YourMagazine Volume 15 Issue 3: May 2021

Your Mag

VOLUME 15 | ISSUE 3 |MAY 2021

1 | YOURMAG

YOUR MAG VO LU M E 1 5 | I S S U E 3 | M AY 20 2 1

TALIA SMITH Managing Editor

LILLIAN COHEN Editor-in-Chief

L I LY W A L S H Creative Director

AMANDA HAMPTON Asst. Editor-in-Chief

MARIANNA REYES Head Designer

ELOISA DE FARIAS Asst. Creative Director

MARIANNA REYES Romance Editor

ILEANA PEREZ Asst. Head Designer

NATASHA ARNOWITZ Art Director

AMANDA HAMPTON A&E Editor

SEREN CHO Asst. Head Designer

REBEKAH CZUKOSKI Asst. Art Director

ALEXIS GARCIA-RUIZ Asst. A&E Editor

GABRIELA PORTUGAL Asst. Head Designer

E M I LY K I N G Photo Director

MARYCATHERINE NEAL Living Editor

LAURA PHILIPS Co-YMTV Director

PA L L A S H AYE S Asst. Photo Director

OLIVIA CIGLIANO Style Editor

OLUWATAMILORE ODUNSI

Co-YMTV Director

LAUREN DILLOW Style Director

KATIE POWERS Head Proofreader

NEEKA BOROUMANDI Marketing Coordinator

KHANH NGUYEN Talent Director

TIFFANY CARBON Web Director

DELANEY BAILEY Co-Social Media Coordinator

JESS FERGUSON Co-Copy Chief

JULIA MALLON Co-Social Media Coordinator

ALLISON HUGHES Co-Copy Chief

COPY EDITORS: LEX GARCIA-RUIZ, MEHER GUPTA, JO MALICDEM, MADELYN MULREANEY, SARAH PERRY, BREE REYES

DESIGN: AINSLEY BASIC, CHLOE WILLIAMS , ANA HEIN , HALEY BROWN, MADELYN MULREANEY, TOBY LICHTENWALTER PROOFREADERS: MADELYN MULREANEY, KATE HEALY, BECCA LETTS, CHARLOTTE DRUMMOND, JESS ROSS, FIONA MURPHY, KAITLYN FEHR, KATIE REDEFER, CHRISTINA HORACIO, AMARIS RAMIREZ, MARYCATHERINE NEAL

YOURMAG | 2

CONTENTS ROMANCE 4 Straight Men and A** Play

6 8 10 EDITORIAL 12 STYLE 20 22 24 26 EDITORIAL 28 LIVING 36 38 40 42 EDITORIAL 44 ARTS & ENTERTAIMENT 54 56 58 YOUR THINGS 60 Y.MP3 64 ARTIST STATEMENT 66

Interracial Love Living With Love The Generational Perspective on Love Perspective Curtain Call The Ethics of Gentrification Fatphobia in Y2K The Empire’s New Clothes Anthophile What a Mermaid Means to a Southern Baptist...

I Don’t Care About #NotAllMen I May Want to be a Journalist Crafting Static Lil Nas X Is the Artist We Need Right Now TV Taught Me How To Feel EDWARD SPARKLES... TWIGHLIGHT SUCKS lily walsh hot girl summer playlist HANNAH BAYNES

YMEMERSON.COM | INSTAGRAM: @YOUR.MAG | TWITTER: @YOURMAGEMERSON

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EDITOR’S letter

S

unshine has finally hit the City on a Hill. Outdoor

mindset through a dissection of our favorite childhood TV

seating has reopened around the city. Bronzed ducks

shows. And, adding to the creeping commotion of the rising

in the Public Garden don straw hats decorated with

heat, we are demanding a return to Hot Girl Summer with

flowers and ribbon. People line the streets once more, out

this month’s YMP3 Playlist that’s bound to make readers of all

from their winter pandemic hibernation. Vaccine numbers

genders feel like the baddest versions of themselves.

are up. The college just announced it is planning on a full

return to in-person classes for the fall, requiring all students

off. This magazine has helped me grow in ways I didn’t know

be vaccinated before stepping onto campus. And there’s an air

were possible. It is my strongest memory here at Emerson,

of excitement—or suspension, maybe—of returning back to

half of my identity to some who know me, and I will miss it

“normal.”

like crazy.

And so, on that high note, this is my official send-

In this issue, Soleil Easton [page 06] explores

straight men and their relationship with a** play. Georgia

With Love,

Howe [page 22] explains how “thrift store flips” can encourage gentrification and hurt the communities the stores are set

up to assist. Rory Willard [page 56] analyzes our Gen Z fame

YOURMAG | 4

WRITTEN BY SOLEIL EASTON ART BY ANDREA MENDEZ

5 | ROMANCE

I

straight men and a** play

f you’re like many straight guys, you may be turned off by the idea of getting your salad tossed (to be fair, many gay and bi men are, too). As a result, you’re missing out on a whole world of pleasure.

I’m here to convince you to stop ignoring your ass, along with some of the Chads and Brads I matched with on Tinder.

Your anus and rectum are full of nerve endings, just like your penis. Your rectum is also home to a little walnut-shaped G-spot, or prostate gland, or P-spot, whatever you may call it. It’s another pleasure center that can create ridiculously amazing orgasms. After asking my guy friends if they knew they could orgasm from prostate stimulation alone, most of them said they had no idea that was even possible. If you’re willing to explore this new avenue of sex, get ready for some of the biggest cum shots of your life.

“There’s an appeal to anal sex for a guy because if you’re able to get your prostate stimulated enough to ejaculate, it’s going to be one of the best orgasms you will ever have in your life,” says Nicolas Hall, 27.

Sometimes, men worry that because they’re interested in anal play, it automatically means they’re gay, or perhaps even bisexual. Wake up call: your asshole doesn’t have a sexual orientation. If it feels good, it feels good. It’s time to get past all the cultural baggage around femininity, masculinity, gender roles, and who gets fucked by whom. Let go of everything you’ve been taught about sex, and be open to new ways of enjoying your body.

Who knows, you may be pleasantly surprised!

“I think if more men knew how explosive their orgasm could be if they stimulate their prostate during sex, they’d be doing it all the time—if not every time,” says Giovanni Sala, 23.

And if I’m being honest, nothing is hotter than when a man is confident in his sexuality: they know what they like, and they don’t apologize for it.

People of all genders and sexual orientations practice and enjoy rimming—the act of kissing, licking, sucking, or penetrating someone’s butt with your tongue.

You shouldn’t feel ashamed to ask your partner to explore that with you. When I can convince my girlfriends

to try this with their partners, they report back to me that they’ve never been so wet in their life. Dominance was a newfound feeling for them. He, meanwhile, was able to be submissive and vulnerable, often for the very first time. The mutual trust and complete acceptance associated with anal play can be an incredible turn-on for both partners.

“A lot of straight men have this need to be manly, to not show sensitivity to embrace this heteronormative idea that they’re in charge and they need to be the dominant person,” says Jackson Jenkins, University of Southern California ‘21. “Ass play has obviously always been a thing in the gay communitity. People don’t want to be affiliated with doing stuff with their butt in fear that it could make them seem less masculine.”

Ask yourself what’s stopping you. Maybe it’s because the rectum reminds you of that surprise prostate exam where the next thing you know the doctor is shoving his lubed-up, latex-covered finger up your bum.

Yikes! Or the paralysing fear your homies will call you gay for admitting you’re into butt stuff. There’s this taboo around anal sex that needs to be cleared up. So you’re uncomfortable, why?

“I was always super hesitant to let my girlfriend eat my ass because, you know, it feels like it shouldn’t happen, like it’s a bad thing. But we were both so high and I, uh, let her eat my ass, and I have never cum so hard in my life,” says Jack Sweiss, 26.

Before getting a finger up your butt, you need to prep. Most people who shy away from their partners’ booty holes do so out of fear of feces. Yes, I’m sure you have heard of the anal horror stories, but it is unlikely to come into contact with poo, especially with careful personal hygiene. When someone’s mouth is at your butt, you’re trying to relax. It’s necessary to, at the very least, hop in the shower before and do a once-over with soap.

“I would get some sort of wet wipe or take a shower before you participate in ass play. No girl or guy is going to want to eat a smelly, maybe fecal, ass. Unless you’re into the pig kink, then you do you,” says Jenkins.

But remember, with any sexual exploration, consent and trust are key. YM ROMANCE | 6

INTERRACIAL LOVE WRITTEN BY ABIGAIL ROSS ART BY FRANCESCA POLISTINA

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e would always walk through the park by his house in Roxbury,” Emma Neenan said, referencing an ex-boyfriend she had, “and every single time people would give us looks. Every stare was different, but since it happened so often — I knew at that point it had to be because I am a White woman and he is Hispanic. In their eyes, we still weren’t meant to be together.”

