Loud: Spring 2021 Print Issue

Photographed by Annika Ide, Photography Director

EDITOR IN CHIEF

Allyson Konz

DEPUTY EDITOR

Kate Lawless ART DIRECTOR

Channing Smith

WUD PRESIDENT Lily Miller

WUD PUBLICATIONS COMMITTE DIRECTOR

Evanka Annyapu

WUD PUBLICATIONS COMMITTE ADVISOR

Robin Schmoldt

ARTS CURATOR

Emma Gray PHOTOGRAPHY DIRECTOR

Annika Ide

CREATIVE DIRECTORS

Sam Starks

Maria Dayneko

FASHION DIRECTOR

Sarah Troy

FASHION EDITOR

Corbin Woessner

LIFESTYLE EDITOR

Shelby Evans

CULTURE EDITOR

Gabrielle Gronewold

ARTS EDITOR

Arella Warren

SOCIAL MEDIA AND MARKETING DIRECTOR

Jade Christensen

SPECIAL EVENTS COORDINATOR

Talia Abbe

WRITERS

Kate Lawless • Arella Warren

• Shelby Evans • Grace Reber • Manon Bushong

• Jessica Katz • Amanda Liebmann • Emily Fleming

• Jane Houseal • Rachel Hale • Kora Quinn • Allyson Konz • Gabrielle Gronewold

• Corbin Woessner • Mason Braasch •Elizabeth Karnowski • Meghan Savaglia • Abigail Crneckiy • Shannon McManus

MODELS

Bennett Artman • Kareem Matouk • Chelsea Hylton

• Corbin Woessner • Amy Cho • Lucia Wallinga • Tanya Vance

ART

Emma Gray • Kate Madigan • Channing Smith • Mac Gale • Ella Cunz • Riley August • Jade Christensen • Arella Warren • Cameron Buzzell • Jessica Tenenbaum • Nicole Glesinger • Allyson Konz

PHOTOGRAPHY

Molly Jacobs • Jessica Tenenbaum • Bela Orzechowski • Hannah Huber • Annika Ide • Audrey O'Neill • Seth DeGier

LIFESTYLE

6 Read Between the Eyeliner

Exploring different styles of bold eyeliner through the ages

5 The Power of Lingerie

Why wearing lingerie is empowering beyond the bedroom

14 The Evolution of Skater Style How skate culture has evolved from activity to aesthetic

21 Functional & Fashionable

How the industry is making clothing more accessible

33 Glitter & Glam

A look into the whimsical wardrobes of Studio 54

32 Are You Really Listening?

How to become a better active listener

46 Living Loudly

Maximizing your space and your joy

48 Beautiful Bravado

An Interview with Jackson Tanya Vance

40 Outspoken Icons

Highlighting designers who use their art as a platform for social justice

47 Spotlight on Vivienne Westwood How this designer integrates art and environmental activism

TABLE OF CONTENTS

8 Back to the Land

How this ‘60s movement continues to inspire us today

16 My My Eyes Are Not A Trend

Why the “fox eye” isn’t trendy, but rather a form of cultural appropriation

ARTS

30 From Soundcloud to Stardom

Social media platforms are giving new artists a shot at global fame

36 Sometimes Bold Representation is Worse

A history of queer coding in modern media

43

Pop Punk's Still Not Dead

I scream, you scream, we all scream for pop punk

FEATURED

9 Flux

18 A Dose of Reality

The racial and privilege implications of psychedelics

29 Sex Ed 101

America’s approach to sexual education is failing

38 An Interview with Djamal Lylecyrus

How does he see his role as a campus leader and what will he do next?

44 The Double-Edged Sword of Rhetoric

Raising our awareness on the art of persuasion and its power in everyday life

22 Inferno

Photographed by Annika Ide, Photography Director

Letter from the Editor

Dear Readers,

A year ago, I was designing the layout of our Lush issue in my childhood bedroom, reading the words and advice of Lauren Chung in one of her final letters from the editor. Today, I have re-read her letter, thinking about what I hope to say and what I hope our readers will get out of this issue. What does it mean to say goodbye to Moda after a year of not being able to gather this community together?

That’s what made deciding a theme so difficult. How do you take four years of college—of Moda—and sum it up into a final issue? In order to do this, the editorial board and I returned to our goals for this year, asking ourselves what being a member of Moda means, not just to us, but to our campus community. In our conversations, we kept circling back to our identities as authentic creators, leading us to the Loud issue.

The Loud issue is the Moda staff’s ode to self-expression, boldness and uplifting others; it is the defiant act of persisting through a year of trials and still pushing the creative envelope on what it means to be a student-run publication.

The idea of being loud and bold manifested itself in a variety of ways across our sections. For Lifestyle writers Abigail Crneckiy and Meghan Savaglia, boldness embodied the maximalism aesthetic and different eyeliner trends to try in your makeup routine. Likewise, Fashion writer Grace Reber wrote about fashion designers that incorporated their personal activism on and off the runway. And in our Arts section, Editor Ella Warren covered the resurgence of Pop Punk culture in 2021.

Our visual goals for this issue followed suit: Art Director Channing Smith pushed Loud into uncharted territory, experimenting with vibrant colors and bold, expressive typography. For the creative editorial shoot, Sam Starks and her team took to skateboarding culture and streetwear in Madison, Wisconsin, whereas Sarah Troy and her fashion team experimented with contrasting and colorful colors in the fashion editorial shoot. In both shoots, Sam and Sarah explore what being loud and expressive means through fashion, photography and creative styling.

It is humbling, to say the least, to be writing this letter one last time. So much has changed since our last spring print issue, and yet, nothing seems to have changed at all. To be a part of something so beautiful these past three years is my greatest accomplishment, my pride and joy. But, the privilege to work among some of the most talented and giving students on this campus is my greatest honor.

To the Moda staff: thank you for continually showing up and giving it your all. I am excited to see what this team continues to create beyond my final months as Editor in Chief. And to the readers: thank you for your consistent enthusiasm. I hope you enjoy paging through Loud as much as our team loved creating it.

EDITOR IN CHIEF ALLYSON KONZ

Disclosure

Since March of 2020, Moda Magazine has been committed to upholding and following CDC guidelines in the creation of our digital and print publications. For in-person photoshoots, this has entailed a minimum of two negative COVID tests, an entirely masked team directing the shoots, social distancing, and sanitation of any materials or props being touched. At our shoots, models have been the only individuals unmasked, and then, they are only unmasked when photos are being taken.

In the pursuit of full transparency, we have worked closely with the Wisconsin Union to ensure our photoshoots are conducted with current best practices and in line with UW-Madison campus safety policies. In light of the new, highly transferrable strains of COVID-19, we have decided to move forward with an allmasked team, including featured models, for the time being. Any photoshoots with unmasked models will be photos taken over video calls or self-timer photos and will be indicated as such. We look forward to continuing the production of our digital and print issues and pushing the boundaries of what it means to be a student publication in the wake of COVID-19. To see a full list of our guidelines and photoshoot practices, please visit www.modamadison.com.

The Power of Lingerie

WHY WEARING LINGERIE IS EMPOWERING BEYOND THE BEDROOM

By Jessica Katz, Lifestyle Editorial Assistant Graphic by Nicole Glesinger

You don’t have to look like a Victoria’s Secret supermodel to rock lingerie. Instead, I challenge you to buy yourself some lingerie. Treat yourself. You deserve it. And here’s my take on where you can get started: from confidence-building to brands.

I remember getting my first piece of lingerie. Walking around the store, my eyes were drawn to beautiful lacy bustiers and embellished bras. I wanted to be like the Victoria’s Secret angels, the way they paraded down the runway in these extravagant undergarments, radiating confidence. Yet, I felt intimidated by the thought of even trying on anything besides the basics. In my mind, lingerie just wasn’t practical for me.

As a young woman, I’ve grown to appreciate lingerie and the power it holds. While lacey or strappy intimates may not be practical for everyday wear, when I look at myself in the mirror, I feel badass. Personally, these garments are a way for me to both show my body love and embrace my sexuality. It’s almost like my little secret; only I know what I’m wearing.

Whoever said we wear lingerie for men had it all backwards. Lingerie should first and foremost be for you. Just like men, women have a natural, healthy desire to be sexual.1 While exploring that side of yourself can be exciting, it can also be nerve wracking. Oftentimes, women feel sexual shame or are discouraged by having a negative body-image.

What you wear can impact your confidence; this is referred to as “enclothed cognition.”2 Underwear is the clothing closest to your skin, so wearing something you adore sends a positive signal to your brain.3 In turn, wearing a flattering bra and pair of underwear can help you feel more beautiful.

Recently, many brands have stepped into the spotlight to make intimates more inclusive and diverse for all body types. Here are a few brands that offer an extensive range of products sure to appeal to anyone and everyone.

SIZE-INCLUSIVE

Savage x Fenty, a lingerie line by Rhianna, has size-inclusive pieces ranging from XS to 3X. This line is perfect for just about any style, with both basics and bold, colorful pieces. Their most popular style is unlined lace bras that come in a range of bright colors, all with matching underwear.

1 Firestone, Lisa. “Are We Still Condemning Women for Their Sexuality? by Dr. Lisa Firestone.” PsychAlive, October 31, 2013.

2 Adam, Hajo, and Adam D. Galinsky. “Enclothed Cognition.” Journal of Experimental Social Psychology. Academic Press, February 21, 2012.

3 Smouse, Debra. “4 EMPOWERING Reasons To Splurge On That Sexy Lingerie.” YourTango. YourTango, April 7, 2017.

Adore Me is another size-inclusive lingerie line, with bras ranging from 30A to 46DDD. The company is special in that they design styles flattering to every size and shape to help you celebrate your body. For petite individuals, AdoreMe offers many styles that have volume, yet won’t overwhelm your shape. If you have an hourglass figure, try opting for a set with a garter belt to accentuate your waist. The line also practices sustainability when producing their clothing, using a water-conserving, digital printing technique and biodegradable packaging.4

ETHICAL/SUSTAINABLE

Cosabella has been creating lingerie in Italy since it was established in 1983.5 The company offers over 2,000 styles in comfortable, yet sustainable fabrics handmade in family-run workshops by local artisans using Renaissance-era techniques. Their bras come in many styles, like longline and racerback, with “curvy” and “petite” collections for different body-types.

Uye Surana offers a variety of intimates, including underwear, bras, slips, garters and stockings.6 Their pieces are handmade in a family-owned factory in Colombia, then hand printed in New York, with a process using no water or excess dyes, as well as recycled packaging. Their items are made in small batches and released in limited editions, making them a unique and rewarding purchase.

AFFORDABLE

Bluebella offers sexy lingerie under $100, with sizes ranging from XXS to 6XL.7 Founder Emily Bendell created her brand as a way for women to express personal style and selfindulgence. With plenty of lace, mesh, and bondage-inspired straps, consumers can truly embrace what sexy means to them.

While you may know Aerie for its comfy loungewear and leggings, the company was originally launched as a line of bras and underwear.8 From everyday basics to subtly sexy silhouettes, this brand offers a wide variety of lingerie at affordable prices. Seven years ago, Aerie launched its #AerieREAL campaign, which continues to promote body positivity and diversity. The brand commits to stopping the use of photoshop as well as selecting a group of Role Models each year representative of the different backgrounds and beliefs of real women. ■

4 Ell, Kellie. “Who Has the Cleanest Underwear?” WWD. WWD, 2020.

5 Staff. “11 Sustainable & Ethical Underwear Brands Keeping It Sexy And Soft.” The Good Trade. The Good Trade, 2021.

6 Ibid

7 Hepworth, Abby. “The 13 Best Affordable Lingerie Brands on the Internet.” PureWow, 2020.

8 Ibid

Read Between the Eyeliner

EXPLORING DIFFERENT STYLES OF EYELINER THROUGH

By Meghan Savaglia, Lifestyle Staff Writer

Photographed by Bela Orzechowski, Staff Photographer

Modeled by Lucia Wallinga

by Riley August

In2014 Kat Von D’s Tattoo Liner gripped online makeup communities, and seven years on (and many Kat Von D controversies later) eyeliner remains a beauty staple of the 21st century.

