Revival Magazine - Birds & The Bees Issue by Revival Magazine

BIRDS AND THE BEES

UP DOWN ARCADE GAMES, CRAFT BEER, COCKTAILS

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Contents

Birds and the Bees

Ta b l e You Better Shape Up 030

of 8 10 14 20 24 30

Beard and Loathing The Envy Corps Bee-Jeweled In Color Ag Is Sexy You Better Shape Up

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Ag Is Sexy 024

Con En Fleur 050

38 43 50 64 70

Living Positive Show Me The Honey En Fleur Best Prepped Secret Sexualization of Instafashion

tents

Contributors

ISSUE 7

Birds and the Bees

CONTRIBUTORS LANDON PEOPLES A writer and fashion blogger from Louisiana, Landon Peoples is a first time contributor for Revival Magazine. With an internship at Vogue already under his belt, this student in New York City is one to keep a close eye on.

KYLE KEIGAN EDITOR IN CHIEF

MATT OSTERBERG TREASURER

ANDREW NELDEBERG PR & ADVERTISING DIRECTOR

JAMES PERKINS PHOTOGRAPHY DIRECTOR

DESIGN

JAMES PERKINS James Perkins joined the Revival staff late in the semester but his talent for photography was quickly put to use. The sophomore in advertising likes long walks on the beach and romantic talks in the sun. Perkins is inspired by nature and the Buddha.

JOE SUMMERS

RAQUEL CASTRO

DESIGN DIRECTOR

Alex McDaris - Allyson Miller - Austin Coss - Chandler Johannsen Dustin Edle - Kaitlyn Johnson - Lu Lawrence - Jay Rewerts

FASHION SIMON GOETTL FASHION DIRECTOR

Allie Turcotte - Denisha Mixon - Emma Wilhelm Nicole Putz - Sara Diressova - Susan Van Helten

EDITORIAL ELAINE GODFREY EDITORIAL DIRECTOR

ALLIE TURCOTTE Allie Turcotte, originally from Cedar Falls, is a senior in Apparel Design with an emphasis in Creative Design. She enjoys tattoos, British music, Edie the cat, and Brazilian men. Allie plans to finish school in London and continue studying professional styling, millinery, and couture techniques.

Catherine Dunbar - Lauren Grant - Ouma Amadou Greer Brown - Taylor Ward - Denisha Mixon

PUBLIC RELATIONS Jordan Colby - Nick Meinecke

SPECIAL THANKS Jennifer Drinkwater - Sarah Hanson - Reiman Gardens AimĂŠe - Badowers - Proper - Flowerama - Vanity & Glamour, Ilsa Dewald

Funding provided by Government of the Student Body

Revival Magazine

ISSUE 7

Birds and the Bees

Editor’s Letter

EDITOR’S LETTER Seemingly ages ago, back in the dead of the endless winter our staff gathered around some warm drinks to discuss the direction and themes of this now completed issue. We wanted an issue to exemplify new ideas but also align with what the campus community desired to see. Reflecting during the chilly evening, the obvious pull was towards spring–the natural fresh perspective. New life, away from the drudgery of responsibility and school time, answering an animalistic desire to seek enjoyment from the outdoors. And thus, our birds and the bees idea sprang to existence, not only to represent sexual exploration but also self discovery. Sometimes, it’s a rediscovery. To be able to revisit the people we were before winter hunched our stances and buried ourselves in books and hoods is a gift granted by the turn in weather. Students stream out of university buildings and take places on the lawns–common spaces for gathering and conversation. Our intentions lie in not only depicting that which is “new” visually but also to spark conversation about what appeals to us and why. Everybody lives their own novel, and some people have written some excellent chapters this year. Our spread “En Fleur” features the divine works of Whitney Rorah and her story as she sets off into the next great endeavor. Spring sunshine not only highlights our successes, but it also allows us to view our troubles in a new light. Although the hardships themselves may not have changed, our mindset can provide a whole different experience. As Quentin shows us in “Living Positive,” we can stand up in the face of adversity not only for ourselves but as a guiding force for others. This spring forecasts the dawn of a new era at Revival. I will be saying my goodbyes and tying up loose ends as I step into the world beyond college. It’s always difficult to step away from something you have created. You feel a sense of ownership and belonging–a sense of home. This magazine is an exploration of home–of our artistic minds and the community which supports them. Creating Revival has allowed me so much room for growth and a deepened understanding of loving a work of collaborative art. This magazine is not just another school project or resume builder; it is a place to develop ideas and see them take a form or direction often unexpected. After all the deliberation, discussion, and final decisions, we get to celebrate this freedom of expression and share it with our community. And, after all that this three year experience has given me, I have the opportunity to pass it on and see the growth continue. Springtime sets the mood perfectly with the air full of new things to come and the reality that seasons and time pass by quickly. Breathe it all in, experience it, and turn our pages with care as you look upon this labor of love.

KYLE KEIGAN Editor in Chief

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Music

Birds and the Bees

THE

ENVY

CORPS

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A SPRING AWAKENING Text

TAYLOR WARD Photography

THE ENVY CORPS Design

DUSTIN EDLE

uke Pettipoole, an Ames native, kicked off his musical career at Ames High School in the early 2000s. By 2001, he had thrown together his own little band: The Envy Corps. In 2004 they released their first album “Soviet Union” and, with the support of local radio stations, had an instant fan following. In 2004 they released their first album “Soviet Union” and, with the support of local radio stations, had an instant fan following.

One of these fans happened to be Brandon Darner, then a member of the band To My Surprise. In need of an opener for that night’s show, Darner contacted The Envy Corps’ manager and booked them as his band’s opening act. After a great show, Darner and Pettipoole took some time to jam together and found that they loved the way their sounds meshed. In that moment, Darner made up his mind to leave his current band and join the Envy Corps. With Darner’s accompaniment, the band signed with Mercury Records in 2006 and released their first album, “Dwell,” in 2008. Wanting to be free from the creative constraints of a recording deal, The Envy Corps decided to produce their second and third records independently. “Kid Gloves” debuted in 2009 and “It Culls You” in 2010. After a wildly successful tour opening for Imagine Dragons, The Envy Corps is back in the studio, working on their fourth album. We met with Brandon Darner in late February to chat about the band’s recent successes and plans for the future of the band.

