Nasty: March 2020 Issue

EDITOR

Hess-Jones photographed by Jessica Tennenbaum

ART

Smith

Ide

Olson

STAFF

King

Karnowski

Fleming Gabrielle Gronewold Gylf Forsberg

Katz

Quinn Olivia Peters Shannon McManus

Albert

Abbe

Emmy Kistner

Forsberg Katie Herrick

Hess-Jones

Estes-Downs

Riker

ART Abbey Meyer Allyson Konz Courtney Cotey

Warren Jessica Tenenbaum

Bradish Kristen Swenson Lauren Chung Nora Barker

August Sammy Meyerson

TABLE OF CONTENTS

MARCH 2020

CULTURE

WHITE(R)

A critique of the politics of skin tone

WHITE FEMINISM SUPREMACY

The use of feminism as a party charade by white women

RED LIGHT DISTRICTS IN THE 21ST CENTURY

The fight for sex workers’ rights, in America and across the pond

SEX SELLS—BUT AT WHAT COST?

The impacts of sexualization in advertisements on young girls

DIRTY, NASTY, IMPURE

Why I stopped caring about those adjectives

TAYLOR VS. THE MAN

If Taylor Swift was a man, she would be the man

THE PROBLEM WITH PINKWASHING

The hypocrisy behind many company’s breast cancer and pro-LGBTQ+ advertising campaigns

LESSONS FROM MOM

A reflection on the knowledge shared between mother and daughter

LET’S TALK—AND NOT ABOUT BOYS

The failure of the Bechdel Test by most popular movies is part of a larger issue of misrepresentation of women in film

LIFESTYLE

A WOMAN’S GUIDE TO BIRTH CONTROL

What you may not know about the various forms of birth control

PERIOD.

Navigating the world of feminine care

WHAT A GIRL WANTS… AND DESERVES

Boys will be held accountable

IF I FAIL

The fears and strengths of single moms

LEADERS TO FOLLOW (LITERALLY)

Fill your feed with feminist activists

ARTS

THE RIOT GIRL

A look into feminist punk movements and women in the alternative music scene

TAKING THE STAGE

Women shouldn’t be limited to the background characters of theatre

BOSS WOMAN ON THE BIG SCREEN

Finally, a woman pursuing her career in a film

FASHION

POWER OF THE PANTSUIT

The feministic revolution of the pantsuit throughout the decades

AN INDUSTRY RUN BY MEN

The gender inequality that exists in an industry catered for women but run by men

FROCK THE VOTE

The significant fashion choices of women in politics

9 TO 5 TO 9

Outfits to carry you from networking to happy hour

THE BRALESS MOVEMENT

Free the nipple—or don’t, as long as the decision is up to you

CLOTHES VS. CONSENT

How rape culture has stigmatized women’s clothing

FEATURED OPULENCE

THE FOURTH WAVE

letter from the editor

Lauren Chung photographed by Annika Ide, Photography Director

Special thanks to Conley Clark, ‘All I have to Do is Dream’

Dear Readers,

I’ve said countless times before that, over the past four years, I am the most grateful for Moda Magazine giving me a home. This home has been a platform for my voice as a writer and my creative eye as a designer. But, what’s arguably more important for my personal growth is that Moda has given me a home made up of a family of strong, independent and resilient women.

Nothing made more sense to our staff than to have our March issue participate in National Women’s Month. Moda Magazine has a long history and foundation of women fighting for women; women coming together to be wholeheartedly themselves in all creative endeavors, simultaneously using their voices and minds to educate and support one another. I cannot express enough how much it has meant to me to be able to surround myself with other women who believe and fight for issues that matter to them — for them. The four years that make up the “college experience” are formative ones, and I am eternally grateful to have spent them feeling the power and strength in using our voices for better — using our voices to heal, unite and love.

Nasty women fight back — Moda fights back. In this issue, Culture Editorial Assistant Ariana King discusses both the importance of honest conversations about skin color as well as the significance of POC to celebrate the bodies they are born into, all while advocating for those who have less privilege because of it. Fashion writer Talia Abbe calls attention to the fact that the fashion industry — an industry

primarily made for, and therefore consumed by, women — is unfairly dominated by men. Lifestyle Editorial Assistant, Jessica Katz, tackles the need to change the harmful stereotype that if a boy teases or pushes you, you should believe that he likes you and accept that as a proper show of emotions.

But the reality is that we need more than just one month to honor ourselves — to be encouraged to take up space and be ourselves. The love and support that echoes throughout the month of March is needed every. damn. day. Plain and simple: that’s equality. We deserve that. No, we demand that.

I could go on and on about how much it has meant to me to have strong, female role models these past few years, but, instead, I’d like to end my letter on a different note: the fight for gender equality is not, and should not, be a fight solely left up to women. This battle is everyone’s responsibility to fight. One of the biggest things we can do for women is believe them; believe in their stories, their voices, their wants and needs. Indulge in the stories and insight in Nasty, but also remember to support all self-identifying women in your own circle and beyond — during the month of March and for months to come.

Cheers,

the POWER of the PANTSUIT

THE FEMINISTIC REVOLUTION OF THE PANTSUIT THROUGHOUT THE DECADES

By Corbin Woessner, Contributing Writer Illustrated by Lauren Chung, Editor in Chief

Up until 70 years ago, it wasn’t so cially acceptable for women to wear pants. During the 1800s, the purpose of women’s clothing was for sex ap peal rather than function. A typical dress or skirt was designed to make women look curvier. Since the aver age woman’s life was focused more on domestic duties, it made even the simplest tasks—such as sitting down and bending over—more than diffi cult. Additionally, it took women sig nificantly more time to get dressed due to all the layers they were re quired to wear.

It wasn’t until Elizabeth Smith Mill er—a pioneer for progressive wom en’s fashion—came along that these societal norms were challenged. Miller became fed up with women’s clothing and decided to defy societal norms. Her solution to her attire was inspired by a trend she saw in Europe where women wore Turkish trousers under their skirts. Miller was one of the first American women to pub licly wear bloomers under her skirt. Among various other women, Miller became the voice of the women’s movement, publicizing how bloomers were beneficial for women’s health, and ultimately sparked change for gender equality.1

The fight for pants in womenswear continued in 1909 when French de signer Paul Poiret created the “harem pant.” These pants became an alter native style for bloomers, and were made to be both flattering and func tional. Unlike bloomers, harem pants were often made from silkier mate rials that could be beaded and em broidered to reflect a more feminine look. In 1917, Vogue printed its first ever magazine with a woman wear ing harem pants on its cover. Similar to bloomers, harem pants faced ma jor backlash. Critics saw harem pants as being too sexual for the average woman, and categorized them as ce lebrity fashion.2

1Molly Steckler, “From Bloomers to Pantsuits:

A brief History of Women’s Dress Reform,” The Saturday Evening Post, 2018.

2Molly Steckler, “From Bloomers to Pantsuits:

A brief History of Women’s Dress Reform,” The Saturday Evening Post, 2018.

In 1923, Coco Chanel introduced her signature suit-inspired look. This look consisted of a boxy jacket with a kneelength skirt. Although her outfit didn’t involve pants in specific, it marked one of the first times in high-fashion history where women borrowed from menswear. While Chanel’s innovations were outstanding for the time, it took multiple years for pants, suits and, ultimately, pantsuits to be accepted into mainstream fashion. It took near ly 30 years (until the mid ‘50s) for the Chanel suit ensemble to finally be em braced by society.3

At the same time, the onset of World War II led to more and more Ameri can soldiers being shipped out over seas. Businesses began hiring wom en to fill the positions left by men. These positions called for activities that the everyday women’s attire were not equipped to handle, there fore, marking the first instance where women were required to wear pants for work. Although pants were ac ceptable for women to wear at work, they still weren’t acceptable to wear for other activities.

The final push for pants came in the 1960s and ‘70s. Rebellion was seen as a way of life for young people, giving pants the perfect platform to make their societal debut. During the fem inist movement, fashion began to in termingle with gender lines. After men and women started sporting the same clothing items such as jackets, shirts and pants, the word “unisex” was born and made its first big appearance in Life, an American magazine.4

In 1966, Yves Saint Laurent made headlines by debuting his now iconic “Le Smoking” tuxedo suit for wom en. Not only did YSL catch fame for debuting a woman in a suit, but also for embracing the suit as both practical and aesthetically pleasing. Helmut Newton’s famous shot of the YSL Le Smoking suit in a 1975 French Vogue Editorial coined the pant

3“How the Pantsuit Shaped Fashion History,” Material Magazine.

4Molly Steckler, “From Bloomers to Pantsuits: A brief History of Women’s Dress Reform,” The Saturday Evening Post, 2018.

suit as a modern and sophisticated wardrobe staple.5

While pants were growing to be more acceptable for women to wear, they also started to slowly make their way into the highest levels of gov ernment. It wasn’t until 30 years later in 1993 that women were allowed to wear pants in the US Senate. A num ber of female senators wore pant suits in protest of an old-school Sen ate dress code.

Nowadays, Hillary Clinton is notori ous for not only wearing pantsuits but for having them in nearly every color. During her presidential campaign in 2016, Clinton wore pantsuits to almost all of her public events, and was hard ly ever seen in skirts or dresses. Her pantsuit attire became a famous sym bol among her fan base, spurring the creation of “Pantsuit Nation,” a Face book group consisting of 3.9 million of Clinton’s supporters.6

Today, women from all different back grounds wear pants on a daily basis. Pants have become such a popu lar trend that they sparked an even newer era for men’s inspired fashion for women: pantsuits in streetwear. Celebrities like Zendaya, Karlie Kloss and Victoria Beckham have taken pantsuits from the red carpet to the streets, turning them into fashionable everyday wear.

The introduction and lasting power of the pantsuit are constant reminders of the female fight for equality with their male counterparts. Although women today might not be undergoing as massive revolutionary turnarounds in a fight to wear pants as they were in the 20th century, pants and pantsuits remain a symbol of female empower ment. Whether it be replacing a red carpet gown with a power suit or opt ing for pants over a skirt for your next interview, pants reinforce the idea of breaking societal norms and fighting for women’s rights.·

5Vice Digital, “How the Pantsuit Shaped Fashion History,” Material Magazine, April 20, 2017.

6Erica Euse, “The Revolutionary History of the Pantsuit,” Vice, March 20, 2016.

White(r)

A CRITIQUE ON THE POLITICS OF SKIN TONE

By Ariana King, Culture Editorial Assistant Illustrated by Allyson Konz, Art Director

Imagine this. You’re a three-year-old girl at the grocery store with your mom and sister. Your mom asks you to help put the grocer

The cashier smiles at you. She’s pretty with blonde hair, green eyes and skin like Snow White. She looks like your mom, but not at all like you.

You scan the lanes for other people who do. You don’t find any. When you leave the store that day, you tell your mom sadly,

“I don’t think I can have a job when I grow up.” She asks you why that is.

“It is because I’m

Until they didn’t. Because I had “slanty eyes” and a “flat nose.”

As you can imagine, these microaggres sions bothered me a lot and had a signifi cant negative influence on my body im age—something I thought all Asian women went through. It wasn’t until I got to college that I realized the criticism and scrutiny of my body was only scratching the surface of what other Asian women experienced.

This is largely due to the prevalence of col orism: a system of oppression that intersects with racism but privileges lighter-skinned people in the same intraracial group.1 Col orism is a by-product of colonialism and the ingrained idea that white beauty is superior, leading many people of color (POC) to take drastic measures to look white(r) and, con sciously or not, treat darker-skinned people as “lesser” beings.

Growing up in a near ly all-white family and community, I was al ways aware of my racial “otherness”—a subject of both awe and disgust.

To many white people, I always had the “perfect tan” that my girlfriends were jealous of—ev eryone want ed to look like me.

The drive to look whiter or more Western is the reason why I knew girls my age that wanted double-eyelid surgery—the most re quested plastic surgery procedure in Asia— by the sixth grade.2 It’s why my friend’s eth nically Chinese-Malaysian boyfriend can’t be in the sun too much—he doesn’t want to be considered “low-class” like people with darker skin in Malaysia often are.3 It’s the reason why I, a lighter-skinned East Asian-American woman, didn’t know about colorism until my sophomore year of col lege—I had the privilege not to.

1 “Colorism,” Merriam Webster Dictionary. 2020.

2 Amanda NG, “Why is the Double Eyelid Surgery So Popular in Asia?” Dazzed Digital.

3 C. Tai & T. Sukumaran, “Asia’s addiction to whiter skin runs deep-but the backlash has begun,” This Week in Asia, Feb 3, 2019.

The lighter-skin I have been “blessed” with is the epitome of what many East Asian women spend so much time, en ergy and heartbreak trying to achieve. Skin lightening has been around for ages, but its so-called importance has been made worse by the rapid pace of 21st century globalization—particularly for urban, middle-class and educated young(er) women.4

People of color use a wide variety of skin bleachers to accomplish this light ing, ranging from skin lighteners, skin whiteners, skin-toning creams, skin evening creams, skin-fading gels, etc.5 The Asia-Pacific skin-lightening mar ket makes up more than half of the global market, with China leading the way, accounting for 40% of the over all sales in Asia. This is, in part, due to an old Chinese saying—“yī bái zh bi ch u”—which translates to “a white complexion is powerful enough to hide seven faults.”6

The desire for white skin also goes back to colonialism, with the asso ciation of darker skin to subjugation and, therefore, inferiority. More pres ently, the explosion of multi-media has reinforced this “need” to look white and “Western.”7

In addition to the psychological strain on self-image and the unconscious in grained sense of inferiority to white(r) peers, skin lightening poses significant health risks. The most common side ef fect from skin lightening is inflamma tion, and while not harmful in and of itself, it can sometimes transform into postinflammatory hyperpigmentation, which causes discoloration—some times indefinitely.8 More severely, some skin lightening creams contain highly toxic mercury that, through prolonged use, can cause neurological damage and kidney disease.9

4 E. Nakano Glenn. “Yearning for Lightness: Trans national Circuits in the Marketing and Consump tion of Skin Lighteners.” Gender and Society 22, no. 3 (2008): 281-302.

