Muse: October 2020 Issue

Table of Contents

FASHION

8 Fashion icons for every generation

The fashion industry would not be the same without these muses to inspire our top designers

ARTS

5 The midwife to modernism

A brief glance at Gertrude Stein’s formative impact on modern literature.

22 Putting race on display

One organization’s fight to bring Black liberation within the white walls of museums

31 I’ll be there for you

Fictional characters inspire us in the same way as off-screen role models

35 Divine inspiration

The Nine Muses are testaments to the art and inspirational power of women.

LIFESTYLE

6 Fruit of the season

10

Dressing for democracy

How voting merch is making its way back for the 2020 election

36 Personal muses

The trendsetters that inspire Moda’s staff

CULTURE

12

Active Activism

Bringing Instagram Activism off the screen and into the real world

20 The girls backstage

A deeper look into music groupies from the 1960s & beyond

24 What’s next?

An interview with a UW grad about landing your dream job after college

32

The power of female influence

Women influencers occupy a powerful position in the world of individualized digital marketing.

34 It’s your world & we’re just living in it

Diving into the main character TikTok trend

Cooking with fall flavors

19 From the mind’s eye

Thoughts and energy can create reality

38 The lesbian experience

Exploring the characterizations of womenloving-women

FEATURED

13 A Modern Scholar

25 Apollo

Dear Readers,

Muse is an issue dedicated to the people that inspire us, our communities or the world at large. In light of October being Art History Month, Moda wanted our content to reflect the role that the creative community plays in our own lives.

Many members of our staff chose to write about influential Muses that forever changed their respective fields. Staff Writer Olivia Peters wrote about Gertrude Stein and the role she played in shaping modern literature. Talia Abbe, Moda’s Special Events Coordinator, wrote about fashion’s most iconic designer-muse relationships throughout history. And Gabrielle Gronewold, Moda’s Culture Editor, wrote about how Groupies transformed the cultural image of female liberation and individuality.

Other members of our staff explored their own personal muses or sources of inspiration. Staff Writer Liz Karnowski wrote about the emerging main character trend on Tik Tok and the fine line between living boldly and putting yourself on a pedestal. Likewise, Staff Writer Jessica Katz, wrote about the practice of manifestation as a tool to reaching your inspirations and goals.

When thinking about my own personal muses, I immediately think of the matriarchs of my family that inspired me to be the person I am today.

From a young age, my grandmother Christine and I have had a special bond that I can only describe as soulmates. She is independent, confident, openminded, a dreamer and an artist. Since retiring in 2016, she’s taught herself how to watercolor and painted over 50 pieces of original art, some as large as 18” x 18.” While I’ve yet to convince her to open a studio, she is the woman who taught me that to pursue what brings you joy is the greatest gift you can give yourself.

While my grandmother was the one who encouraged me to dream big, my mother was the one who helped me put those dreams into action. At times, this meant grounding me and creating a tangible plan to achieve my goals. Both women taught that to have talent is a gift, but to have persistence is a habit. They are the women who taught me to pursue what I love, not what I think the world wants from me. In college, this has manifested into studying graphic design and joining Moda.

When we first started planning Muse, we had no idea that it would come to be our print issue for the semester. We were working under the assumption we would not get to print due to budget constraints, and that was that. Surprisingly, the opportunity arose, the caveat being that if we wanted to print, it would have to be done in half the time we usually have.

I am so incredibly proud of Moda’s staff for pulling this issue off. It was a reminder to me that Moda is home to some of the most passionate, hardworking students on this campus. The Moda staff encourages and inspires one another to push our creative boundaries, whether in the writing, photography or illustrations we produce. Moda’s sense of community and willingness to draw on one another is what allowed us to pull off this issue in record breaking time. We are our own muses. We are Moda Magazine.

ALLYSON KONZ EDITOR IN CHIEF

Photographed by Annika Ide, Photography Director

The Midwife to Modernism

A BRIEF GLANCE AT GERTRUDE STEIN’S FORMATIVE IMPACT ON MODERN LITERATURE.

By Olivia Peters, Staff Writer Illustrated by Channing Smith, Art Director

The year is 1922. You are a young, bright-eyed, aspiring novelist who has recently come from America to Paris to focus on your craft and gain life experiences. An invitation with your name on it is left at the front desk of your hotel. You pick it up hungrily and tear open the wax seal. Your jaw hangs lax, and your eyes glaze over when you see who it’s from. This is it, you’re somebody now. Gertrude Stein has invited you to one of her dinner parties.

The memory of 1920s Paris is often overshadowed by the American scene, flappers and prohibition. Yet Europe — Paris, in particular — was the epicenter of the post-war artistic movement. When World War I concluded in 1918, it was considered the most damaging and traumatic events in history.1 In response, countless writers, artists, designers and other creatives began to reject the ways of the past. Realism and Victorian era stylings no longer represented reality. Modernism was birthed as a result, with an aim to more accurately portray industrial-age, post-war life. Gertrude Stein was the midwife at the birth of Modernism

In the mid-century in Paris, anybody who dreamed of becoming someone in the literary world knew the address: 27 Rue de Fleurus.2 Stein moved into this apartment with her brother back in 1903, where they began collecting Post-Impressionist paintings and entertaining people in their renowned art salon. Stein was a writer, and her brother, Leo, an artist. They had paintings by Gris, Matisse and Picasso— all artists whose careers Stein helped

1 J. Reed, “Art Forever Changed By World War 1.” Los Angeles Times. July 21, 2012.

2 “Gertrude Stein.” Poetry Foundation.

to launch.3 Picasso even painted a selfportrait of Stein which hangs in the Metropolitan Museum of Art today.4

Eventually, Leo moved away to Florence. Despite the absence of her beloved brother, Stein did not miss a social step following his departure. Rather, Stein’s lover Alice B. Toklas moved in and the two of them continued hosting evening gatherings.

On a typical weekend evening, Stein engaged men who she deemed to possess literary potential in the salon, while Miss Toklas kept the women busy in the kitchen.

Imagine the friendships that Stein formed here, the admiration visible in the young mens’ eyes, the power that she yielded. It’s certain that Stein valued this captive audience of burgeoning intellectuals and artists, but did she know that those moments in her salon would be preserved in history’s resin?

The men that she entertained clamored for glances at her latest works. Stein’s writing style can be described as “deliberately naive.”5 Stein sought to capture the multiple perspectives of cubism—as Picasso did—but with words. She transcended gender roles and explored her sexuality in her work. Arguably, her most well known piece was “The Autobiography of Alice B. Toklas” in which Stein writes from Toklas’ point of view and describes herself as a main character.6

3 Ibid.

4 “Gertrude Stein.” The Met.

5 A. Gopnik, “Understanding Steinese.” The New Yorker. June 24, 2013.

6 “Gertrude Stein Biography.” The Biogra phy.com Website. January 29, 2020.

Yet Stein’s writing did not live on in the same way that her name and impact on young literary greats did. F. Scott Fitzgerald and Ernest Hemingway were some of her most successful mentees. Hemingway’s work was noticeably influenced by Stein’s style. He adapted her trademark repetition and simplicity into his own, and his work quickly surpassed Stein’s in popularity; however, her influential molding of his narrative voice is not forgotten. Stein famously said to Hemingway, “You’re all a lost generation,” which became a token phrase used by the public for modernist artists.7

If only the walls of 27 Rue de Fleurus could share the brilliant conversations that occurred in their midst during the birth of Modernism. Young hopefuls were infatuated with the dominating presence and intelligence of the exceptional woman who wandered these halls. Stein showed the lost generation what they had the potential to become, and how they could express themselves in the style of modernism.

Gertrude Stein was not a classically beautiful woman, sitting nude for a painter; she was not the subject of romantic poetry; she was not a passive source of inspiration to them. She was their guide. Stein was what those searching creatives needed to become great. She led those men to a realm of success that they simply were not capable of accessing on their own. Gertude Stein gave these artists confidence and in turn, they gave the whole world everlasting art. For that, she is immortal. ■

7 C. Ozick, “A Prophet of Modernism: Ger trude Stein.” The New York Times. Novem ber 24, 1996.

Season

COOKING WITH FALL FLAVORS

By Meghan Savaglia, Contributing Writer Photographed by Paige Olson

Fall flavor offerings arrive into our minds and into our palettes as soon as bell tolls on September 1st. The overly sweet adaptations from Starbucks and your local grocery store might not be the taste for you, but in a pre-coronavirus world, fall markets were filled to the brim with fall fruits and vegetables. Out of these, pumpkin rightfully reigns supreme, and is abundantly found in American dining rooms during the later months of the year. If you’re not totally up to making grandma’s recipes from scratch, here are some college-kitchen friendly recipes to get you started.

