Volume XXI Issue 08

12 April, 2018

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sas election results irene yi

By Natalie Johnson ’18 Political Correspondent

44.7%

SAS President

"I think the role of SAS President is all about student advocacy. It’s not about an individual person, but it’s about how we can better serve the students here to continue to build that community for current and future students."

of the student body voted

casey Vice President of harris Student Activites

Executive Vice President Julia Kelly Co-Treasurers Romanshi Gupta & Grace Wang

Secretary Lilly Hahn

“As always, inclusivity and accessibility are the top priority with any sort of programming, so input on how to best serve your needs would be always welcome! Please don’t hesitate to reach out to me with any questions about my platform!”

Diversity and Inclusivity Chair Judicial and Academic Review Chair Safia Hassan Lillian Perlmutter Faculty Staff Relations Chair Student Organizations Commisioner Sustainability Chair Amelia Hahn Shelby DeVolder Sondra Abruzzo 5C Events Chair Junior Class Co-Presidents Sophomore Class President Mabel Lui Senior Class Co-Presidents Niyati Narang & Maddie Warman Alexa Sanchez Clarissa Ylagan & Jahnavi Kothari

Scripps announces Student Employee of the Year

By Natalie Johnson ’18 Politcal Correspondent

M

arch marks the time to recognize student employees at Scripps. As the faces we often see on our first visits to Scripps as prospective students, the guidance we turn to for help writing our cover letters, and the warm hands that brew the coffee for us at the Motley, student employees are the everyday leaders, advocates, and allies that hold the community together.

A committee of faculty, alumnae, and

Inside This Issue:

staff honors one student employee for their phenomenal contributions to life at Scripps. The Student Employee of the Year award acknowledges one individual along with two finalists. This year’s award goes to Leslie Moreno ‘18, a long time leader and ally whose contributions affect a wide array of the Scripps family and engagement in the larger community.

Moreno currently holds three jobs on campus. She worked as a MathSpot Tutor Coordinator for the Scripps Tutoring Program before taking on the role as an Office Assistant for Dean of Students last

Page 3 - 5 Lesbians Eating a Spoiled Quiche Sasha critiques production and casting

semester. She also served as a Pomona Hope Co-Intern last semester for SCORE (Scripps Communities of Resources and Empowerment), where she taught leadership workshops to 11th and 12th graders with the mission to empower youth of Pomona, CA. “I love working with my students and seeing them gain confidence in both me and my Co-Intern,” Moreno said in an interview with the Voice. “They remind me why I want to be a teacher after Scripps,” she said.

As a the co-head manager for theScripps store, Moreno has often been

the friendly presence parents and new students meet when they first arrive to campus during New Student Orientation.

She recalled meeting one anxious parent during a sale at the Scripps store a few years ago who expressed concerns about her daughter starting school away from home. “I then told her that she doesn’t have to worry, my friends and I will take care of her daughter for her, and she looked reassured. Her daughter and I have been friends since her first-year, and her mom remembers me because of that conversation in the Store,” Moreno said.

Page 4- Racism in Claremont Myrlie Evers-

Page 6-7 - Scripps First Year Living Off-Campus

Williams speaks at Pomona panel

Continued on Page 2

Guest contributor opens up about CGU housing placement

1030 Columbia Avenue | Claremont, CA 91711 | Box 839 | scrippsvoice@gmail.com | Volume XXI | Issue Eight

2 • News continued from page 1

I have been friends since her first-year, and her mom remembers me because of that conversation in the Store,” Moreno said.

Whether it be through reassuring nervous parents as they say goodbye to their child during orientation, or through watching her Pomona Home students passionately engage in their material, Moreno finds motivation and fulfillment in making a meaningful impact on those around her. “It’s an amazing feeling knowing that I am a resource to people here at Scripps,” she said.

The committee also recognizes two outstanding finalists: Rachel Geller ‘18 and Samantha Richards ‘18. Geller dedicated her last two years to help prepare other students for their futures as a career consultant at Career Planning & Resources (CP&R). Richards, with a similar passion for advocating for students, worked to build and support a sense of community in her two years as the program supervisor for Scripps’ Phonathon.

Helping fellow students to hone their career skills, strategies, and aspirations is a given for Geller. Her work involves CP&R’s main tasks in career consulting: one-on-one drop-in sessions for resumes and cover letters writing, jobs searches, and addressing other skill-based needs.

She finds it rewarding to support her peers in tangible ways to achieve their goals. “It’s so satisfying to be a part of the work that prepares Scripps students for their futures,” she said in an interview with the Voice. Geller additionally planned a career panel event this fall on non-profit sector jobs, connecting the community with alumnae and networking to recruit panelists.

“I know how important my work and the work of CP&R is to campus when students come back to the office to share that they got an interview, or a job offer, or with gratitude for helping them

Photo Contributed by Scripps Career Planning & Resources

grow in their career skills,” she said.

Richards’ work emphasizes the importance of building and advocating for community. “My favorite part of the job is definitely the people,” she said in an interview with the Voice. She took her role as supervisor as an opportunity to foster a sense of community in the Phonathan office.

Richards similarly utilized her position as a student fundraiser, calling Scripps alums, parents, and students, as a call to action for addressing the needs in SCORE. “My sophomore year we knew SCORE was really underfunded for the work they were doing both for Scripps students and

other 5C community members,” she said. Richards organized a fundraising push that doubled the space’s budget for the year.

“We know the ways that our work directly impacts the school and students directly,” she said.

This year’s Student Employee of the Year featured three students for outstanding contributions that make Scripps what we know it as today. As seniors at the crux of graduation, Moreno, Geller, and Richards have lent themselves over the course of four years to better the community for all of us.

White, Eurocentric, Masculine Academia: The White Man’s Safety Net—and his Concoction

By Anna Liss-Roy ’20 Business Manager

“H

ave you taken any courses in gender studies?”

It was a question I hadn’t anticipated, one that I’d never been asked. I was interviewing for an internship at a prestigious policy institute and had rattled off courses that I thought sounded impressive: Macroeconomics, Comparative Politics, International Relations of the Middle East— oh, and did I mention that one journalism class that changed my life?

The gender studies question caught me off guard.

I’ve taken three gender studies courses, actually, a fact that I’d never expected to mention in an interview. I was struck by the significance of a question that casually referred to gender studies as a vital prerequisite.

Gender studies, also known as Women’s Studies or Feminist, Gender and Sexuality Studies (FGSS) as at Scripps, continues to lack broad recognition as a “serious” major. Marilyn Boxer, a historian who helped pioneer the field in the 70s, wrote that when women’s studies first entered academia, “merely to assert that women should be studied was a radical act.”

