MUSE Magazine Issue XIII

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issue xiii

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2016-10-20

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IN THIS ISSUE Lifestyle 5 Backpacking with Your Best Friend: A Survival Guide 7 All I Want to Be Is Kid Free since ’93: A Millennial’s Exploration in Sexual Health 8 Some Insight Into Your Highlight 9 The Dark Side of Getting Lit

Fashion 15 Taking the Intimate out of Intimates 16 “ That Looks Cool”- A Fourth Year’s Reflection on His Many Fashion Mistakes 19 The Gucci Revolution 21 Be a Man 22 Closet Chronicles

Entertainment 29 What Do We Do About Kanye West?

31 Television: University’s Toughest/Most Demanding Workload 32 A Little Piece of Vinyl 35 Nate Parker and Me

Arts 37 Omit Limitation, and the Path of Discovering Your Creativity 41 Sharing Comrade Objects: Interview with Artist Ciara Phillips 43 Capturing Magic 45 Indie Steals: How to Nurture Independent Creative Talents in Art & Fashion

Muse’ings 49 An Ode to First Year 51 Let’s Renounce the Importance of Success 53 Insight 55 You Know Who You Are 59 Fool’s Paradise 61 Booze, Babes, and Bucket Hats (but not in the way you think)

LETTER

from the editor Sitting down to write this letter, I’d like to say I was introspective and thoughtful, but really – I was just nervous. Uncertain, I didn’t want to mess this up; just like I didn’t want to “mess up” this year, this magazine, MUSE. I flipped through some big name magazines to see what their prolific Editor-in-Chiefs had written, hoping to garner their wisdom and harbour their anecdotes; but really, I couldn’t. I couldn’t find anything that seems to fit both how I’m feeling, as well as the contents of this issue. Although MUSE isn’t a big name magazine (yet!), it’s big to me, and to the MUSE team. No small words of wisdom seemed to accurately summate, or fully encompass all that’s within these pages, because MUSE is wholly unique.

Applying to MUSE and taking on this great role was a leap for me, much like contributing is a leap for these writers, photographers, and wonderfully innovative individuals – opening themselves up creatively. It’s never easy to put yourself out there, especially when the environment is apt for criticism, and you’re at your most vulnerable. But sometimes, all you need is that little push. That’s what Issue XIII is – a push.

With this issue we’ve tried to expand the boundaries creatively, to discuss controversial and taboo topics, relatable in that they are boundary pushing – they’re real. We’ve tried to seek the edge visually – to expose the artists, the work, and the stories.

Flipping through this issue, there’s a sense of nostalgia – a longing for the things of the past, be it a vinyl record, a vintage photograph, or anything that transports you back.

I think it’s indicative of our generation, a yearning for the simplicity of the way things “were.” Yearning for something that – having primarily grown up in the digital age – we don’t fully know. But there’s also a questioning: a looking to the future, and an attempt to grow. The beautiful thing about opening yourself up to things beyond your comfort is that, often, it leads to something great.

MUSE is ever evolving, we as individuals are ever evolving, and we hope that in these pages you can find yourself reflected back – nostalgic, uncertain, questioning, in need of a little push, but nevertheless ready to fall.

Yours creatively, Katherine Singh, Editor-in-Chief & The MUSE Team

Backpacking with Your Best Friend A Survival Guide Backpacking with a friend is a rite of passage. It’s when you say goodbye to embarrassinglyorganized family trips and hello to getting lost with your friend because you never learned to read maps and you have no data on your phone. This summer, I spent a month backpacking with one of my best friends through Greece, Croatia, and the Netherlands.

Though there is no way to fully prepare for a backpacking adventure, there are a few things you can do to be as ready as possible before you leave.

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Be transparent with your budget Talking about money can be awkward, but trust me— if you do it ahead of time, it’ll save you from a serious headache later on. Start by making a personal budget: know how much you’re comfortable spending. Look at the necessary costs first, starting with transportation, as this is the expense that tends to be the least flexible. Afterwards, budget for your housing, food, and any organized tours or day trips, then see how far you are from your spending limit. Make sure to factor in some extra money for when things go wrong— because things will definitely go wrong. Money is the one thing that you do not compromise; your budget is your budget. My travel partner and I took turns paying the deposit on our hostels and kept a document to make sure we had paid roughly the same amount by the end.

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Research your potential accommodations One of the best parts of Amsterdam is how the city is designed so that you never have to go to the gym. Every building is at least five stories tall and there are no elevators, unless you’re staying in a fancy hotel, which I can assure you we weren’t— and if you’re reading this, you won’t be either. Our room was in the attic of a seven-story building; after leaving our room in the morning, there was no going back for anything. Don’t get me wrong— we had an amazing view, but climbing seven flights of stairs with our backpacks was definitely more than we bargained for. To avoid burning more calories walking to your room than you ate in Rijstaffel and French fries dipped in mayonnaise, spend time researching the place you will be sleeping and know what’s important to you (i.e. cost, location, cleanliness, room size). The hostel/hotel might have a great review overall, but be sure to look at the feedback from people who have stayed there for a more accurate idea of the experience there. For example, a comment like “cleanliness is questionable” should be a red flag that maybe you don’t want to crawl into bed there.

Pack LIGHTLY If you’re like me, you are 100% guaranteed to purchase something on your trip. It’s just a fact and it’s why budgeting is necessary. Maximize by minimizing; pack basics that you can match with everything else in your luggage so that you have unlimited outfits to break out on your vacation. If you have to think about whether you’ll wear something, you probably won’t, and it isn’t worth shoving into your luggage. If you know you’re going to shop, you can purchase duffle bags that fold into small pouches to throw into your bag and unfold for extra space. On travel days, wear your bulkiest clothing items to make more space in your bag for new purchases.

Make sure you really know the person with whom you are travelling There’s a big difference between spending a lot of time with someone and spending 24/7 waking up early to catch flights, sharing small rooms (and sometimes beds), and sightseeing with them. Thankfully, my travel buddy was my roommate from first year, so I knew what it would be like living with her. On another note, two of our friends who met at the beginning of our trip through a mutual friend of theirs ended up parting ways before the end of their vacation because it just wasn’t working. Travelling puts a lot of strain on relationships– you don’t want to destroy your friendship, so ensure you know what living with someone is going to be like before you travel the world with them.

Now that you’ve read my words of wisdom, go forth and begin your adventure. Here’s to scoring a free sailboat ride off crazy Swedes in Croatia, avoiding drunk bachelor parties in Amsterdam, averting eye contact with the slightly-too-old nude men on the beaches of Greece, sleeping in adult-sized bunk beds, and being so tired that you swear you’re sleepwalking through the airport. These tips are just a starting point – be safe, be smart, and most importantly, enjoy.

an article by Hannah Davis photography by Hannah Davis MUSE | 6

All I Want to Be is Kid Free Since ‘93: A Millennial’s Exploration in Sexual Health an article by Anonymous photography by Marshall McCann IUDs are all the rage these days, so I decided to book an appointment and see what the fuss was about. I found out the hard way that IUDs (aka intrauterine devices) are not as easy, breezy, nor beautiful as I had hoped! For anyone blanking or unaware, an IUD is a tiny device that sits inside your uterus. In addition to preventing childbirth for up to 12 years, IUDs also reduce menstrual bleeding and cramps – a win-win situation for any woman who understands the discomfort of “that time” of the month. I originally decided to get an IUD because a lot of my friends had recently done so, and told me that it was much easier than birth control—always a bonus! Convinced this was going to be the best decision of my life, I naïvely booked an appointment with no clue as to the awkwardness that was about to ensue.

Fast forward to my appointment and I thought I was fully prepared. I did everything my doctor told me: I peed in the cup, I took the pain meds, and I waited as she checked my STI and pregnancy tests. The procedure required legs spread open, feet on stirrups, and my doctor under the sheet looking at my privates— never a comfortable situation. Many painful cramps later, I was finished with the first part of the IUD appointment. Up next, an ultrasound to check

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that the IUD was placed correctly. I was in for a surprise when, instead of the previous female physician, who I knew fairly intimately at this point, a young male doctor appeared and informed me I would be having an internal exam as well...

EXCUSE ME?? I was unprepared as he took out the ultrasound probe and said, “so, I’m going to ask you to insert this if you’re comfortable?” Never having experienced this before, I asked, “can you just do it?” and that was where it got awkward. The doctor became extremely uncomfortable and stated he was going to try to put it in without looking.

Without looking?!?!

I’m glad to know that the man doing my ultrasound is clearly uncomfortable with the female body. Like, look man, I am already half-naked on your table and you have to make it worse? Thinking it couldn’t get any more awkward, he completed the exam and with a smug smile said, “okay, I’m pulling out now… hee-hee sorry.” I’m sorry, what? You’re pulling out? Have you never done an ultrasound exam before? And if you have, why would you pick those words to say to me? Needless to say, I was out of there quicker than anything.

So, what have I learned through my big misadventure in sexual health? All in all, though my entire IUD experience was cringe-worthy to say the least, since the appointment I’ve loved it and have to say it was worth all the embarrassment – at least mine. Kid-free for the win!