Pumpkin Pasta Sauce

This flavorful sauce utilizes everyone’s favorite fall fruit, and can be poured over pasta or sauteed vegetables.

Ingredients:

2 tablespoons olive oil

½ small onion, finely diced

3-4 cloves minced garlic

1 cup pumpkin puree

1 cup crushed canned tomatoes

½ tablespoon dried basil

¼ teaspoon chopped dried rosemary

½ teaspoon salt

¼ teaspoon pepper

Pinch of cinnamon

½ tablespoon honey

1 cup half & half

Parmesan for topping, optional

Instructions:

1. Heat olive oil in a pan over medium high heat. Add onion and saute 4-5 minutes until translucent.

2. Pour pumpkin puree, tomatoes, basil, rosemary, salt, paper, cinnamon and honey into the pan. Reduce heat to medium and stir until well combined.

3. Once the sauce is bubbling, slowly stir in half & half. Cook for additional 5 minutes, until the sauce is heated through and bubbling.

4. Garnish with seasonings and parmesan if desired.

Sweet Pumpkin Empanadas

These hand-pies can be made with frozen or refrigerated pie crusts, and are a “mini” way to get your pumpkin pie fix.

Ingredients:

2 tablespoons butter

1 cup packed brown sugar

1 cup pumpkin puree

1 teaspoon cinnamon

⅛ teaspoon ground cloves

2 refrigerated pie crusts

1 beaten egg

1 tsp. water

Instructions:

1. Preheat the oven to 425 degrees.

2. In a small saucepan over medium heat, melt butter and stir in brown sugar. Heat until brown sugar is dissolved into butter.

3. Stir in pumpkin puree and spices. Continue to stir for 3-5 minutes, or until the pumpkin starts to hold its shape.

4. Allow pumpkin mixture to cool completely in the fridge before assembling empanadas.

5. Unroll pie crust onto floured surface and roll out slightly.

6. Using a cookie cutter, knife, or glass, cut out 7-8 circles about four inches wide.

Spoon two teaspoons of pumpkin mixture into the center of each round, leaving room around the edges to seal the empanada later.

7. Fold rounds over, and seal by crimping edges with a fork. Mix beaten egg and water together and with a brush cover edges and tops of empanada with egg and water mix.

8. Sprinkle with sugar if desired.

9. Cut 2-3 slits on the top of each empanada using a sharp knife.

10. Bake for 10-12 minutes until golden brown. Let cool.

generation

every

Fashion Icons for

THE FASHION INDUSTRY WOULD NOT BE THE SAME WITHOUT THESE MUSES TO INSPIRE OUR TOP DESIGNERS

By Talia Abbe, Special Events Coordinator

Illustrated by Channing Smith, Art Director

In the fashion industry, designers would be nothing without their muses to inspire them and their work. A muse can serve as an influencer for the designer to help encourage the creative process, and can ultimately be the catalyst for their careers.

Here is a list of iconic designer-muse relationships that every person should know about.

Bob Mackie and Cher

Hubert de Givenchy and Audrey Hepburn

This was one of the most famous relationships in fashion history. The two met on the set of the 1954 film, Sabrina, which turned into a full working relationship for many decades.1 Hepburn inspired Givenchy to create what is now known as the iconic ‘little black dress’ that was worn by Hepburn in Breakfast at Tiffany’s, naming her one of the most stylish and influential women of the 20th century. This established Givenchy as one of the biggest designers and helped turn Hepburn into a worldwide style icon.2

1 “THE MUSES BEHIND 6 OF THE WORLD’S MOST FAMOUS FASHION DESIGNERS”. Highsno biety, 2015.

2 “15 OF THE MOST ICONIC DESIGNER/MUSE RELATIONSHIPS IN FASHION HISTORY.” Harper’s Bazaar, May. 18, 2020.

Yves Saint Laurent and Betty Catroux

Over the years, Yves Saint Laurent used multiple women to fill the role as his muse, but the one that stood out the most was Betty Catroux, the formal Chanel model. The two met at the Régine’s nightclub in Paris during the early stages of Laurent’s career.1

Like many of his muses, Catroux retained a rebellious edge with an androgynous look, inspiring many of Laurent’s designs, including the pantsuit. Women wearing a suit was always considered masculine, but Laurent changed that mindset. This 35 year relationship no doubt paved the way for Laurent’s career and eventually led to the beginning of contemporary fashion.2

1 Ibid.

2 Ibid.

Unlike any of the other designers, costume designer Bob Mackie created garments for some of the most inspiring women such as Diana Ross and Marilyn Monroe. Some of his most famous work featured a sheer dress for Cher, which she wore to the Met Gala in 1974, and the sequin dress she wore to receive her Grammy in 1988.1 The 1974 dress was considered the “Naked Dress” because it was a beaded sheer gown with white feathered sleeves and a white feathered skirt with only a single crystal hand sewn to the heart over her breasts. The entire dress was made of thousands of crystals and it made a huge statement.

Mackie created this dress because he loved the idea of creating a dress that perfectly sculpted the women’s body and wanted to create a nude illusion. Cher and Mackie most definitely set the trend today for showing skin on the red carpet.2 In 1988, Cher became known for her bold fashion sense. Mackie had made her a sheer black dress with thin straps, and a bra style neckline, exposing Cher’s entire stomach and legs.3 Throughout his career, Mackie also designed hundreds of costumes for The Sonny and Cher Show.

1 Ibid.

2“Bow Down, Kim and Kendall-- Bob Mackie explains why Cher is the Reigning Queen of the Naked Dress.” Vogue. May 23, 2017

3 “Cher 1988 Oscar Dress Photo” HuffPost. April 11, 2013.

Jean Paul Gaultier and Madonna

Jean Paul Gautier is most famously known for creating one of Madonna’s stage outfits from her Blonde Ambition Tour in 1990. This piece helped launch his career and ultimately solidified his relationship with the artist.1 Together, Gaultier and Madonna attended the 2018 Met Gala in one of his designs wearing a full church goth dress that was accessorized with a crucifix dotted crown, a net veil, layered cross necklaces and a handful of black roses. This was a statement that completely went with

1 Ibid.

Gianni Versace and Donatella Versace

Growing up as siblings, Donatella Versace had a major influence on her older brother Gianni Versace.1 They were extremely close and she always looked up to him, to this day she still expresses how hard it was when her brother was murdered. Throughout his career, though he dressed famous models such as Naomi Campbell and Cindy Crawford, none of them compared to his most prized muse, Donatella. Prior to taking over the Versace company after her brother’s murder, Donatella often wore Gianni’s most famous pieces on the red carpet.

1 Ibid.

Madonna’s usual fashion legacy.2 She also made an appearance as one of his models in the spring/summer ‘95 collection, where he said his final farewells to the fashion industry. In this collection he exposed many of the issues we are having today; such as, diversity, gender fluidity, recycling and sustainability. He would recycle his materials, put men in skirts and used models of all sizes, genders and ethnicities.3

2 “Madonna Goes Full Church Goth in Jean Paul Gaultier at the Met Gala.” Vogue. May 8, 2018.

3“Jean Paul Gaultier” Vogue. January 23, 2020.

