MUSE Magazine Issue 4

246 Princess St.

268 PRINCESS ST.

LETTER FROM THE EDITORS “HELLO, GOODBYE”

I have a confession. I’m a creep. Honestly, I am the biggest creep. You probably don’t even know me but, if you’re a “Muse Reader” chances are I’ve creeped you. But being a creep is what sparked the idea of Muse Magazine in the first place and is what brings me here now, writing my confessions, hoping to inspire you to be a bit of a creep yourself. Before you get all freaked-out and delete me off Facebook, or walk the other way when you see me prancing down University, let me clarify what kind of a creep I am: I’m the Art Creep. The Fashion Pervert. I’m that kid who stares at the collection of costume-jeweled rings on your fingers, wants to hear every inspirational, personal, or drunken story about your tattoos, while watching you doodle on the corner of a napkin.

As a shy and bashful “Froshie” I initially felt a little suffocated by the qualms of University life: finding out “who you are”, preparing yourself for the “real world”, and dealing with the celebrity-style pressures of becoming a “One Flip Wonder”. But communities and students around campus who took initiative to bring a colourful, artistic and unique breath of fresh air to the buzz of student life acted as my much needed and much appreciated escape from school, exams, readings and, well, Ale House.

So whether it was when we were “creeping” the lovely Charity Fashion Shows hosted around campus, or the graffiti peeking around the corners of Princess Street, or the girl standing ahead of me in the Metro line with an awesome pair of cut-out-oxfords (I will never forget those shoes) - all these small and subtle bounds of artistic initiative inspire people like us to say “thank you” in the best way we can: by kick starting Muse Magazine, a platform dedicated entirely to the underground art and talent that has given us so much inspiration in the past.

As the founding fathers of Muse Magazine graduate, we leave Queen’s University similarly to how we started: we still have no idea “who we are” and the “real world” looks just as scary as it did before, and although we consider ourselves to be Flip Cup champions of sorts, we leave campus life full of inspiration, colour and grateful ideas.

alive.

Thank you for the inspiration and we hope you’ll keep the “Art Creep”

ZTC

Zahra Jamshed, Tamara Navarette, Cherie Tsang Founders & Directors

“Who knows where inspiration comes from? Perhaps it arises from desperation. Perhaps it comes from the flukes of the universe, or from the kindness of the muses.” - Amy Tan, novelist

TABLE OF CONTENTS

ENTERTAINMENT Cinema, No Longer Hollywood’s Treasure 06 Film Review: Tomboy 07 Interview: Bwana 08 Peeling The Metal Banana 10 Radio Revival 11 Sounds Of The Street 16 Poetry 18 Don’t Let the Jeans Wear You 20 M(YOU)SE 22 En Masse Chronicles of a Poncho Cezanne’s Closet The Art of Jewelry

ART 24 25 28 29

FASHION Trying to Be Unattractive 32 Kingston’s Best Kept Secrets 33 Society Killed The Teenager 34 Profile: Rebecca Perlmuter 36 My Travel Diary, Bejewelled 37 Reworking A Classic 38 Cheap X Couture 46 Speed Dressing 47 Best of Award Season 48 LIFESTYLE Reel Feeling 50 Hipster Elitism 51 Remember Your Theory 52 Untitled 58 Hope And Trembling 60

Cinema, No Longer Hollywood’s Treasure an article by CHELSEA DOYLE

A

trip to the cinema today is nothing like it used to be.

In the past, seeing films at a movie theater could be considered a favourite past time for many. A trip to the Movies was exciting and well worth the time, money, and effort. For a couple hours of your day, it was possible to leave reality behind and become fully engrossed in a different world that would push the limits of your imagination. The best kinds of films are those which force you to think about each and every stunt, action sequence, or melancholic sob long after leaving the theater- the kind that conveys certain influential messages that influence you, even in the most subtle of ways.

Gone are the days of quality movies that provoke intellectual thought. Gone are the days of movies with substance, or movies that showcase originality and creativity.

Instead, the films that are being produced by Hollywood now seem to exist for only one purpose, and one only. Unfortunately, the Blockbuster of today’s world seeks to pursue economical objectives, ignoring the effects of misshapen ideals and fantastic surreal worlds created within the world of a Film. The phenomenon of 3D movies, sequels, and re-mastering and re-releasing blockbusters of the past are a clear indication of the decline in pursuing new initiatives in Cinema. While comparing the ‘Top 10 highest grossing movies of 2011’ with Rolling Stone Magazine’s ‘Top Ten Movies of 2011’, it is interesting to note that there is not a single overlap. The best cinematic experience is no longer the most profitable.

Blockbuster movies cast a shadow over imaginative and innovative films that are struggling to remain in existence, limiting our options from what we want to watch to what they determine that we should watch. We should not have to dig through Hollywood’s overbearing Boulder to find the “Indie-film Scene” just in order to watch a half-decent movie. When was the last time you saw a comedy in theaters that was legitimately funny? Or a horror movie that actually scared you?

What filmmakers need to realize is that the budget of the movie does not always correlate with the entertainment value of the final product. Of course, there are exceptions and it is becoming alarmingly apparent that producers and film companies alike rely on the nature of economical effect, believing that producing a film in 3D will change the defeated story-line, or lost souls and massive car explosion will play upon the heartstrings of the viewer. Movies don’t need to have special effects or pyrotechnics to entertain people. What they need are strong narratives, talented actors, and brilliant cinematography.

Classic movies should remain classic. Creating half-cooked sequels and pushing storylines too far can ruin a series and even compromise the joy of the original. Featuring high budget films in theaters that are focused only on generating profit has led to a creative plateau in the world of movie story lines, a sort of Peter Principle. There are plenty of stories that are imbedded in our modern day-to-day lives that are waiting to be discovered and told. These innovations need to be encouraged and projected high onto the silver screen.

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FILM REVIEW: Tomboy reviewed by PARKER MOTT

Zoé Héran & Jeanne Disson directed by Céline Sciamma 84 minutes 3/4 stars

C

éline Sciamma’s Tomboy is an uncompromisingly simplistic film. Without much above or below it, it flies on the wings of the effortless performance by Zoé Héran, whose presence has remarkable quietude. She just is. Without her, Tomboy would be thin soup; but I think Sciamma knows that and makes do.

Her newest film is a work of keen observation. It sits back and lets the actors behave with naturalism. Héran plays “Michael”, an alleged 10 year-old boy who has just moved into the neighbourhood. It is summertime, so before school starts Michael feels he must fit try and in with his peers.

Turns out he is not a boy named Michael, but a girl named Laure.

This comes as no shock for Sciamma, who argues that Laure’s age is – in itself – a time of confused, shifting identities, so her transgender is a part of that phase.

We often witness Laure watching her schoolmates play soccer, tag, and fun little games. She lives vicariously, keeping a distance and feeling accepted in her imagination. She meets Lisa (Jeanne Disson), a fellow playmate who says softheartedly to Laure/Michael that he “is not like the others.” This is quite true.

Out of this, Sciamma doesn’t build suspense, but rather watches.

Seems fitting since Laure/Michael is always quiet and listening attentively to her social circle. Sciamma doesn’t explicitly deal with the character’s sexuality, but instead gently captures a chapter of a life that may be remembered by Laure/Michael later, or not...

Sciamma, who also wrote Tomboy, is interested in the mundane.

There is no manufactured conflict, just simple situations that invite us into Laure/Michael’s position as the isolated observer.

This is a strange film. At barely 80 minutes, sometimes its intentions are as diffident as its heroine. Where it is successful is in its effort to capture the spontaneity of human experience (in this case, Laure’s).

I watched Tomboy a month ago, and did not really understand it.

I wondered, what was Sciamma’s message? Was there a point?

Where’s the payoff? After watching it again recently, I enjoyed the film more but had the same questions. This time, however, I have an answer: there is none.

Tomboy is about a life, not a drama. Laure’s family is loving, not dysfunctional. She has a delicate bond with her younger sister Jeanne (Malonn Cattani). The “plot”, if you will, is decidedly straightforward, which at times turns Tomboy into passive viewing.

Cinema loves to spin on the axels of conflict, but Tomboy defies it. Instead, it becomes a modest yet poignant film that knows how far it wants to span – emotionally and dramatically. It is not far, but that is – perhaps – the key to its power.

Tomboy premiered at the Reelout Film Festival on Wednesday February 1, 2012.

MUSE | 7

W

ith his first EP “Over and Done” already sold out on Boomkat.com, Queens’ own Nathan Micay has been taking the bass music scene by storm. Known as “Bwana” by fans and fellow producers, 21-year-old Nathan started producing on Abelton software only a year ago. Since, his melodic, bassdriven beats have grabbed the attention of record execs around the world and have even played on the iconic “BBC Radio1”.

Currently in Leeds, England, on exchange,

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Nathan plans on touring Italy with Skrillex in April. Not bad for a history major addicted to Gael burgers.

MUSE: First off, how woulld you describe your sound?

BWANA: I think my sound could be described as an amalgamation of elements from dubstep, UK garage and a bit of R&B. I try to make songs oriented for both a club environment and home listening.

BWANA

a MUSE interview by ANDREA NAZARIAN

M: If you could work with any artist or producer (dead or alive), who would it be and why?

B: I can think of two right away. I wouldn’t be able to choose between them though.

First would be Mala from Digital Mystikz.

He is partly the reason I got into production. He has such a distinctive sound that when heard in a club is an experience like none other. I don’t think there is any other dubstep producer out there that has been able to so effectively use so many different and unusual sounds in making very spiritual and deep bass music. He is truly an icon.

The second would be Burial. His music speaks for itself. I honestly just wanna see how he works and see if he can really make a tune like Archangel in twenty minutes like he claims hahaha.

M: If you could change one thing about EDM and the direction it’s going in, what would it be?

