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THE QUARANTINE ISSUE DREAMING OF SELENA pg. 10 | BAD APPLE VNTG pg. 20 | 'FRISCO FUL-FILM-ENT pg. 26
Letter From the Editor
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Now the darkness only stays the night-time. In the morning, it will fade away. Daylight is good at arriving at the right time; it’s not always going to be this way. All things must pass. All things must pass away.” George Harrison, All Things Must Pass (1970)
’ve spent the last few weeks in Las Vegas, wondering when this is going to end; like many graduating college, my last few months were robbed from me. I have mourned and grieved all that I’ve lost, and remember, you can, too. This is a time to feel and be honest. It’s a time to check in on your loved ones and bake some banana bread like you’ve been hoping to for months. Most importantly, it’s that time to reconnect with yourself and forgive yourself for having “bad” days. Nobody has it together right now, and for the first time, we’re being honest about it. And if we’re being honest, I gave myself bangs a few weeks back and been listening to George Harrison’s “All Things Must Pass” album religiously, thinking these things will distract me and fix this situation; however, fixing things isn’t the goal anymore. The goal is to cope and come out of this with strength because this isn’t forever. I wish this strength to everyone every day, including our essential frontline workers. I want to send my love and appreciation for you all; thank you for your selflessness and
thank you for moving us forward. Thank you for keeping our hospitals open —healing and helping those in need—our grocery shops functioning, our busses running and delivering our packages. You are truly our heroes. Though these are trying times, I still wanted a sliver of normalcy at Insight Magazine, so my art director and I came up with the Quarantine Issue, which features the best of online content. Not only did I want to bring attention to the wonderful articles we publish weekly and oversee another magazine, I also wanted my team and you to know I’m still here, creating and trying to find my new normal. You are not alone. Please enjoy yet another labor of love, and visit our website, insightunr.com, where we are constantly creating. And remember, Insight Magazine and I are here for you, dear reader. It’s a funky, unprecedented time, but Insight Magazine is still standing, and we hope you’re standing with high spirits, too. Thank you for having me as your volunteer, your copy editor and your Editor-in-Chief and allowing me to create in these last few years. I
CRYSTAL LUGO
Insight Magazine Editor-in-Chief
STAFF
KELLIE SASSO
Photo Director
IDALIA CONCHA
Staff Writer
interns
Sruthi Srinivas, Copy Editor Intern Mary Young, Photo Director Intern Reilly Moss, Art Director Intern Olivia Sullivan, Staff Writer Intern Maddie Hall, Social Media Intern
MARINA LEIGH Copy Editor
RYAN ALMAZAN Art Director
contributors Mckenna Brunn, designer Kaitlin Venneman, writer Eric Banavong, writer
about the magazine
corrections
You hold in your hands the latest iteration of Insight Magazine. We hope that you will enjoy it. Not only is this issue the result of a tremendous amount of hard work, but it is also a representation of a student publication over a decade in the works (with origins as the Artemisia, the former yearbook of UNR dating back to the 1800s).
Insight Magazine works to correct any errors. If you find a mistake or misprint, please contact the editor at insighteditor@unr.edu.
Thank you for supporting us. We hope you enjoy it as much as we do. If you're interested in getting involved with us, visit insightunr.com > Get Involved.
Insight Magazine is proud to have placed tenth in the 2018 National Associated Collegiate Press Conference in the category of Feature Magazine.
CONTENTS
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LIFESTYLE
The Rise of Gender Neutral Makeup How Tinder Has Changed Due to the Coronavirus Dreaming of Selena
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REVIEW
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FEATURES
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"Future Nostalgia" by Dua Lipa "The New Abnormal" by The Strokes Horror in Today’s Golden Age
Bad Apple VNTG Gina Rose Walker
PHOTO ESSAY
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OPINION
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'Frisco Fulfillment Capturing the Philippines
Humans Are Not the Virus
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Illustration by Mckenna Brunn
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LIFESTYLE LIFESTYLE LIFESTYLE LI
LIFESTYLE Tag along as we give you the latest updates on how Tinder is adapting itself amidst a global pandemic, how gender neutral is finally being recognized and how Perez's legacy has been celebrated through the last 25 years.
