Mirage Issue 09: Heritage

Issue 9 Spring 2022

magazine

HERITAGE

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by MIRAGE

HERITAGE HERITAGE 2

Editor-In-Chief Olivia Gianettino

President & Co-Editor Kasey Lettrich

Managing Editor & Designer Annika Godwin

Assistant Designer Hunter Neel

Creative Director Adam Payne

Head of Photography Emily Kennel

heritage

Special thanks to

Creators

Alexandra Holsclaw, cover girl Emily Kennel Moon Flower Hemp NABJ WVU Fashion Business Association WVU Equestrian Program Hinnah Mian Emily Qurantillo

Kaitlyn McClung Lauren Farnsworth Sierra Worden Kaeli Ricottilli Alexandra Holsclaw Jessica Riley Brogan Dozier Bailey McCord Maddy Watson Maggie Stewart Christina Rufo Madison Hess Cody Matorin Tess Barnhart Brooke Wagner

Models Alexandra Holsclaw Kaitlyn McClung Kasey Lettrich Bella La Ball Christina Rufo Brooke Wagner Tess Barnhart Bailey McCord Cody Matorin Kaeli Ricottilli Jessica Riley Sierra Worden Brogan Dozier

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Letter From The Editor Heritage is an issue that I have been waiting to bring to life— something so sweet and personal it evokes beautiful emotion throughout. The pieces in this issue come straight from the heart, and I believe you can feel it when you see them and read them. Our team members work hard every semester to bring something to the public that is unlike any other, and I have to believe this is our best work yet.

To appreciate heritage is to look within yourself, accept things you may not want to, be proud of the accomplishments you and your peers and your loved ones have conquered. I prompt everyone who flips through this magazine to do just that.

I am so thankful for my time with Mirage magazine. With graduation around the corner, I get to reflect on the blessings college has gifted me, and this publication has been the greatest gift of all. My peers have taught me so much about creativity, drive and passion. They have taught me how to roll with the punches and how to truly be proud. Mirage will forever be a part of my own heritage. And with that, I present you with our 9th issue.

xoxo, Olivia Gianettino 6

Playlist BiscuitsKacey Musgraves

Follow You To Virgie (OurVinyl Sessions)Tyler Childers Dumb BlondeDolly Parton Dead of NightOrville Peck I’ll Be Here in the MorningTownes Van Zandt Pink Pony ClubChappell Roan Pomegranate SeedsJulian Moon Rich GirlLake Street Drive Take Me Home, County RoadsJohn Denver

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by Hinnah Mian

My parents loved without borders– A love that knew no continents, A love buoyant enough to never Sink on any sea.

My parents held hands across time– Fingers like nomads, ever-exploring, Jagged edges of border-walls nothing but A test to prove how rugged their Hands have grown from breaking Down barriers.

My parents cut around fault lines, Creating edges that would Only fit perfectly with the other– All to prove that there was Never any fault in their love At all.

My love, If oceans scare you, Remember my body Is made up of The blood maps.

I am a child of borderlines And we are two lands, Carved differently.

Love is the way We conquer: Boundaries, lands, Time, distance, History.

It is the way We were built.

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“If you wish to read the story of my people, look no further than my body.”

Pangaea is a collection of poetry about honoring the heritage of a body. It is the act of learning to be whole in a broken body, a broken world. It is a collection of tales told through generations of stories hidden beneath the skin.

Hinnah Mian is a Pakistani-American poet and author whose work has appeared in Harness Magazine, JUMP, Blue Minaret and The Rising Phoenix Review. Her first book, To Build a Home, won silver in the Readers’ Favorite International Book Awards.

She spends her time journaling, exploring and living out her days with the love of her life– her dog, Felix.

Tess Barnhart on Heritage

My name is Tess Xin Hui Barnhart. Xin Hui is both the name the caretakers in China named me when I was brought to them as an infant and also the middle name that my parents, who adopted me, decided to give me. To my non-Chinese peers, Xin Hui was the name I strayed away from mentioning in fear they’d ask me ignorant questions regarding it. Similarly, my last name, Barnhart, was also a name I felt embarrassed of as I felt I didn’t fit the “look” for it. Growing up as an Asian American adoptee, I felt I had no identity. No heritage. Both sides were very opposite, so as a result, I felt embarrassed of the two. If I was too involved in my parent’s heritage of being more “country-like,” I felt like an outsider, but if I was too proud of being Chinese, I felt inauthentic.

It took me my whole childhood to get even a sense of understanding of who I am and where I belong. A long journey of self-discovery to love all sides of my heritage.

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A banana is yellow on the outside and white on the inside.

I was, essentially, a banana or so I’ve been told. I doubt the kid who told me that even remembers it; it was such a trivial, minute joke to everyone around us, but to me, it hit too close for comfort. At that time, I had never come across that term being used to describe someone. I didn’t know what it meant, other than the fact that a banana was a fruit. It is something you eat. However, I soon learned that it meant I was Asian on the “outside,” but not really on the “inside.”

Like a sticker you couldn’t peel off, this comment stuck with me for years. It was a reminder of what I already knew but never wanted to talk about. I wasn’t “Asian” enough to fit in with the Asian kids, and I wasn’t “white” enough to fit in with the white kids. Growing up, I didn’t know where I fit in. I was balancing trying to fit in with my white peers in my small town while also trying to stay proud of my Chinese heritage.

In the year 2000, I was born in Guangchang County China, and then months later adopted by my white parents who brought me to Follansbee, West Virginia. A very small city in the northern panhandle with an even smaller minority population. From a young age, my parents tried their best to encourage my sister and me to be as involved as we could in our backgrounds. They would find contacts for other Chinese adopted children and throw Lunar New Year parties every year. However, as we all got older and busier with different schedules, these soon stopped. As a kid, I enjoyed these events, but my identity as a Chinese person still wasn’t very prominent nor important to me at that time.

For the longest time, I was not aware of my differences. Life was a lot simpler when I was young, since I was very oblivious to the comments I received, never taking any of them to heart. I wasn’t affected by them, since I didn’t really understand them. In my young mind, all I knew was that I was from China and that the U.S. and China were the only countries in existence. It didn’t occur to me that I looked different too. On TV and in movies, I would see gorgeous, blonde women and felt like I was looking in a mirror. I remember longing to be exactly like them and to live a glamorous life like theirs’.

I wasn’t embarrassed to be Chinese, but I also wasn’t quite sure what that meant either.

My ignorance soon dispersed as I approached elementary school and was bombarded with a multitude of questions. I remember my peers constantly asking me, “Why do you look like this?” as they stretched their eyes back to try to resemble mine. At the time, I didn’t understand how to react, but I did know that it made me very uncomfortable.

How do you answer something that you don’t even know how to answer yourself?

Regardless, I took their piqued interest in me as a compliment because I saw it as attention, which every kid craved. Though I wanted to seem cool in front of them, my experiences with the older kids were the ones that made me feel the most self-conscious.

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I was Asian. That was the joke. It was supposed to be funny even if it made me squirm in my seat and lower my head in shame. I soon began to realize what it meant to be Asian, and I didn’t like it.

I didn’t like being different.

Middle school was an entirely different ballpark. In general, it’s an awkward time in basically everyone’s lives, and adding racism to the mix made it worse. I remember there was one other Asian kid other than me, but we didn’t really talk to each other. Unlike me, she wasn’t adopted. She had Chinese parents and even spoke Mandarin. I started to understand more and more that I was also Chinese just like her, but I was different. The feeling of being inauthentic bubbled up inside me every time I saw her. I didn’t understand the culture, and I was unable to speak the language. The guilt of not knowing more about my heritage made me shameful. My parents tried their best to incorporate the culture into my and my sister’s lives, but it was culture at face value: it was shallow and whitewashed. “I bought you guys chopsticks and these panda stuffed animals,” my mother would say, trying her best. It was appreciated, but that’s all we ever knew.

Chopsticks and pandas.

“I knew they loved me, but I started questioning if they respected me.”

I distinctly remember when Instagram imitation posts were popular. Essentially, the concept was that people would “like” a post, and the person who posted it would imitate a facial expression from the “liker’s” own account. It was meant to be funny and playful like those “to be honest” or “monthly” challenges. I had my tongue sticking out, but the two girls who were a grade older than me thought it would be funnier to pull their eyes back instead. They received no repercussions for their actions.

While I wasn’t taught to stay quiet, I knew that the better option in that situation was to not speak up. I didn’t want to make a big deal over nothing.

I was Asian. That was the joke.

The racist remarks that stuck with me the longest were always the ones about my eyes. I remember desperately wishing that my eyes weren’t the butt of everyone’s jokes.

Constantly, kids would ask me why my eyes were like that or if I could see. On the bus, a girl would repeatedly pull her eyes back to imitate what my eyes apparently looked like.

For a while, I even thought about getting the infamous double eyelid surgery common amongst East Asians. Of course, I never got anywhere close to that idea, for I knew my parents would just say, “You’re beautiful the way you are.”