Some Insight Into Your HighLight

an article by Tiasha Bhuiyan photography by Zoe Zimmerman

Sharp wings, blended shadow, wispy lashes, matte lips, and highlights brighter than our future: it all sounds so very wonderful, doesn’t it? Makeup is an inspiring and artistic form of creative expression, however, many people are too captivated by the contour to focus on the negative issues associated with the beauty industry. Yes, I’m talking about animal testing, and yes, it’s still happening. Animal testing is inhumane; and while changing your cosmetic purchasing habits can be challenging, I promise going vegan is completely worth it! The next time you want to upgrade your cosmetic pouch, remember these facts, and consider purchasing cruelty-free.

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If a company says they’re“ fighting animal testing” , it doesn’t necessarily mean they’re not testing on animals – I know, confusing right? A quick visit to the MAC cosmetics website misleadingly shows an entire section dedicated to the subject. Although the headline of the section reads that the company is against the practice, the text underneath explains that their partners do in fact test on animals. So, even if the company vocalizes its belief in becoming cruelty-free, your money still goes towards animal testing, defeating the purpose of your new lifestyle.

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Just because a company promises that it does not test on animals in your country, doesn’t mean it does not test on animals in another. If you ask brands such as Maybelline or EOS if they’re cruelty-free, they would adamantly respond with a “ yes” . However, your follow-up question should be if they sell their products in China. According to Chinese law requirements, all cosmetics, including those that are foreign, must be tested on animals before they can be sold in the country. Therefore, any company that sells products in China is not cruelty-free.

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There are some large companies whose protocol does not align with that of their smaller vegan/cruelty-free brands. Urban Decay, a well known cruelty-free brand, is owned by L’Oréal— a brand that tests their products on animals. In fact, L’Oréal owns multiple companies, with only two of them attempting to be cruelty-free. Unfortunately, this means your attempts to support cruelty-free makeup aren’t as pure as you might have hoped. This is probably the most difficult part of going cruelty-free.

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Lastly, the terms “ vegan” and “ cruelty-free” are not always interchangeable. Many cruelty-free brands, such as Wet N’ Wild, have a small selection of clearly marked vegan products, but ingredients like beeswax prevent the entire brand from being so. Alternatively, brands may abstain from using animal materials in their products, but still test these products on animals.

Becoming more conscious of the ethics of makeup is not as easy as it may seem, however, it’s not impossible.

Do some corporate research to see exactly who you’re purchasing from. With the internet and various in-person beauty consultants available, figuring out your options is simple. Whether you do it for the furry little animals, or for economic and environmental reasons, any small change makes an impact.

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The Dark Side of Getting Lit When people think of university students, they either think of high-level academics or a student ghetto centered around a robust party environment. The stories that make it off-campus are either legendary or horrifying, depending on the listener. To our parents, hearing about the floor collapsing at a kegger you attended isn’t quite as exciting as you thought it was– especially before you tell them that it wasn’t your house. There is, however, a darker side to the incessant drinking culture rampant across Canadian university campuses.

University drinking culture leaves a mark on student communities both socially and mentally. Queen’s Frosh Week, Homecoming, and St. Patrick’s Day festivities are dates circled on the calendar by Kingston Police.

As most of us know, Homecoming was taken away from 2010 - 2013 due to raucous behaviour; the damage being done to our own ghetto became too risky for the university to associate itself with. Queen’s is far from the only Canadian university known for its party culture. Broughdale Avenue at Western, Larch Street at Dalhousie, Ezra Avenue at Laurier, and our own Aberdeen Street, are consistently riddled with broken glass, beer cans, and red cups after various events throughout the year. Many of these schools have made attempts to limit the amount of foot traffic during Homecoming and St. Patrick’s Day. Both Western and Queen’s have

moved homecoming later in the year, hoping that the colder weather will limit the amount of students filling the street. It seems like as long as the weather is somewhat bearable, we will all still layer up and pull through, regardless.

The results from these seemingly endless party weekends can amount to more than just damage done to the community. The mental and physical health detriments of alcohol can be devastating and are too often forgotten. For some, living the party animal lifestyle comes at a cost higher than just a hangover. I’ve experienced firsthand the effects to which alcohol abuse can lead; from consecutive late nights, lack of sleep, and immense amounts of over-drinking, I developed severe anxiety. It dramatically affected my eating habits and body image.

Weight gain and weight loss, sleep deprivation, anxiety, and depression are all dark realities of drinking.

The point of this article isn’t to scare ourselves into not drinking. It’s ridiculous to think that people our age will never drink or party, as pop culture revolves around doing so. Popular musicians like The Weeknd, Future, and even Justin Bieber consistently reflect this reckless alcohol and drug usage, both in their personal lives and their music. Drinking has always been a focal point of young adult pop culture, and now it has become more

focused on an extreme level of consumption. The social impact of not drinking or going out is embarrassingly prevalent. Many feel as though failing to make appearances at parties and bars or not posting photos of them and their friends going out makes maintaining a social presence much harder in our digitally-driven world. Instagram feeds, Snapchat stories, and Facebook photo albums are littered with people going out and drinking excessively.

Social media posts reinforce a fear of missing out, causing drinking peer pressure to be omnipresent. Peer-pressure is really only discussed as a social concept in early high school, many years before we’re of legal drinking age. However, living with housemates makes peer pressure more prevalent—and inconspicuous—than ever before. Friends peer pressure each other into drinking—if your housemates are going out, odds are you are too – even if you don’t want to that night.

Ideally, we could approach our drinking culture with a bit of perspective. Many students, including myself, have let this party culture affect our grades. Luckily, Queen’s students seem to strike a rather healthy balance between being social and doing schoolwork.

What’s important now is to also be more observant, noticing when our friends seem a bit out of it, or in need of help. School, friends, partying, and the ever-approaching real world can be huge factors in how we take care of our bodies and our minds. Excessive alcohol consumption is one piece of the puzzle that is the enigma of mental illness. Let’s keep that in mind. Let’s talk about it.

an article by Thomas Peake photography by Harrison Clarke

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JANE photography by Will Cross-Bermingham creative direction and styling by Amy Yu, Anisha Sandhu, Allie Kustec, Michael Kirreh and Karina Rebellato makeup by Alexandra Cook modeling by Jane Bradshaw

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photography by Kerenza Yuen

Taking the Intimate out of Intimates an article by Caitlin Chang There’s a certain exhilaration that comes with being the only one who knows that something beautiful lies under your clothing—like a hidden, lace-lined secret. My obsession with lingerie was born in the pink changing rooms of LaSenza, when I bought my first bra. To me, that purchase was the symbolic first step to becoming a woman.

Fast forward a few years and I suddenly find it difficult not to visibly style my lingerie with my streetwear. Although I receive some disapproving stares and have been labeled as a “tease,” it hasn’t been enough to make me cover up. In any case, I’m too busy helping create a worldwide empire on social media that promotes the female body.

With the rise of “girl gangs” and “It-girls” on Instagram, girl power movements are making waves and provoking change. After years of oppression, it’s beautiful to see millions of women coming together to fight for sexual liberation and body positivity.

Women like @killerandsweetthang or @barbienox have become prominent figures on this platform, encouraging girls to come together and embrace the female form. In doing so, they’re at the forefront of a formidable army against those unaccepting of our anatomy.

A new wave of what is socially acceptable for a woman to wear has stemmed from many years of strong women fighting for body equality. Independent brands like For Love and Lemons have become popular choices for lingerie and lingerie-inspired clothing among young women. Even more mainstream companies like Victoria’s Secret have promoted the

acceptance of lingerie as streetwear through their campaign, “The New (Un)Dress Code”. This movement has translated into everyday style, as exemplified by the bralette. This comfortable, of-the-moment, underwire-free option is artfully displayed over t-shirts or through cutouts.

Mixing our sexuality with the way we dress has enabled us to feel more empowered and comfortable with pushing boundaries. Women have taken to mixing casual streetwear with their intimates, furthering us in our attempts to normalize our sexuality rather than exploit it. Strategically placed slashes in t-shirts that show off bras, and booty rips on denim have taken the fashion scene by storm, letting ladies know that there’s nothing wrong with showing as much skin as we please.

Styling intimates with streetwear can be a balancing act between the boundaries you wish to push and the limits you have for yourself. Playing with layering enables women to wear intimates without completely ignoring their own comfort levels. Pairing a silky slip dress with a turtleneck and tights or lacing up a corset over a chunky sweater with jeans is a way to pull off this trend without showing a lot of skin.

Although this trend is not for everyone, it shows women that baring skin is not a crime while promoting the normalization of female sexuality. I will definitely continue to express my body positivity with the help of my much-loved collection of lingerie and my newfound allies in our fight for liberation.

“That Looks Cool”

A Fourth Year’s Reflection on His Many Fashion Mistakes an article by Andrew Hum photography by Anna Maria Li

University... a time for the good, the bad, and the experimental. With fashion as my muse, below I provide an account of my evolution in style; analyzing how I went from having 3 AM crises about skinny jeans to styling friends and clients. How? Time, trial, and a lot of error.

But why am I sharing this? You’re supposed to make your own mistakes and learn from them. While I believe most men do and should go through this process of trial and error in university, I’m sharing my mistakes in the hopes of sparing you a few, and to relay the most important tip I’ve learned—no blazer worth the cost of your tuition warrants the splurge, no matter what GQ says. Trust me.

