Coulture Fall 2019

FALL 2019

COULTURE Editor-In-Chief Caroline Farrell Associate Editors-In-Chief Sterling Sidebottom Clara Matthews Creative Director Carson Goodwyn Design Editor • Zoe Hambley Associate Editor • Annie Rudisill Photography Editor • Gabrielle Thompson Associate Editor • Helen Hong Videography Director • Anabelle Scarborough Associate Director • David Restrepo Style Editor • Susie Altz Editor • George Adanuty Associate Editor • Olivia Gibson Associate Editor • Juliana Koricke Beauty Editor • Jasmine Wilson Associate Editor • Alice Novinte

Instagram • @COULTUREMAG Twitter • @COULTUREMAG Facebook • @COULTUREMAGAZINE Web • COULTURE.ORG

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COULTURE MAGAZINE • ROOTS

Modeling Director • Savannah Cole Director • Kelly Pham Production Director • Kate Elliott Arts Editor • Claire Ruch Editor • Joanna Zhang Associate Editor • Alicia Robbins Associate Editor • Nupur Shah Features Editor • Chloe Williams Editor • Ruth Samuel Associate Editor • Liz Johnson Health Editor • Carly Christensen Editor • Sarah Park Copy editors Director • Emma Spears Associate Director • Tran Nguyen Associate Director • Jodie Londono

Social Media Director • Caroline Sink Director • Cam Edson Associate Director • Dayja Brooks Associate Director • Lauren Cook Development Director • Lizzy Laufters Director • Abigale Speight Associate Director • Masaaki Kamiya Associate Director • Hailey Hawkins Associate Director • Miranda DiPaolo Associate Director • Anna Patricios Finance Director • Lizzy Laufters Digital Editor • Michelle Li Web Design Director • Kristin Van Epps

Production Sharon Hernandez Maansi Patel Arts Caroline Levine Alley Steele Claire Helms Jordan Wolfe Beauty Emilie Scheuerle Carlos Figueroa Marin Emily Bologna Sofia Alba Sofia Martinez Beth Macon Addie Wise Digital Cecilia Taylor Isabel Horak Alexa Cardoso Features Ken Davis Isabella Sherk Finance Chloe Larson Kelly Pham Lilli Griffin Emily Gotschalk Hope Conn Becca Thompson Health Emma Ravenberg Adriana Diaz

Development Isley Jepko Laura Shanahan Jaylene Cruz Neil Patel Izzy McGoey Lindsay Rusczak Amanda LoScalzo Alyson Cabeza Jada Coleman Nina Dakoriya Sofie Wieland Straeten Avery Rylee Parsons

Design Kendal Orrantia Mingxuan Shen Niki Suchy Elinor Kelly

Photography Jordyn Burrell Cara Neely Chase Cofield Anisha Datta Madison Speyer Hannah Griffin

Style Caroline Kloster Avanish Madhavaram Philecia Klein Ginny Howey Sterling Roberts Zahra Razai Genie Shekar Lauren LaTulippe Kayla Robinson Clay B.Morris Stephanie Flores Jackie Gu Zirui Yan Kaitlin O’Sullivan Allie Kelly

Social Media Ashleigh Wilson Caroline Willard Kate Spivey Allison Lai Jannisha Francis Trinity Turlington Isha Padhye Graci Daby Taylor Coffey

Copy editing Natalie Plahuta Megan Friedman Kayla Korzekwinski Anne Tate Sophie Roth Molly Horak Maxwell Morant Erin Campagna Kelly Yu

Videography Rainey Scarborough Samara Bie Chichi Osunkwo Gabriella Behailu Cullen Keogh

Web Design Joan Xia Clara Xu Evie Yu JoJo Yang Advisor Dana McMahan

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TABLE OF

C ON T

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SUBIENDO

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SKIN

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BILLIE EILISH

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KNIT HAPPENS

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POWERFUL PRAYER & POWERFUL PATTERNS

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DECOLONIZING OUR HEALING

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A HUMAN RIGHT

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CAMBODIAN COUNTER CULTURE

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RECLAIMING OUR ROOTS

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MACKINAC ISLAND

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WHAT IS HOME?

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HARMONIES OF LIBERTY

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DOWN TO EARTH

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FLUTE AS HELL

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DOUBLE STANDARDS

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SCOTT AVETT

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DISCONNECTED BY DISTANCE

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BUSINESS, BUT MAKE IT FASHION

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E N TS HEARING THE NORTHSIDE

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VOGUE: STRIKE A POSE

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STREET WEAR SIDE HUSTLE

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CAROLINE FARRELL EDITOR-IN-CHIEF

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When talking about plants, root systems are made up of smaller branches stemming from one main root. The roots pass along nutrients, water and support to the plant, helping it grow. When talking about this issue, the roots are the stories feeding connection, empowerment and understanding to the main plant, the Coulture team and you, the readers.

Our roots show themselves to us in different ways, and often when we need them most. Whether you find your roots grounded in your spirituality, family, or experiences (or an amalgamation of all three), they can help you understand who you are and who you’re meant to be.

The essential substance or nature of something.

I’ve noticed that growing up requires the uncomfortable task of looking inside yourself and challenging who you are at your core. Absorbing your ancestral history, past mistakes and fundamental beliefs and honoring them, or in some cases confronting the rotting stem.

Repeating the same motions at UNC, I’ve realized that I lost sight of who I wanted to be when I was younger and don’t understand exactly who I am now. This issue for me was a question of disconnect and discovering what I was meant to do during my time here and, ultimately, in life. Even now I’m not sure I truly got to the root of my problem, but I’ve learned a lot since first starting this issue.

Throughout the semester, the Coulture team members practiced vulnerability, understanding and self-celebration. Their strength and conviction held in their beliefs inspired me to challenge and reinforce my own values. The pages of this magazine exhibit students who take pride in who they are, where they come from and what they’ve learned all while facing the uncertain. With roots firmly planted, they move forward.

In times of change and uncertainty, we look to our cultural and intrinsic values to inform the decisions we make and the paths we choose. It’s easy to feel overwhelmed and unsure of your identity, wrapped up in anxiety, mixed up in the confusion of new life stages.

This issue addresses roots that can be found in three different categories: the foundation, our historical and cultural roots; the support, our familial and spiritual roots; and connection, our experiential and informative roots.

To say this semester was challenging for me might be an understatement. Feeling as though my life was in a constant state of upheaval, like things could fall apart at any second, I kept searching for something to keep me grounded, to remind me of who I am and who I will become.

For me, my roots reveal themselves in my family, my loving parents and my supportive siblings. They reveal themselves in memories of childhood and life-forming experiences; they exist in times of reflection, assessing what I stand for and reaffirming the principles held deep in my core.

Where can you find your roots?

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SUBIENDO

LATIN POP’S ASCENT TO THE TOP OF THE CHARTS AND TOP OF THE RUNWAYS WRITTEN BY SHARON HERNANDEZ DESIGNED BY KENDAL ORRANTIA

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“I do like fashion. I love expressing myself through clothing. I would say that that’s the most beautiful thing, and my music is very connected to the fashion world” Maluma said to Women’s Wear Daily. He is one of many Latinx artists that have managed to enter the fashion industry through their urban music.

The rise of Spanish language urban music—reggaeton, Latin trap and Latin pop—has been exponential over the past couple of years. Its popularity has increased internationally and gained massive attention in pop culture giving artists the power of

influencers known to break boundaries while maintaining their cultural roots. Artists such as Rosalía, Bad Bunny, Maluma, Ozuna, J Balvin, Karol G, Becky G, and many more are taking the industry by storm with their authentic, unique, and bold clothing and music choices. They are known to wear designer brands and flaunt their high-end pieces, indirectly giving artists entry into the world of fashion as trend-setters.

In the summer of 2019, Anuel AA, Daddy Yankee, Karol G, Ozuna and J Balvin released the music video for the song “CHINA.” The music video epitomized the artists’ fashion sense and music style. They combined the upbeat Spanish, urban adaptation of Shaggy’s “It Wasn’t Me” with two of the most popular trends: neon and logos. They dressed in the same black and neon green color scheme and accessorized with trendy shades and chains. Ozuna wore a green Gucci varsity jacket while Anuel AA switched between logo-filled pieces including a neon green Balenciaga long-sleeve shirt and a pair of Louis Vuitton monochromatic sweatpants.

These artists are famous for casually wearing unique patterns and bright colors. Two new artists that have joined these trends are Spanish singer Rosalía and Puerto-Rican singer Lunay. Both have worn casual sweats or t-shirts with names like Dior, Louis Vuitton, or Versace to show off their obsessions with designers in many of their music videos.

In her music video, “F*cking Money Man,” Rosalía presents two songs, “Milionària” (“Millionaire,” her first song released in Catalan) and “Dio$

No$ Libre Del Dinero” (“God Frees Us From Money”), where she references the richness associated with success as a love-hate relationship. In criticizing and celebrating money’s influence, there is a conflict between the clout associated with designer brands and the influential power of money.

Voices such as Puerto Rican trap rapper Bad Bunny and one of the few well-known Latinas in this music genre at the moment, Becky G, have been breaking cultural boundaries over the past couple of years with their music and fashion.

Becky G voices many of the unspoken desires women have in a world dominated by men. Her connotative lyrics and sexy music videos have stirred controversy.

The “Sin Pijama” music video, featuring Natti Natasha, showcases the two stars having a fun girl’s night from a man’s perspective. Audiences ignored Becky G’s commentary on the power of the male gaze showcased in the video and quickly criticized the sexy and cheeky black lingerie choices. “Especially in Latin music, it’s hard for people to accept that women can own their sexuality,” Becky G commented. Her platform focuses on women’s empowerment and opposes male dominance in the Latinx community, where machismo attitude often manifests. Throughout the video she proved that women can be sexy and have the same desires as men through her choice of lyrics and outfits.

Similarly, Bad Bunny has sparked many conversations regarding his unique approaches to mixing feminine and masculine statements in his fashion style and energetic music. In the first scene of his “Caro” music video, Bad Bunny paints his fingernails black and wears flashy highwaisted printed shorts. He then explicitly swaps his identity with female model Jazmyne Joy, who both dresses and acts identically to him throughout the video. Bad Bunny responded to the machismo culture in the Latinx community, becoming one of the first Spanish rappers to do so. With this music video, Bad Bunny managed to further unite the LGBTQ+ and Latinx communities, ultimately bringing more visibility to the existence of artists that straddle both identities.

Spanish language urban artists have managed to continuously stay popular with their authentic and energetic fashion and music styles that set them apart from the rest of the industry. Doing so while remaining aware of the social and cultural issues of today has helped them stay at the top of the charts while bringing cultural awareness into play.

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WRITTEN BY H’ABIGAIL MLO | PHOTOGRAPHED BY HANNAH GRIFFIN, CHASE COFIELD & GABRIELLE THOMPSON | DESIGNED BY ZOE HAMBLEY Colorism is defined by the Oxford English Dictionary as “prejudice or discrimination against individuals with a dark skin tone, typically among people of the same ethnic or racial group.”

What this definition does not capture is the pervasiveness of colorism in everyday exchanges, such as warnings against being out in the sun, backhanded compliments from strangers and family members, skin lightening products’ sale in supermarkets, and exoticization and fetishization that seek to further “other” dark-skinned individuals.

Our skin is our largest organ and one of the most vital for our survival. Light, dark or somewhere in between, it’s our armor.

Yet society has prescribed skin color to social power dynamics.

Although we are powerless against our genetic code, our skin can serve as a marker of privilege. Our skin can make or break our worth.

For those of us who have received comments on our skin color, we’re taught to take it in stride, as though being made to

feel different for having dark skin isn’t rooted in systemic biases favoring people with lighter skin. We’ve dealt with existential crises in beauty aisles because (in the pre-Fenty Beauty era) no shade perfectly matched our skin and undertones. We’ve had to force smiles after having our complexion likened to some random kitchen ingredient like caramel or cocoa. And time after time, we’ve been sent into emotional turmoil after being told, “You’re pretty for a darker skinned girl.”

From a young age, I was told to stay out of the sun not just to protect me from UV rays, but also from the ridicule wrought upon those with dark skin. It’s taken years of unlearning, but I’ve made amends with my skin and embraced my complexion. My skin has gone from a characteristic that I constantly envisioned altering to one of my proudest features. Discoloration, acne scars, freckles and all. Though the journey to self-love has been tumultuous, I’ve learned to not only find comfort in my skin, but also confidence.

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MODELED BY H’ABIGAIL MLO, GENIE SHEKAR & NINA DAKORIYA

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THE EILIS

BY STERLING ROBERTS AND STEPHANIE FLORES | DESIGNED BY KENDAL ORRANTIA At the age of 17, Billie Eilish is a household name, an activist and a fashion icon within the music industry. Ever since her emergence at age 14 with her debut single “Ocean Eyes” on SoundCloud, she has not only captivated society with her voice and one-of-a-kind sound, but also her own unique style.

From a variety of neon tones, bulky jewelry, designer shoes and baggy clothing, there is no question that her style is impacting young people everywhere.

She has broken the boundaries of the fashion and music industries and continues to crush the deeprooted presumptions of femininity that artists are expected to follow.

Eilish’s style is uniquely her own. While other female celebrities wear bodycon dresses and biker shorts, she wears Louis Vuitton logo sneakers and Chanel chains. What makes her style stand out is that the majority of people can’t rock these bold looks daily, nor would many of them think to wear a monochromatic, neon green look.

Instead of black and neutral colors being at the forefront of her wardrobe, she prioritizes bright colors, especially neon green and orange. Her clothes are always oversized and consist of a variation of sweatpants, sweatshirts, tees, baggy shorts, sneakers, vests, bucket hats and accessories.

While Eilish’s style is incredibly cohesive, the way she plays with it is constantly changing. Some of her favorite looks are monochromatic everything: custom graffiti, designer 13

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logos, or simply one color -- especially when it comes to neon.

