The Independent Edition 10

COVER: ANGEL BIRD

Photography by Alexander Knobloch

Who can explain how the unexpected things in our lives come to be? Maybe they happen for a reason. It was just such an unexpected encounter, and an accident, that this scene took a form of beauty. It was December 23rd, 2018, the day that I walked within the marble gates of Rollins for the first time. I saw it right behind the Cornell Fine Arts Museum: a bird as stiff as a rod and as noble as the Unicorn in Captivity. It looked out across the lake, as if it were waiting for something. So swift was I to capture the moment that I failed to notice my ISO was set to 1600 on the brightest of days.

What followed was the bursting of the light within the camera’s vision; a flood of sunshine so powerful the bird itself became a traveler from another world. It was as if the bird spoke to me, to indicate some destiny. Four years later, the bird’s home has become my own, as I continue to polish my craft as a Sandspur photographer, and I learn to embrace the unexpected by the power of the liberal arts g

TABLE OF CONTENTS: CODE-SWITCHING

Art by Arielle Junca

Originally made as an assignment focusing on the nature of code-switching, I’ve grown deeply connected to this collage piece. She stands at an open window with two worlds in front of her. I’ve often felt like I’m standing at the theoretical window, being Latinx but growing up in American culture. It can feel like you can’t comfortably belong in either world for too long before someone points it out to you.

I hope the collage resonates with those who have had to navigate code-switching or various identities in your cultures. All that to say, I see you and I’m with you. I’m learning to weave the two parts of who I am together day by day (and I hope you can, too) g

Letters from the Editors

ED. 10 FALL 2022 - SPRING 2023

ROLLINS COLLEGE STUDENT MEDIA

ATTEN: THE INDEPENDENT

1000 HOLT AVENUE, WINTER PARK, FL 32789 THEINDEPENDENT@ROLLINS.EDU

STAFF

Hi everyone,

After these difficult and rewarding past couple of semesters as Editor-in-Chief, I am thrilled to finally be writing this letter. It marks the end of production for Edition 10 of The Independent, a Fall 2022-Spring 2023 joint issue. I am so excited for it to be in your hands.

The decision to combine issues was made primarily due to hurricane-related delays in the fall and understaffing in both semesters. It also followed discussions about ways to reduce costs for The Indie, since the Student Media department has undergone serious budget cuts in recent years.

EDITOR-IN-CHIEF

TAYLOR INGRASSIA

CHIEF CREATIVE OFFICER

CHARLIZE ASMAR

CO-FOUNDERS

MARY CATHERINE PFLUG

SCOTT NOVAK

DESIGNERS/ARTISTS

SAXON ANDERSON EM NGUYEN

ARIELLE JUNCA PEYTON POITRAS

JEANIE LIANG HARPER WHITE

SENIOR EDITORS

AQSA HASAN

ALEKHYA REDDY

MARY RUST

COPY EDITORS

JOHN ALLEN ELLIS COFFELT

SARAH BRADLEY EMMY SHOUSE

JOSH CAMUT DANIELLE SPARROW

CONTRIBUTORS

ADRIANNA AROSEMANA MARIA PADILLA

HANNAH ROSE BRIDGES ROBERT RANDS

EMILY DOGBATSE CARLY RICHARDS

LIAM TAYLOR KING ROWYN SAM

ALEXANDER KNOBLOCH FATIMA SANI

ALEC KRIEGBAUM SOPHIA WATSON

BRENDAN MANNING HARPER WHITE

RILEY MORTON JACKSON WILLIS

SARAH OGDEN

Cover featuring photography by Alexander Knobloch

Please send all le ers to the editor submissions and articles to theindependent@rollins.edu

Fonts in use: Abel, Agency FB, Air Condensed, Always Forever, Bahnschri , Bell MT, Centennial LT Std, Chalkduster, Chamonman, Corbel, Couture, Directors Gothic, Freestyle Script, Lucida Sans, Magneta, Minion Pro, MISTRAL, OCR-A Extended, Odaiba Script DEMO, Palatino Linotype, Segoe UI, Webdings

So ware in use: Adobe Indesign, Adobe Photoshop

Logo design by Mary Catherine P ug.

e Independent is distributed ee of charge to all members of the Rollins College community. e Independent will not print anything that is deemed libelous, obscene or in poor taste. Rights are reserved to postpone, edit or withhold om publication anything submi ed which does not meet the speci cations. e meaning of any submission will not be altered, but we reserve the right to correct spelling, grammar and punctuation when necessary. e editors and adviser will make the nal decision on all material appearing in e Independent.

e opinions stated in this publication do not necessarily re ect those of e Independent, its sta , advertisers, or Rollins College.

I believe Edition 10 is stronger despite — and because of — the delay. Throughout the publication process, I have been continually awed by the talent, patience, and dedication of our staff. This issue also holds an exceptional array of art from our campus community. Although they came from two different rounds of submissions, the pieces coexist in remarkable thematic unity, embodying the values cultivated by The Indie over the past near-decade.

Especially in times of increasing uncertainty and division, it is important to create and spread art that people need to see. If The Independent can be one venue through which you can do so, we have succeeded. I am endlessly grateful to our contributors for sharing their work, to our staff for making its publication possible, and to you for reading.

Thank you also to our new Chief Creative Officer, Charlize Asmar! She is a wonderful person, a talented designer, and a strong, capable leader. I could not have asked for a better partner in navigating these past couple of semesters. If you know Charlize, congratulate her and wish her well — she deserves it!

Taylor Ingrassia Editor-in-Chief Hello,

My name is Charlize Asmar, and I am in the class of 2026. This year, I was so excited to serve as the Chief Creative Officer of The Independent.

During my senior year of high school, I was elected as the head editor of my yearbook. This job exposed me to numerous experiences with leadership, design, and writing.

As soon as I was admitted to Rollins, I knew that I was in the midst of numerous opportunities that would involve my passion for design. As the Chief Creative Officer, I was able to use my previous experiences to design this magazine. Not only did I learn so much from this experience, but I also had fun along the way!

I am so thankful for our phenomenal design staff who provided us with such beautiful pieces. I would also like to give a huge thank you to Taylor, our Editor-in-Chief, for training me and helping me through it all! It was an honor to be the Chief Creative Officer, and I can’t wait for many years to come!

Charlize Asmar Chief Creative Officer

Illustrated by Peyton Poitras

Unfilled

If inches extended maturi I would carve my legs into s lts So I could learn to stand properly And not be lted om below.

Unchanged

Wri en by Sarah Ogden

I heard age contorts skin Into a gri mold Embedded with specks.

If paint pumped years through the vents of my skin I would cover my tear-stained face So they could only peck above the rim And not scratch up aces of pain.

If pounds completed my slackened build I would mold clay against the gaps To ll the esh on these hollow bones With ripe well-roundedness.

Yet here I stand without overlay And they don’t see me their kind While I myself s ll contemplate How much body shapes the mind.

Once it was ansparent, Unfolded bones of bliss, Yet that was long ago.

We were all glowing ghosts Before our bodies hardened, Hammered with dents.