R: Do you think it was the right move to leave To My Surprise for The Envy Corps? Absolutely. The thing is, if you’re the kind of artist that desires to be collaborative, it’s very important to find the right fit. I knew the first time I played with Luke that whatever I was doing with my other band wasn’t nearly as good or special. Luke and I have a very special partnership. We’re capable of accomplishing things together that I think we’re not capable of accomplishing separately. Is there one person who does a lot of the songwriting or is it a collaborative effort? All of us have a share in the songwriting, but Luke is definitely the main creative force of the band. So Luke will come up with a song idea, whether it’s a riff or a chord progression, and it will be a basic idea of how he would like the song to sound. I write some melodies, but its always in reaction to what he’s brought. Do you feel like there is a niche audience that you’re writing your music for? I wouldn’t say there’s a particular audience that we’re writing for. I

don’t think any of us think of it in those terms. I think that we have a pretty strong idea of what we perceive The Envy Corps to be, but that’s constantly changing and evolving. As much as we have a strong sense of what The Envy Corps is, we have a really strong sense of what we’re not. So all of us are pretty clear in the things that we would not want to do. We don’t set up to work on a song and think “our fans are really gonna love this”. I think we have to satisfy ourselves first, musically. We’ve attracted fans over time, and we’re grateful that we have a crowd that seems to dig what we do. What we’ve found is that the more strongly we feel about a direction that we take, the better people tend to respond.

Do you feel that there’s a theme for a lot of the band’s music, or is there something that you draw a lot of inspiration from? Certainly a lot of the lyrics center around Luke’s personal experience, and I really like that. Some people would say if you write universally themed music, like if you write music about world problems or something, that people can relate to it because everyone knows about that issue. I find the opposite is true. I think the most personal you get, the more specific you can be about your own experience, the more likely it is that people are going to be able to listen to that and pull from their own personal experience. If you’re talking about difficult times you’re having with your girl or with relationships or whatever it is, odds are people can relate to that rather than talking about, I don’t know, saving the whales or something. For me, lyrics that are coming from a personal place are always going to be my favorite. Luke’s written some very raw songs, and those tend to be the songs that are most popular to play live and the most popular among our fans. Songs like “Baby Teeth” or “Rooftop” or “Gold Rush” or “Given All Up” are very personal songs to Luke, and they’re often the songs I’m most excited to play because of how straight to the point the lyrics are.

How would you say producing for Imagine Dragons is different than producing for your own band? Every band is different, of course. Producing The Envy Corps is different because, you know, now Luke is working with me in production and Micah is my engineer. But producing The Envy Corps is much more of a collaborative effort, and everyone in the band is very, very smart when it comes to recording, and everyone has very strong ideas. It’s much more of a democratic thing in The Envy Corps. We’re making records together so everyone is going to have a fairly strong say in how it should be because we know each other so well.

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When I’m producing other records, I’m producing it mostly by myself. Maybe the band is co-producing, but it’s much more of me in a leadership role. So, in The Envy Corps, there are more cooks. Everyone in the band is like a master chef. So it’s like, any one of us could get the job done, but when we get together, it’s really special. It’s just different when I’m producing a record because there’s not three other producers in the band.

It’s impressive that you can all get along and not have butting egos… Oh, we have our times. Definitely. You know, we’ve been together a while, and we’ve experienced a lot together. I think we’ve had as many rough times as we’ve had successes. I feel pretty strongly that we haven’t ever failed as a band musically. We’ve always worked really hard at our music, and I think that’s what we’re best at. We really work on our relationships with each other because we know how important that is. We know so many bands that are brilliant that have fallen apart because of personality breakdowns, and people that used to be really close that got famous and got rich, all the sorts of things that kind of tear you apart. I think that all of us are pretty keenly aware that the likelihood of us going out and joining another band that’s as good as The Envy Corps is not very likely. We all really love and care about each other, so we’ll try and maintain our relationships the way you would a marriage.

Do any of the band members have “day jobs?” We all have other ways that we make money, but that is not a preoccupation to any of us. It’s what we do so we can get to the next part of making music. It’s something where we think, “Fine, I gotta go do this job so we can go on tour or so we can make a record. Cool.” We all have other things that we do. Like I said, I produce. Luke and Micah work with me. Scott has his own band with which he’s putting out a record this year called “Candy”.

Interestingly, about that, Luke and Micah and I produced it. We were all there the whole time. We’re all very close, and we’re all helping each other with the other records that we’re doing outside of The Envy Corps.

How do you think your new album will compare to your previous three? It’s still a little early, but one thing I think will be a little more clear this time around is the amount of things that are inspiring us musically right now is a lot broader. There’s all sort of things that we find inspiring right now. On certain records we were really big on harmony or we’re digging beat music or something like that. There were a handful of things that we were really focused on. Now, it really feels like it’s wide open how we’re digging hip-hop. We’re digging straight up rock music. There’s elements of EDM that are really interesting to us. It’s hard to say, but I don’t think we’re gonna put out an EDM record, we’re not gonna put out a rock record and we’re not gonna put out a Jazz Fusion record or something. It’s gonna be this mashup of all of these influences.

Will you have anything ready for the fans this spring? It’s possible but one thing I think we will have ready is we’re putting out a live video that we’ve been working on for the last year. It’s called The Envy Corps live at ARC. It’s a live video we made of us recording the entire “It Culls You” album in the studio that we recorded at. It’s a six camera shoot. We shot us performing the whole album, and we’re not necessarily professional filmmakers, but we made it on our own. And it turned out really great. We’re very proud of it. We have one song that we released on our website...“Fools (Pt. 2)” is a sneak from the Live at ARC video. We’re very, very proud of it. It turned out really good, and now we’re just working out the details, but we’re gonna try and do some cool things around here for a premiere. There’s gonna be some fun things to do with that.

ANY ONE OF US COULD GET THE JOB DONE, BUT WHEN WE GET TOGETHER, IT’S REALLY SPECIAL.