Eilish also can’t wear enough accessories. She stacks chains on chains, and has recently been experimenting with masks, whether they are chain link or Burberry print. The masks are sometimes complimented with space buns, a new hairstyle she’s been trying out. Eilish often wears a small trendy pair of sunglasses or a pair that are so large that they cover half of her face.

No matter what clothing items or accessories she picks, Eilish always wears chunky sneakers. Although they are usually plain, the sneakers can sometimes be seen covered in designer logos or crazy patterns.

While Eilish has definitely caught the well-deserved attention of teens and adults globally, her intention isn’t just to look “fresh” and “cool.” Her style also stems from the standards put on women in the music industry. In an interview done with NME Magazine, Eilish spoke of the expectations put upon her and how she feels about people commenting on her style choices.

“If I was a guy and I was wearing these baggy clothes, nobody would bat an eye,” she said. “There’s people out there saying, ‘Dress like a girl for once! Wear tight clothes you’d be so much prettier and your career would be so much better!’ No it wouldn’t. It literally would not.”

Eilish has also addressed the comments around her style on Instagram. In September of 2019, @billieeilish posted the caption: “if only I dressed normal id be so much hotter yeah yeah come up with a better comment im tired of that one.”

She paired the caption with a picture of herself in a set of baggy white sweatpants and a T-shirt covered in colorful graffiti.

Her comparison between comments made about male artists’ style and her own are justified. The consistent complaints for her to dress “normally” only accentuate the obstacles she has faced in breaking down norms of feminine gender expression.

The double standards between men and women within Hollywood have long been prevalent. Tight clothes and bright colors have long been categorized as feminine, but Eilish chooses to only incorporate

SH EFFECT one of these trends into her style. She is challenging the status quo as to what has been commonly seen as “feminine.” Not only is she dressing the way she wants to dress, but she also takes measures against being sexualized by media outlets.

In Eilish’s Calvin Klein advertisement, “Billie Eilish Speaks Her Truth in #MYCALVINS,” she talks about the reasoning behind her style. “Nobody can be like ‘oh, she’s slim thick, she’s not slim thick, she got a flat ass, she got a fat ass.’

Nobody can say any of that because they don’t know,” said Eilish in the video. This heartfelt message is the complete opposite of Calvin Klein’s normal advertising techniques. Calvin Klein is not sexualizing Eilish. She’s wearing her normal blocky style and she’s speaking over clips of her just being her. The calm tone is set by her song “when the party’s over” playing in the background. Comparing this to the iconic advertisement of Justin Bieber in Calvin Klein boxer briefs, Eilish’s video changes Calvin Klein’s overall campaign concept from sex appeal to simply being. The message is clear: come as you are.

What women should or shouldn’t wear has always been a hot topic within society, and Eilish is no exception to this.

She is one of many inspiring women who have gone out of their way to break the stereotypical standards placed on how women should dress.

Lady Gaga is also widely known for her creative and outlandish looks, which include wearing full bright, latex outfits and, in one red carpet appearance, a dress made of fresh meat. In her Netflix documentary, “Gaga: Five Foot Two,”

she explains she dresses this way to “take control in an industry that loves to take control of its artists.” This inspiring message is one that rings true today as a variety of women continue to break away from how they are “supposed” to portray themselves.

Eilish’s style questions the definition of femininity at its very core. Her look is all about androgyny.

She pairs boxy streetwear with traditionally “girly” accessories like hoops and necklaces. Eilish won’t be put in a box, which will still be true for her future style.

“I’m gonna be a woman. I wanna show my body. What if I wanna make a video where I wanna look desirable?” Eilish said in an interview with Elle about a possible style change when she turns 18. She added, “I know people will say, ‘I’ve lost all respect for her.’” But Eilish says criticism is inevitable, so she plans to do whatever she pleases, whether it’s sticking to her blocky look, changing 180 degrees, or a bit of both.

“EILISH’S STYLE IS UNIQUELY HER OWN.”

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KNIT HAPPENS WRITTEN BY STERLING SIDEBOTTOM | PHOTOGRAPHED BY GABRIELLE THOMPSON, MADISON SPEYER & HELEN HONG | DESIGNED BY ELINOR KELLY In the rolling hills of Merritt’s Pasture, the comfiest knits manifested in fashion forward ensembles. These outfits are perfect for a day in the field as the leaves begin to turn. When the time finally comes for sweater weather, chunky knits and cozy scarves combine for warmth.

They keep us wrapped in the world we come from. Warm earth tones center our emotions.

Vibrant brights remind us what we can do when connected to ourselves.

There’s a beauty to the simplest of looks; just a sweater, jeans and sneakers make you feel grounded. But there’s also a joy in the most extravagant, whether you’re wearing a pearl necklace or sky high heels. The change in seasons is a time to go back to what you know, letting the sweaters you’ve always known guide you forward in the new season. Even when life hits the fan, you can always rely on knit to keep you grounded.

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Masaaki in a men’s shirt from Asos.

Alexandra in a Revolve jumpsuit.

Isha wearing Asos plaid sweatshirt and Revolve pants.

Clara in green Asos sweater, Revolve sweatpants and Rumors lightning bolt earrings.

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Alexandra wears Nike sneakers and her own pearls.

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Masaaki and Isha draped in a chunky knit scarf from Asos.

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Powerful Prayer & Powerful Patterns THE BLACK SIGNIFICANCE OF SUNDAY BEST

WRITTEN BY CLAY B.MORRIS DESIGNED BY ANNIE RUDISILL

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FOR BLACK PEOPLE CHURCH STYLE IS A UNIFYING CULTURAL STRENGTH FIRMLY ROOTED IN THE BALANCE OF STRUGGLE, BEAUTY, AND INDIVIDUALITY.

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EVERY SUNDAY FOR THE PAST 17 YEARS, I’VE ATTENDED A FASHION SHOW. I often wonder how my parents gained access to such an exclusive experience, one that is arguably the most captivating on the planet. What is most intriguing is that every Sunday the models display the ritualistic complexity that goes into each and every outfit worn in the show. The booming sermon and captivating choir divide the display of clothes into acts with the audience left waiting for the next work of art.

I soon began to realize however, that one can attend this fashion show at any church… the only prerequisite being that they go to a predominantly Black church.

From the deaconesses in their monochromatic cream ensembles on the first Sunday, to the ushers in their black and white uniforms delicately christened with gold lapel pins, every single person in the church could lead a masterclass on the elements of style.

As a child, I was always confused by the dissonance between these planned fashion stories that sauntered up and down the pews and the genuine passion in the words “come as you are” that fell from the lips of my pastor almost every Sunday.

If I were to “come as I was,” was there not a stinging hypocrisy in my mother taking the time to make sure there was an almost embarrassing lack of wrinkles in my seersucker suit the morning of Easter Sunday? Reflection tells me now that in the Black community, the church offers the opportunity to come as we are, and what that means is not unadorned and stripped, but instead symbols of excellence.

This identifiable “will to adorn,” as

described by Zora Neale Hurston in her 1934 essay “Characteristics of Negro Expression,” finds its roots in slavery.

During the era of slavery, the absence of freedom in the general lives of slaves translated into a lack of access to style, and the silence of any individuality through creative expression in clothing. Slaves’ work clothes were to be their only clothes, and they were not to be awarded the indulgence of fashioning themselves in the splendor and intricacy of 17th to 19thcentury fashion.

Despite the forced static of their attire, enslaved Americans found stylistic solace in the idea of their “Sunday best.” Sundays became the only opportunity for the enslaved to physically separate themselves from their work and taste the possibilities of liberty.

Physically, “Sunday best” gave the enslaved a chance to retire dingy work clothes while emotionally allowing them to remove the marks of suffocating dehumanization. “Sunday best” was a slave’s opportunity to put on their nicest outfit and provide themselves with a status that they knew belonged to them, that they were being denied—even down to the kind of clothes they wore.

South Carolina’s pro-slavery legislature recognized the significant connection between material possessions and an increased sense of humanistic worth in slaves as indicated in one of the state’s 1735 acts. According to book In the Matter of Color: Race and the American Legal Process, the act lists the following as clothing choices allowed for slaves: “negro cloth, duffelds, coarse kearsies, osnbrigs, blue linnen, checked linen….checked cottons, or plaids, all within the price range of ten shillings or less.”

Slavery was a direct assault on Black style for the purpose of placing the slave in a position where they had no status.

Thus, when we arrive back at the flair and decadence of a Sunday in the modern Black church, it’s apparent that the longevity of the “Sunday best” ideology echoes from the American slaves’ retaliation against

the limitations of their status and worth.

Black style in churches comes from a place of necessity, not vanity, as I used to so foolishly believe.

It is important to be clear that the end of slavery did not erase the necessity of style in church for Black people and instead possibly volumized it. The days of Jim Crow and other constraints of slavery continued to place Black Americans in a position where Sunday was their day to claim the truths they knew belonged to them. Sunday was the day that the cloaks of degradation threaded by systematic oppression were traded in for tailored suiting bespoke with dignity and extravagant hats atop the heads of First ladies of the church became regal crowns When the historical prevalence of “Sunday best” is brought into conversation with Hurston’s idea of the “will to adorn,” there is a distinct truth revealed about Black people, style and church. Within the cultural roots of the Black experience there lies a desire for beauty. That desire for beauty is what creates the pomp and circumstance of the hundreds of fashion shows I’ve attended in the comfort of my local church.

Church style is more than the initial overwhelming glamour that first hits when the ushers open the door, revealing a world that couldn’t even be imagined by the industry’s most extravagant designers.

For Black people, church style is a unifying cultural strength that is firmly rooted in the balance of struggle, beauty and individuality.

So, while a designer prominently featuring oversized hats in their collection may be deemed distasteful in the books of fashion history, they are nothing but mere child’s play in comparison to my average church lady. Some may even say the style choices being made at my church are questionable, but what they cannot say is that they are lacking in cultural significance or originality. The roots that animate the fashionable drama of the Black church aren’t available in stores.

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DECOLONIZING OUR HEALING WRITTEN BY RUTH SAMUEL DESIGNED BY MINGXUAN SHEN “...we have adapted westernized beliefs and value systems that have guided and shaped our lives, and our healing is no exception to that...and even that’s not the most honest word. We’ve been colonized,” Dr. Shena Young said.

Young, a Los Angeles based holistic and body-inclusive psychologist, was a guest star on Dr. Joy Harden Bradford’s criticallyacclaimed podcast Therapy for Black Girls, specifically “Session 121: Healing Comes in Many Forms.” The episode delved into how Western medicine has made Black women oblivious to or wary of different forms of treatment, whether it be homeopathic remedies, plant and herbal medicines, or communicating with our ancestors.

This skepticism and oblivion is a byproduct of centuries of colonization, both in a literal and metaphorical sense. From international hegemony to eurocentric beauty standards and the realm of medicine, health, and wellness, the effects of colonization oftentimes feel insurmountable. In the midst of trying to survive, individuals are forced to cede their roots, but communities of color have been in the healing business for ages.

“Needle pricking is definitely the healing practice that has the most history,” first-year student Christina Chaeyoung Oh said. “I don’t know exactly when the practice began, but my great grandmother, my grandmother, and my mother -- all on my mom’s side -- have told me about it at some point.”

The purpose and execution of needle-pricking is distinct from the pseudoscientific practice of bloodletting, a pre-19th century European phenomenon that employed leeches to withdraw blood in an effort to balance the four “humors”: blood, yellow bile, black bile and phlegm.

The first use of needles for medical purposes supposedly dates back to the Stone Age. 21

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“Something my mom would often say was ‘손가락 따줄게.’ This translates roughly to ‘I’ll open your finger for you.’

The story was that by letting a drop of blood out, that drop would also flush your body of toxins,” Oh said.

Oh, who is of Korean descent, said the theory is that pricking a finger with a needle to draw a small drop of blood helps alleviate nausea. Although a lot of pressure must be applied briefly on the finger, hand, and wrist to “massage the blood out,’’ she

and with no medical professionals present, Oh said that not having insurance is one of many reasons for continued use of these practices.

Although she maintains belief in this nausea remedy and understands that it isn’t 100 percent backed by science, for Oh, it has worked time and time again without fail and serves as a way for her to hang onto a part of her childhood and culture.

Jackie Omweno, a sociology major

“THROUGH COLONIZATION, I THINK WE’VE BEEN CONDITIONED TO THINK THAT ANYTHING THAT’S WESTERN IS AUTOMATICALLY BETTER BUT THIS IS DEFINITELY NOT TRUE.” has never experienced any lasting effects or persistent pain post-procedure. While Oh considers cupping, acupuncture, and hard-warmth massages to all be important natural healing practices, she says the custom of needle-pricking is most significant to her because it reminds her of her childhood.

Oh said, “Needle pricking was probably first introduced to me around the 1st or 2nd grade… I was diagnosed with an autoimmune disorder in elementary school, so whenever I felt particularly ill, my mother would always take me aside and prick my finger. Even with all the stress my illness brought to the household, my mother was always there to help me, even in the middle of the night.”

Growing up in a low-income household

and medical anthropology minor, is the daughter of a nurse, yet still abides by homeopathic Kenyan remedies passed down from her grandmother who lacked access to medical treatment in Kisii.

Omweno says she does not take cough medicine or syrups because she doesn’t need to; her pantry in her apartment is stocked with actual ginger, lemons, or at the very least, a lemon and ginger tea.

“I remember a specific red-burgundy tea that my grandmother used to brew from leaves she would pick -- just to make sure that you got that little extra ‘oomph’ for the day,” Omweno said. “I also remember that whenever I would burn myself doing God knows what, my grandmother would tell me to urinate on the burned area to make the pain go

away [and] prevent any future scars. But the OG home remedy was when I would get sick and lemon, ginger, black tea, and honey would be brewing in a pot that same day.”