To bend when I s ll oat? I must wear the tan cloak As proof of my ansience.

I rest at even glints

To illuminate a room at with my own lamp

Would be too dim

To maneuver through 

Designed by Em Nguyen

Photography by Valeria Smirnova1

It’s Raining Cats and Dogs

As a kid, my favorite activity was playing with my stuffed animals. I would constantly make up stories about them and pretend to make them do things like have parties. I promised that I would never leave them. However, I am in college now, and I left them at home. Now, the animals have formed a vortex in the sky, haunting me because I lied. This piece is a flashback to my childhood when I was so sure that I would never stop playing with my stuffed animals, who create a storm of distant, happy memories g

Art by Sophia Watson Designed by Em Nguyen

Cultivating Something New:

I love her, and that's the beginning and the end of everything.

Padilla

Wri en by Maria

Designed and Illustrated by Em Nguyen

For something that is so lauded, self love is not so easily obtained. If anything, it is one di cult, icky journey. I should know, because I’ve lived it. In my experience, body image issues, massive self doubt, and lack of a good founda on—in my case, the unyielding and unrelen ng support of iends and family—doesn’t really provide a stable foothold for developing self love.

So, for years, coming to terms with myself was a s uggle. And it aggravated me: I even bought one of those self love rings, the ones you wear on your pinky nger, but that fell through.

As it turned out, though, I didn’t really need to waste money on that self love pinky ring, because I was taught a valuable lesson in 2020—also widely known as e Great Pandemic Dumpster Fire Year of 2020. at year, I learnt that there are going to be people in your life as well as environment who will not be there for you when you uly need them, and that they would rather take your energy than extend any of their own.

It was the harshest lesson I have ever had to learn: it was as if I was uly waking for the rst me and seeing things for what they were. I’m not going to lie and say it didn’t hurt, because it really did. But on the silver lining end of the s ck, though, if I hadn’t, and if it weren’t for such people, I would not have learnt to stand on my own two feet and start nourishing my own well-being. e self work uly began then—I started thinking about myself as a person, grew more in ospec ve, and tackled the shadow work day by day. I began looking within and cri quing myself, the ques on of “what do I need to improve on?” reverbera ng in my head. It became a process that stuck with me, one that has evolved and grown over me.

A er months of focusing on myself, I saw that self love, shockingly enough, was something I could accomplish a er all. Loving my physical self was the rst thing—then it was me to go inward and work on healing myself om the inside. Self love is not a s aight shot process as people think it is: it is more of a slow, step-by-step one, where you have to focus on one thing before moving on to the other. at was a huge reason why I messed up before when it came to actually doing it: I only saw the macro, not the micro picture. Once I began loving myself in the physical sense, it was easier to begin loving myself om the inside out. It was all small-scale baby steps.

Now that 2022 is over, I have to say I’m in a far be er place than I was in two years ago. I feel like things have realigned: I’m not nding so much fault with my body (when I do, I tackle those thoughts right away), I meditate and a rm almost daily, and I’ve rebuilt a far more sturdy founda on om the damaged agments of the one that refused to come together before. It’s funny—not laugh out loud funny, but ironic funny—how surrounding yourself with people who build you up, ge ng more in touch with spirituali (not man-made religion such as Chris ani , I must s ess) as well as your inner child healing sub process, taking care of yourself, and just changing your mindset can all help you create a bigger and be er founda on when it comes to the humble journey of self love.

To all the people who taught me to stand on my own two feet, I deeply appreciate it. Without you, I would not have even started focusing on myself, let alone realized that it was a necessi for me to do so. To the people who have helped me to grow in my energy, I will always be indebted to you. It is always said that people come into your life for a reason, and in my case I was fortunate that others who were on the same path came into mine. To the people I unwi ngly pushed away because I was in a dark place: I would like to name actual names here but I don’t think that it is necessary. You know who you are. I extend a great deal of thanks for signaling that it was me for me to start pu ng the inner work in. Even now, I am sorry that I pushed you away because I was rela vely unevolved as a person, and deeply regre ul that my codependency messed things up. But if you hadn’t pushed me away, I would not have learnt how to oat properly.

Without any of those people, I would not be where I am now, for all of them taught me how to love properly.

ere is no turning back now, and the only way to go is up and forward. Even if it’s a massively fucked up day or week or even month, there is no going down and backward. Only up and forward.

So, in closing—

I am—

Single on purpose

And—

Cul va ng something new: I love her, and that’s the beginning and the end of everything 

"After months of focusing on myself, I saw that self love, shockingly enough, was something I could accomplish after all.”

Boxes

Written by Riley Morton Illustrated by Em Nguyen

I don’t know exactly who I am, but I’m learning. I’m chaotic, erratic because I don’t necessarily fit into one box or another. When it comes to societal categories, I fit into millions. I haven’t always been so accepting. I used to cram all of who I truly was into one box. I was convinced I had found myself, irrevocably flattening all of me into a simplicity I did not deserve.

I’m soft, but I’ve learned to stand up for myself—how not to be a doormat. I’m a ray of sunshine, but I have rainy days, too. I hate violence, but there’s a few people in this world I would punch in the face if I could. I’m an earth lover, a stoner hippie who doesn’t smoke pot and will ALWAYS wear shoes. A night owl, but only until 10 p.m. on weekdays and always asleep before her friends on weekends. An nature-obsessed girl who you’ll find holding a slimy marine creature but freaking out over the centipede in her dorm room. A writer who loves poetry but despises essays. A city girl whose ears are charmed by police sirens, car horns, and loud banter but who fell in love with the suburb of Winter Park, Florida. A girl who feels more comfortable in baggy clothes but doesn’t mind an opportunity to show off the body she used to hate.

I am magical. I was dimming my light, tampering with my full potential. I’m mysterious, and I like that. I guess you could say I am never boring. I cannot be categorized. And if there’s one thing I love about myself, it’s that g

“I cannot be categorized. And if there’s one thing I love about myself, it’s that.”

Art by Rowyn Sam

Wri en by Brendan Manning Designed and Illustrated by Jeanie Liang

“And remember, never let those ruby slippers o your feet for a moment, or you will be at the mercy of the Wicked Witch of the West,” she said to Judy Garland on the TV. My evil grandma gave the same ones to my older sister, the ones that sparkle in scarlet. And when she outgrew the land of lollipops and rainbows, she gave them to me, and my parents allowed it. My father showed me his Elton John record, a man with shoes just like mine.

“If Tom caught our boys wearing something like that, he would whip them.” ough I did not know it at the me, our neighbor watched on as my father spun me around the living room and the maroon sparkle burned her eyes. She remarked to my mother about it, who shrugged it o and declined the invita on to the women’s Bible study.

“Wear other shoes if you go outside,” my mother told me. I wasn’t safe walking along the yellow brick road yet. So I kept it inside, for there’s no place like home.

But the shoes were too big, and one day I ipped on my way down the steps. Bluebirds y over the rainbow— why, oh, why can’t I? I tumbled and tumbled, the most ungraceful tornado. I landed at the bo om with a thud. e bones broken and bent. I was punished, just as the neighbor had said.