FASHION, GIFTS, DECOR | 122 WELCH AVE., AMES IA

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Feature

Birds and the Bees

ISSUE 7

BEARD & LOATHING

The Veteran

The Original Beard

CLARK COLBY Architecture Master’s Program

JERRY RUPERT Assistant Director of Outdoor Rec

WHAT DO YOU LIKE ABOUT OUTDOOR REC? There’s a family bond within Outdoor Rec employees. Of course you’re going to bond with people when you go on outdoor trips...there’s something about surviving in the wild together.

WHAT DO YOU LIKE ABOUT OUTDOOR REC? I get to teach students everything about leadership and technical skills giving them opportunities to get them out in the woods. And I go on some of the trips.

DO YOU THINK BEARDS ARE MANLY? A symbol of a man is a beard because women can’t grow them. Wise men have grey beards. I recently discovered my first single white hair and check up on it regularly.

WHAT MADE YOU DECIDE TO GROW A BEARD? The greying beard, it’s sort of a Midwest thing. When I was clean shaven, my daughter said I looked like a monkey. So I don’t shave it off anymore.

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Text

CATHERINE DUNBAR Photography

CLARK COLBY Design

JAY REWERTS

New Kid on the Block

The Bike-Riding Beard

SAM BERRY Environmental Science

KEVIN BERGERON Sociology

WHAT MADE YOU DECIDE TO GROW A BEARD? I didn’t have a beard my freshman year, but in Fall 2013 the Outdoor Rec Program employees influenced me to grow a beard. My flannel collection has doubled since working there.

WHAT MADE YOU DECIDE TO GROW A BEARD? I had a beard before Outdoor Rec. With all the traveling I did it wasn’t practical to keep shaving, and I got lazy. I can’t deny the outdoorsy rustic vibe that comes with the beard.

DO YOU THINK BEARDS ARE MANLY? Beards are the future. The outdoors is the opposite of a professional environment, and beards belong in the outdoors.

HAVE PEOPLE TREATED YOU DIFFERENTLY SINCE GROWING A BEARD? I like the look of being a man. I feel like men who can’t grow beards might feel discriminated against. It’s a topic of constant discussion. It’s like part of the Outdoor Rec Program culture.

Revival Magazine

Fashion

ISSUE 7

Birds and the Bees

BeeJeweled

Photography

KYLE KEIGAN Fashion Editor

SIMON GOETTL Design

RAQUEL CASTRO

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PURSES FROM AIMEE

THIS PAGE: SUNGLASSES FROM PROPER, EARRINGS FROM RANDOM GOODS. OPPOSITE PAGE: EARRINGS FROM RANDOM GOODS.

THIS PAGE: EARRINGS & NECKLACE BY J.CREW, SHIRT FROM AIMEE. OPPOSITE PAGE: EARRINGS FROM RANDOM GOODS, PURSE FROM PROPER.

Feature

Birds and the Bees

IN C O LO R

Text

OUMA AMADOU Photography

JAMES PERKINS Design

CHANDLER JOHANNSEN

When I was nine years old, my Nana told me that I had two strikes against me: I’m black, and I’m female. She then looked at me seriously and said, “There’s no need to add a third.”

Revival Magazine

ISSUE 7

ut I didn’t become obsessed with society’s perception of my race and gender until I actually felt the sting of racism personally.

David was just an ordinary boy at my high school - nosey, but ordinary. During our sophomore year of high school, when he told me my grade after looking in our teacher’s notebook, I told him that I felt he had completely overstepped his boundaries. During our junior year of high school, when he constantly barraged me with questions about my scores in Advanced Placement and Honors courses, I told him repeatedly to leave me alone. I viewed David’s behavior as obnoxious; I never imagined that his questions about my intellect had to do with my race. During my senior year of high school, I thought I was finally rid of David; my classes were predominantly humanities, and his were in the sciences and fine arts. I just assumed that my shadow was gone, but I should have known better. I was sitting alone, working on my Latin homework, when David walked in. At this point in the school year, many of us were in the throes of college applications, and a few of us were receiving news about scholarships from public universities. I was, of course, forced to talk to him about college prospects. At first, our conversation was light; we were complaining about essays, talking about cool college visits and the general course load of senior year. Then eight deadly words spilled from his mouth: “So Ouma, did you get that black money?” I had to restrain myself from verbally assaulting him. Every fiber of my being wanted to slap him, shake him, do something, but all I could say was, “Well, David, since we are both minorities, I’m sure that you received some financial aid partially due to your race also.”

an exam. He had to find ways to prove that he was dominant. And by insinuating that I received my scholarships solely based off my race, he was denying my intelligence. When I picked up my mom from work, I offhandedly recounted the story and assured her that it wasn’t a big deal. But it was a big deal. For the next two weeks, I couldn’t stop thinking about it. Every time I saw David in the hallway or the gifted center, I went somewhere else. If people mentioned his name in a conversation, I left the conversation. The words “black money” haunted me. My mom knew it was bothering me and implored me to confide with a teacher to help fix the situation, but I never did because I was embarrassed. I was embarrassed because racism did not happen to people like me in 2013. Racism happened to people like my mom in the 1980s and to my grandmother in the 1960s. How could I explain that such a simple statement had left me completely raw? How could I share with someone, even someone that I trusted, that the words “black money” had triggered an obsession? How could I tell someone that those words made me reevaluate every experience I have ever had in my life, realizing that my life had been inundated with racial micro-aggressions and racism?

I began to stand up to leave. But David wasn’t finished, “Well no, that’s not true. You’re black and I’m Asian, so you would automatically get more.” At this point, I was gripping my binder close to my chest, on the verge of losing it, but I just replied coolly, “I’m sorry that you feel that way, but that is not true.” I exited the room, his words swirling through my mind. Every time I closed my eyes all I could see were the words BLACK MONEY in big, bold font screaming at me.

When I started my adventure at Iowa State University in June of 2013, with the Academic Program for Excellence (APEX) sponsored by the Multicultural Student Affairs Office, I still carried the wound of that statement. Being surrounded by only other multicultural students did not help close that wound, but I felt that I had found some solidarity. I realized that I was not alone and that nearly all of us had experienced racism throughout our lives. But at the same time I still felt excluded, even from people who shared the same color. Even when others had regaled me with stories filled with questioning about the validity of their relationships because of their race, I still felt isolated. I still felt the words “black money” haunting me. No one understood the pain that I harbored, but at the same time, I could not relate to their stories of going to schools filled with predominantly multicultural students or being a first-generation college student.

