Fall Issue 2019: IN LIVING COLOR

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ISSUE NO. 28

IN LIVING COLOR

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IN THIS ISSUE

6–7

8 – 13

14 – 17

IN T RO D U CT I O N

FE E L ING FRU IT FU L

Introducing In Living Color

Photographed by Logan Glennie

CAT C H ING U P W IT H KY L E D E N M A N Q & A with a Miami Alumnus

18 – 21

22 – 26

28 – 29

GREEN IS THE NEW BLACK

U P C L O S E & B E AU T IFU L

3 6 5 DAYS O F C O L O R

Written by Regan O'Brien

Photographed by Christina Vitellas

Written by Adrienne Bechtel

30 – 33

34 – 37

38 – 45

A CO L O R F U L CO MM U N I T Y

A S PE C T RU M O F E M O T IO N S

IN L IV ING C O L O R

Written by Sophie Thompson

Written by Carolyne Croy

46 – 49

50 – 51

52 – 55

MO R E T H AN ME ET S T H E EY E

T H ROW ING S H A D E

U P T OW N G IR L S

Written by Abigail Padgett

Written by Julia Plant

56 – 61

62 – 63

64 – 65

WH O A R E WE R E AL LY

A RT E D U CAT IO N

C O L O R FU L L A NG UAG E

Photographed by Junho Moon

Written by Emma Naille

Written by Lizzie Carter

Photographed by Annie David

Written by Erin Adelman

66 L A S T WO R D From the Editors

C OVE R S T Y L E D B Y Olivia Belkin, Abby Malone, Meghna Santra & Maddie Zimpfer P H O T O G R A P H E D B Y Logan Glennie M O D E L E D B Y Kristina Miljkovic

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editor-in-chief Bella Douglas

publisher

Erin Adelman Adrienne Bechtel Emma Boggess

Astrid Cabello

Grace Callahan Carolyne Croy Jaslyn Davis-Johnson

creative director

Regan O'Brien Abigal Padgett

Katie Wickman

director of fashion

Anna Patricelli Nina Schumann Sophie Thompson

Ben Krautheim

B L O G G E RS

directors of photography

Carolyne Croy

Maggie Smerdel & Christina Vitellas

copy editors Julia Plant & Claire Podges

director of social media

Sophie Blasi Bridget Bonanni Shannon Kelly Molly Monson Sydney Nelson Cache’ Roberts Jamie Santarella Rebecca Wolff

Cami Cicero & Casey Doran

P H O T O G R A P H ERS Annie David Logan Glennie Rachel MacNeil Junho Moon Amanda Parmo Erin Poplin Ivy Richter Avery Saloman Lauren Waldrop Olivia Wilson

directors of event planning

V I DE O G R A P H E RS Emily Ambargis

Avery Salomon

director of videography Annie David

directors of marketing

Cora Harter & Alex Jimenez

directors of communication Junho Moon & Emma Nolan

senior blog editor Kaylee Spahr

blog editor Lizzie Carter

digital media strategist Emma Naille

advisors Annie-Laurie Blair & Fred Reeder Jr.

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W R ITE RS

Asha Caraballo Elle Gordon Erin Poplin Holly Pappano Olivia Wilson E V EN T P L A N N ERS Bridget Bonanni Paige Buckingham Amy Holbrook Kalena Pendang Maddie Sturcke Christian Wurzelbacher STYLISTS Olivia Bianco Anna Bixby Cami Cicero Kayleigh Fikejs Natalie Gruenwald Nina Grotto Erin Haymaker

Madelyn Hopkins Emma Jarard Hailey Lowe Isabella Lucarelli Abby Malone Katie Mcllroy Sarah Oldford Will Priess Gianni Rosa Meghna Santra Isabelle Sistino Dani Spensiero Sophia Spinell Christian Wurzelbacher Matt Zeldin Maddie Zimpfer M A K E U P A RT I S T S Shelby Anton Sydney Caras Katie Friedland Janet Herman McKenna Meyers Sophie Mone Tory Noble Olivia Pangrazio Dani Spensiero Julianna Spina L AYO U T DE S I G N Grace Barrett Katie Buecker Caroline Bumgarner Katie Fee Parker Jacobs Fatima Knight Sophie Monzo Allison Ridener Sarah Semon Maggie Walkoff C O M M U N I CAT I O N S Louise Allison Kelly Breur Makenzie Fightmaster Julia Laginess Taylor Ryan Nina Schumann Alex Walker Grace Wells M A R K ET I NG Emily Ambargis Lauren Balster Olivia Ben-Kiki Kate Buckley Emily Coyne Sarah Dayan Emma Jobson

Sophie McGahan Taylor McManus Maggie Miller Emily Nebraska Olivia Owens Elizabeth Phelps Taylor Ryan Katelyn Siragusa S O C I A L M E D IA PHOTOGRAPHERS

Josie Adams Emma Boggess Monet Cavanaugh Mark Decile Kate deJesus Jessie Dolby Kate Hartner Kelsey Lewis Elli Mchaffie Max Rionda Lauren Speelman Olivia Wilson Amanda Zager STYLISTS

Olivia Belkin Olivia Bianco Anna Bixby Sophie Blasi Kelsey Lewis Hannah Matthews Anastasia McDaniel Elli Mchaffie Fifi Oginni Will Priess Isabelle Sistino Terra Weber A N A LY S T S

Erica Brower DESIGNER

Jacqueline McCully

In the months leading up to the release of our fall issue, I began reflecting on the small things that brought joy to my everyday life. Tiny, seemingly insignificant moments that painted my otherwise beige life with color–like seeing a service dog in training wearing a raincoat, or indulging in fresh Bruno Balls at 2AM. These reflections led me to wonder: Who and what adds color to my life?

How do I add color to the lives of others?

It was these questions that sparked the idea for our fall issue, In Living Color. We wanted to deliver an issue that felt celebratory of individuality, while also paying homage to the vibrant people, places and things that comprise our community. Through insightful articles that highlight the incredible individuals in Oxford and beyond, striking photography and artful design, In Living Color strives to fulfill UP’s mission of inspiring our readers to be their most creative and authentic selves and to take in the color present within their own lives.

This issue, Abigail Padgett investigates the ever-changing beauty industry’s successes and failures regarding shade inclusivity on page 50. She examines the conversation around inclusivity among established and emerging beauty brands, recognizing both shortcomings and stepping stones toward the future.

Adrienne Bechtel takes on our fall issue’s theme literally on page 28 in an exploration of Pantone’s Color of the Year and the 2019 color, Living Coral. She artfully examines Living Coral’s economic and socio-cultural significance and highlights how color provides a powerful means of expression.

Be sure not to miss our interview with Kyle Denman on page 14, a Miami University alumnus that’s shaking up the fashion industry. In addition to designing for his eponymous label, Denman channels his creative energy through the non-profit Freedom and Fashion, where he mentors young survivors of human trafficking, homelessness, domestic violence and other traumas. His talent, passion and commitment to serving his community is sure to inspire you.

Admire the stunning photo editorial entitled “In Living Color” shot by Annie David on page 38.

Named for this issue, its colorful hues, elevated styling and inventive angles embody the passion and vibrant individuality of our fall theme.

I hope that In Living Color leaves you feeling inspired by its stories, skillful design and captivating photography. On behalf of UP’s entire staff, I invite you to seek out the little moments that add color to your life. Cheers to an amazing year!

