Insight Magazine Spring 2021 Issue (Cover B)

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S PR I NG 2 0 2 1 VO L U M E 14 ISSUE 3

BARNCORE pg. 10 | AFFLICTION IN ISOLATION pg. 26 | THE SURGE OF ANTI-ASIAN HATE CRIMES pg. 52

LE T TER FROM THE EDITOR LET TER FROM THE EDIT LE T TER FROM THE EDITO T TER FROM THE EDITOR

LAYOUT by Ryan Almazan

STA S STA S STA

For the first time in a while, there is a light at the end of the tunnel, one that promises a safe return to the way life used to be.

Truth is, things will never be the same. The COVID-19 pandemic has fractured our mental health to the point of unrecognition, often with echoes of grief. Asian hate crimes and African American discrimination have run rampant and severly damaged communities. Women in the United States continue to lose control over their own bodily autonomy. There have been countless attacks on the foundations of our democracy through the riots at the Capital and Native land continues to be at risk of being mangled by another heartless corporation.

We have lost a lot. Women have lost a lot. People of color in this country have lost a lot. We are still fighting for justice and better opportunities for each other, even as we are cautiously approaching the end of the tunnel that so many of us have been dreaming for a grasp on.

Things will never be the same, but if anything, it is because we are even more aware of the persistent fight that we must concern ourselves with.

Insight Magazine is a platform of storytelling that constantly reminds me of what we do have and where we are able to grow. This issue, articles on local band Head Stone and organization The Holland Project remind us of what is possible, and how music is a space built to constantly inspire. This issue, articles on the mental health crisis at the University of Nevada, Reno and the increase of Asian hate crimes remind us of the work that needs to be done.

As Spring blooms, we are prompted to remember what is new, and what we have to look forward to. It is a long drive to get to where we want to be, but we will keep driving, because it is all that we can do.

KAITLIN VENNEMAN Insight Magazine Editor-in-Chief

AFF STAFF STAFF STA AFF STAFF STAFF STA AFF STAFF RYAN ALMAZAN Art Director

KIRA EWOLDT Copy Editor

MADDIE HALL Public Relations Manager

IDALIA CONCHA Staff Writer

REILLY MOSS Staff Illustrator

JULIA BLANK Photo Editor Intern

KELLEN PARKER Art Director Intern

SUMMER ORIGENES Copy Editor Intern

OLIVIA SULLIVAN Staff Writer Intern

KIRSTY LENON Public Relations Intern

Staff Photos by Julia Blank

contributors

Carley Olson, writer Alexandra Rush, photographer Madison Foley, writer and photographer Sofia Lombardo, illustrator Lauren Turner, writer Zoe Malen, photographer Molly Carnell, writer

Cullen McGinnis, photographer Emma Torvinen, writer Marcus Aldrin, photographer Annie Lujan, writer John L'Etoile, photographer Kaylanie Kan, writer Kaeli Britt, designer

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.

FRONT COVER PHOTO by Kaitlin Venneman BACK COVER PHOTO by Julia Blank Insight Magazine is proud to have placed fifth in the category of People's Choice and eighth in the category of Feature Magazine at the. 2020 Associated College Press Journalism Convention.

ONTENT ONTENT ONTENT

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08 Future Static 10 Barncore

stories

14 Three Key Steps for

Lucid Dreaming 16 A Guide to a

Mystical Experience 18 Un Momento con

Maria Cerda 22 Crystals 24 A Day in Reno: Travel Guide 26 Affliction in Isolation:

Student Mental Health

During the Pandemic 32 UNR Film Club 34 Pitch Black Printing 38 The Holland Project 42 Head Stone

opinions 50 52

54 56 58

Free Britney The "Chinese Virus" (The Surge of Anti-Asian Hate Crimes, The Rise in AsianAmerican Discrimination) Women in Rap Women in Rock Unity Rhetoric

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PHOTOS PHO S P PHOTOS PHO TOS PHOTOS PHOTOS PHO INSIGHT

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OTOS PHOTO PHOTOS PHO OTOS PHOTO S P OTOS PHOTO Layout by Ryan Almazan

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BARN CORE. Photos by Julia Blank Layout by Ryan Almazan

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Three Key Steps to sh r a Ru

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L U C I D INSIGHT

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o you love to dream? Hopefully you answered “Yes,” to that question but if not, my advice still stands and may even be able to help you receive better dreams at night. Now, have you ever thought about lucid dreaming?

First off, let’s define what lucid dreaming actually is: Lucid dreaming is when you are aware of yourself while dreaming and can control your dream’s storyline. Being able to lucid dream is amazing because it allows you to take control of your dreams and create fantasy worlds, and it has proven to help those with anxiety, nightmares, phobias and more.

Sounds kind of fun, doesn’t it? Well, with my help, I’m here to give you three key tips on how to improve your chances of lucid dreaming, which will turn your dreams into stories of wonders.

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Test your reality once inside your dream Once inside your dream, look for indicators that you may be dreaming. For example, if there is a mirror, look into it and check the reflection for any distortion. Or look around your dream for a clock or your phone, these will most definitely be distorted in your dream. Even take time to look at your hands and feet while dreaming to see if they look distorted at all. Looking for key identifiers can help you become aware that you are in fact dreaming, so take the time to look around for things that may be out of place. Try to get yourself in the habit of testing your reality whenever you dream.

Encourage yourself to lucid dream Before you go to bed, imagine yourself having control over your dreams. Tell yourself, as you fall asleep, that you will lucid dream, and think of some sort of signifier to let you know you’ll be dreaming. For example, think of flying. Telling yourself this before you go to sleep improves your chances of lucid dreaming and becoming more aware of yourself while dreaming. Encouraging lucid dreaming helps your brain adapt to the idea of lucid dreaming and heightens your chances of actually being able to lucid dream.

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Keep a dream journal Not only are dream journals beneficial for helping you navigate lucid dreams, but writing down your dreams lets you visualize them once they are happening, which increases your chances of lucid dreaming. Keeping track of your dreams makes you remember them better and enhances your future dreams. Dream journals not only help you gain better control over lucid dreaming, but it heightens your dreams, making you feel even more immersed in your dream worlds.

There you have it, friends — my top three tips for lucid dreaming. Happy dreaming! I

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Words by Idalia Concha Layout by Ryan Almazan

M YST I CA L EXPERIENCE

A GUIDE TO A INSIGHT

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he grass was moving, the ground was breathing underneath me, Brockhampton were dressed as clowns, and I felt alive.

I was in a scene straight out of a teen coming of age film.

It was the Day N Vegas music festival when my friends and I decided to take acid tabs. I was comfortable in my environment and felt safe with my friends. We all let the paper tabs dissolve on our tongues as we patiently waited for Rico Nasty’s set. Many hours later of not feeling or experiencing anything at all, it hit me. I vividly remember playing with the grass and the way it felt between my fingers. The grass was breathing and slowly intertwining with my fingers as it made its way up my arm. I was able to sense and feel everything. In a way I was one with nature.