Eyeliner, in its every form, represents one of the most important and entertaining parts of makeup in the modern era — experimentation. It has long been one of the most unique ways to push the boundaries of traditional makeup; with trends in eyeliner flourishing over the past century, and last decade in particular.1

The growth of bold eyeliner looks over the 21st century tie into the growth of the makeup community as a whole. It is an unapologetic foray into how makeup can be expressive and artistic. Here are some of the styles (from easiest to hardest!) of the boldest, sleekest, and most versatile modern makeup out there — eyeliner.

1 Montell, Amanda. 2019. “Here’s What Eyeliner Looked Like 100 Years Ago.” Byrdie

Princess Di

From her rise to stardom in the 1980s in to the 1990s, The Princess of Wales was known for her signature blue eyeliner worn on her bottom waterline. This striking addition to the otherwise fairly neutrals-based makeup looks on the Princess characterized her breakout stardom as everyone’s favorite royal. Closecut eyeliner was a beauty staple in the 80s & 90s, and while the era of penciled eyeliner may seem distant, it remains an important skill to master in modern makeup practice.

eye? Eyeliner in this style is seldom not found on modern makeup looks, and once mastered, is the key to accentuating even the most basic of makeup looks. The cat eye has evolved alongside other style trends, but the time-honored challenge of evening your wings remains the same throughout the years.

PuPPy Dog

The often underappreciated smudged eye look has made somewhat of a resurgence in the past year, stemming from TikTok creators using dark shades of eyeshadow as a replacement for traditional liquid alternatives. The final look is understated, achievable with an angled brush.

Float

Floating liner is the most versatile upgrade from traditional winged looks. Many variations of this trend have cropped up recently, following trends in eyelid art. Floating liner offers a minimalist take on eye makeup looks, eliminating the need for a bold shadow.

■

BacK to tHe lanD

HOW THIS ‘60S MOVEMENT CONTINUES TO INSPIRE US TODAY

By Kora Quinn, Culture Staff Writer Graphic by Kate Madigan

Inthe 1960s and ‘70s, a group of young idealists pushed back against an evolving nation that began to value consumerism and big business before people. This “Back to the Land” movement paralleled the Commune movement of the ‘60s, but was made up of well-educated youths who followed the motto “Make Do with Less.” These back-to-the-landers — or selfproclaimed “field hippies” — rejected a fast and urban society, returning to self-sufficiency, sustainability and a peaceful life in the countryside.1

Sixty years ago, however, there were no YouTube tutorials to show the backto-the-landers how to live off the land. There was no form of social media to propel their message to the masses, and yet their voices still carried across their generation.

Their mission was bold, as most of them moved to rural areas with little to no prior knowledge on how to garden, build their own houses or use alternate forms of energy such as wind and solar power. They just did it anyway, deciding to use “less machinery, less technology, less everything that comes from and depends on big business,” according to a 1975 New York Times article.2

By the late 1970s, however, the Back to the Land movement started to dwindle in popularity when it was needed most. Gas and oil consumption increased and energy crises set in, rapidly making the dream of sustainable living a thing of the past.3

Yet the Back to the Land movement wasn’t just present in the ‘60s and ‘70s. It lives on from generation to generation as materialism and dependency on fuel continue to grow. With the effects of climate change more noticeable now than

1 Kate Daloz. “The ‘Back to the Land’ Movement,” UTNE Reader, 2016.

2 Roy Reed. “Back-to-the-Land Movement Seeks Self-Sufficiency,” The New York Times, 1975.

3 Frankie Wallace. “Is the Back-to-theLand Movement Experiencing a Resur gence,” Headstuff, 2019.

ever, these drives towards selfsufficiency and sustainability are reappearing again today.

In Dona Brown’s book Back to the Land, she writes, “Americans have been dreaming of going back to the land for a hundred years or more,"... "the back-to-the-land impulse [will] be an enduring feature of American life, fading in and out of view, but never completely disappearing. At key historical moments, it [will] return in force.”4

That key historical moment is happening now, and once again Back to the Land is reemerging. We are already seeing it in the Zero Waste movement, which aims to eliminate trash from one’s lifestyle.5 We are seeing it in the Public Lands movement, which advocates for the protection of forests, parks and historical sites that corporations want to use for profit.6 We are seeing it in simple things, such as farmers markets where people are beginning to support buying locally produced goods rather than buying from dominating supermarket chains.

Consumer cooperatives, or food “co-ops,” were made popular in part by back-to-the-landers. Co-ops operate similarly to grocery stores, but instead of being owned by large chain corporations, they are owned by the people who shop there. Members pay dues and in return get to decide what goes on the shelves in the store, usually opting for organic and locally grown food. Most co-ops are

4 Dona Brown. “Back to the Land: The Enduring Dream of Self-Sufficiency in Modern America,” University of Wisconsin Press, 2011.

5 “What is the Zero Waste Movement?” Planet Aid, 2016.

6 “Public Land Heist,” Protect Our Public Land.

environmentally-friendly, striving to reduce greenhouse gas emissions from their refrigerators and refusing to waste food that isn’t purchased.

Even with these newer movements, we can always do more. Our generation can learn from Back to the Land by reimplementing key elements of the movement, such as self-sufficiency both individually and within a small community.

One example of this is by planting home gardens, or even better, community gardens. Both are a great alternative to buying from supermarkets that underpay their employees and use unnecessary amounts of plastic. In contrast, community gardens aid in feeding impoverished communities that don’t always have easy access to fresh fruits and vegetables.

Other small but impactful ways to revive Back to the Land today are by composting and joining cooperatives. 30% of what the average household throws away are food scraps and yard waste that can be composted and used for gardening, landscaping and growing houseplants.7 Composting helps prevent this unnecessary waste and reduces the use of chemicals in soil.

Sixty years later, Back to the Land has provided a foundation for modern movements and sustainable lifestyles. It’s not always the easy or convenient choice, but if we continue to pull from its ideology and push for a more green society, we can begin to reverse the effects of climate change while finding happiness in simplicity. ■

7 “Composting at Home,” United States Environmental Protection Agency.

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HOW SKATE CULTURE AESTHETIC HAS TAKEN STREETWEAR BY STORM

By Manon Bushong, Assistant Fashion Editor

There’s something absolutely mesmerizing about witnessing a group of skaters in their element, dauntlessly pushing their limits with an unmatchable aura. To be a skater in the 90s was more than just a connection to a particular past-time, it meant belonging to an outspoken, free spirited community of creative and rebellious artists.

Modern day skate fashion takes many cues from the '90s, embracing staple brands such as Vans and Supreme. Bright clashing prints, fisherman beanies and skate shoes also continue to reign in popularity. There is a new generation of celebrity skaters, one notable example being Evan Mock, a half Filipino Hawaii native known for his vibrant pink buzz cut and eclectic style. Mock has found fame through sharing clips of himself skating on his Instagram. As a result, Mock has had the opportunity to work with various big names in the music industry such as Travis Scott and Frank Ocean, and he is set to play a prominent role in the upcoming Gossip Girl reboot. Additionally Mock is signed to IMG, and has modeled for dozens of brands, including Louis Vuitton, Saint Laurent, Jimmy Choo x Timberland and Superdry.1

1 D’Alessandro, A. (2020, October 05). ‘Gossip girl’: Model & Skateboarder Evan Mock Joins HBO Max Series Reboot. Retrieved February 17, 2021.

Mock’s popularity in the fashion industry — specifically as a model for high-end labels — proves that skate culture has infiltrated fashion. In 2016 at Paris Fashion Week, Dior Homme’s runway was entirely inspired by skate parks, showcasing vibrant and neon ramps.2 Additionally, Louis Vuitton collaborated with Supreme, generating a unique collection that synthesizes high end fashion and street style. In 2019, Gucci became another example of a high end fashion brand embracing skate culture when they launched their Gucci Grip watch. Gucci Grip’s name stemmed from grip tape, a popular skate necessity used to provide traction on the surface of skateboard decks. To promote their watch, Gucci dressed a few prominent names in the skate industry, including Shinpei Ueno, Dan Fisher-Eustance, and a queer skateboarding group known as Unity, documenting them skating with friends at their local parks.3 The fun and nostalgic nature of the campaign made it extremely effective.

It’s not hard to find a skating presence in most cities, and Madison certainly isn’t an exception. Small shops like August, located on State Street, offer a great selection of brands that are sure to keep your closet up to date if you are attempting to achieve the bold and expressive skater look. August carries popular streetwear labels, such as Billionaire Boys Club, Comme Des Garcons and Chinatown Market. On top of this, they also partner with small or up and coming brands, such as Cool Calm Studios and Unfinished Legacy, as well as giving talented new artists the opportunity to debut their one of a kind collections. In addition to offering a selection of trendy clothes and shoes, August serves as a venue for local artists by means of their popular Art Collective. August’s storefront doubles as a gallery space, as well as offering a variety of workshops through the August Salon.4

The skate aesthetic has proved to be timeless and continuously esteemed in the world of fashion. Whether it be following Tony Hawk’s lead in the 80s, 90s skatecore grunge, or the colorful buzzcuts of 2020, skating trends influence what we as a society define to be cool. ■

2 Person. (2020, August 21). How skateboarding became a high-fashion obsession.

3 Ma, F. (2019, October 17). Gucci kicks Off SKATEBOARDING-INSPIRED Watch campaign with Art mural. 4 Events. (n.d.).

LARUTLUCOITAIRPORPPA

BUT R A T REH A FOMROF

My Eyes Are Not A Trend

By Corbin Woessner, Fashion Editor Photographed by Jessica Tenenbaum, Staff Photographer Modeled by Corbin Woessner Makeup by Katie Hayes

You’re

scrolling through Instagram and you see a filtered and perfect photo of a model pulling back her facial skin in an attempt to elongate her eye, create a slanted angle, and an intriguing effect. Recently these photos have been filling everyone’s feeds, labeled as the fox eye trend.1

Like many other Asian Americans, I was quick to notice how problematic this new beauty trend is. It is a direct knock-off of the faces kids would make by pulling back their eyes to create slants, ultimately mimicking Asian eyes. A racist gesture that the Asian community has seen time and time again. A tool used to mock and belittle Asians.

For many Asians in America, including myself, eyes have always been a sensitive topic. Historically, many Asians have felt the pressure of racism and some have even turned to plastic surgery to alter their natural almond-shaped eyes to make them appear larger. Eyelid surgery called blepharoplasty is used to create double eyelids or a supratarsal eyelid crease. It is one of the most common cosmetic procedures in East Asian countries and is well known among Asian Americans.

The surgery was first popularized in the early 1950s when it was used as a tool for Koren women to assimilate in the United States. Many Korean war brides who had married American soldiers got this surgery in an effort to assimilate and ultimately appear less threatening because they were considered a cultural and racial threat to the U.S.2 The fox eye trend has been seen all over places like Instagram, Tiktok and Youtube, causing people to take part in the pose despite the fact that the natural squint and slack

1 Watercress Editors, “The Problem with the “Fox Eye” Trend,” Medium, 2020.

2 Alicia Lee, “The ‘fox eye’ beauty trend continues to spread online. But critics insist it’s racist,” CNN, 2020.

of Asian eyes have been a target for racism for decades.

The fox eye trend can often be confused with a non-offensive winged eyeliner look, otherwise known as a cat-eye. Unlike the cat-eye, the fox eye encompasses a whole new racist meaning. Most recently, social media influencers such as James Charles and Emma Chamberlain have been the latest to take this fox eye trend to Instagram, implementing what is known as the “migraine pose,” a pose very similar to how people pull back their eyes to mock Asians.3

Celebrities such as Kendall Jenner, Bella Hadid and Megan Fox have used makeup and other tactics (shaving off the tails of their eyebrows and elongating the inner corners of their eyes) to create a slanted eye shape, making the lifted, almond-eye shapes look beautiful and trendy.4 Yet the naturally slanted eyes that Asians are born with are often considered ugly or even fetishized. Despite the agonizing history that comes with having Asian eyes, influencers and other celebrities have continued to colonize them, completely dismissing the centuries of trauma that many Asians have endured.