I wished that I wasn’t Asian.

When I was in my last year of middle school, new comments arose. My class and I were getting older, and the snarky comments got more clever as well. “Ching chong” and “chink” were much too common vocabulary words I heard, and I was always mistaken for being Japanese or Korean when the two came up in history class. I would sink into my seat from embarrassment whenever an Asian would simply appear on screen because I knew comments like, “Hey Tess! They look like you!” or “There’s your family!” would tag right along.

My freshman year of high school was when things finally began to change. Like any other freshman, I desperately wanted to fit in and just blend in with the rest of the crowd.

I would mock myself, thinking that would somehow make people like me more. I began to make myself the butt of my own jokes, pushing my respect for my Chinese heritage to the side. I would say things like I’m not really Asian whenever I got bad grades to make people laugh. I craved acceptance by others, and I figured if they’re laughing, then they’re happy. However, that uneasy feeling whenever someone else made a joke about me was still present. I wish I realized sooner they were laughing at me and not with me.

It was my sophomore year of high school when I discovered intersectional feminism, focusing on Asian Americans. My mind was in awe reading of other people’s experiences growing up in smaller cities like mine. I felt empowered, and I felt more proud of who I was. It was then that I started finding peace in myself, learning that I can love being Asian. This excitement was however short-lived as not everyone around me was as open-minded. People began to look at me differently the prouder I became. Sly remarks like, “you’re being overdramatic” whenever I called out something that was disrespectful. These experiences quickly made me less proud to be from West Virginia. I found myself frustrated that some people around me were still ignorant minded and this only led to me not liking the fact I was from West Virginia.

While I finally began to be proud of my Asian side, I found myself disliking my American heritage.

A moment I clearly remember is when my dog passed away.

I informed my friends the next day that she had passed, and a student I rarely talked to took it upon himself to comment on the news. In front of everyone, he said, “Come on now, Tess. You probably ate your dog.” I was Asian. That was the joke. However, the joke wasn’t funny to me, but the class roared with laughter and egged him on as I just smiled sheepishly by myself. I didn’t dare go against the crowd, for I knew they would reply, “I’m just joking. Can’t you take a joke?” or “I’m just kidding Tess, you know I love you.”

I knew they loved me, but I started questioning if they respected me.

There are many stereotypes people from West Virginia receive like “everyone is a hillbilly.” While I was from West Virginia, I definitely did not find myself in alignment with that perception and neither did anyone else outside of West Virginia whenever I told them where I am from. For a short time though, I agreed with that statement to some degree.

Most of my peers during high school were more country-like, whereas I was not as interested in that stuff. However, by my senior year of high school, I started seeing more of what West Virginia had to offer and realized it was full of so much more. Attending camps with some of the brightest students in West Virginia made me realize how much potential was here. I appreciated what was around me, and became more active in school, too. This led me to choose West Virginia University as I loved the culture around the school.

The sense of belonging in West Virginia led me to want to stay here for college.

After all of this, I feel like I finally have more of a sense of who I am and where I belong. I realized I don’t have to fit a certain mold or even choose one side. I am my own person, on my own path. I am proud of the two heritages that have shaped me to become who I am today.

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Kaeli Ricottilli on Heritage

According to family legend, I may not have been here today if it wasn’t for a bottle of wine in the mid-1910s.

My great-great-grandfather immigrated to the United States from Italy around 1913-1914. My great-great-grandmother came to the U.S. a few months later but hit a bit of a bump on the way in. She had gotten sick on the boat ride here and was almost not allowed to enter the country. However, a story that has been passed down in the family for years says that a crew member on the boat told her he would help her get in if she could give him one of the bottles of Italian wine that she had with her. She obliged and was able to join my great-great-grandfather in Coketon, Ohio.

In 1921, they made a big move from Struthers, Ohio to a farm my great-great-grandfather bought in Barbour County, West Virginia. This time, they had four kids to move as well. One of these children was my great-grandfather, who was the fourth of what would eventually be 14 children. My great-great-grandfather also bought farm equipment and began turning the land into a home.

The “Ricottilli Homeplace,” as it’s called now, was built from rocks that were dug up on the property. The house is still standing today, and even houses a bee colony that was started by my family for honey. In 1936, my great-great-grandfather bought a sawmill and began cutting and selling lumber to make money. This seemed to rub off on my great grandfather and his brothers, as they all opened post and rail businesses across the state.

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In 1972, my great-grandfather was named West Virginia tree farmer of the year. Then, in 2006, he was posthumously inducted into the West Virginia Agriculture and Forestry Hall of Fame. His certified tree farm in Coalton, WV, was also one of the first in the state. He was very passionate about his logging career, but also loved the outdoors, and always tried to leave the woods as beautiful as he found them.

As you can guess, life on a farm with 14 children was eventful at times. One of my great-grandfather’s sisters recalled a time when the well water was low, so they had to lower her into the well by a rope to get the water they needed. While she was down there, her siblings at the top threw about a bucket’s worth of water they already had onto her. There are also many stories of sending out one of the boys to bring the cows home, and he would come back riding one of them.

I am very thankful that my family kept such a thorough record of their time in Italy and the U.S., and I recognize that I am lucky to have that. I do not know as much about my mom’s side of the family, and there are some people who have even less than that.

According to a survey conducted by OnePoll and Ancestry, one-third of Americans cannot trace their lineage past their grandparents, although 84% believe that knowing your ancestry is important.

This is why the popularity of the internet can be helpful to future generations when it comes to finding out about their heritage.

Nowadays, everyone is warned to be mindful of their “digital footprint,” or to be careful about their presence on the internet. However, that footprint could be useful information to someone years later. Many family members have been found and reconnected through social media and internet searches. This information can alert someone to possible medical conditions they could have, or even just give them a better sense of who they are.

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Next Time, He’ll Think Before He Cheats.

by Kaitlyn McClung

Country music has evolved over the years, but one thing that has stayed the same is the subgenre of women murdering or

seeking revenge on their lovers. What is the fascination with writing these women to be so vengeful? This article will analyze the most popular songs in this subgenre and expand on the ideas of empowerment, feminism, and is this excessive.

“Goodbye Earl” by The Dixie Chicks

“Goodbye Earl” was performed by The Dixie Chicks, but, shockingly, it was written by well-known male songwriter, Dennis Linde. Linde is known for creating these outlandish, immersive stories with his lyrics. The song goes on to tell the tale of two lifelong friends, Marie Ann and Wanda. Wanda has faced the abusive ways of Earl for too long. The women decide enough is enough and literally cook up a way to kill Earl. They accomplished this by making him a dish of poisoned black-eyed peas. They take his body, wrap it in a tarp and toss him in a lake. Everyone in the town notices how he is no longer around, but they do not care. He was a well-known terrible person to everyone, including Wanda. This alone speaks to the silence society takes to domestic abuse.

This song brought up a lot of controversies when it was first released. According to The L.A. Times, 20 radio stations out of 149 that are tracked by Radio & Records refused to play the song. Some stations went as far as holding town hall meetings to gauge public opinion. If they did agree to play the song, some would play with the stipulation of advertising the 24-hour domestic abuse hotline. It seems as though these radio stations expected severe public outcry, but the reaction was the opposite. Contrary to the popular belief of the radio stations, this song resonated with audiences across the country.

Radio stations were not the only ones who would receive backlash. The Dixie Chicks were accused of advocating for premeditated murder. It got to the point where the album had a disclaimer stating, “The Dixie Chicks do not advocate for premeditated murder, but do love getting even.” The popularity of the song increased with the release of the music video.

The video would go on to win the Academy of Country Music and Country Music Association’s award for Video of the Year.

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“Before He Cheats” by Carrie Underwood

Carrie Underwood got her start by winning the beloved singing competition show, American Idol. Her debut album, released in 2006, features the infamous song Before He Cheats. Before He Cheats was written by two male songwriters, Josh Kear and Chris Tompkins. The pair boasted about how this songwriting session only took two hours compared to their typical day-long ventures.

They tell the story of a woman who catches her significant other cheating on her. The writers “wanted to get her really pissed off.” With that goal in mind, the woman goes on to “take a Louisville slugger to his truck’s headlights, carved her name in the leather seats and slashed his tires.” Underwood goes on to sing about how the next time he cheats it won’t be on her. Underwood cemented her name in country/pop song fame with this song. “Before He Cheats” became Underwood’s third consecutive No. 1 hit on the Billboard charts. At the Grammys, she took home Country Song of the Year and Best Female Country Vocal Performance. This song also brought her an ACM Award for Music Video of the Year.

“Mama’s Broken Heart”

by Miranda Lambert

“Mama’s Broken Heart” is another angst-filled, revenge breakup ballad that Miranda Lambert has under her belt. This song was written by Brandy Clark, Shane McAnally, and Kacey Musgraves. These songwriters tell the story of a woman who has “lost it” after a breakup.

