Hex: October 2021 Issue

EDITOR IN CHIEF

Gabrielle Gronewold

DEPUTY EDITOR

Arella Warren

ART DIRECTOR

Annika Ide

ARTS CURATOR

Emma Gray

PHOTOGRAPHY DIRECTOR

Audrey O’Neill

CREATIVE DIRECTOR

Sam Starks

FASHION DIRECTOR

Corbin Woessner

FASHION EDITOR

Manon Bushong

LIFESTYLE EDITOR

Mason Braasch

CULTURE EDITOR

Rachel Hale

ARTS EDITOR

Kora Quinn

SOCIAL MEDIA MANAGER

Olivia Peters

PR AND OUTREACH DIRECTOR

Emily Fleming

ONLINE EDITOR

Jessica Katz

NEW MEMBERS DIRECTOR

Maya Greenberg

PROGRAMMING AND SPECIAL EVENTS COORDINATOR

Madeleine Olson

DIVERSITY AND INCLUSION CO-DIRECTORS

Abbey Perkins Sonakshi Garr

MAKEUP DIRECTOR

Riley August

VIDEOGRAPHY DIRECTOR

Madelyn Vilker

WEBSITE MANAGER

Kara Conrad

MODA IS PRODUCED WITH SUPPORT FROM THE WISCONSIN UNION AND WISCONSIN UNION DIRECTORATE PUBLICATIONS COMMITTEE.

WRITERS

Alison Stecker • Arella Warren • Elizabeth Karnowski

• Emily Fleming • Gabrielle Gronewold • Hannah Ritvo • Jamie Randall • Jane Houseal • Jessica Katz • Kora Quinn

• Madison Targum • Manon Bushong • Mason Braasch • Maya Greenberg • Meghan Savaglia • Nina Johnson

• Rachel Hale • Shannon McManus

ART

Arella Warren • Alyssa Cohen • Bella Swirth • Ella Cunz • Emma Gray • Jessica Tenenbaum • Mac Gale • Nicole Glesinger • Riley August • Rosie Quinlan • Sammy Meyerson

PHOTOGRAPHY

Anna Janke • Audrey O'Neill • Bela Orzechowski • Hunter Kiehl • Luc Marchessault • Molly Jacobs • Seth DeGier

MODELS

Bridgette Ugarte • Conor Keogh • Jane Houseal • Justin Apresa • Margo Wyatt • Molly Phelan • Noah White • Vinne Dunn

ON THE COVER

Vinne Dunn photographed by Seth DeGier, Assistant Photography Director

TABLE OF CONTENTS

CULTURE

22

24

The Emergence of Witchcraft in Modern Society

When it comes to Witchcraft and Religion

A discussion on Pagan practices associated with Witchcraft

28

The Girls’ Book: How to Bewitch Everyone

Cultural influences on luring romantic prospects in

44 Welcome to the Freakshow

America’s complicated fascination with sideshows

ARTS

12

Solar Power: Finding Power from Within

The witchy world of Lorde’s third studio album

14

Witchy Rumours

Stevie Nicks’ history with Witchcraft

15

Gore Go-Getters

Why people are so attracted to horror movies

32

Is It in the Cards for Us All?

How lack of representation in tarot limits access to spirituality

39

The Night of Your Life

Everything you need to know about “The Rocky Horror Picture Show”

46 I reread the “Twilight” Saga—and

Jacob deserved better

Why I’m a Team Jacob convert

FASHION 06 The Art of Juxtaposition

How designer Simone Rocha challenges femininity through fashion

10

Witchy Wardrobe

October trend report

25

Bohemian Androgyny

How a popular and timeless fashion aesthetic is pushing gender norms

42

Halloween Costumes from Your own Closet

Turning everyday clothes into an original costume this Halloween

LIFESTYLE

05

Fall in Love with Superstitions

A guide to using the ancient beliefs to find a partner this fall

30 It’s not Witchcraft

A frank conversation about vaginal health & wellness

40 Q&A with Laura Kuhl

Madison psychic talks spirituality, personal readings and opening up to your gifts

FEATURED

16 Jinx

Fashion editorial photo shoot, as seen on the cover

33 Afterlight

Creative editorial photo shoot

Dearest Readers,

The transition from summer sun to au tumn’s chill brings feelings of quietude as we prepare for the harsh months ahead. For most, there is this great sense of reverence and awe as we en joy the harvest festivities of the sea son, reflect on the changing colors and watch as the plants and animals begin to slumber, only to be reborn again the following year.

When our team sat down to discuss a title for October, our Editor in Chief, Gabrielle, and I knew we wanted to lean into the mysteries of the season without it being stereotypical. The idea of Hex came up in our editorial brain storming session and the team fell in love—Hex is enchanting, empowering, a little wicked and a lot witchy.

Hexing, like witchcraft, is often given a negative connotation, thought of as a crone’s curse or evil enchantment. This misconception is rooted in a long his tory of religious persecution and op pression against matriarchal clans and other pagan and indigenous cultures. In this issue, we want to combat the idea that Hex is about black magic or misfortune. Rather, we can think of it as ending old habits to make room for new beginnings.

In reverence of what is, what was and what is yet to come

Magic isn’t something to be con demned. It’s something to be cele brated and revered, and that’s what Elizabeth Karnowski does by shining light on the misunderstandings of pagan-based practices in her piece, “When it comes to Witchcraft and Re ligion.” Society, it seems, is quick to judge, and even quicker to label those who don’t fit the mold as anomalies. In a similar way that witches have been re jected by mainstream society, so have those who subvert social norms. Maya Greenberg discusses the dark history behind the American circus in “Wel come to the Freakshow” and the sad fate of many of its players. Through out Hex, our staff writers challenge the idea that “weird” is “wicked” in favor of a more empathetic approach.

To amplify the voices of spiritual lead ers in our own community, Mason Braasch leads a “Q&A with Laura Kuhl,” a Madison-based psychic and intuitive healer. Her wise words compel us to slow down and listen in on our sub conscious inklings—there is great pow er in exploring our connection with the intangible. This is something Nina Johnson considers in her thoughtful analysis of Lorde’s latest album as well. Titled “Solar Power: Finding Power from Within,” this article delves into spiritual wellness and the power and magic in returning to our roots.

The truth is, we can find magic all around us if we are willing to look. It is in our purest intentions, in the chang ing seasons, in Nature and in noticing how all things come and go, like the wave that ebbs and flows.

In today’s fast-paced world, I some times hear others express their dis

taste for autumn since it forces us to slow down and, as the greenery of the world fades, to sit with death—some thing we’re all too eager to pretend doesn’t exist. This year, I’ve had to sit with a death that has caused me to doubt most of my beliefs. I’ve felt bar ren; stranded; cursed. Yet this “curse” has also caused me to look more closely at life, and in turn, I’ve adopted a new appreciation for it.

It has been a constant struggle try ing to reconcile my spiritual practice with the reality of change. However, when we look toward the Natural World, it shows us that death is not just about endings, but about rebirth, flow and transformation.

As you page through Hex, I encourage you to think about ways that endings, maladies, misfortunes or “hexes” you’ve experienced have led to transforma tion. For me, my experiences and new found appreciation for life have made me more passionate about being an empathetic human being to my com munity, to our Mother Earth and to our ancestral spirits. Hex is a celebration of the spirit of life: that includes those who stand beside us now, those who have come and gone before us, and those who are yet to come. Let us celebrate.

Stay golden,

ARELLA WARREN DEPUTY EDITOR

Fall in Love with Superstitions

A GUIDE TO USING THE ANCIENT BELIEFS TO FIND A PARTNER THIS FALL

Written by Shannon McManus, Lifestyle Staff Writer Graphic by Arella Warren, Deputy Editor

Fallis the season of cooler weather, apple cider and fuzzy sweaters, but it is also the perfect time to share these cozy moments with someone. If you’re having trouble finding a spark with the person of your dreams, utilizing ancient superstitions may help you get the perfect pumpkin-picking partner.

If you’re not sure where to start, look to the moon! According to the Wic ca religion, the seventh day after a full moon is the best time to fall in love.1

The moon is believed to carry differ ent types of energies depending on its phase. There are four primary moon phases: new moon, first quarter, full moon and last quarter. Between these, there are four intermediate moon phases: waxing crescent, waxing gib bous, waning gibbous and waning crescent. Seven days after a full moon, the moon is either in the waning gib bous phase or the third quarter wan ing. This may help you spark love by helping you to show your gratitude and share adventures. The third quarter will have you feeling the urge to turn your energies towards reflection, giving you a chance to start anew and forgive

1 Dunwich, Gerina. Wicca Love Spells. Kensington Publishing Corporation, 2021.

yourself and others for past mistakes— which makes it a perfect time to fall in love with someone completely new!2

If tracking the moon is not for you, you can simply use an eyelash. 19th century folklore says if you have a fallen eye lash, blowing it off from your hand will make a wish come true. This supersti tion developed from a darker past, as people would blow away their eyelash es to protect themselves from the dev il, who would gain power through the collection of their hair and eyelashes.3 Thus, blowing on an eyelash may find you love, and ward off any negativity this fall!

Looking for love and trying to stay healthy? Try turning to an apple. Twist the stem of an apple while saying either the names of potential romances or go ing through the letters of the alphabet. When the stem breaks off, the name or initial you landed on is your future lov er’s.4 This is an easy way to determine ² Roth, Deborah. “The 8 Phases of the Moon & What Each Moon Phase Means for Your Love Life.” Spirited Living, August 25, 2021.

³ Keegan, Natalie. “This Is the Reason Why We Wish on Eyelashes.” The Sun. The Sun, April 2, 2017.

⁴ Radford, Edwin, Christina Hole, and M. A. Radford. The Encyclopedia of Superstitions. New

who is on your radar, and if you can’t decide-an easy way to choose!

Finally, if you ever get a chance to vis it Rome, there is one spot that should be your number one visit for love; The Fontana di Trevihas (The Trevi Foun tain). If you toss a coin with your right hand over your left shoulder, with your back to the fountain, you will return to Rome. However, to receive the full benefits of the fountain’s power, you must return to Rome, enact the coin throwing a second time in order to fall in love, then return one final time and perform the ritual in order to get married!5 The coins tossed are also do nated to the Italian Red Cross, making Rome a great place for you to find love—and give back while doing so!

Love acts in mysterious ways, and these superstitions may just lead you to it. Whether you’re tracking the lunar phases, planning a trip for romance in Rome, wishing on eyelashes or simply adding apples to your daily diet, these ancient superstitions may lead you to someone special this fall.

■

York: MetroBooks, 2002.

⁵ Fodors.com. “Trevi Fountain Review - Rome Ita ly - Sights.” Fodor’s Travel. Accessed September 29, 2021.

Mixing

unexpected elements together can cause an interesting contrast, but also artful cohesion. Oftentimes, two clashing ideas are more profound together than they are on their own. Artists of all mediums apply the skill of juxtaposition to make a statement through their creations. A musician may write a melancholy song in a major key or a designer will mix tough leather with intricate lace to create looks with intriguing depth.