How does race find space in love?

Our society is constantly trying to convince humans of this false and perpetuating narrative that race is a primary factor in choosing a companion in America — even today.

According to the U.S. Census from June of 2018—it was written that approximately 15 percent of newly married couples were of mixed races. But this did not hold true just over 50 years ago. This number of pairs has climbed substantially since the early 1960s, when interracial marriage was banned in 31 states. Individuals with different ethnic backgrounds were banned from cohabitation and reproduction until almost 1970. Laws surrounding interracial dating were deemed to have violated the Equal Protection and Due Processes Clause of the Fourteenth Amendment to the U.S. Constitution. As a result, more couples began seeking partners from separate ethnic groups since the verdict took place. Yet, after years of what seemed like racial “reconciliation” — 21st century America has still found a way to cultivate specialized stigmas around interracial love.

Mixed couples experience the hardships of stereotyping and discrimination. Whether it be from family members or even friends — the struggle for validation is raw and real. People define couples by their races like it’s nothing, especially on social media. The external world is always expecting something from love, and this can take a toll on internal relationships in turn. Melanie Shepard, whom currently resides in an interracial relationship states: “Black men will swipe up on my Snapchat story and ask me: ‘Why are you with a White guy? What about us?’ Like, I didn’t know there were rules to a relationship.

It’s crazy.” This undetermined political sphere is defining these couples only based on the color of their skin, when logically love is not dependent on anything but admiration and true connection.

This misconception that race and love are intertwined in a negative fashion is so deeply embedded by traditional Americans that it puts a suffocating, unnecessary pressure onto mixed race couples. Prejudice against these couples contributes to the racial immobility and

ignorance that exists within the United States. Although interracial couples confront typical relationship issues too—this battle towards an outward acceptance prevails.

Communication, support, and an understanding of each other’s social backgrounds is essential, beneficial, and often overlooked by others. Why is it hard to recognize that you can love whomever you want, without public confinement?

Many do not understand the fulfillment that makes its home here. A greater sense of identity is gained from educating one another about unfamiliar cultural perspectives and exposures. Our dissimilarities help us unite. The Global Tinder Survey notes that interracial relationships are transforming—in that they are “turn[ing] heads” and “dropp[ing] jaws.” About 63% of these participants also realized that having been in an interracial relationship motivated them to try new things, such as unique activities, hobbies, and even “experience places they weren’t previously aware of.” Sharing distinct likes and dislikes, central values, and aspects of faith is a rewarding practice that can be uncovered through interracial relationships. These couples can feed off their eccentric dreams and aspirations in life that are mutual—but it seems that all we encounter is cynicism.

Dr. Anne Gehrenbeck-Shim, a local psychologist, therapist, and college professor, explained that she and her Korean husband have three children together — whom are all racially-mixed. “I’m the minority in my family,” she described, “my biological daughters are half-Caucasian and half-Korean, and my adopted son is Black. It can be difficult for me because I don’t live the same lives they do. I know I will never understand, but their experiences have taught me so much. And I know there’s a lot more to learn that society has been shielded from — it’s called white privilege.” Interracial families, just as much as mixed race couples, face the harsh realities of ethnocentrism and other race-related intolerances throughout this country. And as a result, our mentalities have been consumed as by-products of America.

Behind love there should be no bounds. It has become an expectation that you must be with the person that society believes you belong with. However, love is not segregated. It is not Asian, Black or African American, Hispanic or Latino, Native American, Korean, White or Caucasian, or any race that lies in between. Love is a limitless connection between two people that cherish each other. Interracial couples are continuing to break this barrier America has created surrounding racial injustice that circumscribes love’s purest, most vulnerable forms.

There’s no time for it anymore. YM ROMANCE | 8

WRITTEN BY ANA HEIN

I

told my partner “Nathan” on our first date that I was planning on moving to Boston in a few months. He said that wouldn’t be a problem. We were both from St. Louis: I was in town for the summer and a semester online; he lived there full-time after graduating from college in 2018. We started dating in July (our anniversary is the most hallowed of dates: 7/11) and moved in together with two other people at the beginning of January.

It wasn’t a decision based solely on love, on being ready for that next step in the relationship, and being committed to each other. That was definitely an aspect to it, but not the only reason. There was practicality to consider—neither of us wanted to do a long-distance relationship—and also the fact that both of us hated our hometown and both independently wanted to leave before meeting each other. When I brought up the idea of moving to Nathan, he said it was almost too good to be true. All the stars aligned in our favor.

We packed a U-Haul full of all our most valuable worldly possessions—my books, his games, our bed— and drove across the country for two days in the middle of winter.

According to Dr. Lindsey Beck, a social psychologist who teaches Psychology of Relationships at Emerson, couples that cohabitate to “test drive” the relationship to see if it will work out typically experience more negative outcomes like increased conflict and lower satisfaction.

On the other hand, she said, couples that are already committed and have a lot of investment in the relationship before cohabiting typically experience more positive effects on the relationship upon moving in.

I’d say that Nathan and I were firmly committed before moving in together. We’d had conversations not just about moving out to Boston, but moving on to New York or potentially abroad after my graduation in the spring of 2022. We affirmed our feelings for each other regularly, often showing how much we meant to the other through little trinkets and surprises. Some of my close friends even had bets on when he was going to propose.

When we moved in, we only got closer—I mean this very literally. We were constantly cuddling on the couch

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PHOTOGRAPHED BY EMILY KING

while watching TV or hanging out in the same space if we were both home. We had sex more regularly. We started talking more about the future, even if some of those answers were a little unclear to us. I’m an extrovert; I hardly ever want to be alone. All of which to say, for me, this was not an issue in the slightest. The few times I have felt the need for more space, I would take a walk around our neighborhood or read a book in a different room. I’d be back in his arms within hours.

For Diana and her partner, Alec, the decision to move in was also based on commitment and practicality. Alec lived off-campus before Diana, and when Diana’s senior year rolled around, it made sense for the two of them to move in together after dating for about a year and a half. They had already unofficially been living together over the summer, so when fall came, they both signed the lease. “Yeah, we’re in a relationship and we’re in love, but we’re also best friends,” Diana said. “We just hang out, and it feels natural. It feels like what it’s supposed to be and always has been.

I can’t imagine not having this life, no matter where we end up next. The plan was always to stay together, I would feel like on my side.”

Beck also made note in our conversation that for couples where one partner identifies as a man and the other as a woman, they tend to conform to more traditional gender roles over time in the relationship once they move in, no matter how egalitarian their views may be. I’d say that holds true for me and Nathan.

In terms of household chores, I tend to clean more, while Nathan does more technical things like setting up the Wi-Fi, taking out the trash, and running errands. It’s an arrangement that feels comfortable and natural for us; Nathan is a little older and has lived in an apartment before (I hadn’t when we moved in together), so it just makes sense to have him do some technical things.

Our lease expires in August, and we haven’t found a new place to live yet. But I can count on who I’ll be living with. YM

Living with love

ROMANCE | 10

Generational Perspective On Love

WRITTEN BY MADISON BROWNING ART BY KAITLYN BECKMANN

M

y mom’s side of the family could quite possibly talk forever. We joke about the “Ebright goodbye” because it takes over 30 minutes from the point someone says they have to go to when they actually leave. Somehow in all of those words, I’ve never really gotten to know who they were before they took care of me and what shaped them to become who they are today. I only knew bits and pieces, small glances back in time.

So as a freshman in college myself, I decided to explore who they were when they were around my age, what their relationships and ideas of love were like, and how they’ve changed, specifically through the lenses of some of the women that I admire and look up to. Every family has unique stories that changed who they are and

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who they would become. These are some of mine.

Linda Ebright, my grandmother, went to college in the 60s, an age of female sexual empowerment. Feminists told the world that women had the same sexual desires as men and deserved sexual equality. “The Pill” also came out, allowing women to have sex with less fear of pregnancy. However, my grandma was, as she described, “a good Catholic girl,” and she didn’t have sex until marriage because of the pressure she felt from her religion. However, she “wasn’t a saint by any means.”

She explained that as many Catholic girls do, she did everything but. And if she could go back, she wouldn’t think twice about having sex in college, something everyone wants to hear from their 75-year-old grandmother.

She dated a few people in college, but nothing ever got serious. Then when she had been out of college for a year, she went on a blind date with a Vietnam veteran.

Her former sorority sister and his old college friend were organizing a welcome home party for him after the war ended. They invited her to the party to be his date, and they hit it off almost immediately. She said it was the first time she could see herself being with someone for a long time, and it would be nice. They’ve been married for over 50 years.