On Business Casual Oh, what a rollercoaster! Allow my foolish first year self to tell you what it is not. Business casual is not wearing a corduroy or denim blazer because it fits and makes you look “interesting.” Neither is it wearing a bright red shirt to court because you believe standing out is a great way to be noticed.

The key to business casual is establishing your boundaries without jumping to a suit or going straight for jeans. If you’re into New Balance shoes, don’t immediately go for dress shoes. Nothing would make a New Balance wearer more uncomfortable than immediately shoving him into a linen shirt, dress pants, and oxfords.

Like your shoes, balance is key. Transition yourself, work the pieces in; try out a slim shirt, work your way to chinos, try on some leather shoes, and wear ‘em to hell. There’s some fun in this phase— don’t skip it.

On Casual There’s a lot to be said about jeans and a t-shirt. During my second year, I waded into this sartorial mine field, trying everything from chinos and ripped jeans to shorts MADE OF JEANS! Casual is really just an opportunity to play around with colour and material. Invest in a few different washes of denim and figure out how to pair them with your other clothing. Subtle differences have the tendency to stay.

One trick I used: take a picture of your outfit— does it look out of place? Or refreshingly different? Straddle this line, make these mistakes, let your friends laugh, and you should chuckle too. Life is too short not to try, and attention spans too short not to have fun.

On Now Regardless of the event, experimentation has always served me well in the long run. Being told that “fit is key” didn’t help me until I tried on a thousand different tees.

Being told to colour-coordinate didn’t help me until I looked back on those Christmas photos and was able to differentiate between the tree and my shirt. All in all, it is the willingness to try and the fearlessness to demand change that shaped me and led me to where I am now— a fashionably knowledgeable adult with a very light wallet.

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photography by Will Cross-Bermingham creative direction and styling by Amy Yu makeup by Carrie Wei modeling by Marshall McCann and Sophie Stevenson 17 | EDITORIAL

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The

Gucci Revolution

an article by Anna J. Stainsby

It is a truth universally acknowledged (at least in the microcosm that is the fashion world) that Gucci is the most important brand in fashion right now. At the helm of its power is Alessandro Michele, Gucci’s creative director.

With five seasons under his belt and just shy of 15 years with the brand, the Italian designer has crafted one of the oldest brands in fashion into an antidote for the past, and a shiny, pink-fur-trimmed prescription to the future.

Gone is the obsession with normcore—the sleek 90s-inspired slips, white sneakers, and vintage denim, paired with an attitude that ironically looked down on high fashion, comically unaware that they were buying into just that. Since Calvin Klein went through a renaissance of sorts, we’ve seen on every runway a harkening back to the simplicity of two decades ago, when Levi’s were not yet vintage but innovative, and neutrals ruled. It permeated street style and has retained a stranglehold on consumers for the past few years, causing thousands to ponder the existential question: how many pairs of vintage Levi’s until we run out?

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Nowadays, normcore isn’t just the sleek, clean simplicity we associate with Calvin Klein, Celine, or Jil Sander— it’s the not caring about fashion or high fashion. The thing is, Michele cares. He cares, not about trends or conformity, but about building a brand that writes itself into the future instead of holding on to tired fads. It’s about contributing to the canon that designers before him have built, shaped, and molded into the biggest selling Italian company in the world. Instead of letting history pull him back, he honours it by allowing it to grow.

There is an homage paid to Gucci classics: the loafers initially introduced in 1953 are rethought, lined, or covered in blonde fur or jacquard; the interlocking Gs logo reintroduced on belts and new it-bags. There is no doubt about whether or not a piece is in fact Gucci. Michele has retained maximalism and Italian joie de vivre in each collection, while continuing to sophisticate the use of fabrics and the science of clashing pattern, adornment, and colour. It’s not maximalism to provoke or to say— Look at me! It’s the embodiment of Gucci, the clash between classic and youth, sparkle and timelessness, that has always made Gucci a contradiction of sorts on the runway. It’s how Michele can pull off a look that reads almost insane on paper— opening the Spring/Summer 2017 show with an oversized bubblegum pantsuit paired with strings of pearls and sparkling pink cherries, topped off with a headscarf and oversized bejeweled spectacles— but that translates into a stunning visual.

There’s also the maturation of staples, like the blazer or the pencil skirt. Amplified by excess embroidery, Asian patterns, and an unprecedented use of metallic, and then toned down with girlish details: satin bows, ruffles, and pastel tones. Paired together, the combinations are a visual feast— works of art in themselves. Despite its outlandish quality— good for the evolution of a brand, at times scary for a consumer— the cohesion between all of Michele’s collections is what renders the pieces investment-worthy. According to Man Repeller’s Leandra Medine, “The collections all become each other and build upon the same story line, and so for however loud they may be (...) at least their shelf life is longer than the course of one season.”

While other brands thrive on conveying a sense of sex appeal through flesh (exposed nipples, see-through garments, and again, the ever present barely-there slip dress), Michele makes it happen by countering that method. The sexiness of Gucci comes from the confidence that the clothes automatically exude: the boldness of the colours and clashing, the otherworldly combinations of sequin skirts paired with rose-adorned puffers, crystal-rimmed glasses, ruby red silk briefcases, a fistful of coloured diamonds, and pearl earrings the size of peaches. For those of you who haven’t seen the show, all of that was shown in one look. There’s no time for forced sexuality when you have that much fashion to show off.

Alessandro Michele gives everything to those he dresses— and that in itself is revolutionary. There’s no denying that the fashion industry has been at a lull, contrived by the pressures of following a code by which high fashion has always abided. In other words, Gucci woke up with Michele. It rubbed the sleep out of its eyes, put on those crystal-lined glasses, and looked into the future.

Be a Man an article by Adrian Caldarola

By definition, the term “masculine” refers to a set of attributes, behaviours, and roles generally associated with men. The underlying issue with masculinity is that there’s no right or wrong. Unlike law, masculinity is not black and white. So, what are we left with exactly?

photography by Nodebe Agbapu What we have is a systemic societal heirloom in the form of ignorance and prejudice – one that is genderless and plagues our society. In the realm of fashion and appearances, ignorance is what spearheads prejudice as to which clothing does or does not conform to a set perception of masculinity. It’s also what creates prejudiced assumptions, typically regarding an individual’s sexuality and validity as a man.

When Young Thug’s Jeffery was released in August 2016, the cover art prompted a tidal wave of unsolicited (and unwarranted) assumptions regarding the rapper’s sexuality. The image showed Young Thug donning a shirt-dress hybrid, posing under a wide, matching hat. As an openminded 21-year-old who attends a public Canadian university, I wasn’t flooded with judgment towards his sartorial choices.

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Young Thug hasn’t addressed his sexuality publicly, but if he were in fact gay, would that be the acceptable criteria for him to wear the dress? Would his choice in partners decrease his societal rank of “manliness” to a level that would make it socially acceptable to wear non-traditionally masculine clothing? much more

We are complicated and interesting than the layers of fabric with which we choose to drape our bodies.

Yet, it seemed as though the aforementioned individuals outweighed others like me. Ignorance ranged from YouTube comments calling him “gay” to fellow artists in the rap industry (namely Fat Joe) shrivelling up in an interview at the thought of another man and artist expressing himself; more than that, by doing what makes 21 | FASHION

him happy. The back cover shows Young Thug grinning from ear to ear, head cocked to show off a few diamond chokers and a nameplate, looking clearly ecstatic.

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When we view a certain style of clothing in a negative light and associate a man’s sexuality with it, we’re perpetuating homophobia. By measuring clothing on a social scale of masculinity and making prejudiced assumptions, we’re essentially saying: “your clothing isn’t manly enough for you to be straight.”

The clothes we choose to wear are a reflection of what we think looks good and makes us feel comfortable, not our personal beliefs and values. We are much more complicated and interesting than the layers of fabric with which we choose to drape our bodies. There’s no correlation between the width of your pant leg – or dress – and your ability to be a loving and respectful man.

an article by Diahanna Rose photography by Anna Maria Li

THE CLOSET CHRONICLES The best way to understand a creative mind is to infiltrate it— and what better way to do so than to look into one of the most intimate of spaces: the closet. We’ve done just that, scoping out some of the coolest closets on campus, and bringing them to you. Inspired by Coveteur, and our obsession with all things aesthetic, The Closet Chronicles delves into the spaces of iconic individuals on campus, allowing us a glimpse of their personal styles and mantras. Allowing us a peek into their closets and rooms, these creatives talk fashion choices, daily inspiration, and self-expression, giving us insight into their artistic approaches and taking you right into their world.

Whether you’re in need of style inspiration, in search of creative advice, or just looking for a good read—The Closet Chronicles is for you. For more insight into creatives on campus, The Closet Chronicles launches online December 1st. Check it out at muse-magazine.com.