Jeremy Scott and Devon Aoki

Moschino’s creative director, Jeremy Scott, refers to his long lasting friend, Devon Aoki, as his “forever muse”. She started her career with Scott when she was 13, and after a decade of not doing shows, she made a reappearance to close Moschino’s Resort ‘17 runway show in 2016. Scott saw a picture of Aoki when she was 13 in a shoot and was instantly mesmerized.1 Their most well known collaboration was the 2007 “Ice Cream Issue” i-D cover. In the Moschino Spring 2007 Ready-to-Wear collection, Aoki wore an overstitched white swingy jacket with black embroidery, a lace rope belt through the sailor suit and crochet sleeves on a coat.2

1 Ibid.

Pierpaolo Piccioli and Adut Akech

Valentino’s Creative Director, Pierpaolo Piccioli has a muse unlike any other. Considered to be a supermodel in the making, Adut Akech caught Piccioli’s eye, inspiring much of his work. Akech, a former refugee, escaped war-torn South Sudan and later as a child, moved to Australia before becoming a model. She has said that her work with Valentino has made her feel at home.1 He found a love for how Akech captures a powerful and timely notion. She has helped him turn Valentino into a more diverse and inclusive environment, by hiring black models to walk the runway and by focusing his 2019 haute couture presentation on diversity. 2

1 Ibid.

2 “How Valentino Embraced Diversity.” Business of Diversity. October 1, 2019.

Riccardo Tisci and Kim Kardashian

Kim Kardashian West has Riccardo Tisci to thank for her entrance into the fashion industry. Tisci is the former creative director of Givenchy and the current creative director of Burberry. The two had an ultimate connection the first time they met and she has been his muse ever since, they met through Kanye who is great friends with Tisci.1 Kardashian West has been seen in many of his designs, including her 2014 wedding gown. Kardashian West was

1 Ibid.

constantly photographed in his clothing throughout 2012, she was seen in fold-over boots, ruffled cocktail dresses, and tropical floral prints. Tisci played an iconic role in Kardashian West’s high-fashion coming out party at the Met Gala in 2013 by bringing her with him.2

■

2“Kim Kardashian and Riccardo Tisci: A Timeline of Fashion’s Most Unlikely—And Interesting—Pair” Glamour, March. 9, 2018.

HOW VOTING MERCH IS MAKING ITS WAY BACK FOR THE 2020 ELECTION

Photographed by Jessica Tenenbaum

Check your registration status and polling place at https:// myvote.wi.gov/.

Here are some brands that are encouraging people to vote this November while also making voting stylish.

Michael Kors

This year, Michael Kors launched the Your Voice Matters campaign. As a key aspect of the campaign, Kors released a Michael Kors Collection cashmere sweater which retails for $850, and MICHAEL Michael Kors cotton t-shirt retailing for $40. The collection’s items are adorned with the words “VOTE” and “YOUR VOICE MATTERS”, a reminder for Americans to register and exercise their right to vote.2

To produce the t-shirts, Kors partnered with Black-owned business FKSP, operated by African American fashion designer Folake Kuye Huntoon. The t-shirts were produced at the FKSP factory in the Los Angeles fashion district, where Folake produces all of her designs.3 The garments are exclusive to the U.S. market and aim to reinforce the campaign’s central message: No matter who you are, your vote can make a difference. All of the proceeds made from the two garments go towards the NAACP Legal Defense and Education Fund.4

Brothers Vellies

Another brand that has taken political activism to the streets is sustainable luxury footwear label Brothers Vellies. The brand aims to keep traditional African design practices

1 Sprunt, Barbara. “Will 2020 Be The Year Of The Young Voter?” NPR.

2 Rikhy, “These Fashion Brands Are Making Voting Stylish,” V Mag azine, 2020.

3 Lockwood, “Michael Kors Unfurls Your Voice Matters Campaign,” WWD, 2020.

4 Ibid.

and techniques alive by giving back to their roots. Artisans across Africa work on the brand’s designs, each shoe representing a love letter to the villages and towns where they’re produced.5 This year, Michelle Obama’s non-profit, nonpartisan organization When We All Vote has partnered with Brother Vellies to release a pair of sneakers with Keds. The organization aims to close the race and age voting gap in the United States. Each of the When We All Vote x Brother Vellies Canvassing Sneakers includes handwritten phrases from the Creative Director Aurora James. Additionally, each shoe is decorated with a Kenyan hand-carved wooden sneaker charm. If you’re looking for the perfect socks to pair with your sneakers, Brother Vellies has vote-inspired crew socks to fit your needs.6 The company has pledged to donate 100 percent of their sneaker proceeds to When We Will Vote.

La Ligne

Women-owned fashion brand La Ligne and author/activist Cleo Wade teamed up for their second collaboration to release a limited edition “VOTE” collection. The brand’s collections always reflect the founders’ belief that “the best things in fashion (and life) are universal, timeless and classic, but never off limits for reinvention.” La Ligne and Wade accomplished just that, as their collection includes cloth face masks and a t-shirt featuring the phrase “F*cking Vote,” accompanied by Wade’s signature heart illustration.7 These special tees are embroidered with Cleo’s iconic handwriting, urging people to exercise for their right to vote.

Wade states, “We gotta vote. And we gotta make sure that every single person who can vote has access to do so. Our leadership is up to us. We decide if we vote for our past or vote for our future.”

All of the profits from masks and tees will be donated to Fair Fight, a national voting rights organization founded by American politician and Madison, Wisconsin native Stacey Abrams.8■

5 Klerk, “10 black-owned fashion brands to support and invest in,” Harper’s Bazaar, 2020.

6 Ibid.

7 Ibid. 8 Ibid.

Fashion Editor

Active Activism

BRINGING INSTAGRAM ACTIVISM OFF THE SCREEN AND INTO THE REAL WORLD

By Amanda Liebmann, Contributing Writer | Illustrated by Maya Hoffman

Since the dawn of handheld devices and user-generated content, the way we gather, share and take in information has evolved tremendously. The speed and spread of information can be used to create awareness and join individuals together.

Social media, especially Instagram, has become a buzzing hotspot for spreading awareness about systemic racism, environmentalism, women’s rights and other world crises. However, the trendiness of awareness based posts poses ethical questions. Do the aesthetics of social media activism posts actually inform individuals? Or is this all just performative activism?

Performative Activism are actions taken with the intention to increase one’s social platform instead of being motivated by the dedication to a certain cause.1 It is, at worst, a superficial way to look involved with a cause while doing the minimal amount of work.

This summer on #BlackOutTuesday, millions of people posted a black square under the hashtag on Instagram to show solidarity with the Black Lives Matter movement. The

1 “Performative Activism,” Wikipedia, September 1, 2020.

#BlackOutTuesday hashtag merged with similar hashtags for the Black Lives Matter movement, such as #BLM and #BlackLivesMatter, causing popular hashtags used for information sharing to conglomerate.2

While posts under this hashtag may have been well-intended, some argued that the aesthetic of all-black squares lost meaning and purpose as they flooded Instagram.3 Informational graphics and protest information was quickly buried under an endless amount of black squares. Not only was this information difficult to find, but influencers and other social media users posted these black squares and never again addressed systematic racism on their feeds.

While this is one specific example of performative activism, the message remains the same: Sharing content without any intention to change your actions, thought processes or to go out in the real world and make change is irresponsible and insulting to a given movement. As McKenna Kelley wrote for SWAAY, “If you refuse to implement

2 Rebecca Jennings, “Who are the black squares and cutesy illustrations really for?” Vox, June 3, 2020.

3 “#BlackOutTuesday And Performative Activ ism.” The Organization for World Peace.

your newfound education on racism in real-life environments and not just on social media, then you are not an ally.”4

Taking activism into the ‘real’ world is a necessary and critical component in furthering a movement and better educating yourself. This can look like speaking up and having difficult conversations with family and friends, educating yourself on a given subject, donating to a cause and signing petitions. It’s also important to listen to new perspectives other than your own, so following organizers and influencers of a movement or listening to a podcast is another great way to further educate yourself.5

The power of social media can be a positive tool for society if we use it correctly. It gives us each a platform that we can utilize to inspire those around us. Social platforms serve to inspire us as individuals as well — by forcing ourselves to listen, reflect and look up off our screens and into what we can do in the real world.

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4 Kelley, McKenna. “Performative Activism Is Basically Silence. Here’s Why.” Swaay. Swaay, July 2, 2020.

5 Editorial, SWAAY. “Ally Resources For Support ers Of Black Lives Matter.” Swaay. Swaay, June 17, 2020.

The Modern Scholar

Photographed by Audrey O’Neill, Assistant Photography Director Directed by Kate Colby, Co-Creative Director and Sam Starks, Assistant Creative Director Creative Team: Katie Hayes, Lili Phung, Talia Abbe, Abigail Crneckiy, Stephanie Wiener Modeled by Kathy Wang

From the Mind’s Eye

THOUGHTS AND ENERGY CAN CREATE REALITY.