“I cut my bangs with some rusty kitchen scissors. I screamed his name ’til the neighbors called the cops. I numbed the pain at the expense of my liver. Don’t know what I did next, all I know I couldn’t stop.”

As the song continues, the woman’s mother gets involved.

Essentially telling her to hide her crazy and no one could see her acting this way. In the end, though, the young woman decides to handle it her own way. Lambert was originally not supposed to have the song. She had to ask Musgraves for the song. Musgraves agreed only on the condition that she would sing the harmonies. “Mama’s Broken Heart” became a certified No. 2 hit on the country charts along with a spot on the Billboard Top 20 all-genre chart.

Why is this so popular?

It seems as though this particular genre of country music is extremely popular. This could speak to the endless tales and fables of people giving in to their temptations and the others being left to pick up the pieces. This has become a reality for all too many women and men across the world. With that being said, these songs present a way in which societal expectations are pushed on women for how to act after being cheated on, abused, etc.

These women have won awards for these songs, but what does that mean for the consumer? As seen with the songs above, with the progression of time, the public controversy about these songs has become few and far between.

“Goodbye Earl” was clearly a national outrage,

but “Before He Cheats” and “Mama’s Broken Heart” have yet to face such backlash. The lack of these murderous mistress songs could be linked to the wake of the #MeToo movement.

This movement first started as a way to bring sexual assault allegations to light, but it has evolved tenfold. It has helped society look at gender stereotypes, which could be a direct cause of the lack of songs like this. The question is are we really making progress?

Why is it that mostly men write these songs?

Out of the three songs listed, only one of the songs has women involved in the songwriting process. This is a small analysis of an entire industry that has an entire box that needs to be opened. Part of this does speak to the lack of women in the industry. According to NPR, only 12% of the songwriting industry is made of women. This statistic alone is a severe problem of its own. With that in mind, why are men so intent on making these women out to be crazy?

The answer is simple: it’s convenient and a way to exploit the superiority they think they have. Men are gaslighting women into feeling like there is actually something wrong with expressing themselves or how they feel. Granted not every man that calls a woman crazy is doing this for the reasons previously mentioned. The “crazy ex” has become ingrained in our society and is now a part of everyday conversation.

With that in mind, it is easy to think how a songwriter could come up with these fantastical tales of the scorned lover going out for revenge. However, it is important for both the music industry and consumers to understand the implications of these stereotypes.

Empowerment or Excessive?

Even though these songs are written by men, they are still sung by women. When the average consumer is hearing this song, they are thinking strictly about who is singing the song.

This leads the consumer to wonder what is socially acceptable. What does it say about the real-life women who actually slash their cheating ex’s tires? Are they automatically crazy or are they taking back the power they feel they lost?

It is safe to say that it is empowering to sing these award-winning songs. These songs, on some level, are meant to be empowering. An example for women to take back the power from their cheating partner, abusive partner, etc. They are anthems to many who grew up on these songs.

The point where it crosses the line is taking legitimate action like the ones in the songs. Taking the politics out of it, it is just not morally just to injure someone else or their property.

The evolution of country music has a rich history, but this subgenre of country music has evolved into something all its own. Women are making their careers with these songs, but at what cost? We consistently associate Carrie Underwood with Before He Cheats, but she is so much more than that song. Female country music stars are being defined as the woman who sings about murdering her lover/husband. It is important to recognize and appreciate the true talent of these women. They are more than just murderous mistresses.

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by Jessica Riley

The era of western civilization has been

romanticized for many years. With multiple movies, books, TV shows and events being created with the theme revolving around the years 1850s-1960s.

Most of this content shows a happier version of what happened and tends to stray away from the blatant sexism throughout this time period. Although it was true that this was the era of the ‘cowboys’ there are many cowgirls that were overlooked due to the simple fact that they were women. Many of these cowgirls were never given the publicity they deserved, or the attention. However, since times have changed these women have finally been able to have their names in the spotlight like they should have been years ago.

Some of the most well known women since then have been Annie Oakley, Velma Bronn Johnson and Mary Fields.

Annie Oakley

Annie Oakley was born Phoebe Ann Moses on August 13, 1860 in Darke County, Ohio. Growing up with humble parents and five siblings her early childhood was simple. Tragically, her father died at a young age which led to her mother remarrying several times. However, when Oakley was 6 she was sent to live with the Edington family, where they housed orphan or poor children. During her time here she began using rifles to hunt animals and sell the parts to help her family with money troubles. By the age of 8 she had mastered the skill of hunting. By the time she was fifteen Oakley had won her first shooting competition against the famed Frank E. Butler, who would later become her husband. They had begun touring together all over America and Europe from 1879-1901. These tours were what put her name on the map as well as soon becoming a part of a star within the Buffalo Bill Wild West show for 16 years.

Oakley became the star woman sharp shooter for over 20 years in her career and inspired hundreds of other women to step out of the stereotypes and take male dominated areas head on.

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“God intended women to be outside as well as men, and they do not know what they are missing when they stay cooped up in the house.”

-Annie Oakley Velma Bronn Johnson

When people think of the word ‘cowgirl’ they think more of the crime and gun scheme and less of the animals themselves, when they are just as much of a key factor. This is where Velma Johnson comes into play. Born on March 5, 1912 in Washoe County, Nevada, at age 11 she had contracted polio which led to a disfiguration in her body and spent months in a cast in San Francisco hospitals. Due to this experience she quickly developed empathy for confined and suffering animals. After recovering, she began taking care of animals on her parents ranch.

After marrying husband Charlie Johnston she began working as a secretary for an insurance company.

However, one morning in 1950 she came across multiple wild horses crammed into a small truck. She soon figured out local aircrafts and other land vehicles were also capturing wild horses. She began exposing businesses with inhuman animal transportations and captivity which gave her the nickname “Wild Horse Annie”. In 1955 her campaign passed a Nevada bill that led to the banning of captivity of wild horses.

Throughout the rest of her lifetime she passed more bills to protect wild horses as well as built one of the largest wild horse refugees in America.

“You occasionally see one, and it’s the thrill of a lifetime.

But mostly all you ever see is a cloud of dust after they are gone. It’s their stubborn ability to survive that makes them so remarkable.”

-Velma Bronn Johnson However, during all of this she was continuously harassed and threatened by men in Nevada for protecting wild animals. She was given death threats and was bullied due to her disfigurations. Despite this, Johnson continued to provide refuge for wild animals and continued to develop her career as a wild animals welfare activist until she passed away in 1977. Her work has still impacted the Nevada land today and her presence is felt throughout the refugee land.

Fields was one of the first women to break traditional gender roles between men and women as well as racial roles. She never married and never relied on a man for money, which during the time was almost unheard of. Her name is still remembered today as one of the founding women of breaking traditional roles.

Today, all three of these women are remembered for their impact in not only their respective careers, but their drive to push feminism roles into a male dominated society. Their work and dedication encouraged other women throughout the country to believe that what they wanted to achieve should and was encouraged, even if it did not feel this way.

These woman were some of the first to begin paving the path for future generations of feminists and their work still touches the hearts of many today.

Mary Fields

Throughout the ‘western’era there were plenty of problems with America. The biggest being racism – this gave women of color an even harder chance to stand out amongst the crowd. However, there is one that comes to mind who has left her mark on the world. Mary Fields was believed to have been born in 1832 and was brought into slavery, little is known of her early life. However, she was emancipated in the late 1870s and moved to Toledo, Ohio. During her time as a housekeeper at the Ursuline Convent, people around her began to realize that she was able to do a lot of chores that even most men could not do. Due to this, she was given more pay and benefits. In 1885, Fields had moved to Montana after her boss Mother Amadeus had passed away.

Reports claim that although Fields had a devotion to nuns, she drank in nearby saloons and was in constant fights with men who were angry her pay was significantly higher, to which she won all of them.

These fights made Fields’ name travel around towns, which eventually led to her becoming the first African American Woman Postal Worker. She was known as “Stagecoach Mary’’ for her quick trips and reliability during the years of 1895-1903. She retired in town and began running laundry in her home until her passing in Great Falls in 1914.

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photographed by Emily Kennel

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Moon Flower Hemp

by Lauren Farnsworth

Moon Flower Hemp is just as magical as it sounds. It’s an

Appalachian women owned business with all women employees. Riley and Macie Queen started Moon Flower Hemp during the pandemic and since then the business has continuously blossomed. They are completely transparent with their customers and are dedicated to being a sustainable company. They have a range of products including flower, gummies, tinctures, topicals, and more.

They have products perfect for everyone’s needs that help with a range of issues along with being environmentally friendly.

They use biodegradable packing for all of their products. All of the packaging has fun funky patterns that will not disappoint. Their products itself have amazing benefits that help with a range of problems including insomnia, depression, anxiety, and pain. They have even sold a range of products to help cancer patients that struggle with epilepsy and seizures. They just launched their tea bags that are for different moods. One of my favorite products is the Delta-8 Brownie. It is so rich and savory you can barely even taste the cannabis.