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The Neo Rebel Even though his wardrobe is full of neutrals, Mike Kirreh’s style is anything but ordinary. His collected approach to fashion makes for a classic yet comfy look to produce a crisp, clean aesthetic. Inspired by the latest haute couture fashion shows and timeless celebrities (think Mick Jagger in the 70s, or Kate Moss sporting some fly McQueen), Kirreh successfully constructs a highly sophisticated style without taking fashion all too seriously. Whether he’s searching for finds in a thrift store or putting together an outfit in the morning, he has fun with fashion, viewing it as a more-than-enjoyable exercise through which

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he is able to express his individual creativity. Kirreh swears by his personal style philosophy that any outfit he wears should hold the potential to transition from day to night. For this, he pays homage to a favoured piece in his closet: his iconic Sandro jacket. Its wool body and leather sleeves are the ideal combination of sharp yet blasé, reflecting

both his motto and image. Kirreh isn’t shy to rock a bold look every once in a while— and he does it well. Not many people can get away with wearing leather pants to a lecture and still be admired.

But his aesthetic is unmatched— and it takes a special kind of talent to make a light wash jean work for any and all occasions.

The Queen of Jean Melanie Nelson’s style in a nutshell (or three words) is edgy, eclectic, and playful. Though her outfit can vary depending on the day, one main consistency is her vintage aesthetic into which it all fits. Reminiscent of the late 1980s, her closet is brimming with vintage pieces- from oversized thrifted finds to her mother’s own clothes, circa Nelson’s age. She esteems denim as a resident staple of her closet, particularly her favourite pair of beat-up jeans from a vintage store that she destroyed herself.

Motivated by street style, Nelson finds inspiration from those around her. Only a creative soul like hers would be able to sit in Stauffer and consider her surroundings a real-time look book. While much of her style has developed from people watching, Nelson in no way blends into the crowd— she is simply enthused by the distinctiveness that exudes out of an individual’s original combination. Her own newfound confidence drives her to push limits, not only with her fashion choices, but also in her daily life. Not the type to play by the rules, she pushes the boundaries in her creative expression and doesn’t wait for someone else to start the trends. What makes Nelson unique is her ability to pull off pieces others are too afraid to wear. When stumbling across a long, chocolate brown fur coat during thrift store antics goes from being a joke among friends to a conversation starter at the bar for a free drink, you know your creative capacity is anything but average.

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THE LOFT photography by Zoe Zimmerman creative direction and styling by Allie Kustec clothing collaboration with The Loft Girls 25 | EDITORIAL

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What Do We Do About Kanye West? an article by Peter Drohan

Though it may seem hyperbolic, Kanye West can be classified as a national issue. Similar to many important issues in America (like the recent election or the #Occupy movement), Kanye is controversial, eliciting polarized reactions – you’re either against him, or for him. Like many controversial topics, Kanye receives fanatic support from a devout fan base while he is condemned elsewhere on the ideological spectrum, from racial extremists to intersectional feminists. What is it about Kanye that makes him so divisive in ways that Eminem, for example, despite his many vulgarities, could never achieve?

Whether you consider Kanye a true revolutionary or an avant-garde wannabe, he’s a figure undeniably able to provoke contention . I listen to “The New Workout Plan” and suffer a moral crisis; while comically grotesque in its objectification of women, at the same time, it just feels so empowering.The need for Kanye to taunt the detractors of his past was long settled once he became firmly established in celebrity, cemented by the royal intermarriage to Kim Kardashian.

Kanye then sought influence beyond fame, most obvious on 2013’s Yeezus, his most self-aware and overtly political record to date.

The most common criticism of Kanye is his reckless temper; whether smashing cameras or ranting on stage, Kanye embodies the stereotypical “angry black man.” Responding to his stereotype on “Black Skinhead,” Kanye raps, “my by-any-means on/ pardon, I’m getting my scream on.”

With ironic politeness, Kanye defends and legitimizes his anger against the same society that sheds a spotlight on him. As Black Lives Matter has been called overzealous in their pursuit of justice, similar criticism is levied at West — but neither amount to more than the de-legitimi29 | ENTERTAINMENT

zation of black voices. Kanye’s antics have only grown more provocative in response to allegations of “buffoonery.”

Kanye’s facetious social critique deepens on tracks like “New Slaves”, on which he writes, “I go to your Hampton house and f*** your Hampton spouse/ Came on her Hampton blouse and in her Hampton mouth.” Expressing disdain with the concentration of wealth among the elite few, Yeezy delivers hip-hop for the age of #Occupy with the crudest Marxism imaginable. What’s troubling about this though is the anti capitalism-via-misogyny contained within the threats directed at the one-percenters. In denouncing the disparity in wealth, Kanye uses – and verbally abuses – women to emphasize his point. Misogyny in hip-hop is far from a new phenomenon, thus to delegitimize Kanye’s politics on these grounds would be to overlook a much broader issue.

To make sense of hip-hop’s culturally embedded misogyny, it’s useful to consider prominent post-colonial theorist W.E.B. DuBois’ concept of double consciousness: the idea that colonized peoples inadvertently embrace the values that serve to reinforce their own oppression.

The glorification of the “thug life,” of “money, drugs, and sex” certainly does not serve to liberate those disadvantaged by society. Rather, it demonstrates an imposition of dominant social ideals – consumerism of goods and of women as objects. Thus, to renounce Kanye’s politics on the grounds of inconsistency in his anti-oppression rhetoric is to persecute him for the perversions of colonialism. The notion that humans are anything but conflicting amalgams of desire, is a conception of human nature rooted deeply in white supremacy.

Nevertheless, the question remains: What do we do about Kanye West? Is he deserving of praise or condemnation? Either answer entails subscription to the tired dichotomy of art and artist. In the modern age, the line is blurred – art is inseparable from its creator. I propose a division of greater significance: art and institution. It is not of Kanye we need to be critical, but of the structures that he challenges (white supremacy) and those he perpetuates (patriarchy). We must oppose the structures, not the agents within them, for they are what disadvantage the marginalized.

As far as I’m aware, Kanye does not construct paradigms nor pass legislation.

Here I must acknowledge the irony of criticizing Kanye in order to divert criticism away from him. This is simply to illustrate the importance of structural change over the tabloid banter and snippy blog posts that serve to inflate his hero complex. Then again, perhaps the antipathy Kanye attracts is his greatest success. As a controversial figure, Kanye West forces America to reflect on itself and its colonial practices, and the discomfort entailed is projected elsewhere. Kanye forces America to look at itself in the mirror, and feel uneasy with the image reflected back.

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Television: University’s Toughest/Most Demanding Workload an article by Josh Granovsky photography by Zoe Zimmerman Before I came to Queen’s, I made sure that I had checked off every tiny white box on my extensive First Year Packing Survival list. My list spanned everything from mattress toppers to mattress protectors to all the other mattress add-ons that Bed Bath & Beyond suggested. The item at the top of my list, however, was by far the most vital to my university success, a simple trick to feeling totally at ease in any situation I could possibly encounter: watching Stranger Things.

I know what you’re thinking: how could an eight-episode Netflix series be more essential to my university prosperity than, say, a ten-pack of Cliff bars? As a matter of fact, Stranger Things is so much more than a procrastination tool.

Those eight hours became instant conversation starters, shortcuts to immediate bonding, and directions to the zeitgeist of our time. With the world’s most topical show in my back pocket, I was ready to take on every social situation university TV-watchers could hurl at me.

Until they threw a curveball.

My Stranger Things knowledge served me well for a few sessions of small talk.

It made me a few friends here and there, but it didn’t take long for me to realize that I was in over my head. For every one Stranger Things conversation I could confidently face, there were 100 other TV discussions that stumped me.

I couldn’t rave about that crazy season finale of Game of Thrones, nor could I mourn the latest doctor death on Grey’s Anatomy. Damn it, I hadn’t even gotten past season two of Breaking Bad! 31 | ENTERTAINMENT

It began to feel as though every “it” show I was not watching limited my potential to connect with others. Instead of watching TV, I found myself watching possible conversations vanish with every missed episode. My yearning to watch everything led to a serious condition I now call “TV FOMO:” Television Fear Of Missing Out (for the elderly and acronym-inept). I couldn’t help but feel as though I was missing out on all these groundbreaking shows and, more importantly, the conversations that could follow.

I soon found myself coming down with a bad case of “I’ll get to it” syndrome. Within a week of school, I had promised tons of people that I would “get to” whatever show they’d recently indulged in. My survival list had grown exponentially and I began to realize that maybe the problem was that these shows were on my list at all. When had TV stopped being a relaxing pastime and morphed into a list of chores? This question led me to tear up my survival list in favour of following one simple principle: watch what makes you happy, not what makes you feel less left out. I assure you, the quality of the connections you make with the people who enjoy the same shows as you will make watching them even more worthwhile.

Also, if you haven’t watched Westworld, then what are you even doing? Get on that. It’s madness.

A Little Piece of

Vinyl

I love dropping the needle precisely onto the first beat of musical transcendence, knowing that each beat is distinguished as its own. I love sliding out a new disk, possessing music from a different time, a different world. I love watching the record spin, as each groove produces a unique sound. I love looking back at a pile of “what did I listen to today?” and I even love the mystical wonder of “how in the world does this thing make sound?”

I’m not sure whether it’s the quality of sound or the feeling of nostalgia, but my pile of records is by far my most valued possession.

I began my collection after purchasing my record player for $8.00 at the thrift store. I then browsed through mountains of records in my garage, flipping back through years past. Digging through childhood memories, I started what has since become an addicting hobby. Records can sometimes get a bit pricey, but it’s all about searching in the right places. I purchased my favourite and most played record for $2.00 and ended up leaving the store that day with a pile stacked up to my chin.