Though many of these public figures have faced backlash from the Asian community, the damage has already been done. Due to a lack of education, ignorance and outright racism, the fox eye trend can still be seen all over social media and throughout influencer culture. There are numerous opportunities for education, yet nonAsians continue to use the fox eye trend as a way to exoticize their features. Oftentimes, exoticization can be related to fetishization or the social phenomenon known as “yellow fever.”

Yellow fever is defined as “a sexual fetish rooted in racialized and gendered stereotypes, most

3

commonly held by white men for Asian or Asian American women.”5 In the 15th century during the start of exploration, Europeans had begun to apply gender tropes in order to acknowledge and act upon the land that they colonized in feminized and racialized terms.6 According to Thu-huong Nguyen-võ, an associate professor in the Department of Asian Languages & Cultures, Asian feminization and rebellion are frequently constructed by “those who seek power and are sustained by those in power.”7 Because female identity is associated with weakness and submission, this granted explorers a sense of control and mastery. Subsequently, Asia started to be viewed as the “other,” or the “oriental,” both terms ultimately sexualizing Asian females.8 The disparity between yellow fever and the exoticization of Asian beauty successfully dehumanizes Asian communities and sheds light on how Asian Americans will always be considered outsiders in white America.9

Some may argue that this trend is flattering to Asians or that it’s admiring diverse features other than those of Anglo-Saxon descent. The truth is, the fox eye trend is not celebrating Asian culture. Especially in light of the COVID-19 pandemic when the Asian community has been a target for racist attacks, slurs and violence.10 Being anti-racist includes acknowledging the Asian American experience. The fox eye look is neither trendy nor cute: it’s flat-out racist. ■

5 Cecile Wu, Audrey Pham, “Exploring the past, present and future of yellow fever from global to local,” Daily Bruin, 2020.

6 Ibid

7 Ibid

8 Ibid

9 Alicia Lee, “The ‘fox eye’ beauty trend continues to spread online. But critics insist it’s racist,” CNN, 2020.

10 Madeleine Aggeler, “The U.S. Is Seeing a Massive Spike in Anti-Asian Hate Crimes,” The Cut, 2021.

The disparity between yellow fever and the exoticization of Asian beauty successfully dehumanizes Asian communities and sheds light on how Asian Americans will always be considered outsiders in white America.

By Rachel Hale, Culture Editorial Assistant

by Channing Smith, Art Director

Acid,

shrooms and angel dust are just a few of the nicknames for the psychedelics clinically known as D-lysergic acid diethylamide (LSD), psilocybin mushrooms and phencyclidine (PCP). In the realm of weed, alcohol and hard drugs, hallucinogens are part of substance culture on any given college campus.

Ben Jones, a freshman at the University of Wisconsin-Madison, had always thought about trying mushrooms and took the opportunity when a friend offered. “We already had some alcohol in our system, so it was a spur of the moment decision,” Jones shared in an interview.

Jones’ spontaneous experience with drugs, however, is partially shaped by his identity as a white, heterosexual male. Since its origins in the antiestablishment counterculture of the 1960s, psychedelic culture has been a predominantly white space, overlooking the racial implications of usage.

Outside of the dosage itself, mindset and setting, commonly referred to as “set and setting,” have a large impact on a user’s experience.

Race is a significant component of this, contributing to upbringing, living situations and personality, all of which affect introspective and outward processing during usage and even afterward regarding changing behavior or relationships due to post-psychedelic perspective.1

For people of color, racial traumarelated stress and a historical exclusion from psychedelic culture can add another layer to a trip. For some, this increased awareness of racial identity may positively impact an experience by giving it a multilayered reflection, while for others, fears of portraying a stereotype of minority drug usage and increased stress from social stigma can negatively impact an experience. A study of racial identity’s impact on set and setting found that “being a minority in a hyper-white space could exacerbate feelings of double-consciousness, limit opportunities to confirm their identities, and increase instances of identity disconfirmation.”2

1 Neitzke-Spruill, Logan. “Race as a com ponent of set and setting: How experi ences of race can influence psychedelic experiences”, Journal of Psychedelic Studies 4, 1 (2020): 51-60

2 Ibid.

There is also a variation in psychedelic intention across cultures. Some Native American tribes, such as the Blackfoot, Crow or Gros Ventres tribes, used psychedelics in a religious setting with knowledge of the experience beforehand. In a study comparing white Americans’ peyote usage to that of Native Americans (such as the tribes listed above) found that white users experienced high levels of agitation and anxiety in addition to suspicion around them, while Native American users found more religious reverence and experienced drug effects through a spiritual lens.3

Another college student, Brooke Smith, noted that psychedelic use on UW Madison’s campus seemed to be affected by factors such as gender and race, with a majority of psychedelic experiences she observed involving white males. While she knew some people who used psychedelics in a spiritual sense, it was more overwhelmingly used in a party atmosphere and commonly mixed with other substances.

“I think there is a large amount of class privilege and white privilege when it comes to drug usage,” Smith shared, “I think it’s important to have realizations about that before engaging in recreational drug usage.”

had been using them for years as entheogens, which they believed would bring them closer to divine spiritual existence. The use of psilocybin mushrooms, mescaline from peyote cactuses and ayahuasca have been documented in Siberian and Mesoamerican cultures, as well in Southern Africa4 and the Amazonia region,5 where people used them in combination with rituals and music.6 Now, users of color are being ousted from the same movement in which they have origins.

The revelations of many predominantly white, male drug users are often steeped in privilege, a far contrast from the thousands of Black users jailed every year for drugrelated charges.7 Amid the musicfilled, hippie trip culture associated with psychedelics, a much darker chemical lurks beneath the surface: a modern-day War on Drugs, fueled by racism.

The U.S. incarceration rate, which is already the highest in the world, disproportionately affects Black citizens, who make up 33% of the sentenced population despite being only 12% of America’s population, and Black Americans are imprisoned at a rate nearly five times higher than that of whites.8 In drugrelated offenses, this disparity is even steeper, with Black Americans incarcerated at a rate almost six times higher than white Americans, despite having similar usage rates.9

This system is not a mistake. Rather, it is working exactly as intended, with racism interwoven into the design of our nation’s imprisonment system, threatening to undermine the legitimacy and democracy of our legal system. The War on Drugs Campaign, which originated under President Richard Nixon in the 1970s, led to a massive increase of

Smith’s experience is not uncommon. Though plenty of users still view them in a spiritual sense, western culture places emphasis on psychedelics as an fun activity to partake in or even as a party experience. Furthermore, the view of psychedelics as “insane” or “dangerous” is largely a westernized concept, as is the concept of a “bad” or “good” trip.

Long before scholar Timothy O’Leary was hailed for discovering the healing properties of psychedelics in the west, indigenous cultures 3 WALLACE AFC. Cultural Determinants of Response to Hallucinatory Experience. JAMA Psychiatry. 1959.

4 Wade, Davis. “Hallucinogenic Plants and Their Use in Traditional Societies - An Overview,” Cultural Survival, December 1, 1985.

5 Fotiou, Evgenia. “The role of Indigenous knowledges in psychedelic science”, Journal of Psychedelic Studies 4, 1 (2020): 16-23.

6 NYBERG, H.1992: Religious use of hallu cinogenic fungi: A comparison between Siberian and Mesoamerican cultures.Karstenia 32:71-80.

7 Doug McVay, “Race & Prisons,” Drug Policy Facts, Real Reporting Foundation, November 19, 2020.

8 Ashley Nellis and Josh Rovner, “The Col or of Justice: Racial and Ethnic Disparity in State Prisons,” The Sentencing Project, January 10, 2019

9 “Criminal Justice Fact Sheet,” NAACP, July 10, 2020,

tHe revelations oF Many PreDoMinantly wHite, Male Drug users are oFten steePeD in Privilege, a Far contrast FroM

tHe tHousanDs oF BlacK users

jaileD every year For Drug-relateD cHarges.

prisoners with a rise from 300,000 American prisoners to over 1 million between 1980 and 2000.10 When local governments felt pressure from federal enforcement to push an antidrug agenda, disproportionately poor and black neighborhoods became an easy target for nonviolent drug and property offender charges. These felonies lead to a criminal record that often disqualifies candidates from job searches in a field that already discriminates against Black applicants.

All of these factors have contributed to a stigma around Black drug usage, causing an absence of representation in psychedelic subculture and a lack of diverse racial viewpoints in psychedelic research. While encouraging data indicates that psychedelic therapy can aid treatment of mental illnesses and addiction, research indicates that 82% of psychotherapy treatment patients over time have been white, with a significant lack of minority representation.11 Furthermore, the lack→

10 Bobo, Lawrence D., and Victor Thomp son. “Unfair by Design: The War on Drugs, Race, and the Legitimacy of the Criminal Justice System.” Social Research 73, no. 2 (2006): 445-72.

11 Michaels, T.I., Purdon, J., Collins, A. et al. Inclusion of people of color in psychedel ic-assisted psychotherapy: a review of the literature. BMC Psychiatry 18, 245 (2018).

of Black therapists in psychotherapy creates access obstacles and contributes to stigma around mental health and medical mistrust that keeps many from trying the therapy method.

In an online conversation about the whiteness of the psychedelic community, the Marketing Coordinator at the Drug Policy Alliance Ifetayo Harvey described the hesitations many Black psychedelic users feel toward talking about their experiences. “Black people are murdered by cops on a regular basis while walking down the street and minding their own business, just for being black; so imagine the risk for black people that comes with talking openly about psychedelics,” Harvey wrote. “We, as black people, risk our lives every day just by being Black; so it should come as no surprise that we hesitate when it comes to openly speaking about drug use.”

However, therapy has given some Black users an opportunity to carve out a room in a space that was not always inviting. Recent studies indicate that psychedelics can reduce the effects of racial trauma and depression among BIPOC.12

12 Monnica T. Williams, Alan K. Davis, Yitong Xin, Nathan D. Sepeda, Pamela Colón Grigas, Sinead Sinnott & Angela M. Haeny (2020) People of color in North America report improvements in racial

Psychedelics like psilocybin, the active ingredient in mushrooms, have been used to treat mental illnesses like obsessive-compulsive disorder (OCD), post-traumatic stress disorder (PTSD) and depression and anxiety, which many minority groups experience at a more serious or longer rate than their white counterparts.13 In order to give psychedelic therapy accessibility to those who need it most, more research within minority groups is vital.

As psychedelic usage becomes more prominent on college campuses and normalized across America, considering the racial implications behind the movement is important from a medicinal and recreational standpoint. The tie-dye and trippy troupes have taken up a lot of space in our conversations around psychedelics, yet in order to truly appreciate all things peace and love, it’s time to stop the war on drugs and start embracing the origins and intents of these substances. ■

trauma and mental health symptoms following psychedelic experiences, Drugs: Education, Prevention and Policy.

13 DT. Takeuchi J. Abe-Kim et al., “The Association of Racial and Ethnic Social Networks with Mental Health Service Utilization Across Minority Groups in the USA,” Journal of Racial and Ethnic Health Disparities, Springer International Pub lishing, January 1, 1970.

Functional & Fashionionable

HOW THE INDUSTRY IS MAKING CLOTHING MORE ACCESSIBLE

Amanda Liebmann, Contributing Writer Graphic by Allyson Konz,

When you have the ability to walk into any clothing store and find clothes made for you, you are experiencing a privilege that you may not realize. Many people might not think of clothing options as a category of inequality, but when clothes that you feel comfortable in are exhausting to find, it becomes one.