Omweno said that upon telling this to any of her peers, she always receives extreme looks, but the concept isn’t outlandish. In fact, it was even alluded to in the hit show Friends regarding a jellyfish sting. Medical professionals do not recommend peeing on a sting to ease pain, however, according to an article from Charlotte news outlet WBTV, some doctors cite the thought behind it as correct.

Smithsonian magazine, a publication that inspects topics researched, studied and exhibited by the Smithsonian Institution, cited research published by MDPI exploring different jellyfish sting treatments and featured work from Hakai Magazine about this practice. In the article, one of the co-authors Dr. Christie Wilcox states that “in a best-case scenario, pee will act as a neutral solution that just moves the tentacles around.”

However, because of the lack of consistent chemical makeup in urine, it can actually exacerbate stinging and worsen the situation. As opposed to cooling a burn immediately, jellyfish stings should be treated with vinegar to wash away the tentacles and later, heat should be applied.

For Omweno, who grew up in Kenya until age 8, it was less about choice and more about resourcefulness.

The 20-year-old senior said, “In all seriousness, sometimes these herbs that we used could mean the difference between being ok or getting a serious infection, which, coupled with other things that we had to deal with like malaria, could mean life or death.”

In Kenya, her family was much better off in comparison to their neighbors, but Omweno and her family were on Medicaid when they moved to the U.S. As Omweno graduates from Carolina in May 2020, she hopes that her medical career is led by focusing on healing the body naturally rather than pumping already ill patients with profit-centric medications and treatments.

“Through colonization, I think we’ve been conditioned to think that anything that’s Western is automatically better but this is definitely not true. There are other health systems out there that are efficient and effective but just as people and cultures change, so do their healing methods,” Omweno said.

While not every practice is medically-

supported and foolproof, for many non-white individuals, these methods have been working for decades. The reliance on them embraces a cultural understanding that Western medicine tends to lack. The future of medical practice should balance the need for healthcare expansion while recognizing the cultural influences associated with healing. Decolonization of medicine requires conscious, active challenging of systems, starting with preconceived notions of what is extreme or peculiar.

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A HUMAN RIGHT: RURAL NORTH CAROLINA’S FIGHT FOR HEALTH CARE WRITTEN BY AVANISH MADHAVARAM | DESIGNED BY ANNIE RUDISILL

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All Americans have the basic right to live a full and healthy life. According to the United Nations’ Universal Declaration of Human Rights, “everyone has the right to a standard of living adequate for the health and well-being of himself and of his family, including food, clothing, housing, medical care and necessary social services.”

Across the globe, modern healthcare is predicated on the principle of preventive medicine, which focuses on the health of communities by preventing disease, improving public health standards and increasing health awareness and education.

Preventive medicine includes yearly doctor visits, blood pressure tests, vaccinations and obesity counseling necessary for individuals to live productive lives. In America, a collaborative relationship with physicians and patients is often missing due to the failures of our current healthcare system. One of these failures is the lack of equitable access to care, which is a standard for the affordable and timely availability of medicine that should be universally accessible.

Rural communities in particular often struggle to meet that principle. In 2016, the Cecil G. Sheps Center for Health Services Research at UNC found that across the board, rural populations have poorer health outcomes than urban populations including: higher rates of infant mortality, diabetes, drug and alcohol use, risk of injury and teen pregnancies. Rural areas are also historically poorer, older and more isolated.

Rural students also face distinct issues within their communities. According to the Center for Public Education, rural schools are systemically underfunded and offer considerably fewer higher achievement courses than their metropolitan counterparts. This lack of educational opportunity makes it particularly difficult to train the next generation of rural doctors to serve in areas of need.

In 2015, the NC Department of Commerce reported that about 40% of people in our state live in rural areas and that 80 of the 100 counties in NC are defined as “rural.” The predominance of rural areas in North Carolina makes quality healthcare reform a prevalent issue in our community.

Joshua Walker, a senior undergraduate student at UNC, is from Pleasant Garden, NC, a rural town with a population of around 4,000 people. As a student interested in dental health, Walker is committed to taking an active role in tackling health care disparities facing rural populations.

“Providing resources means improving life. If you are increasing the health of people, you are increasing the amount of years they can work and their potential,” Walker said. “But it shouldn’t be about money. Healthcare should be a basic guarantee to everybody.”

Walker is working on an economics project to quantify dental care need in different social classes throughout the state. He has also collaborated with the UNC School of Medicine to develop new enrichment opportunities that will equip future doctors with cultural competencies relevant to working with rural populations.

THE ISSUE WITH RURAL POPULATION HEALTH “Being in a rural community gets under your skin in many ways. We generally have a lower quantity and speciality of resources. Many rural community members are unwilling to go to metropolitan areas for better care,” Walker said. “For example, I come from an aging community and many of the men have issues with prostate cancer. When considering a biopsy or treatment, many men are unwilling to visit a doctor they do not know in order to receive that critical care. Naturally, our local doctor has a hard time dealing with that added responsibility of specialized care.”

While Walker mentions that a personal relationship with a local provider has some benefits, he continues to reinforce the necessity of more advanced medicine.

“My brother had a pretty serious asthma attack,” Walker said. “Fortunately for us, our next door neighbor owned the one pharmacy in town and opened up on

a doctor and a dentist; many rural communities do not even have access to those basic resources,” Walker said.

In fact, 31 NC counties do not have a single psychologist; 28 do not have one OBGYN; 57 are without a geriatrician; 18 do not even have a pediatrician.

These patterns create foundational issues in healthcare and increase the lack of access to quality health options in North Carolina. The Sheps Center, which judges the return on investment of NC medical school graduates, found that less than 3% of graduates elect to work in underserved areas within their home state.

Jane DeSaix has been a UNC Biology faculty member since 1971 and is very invested in rural students. She is currently the academic director of a scholarship and mentorship program through the UNC School of Medicine for undergraduate students from rural areas. Walker is a member of the first cohort of that collaboration.

“This is a pipeline issue,” DeSaix said. “We have to find students from rural areas, particularly students who are likely themselves underserved and who might need a little extra support to be strong applicants to medical school, so that once they get there, they will choose paths to serve in their rural communities at home.”

A need for solutions is pressing, as the issue with provider supply has grown into a problem facing rural hospitals and medical institutions. Rural hospitals have a much smaller profitability margin in comparison to their urban and metropolitan counterparts. These hospitals are closing at an alarming rate-- nine rural hospitals have closed in North Carolina since 2010, and 155 have closed across the country in that

“BUT IT SHOULDN’T BE ABOUT MONEY. HEALTHCARE SHOULD BE A BASIC GUARANTEE TO EVERYBODY.” Christmas Eve in order to get him access to a nebulizer. It truly is a blessing and a curse to have providers that do so much.

Maybe things wouldn’t have been as bad if my brother was able to visit a specialist to get better care for his asthma condition in the first place.”

In rural counties throughout the state, there are striking inequalities in healthcare provider supply; however, when considering the disparities facing his home community, Walker is thankful.

“Fortunately, my community has

same time span.

Hospital closures create immediate, widespread job losses, and other providers who often orient their practices around a central hospital are directly in jeopardy.

These hospital closures make it particularly difficult for residents to reach care quickly.

In counties facing hospital and provider shortages, women face prolonged travel times to receive proper labor care. There are over 30 NC counties where residents have to travel over 20 miles to reach the

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IN NORTH CAROLINA: COUNTIES DON’T HAVE A

31 28 57 18

PSYCHOLOGIST COUNTIES DON’T HAVE A

SINGLE OBGYN

COUNTIES DON’T HAVE A

GERIATRICIAN

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COUNTIES DON’T HAVE A

PEDIATRICIAN

nearest hospital for childbirth.

When asked about the current state of rural medicine following these closures, DeSaix comments, “to say nothing has gotten better, is the best thing we can say about it.”

GROWING THE NEXT GENERATION OF RURAL DOCTORS Nevertheless, DeSaix and Walker believe there are potential solutions to rural medicine disparities moving forward.

Both agree that the best way to improve rural health outcomes is to bridge the gap between rural and urban providers. This solution has not proven easy though, as rural students often face unique challenges when entering higher education.

“I jumped from a community with lower resources and few outlets of recreation to an environment with access to not only friends but activities with a constant supply of new experiences,” Walker said. “For many of my friends that have done simple things like play racquetball before college, they don’t understand how valuable it is to get to have those experiences. Being exposed to all these new things adds more stress to our academic success, as we are trying to learn everything in class and out of class.”

DeSaix believes that rural students interested in health professions are often not prepared for the educational demands students face in college, making them more susceptible to failure.

“There is evidence that students most likely to serve in rural areas come from rural areas,” DeSaix said. “A lot of those students need a leg up. So having some sort of mentoring system or guiding system is definitely the way to go.”

The challenges that rural students face are often cultural.

“It seems to me if a student has come from a big high school from a metropolitan area, they have been in a competitive environment and they are more likely to engage in help-seeking behavior, which is an important survival skill,” Desaix said.

“Some students from underserved and rural areas come into this culture, not sure if they belong here, and reaching for help is harder for them. You cannot be a physician without asking for help. We have to flat-out make that a priority.”

Health care solutions for rural populations can be transformed by providing rural students interested in medicine with better educational outcomes so that they can one day serve their home communities. Doing so requires giving students personalized attention so that success is possible.

However, rural activists like Walker do not want to stop at mentorship.

“Rural medicine can be improved with better infrastructure, improved access to the internet, community centers with libraries and rec centers. Social systems can be part of the answer,” he said.

Developing the social systems that Walker mentions will require state investments into public programs.

These programs must increase access to affordable housing, create infrastructure that is conducive to physical activity and subsidize rural grocery stores so that healthy foods become a viable option.

Walker is also interested in innovative solutions that relate to mobile medicine and mid-level health providers such as dental hygienists, nurse practitioners and physician assistants. Mobile medicine strategies utilize technology so physicians in metropolitan areas can support mid-level providers that are sent into rural areas.

Walker said investing in mid level providers and using a mobile medicine

model may play a pivotal role in healing disparities.

“Mobile medicine has huge potential because physicians are more willing to live in areas with better schools, diverse resources, more social networks, and still want to serve rural areas. Mobile medicine would connect these providers with communities that have yet to be served and still live comfortably.” he said.

MOVING FORWARD The current status of medicine in rural North Carolina is nothing short of a crisis. As a society, we must be willing to accept that the two strongest standards of social mobility are health and educational outcomes. Without equitable care for those in rural areas, inequalities in our state will continue to grow, abandoning the well being of entire communities. Walker claims the issue is clear.

“The people that need the most care are receiving the least care,” he said. “We must be willing to raise our voice for those among us that cannot, especially the older, the impoverished and the sick.”

North Carolinians must urgently demand better health policy for rural residents. Health outcome inequality is an issue that can only be solved by actively engaging lawmakers, demanding progress and continuing to invest in our rural students.

If we hope to have any shot at truly affecting change, we must be willing to learn, while demanding a more comprehensive political discussion around health care. For rural students and activists, this issue is an urgent priority.

“There are communities that are years if not decades behind others that may be just an hour drive away in terms of quality of life,’’ Walker said. “Ethically, is that right?”

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BY JORDAN WOLFE DESIGNED BY KENDAL ORRANTIA

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I was shopping for vinyl records recently, habitually flicking through the rock, jazz and world music sections, when I came across “A Rough Guide to Psychedelic Cambodia,” a compilation of psychedelic rock from 1960s Cambodia before the Khmer Rouge genocides. As a lover of all things rock-and-roll, especially psychedelic rock music, I purchased the record and raced home to play it, eager to hear the psychedelic sounds of Cambodia.

I wondered if it would be anything like the American and British music that I had come to love.

As soon as the needle hit the vinyl, the sounds of Phnom Penh entranced me. The music was reminiscent of the psychedelic innovations of mid-sixties Liverpool and San Francisco, melodic Afro-Cuban jazz and fuzzy Latin American funk. Despite this, the style remained clearly rooted in the instrumental and vocal traditions of Cambodian music. The charming, nasally female voices employed Khmer techniques like improvising and elongating syllables, creating rhythms alongside the instruments and fluttering effortlessly up and down the scales. Many artists blended traditional instruments with contagious Western guitar riffs. The sounds of Mahori instruments, things like gongs and xylophones that were traditionally used in Cambodian royal entertainment, fused with Beach-Boy-like surf rock to create transcultural melodies that existed far outside the realm of my usual listening experience. The musical compilation could only be described as alive.

After reading a few articles on Cambodian music history, this listening experience morphed into a dynamic daydream. I imagined the late nights in

Phnom Penh where young people gathered, listening to the American radio broadcasts from troops occupying neighboring Vietnam. I pictured Cambodian musicians performing with wind instruments from the Philippines or singing French lyrical ballads, jamming and dancing all night long. I thought of the city’s burgeoning creative scene as bands traveled from the countryside into the city to share their ideas and new music. Listening to albums by artists and bands like Sin Sisamouth, Pen Ran and Drakkar, I began to recognize common traces of Cambodia itself and the counterculture that flowed vigorously through the veins of its youth.

This rise of Cambodian psychedelic rock in the 1960s and ‘70s can be compared to the United States’ counterculture.

Young bourgeoisie creatives produced avant-garde sounds that blended elements of traditional Cambodian music and psychedelic innovation. The musicians studied the instrumental arrangements, vocal techniques and dance styles of bands like The Beatles and The Rolling Stones in order to emulate their iconic performances. The albums emerging from Phnom Penh in the 1960s represented a society engaged in a fiery love affair with rock-and-roll, psychedelic innovation and international ideas. This music was and continues to be a beacon of creativity rooted in cultural exchange.

Much of this experimentation was encouraged by Prince Sihanouk, Cambodia’s leader, who helped cultivate the popularity of Western music with hopes of transitioning the country into a modern state. His nationalistic efforts led to progressive music being gradually woven into the cultural fabric of Cambodia.