Juxtaposition in clothing most often refers to combining elements that are not typically expected to go together. Sometimes the resulting look is strik ing and unique, and sometimes it can be hard to comprehend. At its core, fashion has no rules, and that should be celebrated and explored more of ten—juxtaposition is one technique creatives can use to push boundaries.

One particularly striking combination is using contrasting “masculine” and “feminine” elements. Fashion that suc cessfully does this challenges tradi tional gender expectations for dress and allows people to express them selves freely without social construc tion. In fact, it helps challenge the very gendered definitions put on clothing in the first place.

One designer that has consistently incorporated juxtaposition into her collections is Simone Rocha. The Irish fashion icon made her debut at Lon don Fashion Week in 2010 and has been creating eye-catching collections ever since.1 Rocha’s designs are often inspired by her experience with femi ninity. She includes traditional ideas of femininity in her pieces, but with a dis tinctive edge. In the past, she has ex pressed that she wants her collections to depict how ideas of femininity im pact women’s lives and how it makes them feel.2

Rocha’s most recent Spring 2022 Ready to Wear collection was inspired by her experience with pregnancy and motherhood, which is often considered a pivotal moment in an individual’s un derstanding of themself. The collection

¹ “Simone Rocha Is Part of the BOF 500,” The Business of Fashion, August 28, 2019.

² “Simone Rocha: ‘with Every Show I’m Telling a Story’,” The Guardian (Guardian News and Media, September 23, 2017).

was done in a lush color palette rang ing from pastel pink, ivory and laven der to blood-red and black. It was clear that every detail, from the clothing to the physical runway, was reflective of Rocha’s experience.

The show occurred in a medieval, gothic-looking church which clashed against but also complimented the first few looks that walked down the aisle.

The very first look was a whimsical white gown paired with monochro matic accessories—including opera gloves and a tiara. The dress was composed of a full, sheer skirt and négligée looking bodice. The entire piece was embellished with bead ed embroidery, ribbon and a variety of lace. Every aspect of the look was intricate and ultra-feminine, but not necessarily in a polite way. Several dresses, including the first, had a deli cate fabric cut-out around the breast, perhaps to point out the role breast feeding often has in motherhood.3

Other looks from the collection were nearly opposite the first: also sheer and embellished, but done completely in black. These contrary looks brought the concepts of juxtaposition beyond one outfit and into the show as a whole.

There were also many outfits that combined contrasting concepts on their own. One model wore a partic ularly attention-grabbing ensemble. The base of the look was an oversized, taupe suit. Extending off the sides of the jacket were layers of black em broidered lace, and layered on top is a beaded black crop top. Both aspects of the garment served to draw atten tion to the feminine parts of the body, even though the suit is typically asso ciated with masculinity.

Rocha’s most recent collection isn’t the only instance in which she artfully depicts juxtaposition. In her Fall 2021 Ready to Wear Collection, she includ ed florals, tulle and leather. She cre ated tough leather jackets with puff sleeves that would, if not constructed of leather, otherwise look dainty. More over, the ideas Rocha presents in her collections are adaptable into the av

³ Sarah Mower, “Simone Rocha Spring 2022 Ready-to-Wear Collection,” Vogue (Vogue, Sep tember 20, 2021).

HOW DESIGNER

DESIGNER SIMONE ROCHA CHALLENGES FEMININITY THROUGH FASHION modeled by Jane Houseal, Fashion Editorial Assistant by Hunter Kiehl, Staff Photographer, and Anna Janke, Contributing Photographer

erage person’s wardrobe. If you want to take inspiration from her Fall 2021 collection, try layering a leather crop top over a lacy floral dress.

In her Fall 2018 Ready to Wear, Rocha paired delicate outfits with unexpect ed all-black accessories. Despite the differences in styles between the ac cessories and apparel, the fabric choic es made each look cohesive and luxu rious. This is one of the simplest styles to incorporate into your own ward robe. Pair your favorite flirty outfit with dark accessories; you can try gloves, headbands, bags, shoes and hats. Get creative with what you already own, or take it as an opportunity to style a new and exciting accessory.

Another way Rocha conveys her in spiration on the runway is by pairing masculine blazers and suits with ethe real, sheer slip-dresses layered over and under them. She did this in her Fall 2016 Ready to Wear, which is aes thetically different from many of her other collections.

If you want to recreate the look, you can experiment with layering differ ent textured pieces. For something more casual, layer lingerie or a slip dress over a boxy graphic tees or button-up. If you want to take it up a notch, you can more closely replicate Rocha’s look with a sheer, sparkly slip on top of an extremely masculine, structured piece.

Rocha uses juxtaposition to intimate ly describe various stages of her life. Her designs can be used as inspiration for individual expression as well. There are so many ways to combine styles to more accurately cultivate one that’s entirely your own.

If you prefer not to stick strictly to mas culine or feminine silhouettes, then mix them. Try a boxy jacket over a clingy slip dress or a fitted bustier top with loose-fitting carpenter pants. Another component of your wardrobe you can juxtapose is texture. Similar to Rocha, try mixing lace and satin with leather or other tougher fabrics. Styling out fits with inspiration from designers like Rocha creates a sense of fashion freedom. Without the pressure to stick to one fashion narrative, it becomes easier to use clothes to convey diverse identities and experiences. ■

MODA'S OCTOBER TREND REPORT

Written by Emily Fleming, PR & Outreach Director

While we may have officially transitioned from summer to fall, October in Madison continues to surprise us by bringing a mix of sunny and 70 and random days of cold wind. Although you may be ready to put away your flip flops and crop tops and bring out the sweaters and boots, the fall season brings opportunities to mix clothing in a way that keeps your closet fresh and exciting. This month, we are opting for darker colors and rich textures but we can still incorporate dresses, skirts and other articles of clothing that may only last us so long until parkas become our main accessory. Here is some of our inspiration for this October’s leading fashion trends:

1Cami Dresses

While there are many factors to consider when choosing a dress, to fit this style, try opting for a few specifics. Look for fabrics like mesh, velvet or lace to add a feminine flare. For colors, try deep red, burgundy, emerald green, black or navy. Paired with black sheer tights and black combat boots—and perhaps a statement coat thrown over— your look is complete!

2Cutout Mesh Tops

Playing around with funky cutouts can add a sexy twist to a simple top. The separated sleeves trend has been all the rage and is perfect for when you want to up your look for a night out. Pair with leather trou sers, strappy high heels and dangly earrings and your outfit is sure to be a show-stopper.

3Leather Trousers

The leather pants craze is nothing new, but a good pair can quickly become a staple for wear with just about anything. Going with a trouser style or straight leg cut rather than a skinny fit can add dimension to your look, and with a tiny tee and a bright red lip, you’re immediately ready for anything. There are many ways to find your perfect pair—you can thrift it or buy new. Although sustain able options tend to be on the pricier side, splurging on pants made from recycled materials provide a quality that’s totally worth it.

Midi Skirts

Midi skirts are the perfect transitional piece and offer many opportunities for layering on top. Try adding a lace cami tank top, a white long sleeve tee underneath and lots of jewelry to complete the look.

5Chunky Black Boots

It may go without say ing that a pair of chunky black boots can be successfully paired with just about anything, and provide the perfect finishing touch to an autumn style of outfit. Not only are they practical for the colder months, but they can replace both a heel and a sneaker, depend ing on your need. Doc Martens is one popular example of chunky black boots which can be dressed up because of their platform or used as an everyday shoe. However, there are many other brands and online sellers to choose from when searching for your perfect pair.

8Black Sheer Tights

Sheer tights go with just about anything. Try pairing black sheer tights under a black slip or bur gundy dress, then adding black chunky boots and silver jewelry. Sheer tights are also easy to rip, presenting a great opportunity to create a DIY grungy twist to the look.

9Red Lipstick

6Satin Slips

Satin slips are versatile and can be dressed up or dressed down to your desire. Opting for fall colors like brown, beige or emerald green can make this staple unique. Try pairing one with a dark-colored long sleeve top underneath and tights, or wear on its own with a red or brown lip and layered jewelry as your accessories.

Stacked Rings

Wearing stackable rings can add a unique element to your look. Whether you get creative with mixing metals or adding in pops of dark colors or black, these rings will add a little something extra to even the plainest of outfits.

Makeup compliments and completes an outfit just as jewelry or an eye catching handbag does—and a red lip is the ultimate makeup statement. While it can often be a challenge to find the right shade of red for your com plexion, once you discover the one, it will become your lifelong friend. Red lipstick is intriguing. Paired with an all black outfit, it can make for a sultry and powerful look.

Flare Pants

A staple for every wardrobe: Flare pants effortlessly ele vate any look, adding a bohemian flare. You could opt for a pair of dark flare jeans, a pair with unique cutouts or experiment with fab rics such as velvet and corduroy. While a pair of flares is already a statement in itself, you could throw on a patterned pair with a black mesh top and black boots and have a put together look with just a few items.

SOLAR POWER: Finding Power from Within

THE WITCHY WORLD OF LORDE'S THIRD STUDIO ALBUM

Written by Nina Johnson, Arts Editorial Assistant

Graphic by Ella Cunz, Contributing Graphic Artist

Augustmarked the release of Lorde’s third studio album, one she describes as “a celebration of the natural world, an attempt at immortalizing the deep, transcendent feelings I have when I’m outdoors.”1 “Solar Power” brings forth a maturity to Lorde’s identity, introducing listeners to her embrace of a “witch” aesthetic through her own spirituality and appreciation for nature and wellness. And, as autumn eclipses, she gives her fans 12 nuanced and graceful songs to linger through summer’s end.

Lorde first stepped into the musical spotlight in 2013 with her hit release, “Royals.” Since then, her dedicated fanbase has been growing up along side her as well as observing and in ternalizing the ways her persona and passions have flourished. Her first two albums touched upon a budding witch aesthetic, seen in both Lorde’s casual comments in interviews and within the careful depth of her lyrics.

After the release of Lorde’s second al bum, she told a reporter “it would be no surprise to anyone I am not weirded out by ghosts or spirits. I am basically a witch.”2 Her lyrics facilitate this grad ual progression into a shifting sense of what it means to be a witch, something once marked by dark makeup and teenage angst that’s now lighter, more whimsical and has turned outward. Lorde is still the same person, but old er and with more wisdom to share.

A witch is one with the elements and the world that surrounds them, and Lorde’s lyricism signifies her relation ship with the Natural world. Lorde har nesses the beauty of the Natural world for inspiration; not in an attempt to control, but rather, to see and connect with the most genuine version of her self. To Lorde, magic is found through Nature.3 Her first single off “Solar Pow ¹ “Lorde.” Genius.

² “Lorde Explains Why She Thinks She’s a Witch.” ZM, 4 June 2017.

³ Wang, Steffanee. “Lorde Is Blonde & in Love

er” equates her child-like love of the ocean to something transformational, and a necessary part of her life.