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The Rise of Gender Neutral Makeup Words by Olivia Sullivan Illustration by Reilly Moss
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akeup throughout history has been seen on both men and women, yet at some point in history, there was a harsh shift. Some historians pin the sudden change of opinion on makeup to Queen Victoria’s reign in the late 1800s, who proclaimed it was impolite and shameful to wear makeup, associating it with the sex workers of the time. After this period it became less common to see men wearing makeup, as it shifted culturally to be seen as “too feminine.” Makeup today has become a symbol of beauty for all people — no matter what they identify as. A notable shift has been made in the beauty community over the past couple of years with the introduction of James Charles as the new face of Covergirl, and male makeup artists gaining large followings on Youtube. Brands such as Fenty Beauty, Covergirl and NYX Cosmetics have been recognized for using men in their campaigns. Although this step is a good one, some up and coming brands have taken things one step further. Gender-neutral makeup has been a hot topic in the media for some time now as new companies reinvent the old ideas that come along with using makeup. These brands have based their whole identities of inclusion of all genders and races, intending to work towards a more welcoming community. Not only do these companies focus on inclusion, but they also focus on clean products, meaning they aren't tested
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on animals and don't contain harmful ingredients. Some of the most talked-about companies are Fluide, Jecca Blac and NonGender Specific. Fluide was launched in 2018 by Laura Kraber, who claims she was deeply inspired by the activism seen today for LGBTQ+ and gender identity issues. Kraber took this inspiration and created Fluide in its wake. The company has continued to show they stand by their message of creating makeup for “him, her, them, everyone.” Jecca Blac was created by Jessica Blackler, who had an unwaivering vision of inclusivity in the makeup world for the transgender community. Non-Gender Specific was created by Andrew Glass in 2018 when he noticed the large divide within the makeup community between men’s and women's products. With this in mind, he decided to create this company with the company's main message being “Non-Gender Specific is the brand for all humans.” The growing popularity of these companies has helped start a conversation about the outdated ideas behind masculinity and femininity. We all desire to recognize a part of ourselves in the ads we see, and the LGBTQ+ community deserves the same representation. These companies are creating a safe space that allows all people to feel comfortable in their skin — which is the truest form of beauty. I
how
has changed due to
the CORONAVIRUS
Words by Eric Banavong Illustration by Reilly Moss
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f you’re an extrovert, being stuck at home is not the most ideal situation. The never-ending boredom mixed with borderline claustrophobic sensations can drive a person crazy. At home, there is only so much you can clean, workout and cook before you’re sitting on the couch again watching another episode of “The Office.” However, with Tinder’s introduction of a new free “passport,” you can now explore the world, virus-free and from the safety of your home — a service that appeals to many. Meeting new people online has always been tricky, even before the coronavirus. You can’t be too dark or people will think you’re weird, nor can you consistently drop bad puns or people will think you’re too cringy. Yet, the virus has brought a common question for all of us: what are you doing in quarantine? George Ali, current student of Zoom University, or the University of Nevada, Reno, talks about the way the coronavirus has impacted the way he interacts on Tinder. “Before the quarantine, I would try and plan an in-person date, but with
Coronavirus, I like to suggest using Netflix Party,” shared Ali. Netflix Party is an application that allows people to synchronize their Netflix remotely and adds a chat function, where you can comment to others as the movie or TV show plays. “I prefer using Facetime on the side because it feels more personable and closer to a movie date as you can get.” Instead of immediately trying to link up, many users, such as Nevada student Ross Buhler, have taken the time to explore the differences of culture in other locations. “I set my passport to Egypt and found out it’s common every morning to wake up to the sound of the mosque calling ‘Allahu Akbar.’” Though Tinder is viewed as a hook-up app, out of sheer boredom and perhaps fear of leaving home, it has given us the chance to be social while respecting social distancing rules. To be able to connect from significant distances and collectively complain about the coronavirus is a magnificent and entertaining feat. So, once you’re done with everything you can possibly do in your home, consider downloading Tinder and exploring the 50 million people who are as collectively bored as you. I