Although much of the country was politically repressed and impoverished under his rule, Sihanouk still managed to cultivate a younger generation that created their own sounds for reasons outside of tradition, religion or patriotism.

Young Cambodian musicians transitioned from being paid by and singing about the state in the 1940s and ‘50s, to rockers who made music just for the funk of it in the 1960s and ‘70s.

Psychedelia oozed into worldwide music culture. Under Prince Sihanouk, Cambodian youth capitalized on the

“THE ALBUMS EMERGING FROM PHNOM PENH IN THE 1960S REPRESENTED A SOCIETY ENGAGED IN A FIERY LOVE AFFAIR WITH ROCK-ANDROLL, PSYCHEDELIC INNOVATION AND INTERNATIONAL IDEAS.

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instrumental trends from progressive albums like “Pet Sounds” of the Beach Boys and the Beatles’ “Sgt. Pepper’s Lonely Hearts Club Band,” along with other bands like the Rolling Stones, the Kinks and Jimi Hendrix. After Chum Kem’s “Kampuchea Twist,” the first cover of an American song to ever be broadcast on Cambodian public radio, young musicians began experimenting with techniques like recorded reverb, sound reversals, synthesizers and psychedelic drum patterns. This paved the way for the various forms of rock-and-roll that emerged from Phnom Penh in the 1960s and early ‘70s.

The adaptation of Western techniques led to brilliant covers of Western songs as well as original tracks by prominent Cambodian rock and pop stars. Ros Sereysothea, Cambodia’s sweetheart, and Sin Sisamouth performed countless duets throughout their careers and became icons of Cambodian pop love songs. Pen Ran was a female rocker renowned and, arguably, infamous for her risqué lyrics, dance moves and progressive feminist outlook. She wrote almost all of her own songs in a time when most serious songwriters were men, and used her voice to critique the state of the modern Cambodian woman. Others, like the band Drakkar, embellished the hard rock sounds of bands like Santana with their own arena-worthy guitar solos and Farfisa organ riffs.

Unfortunately, this unique and blooming genre, in all its variety and passion, was suddenly decimated by political upheaval during the brutal totalitarian rule of the communist Khmer Rouge, leaving a void in the Cambodian arts scene for decades. The 1975 infiltration and eventual takeover by the radical regime, led by prime minister and general secretary Pol Pot, forced ethnic minorities, many artists and musicians among them, to flee their ancestral homes. In an effort to create a master Cambodian society reconnected to agrarian values and free of all Western influence, Pol Pot oversaw the mass genocide of over 25 percent of Cambodia’s population. According to LinDa Saphan’s 2017 article on popular Cambodian music, over 2 million citizens and 90 percent of musicians were put to death. This “cleansing” act by the Khmer Rouge regime put an end to all outward expression and experimentation. Since the Khmer Rouge targeted many musicians first, much of their work was destroyed early on in the regime, practically eliminating progressive Cambodian music.

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OVER 2 MILLION CITIZENS AND 90% OF MUSICIANS WERE PUT TO DEATH. the 1980s and 90s, some of which were preserved, while others were digitally altered to suit the musical tastes of the time.

A small number of music historians and Cambodian art enthusiasts are attempting to restore, reorganize and re-release the original music in order to preserve the nearly lost music scene of 1960s and ‘70s Cambodia. Since the 1990s, separate groups of travellers, audiophiles and filmmakers have aided in the reconstruction of the country’s past. In 1996, an American traveller came across cassettes of 1960s Cambodian rock and compiled a set of tracks on a bootleg copy named Cambodian Rocks which he released in the U.S., unknowingly igniting a flame in the hearts of many music lovers for decades to come. In 2014, John Pirozzi directed and released a documentary about the lost rock music of Cambodia titled “Don’t Think I’ve Forgotten” in which he interviews Cambodian expatriates and Cambodian Americans about the history and current state of the country’s music.

All the while, the Cambodian Vintage Music Archive, a group of dedicated Cambodian and Cambodian American music lovers, have been working to recover, restore and re-release original Cambodian vinyls and cassettes.

While much of the musical history of Cambodia remains an unsolved puzzle, restoration efforts by music lovers and cultural enthusiasts have revived a large part of the cultural narrative of an entire group of people, many of whom were never allowed to heal. The suddenness of the Khmer Rouge atrocities and the near eradication of any form of emotional expression during this time uprooted a cultural conversation in its prime, leaving its people grasping for a solid foundation.

The success and inspiration provided by the work of the Cambodian Vintage Music Archive and “Don’t Think I’ve Forgotten” have recontextualized the once lively and promising culture. This renaissance of Cambodia’s doomed music scene is allowing the voices of Cambodia’s lost icons to again grace the ears of passionate listeners and to grant its generation the chance to fully celebrate its meaning.

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WRITTEN BY ROHIL BHATTARAI AND NUPUR SHAH DESIGNED BY MINGXUAN SHEN PHOTOGRAPHED BY GABRIELLE THOMPSON, HANNAH GRIFFIN, HELEN HONG AND MADISON SPEYER MODELED BY SERENA SINGH, MARINA FELA-CASTILLO, DOROTHY COLON, JERRY YAN AND KIARA DE LA TORRE While inhabiting a culture so different from those of our native countries, many immigrants and first or second-generation Americans feel pressured to relinquish our cultural roots, especially when they make us seem different and allow us to be “othered” in our own hometowns. It is difficult to balance our ethnic identity and our American identity, and one of the first ways we abandon our roots is through fashion: replacing our ethnic clothing with western alternatives to avoid unwanted stares, diminishing jokes and offensive comments. Even though wearing ethnic clothing makes us feel empowered and beautiful, we often feel strange and

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exoticized in the public eye, pushing us to assimilate. Many times, we even feel uncomfortable when others in our culture wear ethnic clothing publically and feel the need to vocalize this discomfort to conform to what is seen as “American.”

Today, students, designers and influencers are combating this stigma by incorporating elements of their culture into everyday clothing, blending traditions, silhouettes and fabrics across cultural lines. These designs symbolize our heritage because, like them, we are a combination of our ethnic traditions and cultures. When we experience life’s bitter moments, we remind ourselves of the values ingrained

in our roots -- values like hard work, determination, kindness and love. We remind ourselves of the communities that shaped us and drove us to change the world. We remind ourselves of the distinct fabrics and silhouettes which our colorful heritage is reflected upon.

At its root, fashion is an important form of self-expression and an essential component of our origins. Reclaiming our ethnic fashion enables us to not only feel empowered and comforted but also to reclaim our repressed identities and embrace ourselves in our rawest form.

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Jerry in a shirt featuring Chinese characters.

TODAY, STUDENTS, DESIGNERS AND INFLUENCERS ARE COMBATING THE STIGMA AROUND ETHNIC CLOTHING BY INCORPORATING ELEMENTS OF ETHNIC FASHION INTO EVERYDAY CLOTHING BY BLENDING TRADITIONS, SILHOUETTES AND FABRICS ACROSS CULTURAL LINES.

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Dorothy in a headscarf and colorful wrap skirt.

AT ITS ROOT, FASHION IS AN IMPORTANT FORM OF SELF-EXPRESSION AND AN ESSENTIAL COMPONENT OF OUR ROOTS.

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Marina in a traditional Venezuelan folk dress.

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Kiara in a Mexican embroidered dress.

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Serena in a shalwar kameez and jeans combo, wearing a maangtika and Shikarpuri nath.

RECLAIMING OUR ETHNIC FASHION ENABLES US TO NOT ONLY FEEL EMPOWERED AND COMFORTED, BUT ALSO TO RECLAIM OUR REPRESSED IDENTITIES AND TRULY EMBRACE OURSELVES.

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MACKINAC ISLAND

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MICHIGAN, USA WRITTEN BY ISABELLA SHERK | DESIGNED BY NIKI SUCHY Inherently attracted to and fascinated by cities, I am always eager to explore them. When I had the opportunity to explore the streets of Chicago and Detroit with my best friend Nicole on her summer trip, I jumped at the chance. The trip would be ten days long, but there were a few stops along the way that did not involve bustling city centers.

I knew about these stops, but I didn’t look into them. Instead, I scoured the internet for the best places to eat and see in the cities we would be visiting. Before traveling to the middle of America, I imagined flat farmland as far as the eye could see.

All I know is that when I pictured the Midwest, I certainly did not picture Mackinac Island.

The journey to the island started on an early morning. A mediocre hotel breakfast was followed by a quick car ride to the dock where a ferry travels to and from the island. It was lucky that Nicole’s parents had bought ferry tickets beforehand—a family of 36 boarded soon after us. Lake Huron stretched as far as the eye could see, and its deep blue waters resembled the ocean as I looked out the ferry window. Immediately captured by its vastness, I stared out into the water for the entire ride.

As soon as the ferry docked, I stepped onto the pavement and was amazed by the beauty before me.

When I walked down Market Street, an assortment of bright colors flooded my eyes. Vibrant green grass blanketed the rolling hills of a far off park.

Houses in the distance were painted in multicolored hues. The lakeshore shone a bright turquoise, almost as if the waters were those of a tropical island. It truly seemed like paradise.

The bright blue sky above me perfectly complemented the pastel colors of the fudge shops and flower boxes lining the main drag. White picket fences stood out against the vivid greens of the grass and the trees.

Even the public library was mint green to match. I could not believe how perfectly crafted every detail was. It was almost as if I were stepping into

from souvenir hats to locally made jewelry. I felt as though I had to contribute to the local economy by buying a few things. We consumed our

“IT WAS ALMOST AS IF I WERE STEPPING INTO A MOVIE SET, HESITANTLY WAITING FOR THE WIZARD TO REVEAL HIMSELF FROM BEHIND HIS HIDDEN CURTAIN.” a movie set, hesitantly waiting for the wizard to reveal himself from behind his hidden curtain.

Traveling to Mackinac was like traveling back in time. Horse-drawn carriages and bicycles filled the streets.

Cars were banned on the island in the nineteenth century and still are to this day, I learned. Though they are banned in order to avoid spooking the horses, I like to imagine that the absence of cars was a more intentional choice. Such a detail contributes to the mythical appeal that the island has to its visitors. The absence of everyday things, like cars and busy schedules make Mackinac Island a place where people can go to escape the real world, a sanctuary for those living hectic lives.

As our trip progressed, we settled into island life quite nicely. There was a beautiful, serene park that smelled of freshly cut grass overlooking the lake. It quickly became one of my favorite spots on the island. We took long walks down tiny side streets and saw many small cottages, imagining what it would be like to live in them.

Impromptu photo shoots ensued just about everywhere because of how picturesque the island truly was. It was easy to lean in to the comfortable nature of the island.

Browsing unique shops and boutiques became my favorite travel activity. These shops sold everything

weight in the hottest local commodity: fudge.

Other moments were spent in quaint local restaurants, complete with a predominantly European waitstaff that came to work for the summer season. The environments of the restaurants were comfortable, but polished. The energy of the island was calm, as if it was welcoming you in. I loved how everything about Mackinac was so unique from anywhere else I had ever visited.

On our second of three days on the island, we decided to take a bike ride around the perimeter of the island. I picked out a baby blue cruiser to rent from the bicycle shop, eager to explore the island. Admittedly, it had been a while since I had been on a bike.

After a shaky start, I fell into a rhythm and picked my head up to look at my surroundings. Nature hemmed me in on both sides; the turquoise waters of Lake Huron sparkled on my left, and a dense forest of green towered on my right.

As we gained ground, new treasures of the island such as rock formations and lilac flowers revealed themselves, each sight more beautiful than the next. Gusts of wind blew my hair seamlessly away from my face as I soaked in the island’s natural beauty.

The experience felt euphoric; almost as though I absorbed the very essence of the nature that surrounded me.

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On Mackinac Island, there are only 492 residents year-round, according to the most recent U.S. census. Despite this low number, Mackinac is highly populated in the summer season and has become a large tourist attraction.

Numbers vary, but according to the U.S. Securities and Exchange Commission, as many as 15,000

The island holds great cultural significance for these Native American tribes that lived on or near Mackinac.

According to the traditions of the Anishinaabe-Ojibwe, the island was home to the Great Spirit Gitchie Manitou. The presence of the spirit made Mackinac a place where tribes gathered to make offerings, including

“THE ISLAND’S VISITORS AND RESIDENTS ARE LUCKY ENOUGH TO BE ABLE TO ENJOY THE PRISTINE ISLAND WITHOUT A CARE IN THE WORLD.” people visit each day in the summer months. Vacationing on Mackinac has a certain element of prestige; wealth is in the air, and you can’t escape it. The island’s visitors and residents are lucky enough to be able to enjoy the pristine island without a care in the world.

Before wealthy and prestigious summer vacationers popularized Mackinac, the island began like most places in the United States—first inhabited by Native Americans.

The history of the Native American presence on Mackinac is important when it comes to learning about the island’s roots.

The Ottawa, Chippewa, and Huron tribesclans inhabited Mackinac Island long before the Europeans.

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the burial of their chiefs, to honor the Great Spirit.

In the late seventeenth century, Europeans made their first visit to the island. Father Claude Dablon and Father Jacques Marquette were Jesuit missionaries who came to Mackinac to convert Native Americans to their faith. Soon after missionaries came to the region, the island became an important trading post in the French fur trade. Soon after these Europeans arrived, the Great Spirit was believed to have fled the island.

The War of 1812 would bring division to Mackinac Island. During the war, the Odawa and Ojibwe Tribes were allied with the British, but the United States eventually won the

island back when they signed the Treaty of Ghent with the British. In 1836, Native American leaders and U.S. officials signed the Treaty of Washington on Mackinac Island. The treaty mandated that the Odawa and Chippewa tribes cede 16 million acres of land to the United States.

Native Americans still living on the island at that time narrowly avoided being removed from their lands when the Indian Removal Act of 1830 took affect. This act resulted in the ethnic cleansing of Native Americans from many parts of the United States.