Bluebirds fly over the rainbow — why, oh, why can't I?

“You took quite a tumble,” said the doctor man. My cast was blue, like Dorothy’s dress in technicolor. But nobody would ever make the comparison.

My mother took the shoes away so I could not hurt myself anymore. “I’m sorry,” she said, and I watched her place them on the highest shelf in a never-ending game of hide and seek. As we skipped around the backyard during my Wizard of Oz birthday par , I soiled my shoes that were made for li le boys and everything turned burgundy. Nothing like the rubies that were taken om me.

I could have had any color of the rainbow, but I always chose red. I wonder why. Why, oh, why can’t I? 

Connection

Illustrated by Harper White

DISNEY BABY TO DISNEY ADULT

Wri en by Carly Richards

Illustrated by Saxon Anderson

From its earliest days, the Walt Disney Company has claimed to be a family-orientated business. Walt Disney had a firm stance in making his products something that the whole family could enjoy together, especially his films and theme parks. Now, Disney marketing exists almost everywhere: merchandise, television, and even neighborhoods. So my question is: Is Disney marketing an important part of the milestones in our lives?

My answer to that question is a resounding yes. Disney marketing has become so integrated into our society that people are beginning to apply Disney marketing to some of the most important days of their lives. It is incredible that this company has such a tight grasp on people’s buying habits, emotional responses, and trust that millions around the globe are now declaring Disney as a part of their identities. “Disney Babies” and “Disney Adults” have become a large presence on social media. However, targeted Disney marketing has an enormous impact on the milestones throughout every phase of our lives: baby, tween, teen, adult, and elderly.

In “Babes in Tomorrowland: Walt Disney and the Making of the American Child,” the author refers to Walt Disney as a “colonizer of American culture” because of his groundbreaking impact. Once the American public knew the Walt Disney Company could be trusted, they allowed the company to slowly seep into every aspect of life. Disney is now involved in our lives from the moment we are born through their merchandise.

In 2011, Disney made a large marketing campaign focused on baby apparel and other baby-geared products. There is a noteworthy culture surrounding having Disney characters plastered on everything baby-related, from diaper bags to strollers. Disney has recognized that one of the first stuffed animals a child will ever receive will probably be Mickey Mouse or another Disney character. Thus, they sell baby versions of the Mickey Mouse stuffed animal that has “my first Mickey” written on the bottom of its foot. Toddlers become fond of these characters through seeing the smiling face of Winnie the Pooh on their onesie or the spunky face of Minnie Mouse on their soft blocks. Even though the toddlers may not know it yet, they are building trust with Disney to provide them with high quality products that bring them comfort and fun. These products are just the beginning of Disney grooming their next line of customers by first becoming consumers.

Disney also uses television to attract different age groups to their company. The first place this starts is with Disney Junior. The characters are from different backgrounds, races, and genders, spanning from pirates to princesses. Unlike Disney’s other forms of media, these characters talk simply and directly to the viewer. While its characters go on missions to find baking items or using talking tools to help fix something for a friendly neighbor, Disney Junior has a straightforward hybrid model of basic education (i.e. learning counting and ABCs) and morals (i.e. work ethic, friendship). Children can easily identify with the characters of one or more shows by their looks or personality and can easily understand their language. It is also easier to get children to learn this way because of its entertainment factor and relatability.

The Disney company continues to use television as a marketing tool as children transition from pre-school to grammar school and teenage years. Disney Channel was a great way to ensure that children maintained trust with Disney through this section of their life. Disney Channel has pumped out a multitude of television movies and series like Hannah Mon na, High School Musical, and Jesse. These shows guided tweens into believing in the Disney standard by presenting clean and wholesome teenagers to uphold as positive role models. The Disney Channel educated children through the themes of the shows and advertisements they presented for viewers to emotionally buy into Disney. The Disney Channel taught tweens their version of morality in an entertaining and comedic way—what is right and wrong, what unhealthy and healthy romantic relationships are like, how to interact with your parents, and so many more examples. These foundational lessons carry over far beyond tween years. Disney arguably has the biggest impact on Generation Z more so than any other generation because of Disney Channel’s immense popularity in the early 2000s.

examples.

The Walt Disney Company’s grasp for their teenage audience reaches beyond television into their theme parks. Over time, Disney realized that they needed to connect with their teenage audience in their parks to keep them interested and emotionally invested. In the 1990s, they started adding intellectual properties like Indiana Jones and S r Wars to their new theme park, Hollywood Studios. The original Star Tours attraction was a high-speed adventure in space with beloved characters from the S r Wars films, such as C-3PO and Darth Vader. This attraction was the first thrill attraction of its kind — a motion simulator. Disney’s next move was to add classic attractions like Tower of Terror, Rock ‘n’ Roller Coaster, and Expedition Everest. This tactic has worked so well because it speaks to the reckless spirit that most teens have as well as implementing characters that appeal to them.

Although all of these attempts to draw in teens were received very well, Disney still struggles to persuade teens away from their competitors, such as Universal and Six Flags. A recent attempt

to draw in teen audiences reinstated Grad Nite at Disneyland last year. Grad Nite is an After Hours special ticketed event for high school seniors to celebrate their graduation in the theme parks.2 Disney is steadfast beside their customers in their journey of growing up, giving them plenty of reasons to splurge on this special occasion. At this point in life, Disney does not have to try to persuade its customers into buying their product. Disney simply has to reinforce that they will be there to celebrate these moments in order to keep the revenue flowing.

After high school, Disney is there to provide their consumer with the tools they need in their professional development through the Disney College Program. The Disney College Program is a semester-long internship, where a college student can work as a cast member at Walt Disney World. For many, it is a dream come true to be given the opportunity to work for Disney. Disney’s great advertising has made Walt Disney World appear to be an ideal work environment — with fun, great teamwork, and the ability to create magic for guests. However, the Disney College Program is an extremely lucrative operation that exploits college students’ dreams. Most of their interns’ paychecks go directly back to Disney because they are required to rent from Disney and typically use additional funds to buy theme park products while they are receiving cast member discounts. Despite the dark side of this program, Disney understands that they can do this because of the immense trust that has been built throughout their lives.

In fact, so much trust has been built with this company that many people book the “happiest place on earth” for the happiest day of their lives. In their television series that originally aired on

generation of Disney fans. When Disney started their Disney Baby marketing campaign in 2011, they made a Disney Baby email list that they gave out to moms at hospitals.4 Also, they encouraged new moms to post their Disney Baby products on Instagram to give other moms inspiration of what to buy for their own baby.5 Their ever-evolving product line is irresistibly adorable, including adult favorite characters like Grogu and the Hulk. Parents buy these items because it connects with their interests and it is funny to see their infant sporting these more adult characters on comfy t-shirts.