B: That’s an interesting question. Similar to a lot of other people who’ve been listening to dubstep for a few years now, I’d love to change the way it seems to be headed. However, huge amounts people seem to love Skrillex and the louder midrange stuff, so if it’s making people happy, I’d just leave it. I remember at Queen’s last year everyone loved Avicii and would call him the single greatest house producer of all time. He’s obviously a very effective and talented producer, but there are many other house producers out there just as good if not better, and people don’t seem to take the time to dive further into electronic music to educate themselves. It seems like the majority of people are just hopping on a hype-driven bandwagon and forcing themselves to go to these ‘raves’ because

it is currently the thing to do. Half of these people seem to need drugs to even enjoy the experience. You should go out to a club because you love the music.

So I guess yea the one thing I’d like to change is just the ignorance and mob mentality that has emerged in dance music this year. I have no problem with people enjoying anything, I just think a lot of people are ‘enjoying’ stuff because they feel pressed to go out and party.

Also, I’ve noticed, especially at Queens, that more and more people are playing dubstep on their laptop speakers.

Don’t do this, there is no point.

like him and eventually they turned into these happy productions I’m doing now.

Burial’s productions share a common element with the majority of good country music in that they both use vocals to tell a story. I’ve taken that to my own music and with each production, I’m really trying to purvey some sort of narrative and a lot of people seem to be picking up on that which is great. One more thing in country music is the epic harmonies in the vocals and instrumentation. A lot of people don’t give country and bluegrass a chance unfortunately, but it has some of the best vocals harmonies of any music I’ve heard.

M: Since your music’s been getting more and more attention by record labels and blogs, what has been the hardest thing to do as a producer to stay grounded?

M: Now that you’ve been spinning more live shows, is there a ritual or anything special you like to do before a show?

B: Honestly just keep doing it as you were.

I started doing this only a year ago with no expectations, just for fun. I’ve kept with that mentality and good things continue to happen. It’s all moved incredibly fast for me, which has been super surprising so at the moment I’m just working on catching up with everything.

M: What (artist or otherwise) has been the biggest influence on your music and its message?

B: I’d have to say Burial and the genre of country music. For Burial, his drum patterns, use of vocals and all around vibe have had a huge impact on me and countless other producers I’m sure. Listening to him opened up doors to new ideas and sounds and totally changed the way I thought about electronic music till that point. My early productions were just really cheap and shitty attempts to sound

B: I’m still always nervous before a show and to calm my nerves I often have a cup of tea. I’m hard like that.

Also I’ve just added to my rider for UK and EU shows “a single avacodo”. So I guess I’ll start eating those before shows? I also always make sure I always have my earplugs. I played a show with dubstep producers 16 Bit a while ago and they didn’t have any earplugs, I was cringing the entire time during their set because I could only imagine the damage that was being done to their hearing.

M: Finally, if you were to headline a tour, who would be your dream coheadliner?

B: It wouldn’t make any sense but Pink Floyd. Ben UFO would be pretty awesome as well.

Curious? Check out Bwana’s music on his SoundCloud: http://soundcloud.com/darts-1

MUSE | 9

PEELING THE METAL BANANA

Illustrations by Emma Craig, 4th year Fine Arts student. Will be show-casing her work at Union Gallery from Mar 27 to Apr 30, 2012.

an article by ADAM BOONE

T

ypically, there are two responses initiated when society lends an ear to the ferocious auditory assault that is “Heavy Metal”. These options are: I liked what I heard or Who could ever actually enjoy this sh*t?

Within almost all areas of society, you will find this strict divide. There is no gray area.

It’s either cool and has potential, or provokes a cringing reaction usually accompanied with statements of “Oh god...” In my experience, I’ve noticed that these reflexes are immediate. Everyone has a predisposition towards Metal. Whether it is friendly or malicious, these viewpoints always pre-exist, regardless of how underground the Metal on air may be. On the frequent occasion that Metal interacts with mainstream media, these two reactions come to define the genre as a whole. Let’s strip metal to its bare bones. With enough digging, anyone can easily determine the three elements of heavy metal that provoke such an immediate and strong reaction: the heavily distorted guitars, harsh vocals, and drumming with unusually high

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beats per minute that are essential in building Metal sound.

Unfortunately, because of the stigma surrounding Metal, these defining characteristics tend to scare the listener away before the complexity of the music even has a chance to be revealed. And what about those who have come to define themselves as “Metal-heads”?

The appreciation for underground music and its subsequent culture is huge, and their intimate flair for this music, combined with a surge of dopamine that is released by the brain during the concentrated rush of excitement, the intensity and happiness that metal provides creates an extremely unique human experience.

Effectively, as you sit there staring at the one kid in your political studies class with that black-graphic-t-shirt on, you are gazing at the cultural lovechild produced when the Hipsters and Club Rat’s meet. Think about it. The basic psychology behind the facet of today’s hipster who prowls the campuses of North America is that of ultra individualism: The desire for attention

(mind you, only from the right kind of people, of course) and recognition through creativity that is defiance of social norms.

However, the Hipster alone is too reserved for the character I’m building. We also need to incorporate the Club Rat. This is a distinction that perhaps more young adults can identify with. You don’t need to hit a club three times a week to realize that massively pounding bass and a bunch of good-looking people in their early twenties all rubbing up on each other is a good time.

The image I’m creating attempts to show the incredible similarities between moshing-while-slamming-cans-of-Pilsner and our generation’s electo-passionate-raving,-while-trying-to-rememberhow-much-of-that-smirnoff-vodka-youspilled-on-your-rez-room-desk.

Metal is the freedom and release of extraordinary emotion combined with a very strong sense of freedom to create one’s own path in a restrictive and culturally stubborn society. It is an escape from the reality and routines of everyday life.

C

FRC 101.9 FM, the local campus and community radio station, is turning 90 this year. Perhaps you’re a frequent listener, or you’ve only heard it after getting kicked out of Clark Hall Pub from the speakers that play the station 24/7 outside of Lower Carruther’s Hall.

CFRC is home to an incredible community of diverse members and diverse programming. Punk, to late-night experimental, to French-touch, to hip-hop, to jazz, to a multitude of spoken word programs… the list goes on. CFRC emulates the full potential of participatory radio and its power in building community (musical, and otherwise) should not be underestimated.

In a similar spirit, “Deckonomix” was born.

A radio show about electronic dance music of sorts, focused on community building among local electronic music makers and lovers. The show often has guests in to play live music or submit prerecorded mixes. Guests are invited to talk about

whatever interests them, whether it be their musical influences, the technological side of DJing and producing, or individual experiences within a certain music scene. When there’s no guest, normally a genre, theme or scene is showcased.

Radio may seem like a thing of the past, especially as more music is freely available online and the choice to seek out music through various outlets is enabled. Yet, at the same time, all the right technologies are in place to bring about a revival in radio.

In the glorious age of the Interwebs, CFRC streams live online, to any location in the world, and if you missed something, look it up in the archives and download it for later.

If you’re not near a computer, a host of applications allow live radio streams through your mobile device (“Tune In Radio” is a personal favourite and runs on most mobile platforms). These technologies, coupled with the social media that brings us, the

common people, closer to broadcasters and celebrities alike, helps to set the stage for more inolvment in radio worldwide.

Independent music-surfing is more acceptable and performed than it once was, which plays a role in the decline of radio popularity. However, before this the era of independent music surfing on the Web, there was reliance on radio to find new music. Honestly, it’s exciting to air brand new tracks.

Conorfm, a Queen’s producer and DJ, has given a couple tracks to Deckonomix to play, exclusive-style—Exa-Terresturals was premiered on the German Techno Special.

Though independent music searching is great, it’s really special being able to reconvene with others and share your finds with those around you. This is what Deckonomix is all about.

An extended version of this article may be found at: deckonomixradio.wordpress.com

RADIO REVIVAL RADIO REVIVAL RADIO REVIVAL D’AVELLA

by TORI

an article by TORI D’AVELLO

Illustrations by EMMA CRAIG

MUSE | 11

KIDS ON THE STREET

an editorial by NICHOLAS CHONG & TRILBY GOOUCH

featuring SYD, TARYN, JOHNNY, JED, COLE, JUSTICE, NICOLE

12 | EDITORIAL

MUSE | 13

SYD & TARYN & JOHNNY

COLE & JED

14 | EDITORIAL

JUSTICE & NICOLE MUSE | 15

Sounds of the Street

images and interviews by ALEX MANSOURATI, inspired by medium magazine

Mr. Simple - Super Junior Gracy Gong, Comm 2015

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Ten Cent Pistol - Black Keys Harris Fullard - Art/Sci 2015

Garrands - Young the Giant Kristen Lazaro, English 2013

My Love is Like a Star - Demi Lovato Carolyn Dunk - Art/Sci 2015

She Owns the Night - Far East Movement Andrew Ha, Art/Sci 2014

Ring Them Bells - Bob Dylan Grace Mustard - Econ 2014

Lonely Night - Revive Dongju Lee, Comp Sci 2013

Winter - Wilderling Adam Cunliffe, Film 2012

Yours Truly - Sol Kaiden Bogler, Art/Sci 2015

Ready to Fall - Rise Against Ryan Pericak, Eng 2014

The Other Side - Pendulum Marco Mazzilli, Philosophy 2014

Its Like That - G-Love and Special Sauce Molly Kubes, Art History 2013

MUSE | 17

poetry by ANDREW BURROWS

BELOW IS MY WORK The glorified auditorium is boring you, don’t worry though, you’ll get an education.

To avoid accusation for academic gyration, play the game, it’s so cliche, but make way for the rules enclosing you, steam rolling you, while your psyche’s turning spiky, a result of --doctor doctor degree, can you please help me?

Because I can help you if you want to choose to help yourself from --Stop and smell and sense where this is going, no controlling the passion playing in your mind and its eye, for why do I rhyme when this article’s a particle to interpret as you wish, as a gift I’d like to give you, this form is coming, fruition, contrary to the mission of the state and the mind of the narrow, confined rhymes that don’t actually rhyme because they simply said so.