Despite challenges, Native Americans on Mackinac were able to stay on the island due to the strong leadership from people such as Agatha Biddle, a member of the Odawa tribe that ran a fur-trading business. This active participation by the Native Americans in the island’s economy made it possible to advocate for their continued presence.

According to the last U.S. Census, Native Americans make up eighteen percent of the Mackinac Island’s population. Though this is a significant decrease from the early 1880s, during which time Native Americans made up most of the population, it is important to note their continued presence on the island.

In recent years, recognition of the Native American history on Mackinac has become more of a focus on the

island. In 2017, markers funded by local businesses and residents were placed along the perimeter of the island to honor the culturally and historically significant presence of Native Americans on the island. This acknowledgment of the suffering that Native Americans have endured is a crucial step for the future of the island and its Native American residents.

Visitors who venture the long road surrounding the island are able to read about the history of the Native Americans who lived there and what they had to endure as Western society creeped in. Mackinac Island is not just fudge shops and scenic views; it is living, breathing history.

When my last day on the island arrived, so did the rain. I can picture it as clearly as if it were projected on a movie screen; we traded our summer tanks for rain jackets and sweatshirts and settled into a restaurant’s corner booth for lunch before our ferry ride.

Nicole and I reminisced over pretzel bites and tomato soup, recounting our endless adventures and favorite memories.

Rain seems to provide comfort when things come to an end, clarity, even. Coming to terms with some parts of our past, and with our roots, can be difficult. While Mackinac Island has an air of perfection, it is flawed, much like anything in this world. When I learned about the more troubling side of Mackinac’s history, it initially made that comfort I associated with the island dissipate.

But this doesn’t make it any less beautiful. Even if the loveliest things that exist are not perfect, they are real. Recognizing this difficult history is a pivotal step in creating a more inclusive future that generations to come can be proud of.

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WHAT IS HOME? WRITTEN BY CLARA MATTHEWS | PHOTOGRAPHED BY HELEN HONG | MODELED BY ALLEY STEELE, SAMARA BIE, SOFIA MARTINEZ & ALYSSA COOPER DESIGNED BY ZOE HAMBLEY What is home? Overall it is a pretty abstract concept—home can be a place, as most people would tell you, but it can also be a person, a thing or an essence.

Anyone who has traveled to a faraway place and immediately envisioned themselves there for the rest of their life knows that je ne sais quoi feeling that is unmistakably home. It is simultaneously inexplicable and served up on a silver platter, yours for the taking. If you’re someone like me, you strongly associate places with the people that make you feel safe, secure and validated in your experiences.

Memories, smells, and tastes are what remind us of home. Warm hugs from loved ones, soft and enveloping, provide security and shelter we can return to. Even when we can’t go back to our physical homes, we carve out spaces in our surroundings that remind us of where we come from.

Still, home can be hard to find, requiring self-searching and reflection.

Wherever—or whatever—you call home, be sure it holds a special place in your heart.

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SAMARA BIE “As a person moving around every year and living alone in a foreign country, I hardly have the feeling of home, not even where my family is. So I think home for me is more of a concept limitation, a physical location where you finally decide to stay for the rest of your life.”

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“Home is soil the color of coffee beans and the emerald trees of the Amazon. Home is a place that I can’t go back to, but a sense of strength that I carry with me. My home is Venezuela and her beaches. It’s arepas and bolero sonnets. Home is where my parents and grandparents and grandparent’s parents were born and the way in which they raised me.”

SOFIA MARTINEZ

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ALYSSA COOPER “I am binational, bicultural, and biracial. I am American and Japanese, identify with aspects of both cultures, and have an appearance of neither. Sometimes I feel lost on where I belong because most of my life I didn’t fit into a structured identity, but “home” is always where my family is. In North Carolina, home is where my parents are, the people who understand me most and my friends who have grown up together in this similar environment and saw me change and struggle with my identity.

Home is also certain places and houses in Japan where every year I visit, I am told “welcome home” by family and friends. They are the people who make me feel like I belong and that reflect my cultural values. The space that these people exist in matter little, but the places that their existence creates for me, the smells, taste, colors, voices, feelings- the memories is what home is.”

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“To me, home is a feeling and a memory, rather than a physical place. Home is a warm hug from my mom or my girlfriend. It’s the feeling of complete comfort and letting yourself go in a good way. Home is the racket of my cousins on Thanksgiving, the smell of black coffee that my mom and I drink when I’m with her as we listen to the pattering of our dog’s paws on the wood floor as the sun rises and sets, the sound of a key turning in a lock as my girlfriend comes back through the door, closing the book that we opened that morning by saying, “goodbye, I love you, I’ll see you at home tonight.” Home is the feeling of safety and love; the people who give you that are home.”

ALLEY STEELE

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HARMONIES OF LIBERTY A RECKONING OF AMERICA’S BLOODIED PAST AND CELEBRATING BLACK EXCELLENCE WRITTEN BY KEN DAVIS DESIGNED BY ANNIE RUDISILL & ZOE HAMBLEY

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CONTENT WARNING: mentions of sexual assault, abuse, graphic violence.

“We hold these truths to be self evident that all men are created equal.”

“The land of the free and the home of the brave.”

These phrases have been the indoctrinated backbone of American society. Our children are conditioned to recite these promises from an early age, proudly and honorably representing our country.

In reality, they are both lies written by privileged, cisgender white men who claim to support the idea of equality. But was equality expressed in the bowels of flooded slave ships? What good were these words to the slave bent and bloody in the field? Were these phrases etched into this university’s foundation, an institution that did not accept students of color until 1960?

2019 marks the 400th anniversary of the year slaves were first stolen from their homes and brought forcefully to what would eventually become the United States, and the emotions surrounding their insufferable mistreatment are still raw in their descendants. It can be difficult and unsettling to read something like this, but the reality of America’s—and slavery’s— past deserves to be told truthfully and in an unabridged manner.

The history of Black people in America has been tactfully minimized into a small category. It falls into a single class period or conversation but is not wholly incorporated into general American history. Black history is spun and framed in a way that only highlights heroes like Harriet Tubman, often only acknowledged during Black History Month with a single photo pinned to a bulletin board. Our education system fails us by depriving individuals of the opportunity to engage with the roots of a country they are told to blindly love.

“Our decision to buy that first group of 20 to 30 Africans would influence everything that followed after,” said Nikole Hannah Jones, a journalist for the New York Times and UNC-Chapel Hill alumna.

“I think it is as foundational to who we became as a country as our decision in 1776 to break off from the British.” .

Jones has made it her mission to recontextualize slavery in the United States, writing long-form pieces on institutional injustice. In August of 2019, she launched a series called “The 1619 Project,” which analyzes the legacy of slavery from the past to the present, according to CBS News. The project,

“aims to reframe American history,” and place “the consequences of slavery and contribution of Black Americans at the very center of the story we tell ourselves about who we are.”

Throughout the entirety of the project, Jones curates arguments that support the notion that Black Americans are the real Founding Fathers of this country. From the highway structure in Atlanta to the naming of Wall Street, and even down to the foundations of our healthcare system; these integral aspects of America all stem from the institution of slavery. This form of slavery, chattel slavery, was unique to the Americas and the United States in particular. Even though African slaves were found in Europe and the Middle East prior to being brought to the Americas, the extreme violence characterized by slavery in the United States was not nearly as

“...HIGHLIGHTS HEROES LIKE HARRIET TUBMAN, OFTEN ONLY ACKNOWLEDGED DURING BLACK HISTORY MONTH WITH A SINGLE PHOTO PINNED TO A BULLETIN BOARD” common in other parts of the world.

The physical, mental and emotional legacy of slavery devalues these individuals’ status to subhuman, ingraining within them from birth that they should accept their inferiority as a natural state of being.

The insidious belief of undue comparison extended to our laws, poisoning Congress to the point where only two votes challenged the almost unanimous decision to consider Black people as three-fifths of a human being. Since enslaved people made up such an immense population in the South, considering them “fully human” would’ve given Southern slave owners more power than their non-slave owning counterparts in the House of Representatives.

White men abused their privilege without fear of consequence, raping women then selling the resulting children.

Since slave status was determined by the mother, slave owners were able to conceal the evidence of their vicious and sadistic assaults.

What is often overlooked, is that many white women were just as responsible 54

for slavery as their husbands. Despite a commonly-held perception that white wives were often the more benevolent counterparts to their violent husbands, historical evidence proves otherwise.

According to the 1619 Project, there was no sisterhood or alliance between slave mistresses and the black mothers and daughters they claimed as property.

Slave owners lacked a necessary human

SLAVE OWNERS LACKED A NECESSARY HUMAN QUALITY: EMPATHY. quality: empathy. The belief that Black men and women were less than in terms of identity and abilities was an integral part to white American racism, an idea that still persists to this day. After all, how can you empathize with someone you see not as a human, but as property?

“If one minute’s freedom had been offered to me, and I had been told that I must die at the end of that minute, I would have taken it,” was the heartbreaking remark from Mum Bett, an enslaved woman in Massachusetts who sued the statehouse for her freedom and won. Now known as Elizabeth Freeman, she escaped the physical and social shackles of slavery, but most slaves were not as forunate.

Today, by the age of 21, most college students are preparing for graduation and beginning to pursue their dreams; some consider it the beginning of their life. Yet, for a slave, their life typically ran out at 21. Slaves’ pursuit of dreams never began because they were persecuted, overworked and killed before they could pursue them, according to the University of Houston’s research archive ‘digital history.’

Nikole Hannah Jones, along with many other individuals across the world, refuses to allow any further erasure of Black history and is using her voice to shift the narrative, shattering racial and social constructs. This work is occurring all over the country, including here at UNC-CH. Dr. William Sturkey, a historian specializing in the history of race in the American South, teaches “Race & Memory at UNC,” a class designed to recontextualize the history of slavery while highlighting the direct impact it had on this campus.

“Many people have an idea that many of the benefactors owned enslaved people,” Sturkey said, “but fewer people can make the connection between the actual start and origins of the university and the 55

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history of enslavements.” From the people who laid the first bricks at this university to the money first used to fund education in 1795, every aspect of UNC-CH has been influenced by the institution of slavery.

“Without slavery, there would be no university,” said Sturkey. “It’s not tangential, it’s not a side note, it’s the most important financial origin story for this university. And I think the full scope of that is something that would surprise people.”

“Race & Memory at UNC,” was one of 18 courses launched for the Fall 2019 semester. Led by passionate professors, these reckoning courses serve as an opportunity for contentious topics, such as race relations and slavery, to be discussed without belittlement.

Black voices have been unheard and overlooked for centuries. Following the ratification of the 13th amendment in 1865, slavery was officially put to an end—but only in its most obvious form. Black Americans may have become legally free, but that did not mean they were accepted into society. There was a short period of time where freed slaves in the South were well-enfranchised immediately succeeding the end of the war under Reconstruction.

However, pressure from white Democrats eventually brought an end to the period of Reconstruction, ushering in the Jim Crow era. Again, Black people remained ostracized by a system designed to exclude them.

“If the formerly enslaved and their descendants became educated, if we thrived in the jobs that white people did, if we excelled in the sciences and arts, then the entire justification for how this nation allowed slavery would collapse,” said Nikole Hannah Jones, introducing an explanation of why systematic oppression contined even after the abolition of slavery.

However, the lack of equal opportunity did not stop Black people from expressing themselves in every way they could. In Freedom’s Journal, the first newspaper owned and edited by African Americans, co-editors Josh Russwurm and Samuel Cornish stated that “too long have others spoken for us. Too long has the publick been deceived by misrepresentations.” It was time for Black people to take control of their own narrative, no matter who resisted or how hard the fight. A revolution was on the rise.

As America transitioned to the 20th century, white people began to incorporate Black culture and creations into their lives, but retained hatred towards their existence. Instead of appreciating Black

people for their unique expressions of music, art and fashion, they were excluded and segregated from white people while their culture and ideas were stolen for profit.

Cultural appropriation was born.

Representation was a foreign concept to white Americans at this time. It was evidently more intriguing to paint their faces and their lips to mock and impersonate Black people for entertainment, rather than allowing actual black people the opportunity to utilize their natural talents to entertain audiences.

By the 1940’s, the blackface industry had taken over. Crowds were enamored by the idea that they could pay to see these “performers,” which were called minstrels. Although blackface minstrels first emerged in the early 19th century, it was most popular in the mid-20th century.

The most ludicrous part though, is that regardless of their fascination with these impersonations, they would refuse to pay to see an actual Black person perform.

Why was it amusing to watch a talentless blackface minstrel dehumanize a group of people, but repulsive to listen to the sultry ballads and sweet jazz notes of Ella Fitzgerald? The dehumanization of Black people allowed white people to maintain the power dynamic that already existed. As long as they believed that these Black caricatures were an accurate representation of Black people, they could ignore all of the influential and creative Black people rising up in art, fashion, music, books and every other aspect of United States’ culture.

As segregation continued to gain support in the United States, it became clear that if Black people were going to make their mark and demand representation, they could not do it through the same avenues that white people had the privilege of using. African Americans would have to create their own path, taking the injustice they faced and turning it into a form of resistance and community.

In 1943, the Negro Digest, later known as Black World, became the first nationally successful Black-owned journal. It surfaced during some of the most tempestuous years in the Civil Rights Movement and served as an essential platform for advocates of civil rights to share their thoughts through a source that held their perspectives in high regard.

In 1950, Dorothea Towles became the first Black female model to work in Paris.

Towles quickly became a favorite amongst designers in Europe, but she returned

home so she could organize fashion shows at Black colleges.

In 1959, Berry Gordy founded Motown, one of the most influential and iconic record labels in history. Aside from having over 180 No. 1 hit songs, Gordy managed some of the biggest names in music, such as Diana Ross, Stevie Wonder and The Temptations. Motown broke down many social barriers and racial stereotypes, while becoming the most successful independent record company in history.

Motown Records did not stop with just dominating pop radio, but also booked their artists on popular shows and movies.