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THEY AFFECT O D Y Psychedelics affect all of one’s senses, causing hallucinations. Psychedelics are meant to cause vivid images, hallucinations, enhance sound and greater self-awareness. These drugs take one through an out of body experience that is intended to open your mind and deepen your sense. As well as enhance your personal connection to the spiritual realm. However, not all intoxication periods are created equal. Everyone goes through their own personal experience and high. Some may encounter intense visuals and others may not, but that does not mean that the psychoactive substance isn’t affecting them.

But the most common question asked is, “How do psychedelics affect the brain?” When consuming psychedelics, it has been shown that they intensely affect neural activity. Brain operation is hindered less under the influence, meaning that you’re better able to feel emotions. The networks in your brain are more connected, allowing for a higher state of consciousness and introspection. Due to this, researchers believe that psychedelics could be a therapeutic treatment.

D O I P R E PA R W Do your research! It’s very important and beneficial to look into what you are taking and how you plan on taking it. The dosages are important, no matter if you are just looking to microdose or go for a full trip. You also should know how they are going to affect your brain and body. Getting a good night's rest the day before is also recommended.

Preparing your body by eating throughout the day and staying hydrated is very important. It is key to eat and hydrate before your psychedelic adventure because it is common to lose your appetite during the duration of your trip. Some psychedelics also deplete key nutrients in your body, which allows your body to properly adapt to anxiety and stress.

Drinking water before, during and after is just as important since some of these substances raise body temperature that naturally causes your body to sweat. Therefore, it is ideal to replenish your body of that loss of water. Picking out the perfect setting is important because you don't want to be taking it in an unknown place that causes you to experience uncomfortable effects such as making you feel anxious, paranoid or scared. Taking psychedelics in a setting where you are familiar and feel safe is the best way to go.

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Psychedelics are psychoactive substances that change perception, mood and cognitive processes.

And there’s different types of them. The most commonly used ones are LSD, Psilocybin, Ayahuasca, DMT and NBOMes. Psychedelics, including DMT, magic mushrooms and LSD are typically swallowed, smoked or inhaled. Others vary. And some of these psychedelics have been used since the beginning of time by many cultures and for spiritual and divine associations. In Mazatec customs, psilocybin mushrooms were used for medicinal purposes. In their Mazatec practice mushrooms are used as a sacred ritual to represent duality and power of both unified sexes. Following the medicinal purposes, Ayahuasca was also used by indegenous peoples in South Africa for healing purposes. In their traditional ceremonies, the scared brew allowed people to unite as part of a shared cosmology to celebrate life.

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Psychedelics are very personal. They grant the utmost personal growth and enlightenment. Psychedelics help you discover the best version of yourself without fear and judgment. No one will ever have the same experience. To each their own — that is the ultimate beauty. I

Practices such as psychedelic integration therapy are used to successfully assimilate insights into one’s life for the purpose of overall well-being.

This practice is typically done through guided psychedelic session where a facilitator is present while the patient is under the influence. Because these psychoactive substances are empirical and serotonin filled, they have the ability to open your mind and serve as healing properties. Psychedelics have the potential to treat anxiety, addiction, depression and other mental health conditions because they allow one to confront self-destructive behavior without feeling fear or shame.

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MOMENTO MOMENTO MOMENTO MOMENTO

CON CON CON CON

MARÍA CERDA Words and Photos by Madison Foley Layout by Ryan Almazan

Words and Photos by Madison Foley INSIGHT

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Layout by Ryan Almazan

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ahoe opens up before me in her expansive character, welcoming and warm. I pick a spot on the beach near the shore, beyond a crumbling wall that attempts to divide us with “KEEP OUT” painted in chipped and faded turquoise.

A young woman is perched on top of the border, cross-legged, headphones on: bumping. What’re they trying to keep us out of? I wonder as I stake out my territory with a towel.

A mother with a rake and her little twin boys joins us a few moments later. They pick a shady spot by the bushes and the low yellow hanging willows and pines behind where I lay. She gets to work raking up the needles and the natural debris.

“Now it’ll be all clean so we can sit here this summer!” she exclaims to nobody in particular, cracking open one of those big black trash bags and shoving them in. Her kids screech in joy about something far away from her, elbow deep in sand.

A woman and her teenage son join us a few moments later. They pick a spot at the very end of the wall, where the last burst of winter washed the multicolored stones on the beach in a linear wave. They kneel on the shore and begin collecting rocks together, inching their way closer to where I sit, speaking low in Spanish and trickling grains of sand through their fingers.

“Que miras?” I ask her after a while, thirsty to connect with someone in-person. She looks up, smiles with her eyes and answers by holding up a burnt orange stone between her fingertips, an agate, perfectly clear.

“Estoy haciendo arte,” she says, pulling out her phone to show me the mosaic horse she’s working on through a grainy JPEG on a screen. It’s beautiful nonetheless, intricately set with the help of Tahoe’s color.

I join them in their treasure hunt. Little pieces of clarity poke through the sand—an occasional softened shard of glass, a bottle cap. Each one is admired then tossed into the off-white pencil case to be sorted out later. Her son holds up his finds, so I can see them: a jasmine green one with a thin brown line encircling its entirety, a round black coal that is impossibly smooth and a red lava rock with moon craters.

The sun is hot on our backs for the first time in an eternity. As we look, we surrender to the familiar feeling of right before spring, when the Earth turns slowly enough to thaw us out to these new versions of ourselves, so that when we finally burst open, we hardly feel a thing.

Cerda reaches for my hand and I give it to her willingly, to this stranger I know. She presses three rocks to my skin, spelling “L-O-V” in my palm.

“Necesito un E,” she says, digging her hands in the sand, searching.

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María Cerda and her youngest son, Jonathan, invite me over to dinner at their home a few evenings later. We connect on Facebook. She makes chicken and shrimp in a thick and flavorful red sauce, freshly made spinach tortillas, rice and beans and jugo de piña. Her adult children are in and out, grown but there, filling their plates, floating around the table—laughing, welcoming and loving. Cerda shows me her work. It touches everything visible: handmade plant stands from found and shiny branches that climb up the wall, knotted wood chairs with cowhide seats, carved stumps with swirls and patterns, embroidered blankets, the dinner table and images of Virgen de Guadalupe painted with bright pinks and yellows on driftwood or carved out of flat pieces of wood layered in differing values. There are paintings of sheep and horses with handmade frames, intricately woven baskets from pine needles, a branching tree with cut outs of gentle butterflies fluttering from the pages of books, delicate bouquets of paper roses and the massive galloping horse that covers most of the living room floor, cascading in form by tiny ombre piedritas that they found on the beach.

“When I was a little girl,” She begins her story, “I made figurines out of mud. I was always making things out of la tierra. My mom tells me all the time, do you remember making this?” She pulls up Google Earth to show her pueblo.