Riley and Macie have big plans for Moon Flower Hemp. They plan to open a store in Buckhannon, West Virginia. They bought a 60,000 sq ft building that is currently under construction. It will include the retail in the front and a grow room in the back. The grow room will include 12 different plants to show customers the full process of how they grow their plants in different seasons. Riley and Macie are hoping to open their doors by this coming August. The company plans to include live bands, a bar, and fresh baked goods.

They are breaking the stigma everyday and showing they deserve respect in this male dominated industry. Riley and Macie stress the importance of educating people on cannabis and being environmentally friendly. Their website has multiple blogs explaining how they grow their cannabis and how it can benefit you, it even includes a dosage 101 to know how much is right for you. They already have various locations to buy their products including West Virginia, Virginia, Pennsylvania, Tennessee, New Jersey, and Alabama.

You can also buy their products online at www.moonflowerhemp.com.

Riley and Macie have a unique way of growing their CBD flower. They use crystals in the soil to help them grow and harvest the plants with moon cycles. They have a unique approach of being one with the environment and only using natural products to help grow their CBD and THC plants.

This means they do not use any pesticides or chemicals when producing their cannabis. The company has exciting plans ahead and are looking at cannabis bonsai trees and mushrooms for medicinal benefits, they plan to incorporate it later in the future.

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BREAKING THE

DOMESTIC

SPHERE

by Maddy Watson

Empowerment of women is extremely important within the film industry today, with a growing representation of women along

with more empowering roles that promote women being more than a wife or mother. However, this was not always the case in film, women were often portrayed as characters who only spoke about men and whose only contribution to the film was being mothers and wives. A controversial film that combated this theme was Thelma and Louise, which was released in 1991, a period that was not ready to combat women breaking the domestic sphere, along with women finally standing up for themselves and being dominant forces within the film. Something the film closely followed was the gun in handbag genre, which highlights women finding empowerment and breaking the unfair sphere of domesticity.

Behind the gun in the handbag genre, there is a deep history within film. The genre was mainly used from 1991-1992, having a short-lived time in the cinema. The genre was also seen as extremely controversial as it pushed the comfortability of many viewers, but the benefits were also important to a society that was reaching for women’s representation without a man, along with breaking the traditional roles of women seen throughout film. Making people uncomfortable within film is key, especially at a time when this wasn’t happening.

When looking at the gun in the handbag genre there are many different aspects. At the beginning of the film, there is an unassuming lead, often portrayed as an innocent stereotype. This stereotype includes being married or in a long relationship, where they start in the domestic sphere that women were portrayed in. Following this, there is also an aversion to weapons, showing a distaste for things such as guns and knives. To end the start of a story there is also an unsophisticated knowledge of sexual affairs.

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As the story progresses, there is an inciting incident that embodies female empowerment within the film. This can be interesting because that moment is when the lead officially leaves the domestic sphere, along with the story moving to the outskirts of town. This is empowering because it allows room for a woman to grow away from the typical life she knew, finding truth and power within herself, not a man.

Along with becoming an outlaw the character also becomes more gender-fluid, as she is not portrayed as “girly” or what can be seen as feminine. As the woman becomes an outlaw they are now allowed to become independent, making decisions on their own and creating a new life for themselves outside of the traditional life that they once knew, leaving the transgressions of society.

provided empowerment to the viewers. This film was seen as extremely controversial at the time, even headlining with the title, “Why Thelma and Louise Strikes a Nerve,” on the cover of TIME Magazine. This title truly represents the inequality throughout film and mainstream media during the 1990s, along with portraying the issues with women having a voice against their male counterparts.

As the story comes to an end, the woman has now found empowerment outside of traditional roles, supplying these themes to others throughout the world. This is also a different genre because she never returns to the domestic sphere, allowing for a continuation of a newfound role. Something else to take into account is a different gendered identity, which shows that women can be powerful and something other than the roles placed onto them by society.

This review was rather pleasant compared to the slander the film faced from male critics, however, it also addressed the hate and negative connotations that followed the film.

However, this reporter addressed what needed to be said: how these two women fought back against the sexism of the time and found their true selves along the way.

A film that portrays this genre perfectly would be Thelma and Louise, which addressed the sexism throughout the 1990s film in many ways. The film portrays one of the leads, Thelma, being stuck in the confines of a relationship where her husband assumes he has full control over her. However, her best friend Louise inspires her to go on a trip outside of town. This trip however has a tough start that makes the two women leave the confines of a traditional society, running away from their problems and living a new life of crime.

Something key to this story is that the two began to create situations on their own, but also have solutions.

Showing women as outlaws is also something that set the film against others at the time, it allowed the characters to find comfortability and power within themselves through crime, something that was only shown by men at the time.

“As the film plunges toward its lacerating climax, some may have conflicting feelings about Thelma and Louise: Are they feminist martyrs or bitches from hell? Neither is the case.

They’re flesh-and-blood women out to expose the blight of sexism,” said Peter Travers in the article Thelma and Louise, for The Rolling Stones in 1991.

However, as the negative reviews from men were presented throughout the media, the reviews from women represented the restraints they felt in not only film but also in their everyday lives. The regular viewers also finally felt that they were seen and represented throughout the film and Hollywood.

Overall, Thelma and Louise was a groundbreaking film that changed the narrative for women and inspired many to find themselves, along with standing their ground. Even though the period may have not been a fan of the film, it made people uncomfortable and set a future narrative and change for future representation within films.

Apart from finding a life of crime, the film also does an amazing job of setting women against their male counterparts, as opposed to being submissive and following what men wanted. This was done through the use of the two running from the police, along with Thelma’s relationship where she was seen as only a housewife. Setting the women apart from the males, allowed room for female ideals along with a film that centered around two women, which was rare at the time. These ideas truly broke the roles of women and

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My Home Among The Hills

by Maggie Stewart

Dear Appalachia, I am sorry you are known for your cartoonish stereotypes, when growing up here I know you for your many hidden gems throughout your vast range. Your little dive bars that have the best food you’ve ever eaten, country music halls with undiscovered stars singing in them nightly, and people who welcome you with open arms and a casserole whenever you come to town. I live on a small ridge on the outside of Fairmont that has hills and mountains for miles, beautiful stretches of wildflowers and trees that grow as tall as the sky, and the most amazing view at the peak of all of the surrounding towns and the horizon, that represents you oh so well. Most people compare it to the shires of Ireland the first time they see it, or they say they simply can’t compare it to anything because it’s just so breathtaking.

I haven’t seen a place like this, except for in the movies. But you, you have places like this all over. Places where every neighbor knows the other and is willing to lend a helping hand. Where most of them are related, so it has even more of a sense of community. Where they all gather for community events, like listening to music and square dancing or an auction, monthly dinners and yearly family reunions at the parks, the annual Heritage Days festival that is thrown to commemorate what came before, hay bale rides in the summer, weddings in the back fields, porch swing sitting with neighbors, church every Sunday and Wednesday and so many more.

Your people choose to see and spend time with each other on a regular basis, not out of obligation, but out of a longing for the way it used to be. They all want to uphold the traditions and way of life taught to them when they were younger and carry it on. So much so, that there is even a sign you pass when exiting the Ridge that says “y’all come back now, ya hear?” Some find this eye roll worthy, but I find it comforting. It’s like a warming message sent from you, saying “you ARE welcome here”.

Most people don’t leave you once touched by your soft embrace other than to go to the store every so often or to go to work. Many work from home at their farms or as stay at home spouses. I used to see these people as annoying hicks I would go out into the real world to get away from, but the older I get, the kinder eyes I look at them with. I see people who have respect and love for each other and you and want to sustain the ideals and ways that they were brought up with.

As long as no one is getting hurt, I don’t have a problem with the silly cowboy boots and plaid everything. That most days someone is riding down the road on either a tractor, dirt bike, or a horse. That every once in a while a loose cow or horse ends up in my yard, and that if someone’s dog goes missing, I know exactly who to return it to and can look forward to a visit and probably a meal when I do. That there is a place called “the holler” and everyone waves at each other when they drive by. I used to look down on these things as silly traditions, but now that I’m gone, I long for them and the return of the sweet, peaceful, kind sanctuary of a place I grew up in and was raised to be who I am in. A place where it’s all simpler and you can always get a big breath of fresh air. Truly a place “where everybody knows your name”. I’m sorry I didn’t see you for all that you are and all the beauty you represent. That I didn’t look past the surface.

I regret that, but I will do all that I can so that you are known for those things know. All of your majesty and long held traditions that can be passed from one generation to the next. Not those silly stereotypes.

Sincerely,

A Regretful Citizen

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Legacy of Sharon Tate

by Christina Rufo

Sharon Tate was known for her stunning performances in movies such as The Fearless Vampire and Valley of the Dolls. Apart from her captivating performances on screen and the numerous fashion covers she featured on, Tate was also known for being an influential style icon with her alluring choices in fashion. Some may say the 1960s paved the way for a completely new Hollywood scene, and Sharon Tate was hailed as one of Hollywood’s promising newcomers. Sharon Tate is seen as a cultural icon of the 1960s due to her fashion influence.