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Selena Quintanilla-Pérez’s Legacy 25 Years Later
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Words by Crystal Lugo Illustration by Reilly Moss
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hen Selena is mentioned, the red lips and bangs come to mind, along with the butt — yes, the butt. And don’t deny it — you’ve grabbed the scissors and cut your own bangs at some point, hoping to look good as the “Bidi Bidi Bom Bom” singer, and you’ve performed the “washing machine” in front of your mirror. No? Okay, maybe that was just me. Growing up in a Mexican-American household, Selena was taught at an early age. The Texas native was often played during our Saturday morning cleaning — Latinx folks, you know exactly what I mean — or experienced through her biopic “Selena” (1997). Personally, I fell in love with Selena at an early age because she was the first celebrity I saw myself in due to our matching backgrounds, languages and darker features; I believe that’s why Selena resonates with so many. She was a successful Mexican-American woman who broke barriers, teaching many young Latinx people to do the same. But in learning about her life, listening to her iconic tunes like “Como La Flor” and “Baila Esta Cumbia” and quoting “Anything for Selenas,” came learning about her untimely death on March 31, 1995; Selena was murdered by her fan club president, Yolanda Saldivar in Corpus Christi, Texas. She was only 23-years-old. Since her passing, Selena has been remembered in many ways throughout the years, including in “Selena,” a biographical drama on Selena’s life, starring up-and-comer Jennifer Lopez as Selena. The
film, which was released on March 21, 1997, shared Selena’s life story, starting from her father’s beginning as a struggling musician in the 60s to their struggles in the 70s and 80s, and her successes and ultimate death in the 90s. The Quintanilla family joined the film’s team as producers, giving advice on the film’s direction for accuracy and authenticity. The family mentored and shared numerous mementos and rare footage of the singer with Lopez, helping her understand Selena and her mannerisms and personality. Lopez even slept in Selena’s bed and moved in with Suzette Quintanilla, Selena’s sister, while preparing for her role. Not only did “Selena” share Selena’s story with millions, but it also shined a light on Latinx culture and struggles within the community; some themes tackled in “Selena” were the male-dominated Tejano music industry, generational differences between parents and their children and having to be “twice as perfect” by adhering and assimilating to two different cultures. “We have to be more Mexican than the Mexicans and more American than the Americans, both at the same time! It's exhausting,” said Edward James Olmos as Abraham Quintanilla Jr. in “Selena.” Years later in 2016 and 2017, Selena earned two major pop culture recognitions. After over 100,000 people signed a petition for Madame Tussauds to create a sculpture of the singer, Madame Tussauds Hollywood unveiled their official Selena wax sculpture. The sculpture replicated the rhinestoned and vibrant purple look she wore while recording “Selena Live” at the Corpus Christi Memorial Coliseum in 1993, which earned her a Grammy in 1994 for Best
Mexican-American Album. On November 3, 2017, Selena was honored with a star on the Hollywood Walk of Fame; Los Angeles also named the day “Selena Day.” Selena’s old bandmates, family and husband joined in on the celebration and revealed her star, which can be found in front of Capitol Records. Selena often visited the building after signing with EMI Latin. In 2015, Selena superfan Patty Rodriguez created a petition, asking for MAC Cosmetics to release a Selena for MAC makeup collection — and MAC listened. On October 6, 2016, MAC delivered the Selena
collection, which was packaged in purple —her favorite color. The collection featured lipsticks, eyeshadows, a bronzer and blush duo, lip gloss, eyeliner, mascara and brush — all named after songs or Selena-related titles. It sold out instantly. On April 21, 2020, MAC Cosmetics released another Selena makeup collection due to the first one’s success and in celebration of her legacy 25 years later. The new makeup line, titled “Selena La Reina,” or “Selena the Queen,” was inspired by the singer and her iconic rhinestone bustier. The makeup collection sold out instantly, too. Selena La Reina includes 14 makeup products and a makeup bag, packaged in radiant holographic packaging. The collection includes products like lipsticks, an eyeshadow palette, lip glosses and more, ranging in different colors and metallic and matte shades. Like the first collection, Selena La Reina’s products are named after songs or Selena-related titles such as: “The Washing Machine,” “Big Bertha,” “Me Siento Muy Excited,” “Bidi Bidi Bom Bom” and “Hey, Dad! Pizza!” The most recent and anticipated Selena-related