As I drove home, his behavior finally made sense. David always had to know my grades, because he just could not understand how a black girl could be smart. He had to always let me know when he performed better on

We were all students of color, weren’t we supposed to automatically understand each other’s paths? But during that summer with my fellow APEXers, I learned that there is no way to completely understand someone else’s path.

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When APEX was over, I briefly returned home, only to be re-consumed by the thoughts of the social construction of my race, gender and all my other identities. I drove around incognito fearing that I would see a former classmate, or worse a teacher, and be flooded with memories of racial micro-aggressions like, “You’re not like the other black people,” or “Ouma had a black moment!” or the dreaded, “Ouma is such an Oreo.” I longed for my return to campus, a place where I was free from those timeconsuming thoughts. But when the fall semester began, those thoughts took up permanent residence in my head. I could barely walk into a class or club activity without taking careful note of its diversity - or lack thereof. I quickly took offense to people who made statements tinged with cultural appropriation, intentional or not. I spent hours reading Bitch magazine and Colorlines constantly filling my Twitter feed with social activism scattered sporadically among tweets about tea. I yearned for a platform, someone to hear my story, someone to heed my advice, to write something to make someone think. I found it with this magazine. As soon as the words, “We really need some more ethnicity,” left his mouth, and I felt his blue eyes staring at mine, I knew I had found my in. There was no way he could have known that I had been itching for a platform to share my story. He wanted “ethnicity”, and I was going to give it to him. As we split up into our teams and I joined the other writers to brainstorm ideas, I instantly recalled reading a flier about the creation of a counseling group for minority students to discuss their experiences at a predominantly white institution. I used that as a way to leverage my idea of exploring the experiences of multicultural students. I could make my story, my experiences and my thoughts more interesting if I interviewed others and offered examples of the “student of color experience” at Iowa State University. I fantasized that my first interview would go perfectly. I only knew a few details about him, but I still imagined that through our interview, we would find a connection. My interviewee would recount his greatest racially charged wound, allowing me to feel comfortable enough to share my pain. From there, the conversation would flow for hours, discussing everything from intersectionality to feminism to race in America. And I would feel that connection, that

moment when another student of color could truly understand my experience, my pain, and my annoyance at the status quo. But my first interview did not go that way. Instead, it was clear that Young Desanti, an Asian-american male, did not carry any racially charged wounds. He had lived his life unharmed. It was clear that as Desanti talked to me, he respected me as a person and did not see me just for my race. Even knowing this, as he talked, every fiber of my being was drenched in disbelief and embarrassment. Of course, as I talked to Desanti, I was all smiles and uh-huhs and appropriate nods. But inside, I could not believe that I had created such a grand fantasy about finding solidarity with someone. I was not upset with him because he had not truly hurt me or caused me embarrassment; it was all self-inflicted, based on my ridiculous belief that I would discover a common “student of color experience.” As I continued to interview people, I still found myself waiting for that moment of connection. I found it in my second interview. Every statement Cimone Wright said resonated with me, and I could feel the connection between us. We had previously met at the Women’s Leadership Course, both of us sharing stories about our “big chops” and experiences about having short, natural hair typical of African-American women. The interview felt easy. Wright answered every question like I had hoped. After the interview was over, we talked for nearly two hours about our families, our lives and classes in general. I left feeling elated that I had finally found that solidarity I yearned for. But then it hit me; Wright had shared her pain and her triumphs with me, but I still did not feel comfortable enough to share mine. Even with the connection, the laughter and the jokes, the agreement about stereotypes of black women, I feared that my pain was not as great as hers. As a World Languages and Culture major, diversity is extremely valued, and I feel very comfortable. While the racial diversity is not always visible, I feel valued as a student. No preconceived notions are holding me back. She, on the other hand, was a computer engineer, a field where both women and African Americans are minorities. As a senior, Wright recalled having to prove her intellect and self-worth by ensuring that her computer code was nearly flawless in group projects. In my new major, I no longer have to prove my intellect and self-worth. I started Iowa State majoring in Global Resource Systems and left, mainly because I felt that I had to prove myself. When one of the professors alluded to the fact that I would not be successful outside of that major, I knew that it was time for me to go. I would not tolerate

being belittled, so I moved to a community where I was valued.

HE JUST

While Wright had to build a large network of support and spent many years proving her talent, I felt that I had almost taken the easy route, by leaving my major instead of fighting for my place. I could not help but feel that my experience was inferior to hers. How could I tell her that my greatest moment of racism was someone asking me if I had received that “black money”? Once again, I had to remind myself to stop comparing my experience as a student of color with the experiences of others. But I wasn’t able to fully realize this until one of my last interviews.

COULD NOT

I could tell that I was making my interviewee, Alyssa Maristela, an Asian-American woman, uncomfortable. She fidgeted in her seat, absently touching her black hair while she paused between her answers. She looked to me for affirmation that she was saying the right thing. I could have done more to make Maristela feel better, but a part of me enjoyed her visible discomfort, watching her being consumed with the thoughts that constantly plague me. “There are just some things that I wouldn’t understand,” Maristela said. My ears piqued. I immediately felt the weight of all of my actions. My zealous mission to make others understand my life, my experiences, my stories and my thoughts. That statement put everything into clarity. No matter how hard I pushed, or talked or wrote about my experience, some people would not be able to understand it. In the same turn, no matter how hard I tried, I would not always be able to understand another’s story. I let myself be swept up into a belief perpetuated by ignorance that all people who share a certain quality, will be able to understand each other’s story. That all people of color “get” other people of color. I learned that the only way I could feel comfortable enough to share my story is by first understanding that it’s my experience – and my experience alone. It does not have to meet someone else’s expectations of painful or scarring. Others do not have to understand how that spurred my obsession with the social constructions of race and gender. This girl’s seemingly simple quote set me free. Free from the idea that I always have to find connections with my fellow students of color. Solidarity can exist without the discovery of some single, definitive “student of color” experience; there are some things that I will never understand, but I will always try to support my fellow students of color, whether or not their story mirrors mine.