Climate change is a recurring under tone throughout the album, high lighted in the songs “Fallen Fruit” and “Stoned at the Nail Salon.” Many of us were raised outdoors, and going back to these roots is an essential part of spirituality for Lorde. Caring about the planet’s wellbeing is an obligatory ex tension of that.

Moderation is important, and Lorde’s satirical 11th track makes it clear how crucial it is to not push limits when delv ing into the world of spirituality, magic and the supernatural. “Mood Ring” is a catchy, deceivingly upbeat song that denotes the dangers of when spiritual ity becomes trendy and commodified, and in turn harmful for the Indigenous cultures and Eastern practices in which these practices originate.

Modern society is already fully en trenched in “wellness” and “self-care” culture, making it difficult to remove oneself from it entirely. Crystals, pseu do-spirituality, horoscopes, wellness retreats, vacations and more are a part of American lifestyles, and Lorde is guilty of indulging, too. Sometimes self-care goes wrong, and defining the line between appropriation and appreciation is complex. With “Mood Ring,” Lorde’s commentary provides fans with the knowledge that spiritu ality done well must come with a de gree of self-awareness.

On the whole, “Solar Power” brings Lorde straight to her listeners. Adher ing to the witch aesthetic and itching for the transcendental does not require abnormal experiences.4 Lorde shows that she’s as human as the rest of us— she’s saddened by grief, hurt by dogs

With Wellness in New ‘Mood RING’ VIDEO.” Ny lon, Nylon, 17 Aug. 2021.

⁴ Chan, Stephanie. “An Itch for the Transcenden tal: What Lorde’s ‘Perfect Places’ Reveals about Our Postmodern Angst.” METANOIA, METANOIA, 24 July 2020.

dying and confused by heartbreak. She’s wishful, eager for love and above all, wants to experience happiness.

Growing up and navigating the obliga tions of young adult life make it easy to muddle your search for something higher or more spiritual within yourself. This is especially true given the super ficial and materialistic wellness culture that dominates Western society today. Through “Solar Power,” Lorde shares her experience with these issues and encourages us to seek the strength that lies within. Slowing down, open ing yourself up to Nature and caring for the world around you is where purpose and connection can always be found. ■

Lorde harnesses the beauty of the Natural world for inspiration; not in an attempt to control, but rather, to see and connect with the most genuine version of herself. To Lorde, magic is found through Nature.

Witchy Rumours

STEVIE NICKS' HISTORY WITH WITCHCRAFT

Written by Jessica Katz, Online Editor

Graphic by Jessica Tenenbaum, Staff Graphic Artist

Fleetwood

Mac is a staple in any fall playlist, perfectly capturing the atmosphere of walking in the crisp autumn air, gazing at leaves falling to the ground as “Rumours” plays through your headphones. But Fleetwood Mac brings to mind more than just this picturesque scene, as Stevie Nicks has been associated with this chilling time of year for decades, haunted by a rumor that she, herself, is a witch.

It all started in 1975 with “Rhiannon,” a song Nicks was inspired to write af ter reading “Triad” by Mary Leader. The story is about a girl who becomes possessed by a spirit named Rhian non. Rhiannon is an important fig ure in Welsh mythology: the goddess of steeds, maker of birds. Her arrival would bring the end of danger, sym bolized by three birds flying off to the tune of a little song.1

Nicks played into this story, introduc ing the song at concerts by saying, “This is a song about a witch.” Listen ers even claimed to witness her going into trances and speaking in an archa ic-sounding language during shows. This is when the questions began—is Stevie Nicks a witch?2

People became critical of Nicks’ dark style and what they thought it meant. As Fleetwood Mac celebrated the suc cess of their “Rumors” album, Nicks endured the worst of the witch rumors. She received troubling letters accusing her of witchcraft, forcing her to fear for her life and safety. In response, she swapped the black in her closet out for apricot-colored clothing.3

¹ DeMain, Bill. 2015. “Fleetwood Mac: the story behind Rhiannon.” Louder.

² Bergren, Joe. 2018. “Stevie Nicks’ Long History

With Witchcraft, From ‘Rhiannon’ to ‘AHS: Apoc alypse.’” Entertainment Tonight.

³ Ibid.

In the early 1980s, Nicks worked on a solo project, exploring her creative side. As she attained comfort in her style, she began to open up about the witch rumors that had followed her for decades. In an interview, Nicks told Entertainment Tonight, “I do not believe in witchcraft as a natural phi losophy at all. I just think it’s fun.” De spite the troubles these rumors caused her, Nicks continued to create musical masterpieces. She even posed on the cover of her album, “The Wild Heart,” in a black robe.4

The conversation surrounding witch craft continued after Disney’s release of “Hocus Pocus” in the 1990s. Attention turned to Nicks’ rumor when a student in Huntsville, Alabama was prevented from singing Fleetwood Mac’s song “Landslide” at a local church. Accord ing to the student, “The minister said the leader of Fleetwood Mac is a witch and a Satan worshipper.” Nicks was outraged and openly addressed the harm of these rumors. That same year, she contributed two songs to the soundtrack of “Practical Magic.”5

Flash forward to 2013, “Amer ican Horror Story” returned for its third season, titled “Coven.” The sea son follows a coven of witches who descended from Salem as they fought for survival in present-day New Orle ans.6 In a memorable scene, Misty Day expresses her admiration for Nicks and “Rhiannon.”

Later in the season, as well as in the eighth season, “Apocalypse,” Nicks joined the cast to play The White Witch, a version of herself in volved in witchcraft. She explained,

⁴ Ibid.

⁵ Ibid.

⁶ “American Horror Story: Coven.” n.d. Wikipedia.

“When great things come your way, don’t walk away from them because of something stupid. Just embrace it and have fun with it and do your best.”7

Her self-expression was thought to be so threatening that critics launched a literal witch hunt to try to take her down. After letting the rumors get to her for decades, Nicks has regained full control of her image and continues to teach us that being a witch means exuding power. It means owning your image, your femininity and your suc cess. It gives you permission to push past the labels and to be yourself.■

⁷ Ibid.

Gore Go-Getters

WHY PEOPLE ARE SO ATTRACTED TO HORROR MOVIES

Written by Kora Quinn, Arts Editor

Assomeone who would rather watch hours of Disney over a scary movie any day, I’ve always been fascinated with how many people are truly attracted to horror. It’s a genre built on fear and the uncanny, two things most people want to avoid in their personal lives. But when it comes to entertainment, people eat it up. As it turns out, psychology has an explanation for that.

What we know as the horror genre today didn’t exist until the 1930s, but “spook films” have been around since the late 1800s.1 The first ever spook film, “House of the Devil,” was a three minute silent film released in 1896 by Georges Méliès, a French illusionist turned filmmaker. Méliès is known for pioneering many special effects in the earliest stages of silent film, when ev erything appeared in blacks and whites and gave off an eerie shadow effect.

Karina Wilson, who works in television and feature film development, writes on her website, “Pioneers like the Lu mière Brothers and George Méliès learned how to tweak and manipulate images on film. They created spe cial effects on screen, such as spirits, dancing skeletons, giant creature and sudden appearances and disappear ances. The supernatural could now appear in the same frame as the nat ural—and entertain an audience like nothing before.”2

As spook films and horror movies started to gain traction, so did public outcry. The genre started to unnerve viewers, and censoring became more common with each release.3 The first adaptation of Mary Shelley’s “Fran kenstein” in 1910 included a disclaim er from the Edison Company cata logue that read, “In making the film the Edison Co. has carefully tried to

¹ “How Horror Movies Have Changed Since Their Beginning,” New York Film Academy, 2015.

² Karina Wilson, “The First Silent Horror Movies,” Horror Film History, 2005-2020.

³ “How Horror Movies Have Changed Since Their Beginning,” New York Film Academy, 2015.

eliminate all actual repulsive situa tions and to concentrate its endeav ors upon the mystic and psychologi cal problems that are to be found in this weird tale. Wherever, therefore, the film differs from the original sto ry it is purely with the idea of elimi nating what would be repulsive to a moving picture audience.”4

Despite this early hesitation, horror movies continued to grow in popu larity among audiences. Throughout the ‘50s and ‘60s, filmmakers tried anything and everything to scare au diences. These became known as the “gimmicky” years of horror, as mod ern audiences tend to find them fun ny rather than scary. Gimmicky or not, from the late ‘60s onward, American audiences were so hungry for gore that horror movies and slasher films continued to find success.

The question is, why have horror mov ies gripped audiences so successfully since their creation in the 1890s? The straightforward answer is that they’re entertaining for the same reason roller coasters are entertaining: it’s the thrill and adrenaline that comes with being scared. But there are psychological ex planations for why people are attract ed to horror movies, too.

Søren Birkvad, a film scholar inter viewed by Science Norway, lists a cou ple reasons for this, the first being that horror is a way of unraveling evil.5 Un less you move within deeply religious circles, discussions around true evil are becoming increasingly rare. Birkvad says, “We simply do not believe in the demonic as a force in itself . . . Howev er, in popular culture—and especially in the world of film—evil is presented as an independent phenomenon through the horror genre.”

The second reason why people are at tracted to horror is that it teaches us ⁴ Karina Wilson, “The First Silent Horror Movies,” Horror Film History, 2005-2020. ⁵ Sigrun Dancke Skaare, “Why do we like watch ing horror films?” Science Norway, 2017.

how to handle our own anxiety through a process called “emotion regulation.” Emotion regulation is the ability to ex ert control over one’s own emotional state, usually practiced by rethinking a challenging situation to reduce anger or anxiety, or focusing on reasons to feel calm.6 Birkvad points out, “In this perspective, the horror film becomes a way to test our personal and collective limits in a safe environment.”7

That being said, for those who suffer from anxiety or high sensitivity, it’s rec ommended to avoid the horror genre, or limit your exposure to it. For those who can process horror movies for what they are, an illusion, there’s no harm in watching them. However, hor ror movies are intentionally designed to provoke tension, fear, stress and shock responses.8 This can negatively affect wellbeing if images from hor ror movies are internalized into your dreams, potentially triggering night mares and disrupting REM sleep.9

Furthermore, those that suffer from anxiety sensitivity—the fear of bodily sensations associated with anxiety and a misinterpretation of these sensations as being real threats—are more likely to experience intrusive thoughts and unwanted feelings when watching hor ror movies.10

That is not to say that horror movies are bad for you, or should be avoided all together. In fact, for those that can take them for what they are, these films can be helpful in managing personal anxiety and negative emotions. The important takeaway is to know your self, know what affects you in negative ways and take breaks from this kind of content when you feel it’s necessary. ■

⁶ “Emotion Regulation,” Psychology Today.

⁷ Sigrun Dancke Skaare, “Why do we like watch ing horror films?” Science Norway, 2017.

Marnie Vinall, “Are Horror Movies Bad for Your Mental Health?” Healthline, 2020.

Ibid.

Ibid.