Much UP love,

Bella Douglas Editor-in-Chief

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DEFINITION PAGE

in living color celebrating the vibrant people, places and things that make up the fabric of our community and every colorful moment in between

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feeling fruitful editorial | 01

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Photographed by Logan Glennie | Styling by Olivia Belkin, Abby Malone, Meghna Santra & Maddie Zimpfer | Makeup by Tory Noble

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Modeled by Kristina Milijkovic, Will Reblando & Brooke Silvers

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Photograph Courtesy of Kyle Denman

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CATCHING UP WITH

KYLE DENM AN H o w O n e M i a m i A l u m n u s Fo u n d Fr e e d o m T h r o u g h t h e Tra n s f o r m a t i v e Po w e r O f Fa s h i o n

From a B.A in political science to working alongside the entertainment icons who grace the cover of Forbes, Kyle Denman put his passion first in exploring a career in the fashion industry. Graduating from Miami University in 2016 with no prior sewing or design experience, Denman set off on a path less-traveled as he continued his education at the Fashion Institute of Design & Merchandising in Los Angeles.

Denman became one of ten students accepted into their advanced graduate program in which he designed a collection to be highlighted in El Paseo Fashion Week, continuing on to showcase his collection in New York City and Los Angeles.

Currently, Denman channels his passion and talent into Freedom and Fashion, where he mentors young survivors of

human trafficking, homelessness, drug abuse, domestic violence and other injustices. Denman encourages creative thinking and rediscovery of individualism through his classes on fashion, aiming to mend damage surrounding vulnerability and self-esteem.

Although he is the grand prize winner of the “Project Runway” ReMake It Work Contest, Young Fashion Designer of the Year, Miami University’s 18 of the Last 9 honoree and valedictorian of his class at the Fashion Institute of Design & Merchandising in Los Angeles, Denman remains humble in his achievements as he talks to UP about what life is truly like after Oxford, OH.

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IT’S BEEN NEARLY FOUR YEARS SINCE YOU GRADUATED FROM MIAMI. WHAT HAVE YOU BEEN UP TO SINCE? Since graduating from Miami, I moved to Los Angeles, CA and enrolled in the Fashion Institute of Design & Merchandising (FIDM). Because I had no prior sewing experience and littleto-no design experience, I had to hustle. It paid off and I actually graduated as the Top Fashion Design Student and as the Valedictorian in just one year. I was later admitted into the Advanced Study Fashion Design Program as one of the 10 students selected and graduated from that program in just nine months. I have shown my designs in fashion shows all across the country, from New York City to Los Angeles (with my most recent fashion show being attended by over 10,000 guests) and was named the Grand Prize Winner of the “Project Runway” ReMake It Work Contest. I was also named the Young Fashion Designer of the Year in 2018 and am also the youngest recipient of the Miami University 18 of the Last 9 Award. I also had the chance to work as a wardrobe assistant for Beyoncé for her performance for the Coachella Music Festival in 2018. Additionally, I have had a great opportunity working at Freedom and Fashion and at New Village Girls Academy as a fashion design instructor and art instructor.

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TALK TO US A LITTLE BIT ABOUT FREEDOM AND FASHION. HOW AND WHY DID YOU GET INVOLVED TEACHING FASHION DESIGN TO YOUNG, AT-RISK WOMEN AND SURVIVORS OF TRAUMA AND INJUSTICE? While at Miami, I participated in Opening Minds Through Art (OMA). While doing that, I saw that art has a profound effect on people. While facilitating art classes to people with dementia and Alzheimer’s through OMA, I saw that art is incredibly transformative, even for people at late stages in life. That’s when I knew that I had to do something in art as a career. I asked myself, “What kind of art exists in everyone’s life on a daily basis?” The answer was clear and all around me—fashion. That’s when I decided to graduate a year early from Miami and enter the fashion design industry. I wanted to combine my degree in political science with my new career in the fashion industry.

Freedom and Fashion is a nonprofit which utilizes the arts of fashion and beauty to educate and empower young women who are survivors of human trafficking, sexual violence, abandonment, domestic violence, homelessness and other injustices and traumas.

I saw this organization as perfectly blending political science and fashion design. I am the lead fashion design program instructor and work with up to 30 teenage girls at a time in a given class.

Because I have so much love for these girls, I have taken a fulltime position as their art teacher at their local high school, too.

UP’S FALL THEME IS IN LIVING COLOR. IN THIS ISSUE, WE ARE “CELEBRATING THE VIBRANT PEOPLE, PLACES AND THINGS THAT MAKE UP THE FABRIC OF OUR COMMUNITY AND EVERY COLORFUL MOMENT IN BETWEEN.” HOW WOULD YOU SAY YOUR WORK EMBODIES THIS THEME? My work is incredibly story-driven. It tells deeply emotional stories with which people can relate and identify. My most recent collection was titled, “Broken Angel Fallen From Grace” and told the story of an angel who lost her wings. On a personal level, the collection was inspired by fashion designer Cristobal Balenciaga’s relationship with the Catholic Church as a homosexual man— which is a relationship with which I closely identify. In my life, I felt as if I have lost my wings and have struggled with my identity. It was only until recently when my students came into my life that I have begun to find my wings again. My collection that I am currently designing and sewing is inspired by the lives of my students, who have each overcome so many obstacles that most people will never experience. However, they survive and they overcome and they continue to live. I want to celebrate them through my work.

I am fortunate to have a platform, and I want to use that platform to help speak for those who have been silenced by our society and I want to continue to share these stories with the world.

WHAT ADVICE DO YOU HAVE FOR CREATIVES WHEN INSPIRATION IS LACKING OR YOU FIND YOURSELF AT SOME KIND OF ROADBLOCK? My advice is to take a moment and reflect. There is so much inspiration in each of our stories that an aspiring fashion designer is bound to find some font of inspiration in their own life. Dig deep and be vulnerable with yourself and others—in that time of vulnerability is when an artist is able to profoundly create.

YOU LEFT TINY OXFORD, OH JUST FOUR YEARS AGO AND ARE NOW DESIGNING OUTFITS FOR BEYONCE. WHAT WOULD YOU SAY WAS THE BIGGEST KEY TO YOUR SUCCESS? I think the biggest key to my success has been remaining as humble as I can. I am the first person to tell myself that I am not the best. I know that. But that motivates me to continuously improve. I would say that being a teacher to these young women has been the most influential part of my career and has been the biggest key to my success. As sweet and kind as the girls are, they also keep me in check. They keep me humble. They keep me motivated and inspired. At this point in my life and in my career, I am not just trying to succeed for me. I am trying to succeed for them because I have so much love for them.

WHAT HAS BEEN THE BIGGEST TURNING POINT IN YOUR CAREER SO FAR? THE LARGEST SETBACK? WHAT ENCOURAGED YOU THROUGH THE CHALLENGE? I would say the biggest turning point in my career thus far was being named the Grand Prize Winner of the “Project Runway” ReMake It Work Contest. That elevated my career and gave me a platform upon which to express myself and to share the stories of those whose voices may be silenced by society. The largest setback was definitely my own self-doubt, which often stemmed from the words and actions of others. However, I am incredibly fortunate to have an incredible support system in my parents, my friends, my mentors and my students. They are the people who got me through the challenges that I have faced.

This interview has been edited for length and clarity.