Luckily, Kingston is a great place to start a record collection. Here are some helpful spots to begin: Brian’s Record Option is a dive straight into authentic rock star chaos. You’ll probably find yourself overwhelmed with every visit, but also thoroughly impressed by Brian’s extensive experience and knowledge. His shop is a complete mess, but somehow, Brian manages to find exactly what you’re looking for every single time.

Zappz gives you an organized alternative if you have an idea of what you’re looking for, but you’re not exactly sure. The store usually has a pretty cheap ‘New Arrivals’ section, and sometimes you can even find $1.00 records posted up outside the shop’s window.

Records are a tangible manifestation of sound that you can hold in your hands. They are unlike any other collection of music in that you are able to trade your favourite albums, serving as a break for your wallet. Records are also a great way to expose yourself to new music—the raddest of records are usually held captive in the homes of your friends. You never know, one day you might find yourself dancing around your room with your socks on to a record that you’ve never heard before.

It is through music that we are able to express who we are. Music makes the world a better place. It brings life to everything we do, everything we see and everything we hear. It comes from the rhythm inside of our hearts to the beats outside of our head. Music is everywhere and can be found in anything. That’s the greatest thing about art: its ability to exist in all things and all people. All you have to do is drop the needle and listen.

Sincerely, The Girl In Converse

an article by Riley McKenna photography by Nodebe Agbapu

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STALKER STYLE photography by Will Cross-Bermingham

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Nate Parker and Me Released in early October of this year, the film The Birth of A Nation is being critically applauded across the globe. This praise was most recently culminated by writer, director, and lead actor Nate Parker receiving a prolonged standing ovation at this year’s Toronto International Film Festival (TIFF).

Recounting the true story of Nat Turner, an enslaved preacher who led a monumental slave rebellion in the South, The Birth of a Nation also addresses, and features, many instances of sexual assault against enslaved African American women – a frequent and horrifying reality in American history. This focus on the trials of women, coupled with the casting of Gabrielle Union – herself a survivor of sexual assault – is what distinguishes the film for me personally. It prompts me to argue that this film is of great importance, highlighting the plight and experiences of an often-overlooked group within an already exploited minority. Despite this, the film, or more so Parker himself, brings to light another often unaddressed issue in the arts and entertainment world: the artist’s personal character.

Parker has found notoriety with this

film, and with this rise in fame there has been an increase in the questioning of his own personal character, as information comes to light about an alleged sexual assault he committed while attending Penn State in 1999. I say “alleged,” as Parker was never charged; yet his friend, and incidentally co-writer on the film, was charged. Furthermore, this case ended tragically, resulting in the victim ending her life in 2012, and leaving her unable to share her side of the story.

Sexual assault and rape are never easy subjects to handle, both in art and reality, but with this information regarding Parker, his seminal, important film takes on an even more disturbing tone. Knowledge of Parker’s personal history taints the brilliance of this work of art. As a woman and supporter of those who have experienced sexual assault, this dichotomy leaves me confused as to how I should feel, and how I should personally perceive his work – caught between wanting to support the message of the narrative while uncomfortable with the mind from which it came. This uneasiness is furthered due to Parker’s inclusion of a controversial scene in his film, the rape of Nat Turner’s wife;

an event unverified by any historical accounts. In adding this gratuitous scene into the film, Parker seemingly exploits sexual assault by framing himself, through his character, as a rape-avenging hero— a sentiment shared by critics, including the victim’s sister (Variety). In rewriting this narrative, it’s as if Parker is rewriting the narrative in which he himself is involved.

This uneasiness and disparity between an artist’s personal life and the work they present is not something new. In the past few years, the unsavoury personal lives of several figures in the entertainment world have been exposed, and are at odds with the image and work the public knows them for; one of the most prolific being Woody Allen.

Despite longstanding allegations against Allen, many people – myself included – continue to attend and support his films, while actors and actresses in Hollywood continue to ignore the presence of these allegations, deeming it an honour

to work with him. The issue is swept under the rug, and this blatant lack of acknowledgement poses the question: can we (and more importantly should we) separate an artist’s character and personal history from his or her work?

This is a difficult question to answer, with the aforementioned reaction at TIFF as emblematic of the blurred line. In both this context as well as more broadly, I believe that while we may try to separate the two entities through a lack of acknowledgement, it is ultimately detrimental and impossible to do so. To view The Birth of A Nation as just a film and not as the product of its creator is too flippant an analysis. Just as Van Gogh’s various periods were influenced by his mental state, the artistic decisions of artists like Parker and Allen should be viewed as inexplicably linked to their person, and similarly influenced by their histories, if only subconsciously so.

As an audience, it is important to think beyond the work to acknowl-

edge, and attempt to understand, constant checking in and dialogue surrounding works such as Parker’s.

We can appreciate a piece of work like Parker’s, but what adds depth and meaning is to understand what lies behind the presented narrative.

I will see The Birth of A Nation, because I do think it’s an important film, and if anything, Parker’s history further pushes me to do so. I will sit in my discomfort – appreciating the work, but acknowledging and reflecting on its implications.

an article by Katherine Singh illustration by Arielle Vieira MUSE | 36

ALUMNI PIECE

OMIT LIMITATION, AND THE PATH OF DISCOVERING YOUR CREATIVITY an article by Roya DelSol “I kind of miss writing.”

It was the sort of honest, slightly melancholic statement one makes three hours into deep conversation with close friends about the uncertainties of the universe. Over a year out of school, I had recently settled into a decent full-time position that paid my bills, but only fed part of my soul. The revelation caught me off-guard: truthfully, I hadn’t realized I missed writing, let alone having a creative outlet, until the sentiment flew right out of my mouth.

In what I now view as one of the more serendipitous moments of my life, my friend immediately replied that he knew someone looking for writers for a blog. That blog ended up being significantly more than just any typical blog. Omit Limitation – the creative collective which I’m now a part of – is a group of individuals dedicated to being on the front of Toronto’s artistic wave, spreading the word about what the city’s creative community has to offer.

Omit Limitation (OL) brings together artists across creative disciplines, from visual artists to video game designers, while attempting to share their work with the world through multiple avenues.

Beyond the articles and events, what really sets OL apart are the collective’s ethos, good vibes, and open-mindedness. OL is particularly special in that it was founded by (and predominantly still consists of) individuals of colour. We cater to all, but our perspective allows us to host intimate events that foster a welcoming environment in an art scene 37 | ARTS

that is still overwhelmingly white – especially at an institutional level. People come to our events, not only to experience the amazing art abounding from Toronto’s underground, but also to commune and connect with fellow creatives in a space where they feel free to express themselves.

Like many Queen’s students, I’d always taken a top-down approach to my schooling and future.

Yet, in focusing too much on the big picture and what I “should” do, I stopped asking myself what excited me and how those things lined up with my goals. The way I found myself involved with OL was a reversal of how I’d conducted myself for my Queen’s career: I followed my gut instinct and leaned into an opportunity that excited me, even if I didn’t know exactly where it would take me. In doing so, I found myself self-selecting an environment that continues to foster my creativity and constantly inspire me. I am no longer allowing the question of how this aligns with my end goal to stifle me. Instead, I allow my passions to propel me forward.

This same philosophy drives OL and everything we’ve created; we work with artists who inspire us.

In many ways, Omit Limitation is the type of organization wholly reflective of millennial culture – full of creative multi-hyphenates carving out their own lane to allow themselves the privilege of doing what they love. So, here’s to being your most authentic self, indulging your creative passions, and running towards the things that invigorate your soul.

PAINT IT GOLD photography by Anna Maria Li and Marshall McCann set up by Will Cross-Bermingham makeup by Alexandra Cook modeling by Yasmina Mohseni and Paige Thompson

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Sharing COMRADE OBJECTS: An Interview with Artist Ciara Phillips an article by Austin Henderson photography by Anna Maria Li

Although we may not think of it, art galleries and museums are places of transformation.

When we walk through their doors, we’re transported to different worlds, cultures, and eras in human history. We are actively invited to engage, participate, and learn about the experiences of others, all while absorbing an atmosphere that is simultaneously intellectual, inviting, and communal.

Artist Ciara Phillips graduated from Queen’s Bachelor of Fine Art Program in 2000. After receiving her Master of Fine Art from the Glasgow School of Art in Scotland, four years later, she has continued to live and work in Glasgow. Merely a decade later, Phillips was nominated for the prestigious Turner Prize for her contemporary screen printing exhibit, Things Shared. It goes without saying that Phillips has gained acclaim for her work, but to Phillips, the idea of “being accomplished” as an artist means that you are done with something, and she still has a lot to share.

Phillips’ newest exhibition, Comrade Objects, now on view at the Agnes Etherington Art Centre, successfully transforms the gallery space in more ways than one. Phillips displays her interdisciplinary approach to art making with vibrant screen prints and textile works. She has also created an active workshop that encourages visitors to explore the oft-unseen artist’s process, draw their own conclusions, and even participate in developing artistic creations.

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“The first time I created the workshop was in response to a curatorial brief that I applied to in Hamburg in 2010 with other artists. I proposed the idea to allow the show’s other artists to work with me.” For anyone who has visitead a gallery, rarely do we see the artist working in the space. “When [Agnes visitors] have seen me at work, they’re embarrassed because they feel like they’re interrupting. It even collapses the mystification or magic of the artist’s process.” Phillips’ presence, however, allows people to ask questions about her exhibition, give their opinions, or to even partake in work of their own. During her residency, Phillips has hosted open studio workshops, where groups can come in and try their hand at screen printing.