Directed by Corbin Woessner, Fashion Director

Photographed by Audrey O'Neill, Photography Director, and Seth DeGier, Assistant Photography Director Modeled by Conor Keogh and Vinne Dunn

The Emergence of Witchcraft in Modern Society

Written by Alison Stecker, Culture Staff Writer Graphic by Kate Madigan, Staff Graphic Artist

Onenight at camp this past summer, a seven-year-old camper walked into my room crying about her family. When I asked if she wanted me to read to her to help ease the homesickness, her book choice surprised me: “The Junior Witch’s Handbook: A Guide to White Magic, Spells, and Rituals.”

When I was her age, I was taught that witches were evil and ugly—so why did my camper want to become one? The answer was quite simple: Despite the history of negative stereotypes

surrounding witches, witchcraft is now being welcomed as a feminist practice in modern-day society.

Witchcraft is a broad term that encom passes many different cultural and indi vidual practices. At its core, many define witchcraft as using and believing in su pernatural skills such as spell casting or rituals.1 Like all spiritual practices, witch craft varies from person to person, and each witch may have their own defini tion of what the craft means to them.

¹ Oxford Dictionary. Witchcraft definition.

In many cases, witchcraft aligns with paganism, a religion defined simply as “a collection of eclectic indigenous be liefs with a hazy history dating back to medieval Europe.”2 Pagans place spe cial emphasis on the view that nature is sacred and that the circle of life car ries spiritual meanings,3 an outlook ad opted by many witches as well. Part of witchcraft’s appeal is the inclusivity of the practice and the way it seamlessly intersects with other religions. There ² Wicker, Alden. “Witchcraft Is the Perfect Reli gion for Liberal Millennials.” Quartz. ³ Ibid

are many different types of witches, in cluding pagan witches, atheist witches and even Christian witches.

The resurgence of modern-day witch craft began with the women’s suffrage movement in the early 20th century. Witches used this era of transcenden talism as an opportunity to rebrand themselves from perceived “wicked devil-worshippers to intuitive wise women.”4 Prior to this time, witches were persecuted for being indepen dent—a characteristic that distinguish es young, liberal women today.5

According to Gabriela Hertsik, witch and author, witchcraft is inherently po litical because it’s actually feminist.6 It symbolizes female empowerment in the face of adversity and misogy ny. During the 1960s and ‘70s, being a witch was a sign of female empow erment. Witches believed and cham pioned the idea that women make ca pable, spiritual leaders and that every sexuality deserves to be celebrated.7

Witchcraft is also on the rise as folks are beginning to find unity and tradi tion in returning to the craft. When slaves were first brought to Ameri ca, their spiritual practices and tradi tions merged with Western religions. Now, Black millenials are leaving their churches in numbers to embrace tra ditional African witchcraft in digital covens.8 According to The Atlantic, African-American witchcraft, known as Yoruba, originated in West Africa. This spirituality focuses on honoring ancestors and worshiping mediators who lay between humans and spirits called Orishas.9

Many Black witches have found com fort meeting online, away from the scrutiny of their Christian parents, who often disapprove of the craft. Iyawo Orisa Omitola, a speaker at the third annual Black Witch Convention, argues that it’s hypocritical for people to suppress witches because tradi tional African religions worship pow erful goddesses.

⁴ Ibid

⁵ Ibid

⁶ Bosker, Bianca. “Why Witchcraft Is on the Rise.” The Atlantic. February 14, 2020.

⁷ Wicker, Alden. “Witchcraft Is the Perfect Reli gion for Liberal Millennials.” Quartz.

⁸ Samuel, Sigal. “The Witches of Balti more.” The Atlantic. November 06, 2018.

⁹ Ibid

“While the #MeToo movement is out there, there are still African American women out there who don’t have a voice. We are not represented,” Omitola said in her keynote speech. “One thing I know from studying African religions is, I have never seen one subservient god dess. So why are we sitting here think ing we have to be subservient?”10

Although witchcraft has been used to promote feminism and uplift minori ty voices, witches warn society to be careful not to violate the fine line be tween witchcraft as a trend and witch craft as a spiritual community. During the pandemic, witches took to TikTok in swarms, sharing videos tagged un der #witchtok to educate people on their ways. These videos, which ex plain deity worship, swinging pendu lums, candle spells and crystals, have received up to 14 billion views.11 While social media helps educate people on practices and creates a safer space for minorities, it also facilitates the com modification of a genuine spirituality.

Juliet Diaz, an indigenous witch from Cuba, spoke to The Atlantic about the commodification of witchcraft. “A lot of girls, young girls, they post pictures of their house with their room with up side-down crosses, Goth clothes, with their potions. They don’t even practice witchcraft, and they’re like, ‘Oh, I’m a witch,’ ” Diaz shared. “It takes away from the sacredness of the word.”12

Fast fashion companies put tarot cards on their $5 t-shirts while businesses use children to mine for crystals.13 Urban Outfitters has appropriated witchcraft for years by selling smudge sticks, tar ot cards and healing crystals,14 and it wasn’t until 2018 that Sephora stopped selling their $42 Pinrose “starter witch kit” with perfume, tarot cards, crys tals and sage.15 All of these companies capitalize on and commodify the art of witchcraft, one which has already been suppressed and extradited in society for hundreds of years. By smacking things on t-shirts and sticking things in boxes, companies ignorantly disregard the very roots of an ancient spiritual ¹⁰ Ibid

¹¹ Cichon, Bailey. “The Issue with Commodifying Witchcraft.” Log in. June 13, 2021.

¹² Bosker, Bianca. “Why Witchcraft Is on the Rise.” The Atlantic. February 14, 2020.

13 Ibid

14 Nittle, Nadra. “The Occult Is Having a Moment. Companies Want In, but Not If Witches Can Help It.” Vox. October 31, 2018.

15 Ibid

tradition, leading to an erasure of its dark and complex history.

Despite the battles that modern witch es continue to fight, it’s a win for wom en everywhere that modern-day witch craft is rooted in a feminist mindset. Society must now learn to approach the craft with the care and respect it deserves, and honor it as an authentic mode of spirituality.

While witchcraft is an open practice, those new to the craft must remember its indigenous roots and avoid partak ing in the commercialization of it to stay true to witchcraft’s original mes sage: transforming women into strong, intuitive leaders and uplifting margin alized voices across the globe. ■

The resurgence of modernday witchcraft began with the women’s suffrage movement in the early 20th century. Witches used this era of transcendentalism as an opportunity to rebrand themselves from perceived“wicked devil-worshippers to intuitive wise women.”

When it comes to Witchcraft and Religion

A DISCUSSION ON PAGAN PRACTICES ASSOCIATED WITH WITCHCRAFT

Written by Elizabeth Karnowski, Culture Staff Writer Graphic by Emma Gray, Arts Curator

Witchcraft

has recently climbed in popularity on places like TikTok, Twitter and Instagram, but the craft existed centuries before videos of spells and crystals were popping up on FYPs (For You Pages, for our non-TikTok users). Wicca, a neopagan spirituality that embraces witchcraft and Nature worship, initially spread throughout England and the United States in the 1950s.1

It’s important to note that while Wicca and witchcraft share similarities, they are not the same. Wicca is recognized as a religion and is best described as a modern spirituality based on ancient witchcraft traditions.2

The origins of modern Wiccans can be traced back to a retired British ser vant by the name of Gerald Brousseau Gardner, who founded the religion on ancient occult knowledge. Wiccans typically adopt polytheistic views, ex panding their worship to multiple spir its or gods, and follow pantheism. This is the belief that the universe as a whole is god—there is no god but the com bined substance, forces and laws that are manifested in the existing universe.3

Wicca stands out from other pre-Chris tian spiritual movements in its prayer to a female deity and its prioritiza tion of women in its culture. The most prominent example of this is a par ticular branch of the religion who call themselves the “Dianic Wiccans” and view their faith as a women’s religion.

There are many branches of Wicca that dabble with craft magic, but one of the main differences between Gard nerian Wiccans and Dianic Wiccans is the practice of hexing or cursing.

¹ J. Gordon Melton, “Wicca”, Britannica.

2 Kardia, “Wicca and Witchcraft”, Wicca, May 12, 2016.

3 William L. Reese, “Pantheism”, Britannica.

Generally, Wiccans don’t believe in performing negative magic, but Dian ic Wiccans have argued that hexing or binding those who do harm to women is acceptable—particularly, they be lieve in the hexing and binding of men who have committed violences against women and children.4

While aspects like deity work and the praise of nature may appear out of line with pop culture’s version of wicked witches, in reality, Wiccans focus on creating change through spells and in tentions to improve lives. This type of magic is more often associated with the witches and witchcraft depicted in films and television shows like “The Blair Witch Project,” “Hocus Pocus” and the “Chilling Adventures of Sabrina.”

The group was also said to believe that the soul was immortal and passed from one person to another upon death.7 Overall, a lot of the Druids’ beliefs are actually quite positive, with many of their practices revolving around the natural world and its powers.

Today, the broader practice of Wicca has been said to be a religion “made for the 21st century.”8 Research from 2017 shows that more Americans claim to be spiritual but not religious, which coincides with participation in prac tices that enhance self-development.9 This aligns with the spiritual practices of Wiccans, whereby formal religious structures and dogma are rejected in place of allowing members to focus on the religion for themselves.

Another religion with reported ties to witchcraft is the Gaulish religion— more specifically, the Celtic Druids. This relation stems from stories such as Shakespeare’s “Macbeth,” in which the witches serve as a source of tempta tion for evil.5 These negative outlooks also come from a point in time when Christianity was the height of religion, thus leading society to condemn and look down on any seemingly harmful religious acts within other groups.

The Druids kept no records of their own, which makes it difficult to fully understand their religious beliefs and practices. Julius Caesar claims the Dru ids took charge of public and private sacrifices and many young men went to them for advice and instruction.6

4 Patti Wigington, “Dianic Wicca”, Learn Reli gions, October 3, 2019.

5 Ibid.

⁶ The Editors of Encyclopaedia Britannica, “Dru

While Catholicism, Judaism and Islam are the most commonly practiced re ligions today, other religions like Wic ca and Druidry are rising in action. A major trend with these beliefs—and one way Wiccans and Druids differ from more popular religions—is the high praise of women within the cul ture. Although both Wicca and Druidry are often conflated with negative ste reotypes and witchcraft, it’s important to recognize these various beliefs and practices as their own entities.

“Harm none and do as you will” is the simple, overarching rule in Wiccan faith.10 This principle holds true across many pagan spiritualities, and serves as a great moral to keep in mind when interacting with practices that may not be your own!

■

id”, Britannica.

⁷ Ibid.

8 Helen A. Berger, “What is Wicca? An expert on modern witchcraft explains”, Waco Tribune, September 6, 2021.

⁹

Michael Lipka and Claire Gecewicz, “More Americans now say they’re spiritual but not reli gious”, Pew Research Center, September 6, 2017.

10 The Wiccan Rede, “The Wiccan Rede”, MIT.

Bohemian Androgyny

Written by Manon Bushong, Fashion Editor

Photographed by Bela Orzechowski, Staff Photographer

Makeup by Riley August, Makeup Director

Modeled by Margo Wyatt

WhenI consider the term bohemian, my mind travels to my carefully curated 2015 Pinterest board, titled “boho fashion.” My 14-yearold self’s infatuation with long floral skirts and suede floppy hats certainly stemmed from my time observing what different A-list celebrities had donned at Coachella, a music festival I seemed to think was more oriented around outfits than performances (I could describe in detail exactly what both Hadid sisters wore but please do not ask who headlined).