project is “Selena: The Series,” a biographical drama series based on Selena’s life is set to be released on Netflix’s streaming service sometime in 2020. However, there’s little information on the upcoming two-parter (first 10 episodes will be released this year). “As Mexican-American Tejano singer Selena comes of age and realizes her dreams, she and her family make tough choices to hold on to love and music,” stated the Netflix’s synopsis. On November 12, 2019, @selenanetflix released a teaser, showing Christian Serratos (“Walking Dead” and “Twilight”) as Selena in her iconic, purple jumpsuit, red lips and bangs, singing “Como La Flor.” Young Selena and her parents are also briefly introduced. Written by Moisés Zamora and directed by Hiromi Kamata, the series will star Madison Taylor Baez as young Selena, Ricardo Chavira (“Desperate Housewives”) as Abraham Quintanilla Jr. and Jesse Posey as Chris Pérez. As I reach my own 23rd birthday, I often think of Selena and her legacy, wondering what would have been if she were still here with us; through her style — catch me sporting a red lip and red nails almost always— and her admirable work ethic and love for education, Selena has always served as an inspiration, and as a reminder that the “impossible is always possible.” Whatever your Selena memory may be, or even if you have little knowledge or are just learning about her today, Selena has lived on in many hearts, reigning today as a Latinx cultural staple and inspiring those during and after her time. Celebrate Selena’s legacy by streaming her tunes, wearing a red lip and dancing to a little cumbia today. I
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Illustration by Mckenna Brunn
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JILLIAN GILBERT
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Wondering what some of the hottest albums and scariest films are? Our review section’s got you covered. Get the popcorn and headphones ready!
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DUA LIPA TAKES US ON A BLAST TO THE PAST WITH
"FUTURE NOSTALGIA" Words by Idalia Concha Illustration by Reilly Moss
“I
know you’re dying to figure me out,” Dua Lipa sings on her sophomore album “Future Nostalgia.” She’s not wrong. Her self-titled debut album “Dua Lipa” established her smoky and raspy voice, yet it lacked
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a sense of who Lipa actually was and has since become. “Future Nostalgia” highlights her versatility by sharing a collection of sophisticated pop-funks that radiate inspiration from Donna Summer and disco. “Future Nostalgia” is nothing like her debut album; Lipa really knocked herself out of the park here by staying true to a retro theme. Within its 37 minute
duration, there is not a single song that does not exemplify 80s pop and 90s club culture. “Future Nostalgia” is incredibly fun, consistent and a driven attempt to find a place for disco in 2020. The lead single “Don’t Start Now” has been a mega-hit — not because it’s the background song of a new Tik Tok dance trend, but because it screams “dance-pop anthem.” “Don’t Start Now” is a staple pop song— with a hint of disco strings and a funky bass. Her song “Physical,” on the other hand, is a dark wave remix of Olivia Newton-John’s 1981 hit “Physical,” but it’s more sensual and maintains the 80s’ synth-noir style. Softer tunes such as “Cool” and “Boys Will Be Boys” highlight Lipa’s sultry low alto, but they steer away from the album’s theme a bit as these songs are pop infused. “Cool” has a funky bass with a catchy chorus and soft bridge, but it just doesn’t have the same excitement, disco funk and oomph the rest of the album produces. Nevertheless, “Cool” would be a great way to sum up Lipa’s personal aura. “Future Nostalgia” is like a modern time disco album. It stays consistent to the 80s disco funk, and it’s a perfect album for a solo dance party. The album is a blast from the past you won’t be able to get enough of. I
The Strokes'
THE NEW ABNORMAL Album Review
Words by Idalia Concha Illustration by Reilly Moss
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he Strokes’ first album in seven years dropped on April 10, 2020, hitting us with a wave of “unborrowed nostalgia for the unremembered eighties,” as James Murphy once put it. Despite going in a new direction, “The New Abnormal” is still fairly recognizable. They’re experimenting and straying away from what everyone else in indie rock is doing to stay fresh, while also staying true to their roots. Nostalgia has always been a signature appeal for The Strokes, and not once have they failed to deliver. On “The New Abnormal,” the songs are more low-key and have a soft tempo. Although this is nothing out of the ordinary for The Strokes, it’s still a new sound. This album takes on more of an 80s-themed vibe; much of the album’s success comes from the electropop synthesizers that give off that retro sound. The album’s opener, “The Adults Are Talking,” is a great song to introduce the rest of the album.