By Jessica Katz, Assistant Lifestyle Editor Illustrated by Kate Madigan

Whatever you focus on is what you are bringing into your reality — that is the idea behind manifestation.

Manifestation entered the public sphere during the 19th century, as part of the New Thought movement. Some of the most influential authors of the time were Helena Potrovna Blavatsky and Thomas Troward. Blavatsky believed that your thoughts about yourself defined your capability, emphasizing the power to move past what you believed were your limitations. Many of her ideas about spirituality overlapped with the law of attraction, or the idea that where you place your focus can have an intense impact on your life. Similarly, Troward believed in the impact of spiritual traditions. To him, belief in limitation causes limitation, and that how you think shapes the course of your life.1

These authors were at the forefront of the manifestation movement which empowers us to use our thoughts and energy to create our reality. Manifestation transforms thoughts into motivation, then motivation into action.

The practice of manifestation can occur through numerous techniques. You can create a vision board with words and images that convey the energies and values you wish to experience. Using intention journals, belief assessments or gratitude journals can help keep track of these thoughts and values. Or you can try writing a letter to your future self, reflecting on what you want your life to look like going forward.

1 Hurst, Katherine. “Law Of Attraction History: The Origins Of The Law Of Attraction Uncov ered.” The Law Of Attraction, September 3, 2020.

Start by choosing what you’d like to manifest, whether that is a job, true love, or a situation unique to your life. Think about this goal; Do you really want this? Does it feel right? How will it be good for you and others?

Once you have a clear idea of what you want, get rid of the things that stand in your way. When you are working towards a dream make sure no one is holding you back, including your own mindset. There may be people in your life who may not believe in you, blocking you from doing your best by making you doubt yourself. You must also assess your own beliefs about your capabilities and get into a positive and patient mindset to be successful.

Visualization plays a crucial role in practice. You should pour all your energy into looking at your goal with your mind’s eye. Imagine seeing, hearing, smelling, touching and even tasting what you aspire to create — how does it feel to accomplish your goal?

Yet, you cannot sit and wait for the results of manifestation to come to you. The first step to action is committing to including your goal-driven attitude intp your daily mindset.

It’s normal to question if manifestation truly works — can a change in mindset truly lead to achieving goals? Manifestation works if you believe in yourself and take that daily dose of inspiration into the everyday practice of goal-oriented thinking.

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THE GIRLS BACKSTAGE

A DEEPER LOOK INTO MUSIC GROUPIES FROM THE 1960S & BEYOND

By Gabrielle Gronewold, Culture Editor Illustrated by Riley August

The lights are dim, the music is loud and the girls are backstage. They’re cool and they’re groupies.

The image of the girl backstage, a groupie, has become a notable and intriguing character within music culture. It’s a culture that has been largely backed by sexism, misogyny and outdated gender norms since the dawn of its time.

The groupie phenomena originated in the 1960’s counterculture of rock Since then the social identity has taken on a different significance and cultural strength, depending on both the generation and the person who is categorizing the slang term.

By definition, a groupie is a “person, especially a young woman, who regularly follows a pop music group or other celebrity in the hope of meeting or getting to know them.”2

But repeatedly, the term groupie has been “treated like a punch line to a neverending joke that only the boys are in on.”3

In the 1969 cover of Rolling Stone, three influential male players in the music industry didn’t make the term seem very applaudable. In this story, the groupie narrative was shaped into a sexist, slander on all femalemusic fans.

Groupies were shaped into being “incredible name droppers,” treating “sex the same way an accountant treats

Gretchen Larsen, “It’s a man’s man’s man’s world: Music groupies and the othering of wom en in the world of rock,” Organization, 2017. Oxford Dictionary, “Groupie,” Oxford Dictionary, (Forrest 2010:135)

his new Buick...as a status symbol.”4 And my personal favorite, “These groupies, you know — they’ve never got anything to say for themselves. They just hover about. You never meet one who’s got both a head and a body.”5

This image of the groupie is less than satisfactory. In fact it’s sexist and creates an inaccurate narrative from the male gaze. Powerful, industry-reputable sources, such as Rolling Stone, play a key role in shaping opinion and writing the undeniable, non negotiable story. Because of this, the slut-shamed, slandered image of the groupie has lived on for decades. 6

Offensive groupie storylines didn’t necessarily deter individuals to take the bait on rock music. In fact, Pamela Des Barres, an influential, famous groupie, shared “from the first time I read about groupies in a 1969 Rolling Stone, I wanted to be one.”7

People, like Des Barres, “transformed ‘hanging out’ into a form of creative expression,” and made the groupie lifestyle “one of the rock era’s liveliest, unofficial conceptual art projects.” 8

When groupies themselves are able to reclaim their identity and story, we begin to see the image of the groupie

4 Jerry Hopkins, John Burks, Paul Nelson, “Group ies and Other Girls,” Rolling Stone, February 15, 1969.

5 Ibid.

6 Gretchen Larsen, “It’s a man’s man’s man’s world: Music groupies and the othering of wom en in the world of rock,” Organization, 2017.

7 Margret Moser, “Lust for Life: Memoirs of an Un repentant Ex-Groupie,” Austin Chronicle. August 11, 200.

8 Ann Powers, “That Girl by the Stage, and Why She’s There,” New York Times, December 20, 1992.

redefined. These groupies were women with their own minds, stories and motives.

Not only was Des Barres a groupie, but in her day she was also an actress and musician. Today she is an author, magazine writer and writing teacher.9 The identity of this woman doesn’t start or end with her time as a music groupie, and to treat her as such is rooted in deep misogyny.

The infamous 1969 Rolling Stones cover is slightly attributed to the larger life of groupies, stating how once young, hip, attractive and womanly Grateful Dead fans weren’t groupies any longer, but rather “somebody’s old lady.”10 These male-dominated conversations are purely just maledominated conversations, they have no real involvement or weight, compared to the lives and stories of past groupies themselves. Yet, the 1969 Rolling Stones cover was incredibly influential for painting the groupie picture.11

The male-domination we see back in the 1960s has not disappeared from the music industry today. The music press is still skewed in gender representation and perspectives.12

Unfortunately women are often discluded and when they are represented it is through “the male gaze, as a little more than a body.”13

9 “Pamela Des Barres,” Wikipedia, August 27, 2020.

10 Jerry Hopkins, John Burks, Paul Nelson, “Groupies and Other Girls,” Rolling Stone, Febru ary 15, 1969

11 Gretchen Larsen, “It’s a man’s man’s man’s world: Music groupies and the othering of wom en in the world of rock,” Organization, 2017.

12 (Elafros 2010)

13 (Davies, 2001)

The rhetoric around groupies presents the very structure, hierarchies and practices that disclude women from the industry. If a female fan of music can only exist as a slut-shamed, narrow-minded groupie, how could we ever expect the industry to create fair, unbiased space for female creators and curators?

Female fans also played a critical role in the commercial success of the artists they worshiped. Studies show that 40% of women in the industry feel their colleagues have discredited their work and skills, 39% have experienced stereotyping and sexualization and 33% believe the industry is maledominated. On the artist side of the industry, only 22% of artists on the top 700 songs since 2012 were female and there is a baffling 1 woman to 4.8 male artist ratio.14 This research was found exactly 50 years after the ‘69 Rolling Stones cover and it seems the rhetoric and representation of women has not reflected this gap in time.

Yet, female fans didn’t just sit there, they also played a critical role in the success of the music. Frank Zappa claimed in the ‘69 Rolling Stones article that groupies were incredibly influential on the market, saying “If you’re a hit with the groupies, you’ll sell 15,000 records in L.A. alone.”15

Not only were female fans key players in music’s success, but many groupies went on to make substantial waves in the business side of the industry as well. Previous groupies have gone on

14 Caitlyn, Kelley, “The Music Industry Had A Long Way To Go For Gender Equality,” Forbes, Febru ary 6, 2019.

15 Jerry Hopkins, John Burks, Paul Nelson, “Groupies and Other Girls,” Rolling Stone, Febru ary 15, 1969.

For women to be respected, however, they don’t need to meet any standard of success. Female music fans, duped as groupies, had a right to prosper and engage in any lifestyle or action they may have chosen. What the groupie narrative misses out on is that both female fans and the artists themselves were active players in their stories.