When exiting adulthood and entering the senior citizen category, Disney deploys a new tactic on their customer— nostalgia. Nostalgia is extremely useful in getting emotional and rash responses from people, which is a fantastic opportunity for Disney to upcharge on nostalgic products and experiences. As shown in “Changing Family Structures and Childhood Socialisation: A Study of Leisure Consumption,” the author argues there is now more of an expectation for grandparents to fund a Walt Disney World Vacation.6 Vacations connected to nostalgia were incredibly relevant while Walt Disney World was celebrating their 50th anniversary. Grandma and grandpa could celebrate this milestone with Disney by buying merchandise reminiscent of 1971 park-opening merchandise and posting lookalike photos on Facebook from their 1971 and 2021 vacations. Merchandise is a large part of being a Legacy Fan. On January 14, 2022, fans waited seven hours for the Figment Popcorn Bucket.7 When these products are sold out or hard to obtain, obsessive Disney fans turn to eBay scalpers or bizarre sellers. eBay products

ABC, Disney promised couples their fairytale wedding experience. These magic-filled locations can vary from Disney Cruise Line to the Wedding Pavilion at the Grand Floridian to Aulani. These larger-than-life events come jam packed full of surprises and special experiences. There are some couples who have special concerts or private viewings of the fireworks. Many wedding parties choose to dress like their favorite characters or theme their wedding after a beloved Disney movie. In “Fractured Fairy Tales and Fragmented Markets,” the author discusses how Disney capitalizes on romance and relationships through their Disney Fairytale Wedding programming.3 Disney strives to provide the same princess ending for these brides that is presented in their films. They are making dreams come into reality, but also making large profits off of these extravagant ceremonies. Not only that, they are recording other couples’ experiences and broadcasting it on television to advertise this service. Then, carrying on with the cycle, Disney continues to target their consumers after the wedding is over through their baby merchandise.

The marketing for Disney Baby obviously goes beyond subliminal messaging for the babies themselves. At this stage, the Disney Adult sees Disney baby marketing from a parent’s perspective and the customer. Parents get to teach their own children how to foster a love for Disney. Because of Disney’s marketing genius, they make sure that they are right there to supply parents with everything they need to create the next

can range from one store having twelve Main Street Electrical Parade Mickey Ears to a mason jar full of water from the recently closed attraction Splash Mountain.8 It is extremely easy to get people to buy anything that brings back fond Disney memories.

On July 17th, 1955, Walt Disney introduced the world to Disneyland by saying this: “To all that come to this happy place, welcome. Disneyland is your land. Here age relives fond memories of the past, and here youth may savor the challenge and promise of the future.”9 This opening statement is prophetic of what this company has become for millions around the globe. Especially over the past few years, we have all gone through what seems like the unimaginable. However, throughout all of these troubles, Disney has been a beacon of light for those even in the most detrimental situations. From “Let it Go” providing comfort to a young Ukrainian girl in a bomb shelter to Disney+ simply posting videos of the fireworks to watch during quarantine, they have been there for all of us. Yes, I can admit Disney can be shady in some of their practices and raise prices to absurd levels. Despite their weaknesses, I believe they have a much larger positive impact on people, including myself. As I transition from a “Disney Baby” to a “Disney Adult,” I appreciate the joy this company has brought me and the people around me. I may be a victim to the Disney marketing trap, but maybe I am more of a victim to the “ghost [that] follow[ed me] home” off the Haunted Mansion. I guess I will have to “hurry back” to find out g

"[T]his company has such a tight grasp on people’s buying habits, emotional responses, and trust that millions around the globe are now declaring Disney as a part of their identities.”

ASO EBI

Aso ebi is a Yoruba term used to describe the conventional attire worn by relatives and friends during special occasions. It is prevalent across Nigeria and other cultures of African nations. The purpose of Aso ebi is to establish uniformity amongst the people it adorns.

In this piece, Aso ebi doubles as the title and a predominant theme which aims to express humanity’s ties to nature. The image deliberately demonstrates a symbiosis between the woman in Aso ebi and the tree she finds solace in. The woman considers her level of ease within nature, as the tree characterizes the natural environment as comforting. She acknowledges the matching material as a secondary adornment, a comfort within a comfort. She recognizes the interconnectedness of her corresponding patterns to the environment’s complimentary design. She knows neither would remain the same in isolation g

Photography by Fatima Sani

Nuance

Written by Nour Mansour Illustrated by Peyton Poitras

I am not your monolith Of a white blued boy holding a choo-choo train you see A figure of innocence and purity that forever stays… No, I am a woman! With suits, ties, and fishnet thighs, My roots vast, complex, and ever-expanding.

I am not your inspiration fuel. Your tales of us sicken me, Equating my worth and existence to Earning gold-plated plaques for your benefit The thinly-veiled oppression of disability community Dripping from the edges of our accolades.

I will not stand to be the subject of pity on screens. Countlessly seeing glorified praise in news titles For the so-called Knight in shining “savior”

Who asked the disabled kid to prom, As if they had done us a favor? (You wish!)

Don’t you dare make a mockery out of loving me. My romantic affection, or otherwise, Is not your plaything.

And yes, I heard your gasps or subtle flinches at the notion Of me mentioning the notion of disability, Of wanting to be associated directly with it, Instead of denying and burying it like the walking dead. It is up to us how we use our labels, You have no right to my agency.

And no, don’t try to bury my personhood

With your stevia-sweet euphemisms

That our decomposed systems and roots claimed was better language, When they are centuries long systems Of eugenics, genocide, erasure.

Twisting of strings, Lack of nuance

Trying to claim our personhood, Which was never yours to begin with And it never will

But be sorely mistaken, those roots are ever-present Continuing to plague our society with violence and false narratives, And be sure, these rotten cores are not an illusion of the past — They are thriving right where you stand g

A Mother’s Love

Art by Emily Dogbatse

“A Mother’s Love” was part of an assignment focused on inspira on om Maggie Taylor, who combined several pieces of pictures om vintage pictures and art found online. Despite using the modern technique of collaging in Adobe Photoshop, I really wanted the piece to look vintage, reminiscent of something you would nd in the 19th century. is piece appears to be very warm upon rst looking at it, but with a closer glance there is a darker and more cynical aspect, which is exactly what my goal was for the piece. ema cally, it focuses on what it means to love, or in this case what a mother’s love is. Is it perfect love? Is it more cynical? Who knows? Only God knows. Love is a very simple but complex topic, that has many di erent aspects based on the viewer and what they have experienced. e bu er ies could either be reminiscent of something beau ful that blossomed, or could represent a love that grew into something that could never be kept down. Or maybe it represents a beau ful love that ew out of grasp. Love is simple, but has so many di erent ways of looking at it 

In Defense of the Side Hoe

Written by Brendan Manning Illustrated by Arielle Junca

The side hoe never receives a standing ovation but you might get time off your sentence for good behavior, maybe even remorse.

As the prison bars your jailhouse rock you almost forget the dreams you used to dream.

When all you wanted was to be wanted to hold him in your hand like a lit cigarette. Bad boys are just shiny new toys. No pain, just play like rabbits do.

His lips are soft as cotton candy that dissipates in your mouth. It’s a carnival game, but you wanted to play. To jump the fence for a few minutes alone. You trade for sleepless nights with bloodshot eyes.

And as you melt this candy cane, with whipped cream and a cherry on top cavities to breathe away and hang it out to dry.

