Lennon Wall Magazine - Fall 2019

THE LENNON WALL

FALL 2019 EDITION

TABLE OF CONTENTS Her Routine Shade of Rain How the pop machina Charli XCX creates the future of pop music

We Must Pay This Debt

Guinea Pigs: AAU’s New Accomodations

Lights, Art & The Signal Festival

The only thing that vegans eat is rabbit food Commitment

Do they even see us?

We are the Oromo I’m not a Bartender: I’m a Mixologist

Canons of Bohemia Punklesque: Queens of Entertainment

Discrimination within Public Health Elshan

In a World Outside Her Own

FROM THE EDITORS Lennon Wall Magazine has always been uncertain about its identity. Who are we? Collection of student articles, poems, and photos? A news outlet? Maybe all of it together?

At least, we know what we want to become: a platform for those who want to be heard. We made this magazine for you to announce the environmental and health issues; to show the unheard people of Oromo or Bohemia; to introduce new art forms with Punklesque, Charli XCX, and Signal Festival.

Lennon Wall grows into the platform for the new voices, using the previous concept of the real John Lennon Wall in Prague. Even though John Lennon Wall changed their values, we did not. We still strive to talk about the issues which surround us and which we want to state here. Lennon Wall will always be a platform for any kind of story.

So, make your voice heard, from your pens to our pages!

Writers Editor-in-Chief Irina Nikolaeva Assistant Editor Koto Haramiishi Section Editors Culture Section Angelina Nikonova Multimedia & Culture Section Francesca Popa Creative Writing Section Janel Umarbaeva Website Editor Valeriia Novitskaia Magazine Creative Designers Lauren Krupczak Katerina Schell

Proofreaders Grace Julian Caelyn Carlson Makenna Petersen

Iryna Volkovska Fraol Bersissa Mehin Rajabli Lauren Krupczak Irina Nikolaeva Rosa Tyler Caelyn Carlson Anastasia Linevich-Yavorskaya

Photography break 1 Phoenix Miller

Poetry & Other Photography Lauren Krupczak

Hand Models Katerina Schell Piotr Sikora

HER ROUTINE Sunday has just ended, and as the sun begins its battle with the night, fighting for it’s chance to breathe once more, an alarm sounds.

Breaking her from a dream, for once one of pleasure and light where the scale of her fears are small and the height of her desires are reachable, she rubs off the night.

She stretches, relishing the crack of her bones which snap her back into reality, proof she is alive.

The morning craves a simple performance, a ritual if you will, where the same processes of perfection are repeated until the user is still not satisfactory, but content enough to move on.

Brighten the teeth, leaving the after taste of peppermint.

Cleanse the skin from yesterday’s mundanities.

Alter the face till the user sees what is deemed acceptable.

Then, if lucky, she can begin her day.

Each day holds millions of possibilities, yet she falls into the same relentless traps of the world triggering the anxious mind to run rampant.

Nothing is ever good enough, nothing will allow her to breach the walls she is confined in, break the glass ceiling, escape from the inevitable.

Not even the simplest things can bring her joy anymore.

The radio, once full of songs about love are now filled with news of hate, people hiding behind beliefs no longer their own, each lie creating a new scale on the snake.

The television, once filled with interesting stories one could use to escape the world around them is now interrupted with cries of falsities that breach one’s enjoyment and provoke misguided fear.

Simple pleasures such as the enjoyment of a meal are cut short with cries of self-deprecation fueled by unreachable standards the mirror cannot recognize.

The pleasure received from a single peppermint now comes with a price tag.

The scale becomes an enemy, never saying quite what is desperately needed to be said, always showing her that she is lesser and unfit for the status quo.

Keeping a meal down becomes a victory in her eyes.

She is so busy that work and play have combined both simultaneously losing their unique enjoyments, causing an unending cycle of fatigue.

Simple pleasures replaced with distractions.

Intellect replaced with blissful ignorance.

Life replaced with a blur of routine.

She finally returns home. Her dream did not carry into the day and as she looks into the mirror her reality shifts.

She does not see what the others see.

She sees an image that is wrong and needs to be fixed, so grabbing the first thing in reach of the sink she shoves it down her throat forcing bile to breach her unaware system leaving the aftertaste of peppermint, now sour.

She looks back at the mirror.

That act has allowed her to feel complacent with the inaccurate image presented.

She walks past the scale for the first time that day, and lays in bed.

The moon has breached the sky and is forcing the sun to extinguish its life.

She lays down to sleep, preparing for the routine to start itself again.

How the pop machina Charli XCX creates the future of pop music

By Irina Nikolaeva Photos property of Atlantic UK

Charli began her official music career co-writing the smashing hit single “I love it” for Swedish pop-duo “Icona Pop.” Ironically, the duo will be always remembered as the one-hit-wonder, meanwhile, Charli XCX was to become the new pop icon.

In 2014, Charli entered the big music arena with her second album “Sucker” containing hit singles “Boom Clap” (soundtrack to the famous teenage drama “The Fault in Our Stars" and “Break the Rules”). The release was well-received by critics and audiences, meanwhile, the album made the main point of Charli’s artistry: does she need to follow the rules of the pop industry? Or can she create the new ones?

Two years later, Charli meets SOPHIE and A.G. Cook, the PC Music production team, to collaborate to her EP “Vroom Vroom” which “snatched the wigs” of the whole gay community, and this is where she became the unstoppable pop machine creating more and more bops for the audience with catchy lyrics and upbeat tempo. This was the day when people stopped calling her “That girl from ‘Fancy’ who looks like Lorde” (the smashing hit performed by Iggy Azalea and Charli XCX). “Vroom Vroom” kills all the critics from the Pitchfork and establishes the new Charli: the bionic pop fembot.

Currently, we can’t imagine Charli’s production without PC Music, which makes a response to the current situation in pop music with the cyber and genderless attitude. With the strong electronic sound, PC Music wants to replicate the feeling of the ‘90s British electronic music scene, built by such legends as the Chemical Brothers, Burial, Massive Attack, and Bjork, but at the same time, they try to experiment and exaggerate it even more.

The following mixtapes, “Number 1 Angel” and “POP2” (and the current album “Charli”) created a new unofficial triptych in Charli’s discography.

“N1A” and “POP2” are like twin sisters with lots of autotune, fast beats, Europop production and lots of collaborations (with Tove Lo, Alma, MØ, Dorian Electra and others).

While her debut “True Romance” was an experience of dark pop, and “Sucker” was the most pop record with pink fleur of romantics and punk, “Charli” becomes a journey which takes you back to the future into the world of androids and electronic white horses.

In her new album, Charli approaches pop music in a most futuristic way, which has more autotune, more weird mixes of sounds, and even more collaborations. Charli and A.G. Cook turned all the attributes of the kitsch and vulgar sound of the 2000s (autotune, typical dance lyrics, sparkles, and expensive luxury cars) into the postmodern response to modern culture and the classic rules of pop hits.

Charli XCX doesn’t want to be a self-centered artist, and she understands how the team and collaborations work together. One of the best tracks is “Shake it” featuring Big Freedia, CupcakKe, Brooke Candy and Pabllo Vittar. This track, which is a perfect jam for a wild night in a gay bar, doesn’t even include that much of Charli’s vocals (just the chorus ‘I shake I shake ooohh’) but still, you feel her unique vibe.

‘Charli’ also refers to the disappointment in the popular music industry, where in the simple lyrics “I go hard, I go fast, and I never look back” (track “Next Level Charli”) she promises never to come back to the past management and past pop postulates. She develops the same thoughts about her former manager in “Cross You Out” (“But you’re gone and I’m doing fine, I’m screaming out… I’ll finally cross you out”) and “2099” (“Had bad people in my business, gone now… Think I care about the fame? Nana-na-na”) referring to how the previous team never wanted to understand her vision and always asked her for more “Fancy” and “Boom Clap” songs.

Every music robot has a romantic heart, so Charli adds three truly romantic ballads to her LP: “White Mercedes”, “February 2017” and “Official” which sounds like a total autotune commitment and asks her love partner for forgiveness.

Kim Petras, a German transgender pop princess, and Tommy Cash, an Estonian “criminal” freak, join Charli for “Click” track, which sounds like the second part of the “Track 10” from “Pop 2.”

Both tracks have a very noisy and bizarre electronic sound which can compete with Aphex Twin’s early creations.