“The dark side of this freedom is a fraternalism under which women are viewed as sexual conquests rather than equal participants.”17 The liberation women felt during this time was coated in misogyny from social norms and expectations perpetuating this sexism groupie image.

The problem with groupies isn’t that they were off their rockers and dismantling respectability. It’s that we live in a culture that celebrates men for their endeavors while shaming women for the same thing.

The girls backstage are a phenomenal cultural image of female liberation and individuality. “Groupies embody the contradictions of rock’s sexual lure; they are elevated as muses and denigrated as whores.”18 The denigration of groupies discredits their influence on music, it’s success and culture.

■

16 Ann Powers, “That Girl by the Stage, and Why She’s There,” New York Times, December 20, 1992.

17 Ibid.

18 Ibid.

Putting Race on Display

ONE ORGANIZATION’S

FIGHT TO BRING BLACK LIBERATION WITHIN THE WHITE WALLS OF MUSEUMS

Written and illustrated by Channing Smith, Art Director

As our country begins to reexamine race relations and white supremacy in the wake of George Floyd’s murder, many are calling for the removal of historical statues and monuments that honor slave owners. So we must ask ourselves what symbols of our past should be remembered, idolized, scrutinized or discarded? While art continues to be the voice of the revolutionary – as seen in Black Lives Matter murals, graffiti and protest signs – many museums remain silent.

It’s easy to think of museums as objective and neutral: blank white walls that serve to empower the voices and opinions of their artists. However, these white walls are far from impartial. Behind every museum is a gatekeeping board that decides what is — and what is not — art.

The field of art history and museums as institutions is overwhelmingly white. According to a report 2017 from the American Alliance of Museums, 93 percent of museum directors are white, as are 92.6 percent of board chairs and 89.3 percent of board members.1

“Art institutions can absolutely undergo true reform, if they are willing to put people before prestige,” Kevin Whiteneir said.

Whiteneir is a project manager for Black Lunch Table (BLT). In his own words, BLT is a group that, “encourages marginalized people to actively discuss and confront issues of racism, classism, misogyny, queerphobia, and other sociocultural ails in their communities, the art world, and the production of information, knowledge, and research.”

With a master’s in art history and a second master’s-in-progress in library and information science, Whiteneir’s focus is on bringing attention and mindfulness to histories of poorly represented communities in the West. BLT houses hundreds of conversations and performance art with academics, experts and artists on their site, so it helps that Whiteneir also geeks out over archiving.

“It is my philosophy that art historical education, and the art world more

1 AAM. “Facing Change.” American Alliance for Museums , 2017.

broadly, must reckon with its past and do right by the people that they have suppressed,” Whiteneir said.

Our entire country is grappling with this question: “How can we unlearn and relearn how race has affected our everyday lives?” Furthermore, what role do museums play in this search for – or as an obstacle to –Black liberation?

To begin, it’s essential to understand where the objects and art in museums come from. According to a report commissioned by the French president Emmanuel Macron, no less than 90 percent of African cultural property resides in European museums.2 Macron followed up with a three-phase plan of restitution.

“Many institutions have acquired their collections through symptoms and byproducts of colonialism, war, genocide, invasion, etc,” Whiteneir said. “As the benefactors of these historically violent actions, if they truly want to reform they have to be willing to have honest and straightforward conversations with those harmed by those actions.”

If our viewing of said collections and our knowledge of different cultures comes only in the context of stolen property, it proves difficult to truly respect and appreciate these cultures. Displaying indigenous art like trophies of conquest leaves little room for equity and lots of room for exploitation.

For the artists whose work was not stolen, but displayed as part of partnership, there are still hard realities of privilege and racial discrimination to unpack. A 2019 study surveyed the collection of 18 major US museums to identify the racial, ethnic and gender makeup of the artists represented3. The results revealed 85.4 percent of work across the collections belonged to white artists.

When museums maintain majority-white boards and continue to show majority-white artists, they effectively gatekeep art and perpetuate systemic racism.

Not only do museums need to hire more people of color and display more artists of color, but they need to rethink the context of these collections to ensure that they are not tokenizing or appropriating race.

“The first step to me is to see leaders and administrators of art spaces ask themselves ‘why are you evoking race and Blackness’ within your galleries?” Whiteneir said.

In digging deeper as to why an institution would want to display a collection relating to race, museums can make sure the collection is curated appropriately and with the best intentions.

“You must work with members of these communities to get holistic and full understandings of their culture before you decide to create shows about them,” Whiteneir said. “And I emphasize members because it is important that the experiences of Black, Indigenous, and People of Color not be treated as monoliths.”

Art is an essential vehicle for protest as we have seen over the last few months. Crowds of activists brandish hand-crafted signs and spread their messages with spray paint. Art serves as a way for us to connect with each other, to rise up, to make change and to express ourselves. However, if museums continue to neglect the voices of BIPOC individuals, they pose a very real threat to the natural beauty and diversity of humanity. ■

2 Saskya Vandoorne and Lauren Said-Moorhouse, “France Urged to Return Looted Art and Amend Heritage Laws,” CNN (Cable News Network, November 21, 2018)

3 Chad M Topaz et al., “Diversity of Artists in Major U.S. Museums,” PloS one (Public Library of Science, March 20, 2019)

What advice can you give to educators attempting to correctively represent Black narratives in art history?

WHITENEIR’S TIPS FOR CULTURALLY APPROPRIATE ART EDUCATION:

Ask your audience what Black narratives they want to learn more about. Our knowledge is limited to what we have been exposed to, perhaps they have questions about even the histories they feel they have learned.

2.Ask your audience, what Black narratives do you think you know? If you are educated in this area, this is a great way to understand what is the foundation of your audience’s familiarity with Blackness. Perhaps there is unlearning and relearning that needs to be done.

3. If this is an ongoing education opportunity, give them a survey of Black historical narratives just to understand what histories they think they know, and what histories they do not know.

WHAT’S Next?

By Kora Quinn, Staff Writer Illustrated by Keely Bradish, Arts Curator

Success is subjective. What someone views as an accomplishment — what idea, person or place from which they draw their inspiration — may look entirely different from those around them. When I think of success, I picture a driven woman living in New York City, writing professionally about the abounding ideas surrounding her. I aspire to be that woman, fueling my creative endeavors and living the life I’ve always dreamed of.

For college students, individuals who land their dream job right out of school are a wonder. Studies show that only 27% of college graduates work in a career that matches their degree.1 For students already full of ambiguity about their dreams for the futures, the looming question remains: how do you manage to land that dream job?

Recent UW-Madison graduate and former Moda Culture Editor, Katie Herrick, graduated from UW-Madison in May of 2020. Now, she works as the Communications Coordinator at Read Better Be Better, a literacy nonprofit in Phoenix, Arizona. Working at a nonprofit, however, wasn’t always Herrick’s dream job.

While she worked for several nonprofits throughout her college career, she too dreamed of living in New York City as an independent woman. It was her first internship at a for-profit in New York,however, that changed her concept of success.

“Deep down I came to a realization — the overarching mission of the companies I was working with was a whole lot 1 “Share of College Graduates Working in a Job Requiring a College Degree or Related to their College Major,” U.S. Bureau of the Census, 2010.

of nothing. The work I was doing was to make money for people who already had too much of it, and while some of the companies were doing good behind the scenes, it didn’t feel like enough.”

“I realized that I didn’t want to work outside of the nonprofit sector,” Herrick shared. “It wasn’t the money or the promotions or the notoriety that would make me feel successful — I needed to know that I was actually making a difference in the world.”

Before graduating this past May, Herrick shared she had applied for hundreds of jobs. It wasn’t until Herrick was asked to interview with Read Better Be Better and had the opportunity to re-read the job description that she realized this was her dream job.

“I do what I do — both literacy and nonprofit work — for the kids who grew up like me. I always seemed to believe the opposite of everyone else, wear the clothes no one else liked, or experience the things at home no one else was. The one activity I could always turn to that made me feel welcomed, safe, and at home was reading.”

“Students that get left behind in school don’t get to find this love and this passion,” Herrick continued. “They don’t get to write their stories or have the same opportunities others do, all

because of arbitrary things like their skin tone, the people they love, and where they were born.”