5 M. Hunter. “The Persistent Problem of Colorism: Skin Tone, Status, and Inequality.” Sociology Compass (2007): 237-254.

6 M. Liu. “Beyond Skin Deep: Skin whiteners are still in demand, despite health concerns.” CNN. Sept 2, 2018.

7 Ibid.

8 Ibid.

9 E. Nakano Glenn. “Yearning for Lightness: Trans national Circuits in the Marketing and Consump tion of Skin Lighteners.” Gender and Society 22,

So, why do people take these risks? Es pecially for something so superficial? That’s the thing. Having lighter-skin isn’t superficial. Light-skinned privi lege has very tangible effects.

Economically, darker-skinned people of color tend to earn less than their white(r) counterparts. This is partic ularly true in the Latinx community, where self-identifying white Latinx folks made $5,000 more per year than their black Latinx counterparts, and $2,500 more than Latinx people who identified as “some other race.”10

Even socially, lighter-skinned peo ple have more advantages—light er-skinned women, who are regard ed as “more beautiful,” have more luck in the dating and marriage mar ket than their “less desirable” dark er-skinned sisters.11

So, while it might seem like the quest to attain white(r) skin is about van ity, lighter-skin makes your chances of economic and social success in crease significantly. The women using skin-lighteners aren’t crazy—they’re victims of worldwide colorism where the West always wins and the only way to play the game is to be like them.

Thus, colorism is another form of dis crimination and oppression that is just as important, but not as frequently discussed, as racism. Not only does it motivate people to take serious health risks for the chance at a better life, but it also serves as a daily reminder of the ideals of white superiority.

We often like to think of minority groups as monoliths, but colorism is proof that we cannot. As with class, ethnicity, lan guage, sexuality and disability, having darker or lighter skin complicates peo ple’s identities and goes against the notion that all non-white people must have the same experiences.

This is particularly true in the Black community, where dark-skinned black people have less visibility in the media. For anyone who knows anything about no. 3 (2008): 281-302.

10 M. Hunter. “The Persistent Problem of Colorism: Skin Tone, Status, and Inequality.” Sociology Compass (2007): 237-254.

11 Ibid.

the ballet world, it is predominantly white and privileged. That’s why Misty Copeland’s promotion to principal dancer, the highest rank in a ballet com pany, was such a big deal—she became the first black female principal dancer in the incredibly prestigious American Ballet Theater’s 75-year history.12

However, it wasn’t long before danc ers began to call out Copeland’s lightskinned privilege. For black dancers who fail to pass the “brown paper bag test”—meaning their skin has to be the same shade or lighter than the bag to pass—moving up in the ranks and get ting exposure was two times harder. In a world where the feminine white ideal is put on steroids, darker-skinned black female dancers’ bodies represented an aesthetic and cultural clash that many believed could not be overcome.13

While these are valid criticisms and im portant conversations to be had within the black community—and all commu nities of color—dancers like Copeland also don’t want their blackness erased because they “aren’t black enough.” While lighter-skin is almost always an economic advantage, lighter-skinned POC often feel more disconnected from their ethnic identity.14 It doesn’t help when people take that away from them, either.

In the end, colorism is a global phe nomenon that negatively harms com munities of color in more ways than one. By privileging lighter-skinned people, colorism exacerbates cleav ages within these intraracial groups, causing resentment and anger on both sides.

If we want to combat colorism, we as a society need to have honest conver sations about the importance of skin color. Moreover, as POC, we need to support each other in celebrating the bodies we were born into, while ad vocating for those of us who are less privileged because of it.·

12 M. Cooper. “Misty Copeland Is Promoted to Principal Dancer at American Ballet Theater.” The New York Times. June 30, 2015.

13 T. Howard. “Op-Ed: Is Ballet ‘Brown Bagging It?’.” Dance Magazine. April 3, 2017.

14 M. Hunter. “The Persistent Problem of Color ism: Skin Tone, Status, and Inequality.” Sociology Compass (2007): 237-254.

OPULENCE

Emmy Kistner photographed by Annika Ide, PhotographyDirector and Audrey O’Neill, Assistant PhotographyDirected by Sarah Troy, Fashion Director

PhotographyPhotographyDirector

WHITE Feminism SUPREMACY

THE USE OF FEMINISM AS A PARTY CHARADE BY WHITE WOMEN

By Katie Herrick, Culture Editor Illustrated by Abbey Meyer, Associate Arts Curator

The Women’s March: a symbol of hope, power and defiance. Initially started in 2017—the day after the inauguration of President Donald Trump—the Wom en’s March took place worldwide with an estimated 2% of the United States population protesting.1

Maybe you went when the march first started, or maybe you attended in the years that followed. Maybe you knit a pussy hat and perfected a protest sign with glitter and a witty saying you pondered for months ahead of time.

Or maybe you didn’t go at all. May be for you the Women’s March isn’t a sign of hope, it’s just another facade of non-oppression put on by white peo ple to help them sleep easier at night.

1 “2017 Women’s March.” Wikipedia. Wikimedia Foundation. March 4, 2020.

I remember my first Women’s March in 2017. I went with my friends and traversed across campus from Lake shore to the Capitol. We sheepish ly made our way up State Street and stood around awkwardly for a halfhour before walking home. My friend requested several photographs which she promptly posted on her Instagram, garnishing hundreds of likes and sup portive comments. Lord knows why, but I felt empowered.

Looking back, the whole experience feels fabricated. I remember the fac es around me, the majority of them white. I remember many of my male friends not wanting to come, saying it wasn’t “their thing.” I remember trying to help my friend come up with a caption for her post and her

disdain when I suggested including the word “nasty.”

Where I’m from, minorities are so in visible it can feel like they don’t exist, so any sort of “protest”—even when comprised mostly of white women— felt like a grand attempt to take “the power” back. For a long time, the Women’s March seemed like the ul timate form of empowerment. Now, though, it feels like the ultimate form of bullshit.

Feminism was created to garner equality between men and women. Quickly, however, it has become a charade for white women to put on and pretend to be “woke,” all the while continuing to vote for politicians that support racist and sexist policies.

For a lot of white women with money, the Women’s March is a fun afternoon. It’s a great Instagram post or an excuse to make an arts and crafts poster with a fun quote pulled from Pinterest. It has nothing to do with fighting back against oppression or loosening the chains that weigh down on us so heavily each and every day.

There are plenty of people who are there for the right reasons, but there are also plenty of people who have made the Women’s March about them. As Malcolm X once stated, “the most disre spected person in America is the black woman. The most unprotected person in America is the black woman. The most neglected person in America is the black woman.”2 Yet the Women’s March is not a space where minority women can be comfortable nor uplifted.

The Los Angeles Women’s March re fused to invite the Black Lives Matter (BLM) movement this year because “this is an important election year, our speaking program for Women’s March LA 2020 is focused on highlighting or ganizations and individuals who have a mission to register and encourage peo ple to vote.”3 In previous years BLM has been invited to both attend and speak, but why now in such an “important election year” is the Women’s March insinuating that their message distracts from that of voting? It has everything to do with voting.

If we are really marching for equality, why are we discluding an organiza tion made to uplift one of the most oppressed groups, a group that needs our support the most? The Women’s March has become a way for white women to play the victim—to feel sor ry for themselves.

Don’t get me wrong. I am a white woman. And though I may be bisex ual with mental health issues, I am cis-gendered and able-bodied. I am in the majority. All women are oppressed in terms of gender rights, but in the grander scheme of things, the surface

2 L. Parker. “Malcolm Taught Us: 7 Quotes From Malcolm X.” The Black Youth Project. Nov 3, 2015.

3 J. Ogilvie. “Black Lives Matter LA Says It Wasn’t Invited To Participate In The Women’s March For The First Time.” LAist. Southern California Public Radio. Jan 17, 2020.

is barely scratched for me the way it is for other women who belong to multi ple minority groups.

I’m not saying that the only way to support other women is to ignore your own oppression or difficulties, but it is important to note the privilege some of us have over others. White women should be using the Women’s March to not only reclaim their own power, but to help those whose existence is not even acknowledged.

Feminism is necessary if we ever want to reach equality within a multitude of issues discriminated on by both gender and sex. The two radical ends of fem inism, however, are unnecessary and only stand to tear the movement down from the inside out. To me, white femi nism lies in the same realm as trans-ex clusionary radical feminism, more com monly known as “TERFs.”4 To fight for just part of a marginalized group is not really fighting for that group at all.

Let us not forget that when the suf fragette movement started in 1848, black women were pushed to the back. They made some of the biggest waves, all while fighting for not only women’s rights, but rights for all black people.5 Yet, Elizabeth Cady Stanton—a white woman—is one of the most well-known figures of this movement.

“But Katie, that was a different time.” Re ally though, have we evolved that much?

Tarana Burke started the #MeToo move ment almost 10 years before it exploded on the internet.6 Yet, the Time 2017 Per son of the Year cover that was dedicat ed to “The Silence Breakers” included Ashley Judd, Taylor Swift, Susan Fowler, Adama Iwu and “Isabel Pascual.”7 That cover belonged to Burke. She started the movement only to have white wom en in Hollywood rip it from her hands.

It is true that the white women in Holly wood helped the movement reach new 4 “TERF.” Wikipedia. Wikimedia Foundation. March 3, 2020.

5 E. Dionne. “Many Famous Suffragists Were Actu ally Working to Advance White Supremacy.” Teen Vogue. Teen Vogue. Aug 18, 2017.

6 S. Garcia. “The Woman Who Created #MeToo Long Before Hashtags.” The New York Times. Oct 20, 2017.

7 M. Redden. “#MeToo Movement Named Time Magazine’s Person of the Year.” The Guardian. Guardian News and Media. Dec 6, 2017.

demographics and spread like wild fire—I will not discredit their bravery and power. But many of them did not credit nor mention Burke.

In 2019, Charli D’Amelio skyrocketed to TikTok fame after posting videos doing the “renegade” dance. The renegade quickly became known as Charli’s dance. Meanwhile, the actual choreographer of the dance—a 14-year-old black girl named Jalaiah Harmon—received no credit for the viral trend.8 I don’t blame Charli—she is a 15-year-old who simply copied a dance she saw on an app and went viral. At the time, I highly doubt she was aware of what was to come nor the true creator of the dance.

The point is, from a young age, black women are already used to their work being stolen with little to no credit. It starts young and it never stops. Whether it’s a movement for ALL women’s rights, a shared connection of trauma between women or a 15-second dance—white women need to recognize the true trail blazers, not take the movement away from them and claim it as their own.

As Rachel Elizabeth Cargle from Bazaar says, “if there is not the intentional and action-based inclusion of women of color, then feminism is simply white su premacy in heels.”9

Stop tokenizing black women and in cluding them just to make yourself look “woke.” Participate in activities daily that uplift women of color. Acknowl edge that though you may have it bad, as a white person you will never have to experience racism on top of sexism. Stop showing up only when it is conve nient for you.

For white women, our fight is for rights and for respect. For women of color and women on the LGBTQIA+ spectrum, it is a fight for the right to live—to be treated as a human being instead of an “other.” If your feminism isn’t intersec tional, you’re not a feminist—period.·

8 M. Harris. “The Original ‘Renegade’ Dance Creator Performed at the NBA All-Star Game and Met up with Charli D’Amelio for a TikTok Collab.” Insider. Feb 18, 2020.

9 R. Cargle. “When Feminism Is White Supremacy in Heels.” Harper’s BAZAAR. May 28, 2019.

RED LIGHT DISTRICTS IN THE 21ST CENTURY

THE FIGHT FOR SEX WORKERS’ RIGHTS, IN AMERICA AND ACROSS THE POND

Written & Illustrated by Channing Smith, Arts Curator

If you tell someone you’re studying abroad, you are likely to be greeted with a list of must-see’s and do’s. Peo ple recommend Lisbon for a weekend, rave about London’s thrifting scene and demand you try chocolate in Brus sels. Time and time again, people have suggested I walk around Europe’s Red Light Districts (RLD).

On a trip to Antwerp, Belgium, I saw the ghostly red glow from a block away and decided to take a closer look. The narrow cobblestone streets were lined with windows on either side, the kind you might stop at to see a few puppies. These windows, however, were filled with scantily-dressed women.

Some danced and flirted with men as they passed. Some stood, looking bored while checking their phones. One girl was sitting and eating a bag of chips. Men stopped and gawked at the windows, while few seemed to go in. The few who I saw walk up and

down the stairs in the back looked un settlingly smug. After all was said and paid, they lined up at the public urinals on the street.

I circled the area multiple times: I was entranced. The scene felt like a social experiment, a teenage boy’s fanta sy or a misogynist’s wet dream. The place was heavily voyeuristic, most of the men watching and laughing as opposed to actually buying what these women were selling. Not all were women either, tucked away in an alley were a few windows showcasing men in drag.

Plenty of thoughts raced through my head, but one kept reoccurring: This would never happen in America.

But why? Besides the blatant and ob vious fact that prostitution is illegal in the states—with the exception of a few counties in Nevada1—American culture

1 NRS 244.345, Sess. of 2017 (Nevada 2017)

would never allow for this kind of pub lic, organized display of sex work.

While the legalization of prostitution is on the minds of more American politicians today, Europe’s RLDs are under fire. London’s Soho—which was once a hot spot of walk-ups and sex shops—has been gentrified beyond recognition.

Having visited three RLDs (Amster dam, Antwerp and London) I found myself the most uneasy in London’s Soho. Since recent changes, the neigh borhood is operating under the pre tense that prostitution is not happen ing in the steep walk-ups or behind closed doors. Hand-scribbled signs reading “Models” are all that remain of the once expansive RLD.

On the other end of the spectrum is Amsterdam’s De Wallen. De Wallen is currently facing pushback from its gov ernment due to an uncontrolled influx

of tourists in recent years. Residents report that out-of-towners treat the area with disrespect: publicly urinat ing, snapping photos of the sex work ers without permission and crowding out locals.2

Femke Halsema, Amsterdam’s first fe male mayor, has plans to revitalize De Wallen and improve conditions for and treatment of sex workers.