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GREEN IS THE NEW BLACK

"IT'S A CULTURAL CHANGE WE NEED TO COMMIT TO [BEING] TRULY ENVIRONMENTALLY FRIENDLY IN ALL ASPECTS OF LIFE. SO, MY ADVICE IS TO MAKE ONE CHANGE, AND ONCE YOU'RE COMFORTABLE WITH THAT CHANGE, ADD ANOTHER, AND SO ON" — CASSIE CONRAD

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Photographed by Amanda Parmo Styling by Erin Haymaker & Natalie Gruenwald Makeup by Olivia Pangrazio Modeled by Ivy Richter

W R I T T E N BY REGAN O'BRIEN

In today's world, it seems like there is always something to be said about the state of our environment. From wildfires in the rainforests of Brazil to the warming rates of the climate, the issue at hand is becoming more apparent.

One of the main ways people are combatting the climate crisis is with the idea of sustainability. Some of us may be thinking, what really is sustainability? According to the UCLA Sustainability Committee, sustainability is “the physical development and institutional operating practices that meet the needs of present users without compromising the ability of future generations to meet their own needs, particularly with regard to use and waste of natural resources.� To put it in simpler terms, sustainability is about what kind of world we are leaving behind to future generations.

Being environmentally friendly, sustainable and conscious of how we are treating the planet isn't anything new.

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What is new is how social media has played a part in bringing more awareness to the issue and encouraging younger generations to take a stand. Ivy Richter, a sophomore at Miami University, views social media as a place for Millennials and Gen Zers to take a stance on sustainability issues.

"Social media has provided a platform for sustainability issues to be broadcasted. Millennials and Gen Zers have enforced that by sharing Instagram posts and circulating the conversation on the climate crisis and various sustainability issues," Richter said.

"Through the use of social media, influencers like Greta Thunberg's voices are carried across the globe to highlight a worldwide issue that hits at the core of every community."

As Gen Zers and Millennials start to see the difference they can make, voices are beginning to be heard, all the way from social media to protests across the globe.

"As a society as a whole, Gen Zers are taking action and standing up for their beliefs, through the organization of rallies and social media campaigns, no voice is being left unheard," Richter said.

"Without social media, the voices of people globally would not be heard and big power businesses wouldn't be called out for their polluting practices."

Along with Richter's views on social media's influence on sustainability, over this past summer she was able to learn how fashion has an impact on our planet. "Over the summer, I worked at a sustainable fashion non-profit that aimed to reduce textile waste in the fashion industry," Richter said. "This experience opened my eyes to the various manufacturing practices that take place and what is good and bad for our planet when it comes to clothing.”

Having this experience allowed Richter to understand the impact clothing has on the planet. She was introduced to ways we can reduce our footprint within fashion, even if it means a steeper price tag.

"Clothing is a huge environmental factor, something that is definitely coming to light more and more. Shop less, don't hold back from spending a little more on your clothing to be socially and environmentally conscious. Keeping a garment for more than (six) months makes a huge difference. Try to buy clothing made from organic cotton, silk, vegan leather, and so forth."

In addition to keeping a more sustainable mindset when it comes to shopping, Richter pointed out that websites like Rent the Runway encourage us to reduce our clothing consumption and to think about the consequences before purchasing an item.

"Whenever I do choose to buy an item of clothing, I make sure to look at more sustainable brands, so doing the research is really

important. I also look at the garment tags to know what my clothing is made out of, and where it is made," Richter said.

Along with students like Richter on campus, Miami is also the home of Zero Waste Oxford (ZWO). ZWO dedicates themselves to making the campus more sustainable by introducing students to ways they can make strides towards living a zero-waste lifestyle. "Last semester we started a student-run, pop-up thrift shop in Armstrong Student Center (that was) made possible with donations from students and the Oxford community," Cassie Conrad, sophomore and president of ZWO, said. "This is one of my favorite things that ZWO has achieved because we get to educate students about why it's important to take old materials and find use from them.

So many people blindly buy into fast fashion because they simply aren't aware of the harm it causes both to the environment and the workers behind it."

Conrad says the key to moving towards a more sustainable lifestyle is to start small and to fight against the misconception of having to go all or nothing.

"It's not practical for most of us to, for example, completely discard convenience items as college students on a plastic-ridden campus," Conrad said. "I'll be the first to admit that I buy food from the commons that are wrapped in plastic–it's a cultural change we need to commit to (being) truly environmentally friendly in all aspects of life. So, my advice is to make one change, and once you're comfortable with that change, add another, and so on."

Unlike Richter, Conrad feels that social media had backtracked the movement in some ways, by only drawing attention to smaller pieces of a bigger issue.

"The goal of the movement for getting rid of plastic straws was, deep down, to get rid of single–use plastics. Unfortunately, that movement–especially on social media–turned into only focusing on the straws. The conversation was lost. It's confusing and quite frustrating to the sustainability student to witness that," Conrad said.

Conrad also notices that through social media, the language used in the context of climate change puts it in a negative light. Conrad feels that if we were to make a switch and stop focusing on the "doom and gloom" of climate change, a greater shift could be made.

"I can't scroll through Twitter without seeing a meme about how we're all going to die in 50 years," Conrad said. "If we start to change our language in correlation to climate change and start to provide resources for people to grasp onto, instead, I think it could make a huge difference in educating people. But again, that's a cultural shift that has to take place."

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up close & beautiful

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editorial | 02

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Photographed by Christina Vitellas | Styling by Isabella Lucarelli, Isabelle Sistino & Dani Spensiero | Makeup by Sophie Mone & Julianna Spina

Modeled by Esther Amonor, Maria Jose DeSantiago Galan & Milana Yarbrough

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Our fresh, invigorating menu will have our guests coming back for more. The laid back atmosphere and local vibe make our neighbors feel at home. At Gaslight, you're not just our guest, you are family. Come in, grab a seat and enjoy a memorable experience with us.

325 S College Ave St, Oxford, OH 45056

gaslightbrewhouse.com

513.280.6237

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Photographed by Avery Salomon Styling by Emma Jarad & Will Priess Makeup by Shelby Anton Modeled by Sarah Arensberg

3 6 5 DAYS OF COLOR LIVING CORAL

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W R I T T E N BY ADRIENNE BECHTEL

S

ince 2000, the Pantone Color Institute has selected a Color of the Year; one that influences a myriad of industries and represents larger cultural movements.

The selection of this color is influenced by yearly trends in entertainment, fashion, art, all spheres of design, technology, and travel. But the Pantone Color of the Year is chosen for more than just popular trends. The selection process also takes into account lifestyles and socio-economic conditions impacting the world.

According to Pantone’s website, the 2019 color, Living Coral, was chosen for its vibrancy and ability to, “(embrace) us with warmth and nourishment to provide comfort and buoyancy in our continually shifting environment.” And in an environment embedded with social media and digital technology, Living Coral is a reminder of authenticity and connection. This warm, lively color exists naturally in our ocean’s reefs, but also holds a presence in the digital world.

So, what should the Color of the Year mean for you? Well, as a consumer, it’s likely you’ll see this color in a variety of collections from all kinds of companies and brands. From clothing, shoes, and accessories, to technology and furniture, you can expect the vibrance of Living Coral to be all over the market. This is a common course for the Color of the Year.

Ever heard of Millennial Pink? This delicate blush hue—called Rose Quartz by Pantone—was named the 2016 Color of the Year. The color exploded as a must-have for products and designs and became a desirable aesthetic all over social media platforms and blogs. Phone and laptop cases, purses and shoes, street style, and digital feed all sported Millennial Pink.