The working title of “Charli” was “Best Friends”, probably stating that collaborations work for Charli in an opposite way than in the current pop music. Usually, the pop singer would invite a popular hip-hop artist to sing an unnecessary verse as the build-up before the final chorus. Meanwhile, Charli invites her “best friends” such as A.G. Cook, umru, Big Freedia, Sky Ferreira, Yaeji, Kim Petras and others to give them a platform for the creative process, which can lead to remarkable results.

The ultimate best track of “Charli” is “Gone” co-written with French singer-songwriter Christine and the Queens.

This is the new hymn for all ‘antisocial social’ people, supported with a hot music video in the style of Russian ‘90s iconic duo t.A.T.u.

Charli has also collaborated with the Australian teenage icon Troye Sivan. The lead single “1999” takes us back to Britney Spears, the Matrix movie and plastic Spice Girls. The album ends with the follow-up track "2099”, also recorded with Sivan, which gives us a perspective on the future of music with the background sound of “Transformers.”

Compared to her previous mixtapes, “Number 1 Angel” and “Pop 2”, “Charli” has a fine reflection on her previous image of a wannabe chart-topper, who knows that her music will never be understood by huge pop masses (which doesn’t prevent her from making huge sold-out shows with her new tour). Charli appears on the cover as a naked android, resembling somehow Jesus Christ of modern music: and this is how she leads us to the form of the new pop artist who sets up the rules of the future industry.

AAU’s New

By Caelyn Carlson Loud banging on the door wakes first-year Humanities student Adéla Morgan, from her slumber at eight one Friday morning. Not quite awake, she goes to the door as soon as she can and yells over the incessant knocking in Czech that she is coming and they should wait. The loud knocking ensues. She hurriedly puts clothes on and finally opens the door to let the two men into her room. This was one of many regular room check experiences of Anglo-American University's Accommodations. Having dorms is new for AAU, and like many new things, it has had a rocky start.

“Guinea First impressions: A large proportion of students had positive first impressions of the new accommodations. Viktoria Vargas, a graduate student from Hungary expressed, “I loved my room the first time I walked in because it’s brand new.”

Many others remarked on how modern and clean the rooms were. Morgan’s experience, however, was much different.

When she arrived at the dorms, she was greeted by black soot on the floor. “After an hour of walking around my room barefoot, my feet turned black,” stated Morgan. “I had to get down on my hands and knees to scrub the floor clean.”

Location: The students agree that the location is “convenient” and “practical”. The accommodations are only one tram stop away from a mall, a grocery store, and a Friday farmers market at And

ěl.

Many students love the fact that it takes only fifteen minutes to get to school by one tram.

Accommodations Quality:

Rose McCrudden, whose room won the room decorating contest, thinks well of the

quality of the dorms. “I have a big and beautiful window, but some others don’t have this so I can’t speak for them,” she said. An anonymous student said that her wall is cracked a little.

Serhii Polozov, a Journalism student from Ukraine, only complains about the bad plumbing, which

has been troublesome since the beginning. Additionally, first-year Humanities student, Rowan Worden, feels sharing a sink with 5 other students isn’t ideal. A bi-weekly cleaning service is included in the cost. Worden noted that trash wasn’t removed the past two times a cleaner came. Morgan stated that the service is ineffective and performed at random.

“When someone has been in the room but hasn’t done anything, I wonder what

Pigs”

she did in there,” said Morgan.

Safety: The students expressed that they feel safe due to security.

To enter, a non-tenant

must talk through a monitor for a security guard to let them in.

Additionally, many students comment on the sensitivity of the fire alarms.

However, some students such as McCrudden, believe the security is “too good”. “Having a security guard is marketed as a way to make you feel more safe,” she noted. “But the only reason why I lock my doors is because of the security guards.”

The distrust of the security is not completely unbiased. An anonymous student shares a kitchen with an empty dorm. Her door was open to the kitchen when one of the guards came in, looked at the student (who was topless), turned off the light, looked at her, and left. The guard violated the student’s privacy and did not apologize for intruding. Abigail Winand, who knew of this incident, does not like the security. “That guard is scary,” she stated. “I never want to see him again.”

Room checks: The first room checks were shocking to many students. For Morgan, the security banged on her door until she opened it. Students such as Dima Rouhana, a study abroad student, did not even experience the courtesy of knocking before entering. Winand does not mind the room checks, but she thought women should check female dorms. A male student, Cooper Tweedie, commented, “As a guy, it bothers me less that a man comes to check my dorm than if I were a girl."

Inversely, on October 11, some dorms were checked by two women instead, and a few male students were unhappy about it. Vargas, despite prior satisfaction, had one complaint about room checks. She had left for a trip when the one room check happened. She left her room locked, but upon returning, she found the room left unlocked.

“Nothing was stolen, thankfully,” she said. “But if somebody came in and took my stuff, it would have been the staff’s fault.”

Price: Students such as Winand believe the prices are fair but admit that there are more inexpensive options. Arnaud Degueker feels he should not pay for laundry for the price of the dorms.

“Part of the price is being associated with the school,” said McCrudden, which is valid although the AAU Accommodations is provided by a third party: Vysoká

škola finanční a

správní. This is interesting, for many students believed that the dorms were provided solely

by AAU, which may have been the result of presuppositions and lack of awareness of the partnership between AAU and V

ŠFS. The AAU website mentions that the accommodation is

“provided by a partner institution”, but there is no further information given, not even the name of the institution.

Additionally, late-intake students must pay the same amount as students starting in September.

Lana Berdzenishvili, a late-intake student, said, “The reception said they reserved the room for me, so I paid the extra month, but there are many empty rooms.” Because the accommodations belong to V

ŠFS, it is possible that the empty rooms are not a part of the 36 rooms AAU

provides for their students. Everyone must pay the five months, but while the extra month at the end can be spent living in Prague, the late-intake students’ money is wasted.

Fines and Fees: As any leasing establishment, VŠFS has fines and fees for damaging the room and appliances. However, many students have questioned the legality of the fines added to the lease agreement without the consent of the tenants. Ashlynn Valentik, fined for keeping an unregistered guest in her room, argued she should not pay the fine. Although hosting unregistered guests is an infraction in the V

ŠFS house rules, nothing says tenants are liable to any fines. A

footnote to the List of Fines says non-listed damage will be dealt with on an individual basis, but forgetting to register a visitor does no damage to the room, so students should not pay this fine.

On the subject of fines, a group of students threw a party at the accommodations. Security distributed many “Noise at night” fines that night. One of the students, Soroush Sanaei, claimed innocence. The proof the security had was a picture of him at the entry of the building. He was aghast at this approach of gathering evidence: “This is how I get to where I live!” Now, many students question the conduct of the staff. “I understand that students violated the dormitory rules, but the conduct of the staff and the way in which they went about dealing the fines are unprofessional and need to change,” said Nina Frame, a first-year Journalism student.

Language barrier: Language barriers are unavoidable when studying internationally. However, nearly the entire staff doesn’t speak English at the accommodations. Claire Roberson, who didn’t come on a check-in day, said, “It was hard to check in because they didn’t speak English. They didn’t know why I was there.” Roberson finally went to the school for help, but she said it felt unorganized. Jakub Kanovics, a first-year student from Slovakia, agreed. “This is an international dorm with international students, so they should have staff who speak English,” he said.

Improvements: Since the first day of check-in, there has been miscommunication, confusion, and offense taken; recently, however, AAU has begun to respond. A group of students including Frame, Degueker, McCrudden, and Sanaei, came to a Student Council meeting on October 4.

The council members were receptive to the students’ grievances, and they strove towards finding ways to improve the students’ situation. Additionally, the Dean of Students, Ana Hernandez Blackstad, held times during midterms week for feedback on housing. She even came to the dorms herself to speak to some of the students. Berdzenishvili had issues with the wifi in her room since moving in, but after a few weeks of dismissal, the staff gave her a wifi router for her own room. “They told me that if I have any more issues, I can ask,” she said. “They were so much nicer than before!” As aforementioned, room checks have become more mellow, and many say that the security knocks before they enter. Also, the hours for the common room lengthened, so it is now open to students until midnight.

Conclusion: At the council meeting for the dorms, Stefan Fiedler told the students the plain truth.

“The dorms are new for the school,” Fiedler said. “And unfortunately, you are the guinea pigs. You are going through this so that future students don’t have to.” This is very true. AAU is growing, and with growth comes growing pains. The university has never had accommodations before this semester, and the faculty of the school are learning. While the school responds more as the voices of the students are more heard, we “guinea pigs” look a little more hopefully towards future improvements of the AAU Accommodations.