The record label’s music inspired millions of people, but so did the story behind its creation. With just a dream, a garage transformed into studio space, and an actual small loan of $800 ($7,053 in 2019), Berry Gordy created an unforgettable company that introduced numerous Black people into pop culture.

The common denominator in all of these pivotal moments throughout American history is that when these Black people made a name for themselves, they used their positions to support the voices of other Black people. The strong sense of community and faith in one another is how Black ingenuity began to change the world and demand the respect and attention of individuals still trying to repress its creativity. Once the door was cracked open for Black excellence to shine

THE DEHUMANIZATION OF BLACK PEOPLE ALLOWED WHITE PEOPLE TO MAINTAIN THE POWER DYNAMIC THAT ALREADY EXISTED. through, an increasing number of Black people have been inspired to bust that door right off its hinges, and 2019 has been quite the highlight.

In April, Beyonce stopped the world with the release of a documentary surrounding her iconic 2018 Coachella performance, often known as Beychella.

Featuring two hours of impeccable choreography, around 100 dancers, five outfit changes, 18 sample songs from other Black artists and 43.1 million views, Beyonce reminded everyone as to why she is, in fact, That Girl. While she was the first Black woman to headline Coachella, she never lost sight of her essence and foundation, paying tribute to Black 56

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fraternities and sororities founded in early 1900s while also featuring many Black musicians and artists.

It’s not only well-established Black artists that are making waves in the entertainment industry: Marsai Martin is making her mark in Hollywood. After rising to fame as Diane Johnson in the popular Freeform show “Black-ish,” at fifteen years old, Martin has become the youngest executive producer in history. Similarly, Zendaya refuses to take her foot off of our necks with her versatile fashion looks, incredible acting abilities and outstanding performances that showcase both her vocal and dancing skills. Zendaya is not the only triple threat giving us everything we need—Rihanna has been stealing our breath for years. Entertainment is not the only world she has taken over, as her beauty and fashion brands have gained mass popularity for their high quality and inclusivity.

Even the country scene has experienced a splash of diversity in its fashion and music realm. Earlier this year, a 19-year-old Black and queer Atlanta rapper known as Lil Nas X smashed multiple records with his hit single “Old Town Road.” Anti-Blackness in the country music industry caused the removal of the original single from Billboard country charts, prompting Billy Ray Cyrus to collaborate with Lil Nas X in order to put it right back at the top. There is something to be said for the fact that the racism present required a white country star to legitimize the single as “country.”

The country-trap infused bop has been seemingly inescapable, played on repeat on every radio station and at every party since its release.

Lil Nas X has been one of the main contributors to a new trending movement known as the “Yeehaw Agenda”—and yes, that is the actual trademarked name.

The Yeehaw Agenda is the reclamation of country aesthetics in Black culture, and it’s been done by some of the biggest Black artists topping today’s charts: Cardi B’s chaps, Megan Thee Stallion’s cowboy hats, and even the Western Americana-inspired visuals in Solange’s latest album, “When I Get Home.”

Although this agenda’s name may make it seem like a joke, the rising popularity of the Yeehaw Agenda has contributed to the breaking of some social stigmas and stereotypes placed on Black people while increasing Black representation in country music. And while on the topic of representation, 2019 marked the first year that Miss America, Teen USA, and Miss

USA were all titles held by Black women, a fact that cannot be ignored.

You might wonder why representation in all of these areas is necessary and worth discussing. It is because finally, Black and Brown children can look at the TV, or scroll through their social media feed, and feel like they are being seen and heard. No longer will children look at the top of the Forbes list, at the top model list, or at the

FINALLY, BLACK AND BROWN CHILDREN CAN LOOK AT THE TV, OR SCROLL THROUGH THEIR SOCIAL MEDIA FEED, AND FEEL LIKE THEY ARE BEING SEEN AND HEARD

top of the Billboard Hot 100 and feel as though they are not good enough, pretty enough, or talented enough to make it, just because of the color of their skin. And that in itself is enough to justify the fight for visibility, and acknowledge its worth every time, regardless of who it upsets.

Despite all of those names and accomplishments in the arts, it is still common for people to only attribute the success of Black individuals within sports, especially in the collegiate world.

According to The Daily Tar Heel, Black male enrollment at UNC has not risen above 125 in a new class since 2009, including athletes. With numbers this small, it is even more vital for peers to lean on each other for encouragement.

“I’m inspired by the other students I see on campus, I don’t think that we give each other enough credit for how fly and active and passionate we are,” says Cameron Ulmer, a Black senior majoring in Media and Journalism and Entrepreneurship. Starting in 2017, Ulmer began putting on fashion shows to honor Black culture in collaboration with the Black Student Movement organization.

Her motivation behind her creative thinking can be attributed to her family.

“I’m a first generation college student so on a familial level, that’s what drives me.

Because in 100 years, I’m going to be the ancestor my future family will be looking at. I want to be someone that’s hanging on their walls and in their houses as someone who is inspiring,” Ulmer added.

The creative work of other black individuals at UNC are receiving global

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recognition already. Vinny Busby, a junior who has a striking passion for makeup and beauty, was recently featured on the Fenty Beauty website. This incredible achievement occurred around the same time as her first fashion show working as the head makeup artist. Instead of resting on her laurels, Busby knows this is just the beginning of her bright future.

“My ultimate goal is to move to New York and pursue editorial work for magazines,” Busby proudly stated. “I want to be a household name in the industry, a global makeup artist.”

Attending a university known for its astounding academics has put extra pressure on Black students who are determined to fight stereotypes. “At home, people ask what school I attend and when I answer, they automatically ask if I play football,” said Langston Hines, a junior who is a member of the acapella group, Harmonyx. “They seem shocked when my answer is no, especially old alumni that are not Black, like my dentist, when they see that I am doing the same thing that they did.”

Initially, Hines had no intention of joining an acapella group, only going to the audition to support his friend. He decided to try out last minute. Since joining, Hines has found a community of people he now considers some of his closest friends— bonds he will have forever.

However, Hines is aware that singing is only a hobby for him, and maintains a balance in focusing on academics and other extracurriculars. “I try my hardest to show that I’m not just a stereotype. Especially due to the fact that the Black population is so small,” he said. “There are so few of us that if we fit any stereotype then it’s easy to get lumped together.”

Avoiding stereotypes is not the solution; rather, it is breaking down the

“BUT I DON’T WANT TO FIT INTO A MOLD AND SAY THAT’S THE ONLY REASON THAT I AM HERE.”

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stigmas that cast Black people in a negative light. “At the same time, I like to try to show that it is okay to be a stereotype.

Because I can be someone not from an affluent, private highschool and still thrive at UNC. I could be an athlete and still be a smart Black male at the same time,” he said. “But I don’t want to fit into a mold and say that’s the only reason that I am here.”

The most important thing to remember is that Black excellence should not be quantified by social rank, number of accomplishments, or proving one’s worth to a group of people with trivial opinions. Black excellence is not tearing down others in the Black community to get ahead and gain approval from a society or a university that has pitted our small numbers against each other. Black excellence is existing as one’s true self, completely unapologetically.

It may be true that Black voices are no longer silenced by legal forms of segregation or the heinous crimes of slavery, but underlying repression still stands. “Many like to point to the rates of black poverty, out of wedlock births, crime and college attendance, as if these conditions in a country built on a racial caste system are not predictable,” expressed The 1619 Project. “You cannot view those statistics while ignoring others- black people have been enslaved here longer than they have been free.”

Despite this, the cultural impact made

by Black people in such a small time has been monumental.

Ultimately, Black voices will continue to rise, refusing to remain unheard.

Not only do we have our own creative expressions to fill the world with, but also the expression and empowerment of every single slave who never had a voice in America. The words “Lift Ev’ry Voice and Sing” from the Black national anthem have a deeper meaning because each of us carry the voice and dreams of a thousand unheard souls, rooted deep in our hearts.

Make no mistake; we will sing loudly and proudly until our voices have been heard across every inch of America.

ART BY: GRACE GARCIA 60

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DOWN TO

EARTH

WRITTEN BY CHLOE WILLIAMS | PHOTOGRAPHED BY GABRIELLE THOMPSON, HELEN HONG, JORDYN BURRELL, MADISON SPEYER, CARA NEELY | DESIGNED BY NIKI SUCHY There’s a reason we love fashion, and all the different ways we can choose to express ourselves. Transforming into the truest version of ourselves calms our souls and empowers our spirits. It speaks to the fact that we know, deep in our bones and in the folds of our imagination, that there is something larger than us out there. There is more to desire, more to live for, more to be.

With the velvety spice and chill of autumn come the layers, coziness and often monotonous routine of hibernation. From the root vegetables that come together to make our meals, to the sidewalks carpeted in shades of amber and wine, fall reminds us to lean into our connection to the earth -- and the roots it stems from. A rainbow of iridescent jewel tones exposes all of your complexities, revealing that your thought-provoking feelings, like you, are more than meets the eye.

An ethereal paradise of breathtaking sophistication is waiting to be discovered, offering bold combinations of energy and serenity, magic to be found within the ordinary. Get lost in a daydream of edgy romanticism, where billowing gowns and sophisticated knits take center stage. Step through the looking glass to play with mixtures of airy fabric and bulky textures, where a variety of shapes become as intertwined as two lovers holding hands, and respectfully refuse to follow any rules. Welcome to your new reality.

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MODELED BY CHLOE WILLIAMS, JANET ALVAREZ AYALA, CULLEN KEOGH, KEN DAVIS, JOCELYN RIVES

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Cullen wears a Free people scarf over an Urban Outfitters waffle turtleneck

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Jocelyn wears a misguided sweater and holds a mustard yellow velvet blazer from Asos.

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Ken in a men’s striped shirt from Urban Outfitters and his own jeans.

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Janet wears a maroon Free People dress with a Asos tunic over top.

Chloe in an iridescent blue dress from Free People.

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E T FLU HELL AS

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WRITTEN BY MIRANDA DIPAOLO DESIGNED BY KENDAL ORRANTIA Lizzo refuses to let the confines of the hip-hop genre hinder the musical identity she’s created for herself.

The meteoric artist became a global sensation practically overnight with her empowering anthem “Truth Hurts,” released two years before its mainstream breakthrough on TikTok. Now, she’s an icon for self-love, preaching, “if you can love me, you can love yourself,” to crowds of all ages, sizes and identities. She not only encourages her listeners to embrace their bodies, their blackness and their womanhood, but also acts as a catalyst for changing the way today’s consumers perceive the music industry.

In some ways, Lizzo is an enigma to modern music, embodying the essence of prominent vocalists. The nostalgic soul of Lizzo’s vocals and her Broadwayesque range are almost obsolete in today’s mainstream music, especially in hip-hop.

Sasha, the legendary flute she wields during live performances, is what sets her apart beyond her unique vocal abilities. She plays with the elegance of a classical artist and the fierceness of a hip-hop entertainer.

Lizzo, born Melissa Viviane Jefferson, began learning the flute at the age of 10.

She started her own rap group at 14, but to quell her would-be hip-hop coolness, she was also a band kid. She played flute in her high school marching band and at the University of Houston, where she studied classical flute performance on a musical scholarship. From childhood until her 2013 debut album, Lizzobangers, Lizzo formed and played in several musical groups, from rap collectives to screamrock; anywhere Lizzo could rap or play flute, she did so. Lizzo told NPR that she “wanted to be the best,” and was always inspired by the cultural phenomenon of freestyle, which emerged in the 80s and remains a significant force in hip-hop

today. It’s clear that her genre-bending style has always been a feature of Lizzo’s musical endeavors.

Music critics have not proclaimed Lizzo as the best flutist, the best songwriter or even the best vocalist of this generation, but she may be the most lovable. She’s

“WHAT TRULY SETS LIZZO APART IS SASHA, THE LEGENDARY FLUTE SHE TOTES TO LIVE PERFORMANCES.” taken the freestyle movement that inspired her and remodeled it into a juxtaposing spectacle of the flute performance. In the video that spawned the SoundCloud track “BYE BITCH,” Lizzo plays an impeccable Sasha Flute solo and seamlessly transitions into the Shoot dance. The performance gives life to Lizzo’s description of her music as “church with a twerk.” The flutist has taken the roots of her classical training and musical inspiration and planted with it a new seed for the sake of modernity, of virality. Nobody else has done this, and maybe that’s what makes Lizzo the cultural enigma she is.

Sasha and Lizzo, an inseparable pair, cannot be placed into the parameters of a genre. Lizzo’s genre is authenticity, a quality evident in her messages of independence and in her unapologetically powerful presence. Lizzo’s classical training is a driving force of her career, which, having taken almost 5 years to reach celebrity status, has proved well worth the wait.

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DOUBLE STANDARDS WRITTEN BY: JASMINE WILSON | DESIGNED BY: ELINOR KELLY When your roots are challenged and labeled by others, you find yourself questioning their validity altogether. Being expected to heed to the behavioral stereotypes of one race or the other is incredibly difficult. As an Asian-American woman, mixed Filipino and white, I am no stranger to double standards. People want me to act one way, but then get mad when I don’t act another. I’ve encountered a lot of situations where others have expected me to comply with the persona of the “model minority,” a concept that has been historically applied to South and East Asian Americans that place pressure and expectations on them to perform well in school and be more socioeconomically successful due to cultural assumptions. Sometimes people want me to project myself as islander and only islander, usually through stereotypical suggestions such as “wear more flowers.” Alternatively, I’m sometimes expected to just to live as a white woman in America (as if privilege is just an option for any person of color). I’ve never been able to find a balance of ethnic expression that has proven worthy enough to go without being questioned.

Not being “Asian enough” or “white enough” is a constant critique I face when trying to keep my identity at an equilibrium.