But isn’t it still?

Antonio Gramsci, a prominent Marxist, argued that the overwhelming promotion of capitalism through media cultivates the notion that there is no realistic or favorable alternative. Likewise, there’s a certain perceived naturalness in the academic system and the unequal value it places on different realms of study. That’s just the way it is, right?

Not only is this sense of “naturalness” a total fallacy, but there is a specific point in history to which it can be traced: the birth of liberalism in Europe. As power became consolidated in nation-states in the early fifteenth century, the economy began to shift from a feudal to a capitalist model. Proponents of capitalist industrialization needed a way to justify the means through

which resources were acquired: plantation economies, military conquest, colonialism, and slavery. They turned to academics.

As capitalism flourished, academia emerged as a tool to rationalize it. European claims to rational superiority relied on narrow, demeaning conceptions of women and nonwhites in order to legitimize colonization and the devaluation of domestic labor (Peterson).

Many popular areas of study today originated or were heavily shaped by the desire to justify the pillaging of the third world (Dyvik).

Adam Smith’s distinction between public and private spheres screwed women even more. Because domestic labor fell within the private sphere, it lost recognition and value to the “productive” waged labor of the public sphere. Not only did domestic labor itself lose status, but so too did qualities associated with the private sphere, including compassion and nurturing, which were feminized and devalued. Reason, assertiveness, and earning money were masculinized through their association with the “productive” public sphere (Peterson). I can only wonder what the labor hierarchy would look like if cisgender men could get pregnant.

The assigned differences between females and males (personality traits, skills, interests) extend beyond individuals; it’s a concept upon which our whole political economy is built. Nationalism and economic spheres are inextricably tied to a race and gender hierarchy and idealized conceptions of the members of each group. The project of state-building has taken great care to erase disruption of these clean-cut models; queerness, black power, Arab hegemony, matriarchies and every example of something other than white

We’ve got to open people’s minds to feminist critique. It starts with education. It starts with gender studies.

male power have been excluded from the bases of academic reasoning. Many of these identities remain invisible within academia, as do critiques of the system that make them invisible.

It was a group of European white men who structured the world we live in today, carefully producing a version of academia that created clear-cut racial categories and idealized the gender binary in order to position themselves at the top. It worked—and the problem is that it’s still working.

So how do we initiate structural change? Many people, indoctrinated with a Gramscian sense of non- alternative, don’t want to. We’ve got to open people’s minds to feminist critique. It starts with education. It starts with gender studies.

Through my own experience I’ve learned that gender studies is relevant to every field imaginable. Economically, I notice that flexibility and informalization feminize lower-paying jobs—and it’s not a coincidence. I enter my political science classes with the knowledge that International Relations was designed with subordination in mind. I question the construct of rational thought as originating and belonging to European white men.

Each day I become a little less blind to the white male-centric foundations of academia, well concealed as they are beneath a fresh “equal access” coat of paint.

And so despite the fact that the institute I interviewed for is focused on gender equality, I couldn’t help but feel encouraged to hear a women’s college alumna in a position of power ask me about gender studies. As generations of women’s college graduates rise in the ranks of an economy designed to assign them to devalued labor, those who have fulfilled their gender studies general education requirement will understand the value of gender studies as an academic discipline. As we rise, we fall back on our feminist analyses in order to propel the world around us forward. As we rise, gender studies will gain respect in the very professional world that it will come to remodel.

How can I predict this will happen? Because evidently it’s already begun.

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

News • 3

5 Lesbians Eating a Spoiled Quiche:

The A Not-So Scripps Empowering Voice Staff Play P

Editor-in-Chief Maureen Cowhey Advisor Christopher Dennis Design Editors Ali Bush Becky Hoving Emilie Hu Sarah Wong Copy Editors Anna Gao Rena Patel Business Manager Anna Liss-Roy Webmaster Bergen Carloss Columnists & Staff Writers Leta Ames Ali Bush Priya Canzius Erin Delany Rose Gelfand Alicia Goode-Allen Natalie Johnson Eve Kaufman Hanna Kim Elena Lev Luena Maillard Eve Milusich Zizzy Murphy Sasha Rivera Ittai Sopher Hayley Van Allen Lizzie Willsmore Photographers Emilie Hu

Comments and letters can be submitted by emailing scrippsvoice@gmail.com or by visiting our website at www. thescrippsvoice.com. Please review our guidelines online before submitting feedback.

The Scripps Voice is a student forum and is not responsible for the opinions expressed in it.

By Sasha Rivera ‘19 Staff Writer

ositive and empowering representation of sapphic communities can be hard to come by in the arts, media, and entertainment.

Standards are often lowered for these industries using the reasoning that some representation is better than none. However, on university campuses, especially in social justiceoriented liberal arts schools like the Claremont Colleges, there is more freedom to not only have great LGBTQ+ content, but to also give more opportunities to queer actors. “5 Lesbians Eating A Quiche,” a production at Pomona College by The Green Room, failed in both respects.

The comedic play, performed on March 23 and March 24, is about the Susan B. Anthony Society for the Sisters of Gertrude Stein, a fictional organization for widowed women set in 1956, and its annual Quiche Breakfast event. Directed by Hershey Suri PO ‘21, the play features five characters--Vern, Lulie, Wren, Dale and Ginny--who are played by Miranda Mattlin PO ’21, Mia Kania SC ’20, Tyra Popovich PZ ’21, Sullivan Whitely SC ’19, and Carolyn Williams SC ’21 respectively.

During the breakfast, nuclear warfare breaks out due to the Cold War, and the members are trapped in the bunker for the next four years. Throughout the performance, the five women address the audience as fellow Society members who are trapped with them.

Towards the second half of the show, the women, save for Lulie, come out as lesbians. Their love of quiche and eggs, of course, is a metaphor for vaginal oral sex. Most of the humor in the play focuses on lesbian stereotypes and sexual innuendos.

The play was written in 2014 by two men, Andrew Hobgood and Evan Linder. Initially I interpreted the show’s humor to be satirical, but after discovering this detail I was disappointed. If the play had been written by queer women, then it would have worked as a funny critique of issues within the lesbian community and to make fun of these preconceived notions from society about sapphic people. However, the fact that the play was written by men completely erases any satirical or critical function the show could have had.