If you had asked me six years ago what bohemian means, I would have prob ably given you a jumbled response alluding to desert festival fashion—a response that barely scratches the sur face of this expressive and rule-chal lenging style.

By definition, bohemian means “a per son, such as a writer or an artist, living an unconventional life.”1

The bohemian aesthetic signifies a sense of individuality and a lifestyle that strays from the beaten path. In a more fashion-oriented sense, it con notes a freeing look that draws inspira tion from western, prairie and vintage ‘60s and ‘70s fits. It is also an extremely malleable and inclusive genre of dress.

The fashion industry has been making exponential strides in terms of mini mizing gender expectations and how we perceive what was traditionally such a significant classification. The boho trend stems from people who do ¹ Merriam Webster. Bohemian definition.

HOW A POPULAR AND TIMELESS FASHION AESTHETIC IS PUSHING GENDER NORMS

not go about their lives in a conven tional manner, which is why androgyny has become such a prominent aspect of it.

Saint Laurent’s pre-fall 2021 womens wear collection certainly incorporates more masculine bohemian garments. The 19th look in this collection consists of dark jeans, a brown belt, a minimal ly buttoned, long-sleeve, brown but ton-down and a thin black vest. It is western and more representative of a traditional menswear look, yet design ers eagerly cross these lines.

The androgynous theme in modern bohemian fashion is not limited to “cowboy” garments in womenswear lines. The long, flowy, prairie-style dresses typically worn by women have become statement looks for daring men who want to push gender bound aries as well, a notable example being Harry Styles.

Bohemian looks are also not limited to hot summer music festival outfits. This aesthetic can transfer to any sea son and can act as a major staple in anyone’s fall wardrobe. One bohemian piece that is taking fall 2021 by storm is the dramatic collar. Paired with blue jeans, a floral print scarf, a belt and brown boots, this is the ultimate hybrid of boho and contemporary—one that does not appear particularly gendered.

Another way to incorporate bohemian themes into your outfit rotation this fall is through the suede vest. In black or perhaps brown tone with fringe, this piece is timeless and classy but also evokes that western ‘70s feel that is so characteristic of what the bohemian style is built upon. When the weather cools down, this piece looks great over a white collared shirt, but until then, experiment with wearing it on its own.

Cowboy and cowgirl boots have been in the spotlight for awhile, and there is no doubt these fun shoes will contin ue to reign in popularity this fall. Try combining your favorite pair with a fun bohemian patterned statement piece, whether it be a long dress, kimono or silk flare pants.

The fun potential of bohemian fash ion combined with the roots of the aesthetic makes it clear why this style is so popular and timeless. Given the rapid changes in how society is start ing to view fashion norms in terms of gender, it is not surprising that the bo hemian way of dress is only going to grow in dominance. ■

CULTURAL INFLUENCES ON LURING ROMANTIC PROSPECTS IN

Written by Gabrielle Gronewold, Editor in Chief Graphic by Nicole Glesinger, Contributing Graphic Artist

Growing

up, I specifically remember owning a book called “The Girls’ Book: How to be the Best at Everything.” The worst part is I enjoyed owning this book. I was passionate about reading this book. I remember avidly reading this book on warm Saturdays as my parents did yard work.

The description of this book is as fol lows: “Here is the book that every girl, young and old, has been waiting for. Learn how to make hand shadows, bake treats, set a trend, do the splits, escape from zombies, read someone’s mind, flip a pancake, play games and much, much more. The Book For Girls is guaranteed to beat boredom and help girls become the best at everything.”1

I am incredibly thankful I chose to learn how to read minds and fight zombies as a child; it has been very useful in my adult life. In retrospect, this book is quirky and harmless—a simple read for a sassy seven-yearold. However, upon further reflec tion and addressing my perfectionist problems in therapy, it has dawned on me just how weird it is that there’s a book titled “How to be the Best at Ev erything” in the first place.

“The Girls’ Book: How to be the Best at Everything,” in all its glory, reminds me strikingly of modern-day wifey culture. The slang term, wifey, was first defined on Urban Dictionary in 2003. Wifey

¹ Juliana Foster, “The Girls Book: How to be the Best at Everything,” Google Books, June 30, 2011.

traditionally refers to one’s wife and is often used as an endearing term sim ilar to that of babe, baby, honey, etc.2 Today, the slang term is much more of a cultural phenomenon.

Painted across bachelorette party ac cessories and peppered throughout pop culture, outside of being a term of endearment, the term “wifey” has also become a measure of a woman’s worth when it comes to relationships. In oth er terms, there is a subconscious, so cial sliding scale deeming some wom en better “wife material” than others.

fulfills us and brings us joy. In other ways, I believe these socially observed standards act more as a way to objec tify women than anything else.

Social and cultural nods like wifey cul ture and my beloved childhood read spike what I believe to be a life-long phenomenon of learning how to lure people—and specifically, potential prospects—in.

We see this all throughout pop culture. Unintentionally, I have come across three separate recipes for “Marry Me Chicken,” a recipe intended to make someone want to marry you after con suming it, on my TikTok For You Page over the past month. In 2004, Glamour magazine released the recipe for “En gagement Chicken,” a recipe that has stood the test of time, rumored to have resulted in Meghan Markle and Prince Harry’s engagement.3

I think it’s important to note that this is not exclusive to women, and broad ly in relationships we often, regardless of gender, rate people on the basis of whether they’re relationship or mar riage material.

In some ways this makes sense. Of course, we’re going to search for the best partner who has healthy traits, ² Slanglang, Wifey.

It’s quite funny. I personally catch my self cooking for potential mates every time I fancy someone, and I’m still not sure if I am doing it to be nice or if I am still just trying to be a girl who is the best at everything.

Studies show that individuals will ac tually go as far as changing their dat ing preferences to match potential prospects in order to get them to like them more.4 In an odd way, we sub ³ Glamour, “How to Make Engagement Chicken,” July 9, 2006.

⁴ Gurit Birnbaum, Mor Iluz, Harry Reis, Making the right first impression: Sexual priming encourages attitude change and self-presentation lies during

In an odd way, we subconsciously become less of ourselves in order to get people to want to be with us.

consciously become less of ourselves in order to get people to want to be with us.

The root of the desire to lure people in and want us actually comes from our natural instincts. No shocker, but since the start of mankind and through evolution, we as human be ings have instinctually found attrac tion toward other human beings and then taken part in a bunch of weird innate behaviors in order to attract them back.5 While this is a natural hu man experience our ancestors relate to, today we can just Google search what people want.

The internet provides overflowing ac cess to tricks, tips and stories to build our dating tool kits. When search ing “first date tips” on Google, over 18,400,000,000 results come up, mak ing my girly how-to book look like a little tiny shrimp.6 I don’t even know what someone would do with all of this information, let alone how they would apply it to their personal lives and turn success rates on dates. With pressures like Wifey Culture and recipes like Mar ry Me Chicken, it’s no wonder all this information is available.

For example using that Google Search one would be able to find studies that

encounters with potential partners,” Journal of Experimental Social Psychology, Research Gate, 2020.

⁵ Richard Taflinger, “Social Basis of Human Behavior: Sex,”Washington State University, May 28, 1996.

⁶ Google Search, October 5 2021.

prove humor and sexiness tend to be more sought-after traits than wisdom and beauty.7 That individual would then be able to apply this knowledge in an effort to become the most attrac tive mate one may desire.

All of this “insight” builds up into what we know about dating. Finding the one has never really been authentic, but rather an intricate concoction meant to bewitch the best in sight. Starting at eight years old, I was acutely aware that

⁷ Gurit Birnbaum, Mor Iluz, Harry Reis, Making the right first impression: Sexual priming encourages attitude change and self-presentation lies during encounters with potential partners,” Journal of Experimental Social Psychology, Research Gate, 2020.

there were resources around me that could tell me all I needed to know about success in girlhood, and as I’ve gotten older these resources have become more widely and readily available.

At the end of the day, however, maybe it’s not that deep. I clearly have fond memories of the book and I do enjoy cooking new recipes with or without a romantic fling in attendance. Rather, what these cultural phenomenons real ly tell me is that we’re all just trying to find companionship. Maybe we could do so in a more authentic way, but the brain’s proven natural instinct to im press mates and lure them in can’t be half bad if it ends in love. ■

IT'S NOT WITCHCRAFT

A FRANK CONVERSATION ABOUT VAGINAL HEALTH & WELLNESS

Written by Meg Savaglia, Contributing Writer

Graphic by Bella Swirth, Contributing Graphic Artist

WhenI was in the first grade, the effervescent tale of “Bloody Mary” was passed around Cooper Elementary School with great reverence. Rumor had it that the elusive Bloody Mary would appear when summoned by saying her name three times over in front of the bathroom mirror. Terror of this ghost quickly spread throughout the school and reached six-year-old me through my Girl Scout troop. For months, I was petrified to enter the bathroom. The UTIs that plagued me for the remainder of my elementary years were scarier still, and I peed in a cup much more than I would have preferred at six years old.

From here, the journey I’ve had with my own vaginal health has been full of ups and downs. Internet myths cursed my vagina for much of my middle school and teenage years—from over prescribing myself probiotics and cranberry supplements to bathing in diluted apple cider vinegar. 12 The mystery of the vagina, to me, seemed to be one truly fit for the Halloween season—shrouded in whispered sa cred rituals and consecrated secrets passed from friend to friend. Is it pos sible to look past the terror and start treating our own vaginas with the re spect they deserve?

Demystifying the vagina starts with viewing your health as a micro issue— not a macro one. Twitter threads and TikToks that claim to hold the secret to a scent-free, peach-flavored para dise are targeted towards the macro audience (not to mention an audience based on insecurity) of the greater population. When it comes to vaginas, taking care of yourself is much more personal. Not all vaginas are one and ¹ Staff, M. C. (2016, November 16). You don’t need fancy products for good feminine hygiene. Retrieved from Mayo Clinic Health System

² Gunter, Jen. 2019. “A Lady’s Many Scents.” New York Times.

the same in appearance or function. What is normal in scent, discharge and menstrual cycle for your friends may not be the norm for you.

What’s the best way to find out what is normal for you? Being selfish about your health and honest with your doc tor and gynecologist. There’s magic in regular pap smears and STI testing.3 On our very own UW-Madison cam pus, University Health Services allow for transparency with ourselves and with a medical professional that can provide more sanctity than a Google search ever could.

When it comes down to it, there is no secret to a perfect vagina. It’s impos sible to meet the cultural expectation of what vaginas are “supposed” to be. Laboring under this expectation sac rifices your health—I learned this the hard way.

Since my elementary school days, I have established a healthier routine, consisting of cotton underwear, lots of water, peeing after any sexual activi ty, limited shaving or grooming and a small amount of hydrocortisone cream for the occasional itch or razor burn.