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UNDERSTAND HOW A BLACK GIRL COULD BE SMART

A G S

Text

ELAINE GODFREY Photography

JAMES PERKINS Design

ALLYSON MILLER

ISSUE 7

Birds and the Bees

Feature

It employs over one billion people – that’s one out of every three workers on the planet. The United States spends over $100 billion on it annually, and it generates $1 trillion worth of food across the globe. Without it we would starve.

griculture is a word most of us associate with farms, baling hay and mucking stalls. When we hear it we see dirty boots and leather-skinned farmers, straw hats and pickup trucks. But today, agriculture means something different; it means offering solutions to the world’s toughest problems, like mitigating the effects of climate change and providing enough food to sustain a population quickly approaching nine billion. And as the field of agriculture takes on a new focus, it also comes with a brand-new slogan: Save the world.

realizing what a pivotal role agriculture will play in the future of human existence. “Students are better informed today than ever before about global events,” Acker says. “They’re better traveled, and they feel more of a sense of responsibility about the world.” Acker has worked in agriculture for his entire life. He travels, on average, 70 days per year, holding meetings in Bangkok and conducting research in Tanzania. Acker has spent time working with impoverished families in the South Bronx and Appalachia, and he speaks conversational Greek.

Dr. David Acker, associate dean in the College of Agriculture and Life Sciences (CALS), says more and more young people are coming to study agriculture at Iowa State because they are

“One-hundred years ago, when my grandfather was starting to farm, it was a business. He was delivering milk within a 20 mile radius, and that was it,” Acker explains. “Today,

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agriculture is truly global. It’s got the potential to solve world problems.” Today, college students are concerned about more than just learning the science and technology behind agriculture. They want to understand it, apply it and see their work change the world. Iowa State has always emphasized agricultural, and through its efforts, students have gained leadership positions across the globe, a global network of more than 100 different countries. “Because we have this knowledge base, we feel a sense of responsibility in the world. Whether it’s working with a developing country or down the street with farms in Iowa, we found that working on both is much more in line with who we are.”

This summer, Iowa State University will host one of the largest international agricultural events the college has seen in decades: the 2014 IAAS World Congress. The International Association of Students in Agricultural and Related Sciences was started in 1957, and its members span the globe. The IAAS Iowa State chapter from Sweden to Seattle to address issues of food security and international agriculture. “We need friends for when things go bad,” Acker explained at the World Congress kick-off in early March, emphasizing the need for a global network. This July, nearly 100 student representatives will travel from countries across the world to visit Ames, discuss the agricultural implications of population growth and work to find solutions. The discussions will be student-driven and the solutions student-led. After all, agriculture’s future is in the hands of young people. Senior Jonathan Mahoney has spent his entire undergraduate career studying horticulture – specifically focusing on the production of fruits and vegetables. Mahoney spent last summer at Cornell University as part of the Summer Scholars program, working for months to improve the genetics of the willow shrub. “Here’s a crop that we’ve always used in the landscape, and we’re innovating that into bio energy,” Mahoney says. “Our fuel needs.” There is no better place to start solving problems of food security and climate change, Mahoney says, than within the field of agriculture. “It doesn’t become a job, necessarily, or a career,” Mahoney says. “It mostly turns into a lifelong journey creating a universally healthy world.” During the fall of 2014, Mahoney will be traveling to the U.S. Virgin Islands as part of the Education and Resilience through Horticulture Program. He’ll be teaching native people how to produce nutritious food sustainably – on an island that’s 90 percent forest, with very little arable land. “We are in the process of making agriculture sexy. If you step back 20 years ago, banking and finance were sexy,” Mahoney says. “But I think ag is starting to turn that way. Our generation and generations after us will be attracted to this industry.” There are currently 925 million people who go hungry every day throughout the world, according to the United Nations. And by 2050, there will be two billion more people living on the planet. But agriculture, says Acker, will be the key to ensuring food security.

“As that problem continues to worsen and become more urgent,” Acker says, “students will want to step in and say they want to be part of the solution, rather than the problem.” And research shows students already are. According to the USDA, five percent more college students have graduated with expertise in agricultural systems, renewable energy and the environment in the past five years than in years before. The U.S. Department of Labor predicts a huge growth in food, energy and environment jobs during the next five years, as well. The need for environmental specialists, food scientists and biochemists is expected to increase by as much as 40 percent. Although Iowa isn’t a big state, ISU has the third largest agriculture and life sciences college in the nation, after Texas A&M and University of California, Davis. “Both of those states have incredibly high populations,” Acker says, “so we’re in the big leagues.” Since 2005, enrollment in agricultural programs at Iowa State has grown by 75 percent. Today, the College of Agriculture and Life Sciences has a population of roughly 4,000 students studying a wide range of majors, including animal ecology, environmental studies, agricultural business, agronomy and microbiology. In 2002, Iowa State was the first university in the country to start a Sustainable Agriculture program for students who wanted to learn about sustaining the global food supply for a growing population. In 2009, they created Global Resource Systems, a major which focuses on not only agricultural development, but addresses the impacts of development in a holistic sense – at a social, political and environmental level. It’s one of only two Global Resource Systems programs in North America.“People who come to Iowa State think of the ag students as the people wearing the cowboy boots on campus.” Ella Gehrke is a freshman majoring in Global Resource Systems. She’s passionate about global health and women’s empowerment. She’s not wearing boots. “I think that there used to be a stigma associated with agriculture, that if you were in the College of Ag, you came from a farm,” she says. But Gehrke grew up in Des Moines and participated in the Des Moines FFA, the only urban agriculture program in the state.

Revival Magazine

“Our generation is more globally connected, and we’re wanting to learn about these global issues that are going on,” she says. Gehrke has visited El Salvador twice, helping local people whose crops had failed due to severe drought. She plans to travel to India this summer to study the relationship between agriculture, sanitation and health. She hopes to work with women to teach nutrition. “Women are very important in the developing world,” Gehrke explains. “Focusing on them with nutrition and health is important because they feed the family.” Regardless of whether she decides to go to medical school or the Peace Corps Master’s Program after graduating, Gehrke knows she will spend her life trying to make the developing world more food secure. And she’ll do it through agriculture. “You can do whatever you want with it,” Gehrke says. “Agriculture is what’s going to change our world.”

agriculture is whatâ&#x20AC;&#x2122;s going to change our world.