For many individuals with disabilities, it can be a struggle to find clothing that fits their wants and needs. For example, some individuals may have different proportions or sensitivities to tags, fabrics and seams,

ultimately making clothing shopping a difficult task.1

In recent years, big clothing companies, ranging from Target to Tommy Hilfiger, have released lines designed specifically for those with disabilities in mind. Additionally, new brands, like Authored Apparel, have been popping up with their own disability designed clothes, ultimately making fashion more accessible to individuals with disabilities.

Most recently, Nike developed a new running shoe specifically designed for accessibility. Nike calls their product a “hands-free shoe” since it allows people to put on and take off their shoes without having to use their hands or bend over.2 The new design helps a range of people, including those with arthritis, those of old age and individuals who have undergone amputations. As one foot presses down on the backside of the shoe, the shoe seamlessly bends upward and off the foot.

1 “Clothing Size Guide In Works For Those With Down Syndrome,” DIVERSEability Magazine, January 15, 2020

2 Andy Corbley,“Nike Made a Hands-Free Shoe For Arthritic, Disabled and Pregnant People to Easily Slip Into,” Good News Network, February 10, 2021

that clothing designed for those with disabilities encompassed both comfort and fashion.

Designer clothing company Authored Apparel is focused on making adaptive clothing that are both fashionable and high-quality.4 Their brand features dresses that don’t require raising arms overhead in order to dress, instead the

3 Annie Groer, “For People with Disabili ties, Finding Clothing That Is Stylish and Meets Their Needs Is Getting Easier.,” The Washington Post (WP Company, August 3, 2019)

4 Annie Groer, “For People with Disabili ties, Finding Clothing That Is Stylish and Meets Their Needs Is Getting Easier.,” The Washington Post (WP Company, August 3, 2019)

dressare are put on by pulling it up from your ankles. The mission behind Authored Apparel stresses the importance of allowing individuals with disabilities to feel just as independent and confident in their clothes as those around them. The creator of Authored Apparel, Brenda Wilton, expresses that, “People make judgements about who you are within 30 seconds of meeting, so what you wear is important for your self-esteem.”5

While the creator of Authored Apparel is disabled herself, we cannot leave the burden of making everything more accessible to those that can not access it. It is all of our responsibilities to create spaces that are inclusive for everyone, including fashion. The current efforts from brands like Nike put us in the right direction towards this accessibility and inclusion, but the full future of accessibility is still upon the whole fashion community.

■

5 Ibid.

INFERNO

Modeled by Chelsea Hylton

Photographed by Annika Ide, Photography Director

Makeup by Riley August

Directed by Sarah Troy, Fashion Director

Set Assistance from Allyson Konz, Editor in Chief

Sex Ed 101

AMERICA’S APPROACH TO SEXUAL EDUCATION IS FAILING

By Mason Braasch, Lifestyle Staff Writer Illustrated by Channing Smith, Art Director

Imagine this: it’s a warm spring day in fourth grade and your teacher makes an unusual announcement. Instead of your normally scheduled math lesson, the class will be splitting into two groups: the boys and the girls. Before you know it, you are sitting in a dark classroom and a video that was made before you were born starts singing “just around the corner.” It talks about some foreign topics to your 9-yearold mind: periods, puberty and of course, abstinence.

Almost every kid in America can remember what this day looked like to them; maybe because of the awkwardness of learning about your changing body, or because of the meticulous way in which sexual education is approached in America.

American Sexual Education, or sex ed, is taught in a way that emphasizes fear and shame rather than comprehensive education. Despite countless studies showing that it isn’t effective at lowering pregnancy and STD rates among teens, many sex ed programs focus on an abstinence-only approach. In this “sexual riskavoidance” approach of education, students are taught that the only way to protect yourself from the consequences of sex is to not have it.1 In many of these programs, important aspects of sexual relationships, like birth control and consent, are not included.

Nineteen states require instruction on the importance of waiting until marriage but 36 allow parents to opt their children out of the program, and 39 require emphasis on abstinenceonly education.2 This means that students around the country are not receiving the education that will prepare them for real-world sexual encounters and relationships.

What is worse is that these statistics do not even touch on the 1 Jill Anderson, “Harvard EdCast: The State of Sex Ed in America,” Harvard Graduate School of Education, 2021.

2 “Sex and HIV Education,” Guttmacher Institute, February 1, 2021.

disparities that exist with the sexual education of minority groups. Members of the LGBTQ community, minorities and women are more likely to suffer the consequences of an incomplete and inaccurate sexual education.3 In 2020, six states require that homosexuality be talked about negatively in sexual education classes. Only nine states require that the program provide instruction that is appropriate for a student’s cultural background and that is not biased against any race, sex or ethnicity.4

Encouragement of prejudice by schools can have detrimental effects on the mental health of LGBTQ and minority students. According to the Center for American Progress, students who are victimized for their sexuality or sexual orientation have lower self esteem, higher rates of depression, and are four times more likely to commit suicide than their straight peers.5 What these statistics painfully exhibit is that not only can these classes be ineffective, but that they could potentially be dangerous as well.

Sexual education needs to be used to create a better understanding of gender, sexual wellness, consent and all that surrounds relationships, rather than as a fear tactic to force teens to suppress their sexuality.

If you choose to remain abstinent, that is a perfectly valid and normal choice. Waiting until you are ready to engage in a sexual activity is an important factor in developing strong and stable relationships. However, when schools teach abstinence as the only option and fail to provide a well-rounded education that covers diverse topics, it puts students at a disadvantage and compels them to look for the information from other sources which can allow misinformation to be spread. The way to combat this outdated

3 Andrew Chen, “The Problem with Sex Education in America.,” October 29, 2020.

4 ISex and HIV Education,” Guttmacher Institute, February 1, 2021.

5 Hannah Slater, “LGBT-Inclusive Sex Ed ucation Means Healthier Youth and Safer Schools,” Center for American Progress, June 28, 2013.

approach to education is coming at it from a new perspective.

“Comprehensive sexuality education” is a new method of teaching about sex. It emphasizes that students have a right to know about all aspects of sexuality, and that in order to make responsible decisions, need to be accurately educated.6 According to The Sexuality Information and Education Council of the United States, this new sex ed includes age-appropriate, medically accurate information on a broad set of topics related to sexuality including human development, relationships, decision-making, abstinence, contraception, and disease prevention.”7 Research has shown that this approach to sex ed has been sucessful in reducing teen pregancy rates and delayed the age at which students are first engaging sexually.8 Additionally, the United Nations Population Fund describes that “because these programs are based on human rights principles, they advance gender equality and the rights and empowerment of young people.”9

Hiding the truth from students is not keeping them safe and is not going to keep them from engaging in real-world relationships. Failing to include valuable information like consent, contraception and LGBTQ resources only hurts students more, and puts them in a vulnerable position. In order for American students to become confident adults who understand boundaries, relationships and their own bodies and health, we need to shift the way that we view, teach and talk about sex education.

■

6 Lauren Farrar, “Sex Education in Amer ica: the Good, the Bad, the Ugly: KQED Education,” KQED, September 16, 2020.

7 Ibid.

8 Ibid.

9 “Comprehensive Sexuality Education,” United Nations Population Fund, ac cessed February 16, 2021.

Fro M s oun D clou D to s tar D o M

SOCIAL MEDIA PLATFORMS ARE GIVING NEW ARTISTS A SHOT AT GLOBAL FAME

Written by Kate Lawless, Deputy Editor

Graphic by Jade Christensen, Social Media and Marketing Director

Sincethe dawn of social media, emerging digital platforms have been used to share art and content without the barriers of time and geography. If you want to keep up on the work of musicians halfway across the world from you, you don’t have to wait to buy their CDs or watch their interviews on certain channels. Now with the help of user-controlled social media, we have access to more music content that we choose rather than whatever is selected and curated for us by record labels. Women, BIPOC and queer individuals often face the largest barriers to entry into such a competitive field due to their higher likelihood of being affected by poverty, mental and physical health issues and lack of access to generational wealth and the connections that come with it. But that is all changing with the democratization of the music industry through social media.

While biased algorithms and nepotism may still act as barriers to connecting new artists and audiences, social media platforms have also been the birthplace of pop icons like Owl City, Justin Bieber, Shawn Mendes and Cardi B. Content spaces like Tik Tok, Youtube and Soundcloud circulate new artists and songs faster than ever, making social media stardom more accessible to people who normally might not have traditional career-making opportunities, like connections at music companies or the ability to move to Los Angeles or Nashville. Here are some newer artists who organically rose to fame through social media.

wrenn

Wrenn has released several songs on Soundcloud and Spotify in the past, but has most recently blown up after her break-up anthem “Hailey” went viral on Tik Tok. Wrenn promoted her new single by making quirky videos that had nothing to do with the actual song, like hanging over her bedroom door or putting her socked feet in a pool, to get viewers to stop and listen to a cut of the song.

Featuring an actual sound byte of her ex cheating, this song charted in the United States within 24 hours of it being shared, getting up to #27 on Itunes,1 bolstered by the support of the queer female community.

traMP staMPs

The Tramp Stamps, often compared to the Hex Girls from Scooby Doo, are an all-girl pop punk band consisting of Marisa on lead vocals, Caroline playing guitar and Paige on the drums. Their band gained a following on Tik Tok by acoustically covering iconic songs in their distinctive pop punk style. The Tramp Stamp’s new single “Sex With Me” is an angsty anthem for anyone who has ever related to being gaslit by a fuckbuddy.2

1“WRENN - ‘Hailey’ American ITunes Chart Performance,” iTunesCharts.net: ‘Hailey’ by WRENN (American Songs iTunes Chart) (Itunes Charts, n.d.).

2 Steindorf, Jack. “TRAMP STAMPS Re lease Insane Debut Single ‘Sex With Me.’”

girl in reD

Perhaps you’ve heard of Girl in Red because of the now popular phrase, “Do you listen to Girl In Red?” when trying to subtly ask if someone identifies as a queer woman. This indie-pop artist began her career by recording music in her bedroom and sharing it to Soundcloud, amassing thousands and then millions of fans.3 Her songs “I Wanna be Your Girlfriend” and “Girls” are soft but proud in their representation of queer love, and have earned her a loyal fanbase and a spot in queer music history.

BeaBaDooBee

One of the songs you may associate with the 2020 pandemic summer is the Powfu’s remix “Deathbed (Coffee for Your Head)” a remix of a song originally written by Filipina-British singer Beabadoobee. The original version, “Coffee,” was her debut single posted to Youtube in 2017 where it gained hundreds of thousands of views. Since her Youtube and Tik Tok fame, Beabadoobee has been signed to Dirty Hit Records and has toured with Clairo and the 1975.4

KaasH Paige

Dallas native Kaash Paige first began uploading her music to Soundcloud while she was still in high school four years ago. She quickly gained a following due to her uniquely dreamy combination of R&B and hip hop styles. In an interview with Dallas Observer, Paige cited her bisexuality as one of the reasons her sound appeals to so many people — she understands both male and female relationships in love.5 Eventually, Paige signed with Def Jam Recordings, released her first EP in 2019 and then released her debut album “Teenage Fever” in 2020, which was preceded by her hit single (and popular sound on Tik Tok), “Love Songs.” ■

EARMILK, January 29, 2021.

3 “Girl in Red.” girl in red | Music Moves Europe Talent Awards, n.d.

4 Corrigan, Graham. “Meet Beabadoobee, The London Teen Whose First Song End ed Up Being a Homemade Hit.” Complex. Complex, May 7, 2019.

5 Gonzalez, Alex. “Dallas’ Kaash Paige, Newly Signed to Def Jam Label, Already Has a Fan in Kylie Jenner,” December 17, 2019.

If you take a moment to pause and listen around you, there is likely a loud cluster of sounds. However, you have likely muted most of it out as you filter things through. Message overload happens, and many people have lost the ability to tune out the world around them and just listen to someone else. Yet listening is so important, especially active listening — to learn, support, create and maintain strong relationships.