“We are banning tours that take visi tors along sex workers’ windows, not only because we want to prevent over crowding in the Red Light District, but also because it is not respectful to sex workers,” Udo Kock, deputy mayor, said in a statement. “It is outdated to treat sex workers as a tourist attraction.”3

The visibility of sex workers in Amster dam is something so unique to the city, but also extremley problematic. Treat

2 “About,” We Live Here. 2018.

3 H. Coffey. “Amsterdam to bean all tours of Red Light District,” Independent UK. March 29, 2019

ing De Wallen like a zoo further dehu manizes the already stigmatized voca tion of a prostitute.

So, back to my original question: this would never happen in America, why does it happen in Europe? Well, it hap pens in Europe because it doesn’t hap pen in America.

The reason international tourists flock to De Wallen is because the visibility of sex work is something so foreign and exotic. When prostituion is illegal or shamed, the idea becomes irresistibly indulgent, like seeing an R-rated mov ie in high school. Additionally, without the regulation and transparency of le gality, the treatment of sex workers re mains indifferent.

I used to think sex workers saw a heightened instance of abuse because of the anonimity-factor of buying sex: the idea that you didn’t know this per son meant you could do whatever you

wanted to her. But, in today’s hookup culture, sex is fairly anonymous. Meet ing someone in a dark bar leaves you with about as much humanizing infor mation as meeting someone in a redlit window.

The discrepensy in treatment lies in the stigmatization of sex work as a profession. To eradicate this prejudice, we need to legalize the selling of sex while punishing those who buy it, re storing the agency and power to the sex worker. This is a tactic that has been implemented by France, Canada, Israel and Ireland—the United States should take notice.

As for Amsterdam’s De Wallen, those who argue that the raunchy streets are just part of Amsterdam’s unique cul ture are arguing misogyny as a part of their culture, too. Halsema’s plans don’t threaten the business of sex work, they aim to increase the respect and legiti miacy associated with it.·

SEX SELLS—

But at What Cost?

THE IMPACTS OF SEXUALIZATION IN ADVERTISEMENTS ON YOUNG GIRLS

By Gabrielle Gronewold, Culture Staff Writer Illustrated by Lauren Chung, Editor-In-Chief

Imagine you’re 12-years-old, your mom just dropped you off at the mall and you have exactly two hours to do whatever you want with your three best friends.

You flaunt your Hollister bag that sports a shirtless man who is much too old for you. As you walk around, you’re surrounded by images of perfect, tall thin girls much older than you, mod eling clothes you think are cute. You feel cool, mature even, but part of you feels a little uncomfortable, asking yourself, why don’t I look like that?

Why are we submerging young girls in advertisements with photoshopped naked men and twenty-something women who don’t even look like their perfect pictures in person?

Sexualization in advertisements is a re ality for everyone, but their targeting of young females is irresponsible and has long-lasting impacts on well-being and self-image. Yes, “sex sells”—but at what cost?

Around 52% of magazine advertise ments that feature women treat them as objects. Statistics are even worse for men’s magazines, objectifying women in 76% of advertisements.1 Advertise ments don’t have age restrictions, so as soon as girls can read the covers in the grocery store or snag their mom’s copy of InTouch to flip through, they can be introduced to these messages.

These objectifying images aren’t ex clusive to adult magazines either. Research by the Australian Market ing Journal found that in magazines targeted at girls ages 5-15, advertise ments were full of images of thin, white female models over the age of 13.2

The images found in these magazines meet the standards of the “ideal” fe male image that is often presented in advertisements. Women and girls primarily get their sense of self from how others perceive their physical attractiveness. When young girls are constantly introduced and presented with images of the accordingly “ideal”

1 J. Smith, Jaimee & H. Guold. “Not an Object.” Unicef. January 15, 2020.

2 J. Napoli. “Female Gender Images in Adolescent Magazine Advertising.” Science Direct. 2003.

body, they begin to define that “ideal” image as preferred for themselves.3 As young girls’ bodies begin to change and they start to consider their own style and beauty, they are in an ex tremely vulnerable state to receive these types of messages.4

If the effects of these advertisements are so rampant and apparent, why do advertisers use these sexually charged messages? Research shows that sex ualized advertisements gain the at traction of viewers. These impacts are even larger for youth who are just beginning to develop their sexual ex pression.5 Companies use sexualized advertisements for impulsive, low-risk buys—things like entertainment, beau ty and clothing.6

Sexually charged advertisements un dermine girls’ confidence and create emotional issues—sexualization in ad vertisements is linked to eating disor ders, low self-esteem and depression.7

In 2017, 35-57% of adolescent girls engaged in extreme actions to low er their weight.8 These statistics are largely due to the media girls are sur rounded by.

Sexually charged advertisements also have large effects on girls’ sexual de velopment and sexual self-image.9 Research shows that objectification lowers sexual health awareness in teen girls—decreased condom usage and weakened sexual assertiveness.10 When girls are frequently exposed to these types of messages it creates negative and unrealistic expectations of sexuality that may lead to further problems in adulthood.11

3 Ibid. 4 Ibid.

5 J. Fetto. “Where’s the Lovin?” American Demo graphics. 2001

6 “Why Sex Sells.” Business News Daily. February 24, 2020

7 “Sexualization of Girls is Linked to Common Mental Health Problems in Girls and Women.” APA. February 19, 2007.

8 “Eating Disorders in High School and Inpatient Treatment.” Hope. October 7, 2017.

9 “Sexualization of Girls is Linked to Common Mental Health Problems in Girls and Women.” APA. February 19, 2007.

10 E. Impett, D. Schooler, & D. Tolman. “To be seen and not heard: Femininity ideology and ado lescent girls’ sexual health.” Archives of Sexual Behavior. 2006.

11 L. Brotto, J. Heiman, & D. Tolman. “Towards con ceptualizing women’s desires: A mixed methods study.” Journal of Sex Research.

It’s baffling that to this day companies choose to make these decisions know ing whole-heartedly what it is doing to their consumers. By putting profits be fore people companies are being care less and irresponsible. Luckily, it looks like this behavior is beginning to catch up with them.

For years, Aerie—American Eagle’s lin gerie brand—has received praise for using untouched images and creating inclusive advertisements with models of many diverse backgrounds. Back in 2018, the company made even more strides towards this inclusivity by showcasing models with an array of disabilities and physical illnesses.12

Representation like this helps consum ers feel included and celebrated by brands, leaving a positive, long-last ing effect on individuals. By avoiding sexual tones and instead leaning on wholesome and inclusive themes, Ae rie broke away from a negative norm and created a positive space in the fashion industry.

These inclusive practices haven’t stopped there either. Savage X Fenty— Rihanna’s lingerie brand—made waves this past fall with it’s fashion show. The show included a wide array of models and celebrated all bodies and sexual ities. The show in its entirety was de signed for women, opposed to adhering to the desires of men like the Victoria’s Secret Fashion Show. Rihanna facili tated an event that allowed women to define their sexuality and take charge of their bodies, rather than be morphed into sexualized selling points.13

When women are celebrated in ad vertising it can bring groups of peo ple together and make individuals feel represented rather than isolated. Sex ualized advertisements hurt women, specifically in their adolescence, jump ing start self-image struggles that last a lifetime.

Yes, sex sells. But it’s time we put more value in the well-being of wom en than profits.·

12 M. Love. “Aerie’s inclusive ads are what fashion needs.” PAPER. July 12, 2018.

13 L. Fisher. “Women Were Moved by Rhianna’s Savage X Fenty Show on Twitter.” Celine. Sep tember 20, 2019.

A WOMAN’S GUIDE TO BIRTH CONTROL

WHAT YOU MAY NOT KNOW ABOUT THE VARIOUS FORMS OF BIRTH CONTROL

By Elizabeth Karnowski, Lifestyle Staff Writer Illustrated by Channing Smith, Arts Curator

Birth control. We all know about it, at least vaguely, and depending on your experience, you love or hate it. Nearly two-thirds of women use some form of birth control whether it’s a contraceptive, implant or IUD.1 Oth er than preventing pregnancy, wom en use birth control for a variety of reasons—to help with acne, decrease PMS symptoms, manage irregular and heavy periods, treat endometri osis symptoms—the list continues. Different kinds of birth control have different purposes, and it’s important to know which one suits an individual best.

THE PILL

The first and most common is the contraceptive also referred to as ‘The pill.’ As most people know, the pill must be taken at the same time ev ery day for it to be the most effec tive. When used correctly, the pill is 91% effective. That being said, it is still possible to get pregnant while on the pill. A lot of people don’t realize it, and it’s not the most common thing, however, it’s still a possibility. If you miss a day, you’ve messed up the en tire schedule and usually have to wait about seven days for everything to be

regulated again. It can also make you more hormonal, which creates an in crease in mood swings, spotting be tween periods and nausea within the first two or three months.

Despite this, the pill comes with lots of benefits to those who take it. It can prevent or reduce things such as acne, ovarian cancers, iron deficiency and premenstrual symptoms. Another thing that most people aren’t aware of: there are two different types of the pill. First is the combination pill consisting of estrogen and progestin. This is the most common form of the pill. You don’t have to take this pill at the exact same time every day but it’s definitely recommended in order to remember to take it every day. Pro gestin-only pills (aka mini-pills) con tain no estrogen. With this version you must take it three hours before or after your normal time for it to be ef fective. For example, if you take your pill every day at 9 a.m. and you forget to take it until 1 p.m., you might be at risk of pregnancy the next day.2

THE SHOT

The birth control shot is 94% effective and is taken every three months. The only thing you have to worry about is

2 Parenthood, P. (n.d.). Birth Control Methods & Options: Types of Birth Control.

making sure you have a doctor’s ap pointment scheduled in order to get the shot on time. You can get your shot as early as 10 weeks or as late as 15 weeks after your last shot. If you go any further, the shot is no longer effective and you have a higher risk of pregnancy. Users of the shot may have temporary bone thinning; the longer the shot is used, the more the thinning is increased. Other side ef fects of the shot are similar to those of the pill. In the first few months of the shot, women experience longer peri ods than normal and spotting in be tween. After about a year, most wom en stopped getting their period while they were receiving the shot.3

THE IMPLANT

1 Todd, C. L. (2018, December 20). Almost TwoThirds of Women in the U.S. Use Some Form of Contraception.

even days after it’s possible to feel cramping. However, once the IUD is in you don’t have to worry about any thing for a few years. There are a lot of types of the IUD but they’re classi

top ways to prevent an STD, however, not so much a pregnancy.5 Another way men can prevent getting a wom en pregnant is with a vasectomy, but most men don’t get one until they’re done having kids with their signifi cant other. A form of birth control for males that’s in the works is a gel that’s rubbed on their back and shoulders. It contains a combination of progestin and testosterone which blocks their natural testosterone production. Un fortunately, there’s no reports of this method being available everywhere and is still in its research phase.6

It’s important for individuals to edu cate themselves about different meth Parenthood, P. (n.d.). IUD Birth Control: Info About Mirena & Paragard IUDs. Parenthood, P. (n.d.). Condoms: How to Put On

Brickell, S., & Brickell, S. (2018, November 29). Male Birth Control Gel Might Become a Thing–Here’s What You Need to Know.

without the permission of your par ents. In most states, you can go to a Planned Parenthood clinic and get the information needed to determine which form is correct for you. If you don’t have insurance to pay for it, Planned Parenthood offers programs to help with the costs.7 Another way to get birth control is by consulting your gynecologist. Some may give a more in-depth examination other than asking you why you’d like to go on birth control and other basic health questions (i.e. performance of a pelvic exam to be sure there are no irregular ities that would be a setback).

All women of any age deserve access to birth control and it’s our job to help enhance the knowledge of this life-al tering medicine.

·

7 Parenthood, P. (n.d.). I’m 16. Can I get birth con trol at Planned Parenthood without my parents’ permission?

AN INDUSTRY RUN BY MEN

THE GENDER INEQUALITY THAT EXISTS IN AN INDUSTRY CATERED FOR WOMEN BUT RUN BY MEN

By Talia Abbe, Fashion Staff Writer Illustrated by Channing Smith, Arts Curator

Why is an industry that is geared to wards women and kept alive by female dollars run by men? This question is constantly being asked in regards to the fashion industry. It’s obvious that women buy clothes for themselves— not to mention that the fashion indus try as a whole is dominated by wom enswear as a category. Yet, there are far more male designers for womens wear than female. Women know what women want and the current state of the fashion industry is not represent ing what its audience looks like.

Most high-end designer companies were founded by men or are run by men. Now is the time for female de signers to take the entrepreneurial route, as great women fashion design ers did before them— Coco Chanel, Elsa Schi aparelli, Norma Kamali, Diane von Furstenberg, Tory Burch, Donna Karan, Vera Wang and others. The greatest hope for the fashion industry is to let new women designers in. Female customers are looking for brands they can connect with. Those who continue to ignore them will eventually suf fer the effects of not ca tering to their audience.

Women make up the majority of the popula tion within the fashion industry. They dominate in numbers for entering the apparel and retail workforce, entry-level positions and fashion schools’ student bodies. Re gardless, only 40% of womenswear fashion brands are designed by wom en. In 2018, 86% of the graduating class at the Fashion Institute of Tech nology was female, and 54 out of 58 of the graduating fashion majors at Pratt were women. While it’s clear that wom en are getting jobs in the industry, they are not always receiving high roles.1 These statistics reinforce the idea of the patriarchy with men being leaders in society even within a female-associ ated industry like fashion.

Many smaller fashion companies are founded and run by women, but the game changes when bigger names come into play. Women represent only about 25% of board-level posi tions at publicly-listed fashion com panies. Only two women hold seats on the LVMH executive committee.2

Business of Fashion interviewed 50 major fashion brands and concluded that women ran only 14% of them. In modern-day society, women are still seen as caregivers and as unable to give up the time to be an executive. Many female designers are working to change this outdated stereotype.