So go on and on continuously submitting to their wishes, paying their commission, but just dip in a little deeper and stay here a little longer for an exploration without endpoint, I promise, you’ll find yourself anew.

They leave only two traces of spaces for succulence, an abundance of your soul, separate from the Chicago style you produce pour pere de la professor a la poise, a poser.

I blush at my past person blushing, uncomfortable with judging of my uncharacteristic concoction, sets of quirky kinds of languages, when all that really matters is that matter my heart’s producing, that seduces only some, and yet pleases only one.

Do you ever get that craving, waiting for excretion of some feeble kind of, soulful kind of, ugly, kind of, waste?

The transformation, from heavy fuck of mass, to shard of shattered glass, captured on some medium, sometimes tediously, conundrum, my heart’s done, the hand, done, bless one, the art of flowing freely.

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Peel away your past pretenses and enter this commencement, a place, you won’t resent it, the funny family; slamming poetry.

Recycle your crisp margins for things that don’t make sense.

If all you find are lines, it’s simply something dense.

It’s like birthday a child, fluid in the mouth.

Hands full of little lives, slowly swimming south.

If you begin this process, abandon things you know.

Dialogue with your innards, Intuition slow.

Human, made of water, remember composition.

Our fluidity is lacking in the midst of this transition, into med school, some whirl pool, a failure to find a self.

If you fill your time with others’ lives, you put yours on a shelf.

So join me, rebellion, a world of cacophony.

Causation, cups of Crown, killing what it means to have a thesis, it’s genius, and I can finally breathe.

The more unwound, deeper depths dove, the more peaceful I’ll sound.

So, you.

Slam, glide, finding the pride I hope you find once misplacing tacky conventions, distracting us, suspension.

Retention?

Attention. ...just promise you’ll write.

Forever and long ago the pink champagne spilled with fright As the mother celebrated long lost grip pens And corner store ice cream stops.

Celebrated without the frozen mess of a car full of Summers hot children and Spindly-legged girls with Blue Barbarians Running down the insides of their legs.

It is the exchange between what is and what never happened.

All about caressing the veins of your free soul And finding the missing piece, And therefore…

And therefore It is without the rush of day And the fluid yawning of gnawing perspective That fuels the little boy’s faith for something different, For something necessary, picturesque, without the blandness Of air and the dewy lung capacity That takes him nowhere.

Because when he finds the limbs to match his own And the comfort of a fitting neck with purple sprouting Veins like his old mothers, A place where the street lines with new Model T’s without a vacation spot For the after effects of life.

finally.

by AMY GNESIN

It’s no use because eventually the plan never ends and the cream never crops And you’ve just reached the boiling point of the Peter Principle, That changing things has no use.

Because their sons grow.

Eventually, grow.

Suicidally, Beautiful.

It is without this cultivation that the blue sky dies and the fear Of getting caught in the rain exceeds his ability to see past the velvet couch into The underground of his life.

It is not that he grew up; rather he decided to grow down Into regret, into facelessness, because it was easier than simply giving up Or throwing up Like his daughter does on the off days.

Stopping to talk was like trying to eat a bottle of cinnamon without Choking and crying for water, But it was the human necessity to show sympathy For his fighting wife and screaming cats, Like he forced his feet into slippers to walk to the mail every morning.

It was not the beginning of it, But it happened at the beginning of October.

Like a freshly mowed lawn it smelled of new buds and closed friendships Without the fading melancholy of the heart, Because it was not the beginning of it But rather, the impact of flesh on flesh fighting off the flies Which brought May showers, And the stinging sensation Of a bug under the rug Where you don’t know if jumping for fear or joy is different anyway, And simply jumping isn’t going to make it go away.

Thanking G-d he is gone makes it all alright because The Almighty One, Blessed be he, Knows the cleverness of it all, without contracting the disease himself.

But he didn’t jump at the end of October, he decided to gallop.

It galloped terribly.

Against each.

Bodies.

MUSE | 19

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Dont Let the Jeans Wear You

~

an article by TYRANNOSAURUS FLEXX

I

t all started one Saturday as I sat at home doing goon sh*t. I got a text from my homegirl. She said she was at a house party near mine - and by near mine, I mean directly across the street.

I grabbed a can of beer ‘cause I knew I’d only be across the street for a maximum of 15 minutes - the 15 most infuriating minutes of my life.

I headed over, shot homegirl a text and went inside to say what up to a couple other girls I knew. This party was teeming with the kind of kids I hate: the kids who think they are the hippest sh*t since Steve Jobs took a poop. Then it happened - this goon-ass kid is like “Hey man, I see you got that selvedge”. I reply with “Yeah dude, I’m down with decent denim and sh*t”. He starts talking to me and introduces himself and what not and I can already tell I’m gonna hate this kid. He keeps talking “fashion” and what not, asks me “If I’m into that streetwear look”. To which I give a polite “No, I just wear whatever I feel like on a given day”, while thinking “I hate you”.

He somehow steered the topic back to denim, which I’m usually all right with if someone’s asking my favourite brand or something.

I would’ve actually loved if it went that way. This kid starts talking about a pair of jeans he hasn’t washed for (apparently, but I’m calling BULL-SHITE) four years. I tell him how gross that is and explain that I have a pair of Naked and Famous jeans that I’ve had

for a bit over a year and are due for a wash. For some reason this offends goofy ass kid #1 and his friend who I’ll call “punchable faced motherf*cker #2 (PFMF#2). They both stare at me in awe saying “WOAH MAN, YOU WASH YOUR JEANS? YOU’RE NOT SUPPOSED TO” They’re telling me about how the miners back in the gold rush never used to wash their jeans. The whole time I’m just thinking “I HATE YOU BOTH”, but instead I point out that those miners didn’t have time to wash their jeans and they didn’t care about how they smelled. So goofy ass kid #1 tells me about having vintage Levi’s from the 40s and they don’t smell and I just start to get annoyed. He then goes on about the “life of the denim leaving after a wash” and “starching being the best thing ever”. His friend, PFMF #2, actually says “I can’t wash ‘em until like I have dope fades”. Dude ACTUALLY said this. By this point in the conversation, I’m physically trying to back away and just go home to sit and wait for my dope fades to set in.

Something I think a lot of people forget is that spending money on denim is for the quality of the denim, the cut of the denim and to let b*tches know you make that paper. If you’re putting your “dope fades” over the function of your jeans, your jeans are wearing you. That sh*t ain’t cool. Just wear your jeans and don’t give a f*ck. It will pay off.

~

MUSE | 21

M(YOU)SE

Awesome parties. Best friends. Bright lights and bright eyes ;) You guys are our muse and in 2011-2012, you outdid yourselves. Photography from wesavetherave.com; A-trak @ Stages, Rusko @ Stages, Dada Life @ Stages.

I

en masse: un digestif

an article by EMILIE WONG

t is no doubt, Montreal, the haven of seasonal and eclectic street festivals, gum drops of late-late-late night shenanigans, and a sprinkle of Europeanmeets-multicultural affairs, is also home to one of the largest graffiti and urban arts cultures in North America. ‘En Masse,’ a dedicated and growing arts collective embodies the very aesthetic of the ubiquitous ‘low’ art scene, but serves it with technical aptitude on a white platter in a ‘high’ art atmosphere as contemplative design, rather than amateur defacement. Directed by Jason Botkin, Rupert Bottenberg and Fred Caron, this network of artists, both local and international, sets sail in illustrative motifs of black and white cartoons, art history icons, and satirical, political-meets-pop culture flair. I was fortunate enough to catch the Big Bang! exhibition at the Montreal Musée des Beaux-Arts last December, and encounter a large gallery room reserved for some of the En Masse artists, set in tact with comfy beanbag chairs and a boom-box blasting the beats of Buraka Som Sistema. Of the seventeen or so rooms dedicated to emerging contemporary Quebecois artists, the exhibit by En Masse struck me as the least pretentious vision of what global art-making should look like. Adorn intricately from wall to wall with tribal masks, aliens, northern geese, Montreal Canadiens, and even a caricature of Kim Jong Il, these stenciled, sprayed on, and outlined designs and stickers provide a thrilling discovery for comic relief as new images and icons are revealed the longer you anticipate scanning from top to bottom. Although the exhibition has completed its run, En Masse’s mural designs still resonate locally in commercial and private spaces, in their collaborations with Montreal schools, and on an international level working with artists from Miami and Detroit.

For any of you party connoisseurs delighted to spend a weekend excursion or more in Montreal (not to exclude you Montreal natives, of course), be sure to consider catching an installation/live performance of En Masse at work in the city at Osheaga and ‘Under Pressure,’ annual, summer blockbuster festivals celebrating the urban arts. For a listing of

their events and art reveals, check out their Facebook group, by

searching “En Masse.” A more permanent collection of

En Masse’s murals can be found at the Fresh Paint

Gallery on 180 St. Catherine East, a strip amidst

the touristy cobblestone and random sex

shops. They are bound to delight

any visitor, art connoisseur

or not.

24 | ART

CHRONICLES OF A PONCHO

a photo essay by JAMES MACDONALD

MUSE | 25

The elements that a person can bring to a photo are so unique and captivating that, sometimes, no matter what you produce people will be drawn to it. ‘Chronicles of a Poncho’ features my very dear friend Katelyn. She has such an intriguing sense of style and I’m consistently impressed by the way she presents herself.

The poncho is especially a favourite.” -James MacDonald 26 | ART

“I’m still trying to perfect the art of photographing people. Objects, scenery, candids are easy, but people are different. Capturing exactly what you want to communicate is so difficult and almost impossible given that everyone perceives the photo differently, but that’s what makes it interesting.