By definition, a cultural icon can be a symbol, logo, picture, name, face, person, building or other image that is easily recognized and representative of an object or idea with great cultural significance to a wide group of individuals. Tate’s involvement in film classics have further pushed her into the spotlight of contextual 60s fashion. Especially now, as previous decade styles resurface, we can see how Tate has left an indelible mark on society both then and now. Whether she was on set or out in public, all eyes were on her.

Lasting Legacy The 60s gave birth to a popular culture in film and music that reflected and influenced the decade’s social upheavals. As a rising star as well as a victim to the cult crises of the 1960s, Sharon Tate left behind a culturally defining legacy. Tate was the embodiment of the “youthquake” movement, which symbolized independence and liberation for women. The term was coined by Vogue editor Diana Vreeland to describe the fashions born from the 60s sexual revolution. The signature looks of the movement included the miniskirt, which Tate incorporated into dozens of outfits, including her wedding dress.

Tate’s style can be noticed amongst recent trends as the vibrant colors of the 60s make their way back onto clothing racks.

Her iconic fur coat look has seemed to inspire multiple new ways of incorporating elegance into louder trends of current times, and her use of minimal, yet exaggerated make-up has begun to resurface. Tate kept a light face, but added graphic eyeliner and spidery lashes to exaggerate her most noticeable features, her eyes. The resurgence of 60s fashion in 2022 has also brought about some of Tate’s trademarked looks such as face framing braids, square necklines and flouncing sleeves.

Regardless of what her most memorable look might be, her influence on fashion aesthetics has rippled throughout the fashion world.

Heritage can be found not only through familial ties, but periodical ties as well Many people might think of heritage as something that can only be recognized based on their place of birth or family origin.

However, heritage can also be found in the culture of different decades that hold individualized tradition and iconic styles, language, media and social norms. With that in mind, the 60s and those who had a significant influence during that time can be recognized as their own type of culture. It is important to realize these decades are not only a significant point in history, but also a preserved culture that continues to be expressed and represented as it is passed down through generations. I think that every individual holds their own personal heritage that can be shared with others, similar to how portions of Sharon Tate have lived on even after she has passed.

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The Misrepresentation of Native Americans in Westerns: How Hollywood has changed its portrayal of Native Americans throughout the years but still tends to fall short

by Brogan Dozier

Throughout modern history, Native Americans have been misrepresented as well as

underrepresented in books, television and movies. Hollywood cannot seem to let go of stereotypes forced onto Native Americans during the 1600s. Directors still portray Native Americans as unruly godless savages, which could not be further from the truth.

The Western genre of film is set primarily in the latter half of the 19th century and the early 20th century in the “Old West.”

Westerns depict Cowboys and Native Americans. Native Americans are essential to Westerns yet very rarely are they played by actual Native Americans. Many Western actors perform something known as “Red Face.” Red face is the act of wearing makeup to temporarily darken one’s skin to impersonate a Native American. Throughout America’s history, people have donned red face, worn fringe and feathers, and spoken in broken English as they “played” or portrayed Native Americans in theater, film and everyday life. In one of the earliest examples, colonists dressed as Mohawk Indians dumped tea into the Boston harbor in 1773 in protest of British rule.

In the 50s, Westerns began to rise in popularity and with that so did Red Face. Hit television shows such as “Winchester,” “Wagon Trail” and “Gun Smoke” all featured white men with painted faces and feather headpieces imitating Native Americans. Most famously, Rock Hudson grew in fame from his role as a Native American Chief on the hit television show “Winchester.” As the decades carried on so did the misrepresentation of Native Americans. In 1960, Audrey Hepburn played a Native American child in the movie “The Unforgiven.” Hepburn received little to no backlash. In 2012, Karlie Kloss was forced to apologize after she walked the Victoria’s Secret stage in a full Native American headdress. Social Media exploded with backlash and CBS chose not to air that portion of the fashion show. Johnny Depp portrayed a Native American named “Tonto” in 2013s “The Lone Ranger.” Depp argued that it was not insensitive for him to take the role as his great-great-grandfather was Native.

While change is happening, it does not change the fact that tons of Westerns from the 50s still air today. There are several reasons why actors and production companies were able to get away with such distasteful portrayals, the main one being widespread belief in stereotypes. In the 50s America was still very much racist, and few things had been done to combat it.

People still viewed Native Americans as beneath them. The stereotypes passed down from colonists were still believed by many. Many people’s only idea of who Native Americans were came only from the television; there was no education happening.

In the latter half of the 90s, production companies began finally giving authentic portrayals of Native Americans. “Dances With Wolves” (1990), “Songs My Brothers Taught Me” (2015), “Indian Horse” (2017) and “Gather” (2020) are all movies with Native American actors and actresses. More change would come in 2020 when the Washington Redskins would announce they would be changing the controversial name. The Washington Football team is now known as the Commanders. In the past ten years, the ‘woke’ movement has swept across the world calling people out for their insensitive and harmful behavior. This movement has made it possible to shed light on the issue of Red Face. While several changes have been made and many wrongs have been made right, the issue still stands. Whether it be a little girl dressing up as a Native American for Halloween or a grown man portraying one on television, Red Face is something that must be stopped.

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FLOWER

FIELDS

with the WVU Equestrian Program photographed by Emily Kennel shot at JW Ruby Research Farm

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In the 20th century, the colors reversed. Now, blue was for boys and pink was for girls. There are many theories as to specifically when and why this reversal came about (Frassanito & Pettorini, 2008). It was believed to be around the 1940-50s when this reversal took place. Pink, being close to the color red, was seen as more of a romantic, emotional color. So, girls began to be associated with pink and boys with blue.

Parents realized they could decorate their nursery with the ‘appropriate’ color. Even retailers realized they could profit off of gender-specific clothing (Michael, 2018).

Gender Expectations Today

Pretty in Pink What makes pink feminine?

by Alexandra Holsclaw

Pink is for girls, and blue is for boys. We see it all around us

whether we like it or not. The majority of us have grown up with this ingrained in our brains. Even before we’re born, gender reveal parties use pink and blue to assign gender. So, how did assigning colors to genders become the norm? It actually didn’t start off as today’s traditional blue for boys and pink for girls. In the early 1800s, parents would dress their infants in white dresses because they could withstand frequent laundering by being boiled or bleached without much fading.

White was also associated with purity and innocence (Paoletti, 2012).

Then, this white shifted towards pink and blue gradually. The color assignment to gender started somewhere between the later 1800s to early 1900s, and it was the opposite of the standard today. Boys used to be dressed in pink at birth, and girls were dressed in blue. It was thought that the color blue was associated with being dainty and delicate, which was thought to best align with girls. The color pink was considered a light red, and red was associated with strength and power, which was thought to best align with boys (Michael, 2018).

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Color-coding these gender differences is mostly a 20th century trait, and it’s a practice limited most often to Western Europe and the Americas (Frassanito & Pettorini, 2008). In a 2011 study done on the early development of gender-stereotyped color preferences, it was found that young girls have a special affinity for the color pink that appears sometime around 2.5 years old. While girls develop a preference for pink with age, boys develop an avoidance of pink at the same time. This research looks into when and how these gender-stereotypes color preferences are developed, which can then help us better understand the development of gender-stereotyped behavior (LoBue & DeLoache, 2011).

Assumptions of today include that girls are supposed to like pink, meaning you’re girly. If you’re a girl who likes blue, you’re a tomboy.

On the other hand, boys are supposed to like blue and if you like pink, you might be considered not manly enough (Michael, 2018).

While these gender expectations are pretty common, especially growing up, we need to challenge these norms.

There are many different approaches as to what plays into this gender expectation. It could be how we were socialized growing up, especially with family, friends, and school. It could be the media’s representation of our gender differences through colors. Color preferences could even be from biological influences (Giudice, 2017).

Negative Connotations There have been a lot of people sharing their experiences on social media about their childhood and the color pink. As a kid, many girls avoided the color pink because they didn’t want to get picked on by boys or even other girls. Pink is seen as a feminine color and has been given a lot of negative connotations.

Some girls feel embarrassed about loving the color pink. To say your favorite color is pink, people will think it’s stereotypical of a girl. It’s seen as too ‘girly’, which for the most part, is painted in a negative light. Even more so, boys are typically looked down upon wearing pink. If you use or wear too much pink, it can be viewed as girlish, childish, immature, and others may not take you seriously (Jay, n.d.). Ouch, pretty painful right? All of these connotations are just from showing off that you like pink. Have they ever heard of our impeccably smart queen, Elle Woods?