The cultural obsession with Rose Quartz and the introduction of Millennial Pink into our cultural lexicon says it all—our infatuation with color runs deep. Scientists have studied color psychology by testing the impacts of color on human feeling and behavior. According to a study performed by Alexander Schuass, certain colors can be linked to decreasing blood pressure or aggressive behavior. But other scientists and psychologists like John Maule claim that color has no real effect on behavior at all. When it comes to pink tones in particular, there is also a great deal of debate. Longstanding cultural conventions have determined that pink is a girly color, but this stereotype has been challenged in more recent years as what it means to be masculine is continually redefined. A A CNN article titled “Why millennial pink was no accident”

noted that people today are more open “to defying the old and absolute color rules about what is appropriate for certain uses.”

But regardless of studies and stereotypes, color is a means of expression. Color speaks in subtle ways that influence meaning and perception.

Designers of all fields choose colors with care. The colors on a website, infographic, or advertisement must capture attention and emanate a precise meaning to be correctly perceived by the audience. The colors on a piece of clothing or accessory need to harmonize with other elements such as texture and pattern for the piece to convey the desired effect.

Living Coral, like Rose Quartz and other past Colors of the Year, holds significant meaning. Living Coral is optimistic and energetic, but also represents the delicate state of our oceans.

Pantone describes it as “a subtle reminder that coral, which is bright and lively, is only possible if it’s surrounded by a healthy environment.”

WHEREVER LIVING CORAL APPEARS, IT IMPLORES US TO EMBRACE VIBRANCE AND LIFE; TO ENCOURAGE EXPRESSION AND CONNECTION. Next year marks the 20th anniversary of the Pantone Color of the Year selection. Pantone’s Spring/Summer Color Palette forecasts coastal blues and greens that “display depth and complexity.” There are also rumors of a color called Bleached Coral—a very pale blue—for the 2020 Color of the Year.

Bleached Coral, while nearly colorless, is full of meaning and relevance. Environmental awareness is something that should be at the forefront of our minds—not just a fashion trend to follow for a year.

Whether or not Pantone is ambiguously hinting at the state of our environment in the movement from living to bleached, we can be sure that whatever the significance, the next Color of the Year will be incorporated everywhere. From the release of a new Essie nail polish, to Gucci’s spring collection, bring on the blue and live colorfully.

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Photographed by Erin Poplin Styling by Gianni Rosa & Matt Zeldin Makeup by Sydney Caras Modeled by Sam Hotz & Clayton Burket 3 0 | FA L L 2 0 1 9

A Colorful Community: CELEBRATING THE OXFORD FARMERS MARKET

W R I T T E N BY S OPHIE THOMPS ON

The smell of fresh bread and pastries wafts through the open air, sunlight bouncing gently off the assortment of tents that mark the presence of the Oxford Farmers Market. The group of local vendors smile warmly at the trickle of people that walk by, chattering amongst themselves as they wait for an interested customer.

It’s 8 a.m. on a bright Saturday morning, marking the start of the Farmers Market. The vendors have already set up their stations to showcase their products. The area is still relatively quiet without the steady rush of cars from the nearby intersection of Main and High Street, and customers have yet to come in droves to buy the goods that are sold here on a weekly basis.

“This is actually my third time to visit the Oxford Farmers Market,” says Susan Miller, a vendor at the market. “Oxford has just really welcomed me and I love it here.”

Miller, 53, runs Uniquely Knotted, the business she created in October 2015. Based in Hamilton, Ohio, Miller uses essential oils and incorporates them into her jewelry pieces,

which are different than the average bracelet or necklace. Each piece comes with one naturally absorbent bead upon which essential oils can be applied, helping to relieve people’s physical or emotional ailments, such as stress, headaches, nausea or sinus issues.

“It occurred to me, I don’t want to produce cookie-cutter jewelry. I want it to be unique, like my name is, so it keeps it challenging and fresh for me,” Miller says.

Like many vendors, Miller’s business is a large source of income for her, one of the many reasons the Farmers Market is so important.

“It definitely gives employment for the people who are farmers on the outskirts of town,” says Kristi Hutchinson, owner of 5 Oaks Organics farm in Oxford. “A huge chunk of my income I get from here.”

It’s Hutchinson’s tenth year at the Farmers Market and she’s selling baby arugula, salad mix and radishes, although she grows many other crops on her farm. She can still recall the early days of the market.

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“We used to be open at 7:30 and you’d get the five people you knew you were getting and then you wouldn’t have anyone until like eight or nine,” she says. “But we started adding on. Usually, the people who are in their little places here have been coming for many, many years.”

The Farmers Market used to take place in the parking lot of the old Stewart School, according to Larry Slocum, manager of the Oxford Farmers Market. Once the school was sold, the market moved Uptown in 2004.

Slocum, 63, has been the manager of the Farmers Market since 2006. When he’s not at his day job teaching others how to stay calm during a crisis or writing children’s music, he can be found helping out at the Farmers Market. Despite the fact that he only gets paid $2 an hour for his efforts, Slocum doesn’t mind.

“It’s a labor of love,” he jokes.

Slocum is also part of the market counsel, a group that decides which vendors are able to come and sell their goods at the Farmers Market. The counsel fluctuates between 6-8 members and looks into how many farmers and bakers to accept each year. Once vendors apply and send in their applications, the counsel looks closely into who the vendors are and what they do, as well as how local the vendors are to the community.

But the name Oxford can make this confusing and the definition of “local” is sometimes misconstrued, as Slocum has discovered over the years.

“One guy called me and said ‘I wanna bring some fresh shrimp up from the ocean,’” Slocum reminisces. “I said, ‘You wanna drive up here?’ He said, ‘Yeah!’ He was talking about Oxford, Mississippi, not Oxford, Ohio.” Slocum laughs. “I even got an email one time from one gal who wanted to bring her jams and jellies. She lived over in England; she thought we were in Oxford, England.

That’s crazy.”

According to Slocum, the Oxford Farmers Market hosts 40 vendors every Saturday, with more or less on any given week. He estimates that around 28 are farmers, 10-12 are bakers and 5 or 6 are artisans.

It’s important to Slocum that farmers are in the majority at the market.

“We have to make sure that there are more farmers than anything else because this is a farmers market, and farmers drive the market, otherwise it becomes a bakery market,” he says. Hutchinson also stresses the importance of how farmers drive the market.

“I don’t have employment anywhere else but the farm,” she says.

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Hutchinson enjoys selling her goods in Oxford because of the community she’s grown to know and love.

“Because I’ve been coming here for so long, I know so many people,” she says. “So when I’m walking down the road, because maybe I wanna go to one of these restaurants, I’ll hear, ‘Hey, lettuce lady!’ How fun is that? I love the fact that I can go in every store and know at least one person and it’s because of this market.”

John Bigham Jr., 21, who oversees Freedom Farm in New Paris, Ohio, agrees. “Definitely the atmosphere of this market is really great compared to others I’ve been to,” he says. “All the vendors get along great, and I don’t see anything that I would change. I would tell other farmers markets to use this as a blueprint because it really does work.”

It’s Bigham Jr.’s fourth year at the market and his sixth year growing produce. Today, he looks to sell onions, sweet peppers, green beans, tomatoes, potatoes and more.