Designer Vera Wang states that “wom en take on many roles and wear many

ed. Most of these characteristics are closely related to dominance and power, which is typically associated with men.4

A study called “The Glass Runway” proved that the fashion industry is still run by men. The study found that women faced many obstacles, includ ing “having a family, sexism, lack of mentorship and confidence, less ag gressive pursuit of promotion.” All of the women who were interviewed agreed that there was indeed gender inequality within the industry. 5

The study proposes some solutions to this problem, including criteria for ad vancement and flexible schedules. But, as Diane Von Furstenberg states, the goal was more prelimi nary than that—instead, it was to “raise aware ness and put HR depart ments on notice.”6

“FOR AN INDUSTRY THAT CONSIDERS ITSELF SO FORWARDTHINKING IN SOCIAL ISSUES, THEY HAVE A REAL GENDERINEQUALITY ISSUE OCCURRING”

hats. They’re wives, they’re mothers.” Phoebe Philo, creative director of Ce line, managed to relocate the label’s headquarters from Paris to London just to be closer to her children and husband.3 Now more than ever is the time to stop underestimating the abil ity of women—women can be both mothers and business leaders.

Female designers are also facing problems of perception. To be a good fashion designer, female designers must have originality, autonomy, cre ativity and be economically-mind

2 Sarah Spellings, “The Fashion Industry Is Still Run by Men,” The Cut, May 21, 2018.

Samantha Barry, current editor at Glamour, has a different, perhaps more immediate solution:

“Right now consumers put their fashion dollars behind companies that are sustainable. Why not do the same for companies that are run by women? That way fe male-led brands benefit, and other brands will be encouraged to follow their lead.”7

As the rest of the world is attempt ing to progress forward, the fashion industry is still stuck in its old-fash ioned ways. For an industry that con siders itself so forward-thinking in social issues, they have a real gen der-inequality issue occurring. Wom en know what women want. As Sarah Spellings from The Cut so eloquently puts it, “it’s a good time to start think ing about who runs the show in an in dustry that caters to women.”8 ·

4 ibid.

5 Sarah Spellings, “The Fashion Industry Is Still Run by Men,” The Cut, May 21, 2018.

1 “Female Fashion Designers Are Still in the Minority.” The Business of Fashion, September 9, 2016.

3 “Female Fashion Designers Are Still in the Minority.” The Business of Fashion, September 9, 2016.

6 ibid.

7 ibid.

8 ibid.

The FOURTH Wave

Kianna Hess-Jones and Sam Riker photographed by Josh Redfearn, Staff Photographer, & Jessica Tenenbaum, Staff Photographer

Makeup by Katie Hayes & Shannon McManus

Directed by Maria Dayneko, Creative Director, Nina Waech, Creative Assistant, & the Cre ative Team: Amanda Liebmann, Kate Colby, Samantha Starks, Katie Hayes & Shannon McManus

Dirty, Nasty, Impure

WHY I STOPPED CARING ABOUT THOSE ADJECTIVES

By Gylf Forsberg, Culture Staff Writer

Gylf Forsberg photographed by Zack Kielar, Contributing Photographer Illustrated by Abbey Meyer, Associate Arts Curator

Content Warning: The following article deals with topics of sexual assault, depression and suicide. If you or someone you know would like help please contact the national sexu al assault hotline (1-800-656-4673) or the national suicide prevention lifeline (1-800-273-8255). University Health Ser vices provides survivor services for those affected by sexual assault. For more information on these services visit https:// www.uhs.wisc.edu/survivor-services/ or call the UHS Rape Crisis Center (608-251-7273).

At first it was the pain. The pain of not being ready, the pain of loss, the pain of the unknown. I didn’t know how to react, my body was no longer my own. I tried to scream but nothing was re leased. I clawed and reached for a way out, but it wasn’t there. When it ceased I lay there dirty and ashamed.

My first sexual experience was not con sensual. I am a man and I was assaulted.

At first, I did not think of my assault as much, I equated the fear I felt with first-time uneasiness. I told myself that this was something that gay peo ple did, that our sex was different and that it would feel different. I told my self that this happened because it was what I wanted.

I told myself that I was alright. I tried to make myself believe that I wasn’t hurt, that I was conflating the experi ence in my head. I didn’t tell anyone because I did not think it was an is sue—I would be taking the assistance away from those who needed it more. After all, “boys can’t be raped.”

I went through the memories trying to paint it in a brighter light, but bit by bit it began to weigh down on me. I stopped eating and lost interest in things I once enjoyed. The pangs of fear which I so wanted to bury kept clawing their way to the surface.

I felt overcome with a sense of dirti ness, a sense of impurity. I could not think of how to wash away the pain and disgust I felt about myself. How could I let this happen to me? Why was I not strong enough?

I tried to be normal again, I tried to move on and forget. I would be with other men and tell myself that I did not deserve it, that they deserved someone much better than I. I would tell myself that they were only stay ing with me because they felt bad for me. That I was incapable of finding love that was real, and that they were staying with me out of pity. I know that this wasn’t true, but it is the mov ie that was on a constant loop in my head anytime I was on a date, holding his hand or in his bed.

As time passed, I told myself I was get ting better. I no longer felt the pain and fear as intensely as I had before. What remained was the sense of impurity and unworthiness, a sense that I was “damaged goods.” I learned to sepa rate myself from my experience, but what stayed with me was this feeling of undeservingness.

It seeped into everything. When I was rejected from jobs, it made sense be cause I wasn’t worthy or good enough. When I was fighting with my boyfriend, it made sense because things were too good to be true. I had come to terms with not finding a job, not being happy, pushing people away because it was what I deserved.

***

The feelings of dirtiness and unde servingness are just one of the many lasting impacts on survivors of sex ual assault. Although each survivor will react and cope with their own situation differently, common emo tional reactions include guilt, shame, fear, numbness, shock and feelings of isolation.1

Mental distress and suffering is some thing felt by the one in five women and one in 70 men who will experi ence sexual assault, and is due to the perpetuation of purity culture sur rounding mainstream sexuality.2 We as a society place so much emphasis on the concept of sexual purity.

We are taught that we are born with a sense of cleanliness that is sponged away when we engage in sexual activ ity. This idea is further enforced by the abstinence-only or poorly funded sex education rampant across the nation.

A particularly disturbing example was told to me in the sex-education unit of my health class:

“Think of yourself as a stick of gum, once you have sex, that stick of gum gets chewed. The more that gum gets chewed, the older and staler it gets, and then no one will want it.”

1 J. Petrak and B. Hedge. “The Trauma of Sexual Assault: Treatment, Prevention, and Practice.”

Chichester: John Wiley. 2004

2 M. Black, K. Basile, M. Breiding, S. Smith, M. Walters, M. Merrick, & M. Stevens. “The National Intimate Partner and Sexual Violence Survey (NISVS): 2010 summary report.” The Centers for Disease Control and Prevention, National Center for Injury Prevention and Control. 2011

Examples like this strengthen these ideas of purity importance and take a real toll on survivors of sexual as sault. We view ourselves as used and, because of this use, we believe ourselves to be dirty, unworthy and useless. This sense of being unworthy can spill over into other aspects of our lives, with feelings of inadequacy in our personal and professional lives.

Male survivors also experience anoth er layer of guilt due to societal con cepts of masculine strength. From a young age, boys are taught that we have to be strong and invincible. This view causes many to think that men cannot be raped, which, statistically, is a large misconception. This longheld belief may lead male survivors to not recognize their own experi ence which can have even more se vere repercussions.

Thus, societal notions of purity and cleanliness in the realm of sexuality no doubt contribute to thoughts of unworthiness in survivors of sexual assault—thoughts of shame and fear that can lead to mental distress, anx iety and depression.

***

My assault and the resulting effects took me to very dark places full of feelings of shame, helplessness and isolation. I began to think of how things would be different if I didn’t wake up. I told myself I wasn’t worthy enough to live, not clean enough for this world.

It took a trip with my niece to begin to look at and think of myself differ ently. She saw me as nothing more than the person who sloshed through the woods looking for salamanders with her, who held her up to get a closer look at the rabbits and guinea hens, who waded with her through the stream looking for lost treasure.

It was in that moment, when I was quite physically dirty, that I felt most clean. I began to look at my self the way she did. I didn’t look at my past pain as my future. I began to look at myself fully as an individ ual and not just a remnant of my past experiences.

·

IOD.

NAVIGATING THE WORLD OF FEMININE CARE

By Mason Braasch, Contributing Writer Illustrated by Keely Bradish

nine care.

PADS AND TAMPONS

Everyone’s first love (or hate). The pad is most likely what your mom gave you when your flow first arrived. This classic period staple has been around since 1888 and although the “sanitary napkin” continues to get thinner and more absorbent, it hasn’t changed much since then. Similarly, tampons, arguably the most popu lar of period products, are known for their discrete convenience and com fort. While tampons and pads are fa miliar and simple, they are obviously not reusable and are non-biodegrad able. Women who use pads regularly will create 200-300 pounds of waste in their lifetime1. With this in mind, many women are choosing to flush their familiarities and opt for new and more sustainable products.

ABSORBENT UNDERWEAR

Absorbent underwear, or “period pant ies,” have been all the rage among In stagram advertisements. These are exactly as they sound: underwear that does the work of a pad without the annoying and crinkly wrappers. The leading brand of this product, THINX,

1 Rastogi, N. S. (2010, March 16). What’s the envi ronmental impact of my period?

these as a backup to tampons— mak ing them an investment that does little to reduce the risks and inconveniences of tampons.2

THE MENSTRUAL CUP

The Menstrual Cup, also known as the Luna Cup or Diva Cup, has been a fa vorite period product lately due to its sustainability and wallet-friendliness. The menstrual cup is made of silicon or latex and is folded and inserted sim ilarly to a tampon. They can be worn for up to 12 hours and are completely reusable as long as you boil it between uses in order to sanitize. The cup col lects blood rather than absorbing it like a tampon, so removal can be messy. However, the mess is a small price to pay for sustainability and freedom. “If you do opt for this alternative, make sure to keep in mind the risk of Toxic Shock Syndrome just as you would for a tampon.3

MENSTRUAL DISC

The menstrual disc is relatively new to shelves. This flat product differs from other products in the fact that it sits just past the vaginal canal, which al lows women the freedom to partake

2 For People with Periods. (n.d.).

3 Peterson, J., Carter, S., & Lionberger, C. (2018, February 12). Home.

in sleeping, swimming, exercise and mess-free period sex (a useful luxury that is not granted with other prod ucts). Flex, the company that makes the product, claims that the disc reduc es period cramps by 80% and poses no threat of Toxic Shock Syndrome.4 How ever, similar to pads and tampons, the menstrual disc is disposable and must be replenished every month through a subscription. So, while the menstru al disk offers freedoms that are new within the realm of period products, the sustainability aspect of this prod uct does not progress that of the orig inal products.

THE PERIOD SPONGE

Menstrual sponges are just as the name suggests: sponges that you in sert inside yourself in place of a tam pon. The sponges actually come from the sea and provide an all-natural option for women. While many wom en have voiced hesitance toward the Spongebob-like period product, it is a great option for those looking for a truly sustainable option. Sea Pearl, a company that produces menstrual sponges, describes them as “extreme ly absorbent, soft and durable,” as well as “free of chemicals, dioxin, bleach, chlorine, fragrance, dyes or synthetic material.” However, while there are no added chemicals to the sponge, there are unknown effects to women’s bod ies, as the natural sponges may con tain dirt or other bacteria derived from the sea.5 ·

4 FLEX™ Alternative Period Products: Tampon Replacement. (n.d.).

5Vitto, L. (2015, July 19). We tried menstrual sponges, and you should too.

FROCK THE VOTE

THE SIGNIFICANT FASHION CHOICES OF WOMEN IN POLITICS

By Emily Fleming, Fashion Staff Writer Illustrated by Channing Smith, Arts Curator

From dress codes in high schools to dress codes in politics, women have always had to play a strategic game when it comes to what they wear in order to be safe, respected or taken seriously. In the historically male-dom inated political world, men have used dress codes as a way to further exert their power over women. Thankfully, in recent years, there has been a rise not only in female political leaders but also their inspirational stories of success. Sexism is still alive and well, but many female political figures are working hard to change that—using fashion to do so.

Men have long had a monopoly over the U.S. government. Though female representation in our government has slowly garnered attention and success (think Carol Braun and Tammy Bald win), once a woman is in office they are still faced with just as many obsta cles as it took to get in. Being a woman in politics comes with an entire assort ment of struggles that men don’t have to think twice about.

As Margaret Atwood once noted, “pol itics is hell in general, but I think it’s probably double hell for women be

cause not only do you have to have a position, you have to have a hairstyle.”1

Women are expected to downplay their femininity, yet not to the point where they are unladylike or frumpy. They are expected to be modest, yet still can’t avoid being sexualized. This abuse comes not only from online trolls, but from men in power.

Just last year, President Donald Trump tweeted the suggestion that four democratic members of congress— all women of color—should “go back” to the “corrupt” countries they came from.2 In 2009, U.S. Supreme Court Justice Sonia Sotomayor was advised to forego her signature red nails for her confirmation hearings.3 Although it would be amazing for these women to just fight back, they need to be more strategic in order to create change.

One woman who has fully embraced the power of fashion as a tool for gain

1 Rohina Katoch Sehra, “For Women In Politics, Personal Style Is A Game Of Chess With The Patriarchy,” Huffpost.com, December 9, 2019.

2 Dora Mekouar, “For Women in Politics, Being Terrorized Comes With the Job,” VOA News, August 23, 2019.

3 Rohina Katoch Sehra, “For Women In Politics, Personal Style Is A Game Of Chess With The Patriarchy,” Huffpost.com, December 9, 2019.

ing control and portraying strength and female empowerment is Michelle Obama. Society’s obsession with her style started in 2008 when Jay Leno estimated that the cost of her out fit was around $60,000. Obama re plied that her outfit was actually from J-Crew. Obama used clothing as a way to define her tenure as the first lady, especially in an age where assessing how a woman looks and her cloth ing is the first unit of judgement and means of value assigned to her. She became more than a first lady—she is a powerful role model for other wom en. Obama saw fashion as “a way to frame her own independence,” rather than seeing it as a “uniform to which she had to conform.”4

Though it takes time to change soci etal views, we must always think like Michelle Obama. We must continue to utilize fashion as a framework for our personal confidence, individuality and a partner to our own individual suc cess. Women deserve to not only take back but control the power surround ing their fashion choices and their suc cess as professionals.·

4 Vanessa Friedman, “What Michelle Obama Wore and Why It Mattered,” The New York Times, January 14, 2017.

WHAT A GIRL WANTS... AND DESERVES

By Jessica Katz, Lifestyle Editorial Assistant Illustrated by Lauren Chung, Editor-In-Chief

I’m a hopeless romantic; I want that Netflix Original, rom-com kind of love.