Watching the play was a very uncomfortable experience. The jokes about lesbianism were very crass and revolved around stereotypes. The attempts at humor were lazy, and quite frankly, boring. One of the jokes in the first half of the play showed the characters being outraged about the idea of having meat, specifically sausage, in the quiche. Sausage and meat, of course, refer to men and penises. Their disgust that any society member would like meat in the quiche shows major transphobia and biphobia.

Moreover, later in the play, while all the other women come out as lesbians, Lulie tries to voice her bisexuality but is continuously silenced. She is also shamed for having sex with a man and getting pregnant. Biphobia and transphobia are major issues within lesbian communities, but having those jokes told in a play that isn’t actually satirical can come across as being extremely inappropriate and in poor taste. Perhaps if the play had been written by lesbians, there would have been some genuine, intelligent humor.

A recent article from The Student Life referred to this play as “funny, provocative, and also inspiring.” The proof is not only in the quiche, but also in this review, that this production is anything but those things. TSL’s article stated that Suri wanted LGBTQ+ audiences to feel comfortable watching the performance, which was definitely not the outcome considering the bland, tired, and offensive jokes used. This play was an uncomfortable disappointment, not an inspiration.

Photo coutresy of The Student Life

Suki White SC ‘18 is a student who auditioned for the play but was not cast. She has made criticisms of the play for its problematic content, and has also raised the issue that some of the actresses were cisgender and heterosexual, while actual queer actors were denied the opportunity to participate in the production. White requested that her letter to the audience of the play be published in order to bring light to these problems.

To the audience of 5 Lesbians Eating a Quiche: At the beginning of this semester, I was so excited to finally see queer stories being represented in Pomona student theatre. I auditioned for the play, and it was clear that the director/production team had no interest or acknowledgment in casting or recruiting queer people to audition and or be in this queer-centric play. In auditions and callbacks, there was no mention of the queer content, nor open space on the audition forms (there were none) to include this information. They also didn’t reach out to any organizations on campus, which limited the queer people in the room. Because of this, straight women were saying (and improvising) gay jokes, which just sits uneasy with me. Although there are queer people in the cast/production team, that doesn’t negate that straight people are acting as queer characters, when there were multiple capable, queer, and experienced actors that weren’t casted or even made aware of the auditions. I wrote to the production team about these concerns, in which they never answered which made me feel silenced and unwanted.

I’ve been asked not to speak out about this, because queer people involved with the play have had an impactful, liberating experience with this play and the rehearsal process, and they don’t want queer people to “attack” their positive experience.

This only deepens the blow, because that positive process could have been spread to more queer people if the audition process was different. I also think it is important to note that queer people can criticize queer people.

Also, I might’ve been able to reconcile this experience if the director or production team would have once reached out to me or recognized the errors of their process. It seems that they have built a false reality where they believe they are not at fault, because they “collaborated” with the QRC for a talk back that only allowed two audience member questions. Being a queer production on this campus means that you have the responsibility to listen and resonate with the greater queer communities at these colleges, not just the few queer people who were involved.

In Hollywood, the vast majority of queer roles are given to straight actors. Imagine if Call Me by Your Name, Moonlight, Love Simon, or Blue is the Warmest Color, had queer actors depicting these stories. In Claremont, we have the queer talent to do this! How radical would it be for student theatre to attempt to cast queer people for queer roles?

I hope you all push to support and attend inclusive queer art in the future!

Best, Suki

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

4 • News

Reflections on Claremont Community’s History of Racism from Civil Rights Activist Myrlie Evers-Williams

By Ittai Sopher ‘19 Political Correspondent

V

eteran civil-rights activist Myrlie Evers-Williams described her firsthand experiences with Claremont’s history of racial discrimination and prejudice in a panel at Pomona, Feb. 25. “ M y r l i e , i f w e eve r leave Mississippi, we will move to California,” Ev e r s - W i l l i a m s l a t e husband, Medgar Evers, told her before he was killed in 1963 by a white supremacist.

Evers-Williams and her husband were leading figures in the fight for civil rights in Mississippi during the 1950s and 1960s. Evers-Williams followed her husband’s advice noting that, “at that point in my life, I think almost everything I did was based on what I thought Medgar would have approved of.”

“I decided on Claremont solely because of Pomona College,” she said to applause from an audience that included both current Pomona President G. Gabrielle Starr and former Pomona President David Oxtoby. Evers-Williams described Pomona students as the most avid campaigners and supporters of her unsuccessful 1970 bid for the U.S. House of Representatives, which took place shortly after her graduation from the college in 1968. “My children and I were the second family of color to move here,” Evers-Williams recalls, “there were certainly people who disagreed with our being in this city, in this town, there were a few threats.”

However, the racial prejudice in Claremont never intimidated Evers-Williams, “I made it a point to go to every restaurant, that I could, and to get a seat upfront. To go to every activity here, that I could go to, so my face could be seen. It

was like; ‘here I am what are you going to do about it?”

Evers-Williams also acknowledged, Len Munter, a principal of a local public school who defended her children’s’ rights to attend, as well as, Curtis Real Estate, a local group that sold Evers-Williams’ family their home despite ubiquitous housing discrimination.

E v e r s Williams’ c h i l d r e n also faced discrimination from members o f t h e Claremont c o m m u n i t y, after they enrolled in a local public school. In one instance, Evers-Williams described an incident in which a student repeatedly harassed her son by touching his afro: “My son told him to stop a number of times,” EversWilliams said. “He reported it to the teacher, the teacher did nothing about. And one last time, this young boy put his hands in his hair, and my son did as I told him exactly what you

“If you wish not to be actively involved in change, at least be aware of what is happening and the need for change”

should have done: he punched him out.” For Evers-Williams, this altercation between her son and another student reveals her personal philosophies about the limits of nonviolence: “After you take your complaints, whether it’s at a state, local or national level, to all the levels that you possibly can. To have someone say they will look into it and nothing happens,” Evers-Williams said.

“It’s sad to say it, but sometimes we have to take things into our own hands.”

At the end of the discussion, EversWilliams turned to the audience and implored them to seek out the injustices within their own communities: “If you wish not to be actively involved in change, at least be aware of what is happening and the need for change,” EversWilliams said, “positive change does not come without involvement from each and every one of us.”

The panel, led by Pomona politics professor Dr. Lorn Foster, also included the Rev. James Lawson Jr., who spoke mostly about his experience promoting nonviolence within the Student Nonviolent Coordinating Committee.