“It’s grown every year, so I’ve done really well,” Bingham says with a grin.

As much as the vendors love the market, the Oxford community eagerly supports it. Claire Barker, a senior vocal performance major at Miami University, makes a point to go to the market every weekend with her roommate.

“I like that you get to interact with the community and kind of get outside of campus,” Barker says. She loves hunting down the best fresh produce and looking at the delectable pastries, as well as spending quality time with her friend.

Sue Harris, a resident from Hamilton, Ohio, loves the Farmers Market for similar reasons. She moves from stand to stand, talking to some of the vendors with her two dogs at her heels.

“Instead of taking them on a walk, we bring them up here so they can socialize,” Harris jokes, grinning down at her pets.

Harris, whose daughter went to Miami, attends the market almost every Saturday.

“It’s a very casual, friendly place where you can just go at your own pace and taste a lot of things,” she says. “They have very good selection and high quality things.”

When December comes around, the market will only be held from 10 a.m. to noon on the first and third Saturday of each month, all the way through April. Yet the cheerful spirit of the Oxford Farmers Market always lives on, thanks to the dedicated vendors who put so much time and effort into creating and selling their products, and the faithful Oxford community that keeps coming back for more.

“SO WHEN I’M WALKING DOWN THE ROAD, BECAUSE MAYBE I WANNA GO TO ONE OF THESE RESTAURANTS, I’LL HEAR, ‘HEY, LETTUCE LADY!’ HOW FUN IS THAT?" – KRISTI HUTCHINSON

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Photographed by Rachel MacNeill Styling by Cami Cicero Modeled by Lucy Pennell & Adam Velasco

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A SPECTRUM OF EMOTIONS A B r i e f H i s t o r y o f Mo o d R i n g s

W R I T T E N BY CAROLYNE CROY

What do grocery store gumball machines, the sale rack at Claire’s, and the display windows of expensive boutiques in Upper Manhattan have in common? At different points throughout the past fifty years, each was home to one of the most unique pieces of jewelry that became a defining symbol of the 1970s: the mood ring.

In his 2001 book “The Seventies: The Great Shift in American Culture, Society, and Politics”, Bruce J. Schulman describes the 1970s as a period of self-awareness, self-expression, and selfinvolvement, and it was dubbed the “Me Decade” by author Tom Wolfe in his 1976 article for The New York Times. After the Vietnam War and the Watergate scandal, Americans were left questioning authority and were searching for individualism and personal liberation. Some joined protest groups, some learned to practice the art of meditation, and some swapped their heels for moccasins and their blouses for peasant tops. Politics changed, music evolved, fashion transformed. According to Gylaine Gilmore in her class lecture at Miami University, Christian Dior’s “New Look” was abandoned for the first time since it’s conception in 1947, and American society began to favor a more whimsical,

casual and groovy style that fit the decade’s radical new ideas.

Flared jeans, loud prints, and eccentric jewelry all became staples of a 1970s wardrobe, but no item was more coveted at this time than mood rings. Created by Josh Reynolds and Marias Ambats, the duo marketed the rings as “portable feedback aids” and sold $1 million worth of the jewelry in a three month period, according to Mortal Journey, a website that discusses fashion trends dating back from the 1800s to current day. The rings acted as a tool that allowed members of society to physically view the mental and emotional shift they were experiencing any time they looked down at their hands. This shift mirrored the outside world drastically changing around them.

Celebrities such as Barbra Streisand and Muhammad Ali often sported the rings, some of which were made of gold and silver and cost upwards of $200. Seemingly overnight, the rings gained overwhelming success, causing sales to rise and prices to drop.

Affordable shops began selling mood rings made from less precious metals such as copper. These inexpensive rings were often sold with placards describing the meaning of each color. According to ColorPsychology’s, "Mood Ring Colors and Their Meanings" article, the colors of a mood ring define emotions as follows:

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BLACK: Anger, fear or apathy. The ring reverts to black when it exhausts its crystals, but wearers who see black while it’s still in use are often overworked or depressed.

YELLOW: Mixed or conflicted emotions. Yellow rings could suggest ambivalence, mild anxiety, or distraction.

ORANGE: Upset. The same basic feelings with yellow are amped up when the ring turns orange, and it often suggests nervousness, stress, or confusion.

LIGHT GREEN: A modest but unconcerning level of anxiety. Light-green could suggest mild jealousy or stress, or it could suggest a guarded or alert demeanor.

GREEN: Relaxed. Green is typically seen as the default color for most wearers, and it demonstrates stable emotions free of excessive negative or positive feelings.

BLUE: Upbeat. A blue ring is typical of someone who’s feeling in positive spirits but not overcome from an excessive tide of emotions. They could be optimistic and amiable but are still generally driven by rational thought.

DARK BLUE: Content. The dark-blue hue connotes that the inner sense of optimism has been fulfilled and translated into a degree of self-satisfaction. Wearers with dark blue rings are happy with their state of affairs and more prone to welcoming and generous behavior.

VIOLET: Romantic. Violet often appears in the presence of a crush, a lover, or an artistic passion. They may be moody, sensual, or mischievous, and that can lend a level of unpredictability to their decision making.

PINK: Infatuated. The level of heat given off when the ring shows pink denotes a person overcome by strong emotions.

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As the trend gained traction and popularity, the validity surrounding mood rings came into question. Mood rings contain liquid crystals that are thermotropic, meaning they react to a heat source. When the crystals detect heat, their molecules twist and change their chemical structure, altering the crystal’s light reflection which determines what color the ring will project.

A mood ring’s heat source is body temperature, and the normal body temperature of a human is 98.6 degrees Fahrenheit. Stress, anxiety, sadness and similar emotions cause blood to be pulled toward the vital organs and away from the extremities, such as fingers, causing the ring to detect a loss of heat which produces darker colors.

Miami University junior Jenn Soos touches on her own experience with mood rings: “I bought a mood ring as a friendship thing with a girl I met on a trip abroad.” Soos adds that the accuracy of the ring wasn’t always consistent. “Sometimes it can be very delayed or inaccurate, but sometimes it gets it right on the head!” The validity of mood rings has been in question since they came into popularity in the 1970s, but despite these questions surrounding their authenticity, the rings remained prominent in the fashion market. Soos says the inconsistency in the ring’s performance hasn't deterred her from making another purchase, and she says she would consider buying another ring if the chance presented itself. Of course, there are other factors that affect a person’s body temperature like physical activity, or metabolizing food, according to an experiment done by Refinery 29. While mood rings are more accurate in detecting changes in temperature than defining one’s mood, the temperature changes act as indicators to show how one’s body reacts to different emotions.

Mood rings had a mild resurgence in the late 90s and early 2000s, but they were mainly marketed to children and sold at chain stores or offered as prizes in arcade games. But with the reappearance and overwhelming popularization of vintage and bohemian styles in the past few years, mood rings are back on the market. Trendy online stores like Urban Outfitters and Brandy Melville came out with several different styles of mood rings in 2017. Will this revival of vintage fashion encourage another mood ring craze?

