous experiences that is an entirely new sensation, and feel aptly prepared to defend any attacks against I culture I once forsook.
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Growing up in Harlingen, Texas, Hispanic was the norm and every other ethnicity was a minority. This extends beyond population and includes cultural values, traditions, and everyday thought processes. I was a majority in a setting where white was the minority, population-wise. That being said, I still don’t feel as though I grew up in a fully Hispanic environment; instead, most of my adolescence was spent in popular white society. Even if white American culture didn’t dominate the population, its limbs influenced every aspect of existence. The hand was not tangible, yet its fingers guided mine towards traditional American values. The arm reached around my shoulder and the lips told me that the culture I was growing up in was not okay, and my true body would feel at home in true American customs. Without realizing it, every bone in my Hispanic body was fighting to be something it could never reach.
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LE CIRQUE POLITIQUE Words BRIDGET HENDERSON & MORGAN HUNNICUTT Photographs CAMILLE MAYOR & KATE MULLIGAN Styling KELSEY FORD & CHLOË ROYER assisted by MONICA PATEL Makeup MADDIE CRAMER & ALYSSA GONZALEZ Featuring ANNE O’RIORDAN, JIMMY STEWART, VICTOIRE VALLE & VAL VIAL
Le Cirque Politique
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Give Them Bread and Circuses
Once upon a time, in a land not so far away, America was admired and our government was respected, applauded, even. Fast forward to 2017, and the paradigm for our country has morphed into something our founding fathers would view with confusion and disdain. Politics have become a show of characters spewing rash comments for the media. The cabinet in the White House today is full of contradictions and irony. It’s impulsive, shocking, and potentially dangerous, mirroring a circus. There’s no guessing who is the ringleader of this big show: Donald Trump, the 45th President of the United States. Trump has fell short on his promises to the “drain the swamp” these next four years. Instead, he connected with every clown in his contacts to fill up his cabinet. The ringleader also dabbles in magic. Like you’ve never seen before, Donald Trump can be in two places at once. For his first trick, he tells everyone how much time and
money Obama wasted on golfing. Next, he tells the press he’ll be heading to an important meeting, but ends up in tons of pictures on a golf course instead! You’ll have to see it to believe it. The executive branch is just one ring of this three ring circus. The legislative branch, led by lead jester Paul Ryan, juggles bills between the house and senate, feigning desperately to compile a majority vote on legislation such as the repeal of Obamacare and the executive order banning citizens from 7 majority-muslim countries. He’s a showman set to impress many people, yet he can’t seem to stop dropping all the balls. Viewers of the show are left to draw their own conclusions, though most would agree that it is a freakshow of performers juggling the fate of our country. Trump’s approval rating averages about at about 38% since
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This idea that the more entertaining candidate will get more attention dates back to the ancient Roman times, when politics were equal to theatre, and the candidate with the most celebrity was the one to win the election. This element of entertainment has always been a necessary part of the institution of politics. Much like the Roman Emperors who campaigned on cursory means of appeasement, Trump reestablishes the age-old figure of speech, “Give Them Bread and Circuses,” which essentially means give the people cheap food and entertainment. The saying was used to describe a society that no longer appreciated respectful leaders or historical context.
Le Cirque Politique
he’s taken office, according to a gallup poll. The comparison of politics to the circus is not a new concept. The 2016 election was significant and entertaining enough that it inspired the Showtime docuseries, “The Circus: Inside the Greatest Political Show on Earth.” The show followed the candidates around the country as they campaigned. As the election proved, the more dramatic the performance, the more attention you’ll get.
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Political Circus
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in theatre, staging is everything
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Le Cirque Politique
Our country’s current state is resemblant to that of Italy under the leadership of former Prime Minister Silvio Berlusconi. Berlusconi, similar to Trump, was a media tycoon before going into politics. His campaign was centered around his celebrity and boisterous comments. Both made their fortunes in real estate and built their political platform through the media. Before running for office, Berlusconi created the first Italian TV commercial company and owned the Italian football club, A.C. Milan. Both Berlusconi and Trump have been accused of being racist and misogynistic. This parallel between the Trump administration and Italian fascism can be seen as a
fair warning to the United States. With public education funding, immigration, and women’s rights in question, there is no telling what is to come in the next four years. The threat to our civil rights linked with the unpredictability of the Trump Administration has left our nation in a precarious state of being. The commotion that follows every press conference and the foolery taking place in our government lets us Americans know that this three ring show isn’t ending anytime soon. Our country’s democracy, or what’s left of it, is hanging on a tightrope.
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Words MALI TRIBUNE Photographs LEVI THOMPSON, MALI TRIB UNE
& ASHLYN WEINER
Styling KELSEY FORD & MALI TRIBUNE Makeup JORDYN WALKER Featuring KATRINA BUSH & VAL VIAL
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Alien Nation
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neglected, unprotected scorned by our president elected
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fear of a foreign delegation native to an alien nation
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