Now you’re the homewrecker, the naughty slut. You lost what wasn’t yours to lose.

Yet he who has so much, brought so much rain walks free with his promiscuous fool while you have lost your secret valentine and leave Paris before midnight.

We all want the same thing, to love and be in love. It’s a hard train to catch, but most everyone does. But what if you’re fragile? Is it still your fault?

The jury’s out, can you admit it? Vicious. Guilty. Pretend you didn’t g

CIVILIZATION

Illustrated by Peyton Poitras

Of Tears and Mar

Written by Adrianna Arosemana

Illustrated by Harper White

Waves crash against each other in a ceaseless and chaotic rhythm that keeps the world whirling. They fight each other, love one another, tumbling tides and ideas in an eternal dance. The ocean is feared and respected and quite an enigma to man. More than eighty percent of our ocean is unmapped, unobserved, and unexplored. Much remains to be learned from exploring the mysteries of the deep.1 The ocean is chaos and order, life and death, yin and yang. The great ancient Roman Empire, which conquered more than two million square miles of land and peoples, cowered before the power and uncertainty of Neptune, god of water and sea, wind and storm.

Gary Snyder, in his essay “The World is Places,” calls us to “Revisualize that place with its smells and textures, walking through it again in your imagination, [it] has a grounding and settling effect.”2 I revel in this madness and might as my feet sink and disappear into sand and shells. The moonlight is intoxicating, reflecting off the sparkling water while a kind southeastern breeze embraces me. I can scream and sing and run freely. I am alive here. Human.

“Life consists with wildness. The most alive is the wildest. Not yet subdued to man, its presence refreshes him. One who pressed forward incessantly and never rested from his labors, who grew fast and made infinite demands on life, would always find himself in a new country or wilderness, and surrounded by the raw material of life.”3

I will always find a way back to the ocean. She beckons and seduces me, like a siren humming for her next meal. Forests will soon fall, and mountain caps will become beheaded, but no man, no technology, can ever command the currents. Her beauty is ingrained in the magic of what we have no control over. It makes existing exciting and worthwhile.

The days go on forever but my lifetime is brief. My “best” days are the onsets of my domestication. We’re primed for monotony and labor. How could you ever want this for your children? How do you expect me to want children of my own? My daughter would end up sweating her life away for your pleasures. She would spend her years producing your salt instead of relishing what the tides offer freely. We’re trapped in this dark place where we must scramble and exhaust our way through, up, out; just to breathe. We are killing our wild selves to live in today’s society, and it is heartbreaking.

Henry David Thoreau, considered the “Father of the Nature Essay,” wrote Walking in 1862, long before climate change and environmental issues were on anyone’s radar. His most famous quote declared, “In Wildness is the preservation of the world,” and I concur. Nature is healing and inspirational; it is life and death and freedom and future. Wildness is pure joy, and society lacks wildness. Civilization is losing touch with Mother Earth. It divorces itself from her instead of being in communion with her. In Thoreau’s own voice, “I believe that there is a subtle magnetism in Nature, which, if we unconsciously yield to it, will direct us aright.”4 Humanity’s only chance at saving itself is through reconnection with the Earth all around us, Thoreau understood this, even in 1862: “Hope and the future for me

are not in lawns and cultivated fields, not in towns and cities, but in the impervious and quaking swamps.”5

Annie Dillard, born the same year as my grandmother in 1945, is often compared to Thoreau and, like myself, is greatly inspired by him and his ideology. Dillard speaks on a division of wildness Thoreau refers to: “I might learn something of mindlessness, something of the purity of living in the physical sense and the dignity of living without bias or motive.”6 I’ve written on this idea of mindlessness before, but I often think about what life would be like if I was a housecat or a weasel, or even if I lived in the Garden of Eden. Dillard sanctions the idea, almost playing to my delusions of freewill. “We could, you know. We can live any way we want.”7 (If one did, though, one might be institutionalized.) Creatures live a simpler life, possibly riddled with higher stakes, but truly free. Maybe they don’t feel emotions, but maybe that would be easier: to only worry about living. The hardest part, depending on the individual, would be survival. As Dillard describes, “Time and events are merely poured, unremarked, and ingested directly, like blood pulsed into my gut through a jugular vein.”8 Worrying about how successful I might be in life is meaningless.

Imagine Adam and Eve never ate from the tree of knowledge. Maybe that’s how we were supposed to live; in harmony with nature and wild and free. Happy, even. Humans, as such a complicated and privileged species, worry about such inconsequential things! To be holy is to be set apart. God chose humans in his image, did he not? What sets us apart, I suppose, is the mortal illusion of free will and our choice to indulge “sinful nature”: greed, envy, pride, laziness. Ironically, what makes us “holy” is what condemns us to the flames of hell. “The weasel lives in necessity and we live in choice, hating necessity and dying at the last ignobly in its talons.”9 God certainly has a sense of humor. I’ve never heard of a weasel going to hell.

Gary Snyder, born in 1930, was an environmentalist and a writer who explored “the ways that human beings can live in harmony with the land and other living things.”10 Humanity is destroying the land and, with it, magnificence and wildness. Snyder says, “The whole earth is a great tablet holding the multiple overlaid new and ancient traces of the swirl of forces. Each place is its own place, forever (eventually) wild.”11 Although we might not see it now, the technosphere and its linear destructive paths will eventually come to an end, and nature will prevail.

Whether we prevail with mother nature, and through the mar, is up to us. Snyder also writes, “The ‘place’ gave us far-seeing eyes, the streams and breezes gave us versatile tongues and whorly ears. The land gave us a stride and the lake a dive. The amazement gave us our kind of mind. We should be thankful for that, and take nature’s stricter lessons with some grace.”12 The ocean is my place. She is who my lungs breathe for, who my soul weeps for, who my heart breaks for. I am in awe of her, and I am eternally grateful for her secrets and enlightenment g

“Imagine Adam and Eve never ate from the tree of knowledge. Maybe that’s how we were supposed to live; in harmony with nature and wild and free. Happy, even.”

Les Chats de Luxe

Alec Kriegbaum enjoys exploring materialism through an animal lens to force viewers to question the American interpretation of success.

“Les Chats de Luxe” is inspired by today’s influencer and streetwear culture, which emphasizes logos and brand image as a signal of wealth. Three cats grace the painting; two enviously peek onto the third with its Louis Vuitton logo-clad bag. The crackled, red-painted background provides depth through texture, grounding the piece. “Les Chats de Luxe” is composed of oil paint on wood. Psychologically, the color red narrows attention and sharply surrounds the piece’s subjects.

American consumers prize wealth symbols, but animals see no value in logos. This piece prompts consumers inclined to purchase items that serve as wealth symbols to reevaluate these objects’ impact on their lives. Giving pets a luxury item seems absurd. Why, then, do humans regularly purchase luxuries when the rest of the animal kingdom sees them as nearly valueless? g

Art by Alec Kriegbaum

Addiction in the Time of Fentanyl

How Fear Mongering Aids the Opioid Epidemic

Wri en by Hannah Rose Bridges

Illustrated by Saxon Anderson

It seems like every genera on has their own de ning drug crisis. At the advent of the 20th century, fear of reefer madness spread across the na on like wild re. During the 1960s and 70s, psychedelics became synonymous with hippie degeneracy and the era of ee love. In the 80s, crack was whack, and by the end of the 90s, heroin was no longer chic. But if the 2000s and 10s were a halcyon daze of club drugs, Xanax, and uit- avored schnapps, then the 2020s are shaping up to be a brutally bad hangover.