Stacy Ebright, my aunt, is extremely headstrong.

She is the type of person who will continue to argue until either she wins or the other person gives up, and the latter option almost always prevails. She is strong and independent—traits that she used to, and sometimes still, thinks make her unworthy of love.

Stacy had her first boyfriend in high school when she was 16 years old. She was swept off her feet by idealizations of a beautiful romance and didn’t see how terribly she was being treated. She remembers him saying, “It’s my job to try, and it’s your job to stop me,” in reference to sex. She thought this was how every relationship was where the woman had less value than the man.

This changed when she found the love of her life during her freshman year of college. He was so sweet to her and treated her like an equal, a first for her. He never tried to do anything she didn’t want to do. She didn’t have to try so hard with him; everything came naturally. She could actually see a future with him, but the timing wasn’t right. She was so young and had just been introduced to a new world of cute boys who gave her attention. She decided that she didn’t want to commit to anything so early in her college experience, so she broke up with him. She dated other people, but nothing ever turned into anything, and no one ever compared to him. She still thinks about him and regrets that she ever let him go. He died of cancer a few years ago, leaving behind a wife and children. She often wonders whether the heartache of being with and losing him would have outweighed the life she lived without him.

Nikki Browning, my mom, struggled the most with opening up about her love life because she was never really able to epress her feelings. Growing up, her family didn’t establish an environment where they could openly discuss their emotions, so she kept everything inside. She tried to learn from her own experiences, but she didn’t know how to tell people how she was feeling because it

was so foreign to her.

When my mom met my dad, everything was different. She met him through mutual friends when she was in grad school at Notre Dame. She recalls going to bars with him and her friends and spending hours upon hours just talking to him. They would talk all night until the bar closed, feeling as if no time had passed at all. It was like no one else existed in the world, except for the two of them. He taught her how to share her feelings, and she felt safe with him. They learned how to fight for each other everyday.

As a double pisces, I tend to romanticize my life.

I used to live in a dreamy world where I imagined who someone could be, but they were never actually that person. I constructed the perfect boyfriend over and over again in my mind. Someone who cared deeply about me and knew what my favorite flower was and what would make me smile, and then I put my crush’s face on it and convinced myself that he was real. But they were only ever fantasies, not real people.

But I didn’t have to dream up my current boyfriend because he was already perfect. I met him during the summer before freshman year of college, and we started dating when we got to Emerson. He pays attention to the little things and makes sure I know I am loved every single day. I am happiest when I’m with him, and he’s not only my boyfriend, but my best friend. With the pandemic and moving 1,700 miles away from my family, he has become my home.

I believe in fate, to an extent. I don’t think that everything happens for a reason by any means. I’ve experienced too many bad things to believe that the world works that way. I don’t believe in soulmates. I’m a little skeptical like my mom, but I think that it’s possible to find someone that you genuinely want to spend the rest of your life with. I have seen the love my mother and father share from reminiscing in the kitchen to cuddling on the couch watching a movie, and I believe that it’s real and that I can find it.

I know it’s not an easy process. It means waiting, sometimes for longer than you would like to find the right person who you can truly connect with and who treats you like an equal. I learned that from my mom and my grandma and, most importantly, my aunt. To them, I am the world. They taught me to find someone who treats me like theirs. YM

ROMANCE | 12

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DIRECTED BY LILLIAN COHEN PHOTOGRAPHED BY ANNE WOODBURRY MODELED BY SARA TAYLOR

Perspective YOURMAG | 14

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21 | STYLE

CURTAIN CALL WRITTEN BY FRANCESCA POLISTINA

T

he ‘70s were a time of pivotal social change. Progressive values surged the nation among young people in postwar America. A time of such proud individualism, it was often called the “me decade.” Gender roles broadened and this new sense of freedom began to translate across all dimensions of life, especially fashion.

As the number of women in the workforce increased, women’s fashion trends took on less constricting elements. The skirts and modest looks that were once closet staples were left behind for frayed jeans, crop tops, and bell-bottoms.

Women’s hairstyles also took a turn from polished to easy-going. Hairstyle shifts from the ‘60s to ‘70s took a more modern, sometimes androgynous approach: the pageboy bowl cut, effortless shag, and feathered ends each highlight this shift in feminist expression.

Icon Bridgitte Bardot, popularized the soft bang look to the point of it being dubbed the “Bardot Fringe.”

Rather than the blunt, straight-across cut, a drapey middle part frames the face, hence the name “curtain bangs.” The style adds layers and volume to every look, creating an effortlessly styled hairdo. Celebrities such as Jane Fonda and Farrah Fawcett followed in rocking the feathered shag of the 70s. Ironically, Bardot considers herself a “masculinist,” despite being seen as a “locomotive of women’s history,” and considering her liberated and indulgent persona.

The early 2000s brought in heavy sidebangs, piecey baby bangs, and Aaliyah bangs. This spring, shaggy curtain bangs are appearing everywhere and they seems to be here to stay. An homage to the cultural shift in the 70s, 2021 has adopted this low-maintenance mop as we enter our own cultural shift. Curtain bangs are characterized by the many phases of side-swept bangs ranging from light baby parted bangs but more notably to long, loose shag. They're taking the stage on style stars such as Billie Eilish, Alexa Chung, and Selena Gomez.

Curtain bangs are overtaking DIY trends on TikTok as well, which began during quarantine. By the time lockdown was over, a full-blown return to ‘70s hair was underway. TikTok has been instrumental in pushing fashion trends on a widespread level this past year, where many people experienced feeling stir-crazy and turned

PHOTOGRAPHED BY TALIA SMITH

to the internet for something new. It was the perfect time to try and explore a new look because if you didn’t like it, not many people would see it anyway. “For You” pages were full of DIY hair dying, hair shaving, hair cutting, and eventually, #curtainbangs took over Tiktok in the Fall of 2020. Feeds were full of girls grabbing their sheers and attempting various shared techniques to achieve subtle, face-framing wisps. #Curtainbangs currently sits at 471.4M views on Tiktok and continues to grow into the spring.

Youtuber Brad Mondo, who is famous for his “Hairdresser Reacts” videos, and is often critical of these DIY-’dos, says that curtain bangs are definitely “One of the easier things to do to your own hair.” A girl featured in his video who cut her hair using kitchen scissors was able achieve what he proudly called, “Seventies rockstar vibes.”

People love the effortless nature of the curtain bang.

After speaking with young adults who took part in the trend, it was clear people view curtain bangs as “a fun way to spice up your hair without dramatically changing the length and look,” explained one student. However, the flipped-out style that makes curtain bangs so iconic requires a bit of manipulation to get the blown-out look.

Whether it's a round brush and blowdryer, or you’re going all-out ‘70s with hot curlers, a bit of time or effort is needed to achieve the signature “Bardot Fringe”. Another student also explained the multifaceted interest in the trend, saying, “curtain bangs look effortless, but still styled.” Quarantine taught these individuals the value of balancing comfort and expression, and it shows in the way they present themselves through their hair.

Post-lockdown and post-election have created a sense of instability, and, similar to the 70s, young people are using this time of uncertainty to assert themselves and claim their space. And this cultural shift is translating through hair trends. Pre-pandemic hair was all about sleek-parted low buns or greased high ponytails. Neatly and pristinely tucking your hair into the little space you claim. Just like in the ‘70s, attitudes towards action and breaking free of oppression are ever-present. The resurgence of the ‘70s is loud and proud, distinctly reflective of how younger generations are demanding their voices be heard and their expression to be seen. YM STYLE | 22

The Ethics of Gentrification

WRITTEN BY GEORGIA HOWE PHOTOGRAPHED BY IAN HAMILTON

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hrifting culture has boomed in the last few years among young people. TikTok and YouTube sparked attention toward secondhand fashion through “thrift haul” videos, while apps like Depop and ThredUp made vintage shopping virtual. ThredUp’s 2020 Resale Report notes that 40 percent of Generation Z shoppers bought secondhand in 2019—a 15 percent jump from 2016. In some ways, this uptick is a good thing: it’s a more sustainable way of consumption that reduces individuals’ carbon footprints. However, as thrifting becomes a trend among upper- and middle-class shoppers, it runs the risk of gentrifying the shops that low-income communities rely on.

Gentrification is the process through which inhabitants of poor, typically urban, areas are displaced by wealthier people who take interest in the neighborhood.

It puts low-income folks at risk by driving up pricing and thus reducing accessibility. While gentrification is typically only referenced when talking about whole neighborhoods, it can happen at the smaller, more intimate level of a storefront. Many poor people rely on the cheap prices of secondhand stores like Goodwill.