I want a boy to buy me red roses, take me to a fair and win me a stuffed animal, compliment me endlessly and look at me like he is smitten.

To summarize, if a boy has feelings for me, I want his actions to reflect that.

I was told as a child that if a boy teased you, it meant he had a crush on you. That concept always confused me. Why would you mis treat someone you liked?

In my mind, there are so many other better ways to go about a crush. Start a conversation with them. Ask them to hang out. Compliment them. Tell their friends how you feel. Or simply straight-up tell your crush how you feel.

We’ve been given the excuse that boys will be boys. But that should no longer be valid.

The issue with these misconceptions is that they plant dangerous ideas into children’s minds. By dismissing boys’ aggression as a means of affection we not only excuse tox ic masculinity but encourage it. We teach boys that violence is the only way to express themselves. Consequently, we teach girls that violent acts to which they don’t consent is the way to feel loved.1

As boys age, their aggression morphs into new ways to receive attention through neg ative behavior. They suppress emotions and maintain a “tough-guy” appearance to seem powerful.2 But, boys are not to blame. They just want to stand out. They believe this is the only way to get a girl. This is what girls want — that girls like a “bad boy.” I mean, we laugh at this harsh teasing, right?

Teasing should not be flirting. Aggressive behavior should not be rewarded or normal ized by girls.

Every relationship is different. Every per son has different preferences, and there are many ways to make your crush feel special. Open communication about feelings will make things easier for both sides.

As long as you’re respectful, make a move. Flirt how you want to flirt.·

1 Clemens, Colleen. “Say No to ‘Boys Will Be Boys.’” Teaching Tolerance, December 21, 2017.

2 Salam, Maya. “What Is Toxic Masculinity?” The New York Times, The New York Times, 22 Jan. 2019.

OUTFITS TO CARRY YOU FROM NETWORKING TO HAPPY HOUR

By Grace Reber, Contributing Writer

Olivia Estes-Downs photographed by Molly Jacobs, Staff Photographer Styled by Sarah Troy, Fashion Director

It’s a hard truth to face that only within the last century have women been able to work along side men in an office and earn equal opportuni ties and pay. In the last decade, office wear for women has been overcrowded with beige pant suits, drab dresses and more black pencil skirts than a person should see in their lifetime. Thank fully, the landscape of workwear is changing from outfits that you would only wear at the office to looks that you can transition into the night

The hassle of having to go back home to com pletely revamp your look before a night out should be in the past at this point. When it comes to after-work happy hours there’s even less time to jazz up your evening outfit. With summer in ternships on the horizon, making crucial connec tions during the day without wasting quality time with friends at night is a careful balance we all want to be able to implement. With more and more women expressing their true style in the office, showing up ready for a 9 p.m. girls night can be easier than ever before with adding a few changes to your office apparel.

It all starts with the undergarments—not so much bras and panties, but the up-and-coming trends of lingerie in everyday wear. That’s not to say you should wear a lace teddy to the office and call it a day—rather, think layers. Lightweight and sup portive pieces can both double as a bra and a top later on, allowing your transformation from day to night to be as effortless as ditching your work top at your desk and heading out for the night. Not only does a set of lingerie with a more business casual pant add contrast to your ap pearance, it also allows you to embrace the sexu ality that comes with what you wear which is an incredibly important aspect when entering into your 20’s. Pairing a sensual top with a sensible pair of dress pants or a skirt will add a grown-up aspect to your evening ensemble and give you the freedom to explore your limits when it comes to fashion.

If lingerie is strictly a bedroom thing in your eyes, there are plenty of more options for the quick shift from your office to out on the town. Incor porating your unique style into daily wear is just as important for your night ahead as it is for your day at your desk. Being able to express who you are through your clothing not only shows your colleagues and boss that you don’t conform to the bland idea of basic office wear, but brings you the confidence to be yourself wherever you go.

One of the easiest ways to bring a taste of your personality into your clothing is to incorporate colors you love. Professional wear has long been

restricted to blacks, whites, tans and other neu trals. By breaking this bland trend, your outfit could inspire more creativity not only in yourself but in those around you. Adding pinks, greens, purples and reds in either trousers, dress shirts, blazers or shoes can spice up your look for your day and lead it right into the night. While black can be a safe and foolproof pick when choosing looks for a bar or club, being bold and adding colors you love shows everyone around you that you’re not afraid to show them who you are.

For the boldest of all, we’re taking inspiration from the one and only Gigi Hadid. The world-re nowned fashion model has been known to rock pantsuits on red carpets, runways and nights out. In vivid and daring colors ranging from fire-en gine red to baby blue, Hadid has spared no op tion when it comes to this look. Her pairing of the traditionally business casual ensemble with bodysuits, bras and even nothing under is a ma jor inspiration for those who want to have a little more fun after their nine to five If you have a more formal event planned after a long day at work, a pantsuit should be a go-to in your wardrobe. Your entire look can be completely transformed just from a basic top-swap under your pantsuit. If you’re following a more reserved, yet chic look, model your next outfit off of Hadid’s Pamella Ro land pantsuit. The fashion superstar paired her baby blue pantsuit with a structured bodysuit underneath. Layering a killer bodysuit under your office wear can completely revamp your style in just seconds. For your nighttime look, you can opt to keep the blazer or go without. The whole point of this trend is to express yourself.

Finally, the most daring, but perhaps most em powering, Gigi-inspired look is seen in her classic pantsuit...and nothing else. Hadid’s most iconic classic pantsuit look was during the 2016 iHeart Radio Much Music Video Awards. Hadid repped a bright red, half-exposed leg Mugler pantsuit with nothing underneath. This inspiration not only ties in the use of bright colors to express your style but also the ability to explore your sexuality and fashion limits like in the lingerie-focused look.

Whether it’s a simple change to what you wear under your business casual outfits or a complete overhaul of what office wear means to you, incor porating your favorite trends, colors and styles into what is often thought of as the most boring category of fashion is empowering. It gives not only you but other women around you the con fidence to express themselves through fashion. These looks allow for balance in a busy sched ule because after all, life is much more fun when there’s time for play after work.·

TAYLOR VS. THE MAN

IF SHE WAS A MAN, THEN SHE’D BE THE MAN

By Shannon McManus, Culture Staff Writer Illustrated by Nora Barker

Everyone knows Taylor Swift. For those of you who have been living under a rock, she is a country/pop singer and songwriter. In recent years especially, she has popped up all over media out lets not only because of her music, but also the events surrounding her life. In her documentary “Miss Americana,” Taylor finally shares her side of the sto ry about her own life.

Taylor is often misread by misinformed people who read sources that twist her story. Now, I’m not saying you have to

like her, everyone is allowed their own opinions, but her life story is worth knowing because what she has been through can apply to many of us.

Growing up as a young female artist, Taylor has been scrutinized since she first came on the scene at just 16-yearsold. People were impressed by her songwriting ability, and she quickly became known as the “good girl” of country music. As stated in her own documentary, that was exactly what she wanted to be. Swift was trained

from the start to not speak up; she was only meant to sing her songs.1

As Swift grew up, people formed their own opinions around her based off of her publicity. Swift could not control how others viewed her, no matter what she did. At just 17-years-old, Swift’s ca reer was affected not by what she did but what another male artist did.

In 2009, Kanye West stole the micro phone from Swift during her MTV Vid

1 “Miss Americana.” Tremolo Productions, 2020.

eo Music Awards’ acceptance speech and declared that Beyoncé should have won Best Female Video, not Swift.2 The crowd booed, but in Swift’s eyes they were booing her. For the rest of the night, the press focused their in terviews on the possible feud sparking between Swift and West, rather than the fact that she won an award.3

This seemingly simple action took away the meaning of the award for her as a young artist. From then on, Swift was forever connected to an artist that would have otherwise not been rele vant to her career. Her independence as an artist had been taken.

As Swift continued her career, the judgement shifted towards the way she lived her life. As she began to date, the media, and much of the general public, considered her a serial dater and judged her for it too—ignoring the fact that she was only in her twenties.4 They passed judgment on her without looking at their own standards—if a male celebrity, or even a regular per son, dated like Swift did, most would not bat an eye.

Male and female celebrities alike are criticized for dating around, but the press seemed particularly obsessed with knowing who Swift was with. Her identity became so wrapped up with the person she was with or most recently linked to, rather than her as an individual musical artist.5 Little would be said about her without the mention of her dating life, which sim ply is not fair.

To make matters worse, when she be gan a new relationship or broke up with someone, people said she only did it to put new songs on her album.

Unlike her male counterparts, people criticized her for “only writing love songs.” Swift was degraded as a per son by constant suggestions that she was only dating to fuel her career.6

2 K. Acuna. “Everything You Need to Know about the Bad Blood between Taylor Swift and Kanye West.” Insider, Dec 12, 2017.

3 “Miss Americana.” Tremolo Productions, 2020.

4 “Taylor Swift Continues to Be a Serial Dater.” The Linfield Review. March 11, 2013.

5 N. Sales. “Taylor Swift and the Growing of a Su perstar: Her Men, Her Moods, Her Music.” Vanity Fair. Nov 7, 2019.

6 B. Sims. “Why Is Taylor Swift the Only Singer Criticized for Writing About Her Exes?” Study

Love songs become hits for any art ist, which is half the reason artists write them. Yet, male artists that write about their exes are not criti cized. Instead, they are felt sorry for. Artists such as Kanye West, Beck and even Bob Dylan managed to write entire albums about their exes with out a single qualm.7 On top of that, the breakups were always framed as Swift’s fault. People never questioned her boyfriends, it was always some thing that she must have done.

As if this constant judgement wasn’t enough, West made himself prevalent in Swift’s narrative once again in 2016 by releasing a song that mentioned her. The lyrics read: “I feel like me and Taylor might still have sex. / Why? I made that bitch famous.”

On top of that, West portrayed her na ked likeness next to him and other na ked celebrities in an art exhibition and music video—without consent. Swift and West had had a tumultuous rela tionship since he first took the micro phone from her in 2009, but that lyric twisted it for the worse.8

The most concerning part of their rela tionship was his direct objectification of her, as well as his dismissal of her hard work in her career. Shortly after Swift’s reaction to the song, Kim Kar dashian leaked a phone call of Swift okaying Kanye to mention her in the song, but no evidence of them men tioning the explicit lyric was found.

This phone call caused many people to turn against Swift, believing that she was lying about not being aware of the lyrics.9 Whether she okayed it or not, I frankly cannot imagine any woman being okay with a man writing something about them the way West wrote about her.

Even though Swift pushed for an un derstanding of her perspective on West’s lyrics and music video, people remained against her. They refused to

Breaks, May 25, 2018.

7 Ibid.

8 K. Acuna. “Everything You Need to Know about the Bad Blood between Taylor Swift and Kanye West.” Insider, Dec 12, 2017.

9 M. French. “Here’s the Full Transcript of That Taylor Swift–Kanye Phone Call.” US Weekly. Feb 9, 2018.

acknowledge how it would feel as a woman to have a man take credit for your success. Not only did the situ ation take her voice away, the music video objectifying her body took away her power.

Most recently, Swift has been criticized for sharing who she was voting for on Instagram and why. Her simple state ment became breaking news in many media outlets, due to her silence on politics previously. Swift was taught to be a nice girl, and “a nice girl doesn’t force their opinions on people.”10

Sick of being forced into following what others told her, Swift broke from those who had power over her and spoke up about what she believed in.

The objectification, complete disre gard for her work and forced silence in Swift’s career brings up a concerning point: as a young woman in the music industry, Swift faced many challenges older men in the same industry have not.11 No matter your opinion of Swift, it cannot be ignored how she was treated as a person throughout her years on stage by those who were not her fans.

There is a reason why Swift is so influ ential to women everywhere. Despite constant press that seems more like a personal attack than fair criticism, Swift came back stronger than ever af ter taking time away to reinvent herself. The power that she took back from the critics shows the perseverance women can have.

In sum, Swift inspires people because she fought harder than she needed to in order to get to the place of happi ness she is at now. As she says warmly in her documentary, Swift found “hap piness without anyone else’s input.”12 She speaks for herself, spends time with the people she loves and pushes against those who wrong her. Every one deserves to reach such a place of happiness. If Taylor is able to find it af ter trials in the spotlight, she promises you can, too.·

10 “Miss Americana.” Tremolo Productions, 2020.

11 Ibid.

12 Ibid.

The Braless Movement

FREE THE NIPPLE—OR DON’T, AS LONG AS THE DECISION IS UP TO YOU

By Manon Bushong, Contributing Writer Katie Herrick photographed by Audrey O’Neill, Assistant Photography Director

When I was 16, I got a summer job at a trendy clothing store in SoHo. Coming from the suburbs, I felt self conscious about how cool my Manhattan-native coworkers were compared to me. One thing that they all seemed to incorpo rate into their typical outfits—or rather not incorporate—were bras. Witness ing my fellow sales associates confi dently strutting without the restriction of wire on their chest inspired me to do the same. Soon after, I began ditching my favorite Aerie bra every time I had a shift.

While I often found myself insecurely crossing my arms over my chest on the train, in the secure dimensions of my workplace I felt free. I spent the day not thinking twice about my bra less situation. If anything, I found that I was more comfortable. While it was a short-lived experience, I sometimes re flect on my carefree, braless alter ego and wish I was confident enough to go braless in other settings.

Most girls embark on their lifelong bra journey around the age of 11. They tend

to start with training bras, a sort of trivial cropped camisole designed to be worn under clothing. While these training bras may not be complete ly necessary, they essentially prepare young girls to be members of a society that endorses bra-culture as the norm.