“Racism is not always overt,” Foster said regarding current attitudes toward People of Color in Claremont, during an interview with the Scripps Voice last Wednesday, “it’s the stares in the neighborhood- it’s, will somebody play with your kids, will you get invited to a potluck?” “[Dr. King] realized that there were three evils that existed in the United States: one was racism the other was poverty, and the other was war … His goal was in the last year of his life to end all three. they were basically a french braid” Professor Foster said bridging the conversation with Evers-Williams to the legacy of Dr. King on the 50th anniversary of his death, “We still we have poverty in numbers that are disheartening … and we still have war ...but we have the promise but that maybe we can create a beloved community.”

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

Photo courtesy of APB Speakers

Opinions • 5

Religious Students at Scripps Explore Identity, Activism, Perception in the Age of TrumP

By Erin Delany ‘20 Staff Writer

I

n the age of Trump, nothing is sacred. At least, this is what both sides of the aisle tell themselves: ever since the start of the 2016 campaign cycle, the intertwinings of faith and politics have become more apparent than ever before, opening avenues for any individual with the slightest political leaning to use their conception of a higher power to demonize and alienate the person who they view as ‘other.’

After the 2016 election, the Pew Research Center conducted a poll to determine how and why certain religious groups voted the way that they did. The results revealed that a record 81percent of white evangelical Christian voters cast their ballots in favor of Trump. More surprisingly, when these voters were asked why they made their choice, the most common response was not the prospect of Trump’s Supreme Court nominations (70 percent of voters) and abortion policies (52 percent of voters), but his stance on terrorism, which 89 percent of white evangelical voters listed as a reason that they voted for him.

Now President Trump’s rhetoric surrounding terror is closely linked to the perceptions of Islam–and of those who practice it–which is perpetuated through the conflation of terrorism with the Muslim community.

In this sense, Trump’s overwhelming white evangelical base of support may be linked as much to the perception of other religious belief systems as it is to the steadfast adherence to their own.

In the face of rampant Islamophobia, the abuse of religious scripture to condemn already marginalized social groups, and the vast political and ideological stratification which has served as a hallmark of our current political age, it is nearly impossible for students of faith at the Claremont Colleges to remain conscientiously neutral. Examining the intersections between their own beliefs and the social justice causes they support, many Scripps students are drawn to a position of defense, fighting against the narratives surrounding their faiths as they seek to pursue the values of justice that their religions champion.

One Scripps sophomore, who requested to remain anonymous, detailed the tension between the practice and perception of her faith which she has encountered since her arrival at the Claremont Colleges in 2016. “[My spiritual experience since coming on campus] has been really awesome,” she stated. “I fell in love with the Hillel community my freshman year and have since become more religious than I was in high school. However, there are people here who are against all organized religion or who are anti-semitic, so sometimes I don’t feel comfortable sharing that I practice Judaism.”

This student expressed how her religion has intersected with her political and social beliefs, stating that her pursuit of social justice is driven by the teachings of her faith. “Judaism strongly encourages social justice,” she explained. “One of the core ideas is tzedakah, which means ‘justice’ in Hebrew. Jews are encouraged to fight for peace and equality.”

Despite this belief, this student acknowledged the discrepancies which have occured in the practice of tzedakah, and how her experience with Judaism and social justice does not necessarily mirror the experience of all Jews. “In some movements in Judaism, women are greatly discriminated against and prevented from doing many practices. However, in the communities that I am surrounded by, they are very equal, so it has not been an issue combining [Judaism and feminism]. I identify as both a feminist

and a Jew, and have been part of movements to create more LGBTQ awareness in Jewish communities.”

The student also lamented the cognitive separation between Judaism and social justice which she has seen in light of the conflict between supporters of Israel and Palestine. “Because the Israel conflict has taken so much attention, people assume that all Jews are Zionists, and thus colonialists. However, activism is greatly encouraged in Jewish tradition, and it can be very frustrating when people stereotype Jews and their beliefs based on what they see in the media.”

Scripps first-year Andrea Flores is also working to counter stereotypes about her faith. One of five Mormon students at the five Claremont Colleges, Andrea fights to reframe the narrative about Mormonism at the Colleges, starting with her personal understanding and interaction with social justice and her faith. “Mormonism simply says that we need to be good citizens and members of our respective communities. This can mean lots of different things, from being socially or politically active, to running for office, to serving others. Nothing is explicitly said about social activism, but I do know that I’ve struggled with some things I stand for that differ from church policy.”

Difference of opinion does not stop Andrea from adhering to her religion; rather, it allows her to alter the conversation surrounding the Mormon community’s political belief system, which some view as homogeneously right-leaning. “Contrary to popular belief, Mormonism isn’t necessarily super conservative” she explained. “Like any religion, it comes down to the members’ experience and background.”

One common critique that Andrea faces when discussing her faith is the role that women play in the Mormon church. “I think the church is harshly critiqued for a lot of things, like the fact that lots of our leaders are not women. I’ve critiqued this, too, but I believe they are doing a better job with addressing these issues and giving a voice to the female membership [than they were before].” Andrea confirmed this assertion with her own experience within the church, saying that “I’ve never felt underestimated or belittled for being a woman in the church. It’s empowering to have a spiritual assurance of your identity and where you come from.”

To Andrea, identity is essential, defining both her own experience as a Mormon and the way that she interacts with activism, both inside and outside of the church. “A member’s background will impact the way they practice Mormonism,” she explained. “I identify as a Mormon activist because my background as a poor Latina and first-gen student permit me to interpret things differently. It’s a lot easier for a white Mormon not to see the flaws I see in my government and our government. [I’ve] been critiqued for being ‘too political’ or ‘causing unnecessary divisiveness,’ but my identities aren’t separable.”

Scripps junior Grace Wang, who identifies as a Christian, has experienced a similar conviction about the role that her faith plays in her larger belief system, especially in regards to activism. She stated that her time at Scripps has contributed largely to the way that she views her faith, explaining, “I come from a pretty conservative background. We didn’t really talk about social and political issues. With that in mind, a lot of my experience at Scripps has been learning about others’ experiences at Scripps and how to listen to marginalized voices and hear their stories.”

Grace states that the narratives that she has heard

at Scripps have changed the way that she thinks about the world. “Through my perspective of faith, these stories have fueled an urgency to create change. I don’t know what that change will look like, but I know that this urgency is something that’s going to affect the way I live the rest of my life.”

In response to the urgency that she feels, Grace has found communities, both Christian and non-Christian, who are committed to the same goal. “The Christian communities here have done a great job of inviting social justice causes into their fellowship,” she said.

“We know how Jesus cared for the marginalized, and especially through my first few years on campus I’ve been reminded of how he cared for those people and how we’re called to care for them.”