SHORTS AND SHOES BY NIKE

ISSUE 7

Birds and the Bees

Fashion

Photography

KYLE KEIGAN Fashion Editor

SIMON GOETTL Design

RAQUEL CASTRO

You Better Shape up Revival Magazine

THIS PAGE: SHIRT FROM PACSUN, SUNGLASSES BY RAYBAN OPPOSITE PAGE: SWEATER BY DIESEL, PANTS FROM PACSUN

THIS PAGE: TANK FROM PACSUN, SWEATS BY NIKE, SHOES MODELS OWN OPPOSITE PAGE: SHIRT BY HANES, SHORTS BY NIKE

THIS PAGE: TANK FROM PACSUN OPPOSITE PAGE: SHIRT BY TOPMAN, PANTS FROM PACSUN

Feature

ISSUE 7

Birds and the Bees

Living Positive

Text

GREER BROWN Photography

JAMES PERKINS Design

LU LAWRENCE

Revival Magazine

If confidence is any indicator of attractiveness, Quentin Silvey might just be the sexiest man this side of the Mississippi. He walked in wearing a green sweatshirt with “Faith” emblazoned on the front, grey skinny jeans and a fitted jean jacket with camouflage accents. An unusual ensemble on Iowa State’s Carhartt and cowboy boot-loving campus, but Silvey didn’t seem to care. As Silvey began to speak of his journey to Iowa State and his experience with HIV, he smiled, a piece of glitter sparkling faintly on his cheek. Silvey grew up in rural Iowa. After “experimenting” with girls for a few years, Silvey came out when he was sixteen. “Coming out was never that much of a challenge for me. My community was surprisingly supportive.” Nearly everyone in Iowa Falls had known Silvey from early on because of his involvement in music, tennis and church. “In a small community like Iowa Falls...everyone goes to church. It’s where all the gossip was. So by the time I came out, everyone already knew.” “My parents have stories of me grabbing a stick from the yard and coming in to watch Iowa Public Television and directing the choirs they would show.” From a young age, Silvey used music as an outlet. “It helped me cope with my surroundings and be who I am and bring out the real person inside. Music is my life.” After high school ended, Silvey enrolled in Ellsworth Community College and received a degree in music. “I wanted to be a Broadway star, of course.” he revealed. However, after receiving his degree, Silvey found himself not on Broadway but instead working at the Sheraton Hotel in Des Moines. “I wasn’t as ready as I thought I was to go from this small town of 5,000 people to Des Moines. Basically, I fell flat on my face,” Silvey admitted without a hint of embarrassment. “It led to the best decision I have ever made. Iowa State has been amazing to me.” He lives with two of his best friends in what he described as “the perfect living situation.” His job as a leasing consultant at the Grove Apartments has fostered a passion and pays handsomely enough that he is more than happy continuing to work there after graduating with his degree in hospitality management. Silvey speaks with a certain directness that gives him both credibility and a special kind

of charisma. “My job takes over my life. It’s my baby.” But Silvey is still unsure of his end goal. He wants to pair his keen eye for talent with his affinity for sales, but he has opted for a logical approach. “My dream is still to be an actor, but I refuse to go to college to be an actor or a musician, so I want to do this first and then move somewhere where I can follow this passion. It’s realistic.” As recently as the 1990s, an AIDS diagnosis in the United States was a death sentence; patients were told they had two years to live. Little was known about HIV or AIDS, and treatment was largely guesswork. Many patients did their own research and purchased drugs on underground markets, hoping they might find a cure. Today, HIV is better understood. It is a virus that affects CD4 cells, which are part of the body’s immune system. This makes it increasingly difficult and eventually impossible for the body to fight off infection without proper treatment, eventually leading to AIDS. At Iowa State, not many people see HIV as a real threat to their safety. People come up with excuses like “I’m not gay,” or “I only have sex with people I’m dating.” Students across the nation seem to buy into the dangerous idea that HIV isn’t in Iowa. A 2005 study conducted by an HIV awareness group at Duke University showed that 55 percent of students were engaging in sexual behavior that elevated their risk of contracting HIV. Risky behavior included having unprotected sex or sharing needles. But shockingly, 90 percent of Duke students viewed themselves as having a “non-existent” or “very low” risk of contracting HIV. Before he contracted HIV, Silvey didn’t think he was at risk. “This is in New York and LA... [The people that get it] are sluts,” he thought. Silvey, like millions of other people worldwide, learned this was not the case. Silvey discovered he had the virus or “germ,” as his doctor refers to it, on June 29th, 2013. At a gay pride festival in Minneapolis, Silvey and some friends passed by a testing center. One of Silvey’s friends suggested they all get tested together. “I was nervous,” said Silvey, his voice steady. “I won’t lie; I was reckless. I’m a cute boy, and people wanted to sleep with me. I didn’t respect my body like I should have.”

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Silvey was the first to get tested out of all his friends, though he found himself sitting in a waiting room in the testing center even after his other friends had received their results. All of their results had come back negative. “This man comes out of the tent, and I could just see panic on his face,” Silvey recalled, reflecting on the moment he found out his positive status. The man asked Silvey to sit down and calmly proceeded, “Quentin, your test came back positive.” Twenty-one years of Silvey’s life flashed before his eyes. “Am I going to die?” “No,” said the man. He then explained to Silvey he had found out he was HIV positive in the same way two years ago. Despite the realization he would now be dealing with the virus for the rest of his life, Silvey made an important decision. “That day I told myself it would not get me down, ever.” By age twenty, Silvey had endured several hardships. He lost his dad when he was eighteen, and he struggled with moving to a city over forty times larger than his hometown. But Silvey picked himself up again. “I’ve gone through harder things in my life than finding out I have HIV. Like finding a job.” He is about to graduate from Iowa State University, and he already has a job lined up for after he graduates. “When I found I was HIV positive, I swore to myself that I would make a difference with this. I would not hide, like you would hide being gay. I would not sit around, mope around, wanting people to feel sorry for me,” Silvey grinned and nursed his coffee. “Honestly, I forget I have HIV. My friends forget I have it. They don’t treat me differently.” Since the 1996 breakthrough in which “drug cocktails” were discovered, treatment for those who catch the virus early enough and who can afford the medication has been relatively easy. Quentin’s routine is simple: take one pill a day, and go to the doctor once every six months. Treatment is identical for more than one million Americans living with HIV. One pill, once a day. That’s it. The pill “basically makes you superhuman,” says Silvey with pride. “I haven’t been sick