“The Adults Are Talking” possesses all the characteristics of a Strokes classic, and it’s definitely a giddy tune. With sounds that pop out in a perky, vintage style. The song itself has a steady build that includes guitar pizzicato and weird cymbal hisses that makes the song a great album opener. “The Adults Are Talking” evokes a feeling of nostalgia as it takes you back to the days of “Is This It” and “Room on Fire.” “The eighties bands, where did they go?” Casablancas sings on “Brooklyn Bridge To Chorus,” the song that starts the 80s sound. “Eternal Summer,” “Bad Decisions” and “Brooklyn Bridge To Chorus” are all songs that embody sounds of the 1980s. “Eternal Summer” is more of a neo-R&B learning with splashes of psychedelic beats and sleek and exciting verses that reference the band Talking Heads. “Bad Decisions” is a metronomic guitarled that passes as a 80s homage to Billy Idol’s “Dancing With Myself.” Although “The New Abnormal” contains a few songs that make the album a bit sluggish, it is safe to say that it’s still an interesting album; it’s a cool and fresh album you’ll grow to love. I
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HORROR IN TODAY'S GOLDEN AGE
A LOOK AT CONTEMPORARY HORROR FILMS
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Words by Kaitlin Venneman Illustration by Mckenna Brunn
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here is perhaps no better way to depict creative evolution than with the history of horror films. From the gothic horror of monsters in the 1930s to the slasher movies of the 1980s and 1990s and the psychological thrillers of the 2000s, this genre is as diverse as it is vast, spanning generations of sleepovers and theater experiences. It’s generally agreed upon that the “Golden Age” of horror began in the 1970s and ended before the 1990s. With iconic movies such as “The Shining,” “Poltergeist” and “Halloween,” there is no denying the era’s cultural impact. Modern horror was birthed amongst disco and arcade games, and still stands to be vital in pop culture. Today, the genre is more than big-budget studios and shock-factors. It combines art and dread, psychological manipulation and laughter, supernatural beings and human monsters. It reaches the dark corners of your brain and the back of your throat, all while proving to be some of the best movies of our time. Whether it's “Us,” “Midsommar,” “The Lighthouse,” “Hereditary” or “A Quiet Place,” the horror movies of the past two years have been some of the most intense, gorgeous and important within the horror genre. The concept of horror may have been constructed over a hundred years ago, but it continues to rise as we now enter yet another Golden Age of horror. To understand why horror is “golden” today, we must take a look at one of the most critically-acclaimed horror movies of the past few years: “Get Out.” Director and writer Jordan Peele not only breaks the barriers between genres, but uses
satire and social commentary as a means to enhance horror. It’s not written just to scare you, but to make you think beyond what lies on the surface. This combination of well-developed characters, a unique storyline, horror and drama is a perfect example of the horror of today that goes beyond the usual flat and stereotypical plot that has dominated the horror scene since the 90s. So much so that in 2017, it became the sixth horror film in history to ever get nominated for Best Picture at the Academy Awards. Since then, the genre has continued to produce quality films full of depth, the most recent of which is Ari Aster’s “Midsommar.” Set in rural Sweden, “Midsommar” delves into the bizarre rituals associated with the Midsommar festival in a small village. It’s gory and dark, but it contains dozens of hidden images and messages similar to that of “The Shining.” Because of the constant online analysis of it all, this movie has been one of the most talked about of the past year. In “The Lighthouse,” Robert Eggers directed the spiral of two men into insanity as they’re stuck on an island as lighthouse keepers. Its stunning black and white cinematography earned it an Oscar nomination, but its daunting view into the human psyche has cemented it into the forefront of horror today. These films, and many more of the past few years, have assembled an entirely new horror genre — one that doesn’t rely on just jumpscares. It doesn’t need to; the mind tricks it plays on you are enough to circle your brain for days after, the terror creeping in when you least expect it. There are no ghosts or demons to frighten you, only the horrifying reality of the monsters that lie within us. I
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ATURE FEATURE FEATURE FEATURE a look into the French Beauty and Fashion
Illustration by Mckenna Brunn
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FEATURE FEATURE FEATURE FEATUR
FEATURE
Local is the word! Check out our section featuring articles on Midtown gem, Bad Apple VNTG. and rockin’ local musician, Gina Rose Waller!