A growing artistic medium, screen print holds power—contributing to social, political, and cultural concerns. Famous screen printers, such as Andy Warhol, Shepard Fairey, and Corita Kent (one of Phillips’ own influences), use the medium to display a commentary on issues including consumerism, American politics, feminism, and religion. To Phillips, the serial nature of screen-printing always allows for something new, whether it’s a colour, an image, or a process entirely. “There’s also a huge emphasis on sharing and community, so that makes screen print exciting to work with, too.”

Upon entering the massive main exhibition space of Comrade Objects, I felt visually overwhelmed— in the best of ways. A bright red grid frames her works and thoughts, emphasizing the Agnes’ high white ceilings, while the vibrant colours in Phillips’ screen prints gleam like the sweetest of candy. Beyond the stunning aesthetic pleasures of Phillips’ show, however, lies a relevant central theme: women at work. In the fourth wave feminist movement of today, there’s so much important dialogue regarding women in the workforce and the gender wage gap. Many of Phillips’ works pertain to these social issues. In Emily Reading and Corin Looking, Phillips documents women encapsulated in their intellect and skill, staying true to the ongoing motive of illustrating such themes in her artwork. As her career and experiences have developed, Phillips has come to understand these problems more acutely.

My favourite piece in the show, Laura, is a photographic screen print of the artist’s friend. Surround-

ed by Phillips’ ingenious rainbow colour blends, her companion poses in profile. In many ways, Laura, along with the rest of the works in Comrade Objects, reminds me of my female friends and the appreciation I have for every one of them.

It makes me think of the amazing things they’ll do throughout their lives and careers, and it makes me proud to know that I’m in the company of women with such vast potential. I can easily argue that anyone who visits Comrade Objects will leave with a profound appreciation for the women in their lives.

Whether it be Phillips’ clever marriage of colours and imagery, phenomenal usage of the screen print medium, or her loving tributes to hardworking women, it is without question that Comrade Objects will leave you refreshed, transformed, and inspired.

Comrade Objects is on view at the Agnes Etherington Art Centre until December 4th. To explore more of Phillips’ work, you can visit her website at www.ciaraphillips.com.

“I don’t like being shot with a digital camera, especially a really good one. It’s too good, you know? I feel like digital cameras miss what’s most important, emotion. These things get lost in digital photography.

And before you know it, you get used to that. I’m not talking about shades or shadows being lost, or anything like that. But I almost feel as if digital photography takes away the shadow of the person taking the photo. That’s why I don’t use digital cameras”

- Nobuyoshi Araki

Capturing Magic an article and photography by Harrison Clarke

In a world becoming increasingly glued to digital media, film photography offers a chance to step back. I started shooting film about two years ago— not for any great artistic purpose or some sort of rebellion against modernity, but rather as a way to challenge myself and explore a medium often overlooked in today’s world.

I realized the value of something tangible, something real, something unpredictable. With film there is no do-over, no second chance, no staring into the back of a black box fiddling with settings while life passes by. Instead there is beauty, there is a deep and meaningful connection with what

you’re photographing. There is light, celluloid, and if you’re lucky, magic. To me, film is synonymous with effort, hard work, and truly believing in the value of a photograph, rather than seeing it as a disposable medium.

For all their convenience, digital cameras can’t seem to capture what the world is full of: imperfection.

Each time you step into the darkroom, you emerge with something imperfect and raw. Life is full of imperfections, and it takes a physical medium to be able to see those moments for what they are.

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Indie Steals

How To Nurture Independent Creative Talents in Art & Fashion

an article by Annie Robinson

Imagine being an artist and promoting your creative work through the Internet, only to wake up one day and find that a major corporation has stolen your designs.

Imitation may be the sincerest form of flattery, but for countless indie artists, there is no such thing as closure when your work has been carbon copied and reproduced through a major corporation without credit or compensation. The age of the Internet and digital media has paved the way for an era where art and theft are becoming dangerously intertwined.

lawsuits and a salty public image.

Counterfeit fashion has been a sin since the dawn of knock-off designer goods, but when major fast fashion corporations are caught ripping off up-and-coming artists, the word “sin” doesn’t even begin to illustrate the damage being done. For anyone who needs a refresher, Summer 2016 saw retail controversy after controversy as global corporations such as Zara, Nasty Gal, and Forever21 were outed for plagiarising the work of countless independent artists. The most prolific instance of plagiarism came about through Zara’s reproduction of LA based artist Tuesday Bassenof’s sassy, cartoonish patchwork. Although these artists can activate the power of social media to fight back against the companies who have wronged them, copyright claims become complicated, often leaving artists with nothing but expensive

Creativity is an essential part of life. It is something that keeps society balanced, inspired, and helps us to feel understood. Art is so important as a means of expression, and empathy is a vital ingredient in the recipe for equitable artistic expression. When major brands steal from smaller artists, the damage they are doing goes beyond victimizing independent creatives. In the process of squelching designs, these brands are starving themselves of the inspiration networks on which they rely, and in turn, they put a major dampener on the importance of art in society and culture.

What’s even more contentious is the uncertainty of what constitutes plagiarism. When Snapchat was accused of committing a similar crime— reproducing independent artist’s designs as quirky sticker emojis— they justified this action on the grounds of “inspiration.” This notion morally excused the company, but leaves us with a blurred line between the criteria for plagiarism and inspiration.

Luckily, there are a growing number of larger institutions that believe in the importance of investing in creativity.

All around the world, there are creative collectives work.

TRUCHE ing on projects to promote and nurture up-and-coming talent. The Deutsch Bank’s Art Works project, Surface to Air, and The Nightingale are excellent examples of international artistic organizations committed to bringing society together through original art, music, illustration, and videos. In the fashion industry, there are also many online retailers who endorse indie artists every season.

For simple, elegant, and sophisticated pieces, look no further than Steven Alan and Of A Kind. If you’re looking to splurge on indie luxury, Feyt aims to “change the way people shop” through clothing carefully curated to each customer’s wants and needs. Check out Pixie Market, Collective Habit, and Mod Cloth for cheap, chic, and fashion blogger-approved finds that source from hundreds of independent designers with distinctly retro feels.

URBAN OUTFITTERS The next time you’re looking to upgrade the art aesthetic in your life, go the extra mile to find a collective, gallery or e-shop that promotes indie art. Whether it is following an illustrator you admire on social media, or stocking up on next season’s trends through one of the aforementioned e-shops, your support goes a long way!

Not only will becoming a patron to independent artists make you feel more excited about your everyday life, but it also means you’re doing your part in continuing to foster our world’s creative community.

GAMEGIRL photography by Will Cross-Bermingham creative direction by Amy Yu styling by Karina Rebellato and Allie Kustec makeup by Alexandra Cook modeling by Abby Wilson and Gabrielle Morgan a huge thank you to Barcadia @barcadiakingston 47 | EDITORIAL

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An Ode to 1 Year st

As grade twelve quickly came to a close, the idea of a gap year seemed incredibly appealing to me. Because I wasn’t sure what I wanted to study in university, I was extremely susceptible to the branding of a gap year as a voyage of self-discovery and growth. I saw a gap year as a test that would lead me to uncover my true interests. I pictured myself far away from friends and family, with no academic interference, silencing all the confounding influences in my life so that I could finally hear the “Real Me” at full volume. I believed that going on a gap year would give me a whole new representation of myself in which I could be eternally confident.

As exciting and existentially necessary as my hypothetical gap year may sound, it did not come to fruition. The September after high school, I moved into Vic Hall with my best friend since elementary school, a decision that “Going-OnA-Gap-Year-Me” would have condemned. But, as I have since realized, “Going-On-A-Gap-YearMe” was kind of pretentious.

I had convinced myself there were many experiences I would gain from a gap year that would not be offered in university. However, when I wasn’t paying attention, each of these experiences creeped up on me in their own way during first year. Living beyond the context of my family brought me an independence I had never experienced before.

Sharing a space smaller than a closet with another person gave me a new perspective on, and consideration for, others. Ironically, learning new things in a wide scope of classes was just what I needed to focus my interests, as opposed to the lack of academia I foresaw during my gap year.

Meeting new people from various paths of life and living in close quarters with them diversified my opinions and challenged my values. In a more conventional setting than the peaceful rainforest I’d envisioned, I stumbled upon many of the experiences I viewed as reasons to take a gap year in the first place.

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an article by Samantha Fink photography by Marshall McCann While I am sure a gap year would have been extraordinary, and probably was for those of you who took them, it turned out that much of what I wanted from a gap year was available at university as well. During high school, I craved a more unique path than first year university, one that I thought would supposedly present me with my true goals and aspirations. I didn’t realize that a new setting at Queen’s would be more than enough to adjust to, and that I would find little pieces of myself in various spots on campus. The most important thing I learned in first year is that you don’t need a year off to find yourself — if you’re doing something worthwhile, you will discover yourself a million times over. Everyday of first year presented to me a new challenge, but I suppose that’s exactly what I wanted from my gap year anyways.

photography by Marshall McCann and Anna Maria Li modeling by Julia Barabas makeup by Bessi Qorri clothing collaboration with Agent99 MUSE | 50

photography by Kerenza Yuen

Let’s Renounce the Importance of Success

an article by Cassandra Littlewood

I think that we’ve been overrating success. We put so much pressure on ourselves and our peers to be successful in life; we complain “I’m not successful enough in my career,” think to ourselves “I need to achieve something before I see my high school friends again,” and read books titled “How to Achieve Success in Ten Easy Steps.”