MUSE | 27

Cézanne’s Closet an article by ALLISON VRBANAC & KARLY MCINTOSH

The Union Gallery, located on the first floor of Stauffer Library, is an organization that showcases contemporary visual art from the Queen’s and the local arts community. The Union Gallery is vital to the Queen’s art scene as it is one of the only galleries in Kingston that gives priority to exhibiting student work during the academic year. Cézanne’s Closet is the annual fundraiser for the Union Gallery, which takes place in Ban Righ Hall on the second week of February each year. This year, will be the 18th annual event in which the Union raises money to further support student and local art.

Cézanne’s Closet consists of a raffle-style art draw in which supporters purchase a ticket, that entitles them and a guest to not only attend the event but also go home with an original work of art. This year Ban Righ was decked out with 99 red balloons to create a whimsical an exciting atmosphere. Guests previewed the art works, then took their seats to anxiously wait for their ticket number to be called, at which point they had one minute to call out which piece of art they’d like. Tension rises as works are taken off the display boards for wrapping and the number available decreases. Works

by Queen’s students as well as several prominent members of the Kingston art community were on display and were enthusiastically collected by the lucky event attendees. Some artists for auction included, Lianne Suggitt, Heather Smith, Phoebe Cohoe, and Union Gallery curator, Jocelyn Purdie. The overwhelming support from the local art community acted as a reminder that the Queen’s art students are an essential, vibrant and valuable addition to the Kingston art community.

28 | ART

The

Art of Jewelry an article by CARLING SPINNEY

Jewelry has always been a prominent element of art. Various mediums (such as paintings, photography, sculpture, illustrations, etc.) have depicted jewelry in distinct and meaningful ways. Although every artwork shown here conveys unique significance, every piece can also be boiled down to one simple equation: jewelry = self identity. A person’s wealth, status, culture, and environment (to name only a few) are often portrayed through jewelry both in life and in art. Below are stunning works of past and present artists that will make you clutch your pearls! >>

Barbara Bui’s Jewelry Collection “In Chains”

MUSE | 29

Top Left: “The Original Hipster” by Julia Chesky Chesky is a talented photographer who, inspired by Pushcart Wars, did a shoot with a homeless man. There is a clear contrast that is almost staggering: a disheveled man with outrageous, expensive jewelry. The unexpected combination of the industrial, city-slum environment against brand name shopping bags offers intrigue.

Bottom Left: Rene Gruau’s distinct style hugely influenced fashion illustrations. He was an illustrator for several fashion houses, including Dior. This sensational il30 | ART

lustration attracts immediate notice.

The solid colours create an appealing juxtaposition, with the white pearl necklace taking center-stage.

Middle: Jeffrey R. Watts “Kaleidoscope” Right: Salvador Dali, “Eye of Time Brooch”, 1949 In this Dali image, the artist has established jewelry AS art, not just a component of it. Dali had many artistic ventures, including fashion, sculpture, furniture,and jewelry. The Eye of Time brooch (above) is reminiscent of his famous melting clocks, evoking a bizarre, dreamlike accessory. Dali has also created a honeycomb heart brooch that drips with honey.

MUSE | 31

Are you TRYING to be Unattractive?

Uncovering my Teenage Fashion Fails an article by CONSTANCE VIGOUR

W

here does fashion go when it becomes unfashionable? The attic at our parents’ house? To some mothball-aromatized hole-in-the-wall?

Or maybe some dark corner of our own memory? Do we dare enter that inner sanctum to recall the lamentable try-hard we once were?

From my own closet I remember a pair of red-laced black wrestling boots, worn obsessively for years, until finally recognizing they were beyond any hope of resurrection. Around the time of purchase, I was in the middle of an identity overhaul, the kind that only the transition into high school can gracefully afford you. If only for the fact that graceful is not within a teenager’s range. I made friends who introduced me to Nick Cave and the Bad Seeds, Kate Bush and the Pixies and with the influence of the new Franz Ferdinand record; we were infatuated with anything Russian or German avant-garde.

As the year progressed, I replaced every item in a my closet with a black equivalent and I settled on a tenebrous shade of purple for my long locks– a few over-zealous Manic Panic applications at one point left it entirely black with an unsettling violet aura.

A few piercings were the pièce de resistancem, and along with the omnipresent wrestling boots I thought I’d hit ‘Wino Forever’ levels of badass. Only once did my dad prevent me from leaving the house, with the argument that I was looking a little too ‘Ghost World’. In the words of another great Thora Birch coming-of-age film, “Are you trying to look unattractive?”

32 | FASHION

(“You’ve succeeded admirably”). In retrospect, I’m sure my dad actually found it an amusing pastime to watch my daily dealings with everything so obscure. Beyond a shadow of a doubt, the photographs from that year are worth the scarred cartilage.

My senior years continued in similar dandy-wish dissonance including cameos made by some anachronistic Grandpa pants and weirdly transparent kilts. I bleached and cropped the purple hair, trying in vain to channel Kim Gordon, although; I think the braces put an end to that artless postpunk fantasy. It was rough, but it was also indicative of a certain brazenness I can’t ever hope to get back, which I think is true of those who have gone through similar and embarrassingly experimental rites of passage.

of this clothing. Although there will be neither a time nor a place when I think ‘some comic book nylons would really make this look better,’ I would regret discarding them at this point. There is a natural sentiment attached to materiality and perhaps photographs are a better example of this.

Not only for the nostalgia we inherently find for what we were wearing at various stages in our lives, but also for the inevitable humour that comes hand-in-hand with any earnest expression of personal style. Although a little red Woolrich flannel and a Patrick Kane mane may at present provoke choruses of “nailed it,” allow a few years for the metamorphosis to shame-faced nostalgia, (“Flow? Pfft, how droll”). That’s when the transience of fashion really hits the sweet spot.

“Although there wil be neither a time nor a place when I think ‘some comic book nylons would really make this look better,’ I would regret discarding them at this point.”

I’ve held on, perhaps ill advisedly, to most

F

or those of you who think that there is limited decent shopping in Kingston, think again! True, K-town is by no means a Canadian shopping “Mecca”, but there is more than meets the eye when it comes to local fashion hot spots. If your closet craves a Kingston makeover, if your shopping route needs a new direction, or if you simply want to discover new trendy whereabouts, indulge in a few of my fashion finds.

VALUE VILLAGE - 1300 Bath Road Value Village is a thrift store chain that takes the cake for getting a bang for your buck. A head-to-toe Value Village ensemble could be a mere $20 all in.

From oversized grandpa sweaters, to oxford lace-ups, to shabby (but chic) denim blouses, Value Village has it all. Search the racks, but don’t blink!

FELICITY & FRITZ- 127 Princess Street Felicity & Fritz has now expanded their accessory-based collection of bags and bangles to contemporary clothing, with new lines coming this Spring.

When I asked co-owner, Demi Nikolopoulos, how Felicity & Fritz would dress a Queen’s girl, she said, “I would do coral-hued skinnies with a fitted chambray shirt and a boyfriend blazer in a neutral tone, like charcoal. Pair that with Cole Haan wedges that have neon accents at the toe”. Although some of Fritz’ selection is above budget, you can find an investment piece at a noninvestment price. The perfect place for a forever-in-style purchase.

THREE BOUTIQUE - 268 Princess Street “The classic Indie boutique”, expresses owner, Cyndy Gibson. You probably aren’t aware that Three sells its own brand, Lola’s Room, and is currently working on a new line for Fall 2012. In the meantime, spring will showcase more Hippie than Hipster, colourful bathing suits and 90’s-inspired apparel.

If you’re scouting Volcom shorts, Seven Jeans or Laurentian Moccasins, hit up Three!

WHAT I’LL WEAR - 338 Princess Street A Kingston gem. What I’ll Wear is a closet of treasures from every decade.

Combat boots, fur coats and vintage jewelry are just some of what this store has to offer. You have to dig, but you’ll be sure to find something unique. According to owner, Janet Strong, “We often have customers who walk in and say, ‘I didn’t know this store existed!’” All items are hand picked, reasonably priced and one-of-a-kind. What I’ll Wear defies traditional fashion and redefines arbitrary style.

URBAN OUTFITTERS - 207 Princess Street Hold up. Urban is probably the WORST kept secret in Kingston. Urban sales, however; are another story. Fun Fact: the sale section, updated 2-3 times a month, is marked down up to 50% off the original price with the possibility of an additional 50% off (yes, that makes 75%). This usually happens on Tuesdays and Thursdays (shh!), so be sure to schedule shopping dates accordingly.

This is just a taste of what’s ‘in store’…the rest is up to you to discover!

Kingston is, in fact, pretty fashion-friendly. When you arrive home for the summer holidays and your friends ask, “Where did you get that??”… Your response? “It’s a K-town secret”.

Best Kept Secrets

JORDYN BENETAR’S

MUSE | 33

SOCIETY

KILLED the TEENAGER

an article by GABI ELIASOPH

F

ashion advertising doesn’t exist to make us feel good about ourselves.

The fashion industry thrives off the fact that they present children and teens alike with alternative versions of reality that encourage the need to purchase their products that promise beauty, and as an outcome, happiness. In fact, we see unrealistic images in fashion media numerous times everyday. The problem is, young men and woman are being flooded by media images that are far from attainable. In particular, the emphasis on media in the fashion industry relies on thinness and on an ideal body shape that is physically unachievable for most people. This, in turn,

34 | FASHION

gives rise to excessive dieting and exercise as well as eating disorders such as anorexia nervosa and bulimia nervosa.

“The truth is, I have a bad habit of comparing myself to others. There’s always someone with a better smile, nicer clothes, a skinnier waist, brighter eyes, and amazing hair. I put myself down all the time. I can never be happy with the way I look at all.

I’m self-conscious and that’s probably the number one thing I want to change about myself.” I found this quote online and I’m not the only one that responded to it, 35 380 others did too.

A few months ago, one of my friends men- willing to trade at least of year of their life to tioned online blogs that pertain to the posi- have the ‘perfect’ body. tive consequences of eating disorders.