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FRANCESCA MARTINEZ &
BAD BAD APPLE APPLE VNTG. VNTG. (YOUR NEW FAVORITE STORE)
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Words by Kaitlin Venneman Illustration by Ryan Almazan
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ew clothing shops in Reno bleed as much personality as Bad Apple VNTG. Located in Midtown and opened in 2015, the store combines local art and vintage clothing and is curated by Francesca Martinez, the store’s founder and owner. Martinez first fell in love with the local Reno scene while visiting her friend. “[I] saw how amazing the community here is and knew that this place would be perfect for my passion-project” she said. Her “passion-project,” as it turns out, was to open a shop that would allow her to have a creative outlet while showcasing handmade goods and art for sale. Today, it stands out amongst the Reno scene, fashioned with a colorful interior and massive Bart Simpson mural on the outside. For Martinez, the road to get there was not simple. Under 21 and without experience, she wrote up a business plan but struggled to get any loans or outside funding. Instead, she got a well-paying job and budgeted her way to opening the store of her dreams in the center of Midtown. “When I first moved here, I remember everyone telling me that Midtown was sketchy... and honestly, it wasn't bad — just low-income folks I guess people were afraid of. I was pretty upset that that was the rep when I never felt unsafe there” she said, acknowledging how Midtown has changed. “I've noticed that there have been a bunch of local businesses opening up and a bunch shutting down. The Reno boom is damaging and beneficial to the people who live here.” The “Reno Boom,” as Martinez noted, describes the rising Reno economy. It’s a controversial topic, with rising housing
rates and gentrification going up against better job opportunities and low taxes. In the center of it all lies Midtown, where high-end boutiques share walls with lowincome housing. Martinez is particularly passionate about her Midtown community and how diversity plays a part in it. “I have a huge problem with areas not emphasizing the importance of diversity — why not give everyone the equal opportunity to rise up together?” she asked. “It's important to support women and [people of color] because we have a lot more working against us. Showing your support means your empowering them and recognizing their hard-work through their struggles.” But as Midtown constantly evolves, the locals in Reno stay supportive. “If I didn't have folks come in the first couple of months, Bad Apple wouldn't be here today,” Martinez said. “The locals have been the ones really helping in the success of Bad Apple.” With the current COVID-19 regulations, Bad Apple VNTG is continuing business through its website, a creation that Martinez is grateful to be able to work on with the extra time. The website will aim to appeal to a national audience by having the option for shipping anywhere in the United States available. In the future, Martinez hopes to expand even further. “My dream is to open up another one — maybe California, maybe New Zealand, to get closer to my brother and his family,” she said. Since Bad Apple VNTG opened, Martinez’s online store has garnered over 4,000 followers on Instagram and has cemented her store as a Reno essential, and it’s clear to see why. “I want to create a space that is fun and different, something you'd not expect from a small shop,” she said. “Things don't need to be serious and so proper all the time.” I
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GINA ROSE WALLER GINA ROSE WALLE
GINA ROSE WALLER GINA ROSE WALLE
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Words by Sruthi Srinivas Illustration by Mckenna Brunn
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ina Rose Waller’s music has the ability to get your head bopping in that rare, infectious way. Amidst the dim lights of her stages, her soothing, emotion-filled voice and her rocking guitar solos resonate with an audience in a profound way that keeps them coming back. And keep coming back, they do — Waller has released three EPs so far, and her performances at the Holland Project continue to be supported, which motivates her to keep performing and making music. The distinctive twang of her voice and her guitar that accompanies her songs, all country/folk, adds an element of outsider or “outlaw” to her music, Waller said. “I've also been told that by listening to my lyrics in my songs, my music crosses into the ‘gothic Americana’ genre.” The guitar is incredibly important to her work — it contributes to the ominous darkness of her lyrics, yet the minor to major