Success has become one of society’s unhealthy obsessions. Success is subjective—it could mean having a lot of friends, obtaining a 4.0 GPA, or earning a lot of money. It’s in cases such as Leo DiCaprio’s decline in the film Wolf of Wall Street, and in our obsession with Instagram likes where we see the truly damaging effects of success. The pursuit of success can tire one easily, while the eventual obtainment can be overpowering, swallowing an individual up.

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So I think we should just forget it. No, really—because what if that which makes you successful is something you don’t enjoy? What if you enjoy something, but it doesn’t make you successful? If you base the value and validity of your work and enjoyment on the success it brings, how does that affect your self value? These were some of the questions I had when a piece of my writing was rejected by a news outlet.

I had written a reflective piece that dealt with the ever-changing notion of identity. I loved my article when I first wrote it. I sent it to a news outlet, high on the hope that they simply had to publish it. How could they resist such an insightful piece? My hopes were confirmed when soon after, one of the editors told me they were going to publish my piece.

To my unfortunate surprise, two weeks later I received a message stating that my article was no longer fit for publishing, and it was dropped. Of course I was devastated. The magician had pulled the tablecloth from beneath me, and instead of staying upright on the table, I fell.

It wasn’t until I published the article on my personal blog that I realized I didn’t necessarily need a public news outlet. I realized the writing was still mine, still an outward expression of myself, and still something that I needed to write, for me.

I saw the true success that I had achieved. I had taken the many different abstract thoughts in my head—thoughts that had been wanting to become concrete words—and transformed them into a written piece. I wrote something that could not only benefit someone else, but would also benefit myself. By honing my thoughts into one article, it became clear exactly what my thoughts were and what I personally believed in. It was important for me to remind myself that just because someone chose not to publish me, my thoughts and writing were no less valid. I had to remind myself of the validity of my work, as I was ultimately reminding myself of the validity of my overall self.

I’m not saying it wouldn’t have been great to have been published. Yes, I did have a couple of awkward conversations along the lines of “hey, don’t look out for my piece, they decided not to go through with it.” Rejection wasn’t easy to take in stride, but I learned that sometimes rejection has a purpose beyond rejection itself. Rejection let me see how much I needed my writing. I was able to see exactly what writing did for myself, despite the recognition it received.

This is a way we can approach anything in life, not just artistic endeavours. If we are passionate about anything—whether it be science or art—we need to rid the thought that everything we do has to lead to great achievement. We’ve been taught that everything must be “productive” and in pursuit of something greater. I don’t think everything has to be that way. Your satisfaction should not be derived from success alone, it should rather derive from achieving something greater, in hopes of achieving a better sense of self. Your passions can be a great way to express your voice in your work. I think sometimes you need to create for the sole purpose of creating.

So yes, it’s great to get published, it’s great to get a pay check for your art, and it’s great to be widely recognized for your efforts. However, you don’t need recognition—you need to create more than you need to be recognized for it. That’s the simple and hard truth.

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Insight Scared, uncomfortable and overtaken by feelings of uncertainty, I was about to enter a whole new world – without even knowing who I was. In September 2013, I began my first year at Queen’s University, an unfamiliar environment, which initially didn’t feel like the right fit. “Forced” by my parents to leave Toronto and move to Kingston, in the weeks leading up to the move I grew accustomed to the feeling of butterflies in my stomach. I was fearful that Queen’s was going to be exactly like high school, a toxic environment filled with closed-minded people looking for insecurities and differences to make fun of. Looking back, it is clear to me that I was lost and afraid to take the jump. I didn’t want to be judged, I didn’t want to be ostracized, and I didn’t want anything to change – all the while knowing it was going to.

All of these common feelings of apprehension were magnified by something that I had been struggling with for the longest time – my sexuality. I was scared about my transition to Queen’s because I wasn’t sure who I was. I was worried this insecurity would be a reoccurrence, that my sexuality was going to be a shadow lurking around while I struggled with adjusting to my new life. Was I straight, was I gay, was I bisexual? I didn’t know and I was so tired of people asking me, or assuming what I was. First of all, why does it matter? To me, it didn’t and still doesn’t.

When I started at Queen’s there was this constant feeling that made me want to blend in with everyone around me. I chose not to tell people I was gay for fear of being rejected by all the new people I was meeting. The overpowering heteronormative environment led me to believe that it wasn’t okay to be who I was, nor was it okay to tell people.

Uncomfortable myself, the last thing I wanted was to have other people judge me for who I really was. When thrown into a new social environment it is typical of people to limit what they want people to know—fearing judgement – and this was a struggle I grew to know.

As one of few gay males at Queen’s University, I believe that LGBTQ issues are important to discuss, as the culture is some what hidden on campus. Society sets a standard of not only what a minority is, but also what means minorities

are discriminated against. Those who identify as LGBTQ face prejudices conceived by those who still do not believe that it is ethical for a man to love a man, or for a woman to love a woman – or to realize that one’s birth gender does not necessarily represent who they are. Reflecting on my Queen’s experience as a gay man, it is apparent to me that indeed I am a minority – a homosexual man living in a heteronormative environment. Strange enough, although I am a minority, I don’t feel like one.

It took me sometime to realize this, but Queen’s doesn’t always act like a normal society. Some describe it as a “bubble” – an environment that blurs controversial societal pressures. As a gay man at Queen’s I have never really felt these pressures or prejudices, which has made me rethink my self-categorization as a minority.

As I walk down University Avenue, study at CoGro, and party at the Underground, I ask myself the question: “Are people judging me for being gay?” And the answer is no. To me, Queen’s has developed such a strong community that willingly accepts others for who they are.

It is important to recognize that although Queen’s is dominated by heteronormativity, it is home to all kinds of students. As a gay student at Queen’s, I have come to recognize that this norm of heteronormativity is real, but just like my sexual identity, it is invisible. Although I feel like I am the only gay person at Queen’s sometimes – it really doesn’t matter. Year after year, I find I am even more comfortable than I was before and the “norm” of Queen’s is slowly being re-defined. As I graduate this year, I know Queen’s will always be a community I can come back to and be myself, and I hope other people can do the same. Cha gheill.

an article by David Milliken photography by Arielle Vieira

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You know who you are. an article by Kate Farrell photography by Harrison Clarke

You didn’t bring out the light in me, nor the good side of me—you did something even better. You were, and still are, such a beautiful person; I strived to be equally beautiful when I was around you. When the good side was brought out of me, I was able to experience the good side of you. Our collective joy turned into experiences that made me realize I deserved to get better.

You loved me unconditionally, even though that sounds way too stereotypical and cheesy of a way to define you. But it’s true. You gave me more than a sense of comfort—you also gave me tangible proof that you weren’t going anywhere, that you were there to stay.

You put me through treatments, sacrificing your own emotional sanity to help me regain mine. You rubbed my back and sat through countless meals of me calling you names for trying to feed me, trying to fight my eating disorder. You sent me that selfie of us I love when you heard that my referral for inpatient was sent again, I was slipping. You sat through countless doctors appointments and hard nights because you loved me. I have no words to describe the power that gave me.

You made Christmas Eve in a hospital something fun, you made outings to the Guelph mall seem like a trip across the world. You made me a sign with glitter that said “fuck anorexia” when I had a bad day. You threw snowballs outside with me while we laughed about how terrified we were about that last pasta meal.

You quoted Mean Girls with me, not just to pass the time, but rather to savour it.

You made it difficult to leave a place that I never (ever) saw myself missing.

I don’t want this to be some dramatic, sappy, self-pitying letter where I spill my heart out and proclaim that you saved me. You didn’t save By now I hope you know that you are more than one person. I couldn’t have me—but you gave me a reason to save myself. gotten to the point I am at now without You said that you knew I could do it. That I was beautiful and worthy of you, each and every version of you I have being okay. It’s sad to think I was ever at that point of despair, where I been lucky enough to find. You are not felt like I had no purpose. Thoughts became the only tangible thing in just one person, but rather the amount of my life, and it seemed the only ones floating around in my head were love that I’ve come to accept and have the negative ones. I craved these thoughts, because it gave me some- not only gotten, but deserve. thing. Something to feel; something to focus on besides my perception I love you, thank you. of the world at the time.

AZURE

photography by Will Cross-Bermingham creative direction by Amy Yu styling by Anisha Sandhu and Michael Kirreh makeup by Allie Kustec modeling by Chenchen Xu

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MUSE | 58

Fool’s Paradise an article by Anonymous photography by Marshall McCann Call it what you want—science, fate, or pure chance—but I believe that people come in and out of our lives for a reason. Some people are just meant to be in our lives, whether it’s to introduce us to our all-time favourite band, or to teach us a lesson we will hold on to for life. A few years ago, I was taught a lesson, and it goes something like this:

Young, and in love. Or so I thought.