THAT DAY I TOLD MYSELF IT WOULD NOT GET ME DOWN, EVER.

since the day I found out I have HIV.” “The hard part was...I was almost positive I gave it to two other people,” said Silvey solemnly. Silvey could have had the Iowa Department of Health call the men and tell them they had been in contact with an HIV positive person. He decided this route was not an option for him. “That’s not right. That wasn’t right for them. I gave them a phone call to let them know.” “One of them was nineteen. He struggled and I was really worried about him. I have such a huge support group and he didn’t have [such a large] support group. It was really important for me to always be there for him.” Silvey regularly keeps up with him by calling, texting, and emailing him. “It’s incredible because now both of them have made huge steps in their lives. They’ve gotten new jobs...one of them is in college now. I believe that their thinking now is that they

have to do everything they need to do now because you never know. Honestly, the biggest eye opener to me for being HIV positive is that you know now that you are not invincible. You will someday not be here, and you have to make everyday count.” While Silvey has pushed himself towards success for most of his life, he finds support in his family, friends and colleagues at the Grove Apartments. In the past, faith was included in this list. “I was a huge Christian at one point in my life. It was kind of all I had growing up. After I became HIV positive, I realized God didn’t get me through life. It wasn’t God who picked me up and gave me a helping hand. It was the people in this world. People change the world. I believe in myself. I believe in people.” HIV doesn’t have a face. It cannot be defined by race, sexual preference or gender. HIV is the guy sitting next to you on Cyride, the girl

Revival Magazine

standing next to you in the elevator. It’s the person you’re checking out on the treadmill next to you at the gym. After meeting Quentin Silvey, it’s clear that HIV is not necessarily a sad face either. For those who have come to terms with the virus, the face of HIV is someone who just might understand what it means to appreciate life. “I love my life,” said Silvey quietly, as a small tear slid down his face. The world has been so good to him, he explained. “I can’t wait to give back.”

ISSUE 7

Birds and the Bees

Food

SHOW ME THE HONEY

With birds chirping and flowers blooming, it’s time to give your taste buds a break from heavy winter flavors and experience Revival’s lighter menu, complete with refreshing honey, lemon cocktails and bite-sized fare.

Text

LAUREN GRANT Photography

KYLE KEIGAN Design

AUSTIN COSS

Revival Magazine

PISTACHIO APRICOT BISCOTTI 1 1/4 cup whole-wheat pastry flour 1 1/4 cup all-purpose flour 1 1/2 teaspoon baking powder 1/2 teaspoon sea salt 2 teaspoons vanilla extract 1⁄4 cup honey

3 large eggs 1/4 cup brown sugar 1 lemon, zested 1 cup pistachios, chopped 1 cup dried apricots, chopped

Preheat oven to 350°F. Prepare a baking sheet lined with parchment paper and set aside. Whisk together flours, baking powder and salt. Set aside. In a large bowl, combine eggs, honey and sugar. Beat on medium speed until light in color and consistency is thick. Beat in extracts and lemon zest on low until combined. Add dry ingredients and beat until incorporated. With a wooden spoon, stir in chopped nuts and fruit. The dough should be soft and very sticky. Remove dough from bowl and transfer to prepared baking sheet. Form into a log about 10 inches long and 3 inches wide. With damp fingers, gently smooth the top of the log. Bake for about 30 minutes until lightly crisp and golden brown. Remove log from oven and reduce temperature to 300°F. Allow to cool on sheet for 10 minutes. Transfer log to cutting board. With a serrated knife, cut log diagonally into 1/4 - 1/2 inch thick slices. Transfer slices onto sheet pan and bake for 15 minutes. Flip slices and bake for an additional 15 minutes. Remove from oven and transfer to cooling rack.

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MINI GINGER TRIFLE Makes 4 individual trifles 2 cups plain Greek yogurt 1 cup heavy cream 1⁄4 cup honey-ginger simple syrup 3 tablespoons confectioners sugar

2 teaspoons vanilla extract 1 lemon, zested 1 package crunchy ginger cookies 8 fresh figs candied ginger, chopped

Combine yogurt, cream, honey-ginger syrup, confectioners sugar and vanilla. Whip with a hand mixer until light and fluffy. Add zest and whip just to incorporate. Using individual glasses, place one ginger cookie in the bottom of each glass. Top with a layer of yogurt mixture followed by a layer of halved figs. Follow with another layer of cookie, yogurt and fig. Top off with leftover yogurt and sprinkle with candied ginger and lemon zest.

Honey Ginger Simple Syrup ½ cup water, ¼ cup honey, ¼ inch slice fresh ginger chopped Combine all ingredients in a small sauce pan over medium heat. Heat until honey is dissolved. Remove from heat and let cool.

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BLOOD ORANGE HONEYBEE

HONEY MOJITO COCKTAIL

1/2 lime, cut into 6 wedges 1 1/2 tablespoons lime juice 2 tablespoons torn mint leaves 1 tablespoon honey simple syrup 2 oz rum (of your choice) 4 ounces club soda

2 tablespoons honey simple syrup 2 ounces gin (of your choice) 1 tablespoon freshly squeezed lemon juice 1 tablespoon freshly squeezed blood orange juice 1 blood orange segment for garnish 1 cocktail strainer

Combine lime wedges, lime juice, mint and honey simple syrup in a martini shaker. Add 1â &#x201E;2 cup of ice and muddle with a pestle or long spoon until bruised and fragrant. Add rum and club soda, cover and shake. Pour into tall glasses filled half with ice.