The only thing that vegans eat is rabbit food A hearty fall vegan recipe to challenge this stereotype and provide a healthy option to holiday meals

By Lauren Krupczak When you think of holiday dinner, typically your mind goes to places of heavy, buttery, meat filled dishes; dishes that you know are not good for you but are just too good not to indulge in. As a new member of the vegan-additive lifestyle, where you introduce vegan items into your diet to the point where most days you are not consuming animal products, I’ve been trying to think of new ways to reduce my meat consumption and broaden my knowledge of vegan cooking. So far I have mastered the art of cooking tofu, rarely eat bland boring salads, and starting to replace the butter I use with vegan margarine options. This is my first holiday away from home too, so I won’t have the threat of a gorgeous smoked turkey trying to distract me from my new lifestyle. To satisfy my winter craving of a nice and hearty autumn dish I came up with a vegan alternative to the Sunday roast people know and love. I have designed a chestnut rice pilaf with roasted tofu and spaghetti squash with sautéed mushrooms

Ingredients: 20 chestnuts whole 1 Spaghetti Squash 1 bag of kale 20 small to mid sized white button mushrooms 1 bricks of tofu 1 cup of rice White wine 1 lemon Paprika Salt Peper Olive or Sunflower oil 2 cloves of fresh garlic

and kale. This dish is a step above simple to make and takes about one hour to prepare, with 20 minutes of prep time, and serves 2-3 people. Enjoy!

Pre-cooking Preparation: This should be done prior to cooking and can happen any time before real preparation begins.

Chestnuts Step 1 Preheat your oven to 215 °C or 420 °F Step 2 Take a paring knife and cut a small “X” into the round part of your chestnut, making sure to pierce the skin. If you do not create this vent the chestnut may burst in the oven due to the buildup of pressure.

Step 3 Place the chestnuts in a roasting pan and let roast in the oven for about 15 minutes, if the nuts are smaller they may be done within 10 minutes.

Step 4 Take the chestnuts out of the pan and let cool slightly, then using a pointed spoon, scoop out the chestnuts from their shell into a small bowl.

Rice: Cooking rice without a rice cooker can be difficult, but using the basic cooking proportion of 1.5 cups of water for every 1 cup of rice, you’ll have perfect, struggle free rice.

I suggest cooking the rice at the same time as the chestnuts, before the stars of the dish are cooked, since it is a simple item that should be done before turning into the rice pilaf. The basic steps to stove top rice are as follows

Step 1 Combine 1 cup of rice and 1.5 cups of water into a pot adding salt and pepper to taste (I add about 1 teaspoon).

Step 2 Bring to a boil, once reached reduce the heat to low and let simmer with a tightly fitting lid.

Step 3 Stir every 3 minutes to prevent rice from sticking to the bottom of the pot.

Step 4 Let the rice rest until ready to turn into rice pilaf.

Cutting your vegetables and protein Squash: Slice vertically once and then horizontal once. Take a large spoon and remove seeds from the center. Place the seeds in a separate bowl and wash off the squash residue. Seeds will be used later!

Mushrooms: Remove the stem and cut into small slices with a paring knife.

Tofu: Slice into 12 even cubes about half an inch by a quarter inch.

Garlic: First peal the cloves, then slice into even, thin slices.

Cooking the stars Step 1 Preheat your oven to 215 °C or 420 °F Step 2 Place Squash and Tofu in roasting pan, thoroughly coat them in oil and season both with salt, pepper, and paprika to taste (a little under a teaspoon of each)

Step 3 Place pan in the oven and let cook for 20 minutes Step 4 Remove pan and add the seeds from the squash to roast. Coat your seeds in the same oil, salt, pepper, and paprika mix. Place back in the oven and roast for five more minutes.

Step 5 While your squash and tofu are cooking, place a midsized pan on the stove and set to a medium heat. Place your mushrooms, garlic and kale in the pan. Thoroughly coat with oil, then add salt and pepper (to taste), half a lemon, and 1 oz of white wine and mix. Stir every minute for about 8 minutes or until the mushrooms have browned and the kale has softened.

Step 6 Place your rice back on the stove and heat. Mix in a tablespoon of vegan margarine (or butter if you are not vegan), chestnuts, and pepper to taste.

Step 7 Once the squash is done cooking, take a fork and scoop out the cooked “meat” of the squash and put in a separate bowl.

Step 8 Plate your dish in this order, then enjoy!

-Rice Pilaf -Squash -Mushrooms and Kale -Tofu -Roasted seeds

Canons of Bohemia

By Iryna Volkovska

How many contrasting meanings can a single word be allowed to have? A kingdom, a lifestyle, an ethnicity, and an artistic movement, the word Bohemia has been interpreted and misinterpreted throughout history. But which of the many meanings of Bohemia actually came first, and who are the true bohemians of our time?

The word “Bohemian” derives from the Proto-Germanic “Boiohaemum,” “the home of Boii.” The Boii were a Gallic tribe that inhabited the territories of Northern Italy, Hungary, Bavaria, and, of course, Bohemia, during the Iron Age. The name “Boii” itself is most commonly thought to have meant "the warrior people.” The Boii struggled against the Roman and Germanic tribes throughout the 3rd century BC and were eventually forced to leave Bohemia. They migrated to modern Serbia, Bosnia and Herzegovina, and some closer regions in Slovakia and Hungary. As for the Boii homeland of Bohemia… well, at that point, it was just a forest: the Bohemian Forest.

The Bohemian Forest is a mountain range on the border of modern Germany and the Czech Republic, which, in the 6th century, would become a home to a Western Slavic tribe under the rule of Samo’s Empire. Bohemian lands would then become a part of a yet another empire, The Great Moravia, and be known as the Duchy of Bohemia. In the 9th century, the descendants of that same Slavic tribe would

ř

establish the first Czech royal dynasty, the P emyslid dynasty, and rule over a small

ř

territory around modern-day Prague. Three more centuries later, in 1198, P emysl Ottokar I would promote Bohemia, now a more sizable and diverse state, to the status of a kingdom and become its first official king, acknowledged by the Roman and German monarchs as well as Pope Innocent III. Bohemia would spend its Golden Age under the rule of Charles IV, the first Bohemian king turned a Holy Roman Emperor; it would remain a part of the Roman Empire until the Empire’s fall in the early 19th century.

Meanwhile in France, the number of Romani immigrants was increasing dramatically. Many of them are believed to have arrived on the French territory via Bohemia, prompting the French to call the new settlers simply “bohemian.”

It was later proven that the association of the French Romani people with the Kingdom of Bohemia was a mistake (they arrived in Bohemia during approximately the same time period as in France), but the term stuck around and became a regular title for the Romani population of France, who by that time had their own neighborhoods in major cities all over the country.

Everything changed in the 19th century when young aspiring artists from all over Europe began moving to Paris to seek low-cost accommodation in the city’s Romani neighborhoods. “Bohemian” now meant artistic, creative and freespirited, and although Romani people were often known to lead similarly “unconventional” lives, the meaning of bohemian swiftly shifted to the artists.

That, however, didn’t exactly give Bohemia a better name. Thought of as a dirty, poor, and dishonest type of existence, the artistic side of Bohemia had been treated like dirt for years by the time the next big change occurred.

In 1845, a struggling Parisian artist in his early 20s, who called himself Henri Murger and identified as bohemian, started writing a series of stories describing the true canons of bohemian existence. His stories were published in a local magazine which was primarily popular among bohemians like himself, earning Henri no recognition of the profitable type. Fortunately, in 1849, a promising young playwright, Théodore Barrière, heard of the concept and approached Murger about a stage adaptation.

Together, Murger and Barrière edited the plot, piecing together some of the fanfavorite storylines. The end result, titled La vie de Bohème, was certainly the beginning of something great. In 1851, following the closing of the play, Murger’s whole bohemian series was published as a novel, Scènes de la vie de Bohème, giving birth to a whole new Bohemia. The novel was fairly well-received in Paris but failed to resonate with wider audiences at the time.

When Henri Murger died in 1861, he was little-known, indigent, ill, and desperate; he must have thought his novel would die with him, but that story was far from finished.

Over the next several decades, Scènes de la vie de Bohème would gain popularity with young bohemians in many parts of Europe, legitimize Bohemian lifestyle forever, and, of course, inspire many future renditions.