45 Six-year-old me would be happy to know that I’m much better equipped to deal with seemingly intermittent UTIs—and that I have conquered my fear of ghosts in public restrooms.

*Many of the articles presented as works cited for this article emphasize vaginal health as women’s health. We at MODA recognize and advocate for trans and non binarys persons in our discussion of vaginal health and well ness in this article and always. ■

³ Barnes, Zahra. 2016. “This Is How Often You Need To Get Tested For STDs, Based On Your Relationship Status.” Self.

⁴ OHSU Center for Women’s Health. (n.d.). The care and keeping of your vagina.

Retrieved from OHSU Center for Women’s Health ⁵ Garrett, H. (2020, September 2). How to prac tice proper genital hygiene. Retrieved from Planned Parenthood:

Is It in the Cards for Us All?

HOW LACK OF REPRESENTATION IN TAROT LIMITS ACCESS TO SPIRITUALITY

Written by Madison Targum, Contributing Writer Graphic by Rosie Quinlan, Contributing Graphic Artist

New Orleans is known for its enchanting atmosphere: the way the architecture bounces you back in time, the traditional magic and the crystal shops that draw you in from streets flooded by jazz. During my trip to New Orleans, I got a taste of this enchantment when I accompanied my mom to a tarot reading. I was surprised by how therapeutic the process was, but regardless of the affirmations about my strong-willed personality, I remember the art on the tarot cards most.

They were whimsical and full of detail. Vibrant reds and blues hinted at the mood of each card. Yet one troubling detail remained consistent: the art only reflected white people in ornate settings. In a city with cultural roots in Creole and African magic practices, I began to wonder how many of the tar ot decks being used were limited to those in traditional European style.

Tarot cards first circulated in Italy in the 15th century as a parlor game created for the Duke of Milan for members of his courtship.1 The cards were original ly played like a bridge game, known as tarocchi, and commissioned by artists to be customized for elite customers.2 Many of the artistic visuals expressed in early tarot decks were heavily in spired by the Italian renaissance and Biblical folktales that would contribute to their meanings later on.3

By the late 18th century, tarot trans formed into a reputable means of spirituality when French intellectuals promoted ancient Egyptian writings

¹ Brendan I, Koener. “Where do tarot cards come from?” Slate, 2002.

² Ibid.

³ Patti,Wigington. “A Brief History of Tarot,” Learn Religions, 2018.

as vital to understanding human exis tence and the map of the soul.4 This includes ideas of occultism and the works of Egyptian priests brought over to Europe by enslaved Africans and Asian missionaries.5

After linking the imagery of the tarot to cultural mysticism, the cards gained greater credibility among wealthy white Europeans. Intrigued by the ar chetypal personality traits in the cards that were more flattering than psycho logical profiling, tarot would provoke a newfound fascination with foreseeing the future throughout Europe.

However, this adoption of tarot as a means for white spiritual exploration and divination makes the ethnic origins of tarot difficult to trace. Despite the influence of Egyptian culture on tarot, the Christian symbolism and reflec tions of royal hierarchy present in much of the art limits who can feel welcome in this sect of spiritual exploration.

This exclusion can be seen in mod ern tarot practice today. Even though these readings are supposed to hold universal messages, the cards histori cally depicted white, affluent individ uals not artistically representative of diverse identities.

Nevertheless, there are many artists actively bringing cultural represen tation to tarot. Mexican artist David Romero recreated the traditional Two of Swords card with pops of color and accent details inspired by Aztec cul ture. In his interpretation, the figure appears as a woman in ancient Aztec dress whose swords have been trans

⁴ Hunter, Oatman - Stanford. “Tarot Mythology: The Surprising Origins of the World’s Most Misun derstood Cards,” Collectors Weekly, 2014. ⁵ Ibid.

formed into corn.6 By defying the gen der norms of typically male figures as well as incorporating Aztec spirituality, Romero maintains the meaning of the card, which makes his work even more appealing to the public.

Another artist that disrupts tarot norms is Julia Turk, who offers a more inclusive interpretation of traditional archetypes through adrogynous figures.7 These adrogynous figures are supposed to represent cosmic individuals who have no gender or racial identity.

The progression artists have made in diversifying tarot visuals opens up the door for more people to be included in the spiritual community as a whole. During the Covid-19 pandemic, re ports have shown that many women of color have reconnected with spir itual practices rooted in African, In digenous and Latinx ancestry due to social media.8 Decks like The Modern Witch Tarot on Amazon have gained 4.9 out of 5 stars because creator Lisa Sterle illustrated her cards to cele brate multiple identities.9 Although the deck maintains traditional sym bolism, its figures represent all ages, sexual orientations, body types and races, allowing individuals of all types to feel represented and welcomed.

Ultimately, the beauty in tarot is that it can inspire both the awe and desire for knowledge of our future. But in the same way that representation in film, literature and music are vital to creating unity, so is representation in the cards. ■

⁶ Matt, Alagiah. “What lies behind artists and designers’ eternal obsessions with Tarot cards?” 2020,

⁷ Ibid.

⁸ Stephanie, Long. “Black & Brown Women Revive Tarot and Astrology in Covid,” Refinery29, 2021.

⁹ Mercedes, Viera. “The Modern Witch Tarot Deck Amazon Reviews 2021,” Refinery29, 2021.

Afterlight

Directed by Samantha Starks, Creative Director Assisted by Alejandra Butcher-Salazar and Ella McCue; Creative

Team Staff and Ally McNeive, Cassidy Chemer, and Jane Houseal; Creative Team Contributors

Photographed by Audrey O’Neill, Photography Director and Luc Marchessault, Staff Photographer

Modeled by Bridgette Ugarte, Noah White and Justin Apresa Makeup by Riley August, Makeup Director Hair by Amanda Adams

Special Thanks to Gwynne Tyksinski, Stillgood’s Owner

¹

The Night Your Life of

EVERYTHING YOU NEED TO KNOW ABOUT

Written by Hannah Ritvo, Contributing Writer

Graphic by Sammy Meyerson, Contributing Graphic Artist

Isaw“The Rocky Horror Picture Show” for the first time when I was 16. Standing in line outside the Nuart Theater in Los Angeles, it was the first time I’d ever been completely surrounded by drag queens, LGBTQ+ individuals and glamorous characters wearing stilettos, tights and bright red lipstick. Before we’d even walked into the theater, I was hooked.

“The Rocky Horror Picture Show” is a parody tribute to the science fiction and horror genres. The musical hosts an array of extraordinarily interesting characters, including a mad scientist who happens to be pansexual and transgender, an artificially made man and a young, newly engaged couple.

The show kicks off with this couple, Brad and Janet, getting a flat tire and discovering the mansion of the mad sci entist. Groundbreaking for its time, the film goes on to explore homosexuality, queerness, voyeurism and adultery in just under an hour and 40 minutes.

When it was released in 1975, the film was initially considered a flop. Howev er, due to its representation of sexual ity and queerness in a post-Stonewall world, the LGBTQ+ appeal can be cred ited for its success. Over time, the pro duction began showing at midnight in big cities across the country, gaining popularity and a massive cult following.1

“TRHPS Official Fan Site: History: Production

“The Rocky Horror Picture Show” and its following gave queer individu als a safe space, hosting a cast full of LGBTQ+ characters—something that’s rare in the cinema world, even to day. Richard O’Brien, who wrote “The Rocky Horror Picture Show,” has stat ed that the film is a celebration of dif ferences that allow marginalized com munities to coexist.2 In a homophobic and transphobic world, O’Brien built a place that encourages gender expres sion, acceptance and freedom of sexu ality for all.3

Beyond its inclusive narrative, “The Rocky Horror Picture Show” is one of the most engaging and interactive film experiences out there. Typically, a view ing will feature a shadow cast of indi viduals acting out the film in real life, right in front of the screen. In addition, most showgoers dress up for the oc casion, donning outrageous costumes they copy from the film, including sti lettos, stockings, ripped tights and high heels. A lot of viewers also bring props like newspapers, toilet paper, rice, wa ter pistols and toast to throw on stage or use when the time comes.

Notes.” The Rocky Horror Picture Show: The Official Fan Site

² Curtis M. Wong “Why ‘Rocky Horror Picture Show’ Remains a Queer Cinematic Milestone.” HuffPost, HuffPost, 17 Oct. 2018.

³ Sal Piro. “TRHPS Official Fan Site: History: How It Began,” The Rocky Horror Picture Show: The Official Fan Site!

Audience participation is, for many, the most amusing part of the show. For over 40 years, Rocky Horror fans have shouted out “talk-back lines” that they’ve created or memorized, re sponding to lines from the movie. The audience participates throughout the whole show, singing along and shout ing out. Every production is an unfor gettable experience.

For first-time viewers—or Rocky Horror “virgins”—the experience is even more fun. Before the show begins, so-called “virgins” are called onto stage at the beginning of the night. Once on stage, cast members draw a red lipstick “V” on their foreheads and make them re cite an oath, blurring the lines between the cast and the audience.

Experiencing “The Rocky Horror Pic ture Show” for yourself is something I would recommend to anyone, and you can do so right here in Madison this season. The Velvet Darkness is Madi son’s very own Rocky Horror cast, and they perform the third Friday of every month at a local nightclub called the Crucible. The Wisconsin Union The ater at Shannon Hall is also hosting a viewing of “The Rocky Horror Picture Show” around Halloween this year. If you’re a first-time viewer, come pre pared for the night!

■

"THE ROCKY HORROR PICTURE SHOW"

Q&A WITH LAURA KUHL

MADISON PSYCHIC TALKS

SPIRITUALITY, PERSONAL READINGS AND OPENING UP TO YOUR GIFTS

By Mason Braasch, Lifestyle Editor Graphics by Emma Gray, Arts Curator, and Alyssa Cohen, Contributing Graphic Artist

INTERVIEW WITH A

PSYCHIC

INTRODUCTION

I have always been curious about psy chics and the way that they connect with people. For years, I have thought about getting a reading from one, but I always stop myself, too nervous and afraid to hear what they might reveal about my life. Enter; Laura Kuhl.

Laura is a fourth-generation intuitive healer who has guided hundreds of people through her readings. Her work connects people to loved ones who have passed, helps people navigate tough personal issues such as relation ships and careers and brings peace to homes that have been occupied with non-essential energies.

Laura has a warm and welcoming personality that instantly dissolved any fears and insecurities I had going

into our conversation. After I got to know her as a person, she dove into my own personal reading, in which we discussed my dream of becoming an author, how to navigate my big emo tions in my relationships, and even ways to make my boyfriend’s mom like me more!

Without any judgement, Laura con ducted a reading that made me feel more confident and grounded in multiple aspects of my life. As an in tuitive psychic and healer, she is ef ficient and helpful. But it’s her kind personality—which presented itself in our conversation about her fami ly history and the ways that she uses her gift—that showed me the type of person she is overall.

MODA MADISON: HOW DID YOU KNOW THAT YOU WERE A PSYCHIC INTUITUVE HEALER?