Keeping a cultural balance is me attempting to find even footing on an uneven playing ground. My father is pale in complexion with strong white features, while my mother has a deep tan complexion with soft, wide features that commonly identify Filipinos. Being a mix between them, I am often misidentified as Hispanic. It baffles me how people seem to have this preconceived notion of how I am supposed to look, even though they don’t know anything about where my family is from. I have met countless people who even refuse to accept my biracial identity and deny that I am anything but what they want me to be. This often meets me in the form of

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“quit lying, you’re hispanic.”

Close your eyes and paint a picture of the Philippines in your head. Where do you start? I’ve had a surprising amount of people ask me, “Is that in Mexico?” No, my friends, it is not in Mexico — it’s a collection of over 7,000 islands east of Vietnam and just south of Taiwan and Japan. Envision warm, sunny weather accompanied by the heavy smell of the ocean in the air. Maybe even endless beaches and palm trees and rainforests. Stereotypically, you might imagine happy “islander” people resembling the commercial, touristy side of Hawaii, or even a Disney movie. You may think about where your coconuts and clothing are imported from, or even the illustrious beauty pageants they are known for.

While parts of the community do resemble this, try to look past the rose-colored glasses foreign countries are often seen through. Act like this is not a study abroad or mission trip opportunity. Picture what you don’t want to admit about foreign places.

The flip side of the Philippines includes political turmoil, intense gang activity, smuggling operations of all kinds and extreme poverty. It is a society without equity or resources that non-native people use and manipulate into a vacation spot for themselves. Replicate these conditions and apply them to countless countries marred by globalization, imperialism, and colonialism.

This is the reality of where my mother came from.

Like most others in the Philippines, my mother and her family worked three jobs just to feed and shelter themselves. Her father wasn’t in the picture, not because he had the option to leave and start a new life somewhere else like privileged people do in America. My grandfather died from malnutrition after working fervently to put his family first. They didn’t fight for luxury or even comfort. They fought to have the resources to wake up the next morning.

My mother and her family had one goal: move to America for a better life. This meant working harder, teaching themselves English and reducing food and electricity consumption to save money to purchase plane tickets to build a new foundation.

Imagine exhausting yourself day and night and finally making it to this unfamiliar world in California, just to have them devalue and refuse to accept you.

My father’s side was no easy path either. He grew up well below the American poverty line in a rural California town with a family affected by divorce, abuse and financial struggles. He was so embarrassed by his home, because of its infrequent running water, a tarp-covered hole in the wall and a mailbox broken from a drunk driving accident, that he got off the school bus at someone else’s house so that his peers wouldn’t criticise the trailer park he lived in.

Toxic and unavoidable circumstances led him to juggling multiple jobs, fist-fights and drugs. Poverty does not have an easy road in or out of it. The effects of poverty never leave you, no matter how hard you try. He pulled himself out of the hole he had been born into, moving on to only hold leadership roles in his future jobs and eventually being able to support a family of seven with my mother.

My parents did not struggle for me to passively brush off when people misidentify me. Being biracial in America has taught me to pave my own path. It has taught me to define who I am individually and fight against stereotypes.

In school, people have often encouragingly told me “you’ll do fine on the exam, you’re Asian,” and then when I do fine on the exam they turn around and condescendingly say “of course you did well, you’re Asian.” Not only is this educational double standard generalizing the half-Filipino part of me to comply with the model-minority complex of East Asians, but it is also giving into the notion that my whiteness is invisible and unacknowledged when looking at cultural influences on personality. It is not onehalf of me that did well, it was all of me.

This hypocritical system of cultural analysis and its effect

on a person can be applied to a variety of different situations and cultures. For me, it’s also clear in dating and friendships.

Exotification is a common problem that prevents people from seeing me as anything outside of what they want me to be. After explaining my biracial identity, I have had countless people just talk about me as their “island girl” or “foreign friend.” They romanticize the Filipino part of me as different “in a good way” and forget to acknowledge my white side and everything else that comes together to make me who I am. The glamorization and fetishization of being Pacific Islander is an intense filter to break free of once someone sees you through that lens. It makes me feel as if they see a positive about me that they have made up in their heads just because they associate it with a stereotype about my culture. It’s as if my personality is all dependent on this one part of me that they like and not me as a whole.

I have noticed that there are criticisms that come with trying to find your niche as a biracial person. When I hang out with white people, I’m perceived by some as “white-washed” or “not true to my culture.” When I hang out with Filipinos I’ve been perceived as a “hybrid” or an “imposter.” When I attempted to join an inclusive Asian club that was majority East Asian students, I was accused of pretending to be Asian under the assumption that I was in denial about “being Hispanic” and had an “Asian fetish.”

To offer any advice to other multiracial people struggling to find your place, I say go where you are comfortable. Don’t let other people try to tell you where you belong because they are measuring your exposure to culture for you. You don’t have to seek validation from one side or the other, just make sure you feel valid for yourself.

Despite the layers to my cultural personality, I am as much of an American as everyone else. Stereotypes and racism are obstacles that rear their heads in my everyday life. Assumptions based on appearance, preconceived ideas about cultures, and misconceptions in general should not be entertained. You never truly know what people are going through or what they’re coming from. Having the pressures of multiple cultures placed upon you while also growing up in modern America is no easy fight, but it is what you make of it. The concept of living the American Dream is a double-edged sword. I choose to stay true to both my white and Filipino culture. I choose to stand up for social justice issues and defend myself when people choose to be ignorant. Resilience and beating the odds are ingrained in my roots, and I wont change it to fit into anybody’s stereotype.

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SCOTT AVETT: BORN TO BE VISIBLE WRITTEN BY LAURA SHANAHAN | DESIGNED BY ANNIE RUDISILL

As the room erupted in applause, Scott Avett appeared polished in front of a sold-out audience sporting a leopardprint button-down topped with a burgundy blazer, dress pants, black boots, and with a trim, curl-free haircut. Though he wouldn’t be singing one of his Grammy-nominated songs, he was the special guest for an Artist Talk at the North Carolina Museum of Art – where one of his equally intimate creative passions would be unveiled the following day, on a scale that has never been showcased like this for him before.

“Scott Avett: INVISIBLE” opened Oct. 12 and is on view through Feb. 2, 2020 at the NCMA. You probably know Scott as the spirited, banjo-playing member of the folk-rock group The Avett Brothers – but in between going on tours and being a lead singer of a band with a dedicated, cult-like fanbase that has grown tremendously since their first album release in 2002, he is a husband, a father of three kids, a painter and a print-maker. This marks the first solo visual art exhibition at a museum for Scott, and consists of 45 of his works created over the past two decades, with the earliest dating back to 2001 and the most recent from this year.

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thematic galleries: one showcasing the more personal, psychologically-charged, large-scale portraits of himself and his family, and the other representing the intersection between music and art, featuring prints and a sound installation.

The exhibit also includes interview footage of Scott walking through the NCMA galleries with Chief Curator Linda Dougherty, photographs of Scott taken by longtime band photographer who goes by the name “Crackerfarm,” and the animated music video for The Avett Brothers’ song “Head Full of Doubt/Road Full of Promise,” created by Jason Mitcham, an artist and college friend of Scott’s. Additionally, there is even a peak into some of Scott’s journals and sketchbooks – an element that I found to be one of the most confessional peculiarities behind his identity. Scott documents his fleeting thoughts, commentary on the visions of who he thinks he is, and accompanies these entries with scruffy illustrations of himself. All of this comes together to reveal storylines for both his music and visual art.

For Scott, it is the idea of pure motives, subject matter and relationships that unifies the parallel between writing

songs and making paintings. This can especially be seen on the wall featuring several portraits of his wife, exposing the incredible truthfulness behind his artistry – from the nude “Tattooed Sarah” (2015) to the modern-moment captured in “American Rooster in Amalfi” (2018).

“That exploitation of personal relationships for me has always been my primary way of being spiritual, political, human, all of those things,” Scott spoke of these portraits. “If I can just try really hard and get to the root of that, a pure form of that, and reduce some of those selfish motives, then I think something good is happening – but there has to be a point of imperfection.”

Scott grew up in Concord, North Carolina, a place not far from the NCMA. However, his connection to the Museum stems back to his college days at Eastern Carolina University, where he graduated in 2000 with a B.F.A. in studio art. As a fan of 17th-century Spanish, Italian, and Flemish artwork, Scott would spend hours in the Old Master galleries. He loved the artwork so much, that one time, he even got into an argument with a security guard for getting too close to a painting – a story that he recalled in a positive, humorous manner.

It is in the NCMA’s 17th-century Flemish kunstkamer (gallery) where Scott’s original painting for the “I And Love And You” (2009) album cover is now hung.

This reflects where some of his inspiration comes from, and we especially see his different influences come together in a self-portrait titled “Black Mouse, White Mouse” (2010), a piece that Scott identifies as a point of realization and spiritual crossroads for himself.

“The reason I say it was a moment of development is because I really look back on that time, very similar compared to the first seven or eight years of our band as, really just as an extension of school. I look back and there’s this large-scale practice, and large-scale learning for me.”

He then went on to describe his desire to take the contrast of lightness and pop seen in Wayne Thiebaud’s works, combined with the darkness and heaviness of Caravaggio’s works – two artists that have shaped Scott’s artistic vision throughout his pursuits. This aesthetic is then illuminated through the symbolic reference to “A Confession,” an essay by the Russian writer Leo Tolstoy.

Following a tour of the exhibit at the media preview, I had the opportunity to discuss the theme of roots with Scott.

“Roots are uh, they’re good in salad, you know, like beets and things like that.

Potatoes – are they a root?” Scott joked.

“The idea of roots being a positive thing is a slippery slope. I think that they can be – really a hindrance to someone that’s growing, and I’m so aware of that. So

roots, isn’t always, it’s not an automatic good word to me… Everybody is obligated to somehow cut those roots, you know.

Eventually, at some point, somehow. If it’s metaphorically, or if it’s literally or physically, it has to happen.”

Severing your roots, rerooting yourself in new places, and acknowledging that your roots are still a part of you, remain constant at whatever stage you’re entering in life. Scott agreed that being “awake” to this is the point, especially at a young age.

Scott compared the discovery process of creating art to having a “conversation with an elder.”

“It’s one of my key tools that I use to look at myself, and be awake from the urgency you feel when you think you need to do something, and then realize – whoa, you don’t,” he said. “Or, to the reality that you do need to do something, or the reality that you can’t do something. All those realities are wound up in creating things. And if I’m aware and awake to them, there’s no better teacher than those realities,” Scott said.

To the world “Scott Avett: INVISIBLE” marks the end of a secret, but to Scott it was never a secret. According to him, he knows that he was born for this – and if you didn’t have a suspicion for that already, now its reality is undoubtedly visible.

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D I S T A N C E

WRITTEN BY ANNE TATE | DESIGNED BY ZOE HAMBLEY College is all about finding yourself, a common cliche we’ve all heard when beginning this transitional period of our lives. In such an unfamiliar environment, surrounded by an array of new experiences and personalities, maintaining and understanding who we are can be overwhelming. How do you avoid losing yourself in the turbulence of a life-changing event like moving to college?

As an out-of-state student from Maryland, I sometimes feel disconnected from in-state students at UNC-Chapel Hill. There are moments where home feels far away, and I wonder if other non-North Carolinians feel the same.

Out-of-state and international students Ellie Gifford, Daniel Königsperger and Jenny Waddilove reflected on how they perceive their own cultures and experience new ones while finding their place and making their mark in Chapel Hill.

The transition for Gifford, from Woodside, California, wasn’t as drastic it seemed. Moving from a small town to a university in a small town helped with the transition across the country.

Gifford observed that certain social justice issues, such as deeply ingrained historical divides, are different in Chapel Hill than in Woodside. “There are regional and cultural differences across America and people are going to change at their own speed,” she said. Gifford feels like her home is often more progressive, and feels frustrated by how a different culture deals with social changes.

While Gifford finds the disconnect between her two homes disheartening at times, Königsperger views his new experiences as exciting.

Königsperger, a current Auckland, New Zealand resident who was born in Switzerland, came to UNC for what colleges in the United States are known for: school spirit, a unique academic environment and, in his case, a Division 1 swim team.

Königsperger feels that some changes are overwhelming. “There’s a lot more variety with

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everything. It’s definitely a culture shock.”

He is often surprised to find that some stereotypes he heard about America are true, like how much people care about sports and how often Southern food is deepfried. He finds country accents especially amusing.

From his perspective, one thing that’s unique about UNC is the way students act.

“Everyone here seems pretty comfortable being themselves,” Königsperger said. He’s heard that not all universities are as inclusive.

Waddilove, from Cape Town, South Africa, initially had a different experience.

“I felt like there was almost this community that was already built up and I was coming into it,” she said. “I felt like I was super different than everyone else.”

In the beginning, operating in a place she had never even visited was difficult for Waddilove. She knew no one.

The main difference, Waddilove noticed early on, was transportation; she missed the spontaneity of living in Cape Town, a city with an array of public transportation to choose from, and to this day, feels contained in a way she isn’t used to. For Waddilove, Chapel Hill often feels like a fishbowl.

“I’m embracing a life that I’ve never been exposed to before,” she said.

Despite some cultural differences, Waddilove realizes how much variety there is in peoples’ world views and childhoods, and how much influence those things have on who people become. “That knowledge will change how I perceive and interact with everything in the future, no matter where I am.”

There are many different perspectives and experiences existing within each student at Carolina.

Regardless of the ways in which you feel your home and the one you’ve made in Chapel Hill are disconnected, rest assured that you are not alone.

Roots can deepen and evolve; but they can also spread.

Business,

But Make It

Fashion THE ROOT OF WOMEN AND SUITS

WRITTEN BY JERRY YAN | DESIGNED BY ZOE HAMBLEY To many, “power dressing” may not be a novel concept anymore. What is so unique about fashion is that many shapes, colors, fabrics and patterns construct different dispositions for people. A sapphire blue satin slip dress speaks sexy, a plaid wool coat says elegance, a black cashmere turtleneck shouts modernity and minimalism. However, when it comes to pieces that lift and empower, suits take the prize.