Every generation of bohemians since Murger has had voices that speak out about the signature artistic lifestyle, but no one has done as much to carry Bohemia through centuries as the famed Italian composer Giacomo Puccini and the American composer-playwright Jonathan Larson. Puccini’s 1896 opera La Boheme was the first alternative rendition of Scènes de la vie de Bohème; its international acclaim would quickly surpass that of its own basis. La Boheme is now arguably the most beloved opera in the history of music. Exactly a century later, Jonathan Larson would modernize La Boheme, honoring Scènes de la vie de Bohème in process by bringing some of the forgotten storylines back to life and making Bohemia young again, igniting the bohemian fire in the hearts of youth all over the world.

In one of the songs from his hit musical, Rent, Jonathan Larson discussed whether or not Bohemia is or can ever be dead. Let’s see, shall we? The crown of the Kingdom of Bohemia would be worn by dynasties such as the Jagillonian dynasty, the House of Luxembourg, the House of Habsburg, and their successors, the Habsburg-Lorraine. Bohemia would exist for centuries as a kingdom in the Holy Roman and Austro-Hungarian Empires, then turn into a region of Czechoslovakia in 1918, before finally becoming a part of the independent Czech Republic in 1993 and joining the European Union in 2004.

The world’s first bohemian tale, Scènes de la vie de Bohème, would be revised, rebooted, modernized, continued, and translated at least three dozen times over the next 150 years. In the new millennium, Bohemia stands as tall as ever. It has already had three movies, a rock band, a book, and of course the prolonged Broadway run of Rent dedicated to it in the new century. The French-Romani people are occasionally referred to as “bohemian” to this day. The early bohemians’ romantic and excessively poetic literary style is still used in most of the Bohemia-related writings of our time, which remain a frequent occurrence.

There’s no question; “Bohemia” is alive and kicking, even if many of its meanings parted ways centuries ago, never to be reunited again…Then again, Jonathan Larson did reference Václav Havel, the Czech president at the time, in his famous composition, La Vie Boheme, alongside many other inspiring “bohemian” figures. Therefore, who knows if the contact between the two famous Bohemias is really lost forever or simply blurred into the centuries of grand European history and excellent, unforgettable art.

Punklesque: Queens of Entertainment

By Anastasia Linevich-Yavorskaya

The word Burlesque derives from the Italian word burlesco, which is formed from the Italian burla – a joke. Modern burlesque is known as an entertaining theatrical erotic show, close to the musical and vaudeville genres, and such shows can be seen in the cabaret. The main elements of burlesque shows are dance, circus, comedy and conversational numbers.

In May of this year, the Kabaret Punklesque celebrated its first birthday. After graduation from the Prague Burlesque Academy more than a year ago, five gorgeous and confident women with a unique sense of humour, Lady Annahell, Chantilly Noire, Ginger Wixxie, Natálie Mooshabrová and Violet de Valor, have decided to join creative forces with awesome principal #principalbezejmena to create something new. The experiment was successful! Thanks to the courage and boundless imagination of the troupe, the audience can see the beauty of the nudes, regardless the size and body shape; grace of movements; and the magnificence of costumes. They usually invite special guests, burlesque performers and musicians, to make shows even grander and to add additional colour and contrast. This is not your typical burlesque show, but rather a more creative and entertaining way to present a unique spectacle in ways you wouldn't imagine.

Shows take place every month in a small bar in Vinohrady named Mandragora; the number of tickets is limited, and they all sold out a few weeks before the show. If you want to see it yourself, hurry up!

In a World Outside her Own

By Rosa Tyler A

S T U D E N T ’ S B R E A K

E X P E R I E N C E

I N T O

T H E

O F

C A R E E R

T R Y I N G

S H E

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Gather 2019 kicked off on Sept. 25, 2019, at the JW Marriott Venice, Italy. Both a showcase and celebration of upscale food and beverage, the festival welcomed hundreds of guests, including top professionals, social media influencers, celebrity chefs, and renowned pioneers of the industry. Lauren Krupczak, senior public relations major and photography minor at The University of Georgia, attended as a guest and photographer as well as an aspiring Food & Beverage leader trying to get her foot in the door.

"I didn’t always appreciate his career, but for the last four years I’ve begun to look up to my stepfather, Jason Sanders, as a pioneer of the field and a mentor,” she said. “He was one of the leads in charge of the conference, and he gave me and my mother tickets. As a thank you, and as a career move, I decided to take pictures as a form of ‘payment’ for my ticket.”

Krupczak discussed that she has been wanting to learn more about the field of food and beverage and has been looking for an opportunity to demonstrate not only her passion but the food and beverage experience she has gotten from her various entry-level jobs in the industry.

“It really became apparent to me during my sophomore year of college that I could turn my love for events and people into a career,” Krupczak said. “I knew I had a lot to learn about what food and beverage actually are, but I’ve been studying the craft as much as possible in preparation.”

Krupczak has spent the last two years reading various books and articles concerning the culinary arts and mixology such as The Cocktail Bible. Her core belief is if she wants to succeed in the world of food and beverage, she needs to truly understand every aspect of it before reaching her goal of becoming an industry leader. Attending the conference was her first behind the scenes glimpse of her possible future career, but it was not all glamorous and dream fulfilling.

“I learned that it’s a hard and sometimes lonely world,” Krupczak recounted. “It can be difficult to find your fit and get your foot in the door. There's the obvious fact that the hours are unusually long, with weekends and holidays being work focused rather than leisure, but it goes deeper than that.” Krupczak went on to discuss feeling as if she was an outsider.

“I struggled to find the boundaries between communicating what I’ve learned or excitement I had for the challenging career and staying quiet and purely listening to avoid seeming arrogant or unteachable,” Krupczak said. While Krupczak may have the basics down, she felt that she was nowhere near the level of expertise of those attending, which was obviously expected. She stated a feeling of “treading the line” between trying to show off her knowledge to gain respect and garner connections to help her advance into this industry, and expressing humble adoration for those who have been in the industry longer than she has been alive.

Krupczak felt out of her depth yet she felt like she was exactly where she was supposed to be. At times, however, it was almost suffocating. “I feel like a lot of students experience this while entering their first year in the workforce post-graduation or while working at their summer internship.

It’s a weird feeling to have to walk the tightrope of proving yourself every single day and showcasing your awareness of your naivety to not resemble an arrogant child. I’ve experienced this at summer jobs, internships, and even in the classroom,” Krupczak said. She adds that there is hope for fellow students battling the same feelings.

“Sometimes you just have to hold your tongue to not dominate a conversation,” she said.

“When you stand on the peripheral instead of the spotlight, you can see and hear things you might not have noticed previously. Not just conversations, but advice; I heard the same piece of advice for the millionth time, but something about letting my intellect go gave it a new meaning.” Krupczak has one main piece of advice for any students attending conferences, or working in entry-level jobs or internships: let go of your ego and experience every moment with fresh eyes. “There is too much pressure on college students to be both the perfectly moldable clay for employers and better than any other person applying for the same position,” she stated. “Once you let go of the fears of your future and immediate achievement of your dreams, you can focus more on the simplicity of what you are doing in that moment,” she said. Krupczak described the event as being more than just eye-opening. It allowed her to better see and appreciate the opportunities present. She described a history with being overwhelmed with career anxiety, so this alternate perspective helped her let go and just enjoy this "once in a lifetime" experience. Krupczak hopes that people can hear her story and feel understood. She also wants students to know that they are not alone in the battle between being who they are and who they want to be while being socially accepted.

"Again, I cannot stress enough how incredible this experience was,” Krupczak went on."I learned about wine I had only read about by actually trying it. I was able to watch and listen to mixologists demonstrate the techniques I had attempted while working behind a bar this past summer. I saw the realities in a different way than I had previously seen from my work experiences. Realities that were exhaustive, chaotic, and beautiful. As a bonus, I captured moments of the event Krupczak hopes to continue her studies but with

that before, I hadn’t had the means or

a new perspective, one she hopes to

exposure necessary to construct. Who

communicate with her peers. She wants to

knows, I may even get a job out of it."

keep this education mindset focusing on the work rather than herself, the creator of the product. “You can learn a lot by just listening, which is something I’ve always struggled with. It’s ok to take a step back and show that you can learn; once you gain that respect then you can demonstrate why you’ve earned your position. Opportunities like this don’t come around all that often, so it's important not to waste them on petty showcases of your own worth; they really aren’t needed,” she concluded.