Kathy Vu, a social media influencer, talks about her struggles on TikTok (@kvthyvu) of past poverty trauma and how she had to push herself to move out of her toxic household as a young adult. She got her own place and talks about how having her own personal space allows her to be more in touch with her feminine side. Vu also uses her platform to embrace her femininity and her love for pink, sharing her past experiences with the color. “I grew up liking the color blue and making that a big part of my identity because pink equals feminine equals bad, and blue equals masculine equals good. I’ve had to unpack so much internalized misogyny in my adulthood. It’s kind of scary how deep misogyny runs. That even in an innocent five-year-old’s mind, I avoided the color pink because of how people would perceive me or make fun of me. I really didn’t have the means to validate myself as a five-year-old child. But being in touch with your emotions is never a weakness. Being feminine is never a weakness,” Vu said.

Singer Harry Styles is defying gender norms and challenging toxic masculinity as he embraces feminine clothing, including a Gucci dress for Vogue’s December 2020 cover, a pink tutu for SNL and wearing pearl necklaces to almost always wearing nail polish.

“What’s feminine and what’s masculine, what men are wearing and what women are wearing– it’s like there are no lines anymore,” Styles told “The Face” in 2019.

Paris Hilton, reality TV star and 2000s fashion queen, isn’t afraid to show off her love of everything pink and everything feminine. While others may make fun of her hyper-feminine traits, we think she’s an icon for it. She’s living her best life and we couldn’t be happier. She has gone from reality star to businesswoman and is now an activist for creating new regulations to protect kids from abuse in congregate care facilities.

Billy Porter, actor, singer, and author, is a key leader in the de-gender fashion movement. He is the first openly gay Black man to win an Emmy as lead actor for “Pose”, and has written an autobiography, “Unprotected”, where he talks about his race, sexuality, fame, healing, and struggles with society’s expectations surrounding masculinity. Porter said, “I lived my whole life never being masculine enough. I fought for years to be masculine enough, to be perceived as masculine enough so that I could eat and I never was, so I stopped trying. And when I was trying to be masculine, I was broke and unemployed. Bankrupt and unemployed. When I leaned into my truth and my authenticity, look at what’s happened” (Amanpour & Co., 2021).

Reclaiming Pink Let’s change this notion of thinking. Let’s reclaim pink.

Hell, let’s paint the town pink! We should embrace pink as a color that symbolizes empowerment and femininity, and show that femininity isn’t a bad thing at all. We can challenge society’s norm and be proud of pink. Whether it’s pink clothes, a pink car, a pink room, or pink nails, express yourself however you want.

Others may not accept you, but we sure will love you for it. There’s no shame in loving pink. There’s nothing wrong with being feminine. Need some inspiration for getting in touch with your feminine side? Look to Harry Styles, Paris Hilton and Billy Porter, to name a few.

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National Association of Black Journalists at WVU

x MIRAGE

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My Heritage

by Brogan Dozier

Ever since I was little, I was a performer. I loved to dance, act and sing. It took me years to realize that my

performing nature went beyond the stage. I was obsessed with being the beauty standard. I wanted to be thin, with perfectly flowing beach wave curls. The media led me to believe the height of beauty was being a tiny blonde supermodel. I couldn’t have been further from that. I was naturally blessed with curves and long beautiful brown curls.

For years growing up I tried to hide my natural beauty, by straightening my hair and wearing clothes not complementary to my shape. I wanted to blend in, I didn’t want to stand out. I was putting on a show, pretending to be someone I wasn’t. I hated being so different, growing up in a predominantly white state I always stood out.

Growing up Black in West Virginia can almost feel like you are a zoo animal. People constantly have questions they don’t ask white kids. People have no shame asking, “Can I touch your hair?” or “Is your hair real?” People feel the need to constantly share their opinion on your complexion, and they see nothing wrong with it. If I straightened my hair, then immediately in my classmate’s eyes I got a weave (they were wrong). If I raised my voice too much, I was immediately labeled an “angry Black woman” even though often people would say things about my race that made it necessary to be angry. If I stayed quiet inevitability someone would make the joke “I forgot you were Black” or “You act so white.” This was the worst. It totally stripped me of my identity. Growing up here I often felt as if I was in a cage, as if I was putting a show on for everyone to see. In classes during serious discussions of slavery and civil rights, my classmates often looked to me as if I was going to share a personal experience. Often in history class, I wanted to sink down into my chair and disappear. I wanted to be seen only as a student, not a Black student. I was more than a number on the board of education’s diversity chart. My Blackness is not an accessory; it’s not something I can take on and off. As much as I wanted to ignore the facts, I quickly learned there was no denying my Blackness.

The rude comments and questions would always come, it was my job to change how I received them. It was my job to not let them steal my power.

I come from a long line of strong Black women, who always reminded me of the importance of my Blackness. In a world that doesn’t always associate Blackness with beauty, their influence strengthened me. I was able to overcome being ashamed of my tanned skin, and my frizzy curls. My great-grandmother was a beautiful woman. She never had a hair out of place, or a wrinkle on her clothes. She raised her children the same way. She passed her confidence and love for herself down to my grandmother, my mother, and later me. My great-grandmother, grandma, and mother showed me that the beauty standard didn’t truly exist. They opened my eyes to beautiful women that looked like me. My mother bought me posters of Dorothy Dandridge, Misty Copeland and Michelle Obama. I saw breathtakingly beautiful women who looked like me. My grandmother would do my hair for me every day before I went to school.

She would remind me that people spent hundreds of dollars on hair products and treatments to get the curls God gave me. She would tell me that I was naturally blessed with tanned skin all year long while my classmates had to tan to get to my complexion. My family was the first to ever make me feel beautiful. They helped me redefine the beauty standard.

My family empowered me to never hide in the shadows. I grew to embrace my Blackness in every way I could. I no longer cared if I didn’t fit in. I was okay with standing out. I became an activist, constantly wanting my voice to be heard. I have the power to make the change that my grandparents couldn’t. I will never let someone else’s uncomfortableness silence me again. My heritage being different from the majority makes me powerful. I am not sorry that some people fear what they can’t understand. I am an intelligent, beautiful and powerful Black woman, and no one can take that from me.

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Blooming The remains of pricked petals rot in a barren wasteland Thick soil outlasting the forges and pacts made.

Distant memories surround us like a wind of colorless expression.

Too hard to push through the current, we look back.

Unveiling the years of beautiful destruction.

A small lily blooms from the empty meadow, shining like a beacon on a distant seashore, the dainty flower giggles and taunts those who try to understand, because she knows it all.

A sapling buried under the warm heat of sun with plentiful water caressing and wrapping her in a cool blanket, until she finally sprouts out of the dank, dark ground.

The season passes on, and the comfort of heat is no longer there.

The cruelties of life begin clawing, scratching, itching for her to succumb.

Give in to the darkness, with a promise of no more hardships.

She pushes and pushes until her roots become stale and frozen.

Numbing and suppressing the pain, she perseveres through the trials and tribulations life has to offer.

A small lily blooms in an empty meadow, reveling in the fruits of her labor, not scared of what comes next.

Sterling Gibson He/Him

Black was never a term I used to describe myself besides an easy way to make my friends laugh at my own expense, or what I’d fill out on a survey asking me to choose my ethnicity.

The problem was that I never truly felt Black.

Growing up in a school that had less than a handful of diversity seemed to confine me to a certain extent.

For me, it was easy to fit in, let ignorance guide me and go through life blocking out the hateful things I would hear about myself and my culture.

It’s not that I was doing this on purpose, or for some malicious intent I just genuinely didn’t know who I was, nor did I feel comfortable in my own skin.

This changed when I came to WVU and joined the National Association of Black Journalists.

Not only was it a change of pace, but it allowed me to meet so many different types of people.

As soon as I became a member of the club, I fell in love. I got to hear about all the different experiences that others went through growing up. It put me in a different perspective that showed me how to live a more fulfilling life.

It made me realize the diversity we have in Appalachia. No matter what sexuality, gender or color you were, you could still find a home and community where you have found a haven in.

Finding my place was a hard, scary process, but the first step on the journey was accepting who I was not who I wanted to be—or feel like I should be—but who deep down in my soul I connected to; the only person who could determine that was myself.

Embracing what makes me beautiful, bold and real was the best thing that happened to me. I owed a lot of this found freedom to NABJ and my friends who supported me.

I am still not done either; I have a long way to go as I am constantly changing and finding myself in new lights and opportunities. However, from now on, being Black will not stump me, but further me, pushing towards excellence to become the best version of myself I can be.

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Growing Up Black in West Virginia

by Sierra Worden

My life has always looked like a crayon box. Not the regular Crayola crayons, but the “Colors of the World” box. There

are 24 different shades, or colors, in the box. Realistically, I know that there are more than just 24 shades of human skin; I mean, there are 7.753 billion people in the world. With that being said, it is actually nice to see people around me and recognize that while we may all be human, none of us are the same. We still may have similarities when there are many differences, and that is okay! Our differences should be celebrated and not frowned upon. My difference from many of my white peers is that I am a Black woman.