As more people become interested in thrifting and purchasing from these stores, less clothing is available and prices tend to rise. For example, the 2010 Goodwill Valuation Guide marked items at a flat rate, and in 2020 showed a range of higher prices. This prevents shoppers who rely on the low price point of secondhand clothing from getting what they need.

One big problem that has come to light with the rise in thrifting is the act of reselling. Currently a hotly debated topic in the sustainable community, reselling has become a trend for teenagers to buy used clothing for cheap, and then post the items at far higher prices on thrifting apps like Depop. While some argue that the increase in prices is fair, accounting for the time sellers spend looking for unique pieces in thrift stores, the justification still fails to acknowledge the harmful impact that reselling has on low-income communities. Some sellers will purchase items for next to nothing from poor neighborhoods, then price them on Depop for $50 because they’re trendy.

Resellers who buy out unnecessary amounts of stock negatively impact entire communities by initiating this process of gentrification. For example, many poor teens rely on the low prices of secondhand clothes to be

able to build their style and self-expression.

“It’s selfish,” says Jeanie Thompson, Media Arts Production ‘24. “These people who have kind of invaded that space and invaded those communities have taken that from them.”

Thompson, like many students, thrifts regularly. Many college students make efforts to be environmentally conscious, but for most, the ridiculously high prices of sustainable, slow fashion brands are simply out of reach. Thrifting presents a cost-friendly way to purchase clothing without having to buy from unethical fast-fashion brands. There is a difference, however, between buying secondhand because one needs new clothes, and exploiting the low prices of thrift stores to make a profit.

“Some people have definitely taken advantage of that, and it has hurt people from low-income communities the most,” Thompson says.

So where is the line between buying used clothing and harming poor communities? While it’s a delicate balance, and one that is up to the discretion of each individual, there are steps consumers can take while thrifting to reduce possible negative effects. Traveling to a poorer neighborhood for cheaper prices gentrifies the stores there, so it’s important to stay in your own area to prevent driving up prices in other places. Additionally, instead of shopping with the intent to resell an item, shop with the intent to actually wear it. Then, when you’re ready to get rid of it, resell the piece at a price similar to what you bought it for.

Thompson says that she tries to donate some of her old clothes when she’s done wearing them. “There’s no reason for me to try to upsell those clothes when I know someone could use that a lot more than I do,” she says. Giving back and shopping mindfully will allow you to find that ethical balance.

The trend of thrifting has benefits, like making shopping more sustainable and accessible, but it’s important to regulate how we shop secondhand by avoiding reselling and overcharging. Gentrification has affected poor and BIPOC neighborhoods for decades now, and thrifting is just another way it’s emerging due to more affluent outsiders. It’s crucial to get educated and shop consciously to avoid harming low-income communities. YM

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fatphobia L

ow-rise pants, tube tops, miniskirts, and skinny jeans; plastic, vinyl, fur, mesh, and velour; metallics, animal prints, and rhinestones—are you drooling, too? Like clockwork, campy styles that were once retrospectively “tacky” now reign on Depop and fuel the designs of Dolls Kill and I.AM.GIA. They’re resurging as vintage grails, replicated by fast-fashion retailers, and being paid homage on 2021 designer runways.

This is the age that the internet saves us—for real this time. Welcome to the resurgence of Y2K.

Referring to “Year 2000,” this era of aesthetics embraced a technology-driven utopia (and possible dystopia, i.e. The Matrix), as people anticipated the next millennium and dreamed toward a new world called “the internet.” Flashforward to today, over a year of relying on the internet for most aspects of life, and emerging into a “roaring ‘20s,” which promises dramatic technological development (and a more tangible risk of dystopia), it’s fitting that we’re rejoicing in the future, yet again, through fashion—even if it’s literally recycled.

While millenials are inclined to sport ‘90s wear, members of Generation Z are connecting online, in true Y2K fashion (wink wink!) over nostalgia that’s stirring their hearts and young wallets.

We can finally live out our Lizzie McGuire and Cheetah Girl fantasies in head-to-toe animal print or stacked jelly accessories. We’re revisiting bitchy Bratz doll glitz and the femme-rocker style Lindsay Lohan repped in Freaky Friday—egirl, bleach-blonde streaks and all. And let’s not gloss over velour tracksuits, which were immediately reembraced as loungewear etched its own market during lockdowns in 2020.

Paris Hilton is the first person who comes to mind when the words “Juicy Couture” are uttered, though, like many emblems of the early 2000s, those velour two-pieces have origins in Black culture and exist as whitewashed memories. Kimora Lee Simmons of Baby Phat actually introduced velour tracksuits two years before Juicy, and she drew inspiration from men’s streetwear and hip-hop culture. Baby Phat designs were skin-baring, shrunken, and fitted to the curves of the feminine form, an unprecedented development in streetwear, because it included women.

Black contributions defined the early 2000s aesthetic, embracing a modern interpretation of ‘70s Afrofuturism, vanguarded by stars like Janet Jackson, Missy Elliott, Lil’ Kim, and Destiny’s Child. As pop culture embraced hip-hop, its fashion followed. Body-conscious styles went mainstream, and white women popularized them in the media. “It girls” boasted an aes-

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in y2k Fashion WRITTEN BY OLIVIA CIGLIANO

thetic that was skinny, blonde, and luxurious, one that young women aspired to.

Magazines and music videos only represented the “as thin as possible” ideal. Back then, there was no “body positivity” movement. There weren’t TikToks breaking down topics like body dysmorphia, eating disorders, and fatphobia’s deep roots in racism.

As these styles return, it’s worth unpacking what should’ve been addressed the first time around: Y2K trends are catered to skinny people. Fashion communities on social media have raised the question, “Is it a good outfit, or is she just skinny?”

This refers to the reality that skinny bodies are often praised in these styles, while if a non-skinny body wore the same pieces, they’d be met with judgement. For example, low-rise jeans and crop tops are meant to show off flat stomachs, so when someone who doesn’t have a flat stomach wears them, the garments become “unflattering” and are “showing too much skin.”

These trends teach us to cover natural parts of any body, like lower belly fat, and to be ashamed of it.

Twitter sounded off: “The way y2k fashion coming back and is mostly accessible to one specific body type is really frustrating to see. I’m exhausted of thin girls flexing ‘looks’ that aren’t actually looks, but rather just a display of how skinny they are” (@gem_femme ); “The irony of the y2k tracksuit resurgence centering thin Black women’s bodies is not lost on me when growing up, them velour tracksuits was the only thing that fit me” (@hotmutualz); “idk how to feel about clothes I saw people ridiculed for wearing as a medium sized kid now being ‘retro y2k fashion’ and trendy for skinny bodies only” (@carpfishboy).

Body-positive influencer Jessica Blair explains on TikTok, “Although anybody above a size 2 seemed to be demonized, fat people were blatantly ignored. Clothing options for plus-sized people in the early 2000s were virtually nonexistent, thereby completely excluding fat people from fashion.”

To avoid dangerous mistakes of the past, we must consider who’s been excluded or erased from resurging style movements. We must also acknowledge thin privilege, which is no secret to the fashion industry, but affects accessibility to inclusive sizing.

These arbitrary rules have no place in our world today. Fashion is meant to be fun. It’s not fun when we can’t all play together. YM

PHOTOGRAPHED BY MARIANNA REYES

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The empire’s new clothes

WRITTEN BY SONALI ANAND ART BY JAMES SULLIVAN

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loria Steinem once said, “Fashion in the past meant conforming and losing oneself. Fashion in the present means being unique and finding oneself.”

We are defined by how we choose to define ourselves. Identity seeps into everything we do and everything we put into the world. This is why, unsurprisingly, fashion and identity exist within one another. This is also why fashion has a deep and intimate relationship with politics. When the two work together, legends live and die, and movements rise to the surface and fall just as fast. But what makes this relationship so impactful? As always, it comes down to power.

Since fashion signals status and power, and power manifests as an influence, then fashion is influence.

Now, what societal role satisfies both the ego and soul?

Politics. What do politicians have? Influence. See where I’m going?

In 2015, there was a sudden sea of red baseball caps with the infamous “Make America Great Again” slogan that would uniform the far-right and future President Donald J. Trump. By April 2019, over 1 million hats had been sold. By putting this message in an easily consumable, gender-neutral accessory, the Trump campaign gave new meaning to political marketing and merchandising and became the pinnacle of modern political advertising. He encouraged his supporters to wear their values, and it proved to be a powerful public display of ideology. Paraphrasing Steinem, fashion, in any context, is the most radical form of self-expression.