Regardless of gender, suits, with their clean silhouette and anti-wrinkle textiles, instantly shout professionalism and confidence. Nevertheless, pantsuits were a male-only privilege for decades, as skirts were a female-exclusive fashion item. The world we live in now is much more liberated and accepting than the world was when the concept of wearing suits was first introduced to women.

The British originally invented suits as a means to make working mens’ clothing simpler and more comfortable during the Industrial Revolution. The concept of the suit first emerged in women’s clothing in the late 19th century, in which elements of suits, such as jackets, were common wear for physical activities such as horseback riding and swimming.

In the early 1900s, Coco Chanel was the first designer to bring the skirt suit to life. Combining a jacket, considered an extremely “masculine” piece, with a skirt was one-of-a-kind, and the style remained one of Chanel’s signature looks. Skirts were the key item that drew the gender line in suit style. Women wearing skirted suits become ubiquitous as more women entered the workplace.

However, the pantsuit still remained out of reach for most, since women typically wore pants for only for informal occasions.

It was not until the mid-20th century that the distinctions between suits meant for men and women started to blur. French designer André Courrèges was the first to break the gender norm and introduced pantsuits for women, followed by Yves Saint Laurent and his “Le Smoking” Suit. But society did not keep up with the trend. Nan Kempner was the epitome of a Saint Laurent woman. Wearing the iconic “Le Smoking” tuxedo, the New York

restaurant Le Côte Basque denied her entry. Kempner removed her pants and wore only the blazer as her “dress.”

With the rise of women and second-wave feminism, the 1980s were a game-changing period. The idea of power dressing was born, and women adopted the trend to feel more powerful and authoritative, especially in the workplace. Women in the 1980s embraced the power suit, often worn with wide shoulder pads.

The suits often featured colors like burgundy and off-white that challenged common black and gray suit colors. Women in the corporate world wore power suits to make a statement of gender equality: men and women could dress the same.

Today, the roots of women in suits have sprouted in the soil of fashion. Wearing pantsuits at work is quite common, and it is also a way to show formality and professionalism. In the workplace of the 21st century, where outfits are more casual, only women who are mid-level or above are expected to wear suits to show their seniority and authority at work.

Fashion is one of the best ways to show self-expression. Not only do women in suits continue a history of challenging gender roles, but also emphasize that other timeless fashion pieces all share a history of breaking the rules. Before they became an irreplaceable item in fashion, jeans and denim were the working clothes of miners in the West; today, individuals from all socioeconomic backgrounds wear jeans.

On the runway, designers have been trying their hardest to create suits for women. Before she left Céline, Phoebe Philo made stunning suits that beautifully shaped the image of the modern woman.

What’s fascinating about the continuous blurring of gender in fashion is that the world is shifting to a place that celebrates diversity and equality. Men don’t have to act tough all the time, and women are central voice. And when it comes to the power suit—anyone can dress however they want.

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WRITTEN BY LIZ JOHNSON DESIGNED BY MINGXUAN SHEN

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which drove up property taxes in Chapel Hill. In some parts of the town, according to News & Observer, these taxes increased over 500% between 2000 and 2016. Many Northside residents were forced out of homes that had been in their families for generations; the number of AfricanAmerican families in the neighborhood was halved between 1990 and 2010. The historic character of Northside was on the brink of erasure.

“If you lose enough of the character of the neighborhood, you lose the ability to tell the story,” Wood said.

Historic neighborhoods need advocates, people who understand and are invested in the cultural significance of the area, people who will fight for these stories to be heard.

The Northside neighborhood now has such an advocate: The Marian Cheek Jackson Center. Founded in 2009, this organization combats the effects of gentrification in Northside, assisting fixed-income residents in danger of being forced out by rising housing prices. For the Center, preserving the historic integrity of the neighborhood means preserving the community bonds within it.

Veda Patil is a UNC-Chapel Hill junior who began volunteering with the MCJC

Some stories are told by people, and some are told by places.

These narratives, the historic roots of a neighborhood or a city, are the foundation of the community living within.

However, in the age of rapid urban development, these stories of places are too easily fragmented by gentrification and soaring rent prices.

The story of the Northside neighborhood in Chapel Hill began at the turn of the 20th century, when industry and job opportunities were dominated by the University of North Carolina and Carr Mill.

Many African Americans settled in Chapel Hill and began working for the University, establishing a close-knit community in a neighborhood north of the school’s campus.

Desegregation began to rattle the economy of the neighborhood a few decades later, putting many Black-owned during her first-year year through the companies out of business. Many residents school’s Bonner Leaders Program. were driven out of the area, and the “There’s a sense of camaraderie buildings they left behind became prime amongst long-term residents,” Patil said. real estate for outside white investors.

“You can feel it in the air.”

This development undermined the Much of the Center’s programs revolve long-standing community values of the around giving neighbors a voice in the neighborhood. John Wood, a preservation future of the neighborhood. In partnership specialist at the NC State Historic with the MCJC, a local non-profit called Preservation Office, emphasized the Self-Help has used a $3 million loan from importance of preserving districts such UNC-Chapel Hill to create what’s known as Northside and the fine line between as a land bank. The land bank acquires restoration and historic erasure. “No properties of significance in the area from property or neighborhood can exist in a owners looking to sell; this land is then vacuum,” Wood said. “The sense of place is used in the best interest of surrounding what’s really important.” residents rather than being snatched off While restoration is an integral part the market by outsiders. of preserving historic landmarks, it can The MCJC aims to preserve and tell sometimes be taken too far, damaging the the story of Northside, and it recognizes framework of the community. Northside that this story is rooted in its residents. As is listed as a Neighborhood Conservation important as it is to preserve the buildings District rather than an official historic that make up the neighborhood, the best district, but the same principles apply. way to honor the history of Northside is This neighborhood’s sense of place was by sharing the stories of the people who seriously threatened by gentrification, live there.

To accomplish this, the MCJC developed an Oral History Trust: a compilation of audio interviews with members of the Northside communities.

Neighbors recall childhood memories, describe the history of their family homes and discuss life in Chapel Hill before integration.

Patil explained how the Oral History Trust portrays an element of Chapel Hill that is often overshadowed by the presence of the University.

“It’s just a shame that more people aren’t aware of the communities that exist right outside our doorsteps and how these communities are being

“NO PROPERTY OR NEIGHBORHOOD CAN EXIST IN A VACUUM.” affected by rising property costs and gentrification,” Patil said. “Oral History Trust is a very holistic, humanistic way of reclaiming that narrative.”

The Center also created an audio tour called “Soundwalk of Northside” for visitors and residents in the neighborhood.

Throughout the hour-long tour, various residents describe the history of Northside buildings, occasionally interjecting to greet passing neighbors.

These storytelling devices are perhaps the most effective method to convey to outsiders, and even students in the area, the value of the community that Northside fosters. Through the work of the Jackson Center and other community advocates, the story of Northside can continue to flourish.

“The Oral History Trust is a really powerful and subversive tool in allowing people to imagine life experiences other than their own,” Patil said. “That sort of discourse is so sorely needed.”

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VOGUE:

STRIKE A POSE WRITTEN BY CULLEN KEOGH | DESIGNED BY ELINOR KELLY

Many of the social advancements made for the LGBTQ community came from queer people of color in New York City during the 80’s and 90’s.

Harlem, New York became the birthplace of voguing, a highly stylized form of dance created by the Black and Latinx LGBTQ communities. Members of these communities would go to underground saloons, clubs, and the ‘ballroom,’ where the scene was electric. These venues served as a source of bringing queer individuals together who may not have had an accepting place to congregate elsewhere.

Between the 1960’s and 80’s, New York drag routines, known as ‘balls,’ transformed from elaborate pageantry to ‘vogue’ battles.

As part of this ballroom culture, Black and Latinx voguers would compete for trophies and the reputation of their ‘House’ – groups that functioned on competitive affiliation.

Named for the famous fashion magazine, voguing borrowed poses from high fashion photography, hieroglyphic symbols and gymnastic competitions in an attempt to achieve perfect lines in the body.

The creative performance through voguing was used to peacefully settle disputes instead of ‘throwing-hands’ among

rivals. The voguers would ‘read’ each other, a way of calling someone out on their flaws indirectly, using dance and emotional expression. Vocally reading someone, or otherwise known as the act of ‘shading,’ could be seen as hostile. According to Dorian Corey, a drag queen interviewed in the ground-breaking documentary Paris is Burning, “Voguing is the safe way of throwing shade.” The name being a statement in itself. Dance served as a way for individuals to express themselves and their differences without the catty insults and banter; the opponents of the battle gaining a degree of mutual respect and compassion between the different houses.

Voguing may not be entirely responsible for the movement forward for the LGBTQ community, but it was a start. The acts of those who used the ballroom as a nonviolent way of expressing their differences offered a new voice to many. The power of music and performance showcased LGBTQ individuals in ways the world had never seen.

Voguing is the foundation of a movement that continues today, one that uses style and self expression to fuel a revolution.

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STREETWEAR SIDE HUSTLE AT THE THRIFT SHOP, STUDENT DESIGNER JOHN VANCE IS LOOKING FOR A CANVAS RESEARCHED BY: YIXUAN LI & ALLIE KELLY WRITTEN BY ALLIE KELLY DESIGNED BY ANNIE RUDISILL

John Vance named his brand after the fabled monster stalking Lake Champlain in Burlington, Vermont.

He tends to favor 90s-style nylon fly pants, color block hoodies and gray Nike muscle tanks, so the name of a dark and murky creature seemed appropriate.

Currently a junior Studio Art major at the University of North Carolina at Chapel Hill, Vance has channeled his passion for design into his Durham-based streetwear brand, Champ. You can now purchase items through Instagram auctions, Etsy, Redbubble and other online outlets.

Vance’s interest in fashion began at an early age. “I went to Catholic school from kindergarten through 8th grade, so we had to wear uniforms everyday,” he said.

Vance later attended a public high school in Durham, signaling a major shift in his appreciation of style. “Expressing myself

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through clothing wasn’t really anything I had done to the extent that most people do growing up,” he added.

Vance’s brand has also become extremely popular on social media, and has developed a local fan base, with hundreds following both his personal and brand accounts on Instagram.

But money isn’t at the center of Vance’s design strategy. It never has been. “Champ is an outlet more than anything,” he explains, “I don’t really think of Champ as a business. It’s just something I enjoy. It’s mostly my want and my need to create.”

Art has been a part of Vance’s life since he was young. “As the mediums of my art changed, I realized that I could tie in my love of clothing,” Vances said. His teenage interest in drawing and graphic design has evolved to current focus on screen printing.

Curiosity, a respect for the planet and a

fascination with the stories hidden within old clothing have helped Vance realize his brand’s mission.

“Being able to source clothing in an ethical and sustainable way has been really important to me,” he said. “If the shirts that I’m selling and sourcing aren’t doing a service to the environment, that’s not something I want to continue to do.”

The core of what Champ does is called “upcycling,” a term used to describe the transformation of old, unwanted products into something of new and higher value. The upcycling mindset pushes Vance to create pieces with unique fabrics and prints that celebrate individuality. Not one of Vance’s garments are exactly alike, and it is this tie of invention and environmentalism that drive the Champ brand forward.

Vance begins his production process at the thrift store. He makes frequent visits to the various Rescue Missions, Scrap Exchanges and Goodwills between Durham and Carborro. “It’s not about expecting to find gems everywhere,” he said. “It’s being really selective with the things I get.” Each of Champ’s pieces must have a purpose, or they aren’t worth making.

“If I have an idea for a print already, that primes my eye for an item going in,” Vance said. “But sometimes I’ll just see something and as I’m looking at it, have ideas for prints.” Since the beginning, he has done all the screen printing and development work himself.

At the most simple level, Vance has come to see himself as a creator, Champ as his statement to the fashion world. He credits his inspiration to influential pop artists from the 1980s such as Keith Haring and contemporary indie artists like Gus Dapperton.

Champ products go beyond the classic graphic t-shirt. Vance likes to print on angles of pants and sweatshirts that don’t get much attention: inside seams, outer leg lines and tailored rib cages. And, always an artist, he plays with color theory.

“Something I really like to do is tiedyeing and bleach dyeing. I think that that’s something that adds a lot of visual interest to pieces,” Vance explained. “It’s all subtractive coloring, so understanding

how shirts are dyed in the first place, then being able to extract different dyes from it is something that’s cool to me.”

Vance said he can get hooked on specific color palettes. Carolina blue paired with a Texas burnt orange are current favorites, also referencing a collection of color block sweatshirts he debuted last winter.

“Understanding what people think about certain colors and why they feel that way is something I like to explore,” he said.

Vance is mindful to share this idea with his consumers. “The people that vibe with my clothing, it’s not a calculated thing,” he said. “It’s a cerebral expression of my relationship with art and clothing.

People just tend to like that. It unifies us under this concept of self-expression and a combination of art and textiles.”

Champ has not only acted as a way for Vance to explore his own style, but also as a conversation starter with friends and classmates. He appreciates the immediate feedback he can get on his designs. “It’s cool to have other people assess and assign value to what you make. It lets me see in real time what people like and what people don’t like as much and incorporate those into the next pieces I make.”

Vance takes the same mindset to the recent work he has done designing album art and music videos for nearby North Carolina record labels like Immaculate Taste. But he doesn’t know where his career will go from here. Vance appreciates the “side hustle” element of leading a brand, but he sees many paths forward in his style evolution—with or without Champ.

“I usually don’t hang on to things,” Vance said when asked about his favorite designs. “It’s hard without a picture reference to think about all the pieces I’ve made. I would deconstruct blank sweatshirts, mix and match the different sleeves and hoods, then reassemble them that way.”

If Vance knows anything, it’s that he will always create. He will try funky color combinations and upcycle tattered jeans.

He’ll stay with the process—beginning at the nearest thrift shop.

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