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in living color

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editorial | 03

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Photographed by Annie David | Styling by Nina Grotto & Maddie Zimpfer | Makeup by McKenna Meyers & Tory Noble

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Modeled by Monet Cavanaugh, Josiah Collins, Laura Sears & Thomas Weidner

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Photographed by Christina Vitellas Styling by Christian Wurzelbacher Modeled by Shelby Rice

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More Than Meets The Eye

“I walk with a cane… but that’s not the most important thing about me”

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W R I T T E N BY ERIN ADELMAN

T

en years ago, Miami University first offered the Disabilities Studies program. The program offers a broad approach to the study of disability, exploring the historical, social, artistic, literary, legal, educational, philosophical and political framing of disability. The program also studies cultural constructs of disability and the intersections of disability with class, race, gender, sex, age and other markers or diversity and difference.

Since the program’s creation, it has expanded and developed to now offer eight introductory courses and attract students from different disciplines. Dr. Sara M. Acevedo, Assistant Professor of Disability Studies and disabled herself, said the program has grown over the years because it is such an interdisciplinary field and is connected to numerous other fields of study, from English to sociology to speech-language pathology to engineering.

“There is a lot of potential, or there has been a lot of potential, at Miami for offering disability studies to a wide range of disciplines and programs,” she said.

Shelby Rice is a sophomore Creative Writing and Adolescent and Young Adult English Education co-major. She is witty and humorous, resilient and creative. She is an advocate, a short story writer and a musician.

She also identifies as a member of the low vision community, meaning her vision has dropped beneath 20% of the vision field. According to the American Optometric Association, when someone with the strongest possible glasses correction has 20/70 vision, the person is considered to have moderate low vision. When the person has less than 20/1000 vision, they are considered to have near total low vision.

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Rice said that though she is legally blind, she considers herself to be low vision because she still has some of vision.

She began losing her vision in high school because her retinas are in a degenerative state. Yet rather than letting her disability hinder her quality of life, she continues to pursue new hobbies as well as old pastimes. Playing the trombone has been a joy of Rice’s since high school, and despite her disability, she has found a way to keep practicing and performing. As a trombone player in the hockey, basketball and volleyball pep band, she uses an iPad, provided by The Student Disabilities Services at Miami, for stadium performances.

“I was in my wind symphony for high school, and I did jazz band. I did quartets and quintets for chamber music. Man, I loved that,” Rice said. “But it’s something that really did change after I started to lose my vision… now I have my [music] on my computer and can put my computer on my stand. It’s different… but it’s normal now.”

In addition to music, creative writing has been a lifelong enjoyment for Rice and was an outlet for her in the beginning process of losing her vision. Now you can find her writing published in Miami’s many student publications, such as The Miami Student and The Oxford Observer.

Her newest hobby? Curling. “(Curling) was something I always watched on the Olympics and thought, ‘Oh, that looks fun and interesting’,” she said.

“It’s something that I’m excited to try out for because it’s not something you necessarily need to run for; it’s not something you necessarily need a lot of sight to do. You’re just looking forward and trying to aim it at the target.”

Rice plays for an intramural curling team, currently undefeated,

called Fruit of the Broom. Check back with her at the end of the semester to see if she decides to stick with it.

“You just reach a point where you’re like, I don’t want to put my life on hold because of something that’s happening,” she said. “You just find a way to continue living with the best adaptation possible. It’s not something that should bring your life to a screeching halt. Obviously you need time to mourn for what you’ve lost. It takes time, and it takes support.”

Since transitioning to college, Rice said Miami University's resources for students with disabilities, such as the Students Disabilities Advisory Council (SDAC) and Student Disability Services (SDS), have taken strides to positively impact her experience on campus. Compared to other college campuses she visited, she said Miami is the most accommodating.

Acevedo said there has been progress at Miami regarding inclusive spaces and accommodations for students with disabilities. However, she said there are accommodations that can be more difficult to implement, such as changing the sensory aspects of a space. She is autistic and does not feel fully comfortable or able to participate in certain environments.

“For instance, (there is) fluorescent lighting in most of the rooms,” Acevedo said. “We’re moving toward installing those adjusting panels for lighting, which is great. Most spaces are really scented and people wear perfumes, colognes and hair products. And that really hinders meaningful, full participation. But this is an issue that occurs everywhere.”

“My idea of disability is not simply in the academic world… but to bridge the gap, although that’s not entirely possible, but to work hard to bring grassroot struggles and activism with academic endeavors,” she said.

For Rice activism has looked like initiating changes in Oxford.

Last semester she worked with the AccessMU Center to provide Bagel and Deli and Skippers with braille menus. She said she hopes other small Oxford business to also take steps toward greater accessibility.

“I’d love for the other (businesses), especially small businesses who don’t have to talk to their corporate offices about it, to be able to widen their aisles, provide accessible menus, make less cluttered floors for people with wheelchairs,” Rice said. “It’s not that people don’t care, it’s that they don’t think about it.”

While Rice is passionate about advocacy and raising awareness, she said she also wants to be seen and known for more than her disability.

“I walk with a cane … but that’s not the most important thing about me,” she said. “Maybe it’s the first thing you see, but hopefully once you get to know the person that will become secondary.”

Acevedo said she hopes to bring issues such as these to light at Miami. Acevedo’s research focuses on the coalitional politics of grassroots disability justice movements that are the building blocks for contemporary activism and disability studies.

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beauty's

changing

game

THROWING SHADE

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Photographed by Maggie Smerdel Styling by Abby Malone & Kate McIlroy Modeled by Stephanie Botchway, Lydia Brosnahan, Chauntel Gerald, Ladasia Thomas & Madison Zadravec

W R I T T E N BY ABIGAIL PADGETT

Vibrant pinks. Lush blues and greens. Sizzling oranges and racy reds.

firm that includes Glossier as one of their clients, discusses the company’s approach to diversity and inclusivity:

The subtle shift from a deep brown to a caramel to a peach ivory are probably not the tonal shifts that come to mind when thinking about color. But, in America’s rapidly shifting and ever evolving beauty community, the intricate variations of skin color are the name of the game. They are a reminder of not only where the industry was not even a decade ago, but also a stepping stone for the future, towards a broader spectrum of color.

“Glossier is a brand that wants to lead by example and through their actions, so they never come out and say ‘oh, we’re doing this to be more inclusive,’ or ‘we’re doing this to speak to women of color.’They want it to be more the norm, and what every brand should be doing, as opposed to ‘oh we’re so special because we’re doing this.’ ’’

“All the contours out there for me are all just this one shade” says Miami University senior Bethel Aseffa. “Even the lady I asked at Sephora…she couldn’t even—she didn’t really even know.” Aseffa struggles to explain this experience as there are simply no adequate words to describe what does not exist: options.

The relaunch of their complexion products reinforces Sutherland’s comment. After the company received feedback, Glossier’s team quietly turned a shade range of four into a shade range of 12, being the first brand to number the shades from darkest to lightest. It’s not Fenty’s whopping 50-shade set, but it’s a step in the right direction, especially as other brand’s look to compete and follow suit.

Aseffa’s struggle is at the heart of conversation among both established and emerging beauty brands across America and abroad: how do they create shade choices for everyone, and how do their customers know they are making an effort?

Brands such as Rihanna’s Fenty and Emily Weiss’s beauty blog turned billion-dollar makeup company, Glossier, are leading this conversation.

“There are only certain brands I can use,” continues Aseffa. “There may be something dark enough, but it’s not my skin tone or my undertone.” While this may be true for all women and men who use makeup, it is especially common among those with deeper complexions.

Despite the beauty industry historically failing to represent people of color—take a look at Tarte’s 2018 Shape Tape Foundation blunder and the brand’s astonishing and persistent lack of shade development for those with deeper skin tones—the tides are slowly, but surely changing.