Combine simple syrup, gin, and citrus juices in a cocktail shaker. Add ice, and shake well. Strain into a chilled martini glass and garnish with a blood orange segment.

Revival Magazine

Fashion

Birds and the Bees

En Fleur

Photography

JAMES PERKINS Fashion Editor

ALLIE TURCOTTE

Design

KYLE KEIGAN Dresses

WHITNEY RORAH

Revival Magazine

ISSUE 7

REVIVAL

MAGAZINE

MUSIC

CULTURE

FASHION

Fashion

ISSUE 7

Birds and the Bees

Best Prepped Secret

Photography

JAMES PERKINS Fashion Editors

ALLIE TURCOTTE & SIMON GOETTL Design

KYLE KEIGAN

Revival Magazine

JACKET AND PANTS FROM TOPMAN, SHOES FROM ZARA

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THIS PAGE: ON HIM: SWEATER AND PANTS FROM TOPMAN, SNEAKERS BY NEW BALANCE, SCARF FROM GOODWILL. ON HER: SHIRT FROM ZARA, SKIRT FROM TOPSHOP, HEELS FROM ASOS, NECKLACE FROM GOODWILL. OPPOSITE PAGE: SHIRT FROM AIMEE, SKIRT FROM GOODWILL, SHOES FROM ZARA, EARRINGS, NECKLACE, AND SOCKS FROM PROPER.

INSTAFASHION

SEXUALIZATION

SEXUAL IZATION

OF INSTA FASHION Text

LANDON PEOPLES ILLUSTRATION

KRISTINA NENNIG Design

RAQUEL CASTRO

ISSUE 7

Birds and the Bees

asily considered the Digital Age of fashion, this second decade of the 2000’s has already seen an increase in extremism. As normcore, the modern art of purposefully pairing down one’s wardrobe while drawing reference from archived trends, takes its place at the helm of fashion gossip, the need to express a serious affectation for anything and everything from an entire collection down to a single handbag is backfiring quicker than ever before. Fashion is cyclical, so it was only a matter of time that a serious need for returning to simplified versions of ourselves would follow the epidemic of bloggers dressing to be photographed, yet only now to be brought back to this season’s era of style erotica once more. Though perhaps the younger generation is more fluent in the vernacular of social media, captions and headlines grab attention nowadays in the form of hyper-concise (and sometimes incomplete) sentences from new age blogs to magazines older than the Internet themselves. One-liners like “12 eco-friendly designer duds we’re obsessed with this season and why you should be too:” and “The new LBD we can’t live without” flood Facebook and Twitter newsfeeds. Yet Instagram leads the pack with a vibe of more ‘laxed captions such as “OMG obsessed with this french fry Moschino phone case” or “Having a shoegasm over these Nicholas Kirkwood wedges for summer”. So when it comes to keeping the fashion conversation going, could it be said that editors and showgoers alike have developed a more intimate, sexualized vocabulary? It’s no secret that sex sells, and if there’s one thing young fashionistas who work in an industry where only the beautiful thrive can agree on, sex is just as essential and time-sensitive as a spring/summer Fendi bag and the seconds it takes to Instagram it. After all, Sex and The City wouldn’t be as applicable to the everyday lives of women in their 30s today by riding solely on the floorsweeping Donna Karan coattails of fashion alone, right?

Feature

across while coinciding with the class of the inanimate object in the photo. The filter should be high-contrasted and saturated enough to convey the item’s climax factor: Bursting with color yet intimately customized. And be sure to share to Facebook, Twitter, and Tumblr, as well, to insure maximum coverage. There is a way, however, to take this trend of sharing over-the-top impressions via social media outlets even further, though, which was demonstrated perfectly in episode 14, season 5 of Sex and The City aptly named La Douler Exquise! (“The exquisite pain!” in French) via Charlotte York, the WASP-y Upper East Sidette who prefers caviar to cheeseburgers. Desperate for a new set of heels, Charlotte wanders into a shoe boutique and encounters a sales clerk with a shoe fetish who convinces her to try on 6 pairs of shoes but can only take one home for free. Charlotte, perhaps the least-relatable character of the four, struggles with justifying the 100% discount, yet walks out with them anyway. Wouldn’t you? So hopefully fashion editors can keep their Céline slippers and their Proenza Schouler clutches to themselves in-between seasons until these electrifying feelings translate into another trend worth nodding. But until then, shoegasm away, because if there’s one reason to choose labels over love, it’s remembering buyer’s remorse is always better than the guilt of sex with an ex.

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Fetishism in fashion is in and everybody’s buying it. Possibly the most shape-shifting topic of conversation anyone who’s ever been on a first date has had the misfortune of experiencing, fetishism takes on a different form between the worlds of boutiques and the bedroom. The idea of documenting the highlight’s of each designer using sexual puns and innuendos isn’t to be taken literally, rather celebrated, for it’s a pressuring tactic that gets customers double-tapping and filling up their online shopping carts quicker and quicker each season. Upon Googling the word itself, two definitions are given: 1. a form of sexual desire in which gratification is linked to an abnormal degree to a particular object, item of clothing, part of the body, etc. and 2. an inanimate object worshipped for its supposed magical powers or because it is considered to be inhabited by a spirit. Notably, familiar phrases like “inanimate object” and “worshipped for its magical powers” appear in both, playing on the heartstrings that moment of seeing a new collection in its boutique for the first time that anyone can relate to. It’s magical, worth fawning over, and in the case of something as grand as an Hermès Kelly bag, most definitely inhabited by a spirit. So while it doesn’t take a Carrie Bradshaw to understand the power of a fresh pair of Manolos, the splendor behind a proper six-inch heel is undeniable.

192 likes revivalmagazine Having a shoegasm over these Nicholas Kirkwood heels for summer! #shoegasm #dying #need #obsessed #cantlivewithout #summer #birdsandthebees #fashion #shoes

But to underline a filtered Instagram photo with a frisky tagline that displays one’s quip and desire for what they’re snapping takes practice. Avoid naughty words like fuck, bitch, and shit, for they’re not quite Instapropriate and the goal is to get authentically stimulating feelings

Revival Magazine