Photographs and further testaments about Krupczak’s experience can be found online at her website: https://lurlur98.wixsite.com/mysite

yad enif s’nmutuA na no der sa thgirb sa eb lliw niar yad eno oS em ot ti gnirb dna saw ti erehw morf yawa raf fael eht ekat ti teL og dniw eht tel os emoceb ot tnaem si ti tahW eb ylno lliw tI niar fo edahs a era uoy dna eulb si eh fi cinaP yhW traeh ym si os seert eht morf gnillaF faeL a sa deR kazcpurK neruaL yB niaR fo edahS

We Must Pay This Debt A debate on the ethics of sacrificing for future generations By Caelyn Carlson Picture property of Francesco Paggiaro

In my final semester at my previous college, I had to write a policy paper on how to address a major global issue, and I chose to work on major carbon emitters. As I read through the many academic journal articles on reducing carbon emissions, I saw that many in the academic community try to address the

ethics

of

people

benefitting

from

the

hard

work

and/or

suffering

of

others.

The

academic pieces that I was reading sympathized with those who would have to sacrifice their global economy or their standards of living. They sympathized with them so much that the authors seemed to understand the current generation if they would not do anything to save the lives of future generations. However, there is an opposing popular sentiment that contradicts this. For example, we have people such as Greta Thunberg, who demand the government to make a drastic change because global inaction on climate change is encroaching on the rights and liberties of younger and future generations. I agree with the notion that it is incredibly unfair for people to reap the benefits of others’ labor (group projects, anyone?). However, I do not believe that this argument translates well to our climate crisis. You see, the survival of the human race is in the balance; therefore, I do not see the issue with saving the planet for others. I think arguing against saving the planet for future generations makes more sense in increasingly individualistic societies. When the priority is taking care of “Number 1”, the focus is not so much on the community, nor is it so much on the people coming to the world

after you. If I want to care for

have to live full lives. I believe that

myself now, I do not want to

they have a right to life as much

make drastic change for

as I do. From an ethical

people who haven’t shown

perspective, most parents

that they deserve it. I do

will do anything for their

not think similarly to this

children. As potential

because when it comes

parents of the future,

to the following

we should start taking

generations, the first

decisive action.

thing I think about is my

However, it can actually

possible descendants. I

seem as clear as mud.

want my grandchildren to be

Something that I have not

able to exist. I want my own

addressed yet is the issue of

potential children to be able to

developing countries. This whole

have the same opportunity as I

time, I have been speaking from a

developed world perspective. I have grown up in a country that has a first world standard of living and an economy that would not be possible without electricity, which is typically powered by fossil fuel energy. It is much easier for a developed country to say, “We should all try to staunch the further development of fossil fuel generated energy,” than it is for countries whose people cannot even afford lights in their homes. My profound opinion is to truly reverse the effects of climate change, we need to sacrifice not only for future generations, but for those unable to in our current generation. This means investing in the clean energy development in second and third world countries. If we do not do this, these countries and their peoples will either go against reducing carbon emissions, or they are left behind, unable to catch up in development of their economy, their infrastructure, etc. Is it ethical to live your life without paying your dues? To live and to accumulate more indebtedness, knowing that your children or someone else will inherit it? If we choose to not pay the costs of halting climate change, someone must pay the price in the possibly near future.

With the foreseeable extinction of the human race (and the other creatures who roam our beautiful planet), we must do whatever we can to ensure that does not happen, even if that means we need to support developing countries.

We need to pay our debts before it is too late.

I

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S I

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T

R &

T

G

S

T

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A

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L

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Photo property of Alexander Dobrovodsky

G

By Lauren Krupczak

L T S

How experimental audio-visual art can bridge the intellectual gap to the eclectic art world PRAGUE, Oct. 10-13, 2019 ⎼ The Signal Festival 2019 had its annual opening on Oct. 10 at 19:00 with exhibits extending across Malá Strana, Old Town, and Karlín. Since its start in 2013, the Signal Festival has been an extremely anticipated festival of audio visual art centered around an unexpected use of lighting with exhibits open to the public for free, and others that require the purchase of a multi-day pass or an individual experience ticket. Each year, the core values of the program focus on the topics of revolution, reflection on the past, and reformation of modern society, and the current festival has an added emphasis on these concepts.

This year marks the 30th anniversary of the Czech Velvet Revolution, a predominantly peaceful revolution by the Czech people against the communist regime that controlled the state since the coup d’état of 1948. The Signal Festival branded this year as one of remembrance and reflection about Prague’s unique and not-so-distant past. The main theme of the artwork was simplified to three concepts: Revolution, Review, and Reformation.

Revolution is a deep-rooted and controversial concept interwoven into Czech culture due to the intense political past, a past that is as recent as the 1980s. The reoccurrence of uprisings within 30-40 years inspired the festival’s concept of revolution repetition, a cycle of continuous revolution in which society attempts to halt or alter the evolutionary progression of the era. The Velvet Revolution marked a societal turning point so prominent in the current citizens’ culture that it is reflected throughout Prague and across the country. Most citizens participated in or lived through the revolution and its aftermath, the results of which altered the course of Czech politics and day-to-day life dramatically. The purpose of the Signal Festival 2019 was to connect ideas that are ingrained in Czech society. It also planned to inspire remembrance and reflection on the past to create a new understanding and broaden one’s perspective on these incidents.

An unintentional consequence of such ideology was the creation of a bridge between the high-brow and experimental audiovisual art community and the everyday Czech person who may not have been introduced to this style of artwork previously. The creators of the festival pushed the idea of revolution as a concept by relating it to the current scale of technical evolution. Technological advances such as 3D printing, animation, and artificial intelligence are becoming more prevalent in society but are still distant conceptually causing them to be misunderstood, not fully idealized, and change dramatically over a short period of time.

The Signal Festival as a whole poses the questions: are we as a society able to leave our modern comforts to take a leap into the current technological revolution? Can we as people handle this advancement, for better or for worse?

In the art community, it is a vital concept that art pose questions instead of answering them, but this can sometimes cause the artwork to be inaccessible to the majority of society. A lot of conceptual art pieces can be hard to connect with, especially those dealing with intense trauma that the average person might not have firsthand experience with. Due to a majority of Czech people being familiar with the effects of the Velvet Revolution, the festival was able to create an intellectual playing field that both conceptual artists and people inexperienced with such art to participate in equally.

The 10^100 exhibition was an expansive and interactive outdoor field of wonder that attracted people of all ages. It was created by Giegling, a collective of artists from the University of Weimar, this exhibit served to transform the normal Nostic Garden into an artistic playing field with an interactive sculptural element. The main concept: to draw in people of all walks of life to create the art of the process, i.e. the process of viewing and creating artwork. This form of performative art doesn’t focus on a final piece that would be around for decades but rather creates art out of the once in a lifetime experience created by every individual viewer as a collective.

The art doesn’t originate from the creator, instead it is by those enjoying it and making their own experience possible. At the exhibit, there were people of all ages, playing with a light board that mimicked their motions, leaning over a fan that blew their hair back and made a gorgeous wind of light and hair, and laughing at the more jovial creations. The performative piece did not exist to prove to the audience that it was art; it instead allowed people to define their own experience as they wished. One woman I observed laughed at an art piece, exclaiming, “Now how can that be art! It’s rubbish; I could make that at home myself!”

While she may have missed the conceptual artistic point of the exhibit, the non-traditional art still fulfilled the performative aspect of the exhibit. She still found joy in the piece, even at the expense of it, and created her memory therefore fulfilling the art of the performance.

One of the most notable and awe-inspiring exhibits that redefined audiovisual performance in terms of interactive and conceptual art was called R

⇼Evolution. It was created by SKILZ

Studio, a creative space from Kyiv with a concentration on animation and video projection, a group of 3D motion designers, art directors, and screenwriters. They combined to create a projection that interworked bold color theory, an interactive story, and a focus on accessibility to those who do not often frequent the art world. This piece was a monumental display that was projected on the Tyr

š House, available to see by those who purchased the 3D glasses at

the entrance. This included not only the art exhibition but a hidden Neon Food Bar and café that provided an unexpected twist to the festival’s notable light and visual aesthetic.

This piece was designed to perfectly fit the house and, when viewed through the 3D glasses, made the abstracted images float off the “screen,” at one point even creating the illusion of the house behind it disintegrating into the universe. Throughout the exhibition, the phrase “restart this game now” was repeated throughout the five minute animated projection.