Thankfully, my coworkers are not the only girls to reject this norm. Many young people today are pushing the braless movement. Several celebrities, including Kendall Jenner, Selena Go mez and Gigi Hadid are embracing the braless trend, which has also proven to be extremely popular amongst millen nials. While going braless is a growing fashion trend, it’s also a form of female empowerment and self-expression.

The Free the Nipple campaign first began in 2012 in New York City.1 The campaign was based around rejecting the fact that men can freely appear in public shirtless while it is seen as inde cent for women to do the same. The movement begs the question of why female nipples are so taboo, when the 1 Donahue, Rosemary, “18 Times Celebrities Freed the Nipple (NSFW)”. Allure. 2017

only real difference between the two is having the capability of lactation during reproduction. However, be cause of the way that female bodies are so sexualized, it’s nearly impossible to forego a bra without receiving judg mental stares.

The idea of “freeing the nipple” allows us to consider why female toplessness is so offensive. Why do people feel “uncomfortable” by public breastfeed ing? Why is it that when girls reach a certain age, they begin wearing bras as a sort of “right passage”? Why is there so much pressure to hide such a simple aspect of the female human anatomy?

I am by no means here to bash bras. I know many people wear them for their own sake and would feel discomfort in simple day to day activities without them. Ultimately, there just needs to be less pressure and stigma surrounding them. Wearing a bra should be a per sonal decision, not a societal norm. So, free the nipple. Or don’t. As long as the decision is your own.·

CLOTHES VERSUS CONSENT

HOW RAPE CULTURE HAS STIGMATIZED WOMEN’S CLOTHING

By Sarah Troy, Fashion Director Illustrated by Abbey Meyer, Associate Arts Curator

Even with the feminist move ment advancing more than ever, women are held back by a backlash of anti-feminist advocates. This makes it even more difficult to push a girl into a world that rejects her. When it comes to speaking up about issues a woman has faced, so ciety pushes her struggles to the side with a number of ex cuses. Movements such as the Me Too movement get twisted into jokes by the vast majori ty, as false rumors are spread to invalidate those who try to stand up for themselves.

Rape culture has poisoned the minds of the mass majori ty. Implicitly embedded in our culture, we are all trained to think that the woman is most always wrong. Rape culture is defined as “a subset of values, beliefs and be haviors in a society that trivializes or normalizes sexual violence, including rape.”1 Slut shaming is just one of many results of rape culture.

Slut shaming is when an individual is blamed for breaking societal “norms” regarding sexuality. This includes the way one dresses, how many partners one has, how flirtatious one behaves… the list continues.

When it comes to fashion, we should be able to express ourselves through our clothing without fearing society will use it against us. Sexual assault and rape victims are often blamed for “asking for it” if they were wearing revealing cloth ing. How are women supposed to know what’s on this premade list of rules to abide to in order to be treated as equal?

Or, better yet, why is there a list and why do women even have to abide by it?

“Well, what was she wearing?” “She was asking for it.”

“What did she expect by wearing that dress?”

Rape culture has taught so many girls that they can’t wear, say, a cute top if their breast are on display because that triggers the notion that you’re a slut, and, therefore, asking for it.

Rooted in the influence of me dia, women grow up with an outside voice telling them they must meet a certain standard. This disparity cleaves open a confidence gap as women simply expect to be rejected by society. Fashion, a practice that is known for giving one confidence, can so easily strip that feeling away.

No victim is ever to blame. No matter what they wear.

Society should no longer be given the ability to take away the power of fash wion. Fashion is a source of life and inspiration for many. Women and men alike can find a sense of courage in the right outfit. We all must be aware of the propaganda that society tries to force into our brains regarding rape culture. While recently things have seemed bleak, there is hope that in the future we can dress how we like and society will view us all as equal human beings. Fashion can be a catalyst for self expression if we allow it.

·

PINK WASHING

THE HYPOCRISY BEHIND MANY COMPANY’S BREAST CANCER AND PRO-LGBTQ+ ADVERTISING CAMPAIGNS

By Ally Steinberg, Contributing Writer Illustrated by Channing Smith, Arts Curator

Breast cancer is a fairly aggressive form of cancer that af fects one in eight women.1 Surgery and chemotherapy are two commonly used treatments, and as research funding increases, survival rates increase.2 Suffice to say, breast cancer is a huge issue.

Many companies host breast cancer fundraisers during October—Breast Cancer Awareness Month—to raise mon

1 “U.S. Breast Cancer Statistics,” Breastcancer.org, Jan 27, 2020.

2 “Breast Cancer Treatment | Treatment Options for Breast Cancer.”

48 MODA THE PROBLEM WITH

ey and support the cause. Little do people know, however, that many of the products advertised during this month actually contain carcinogens that have been proven to cause cancer.3

If you haven’t heard it before, “pinkwashing” is a term coined in 1992 by Breast Cancer Action. It was developed during their “Think Before You Pink” campaign in order 3 Karuna, Jaggar, “Think Before You Pink–Stop the Distraction,” Breast Cancer, Sep 30, 2014.

7

to raise awareness on the distrac tions from meaningful progress on breast cancer.4 The term, which gets its pink from the international sym bol of breast cancer awareness—the pink ribbon—is a spin-off of the term “whitewashing,” or the use of distrac tions to gloss over scandals.

The term draws attention to many companies’ histories of marketing products with a pink ribbon while still manufacturing and/or selling carcinogenic products. Companies further use their support as a way to promote themselves, their products and their services.

In some cases, profits from the prod ucts that sold did not even go to wards breast cancer support. In 2010, the Dansko shoe company sold pink ribbon clogs, yet the purchase of the clogs was in no way connected to Dansko’s donation—no portion of the sales went towards their previously set donation amount of $25,000 to Susan G. Komen for the Cure.5

Post-it has hosted numerous breast cancer awareness campaigns, yet 3M’s toxic per-and-polyfluoroalkyl substances (PFAS) may increase the risk of breast cancer. Ford also runs a highly accredited breast cancer fund raising campaign, Warriors in Pink, but the exhaust from Ford’s vehicles also increases the risk of breast cancer.6

Unfortunately, this extreme hypocri sy in advertising is quite common. In fact, numerous deodorants, perfumes and cosmetics contain harmful chem icals and ingredients—like parabens and phthalates—that correlate with higher risks of breast cancer.7

It is hypocritical for companies to ad vertise their products as an alliance to the breast cancer community if their products can increase the risk for the disease. Even though donations of any kind are beneficial, many compa nies don’t disclose which organiza tion the donations are actually going

4 Breast Cancer Action, “4 Questions Before You Buy Pink.”

5 Ibid.

6 Ibid.

“Exposure to Chemicals in Cosmetics,” Breast cancer.org.

to, leading the consumer to trust that the company is sending the money to wards beneficial organizations.8 When unspecified, it is unclear if the mon ey is going towards those who need it most.

The death rate for breast cancer is much higher for women of color or women living in poverty, so it is im portant that donations are directed towards organizations that tackle and acknowledge these social inequities and roots of the issue.9

Nowadays, pinkwashing is also a term commonly used by the LGBTQ+ com munity to reference the disguising of something as gay-friendly to ben efit a corporate or political agenda.

During the month of June—Gay Pride Month—many companies display a rainbow flag to show their support for the LGBTQ+ community.10 A flag alone, however, does not equate to actually being an advocate and ally for the community.

Many of these same companies did not score well on the Human Rights Campaign’s 2015 Corporate Equality Index (CEI). The CEI is a report pub lished by the Human Rights Campaign Foundation that ranks companies on a scale of 0-100 for their treatment of LGBTQ+ employees.11 Overall, it states that all workers, no matter their gen der or sexual orientation, will be treat ed equally.

For example, Burger King led a “Proud Whopper” advertising campaign in 2016, yet only scored 55 out of 100 on the CEI.12 This hypocrisy proves that many companies use the rainbow flag as a public relations stunt to attract a younger, more progressive consum er—even if they do not support the community outside of Pride Month— or at all.

Even worse, many “pride-celebrating” companies have donated to Congress

8 Ibid.

9 John, Kollman “Poverty and Cancer Disparities in Ohio,” CDC, December 6, 2018.

10 Samantha, Allen “Let’s Stop Buying the LGBT Rainbow,” The Daily Beast, June 13, 2015.

11 Human Rights Campaign Foundation, “HRC’s 2020 Corporate Equality Index,” Human Rights Coalition.

12 Ibid.

members with anti-LGBTQ+ agen das. AT&T led a partnership called #TurnUpTheLove with The Trevor Project to power their crisis interven tion hotlines.13 In the 2018 election, however, AT&T also donated roughly $2 million to members of the Repub lican party, many with anti-LGBTQ+ agendas. Darin LaHood, in particular, opposed a bill banning anti-gay con version therapy.14

Unfortunately, AT&T isn’t the only company to do this. UPS donated over $2 million to 159 Republican politicians despite hosting almost a dozen pride celebrations.15 Comcast donated over $2 million to 154 Re publican politicians despite hosting various Pride Month promotions, in cluding free/discounted streaming of its LGBTQ+ Film & TV collection.16

The main issue at hand is not only the mistreatment of people within the LGBTQ+ community or the capitaliza tion on the rainbow flag—it is the sole misconception that the gay pride flag is what people in the LGBTQ+ com munity want to see.

Companies that score a 100 on the CEI, such as Nike, understand that showing support is more than sim ply displaying a gay pride flag during one month of the year. Such compa nies make an effort to support the community through solidified ac tions during the month of June and beyond.17 Raising awareness and hosting workshops are examples of steps in the right direction, as almost everyone has a lot to learn about the LGBTQ+ community.

Pinkwashing is an issue progres sives have dealt with for decades. No matter its context, pinkwashing describes the hypocrisy many orga nizations and companies partake in. By educating ourselves we can begin to reclaim the symbols and put an end to it. ·

13

“About The Trevor Project – The Trevor Project.”

14 Dawn, Ennis “Don’t Let That Rainbow Logo Fool You: These 9 Corporations ....” 24 Jun. 2019

15 June, Holder, “UPS Brings Commitment And Support To Pride Month,” June 11, 2019.

16 “Celebrate Pride Month with Xfinity X1 | Xfinity.”

3 Jun. 2019

17 Ibid.

FAIL

THE FEARS AND STRENGTHS OF SINGLE MOMS

By Kora Quinn, Lifestyle Staff Writer Photographs provided by Kora Quinn

Recently, I asked my mom what it’s been like to be a single mother. What has been good? Bad? What are your fears? Any insecurities? She answered all of my questions with this: “If I fail, everyone loses every thing. There’s no one to fall back on. It’s scary.”

I was taken back. I was taken back not only because I was unaware of how she felt, but because of the pow er in that single statement: If I fail. What does failing as a single mom look like?

I decided to ask my mom’s sister to share pieces of her experience for comparison. After sifting through the countless beautiful lines and memories within her story, I began to see a similarity.

Failure is a shared fear. Parenting fear is a constant, staggering dread of not providing the right environ ment or experiences. It is the concern that you will miss out on the critical moments that shape your children’s lives.

My aunt, who is also a single mother, gave this exam ple: “Both of my kids remember a time when I was working 12 hours a night.. up to 72 hours a week to supplement our income. It was a challenge finding time to connect with them or to be where they need ed me when they needed me outside the working and sleeping hours.”

There is immense strength in raising children com pletely on your own—in continuously living with that fear and persisting regardless. When you are a sin gle parent, many decisions are made independently without a partner to consult, which leads to anxiety about making the wrong choice.

When I was discussing this with my mom’s sister she said, “My greatest fears were of the unknown. I knew I had to make decisions and for every decision there would be consequences that could affect my children’s future. The hardest decision I had to make was...to become a single mother at all. Standing at the face of an altered reality where my children would live in a fatherless home and we would ex ist as another struggling, single-income family was quite terrifying.”

Beyond that, single mothers endure the judgement from others who look down on a single parent house hold. Single mothers are often questioned in their abilities’ to provide a supportive and healthy envi

ronment for their children. Single mothers must turn the other cheek and try to recognize they are doing the best they can with the few resources they have. It’s an incredible thing to witness how a single mom handles every financial decision and every financial burden. They learn to sacrifice comfort and luxury, often times working more than one job to ensure the best life for their children.

While my mom undertook quite a bit on her own, seeing the support from others was, and continues to be, a beautiful thing. I have countless memories of my family and community stepping in to help. At one point in my life, we had to move in with my mom’s sister between houses. Another time, the Salvation Army gifted my brothers and I all our presents for Christmas. A center in my hometown called Hope House Maternity Home provided diapers, toys, blan kets, other baby essentials and even rooms for preg nant and newly single moms.

Beyond our community, outside aid came from the government. As a low-income family, we usually qual ified for food stamps. My mom recently explained to me how food stamps work, and how irregular the sys tem can be. The size of your paycheck determines how much aid you qualify for. A larger paycheck, which could be due to overtime or a bonus, results in less aid, and vice-versa. While my mom’s income remained mostly unchanged, the amount we were provided by the government for food varied. Some times, we received nothing at all. As a single-income household, these inconsistencies made a consider able difference.

Although I cannot speak for every single mother, those I know will tell you it is not all bad. My aunt says, “Possibly the very best experiences I have had as a single mother have been the times I witnessed my own kindness shine through [my children’s] words and actions...the impact of our struggles has become the fuel for their own successes.”

What a beautiful thing that is—to experience all the complications of a non-traditional family and still bring good people into the world. I’ve learned so much from my mom and although there were no fam ily vacations or expensive birthday parties, I thank her every single day for being selfless in her love, her positivity and her relentless strength. She did not fail—instead, she prevailed. ·

LESSONS FROM MOM

A REFLECTION ON THE KNOWLEDGE SHARED BETWEEN MOTHER AND DAUGHTER

By Olivia Peters, Culture Staff Writer Illustrated by Jessica Tenenbaum, Staff Photographer

My mother is my hero. Literally. I look at her with wide eyes while heart emojis waft up from my head like a cartoon. She’s my most loyal friend, my bravest protector.

Yet, there are certain things that my mother didn’t get the chance to teach me before I had to leave home. This isn’t to say, however, that my mother failed to teach me all the things I needed to know to be a woman on my own. There were just a few things that we never encoun tered in our time together, and some things I needed to learn the hard way.