So how did she do it? Was it her internships, her obvious passion, or her personal experience in the shoes of the children Read Better Be Better aims to help?

“I think job hunting has less to do with skills and abilities and more to do with luck, timing, and interests. I don’t think I got my dream job because I am more talented than others,” Herrick said.

“I think I got my dream job because everyone’s dreams and expectations are very different.”2

To Herrick, managing expectations and defining your version of success are the key to landing your dream job.

“I think that there is 100% an unreal expectation put on people graduating and finding jobs. Finding jobs is not easy, nor fun. Finding a job, let alone your dream job, straight out of college is pretty unrealistic. My story is happy and cool, but it is not normal.”

■

2

AN INTERVIEW WITH A UW GRAD ABOUT LANDING YOUR DREAM JOB AFTER COLLEGE

APOLLO

Photographed by Annika Ide, Photography Director Directed by Sarah Troy, Fashion Director Modeled by Josh Mitchell

I’ll Be There For You

FICTIONAL CHARACTERS INSPIRE US IN THE SAME WAY AS OFF-SCREEN ROLE MODELS.

By Mason Braasch, Contributing Writer Illustrated by Sammy Meyerson

When it comes to television, I tend to be picky about what shows I watch. No matter how many suggestions I get from friends and family, I always find myself watching and rewatching the same set of shows.

I used to think that this was because I had a horrible taste in television shows — and maybe I do — but lately, I’ve come to recognize a pattern among all of my favorites. Every show that I watch has a character or plotline that I idolize or relate to. The shows that pull me back time and time again are the ones that make me feel seen, resonate with my past and spark goals for my future.

The first show that I fell in love with was “Friends.” I know, I know — it is one of the most overwatched and overrated shows of all time — but stick with me. I have watched “Friends” over and over and can quote almost any episode. Sometimes I will put it on simply for background noise while I am working.

There are a million quizzes on the internet that tell you which character you are most like (I am most definitely Monica), but what really pulls me into “Friends” isn’t one singular character — it is the camaraderie among all the characters. Discovering a group of close-knit friends that you can count on through thick and thin is not always an easy thing to achieve during your middle school, high school or even college years.

“Friends” was comforting because it showed me that having a group of friends who love and support you is something to work toward, and something that is worth the wait. Now that I have found my group of forever-friends who always remember to tell me, “I’ll be there for you,” I don’t watch the show with the same sense of hope and longing that I once did. Still, it is nice to know that the characters that once brought me comfort will always be there, “When the rain starts to pour.”

Over the years, I’ve found many more characters that I relate to. My list of TV inspirations has grown to include characters with my dream jobs, dream relationships, and ideal self; but “Friends” has always been in constant rotation

and will continue to stay there. “Watching the show over again not only reminds me of what I have gone through, but makes me excited to think about all the new friendships and memories to come.

Finding inspiration in your everyday life is important, and while it’s definitely necessary to find inspiration in real people, sometimes seeing yourself, or even your ideal self, represented on screen is just as significant. Characters on the screen and the plotlines that they live through can help you envision your future, inspire your day-to-day routine and navigate tough seasons of life. Find your characters, and you find yourself. There are no limits to the world of stories on TV, in movies or in books. Seeing is believing, and it can help you feel a little less alone. ■

Traditionally speaking, the worlds of advertising, business and e-commerce have been dominated by networks of powerful, wealthy men. But with the dawn of the Internet and user-generated content, entrepreneurial women were given the opportunity to lead the world of marketing on their own terms.

Starting in the 1990s, women became champions of building online communities that supported one another and often recommended products to their followers. These early pioneers created their own content on selfregulated blogs and thus modern female influencing was born. Today, this is a multi-billion dollar industry as marketers realize and rely on the unique power of online female influence.

Of the top 20 highest earning social media influencers of 2020, only six are men.1 Kylie Jenner, the top-earning female influencer on Instagram, can make up to $1 million per sponsored post.2 In contrast, soccer player Cristian Ronaldo can make similar profits but has fewer followers than Kylie, and a more niche audience appeal.3 Kylie, however, holds power in the intersection between the worlds of fashion, cosmetics, reality television and lifestyle products, all bolstered by her strong connections to her family and other famous friends. This formula for success is true of many female influencers, who use their presence on Youtube, Instagram and other sites to sell an entire lifestyle, instead of just products, to their audiences.

The advertising evolution — from famous men selling the products through traditional ads to “regular” women selling whole lifestyles online — has been more than a century in the making.

1 20 Of the Highest-Earning Instagrammers.” Influencer Marketing Hub.

2 Ibid.

3 Gaydos, Ryan. “Cristiano Ronaldo Makes Staggering Amount of Money from Instagram: Report.” Fox Business.

Since the dawn of consumer culture after the Industrial Revolution, there has been an increase in products, thus, the field of marketing became important to differentiate and sell those products.

One of the popular ways to do so was through celebrity endorsements. At the time, the original influencers were famous men. The first celebrity to publicly endorse a brand was comedian Roscoe Arbuckle, who became associated with Murad Cigarettes in 1905. During the Golden Age of Hollywood, actresses like Greta Garbo and Bette Davis endorsed products that sold out quickly as Americans turned to movies for escapism. Celebrities like Michael Jordan and Cindy Crawford were part of iconic ad campaigns decades later that showed the true power of celebrity endorsement through skyrocketing brand recognition and product sales.4 However, with the dawn of reality TV stars, advertisers realized that “average” people also could tap into the power of media influence. Reality TV personalities, like Paris Hilton and the Kardashian family, let people into their lavish lives and millions of consumers rushed to buy their style of clothes and cosmetics.

The shift to relatable female influencers happened soon after Web 2.0 created the opportunity for women to form online communities of true trust and support. Mothers in particular turned to blogs and chat rooms to discuss their lives and give advice to their online social networks. Mommy bloggers were the earliest successful Internet influencers because of the trust they put in one another and because of their purchasing power.

Women have overwhelming control over how their net family income is spent. According to the Survey of the American Consumer, “74.9% of women identified themselves as the primary shoppers for their households.” Women are statistically more likely to organize family vacations, do the grocery shopping and make major 4 Bernstein, Brett. “A Brief History Of The Influ encer.” Medium.

purchase decisions like buying cars or electronics.5 The key to the majority of marketers is to find ways to make women buy their products, not men. Since 86% of women say they use social media to inform their purchasing decisions, female influencers then occupy a very important role in the online economy.6

Online platforms make shopping both social and individualized, making it easier for women to use social media to inform where and how they shop. Social media presented a new opportunity for marketers in that they could reach audiences in increasingly targeted ways through well-placed ads in their feeds and partnering with people with large followings. Women whose followers transferred from the blogosphere onto new social media platforms had already established trust with their audiences and been recommending products for years. Their followers felt like they truly knew these women because of how much access they had to their personal lives. This phenomenon applied to celebrity influencers, but also smaller influencers whose fame had not carried over from reality television or other media success. Consumers would then feel like they were being recommended a product by a cooler friend, instead of by a celebrity they admired. Once American audiences became more media literate and aware of advertising effects, female influencers were the next inspired wave of establishing bonds between shoppers and brands.

Women are uniquely poised to be successful on digital, visual platforms because of their relationship to other women and their appeal to men. In an attention economy, that works to a woman’s advantage.

Women have always been held to a higher standard than men. They contribute over

5 “The Purchasing Power of Women: Statistics.” Girlpower Marketing.

6 “20 Influencer Marketing Statistics That Will Surprise You.” Digital Marketing Institute. Digital Marketing Institute, November 15, 2019.

double the number of annual labor hours at work and at home, are expected to look and behave in very specific ways, and are still paid less than their male counterparts. The resilience and work ethic of women, especially in the public eye, is thus unmatched.

Women are conditioned from a young age to learn to represent themselves well by saying and being all the right things. This adaptability, while borne out of misogyny, makes them talented self-branders. “Women’s work” has been historically underappreciated, but the visual platforms of social media give women a voice to show the world their skill and intelligence like never before. The creativity and intelligence that women exhibit and inspire in their peers is a testament to online female communitybuilding and the bright future of digital professional development.