Both nonverbal and verbal responses are important to show that you are paying attention and care about what one is saying. This is essential when you are talking with others about their stress, problems and feelings, which is considered trouble talk.1

Nonverbal responses typically involve head nods, eye contact and a forward lean to create a closer distance. This sends a message to others that you are paying attention and that they are worth listening to.

This is the reason why professors often ask for feedback of simple head nods or thumbs up. They want to know that you actively are paying attention, rather than simply just being present. Active listening in class will help you remember the lecture for studying later.

However, many people feel more validated with verbal affirmation of listening. Studies have shown

1 Bodie, Graham D., Andrea J. Vick ery, Kaitlin Cannava, and Susanne M. Jones. “The Role of ‘Active Listening’ in Informal Helping Conversations: Impact on Perceptions of Listener Helpfulness, Sensitivity, and Supportiveness and Dis closer Emotional Improvement.” Western Journal of Communication 79, no. 2 (2015): 151–73.

are you really listening?

HOW TO BECOME A BETTER ACTIVE LISTENER

By Shannon McManus, Contributing Writer Illustrated by Mac Gale

that verbal responses tend to leave people more satisfied with their conversation. Verbal affirmations show that you are actively working to understand the person and what they are saying.

To work on verbal active listening, paraphrase your understanding of their thoughts. Through allowing clarifications for your interpretation, you show that you care to truly understand. However, note that active listening does not always mean you should insert your opinion on the matter or advice on what an individual should do. When a friend is confiding in you about a difficult situation, refrain from judgement and keep an open mind, only repeating information to make sure you understand the situation. If they want advice, they’ll ask for it.

Try to check in that you are understanding their feelings as well. This shows that you care about their feelings and helps them be more open to your response. Reflecting their feelings can help them work through their underlying thoughts that they may not acknowledge themselves as well.

Asking questions allows for clarification of understanding and further discussion. Phrases such as “It seems like…” or “Let me make sure I have this right…” ensures that the meaning is accurately represented to the listener. Open questions like “How did that make you feel?” dig deeper into their feelings and allow the conversation to shift the conversation into a particular direction.

Active listening is essential, not only for strengthening your personal relationships, but also for your professional career. Active listening is vital for business relationships: it shows interest and a desire to learn and work hard. It can also help reduce conflict, motivate others

and maintain your reputation. Applying the same skills creates a stronger dynamic and can benefit your work environment when combined with the knowledge of the work.2 Building on your active listening skills will help you grow professionally and learn, yet also is key to building stronger personal relationships. People need to know you care, regardless of the topic.

Active listening aids in building empathy and trust through showing unconditional support and confirmation of other’s experiences and feelings.3 Try not to feel the pressure to automatically solve problems, rather provide an ear to listen and comfort. Everyone deserves to be heard. ■

2 Tingum, Janice. “Why Is Listening Important in a Business Organisation?” Small Business - Chron.com. Hearst, Feb ruary 1, 2019.

3 Weger, Harry, Gina Castle Bell, Elizabeth M. Minei, and Melissa C. Robinson. “The

GLITTER AND GLAM

A LOOK INTO THE WHIMSICAL WARDROBES OF STUDIO 54

By Emily Fleming, Creative Direction Assistant Photographed by Molly Jacobs, Staff Photographer Modeled by Amy Cho Makeup by Riley August

Imagine

glitter and confetti flying all around you, neon lights blurring your vision, bodies separated by mere centimeters and laughter and chatter muffled by deafening music. A dazzling experience unlike any other, an escape from reality. This was Studio 54. →

After first opening in April of 1977, this soon-to-be world famous nightclub instantly became New York City’s most talked about destination. Known for its exclusivity, celebrity attendees, and scandalous drug and alcohol use, Studio 54 quickly rose to fame. Although well-known celebrities had a leg up when it came to getting let in, it wasn’t necessarily all about the money and fame. Getting let in was subjective—often based on style. While little is known about the infamous dress code, it is clear that those who took chances and showed individuality were shoeins. Anyone deemed stylish and “funloving” could get into Studio 54, no matter how much money or status they had.1

On any given night, Studio 54 was filled with people dancing, singing, and enjoying every minute of the lavish freedom they experienced at these parties. People would roller skate around on the dance floor, performers would wear bright, intricate ensembles, with one man even showing up in nothing but gold paint covering his body. The fashion was impeccable—an ode to the importance of self-expression and unlimited fun.

As for women, many wore completely sheer tops, short metallic dresses

1 Hutton, Belle. “What People Wore to Dance at Legendary Club Studio 54.” An other. Another Magazine, June 15, 2018.

and daring tops with low necklines. In 1979, Liza Minnelli stunned her fellow party goers when she arrived at Studio 54 wearing a bright purple ensemble covered in sequins, with a V shaped neckline that went down to her stomach.2 Fashion icon, Cher, was also known for turning heads in her club attire, most notably when she danced with another party goer in a cowboy hat and cuffed jeans.3

Additionally, in 1977, Bianca Jagger celebrated her birthday wearing an off-the-shoulder dress—which was hardly horse-back riding attire, but that didn’t stop her from making a grand entrance on a white horse.

Famous figures such as Michael Jackson, Elton John, Sylvestor Stallone, Andy Warhol, Diane Von Furstenburg, and Jackie Kennedy were Studio 54 regulars and their outfits never disappointed. Many of the men wore billowing shirts, bright colored and patterned suits, some even combining short shorts and cowboy boots. Nothing was off limits when it came to Studio 54 fashion. The wilder the outfit, the better.

Perhaps the most important reason to why Studio 54 remains so highly regarded is that it is remembered as “the first non-judgmental, queerfriendly mainstream nightclub… It 2 Valenti, Lauren. “Lauren Valenti.” British Vogue. British Vogue, August 15, 2019.

3 Person. “A Glimpse into Studio 54.” CR Fashion Book. CR Fashion Book, June 18, 2019.

was a mix of gay, straight, rich and poor. It’s also one of the few places trans women were welcome.”4 Everyone was welcome, as long as your outfit wasn’t boring. Drag queens and all members of NYC’s LGBTQ+ community were not only welcomed with open arms, but often favored.

Steve Rubell, co-founder and owner of the nightclub, “embraced members of the community who might have been shunned otherwise.”5 Everyone came together once they were under the lights and suddenly status and sexual orientation did not matter. Studio 54 was ahead of its time, and although it all came crashing down a mere three years after opening, it showed us the importance of fun and the insignificance of what has divided communities for so long.

It is important to note that Studio 54’s stint did not come without its fair share of illegal activity, which ultimately culminated in 13 months in prison for the co-founders due to tax evasion. However, for those who had entered the space during its prime in the 1970s disco era could often only describe it as a magical experience. Studio 54 was a place of excess and acceptance, a place to indulge in all of life’s beauty and celebrate it with others. ■

4 Person. “A Glimpse into Studio 54.” CR Fashion Book. CR Fashion Book, June 18, 2019.

5 Ibid.

soMetiMes BolD

rePresentation... is worse

A HISTORY OF QUEER CODING IN MODERN MEDIA

By Shelby Evans, Lifestyle Editor Graphic by Cameron Buzzell

Iwassitting in my junior-year English classroom when my teacher made our class reread the end of chapter two of “The Great Gatsby.” In this scene, Nick leaves a party at Tom’s mistress’s apartment with a man he just met. It’s an obscure couple of paragraphs involving an elevator, a “lever” and a 4 a.m. train. That godsend of a teacher explicitly made us consider these sentences for their homoerotic undertones, making further discussions of the book much more interesting.

It made my 16-year-old closeted self consider: If Nick Carraway was actually pining after Gatsby the entire book, what other characters were subtly queercoded?

Suddenly looking at an object and declaring it gay was no longer an ignorant middle school attempt at an insult, but an empowering reclaiming of part of a story.

Just because queer stories have not been explicitly told in history doesn’t mean the storytellers and stories weren’t queer. The presence of implicit homosexual or queer coded characters exists throughout literature and media.

Queer coding is defined as using stereotypes of LGBTQ+ people to characterize fictional personalities without specifying their sexuality.1 There are many online articles and videos explaining how Disney villans have historically been queer coded, for example, effminate male villains like Jafar and Hades 2 and Ursula from “The 1 Ennis, “The strange difficult history of queer coding,” Syfy Wire. 2 Ibid.

Little Mermaid” who was based on an iconic drag queen. 3

Sexuality usually isn’t specified with these characters, but their stereotypically queer traits leave interpretations up to viewers. While coding villains as queer is a hateful and harmful to the LGBTQIA+ community, there are subtler examples that don’t follow that trope. And oftentimes, the nuances of these queer coded characters, relationships and pieces of media feel more genuine than a gay character whose only trait, because of lazy writing, is being gay.

It’s been over 10 years since “Glee” first aired and those stories and characters have not aged well. Its representation of gay, lesbian and bisexual characters hadn’t existed on television before, but gay characters like Blaine, played by straight actor Darren Chris, felt like a taunt to the queer community. The character had all the codes of a stereotypical flamboyant, singing gay man. His love interest Kirk was poorly developed from the first season when Blaine pined after the straight jock, playing into the popular trope of the feminine gay boy who longs for the masculine straight boy he can never have. The “Glee” writers used the same lazy, stereotypical storytelling that Disney used for their villains, but proudly put the label of gay on it, thinking they were progressive.

Popular sitcom “Modern Family” was applauded as groundbreaking for the portrayal of married gay couple Cameron and Mitchell. The show is a comedy and meant to be light-hearted, but their characterization is a perfect 3 Necessary, Terry “10 Queer-Coded Gay Villians.”

example of the “gay best friend” trope. They are stylish, petty and flamboyant, and it’s a one-dimensional take makes straight viewers comfortable by using gay personalities as the punchline of a joke.

Identifying queer coding and claiming a character as coded gay does not mean that character is gay — but the stories can be reminiscent of real queer experiences, moreso than “Glee’s” Kirk or “Modern Family’s” Mitchell.

A character I admittedly believe is queer coded is Zuko from “Avatar: the Last Airbender.” His storyline of being banished by his father for not being the son he wants and having to come to terms with the good inside of him is reminiscent of many LGBTQ+ stories of disownment by family. On Tumblr, the blog named “gaylord-zuko,” claims in their bio: “Are any of the characters straight? Probably not.” They reblog a number of things to do with the show, including reasons they think the Zuko is gay.4 But in the show, Zuko ends up with a girlfriend, so while I see my awkward teenage closeted self in him, the writers probably did not queer code him to be subtly identified as gay.

Other characters that are speculated to be queer coded are Niel from “Dead Poets Society,” Elsa from “Frozen” and Remus, Dumbledore and Luna from “Harry Potter.” And of course, don’t forget about Sam and Frodo from “Lord of the Rings.”

For members of the LGBTQIA+, it’s easier to care more about these queer-coded characters than about stereotypical, but explicit 4 “Gaylord-zuko,” Tumblr.

representations of queer people. For example: James Corden’s portrayal of Barry in the musical “The Prom.” The flamboyant and shallow character with limp wrists is just another example of how sometimes writing a gay character is more harmful than representative. Oftentimes gay characters, like Barry, are not treated with the same narrative worth as a straight character.

Sometimes shows try to give representation without the stereotypes, but they still make those characters queer experiences only a sidenote in the larger straight story. It was great to see two girls kissing in “Pretty Little Liars,” but Emily’s character wasn’t given much depth. But also, seeing someone who also kisses girls doesn’t actually make them emblematic of queer experiences and stories.

There are some good representations, though. “Orange Is the New Black,” was funny, diverse, and tackled many different LGBTQ+ representations. It still stands that all the characters were in prison and while they empathetically told their stories, it toes the line of villains continuing to be queer coded.

Characters that are queer coded, like the relationship between Sam and Frodo from “Lord of the Rings,” are more compelling. I’ve had friendships that felt so strong, only for me to look back on them to realize they were a stand-in for romance. Those boys wandering through Middle Earth felt a lot like that.