Even so, Grace has found examples of this kind of care outside the Christian community in Claremont as much as she has within it, stating, “I’ve been humbled a lot on campus. People love each other a lot more wholly and thoroughly than I’ve seen in some of my Christian communities at home. That compels me to love everyone I encounter.”

When asked how she sees an opportunity to cultivate that kind of love on campus, Grace was adamant about the McAlister Center as an “underutilized resource” for activism. “There’s a lot of visioning happening there,” she stated. “I know that the chaplains are there to make [interfaith activism] happen, too.”

Protestant chaplain Jeff Liou also adamant about the role that the McAlister Center–and the chaplains who work there–can play in relation to the activist interests of the student body, both as a support system to socially and politically active students and as a hub for community organizing and engagement.

“I am impressed by the number of organizations at the Claremont Colleges dedicated to issues that are important to students,” he stated. “Those of us at the chaplains’ office like to see students of different traditions working together to help others.”

Reverend Liou envisions the possible expansion of an interaction between different faith traditions, possibly taking the form of interfaith-focused community engagement events, such as an Alternative Spring Break. He drew the idea from other universities who already have programs such as these in place, citing the University of Calgary, where “the Kaleidoscope Project brings together diverse religious students for a week-long, interfaith, living and learning experience.

I’d be interested in helping lead something like that.”

Even as he discussed what the McAlister Center may be able to provide for students in the future, Reverend Liou stressed the chaplains’ current role as an integral resource to students who are looking to better their communities and create change.

“Among the four chaplains, we have connections to community partners and religious institutions that can be helpful for students helping to impact local communities in a concrete way,” he explained. “Also, we are here to provide sacred space and pastoral care when the demanding work of social causes generates the need for self-care.”

Beyond the basic desire for understanding, interfaith dialogue can open doors to a more powerful kind of community organizing. Interfaith spaces, like the McAlister Center, allow students to reach across the misunderstandings that divide them and create the kind of change that they wish to see, rooted in parallel convictions of faiths that may not be as stratified in social and political intention as they initially seem.

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

8 • Features

Shaved heads serves as emblem for rejection of feminine beauty standards

An open letter to my friend who recently decided to shave her head.

By Anna Liss-Roy Business Manager

I

’ve been an ardent supporter of your decision to shave your head (I voted “hell yes boi” on every Instagram poll) and I’ve been thinking a lot about what this means.

I’ve been proudly preaching about your choice, characterizing it as a rejection of societal expectations that deem the female body acceptable only when presented in a way that is considered sexually desirable to the average heterosexual male consumer.

Hair is a huge part of these demands; long hair on women is often considered sexy, while short hair is considered badass or risky or, god forbid, unfuckable. Women of color are socialized to view their natural hair as unprofessional and the industry profits off of their widespread purchases of relaxers and other hair products. But society is not allowed to

define beauty for us, let alone in a way that revolves around white male preferences. (My appearance doesn’t turn you on? Thank god.)

On one hand, I’ve formed this empowering feminist analysis. And it sounds good, it feels good, but that’s the activist in me, the writer in me, the romantic in me, the part of me that rejects a biblical god but craves an explanation for the way each daily interaction unfolds.

A few weekends ago, I marched for gun control and I saw a lot of signs referencing the fact that female genitals are more regulated than guns. And yeah, the government regulates the hell out of female genitals. But what about society’s regulation of the female appearance itself?

Along with certain physical expectations of womanhood comes the demand that those who don’t conform must explain themselves.

Is it daddy issues? Are you a lesbian?

ask Lue

Q A Q A

How can I make more friends besides the generic “join clubs!” advice? It seems like everyone already has their friend groups established and aren’t looking for new friends.

-Anonymous Hey Anonymous!

First of all, college can be a very lonely place so there are always people here who will want to make friends.

But one of the simplest ways to get to know people is through class, especially if you’re taking 5C classes.

Class projects, quick five minute conversations before and after class starts, study groups, etc. You meet a lot of people in just one class- and oftentimes you’re bonding over the material. From there it’s just about asking to grab a meal or study together for a midterm.

Otherwise going to events on campus (those long SAS emails have lots of options), or my personal favoriteget some sort of job on campus (get paid and make friends)!

I reject society’s demand that women must provide an explanation for their appearance if it‘s not mainstream. Why must your bald head be attributed to some political statement or rebellious phase? Why do I feel the need to assign it an explanation? Why can’t you just be a person with a bald head?

So I stand here before you excited and empowered on your behalf-- but I stand in recognition of my own instinct to explain and attribute and interpret this decision when it’s a choice that belongs to you. And maybe it is a screw you to the patriarchy, to the beauty standards that oppress all women whether or not they conform to them, and perhaps it is a rebellious phase (because we all know you’re a baddie.) But if you just want to be bald, then that’s reason enough. I accept you however you look because it is, unquestionably, your body and therefore your choice.

Luena Maillard is a sophomore who is passionate about holistic health and education. In high school, she was employed by Planned Parenthood as a Peer Health Educator to teach sex ed classes to high school health classes. She is currently working as a PHE here on campus, and you can find her during her office hours at Tiernan Field House for one-on-one conversations!

Q A

How do I shave down there for the first time? Without having itchiness or irritation? And on a budget?

-Anonymous

Dear Lue, I had sex with a guy for the first time a few weeks ago. I hate to say I “lost my virginity” because of how weighted the phrase is. I am a little older than most people, so I have had far too much time to think about it. I know the first day after I felt especially down and confused. I can’t seem to get this weight off my chest. Any advice for dealing with the emotional side of sex?

Anonymous Dear Anonymous, You’re right, sex is incredibly emotional, especially if it’s your first time experiencing this new type of vulnerability. There also exists such a prevalent emphasis on “losing your virginity” as a lifechanging experience, when the reality is that you’re still you; you were you before, and you’re still you after. However, this can also lead to a wave of intense emotions and I would definitely recommend that you talk through these feelings in depth with someone you trust, a close friend or therapist. If you need resources for people to talk to (besides Monsour)- The Empower Center and Scripps Advocates are always helpful even if safety was not an issue, and my own office hours as a PHE in Tiernan are from 5:30-8:30 on Thursdays and 3-6 on Fridays if you want to stop by.

Hey Anonymous!