This was said to urge a new revolution since society has reached a “completed” level of evolution with no ability of foreseeable progress. The storyline of the projection goes through the progression of the basic human desire for a better future fueled by man altering their surrounding world through concepts of their imagination with a hope to better society.

This lead to an inevitable uprising, and a

The Signal Festival created an emotional

continuation by the revolution repetition cycle.

branch between the various cultures of the

After a revolution, there is always a period of

people in attendance based on concepts of

calm, reflected by the visual art returning to a

human evolution represented in every

more neutral state post dismantling. This

society. It extended more than just a

part of the video urges people to reflect, fuel

common cultural playing field by forming a

creativity, and allow democratic ideology to

bridge between the eclectic art community

blossom in order to better all of society as a

with the average art appreciator and those

whole, as the revolution intended. Following

who do not personally consider themselves to

this historical arc, the video ramps up,

be art connoisseurs. Especially within

R⇼Evolution

creating a chaotic accumulation of light and

experimental and up-and-coming fields of

video, representing the resurrection of

art, such as audiovisual and animation, it can

controlling power struggles that halt the

be hard to create an accessible and easily

creative and natural progress of societal

understood art piece that reaches audiences

evolution to appease the few who are in

of every walk of life. From the various

control. The video is set to loop every five

observations and accounts from the festival,

minutes, showcasing how the everlasting cycle

it became clear that there was an

of revolution and evolution is set to repeat

overwhelming amount of accessible art that

throughout the course of history as it is

strove to create a welcoming atmosphere to

created. Overall, the Signal Festival 2019

all people, something that makes this festival

desired to showcase concepts and ideas that

unique and absolutely worth attending in the

are foundational pillars of not just Czech

future whether you are a steadfast art

culture, but of global culture. Revolution,

appreciator or just someone looking for an

reformation, and reflection are core values

interesting way to spend a weekend.

represented in all society, evident in common phrases as “history is bound to repeat itself” and “never forget.”

Do they even see us?

We are the Oromo

By Fraol Bersissa Stories are told and retold through the power and elusiveness of the words of men and women in endeavors of remembering. Voices are echoed to oneself and the world beyond one’s existence and serve defiance against the baneful floods of negating mainstream discourses. My Africa is home to a flourishing and diverse tapestry of human recitals in all corners of her lands: Some of these have been read and told, many have been misread and mistold.

Unfortunately, mystifying to humanity, an even greater multitude have been unread and untold; I come to you with one of these stories.

The Horn of Africa, located in the easternmost tip of Africa, mothers many ethnonational groups along its green pastures and scorching deserts. African national groups have inhabited this part of the world for thousands of years and maintain a unique relationship of belonging to the earth. From these very lands, the story of the Oromo begins.

The Oromo nation is the largest of all constituencies that make up the Federal Democratic Republic of Ethiopia. The Oromo are mainly rooted in Ethiopia, albeit their presence extends to the confines of neighboring states such as Kenya, Sudan, and Somalia, where significant Oromo saliences can be seen and felt. Most modest figures put the Oromo at 40 million strong, while others find the Oromo comprising as high as 50 million. These aforementioned numbers cumulate into meaning almost one half of the demographic totality of 100 million-plus in Ethiopia are Oromos. It is conceivable, therefore, without much hesitation to say that the Oromo hold numerical dominance in the region.

Images property of the Oromo Graphya Facebook page

Cultural pillars of the Oromo All nations have languages in which they express their innermost cogitations to one and all alike; for The Oromo, that vernacular is called Afaan Oromoo (literally meaning the mouth of the Oromo). Mekuria Bulcha (1997) notes "the Oromo language, Afaan Oromo, which is one of the five most widely spoken indigenous languages in Africa, is a lingua franca in the southern half of Ethiopia and northeastern Kenya, used by several ethnic groups as a means of trade and communication." Despite its pervasiveness, vitality, and viability in Ethiopia and across the region, it is ironically yet to become a working language of the federal framework within Ethiopia itself.

The Oromo practiced (and still practice in limited statistics) an indigenous, monotheistic religion called Waaqeffannaa in which the Oromo worship in and supplicate to Waaqa Gurraacha (The Black God) to whom they offer gratitude for the joy and plead for divine intervention in their times of trouble. The Oromo, to this very day, commence important assemblies of all variants with a prayer to Waaqa.

Waaqeffannaa is still practiced by sections of the Oromo, although it doesn’t maintain prominence as it did before the advent of Abrahamic religions.

democratic system of In correlation with the Oromo

governance whereby there are

relation with Waaqa, the

five classes of progression,

annual festivity known as

each with a duration of 8

Irreechaa stands worthy of notice. Irreechaa has two

years until the fifth stage of assuming chairpersonship. In

variants: Irreechaa Malkaa

this system, males will pass the

and Irreechaa Tulluu.

stages, including (these names

Irreechaa Malkaa (happening in fall) is observed after the end of the rainy reason which hinders families from meeting and overflows the rivers of the land, henceforth they thank the Creator for having overcome these conditions. This unifying

have other interchangeable terminology as well) Dabballee (8th year), Gaammee Xiqqaa (9th-16th year), Gaammee Gurgudaa (17th-24th year), Kuusa (25th-32rd year), Raabbaa Dorrii (33rd–40th year) before finally leading the Lubaa stage (41st-48th year)

procession is held by river

of becoming the Abba Gadaa

banks. Parallel to this

through elections (chairperson

conception, Irreechaa Tulluu (happening in spring) is a procession that is meant to

of the governing assembly known as the Caaffee or Gumii). The retired receive the

supplicate for the rain when

appellation ‘Yuuba,’ and

the sun’s scourge is flaming

transition into an advisory role.

over. They trek to the mountain

Oromo women’s participation

tops to ask for blissful tears of

is best integrated into the

the skies. The felicitations of

system called Siiqqee, and this

Irreechaa, despite its root in

platform allows the women of

Waaqeffannaa theology, have become a symbol of pan-

society to organize and demand rights. This word

Oromo unity. In contemporary

Siiqqee comes from the stick

times, the assumption of

married women carry, itself a

different faiths is overarched

symbol of prestige and

by a concrete sense of being

respect. The Siiqqee is a

a people united in history,

parallel institution to aid

language, culture, and

women’s participation in

aspirations.

structures where males

The Oromo view of what lies

dominate. The Oromos also

beyond rationally alludes to

have a unique calendar system

inquiries about how the Oromo

based upon the lunar system in

used to run their mechanics of

which there are 27 days in a

governance and societal

month and 12 months per year.

harmony. The retort is the

This calendar is called Dhahaa

Gadaa complex. Gadaa is a

Oromoo, where each day of

multi-layered,

the month has a name of its own.

Afaan Oromoo, Waqqeffannaa, Irreechaa, and Gadaa are notable facets but only some of what constitutes Oromo epistemology. The culture of the Oromo calls for further study and intrigue as much more remains to be documented and shared.

Oromo History: Resistance Has Become Culture Even our cattle were free!

Oromo history is an oxymoronic mash of sweet beatitude and bitter scolding. The collective memories of the Oromo are shrouded in times of glory succeeded by chapters of agony, thus pushing one to conclude and understand it as a past of extremes. This extreme of a people who knew of freedom but later on came to yearn for it in their thoughts and dreams is a culmination of the processes that established the modern Ethiopian state in the early 20th century. The same conglomerate of processes that brought to power core an imperial ruling class and ostracized diverse national groups to the periphery.

The formation of the Ethiopian state is a highly controversial dilemma, which occurred in such a way that it still haunts the political dynamics of contemporary Ethiopia. Emperor Menelik II, initially the king of Shewa, a province in Northern Ethiopia, engaged in a wave of successive conquests in the ‘Ethiopian South’ in a political desire to craft out an empire state in the Horn. These conquests faced stiff resistance amongst many groups, the Oromo included. However, the hierarchy of European-made firearms in the emperor’s armory was a decisive factor in finally forging the creation of a state the world knows today as Ethiopia.

Commencing with Emperor Menelik II’s imperial foundation, successive power welders have risen and fallen, nevertheless, the relationship of the Oromo and the Ethiopian core remained unchanged. The Oromo were referred to (officially and unofficially) by a pejorative term, “Galla,” meaning savage, uncultured, pagan, and inferior. Imperial Ethiopia, Socialist Ethiopia and now Pseudo-federalist Ethiopia have all bereaved the Oromoo of their land, power, and culture in different (failed) bids of sculpting a nation-state out of a state with many nations within it.