Sam and Frodo’s homoerotic relationship is similar to Nick Carraway’s with Gatsby. These stories written 70-100 years ago had queer coding. Even before that was the relationship of ancient Greek’s Achilles and Patroclus. Queer stories have always been there, and they’ve always been identifiable, but too often the tools to read into it aren’t readily given like they were in my junioryear English class. One-dimensional, ignorant and malignant characters with the explicit queer label, do not make them the only representation. There are well-crafted queer stories with depth and empathy, if only you choose to look. ■

An Interview with Djamal Lylecyrus

By Allyson Konz, Editor in Chief

Djamal

Lylecyrus (he/ him) is a sophomore at the University of WisconsinMadison studying political science and communication arts. On top of being a full-time student, Djamal is the Social Media Coordinator for Juliana Bennett's run for District 8 Alder, a Diversity and Inclusion Chair for the Wisconsin Alumni Student Board (WASB), a Program Facilitator for Sex Out Loud and a Posse Leadership Scholarship recipient. Recently Djamal won the College of Letters and Sciences seat on Associated Students of Madison (ASM).

This past summer, Djamal started the @bipocatwisco page, an Instagram account that shared the anonymous experiences of Black, Indigenous and People of Color on the UW-Madison campus. The goal was to increase visibility of BIPOC students, their experiences and offer a safe platform to share their experiences of racism and microaggressions on campus.

Photo provided by Djamal Lylecyrus

Moda Madison: What inspired you to start the @bipocatwisco page?

Djamal Lylecyrus: I was first inspired to start the page based off of all the racism I experienced when I first arrived on campus at UW-Madison. From my freshman-year roommate freely throwing around the “n-word” to being harassed by random trucks on University Avenue, this was unlike any racial environment I had ever experienced. To top it all off, the residents of this city have the gall to call Madison a “liberal bubble.”

While it is my feelings that drove my passion for starting and running the page, I must give credit where it is due. I originally got the idea for this type of project when I stumbled across an account called @black_at_ usc, a page that calls out racism on the University of Southern California’s campus. When I came across the page for USC, I looked to see if Wisconsin had a similar one. When I found out that there was no equivalent for UW-Madison, I made one in that exact moment, because if it wasn't me then who would?

MM: In what ways have you seen change (or lack thereof) in our campus community since starting the page?

DL: I feel that before the @bipocatwisco page began, a lot of instances of racism on our campus would be brushed off by everyone except the BIPOC communities that were negatively affected. From the fall 2019 incident with the sign posted that proclaimed "UW for whites only" to the Homecoming video in which not one BIPOC person was identifiable, many of my white peers either didn't care or were very ignorant to the racial climate.

However, following the height of the Black Lives Matter movement this past summer, many people began tuning into the reality of our country. When @bipocatwisco began talking about these same issues specifically occurring on our college campus, it garnered a lot of attention. I would like to think it made a lot of white Wisconsin students rethink what racism looks like and realize their own place or complacency in it.

MM: Would you describe yourself as an activist? What do you think the role of being a student activist is at a PWI?

DL: I wouldn't describe myself as an activist only because there are so many people out there taking much more actionable steps toward institutional change than I am. While this Instagram account was my first step into an activist’s role, I feel that I haven’t put in the work to equate myself to that of individuals who have been in this fight for the long haul. This past summer I felt like the word activist was thrown around quite loosely, and I don’t identify as such to show respect for all of those who enacted change before me. I believe that one day I will earn this title, however, today is not that day. I don't want to diminish the work that I do but, I also don't want to take away from other incredible student groups, such as the UW-Madison BIPOC Coalition, who are putting in the work, day in and day out.

As for racial justice work, calling out racism at a PWI is extremely daunting no matter how necessary it may be. It took a lot of courage to start the account and I had to train myself to stop giving white voices any power over my actions.

MM: Our print issue, Loud, is about self-expression, boldness and unequivocally being yourself. What have you learned about yourself in this past year and how do you hope to continue to grow?

DL: Growing up Black in a white-dominated society, I often felt like I needed to make changes to my mannerisms to appear less threatening or to conform to whiteness. I hated my curly hair, I always wished that my skin was lighter and blanketly just wished that I was white for a very long time. My battle with my internalized racism has been such a long journey that I continue to work through.

One thing that I gained from this account is to be unapologetically Black and to be unapologetically me overall. I learned that the racist actions of others says absolutely nothing about myself but is, instead, a reflection of the other party. Black people cannot be defined by anything, as we are all individuals who make up a community of intensely unique people. I so often feared that I didn't fit the mold of what a Black person "should be" and through this project I learned to embrace my uniqueness while also celebrating and embracing my skin color. I learned to love myself from my kinky dreadlocks to the melanin in my skin, and to live my life as I please, no matter who it upsets. ■

outspoken icons

HIGHLIGHTING THOSE THAT PUSH THE ENVELOPE IN FASHION AND DESIGN

By Grace Reber, Fashion Staff Writer Graphics by Jessica Tenenbaum

the fashion industry, some of the greatest names and trends have come from an overturning of conventional style ideology. From women of the 19th century refusing to follow ladylike silhouettes to men today pushing gender-based boundaries of mainstream menswear, countless individuals who have gone against the grain, challenging the barriers placed before them have managed to redefine modern style. Here are some of Moda’s favorite boundarypushing icons in the world of fashion.

stella Mccartney

English fashion designer Stella McCartney is in no way a new name to the public. Daughter of Sir Paul McCartney, the designer has teamed up with many well-known names in the fashion world such as Gucci, Adidas, and H&M.1 While much of McCartney’s past work in activism has been based on expelling animal cruelty from the fashion world, she has also been outspoken when it comes to the issue of domestic violence. Back in 2015, in support of the Kering Foundation, McCartney released a limited edition brooch that was distributed by high-end brands such as Gucci, Balenciaga and Alexander McQueen.2 The Kering Foundation is centered around ending violence against women and improving the lives of women all over the globe.3 The White Ribbon badge McCartney created was released just in time for the International Day for the Elimination of Violence against Women on November 25. The badge was adorned by hundreds of wellknown celebrities including Anna Wintour, Bella Hadid, Harry Styles, Kate Hudson, Kate Moss and dozens of others.4 Taking advantage of her platform, McCartney is known for bringing awareness to topics such as domestic violence and human trafficking.

In the Summer of 2020, McCartney announced an online festival she

1 Biography.com Editors. “Stella McCart ney Biography. Biography. 2015.

2 Jessica Militare. “How Stella McCartney Is Raising Awareness About Violence Against Women.” Glamour. 2015

3 “OUR PROGRAMS FOR MEANINGFUL CHANGE.” The Kering Foundation. 2021.

4 “White Ribbon 2016.” Stella McCartney. 2016

Withinwould be holding as a fundraising event in support of The National Network to End Domestic Violence (NNEDV).5 Though many events were cancelled this past year due to the global pandemic, McCartney took the absence of runway shows and turned them into an opportunity to raise money and awareness for domestic violence against women. President and CEO of the NNEDV Deborah J. Vagins spoke about domestic violence on a global level, specifically surrounding the BIPOC community stating that, “More than one in three women around the world experience sexual or physical violence in their lifetime, and this violence disproportionately harms Indigenous women, Black women, and other women of color.”6As both a designer and an activist, McCartney continues to use her talents and platform to bring awareness to violence against women around the world.

Maria grazia cHiuri

Given today’s polarized political climate, many designers now express their views through fashion. In light of the #MeToo movement and the newest wave of feminism, Dior’s creative director, Maria Grazia Chiuri, took her grievances with the patriarchy to the runway. In early 2020, Chiuri revealed a catwalk featuring massive neon signs that read “consent,” “women raise the uprising” and “when women strike, the world stops.” Dior’s Fall 2020 line featured in Chiuri’s awe-striking show followed closely with the empowering themes of the set. Including both masculine and feminine silhouettes, the line ranges from casual twopiece suits to dresses with plunging necklines. Chiuri targeted comfort and functionality over excessively feminine looks. Her incorporation of more fluid styles allows viewers with vast fashion preferences to see their style represented on the runway.7 This is not Chiuri’s first attempt at a display of feminism in Dior’s repertoire. The Dior Spring 2017 line featured a plain white tee with the words “we should all be feminists”

5 Jessica Davis. “Stella McCartney launch es digital festival to help end violence against women.” Harper’s Bazaar. 2020.

6 Samantha Conti. “Stella McCartney Sets Music Festival, Auction to Aid Women’s Charity.” WWD. 2020.

7 CR Staff, “Every look from Christian Dior Fall/Winter 2020.” CR Fashion Book. 2020.

across the chest. The tee quickly gained traction among celebrities such as Natalie Portman, Rihanna, and A$AP Rocky.8

The designer has been extremely direct about her intentions in the runways and the messages she’s created in her work with Dior. Chiuri believes in a sisterhood of women, that we should build each other up instead of competing with each other in a world long dominated by men.9 Following the success of her “we should all be feminist” tee, Chiuri released a similar top duo in Dior’s Fall 2019 line. The tees read messages of empowerment such as “sisterhood global” and “sisterhood is powerful.”10 Her devotion to empowerment and supporting all women is evident throughout her extensive work with Dior. With Chiuri’s push toward a more female empowered runway, she is bound to keep making an impact on not only Dior’s consumers, but the fashion industry as a whole.

niK Kacy

While there have been exceptional strides made in the past few years in the fashion world, there are still many changes that need to be made in regards to the inclusion of LGBTQ+ designers. Luxury footwear designer NiK Kacy saw this need and decided to take action. As a transmasculine and nonbinary designer, Kacy found that Los Angeles was in desperate need of a LGBTQ+ focused runway like the ones they had attended in other major cities.11 The show included six designers, four bands and over 55 models, and the members of Equality Fashion Week 2018 were 100% part of the LGBTQ+ community.12 The night consisted of a range of looks, many of which follow a gender fluid style to allow for all identities to be able to enjoy the clothing presented on the runway. Dapper Boi, the gender-neutral brand created by wife-and-wife duo Vicky and Charisse Pasche, concluded their show with an outfit featuring→

8 Nouriah Al Shatti, “9 Ways to Wear The Dior T-Shirt.” Vogue. 2017.

9 Robin Morgan, “Maria Grazia Chiuri Talks Feminism in Fashion & the Power of Sisterhood.” Harper’s Bazaar. 2019.

10 “Christian Dior Fall 2019 Ready to Wear.” Vogue. 2019.

11 Leigh-Ann Jackson, “At Equality Fashion Week, six LGBTQ+ designers put style in all its many forms on display.” Los Ange les Times. 2018.

12 “2018 EFW.” Equality Fashion Week. 2018.

a hat that read “I am not a boy,” in bold lettering. This piece, though small, sheds light on the constant misgendering that occurs in the world today. Kacy’s own show did not stray far from the bold statements made in other label’s presentations. While Kacy is a shoe designer by trade, their pieces and show served as more of a public statement than style inspiration. Kacy brought out several different black tank tops with phrases such as, “trans is beautiful,” “100% human,” and “the future is fluid.”13 By creating a show by and for LGBTQ+ artists and designers, Kacy opened up the opportunity for more accepting runway shows to take place. Kacy’s second annual Equality Fashion Week took place in October of 2013 with even more LGBTQ+ designers taking the stage. While the pandemic hindered any chance of a third show, Kacy is sure to continue creating a new, more accepting fashion environment for the LGBTQ+ community.