I got you. So, start by getting a FRESH razor (the more blades the better) and either some sort of oil (some people swear by coconut oil and others love baby oil) or an unscented gentle cream/gel. You basically want some sort of lubrication (SO IMPORTANT) without disturbing the sensitive skin or getting an allergic reaction, so if your skin is particularly sensitive I would suggest testing a patch first. Once you get in the shower, don’t shave first thing- wait 5-10 min to let the follicles soften. Then, exfoliate the area gently with a loofah or something similar, and lather on your lubricant. Wet the razor and make long smooth strokes along the direction of the hair growth, rinsing the razor frequently. If you find that is not getting enough of the hair, you can try shaving in a sideways direction, towards your center, however be gentle as the more times you go over an area the more irritated it could become. Exfoliate gently again, pat dry, and then either apply something unscented like aloe vera or baby oil, or this super amazing budget-friendly product called Tendskin (you can find it at any drugstore or on Amazon), which reduces ingrown hairs and bumps.

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

Arts & Entertainment • 9

Thoroughbreds Is A Brutal Satire About Blue-Blooded Apathy

By Emilie Hu ‘21 Design Editor

T

Photo courtesy of Hidden Remote

horoughbreds (2017) was on its way stopped spending time with one another to becoming an instant cult-classic. at some point in high school. Although Lily It includes the same excitingly evil qualities desperately feigns an interest in getting to of teenage boredom as the classic film, know Amanda again, it seems like neither Heathers, because it centers around two girl genuinely wants to be friends with the ultra-wealthy high school girls who form other. Amanda nonchalantly admits to Lily an unlikely alliance to murder an abhorrent that she knows her own mother was paying Lily to spend time step-father. Teenage with her. girlhood could not be Lily falls into more cut-throat.

Thoroughbreds is really the classic “prep” Ironically, first-time a satirical examination archetype in teen director, Corey Finley, movies. She wears had never even set foot of privilege, wealth, Peter Pan colors and on a movie set before and apathy that exists aspires for an Ivy filming Thoroughbreds.

League college. She within high society.

W h e n F i n l e y w ro t e tries to be gracious Thoroughbreds, it was With the right amount and inhibited, intended for the stage, of ambition and the contrasting but he transformed Amanda’s brusque the script into a highly absence of empathy, personality and her sought-after screenplay.

America’s elite can candidness about His playwright murdering the expertise transitioned achieve anything. family horse. marvelously into the big A m a n d a ’ s screen. The dialogue is scandalous atrocity fast-paced and decisive.

He weaves dry humor with cold-hearted has left her ostracized from her peers intentions in his two female protagonists, yet she’s painfully indifferent about her Amanda and Lily. The momentum is tarnished reputation. She exhilarating and tense, enhanced by a reveals to Lily that although s u s p e n s e f u l a n d p e rc u s s i ve s c o re she can simulate them, she cannot process emotions. throughout the film.

Having said that, the release date for Although Amanda feels no Thoroughbreds couldn’t have been worse. attachment to the forces Although the film debuted at the 2017 morality and immorality in the Sundance Film Festival, it wasn’t distributed world, she is not apathetic. to theatres until over a year later in March She observes and comments 2018. After the Parkland shooting and on Lily’s hatred for her stepthe #MarchForOurLives movement, teens father, Mark. Mark is the committing violence is probably the last source of suffering in Lily’s thing an audience wants to see on the big privileged life. She rejects his gifts (stacks of cash left screen.

However, the film’s core themes transcend on the staircase) and truly its violent premise. Thoroughbreds is not despises him for limiting her supposed to be a coming-of-age story like freedom in his own, lavish recent films Lady Bird and Call Me By Your estate. Eventually, the two Name. Thoroughbreds is really a satirical girls begin to spend more time examination of privilege, wealth, and apathy with one another, by choice, that exists within high society. With the so Amanda can teach Lily right amount of ambition and the absence how to defy her step-father’s of empathy, America’s elite can achieve reign. She pokes at Lily’s internalized disdain for Mark anything.

The film opens up with Amanda (Olivia and eventually offers the Cooke) arriving at Lily’s (Anya Taylor-Joy) idea to help murder him. Lily, mansion in an affluent Connecticut suburb to her own surprise, agrees, for an SAT tutoring session. Through terse and the two embark on their and fast-paced dialogue, it’s revealed that ambitious plot.

Thoroughbreds reminds us the two were childhood friends who abruptly

of how easy it is to ignore the lives of others in order to serve yourself. For these highsociety protagonists, apathy is their greatest asset for success. Amanda presses Lily to cast aside her emotions in order to enable her own capacity for cruelty.

As the film progresses, Lily learns how to act more like her ally. Apathy is a methodical and conscious state of mind for Lily. It’s an indicator of her own privilege too, because she can choose to ignore morality, physical brutality, and the weight of her consequences. Afterall, Amanda and Lily’s fate will forever be ensured by their wealth and status.

The film isn’t a criticism of petty teenage angst either because this deliberate form of apathy exists everywhere among those in power and those with money. It shows that no matter who you are, as long as you have wealth and status in this country, you can make yourself immune to violence. When it comes to getting what you want, there is no room for humanity. While its untimely release date and violent themes may eclipse the film’s true significance for now, Thoroughbreds is a film not to be forgotten.

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

Photo courtesy of IMDb

10 • Arts & Entertainment

ANYA COOPER The Wave:We Don’t Get to Play God A Serial Story

by Elizabeth Willsmore

“F

irst thing’s first,” Anya began, fingers flying as she deftly placed a polished stone in each corner of the blueprint paper she’d stretched across the table, laying a pale, sheer, blank canvas in front of the two women. “We need to decide how big the Dome is going to be. I’m talking dimensions, as specific as possible.” She grasped a thin charcoal drawing pencil, sketching out a small box in the bottom right corner of the blueprints. Anya felt her ribcage reverberate as her heartbeat increased in anticipation, her veins flooding with adrenaline in a way they hadn’t since before Gramps died. Her hand shook slightly from the exhilaration of it all, when Susie’s cool voice wafted into her ears, quelling her trembling fingers and rooting her back in the present.

“Before we think about size, we should think about numbers,” Susie said calmly, leaning her arm on the edge of the table. “How many people, human and Mer, are we building this for?” As soon as the words were out of her mouth, both women paused, their bloods chilled, veins icy, as they realized for the first time, the full extent of what the Dome would mean. The frantic drumming of Anya’s heart began to ebb, slowing from the tune of a battle cry, to something mournful and fleeting, almost like a funeral dirge.

“Anya,” Susie murmured, her voice low and soft like velvet, “this isn’t a who, it’s a how many.” She blinked, her mouth opening slightly as she drew in a breath, exhaling as the shadow seemed to pass off her face. “I know this feels like we’re playing God,” Susie began, raising her chin slightly, “but we aren’t. It’s like, it’s like when you design the emergency exit stairwells in a building. You know not everyone can fit in that staircase at once, but if you didn’t design it at all, if you chose instead to leave them no escape, then you would risk no one being able to make it out alive.” Susie stared intently at Anya, her dark eyes narrowed slightly as she searched the latter’s face.