In April 2022, the DEA announced that the number of opioid overdoses in the United States had spiked to an allme high (no pun intended) during the previous year. In response to these ndings, Florida State A orney Ashley Moody urged President Joe Biden to classify illicit variants of fentanyl as “weapons of mass des uc on” capable of decima ng the popula on in ways comparable to 9/11 and the Vietnam War.1

Moody’s inappropriate use of hyperbole aside, drugrelated deaths have indeed been on the rise. According to the CDC, synthe c opioids like fentanyl, oxycodone, and other painkillers are responsible for the largest number of overdose fatali es na onwide.2 Between 2019 and 2020, deaths caused by fentanyl increased om 1,667 to 2,622 in Florida alone—a whopping 58% escala on.3 In a 2021 report, Florida DCF found that 72,277 adults met the diagnos c criteria for Opioid Use Disorder across Orange, Seminole, and Osceola coun es, accoun ng for about 5% of the combined adult popula on.4 With all of that in mind, the demand for harm reduc on ou each, along

with scien cally sound methods of addic on eatment, is greater now than ever before.

Yet if the current opioid epidemic is so pressing, why are government o cials and rehabilita on providers so reluctant to take proac ve measures to mediate it? A common adage within the harm reduc on movement is that “every overdose is a policy failure.”5 As the Na onal Harm Reduc on Coali on states, the phrase “harm reduc on” includes any sort of s ategy that aims to “reduce the nega ve consequences [of] drug use,” based on the belief that there will always be a popula on of people a emp ng to use drugs.6

In the mains eam media, harm reduc on is most commonly associated with public health e orts like needle exchange programs, naloxone clinics, or safe injec on sites which aim to “meet people where they’re at.”7 Regarding these services speci cally, bureaucrats like State A orney Moody claim that advoca ng for safer drug use instead of prohibi on actually “empowers addic on,” calling harm reduc on ou each a “reckless” and “deadly” prac ce.8

Moody’s perspec ve operates on many awed assump ons: 1) It presumes that all users would choose total abs nence over drugs if they were provided with eatment, 2) it concludes that a lack of safe is a realis c deterrent for drug use, and 3) it proclaims that the punishment for addic ve behavior should be death. What cri cs fail to grasp is that no ma er how many rehabs, jails, or Narco cs Anonymous groups exist in any given ci , there will always be people in ac ve addic on who are more

willing to modify, rather than cease, drug consump on.

Beyond “s eet level” services like the ones men oned above, harm reduc on also spans the wider gamut of care. One promising, evidence-based solu on to opioid dependency comes in the form of medica on assisted eatment or MAT, a category of FDA-approved drugs heralded as the gold standard of eatment for Opioid Use Disorder.9

MAT reduces the nancial, social, and physical harms of addic on by stabilizing a user onto a steady regime of safe, low-dose opioids. Prescrip ons like buprenorphine and methadone in the United States (or a varie of medicines in other coun ies) are used to eat dependence on illegal drugs by “normalizing brain chemis y, blocking the euphoric e ects of opioids, and relieving physiological cravings.”10 ese medica ons are safe to use for months, years, or even a life me, and have been clinically proven to signi cantly reduce the need for costly inpa ent detoxi ca on services.

Compara vely, the for-pro t addic on “recovery” indus y lags far behind when it comes to pa ent success. Less than a third of inpa ent rehab programs o er buprenorphine or methadone, perhaps due to the fact MAT reduces the need for long-term ins tu onaliza on in lockdown s le facili es. A study published in the Na onal Library of Medicine found that “most pa ents with opioid

in the chemical sense, such a eatment is not the same as “giving drugs to drug addicts,” as the State A orney irresponsibly insinuates.14 Given the compara vely abysmal sta s cs surrounding cold-turkey abs nence, however, most clinicians would agree that these nega ve a tudes do li le to mo vate people toward recovery. It becomes even more harmful when these beliefs ickle down to vulnerable people who need accurate, unbiased advice about alterna ves to adi onal “pseudoscien c” 12 step programs.15

If MAT is such a clinically bene cial eatment, why is it not being more prevalently u lized? Unsurprisingly, there is s ll a large amount of s gma surrounding MAT due to the aforemen oned misinforma on. Ul mately, aming these life-saving drugs as “basically the same” as substances like fentanyl ignores the reali of physical dependence and downplays the compara ve danger of other drugs. In a medical system where one ip to rehab can cost upwards of six gures, ins tu onaliza on should not be the only line of eatment, nor the norm. Notably, State A orney Moody has yet to target any of the “underregulated,” pro t-oriented facili es throughout Florida that prey on the desperate.16

Despite her impassioned le er to the con ary, Moody has done li le to meaningfully combat the overdose crisis within Florida. As the failed “War on Drugs” has shown,

addic on do not receive MAT a er discharge,” and that 90% of those pa ents relapsed on illicit opioids within the rst year.11 Over a quarter of that gure relapsed on the rst day out, a end colloquially referred to by rehab pa ents as

“ e Florida Shu e.”12

Even in rehab centers that do u lize MAT, the eatment is o en pa onizingly touted as a “comfort drug” prescribed only during the rst few days or hours of opioid withdrawal. For reference, medical consensus states that such a small period of MAT does not adequately mediate the risk of relapse and overdose, and that the average eatment me “spans om months to years” depending on the pa ent’s unique situa on.13

S ll, a common theme within many circles is that these medica ons are simply the “lesser of two evils.” Although buprenorphine and methadone are narco cs

fear mongering about drug abuse in order to jus fy increased communi policing and a greater securi presence at the southern border does nothing to stop deaths here and now. In the words of physician and anthropologist Eric Reinhart, we already have a “mass casual event” in our coun y, and it’s because “we’ve been inves ng almost all our resources into policing systems and military suppression of illicit substances. It doesn’t work.”17

However, by improving survival and reducing relapse, harm reduc on e orts and MAT put eatment back into the hands of the individual. Most importantly, they give chemically-dependent people the abili to live independent, self-directed lives. at’s what should be the focus when we talk about the opioid epidemic. No hypothe cal horror stories about fentanyl are needed 

“In a medical system where one trip to rehab can cost upwards of six figures, institutionalization should not be the only line of treatment, nor the norm.”

Wri en by Robert Rands

Designed and Illustrated by Jeanie Liang

Poli cal polarisa on seems to be worsening, not only in the Uni d S s, but across the globe. I wro this to express the urgency of our situa on and the need for a solu on before ca s ophe ensues. If we ke the me to lis n to the other side, then things do not have to be so a ocious. We must work towards be ring our na on and our world, coopera ng rather than gh ng each other at every ont as a result of the dangerous dichotomy in gra d into the s ucture of our poli cal sys m.