Laura Kuhl: I am a fourth-generation intuitive healer. My Great-Grandma Jortzig was the first one that we know of, and then it skipped a generation because it goes male, female, male, female, and goes to the youngest of every generation. There wasn’t a male in the next generation until my Dad came along. My Grandma told him when he was nine that he was a healer. He grew up during the Depression and was raised as Missouri Synod, which is a really strict sect of the Lutheran re ligion, so she didn’t really explain to him what his grandma did. She was

the healer for the area; there were no doctors at the time so everyone would go to her and she would create tinc tures and do healings for people. My Dad went into the Navy and became a doctor, and he ended up not ever using his gifts fully because he didn’t really understand them. When I came along, I asked questions. I would see things and would talk to angels, and I would question him about that. He told me that they were just figments of my imagination. When I met my first teacher, who was an acupuncturist, he opened me up to my gifts. I just kept hearing “ask him, ask him, ask him!”

He was so excited that I was opening up to my gifts and I was like “yeah, but I got this thing that wont leave me alone, how do I shut it off?”

MM: WHAT DOES BEING A PSYCHIC REALLY MEAN?

LK: I can see, I can feel and I can hear all knowing information, and I use it on an everyday basis. But, I am also a Christian, which makes me unique. My upbringing does focus me in a way that’s comfortable for me. I have clients from all over the world who all have different belief systems, and I believe that everyone has a way of looking at their higher self or their God, or however you want to say it; I am open to whatever. I just want [my clients] to be able to tap into them

selves and be able to listen to their own self; what’s right and true for them, and not so much about what’s on the outside. There’s a lot of things out there that tell us what to think and how to feel and what’s beautiful and what’s not. I try to get people to look inside of themselves and figure out what’s beautiful for you and what works for you and all of your healing. We all know how to heal ourselves on every level, whether it be physical, mental or spiritual; it’s just getting around those blocks and the things that are stopping us from healing.

MM: CAN YOU WALK ME THROUGH WHAT AN AVERAGE DAY AS AN INTUITIVE HEALER WOULD LOOK LIKE?

LK: No, I can’t. It depends on the day and the season and what’s going on. I go with the flow. I have clients that talk to me regularly, and I have clients that only come to me every two or three years. I don’t have a regular day. I just go by what God brings in front of me.

MM: WHAT IS YOUR FAVORITE THING ABOUT BEING AN INTUITIVE HEALER?

LK: My favorite thing about being a healer is helping other people. When families who come in have lost a loved one and we can connect with them— that’s when healing happens. When they give me that hug, and they’re cry ing and they’re like “thank you so much I just needed to know that they were okay.” That kind of healing, that kind of love: We all know it. We’ve all lost somebody or a pet or something that we love so much. To be able to have that contact, I think, is just so beauti ful. I love the love. The more I do this, the more love I feel. I help people, and that’s beautiful.

MM: WHAT WOULD YOU SAY TO SOMEONE WHO WOULD LIKE TO HAVE A READING WITH YOU BUT IS SCARED?

LK: It is kind of nerve wracking because you don’t know what to expect. But, if you can explain to them, it’s like going to your best friend’s house for a cup

of coffee and a little conversation—and no one knows you better than your best friend. You can spill all of your deepest and darkness to them and you know they won’t share it with anyone else. You know they won’t judge you, they’re just going to love you. That’s kind of what it’s like. But if you go into a place where you don’t feel that—walk out. Even if it’s with me, if you walk in and you feel that something is not right here, walk out.

questions and they’ll start with one or two and then all of a sudden they look down and they’re like “you answered all my questions already!”

MM: WHAT WOULD YOU SAY TO SOMEONE WHO IS SKEPTICAL ABOUT WHAT YOU DO?

MM: CAN YOU WALK ME THROUGH A TYPICAL READING WITH A CLIENT AND EXPLAIN YOUR PROCESS?

LK: People come to me for all different sorts of reasons. A lot of people will come, especially now, because they’re lost; they don’t know what to do or they feel stuck. A lot of times, that’s because fear blocks what they are try ing to accomplish. I tap into their first, middle and last name and I get the vi bration from them, then God. I ask their permission; so I’d say “Mason Elizabeth Braasch, do you give God permission that Laura Beth Kuhl read you today, yes or no?” Then, whatever it is that you want to ask me, I can receive in formation. It doesn’t matter what it is, I can receive the information. It’s funny, people will come in with a long list of

LK: Well, I think there are a lot of charl tons out there who aren’t trustworthy and they give people like myself a bad name. It’s more of a connection thing. Follow your instincts. If you’ve never done it before, I’d say give me a call and talk to me or to the person who you feel called to talk to; it doesn’t have to be me, it can be anyone. If you walk into a session that doesn’t feel right; leave. Trust your own self. Trust me, there are a lot of people out there who are bogus; you want some one who talks to the light, not to the darkness. If you can feel the love, then it’s good.

MM: WHAT ADVICE WOULD YOU GIVE TO SOMEONE WHO HAS SIMILAR GIFTS TO YOURS AND WOULD LIKE TO START OPENING UP TO THEM?

LK: I have lots of people that I work with that I help open their gifts. I will always say meditation and prayer is a great way to connect to God. Prayer is talking to God and meditation is listen ing. Isn’t that a beautiful way to see it?

*This conversation has been edited and condensed ■

Halloween Costumes from Your own Closet

HALLOWEEN COSTUMES FROM YOUR OWN CLOSET

Written by Jamie Randall, Contributing Writer

Photographed by Molly Jacobs, Staff Photographer

Modeled by Molly Phelan Makeup by Brigetta Hartzell Styled by Shannon Hasbrook

WhenOctober rolls around, costume planning creeps into everyone’s mind. So often people purchase costumes to wear once and don’t even consider the potential that exists within their own closet. It’s time to save money and be more sustainable this Halloween; here are six articles of clothing that you can use for your costumes.

1. Flannel

This basic fall staple has a lot of cos tume capability. Tie your favorite flan nel around your waist and pair it with denim to achieve the classic ‘country’ look, or get a friend with nice sweat ers to be your David and channel your inner Stevie Budd from “Schitt’s Creek.” If you’re a big “Gilmore Girls” fan, wear a baseball cap backward and bring around a coffee cup to get into Luke Danes’ character. For an in separable duo, throw on your flannel, put your hair in braids and grab some peanut butter and Oreos to morph into Hallie and Annie Parker from “The Parent Trap.”

2. Leather

Leather is a sleek and sexy option that you can never go wrong in. Pair a jack et with a black skirt or ripped jeans and fishnets for the classic biker outfit. You can also wear it with leather pants or leggings to channel your inner rock star: think Olivia Newton-John from “Grease” or Vanessa from “Phineas and Ferb.” If you’re feeling the pants but don’t want to be too flashy, grab some animal ears and you’re good to go. For something that fits the season, em body the 2021 movie “Cruella” starring Emma Stone and style a leather jacket with a long midi skirt—add a cane and a white and black wig to seal the deal.

3. Animal print

Animal print has made a comeback this season and comes in many different clothing styles. From dresses to crop tops, skirts and more, this is probably the easiest way to dress for Halloween. Pop off and transform your look into the old reliable cheetah troupe, or Syd ney Sweeney’s iconic Alabama Worley from HBO Max’s “Euphoria.” What bet ter way to represent the Midwest than a cow-print skirt, dress or set?

4. Denim

Although jeans are arguably the most basic and staple piece of clothing, they can still be incorporated into your Halloween look. For a decade’s theme, find a pair of flare jeans and some chunky heeled boots to achieve a disco aesthetic or classic “Mamma Mia!” look. Denim on Denim is also a simple way to replicate a great pop culture costume. Grab a partner and have them be the Justin Timberlake to your Britney Spears or Nicole Ritchie to your Paris Hilton. For a 2000s look, grab some low-rise jeans, a cropped white or black tank top and a vintage bag from your closet and you are good to go.

5. Graphic Tees

It is so easy to use your graphic tees in the back of your closet for a costume. Whether it’s a classic Rolling Stones top or a Snoop Dogg tee, take advan tage of the graphic tees you own to achieve a more memorable and orig inal costume. Find accessories like a bandana or big hoop earrings to cre ate the full rock star aesthetic. Add grunge makeup for the complete look.

6. White-collared buttondown shirt

A white collared shirt is so simple yet serves as a great base piece for doz ens of different Halloween costumes. Recreate the iconic Wednesday Add ams’ look this October by pairing your go-to button-down with a black dress. Take inspiration from Mia Wallace from “Pulp Fiction,” and wear your white collared shirt over a black bra with black flare pants. In honor of the end of her conservatorship, this is a great year to go as Britney Spears’ in the “...Baby One More Time” music video. This sim ple but easily identifiable look requires nothing more than a white collared shirt, black skirt and grey cardigan.

Your closet holds so many options that you may not be aware of. Grab that ar ticle of clothing you haven’t worn in a while and give it a good wear in your DIY costume for Halloween 2021. Your bank account will thank you later. ■

Freakshow

AMERICA'S COMPLICATED FASCINATION WITH SIDESHOWS

Written by Maya Greenberg, New Members Director Illustrated by Riley August, Staff Graphic Artist

Thecircus has been a staple of American entertainment for over two centuries. From state fairs to huge international phenomenons, they attract families with their rides, magic shows, games and food. However, they also boast a much darker attraction: Freak shows.

Freak shows, often called sideshows, display human anomalies. These ex hibits of human rarities surged across America in the late 19th century, “cap italizing on a new fascination with science and the inhabitants of for eign lands.”1 Famous “freaks” such as Lobster Boy, the Bearded Lady and Siamese twins Chang and Eng would travel around and perform tricks for audiences, amazing them with both their skills and their appearance. While some view these performers as having been granted unique opportunities, history suggests that many of them were exploited and subjected to hu miliation and bigotry.

¹ Brigham A, Fordham, “Dangerous Bodies”, UCLA Entertainment Law Review, 2007.

For a long time, medicine was not ad vanced enough to properly diagnose many of these “freaks.” The majority of people would not have access to learn about the diagnoses even if they were possible, and many viewers truly be lieved that the shows they were going to see contained performers that were something different than human.

The 1800s were a cruel century for anyone who was seen as “different” in the gaze of privileged white Amer ica. For individuals who were forced to the fringes of society, freak shows created a community where they were heralded as stars. Further, sideshows provided jobs to individuals who may have otherwise been excluded from the workforce. If put on in the right way, the shows may also have had the power to “encourage productive dis cussion about physical difference.”2

Like anything else, these performances were a form of art. Some of the most famous performers profited greatly off ² Ibid.

of the American public’s fascination with human oddities. By the time that Siamese twins Chang and Eng retired at only 29, they were millionaires.3 Wil liam Henry Johnson performed un der the name “Zip the Pinhead,” and although he spent his career playing the fool, he was a millionaire by his retirement.4 Both his employers and his audience always believed he had a mental disability, but on his deathbed, Johnson turned to his sister and said, “well, we fooled ‘em for a long time.”