These blogs tend to teach others how to Let’s be realistic about one thing. As unistay optimistic about losing weight, us- versity students, this problem is not far ing methods that are unmistakably harm- from home. In fact, there are a significant ful to the body. After an extensive amount number of girls suffering from these disorof research in the past few weeks, the ders in our very own school. I interviewed a student from Queen’s Uniwords and images floating around the web are so There’s always someone versity who’s been struggling with this ongoing problem far beyond what my brain can process. Websites with a better smile, nicer for a considerable amount devoted to such include clothes, a skinnier waist, of time. Fortunately, she has her instincts and overimages and information brighter eyes, and amazing fought come the serious health risks of young females giving of anorexia, and is now able positive reinforcement and hair. helpful tips in regard to staying strong and to tell her astonishing story. I’ve extracted maintaining an eating disorder. What’s a few quotes from her personal testimony shocking is that these sites actually have that I think many young people can both an increasingly large amount of followers. relate to and learn from.

This is where females ask their anorexic mentors questions and post pictures of “My inability to be true to myself and comprogressive weight loss and target weight fortable in my own skin pulled me further and further away from developing my own body structures. identity-this, I believe, is what caused me A quote from “Diary of an Anorexic” does to shift to a full-blown eating disorder. I an admirable job of summing up what reached a point where I had so much of many girls are feeling. “I just hate all the my worth invested in my skinny girls. All those perfect little fragile looks that I was terrified of girls with their pretty faces and clothes losing it-I had a constant and legs to die for and all that stuff. I hon- fear of gaining weight, estly hate them. But still, I wish to be like and legitimately felt that them every single day of my life. Just so if I didn’t have my looks, that someone will think about me the way I had nothing. I often reI think about them. I know this may not flect on what caused me make much sense to you, but it does to to shift from a ‘dieter’ to an ‘anorexic’, and I believe me. it comes down to a lack of self-love and Of course, everyone has insecurities, respect. I suddenly realized that all of my which is not abnormal. As recently as the eating disorder behaviours were of a pun1980’s, it was relatively uncommon to find ishing nature-I was either depriving myself someone suffering from anorexia or buli- of foods I loved, restricting to keep myself mia, however; having an eating disorder feeling hungry and faint, or in the case of today seems almost trendy. When did it bulimia, sabotaging myself physically and become acceptable for younger men and emotionally. women to purge or starve themselves to be deemed attractive? According to a re- For me, it came down to my quality of life, cent study, millions of wom en are so un- and being able to admit that being thin to happy with their weight that they would be the point of hospitalization definitely did not

make me happy. It is something that so many girls have trouble grasping-we look at thin, beautiful celebrities and models, or friends, and assume that they must be happy based on how they look. Yet I can attest that what you see is definitely not what you get. Eating disorders are very misunderstood because they are attached to something we falsely glorify. However, because of our society’s views on body image, eating disorders are unintentionally glorified. I think a crucial element of preventing and recovering from an eating disorder is self-acceptance-when you are able to love yourself for who you are, suddenly appearance becomes much less of a preoccupation, let alone determinant of who you are as an individual.”

It’s difficult to comprehend the expression of this young woman’s past experiences.

It is even more demoralizing to recognize that she is one of many females struggling with this issue at Queen’s. While this personal story is hard to ‘digest’, it’s a reality for many young teenagers. She’s extremely strong for overcoming this experience, but overcoming such a personal conflict is an attainable goal.

“My inability to be true to myself and comfortable in is help out there, my own skin pulled me fur- There especially within our ther and further away from own Queen’s community. I only hope that we developing my own identity” can all be as strong and

influential as this young woman. “It kills me to think of how many hours of my life I have spent counting calories, wanting to look different or obsessing over my food intake. I can’t change my past, but my experience has given me an appreciation for living in the moment and taking life less seriously.”

If you need help, don’t hesitate to call the Eating Disorder Clinic – (613) 548-6121 or Health and Disability Services – (613) 5336000 x78264.

MUSE | 35

Rebecca Perlmutar

an interview by JANINA ENRILE

R

ebecca Perlmutar doesn’t want to be a fashion designer.

“I want to work at a fashion magazine,” the fourth-year art history student says, “I want to put together editorials, so technically, a stylist. I would rather work my way up in a magazine than try to be a freelance stylist.”

It’s hard to believe those words after hearing that the ever-fashionable redhead won last year’s Vogue Charity Fashion Show design contest. Her collection of 1950s silhouettes and vibrant patterns stood out against the six other sets. Judges praised Perlmutar for creating cohesive designs, a skill she learned at New York City’s Parsons The New School of Design last summer.

“I’ve always known that I wanted to do fashion as a career and being somewhere like Kingston is not always the easiest place to get involved in stuff like that,” she admitted. So when a friend mentioned that Perlmutar should sign up for Vogue, she compiled a few illustrations for her application, and the rest is history. “I decided it

was a good thing to put on my resume … she said. “I paired it with stripes and floral but also just to do something creative and patterns and that kind of stuff.” fashion-oriented,” she said.

Perlmutar lists Stella McCartney and Céline as her favourite designers. It’s easy to Perlmutar is hoping to work at Toronto- see how their uncomplicated shapes and based FASHION magazine one day, but statement patterns influence Perlmutar’s not before returning to Parsons for a designs. graduate degree in fashion marketing. In “They’re very simple and very menswear inbetween working on other fashion shows spired – just simple colours or big patterns, like Project Red and the Queen’s Busi- like full outfit patterns,” she said, adding ness Forum on the Fashion Industry’s an- that she loves menswear as women’s wear. nual fashion show, she’s been designing “That’s my big thing but not everyone likes clothes as a personal hobby. She’d actu- that.” ally never designed clothes before work- Perlmutar said she’s not afraid to wear ing on Vogue. bright colours.

“I think I bit off more than I could chew at “Colour in any form is just so much more the beginning,” she said. “It definitely was fun,” she said, adding that the Kingston a lot of hours … and I made a lot more fashion scene is more reserved than in her outfits than I needed to.” hometown.

Some of Perlmutar’s pieces featured a “I’m from downtown Toronto and there memorable banana pattern, used for everyone can wear whatever the hell they pants and shorts. She described the inex- want,” she said. “I feel like in Kingston and pensive fabric as providing “no give.”

Queen’s University you have to tone it down “I liked the colour and I liked the pattern,” a bit.”

Photography: Kayla Robins Max Silverbrook Model: Meryl Acker

36 | FASHION

My Travel Diary, Bejeweled an article by ALANNAH MOZES

I

n the dead of winter, I found myself in a part of the world where exotic animals roam free, tribal paint is used at the dinner table, and gorgeous sunsets are an everyday occurrence. I spent my days in this region living in a tent, interacting with cheetahs and elephants, and gasping at spectacular mountains and coastal sceneries. Evidently, this was a far cry from Kingston. The incredible place described is South Africa, where I was more inspired on a simple family vacation than I ever thought possible.

Believe it or not, there was one downside to travelling there: prior to the trip, I was warned about the dangers of being robbed while wearing flashy accessories. Thereby, I was forced to leave my jewels and gems at home. All the cute outfits I put together seemed bare without those perfect statement pieces. However, there was nothing stopping me from picking up some sparkly souvenirs before I headed back home…

Coming from my fashion-crazed perspec-

tive, is there any better way to remember the trip of a lifetime than treating yourself to beautifully handmade authentic African jewelry? My first stop was Rosebank African Market in Johannesburg, a large indoor market filled with beaded bracelets and bangles. Given the low prices and wide selection, I picked up a set of four malachite bracelets and one large faux snakeskin bangle. I was delighted to kick off my collection with these unique finds.

The next stop on my jewelry expedition was Cape Town. I made my way to Long Street, famous as a bohemian hangout, and stepped into “Tribal Trends”, a fantastic South African craft shop. I gawked at the eccentric bronze picado necklaces and oversized tribal cuffs displayed, both of which would be striking, over-the-top statement pieces.

Despite the low exchange rate, the jewelry was still expensive and I was forced to bid these beautiful creations farewell. Nonetheless, I made up for these absences

when I arrived at “Africa Nova”, another well-known craft store. There I purchased a delicate silver collar necklace and a set of red beaded bracelets held together by a vertical line of silver stones. I was thrilled to have had the privilege to buy these authentic South African treasures.

Upon my return home, I discovered that one did not necessarily have to travel across the world to emulate the tribal trend. As an avid online browser, I noticed how similar my new purchases were to Pamela Love’s distinct and innovative jewelry creations. Although not as large as those seen at “Tribal Trends”, Love designs spiked tribal cuffs and bronze picado necklaces with skulls engraved. It is very cool to see these South African trends exhibited in a high fashion jewelry line. For most of us that cannot afford her chic and expensive pieces, try rocking the latest collar necklace from Urban Outfitters with a stack of wooden bangles. You’ll be sure to mirror everything that is South African tribal style!

Is there any better way to remember the trip of a lifetime than treating yourself to beautifully handmade authentic African jewelery?

clockwise from top: beaded bracelets from African Nova, tribal cuffs from Pamela Love’s Lookbook, elephant at watering hole, taken by author, beaded dolls at Tribal Trends, author’s sister modelling red beaded bracelet and silver necklace.

MUSE | 37

Reworking a

Classic

S

hown every season on the runways by designers like Chanel and Jil Sander; immortalized in films by Tom Cruise in Risky Business and Uma Thurman in Pulp Fiction, the WHITE BUTTON DOWN has become a classic, a piece of clay from which we sculpt our everyday individual.

We all have one, but it usually sits on a hanger collecting dust until the one day we reluctantly throw it on for some mundane or life changing events for which it is required. But, why the neglect one of the best items of clothing you own, the one that has the potential to be so much more than just another smart shirt. Here’s the challenge: this spring I dare you to take that white button down and wear it proudly on a date or on a casual stroll, maybe even to Alfies or out to the movies with friends.