When I look back on my childhood it is mostly filled with positive memories of times when I was, and forever will be, the happiest I have ever been. There are also core memories that will stick with me for the rest of my life that are not as pleasant. While it is true but sad to say, most of these memories took place in school. For as long as I can remember my school was always very diverse. Well, let’s not say very, but it was definitely more diverse than most schools in not only our county but our state. The majority of my school was white, but we also had students who were Black, Indian, Middle Eastern, Asian and Spanish. Along with these obvious racial differences, we also had many people from different religions such as Hindu, Christian, Jewish and Muslim. Throughout my years at school, I am so thankful that I met so many people, from so many different walks of life.

The classroom was always a very different place. The numbers were reduced, and you could really see if you stood in the majority or the minority. Looking back on it, all of my teachers were white except for two, and this has been a continuous theme throughout my education. I was being taught English, Math and especially History by people who could not begin to understand the lasting effects of what had been done to my people. I had to sit and watch videos produced and created by people who would never understand how much their words had an impact on not only my life but the other people around me. It was never easy to sit in class and look the way that I look, during the lessons on slavery or Black history month. Everyone was turning, looking at me like I was going to enlighten the whole class on Black history.

History was always the class that I hated the most. Was it because that is where two of my teachers had cut me ever so slightly by the words that fell from their lips; or is it because we had to learn about our past so we would never make the mistakes in our future, but no one wanted to acknowledge what happened in the past? I think it was probably the first reason. I can remember those incidents like they were yesterday, I was told that I needed to “especially pay attention,” while watching a video on Martin Luther King, and again by another teacher during a Booker T. Washington video. If anything it would be the other way around, why would I as a BLACK WOMAN need to pay attention to those videos? I have seen those videos every day since fifth grade. My family has lived through these things, and they have taught me greater lessons about what it is like to be Black in America, and that is more than you and your videos could ever do. I am not saying racially motivated remarks like that to anyone, but I needed to “especially pay attention.” Right, so everyone else in the class is talking, but I am the one who needs to “especially pay attention.” I am one of the students with one of the highest grades there, but I needed to “especially pay attention.”

The validity of my Blackness is something that has been questioned time and time again; not only among my white friends but my Black friends as well. “You’re mixed right??” What am I a dog? Am I a mixed breed of some kind of animal? If anything I would be biracial, but the answer would still be no. Once they would receive my answer, they would then begin to tell me that I’m wrong. “You are the same color as me, there is no way you’re like actually Black.” I am so sorry that you never got an A in Biology, but Black children can come out to be all different shades. My mother is Black and so is my father; there is nothing else that I should have to say. I should not have to feel as though I need to validate who I am and where I came from.

Growing up Black in West Virginia isn’t any different from Black Americans growing up in places of the world where there are not many people, outside of their family, that look like them. However, I do think that it is a drastically different experience than the white residents can or will ever understand. That does not mean that just because you cannot understand what it is like that you can’t sympathize with those who can because you can and you should.

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The History of

Appalachian Glass

by Bailey McCord

What once was a thriving textile scene in Appalachia, the

burning passion for glass factories has since flickered out.

We see the beauty of artisan glass in antiquity, reserved for museums, family heirlooms, pricy eBay resells and cathedral windows. Throughout the nineteenth and early twentieth century, West Virginia saw over 400 glass factories come and go. Competition in the form of early automated industrialization offered a fast cheap alternative to the handcrafted process which eventually pushed these factories to permanently close up shop.

Glass production was the first industry brought to the United States from Europe in the 1500s. The early demand for glass existed on a basic need for common wares such as windowpanes and cooking vessels. However, the mid-19th century saw a shift in desire for textile goods as colored glass production became accessible. This new luxury stylized glass was an affordable medium of expression. Ornate glassware became a staple of home decor in the United States.

Handmade glass is produced when silica sand, lime, soda ash and feldspar are combined and subjected to extreme temperature. The mixture creates a molten glass that can then be molded, pressed or hand-blown into unique shapes.

This medium took root in West Virginia particularly due to the natural abundance of silica sand. Just 50 years ago, West Virginia was producing approximately 85% of handmade glass in the nation.

In recent years, glass blowing has regained traction and popularity as an art form. Not unlike the traditional fascination with functional household glass, many modern glass collectors enjoy purposeful objects. The popularization of custom glass pipes and decorative smoke paraphernalia has exploded in the market and increased the demographic of glass collectors. Hot shops are constantly looking for new ways to introduce younger people to the art of glassblowing and collecting. Whether it be through hiring young apprentices or collaborating with established artists, there is a new wave of experimentation in the glass community.

Blenko Glass Company, a family-owned factory located in Milton, West Virginia, has extended its business in an attempt to reach younger audiences. In the spring of 2020, the company enlisted the help of WV native illustrator, designer and small business owner, Liz Pavlovic (@keepon_creepinon) for a collaboration of limited collectible designs. The collab line highlighted Liz’s trademark subject matter of Appalachian cryptids. The official limited release culminated in a collectible line of Flatwoods Monster-themed decanters and suncatchers.

Artisans blow glass at the March Hot Jam at the Pittsburgh Glass Center.

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I spoke with Liz, now a part-time employee, to discuss their journey into the art of glass blowing. Liz stated that the initial partnership has allowed her to get more inspired by 3D objects than ever before. She also saw an overwhelmingly positive response towards the collaboration. “People have been super excited about it. We’re all a little bit surprised even by how positive the response was to the Flatwoods monster decanter.” The designer has undoubtedly helped attract the millennial and Gen Z audience toward the artisan glass company. “It’s definitely been cool to see more young people getting into it, either as collectors or even working there,” she said. In just the past two years, I’ve seen a big increase in both of those things.”

If you’re interested in watching a hot shop in action, but are unsure if the craft is for you, check out the Pittsburgh Glass Center. It is a nonprofit public-access education center that houses resident glass blowing artists, an exhibition gallery, a hot shop and flame shop. The Pittsburgh Glass Factory holds open house events known as Hot Jams on the first weekend of every month. During these Hot Jams, the public can tour the galleries and watch live hot shop and flame shop demonstrations with resident artists. The center also offers classes and lessons in glassmaking for all skill levels and ages.

“Whether it be through hiring young apprentices or collaborating with established artists, there is a new wave of experimentation in the glass community.”

When asked about advice for prospective glass blowers, Liz urged individuals not to get discouraged. She elaborated, “especially for people who are female-identifying or nonbinary people, to not feel discouraged by glass blowing, because it is pretty male-dominated.”

The art in itself is quite time-consuming, and molten glass can be quite a difficult medium. It must constantly stay heated and in motion. Glass blowers are continually rolling their instruments to keep the shape of the desired object. If the temperature of the glass dips too low the glass can easily shatter.

Liz continued, “It takes decades sometimes, depending on who you’re working with or the environment, to really get to try it and do a lot of glass blowing. It also takes that long to learn the skills, because it’s so much harder than it looks.”

The craft requires a steady hand, finesse and extreme attention to detail.

They alluded to future cryptid collaborations while stating that Blenko Glass “has been super busy with the increased demand.” One can only hope for a future Mothman limited release. Unfortunately, the potential upcoming releases remain a mystery. Products from Blenko Glass Co. can be purchased through their website (www.blenko.com) as well as many West Virginia artisan retailers.

For other artisan glass products, I suggest the Tamarack Market, located in Beckley, West Virginia. It’s an I-77 roadside attraction that houses artisan-crafted works from 2,800 Appalachian artists. The Tamarack showcases many beautiful hand-blown glass pieces for sale, as well as provides hands-on experiences in glass blowing.

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Artisans blow glass at the March Hot Jam at the Pittsburgh Glass Center.

While the days of large glass factories are primarily over, there continues to be a rising number of Appalachians finding interest in artisan-made glass. It is an art form with rich roots in the region that will only continue to grow with style and grace, not unlike that of the Venetians.

Is Appalachia fostering the next artisan glass renaissance?

The case for it is strong, but only time will tell.

Inclusively Exclusive: A look into the underrepresentation in the country music industry

by Sierra Worden

Country music has played a major role in some of our lives

growing up in Appalachia. For some of us, country music has just become a part of the many genres we listen to, while others have been listening to these songs their whole life. If you are a person of color, specifically African American, then you would know that country music is a genre that most of the time we cannot relate to. You could just say look at the people who create and listen to this genre, they are all white.

While this may be true for many, that is not true for all. In fact, African Americans have had a major influence on country music over the years. “One of the major contributions that African Americans made to the country music genre was the banjo. The banjo was derived from West African lutes. These were made from gourds, and were brought over to America by slaves,” said The Washington Post. This was a common theme on most slave ships. The colonizers would force the slaves they were bringing over to America to bring instruments from their home.

The origins of country music have essentially been erased from the culture around the genre, as well as the music. The situation is similar to the whitewashing of history books. Not only the head corporations in charge, but the artists and “new” audience worked together to redact the entanglement between the genre and African Americans. No matter how hard one tries, the truth is always just around the corner.