We cannot talk about fashion in politics without addressing its lack of intersectionality and public perception. The role of the first lady is ever-evolving because of the women who took it on with the intention to be hands-on—from Eleanor Roosevelt, who’d sit in on cabinet meetings and assist with policy; to Jackie Kennedy Onassis, who introduced America to the modern trope of the first lady. Onassis is celebrated for her contributions to fashion, which seamlessly expressed her charisma, and diplomacy skills that surpassed her husband’s. However, where Onassis was praised for her being bold and glamorous in her style, Michelle Obama was met with criticism. No other first lady has faced such scrutiny as Obama, with the added layer of racism to a job that is already a target for misogynistic commentary.

Obama used fashion in politics as a way to empower her image, while inspiring others to do the same. In 2009, she told Vogue, “First and foremost, I wear what I love. That’s what women have to focus on: what makes them happy and what makes them feel comfortable and beautiful. If I can have any impact, I want women to feel good about themselves and have fun with fashion.”

Obama consistently dons designers of color, including Indian American Naeem Khan and Thai American Thakoon Panichgul. Employing her position as an American icon, she advocated for representation in high fashion, but also validated Black, Indigenous, and People of Color designs as contributions to American culture, which reflected the Obama administration’s unifying messaging.

Much like our partisan government, political fashion between parties is also polarized. While Democratic first ladies were more liberal in their clothing choice, their Republican counterparts took a more conservative approach. Laura Bush was known for wearing muted colors and eventually made tailored pantsuits a pivotal part of her wardrobe (à la Hillary Clinton). While Bush’s style was more subdued, it reflected her husband’s party and its commitment to traditionalism.

However, fashion cannot be a distraction from holding politicians accountable for the jobs they were elected to. Sometimes we get so lost in the charm of these public figures (remember Barack Obama’s tan suit?) that we ignore all of their not-so-glamorous decisions on the job (his assistance to Saudi Arabian forces in the air offensive against Yemen, which killed and wounded thousands of civilians). There are also the MAGA hats, which ignited a movement that ultimately led to the Jan. 6 insurrection at the Capitol.

What do the MAGA hat, Jackie Kennedy, Michelle Obama, and Laura Bush all have in common? They all utilized the power of visual representation. But when we rave about Michelle’s inauguration dress by Jason Wu and forget that Barack deployed 400 U.S. drones that killed over 200 children during his presidency, we forget that politics is not about an image of royalty or glamour—it is real life, and it affects real people. We have to do our part to separate materialism from our politics. YM

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Anthophile DIRECTED AND PHOTOGRAPHED BY MARIANNA REYES

What a Mermaid Means to a Southern Baptist Girl WRITTEN BY MARY GRACE PURSER

I

can still feel my heart pounding with rage as I stepped outside the bathroom and onto the cement next to the pool. “I hate my mom. I hate my mom,” I repeated over and over in fury as I crept out into the humid Georgia heat in my pathetic, ugly, one-piece bathing suit. Of all the 22 girls at the birthday pool party, I was the only one in a one-piece because that was the rule in my household. “God says to treat our bodies as a temple and to be modest,” my parents always explained to me. That reasoning always angered me because how could Jesus have been referring to bikinis in the year 4 B.C. specifically, and if it was so bad, why did everyone wear them? These questions plagued my prepubescent mind day in and day out during the summer months.

It simply wasn’t fair, but there was no point in arguing with my parents over it because to argue against their rules was to denounce God. My mom always pressed upon me that one-piece swimsuits were “just as cute as any other kind” and, in reality, they probably were. But my desire to wear the very thing I was always told to stay away from was far more tempting than any cute one-piece I encountered as a young girl. Modesty felt drab, boring, and simply constricting. Where was the fun and the freedom? It didn’t seem all that bad to me, and honestly, I wanted to be a little show-off and strut around in my bikini. I wanted to be like a mermaid.

Now, in my mother’s defense, she was not about to sexualize her child or parade her around. But the point is that I was never granted that freedom of bodily expression as a child or as I matured into an adult. It wasn’t until I began speaking up, or simply breaking the rules, that I got to wear a bikini or a top that was deemed “too revealing” by my parents. My parents thought I was seeking some sort of male validation by doing so, but in reality all I wanted was to dress in a way that made me feel good about myself. In their minds, dressing “promiscuously” equated to a low sense of spiritual worth.

Frankly, I think it was the sensual nature of mer-

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ART BY NATASHA ARNOWITZ

maids that really drew me to them as a kid––not necessarily out of any sexual desire, but because my curiosity was piqued. These beautiful, mythical creatures were practically nude, and yet were perceived as graceful and strong. For their underwater environment, their lack of concealment was normal. As someone who had ideas of modesty and purity so heavily pressed upon them, I couldn’t help but be enchanted by the freedom they possessed.

In a lot of ways, I identified with mermaids. While they have these iridescent, scaly tails for legs, they also possess the upper body of a woman, a strange blend of species. And while I never got to lounge in the warm sun for hours bare-chested and brushing my long, silky hair, I too felt trapped and confined by the realm in which I belonged. I became fixated on this idea of escapism I found within the mythology of mermaids. They were similar enough to me to feel relatable, but different enough that I could envy the lifestyle and liberties they obtained and, moreover, spend hours fantasizing about a life spent as one. It was always so funny to me that these girls wanted to escape to the shore because everything seemed so much more beguiling underwater.

The Little Mermaid remains one of the most influential and mesmerizing pieces of fantastical media from my childhood. I was absolutely bewitched by Ariel’s underwater trials of growing up and navigating love and family. She had heart, spunk, and this kind of autonomy I never could quite recognize how much I desired until years later. It wasn’t merely her supernatural mermaid abilities, but the ease and carefree nature with which she carried herself as a practically topless woman. That may sound silly and bizarre for a child’s impactful moment, but that carried a lot of gravity for me and still does. I so distinctly remember dressing up as Ariel for Halloween, only to get a more “modest” costume option from my mother.

Mermaids have such a strong grasp over pop culture because while they are sensual, majestic creatures, they are equally formidable. In their original form in

Greek mythology, they were known as sirens who lured sailors to their death with their captivating looks and melodious voices. This paradox of sexually desirable and lethally persuasive is so fascinating, particularly because they are women. Women are generally depicted as weak, docile individuals throughout Western literature, but mermaids are one of the few exceptions. For thousands of years, they have been reported to be these tempting figures of death and destruction disguised by their sexual prowess and beauty. I think witnessing that as I watched The Little Mermaid and read The Iliad as a child was a source of inspiration for me. Obviously, I have no intention of luring men to their doomed fate, but I think to see women portrayed as fearsome and

desirable was oddly empowering. It was such a different narrative from the ones I was used to seeing in my majority Christian community.

Even though mermaids are mere fiction and nothing more than a popular literary element of the fantasy genre, they have more power than we’d likely credit them for. Their mysterious, split nature presents us with a kind of woman far more multifaceted than the ones we are accustomed to in our patriarchal society. For a little girl who always felt stuck in her one-piece bathing suit world, the enigma of a mermaid promised a kind of unshackled womanhood that awaited me and, perhaps, made it easier to stick it out in those years of stifled modesty. YM LIVING | 38

I don’t care about

#NotAllMen

WRITTEN BY MADELYN MULREANEY

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ART BY CHLOE WILLIAMS

I

n wake of Sara Everhard’s murder (and the subsequent murder of 6 Asian women), the internet exploded with women expressing grief, fear, and anger at the system—and men—who pose a constant threat to women who dare exist in public. We were fed up, and we were finally having a candid conversation about women’s experiences with harassment. Naturally, all this talk about violence against women summoned a slew of “nice guys” who pushed back at the narrative by shouting their beloved counter-argument: #NotAllMen. For a solid two weeks, my Instagram feed was nothing but men sharing #NotAllMen and women asserting that the “not all men” was implied when they discussed gender inequality. And while I appreciate the sentiment, I got really tired of seeing women spend so much time appeasing men whose entire goal was to silence women’s complaints by forcing women to coddle their feelings. No matter how well-intentioned these discussions might be, if feminists start critically discussing #NotAllMen, they legitimize it as an argument. They are still diverting attention from the issue at hand in order to debunk a group of men who have already made up their minds.

So I’m pushing back. I’m no longer catering to the “nice guys.” I’m no longer prefacing my feminist rants by saying “obviously, not all men” just so I won’t get backlash from a bunch of angry men. Because don’t you think that if men were actually as good as they claimed, they wouldn’t feel the need to constantly shove their “niceness” down our throats?

I don’t know who needs to hear this, but just because you’re not actively assaulting women does not make you a nice guy. #NotAllMen is a farce created to make the bystanders and microaggressors feel better about their casual sexism. Yes, all men benefit from the patriarchy. Yes, all men contribute to the system that oppresses and threatens women on a daily basis. And yes, all men need to reckon with the fact that they’re part of the problem.