Colorful adobe houses in blue and purple and cherry red pop up on the screen. We walk down the digital streets together as she points to the homes of her abuelos, padres and amigos.

We stop at a tree with branches stretched out over the road and she continues her stream, “I miss this tree; we don’t have it here. Camichín. The fruit on it is sweet and delicious. Es similar a un fig. So good!” I see her as a child, all sticky faced and free.

“Mis abuelos lived on a farm close to here. There were always horses and sheep. And we would go walking in the mountains. I was always in nature. I still am! Mis abuelos lived with nature. They are very good people, muchas buenas personas, mis padres too. We still have this connection.

Nature connects me to my family, and it connects me to art.” “¿Cuál es su sueño?” I ask her.

Jonathan, who has been listening at the table the entire time, jumps in, “That’s a tough question to ask.”

But Cerda objects by answering immediately, “Art is always my dream. This is my dream too, to live in a house in nature, completely surrounded, or on a farm. I imagine an ecological home, una casa ecológica, con las plantas, los animales, el agua. I can be alone. I could have more space to make all the art that I want…”. She quickly begins typing something into the google search, a cobb style oven pops up on the screen.

“I would make a mud oven like this. Mis abuelos, they had one just like this and people could come to eat and be together.”

She is silent for a moment, lost in memory.

“La naturaleza connects me back to creating, it always does.”

She points to her mosaic on the floor. “I can’t stop. It keeps me alive. Entonces, I keep it alive. I use what’s around me. Because nature is art. This is my passion, my focus. ¿Entiendes? When I go out, I notice the death that is a part of life. I notice the pine trees growing and shedding their seeds and their needles to the ground. Most people would walk right by and not see it, or think that it's trash, but I notice the beauty, and I see in my mind an image of what it could be.”

“Muere. In these dead places I breathe life into them again. I give them life. The pine needles are not trash. No es basura.

Es vida.” She pauses for a moment to take a sip of water, then continues.

“It hasn’t been easy for me. I raised four kids by myself with no husband.

Mi esposo hizo drogas.

Me golpeó. His family was not kind to me. Mi cuerpo ha sufrido, but I did it for them, por mis hijos. And

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when I helped my kids, God helped me to help them. Entiendes?

That’s the truth. And now that they’re grown, I’m concentrating on making art, because that is what I have. I don’t think about the stress in those moments. No estress. Eso es todo. It’s the one thing I have that’s for me. Para mi sola.

“This past year, during the pandemic, I couldn’t sleep. Maybe three or four hours a night. This was going on for years, too, but it was the worst in December. I was in so much pain. From the depression and some health problems, too. Mucho dolor. So, I would just sit in my bed with my eyes wide open. I had to keep going, I couldn’t live like that anymore. So, I signed up for this course and I learned how to meditate. It is so important to relax your mind. Ven conmigo.”

She brings me into her bedroom which is covered by her art like everything else in the apartment: a massive mural of a sprawling green meadow takes up the entire far wall, a hand-woven laundry basket, an abstract painting of baby Jesus, Mary and Joseph in blues and a bed she made herself, covered completely in white.

She sits down under the canopy on a fuzzy blanket and motions me to sit next to her.

“Do you feel it? My bed is my sacred space. Segrado,” she says, “There are no problems here, no thoughts.”

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A gentle light from the window traces the outline of her face. She is silent for a while. She moves herself to sit cross legged, rests her hands on her knees. I follow her lead, easing myself into Cerda’s self-defined peace. I close my eyes and together, we sit and we breathe. I N

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Words and Layout by Ryan Almazan Photos by Julia Blank

"A L O O K A T T H E S T A T E O F STUDENT MENTAL HEALTH AT UNR DURING THE COVID-19 PANDEMIC " INSIGHT | 22

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our walls. Separation from family and friends. Distance from the offices and rooms we habitually occupied. An online arena of icons and faceless names. What seemed impossible—a once-in-a-lifetime pandemic in the 21st century—became a reality in 2020 as COVID-19 disrupted the lives of millions of people around the globe, particularly the college students of the University of Nevada, Reno.

Shortly after Governor Sisolak’s first declaration of a state of emergency in March of 2020, Kamiron Pate, a current first-year speech pathology major at the University of Nevada, Reno, woke up physically and mentally disoriented. While COVID-19 tests weren’t distributed and easily accessible to the public at the time, Pate recalled having nearly every major symptom, especially a loss of taste and smell. The following months after Pate’s recovery were characterized by a distortion of those same senses.

“I don't know what it was—if it was the fact of me knowing that I was isolating or if I was actually just in that much pain—but I would wake up and be so upset, and my body would ache,” said Pate. “At some point—it was by the third or fourth day—I’d just lay down. I kind of just gave up, and I was just there. I was like, ‘Hey, what happens happens.’”

Following Pate’s symptoms, his family followed all guidelines to create a barrier between him and them, but he was still concerned about exposure, especially with COVID-19’s incubation period.

“I was afraid for my family because I'd been around them so much, and I know they're susceptible to certain things. They're higher risk than I am, so at first, I felt really bad. Like terrible,” said Pate. “I was like, ‘Anything could happen to them, and then it's going to be my fault.’ Like, I gave it to y'all.”

Pate isolated for about two weeks. Stuck in his childhood bedroom, Pate slowly recovered physically, but his mental well-being was degraded. He described it as “the most miserable experience” he has ever had—“or at least a close second.” The isolation forced Pate to reconsider what was important to him.

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“Every time I felt a little bit sicker, I’d always be like, ‘I could be the next statistic. I really don’t know,’” said Pate. “It made me so worrisome, but also made me so appreciative of my life and the stuff that I want to do.”

Pate elaborated on the impact on his psyche during isolation: “You know how like you’re watching the movies, or you hear from like documentaries or quotes from prison inmates… like you see someone maybe get locked up in a horror movie? And they're stuck in a room for days on end, and they just kind of go crazy? I didn't think it would actually be like that, but when you're unable to talk to people, when you're unable to touch people, or see people or see what they're doing, it drives you crazy.”

The consequences of this pandemic don’t pertain only to those who tested positive—they extend to nearly everyone at UNR. Maria Victoria Diaz, a third-year student at UNR majoring in psychology and criminal justice, is one of many who dealt with the massive shift to remote instruction during the Spring 2020 semester. Diaz was diagnosed with clinical depression and general anxiety long before the pandemic happened, but she found that her mental health worsened when the pandemic first hit.

50%

of students reported an increase of recreational drug use

“Since the pandemic started, I started to think of how I was dealing with my mental health, and I realized that I was really not dealing with it,” said Diaz.

Due to the rapid changes in her college experience, Diaz turned to alcohol in order to cope. This led to her falling behind in the fall 2020 semester.