“ e view om here is beau ful.”

“It certainly is,” he quietly agreed. ey stood, shoulder to shoulder, atop the roof of an an que colonial building that was salvaged om the mes of the American Revolu on. It was not a very beau ful building: the red bricks wrapping around the perimeter were a ociously bland; the double-hung windows burrowed into the building with their dull, grey monotony; two brick chimneys pro uding om opposite sides of the roo op. e bleak maroon door in the façade would be welcoming no one tonight except for two young, curious souls. e s ucture was clinging onto bygone days, forgo en philosophies, and fading fundaments. e only new addi on was a re escape due to regula ons.

In the twilight they watched the tenuous cirrus snakes slither into the ci . Each wispy, sinuous rep le seemed to have two heads. ey savoured the silence. e wind picked up and sliced through them with the knives of late winter’s chill.

“Hey Marcy, do you see that?” He pointed towards the small crowd gathering below on the brick-pathed s eet, blanketed in the same dreary auburn colour as the building.

“I’ve got two eyes of my own, right?” she giggled. “Woah, look at that!”

Most of the crowd carried ags, signs, and horns. ey marched down the s eet like an army platoon with a mission. More people arrived and joined the gathering—reinforcements. Eventually, their march was halted by another crowd.

“Mercury, who are those people?” she asked curiously.

“I don’t know, but that is a lot of red and blue,” he calmly replied.

Both crowds bore a single colour—red or blue—and only that colour. e wind picked up. e Blue Crowd arrived om the opposite end of the s eet. Everything there was coloured di erently; their side looked as though an ar st spilled a bucket of azure paint onto everything. Despite the stark con asts between both sides, they both expressed the same dreariness.

When the Red Crowd stopped, noises echoed through the s eet.

“What do you think they’re saying?” Marceline asked.

“I don’t know, but the atmosphere is a bit foreboding,” he responded. “Perhaps we should do something about this.”

“Nah, everything seems ne,” she assured him.

e Red Crowd pierced their ags into the road. e Blue Crowd reciprocated the gesture. ey formed a par on across the s eet while bits of bricks ew around them. A chunk hit someone, and they began yelling. at single yell was the spark that ignited the powder keg of insolence. More people yelled, some even screamed at each other. Some people were blaring their horns; others were ba ling to wave their sign higher than anyone else.

e two iends gazed at this spectacle for a bit, much like how one stares at a car accident or some other thing that is equally interes ng and horrible.

“What is so important to them that they must act like savages?”

“I couldn’t hope to tell you, but I uly hope they sort out their situa on. I can’t make out what the signs read or what any of them are saying, but there is no reason to behave like this,” he said as he analysed the Crowds.

e two were quiet for a few minutes. ey were spectators in a sport they could not understand. e wind picked up. Marceline and Mercury felt the chill impale them through their grey woollen clothing. Smoke-coloured clouds were imminent; they shrouded the colourful spectacle of waning twilight with their gloom.

“ ey act like fools, hoping to force others to y the same colour that they y. What neither side realises is that this is not a monochrome world. ere are plen of colours out there. Some may not be for all of us, but I know that we all can y several colours—we have two hands, a er all.” He waved his hands around to imitate ying a ag. “It is a colourful world. If either side could stop to behold it, they would see it, too.”

“You look like a luna c. Philosophy, colours, hands,” she mocked as she waved her hands around, too. “But seriously, I hope they gure things out.”

“Me too,” he sighed sombrely.

e Crowds devolved into a violent disarray. Everyone fought to wave their sign the highest and blare their horn the loudest, even if it meant pu ng down someone om their own side. Haymakers were thrown in every direc on and pickets jabbed into people, while a con uence of blue and red blood owed through the s eet and coalesced in ont of the dated building. ey would mix, but not blend.

“Is there anything we can do?”

“Not at this point. I think they must learn to see other perspec ves and have a civil discourse if any of this is to get be er.”

“And what if they don’t? What if we’re the only ones that can x this situa on? Is standing idle while the world burns the right way to go about this?” she asked.

“I—I don’t know,” Mercury stu ered, at a loss for an answer. “What do you suppose we do?”

“I don’t know, either.”

BOOM! e sound of an explosion thundered throughout the s eet. Someone had s uck a gas line. Neither of the Crowds reacted to the sight of the ames growing around them; they maintained their gh ng. Eventually they were swallowed by the blaze.

e inferno split. One part blue, the other red. ey did not mix. A tsunami of ames swept across the s eet, bringing every building that it touched down into the divisive hell om which the re originated.

“Stop staring and let’s get out of here!” She grabbed his hand and led him to the re escape. He was hypno sed by the beau fully hideous calami .

He came to his senses a er they descended the re escape.

“Sorry, it was so en ancing. I don’t know why,” he said with awe.

“We can talk about this later, but we really need to go!” She moved with urgency and tugged him along like a child. ey narrowly escaped the harrowing inferno and reached safe outside of ci limits. Only piles of ash were le . e blue and red ames had decimated the ci . ough they were separate, they had accomplished this together 

SUDDEN SURVEILLANCE

This piece is a depiction of paranoia and how it affects one’s quality of day-to-day life. Paranoia can develop as a side-effect of mental illness, but it can sometimes be the predominant problem for a mentally ill person. There are many different types of paranoia, at times escalated by the ego. Those with paranoia might think they are very important people—so important that onlookers must be watching their every move.

This piece, made with Procreate, is a statement to inform spectators to be mindful of their watching eyes g

Art by Harper White

BLIZZARD

Wri en by Jackson Willis

Illustrated by Harper White

In this cento poem I meld shards of OutKast’s “Elevators (Me and You),” John Denver’s “Take Me Home, Coun y Roads,” and John Crowe Ransom’s “Grace.” is poem draws out the lines of so rebellion in each piece, magni es them, and directs them to Denver’s West Virginia, where 10,000 unionizing coal miners led by Bill Blizzard revol d just over a century ago in the Ba le of Blair Moun in.

Even the rats know of deaths, there is a choice: one for the money, the dollar a day two for the show

the decency of blood start of something growing in the hour a er dinner more than ankle-high a map om Virginia, pain

painted on the sky, blazing moonshine thrown like Hail Marys, miners undid the coupling chain in the mud marching dus

in the mornin’ loot blue water to last mis taste of hunger lay down neck-to-neck. check to see the laughing one smoking cruel es eely

they pay dangerous customers take killing to the ridge the dead big boys indus y ain’t gon’ stop older than God so we con nue

This poem was written for the on-campus protest on February 23, 2023 on Bush Lawn, where Rollins students gathered together to reject the state of Florida’s attacks on personal and academic freedom.

Written by Liam King Designed by Peyton Poitras

swallowing dust mites from the rugs under which you sweep us —— but we are not afraid.

warming ourselves only in the glow of our histories, which you set ablaze —— but we are not afraid.

and when you outlaw our identities, remember that we’re here — unafraid;

that we’re buried in milk cans,1

that we are scratched in the walls of this place: unremovable g

1 References the Oneg Shabbos archive, which was a communal archive of Jewish life and thought compiled during the Holocaust and stored in milk cans.