Let’s say you don’t own said wardrobe necessity and you are in the market for a crisp, new button down. There are several fit hints that you should take into account before you rush off to buy just any old blouse. Firstly, don’t be afraid to spend money on a good quality button down. Trust me, you’re going to use it. The sleeves should ideally hit between your wrist and the second joint of your thumb.

Any shorter and it will look like you’ve borrowed it from your little brother, any longer and it has the potential to be a dress. You’ll want to be able to tuck it in for more polished looks, yet leave it loose for all those other instances, therefore; the length of the torso is important.

So you’ve got a casual date? Tuck your button down into a pair of belted black slim jeans for a casual yet elegant look. Add a pair of low heels in a bright colour for contrast and throw on a long metallic necklace or statement earrings to complete this ensemble. It represents a perfect way to showcase your own personal style in a subtle way, and will always look timeless.

It’s time to hit up Alfies: pair your slightly unbuttoned shirt with a short, pleated skirt (very of the season) and your favourite skyscraper heels. Or even try a pair of leather shorts, in a colour that isn’t black, and you’ll have no trouble making a bold impression.

For all the times in between, when you’re running errands or the sun decides to make its way through the gloomy Kingston spring sky, throw on your blouse, roll up the sleeves and work it with your favourite jeans and open toe wedges or some printed shorts and sandals. Make sure to always add an accessory that makes you stand out, whether it is a colourful belt, chunky perpex bracelets or a beaded bag. You can’t refuse to acknowledge that this shirt has mountains of potential. It’s a blank canvas for personal style, waiting for you to unleash yourself upon it.

an article by SHAHIRA ISHAK

38 | FASHION

CASUAL DATE 1. Necklace: Topshop 2. Clutch: Aldo 3. Jeans: American Eagle 4. Earrings: Accessorize 5. Heels: Aldo

Zara Plain Poplin Shirt, $39.90

SUMMER DAY 1. Shorts: H&M 2. Sandals: Asos 3. Shoulder Bag: Urban Outfitters 4. Belt: Asos

ALFIES 1. Necklace: Topshop 2. Nude heels: Asos 3.

Leather Shorts: Need Supply 4. Skirt: Urban Outfitters 5.

Black Pumps: Asos 6. Clutch: Aldo

MUSE | 39

M IISS N NO OTT D DEEA AD D FFIILLM Giving Film Photography A Chance an editorial by ALEX MANSOURATI

40 | EDITORIAL

MUSE | 41

42 | EDITORIAL

Photographer/ Alex Mansourati Model/ Lauren Gibson

MUSE | 43

I

n the age of digital photography, why would someone want to shoot with film?

For me, I started shooting film because I loved the look of it, and the process that goes into a roll of film, from start to finish.

For some reason it’s such a more real feeling for me, and I find that the colors and grains humanize the shot in ways that digital photographs can’t.

It also taught me a lot about composition, and how to shoot sparingly. When you only have 24/36 frames on a 35mm roll, and even less on a roll of 120, you learn how to really pick your shots and make sure that they count. Sure you CAN shoot thousands of shots on digital, but film taught me that I don’t need to, and how to wait for the shot I want, and how to prepare myself for it.

Film photography is often associated with advanced shooters today. Would shooting film be beneficial for a novice photographer?

As I said, shooting on film taught me A LOT about how I shoot today, because it teaches you about composition and selecting your shot carefully. It’s all well and good to blow through 1800 photos in a day, but if you’re shooting pure garbage, there’s no point. I think it’d definitely be useful for anybody looking to firm their game up a bit. I don’t think I’ve met a single person who shoots both film and digital that will say that film hasn’t helped them become a better photographer.

A Chat with Photographer Liam Goslett interviewed by

ALEX MANSOURATI

44 | EDITORIAL

Does the type of film you use have enough of an impact on the final shot that you have preferences on what sorts of film you use? Favourite make of film?

For me, I started shooting film because I loved the look of it, and the process that goes into a roll of film, from start to finish.

For some reason it’s such a more real feeling for me, and I find that the colors and grains humanize the shot in ways that digital photographs can’t.

Oh yeah for sure. I mean, if I’m shooting streetstyle or if I sort of just pop in a roll without thinking, I’ll use a 400ISO color film. Usually Portra.

If I know I’m doing portraits, especially studio portraits, Delta 100 all the way. It’s by far my favourite black and white film on the market right now, and the shots I get from it when I use my Rolleiflex are better than if I shot it on digital.

I really love a good black and white portrait though, thats just me.

My favourite brand of film right now is Fuji Pro400H, for both 35mm and 120 [Editor’s Note: Photos in the previous spread (of Lauren Gibson) are shot with 35mm Fuji Pro400H]. I think most guys would go with Portra, but I’ve always found that Fuji uses a more cooler-biased color balance to their film which I really, really love. I always find Portra to be too warm. It makes everything look like spring time.

You just found the last roll of your favourite make of film.

What do you shoot?

Portraits of some of my closest friends and family. Same thing as I shot on my first roll.

How do you suggest someone start shooting with film?

Buy a $100 35mm off Craigslist or eBay, and just go for it. Start with cheap 400ISO color film because you’re definitely going to fuck up your first few rolls, and then just get into it. Play around with settings and develop a friendship with whoever develops your film. Trust me when I say it helps in the long run, especially when you need to pull that ‘is there any way you can do this in 30 minutes’ card.

flickr.com/lgoslett or liamsawthis.com MUSE | 45

CHEAPXCOUTURE an article by ASHLEY LARAMIE

T

he Academy Award winning director and queen of all things cool exercised her talent for marketing that made the ‘Moi Je Jou’ Miss Dior Cherie campaign of 2008 a huge success. This time, she’s directed an advertisement for H&M starring actress Imogen Poots lounging poolside in bold tribal prints and driving around the Moroccan countryside, rivaling the beauty of the scenery like it’s nobody’s business.

The dreamy soundtrack of Roxy Music’s Avalon plays in the background and true to quintessential Coppola style, the commercial features shots of a moonlit pool, flickering candles, and wide-eyed girls, who seem mysteriously isolated in a fantasy world. The real star of this campaign is not Coppola, Poots, or even Roxy Music frontman Bryan Ferry himself. It is in fact Marni, the latest designer to collaborate with the Swedish retailer on a limited edition collection of luxury for less.

Like many fashion success stories, this one begins with the industry’s biggest personality, Chanel designer Karl Lagerfeld. In 2004, he released an exclusive “affordable collection for H&M that was sold in select flagship stores. It was a blockbuster

success, selling out in under an hour, and appearing on eBay for massively inflated prices. In subsequent years, beloved designers including Lanvin, Viktor and Rolf and Versace have all cashed in on the phenomenon. Even pop idols Madonna and Kylie Minogue designed collections, proving that sometimes accessibility is cooler than exclusivity.

the much-anticipated line, which was the company’s biggest success to date.

However, are these collections really bringing luxury to the masses? The issues of high-demand and low supply have led to a lot of disappointed customers. Target’s online store crashed when Missoni’s summer 2011 collection was released because of the influx of buyers, leaving many empty The logic behind designer collaborations handed, and H&M limited shoppers to with major chains is simple: when couture two items each to combat online re-sales. goes commercial, it’s bound to appeal Surprisingly, Lagerfeld refuses to work with to the throngs of young fans who have H&M again, summing up his major issues drooled over the real deal, time with the execution of the projsometimes ect in Stern magazine: “They and time again. And it’s not just H&M jumping on the bandwag- accessibility did not make the clothes in on. Macy’s and Target have sufficient quantities. I find it emboth released designs from big is cooler than barrassing that H&M let down names such as Alexander Mc- exclusivitY so many people… I don’t think Queen and Jean Paul Gaultier. that is very kind, especially for The rise of fashion blogging, and the 2008 people in small towns and countries in recession were added boosts to the virality eastern Europe.” He finished the interview of these collaborations. Last year, internet with an ironic observation, one that seems sensations BryanBoy and Rumi Neely of to counteract the entire concept of redefinFashionToast pranced around New York ing luxury brands: “It is snobbery created in outrageous pieces from the Versace by anti-snobbery”. for H&M collection, essentially giving their millions of readers a candid preview of Now there’s some food for thought.

Y

SPEED DRESSING an article by VERONICA SAROLI

our resume may boast ‘time management skills’ but in the middle of a Kingston winter (think perma-darkness) or after a night at Stauff, these skills have a tendency to be weighed down by the pesky realization of early morning class the following day. In light of this acknowledgement, and the speed-dressing that comes with rising from slumber twenty minutes before your class starts, here are tips and tricks to look effortlessly stylish and avoid looking like a mix matched Christmas tree on those chilly strolls to school.

1. One can never fail with an all black ensemble: think Audrey Hepburn, Brigitte Bardot, Jackie O., or Angelina Jolie. Always a classic, and one that elongates and slims. Toss on a pair of black denims, paired with any black top and you’re set.

Just make sure to keep your proportions in check by pairing a loose top with fitted bottoms and vice versa.

on a variety of styles, cuts, materials and shapes to find the perfect coat to match your style. Look for stores that offer a wide coat selection or go the vintage route for something more unique. A great coat is the cherry on top to any bone chilling winter outfit, and when you’re in a hurry, putting on a well-tailored coat creates a polished looked.

2. Don’t limit yourself to jeans and a tee in the mornings! Give Queen’s lectures the class they deserve (pun intended.) An outfit with flare includes one with a dress, and is truly the outfit to put together. To avoid looking too formal, throw on a chunky knit, or sweater (shrunken fisherman sweaters work well) overtop for more of a casual vibe.

5. Accessories are an easy way to turn your outfit from boring and basic to shiny and eclectic. Look to vintage costume jewelry for solid art deco pieces or beautiful rhinestone sparklers that can be paired with anything from a tee shirt to a fancier top.

Scarves can be worn innumerable ways: when you’re in a hurry tie one through belt loops, or use one as a base layer to wear under a loose tank top. Conversely, bypass a regular headband for a colourful scarf or just sling one around your neck for an easy pop of colour.