Libby Sutherland, senior account executive at The Communications Store, a London based PR

When asked if she could make one change in the beauty industry, Aseffa candidly responds, “be inclusive, but don’t just focus on foundation.”

It’s true; even as the beauty industry contemplates how it is going to proceed in the coming years, the constant talk about shade inclusivity can mean that other aspects of beauty diversity slip through the cracks. Creating diversified shade ranges, though obviously the catalyst for this shift, should not be the only conversation happening. Complexion products are just the tip of the iceberg in this ongoing controversy. Sutherland reiterates Aseffa’s comment by citing Glossier’s move to add two additional stronger and more pigmented blush colors to their line of products.

Aseffa reiterates her point: “it’s 2019. This shouldn’t have to be a discussion.”

And though Aseffa is right, until the beauty industry puts the total tonal variety that consumers so desperately seek on their shelves, this, long-drawnout discussion must continue.

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Photographed by Lauren Waldrop Styling & Makeup by P.H. Dee (Pictured)

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uptown girls

exploring drag culture's influence in oxford, ohio

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- Dr. Ann Fuechrer

“But tolerance is different than acceptance and appreciation. Tolerance doesn’t equal lack of threat.”

W R I T T E N BY JULIA PL ANT

“Jamona is… how do I put this nicely?” Randall Girdler wonders out loud and laughs. “Jamona’s a bitch.” Girdler is describing his “drag-sona,” the persona of the queen he transforms into when he performs. Her name’s Jamona R. Fever. She typically wears all blue, rocks a voluminous ponytail and sports anything from gowns to leotards.

I am at the drag show put on by Bar 1868 in uptown Oxford every other Wednesday. Girdler performs occasionally, but when he’s not in drag, you’ll find him working the sound booth while his fellow queens perform.

Tonight, queens named Sarah Jessica Darker, Scarlett Fever, Kisha Summers and P.H. Dee (pictured) are performing.

Students crowd together around the bright yellow duct tape on the floor that marks the unofficial runway for the night.

Crowd favorites like the Mama Mia soundtrack and Ariana Grande’s newest album blare through the basement bar as a queen dressed in a pink, zebra-striped jumpsuit reaches out her arm to grab the dollar bills students are waving at her. She winks at me as I yell “YES QUEEN!” in unison with the rest of the audience.

Girdler believes that drag shows have become somewhat normalized in recent years due to the popularity of the television series, “RuPaul’s Drag Race.” An article by Quartzy, “How ‘RuPaul’s Drag Race’ changed the way we speak,” credits the show with making LGBTQ+ culture “mainstream.” Slang like, “shade” and “tea” that many of us use on a daily basis originated from this drag show subculture and have become widely popular thanks to RuPaul.

But, according to Girdler, the popularity of RuPaul isn’t always a good thing for queens themselves. “It also kind of hurts us as well,” he said. “A lot of people who don’t go out and support local queens normally decide to come out to a show and expect us to be like RuPaul’s drag queens. Well we’re not all like that.”

Girdler says that some drag queens would rather sway their persona to be more funny or creepy, personalities that you might not necessarily see on the show.

Girdler identifies as a gay man and has been out since high school. He started experimenting with drag when he was in college and has now been performing for over five years. He works at a real-estate call center during the day. Although he’s not dressed in drag at his day-job, he said he thinks his very long, painted nails and shaved eyebrows give his nighttime gig away.

The biweekly Oxford drag show provides queens like Girdler a stage to fully express themselves and Miami students that

identify as LGBTQ+ (and those who don’t) a safe space to celebrate queer culture. But drag shows haven’t always been accepted here in Oxford.

According to an article published by The Miami Student, in April 2010 there were discriminatory acts on Miami’s campus following a drag show put on by Spectrum, an organization that still exists on campus and defines itself as, “an organization for students of all sexual orientations and gender identities (and their allies) devoted to raising awareness and creating community through education and activism” as stated by its page on The Hub. After a drag show put on by Spectrum at Stadium Sports Bar and Grille uptown, a restaurant that’s now closed, a male student from the University of Kentucky assaulted two male students leaving the show. Homophobic rhetoric was used in the attack.

A week after that April 2010 day, Miami students gathered in protest outside of Shriver Center. They carried picket signs and chanted, “No hate on my campus.”

When I first started digging into this topic, I thought the absence of sexual orientation-motivated hate crimes on campus during my four years here meant that Miami was beginning to show a wider acceptance for the LGBTQ+ community. That, on top of the popularity of the drag show uptown, could only mean that things were improving.

I expressed this opinion to Dr. Ann Fuehrer, coordinator of the Women's, Gender, and Sexuality Studies program at Miami, who told me it was naïve to think that a hate crime like the one back in 2010 wouldn’t happen today. In fact, she thinks that the lack of acceptance of transgender, gay, queer and women students is more likely to be openly expressed now than it was back then.

“There might be more tolerance of queer students,” Fuehrer said, “but tolerance is different than acceptance and appreciation. Tolerance doesn’t equal lack of threat.”

When Dr. Fuehrer first started teaching at Miami nearly 35 years ago, she helped sponsor a group called “Chameleon.”

The club was a “secret” meeting of queer students who had no other place to safely express themselves–they had no drag show to celebrate their sexuality.

If anything, the drag shows are a, “public expression of queerness,” said Fuehrer. Non-queer students/faculty/ community members may come simply to enjoy the entertainment, but for the LGBTQ+ community, they mean much more.

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who are we really editorial | 04

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A shoot inspired by the art of LA-based artist Koreen and her We’re Not Really Strangers platform

Photographed by Junho Moon Styling by Kayleigh Fikejs, Ben Krautheim & Hailey Lowe Makeup by Sophie Mone Modeled by Katie McIlroy, Brendan Spraggs, Sam Shore & Jermaine Thomas Author of quotes unknown

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ART EDUCATION: R E PA I N T I N G T H E N A R R A T I V E

Photographed by Ivy Richter Styling by Madelyn Hopkins & Isabelle Sistino Modeled by Coco Farquis, Gabby Findley & Corby Wolfe

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W R I T T E N BY EMMA NAILLE

Miami senior Art Education major Ariel Williams decorates canvas bags for her friends, sells knitted mug cozies, and shares her personal artwork on Instagram under the username @artworkbyariel. She is not only an artist and an art educator, but an art advocate. “(T)he art classroom was a space for me to be myself and feel comfortable in my own skin because I was bullied in elementary school, so it was a safe place to feel like I was good at something,” Williams said.

Williams believes art provides a “different outlet” for students.

“It’s not just developing a mind, it’s developing a whole person,” Williams said.

Miami Art Education Professor Dr. Stephanie Baer says art teaches critical thinking.

“I think it’s important because it helps us see differently, it makes people stop and really take notice of the skills it takes to be a human and to be operating in the world in a very creative way,” Baer said.

There is a persistent narrative that the arts are in danger because art programs in public schools across the nation are being lost. This is in part due to our country's current political climate, as well as circulating horror stories of school districts cutting art programs due to budget cuts. But according to Baer, “that’s not the story, it doesn’t have to be.”

It’s true that art programs have been cut or lost funding in isolated incidents, but the arts are not suffering on a national scale like we have been led to believe. The National Endowment for the Arts, the NEA, has received consistent funding despite some controversy over the threat of program cuts each year.