I’ve had men follow me home, point in my face, scream at me, call me names, and describe the vile things they want to do to me. Almost every time I’ve been harassed, there’s been a man around who chose

not to intervene—or simply didn’t notice because they’re afforded the privilege of ignorance. Any time I’m vocal about my experiences, I’m met with men who say that I deserved it, or that I’m overreacting, or that I’m a misandrist because not all men are sexual predators.

I swear to God, men will spend more time defending a “nice guy’s” reputation than they will ever spend defending a woman’s safety.

But let me be very clear: for all of the horrible things I’ve experienced, I am one of the lucky ones. There are women who experience so much worse than me— especially trans and queer women and women of color—whose voices are even more silenced than mine.

My anger and exhaustion are only a fraction of what other women go through, and it’s encouraged me to push back even harder against the patriarchy.

It’s why I’ve become more stubborn in refusing to let men change the subject or gaslight me into believing the #NotAllMen rhetoric. The way I see it, if a man feels threatened by feminism, he’s not one of the good ones. It’s that simple. So, for every man that attempts to negate my feelings when I’m talking about women’s oppression, I become even more certain that yes, all men are part of the problem.

Truly, I have zero fucks left to give about making my feminism digestible for “nice guys.” I’m done wasting time sparing male feelings over my own. I don’t need to defend myself against men who are more concerned with denying the reality of 97 percent of women than they are about holding themselves (and their bros) accountable for their actions. Men need to sit with the reality that they’ve caused harm to women, and it’s not my job to use up my emotional energy trying ( and failing) to change their minds.

If you’re unwilling to listen and learn about why I’m mad, you don’t get to tell me I’m wrong to feel that way.

If you’re a man, and you feel tempted to say “not all men” when a woman shares her experience with sexism, consider why your knee-jerk reaction is to keep your head firmly up your ass and deny her reality. I get it, nobody likes to see themselves as the villain, but that doesn’t mean you get to drown out women’s voices just so you can’t hear us call you out.YM

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I May Want to be a Journalist

WRITTEN BY MARY PURSER ART BY LILY WALSH 41 | LIVING

WRITTEN BY KATIE POWERS PHOTOGRAPHED BY LILLIAN COHEN

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efreshing the page for the Boston Globe Magazine, I grew impatient: why hadn’t my article been published yet? Apparently after just one semester of my 4+1 master’s publishing program, I had developed the gall to even think this to myself.

Applying to Emerson, I grappled with whether I should major in journalism or writing, literature, and publishing. But by the time my parents and I were met with enthusiastic orientation leaders covered in glitter outside of Piano Row, I was content with my decision that WLP was the route for me. I still am, but now I can’t help but wonder (okay, calm down, Carrie Bradshaw) if I can envision a future in journalism.

During registration week, I sat myself down and decided the 2021 spring semester was for taking risks.

No ‘ifs,’ ‘ands,’ or ‘buts’ allowed; I was now technically a grad student, and I had to act like one. Three of the four classes I’m in are fully out of my comfort zone: textual editing (hate it), writing for TV (meh), and writing for the Boston Globe Magazine (cue sparks flying). The Globe class advertised the opportunity to be “real-life published,” with the help of the professor, a past editor of the magazine. At the very least, I’d be able to develop my writing style. I was stoked—and scared.

Zooming into the first class from my childhood bedroom (thanks, delayed campus move-in dates), I looked at the impressive, older grad students in front of me and took rigorous notes as my professor laid out the things that editors for a magazine like the Globe look for in young freelance writers.

The first real test came when my class was tasked with pitching stories to the magazine for a package on COVID and college. We spent time in class going over ideas and wrote up short pitches for those approved by my professor. When the time came, I was assigned to write a piece on college students struggling with a lack of motivation during COVID. Now comes the part where I fake it until I make it.

Tasked with finding people to interview—something I had minimal experience with outside of a piece or two in YourMag—I had to plow ahead to start reaching out to people. Naturally, finding sources in-person is

not ideal at the moment, so I scoured university newspapers, Psychology Today, and social media to find four Massachusetts-based students and a Boston psychologist to talk to. The whole process demystified what it means to interview someone for me. Yeah, I definitely was a sweaty, nervous wreck for an hour before each interview, but afterwards, I buzzed with adrenaline.

Throughout the whole semester, I’ve confided in my roommate, a literal kickass journalist, when I get overwhelmed or don’t know how to go about something. We’ve long been each other’s makeshift editors for various school and extracurricular pieces, but now she’s also giving me an impromptu, crash course in journalism. I’m cosplaying as a journalist, and she’s helping me get away with it—it’s great.

In the meantime, I’ve jumped on opportunities to keep writing and reporting by volunteering to do a story about recipe virality on TikTok and agreeing to help a staff reporter contact and interview people for a real estate package he was working on. I push all other schoolwork to the side if I have something I can be working on for the Globe course. And the whole time, I know what I’m doing; I’ve done it so many times before. When I was a senior in high school, I focused my energy on AP English, Women and Gender Studies, and lit mag—almost completely ignoring responsibilities like AP Calculus and Physics. Spring semester of my freshman year, the focus was on a chapbook for my poetry final. Last semester, I was hyper-focused on my budding design skills in applications of print publishing.

I have a habit of putting everything on the backburner when I discover a new passion that makes me excited to learn or create.

After a week of refreshing bostonglobe.com (their visits must have been through the roof, thanks to me), I gave up and took a night off. I found out my piece had been published along with the rest of the COVID and college package by waking up to an email from my professor the next morning. I still don’t know where my career will take me post-grad, but I’m excited by the prospect of more options. YM

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WRITTEN BY KATERINA MONODOR PHOTOGRAPHED BY DERIN YILMAZ

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“Making Friends in a Pandemic:”

A One-Year Reflection on Quarantine Crafting

J

ust two weeks before I went home for the longest summer break of my life, I made my first crochet animal. Somewhere in my childhood, I acquired a crochet hook and finally decided to use it. My first teddy bear was lonely, just misshapen enough to lack the ability to sit up, but it became my first quarantine friend.

In the coming months, I spent many nights crocheting while binging movies. Seeing crochet as a productive way to channel growing isolation frustrations, I was intent on finishing projects as quickly as possible. My “Arts & Crafts” Pinterest board filled up. I began taking weekly trips to Michaels, stocking up on yarn.

While it first seemed like I was crocheting for myself, I realized I was using crafts as a way to connect with the outside world without directly addressing any real feelings. I didn’t have to post a status update, I could just share a small creation, a sign that I was productive. I was making these little things to show to others, to prove that even though times were hard, I wasn’t giving up.

By the fall, my room was adorned with a crochet menagerie of dinosaurs, dragons, gnomes, giraffes, rabbits, and bears. I could produce a stuffed animal from memory in mere hours. All my backpacks contained a spare crochet hook “just in case” I needed to craft on the spot. Crafting had become part of my quarantine personality, one of the few things I could look forward to every day.

After returning to school, the endless free time finally abated. Crochet took a backseat to academics. It became apparent that I wasn’t the only one who took to crafting to fill the solitary hours.

I was lucky many of my friends began crafting too, and I was able to combine crocheting with much missed socializing.

My friend Jackie Cotter ‘23, a fellow knitter, thinks everyone learned how to craft “out of necessity.” During the lockdown, screen time became such a large part of life that we crafted as a way to rest our minds. Inspiration was almost unavoidable. Crochet was popularized by the DIY “Harry Styles cardigan.” Resin casting videos were popular on TikTok. Beaded necklaces and colorful bucket hats resurged in popularity.

When I asked people about their newfound hobbies, I received countless enthusiastic responses—from fiber and needle arts, to more unusual passions such as making small paper houses and collaging. It was heartening to see all the ways people tried to fill their time over the past year.

A year later, my first crochet bear is a little less lonely now—as am I. Even though it seems like things might be returning back to “normal” soon, I hope everyone keeps their creativity, always remembering how crafting was there when we had so few options. While I am thankful that quarantine provided me the time and opportunity to pick up a new hobby, I am looking forward to what the post-pandemic future of crafting and friendship holds, both with real and homemade friends. YM LIVING | 44

Static DIRECTED AND PHOTOGRAPHED BY ELAINE TANTRA MODEL HAILEY FREEDMAN

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Lil Nas X IS the Artist We Need Right Now WRITTEN BY ANNE O’LEARY ART BY REBEKAH CZUKOSKI

51 | ARTS & ENTERTAINMENT

O

n March 26th, 2021 artist Lil Nas X released his newest song and music video “MONTERO (Call Me By Your Name)” to Youtube sparking a new controversy in the pop industry. The musician rose to stardom in 2019 with his hit single “Old Town Road,” a hip hop country crossover that earned him mass success as well as two Grammys. In June of 2019, Lil Nas X came out as gay and he has since been reguarded as a role model for queer youth, especially POC queer youth, a reflection of the impact of coming out as a gay hip hop artist.