When I come across new things, I don’t usually call my mom. I just draw on the millions of things I have learned from her to find my way through.

***

The first thing my mother didn’t teach me is how to deal with my negative, in ternal dialogue towards other women. I’m curious to learn if she had a jealous side when she was younger and out grew it—if so, I’m reassured mine will go away with age.

I’m told this isn’t a radical or uncom mon quality to possess. If a girl looks attractive and is really going for it, in my mind, I may think, “she’s trying too hard,” or “she’s really putting it ALL out there.”

I was walking on campus once when I saw a girl with a lot of cleavage show ing in a tight tank top. I immediately thought, “that look is a little too pro miscuous.” Here’s the kicker: I realized shortly after that I had the same exact tank top in a different color. Obvious ly, I didn’t really think the tank top was

too promiscuous—I had bought it too. I had passed judgement on her because she looked good; instead of acknowl edging that, I took issue with some thing about her.

Although we may occasionally laugh over a stranger’s extremely unfortu nately printed pants or clunky sneak ers, that’s the extent of my mother’s unkindness. She is confident in her womanhood. She in no way instilled this negativity in me, so it makes a lot of sense that she also didn’t teach me how to get rid of it.

When I came to college I had to identi fy this behavior as unhealthy and learn how to be more internally supportive of other women. It’s draining to have any spite towards attractive girls in a city (and world) that’s jam-packed with them. There is no competition be tween us. I wish I would’ve realized this awhile ago.

What my mother did teach me is em pathy, which allowed me to figure out that life is not a competition. She taught me how to get out of my own head and see things from the perspec tive of other people.

Often times we’ll be talking to friends or family and I’ll just watch her. She laughs uncontrollably at funny stories, and cries when they share hardships. I am not like that by nature. I didn’t feel what they felt. I didn’t engage with them as she did. The love that my mother doled out to others, and in turn received, slowly taught me that a life without connections so deep is un bearably lonely.

My mom doesn’t hate a single person in the world. She has always encour aged the same from me. Because of her, I’m able to see the good in people that I might otherwise see negatively— the people who beat me out for a job, or for Instagram likes...or whatever else I’m mad about on a particular day.

A second major lesson my mother didn’t teach me is how to deal with the disappointment of gender inequal ity. My parents and family are pretty progressive, and at home I was never expected to do anything less than be

come a professional athlete, a CEO or a lawyer. My mother was given man agement responsibility early in her ca reer and married a man that treats her as more than his equal.

Although I’m sure she encountered times in her life when she was limited by her gender, I have never witnessed it. Through example, she gave me these wonderful expectations that I would receive the same respect when I went off into the world.

It took me until college to see through my girlhood blindness. Studying clas sical literature and reading about Eve being blamed as the sole cause of man’s downfall in Milton’s “Paradise Lost” was disappointing. Having to wonder if my future husband will be bothered if I make more money than him, or if he’ll resent me for wanting a nanny for our kids, is a sinking feeling. Being catcalled and having my butt squeezed in clubs when I don’t want it to be is soul crushing.

I have also realized that my mom’s situation isn’t good because she “got lucky” and never experienced gender inequality. My mom is a very smart woman. She made choices that put her in the positivew environment she’s currently in. She did this for herself, as well as for my sister and I. I wasn’t fully aware of the concept of gender inequality as a girl because my mom shielded me from it for 18 years.

I grew up so empowered by her and my dad that I won’t settle for anything less than the love and respect I de serve as a woman. Still, when certain things are assumed or I am treated as lesser than what I should be because I am a woman, the disappointment is very raw.

However, my mother taught me how to have a voice to speak up against any such oppressors. She taught me that my opinions matter, and how to vocalize them.

My mother deserves a medal for the countless hours she spent talking to me, watching my opinions about life form and nudging them along in the right direction when I’m at an impasse.

At all ages, she encouraged me to con tribute to a conversation and to speak up. She always wanted to hear from me and she was always eager to know what I thought.

This translated directly to how I con ducted myself in all social situations.

I spoke to peers and friends in the same unbridled way I spoke to my mother. I expected the same level of response and engagement from them that I had gotten from her, but didn’t always receive it. This became the sin gle most guiding factor for me when choosing who to build new relation ships with. I wanted my opinions to be valued in the same way I would value someone else’s.

My voice has also carried me far in my education. My mom unceasingly reminded me to always ask for the help I needed and for directions to get where I needed to go. In fact, my mom and I talked our way into the Chairman of Creative Writing’s office without an appointment when we vis ited Madison on a campus tour. It’s be cause of her that I speak so boldly to represent myself.

I am going to be disappointed again and again with how the world is, and how people behave towards me as a woman. But, I am proud to say I will be able to look them in the eye to articu late in concise terms why they are so extremely wrong and where they can shove it—all thanks to my mom.

My mother wasn’t the type to sit me down on the end of my bed and give me lectures or rules. She taught by example and treated me as an equal. She is the source of everything I know about grace and resilience, her exam ple slowly shaping me into the person I am today.

As I think about the lessons my moth er has shared me with, consciously and unconsciously, I realize she has touched every aspect of my identity. There were some things I had to figure out myself, things she probably hoped I would never need to know how to handle. In those situations, all I need to do to pull through is to think, “what would Mom do?”

·

LEADERS TO FOLLOW (LITERALLY)

FILL YOUR FEED WITH FEMINIST ACTIVISTS

By Kate Lawless, Lifestyle Editor Illustrated by Julia Bulat

FOLLOW

Social media is an incredible visual platform. It has the power to connect women with communities and move ments that encourage self-love and challenge the norms that hold us back from fulfilling our potential. These are some women who use their following to share their art, writing, style and, of course, as a platform to empower other women.

@scandinaviangreamgxrl

Amalie Have of Denmark began her online activism after being assaulted in 2014 whe she realized firsthand the lack of productive discussion about consent and rape culture. Since first publishing her story online, Have has created a space where people feel comfortable sharing their stories and discussing how we can be more aware of our own inherent racism and sexism. Have’s next project was The Green Dress in which she gave talks in the dress she was wearing before she was sexually assaulted to force people to think critically about vic tim-blaming. Have then co-created a documentary called the Face of a Survivor to help women share their stories. Have now works with Amnes ty International on their #LetsTalk AboutYes campaign. She’s fun and she’s cool, but, most importantly, she uses her platform to destigmatize women’s sexuality and help people talk about the culture surrounding sexual assault.1

@theslumflower

Chidera Eggerue is the originator of the hashtag #SaggyBoobsMatter, as well as co-creator of the documen tary, Bring Back the Bush and author of “What a Time to be Alone: The Slumflower’s Guide to Why You Are Already Enough.” Eggerue’s novel is unlike other self-help books in that it doesn’t claim to fix you. Rather, it invites you to observe yourself and accept who you are. Eggerue is par ticularly interested in how we can fos ter healthy relationships and advises spending time alone with yourself before you share your love with oth ers.2 She also is a strong advocate for

1 “Amalie Have.” Wikipedia. Wikimedia Founda tion, October 18, 2019

2 Yeginsu, Ceylan. “Chidera Eggerue Has Some Tips (and Hashtags) for Self-Love.” The New York Times. The New York Times, September 29, 2018.

blocking ex-boyfriends, as the starter of the Twitter movement #BlockHimParty.

@enamasiama

Self-proclaimed “Fat Queer Femme,” Enam Asiama is not only a fashion model but a strong advocate for em powering women through self-love. Asiama wears whatever she wants; she shows skin, wears tight clothes and looks damn good in all of it. She uses the platform she’s gained from her modeling career to lift people up. In her own words, “I will forever pro mote the agenda that Black is beauti ful and fat folks are worthy of visibili ty and love.”3

@nerdabouttown

Author and fashion blogger Steph anie Yeboah first gained a following through her blog Nerd About Town, where she showcased her bold style and talked about body confidence and mental health. After her platform took off, she wrote her first book, “Fattily Ever After,” to encourage black women to live life unapologet ically. Yeboah combines her activism with her love of fashion and has writ ten for GQ Magazine, Elle, The Guard ian and many more reputable publi cations. Her Instagram is both a bold, chic lookbook as well as a page that celebrates self-love and confidence. 4

@hannahwitton

London-based content-creator Han nah Witton is not shy when it comes to talking about sex. Witton studied sexual history in college and pub lished her first international book “Doing It” in 2017. Outside of preach ing sex-positivity and advocating for better sexual education, Witton is an ambassador for a sexual health chari ty called Brook, and a female empow erment project, Girls Out Loud.5 Her Hufflepuff aesthetic and positive take on sexual empowerment through ed ucation make her profile a place of joy for her followers.

·

3 Mulrow, Jennifer, Elizabeth Wirija, Jessica Willis, Mimi Quiquine, Erol Karada , and Enam Asiama.

“The African-British Model Who Wants To ‘Snatch Your Soul’ With Her Beauty Looks.” Power Faces, Enam Asiama, Target Beauty.

4 Yeboah, Stephanie. “About.” STEPHANIE YE BOAH.

5 Witton, Hannah. “About.” Hannah Witton.

The Riot Girl

A LOOK INTO FEMINIST PUNK MOVEMENTS AND WOMEN IN THE ALTERNATIVE MUSIC SCENE

Written & Illustrated by Ella Warren, Arts Editorial Assistant

I like loud music with strung-out vocals that stray off-pitch and fall somewhere between a melody and a scream. I like screaming along to emotionally-driven lyrics about our failing society, our failures in relationships and even our self-failures. I like not having to care about the words—in stead just feeling them—and not having to sound “pretty” when I sing along.

I’m also a girl, for the record, and I like being a girl—but I’ve noticed that none of my fellow female friends seem to be into the same music scene that I am. While I turn toward alternative genres—grunge, punk, indie-rock, mid west emo—I find that a lot of girls my age gravitate toward pop, R&B, hip hop, rap and other contemporary genres. I’m happy to talk about and support everyone’s personal in terest in music, regardless of their various musical choices or taste. Yet, this leaves me curious about the gender dis parities in the alternative music scene, and I believe this is something worthy of more attention in the industry today.

According to an article from uDiscoverMusic, “before fe male punks burst on the scene in the 70’s, a woman in the man’s world of rock’n’roll had little chance of being taken seriously, let alone being viewed on equal terms.”1 Women in America didn’t even have the basic right to vote un til 1920—that was only 100 years ago from where we are today, to put things in perspective. Additionally, it wasn’t 1 Tim Peacock, “Atypical Girls: The Female Punks That Changed The World: UDiscover.” uDiscoverMusic, August 22, 2019.

until the late ‘60s and early ‘70s, when various civil rights movements started gaining momentum and giving minori ties a voice, that women began to challenge and break free from the normative, “feminine” social roles previously as signed to them.

Feminist movements truly flourished toward the mid to late ‘70s, which was also the first time that many girl bands came into popularity in the punk-rock scene.2 The Slits are a post-punk band formed by four women who caused a lot of controversies by putting out lyrics that satirized fe male stereotypes and by behaving in “dirty” ways (they literally covered themselves in dirt for the cover of their album, “Cut”). Sonic Youth, a band that features a female vocalist, used their music as a platform to speak out on politics. Blondie’s singer, Debbie Harry, revolutionized the scene through “Rapture,” where she bridged new wave punk-rock with rap.

Female punks continued to carve their way in the alterna tive scene throughout the ‘90s and ‘00s. Riot Grrrl was an underground feminist punk movement of the early ‘90s fu eled by social injustice.3 It gained momentum through both punk bands and zines. According to Grinnel College’s arti cle, “the Riot Grrrl movement encouraged females to be come more involved in the male-dominated punk scene…

2 Ibid.

3 Katie Lottermoser, “Riot Grrrl - Subcultures and Sociology.” Grinnell Col lege.

women were generally only considered ‘punk’ through the associations of being a girlfriend.”4

The title “Riot Grrrl’’ embodies the attitude of the move ment; sometimes, a girl has to “riot” or “growl” (“grrr”) just to be heard. Unfortunately, as Riot Grrrl became more mainstream, the media began to perpetuate this idea that Riot Grrrls were a vicious, men-hating youth.5 In reality, the typical Riot Grrrl could be loud and rebellious, but only in an attempt to express herself and challenge passivity. And in our society, being a little “nasty” in order to chal lenge social norms often translates into being seen as a “nasty” person—someone who’s all-around misunderstood and misjudged. If you’re interested in judging the Riot Grrrl scene for yourself, a few popular bands include Bikini Kill, Bratmobile and Heavens to Betsy. Plumtree, Sløtface and No Doubt, though technically part of a different wave, are a couple of other notable feminist-inspired names.

Clearly, females have made a name for themselves in the punk scenes of the past—but now that we no longer have to fight for equality (arguably), it seems that we no longer have a place. Studybreak’s article, titled “In Contemporary Punk Rock, Women Are Nowhere to Be Seen,” discusses how women are again a minority in contemporary hardcore music. One reason for this may be lingering misogyny.6

4 Ibid.

Ibid.

Marianne Quijano, “In Contemporary Punk Rock, Women Are Nowhere To

From accounts of sexual harassment to patterns of dis crimination and objectification, I realize it might be intim idating for many women to put themselves out there at shows, or jump straight into the mosh pit. I think a lot of this is less-so personal than it is institutional. It isn’t our fellow male punk-lovers’ faults that us women don’t have more representation in the scene; I’m not going to remove The Smashing Pumpkins or Taking Back Sunday from my list of favorites just because they have male vocalists. This is something that needs to change in society—and in the patriarchy—and this means that our voice is still needed. Soundgirls writes, “It doesn’t seem like it’s a lack of fe male-inclusive bands that’s the problem, but rather the un willingness to go out and find them.”7 I can get behind that. It’s up to us—men, women and everyone alike—to continue to pave the way for equality.

To all of you out there who identify as “women”: we don’t don’t have to be “pretty” or conform to feminine social roles to be “real women.” We can wear what we want, do what we want and even be a little “nasty” if it’s called for. We all deserve to be seen; we all deserve to be heard. So, next time you’re worried about whether or not you look or act a little too “alternative” for the likes of society, just remember: it’s okay to be a little alternative.·

Be Seen.” StudyBreaks, October 12, 2018.