Diaz was one of many students who increasingly found solace in recreational substances, like alcohol, during the COVID-19 pandemic. Insight Magazine conducted a survey to investigate the impact of the pandemic on the mental health of students, which found that 50% of students have personally increased their use of alcohol, nicotine, marijuana and other drugs. Of the same respondents, 77.4% said that they know at least one other person who has increased their use of recreational substances.

The impacts on the mental health of students during the pandemic stretch beyond drug use: The percentage of students who said they’ve had education-related challenges—ideas of (or actually) taking a gap semester/ year or dropping out as well as making major changes to their coursework and academic plan—is at 82.2%. The top motivators were an inability to see friends, family or significant others (88.4%); loss of regular access to public spaces (87.7%); the struggle to maintain grades in coursework (87%).

Diaz’s experiences with the latter was a major part of her pandemic experience, which led to a temporary loss of financial aid. Although initially discouraged, she began to make efforts to resolve her academic issues in the spring 2021 semester. She noted that financial aid regulations remained the same as they were before the pandemic, despite the many challenges students faced.

“At first, I felt really angry. I was like, ‘Why is the school doing this to me?’ It’s all in a pandemic. I was trying my best,” said Diaz. “Then I had this sort of epiphany moment: ‘The school has its laws, its rules. You're the one that fell behind because you were not focusing on the right things.

You were just kind of desperate and passionate about a feeling, so you let yourself slip.’”

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77.4%

of students know at least one other person who increased drug use

82.2%

of students thought about dropping out or making drastic changes to their education

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While many students struggled and continue to struggle with their mental health and school work, UNR student leaders and administration sought to ease the pains that come with these changes. Advocating on behalf of students, second-year student Parker Samuelson is the Director of Campus Wellness for the Associated Students of the University of Nevada. Her position works with the Office of Equal Opportunity & Title IX, the Fitness Center and the Counseling Center. During the 2020-2021 academic year, Director Samuelson prioritized a unified response to both the COVID-19 crisis and the mental health challenges that come with it.

Director Samuelson has had bi-weekly meetings with Dr. Jacqueline Pistorello and Carla Franich from the UNR’s Counseling Center, and she holds a place on major statewide task forces, formed by the NSHE Chancellor.

She also helped run regular outreach through official ASUN social media channels, especially through a weekly “Wellness Wednesday” campaign, which she led.

“I think it's just about letting students know we're there.

We're there to support them. We’re there to be their voice.

We serve the students, not the administration, in that way.

But we’re also working with the administration. We're all in this together,” said Samuelson.

On the other hand, Director Samuelson, speaking on behalf of herself, noted that there was a felt disconnect between students and the administrations that they turned to. Although NSHE and the offices of both the UNR and UNLV administrations continue to send emails of support and guidance to students, she also felt that inconsistent messaging has muddled their responses.

In other words, she felt that more could be said by administrators about student concerns.

“I think there’s a lot of anxiety and isolation felt from not being included and not being seen as equals. Having any messaging from higher ups would be better than having no messaging,” said Samuelson. “I think students understand that there’s not a definitive answer to COVID. But they’d appreciate being updated as if we were equals.”

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The inconsistent outreach has been a major issue, exacerbated by the universal move to an online mode of living. Classrooms have been replaced by Zoom rooms, leading to “Zoom fatigue” and a student body discouraged from engaging with online content.

Consequently, many students, missed important (although scarce) information about the resources offered by the university.

Since the beginning of the 2020-2021 academic year (excluding emails from college-specific mailing lists and Residential Life, Housing, and Food Services), Counseling Services and other resources of support were mentioned in 12 emails sent to students across 33 weeks of classes as of writing. However, only four out of those emails made a specific reference to campus resources in the subject line. These emails were sent at the start and end of the fall 2020 semester, as well as the start of the spring 2021 semester. In the other emails, the resources were mentioned within or at the end of the body of the email.

“If anything, they sent one email about resources, and that's it,” said Diaz regarding the low level of communication. “I know for a fact that when I'm going through an episode, it’s kind of like ‘I don’t care…’ I feel like the university should be proactive about it and remind students. Say, ‘Hey, there's these resources. Hey, there's this for you, or a virtual meeting…’ I did not see any kind of action from the university at all.”

A similar sentiment is shared with Pate, who is one of many who stand to benefit the most from the services offered to students. Instead, these services have a low profile and appear at first glance to be inaccessible. According to Insight Magazine’s survey, 49.3% of students have not used resources offered by the university, including those specific to COVID-19-related circumstances.

“For me and a few of my friends, being on your phone all the time is terrible now. There's always something going on, and it's always negative. Checking emails, checking classes and seeing your grade go down is not something you want to do,” said Pate. “Those outlets where they usually reach you… we aren’t going to check as frequently. I definitely feel if it's major, and you know it's major, [administration should] bombard us.” I

THE STORY CONTINUES ONLINE. You have just read a snippet of the full article. The full article further explores the effects of the pandemic on Kamiron Pate and Victoria Diaz, and investigates the response of the University and its effects.

Visit our website at

insightunr.com/ CovidMentalHealth

to read the full article and the full results of our survey.

A brief overview:

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A more in-depth review of the results of the Insight Magazine survey

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Conversations with Dave Shintani, Vice Provost of Undergraduate Education & Dr. Jacqueline Pistorello, Director of Counseling Services about the work of the University during the pandemic

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The lasting impact of the COVID-19 pandemic on the lives of Kamiron Pate and Victoria Diaz

MIND?

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Power of the Mind:

JUST LIKE MAGIC Words by Idalia Concha

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Illustration by Sofia Lombardo

Photos and Layout by Kellen Parker

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anifestation is a type of spiritual practice. It is a mystic practice that cannot be altered or controlled.

It is the art of being relaxed and accepting whatever comes to you. Spiritual manifestation is the idea that through meditation and positive thoughts, one can make their dreams and desires become a reality. Spiritual manifestation is the idea that through meditation and positive thoughts, one can make their dreams and desires become a reality. It allows one to realize their passions, goals, dreams, and desires by meditating on them and giving them energy. Manifesting is the embodiment of magical thinking.

When it comes to manifestation, it is important that you have a positive mindset--clear--with good intentions. Doing this means you’re truthfully speaking from the heart and into the universe.

The universe will respond nicely if you ask kindly and respectfully. There is no specific religion in where it originates from, but the law of attraction was found in ancient practices and Eastern teachings. However, manifestation is deeply rooted in Buddhism and Hinduism. Manifestation mostly gained an immense amount of popularity through the social media platform tiktok. There is a whole side of tiktok devoted to spirituality and manifestation.

Certain celebrities such as Ariana Grande and Shawn Mendes have also come out and shared their experiences which also made the practice gain a big amount of popularity.

Spiritual alignment is how our spiritual energy lines up with the energy of what we desire. Our minds are so powerful and we have the ability to create the life of our dreams, but we first have to be able to match the frequency of what it is we want to quickly and efficiently manifest it. For instance, one cannot expect to manifest a fulfilling and loving romantic relationship if one does not embody that own love themselves. It is highly impossible to attract what one does not embody. This is why it is so important to manifest with a clear and positive mind because the energy that one puts out into the universe is the energy that the universe sends to us back.