Anya gazed back at Susie and saw her own uncertainty reflected in the other’s eyes, the dark depths churning like waves on a roiling sea. Suddenly, Anya felt her vision grow dim as the smell of salt filled her nostrils, the concrete beneath her turning to wet, rocky sand as she looked upwards, not into the fluorescence of the basement, but at the rain soaked beach that had appeared before her.

“Anya!” came Gramps’ strangled cry, and she whipped her head towards the sound just in time to catch a glimpse of his tanned skin and dark curls before she was thrust backwards, her body hitting the ground in a heap as the giant wave that would have swept her away now carried Gramps away from the beach.

“Gramps!” she screamed, the sound ripped from her throat by the wind as it tore at her body like claws, gouging her skin as flecks of wet sand assaulted her pores. “Gramps, hold on! I’ll find a boat!”

Anya scrambled to her feet as the scene shifted, the land beneath her fading into the soft fabric of her old sofa, and the warmth of a presence beside her as she glanced over to see Gramps sitting beside her. He smiled softly, reaching over to tousle her hair slightly, and Anya remembered this was the moment she’d decided to take the offer from Butcher’s Engineer, the moment that had sealed her fate.

“Don’t you worry, cherub,” came Gramps’ deep, rumbling voice, “if anyone could build this Sea Wall, it’s you, darling.” He paused a moment and his eyes grew serious, the blue iris turning stormy,

as it did when had something serious to say. “But remember, Anya, that mother nature always wins. We may live here, but we don’t get to play God. Only the sea,” here he paused and nodded out in the distance, “only the sea can do that.”

Anya gasped as she came to on the floor of the basement, her face and hair damp with sweat, cheeks glowing with shame and frustration at the double-flashback that had just occurred. She looked up at Susie, whose hand, she now realized, rested lightly on her forehead, the cool dryness of her palm an anchor amidst all the commotion.

Sitting up, Anya looked Susie dead in the eyes, her pupils contracting slightly as the light hit them.

“I promise you, I will build this Dome, Susie, even if it’s the last thing I do,” she began, heating radiating from her irises. “But even though this must be done, even though it’s making an emergency staircase so others can escape, it’s still playing God because we are still inadvertently taking that choice away from someone.” Susie blinked, her dark gaze glittering in the fluorescent light. “I’ve played God once before and it cost me everything, you know that,” Anya continued, reaching up to grip Susie’s arm as she struggled to stand. “We’ve both lost everything and that’s why we’re here, because we have nothing else that can be taken away from us. But let’s not fool ourselves into thinking that what we’re doing, while necessary, is anything less than what it is: a choice, maybe not in terms of who we save, but in terms of how many.

“When they found your mother and her family, the overall Mer population only lost a fraction of its members, and yet to you, Susie, that small number was your world.

When my Sea Wall collapsed, the only casualty was Gramps, and yet I doubt I’ll ever look at fresh blueprints again without feeling like I killed him.”

Anya paused, her throat tight, as a single tear escaped the corner of her eye. She looked back to Susie, who stood, motionless, her eyes softening, and then hardening in understanding, and finally, acceptance.

“By making these blueprints we are killing people, Susie, and we’re fooling ourselves to think we aren’t. But the only way we can get through this and save anyone, is if we are honest with ourselves about it. If we acknowledge that we’re playing God, but that everyone whose lives we’re about to change will get through it, just like we did.” Anya stepped towards Susie, reaching up and gently cupping the latter’s cheek in her palm, feeling the cool surface of it against her warm fingers.

Susie locked eyes with Anya, her pupils filled with such excruciating sadness that Anya had to fight from blinking from its intensity.

“Five thousand people,” Susie murmured, reaching out to tuck a lock of russet hair behind Anya’s ear. “two thousand five hundred humans, two thousand five hundred Mer. That’s the size of the oldest ancient Mer civilization, located on the coast near Seattle.” She paused and took a breath, still staring mournfully into Anya’s eyes. “Those numbers are enough for both populations to sustain themselves, and it allows for Mer-human pairings too.” Without breaking their gaze, Susie reached over and grabbed the charcoal pencil still resting on the table, placing it firmly in Anya’s other hand, a sad smile crossing the former’s features. “Like you said, time to decide how big the Dome will be.”

The frantic drumming of Anya’s heart began to ebb, slowing from the tune of a battle cry, to something mournful and fleeting, almost like a funeral dirge.

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

Opinions • 11

Unpopular Opinion: Spotify Sucks

By Ali Bush ‘19 Music Columnist

A

Photo courtesy of the Verge

s a music nerd, Spotify scares me. It’s big, corporate, suspicious, and almost too good to be true. It knows what we want to listen to before we know what we want to listen to. It’s immediate, comprehensive, and scary to someone who is still used to paying for every single song separately or on a CD. The company went public last week, after becoming the most widely used streaming service in the world. Critics are forecasting that it is a matter of time before Spotify takes a step like Netflix, and becomes its own record label, and forces competition from smaller labels out. It’s time to dive into this service to understand how our generation of music listeners are consuming music.

I asked a few Scripps students about why they use Spotify. Some students cited Spotify’s straightforward interface as a major selling point, as well as its place as the first streaming service. It’s “mainstream” qualities also appealed to one student. It’s important though to understand how it has changed the game of the music industry.

We all know about the atrocious wages that Spotify pays musicians (thanks to Taylor Swift and the rise of Tidal Music), but let’s look at just how much Spotify is getting away with as a major, now public, corporation. The whole idea of digitally streaming music is incongruous with the ways that we still understand mechanical royalties which is paid based on the number of songs a songwriter sells. Streaming, however requires an entirely different framework, as streaming isn’t quite considered a sale, but more of access to a database where customers have access to music anytime for ridiculously low prices.

For example, Pitchfork writer Damon Krukowski explains that his small, indie band made only $1.05 for the 5,960 times their single was played on Spotify. That means that smaller bands and less-known artists are not only making less money, but they often aren’t figured into the algorithms that Spotify uses to suggest new music. Obviously, if you’re looking to listen to and support underground music or up-and-coming artists, your money simply won’t do the trick.