7 “Sexism in the Alternative Music Scene.” SoundGirls, 2013 - 2020.

TAKING THE STAGE

WOMEN SHOULDN’T BE LIMITED TO THE BACKGROUND CHARACTERS OF THEATER

By Josie Brandmeier, Arts Staff Writer Illustrated by Abbey Meyer, Associate Arts Curator

It’s a somewhat universal story for anyone involved in grade school theater: on the last day of auditions, the di rector scrambles to recruit any boy who is willing to stand on stage, while the female students sign up in much high er numbers and compete for fewer roles. The outcome: a random boy from math class plays the lead and seven girls who practiced all night get to play Trees #1-7.

Anecdotally, it does seem that more women are interested in getting on the stage at a young age compared to their male counterparts. As adults, women definitely go to see more theater. In comparison to men, women outpace the purchasing and filling of seats in the nation’s theaters two to one.1

If more young women are interested in involvement with the theater and more women are interested in seeing the ater, why do our stages not reflect that?

In this country, one play by a female playwright is pro duced for every four by a male playwright.2 From 2013 to 2018, less than half of the jobs in off-broadway the ater were held by women.3 A three-year study conducted

1 Marks, Peter. “Challenging the Gender Status Quo in American Theater.” The Washington Post. WP Company, September 12, 2015.

2 Ibid.

3 Steketee, Martha Wade, and Judith Binus. “Women Count IV: Women

by Actor’s Equity found that women and people of color have fewer work opportunities and lower salaries on- and off-Broadway.4 These are sad numbers for an arts commu nity that poses itself as a place for innovation—a place for outcasts to find refuge.

While theater is ephemeral, disappearing as soon as a production closes, it is an extremely important form of influence. Theater provides a cultural platform that shapes history and spreads ideas. When we limit female-pro duced stories, we erase perspectives and deem these sto ries unimportant.

Female theatrical artists have to jump through far more hoops to break into the industry. First, there are already so many women pursuing theater. In 2017, around 60% of graduating theater degrees were female.5 While the number of female producers is growing, women are still a minority among major theater producers.6 Many major female producers take nontraditional paths to end up in their positions. They face unique challenges: having their

Hired Off-Broadway 2013-14 through 2017-18.” League of Professional The atre Women, November 2018.

4 “Actors’ Equity Releases First-Ever Diversity Study.” Actors’ Equity Associ ation. Accessed March 2, 2020.

5 “General Drama & Theater Arts.” Data USA. Accessed March 2, 2020.

6 Paulson, Michael. “Who Calls the Shots on Broadway? She Does.” The New York Times. The New York Times Company, August 14, 2019.

authority questioned on the basis of gender, competing in what is mainly a boy’s club and being held to a standard higher than their peers.7

With fewer roles to compete for, female stage actors are expected to have it all. With male composers dominating the field, female vocal parts often feature near-inhuman ranges. This sets much higher standards and expectations for women in comparison to men (see Evita, Phantom of the Opera, Miss Saigon).

The answer isn’t “hire more actresses”—gender-bending traditionally male roles is not going to solve any prob lems by having women tell a story centered around a male narrative.

Instead, we need more women playwrights; more women designers; women of different backgrounds telling stories that could only be told through their unique voice. We need to invest money into these stories, not just because it’s good for humanity, but because we are missing out on some absolutely amazing theater.

Women are producing some new, interesting and great work. Last year’s Best New Musical at the Tony’s was 7 Paulson, Michael. “Taking the Lead on Broadway.” The New York Times. The New York Times Company, August 20, 2019.

“Hadestown,” a musical written and composed by Anaïs Mitchell and directed by Rachel Chavkin. This win was his toric because it was the first best musical winner with the book, lyrics and music written by a woman.8 Danai Gurira’s “Eclipsed,” Heidi Schrek’s “What the Constitution Means to Me” and Jocelyn Bioh’s “School Girls; or, The African Mean Girls Play” are some other notable plays by female play wrights from the last decade.

Professional theater companies should continue to im prove efforts to create female-centered work. However, long-lasting change needs to start at the roots. Beginning in our educational institutions, we need to start empower ing and supporting women storytellers.

On the collegiate level, the Big Ten is working towards that goal. To address the lack of complex roles for women, the Big Ten Theater Consortium’s New Play Initiative aims to commission plays written, starring and directed by wom en.9 The University of Wisconsin-Madison is participating in this initiative this spring with a production of Sarah Delappe’s “The Wolves” from April 9th to 26th, featuring an all-women cast. ·

8 Grein, Paul. “10 Records That Were Set at the Tony Awards.” Billboard. Billboard, June 10, 2019.

9 Mulugeta, Mikael. “New Play Initiative Promotes Work of Female Play wrights, Actors, Directors.” Iowa Now, June 22, 2016.

Let’s Talk—

AND NOT ABOUT BOYS

THE FAILURE OF THE BECHDEL TEST BY MOST POPULAR MOVIES IS PART OF A LARGER ISSUE OF MISREPRESENTATION OF WOMEN IN FILM

By Amy Shircel, Contributing Writer Illustrated by Sammy Meyerson

If you have ever taken a sociology class, you may have heard of the Bech del Test, formally known as the Bech del-Wallace Test. The test is applied to various forms of media, such as movies, TV shows and books.

In order to pass the test, a movie must meet three criteria:

1. There must be a conversation be tween two female characters

2. The female characters must have names

3. Their conversation must be about something other than a man.1

A conversation between two females needs to happen ONE time in order to pass. Sounds simple enough, right? Wrong. I was devastated to learn that not even Pixar’s “Ratatouille” or “Harry Potter and the Goblet of Fire” manage to meet these bare-minimum criteria.2

Depending on who you ask, only about 50% of movies pass the Bechdel Test; those that do pass just barely meet

1 “Bechdel Test.” Wikipedia. Wikimedia Founda tion. Feb 17, 2020.

2 M. Waters. “11 Blockbuster Movies That Are All Officially Sexist.” Culture Trip. Oct 4, 2015.

the criteria.3 Academy Award and Os car-winning films, as well as some of the biggest names in film like Disney and Pixar, continue to produce and nominate a large proportion of con tent that fails the Bechdel Test. While it may seem small, failing the Bechdel Test also means failing to produce ade quate representation of minorities, such as women of color and members of the LGBTQ+ population.

Disney, for instance, has long been criticized for a lack of diversity in their representation of race, sex and gender in their movies. Disney didn’t release a film starring a black princess until 2009 with the release of “The Princess and the Frog”—which, by the way, only nar rowly passes the Bechdel Test.4 Maybe someone should tell Disney that not ev ery woman needs a male savior.

Not to ruin your childhood or anything, but lots of popular Disney films do not, or just barely, pass the Bechdel Test. “Mulan,” “The Lion King,” “Toy Story 2,”

3 “100 Women: How Hollywood Fails Women on Screen.” BBC News. March 2, 2018.

4 B. Payer. “Do the 2019 Oscar Best Picture Nominees Pass the Bechdel Test?” Her Campus. March 3, 2019.

“The Jungle Book,” “The Lady and the Tramp,” “Bambi,” “Dumbo,” “Pinnochio,” “Aladdin” and “Tarzan” are just a few of the many Disney films that completely fail the Bechdel test.

Among the movies that just barely pass sits “Snow White,” “101 Dalmatians,” “Beauty and the Beast,” “Pocahontas,” “Hercules” and “Moana.”5

A large portion of award-winning mov ies also fail the test—sometimes shock ingly so. In 2019, just five out of eight of the films nominated for the Oscars’ “Best Picture” award passed the Bech del Test.6 Since 1929, only 49% of “Best Picture” Oscar winners have passed the simple requisites of the Bechdel Test.7

The Oscars do not just fail women on screen, but behind the scenes as well. In 2020, there was not a single female nomination for the Oscars’ “Best Di rector” category, despite the fact that about 11% of the highest-grossing films of the year were directed or co-direct

5 Ibid.

6 B. Payer. “Do the 2019 Oscar Best Picture Nominees Pass the Bechdel Test?” Her Campus. March 3, 2019.

7 “100 Women: How Hollywood Fails Women on Screen.” BBC News. March 2, 2018.

WHAT do you wanna talk about?

ed by women (compared with 2018, which had a mere 5%).8

I don’t know about you, but these numbers shocked me (but like, also, did not shock me). Clearly, something needs to change in the way big name directors and studios are portraying women in films.

Even still, just because a film passes the Bechdel Test doesn’t mean it’s a “fem inist film”—the Bechdel Test does not measure how much a movie empow ers women. Many movies with strong female characters that do not pass the test are not misogynistic or a failure to women. Just because “Harry Potter and the Goblet of Fire” doesn’t meet the cri teria doesn’t mean that Hermoine isn’t still a genius feminist icon.

What the Bechdel Test is, however, is a measure of how women are depict ed in films—often as male-dependent, frivolous and shallow. While the Bech del Test is not the perfect way to mea sure female representation, it does get the conversation started about what 8 K. Schaffstall. “Oscars: Women Shut Out for Best Director.” The Hollywood Reporter. Jan 26, 2020.

movies are lacking and what needs to change in regards to the portrayal of women in the media.

It is important to note that there are many movies that pass the Bechdel Test with flying colors. The 2020 re lease of “Little Women” passes the test with its depiction of independent wom en striving for the future they want for themselves. “Black Panther” passes as well, with a diverse cast and powerful female characters. Even “Mean Girls” passes the test.

There have been many critiques of the Bechdel Test, as well as the creation and development of new, similar tests that focus on more than just the repre sentation of women. In reality, there are countless examples of women of color and members of the LGBTQ+ commu nity being erased and/or sidelined in movies they should have had a strong role in.

Yes, men can star in action films and save their heroines in distress, but con tinually having this narrative at the fore front of Hollywood is problematic at best and harmful misogyny at its worst.

The acute failure of so many films to pass the simplistic criteria of the Be chdel Test is dictated by an innate bias that men are stronger and supe rior—and that the existence of women in movies is completely dependent on their male counterparts.

The long history of misrepresentation of women in films and media displays an “erroneous (and perhaps uncon scious) belief that white men have done the most and lived the most interesting lives of us all.”9

The Bechdel Test is just one tool that exemplifies how easy it is to position women as outsiders. The lack of rep resentation of women of color and members of the LGBTQ+ population in films is even more dismal. The over all misrepresentation of women and minorities in films generates inaccu rate and sometimes even violent ste reotypes. This danger demands we work towards bridging the gaps of misrepresentation in order to protect vulnerable groups. ·

9 A. Harris. “Stop Blaming History for Your AllWhite, All-Male Movie.” The New York Times. Feb 6, 2020.

MARCH 2020 61 anything but men

BOSS WOMAN ON THE BIG SCREEN

FINALLY, A WOMAN PURSUING HER CAREER IN A FILM

By Paige Olson, Contributing Writer

Picture this: A film in which two love birds do not end up together. Their once beautiful life ripped apart as they go on to pursue other things. What other things? Their careers, their dreams. La La Land’s depiction of love and dreams is a pretty origi nal take on how things end up for costars Emma Stone (as Mia) and Ryan Gosling (as Sebastian).

The film’s leading protagonist, Mia, is certainly not the damsel in dis tress typical of a Disney princess film, needing a kiss to be awoken. She is a determined woman who dreams of being an actress and works as a baris ta on the side to support herself.

The film has a subtle feminist tone. Mia, throughout the film, focuses on writing and premiering a one-woman show. Her pursuit of acting is given equal significance to Sebastian’s pur suit of owning a jazz club. And actu ally, Mia ends up leaving Sebastian to travel to Paris after she is offered the lead in a new film. Vogue comments on the feminist themes in La La Land, writing, “Is there any simpler way to portend a feminist awakening than a one-woman show? I think not.” 1

Studying sexism in Hollywood gives light to some major issues regarding equality. In an article by SYFY Wire, a study conducted at San Diego Uni

1 Julia Felsenthal, “A Feminist Reading of La La Land”, Vogue, 2016.

versity found that “females account ed for 34% of major characters in film (only 7% higher than in 2002).”2 If you think through all of the films you have seen in your lifetime, you would prob ably agree that most include a strong male protagonist and lack a strong fe male presence.

Other studies reveal a significant correlation between having a strong female presence and a female team working on a film. According to the same SYFY article, “When women were at the helm, 50% of protago nists were female (only 15% with male directors and writers) and 29% were antagonists (compared to 15% with male directors and writers).”3One of the largest issues of sexism in Holly wood stems from the fact that wom en directors, writers and producers are simply not very common.

The lack of female representation in films reminds me of Chimamanda Ngozi Adichie’s Ted Talk, “The danger of a single story.” In this Ted Talk, Chi mamanda talks about how she grew up reading books in her home coun try, Nigeria. These books were about young white girls with blue eyes and blonde hair playing with dolls and eat ing apples. She decided to write her own books as a young child inspired

2 Cher Martinetti, “Women’s Work: Why The Jobs Of Female Film Characters Matter”, FYFY Wire, 2016.

3 Ibid.

by the stories she read about: young white girls with blue eyes and blonde hair playing with dolls and eating ap ples. Chimamanda reflects on the fact that she believed, at that young age, that only white girls belonged in lit erature. She did not know anything different than this; this was the one story that she was told.4

Likewise, if girls continue to grow up watching films where men are the only gender in dominant roles — go ing to their successful jobs while their wives stay home and cook dinner — then girls will believe. This will be their only story. Watching Mia live out her dream in “La La Land,” as she attends auditions, writes her one-woman show, and leaves her lover to jet off to Paris, was not only inspiring but em powering to me, as a woman. It was new information from the screens.

These stories need to be told; the stories about dominant female char acters with careers and meetings to attend to; stories that go beyond the cooking and cleaning of their homes. Cooking and cleaning aren’t innately bad, but this can’t be the only story that Hollywood tells. Young girls de serve to see the successful female CEO in films, the one that allows them to dream bigger.

·

4 Ngozi Adichie, Chimamanda, “The danger of a single story”, Ted Talk Video, 18:34, July 2009,