3. Get more use out of your skirts by pairing with a loose crew neck sweatshirt or baggy tee shirt. Toss on your comfiest top, add a pair of black tights and your dressed down skirt will work perfectly for class.

Aim for seasonless dressing by layering and wearing tights to make your summer dresses and skirts last through winter.

4. Never underestimate the effects of a beautiful winter coat! Take the time to try

Play around to develop your own unique elements of style that you can fall back on during those early mornings: wear your button ups with the sleeves rolled past your elbow or do the buttons up all the way. Now, feel free to press the snooze button a little longer and rest assured.

MUSE | 47

BEST OF AWARDS SEASON contributions by JESSICA FISHBEIN

48 | EDITORIAL

Sofia Vegara | Vera Wang

Shailene Woodley | L’Wren Scott

Rooney Mara | Nicci Ricci

Emma Stone | Alexander McQueen

Jessica Chastain | Calvin Klein

Michelle Williams | Valentino

MUSE | 49

e

H I P S T E R -ELITISMby SHANE SENECAL-TREMBLAY

H

aving friends in a multiplicity of interest circles, and myself carrying no bias from group to group… I’ve begun to feel the need to retort to an elite attitude from the (unself proclaimed) hipsters toward, well, everyone else! Further, I should point out that this 'attitude' I want to address, might just be the collective quality that constitutes the ambiguous "hipster" label.

These individuals have by my note, often chose to approach the cultural world with a hierarchical paradigm, and more often than not, place themselves atop it due to their a priori knowledge of 'cool'. In doing so, they endow themselves with the elite cultural status of "interesting". My honest feeling and reflection toward these people (and this attitude), is that: Many people, who purposely present themselves visually distinct from the masses, are merely taking their lame souls and shrouding them in a royal cloak.

I am not condemning all who choose to present themselves in a visually distinct fashion to this critique, but instead all those who harbour in them this attitude that

50 | LIFESTYLE

would scrutinize others for not conforming to their ideals. These individuals, with their interest linear friendships, seek to objectify 'cool', so to secure their footing in it… and then use it to critique all those who do not conform to it (and equally those who seek to bend some of its borders).

The paradoxical problem with objectifying and labelling is that: labelling something doesn’t change the object; rather it changes you by way of solidifying your opinion (thus mind) on the object that you are attempting to label (in this case, the 'object' being the rather subjective and metaphysical idea of 'cool'). In so doing, the individual relegates himself to an archetype of his cultural paradigm, without capacity for transformation and change… and in a community so interwoven with fashion (that thrives on, or rather, is defined by change), how can this incapacity for metamorphosis, not be a fatal fallacy?

The interesting person must be judged by one criterion alone… the quality of their answer to the question: What do you love? …

And can any empirically observable quality, do you suppose, serve as a good indicator toward the quality of an individuals answer?

eling Reel Feeling Reel Feeling Reel F Reel Feeling Reel Feeling Reel Feelin an article by ANDREW BURROWS

D

o you ever wonder what your professors do at home? Have you ever let your mind wander into car-crash kinds of thoughts? Do you ever wonder, top or bottom? Excuse my mind that you call disrupted, but welcome to the underground.

We see each other everywhere, and yet we refuse to give away our names. If not invited inside, I suppose all we can really do is postulate what the inner critters of our neighbors must be like. What is that, and what are we doing after we (fail to) clean our messes generated by (are they bruschetta bagels?) before bed? How addicting such thoughts can become. To follow someone, invisibly, and to discover their evening ritual. The naked time and place for any individual.

Do you too tend to separate your Self from the clump that is all else? With separation comes isolation all around us, all the time.

Sitting at a Starbucks, watching the green flaps of the barista’s apron flop around busily, I become aware of each individual and the loneliness sets in. Detached units.

I could exchange words with anyone here, but I experiment with the art of being a loner and bathe in seclusion instead.

Deep sea psyche diving can be so consuming; we are all unlicensed swimmers.

I remember the profound moment, mentally isolated, when I realized my Self . This sense of voice is inaudible. The self is an immaterial, inexplicable, undyingly confusing, seemingly unending... thing.

Once with your Self , you are confronted with other selves, other introspective aliens

with much in common. Other Selves may seem completely foreign to you, but based on the fact that we all look similar and take shits, we have at least that little bit in common. Once you assume of your human counterparts a similar shade of consciousness, you are welcomed into the word of blending and meshing.

Do you believe in energies? To investigate them, note the essence that other Selves carry with them, the colour that they hold, how their existence affects your own. Compare and contrast your personal blending with curly red from wavy blonde at Stauffer Cafe. Be patient in your recognition, and appreciate both the subtle and major variances between. Meditate on each entity as a separate organism. Breathe in the intricacy, and close your eyes to realize.

One of the most significant nights of my life unfolded at Alfies this year. Emotionally constipated, I became unplugged and felt the soul of another beside me, mixed in with my own. A syrupy, purple, yellowish fusion of ingredients. Lubricated with wine, I suggested a moment of uninterrupted eye contact without words to describe the sensation of sensing one another. I smiled at how much feeling we were participating in, sharing this moment. We both know that whatever unravelled, whatever colours came into creation, transcended definition. I now wear these colours when I notice myself becoming too much of a witness and not enough of a participant.

Have a staring contest with yourself. Have a staring contest with another self. No cheating.

“We see each other everywhere, and yet we refuse to give away our names. If not invited inside, I suppose all we can really do is postulate what the inner critters of our neighbors must be like.”

MUSE | 51

Capitalism Libertarian Socialism Communalism M Pacifism Individualism Populism Legalism P Choice Theory Egalitarianism Socialism Stoicism Utilitarianism Zionism Capitalism Legalism Indi Capitalism Libertarian Socialism Communalism M ism Pacifism Individualism Populism Legalism Choice Theory Egalitarianism Socialism Stoicism Utilitarianism Zionism Capitalism Legalism Indi Capitalism Libertarian Socialism Communalism M Pacifism Individualism Legalism Public Choice ry Egalitarianism Socialism Stoicism Individuali

Remember I Your Theory

have nothing against politics majors. I have friends in politics.

Well I have friends who study politics, anyway. In fact, it’s from a few recent conversations I’ve had with these folks that gave rise to the scattered thoughts presented neatly on the pages in front of you.

an article by BRENDAN HORGAN

Here’s the thing: I am a philosophy major. You may or may not already know this, but we’re few and far between these days, and in this consumerist day and age, that’s probably a good thing.

Don’t worry, we know we’re useless. We’re aware of all the laughter, all the jokes made behind our backs at our expense (What’s the difference between a philosopher and an engineer? About 50,000 a year. Ha-ha-ha) Laugh all you want— it doesn’t crack our hardened shells. We’re not in it for the money. At least, the smarter among us aren’t.

Why does this matter? It doesn’t, really. I’m just letting you know where I’m coming from. You know, because context is key and all that.

Anyway, it has come to my attention that many students of politics here at Queen’s—at least the ones I’ve talked to—generally dislike their compulsory courses in political theory. Politics majors, don’t get defensive just yet. I am not a fan of political theory either, and I have to study it too. We’re in this together.

The reason I don’t like studying political theory (which is basically political philosophy) is because it simply isn’t one of the branches of philosophy in which I am interested. This is not to say that I find one’s interest in politics discreditable. In fact, I believe quite the opposite— I am all for living in a better world and I fully hope that the politics students of today will improve the world of tomorrow.

52 | LIFESTYLE

Marxism Egalitarianism Nationalism Federalism Public Choice Theory Marxism Radicalism Social m Individualism Totalitarianism Transnationalism ividualism Nationalism Radicalism Marxism Marxism Egalitarianism Nationalism Federal Public Choice Theory Radicalism Social m Individualism Totalitarianism Transnationalism ividualism Nationalism Radicalism Marxism Marxism Egalitarianism Nationalism Federalism e Theory Marxism Radicalism Social Choice Theoism Totalitarianism Transnationalism Utilitarianism As a philosophy student, I enjoy the luxury of being able to choose whether or not I want to take classes in political theory. My friends in politics… well, they are not so lucky. It’s natural for students to express repugnance towards the compulsory nature of these courses, and this typical knee-jerk reaction is perfectly reasonable. Few people like being told what to do, and as far as I’m concerned, that’s a healthy preference. But this isn’t the whole story. From what I’ve gathered, the opposition amongst students towards courses in political theory is rooted in more than just their ‘being compulsory’. One common complaint I’ve heard from my politically-minded contemporaries is that they simply aren’t interested in theory, that they’re more concerned with reality.

Fair enough. After all, we do indeed live in the ‘real world’, a world in which theory is, by definition, abstract and the necessity of practical concerns and considerations is inescapable. It seems to me, however, that in the timeless ‘idealism vs. realism’ debate, realism has been replaced by pragmatism and nobody— at least, nobody in politics— seems to have noticed.

What’s the difference? In short, idealism and realism both pertain to ontology— the study of the nature of existence, or being. Pragmatism, on the other hand, is not ontological whatsoever. It is the theory of cold, hard practicality. With such an approach, nothing ever really changes. In pragmatism, tradition becomes indoctrinated, fundamentally debasing the concept of genuine change to the pathetic form for which we know it today: ‘practical refinement of the current system’.

Political theory is taught because it is the intellectual context from which the current political system as we know it comes. The university is the essential institution for one’s education in these mat-

ters. From what I’m told, unfortunately, political theory largely goes unmentioned in most Political Studies courses. Instead, what is apparently taught and discussed are the conditions, motivating factors, and impacts of specific political matters and events. This is political history, not theory.

What is most troubling is this idea of people coming out of universities with degrees in politics who have never really, fully considered the nature of the accepted political system in which they intend to participate. One’s time at university is invaluable for this type of consideration. Once we graduate, we will have no choice but to accept the status quo and do our best to keep our heads above water while in it. In taking political theory courses, students in politics should be embracing this one opportunity to conceive of entirely new, novel forms of the political system. The university is by definition independent of the real world; it belongs to the world of academia. Why not use that independence to create new political ideals, ideals that might make the real world in which we live more desirable?