Country music has not resonated with the demographic of its originators. The majority of country music listeners today are white Americans. The songs are created and listened to by them. “Them” is used far too often when making generalizations about a race, but this is something that the country music industry knows all too well. Does it let your love for country music cloud the judgment about the truth that sits in front of not just you, but all of us? The industry has become a breeding ground for exclusion and hatred of people of color. The country music industry has been inclusively exclusive for years. There are many instances when the industry has not been inclusive like when Lil Nas X’s single was taken off of Billboard, the backlash of Beyoncé performing with the Dixie Chicks at the CMAs and the “acceptance” of Kane Brown in the industry.

Lil Nas X has become one of the many who have been snubbed by the country music industry. In 2019, Lil Nas X released his single “Old Town Road.” It first was put on the Billboard charts as a country rap song. The song began to quickly rise on the country charts, but just as fast as the song began to rise on the charts, it was taken down. “Lil Nas X was kicked off the Billboard country charts because the (mainstream) terrestrial country music market is filled to a surfeit with racism and bigotry,” said Shane Morris. Many artists before Lil Nas X have crossed genres with ease. These

artists were not people of color, they were white.

Before all of the features that were added to “Old Town Road,” this song could and should have stood alone in the country rap genre. The song didn’t need to be saved by one of country music’s “white saviors.” The song was country.

After the backlash, Billboard was receiving from not only fans of Lil Nas X, but other country artists, and the feature with Billy Ray Cyrus; the song was put back on the Billboard country chart. Many white country music artists have crossed over genres, and their songs have been able to stay on the country charts. Why in this situation was Lil Nas X’s song not able to stay on the chart? Was it because of his political views? Was it because of the color of his skin, or was it because of his sexual orientation? It was probably a combination of all of these things. The reason that his song was taken off the charts isn’t that he wasn’t embracing the elements of today’s country music. This had nothing to do with how his music sounded, but it did have everything to do with his race.

Beyoncé and the Dixie Chicks’ backlash after their performance at the CMA’s (Country Music Awards), was another example of racial discrimination in the country music industry. Beyoncé’s performance at the CMA’s received lots of negative feedback from many conservative viewers. The backlash was so severe that one of the performers of the night, Alan Jackson, walked out. The CMA went on to delete all social media posts promoting the performance; of course, they went on to deny the accusations and blamed it on some of the content being unapproved. The CMAs removed the promotional posts ignorer to appease the conservative and racist outrage at Beyoncé performing. Most if not all of the outrage stemmed from her music video for “Formation” and her Super Bowl performance earlier in the year. She was accused of supporting “anti-police” ideals.

Many black artists have attempted to write country or “country-inspired” songs. They have struggled with a constant battle to be recognized. Beyoncé dealt with this also. She submitted “Daddy Lessons” to the Grammy Country Committee for consideration, and as predicted, she was rejected. Was the song not country enough? Does she not know anything about country music? She was born and raised in Texas; I will let you be the judge.

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“Music has never been safe, neutral or objective.”

Kane Brown was rejected by American Idol, but he began to grow a following on social media. When he finally became recognized as a singer in the country music industry, he says that he was struggling to feel accepted in Nashville. He feels that as he has progressed in the country music world, he is now accepted and is able to bring non-traditional listeners to the music. “If you come to my shows, there’s all kinds of different races, all kinds of different people. Now, I feel accepted. I still feel like an outcast on the inside, but it doesn’t bother me anymore, at all. It kind of feels cool to be the outsider.” said Kane Brown. Brown is accepted in the country music industry because instead of sharing his stance on racial injustice issues he has remained in the middle. When he would be called the “N” word, he would post on Twitter saying “Wow, racism still exists.”

This is nothing compared to what his counterparts face when they face issues head-on by making songs about their stance, instead of making songs about how everyone needs to forget their beliefs and join together. As an artist, he should know that individuality is most important in not only music but the real world.

“I thought I was full white, which honestly, I can’t even really say because I didn’t see colors.” said Brown. This is yet another tone-deaf response from Brown; this is the prime example of why he was accepted. He is the poster Black man for country music. His skin tone is light enough to not raise any eyebrows, and his political stance is just right for conservatives.

Rissi Palmer is a country music artist, who has a passionate voice for the underrepresented people in the country music industry. She is the creator of the podcast, “Color Me Country.” This podcast features music and interviews with Black, Indigenous, Latino country artists. She brings these underrepresented groups to the forefront of the industry. Palmer believes that these people have lived outside of the spotlight for far too long. She wants to uplift the underrepresented voices of artists in the country music industry, and this is exactly what the industry needs. It is about time that someone addressed the issues within the country music industry. Why have the people who listen to the music not spoken about the underrepresentation in the industry? Why do the underrepresented always have to be the ones who talk about not being represented? Everyone sees it, so why are they the ones that always have to say something about it? The silence that is supported, is the exact reason that the country music industry still is the way it is.

Artistry used to be something that we celebrated and embraced, but it has now become so politicized. Artists should be allowed to express themselves freely without the fear that their work will not be accepted or understood. The country music industry is a prime example of how much art has become politicized.

“The browning of America” is something that has become an ongoing fear for many white conservative Americans. They have a fear that their supremacy will be overshadowed. They have reserved this little pocket for themselves, and they do not want to like POC in. This is where they thrive and shine, and they do not want to let people that do not look like them grow in popularity in the industry. Do not misunderstand what I am saying, not everyone in the industry feels this way. Many country music artists do want to support people of color’s voices. They speak out about the injustices that many of them face. The fear of the browning of America is not deep-rooted in many of the hearts in the industry, but it definitely is in the hearts of many. Music has never been safe, neutral or objective. It is what it is. People are creating, writing and singing songs about THEIR experiences. You cannot take that away from them. Many musical genres have had a complicated past, and this reigns true for the country music industry, especially when it comes to race. We just need to get back to loving the music that we are listening to, no matter what the person who is singing or writing the songs looks like!

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by Annika Godwin

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The

HERITAGE Lookbook

A collaboration with WVU’s Fashion Business Association

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MIRAGE

COOKS Ramp pancakes!

by Hunter Neel

Origins and history The scallion pancake has existed for centuries, like many other foods, its origins have passed down from myth, folklore and guesswork. While we are not quite sure where its exact origins are, many believe that these tales point to Shanghai in northeastern China. The modern form of the scallion pancake has become a staple of Chinese dim sum, and has significant ties to the Chinese culture; here at Mirage we love the traditional scallion pancake, but gave this dim sum a twist with our favorite Appalaciahian spring staple, the ramp!

Dough

2 cups all-purpose flour 1/2 teaspoon salt 1/2 cup boiling water 1/4 cup cool water

Filling

1/3 cup all-purpose flour 1/4 cup butter 3/4 teaspoon salt 6 to 8 ramps, split down the middle and chopped

Forming the Dough

Combine the flour and salt in a big bowl. Stir to mix well. Drizzle in hot water while mixing it with a fork until the water is fully absorbed. Drizzle in the cool water, stirring until dough begins to form. Knead the dough together and add extra water if needed. Cover and let rest for 30 minutes at room temperature.

While the dough is resting, combine the flour, butter, and salt in a small pan over medium-low heat, stirring until paste forms.

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Form the ramp pancakes

When the dough is done resting, knead until smooth.

Cut the dough into six equal pieces and form into balls with your hands.

Work on one dough ball at a time, covering the rest with plastic wrap to prevent drying out. Roll each dough ball into a thin rectangle with a rolling pin. Lift and turn the dough regularly as you roll it to prevent sticking. Spoon about one tablespoon of the filling onto the dough and spread it evenly with the back of a spoon, leaving about 1 inch on top and the left end without the filling. Sprinkle ramps onto the paste towards one side of the length and one side of the width, creating an L shape.

Begin rolling the dough from the longer side where the ramps are until you have one long tube. Lightly flatten the tube using your hand. Next, take the sealed side and gently pull and roll it towards the unsealed side, using your hand to smooth out the dough to push any large air bubbles out—Tuck the loose end under the rolled bun.

Once formed into a bun, flatten the bun into a pancake shape using a rolling pin, making sure to flip and move it.

Repeat for each ball of dough.

Cook the pancakes

Heat a cast-iron pan over medium-high heat and add enough oil to coat the bottom fully.

Once the oil is hot, add a pancake. Use a pair of a spatula to swirl the pancake around to spread the oil and prevent sticking for a few seconds.

Cover the pan and turn the heat down to medium-low.

Let the pancake cook, covered, for one-minute. Then, remove the lid, flip the pancake, cover, and cook for another minute.

Remove the lid.

Use a spatula to press the pancake to ensure even browning. Continue to cook, regularly flipping, until both sides are crisp and browned, about three-minutes.

Transfer the pancake to a cooling rack or a cutting board to cool. Repeat to cook all the pancakes you plan to serve.

Once the pancakes are slightly cooled enough to handle, cut them into six pieces and transfer them to a serving platter.

Serve hot!

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