Unfortunately, freak shows also have a darker history of exploitation with roots in racism. The basis of much of the racism in American freak shows can be boiled down as a response to one man: Charles Darwin. “On the Ori gin of Species,” Darwin’s revolutionary work on evolution, came out in 1859 and P.T. Barnum, America’s beloved showman, wasted no time riding on the coattails of its success. Barnum re lied on American society’s fascination ³ Zachary, Crockett, “The Rise and Fall of Circus Freakshows”, Priceonomics, April 30, 2014. ⁴ Ibid.

with Darwin’s work, their continued love for the abnormal and their gener al ignorance of the rest of the world to put together exhibits that did nothing less than exploit minorities and for ward racial stereotypes.

In a New York museum, Barnum tout ed his new exhibit titled “What is It?”5 Using William Henry Johnson, or “Zip the Pinhead,” once again as an attrac tion, Barnum told his audience that he had discovered the “missing link” be tween man and ape. In a show of abso lute dehumanization, Johnson was put in a cage and ordered to do nothing but grunt.6

Shown just months before the 1860 presidential election, “What is It?” was used as anti-Republican fuel to argue that Black Americans didn’t de serve the same status as White Amer icans and in turn should not be given the citizenship for which abolitionists were campaigning. Furthermore, as Barnum’s goal was to truly make his audience believe whatever story he was telling them, exhibits like “What is It?” combatted actual science and furthered the stereotypes of scientif ic racism, a form of racism that seeks to justify racial hierarchies by claiming that minorities are genetically inferior.

Another individual who was exploited to promote scientific racism was Krao Farini, a Southeast Asian woman who experienced hypertrichosis.7 Displayed in an exhibit called “Krao the Missing Link,” Farini’s rare condition that pro duced excessive hair on her body was portrayed as evidence that she was a step below humans in evolution. Her dying wish was to have her body cre mated so as to avoid being gawked at even in death.8 These attitudes were accepted and widely portrayed in An tebellum America, and P.T. Barnum profited off of the times.

⁵ John, West, “What is it?” Human Zoos.

⁶ Zachary, Crockett, “The Rise and Fall of Circus Freakshows”, Priceonomics, April 30, 2014.

⁷ Ibid.

⁸ Just, Annet, “Gawked, Tortured and Mocked”, History of Yesterday, Jun 17, 2021.

Freak shows began to decline in the 1930s following an increase in awareness about issues of exploitation, the rise of disability rights and a more widespread understanding of medical diagnoses.

However, attitudes change as society progresses. Freak shows began to de cline in the 1930s following an increase in awareness about issues of exploita tion, the rise of disability rights and a more widespread understanding of medical diagnoses.9 The public could now better understand the perform ers, and this made it far less socially acceptable to ogle at them and equal ly less intriguing. Aside from this social progress, freak shows died out because of television: people would rather stay home or go to a theater, and circuses and sideshows waned in popularity as a result.10 The increased accessibility of media also allowed for people to easily discredit the sensational and falsified backstories of the performers.

The fascination with the strange and marvelous can be chalked up to human nature. We stare as “American Horror Story” dresses Evan Peters up as Lob ⁹ Laurie L, Dove, “Why did circuses have freak shows?”, howstuffworks

¹⁰Zachary, Crockett, “The Rise and Fall of Circus Freakshows”, Priceonomics, April 30, 2014

ster Boy, and we flock to theaters to see Hugh Jackman play P.T. Barnum— albeit a far more moral one. Even as children, we were amazed and disgust ed by Ripley’s Believe It or Not! Muse um. But, as is the case with many other things that we attribute to human na ture, our fascination comes at a cost.

Whether you choose to delve into the darkest exploits of freakshows or not, it is impossible to overlook that at their core, these shows were a chance for physically and socially privileged peo ple to gawk at those different from them in a socially accepted way. Al though this divide may not exist in as obvious of a way as it did in the freak shows, entertainment and media will always work to ostracize and sensa tionalize those with different appear ances and experiences. It is still as im portant today to balance innate human nature and fascination with respect and empathy. ■

I reread the “Twilight” Saga—and Jacob deserved better

WHY I'M A TEAM JACOB CONVERT

Written by Rachel Hale, Culture Editor

Graphic by Mac Gale, Staff Graphic Artist

It has been nearly a decade since the final film in the “Twilight” saga was released in theaters, but the arrival of the series to Netflix last month sent many Twihards—myself included—running to reminisce in some Forks-fueled teenage nostalgia. My anticipation of an inevitable movie marathon led me to reread the series, and yielded a revelation more unexpected than the twist ending in “Breaking Dawn: Part 2”: I’m now Team Jacob.

Picking up the books for the first time since 4th grade, I expected to find some shortcomings with the plot, which is basically about a 100-some thing-year-old glittery vampire (Ed

wolf (Jacob Black) vies for Bella’s af fection, the peace of an age-old Native American treaty is threatened and a hybrid, vampire-mortal baby is born— easy to follow, right? Yet even as I not ed aspects of the books that failed to meet my expectations a second read around, I was most shocked to realize how many of Edward’s red flags I over looked in my youth.

I’m under no illusion that Bella wasn’t going to end up with Edward—with all due respect to Team Jacob, it’s painfully obvious that she was going

to choose the romantic, self-loathing vampire by the end of “New Moon”1 but that doesn’t mean that Jacob wouldn’t have been better for her. Ed ward’s protective nature, which once seemed endearing to 11-year-old me, now appears overly controlling and at times downright creepy. For starters, his obsessiveness with being able to read her thoughts leads him to lash out more than a few times, and his natural concern for her safety turns toxic when he breaks her truck to keep her from visiting Jacob. And if spying on her in her sleep and following her every where in the first novel wasn’t enough, he’s impossibly clingy and sees no ¹

STEPHENIE MEYER, New Moon (S.l.: LITTLE, BROWN, 2006).

problem with her cutting off her ex isting friends to spend more time with him. Worst of all is his own self-loath ing, which nearly drives both him and Bella to death after he abandons her in a broken state, leaving Jacob to pick up the pieces.

Jacob, on the other hand, falls for Bel la for reasons unrelated to the allure of her bloodstream. A longtime fam ily friend of the Swans, Bella comes to him for friendship in “New Moon,” finding that he’s the only person who helps fill the hole of Edward’s absence. Jacob is playful, caring and more than happy to let Bella lean on him for sup port, even when she initially insists that she doesn’t return his feelings for her. Despite the pain of her rejection, he continually makes sacrifices for her, keeping her safe from malicious vam pires in the Cullens’ vacancy, abandon ing his pack to protect her and even supporting her in pregnancy as she carries his rival’s child.

Opponents would argue that Jacob is just as dangerous as Edward: he’s tem peramental, and a fleeting moment of anger could lead him to shift and lash out at her, just as Sam did to Emily. In “Eclipse,” Jacob kisses Bella against her will and later threatens suicide after finding out about her engage ment, manipulating her into kissing him again.2 Despite these flaws, Bella finds that she’s in love with the were wolf in a way that doesn’t require her to be careful, and she ponders about a future with him where she wouldn’t have to give anything up.

The two mythical suitors are hot and cold different—literally. It’s only a mat ter of days before Edward and Bella’s relationship brings on danger, from a mere paper cut to a chase with a track er that forces her to betray Charlie and lands her in the hospital. In contrast, Bella’s relationship with Jacob comes about naturally, building motorcy cles and eating muffins with Jacob’s Quileute friends. A future with Jacob would’ve allowed Bella to remain hu man, bear children normally and keep her family and friends involved in her life (and could have avoided the awk ward imprinting-on-Renesmee situa tion). While the books compare Jacob to Bella’s personal, ever-shining sun, Edward’s love for Bella is akin to his personal brand of heroin. When Bella

² STEPHENIE MEYER, Eclipse (S.l.: LITTLE, BROWN, 2009).

is with Edward, she’s intoxicated, will ing to shut out the rest of the world and her better senses of safety, a fact of which Edward is well aware. Being with Jacob, alternately, completes the natural world she’s already living in.

The effect of the “Twilight” series and subsequent Team-Edward-Team-Ja cob debate can’t be understated: Just typing “Twilight” into Google images will have you scrolling through pages of hunky vampire-human-wolf trio pic tures before finding a photo of actual dusk. The initial books and $3.3 bil lion five-film adaption3 that followed concluded in 2012, but Meyer’s Au gust 2020 release of “Midnight Sun’” sent many fans spiraling back into

perspective, as reasoning to under stand his intentions. But while the nov el gave readers a further look into the incredible self-restraint Edward had, it only reaffirmed my belief that Jacob would’ve been healthier for Bella—Ed ward himself recognizes Jacob’s integ rity in his pure thoughts and notes that he seems to be the human friend with whom Bella is most comfortable. All the while, we learn that Edward made up his mind to leave Bella early into the novel, despite seeing Alice’s harrowing vision of her in a lifeless state pending his departure. When Jacob arrives for an unexpected dance at the prom, Ed ward briefly considers him and Bella together, knowing Jacob possesses a quality Edward desperately wants Bel

Jacob, on the other hand, falls for Bella for reasons unrelated to the allure of her bloodstream.

the comfort of the teenage love story, and a subsequent revival moment has sparked TikTok fashion trends and Ins tagram sliders catered to a new wave of Gen-Z fans.

Edward’s character isn’t the only part of the series that aged poorly in the time that has passed since, which saw the legalization of gay marriage, the rise of the MeToo movement and countrywide protest over police bru tality. Namely, its purity culture and lack of diversity—having more charac ters of color and representation from the LGBTQ+ community would have greatly enhanced the plot (imagine an alternative plot where Alice had feel ings for Bella too!). Still, these qualms couldn’t overcome my hunger for the page-turning books, which I’m some what embarrassed to admit that I binged in under two weeks.

As other longtime fans began their own reread of the series, some Team Edward supporters pointed to Meyer’s gender-swapped “Midnight Sun,” a re telling of the first book from Edward’s ³ “‘Twilight’ Rises Again, This Time as a Concert Tour,” Reuters (Thomson Reuters, May 2, 2019).

la to hold onto but will never have him self: humanity. In the following novels, Edward recognizes that Bella would be happy with Jacob, acknowledging that Bella’s feelings are partially a conse quence of his absence in “Eclipse,” and even suggests that Bella have a child with Jacob to avoid the danger carry ing his brings on in “Breaking Dawn.”4

Reflecting on the love story that cap tured millions a decade later, it’s clear the debate is a closed case: Bella end ed up with Edward, crushing Team Ja cob supporters everywhere. But last year, Meyer announced that she has plans for two more “Twilight” books in the future, leaving a path for the saga to stay alive for years to come. While Meyer confirmed that she won’t write anything more from Edward’s perspective (thank goodness), she has hinted that she may revisit Jacob and Renesmee’s story. Despite my embarrassment, I know I’ll cling on to every sentence if she does, but can’t help but hope that Jacob fares better off—out of everyone in the saga, he deserves it most. ■

⁴ STEPHENIE MEYER, Breaking Dawn (S.l.: LIT TLE, BROWN, 2008).