13 Desirée Guerrero ``54 Images of LGBTQ+ Fashion Week in Los Angeles.” Advocate. 2018.

KerBy jean-rayMonD

The self titled “first martyr in fashion” and founder of Pyle Moss, Kerby Jean-Raymond’s political statements on his runways weren’t always met with a kind eye. Jean-Raymond’s debut runway show featured multiple references to the police brutality that the Black community faces in America. WIth sneakers covered in the last words of Eric Garner, “I can’t breathe,” and footage of Garner’s death along with the Texas teen who was thrown to the ground by police, many investors and supporters of Pyle Moss were not impressed.14 Some of his biggest supporters and accounts dropped the label within hours of the show. Like many in the fashion world. Jean-Raymond stayed away from speaking out on racism on his runways, but bringing these issues to the forefront allowed the

14 Associated Press, “Designer plays Eric Garner police video at New York fashion week show.” The Guardian. 2015.

designer to gain traction as more than a creator, as an activist. Pyer Moss shows after 2016 consistently made statements against social injustices in the United States such as the mental health crisis and white collar crimes coming out of Wall Street.15 Jean-Raymond’s spring 2019 show, however, was perhaps his most elegant and successful runway yet.

Pyer Moss started out as a chic, street style label with much of its earlier pieces consisting of clean cut outerwear and oversized athletic style clothing. His turn for delicate fabrics and artistic style coming out in skirts and blouses adorned with murals and feathers. While the style of the clothing could be considered more refined in comparison to JeanRaymond’s previous shows, the messages displayed were executed just the same. From a cummerbund with the words “see us now?” paired with a completely white suit to a t-shirt reading “stop calling 911 on the culture” the Pyer Moss label continues to shed light on the ongoing discriminations plaguing the black community.16 Kerby Jean-Raymond continues to create clothing that pulls attention to social justice movements today. Newly elected Vice President, Kamala Harris, showed off her Pyle Moss camel coat during her first inaugural appearance.17 Being the first female and woman of color to hold the office of the Vice President of the United States, it is only fitting that she sported a designer that has pushed for social change throughout his career despite the backlash he received.

The fashion world is continuously changing and many of these style revolutionaries are pushing the boundaries of designing and modeling to challenge norms in fashion. Especially now, it is important for designers and other influential names in the fashion world to use their voice and their art to advocate for social justice. While many of these creators initially received criticism for their bold actions, they continue to urge the style world to reevaluate its biases and allow for more inclusive and progressive runways in the future.

■

15 Liam Freeman, “The rise and rise of Pyer Moss.” Vogue Business. 2019.

16 Maria Bobila, “The Pyer Moss Spring 2019 Collection was a powerful celebra tion of black culture.” Fashionist. 2019.

17 Suzannah Ramsdale, “Why Kamala Harris’ decision to wear Pyer Moss is im portant.” Evening Standard. 2021.

Pop Punk’s Still Not Dead

I SCREAM, YOU SCREAM, WE ALL SCREAM FOR POP PUNK

Written and graphics by Arella Warren, Arts Editor

Recallthe adrenaline and novelty surrounding youth in the early 2000s: young love, first dates, heartbreak, hardships, rebellion, contempt for the system, and lots of angst. Sound familiar? Those of us who grew up with American pop culture of the late ‘90s and early ‘00s can easily recognize these as the defining themes of the musical genre dubbed pop punk. Yet now that the days of the Black Parade and Myspace Emo are long behind us, society has come to a grueling conclusion: pop punk is dead. At least, that’s what mainstream media has led us to believe. But where did pop punk start? And where does it actually end?

tHe History

Classified as a subgenre of punk, the concept of pop punk first originated in the ‘70s with bands like Buzzcocks and The Ramones.1 These early artists forged the way for the genre, but often focused more on the loud, distorted guitar sounds and angry vocals of hardcorde punk rock rather than the pop harmonies we’d recognize today. It wasn’t until the mid ‘80s to early ‘90s that more of the familiar, pop sensibilities began to come through.

Queue the mid ‘90s, and we see the rise of bands like Green Day and The Offspring which paved the way for punk in mainstream media by incorporating newer, faster riffs and vocals.2 As the ‘90s progressed into the early ‘00s, a second wave of pop punk arose with bands like Blink-182, Sum 41, Simple Plan and New Found Glory.3 These early bands influenced the likes of Fall Out Boy, My Chemical Romance, and Avril Lavigne, just to name a few of the artists and groups that have shaped pop punk as we know it today.

1 Kay B., “History of Pop-Punk Music with Timeline,” Spinditty, Feb. 25, 2020.

2 Ibid.

3 Ibid.

tHe style anD Progression

Pop punk is defined as a “strand of alternative rock that combines powerpop melodies and chord changes with speedy punk tempos and loud guitars.”4 The songs are characterized by their use of fast-tempo guitar distortion, punk drum patterns, power chords, and power pop harmonies, but the genre is also notorious for its loud vocals and emotional lyrics.5

As early bands started to foster a loyal fanbase, pop punk grew from something existing only as a form of music to something that has infiltrated culture and media. Hot Topic, which was founded as a site for alternative band merch, has become a staple brand for pop punk’s edgier skater style. A newer phenomenon of pop punk that’s relatively unique is the incorporation of graphic novels into the subculture. Many bands have begun to produce their own thematic graphic novels, including Gerard Way’s “The Umbrella Academy” and All Time Low’s “Young Renegades,” which is a fun and innovative way to engage fans beyond the concert scene.

tHe resurgence

Today, many classic pop punk bands seem to be moving away from the emo alternative scene into something more progressive and modern. For example, Panic! At the Disco has gradually branched out toward more of an indie sound inspired by ‘60s rock, while newer artists such as Yungblud and Machine Gun Kelly are finding ways to blend pop punk inspired subculture with an infusion of rap, contemporary hip hop, grunge, and what Gen Z refers to as the E-boy/ E-girl aesthetic.6 Some claim this transition is a matter of remaining

4 “Punk-Pop,” AllMusic, 2021.

5 “Characteristics of Pop Punk,” Pop Punk Drumming, May 16, 2015.

6 A. Dark, “So You Thought Pop Punk Was Over?” L’Officiel, Feb. 16, 2021.

relevant with the trends and times, while others cite increased maturity of the artists and songwriters.7

Either way, the genre has come a long way from the staticy, garage band, punk rock vocals to a smoother, poppier, and more refined sort of grunge. Whether you accept that pop punk is morphing into something new, or feel that this newer wave of music no longer lives up to the iconic sound and aesthetic, pop punk will always have a voice so long as someone exists to listen. For this reason, New Found Glory put it best when they named their 2020 concert tour: “Pop Punk’s Still Not Dead.”8 ■

7 E. Roberts, “This Ain’t A Scene,” Mancu nion, Oct. 2, 2018.

tHe DouBleeDgeD sworD

oF rHetoric

RAISING OUR AWARENESS ON THE ART OF PERSUASION AND ITS POWER IN EVERYDAY LIFE

By Gabrielle Gronewold, Culture Editor

Illustrated by Riley August

Rhetoric

is the art of persuasion. It’s the study of how written or spoken language can inform, persuade or motivate an audience.

Originated by Aristotle in ancient Greece, rhetoric is one of the three arts of discourse along with logic and grammar. According to Aristotle, rhetoric is the art needed to win a court case, pass a law or gain the eyes of an audience, which is why the philosopher deemed rhetoric as “the faculty of observing in any given case the available means of persuasion.”1 Whether you recall lessons from your high school English teacher, a recent news article or conversation in passing, rhetoric is everywhere. And the stuff sticks.

So much so that rhetoric is affecting your daily life, whether you realize it or not. The pop-up ad persuading you to buy that jacket you keep google searching, your friend convincing you to go out to that new bar and the news article telling you all about the new supplement you must start taking are all utilizing forms of persuasion, and thus rhetoric.

1 Aristotle. “Aristotle’s Rhetoric.” Web Archive.

In a for-profit capitalist society, rhetoric is how we make money, how we influence and inform, how we tread the water of the world. The age-old principle is how religions have formed, why presidents have been elected and the reason we culturally evolve and develop.

The infamous Martin Luther King Jr.’s “I have a dream” speech utilized metaphors to emulate vivid imagery and testimonials of renowned historical moments like the Gettysburg Address to incorporate legitimacy.2 This speech has stood the test of time and has been a symbol of the civil rights movements; it’s because of rhetoric that the current movements for racial social justice and equality will do the same.

John F. Kennedy’s 1969 Inaugural Address coined one of the most memorable quotes in American history: “ask not what your country can do for you — ask what you can do for your country.”3 Kennedy tapped into the emotions of his audience, using the rhetorical device

2 Washington, A. Durthy. “‘I Have a Dream’: A Rhetorical Analysis.” Jstor. 1993.

3 John F. Kennedy. “Transcript of President John F. Kennedy’s Inaugural Address.” JFK Library. 1961.

of pathos, a principle you most likely recall from high school coursework, to inspire Americans and prompt action in the U.S.

Yet, the influential tool of rhetoric has also been utilized to create long-lasting harmful narratives. In 2016, the fake news phenomenon came into play when people started to take note of fabricated news stories, which often sported clickbait titles and flooded social sites like Facebook.4

These stories are problematic and misleading which can negatively affect knowledgeable and truthseeking readers. Yet, influential figures, like former president Donald Trump, created the rhetoric that fake news was coming from reputable news sources, just because he didn’t agree with the information or the light in which it framed him.

This rhetoric has bled into many aspects of the current political sphere and has been incredibly detrimental to the reputability of the free press, an essential tool to the longevity of the American 4 Wendling, Mike. “The almost complete history of ‘fake news’.” BBC News. Janu ary 22, 2018.

democracy. For example, the heavy and harmful rhetoric that the 2020 U.S. Presidential Election was coated in election fraud has created an influential storyline that persuades people that our democracy is invalid. Currently, Dominion and Smartmatic, two voting systems used in the election, are suing multiple figures including Fox News, Rudi Giuliani and Sydney Powell, in an attempt to prove the election fraud rhetoric wrong.5

It is also important to note that even though influential figures like MLK have been able to make powerful and progressive rhetorics around equality, there is still a quantifiable amount of harmful rhetoric that continuously hurts people of color. Following the emergence of the Covid-19 pandemic, harmful rhetoric was created around Asian people, specifically from former President Trump who coined the terms “China Virus” and “Kung Flu,” ultimately insinuating and creating a storyline falsely connecting those of Asian descent and the virus.6 As a result, there have been vast negative effects. In New York City alone, hate crimes against Asians have jumped 1900% in the last year, now making Asian Americans the third most racially targeted group following Black Americans and Jewish Americans.7

Corbin Woessner, Moda’s Fashion Editor, shared that these rising sentiments and actions caused her white dad to be fearful for her and her mom, who are Chinese, to go places as simple as the grocery store. She shared, “he feared that my mom and I would be targets of hate crimes.” Yet for Woessner, these experiences aren’t necessarily new, sharing that, growing up she constantly heard “racist sayings and names such as “ching chong,” “chink,” and “chinky.”” Woessner was also subject to racist stereotypes like eating cats and

5 Durkee, Allison. “Voting Company Smartmatic Sues Fox News, Giuliani, Sidney Powell for Defamation.” Forbes. February 4, 2021.

6 BBC News. “President Trump calls coronavirus “kung flu.” BBC News. June 24, 2020.

7 Aggeler, Madeleine. “The U.S. Is Seeing a Massive Spike in Anti-Asian Hate Crimes.” The Cut. 2021.

dogs, automatically being good at math, liking k-pop music and being good at doing nails.

These stereotypes came from somewhere: the persuasion and motivation of powerful individuals. This rhetoric has had negative implications for many and doesn’t stand alone as the only ill-use of the discourse.

The age-old principle of rhetoric that motivates movements and evolves society can also be found in the language and efforts that hold us back. This is why understanding and paying keen attention to the power of rhetoric is essential to being an informed citizen.

In our education system, learning rhetoric in literature allows you to break down information, understand its intent and fully comprehend a text. By pulling in these skills when consuming casual everyday languages, like tweets, new stories and passing conversations, people can begin to fully understand the influence and power of the things they are consuming.

Aristotle was onto something. Rhetoric is a persuasion force to be reckoned with as it is the basis of all influence. Deepening our awareness of rhetoric is what will make us more critical interpreters of the persuasion around us.