FOOTNOTES AND BIBLIOGRAPHY - UNFILLED / UNCHANGED [p.5]

[1] Photo by Valeria Smirnova on Unsplash.

FOOTNOTES AND BIBLIOGRAPHY - DISNEY BABY TO DISNEY ADULT [p.13]

[1 Best, Amy L. “Babes in Tomorrowland: Walt Disney and the Making of the American Child, 1930–1960. By Nicholas Sammond. Durham, N.C.: Duke University Press, 2005. Pp. X 472.” The American Journal of Sociology 112.1 (2006): 341-42. Web.

[2] “Disneyland Resort Grad Nite: Disney Youth Programs.” Disney Imagination Campus, https://www.disneycampus.com/programs/field-trips/dlr/grad-nite-disneyland/.

[3] Levine, Elana. “Fractured Fairy Tales and Fragmented Markets.” Television & New Media 6.1 (2005): 71-88. Web.

[4] “Disney Targets a Growing Market.” The Guardian, Guardian News and Media, 8 Feb. 2011, https://www.theguardian.com/lifeandstyle/2011/feb/08/parents-and-parenting-disney-channel.

[5] “Disney Baby.” The Shorty Awards, https://shortyawards.com/8th/disney-baby-2.

[6] Hunter-Jones, Philippa. “Changing Family Structures and Childhood Socialisation: A Study of Leisure Consumption.” Journal of Marketing Management 30.15-16 (2014): 1533-553. Web.

[7] Michaelsen, Shannen. “Photos: Seven Hour Wait for Pop Eats! at 2022 EPCOT International Festival of the Arts as Guests Line up for Figment Popcorn Bucket.” WDW News Today, 14 Jan. 2022, https:// wdwnt.com/2022/01/photos-wait-for-figment-popcorn-bucket-is-up-to-seven-hours-at-2022-epcot-international-festival-of-the-arts/.

[8] Tumin, Remy. “Disney’s Splash Mountain Closed. Now Superfans Are Selling the Water.” The New York Times, The New York Times, 26 Jan. 2023, https://www.nytimes.com/2023/01/26/us/disney-splashmountain-closes.amp.html.

[9] “A Quote by Walt Disney Company.” Goodreads, Goodreads, https://www.goodreads.com/quotes/62764-to-all-that-come-to-this-happy-place-welcome-disneyland.

FOOTNOTES AND BIBLIOGRAPHY - OF TEARS AND MAR [p.20]

[1] US Department of Commerce, National Oceanic and Atmospheric Administration. “How Much of the Ocean Have We Explored?” NOAA’s National Ocean Service, January 1, 2009. https://oceanservice.noaa. gov/facts/exploration.html.

[2] Snyder, Gary. “The World Is Places.” Ellen’s Old Alchemical Press, 1990.

[3] Thoreau, Henry David. Walking. Ticknor and Fields, 1863.

[4] Ibid.

[5] Ibid.

[6] Dillard, Annie. “Living Like Weasels.” HarperCollins, 1982.

[7] Ibid.

[8] Ibid.

[9] Ibid.

[10] Snyder, Gary. “The World Is Places.” Ellen’s Old Alchemical Press, 1990.

[11] Ibid.

[12] Ibid.

FOOTNOTES AND BIBLIOGRAPHY - ADDICTION IN THE TIME OF FENTANYL [p.23]

[1] “Drugs Identified in Deceased Persons by Florida Medical Examiners: 2021 Interim Report.” Florida Department of Law Enforcement, May 2022; Grimming, Erin-Knight. “DEA Miami Field Division Warns of Alarming Increase in Suspected Fentanyl-Related Overdoses in Florida.” Drug Enforcement Administration, 15 July 2022; Moody, Ashley. “Re: Declare Fentanyl as Weapon of Mass Destruction.” Office of the State Attorney of Florida, 18 July 2022.

[2] “Medication-Assisted Treatment for Opioid Use Disorder.” Center for Disease Control, May 2019.

[3] “Drugs Identified in Deceased Persons by Florida Medical Examiners: 2020 Interim Report.” Florida Department of Law Enforcement, April 2021.

[4] “The Changing Overdose Crisis in Central Florida: A Community Needs Assessment.” Project Opioid, 29 November 2021.

[5] Popp, Evan. “Every Overdose is a Policy Failure: Mainers in Recovery Ask Legislature to End Punitive Drug Laws.” Maine Beacon, 9 June 2021.

[6] “Harm Reduction Principles.” National Harm Reduction Coalition, 2020.

[7] Ibid.

[8] Cadler, Rich. “Florida AG Ashley Moody: NYC Health Dept. Ads Empowering ‘Safe’ Drug Use are ‘Deadly.’” The New York Post, 4 June 2022.

[9] “Medication-Assisted Treatment for Opioid Use Disorder.” Center for Disease Control, May 2019.

[10] “The Facts About Buprenorphine for Treatment of Opioid Addiction.” Substance Abuse and Mental Health Services Administration, vol. 14, no. 4442, 2014; “Programs: Medication-Assisted Treatment (MAT).” Substance Abuse and Mental Health Services Administration, 25 July 2022.

[11] Bailey, Genie, et al. “Perceived Relapse Risk and Desire for Medication Assisted Treatment among Persons Seeking Inpatient Opiate Detoxification.” Journal of Substance Abuse Treatment, vol. 45, no. 3, pp. 302-305, 2013.

[12] Lopez, German. “She wanted addiction treatment. She ended up in the relapse capital of America.” VOX, 2 March 2020.

[13] “Medication-Assisted Treatment for Opioid Use Disorder.” Center for Disease Control, May 2019.

[14] “Medication-Assisted Treatment (MAT) for Opiate Dependence—It’s Not ‘Giving Drugs to Drug Addicts.’” American Nursing Association, 2021.

[15] Flanagan, Jake. “The Surprising Failures of 12 Steps.” The Atlantic, 25 March 2014.

[16] Lopez, German. “She wanted addiction treatment. She ended up in the relapse capital of America.” VOX, 2 March 2020.

[17] Krishnan, Manisha. “Republicans Want to Declare Fentanyl a ‘Weapon of Mass Destruction.’ That’s a Terrible Idea.” Vice News, 21 September 2022.

THE INDEPENDENT IS A MAGAZINE THAT SHOWCASES THE VOICES OF WRITERS, ARTISTS, AND INTELLECTUALS AT ROLLINS COLLEGE. THIS MAGAZINE SERVES AS A FORUM FOR STUDENTS, FACULTY, AND MEMBERS OF THE LOCAL COMMUNITY TO SHARE THEIR RESEARCH, ARTWORK, TRAVEL EXPERIENCES, POLITICAL OPINIONS, AND MUCH MORE. WE STRIVE TO PUBLISH ARTICULATE, AUDACIOUS JOURNALISTIC PIECES THAT WILL BOTH EDUCATE OUR READERS AND MOTIVATE THEM TO FORM THEIR OWN INDEPENDENT WORLD VIEWS.