Even massively successful artists are upset about their compensation. According to the Hollywood Reporter, in September of 2017, hundreds of musicians and publishers including Tom Petty, Dan Auerbach, Kim Gordon, and Kenny Rogers drafted a court filing and complaint against a $43 million settlement that was intended to repay thousands of musicians and

publishers for 7.5 million songs that illegally made it into Spotify’s catalogue.

The lack of just compensation is a trait common to almost all music streaming services.

However, whereas Apple and Amazon are huge companies that rely on other sources of profit, like with Alexa and iPhones, Spotify depends solely on its subscriptions and advertisers. The company has no other focus but to share music, and this only makes the company’s failures in compensating musicians even more appalling.

Solutions to compensating artists responsibly comes down to us, the consumer. The resurgence of vinyl is promising for upcoming bands, as more profit goes directly towards them. Although it’s a pricey endeavor, it’s a way to directly compensate artists and their labels. Similarly, revenue from headlining shows is becoming a major source of income for upcoming artists. Paying for your favorite band’s t-shirt, vinyl record, or concert ticket will compensate them more than listening to their single 5,000 times.

What scares me the most about Spotify is the ways it is shaping how people listen to music. The platform is creating a new kind of listening experience where artists, producers, genre, and community are not valued. Spotify’s reluctance to value musicians is obvious in the dominance of playlists in its algorithm. Baffler writer Lis Pelly points out that playlist on Spotify are generated to echo emotions and activities more than the actual artists, albums, and genres.

It is easier to find a Spotify-created playlist than an album. By encouraging listeners to select music based on personal mood or activity, less importance is put on the creators and songwriters.

Whereas Apple Music features artist-oriented playlists like, “Black Keys’s Influences” or even playlists that spotlight a certain producer or record label, Spotify’s playlists downplay the role of the music’s creators and acts as background music. One student cited Spotify’s “playlist radio” function as an appealing aspect of Spotify. She explained that after her playlist had ended, similar style songs begin playing and “I don’t even realize it’s on the radio setting because it is so good at matching beats, tempos, and overall vibes.” Sadly, Spotify playlists are often acting as a provider of background music.

One student said, “I use [Spotify] to make playlists mostly... I have a playlist just for packing, for classical music, for throwback songs, and for relaxing music.” While the playlist-heavy interface obviously appeals to a new generation of music

Critics are forecasting that it is a matter of time before Spotify takes a step like Netflix and becomes its own record label and forces competition from smaller labels out.

listeners, it is generally not how artists imagine their work. Most artists create music with the framework of an album in mind, not a slot on a playlist. So, when Spotify makes its branded playlists more available and dominant than artists actual albums, less emphasis is placed on the artists, their album, collaborators, and record label. Then, when Spotify fails to compensate songwriters, the public remains only vaguely upset for a short time (because the modern music listener is arguably less connected to musicians’ names.) However, the argument can be made that like the cassette in the 1980s, Spotify playlists can enable listeners to arrange disparate music into coherent playlists and interact with music more democratically.

Of course, this article is not meant to shame Spotify users. There is no denying that music streaming services are the cheapest and most practical way to listen to music. The power of corporate businesses have to shape our consumer choices and abilities to listen to music affordably is nearly inescapable. However, it is important to understand how these massive corporations shape our experiences with music and fail to support artists, especially new artists.

P(h)un!

Pun Column Original Puns

by Elena Lev When your mother tags along on your first date, you can call her Mamacita.

When I draw a dog in math class, it’s usually a Labradoodle.

You ducked when I threw you a piece of chicken, but it was still a fowl.

By Elena Lev ‘21 Pun Columnist

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight

12 • Features

By Hayley Van Allen Queer Columnist

A

re you a member of the LGBT* community at the 7Cs? Excited about GAYPRIL but overwhelmed by all the events? Looking for something to do in the last few weeks of the Spring Semester? Concerned because you’re not sure what GAYPRIL even is? Well look no further and worry no longer because we have put together a comprehensive overview of Gaypril #20gayteen here at the Claremont Colleges. GAYPRIL is a month-long celebration headed by the Queer Resource Center (QRC) for the existence and history of diverse LGBT* individuals and communities on the 7C Campuses. Gaypril festivities began on Saturday, March 31 at Pomona College with the yearly tradition of painting Walker Wall rainbow to match the gay pride flag. A few more events have happened since then--including the Gaypril Drag Show on April 7--but

there are many more events to come. The month will come to a close with the 2018 Lavender Graduation, an event celebrating LGBT* graduating seniors and graduate students. The ceremony will be held at Galileo McAlister on Thursday, April 26 from 6-8pm. The annual celebration is meant to bring visibility and acknowledgement of the unique experiences and challenges that LGBT* students experience in college.

The month is sure to be a success with such a wide variety of events planned. The fact that so much care and effort is put into celebrating the LGBT* community on campus is important in making the 7Cs feel like a home for those students. Whether you are a member of the LGBT* community yourself or an ally, there’s sure to be something fun for you to attend this GAYPRIL.

Check out some events happening this month: Interested in attending queer-oriented parties?

Looking for some queerrelated things to do?

Crystal Queer: A queer Scripps party on Friday, April 13 at 10pm held in the SCORE living room.

Community Bar-B-Queer: A BBQ at Walker Beach on Pomona Campus, from 2-4pm on Sunday, April 15.

Queer Soirée: A replacement for the Queer Prom held in past years. Taking place on April 20 from 9pm-1am in Seal Court.

Queer Hike: Meet for a late-morning hike on April 14 from 9:30am-1pm at the Outdoor Education Center on Pomona Campus.

Queering Ballroom Dance: Break down the genderbinary found in ballroom dancing at this discussion and lesson on ballroom dancing held at Edmunds Ballroom on April 17 from 7-9pm.

Queer Fashion Show: A fashion show starring members of the Claremont Colleges that will be held on April 21 from 2-4pm at Doms Lounge.

Trying to become more educated on queer issues?

Diversity & Inclusion in Consulting Panel: A panel sharing their lived experience as individuals from an underrepresented background in the business world.

Will be held at the Rose Hills Theatre from 2-3pm on April 13.

Queering Inclusive Healthcare: This talk given by a pharmacist on issues surrounding healthcare for queer people will be held at the QRC on April 16 from 6-8pm.

Career Panel: A panel on coming and being out in the workplace will be held at the QRC on April 18 from 6-7:30pm.

Desperate for more queer media?

On April 13, head over to the QRC at 8pm for a Queer Movie Night.

Love RuPaul’s Drag Race?

The QRC hosts weekly viewing parties at 8pm every Thursday through May 3.

12 April, 2018 • The Scripps Voice • Volume XXI • Issue Eight