Women invented and continue to dominate the field of online influencing. Many of these women started as selfmade entrepreneurs, developing their own brands on multiple platforms and using what makes them unique to sell a lifestyle to their audience. To be an influencer, you have to be social-media savvy, visually creative and on-top of the ever-changing trends in business practices and online content. Women, who have always had to develop multiple skill sets as they were expected to balance family life and a career, have transferred these talents to the fast-growing industry of personalized online marketing.

We talk about women as influencers but forget that influence means something so powerful. Women can change thoughts, feelings and behaviors of millions upon millions of consumers and capitalistic societies are increasingly dependent on their spending power and influencing power to drive the market. Girl power is the foundation and the future of the complex world of social media and influence. ■

Female Influence

By Kate Lawless, Deputy Editor Illustrated by Jessica Tenenbaum

It’s Your World & We’re Just Living In It

DIVING INTO THE MAIN CHARACTER TIKTOK TREND

By Elizabeth Karnowski, Staff Writer Illustrated by Emma Gray, Assistant Art Curator

“You have to start romanticizing your life, you have to start thinking of yourself as the main character because if you don’t — life will continue to pass you by.”1

The main character complex has become a rising trend on TikTok. If you’ve ever imagined yourself being in a music video or a dramatic scene in a movie, that is the main character complex at work.

Acting as the main character is a powerful dynamic — it’s dreamy, invigorating and a feeling we should strive to feel more. When you romanticize yourself, it almost feels like an escape from the real world. People thinking of themselves as the main character can be an empowering experience. Through your eyes, you are the “it” person and that’s all that matters.

While it’s important to live life to the fullest and have these empowering main character moments, this complex can also be harmful. One thing that makes life so beautiful is making mistakes — it’s part of the human experience to be wrong and flawed. Valuing and celebrating the life you’re living is beautiful but does not exempt you from flawed human nature and inevitably messing up.

The main character complex is similar to the phrase “I’m not like other girls,” however, there are some clear differences between the two. The main character complex focuses more so on taking control of your own life, whereas the phrase “I’m not like other girls” focuses on being the main character as a way to impress other people. When you ‘become’ the main character of your life, you should avoid sitting on a pedestal.

What happens when we all think of ourselves as the main character? Then whose story is it? If everyone around you is the main character of 1 Ashley Ward, Tik Tok.

their life, what does being the main character even mean at all?

According to “On Being The Main Character of Your Own Life,” by Michael Karson, a professor of psychology at the University of Denver, being the main character doesn’t mean everything is always about you.

“Recognition that everyone is the main character of their own story can lead to a sense of ensemble, by which I mean devotion to the quality of the experience rather than to one’s role in it,” Karson wrote for Psychology Today.2

In some ways, it’s almost impossible to say who is the main character. When hanging out with a group of people, everyone’s storylines merge into one. It’s more important to savor those moments rather than to fight over who is taking place in whose story at that moment of time. If embodied correctly, the main character complex can allow us to unify within one storyline.

You must believe you are the main character of your life, because who else would be? If you aren’t taking the path you want to take, no amount of waiting, planning or imagination will get you there.3 Likewise, you have to push yourself through the difficult times in life because not everything will be handed to you just the way you want it.

Thinking of yourself as the main character isn’t necessarily narcissistic as long as you use your mindset as a way for bettering yourself and not prioritizing your life and opinions as more important than others.

■

2 Michael Karson, “On Being The Main Character of Your Own Life”, Psychology Today, January 6, 2015

3 Nicolas Cole, “How To See Your Life As A Game--And Yourself As The Main Character”, Medium.

In the Ancient Hellenic world, it was said that the king of the sky, Zeus, joined with the goddess of memory, Mnemosyne, and from them the nine great Muses were born.1 The Muses reigned alongside the Olympian deities at Mount Olympus, where they were worshipped for their expertise in art and science. With cult followings throughout all of Greece, these nine goddesses were venerated beside Apollo, ruler of the Sun.2 Moreover, they inspired numerous classics, such as Homer’s “Odyssey” and the “Iliad.”3

Although Western society has grown further from Pagan traditions, the relevance of the Muses remains. The fact that these female figures were able to play such a significant role in a patriarchal religion is valuable for society still and speaks to the many divine qualities which women continue to offer.

The eldest, Calliope, presided over song, oratory, and art. Pictured with a tablet and stylus in hand, she was dubbed the Muse of epic poetry and inspired the people with her divine wisdom. 4

Clio’s specialty was history; due to this title, she was often seen bearing a scroll or a book.5

Terpsichore reigned over dance and chorus, customarily bearing a laurel headdress and harp.11

And lastly, Thalia ruled over humor, architecture, and agriculture, traditionally donning a comic mask.12

The word “muse” derives from the Greek “mousa,” indicating mental prowess or memory, and is today used to indicate a source of inspiration.13

Yet it was over a millennia ago that

Greek epoch to the Middle Ages; they were respectable figures in society; they were the origin of museums; they were innovative and intelligent; and they were a group of nine enlightened women. This is worthy of consideration as the Muses served as the quintessential source of influence and wisdom in the arts and sciences across history.

The Nine Muses preached the necessity of clear communication, proper rhetoric, creativity, artistry, education, and ethics—most of which have been left behind in politics, business, and media. Today, the Muses can inspire us as we reflect on their stories and on the role of women as rhetoricians in the arts, sciences, and in positions of divine leadership.

■

Divine Inspiration

Euterpe was named the Muse of lyric and was traditionally depicted with a flute, one of her many discoveries.6

Erato, sovereign of erotic poetry and charade, protected romance and was famed for her lyre.7

Melpomene founded tragic theatre and commonly sported a tragic mask.8

Ourania, rarely seen without a globe, was deemed guardian of astronomy and celestial realms.9

Polymnia was the pensive Muse of prayer, also said to have inspired geometry and grammar.10

1 Mark Cartwright, “Muse,” Ancient History Ency clopedia, December 14, 2012.

2 Ibid.

3 “The Nine Muses of the Greek Mythology,”

Greek Myths & Greek Mythology, 2010.

4 “Calliope,” Theoi Greek Mythology, n.d.

5 “The Nine Muses of the Greek Mythology.”

6 “Euterpe,” Theoi Greek Mythology, n.d.

7 “Erato,” Theoi Greek Mythology, n.d.

8 “Melpomene,” Theoi Greek Mythology, n.d.

9 “Ourania,” Theoi Greek Mythology, n.d.

10 “Polymnia,” Theoi Greek Mythology, n.d.

the original nine Muses came into historical and spiritual memory, and they’ve since influenced untold amounts of creative work, including traditional art, sculpture, music, dance, poetry, and literature.14 They were highly praised from the Ancient

11 “The Nine Muses of the Greek Mythology.”

12 Ibid.

13 “Muse,” The American Heritage Dictionary, n.d.

14 “The Nine Muses of the Greek Mythology.”

Written and illustrated by Arella Warren, Arts Editor

THE NINE MUSES ARE TESTAMENTS TO THE ART AND INSPIRATIONAL POWER OF WOMEN.

Moda’s Muses

THE TRENDSETTERS THAT INSPIRE MODA’S STAFF

By Emily Fleming, Manon Bushong and Taylor Lauri Graphic by Jade Christensen, Social Media and Marketing Director

Princess Diana Manon Bushong

Arguably one of the most influential figures amongst British Royalty was Princess Diana, whose style choices still shape today’s fashion world. Throughout quarantine, I have found myself channeling Diana’s most iconic athleisure look; an oversized vintage sweatshirt, biker shorts, rectangle sunglasses, complete with tube socks and chunky sneakers. This outfit has been characterized as a classic “model off duty” look, frequently sported by celebrities such as Kim Kardashian, Emily Rajatowski, and most notably, Hailey Bieber. While this particular look is certainly the trendiest, Diana’s regal, chic style still holds influence in many other ways. She frequented floral prints, oversized blazers, and puffy statement sleeves, all of which I find myself inspired by. Additionally, photographs of her in statement gowns and a massive silver tiara show just how much fashion range the late Princess of Wales had. One particularly breathtaking look was the gown she wore to a banquet in Canada on June 23rd, 1989.1 Diana stunned in a pastel yellow silk gown with puffy sleeves paired with a Cambridge Tiara covered in diamonds and pearls.