I hate it when I hear people justify things like capitalism and democracy on the grounds of them being “the best we’ve got”, and I hate it even more when these justifications come as a result of their education.

Don’t get me wrong, I’m not anti-capitalism or anti-democracy— but I’m not in love with them either. I’m just holding out for something better—something I was hoping today’s politics students might have in store for us tomorrow. Who knows? Isn’t it possible that a fuller understanding of political theories could lead to a discovery of even better political ideals?

MUSE | 53

YOMO [yoh-moh]

#YOMO

Taking from Drake’s words of wisdom (always), we adapted YOLO (you only live once) to YOMO, slapped on a hashtag for some swag and made it what it is. Because you only muse once.

Photographer / KATIE MICHIELS Models / MUSE

E X P L A I N I N G O U R S E LV E S

ZT C

Z T C 54 | EDITORIAL

Muse Magazine was always meant to be simple. It began as a collection of vague ideas, enveloped in a blanket of ambition and naivety back in 2010 between three friends. What we envisioned to be a creative publication quickly became more than 64 pages of neatly organized images and text. In two years, Muse grew into a creative incubator to showcase and foster the ubiquitous, yet often shadowed creative talent on campus. After two years of riding on a steep learning curve, we have figured out our ikigai, or purpose: our promise to you, as a collective of strange minds and quirky personalities is to keep this creative platform alive for all of you wild children in this limestone bubble.

Yours creatively, Zahra, Tamara and Cherie

LANGUAGE & BEAUTY Personally, creativity is a language that must be shown and not spoken.

It represents the pouring out of emotions, considerations, and questions which are not explained simply. Creativity is life, movement, imagination-beauty.

/ AMY

“

Creativity is exploration. With the proper structure, inspiration and imagination, creativity is our tool to surpass any challenge we are presented with. Creativity is innovation.

/ MANZ

Creativity is making something completely from scratch. Something that has never been done before. Something that you can call your own. / WEBB

EXPLORE & INNOVATE

MUSE | 55

UNLEASH THE WILD CHILD “Creativity liberates the way we think and allows us to wander without tiptoeing around rules and norms. It may very well be the only antidote for our inevitable preference for status quo as we age.

Creativity is what unleashes the uninhibited wild child within all of us.” / CHERIE

56 | EDITORIAL

M

MUSING

A PHENOMENON

O N C R E AT I V I T Y “Creativity is taking somedescription here dething from scription here denothing and scription here producing description here desomething scription here dephenomenal.” scription here description/ ZAHRA here description here description here description here descripti

MUSE | 57

Untitled a creative story by MATT TURANO

58 | LIFESTYLE

“Thank Christ,” the first voice says. “It’s so goddamn loud out there.”

“Yeah,” says the second one. “I’m starting to feel deaf.”

I hear a belt buckle clang against a urinal.

“I know what you mean. My ears are ringing pretty badly. I’d be more worried about it, if I wasn’t so goddamn wasted.”

“Yeah, I’m fucking hammered.”

They laugh.

“Good night so far?”

“Yeah man. Porter’s killing it.”

“Oh I know. He’s great at playing the crowd.”

“Yeah. I mean, he’s keeping the show pretty mainstream. But his transitions have been good.”

“Yeah, they have. And he’s got great energy. Like,” the first voice pauses. “Everybody seems really into it, you know?”

“That’s because they are,” the second assures. “Hell, I’m having a great time.”

“Oh for sure. Me too.”

One tap gets twisted, then two.

“Holy fuck. I’m so sweaty.”

“Yeah, but so are all the chicks. And there are some sexy ladies out on that dance floor.”

“Hey you don’t have to tell me. I’ve been scouting the talent all night.”

They laugh.

“Have a good night, bro.”

“Yeah, you too.” the closer voice says.

The thumping beat of the club fills the air. As it fades, the beat of my racing heart only gets louder. With a deep breath, I open up the door to my stall.

“Whoa.” The guy who had been checking himself out in the mirror says, startled. “I didn’t think anyone else was in here.”

“Yeah, well. I was.” …

“I don’t think that one works,” he says, referring to the soap dispenser I am pounding on. “Try the others.”

I ignore him. “Say, bro. You from Kingston?”

“No, I’m from Toronto.” …

“Are you?”

“What?”

“Are you from Kingston?”

“Yeah,” I say, my eyes darting from him to the only exit and back.

“Yeah, I’m from here.”

I make my way quickly to the door.

“Where are you going? I told you, the other soap things work!”

I slide the lock into place.

“What are you doing that for?”

“Shut the fuck up and empty your pockets.”

“What?”

“I said, SHUT THE FUCK UP.” “Whoa, whoa. Take it easy, man. I’ll give you all my cash.” He slowly reaches into his pockets. “There’s no need for knives.”

“Yes there is.” I mutter, looking away.

“Here. Here’s thirty bucks. It’s all I have.”

I glare at him.

“Fuck, wait. I think I’ve got some change. You want it?” He spills some coins onto the counter. “Here.”

“I don’t want your fucking quarters.”

“I just thought-” “Well you thought wrong.”

“Sorry.” …

“Your phone. Give me your phone too.”

“No problem. Here, take it.”

His hands are shaking as they reach towards me.

“Hey.” I point the knife. “Watch your fucking hands.”

The phone falls to the floor. He winces.

“Pick it up. Slowly.” He does. “And don’t come any closer. Just put it next to the money.”

“Okay, I’m sorry. There.” His voice is shaking now. “I wasn’t trying anything, you know.”

I say nothing.

“C-can I go?”

“No. We’re not done yet.”

“But you have my phone. And all my money. What else is there?”

I look at the knife. Then back at him.

He follows my gaze. “No.” He starts crying. “Oh God, no. Please.”

“Shut the fuck up.” I falter. “Don’t make this harder than it needs to be.”

“No, no, no. Please,” he begs. “I’ll give you anything. I can go to the ATM right now and take out five hundred bucks. I’ll hand it right over to you. I swear.”

“It’s not about the money. You don’t understand.”

There’s a loud bang on the restroom door. We both jump.

“What’s taking so long? You trying to piece him back together in there, or what?”

“Who’s that?” He asks, becoming frantic. “What is he talking about?”

“Don’t worry about it.”

“NO!” He is now wailing. The tears pour down his cheeks. “This can’t be happening. It’s got to be some kind of joke, right?”

His nervous laughs turn into sobs as he collapses onto the grimy tiles.

“WHY ME? I didn’t do anything wrong! I don’t deserve this! Look, I have a family who loves me. Friends who will miss me. I haven’t even done anything with my life yet!”

I look away.

“WHY AREN’T YOU LISTENING TO ME!?!”

“HEY!” The booming voice shouts.

“Now you’ve done it.”

“WHAT’S GOING ON IN THERE? QUIT BEING SUCH A PUSSY AND GET IT OVER WITH.” “Hear that? That’s my buddy. Unless you wanna meet him, I suggest you keep your fucking mouth shut.”

He whimpers.

“Why you? Because you had it all. Your entire life, if you ever wanted something, all you had to do was ask. You were given the world; you could have done anything you wanted. But what did you do? You got wasted. Plastered. Shitfaced. Night after night.

And now it’s over. Boohoo.”

The knife slips in silently, effortlessly. He tries to put in a word of protest, but another swift jab turns his words into a muffled gargle. I wipe the blade on his shirt, stuff the cash in my pocket, and leave.

MUSE | 59

hope and trembling

an article by TYSON BARNES

“O despaired, here is my neck:

By God! You shall not go down! Hang your whole weight upon me.”

I used to work in corporate. Days began with caffeine and got book-ended by a heavy glass of wine. So goes the whitecollar purgatory: a limbo spent between stimulants and depressants with neither taking you all the way to Acheron.

It’s unsettling at first, to witness the public-transit faces.

Time melts and drags their features down into hot waxy pouts.

I’ve heard that eventually we all get the face we deserve. If that’s true it’s still hard to imagine yourself as molasses, drooping under the weight of your own gravity.

Every morning I’d disembark from the train with my very own, particularized tragedy. Each time I’d pass a man sitting on a milk crate by my office. Beneath an old fisherman’s coat his legs sprawled out, bony inconveniences to those striding above and around them. A beard covered most of his face. The remainder was creased like a worn out baseball glove. He had this electric grin that arced his otherwise calm eyes upward into two blue bolts of forked lightning.

He never moved for five years. Whatever the weather, on my walks from the train station he remained catatonic on his crate. When it rained I watched his shivering silhouette. The lightning fought on from behind his matted locks of wet hair.

A black flurry of suits, heels and top-coats seemed to surround him at all times. Across the street, cocktails gesticulated success from beneath patio umbrellas. It’s difficult to see yourself in a prison shaped like another man, to feel the dull interminable pain.

When he went missing I took little notice at first. My somnambulant walk from terminal to terminus remained the same.

Rain came irregularly. It wasn’t until I was trapped inside the building by the thunder and lightning of an arbitrary day that I thought of him again. I took my cigarette outside. A co-worker went through a book of matches, tossed them aside, then used his lighter. We gave one another waxy gazes, each breath enlivening the dying embers at our lips. The indifference of his expression seemed more practiced than won over.

Sitting on the front step of our building I threw my hands over my knees and exhaled what remained. My co-worker went inside. It was then that I saw the man again. He was on a bicycle, rushing past the sidewalk pedestrians who had coats drawn over their heads. His open mouth revealed a shattered smile. The teeth formed a broken picket fence. Who knew what dream they once guarded? Panting, he flickered briefly beneath the incandescence of a red street light before getting lost in the dark. I lit another cigarette, watched the smoldering end draw closer to me and thought about quitting.

60 | EDITORIAL

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244 Princess St