shifts add an element of optimism amongst the darkness, as seen in her song “Valley of Ashes.” “My music is all about intimacy and accepting the … more troubling aspects of life … I want to inspire others to express their hardships and grief through a development of healthy and open emotional response,” said Waller. When asked what inspires her music and her creativity, Waller stated that supporting the local music and art scene in Reno is what motivates her most. “When I see that a friend of mine releases a new record or my friend has an art exhibit up at a gallery, it inspires me to … continue that creative snowball.” Reno, however, has a noticeable lack of female musicians and female-fronted bands that gain exposure. They tend to be kicked to the curb in favor of male musicians, or seen as a “novelty” and “taken less seriously,” as Waller stated. Waller thinks that this doesn’t reflect an
actual lack of women in Reno’s music scene, but rather, it reflects a lack of spaces where women can feel confident in playing shows and have their music and voice heard. “We are missing out on women sharing their experiences of growing up in a western town where things are historically male-dominated,” Waller says. “I think the first step in getting women to play more music is to take away the stigma surrounding them and give validation of their talents outside of their gender. Teaching girls from a young age these confidence-building methods can create momentum for future generations.” She practices what she preaches; during the summer, Waller teaches guitar for Girls Rock Reno, a week-long rock camp where girls from the ages of 9 to 17 can learn an instrument of their choosing, form a band with their fellow musicians, and write and perform a song for their friends and family. Girls Rock Reno is an important initiative, Waller believes, since it creates a non-judgmental environment where girls can learn from actual female musicians in Reno that they don’t need to be afraid to express themselves through their music and art. The experience also helps the girls remember they don’t have to change for the sake of generating sales or “making it.” When I asked Waller what she’d want to change about the music industry, she stated that she would change how labels control a musician’s image and output. “Most times when an artist signs to a record label, they give up their rights to owning their music entirely and pretty much become puppets for money-hungry producers … women, especially, feel trapped by their producers and are told what to wear, what to say, and how to think on the daily.” Waller stated. Nevertheless, Gina Rose Waller remains genuine and true to her music. You can catch her live performances on social media every Tuesday — 7 p.m. on her Instagram, @faunsandferns_, and at 8 p.m. on her Facebook! I
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ESSAYS PHOTO ESSAYS PHOTO ESSAYS
PHOTO ESSAYS Sure, we can’t travel at the moment, but we can daydream with our photo editor’s and photo editor intern’s film photos, right?
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F R I S C O FUL- FILM - ENT Photos by Kellie Sasso Words by Crystal Lugo
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nsight Magazine’s Photo Editor, Kellie Sasso leaves her digital cameras behind to capture her February weekend in San Francisco, California on Fuji 400H and Kodak Portra 400 film. Take a look at the hilly city through her lens as she captures the everyday Embarcadero sights, her newfound friend and barista, local businesses and more through Caroline, her Canon A1 from local camera shop, Action Camera. I
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CAPTURING T H E PHILIPPINES
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Photos by Mary Young Words by Crystal Lugo
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nsight Magazine’s Photo Editor Intern, Mary Young invites us into her January trip to the Philippines, which she captured on Kodak Portra 400 and her Pentax Asahi Spotmatic film camera. “I wanted to capture the place where I had the privilege to reconnect with my family roots — and all of its hidden wonders and magnificent feats of nature. The Philippines is somewhere I call home, and my film camera allowed me to focus on its moments and sights at a different pace, making my trip even more special,” shared Young. I
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OPINION OPINION OPINION OPINION
Illustration by Mckenna Brunn
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OPINION OPINION OPINION OPINION
OPINION
Stay in the know with the hottest topics, and check out our opinion section, featuring an article on humans and their impact during the coronavirus pandemic.