Meditation plays a crucial part in manifestation. Knowing and executing the practice of meditation allows you to attract more.

Meditation is a relaxation and breathing technique that trains the mind to become more attentive and aware in order to achieve a clear mental state. There are many different guided meditations on YouTube that can help one through meditation especially if it is the first time that you are doing it. Meditations can also be as long as an hour or as short as five minutes; it is recommended though to start off with shorter meditations and work your way up to longer ones. Meditating helps the manifesting process by permitting our minds to attract and align with our dream goals. It helps identify our abundance blocks, become more aligned with the universe, train intuition, take action, and overall become more relaxed and positive.

Crystals aren’t necessarily needed to manifest, but it is highly recommended. Crystals provide immense aid in manifesting because different crystals provide different properties and energies. Objects, such as crystals, contain space and space contains energy. Therefore, crystals are a geometric formation formed out of a specific type of energy. It is a geometric relationship with its energy properties that it contains. When you are manifesting it is important to have some sort of structure to better help your manifestations. Crystals hold, absorb and radiate energy. Each crystal has its own power that can be harnessed and used to manifest our greatest desires. There are no “right” crystals to use when you’re going through the process, but using clear quartz is most recommended. Clear quartz is a great way to start off until you are able to find crystals that match your goals because it’s a crystal that is intended for healing and spiritual growth. Clear quartz is a pure, transparent and amplifying stone, which means that all of the energy put into it will be receptive.

Ultimately, manifestation is the practice of getting in tune with your energy and realizing that we have the power to create our realities. Manifesting is basically utilizing the law of attraction in your favor. I

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A Day in R Reno

eno, Nevada, also known as ‘The Biggest Little City in the World,’ has been a travel destination for many people, a college hometown for others and a childhood home for many more. No matter the occasion of how you got to Reno or why you are here, there is so much to do in this vibrant and neoncovered city.

travel guide Words by Lauren Turner Photos by Zoe Malen Layout by Ryan Almazan

Reno received its nickname due to the abundance of districts the city holds, such as Downtown or Midtown. While Downtown Reno holds most of the city’s casinos and hotels, Midtown holds most of the city’s restaurants and shops. However, they have one thing in common: They both value the importance of local business.

Whether you are trying to find your morning coffee, figuring out a place to eat dinner or even trying to find a new sweater to keep you warm during the winter, Reno is known for their local businesses. At times, the amount of choices you’ll have of shops or restaurants can even be a bit overwhelming, and you seriously can’t go wrong with any of the options you decide to go with. However, there are some places you have to try, which is why I have compiled a list of places to check out when visiting and exploring the city.

cafes

Höma’ge is a perfect place to stop by if you are feeling like

having a quick breakfast. They have an incredible bakery, offering croissants, rolls and turnovers. Their coffee is very refreshing to start the morning out right. Not only that, but if you are trying to find a place to study and work, Höma’ge has so much seating, and their comfy atmosphere helps you feel ready to hit the books.

Reno Coffee Company is an absolute must if you are a coffee lover. They specialize in pour over coffee, which is one of the most basic techniques in making coffee with an outcome that is one of the most rewarding. Coffee lovers are fanatics of this method of brewing due to the fulfilling flavor the beans provide.

Whether you are a light roast drinker or prefer dark roast, Reno Coffee Company has you covered: They have an abundance of different coffee bean flavors that you can choose from. Come dusk, their shop becomes a Bar Room. Anyone who is 21 or over can enjoy a nice alcoholic beverage to end their day in the same shop they had their morning cup of joe.

shops

Bad Apple Vintage is another shop that will have you

traveling back in time. This unique shop will trap you in the ‘80s and ‘90s and have you listening to Whitney Houston or Nirvana on your way home. Their accessories are the best! They have the cutest sunglasses, scrunchies and jewelry.

Nomad is one of many boutiques that are scattered throughout

the city. Their cute and modern looks will have everyone, who walks into their store, wanting to recreate their entire wardrobe.

From comfy sweaters to beautiful floor length dresses, Nomad is the place to go if you need a new piece to brighten up your closet.

Reno has an old soul and is known for its artists, so it is no surprise that Reno has its very own record store.

Recycled Records will have you traveling back in time as you walk through their aisles. Surrounded by records, DVDs, CDs and more, you’ll be walking down memory lane. It is hard not to lose time in their shop as you collect a massive pile of old time classics.

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restaurants

Archie's is a city favorite as it is very close to the University of

Nevada, Reno’s campus. You can find many students heading over to Archie’s before or after classes for sporting events or to catch up with friends. The restaurant is a hot spot for meeting up with others in the area. Their two-floor restaurant makes it easy for anyone to enjoy their delicious food. Their bottom floor, filled with red booths, tends to be for those who want to have a nice family meal while their top floor has more of a sports bar style. You can catch the latest basketball or football games on their multiple flat screens while enjoying some of their famous burgers. Archie’s is open from early morning to late night, so you can always find a time to eat there.

Rick's is hands down the best pizza in town. Especially if

you are a “ranch with your pizza” type of person. Rick’s has a homemade ranch that goes perfect with their pizza choices. Their lively environment and sports bar atmosphere always makes the restaurant always a fun place to be. Just like Archie’s, Rick’s is also right next to campus, making it really accessible to students and the Wolf Pack community.

If you are craving pancakes, breakfast burritos or even brunch, Two Chicks is your place. Their food is fresh and flavorful.

From skillets to omelettes to the classic American breakfast, Two Chicks knows how to add originality and creativity to their meals.

Their Harvest Omelette with butternut squash is a favorite along with their Breakfast Tacos that are drizzled in avocado-lime cream sauce. Their flavorful menu constantly has people waiting outside their doors to score a seat.

nature

The most beautiful part about Reno is the location and its scenery.

We are surrounded by beautiful mountains and are only a short drive from Lake Tahoe. However, in the city, one can also admire its beauty. Rancho San Rafael Regional Park is massive and perfect for a day out. With the dog park and Arboretum, there is so much to do. This is even home to the Great Reno Balloon Race, which is the world’s largest free hot-air balloon festival!

The Truckee River runs through the heart of Reno and is perfect to stop by on a day out and about. During the summer, you’ll catch people swimming or rafting. During the winter, you’ll catch people taking daily strolls or enjoying a picnic. No matter the time or season, the river is a hot spot for the city.

Of course, if in the area, you must stop by the University of Nevada, Reno, home to our Wolf Pack. The university is another beautiful feature in the city. With places such as Manzanita Lake and The Quad, the campus will leave you in awe.

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Overall, Reno is a special, unique and creatively driven city with so much to do.