Though the arts are being defended and funded by the American public, Williams has learned that being able to advocate for yourself as an arts educator and using your voice is still critical on a local level, not only so that you can defend the value of art education to school administration, but also to teach students about the importance of art.

Baer, Williams and three other students had a unique

opportunity to advocate for art education last year when they participated in Arts Advocacy Day in Washington, D.C.

“IT’S ENCOURAGING AND ENLIGHTENING TO SEE THAT MANY PEOPLE ARE PASSIONATE ABOUT THE SAME THING AND HAVE A COMMON PURPOSE...THAT JUST SHOWS HOW POWERFUL ART IS,” WILLIAMS SAID. As a result of Arts Advocacy Day, the U.S. House approved a $12.5 million increase in funding over the 2019 fiscal year funding level. To some, this proves that there is not only hope for the arts, but overwhelming support.

“What we lobbied for got cleared and we got an increase in funding. It was really crazy and cool to see it pay off in a short amount of time honestly,” Williams said.

According to the Americans for the Arts Action Fund via email, “[t]he funding increase matches the 2019 Arts Advocacy Day ask, which would help broaden access to the cultural, educational, and economic benefits of the arts and to advance creativity and innovation in communities across the United States.”

“When we all get behind something, we are more powerful.

The arts to me are all about building relationships and I think we were doing that in D.C., we were telling our stories and our personal narratives about why the arts are significant,” Miami University Art Education Professor Dr. Stephanie Danker said.

Baer emphasized that the negative narrative circulating about lack of funding for the arts isn’t necessarily false, but it can’t be something art educators are perpetuating.

Baer believes that instead of contributing to this narrative, art educators should rely on information that accurately depicts the state of the arts and funding for art education because they can defend themselves. And if the activism of art educators like Williams are any indication of the future of art in the classroom, they will.

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COLORFUL LANGUAGE

Photographed by Olivia Wilson Styling by Sarah Oldford & Sophia Spinell Makeup by Tory Noble Modeled by Gabby Findley & Jayleen White 6 4 | FA L L 2 0 1 9

W R I T T E N BY LIZZIE CARTER

Oxford, Ohio: Home of bagels, Brick Street, the most beautiful campus there ever was and the most iconic house names you’ve ever heard. For Miami University students living off-campus, your house name defines your kingdom. According to Oxford’s tourism website, enjoyoxford.org, the tradition dates back to 1973, beginning when a group of college men named their Talawanda Road home, “The Pit.” The custom took off from there with names ranging from cute, light-hearted slang based on the street you live on, to raunchy, dare I say, foul-mouthed names that don’t quite have the same sweetness, but roll off the tongue with just as much ease.

years, and when it was time to sign our senior year housing, we knew exactly which one to pick,” Peele said. Peele also loved the fact that when alumni came back, they knew they would see a friendly face in their old home. For this reason, it’s often a tradition for a fraternity, sorority or organization to pass down their houses to other members. “When you come back to visit, it still feels like you could sit on the porch and hang out with all your closest friends,” Peele said.

Current and past tenants in a few of the more wellknown residences--“Cherry Poppins,” “At Church and Almost High” and “Lyre Lyre” had some input, or lack thereof, on their house name. Julia Pjevach, a resident of “Cherry Poppins,” had a few laughs with her parents when they came to visit her new home.

“At first, they didn’t really get it. Actually, my mom thought it was just referencing a candy,” Pjevach said. However, when Pjevach’s mom saw the title in bold letters, it became clear that the house’s name wasn’t referring to a candy at all.

Along with keeping houses within an organization’s members’ hands, sometimes a house’s name is connected to that same organization. A perfect example of this is “Lyre Lyre,” located on East Collins Street. A lyre is a harp, a sacred symbol in the sorority Alpha Chi Omega, a sorority chapter on Miami University’s Campus. The name of the home has been present as far back as the early ’80s, around when house titles started to become a big part of the Oxford brand. Tatum Andres, a current “Lyre Lyre” resident said she “feels like she’s part of something greater within her own organization just by carrying on this legacy.” A fun play on sacred words, and with a legacy to follow, it’s easy to see the beauty in naming where you live.

In the case of Kyle Peele, Miami University Alumni and former resident of “At Church and Almost High,” his house’s perfect location lent itself to the perfect name. This iconic Oxford rental property lies on Church Street and is diagonal from High Street, creating the pun, “At Church and Almost High.” When Peele signed for the home during his sophomore year, he and his friends were excited to have such a well-known home in an ideal location.

“Our friends in our fraternity lived there in previous

It's impossible to imagine Oxford without house names, as the beloved tradition has become an essential part of the town's character. There is an expression and personality you take when bringing up the hilarious, sentimental, quirky and colorful name of your home, regardless of which side of High St. it lies upon. Oxford holds a special place in every Miami University student’s heart, but so does where you spend your years off-campus, living and experiencing a new life with your closest friends.

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LAST WORD F R O M U P ’ S E X E C U T I V E S TA F F

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A ST R ID CABELLO

B ELLA D O U G LAS

KAT IE WIC KM AN

Publisher

Editor-in-Chief

Creative Director

It was at the beginning of sophomore year,

After three years with UP Magazine, I am

As you hold this print issue, it may not be

after much contemplation, that I decided to

honored and humbled to serve as this year’s

obvious that In Living Color has been a long

join UP, but not without hesitation. I knew

Editor-In-Chief. It is impossible to overstate

time in the making. Astrid, Bella and I spent

I loved art, design and all things lifestyle,

how lucky I am to work alongside Astrid and

countless hours this summer to create what is

but I felt I fell short. I was self-taught in

Katie, two of the most passionate, creative

now our fall issue–only a few months ago, it

photography and

wasn’t studying anything

and hardworking people I’ve ever met. When

was just a simple idea. Fast forward to the start

related, unless you count a minor in art

the three of us were deciding on our fall

of the semester, the three of us, along with our

history, and was intimidated by how everyone

theme this summer, we knew that we wanted

else seemed so sure of themselves. However,

to capture the vibrant individuality we see in

amazing staff, spent many more hours planning

through a strong support system of mentors

our community and beyond. However, it was

and the opportunity to work alongside some

through our staff that In Living Color truly

of the most creative minds on campus, I found

came to life. To the members of this incredible

a home in UP Magazine that I didn’t even know

organization, I want to thank each and every

existed. Katie, Bella and I spent an unbelievable

one of you for honoring your own passions

amount of time going back and forth on what

and individuality during the production of this

we wanted the theme to be for this Fall issue,

issue–I can say with confidence that its content

as we knew this first theme would set a tone

is unmatched, all thanks to your creativity,

for the rest of the year. In Living Color means to

talent and dedication to our publication.

celebrate the individual for who they are right

To our readers, through In Living Color, we

now. Celebrate your strengths and successes,

invite you to seek out who and what inspires

but also your weaknesses and failures. As this

you and to celebrate your own passions and

fuels your creativity and inspires you to take

year goes on, we urge you to embrace how you

individuality, as well as the little moments that

risks to be who truly want to be.

live in color, whatever that may mean to you.

add color to your life.

and producing all of the incredible content on these pages. One of the most rewarding parts of creating this issue has been working so closely with all of my directors and teams in the Visual Department. I’m so proud of the creative community we have fostered and the amazing communication and collaboration it has led to. I can truly say that our staff members’ unbelievable talent and dedication to UP this semester has raised the bar for our organization’s content. I hope In Living Color

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