■

Living Loudly

MAXIMIZING YOUR SPACE AND YOUR JOY

By Abigail Crneckiy, Contributing Writer

Photographed by Hannah Huber, Contributing Photographer

Styled by Audrey O'Neill, Assistant Photography Director and Kelley Schlise, Set Assistant

You’ve

heard that less is more, but there’s an alternative to the mainstream minimalist design trend.

Many popular social media accounts, blogs, TV shows and books are full of the same whites, neutrals and earth tones. They encourage viewers to minimize their possessions and decor and get rid of any excess items.

Maximalism, on the other hand, is about expressing your own individuality and personality through your space.

Minimalism rose to prominence in the early 2000’s as housing prices rose and cultural forces, like TV property shows, encouraged homeowners to keep their houses bland in order to increase showing appeal to hypothetical sellers or subletters1.

Maximalism is no new practice, but has grown in popularity recently in contradiction to the rise in minimalism. It’s also popular with those who embrace a home-centered lifestyle, thus gaining even more popularity during the quarantine and distance of the COVID-19 pandemic. Homeowners and renters alike are turning their living spaces into a comfortable and expressive place, one that truly feels like home. The idea of the home as a commodity is losing salience as people fill their homes with what they lovepatterns, colors, textures and all items that bring joy.

1 E.V. Bramley, “I can’t believe it’s not clutter: maximalism hits our homes”, TheGuardian.com, 2018.

Maximalists declare that “more is more” and that there are no rules. All you need is a “passion for creating a truly unique space.”2 Some maximalists are inspired by personal interests and preferences, while others are inspired by the space they live in itself.

Laurel Woerner, a New York City resident, stated that she was inspired to move from minimalism to maximalism by her new-to-her pre-war apartment with “crumbling brick, a zillion coats of paint, and not a right angle to spare” that’s situated above a psychic shop, nightclub, and ramen bar.3 She abandoned her minimalist dreams and embraced her eclectic surroundings by diving into deep textures, romantic colors, and unique lighting.

Maximalism has no rules, but there are a few key components to this decorating style.

Surrounding yourself in color is a base aspect of maximalism. Whether this be by painting and/or adding colorful decor is up to you, but a maximalist space will never be full of just white and tan.

Adding texture also lends to a strong maximalist space. By filling a room with a variety of textiles — rugs, blankets, pillows, curtains, ottomans, you name it — you create a space full of depth and life. Unique decor and beloved

2 D. Hathaway, “More Is More: 9 Ways to Rock the Maximalism Trend”, MyMove. com, 2020.

3 “A 450-Square-Foot NYC Rental Fits a Surprising Number of Deep, Textured Wall Paint Colors”, ApartmentTherapy. com, 2021.

objects are another staple. Filling your walls and shelves with books, art, knickknacks and photographs that you’ve collected throughout your life makes it clear that this is your space. And you can’t forget to embrace statement pieces, be it furniture, large art or the unique structural aspects of your space.

Maximalism means claiming your space for yourself, making yourself comfortable and making your personality seen. Too often the status quo can keep us on edge about fitting in and exhibiting trendiness in all areas of our lives - including in our own homes. But maximalism says that instead of trying to fit in, we should make our own little worlds reflect the fullness of life and what we love. ■

Maximalism, on the other hand, is about expressing your own individuality and personality through your space.

Spotlight on Vivienne Westwood

HOW THIS DESIGNER INTEGRATES ART AND ENVIRONMENTAL ACTIVISM

By Jane Houseal, Fashion Staff Writer Graphic by Emma Gray, Arts Curator

Breakingthe mold is not new for Vivienne Westwood; she has been producing designs that embody originality since the 1970s. From championing punk rock fashion to popularizing wearing corsets as outerwear, Westwood is one of the most influential designers of her time. Westwood is not only powerful in the fashion industry but a revolutionary at heart, prioritizing progressive change both on and off the runway.

Most of Westwood’s career has centered around rebellion. Her first breakthrough in the fashion industry occurred when she designed provocative, punk clothing for a store she ran with her partner, Malcolm McClaren. Many celebrities, such as trailblazing punk band The Sex Pistols, frequently sported Westwood’s designs. As a result of Westwood’s work during this time, she is credited as being the genius behind punk fashion.

Westwood eventually shifted away from the punk world when it became more focused on chaos and less about political change. She began designing collections for the runway, where she often took inspiration from history. Some of Westwood’s iconic pieces include the “Mini Crini’’ and an innovative take on the corset. The “Mini-Crini” is a short bell shaped skirt inspired by the Victorian crinoline, a garment designed to hold out skirts and make them fuller. Likewise, Westwood’s corset-style tops created a very feminine silhouette. She used lots of different prints and fabrics for corsets throughout her collections. As Westwood continued to actively reject trends, she became a new groundbreaking trendsetter.

Though Westwood’s main career is in fashion, she doesn’t let that stop

Westwood is adamantly against the fast fashion industry and its contributions to climate change. In 2011, Westwood traveled to Nairobi, Kenya for her Ethical Fashion Africa campaign. She designed a variety of bags, all made by women under ethical labor conditions and strictly using second-hand fabrics. The project was controversial, but Westwood described her actions as “not charity, just work,” emphasizing that the project gave people control over their lives, unlike charity which makes them dependent.1

Westwood has never been one to keep her activism and art separate. For her Fall 2018 ready-to-wear collection, Westwood worked with activists to create a short film about empowerment and rebellion. The collection focused on the freedom clothing can bring to an individual. The hashtag, #dontgetkilled, accompanied the film, warning against the reality of mass extinction that is a direct result of climate crisis. The focal point of the collection was a sentiment of war, as her “army” of street cast models wore deconstructed pieces of fabric that featured camouflage prints.2

Yet again, Westwood used the runway to bring awareness to more than just clothes during her London Fashion Week Autumn Winter 2019/2020 collection. Along with climate change, the show addressed the Me Too movement and the world’s uneven wealth distribution.

1 Dazed, “Vivienne Westwood’s Top Ten Political Moments,” Dazed, April 8, 2015.

2 “Vivienne Westwood: Don’t Get Killed: Wonderland Magazine,” Wonderland, January 10, 2018.

million dollars to save the rainforests.

Most recently, Westwood appeared in a PETA commercial encouraging people to go vegetarian. In the commercial, Westwood showers as she lists reasons to give up meat. Additionally, high-end fashion label, Burberry, recently collaborated with Westwood to create a unique collection, “a union of punk and heritage”. The collection includes a mini kilt, tights and shirt dresses all in the iconic Burberry Tartan print. Influenced by Westwood’s activism, the campaign supports and promotes Cool Earth, a nonprofit that works alongside rainforest communities to halt deforestation and climate change.4

Westwood’s use of fashion as a platform for important discourse demonstrates that the combination of art and activism is a powerful tool for change. Westwood’s bold fashion and political statements have not only revolutionized the fashion industry but also built momentum for social justice causes. A conversation about Westwood as a designer can not take place without also talking about her role as an activist. When admiring Westwood’s work, we should appreciate not only her incredible trendsetting aesthetics, but her inspiring commitment to environmental activism. ■

3 Susan Devaney, “All Of The Political Talking Points Vivienne Westwood Brought To Her LFW Show,” British Vogue (British Vogue, August 14, 2019).

4 Burberry United States, “Vivienne Westwood & Burberry: Burberry,” Burb erry United States (Burberry), accessed February 12, 2021.

Beautiful Bravado

AN INTERVIEW WITH JACKSON TANYA VANCE

By Elizabeth Karnowski, Culture Staff Writer • Self portraits modeled and photographed byJackson Tanya Vance

JacksonTanya Vance is a twenty-year-old gender non-comforming individual from Milwaukee, Wisconsin. Vance uses he/ him and she/her pronouns and enjoys crossdressing, Nicki Minaj and his dog. As he claims, he is just an average twenty-year-old trying to figure out life. Recently, Moda sat down with him in an interview to talk more about crossdressing, selfexpression and empowerment.

Moda Magazine: Can you give us a quick rundown of crossdressing and gender fluidity, and what they mean to you?

Jackson Tanya Vance: I identify more as a crossdresser as opposed to gender fluid, but I also believe that gender is a social construct and we should destroy that idea. When I was a kid, I would put towels on my head to pretend I was a woman. In middle school, I would put on wigs, but just for myself. I started publicly crossdressing around summer of 2018. My life had been pretty empty at the time: home life was boring, my job was boring. I wanted to feel like a spectacle. One night, my friends and I went to a hookah bar in downtown Milwaukee and I was dressed completely like a female. It was scary for sure, but having my friends as a support system was important. They were very supportive. I still struggle with gender fluidity and what it means to me, including any labels I would give myself. My labels don’t affect my daily relationships and I feel no pressure to come out as such. When people ask me how I identify, I usually tell them that I'm just Jackson.

MM: Who’s your biggest inspiration that has helped you accept yourself and your style?

JTV: I think when speaking about this topic, it would be unfair to address my inspirations without talking about the trailblazers for people like me. What immediately comes to mind is my fascination and love of the Ball Culture in NYC in the late 1980s that created mainstream gay culture. “Paris is Burning” is a documentary that I saw growing up that highlighted the experience of the Balls and how different it was to the reality of these young, brown queer people. Balls were created so that BIPOC queer and trans people could have a place to go. Many don’t realize that transphobia and racism run rampant in the gay community, even now. It’s our duty as people who benefit from the hard work of BLACK queer people to know our history and respect each other.

As for my inspirations, Octavia St. Laurent immediately comes to mind. She exudes so much confidence and beauty and wanted to be taken seriously in the modeling world despite her transition. I admire her motivation. Another inspiration would be Nicki Minaj. Not only does she support the LGBTQ+ community, sport wild outfits and gorgeous long hair, but she makes music that boosts your confidence, which is so important to us. I admire any woman making a name for herself in this male-dominated world.

MM: What are the most common misconceptions and stereotypes people have about crossdressing?

JTV: People think that I’m transgender. Once I started posting pictures of myself online dressed as a woman, a rumor floated around school. Then one of my friends said to me, “Everyone was talking about you in homeroom saying you’re

trans.” I responded “Do they know they’re wrong?”

I have never felt uncomfortable in my male form so I’ve never had a want to transition. I just love to play dressup. I have been dealing with the trolls for so long that it really — at my core — doesn’t bother me anymore. I do think allies especially should not be afraid to have conversations with their queer friends about gender identity. There’s nothing wrong with asking people you know about their pronouns. People think it’s so uncomfortable to ask, but it helps transgender, nonconforming people. It's a small way to show you care enough to address them correctly.

MM: How do you keep your authenticity? Do you find yourself trying to please the comfortability of others rather than yourself when you’re crossdressed?

JTV: It’s a hard struggle. I used to be scared of having nails or makeup on when we would have family events for holidays and would usually just take them off before going. I realized that if they were uncomfortable with me, that was their problem, and not mine. Both looks are just as equally a part of me. It's much easier to be my outrageous, flamboyant self when I have a support group and family members who accept me. However, when I’m alone wearing makeup, hair and eight inch platforms, it's hard not to feel like a fish out of water. It’s almost a waiting game to see if anyone will notice and humiliate me or if I’ll actually get away with it.

MM: How does crossdressing help you express yourself?

JTV: It definitely helps my confidence. When I’m dressed, I’m in the gig. When I’m not, I’m out of the gig. I feel invincible: it’s like my suit of armor. Something about the experience of getting ready and putting on the final outfit gives me so much bravado. I love putting on makeup to take it off right away because of the artform it is. It has also helped me find my eventual career path, which will be in the beauty industry. Everyone is beautiful, and we are way past the notion that makeup is to impress men. So play with some

makeup and create something you usually wouldn’t. It may make you feel empowered.

MM: What is the most empowering aspect of crossdressing for you?

JTV: The most empowering aspect for me is that people don’t know who you are; they are just taken

aback by a beautiful creature, and that feels special. When I crossdress, I feel admired. I feel as if I get more appreciation. It feels good to be a spectacle and give people someone to look at. It gives me the same rush that performing on stage gives me. ■