There are so many local businesses to support and fun places to try out. Even by walking around the city, you’ll find yourself being captivated by all Reno has to offer. I

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Jaime Gonzalez

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HAVING FUN, NETWORKING, & MAKING FILMS. S

tudents at the University of Nevada, Reno are many things: intelligent, dynamic, productive, imaginative, etc.

Yet, they often feel that there aren’t enough opportunities within the university to express and expand such qualities. The UNR Film Club is changing that.

With a previous film club having ended a few years before, this new-and-improved club was established in the summer of 2020. The revamp is largely due to the work of Nicholas Gapp, a multimedia production specialist at the university. Gapp sent a mass email to videography classes to find anyone who might be interested in joining and starting this club. For Jaime Gonzalez, now the president of the UNR Film Club, a spark of inspiration was lit.

“We saw this as an opportunity to finally bring attention to the arts at UNR,” said Gonzalez.

Currently, the only official outlet for those who are interested in film at the university is the Cinema and Media Studies minor—for Gonzalez and his friends, this wasn’t enough.

“I, along with the office, made [the club] to bring awareness to the needs of filmmakers at UNR and have a safe space where they can all create, collaborate and have an opportunity to make something new, be it projects, skills, friendships or experience,” said Gonzalez.

Students who are interested can expect a welcoming environment that is open to all ideas as well as fun activities that allow for connection and the ability to hone their creative skills.

A couple of the club's weekly activities are virtual watch parties or trips to local movie theatres.

“This allows students to meet new people, get off campus for a while or have something to talk about and some company for watching a new movie,” said Gonzalez.

Monthly workshops are set up to allow students to learn new techniques and filmmaking skills from faculty. Monthly prompts also provide creative opportunities for anyone interested: Each month, the club posts a filmmaking prompt on their social media channels to invite students, both members and non-members alike, to work on individual video projects following the prompt.

There are no restrictions or time limitations for submissions, and contestants vie for a $50 visa gift card. Guest speakers are

brought in every other week to present different opportunities in the film world.

Every semester, the club plans on creating two events. This semester, they are premiering “College Nights Streamed,” which is a college comedy skit show. Gonzalez said, “It's our own cheesy, rip-off version of SNL.” The next event that is in the works will be a 48 Hour Film Festival on April 23. Participants will have only 48 hours to create a film, utilizing a specific prop, line and shot that will be announced by the club. A panel of faculty will judge the videos, and an award show will take place that Sunday.

“We have this cool opportunity where we have a safe space for anyone interested in making any kind of film, and we help collaborate and give opportunities with our club discord, our events, guest speaker knowledge, internships or work opportunities,” said Gonzalez.

A favorite aspect of the club for members is the hands-on, moviemaking process. Gonzalez said, “It’s the best part honestly, being on set and making movie magic.”

The Halloween horror short film, a favorite project of many club members, which was created after passing a film shooting COVID-19 safety class, enabled participants to get involved in every part of the production, such as the camera work and video editing.

“It was our first major project in the club, and it was amazing to see so many people branch out and be involved in many aspects of the process,” said Sophie Geyrosaga, vice president of the club.

The UNR Film Club meets every Friday, either virtually or inperson. Their emailing list sends out reminders every week with upcoming opportunities, so students don’t have to worry about missing anything. Events and projects are set up to where anyone can participate at any time.

“We wanted it to be this way so students can focus on classes and whenever they have free time they can join an event, come to a specific meeting for a certain guest speaker or even work on the prompt if they want to when they have time in the month,” said Gonzalez.

With all that the UNR Film Club includes, connection and cooperation between fellow cinephiles are at its heart. I

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Pitch Black Printing Words by Emma Torvinen Photos by Marcus Aldrin Layout by Kellen Parker & Ryan Almazan

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printing company does not immediately come across to many as interesting or unique, but Pitch Black Printing Co. is much more intriguing and inspiring than expected.

Pitch Black Printing Co. started in the fall of 2015, and “the idea came in a roundabout DIY sort of way.” One of the co-ownErs, Maurice Harold, is in a band, and he decided to begin screen printing shirts to sell at the basement shows they were playing. He realized that they would make very little money by outsourcing the printing, so they did it themselves. From there the business, owned

by Harold and Megan O’Reilly, began to grow organically. Other friends and artists began asking if he could print their work as well. Then those friends asked for more commercial products--like business cards, banners and stickers.

Pitch Black Printing Co. outgrew the spare bedroom that they were operating out of and moved to a small commercial space. Soon after they moved, an artist approached them about showing his art in their shop. They hadn’t thought about hosting art shows, but it seemed like a natural fit, so they booked a show. After that, having a gallery and hosting shows became crucial to their growing business.

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Creating art and working with artists has always been the main focus at Pitch Black Printing Co. “We wanted to give them a place that specialized in printing artwork,” O’Reilly explained, “and [we] could offer personal knowledge and support in helping them get more of their artwork out into the world.” Their artistic approach attracts many commercial clients because of their distinguished perspective, coming from an art focused background.

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Pitch Black Printing Co. moved to another new location in the summer of 2019. When I visited, I was surprisingly greeted by a strong scent of coffee from the coffee bar that they are currently building in their gallery. Each new aspect I learned about Pitch Black Printing Co. was more exciting than the last.

The coffee bar is “an opportunity to open the space up further to get more eyeballs on the artwork,” Harold and O’Reilly explained, “as well as offering a friendly and inviting space for the community to grab some delicious coffee and tea beverages, plug in, hop on the wifi, and get some work done.”

Their location is very important because it is in Reno’s Brewing District, which has been growing a lot over the past several years.

Pitch Black hopes that because The Brewing District is becoming a more comfortable place to hang out, there will be more potential for the artwork that they display in their gallery.

“We have such a bountiful art community here,” Harold and O’Reilly said about Reno, “and the more spaces we have to host our artists the more their artwork can be seen.”

They are passionate about supporting Reno’s arts community because they know how art affects people’s lives. “As individuals here at Pitch Black Printing Co., various forms of art acted as saviors throughout each of our lives, either through helping us sort out life’s ups and downs, giving us ways to connect with the community around us, generally allowing an outlet for anything,” Harold and O’Reilly said.

Their unique business model works to be very beneficial for artists and consumers of art. Showcasing local artist’s work, selling products and featuring local artists' work can be an avenue for artists to gain financial independence. By creating an interesting and comfortable experience for people to view art as well as employing and helping artists to showcase their work, Pitch Black Printing Co. is fostering their love of art in one of the best ways possible.

O’Reilly summed up Pitch Black Printing Co.’s perspective on art, saying “Art is a really compelling way to view the world through somebody else’s eyes, and there is so much power in that. From the artist finding, developing, and using their voice to the audience experiencing someone else’s perspective in a way that augments their own personal progress, empathy, and really just pure enjoyment.” I

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H O L L A N D P R O J E C T Words by Annie Lujan Photos by Julia Blank Layout by Ryan Almazan

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ocated on Vesta street, in the crook of Midtown, is The Holland Project. The Holland Project is a nonprofit organization in Reno, Nev. The organization hosts live music, workshops, exhibits and many other events open to all ages.