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HUMANS ARE NOT THE VIRUS:
The Unforeseen Side-Effects of Self-Quarantine Words by Ryan Almazan Illustration by Reilly Moss
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ur world has been shaken up by the novel coronavirus. The usual flow to our lives has been disrupted: we are not allowed to leave our homes, our favorite places to eat have disallowed dine-in options and we’re confronted with the morbid reality of a disease that even doctors do not fully understand. Our social and personal distancing places us at home, physically disconnected from the outside world. But with our stay-at-home and shelter-inplace orders comes an interesting sideeffect: a return to nature. The connection between human industry and the destruction of nature in its many forms is widely debated. However, self-quarantine has made humans in heavily populated areas decrease the amount of contact we have with our natural surroundings. Clearer skies, more breathable air and a reintroduction of wildlife in some places has led many to associate the lack of human presence with environmentalism. And the way this has manifested throughout the world has shown a pathway for this kind of thinking. Venice, Italy is known for its famously beautiful canals, where tourists often ride in gondolas around the city. However, Italy’s national lockdown has its citizens staying inside, forcing many of the nation’s tourism to come to a complete halt. As a result, its canals are infinitely clearer than usual. Its streams of water are no longer muddy with dirt and sand due to the disturbance caused by humancentric tourism like gondola rides. The sight of clear water where there once was none reveals a correlation: less humans leads to less circulation of pollution. There is something frightening about
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this revelation, leading some to believe that humans are the fundamental problem behind the processes that hurt our environment. Phrases like “we’re the virus” are thrown around, placing blame on people for our deteriorating world. The non-critical acceptance of this rhetoric is dangerous on the societal level, and freely feeding into it can lead to an ideology called ecofascism. Ecofascism is an ideology driven by the idea that people must give up their essential rights in order to save the environment. In some extreme cases, those who subscribe to ecofascism believe in the sacrificing of people to preserve the environment, suggesting that genocide in some cases is the only way. Their underlying justification for this way of thinking? Humans are the virus, people are the problem; the way to save the environment is to fix the “problem.” It’s very easy to fall into the trap of ecofascism simply because it’s easy to blame a general “people” for the environmental problems that face us. It’s easier to do that than think critically about the systems that surround the environment and the specific persons that perpetuate such harmful systems. Think about it like this: what role does a general worker have in the context of the farming industry? How much actual control do they have over the work they’re contributing to compared to an executive or manager who oversees the entirety of that work? The worker in this context is likely here to earn a wage or salary to support themselves or their family, thus having to resort to this work, especially if there are no other stable jobs around. In contrast, the executive is likely not in a position where their livelihood and state of living is in jeopardy, yet oversees and leads it anyway. The latter of the two needlessly engages in it despite not needing to do so.
Subscribers to ecofascist ideology also fail to consider the many Indigenous and Native Peoples who have grown large, yet have a historically harmonious relationship with nature and their environment. We should not draw the conclusion that humans are the problem to our environmental woes when there have been societies predating many European ones that prove that it is possible to have large communities and not hurt our environment. This conversation is especially relevant today, at a time in United States history when there is extreme political polarization and climate change poses an existential threat. The coronavirus has only further exposed the flaws in our current economic and social systems. These systems’ inability to support the workers that uphold the nation tell us that they do not work, no matter the efforts to patch its fundamental flaws. These flaws should not be an indictment of humanity, as we know that in the past and in pre-colonial times that humanity has proved a possible harmony with nature, but rather an indictment of the systems that hurt us. These systems, inclusive of our political and economic frameworks, must be broken down. We must be careful to not fall victim to complacency. We must not fight to preserve the system and hierarchy that damages the relationships we have with each other and with our earth. Ecofascist philosophy is lazy; it suggests that the absence of humanity is the solution. It does nothing to address the changes in our world and in our society that create these problems. What, then, do we have as an
alternative to the systems we currently live within? The alternative must be one that advocates for the liberty and equitable rights of all. Rather than recklessly placing the blame on entire countries or on workers in an industry, aim your environmentalist energy towards and against the ones in power that put workers in a position where they have no choice but to contribute to a crisis. An ordinary worker has no choice but to use petroleum fuel, to create deadly fumes and to destroy if the resources and means to shift to something cleaner and safer is out of reach. They have no choice but to do so if the system and the people that benefit from it will continue to exploit those workers for their own personal gain. The amassing of capital with little sacrifice will only exacerbate these problems. Capital, and the power that comes with it, is the core of the problems that are brutally exposed and revealed by the COVID-19 crisis, not humanity in its entirety. I do not yet advocate for a revolution, but we must understand that we cannot fall victim to a nihilist philosophy, where we put ourselves into a position where humanity is the problem. But we also cannot be so conceited as to suggest that humanity is the solution. Instead, we must see that humans can react to their settings, but also may change them. In front of us is not an opportunity to tear humanity apart for the sake of the environment. It is an opportunity for us to come together to tear down the systems that harm the environment. I
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