A misdiagnosis of the problems of the Ethiopian state by previous regimes have exacerbated the problem; it was only in 1991 that the Ethiopian People’s Revolutionary Democratic Front (EPRDF) in coincidence with other forces, forces which it later had a fall out with, acknowledged the quagmires of the Ethiopian state. The flickering optimism of the early 1990s could be epitomized as a short honeymoon that preceded a wrecked marriage where broken promises assumed centerfold.

The Oromo (alongside other national groups) dismissed the EPRDF rule mainly due to what veteran opposition figure Marara Gudina once famously phrased as, “... the EPRDF started American music that is multiparty democracy, free and fair elections, the Rule of law, press freedom and in fact what has been very beautiful to western ears but the problem is that the EPRDF has continued to dance their own dance."

The critical juncture was reached after governmental plans to expand the capital city into the environs by a magnitude of about 40 times under the infamous “developmental’’ project name “The Master Plan”; the rebuttal, of a plan upon which the populus wasn’t consulted, set into course a series of protests that lasted over 4 years before finally turning the once potent regime futile by mid2018.

Currently, the government is engaged in a battle that manifests itself both through grotesque propaganda campaigns and outright military confrontations against the armed wing of the OLF (presently dissected from the political wing) in the West and South of the Oromiyaa region. This crisis has implicated the insecurity of the biggest regional component of Ethiopia where murder, arrests, and harassment of the average man and woman occur daily.

These conditions are painfully reminiscent of the times that ultimately affected the Oromo jacquerie against EPRDF proper. The Oromo story is a complicated one, drenched in a trans-generational effort of a people who have pursued all possible avenues for a state of being. This state of being is intended to break free and instate a status quo of no more exploitation, mortification, or repression. The Oromo’s quest for self-determination is mirrored through equitable representation, economic ownership, political self-governance, and dignity.

The Oromo is neither for peace granted with subservience nor for infinite resistance; the Oromo detests not harmony but rather mediocrity, the Oromo impulses for equality; And for this the drums beat the dawn of dreams is upon the horizons; it is because of this that the living live and the dead have died.

So be it done as it was here spoken.

Glory to the Martyrs! For we are because they were!

I’m not a Bartender- I’m a Mixologist: An easy cocktail recipe to help you impress friends and family this holiday season

By Lauren Krupczak

Everyone knows the feeling of being the “kid” at the table finally allowed to drink for the first time at holiday dinner but knowing absolutely nothing about alcohol.

All you know is that it burns, sometimes it tastes great if you hide it enough, and the cheaper it is the better (for your wallet at least). An important milestone into adult life is transitioning from the “ignorance is bliss” mentality into a real understanding and appreciation for alcohol and what it takes to create a truly wonderful drink. I was fortunate enough to have a family that is heavily involved in food and beverage, so I was taught at a very young age to appreciate wine and cocktails and how they pair with food. Now after two years of independent study and a summer of actual bartending experience, I am here to share with you all a beginners guide to cocktails, specifically teaching you how to make my take on an autumn-inspired mule that will pair well with your upcoming holiday dinners and impress anyone at the table.

Mixing Basics Any bartender will tell you that the basic foundation that you absolutely need in order to mix a good drink is an understanding of what a bar count is along with basic proportions. All classic cocktails can be broken down into a few simple parts and proportions. If you want to make a perfect negroni, it is simply equal parts (traditionally 1 oz) dry gin, campari, and sweet vermouth. The trick is that they have to be equal; in movies you see bartenders speed pouring drinks which is where a bartender counts the seconds of a pour to determine how much liquor they are pouring. I and every bartender alive has poured like this, and during a busy service it really is the only possibility. This won’t work for a perfect negroni, or any other technical cocktail; a mixologist will always urge you to measure if you want a drink to really taste the way that it should. So, in basic terms, a bar count is related to speed pouring, in my personal timing, counting to four is approximately 2 oz; for some people that means counting to two. This is why there is discrepancy between the same cocktails at different bars.

Now for the more technical side: basic mixing proportions. Most cocktails can be broken down into basic proportions of 2 oz of alcohol to 1 oz of tart to 1 oz of sweet, or 2:1:1. So when mixing a drink, experimenting, or even ordering a drink out remember that basic scale. Now, not every cocktail follows this set, for example a gin and tonic has the 2 oz of gin, 5 oz of tonic, and 1 oz of lime (so cocktails of this nature follow a 2:5:1 respectively ratio). Bellow I will list basic cocktail fruits and how much juice each yields.

≈ ≈ ≈ ≈

1 Whole Lemon 1 oz of juice 1 Whole Lime .75 oz of juice 1 Whole Orange 3 oz of juice 1 Whole Grapefruit 8 oz of juice

History of the Moscow Mule The Moscow Mule was one of the first drinks I ever learned how to make since it is relatively simple. It’s simplicity allows for many unique variations to occur, making it a bartender’s staple. The basic way to make a Moscow Mule is 2 oz of vodka, 1 oz simple syrup (melted sugar and water) and 1 oz lime shaken and poured into a copper mug full of crushed ice, and then topped off (filled to the top) with ginger beer. Popular for its potent us of spice, yet still refreshing nature, this drink can be found at almost any bar. The drink I have prepared for you all is a Moscow Mule with an autumn twist, called quite simply an Autumn Mule. The main reason for removing the “Moscow” from the tile is the absence of a copper mug, which brings me to the fun history of the Moscow Mule and where its name originates from.

Sophie Berezinski in 1941 immigrated to the United States from Russia with the notso-easy task of selling 2,000 solid copper mugs that she and her father designed.

Back in Russia, the mugs wouldn’t sell, people weren’t interested in copper mugs stamped with “Moscow Copper Co.” on the front. In an attempt to create a story related to the mug, she went to the Cock ‘n’ Bull pub in 1941 and met John Martin.

Martin was the new owner of the Smirnoff Vodka Distillery, who was struggling to bring vodka into the mainstream American market where beer and whiskey were dominant. They then met Jack Morgan, owner of the Cock ‘n’ Bull who was developing his own form of ginger beer. The three of them realized that in order to be successful they had to create a drink that no one else had, one that people would feel connected to, but why combine these three elements? The copper mug possessed a distinct chilling property where a drink would stay colder for longer, vodka was cheaper to produce but has the same alcoholic affect, and ginger beer creates the fizz and sweet punch needed to make a drink easy to sip. After perfecting their proportions they created the Moscow Mule, which can only be called such if it is served in a solid copper mug.

The Autumn Mule 2 oz of Titos Vodka (you can substitute any type of vodka but this is my personal favourite) .5 oz of juice (1/2 lemon) 1 can of Goslings or Cock ‘n’ Bull Ginger Beer (again any ginger beer can be substituted but I prefer these two) Creole Bitters (optional) 1 sprig of Rosemary 1 oz of apple cider Now for the part you all came for — how to make the drink! The Autumn Mule is complicated enough to impress your guests but simple enough that anyone can make it with a little practice. Here is what you will need to create

1 cocktail.

Step 1 Combine the 2 oz of vodka, .5 oz of lemon, 1 oz of apple cider into a cocktail shaker with ice. Shake until the glass begins to frost. If you do not have a shaker, combine the ingredients into a large glass without ice and stir for five slow seconds.

Step 2 Strain the mix over crushed ice into a wooden mug. Before pouring, your mug should be about 1/3rd of the way full of ice, leaving the other 2/3rds for the cocktail itself.

Step 3 Add ginger beer until the mug is almost full.

Step 4 Add three dashes of cocktail bitters (optional), then using a tall spoon stir the drink to incorporate all aspects.

Step 5 Take a sprig of rosemary and place it in the palm of your non-dominant hand, then using the back of your dominant hand hit it the rosemary semi-hard. This will “activate” the herb, breaking up the enzymes so that it has a stronger taste and aroma. Then place the rosemary in the drink as a garnish.

Step 6 Enjoy your cocktail!

This recipe can be easily adapted to any fruit flavor you enjoy; a good substitute for the apple cider would be a blood orange juice for example, and if you do so make sure to edit your tart element to better match in taste. This cocktail specifically is light and refreshing, but has a unique depth of flavor with aspects of sweet, smokey, spicy, and herbaceousness. Try it for yourself and impress your friends and family at your next dinner party this holiday season!

Discrimination within Public Health

By Iryna Volkovska I have recently moved abroad — not exactly an unusual process for me, but there was one thing that surprised me. When I was applying for my visa, the embassy requested to have an extensive medical examination, designed mainly to confirm that I do not suffer from what one might call the trifecta of the world’s current most frightening infectious diseases: HIV, syphilis, and tuberculosis.