It started out just as any ordinary relationship would, with coffee dates and walks to the waterfront where we learned about each other through those typical “first-date” questions. Fast forward, we started dating, and things were going well. He was super romantic and sent me flowers, and he got along amazingly with the family. Things were great, until one day, he snapped. I saw a side of him that I never thought I would— aggressive, irrational, and controlling. He would get mad at the most unexpected of times, suddenly and abruptly. The episodes were usually short-lived, and within 24 hours I would find myself suffocated by tearful apologies and store-bought bouquets. It was like watching a firework go off, following it as it soared higher and higher into the sky, and watching it eventually fizzle out, the debris falling to the ground.

The same things would happen time and time again. The most trivial things became issues: not answering his texts right away, talking to my male friends at school, or even wearing certain clothing. I became a product of his own idealizations—if he thought something I did was wrong or unfair, I believed him, and immediately felt guilty for my “actions.” I felt constantly responsible for the way he was, though I later learned his behaviour was something far beyond my control. His behaviour followed a distinguishable pattern, and it seemed to be the same thing happening every day. But days turn into weeks, and weeks turn into months, 59 | MUSE’INGS

and before I knew it, it was 10 months later and I was no further along than I was at the start.

The thing is, I became so expectant of the outbursts; they were something that I grew to know and recognize.

After a while, I became numb to the name-calling and the accusations. The lines of blame were blurred now more than ever, and I caught myself believing that his behaviour was my own fault: “Maybe I shouldn’t have said that…” or “He’s right, it was wrong of me to do that.” I found myself apologizing as a result of my desperate hope that things would go back to how they were before. But that was the problem—things were never going to go back to how they were. My friends knew it, my family knew it—everyone around me knew it, but I was blindsided by manipulation.

It was as though I was running the 400-metre race with myself. The gun had sounded, and without even realizing it, I found myself running. The first few strides felt calculated and had a surprising sense of control, which propelled me through the first 100 metres with ease. 300 metres to go—I kept running, I sure as hell didn’t look back—200 metres, 100 metres. The final sprint proved the most difficult…my legs started to feel numb, but I had almost reached the finish line. A sudden feeling of freedom had washed over me, and I felt elated, as if nothing could stop me. As I approached the finish line, I reluctantly came to a stop upon the bitter realization that I was back at the point where I started. The finish line was also the starting line, and before I knew it, I was back where I began.

I found myself caught between knowing better, and feeling like I knew nothing at all. The hardest part was, that despite all the blame and accusation, I still loved him. I hated myself for loving him—how could I love someone who treated me so unbelievably poorly? Who made me question my own worth? Who made me change myself, to suit him?

That’s the thing—it wasn’t love, I just didn’t want to believe it.

Eventually, I did.

So I learned. I learned that I didn’t like to be yelled at, and I learned that no, roses are not an acceptable apology.

I learned that it’s okay to cry, but never for the wrong reasons. I learned that my family and friends are the most important people in my life, and that even when I may not have been able to see my relationship for what it truly was, they definitely did. They were right. But most importantly, I learned that I was not to be defined by someone else, and that I never will be again.

Lesson learned.

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Booze, Babes and Bucket Hats but not in the way you might think

What if you walked into a room and found that things weren’t the way they were supposed to be? I’m not just talking about physical things, like the sky turning spontaneously green, or the moon rising in place of the sun. I’m talking about the way we’ve constructed our world— more importantly—the standardized “shoulds” we have constructed. Take for example, the way we should act when we meet someone we like. We’re taught these “shoulds”—they constitute our actions even if we’re unaware of it.

And not to be too straight forward, but it’d be pretty weird if every single one of those “shoulds” suddenly changed. Why? Not because it’s difficult to conceptualize, but rather because it’s simply not the way things are supposed to be. Think about this: Friday night. You walk into a house…you know the one. The one that has some kind of cheap beer banner hanging from the window, has more red cups than blades of grass on the lawn, and is full of bucket hat wearing partiers inside—it’s your typical unofficial frat house. When you walk 61 | MUSE’INGS

in, you find a group of girls running the keg, controlling the music, wearing bucket hats and their choice of basketball jersey or Hawaiian dad shirt they could have only purchased at Value Village.

You spot a group of guys walk in, they’re adjusting their dresses and taking a million pictures (obviously they’re looking down at the ground as if it had just told a hilarious joke). There are girls talking about the last “bitty” they hooked up with, and one continues on to say how she’s definitely going to get some tonight, because look at that dress he’s wearing—clearly he’s dressing for her.

Some guy looks like he really doesn’t want to drink, but the guys all pull out their vodka mickeys and start taking shots. “Don’t be lame,” he’s told, “you don’t want to be that guy.” Some song you think is Fetty Wap comes on, and one of the guys starts dancing like an idiot. You hear some guys whispering about how much they love him, but obviously “like a brother,” cause it’s “not like that.” You all leave for the club, and on your way out see a couple of people passed out on the lounger. Someone takes a snapchat and laughs hysterically, while everyone assumes that someone else will stay be-

hind. They’ll be fine—it’s just the way things are.

Now, come back to the idea of the way things should be. Suppose that this normative order of how things should be was actually just a combination of different ideals that we grew accustomed to. Girls grew up in pink rooms with easy bake ovens. Boys grew up in blue rooms with Tonka trucks. Boys were told to man up, while girls were praised for their beauty before their intelligence was ever even acknowledged.

I’m not sitting here writing this all high and mighty, pretending everything I do doesn’t adhere in some way to gender norms, but that’s my point; I’ve learned to throw a wink and toss my hair because that is how females get ahead—we’re taught our advantage lies in our appearance.

The role reversal view adheres to very heterosexual, feminine and masculine norms, as these norms are those most prevalent in our society.

These marginalized categories ultimately influence the way we think about all other “shoulds.”

Suppose that we began to see these ideas not as norms, but as what they really are—words with no tangible form—ideas. Ideas with no weight, yet they still hold secure the grounds we walk on. Now suppose that we put out a different idea… but here’s the issue—people have been for years. Looking at my example, you can see that gender norms are easily reversed on paper, but the reason they won’t just change is because words are nothing without action to bring them to reality. It’s the words we say without question that make up the stereotypes that could be limiting ourselves and others.

So what’s left when you take away the stereotypes? You aren’t defined by what people tell you.

When labels seem so cemented in our lives, it’s easy to stumble over cracks and eventually fall into them. The reality is, the crack in that cement is on the brink of rupture the second we start to question the solidity of it. Paper covers rock, and ideas and voices change the way we go about life.

an article by Kate Farrell

photography by Zoe Zimmerman

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MUSE MAGAZINE AT QUEEN’S DIRECTORS Katherine Singh, Editor-in- Chief Amy Yu, Creative Director Will Cross-Bermingham, Photography Director Hannah Davis, Business Director Bianca Toulany, Business Director Diahanna Rose, Online Director Editorial Team Peter Drohan (Arts Editor) Samantha Fink (Entertainment Editor) Anna J. Stainsby (Fashion Editor) Annie Robinson (Lifestyle Editor) Lauren Backa (MUSE’ings Editor)

Creative Team Karina Rebellato Allison Kustec Michael Kirreh Anisha Sandhu Regina Phalange

Photography Team Kerenza Yuen Zoe Zimmerman Arielle Vieira Nodebe Agbapu Harrison Clarke Anna Maria Li Marshall McCann

Layout Team Melanie Nelson (Head) Avesta Rastan James Hubay Samantha Huynh Emslie Attisha Julia Holland Laura O’Grady Bonnie Wang

Sponsorship Team Maddy Griffith (Internal Head) Orli Levitt (External Head) Victoria Spanton Leora Owsiany

Makeup Team Carrie Wei Melissa Nguyen Alexandra Cook

Finance: Jen Dorsey Marketing Team Tessa Latowsky Aidan Tamarro Matthew Prioste Events Team Madeline Power Katie Glover Anna Pakenham FirstTEAM Year 63 | MUSE

Rep: Jane Bradshaw

Online Team Ryan Johnson (Chief Tech Officer) Maddy Wright Caitlyn McTavish Megan Hunt Emily Battler Rawan Abdelaatty Adrian Caldarola Raquel (Kelly) Simpson Alexander Tran Erez Zobary Jenna Chasse

IMAGE CREDITS Cheung, HP. Digital Image. The Life of Pablo. 1 Apr, 2016. Hype Beast. Web. 31 Oct 2016.

Coppola, Mike. Digital Image. Kanye West. 14 Jun, 2016. The Verge. Web. 31 Oct 2016.

Corwin, Harrison. Digital Image. Saint Pablo Tour. 6th Sept. 2016. Mass Appeal. Web. 31 Oct. 2016.

Luchford, Glen. Le 21ème | Backstage at Gucci | Milan. Digital image. Le 21me Backstage at Gucci Milan Comments. N.p., 23 June 2016. Web. 01 Nov. 2016.

Luchford, Glen. Gucci | Spring 2017 Men’s Backstage. Digital image. The Impression. N.p., 20 June 2016. Web. 01 Nov. 2016.

Roye, Brianna. “Blank Canvas.” Omit Limitation. N.p., 05 May 2016. Web. 01 Nov. 2016.

A huge thank you to Tommy’s Diner [cover image]

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