The space is small yet mighty, and prides itself on the focus of art, music and culture. The Holland Project’s calendar is different from previous years due to COVID-19, but with a little help from the local radio station, KWNK, The Holland Project still manages to find ways to bring culture back to the people.

While The Holland Project is known for a variety of programs, including gallery exhibitions, craft workshops, film competitions and humanity based programs, they gain large audiences from hosting live music with local performers. Thus, The Holland Project typically attracts an older audience consisting of teens and young adults.

Popular artists such as HUNNY, Bane's World and Reno favorite Surf Curse are a few of many artists to perform. During shows, the space becomes alive, enchanted with sounds vibrating off the building’s low ceiling beams and concrete walls--a home to mosh pits under sparkling disco ball reflections.

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Alana Berglund, Assistant Director at The Holland Project, supports the other program directors and volunteer committees with events, which are her main duties. She emphasizes how things have changed at The Holland Project: “Nearly 50% of our events (of the nearly 300 per year) were in-person gatherings and/or live music! So we definitely had to get creative and pivot,” said Berglund.

Late night performances have been put on the back burner until social distancing restrictions are fully lifted. Now, live events are much more small-scale at The Holland Project. Accordingly, they have shifted their focus to online platforms and provide live streams performances from local bands, partnering with KWNK. KWNK collaborates with Holland on many of their current projects. Noteworthy programs include “Surf’s Up!,” a show which interviews artists and keeps listeners up to date on Reno’s political recall and other happenings, centered on activism. Groove-filled “Isolation Disco,” has also risen in popularity due to the hotline, dedicated for requests from local teens.

“Community radio was so needed in Reno, and it has proved to be such an inspiring tool for communication through the pandemic. We love KWNK!” said Berglund.

The Holland Project remains a prominent outlet for community members to creatively expand life since 2007. Now, they are in the position to support fellow grassroot organizations in the area; The Holland Project is inspiring young artists and reaching a new demographic. As a way to keep kids engaged, The Holland Project created athome art activity kits for children in schools and community groups in Washoe County.

“Young people have always been at the core of Holland. We include young people in the planning and execution of our programs because there are few real creative and professional opportunities in arts and culture specifically made for them,” said Berglund.

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Undoubltely, COVID-19 has presented challenges for The Holland Project, but they continue to find ways to provide cultural events and services for the community.

“Holland was never amatuer, but it was also never trying to be overly academic. When it started, there was nowhere else offering this kind of cultural experience in Reno,” said Berglund.

Berglund admits that the behind the scenes work can be both difficult and overwhelming at times.

Regardless, The Holland Project provides room for limitless, creative potential. For Berglund, the reward is seeing how they are impacting the local community. Events in a digital world allow for more accessibility and reach a broader audience.

“Seeing music and art in-person will always be king, and I don’t believe you can truly replace those experiences and moments being online. But the opportunity to gather with awesome people near and far and have important conversations virtually has been super rewarding and successful,” said Berglund.

As COVID-19 sanctions are lifted, The Holland Project is excited to see what the future holds.

“I learned a lot from the artists and my peers that came up in Holland before me, and now I hope I am serving in a capacity for others coming up after me. That’s the magic of spaces like this,” said Berglund.

The Holland Project continues to host small and socially distanced in-person events. Masks are required. Interested in all the fun activities planned at The Holland Project? Check them out and find something uniquely cultivated for you!

They are active on Instagram @hollandreno, regularly updating their program schedule, as well as @hpgalleries for all information pertaining to the gallery installations. I

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HEAD STONE?

WHO IS INSIGHT

Words by Olivia Sullivan

Photos by John L'Etoile

Layout by Ryan Almazan

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att L’Etoile and Jake Lorgè were just two kids in 6th grade band class who became friends, or at least that's how they describe it. In high school, the two formed a band called Tresed, which was a grungy rock based group that ended up staying together for three years.

“We were very angsty,” said L’Etoile. “We were listening to Nirvana all the time–listening to metal. And our drummer at the time was a total metal head, so he would kinda turn us on to that stuff.”

The group did undeniably well, booking shows at local venues in Reno and working with a producer on their debut EP, but they didn't last forever.

“Our bassist in the band, he moved to Georgia. And then it was just us three, me, Matt, and our drummer, and then as time went on—our drummer wanted to do different things musically, like he wanted to go into heavier metal. We just had different artistic visions toward the end,” Lorgè said.

L’Etoile added, “One thing our producer told us is that at some point we would go to college, so I guess we kind of knew Tresed wouldn't be forever.”

After the end of Tresed, Lorgè and L’Etoile still had the itch for making music and a close enough bond to make it work. So, what came next seemed like a no brainer: they started their own band.

“We started writing songs that would not be Tresed songs,” L’Etoile said, referring to their once heavy grunge sound. “I don't know if we ever decided at one point that we wanted to start making music, but we’d just always be jamming and–” he trailed off. Lorgè finished his answer, saying, “We didn't want to stop making music, basically.

Even if Tresed ended, Matt and I wanted to keep doing music, no matter what.”

And so, Head Stone was born.

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Head Stone, an interesting name without a doubt, came out of nowhere, but don't bother asking what it means–these two will never tell. Though hinting that it is correlated with a gravestone or a Roman bust, L’Etoile and Lorgè want to leave its meaning up to interpretation.

“Edgy yet refined,” jokes Lorgè, followed by L’Etoile’s laughter as he explained, “It can be anything you want it to be.” The two both laughed as Lorgè said, “We love being cryptic.”

Unfortunately, the two could not enjoy the full perks of being in a band. With COVID-19 running rampant, the two have been unable to perform any live shows. Though they admit that a plus side of the pandemic has been getting time to focus on school and becoming comfortable with their music set up, which consists of a laptop and music recording software they paid for themselves.

“Our first semester of college we kinda chilled out for awhile, tried to figure all that out—” Lorgè said while L’Etoile candidly finished the thought with, “Get our shit together.”

Both go on to explain that, even without the pandemic, they knew they wanted to take time to acquaint themselves with the new technology they'd be using. Unlike with Tresed, L’Etoile and Lorgè plan to record their entire EP by themselves. By downloading cheap music recording software, L’Etoile and Lorgè said that they just screwed around until they finally got the hang of it.

“It's really different than working in a professional studio,” L’Etoile said, recalling his time working with a producer on music for Tresed.

“I really like this about it, we have all the time in the world to really just work on a song. Which, when you're in the studio it's time to go—when you're working with someone else, because you're paying for it.”

“We can just come in, go at our own pace, stretch our wings, take a break if we need to, and just be comfortable with each other. If we fuck up or something it’s not that big of a deal, we can just move on and learn from it,” added Lorgè.