Upon first finding out about such visa requirement, which I have not encountered before, having previously moved abroad on two separate occasions, I did not particularly protest. ‘Endangerment of public health’ seemed like a reasonable concern. It wasn’t until I was walking back from my examination that I started to realize that this meant: “Wait, why can’t I have AIDS and study abroad too?”

A quick internet search informed me that many countries around the world have restrictions against entry by individuals with the three aforementioned diseases, HIV-positive individuals in particular. The majority of these restrictions apply to long-term stays or immigration, however, some are valid for short-term trips as well. The Global Database on HIV-specific Travel & Residence Restrictions advises HIV-infected individuals to check a country’s policy on the matter before planning a trip and outlines the specificities of restrictions in each state.

Certain countries that previously partook in HIV travel restrictions have since realized the error of their judgment. The U.S., for instance, famously faced controversy over their HIV travel regulations; the backlash against their HIV entry ban and the efforts of many advocates helped lift the ban in 2010, after 22 years in action. Several countries followed the U.S.’s example; others, however, adopted an even more discriminatory approach and changed their regulations to prohibit HIV-positive citizens of specific countries from crossing their borders.

I can understand the grounds for tuberculosis travel restrictions as TB is passed on through the air and individuals have about a 9.5% chance of developing active TB within 6 months of exposure to the bacteria. However, the invention of antibiotics in the 1940s and triple therapy in the ‘50s made TB curable.

The tuberculosis vaccination, introduced two decades earlier, is currently the most widely implemented vaccination in the world, with over 90% of children being vaccinated. These discoveries, along with the increase in general hygiene and several new methods of TB testing, continue steadily decreasing TB mortality rates. Tuberculosis is currently considered to be “the disease of poverty”, with most TB deaths concentrated in South-East Asia and Africa. Even in well-developed countries, the infection rates are generally higher among non-whites. Leading causes of TB deaths are the absence of medication and sanitation — both not only solvable, but already solved for the people of the right social standing, living in the right part of the world.

The necessary connection between HIV and Tuberculosis is, of course, to be mentioned: HIV-infected individuals are much more likely to develop TB. In fact, most HIV-related deaths occur due to tuberculosis (approximately 400 000 in 2016). This, however, does not justify travel restrictions for HIV-positive, TB-free individuals.

There are, after all, two important differences between AIDS and TB: one is a deadly result of an STD; another is airborne and has been curable for nearly 80 years.

HIV deaths are commonly associated with underdeveloped countries; however, there are people living with HIV all over the globe. 1.1 million people are living with HIV in the U.S. alone, over 18,000 of whom have already developed AIDS. Medical research on the subject of AIDS continues progressing, giving hope to HIV infected individuals. In 2011, their life expectancy, with treatment, was 70 years old. Nonetheless, UNAIDS, a global anti-AIDS organization, reports that “A total of 48 countries and territories still maintain travel restrictions on people living with HIV” (as of July 2019).

These millions of people who, despite their diagnosis, have a real chance to lead long and fruitful lives, will not be able to live, work, study, or even travel to 48 territories around the world due to their HIV-positive status. Made even more grim by the fact that 1.7 million of them are children under 15, this statistic doesn’t paint a very tolerant picture and can in fact be considered a violation of Article 13 of the Universal Declaration of Human Rights (1948), which states “everyone has the right to freedom of movement[…]to leave any country, including his own, and to return to his country.”

I suppose this “better safe than sorry” approach may appear reasonable to a law-maker. However, sheltering their citizens from this reality, where HIV, along with TB and syphilis, are real threats, cannot be the best solution our governments are able to come up with. AIDS is a worldwide issue, and we should be encouraged to steer clear of unprotected sex and used needles regardless of where in the world we are. Instead, decision-makers continuously chose to encourage our irresponsibility and undermine the personal choice to be safe rather than sorry. What does it say about us and our national representatives, if we’d rather discriminate than take charge for our own health, sexual and otherwise?

Elsh a

By M n ehin Raja bli

At this time of the day, the boulevard was full of people. The moon and the stars were bright, their lights twinkling, shaded by the occasional small puffs of dark clouds.

The boulevard was a seashore stretching along the bay of the Caspian Sea that was turned into the biggest park in the center of the city. It was a popular place for people to spend their evenings.

I was walking alone by myself, as my thoughts wandered, until finally, I decided to sit in one of the famous chayhanas in the center of the boulevard. It was crammed with people, mostly men, and the place was loud with gossip and laughter.

The canopy above was lit with small lamps, coloring the place in an orange hue.

Breathing in the scent of the sea, I ignored the weird stares I got from the men in the room and looked through the menu. My dad’s words rang in my head: If you ever wonder what’s it like being a performer, walk the streets of Baku.

I was about to order black tea when I heard my name. Searching the room for a familiar face, my eyes stopped on my cousin Elshan. Elshan was older than me by eight years. He had a big, lumpy nose and thin lips. His eyebrows and hair were a black,

. But his eyes were kind and soft, which made his face look friendly,

disheveled mess

even if not the most attractive. He came over, kissed me on both cheeks and sat down across from me with a stern expression.

“What are you doing alone? No woman is supposed to walk alone through the city,

No hello, no nothing.

especially when it gets dark,” he reprimanded, and his bushy eyebrows furrowed.

I started explaining that I’m not scared of being alone when he cut me off, saying it’s not about being scared, but about tainting my family name. No parents should let their daughter be out after it gets dark.

We ordered

I didn’t know what to say, so I changed the topic.

black tea, and as he was talking about his job, my eyes settled on a

toddler walking with his mother through the park. The little boy was stomping his feet, throwing a tantrum because his mother refused to buy him pink cotton candy, sold in a small cart by an old man. The mother ended up buying the cotton candy, hastily looking through her purse for the spare change.

“How is Maryam?” I asked, turning back to Elshan.

His expression instantly softened

after hearing his daughter’s name. The waitress settled the white fat teapot in the middle of our table. The glasses clanked in their navy saucers with golden buta patterns, the same ones that adorned the red tablecloth. The waitress left and Elshan started pouring us tea.

“Last time I’ve seen her she just started walking.”

“She’s running now, leaving a mess after herself like a tornado,” Elshan chuckled, staring into his pear-shaped glass of bright dark tea.“ How’s Sabina handling her?

Don’t you want to get a nanny or maybe a maid to help around?” I inquired.

“Sabina is handling everything

just fine.

Sure, she’s more tired, but it’s normal. Our mothers handled us and the house;

she can do it too,” he replied, his expression

darkening

again as if my idea was absurd. I said nothing as he sipped his tea. His phone rang an annoying melody, and I was only able to glimpse a heart next to the contact name when he answered.

“Hey baby, I’m with my cousin sitting at a chayhana, couldn’t let her sit by herself.

I’ll be there soon, don’t worry.

Love you.” He ended the call, and I smiled.

“Sabina?” I asked.

He looked at me awkwardly, saying

“No.”

I stared at him, not sure I understood what this meant properly. He sipped his tea again, ignoring my look. But when he couldn’t ignore me anymore, he said, “What?”

“You’re cheating on your wife?” I asked incredulously, my heart sinking at the thought.

“So? Everyone does it.

A man has his needs," he defended himself, brushing off the topic as if it was nothing.

My body temperature dropped to a chill, quiet rage.

I was used to the topic being thrown around like it’s nothing. Husbands cheated, wives didn’t mind as long as he came back home, and children grew up believing it's normal as well. It was absurd.

“I can’t help it baji, I was forcefully married to a woman I didn’t fully know because it was time to give my parents grandchildren. I was in love with another girl, but for Papa she was unfit; her family was lower class, and they didn’t like them as much as Sabina's family.

I can’t be loyal to someone I don’t really love.

I love Sabina for giving me a daughter, but I don’t love her as a woman,” he said, his eyes fully dry now; the only remnant of his breakdown was a slightly snotty red nose.

I didn’t know what to

say nor how to help or support in a situation like this. So, I quietly

sipped my tea and watched the smug toddler on a bench next to us munch on his pink cotton candy.

GAMLLAWNONNEL :MARGATSNI ENIZAGAM LLAW NONNEL :KOOBECAF UDE.INUAA@LLAW.NONNEL :LIAME UDE.INUAA.LLAWNONNEL :ETISBEW