According to X, “MONTERO (Call Me By Your Name)” is a song about his infatuation with a man he had recently met.

“Montero” is X’s real name, while “Call Me

By Your Name” directly references the Luca Guadagnino film of the same name, a gay love story set in 1980’s Northern Italy. X explains in an interview with Genius that it was one of the first gay movies he watched and he liked the film’s portrayal of intimacy. His song uses biblical references such as “if Eve ain’t in your garden” and overtly sexual ones like “shoot a child in your mouth while I’m ridin’.” X claims that his goal is in his music is to normalize gay intimacy in music, explaining, “I feel like that’s really important for representation in general, and this is gonna open more doors for one day when somebody says this, it’s like, “Oh, that person said that and I didn’t think about it,” you know?”

Despite their provocative nature, the lyrics are tame in comparison to the music video, which has reached over 88 million views. Co-directed by Lil Nas and Tanu Muino, the video is composed of three major acts that use Biblical as well as Roman-Greco themes. The first scene is set in what appears to be the garden of Eden, where X is tempted by a snake to give into his lustful desires. The next scene takes place in a colosseum, where X appears shackled to identical guards all played by himself in Antoniette wigs and outfits.

He then descends to hell, with the help of a stripper pole. There, Lil Nas walks up to the devils throne and proceeds to give the devil a

lap dance in leather stripper boots and Calvin Klein underwear before snapping the devil’s neck and taking his crown, gaining his power.

To a majority of the general public, it is clear that Lil’ Nas X is not a Satanist, but rather used homophobic Christian discourse that homosexuality leads to an enternity in hell ironically.

Despite overwhelmingly positive responses, the main controversy arose from the custom Nike shoes Lil’ Nas X released called “Satan’s Shoe.” The shoes are a custom made Nike Air Max 97’s claiming to have drops of human blood in them. Lil’ Nas X and his team only made 666 shoes and they sold out in under a minute. Soon after, Nike released a statement claiming not to endorse the product and have since obtained a restraining order against X’s company. Many notable public figures have also voiced their disapproval over the satanic themed shoe, with conservative politician Candance Owens notably tweeting that the shoes are “keeping black Americans behind.” To this, X simply responded,“don’t care and ur a flop.” South Dakota Governor Kristi Noem also expressed concern over the shoes being marketed to children and the “soul of the nation,” but X once again responded on Twitter with, “ur a whole governor and u on here tweeting about some damn shoes. do ur job!”

What many people appreciate about Lil Nas X is that he does not shy away from criticism. While his responses seem lighthearted and funny, the impact of Lil Nas X’s refusal to bow down to these bigoted criticisms is not lost. With each witty reply, the artist is making a statement that he will not let homophobic figures such as Owens and Bennet spew hateful rhetoric on Twitter without fighting back. These steadfast declarations, along with his status as a rolemodel for Black, queer youth send out a very necessary message that being unapoligetically queer and standing up to homophobia is central to his identity.

While Lil Nas X’s MONTERO is about a private love, his pride in his identity is public and loud. YM ARTS & ENTERTAINMENT | 52

TV Taught Me How To F e e l

WRITTEN BY RORY WILLARD

53 | ARTS & ENTERTAINMENT

ART BY HADLEY BREAULT

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here’s a new phenomenon dominating social media as of late. This time, it’s yet another undesirable personality trait: the infamous “main character” complex. It’s exactly what it sounds like, positing individuals as metaphorical “protagonists”— or better yet, movie stars. Many of us deny this part of ourselves, but in truth, we all live out stardom reveries in one way or another. We sing in the shower, we gaze wistfully out of car windows while listening to our gloomy score of choice, and we conduct mock late-night show interviews in our bedrooms in the wee hours of the morning. But especially in this day and age, fantasies of fame have hidden drawbacks. Behind the pomp and frill lies a web of beliefs that fame brings about a special sense of fulfillment that’s unavailable to the general population. It’s clear that these desires are less about fame and more about the desire to be seen by others, but the fantasy still lingers. I myself often ruminate over this conundrum: why is it so hard to shake our lust for fame?

This compulsion has long been studied in various fields, and was eventually coined as the “Cult of Celebrity” by psychologist and author Cooper Lawrence. Unsurprisingly, an overwhelming amount of the research is informed by outdated values, framing Generation Z as screen-addicted narcissists. But the Cult of Celebrity ideology is nothing new. Ever since its invention, TV has been a central factor of what shapes one’s perceptions of the world—especially for young and developing minds. The values and cultures of our generation share close ties with the celebrity-centric narratives in youth programs: namely, those from Disney and Nickelodeon.

In their defense, these networks do a nice job of underscoring their episodes with valuable life lessons.

But underlying morals can only go so far, even when they aim to expose the underbelly of fame. Our beloved characters’ entire lives are informed by their fame: their development arcs, their episode plotlines, their relationships, their conflicts—everything. While this trope dates back to the works of Lucille Ball, the blueprints for tweens’ and kids’ quasi-celebrities today are protagonists like Hannah Montana’s Miley Stewart and iCarly’s Carly Shay.

Miley Stewart represents an interesting paradox.

Simulating the sacrifices that come with a life of stardom throughout the show, Miley’s disposition presents a clear anti-fame message. This approach is well-intended, yet ultimately futile. What would Miley’s life be if not for her fame? What would be the outlet for her passions, or the source of each valuable lesson she learns? Her place and role in the world around her would drastically change; she’d no longer be getting the “best of both worlds,” so to speak. Despite portraying the negatives, Hannah Montana still makes stardom out to be an adventure of sorts, and a way to gain the admiration and recognition of others. Who wouldn’t want to live like that?

Carly Shay reaches new heights with the added component of social media—an increasingly relevant element of Cult of Celebrity proselytism. The fictional web show realizes the process of becoming a celebrity in a way that Hannah Montana cannot, emulating the DIY social media approach à la YouTube. During iCarly’s prime, viral YouTube videos (and their creators) were emerging as a new form of stardom. iCarly directly portrayed this process, helping transform the Cult of Celebrity from a cultural craze to an interactive quest available to all. The Hollywood royalty-type status tumbled out of vogue, making room for a new downto-earth, relatable model. The spectacle-spectator gap narrowed as creators and consumers occupied the same platform, and the mad dash toward fame became a daily part of our lives, both offline and online. Hannah Montana instilled this glorified picture of the starlet lifestyle in our young minds, and iCarly gave us a map to attain that status.

With all that said, it’s imperative to criticize the present academic discourse around celebrity worship.

How can Gen Z be held responsible for indoctrinations we did not create? How is it possible that fame obsession is a product of one generation? We all want to be known; to be adored; to leave a mark on the world.

We’re social climbers, budding influencers, lifestyle vloggers, meme page admins, you name it—but we’re not morally corrupt. Selfish or vain as our inclination towards stardom may be, it’s merely a refraction of a longstanding cultural praxis. YM

ARTS & ENTERTAINMENT | 54

Edward Sparkles,

TWILIGHt WRITTEN BY MARYCATHERINE NEAL ART BY MADELYN MULREANEY

55 | ARTS & ENTERTAINMENT

Sucks

W

hen The Twilight Saga first became popular, my sister and mom read the books together. I was only nine years old and far too invested in Matilda and the Nancy Drew mysteries. As middle school approached, my friends started to venture toward young adult books, namely The Hunger Games, Inkheart, and of course Twilight. I picked up the paperback vampire-werewolf drama and, after reading 11 pages, decided I hated it. I returned it to the school library and never looked back.

Now, after years of resisting, I finally broke down and read Twilight by Stephenie Meyer for the first time when my sister asked me to. She called me laughing after re-reading it because she couldn’t believe how awful it was after 10 years. And, since I can’t say no to my sister, and maybe because I wanted something to laugh at, I picked up Twilight from the Boston Public Library.

From the start, I despised Bella Swan. Not only is she completely self-absorbed, but she is also kind of an asshole. Despite people in Forks trying to welcome her and make her feel comfortable at school, she is constantly insulting the people around her. Bella is particularly rude to Jessica, who just seems like a sweet, extroverted high schooler who wishes her crush would notice her. This issue carries over into Bella’s relationship and treatment of Charlie. The only reason she gives for not building a relationship with Charlie is that her mom doesn’t like him. He’s never treated Bella poorly and, honestly, they are more compatible than Bella and her mom. To put it simply, Bella is a brat in the book and I just cannot relate to her or feel for her.