1 Algoo, J. (2020, July 07). A Timeline of Princess Diana’s Best Looks. Retrieved September 23, 2020.

Cher Emily Fleming

While there are many iconic women who I look to for fashion inspiration, one celebrity that has always stood out to me is Cher. Throughout her career, Cher has been known for her bold and daring fashion statements. When it comes to my style, her confidence motivates me to take risks by experimenting with loud prints and bright colors. One of Cher’s most iconic looks was a portrait session for The Sonny and Cher Comedy Hour in 1972, where she wore a risque, floor length floral-embellished silver gown. Her feathered and jewel-encrusted gown was made custom for her by Bob Mackie for the 1974 Met Gala. Decades later, this infamous look became a red carpet trend for celebrities. At the 2015 Met Gala, Kim Kardashian paid homage to Cher when she wore the iconic feathered “naked dress.” Additionally, many of today’s famous models and celebrities are bringing back trends that Cher set in the 1970’s and 80’s. From extravagant headpieces to fully sequined dresses and two piece sets, Cher’s style has never failed to empower women to step out of their comfort zones.

Jackie Kennedy Onassis

Taylor Lauri

White jeans, a classic tee, oversized sunglasses, Jack Rogers, pearls and the shift dress; just to name a few of the “Jackie O” classics. Growing up, Onassis’s father was a wealthy stockbroker on Wall Street, making her family one of the richest not only in New York but in the United States. Due to her privileged upbringing, Onassis was able to further her studies at Vassar College in New York, while also studying in Paris, France. There, her love for fashion, elegance and sophistication bloomed and she fell in love with designers like Christian Dior and Givenchy. Throughout her life, Onassis arguably served as one of the most fashionable first ladies, making her a style icon and inspiration to so many. Her classic style and sophisticated aura still inspire today’s designers, influencers and everyday women. My style is heavily influenced by Onassis due to her effortless, yet elegant sense of style. Similar to Onassis, I find myself inspired by classic silhouettes and accessories. By adding modern elements to elevate a classic look, I’d call my style classic with a twist.

The L e s bian Experi ence

EXPLORING THE CHARACTERIZATIONS OF WOMEN-LOVING-WOMEN

By Shelby Evans, Lifestyle Editor Photographed by Molly Jacobs

I had just put Wisconsin Bratwursts on the grill and I was wearing my favorite blue flannel. In one hand I held a beer, in the other I held cloth bags filled with rice. I was on my way to winning my third cornhole game of the night. My sister-in-law looked at me and said, “Wow, you have such strong dad vibes right now, I need to channel that.”

I stood there, seeing the complete irony of it all. I had the perfect punch line. So I turned to her and responded, “Actually, it’s called being a lesbian.”

That was how I came out to my family members, by presenting multiple lesbian stereotypes, at the age of 21. If I already “looked like a lesbian,” why didn’t I come out sooner? Well, because I didn’t know.

Should I have known when I started wearing thrifted button downs? What about when I dyed my hair purple? Or when I loved Keira Knightley in Pirates of the Caribbean, so I dressed up as her for Halloween? How about the first time I heard Katy Perry’s “I Kissed a Girl?” How, even now, am I certain of my identity?

So much of being a woman-loving-woman is reduced to quiet conversations and ignored or delayed revelations of oneself. It seems that in a patriarchal society, women who operate completely outside of the need to please men are ignored and forgotten.

Society has either ignored or stereotyped queer women. So what does it mean to be a lesbian on your own terms?

For Emily Dickinson, it meant imbibing some of her best poems such as “Wild Nights” and “With flowers,” with a sapphic theme. In modern times, Meghan Rapinoe uses her voice to be an activist for queer rights and representation, all on top of being one of the best soccer players of our generation.

Movies like “Blue is the Warmest Color” and “Portrait of a Lady on Fire” depict romances that ultimately end in heartbreak for the two women. Coincidentally in both French films one of the characters is a painter. Do I have to be a tortured artist to be a lesbian?

For a young lesbian who doesn’t personally identify with these representations, there might be more confusion in realizing their queerness, on top of facing the stress of coming out.

When you picture a lesbian, do you picture a woman who presents as butch? These stereotypes are so prevalent that the image of what lesbianism “should be’’ can make people who don’t fit that picture feel unsure of themselves. A 2013 research project from the University of West England concluded that women who present themselves as more femine, who prefer dresses, makeup and outwardly feminine things, were more likely to doubt their identity as a queer person.1

Across the world, LQBT+ persons are defined by how they present themselves. There is an expectation of how queer people are supposed to dress, talk and conduct themselves in relationships. Queerness is not about how they feel, but what they do, or don’t do. This confusion between being your authentic self and being what society expects is a result of compulsive heterosexuality and internalized homophobia.

In 2018, an extensive 30 page document titled, “Am I a Lesbian,” was posted on Tumblr. The original post was deleted, but copies of the document can still be easily found. The original author explained to Vice in an interview, “I realized I loved women when I was a teenager, but I never quite knew if my attraction for men was real or a social construct I took in as a facet of my identity.”2

Internalized homophobia is not as obvious as the Evangelicals who shout that homosexuality is a sin. Instead, queer people have to deal with their own dislike of themselves, as well as society ostracizing them. Internalized homophobia is having a negative self-image as a result of negative

1 Clarke, Victoria, and Katherine Spence. “‘I Am Who I Am’? Navigating Norms and the Impor tance of Authenticity in Lesbian and Bisexual Women’s Accounts of Their Appearance Prac tices.” Psychology & Sexuality 4, no. 1 (January 2013): 25–33.

2 King-Miller, L. (2020, June 25). How Tumblr’s ‘Am I a Lesbian?’ Google Doc Became Internet Canon. Retrieved September 19, 2020.

social attitudes to homosexuality. In a world where being heterosexual is the expected default, internalized homophobia can be born from feeling the need to fit in and a conditioned negative response to the desires you feel for the same sex.3

In the “Am I a Lesbian” document, author Angeli Luz, defines compulsive heterosexuality. It is, “exactly what it sounds like - being straight is something our culture tries to force on us.”4 Queer people might “perform” heterosexuality by “acting straight” to avoid being seen as queer. Instead of wearing flannels, driving a Subaru and getting a cat, lesbians will intensely avoid those things, even if they like them.

I was 13-years-old when I stood in front of my eighth grade English class and presented my first powerpoint essay about why same sex marriage should be legal. It was three years before Obergefell v. Hodges would be argued in the Supreme Court. This was also shortly after “Same Love” by Macklemore had become popular. I loved the song, I thought it made such a profound point. I thought I was being a good ally.

At the time, I felt pressure to gossip about which boys I thought were cute at lunch or at sleepovers. I was falling prey to compulsive heterosexuality, born unknowingly from my internalized homophobia. All my conversations with friends and family did not allow for the normalization of being queer. In my mind, I could be an aggressive ally, but I couldn’t possibly be a lesbian.

It’s pretty comical to think about the moments when a younger me was blatantly engaging in “queer” activities or identifiers, without any idea of what I really felt for women. Instead, I thought that because I was also operating outside of those stereotypes by loving things like straight rom-com movies, that I felt like I couldn’t be a lesbian.

3 Frost DM, Meyer IH. Internalized Homopho bia and Relationship Quality among Lesbians, Gay Men, and Bisexuals. J Couns Psychol. 2009 Jan;56(1):97-109.

4 Luz, Angeli. “Am I a Lesbian?”

From getting cat-called on the street, to seeing the most romantic stories being between a man and a woman, there were a million everyday things telling me I should be a straight woman, that I existed solely in the gaze of men.

It can be hard to understand why someone took so long to come out. While you don’t choose to be a lesbian, there are a lot of societal factors that do not even allow you to consider if you are one. By narrowly defining what lesbianism is and looks like, and not showing true representation of queer womanhood in everyday life, it can be hard for young women like me to figure out who they are.

So, what is the lesbian experience? Simply put, to be a lesbian means that you identify as a woman and are attracted to other women. You can wear dresses, chop your hair off, wear flannels, garden, be an astronaut, be a teacher, be a plumber and much more. Lesbianism does not look or feel one way for all people. You can be whoever you want to be, and love women while doing it.

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“For a young lesbian who doesn’t personally identify with these representations, there might be more confusion in realizing their queerness, on top of facing the stress of coming out. “