Bella’s incessant, whiny attempts to get Edward to bite her neck also rubbed me the wrong way. She refuses to understand why Edward doesn’t want to change her into a vampire. Edward considers himself soulless, cursed to eternal damnation. He loves Bella so much that he cannot imagine putting her through the same psychological torture he has endured over the past century. But all Bella can think of is herself, naturally.

My next issue has to do with Meyer’s portrayal of what a “healthy” relationship looks like. Meyer definitely fetishizes abusive relationships and manipulation—but it’s okay because Edward is so dreamy, mysterious, and sexy, right? After meeting Edward, Bella consistently ignores red flag after red flag. Edward tells her several times that he is dangerous and a bad guy, but this only seems to make Bella more into him. It’s like she is utterly unconcerned with the threat of being kidnapped and murdered. If I was in high school and a man repeatedly told me to stay away from him because he was scared of what he’d do to me, I’d get out of there so fast. And although ultimately, Edward isn’t a murderous creep preying on Bella, the co-dependency between Edward and Bella is just toxic and an unrealistic portrayal of a relationship.

I also had trouble sympathizing with Bella’s mom Renée. Instead of prioritizing Bella’s happiness and her relationship with her daughter, Renée goes to Florida with her boyfriend Phil. Bella says her mother is “happier” when she is with him, but Bella is happier with her mom. Why wouldn’t they all just move together to Florida? It makes no sense. Going to Forks is completely unnecessary.

Aside from these less serious issues, I also have a lot of difficulty respecting Meyer as an author when she makes indigenous culture such an integral part of her storyline as a white woman. The Quileute are used to drive the plot, without acknowledging their realities. They are also literally depicted as animals, a trope that white media often uses to depict indigenous people as savage and wild.

Despite the rant above, I did enjoy the book Twilight. Edward Cullen is much more interesting than in the movies. Meyer gives us more information about Edward in the books that Robert Pattinson didn’t quite grip when acting. I also enjoyed Jacob Black more in the book. He is clueless as to why the Cullens aren’t liked on the reservation and is never cold to Edward like he is in the movie.

Overall, reading Twilight wasn’t a terrible experience. I read the whole thing and had a lot of fun talking to my sister about it, so I can’t say I hated it too much. Even so, I do continue to wonder what people love so much about this book, and why it continues to be revered despite the poorly written lead, cultural appropriation, and romanticized abusive relationships. YM

ARTS & ENTERTAINMENT | 56

YOUR THINGS ART BY REBEKAH CZUKOSKI

WITH CREATIVE DIRECTOR LILY WALSH

CLIMBING SHOES:

These shoes are tight but they feel like home–I started climbing in early high school and completely fell in love with the sport. The community surrounding both indoor and outdoor climbing continues to amaze me and I cherish every moment that I can spend on the wall. I’m lucky to have met so many people through climbing and I’m excited to continue my journey in the sport after I graduate.

CAMERA:

Photography has been a part of my life since I can remember, and I hope that it always stays with me. I started taking photos when I was young using my dad’s camera, which I still have, but I bought my first film camera a few years ago and it’s been by my side ever since. It’s comforting to know that I have so many memories captured through images, and I love looking back at my old work. I’m continuing to develop my own style through lots of experimentation, and I’m grateful that I have patient friends who will let me take photos of them!

JEWELRY:

I adore jewelry. I love the way people use it to express themselves, and I think it’s so fun to be able to decorate myself. My mom always had the coolest pieces, and I remember trying to sneak into her jewelry drawer growing up. Earrings are probably my favorite accessory–I’m a little bit obsessed with them.

I’ve spent a lot of time curating my earrings to the way they are now but I’m always tempted to add another piercing or try out new jewelry. My Claddagh ring and locket necklace have also been personal favorites for the past year or so (I’m proud to say that there’s a cut-out of the Vine logo in the locket, may she rest in peace).

TEA:

Tea is something that I didn’t get into until recently, but I’m so happy to have started drinking it. I’m a coffee girl at heart, but there’s something about chai in the morning and peppermint at night that really soothes my soul. I will accept matcha, hot or iced, at any hour of any day, and usually end up with a turmeric-ginger blend at the end of a long work day. I feel like there are so many flavors to explore and I’m only just getting started. I also find that drinking tea with a friend is a great way to decompress and I appreciate the many deep talks that I’ve had while sipping.

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YOURMAG | 58

Y.MP3 HOT GIRL SUMMER ICY GRL—SAWEETIE JUICY—DOJA CAT, TYGA STAY FLO—SOLANGE ACT UP—CITY GIRLS LEVITATING—DUA LIPA FEAT. DABABY BEST FRIEND—SAWEETIE FEAT. DOJA CAT CHEERS (DRINK TO THAT)—RIHANNA BELIEVE IT—PARTYNEXTDOOR, RIHANNA HOLLABACK GIRL—GWEN STEFANI ROOF—JESSIE REYEZ SYLVIA —JACK HARLOW, 2FORWOYNE MORNING SEX—JOEY PURP S.L.U.T—BEA MILLER LIP GLOSS—LIL MAMA MONEY—LEIKELI47 COOL GIRL—TOVE LO FAMOUS—CHARLIE XCX GIMME WHAT I WANT—MILEY CYRUS LA NOCHE DE ANOCHE—BAD BUNNY, ROSALÍA GIRLS IN THE HOOD—MEGAN THEE STALLION

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YOURMAG | 60

ARTIST STATEMENT: Hannah Baynes How would you define your artistic style?

I only really started getting into photography over a year ago so my artistic style is something that I am still exploring. I find that I teeter from compositions that are simplistic with minor nuances to ones that are more experimental with color, costuming, and set design. One thing that I am hoping to develop into my style is a sense of life. And I don’t mean that in terms of the subjects I am shooting, but rather how the images breathe on their own. I like to think of it as a tight pair of jeans.

When you do up all the buttons, it looks great, but it’s strained, uncomfortable, and stiff; when you undo one or more of those buttons and you can, relax, enjoy yourself, and breathe. I love when photos have all the elements there but something is slightly off. It could be wrinkled clothes, hair covering the face, soft focus, or an undesirable background. Allowing those things to exist brings a sense of humanity to an image and that’s something I hope to encapsulate in my style.

Who inspires you?

I have honestly been inspired by so many things and people that it’s hard to pinpoint. Like of course I have been influenced by artists, photographers, designers, friends, and family, but some of my favorite shoots have been inspired by the most random things. I’ve taken inspiration from the QVC channel, film scores, cereal logos, even the sugar daddy scams that have popped up in my instagram dm’s. Photography allows me the opportunity to create or be inspired by absolutely anything.

It’s a type of freedom that very few mediums provide me.

What do you want people to get out of your art?

Growing up photographs told me all the things worthy of loving and everything I shouldn’t love about myself. I felt incredibly vulnerable in front of the camera and I hated it. Picture day always ended in tears, I made sure every photo of me was photoshopped before someone posted it, and do not get me started on the yearly torture that was the family christmas card photo.

It wasn’t until I dropped out of business school, lost all of my friends, traveled parts of the world, and got a freaking LIFE COACH, that I realized how much of my life was dictated by photographs. After getting things back on track and starting film school at Emerson, I wanted to reclaim the power of the photograph. So I started a mini photography project where every week I would take a photo of myself.

MONTHS went by and I hated every photo I took, but then one day after coming back from rehearsal I sat in front of my camera, pressed the self timer, and that day began the first day of my photography journey.

When I uploaded the photo to my laptop, tears started to build in my eyes, I was glistening with sweat, the cellulite on my thighs hugged the floors where they rested, my stretch marks shone iridescent with the light, my body was angular and contorted, my tired eyes were red and droopy, and for the first time I felt beautiful. For the first time I really saw myself.

Photography was never something I wanted to do, but rather, something I felt obligated to do.

The way I felt after seeing that photograph of me, was something that I wanted so many others to experience and that’s why I am where I am today. There is nothing that I want more than for someone to see a photo of themself or their self in someone else’s photo, that challenges the notion of what being beautiful actually means.

Are you planning to pursue a career in photography?

I never considered pursuing photography as a career because it’s never been something I’ve taken too seriously. I simply do it because I love it and everything I have done with it, I have taught myself. With that said, I am currently a photography intern and I am doing a bunch of freelance work, which is something I never could have imagined. I will be photographing till the day I die, but the question of passion or profession is something only time can answer.

What is your favorite aspect of photography? Why do you like it?

My favorite thing about photography is taking someone’s photo and hearing them say “I never knew I looked like that”. I can’t begin to describe how rewarding it is to hear. It’s why I do what I do.

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