With just the two of them, writing seems to be like second nature.

Most of their songs are constructed through long ‘jam sessions,’ where they spend copious amounts of time working off of each other's ideas.

“When we’re recording, a lot of stuff just comes up randomly, like I'll hear something in my head– and sometimes, it's really creepy, he hears the same thing in his head,” L’Etoile said, when asked about their writing process.

Lorgè writes most of the songs, revising them with L’Etoile to figure out what works and what doesn't. Through lots of trial and error, the two believe that experimenting is the way they come by most of their music. By playing around with synth, bass, electric guitar, and so on, they eventually just get it.

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HEAD STONE

Influenced by the likes of Radiohead, Teenage Wrist, Elliot Smith, and Nick Drake—the two agree that their collective music taste helps them experiment with what they want to sound like.

“Each song that I write and each song that L’Etoile and I experiment with I want to be, not different, but I don't want it to be strictly one thing,” explained Lorgè.

They agree that perhaps once they are able to perform live again they might begin to focus on the style or aesthetic of their music, but for now they are happy with letting the music flow as it will.

Both Lorgè and L’Etoile confirm an official Head Stone EP coming out on April 16, which will include four new songs to listen to. They also confirm that this won't be the last we see of them.

“We’ll be building up our repertoire, hopefully playing some shows in the future,” said Lorgè. “I feel like we are at the very beginning right now, even though it's been a year, because it took that year to make that transition from a loud heavy rock band, four piece, with all your highschool buddies, and then completely doing a 180 and switching over to this, so I feel like now after a year we are starting to pick up steam and I’m finally comfortable with where I'm at.”

“We were Padawans and now we’re Jedi Knights,” L’Etoile concluded with a huge grin. I

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" FRAMING BRITNEY " CHANGED THE NARRATIVE SURROUNDING THE POP ICON Words by Molly Carnell Illustrations by Reilly Moss Layout by Kellen Parker

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“D

o you have a boyfriend?” asked Ed McMahon.

“No, sir,” answered the contestant he was interviewing on the talent competition television show, “Star Search.”

“Why not?” he followed up.

“Because boys are mean,” she answered.

This simple question is all too familiar for most women; however, it wasn’t a woman McMahon was asking. Britney Spears was only 10 years old at the time she competed on the show, and this exchange would only mark the beginning of a life-long inquest into her personal life. Over the next 30 years, the same kind of probing would morph from the boyfriend topic to her image, body, sex life and most recently, her mental health.

The documentary, “Framing Britney,” which is the sixth episode in the Hulu series, “The New York Times Presents,” gives people a look into Spears’ meteoric rise to fame and the lead-up to her infamous conservatorship. It also allows the audience to see these events of the 2000s through a 2021 perspective.

Today, concerns over mental health and well-being have significantly progressed. But that wasn’t the case when Spears was rising to fame— and neither were concerns about sexism and misogynistic media.

The documentary not only brings this to light, but also highlights and legitimizes the cause of the Free Britney Movement, comprised of fans supporting Britney in amending the terms of her conservatorship.

The documentary starts by showcasing Spears’ beginnings as a girl from a small-town in Louisiana, bursting with talent. Spears’ former business assistant and family friend, Felicia Culotta, said that she wanted the documentary to “Remind people of why they fell in love with Britney in the first place.”

It didn’t take long to see the antiquated, demeaning questions about Spears’ body and personal life come to light. These questions now seem glaringly inappropriate to watch in the times of the #MeToo and Times Up movements, and they are something that the empowered women of today would never stand for. This issue highlights the fact that women in the early 2000s were not protected from societal misogyny or mental health stigmatization.

"THE CONSERVATORSHIP GAVE COMPLETE CONTROL OF NOT ONLY HER FINANCES, BUT ALL OF HER CAREER DECISIONS, TO HER FATHER, JAIME SPEARS, IN 2008."

The episode also highlights the result of Spears’ mental health struggles: her conservatorship. The conservatorship gave complete control of not only her finances, but all of her career decisions, to her father, Jamie Spears, in 2008. At the time, mental health was not talked about as much in the media nor accepted in society in the way that it is today. And the conservatorship made it seem as though Britney, because she was grappling with her mental health, was not able to support herself or even uphold the career she had been building since the age of 10. It was also used by the media to define Spears’ struggles as a child-star meltdown—not a legitimate health concern.

The documentary begs the question that the Free Britney Movement has been asking: Is the Britney of today, who has completed stadium tours and a recent Las Vegas residency, still in need of the conservatorship at all? Court documents shown in the documentary disclose the fact that she is opposed to having her father as her conservator. That means that today, 13 years after her mental health breakdown, someone, who Britney opposes, is fully in charge of both her money and career.

The revelations exposed in “Framing Britney” reveal that the aims of the Free Britney movement are not all that arbitrary and have even shifted the narrative of this movement from a trivial hashtag to a legitimate activist campaign. However, there is still optimism to be found in Britney’s future.

“I know at some point she will tell her story,” said Culotta near the end of the documentary. “I know she will and I am so grateful for when that day comes.” I

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T H E "C H I N E S E V I R U S" The Surge of Anti-Asian Hate Crimes Words by Kaylanie Kan Photos by Christine Schwartz Layout by Ryan Almazan

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“C

hina virus.” “Wuhan virus.” “Kung Flu.” These are just a few of the insults being spewed at Asian Americans purely due to the fact of where the coronavirus emerged from. By spreading these slurs, it leads to misinterpretations of the virus and creates a stigmatized hate surrounding not only those that are from China, but other countries of Asia as well. With the outbreak of a virus, xenophobia and racism are becoming even more prominent in our nation as Asian Americans are being discriminated against, resulting in hateful physical and verbal attacks.

Anti-Asian hate crimes are increasing as the pandemic continues to unfold, especially with the ongoing dangerous rhetoric inciting violence. The horrible attack of a 91-year old man in Chinatown, a Thai man being killed in San Francisco, and the brutal disfiguration of an innocent Filipino man’s face from a box cutter, are just the tipping points of the brutality towards Asian Americans. These attacks are targeting vulnerable victims that are facing obstacles such as language and cultural barriers as well as a lack of resources, which makes it more difficult to file proper police reports.

Aside from physical violence, seemingly “harmless” jokes are adding more fuel to the fire and are increasing the hate surrounding Asian Americans. Comments such as “go back to China” or “Chink” are the one of many xenophobic statements that have added to the racist depictions of Asian Americans during this pandemic. These jokes have developed into the term “Chinese virus,” creating the false narrative that Chinese people are dirty or infected. It has given more reasons for people to view Asian Americans through a hostile and racist perspective.

Being an Asian American myself during this time, I am reminded that I can’t always be fearless and that my guard has to be up. There may be people who may formulate preconceived notions about me only because of my race, which could put me in danger. It’s an ongoing fear that shouldn’t exist during this time and is happening for all of the wrong reasons.

This is definitely not the first time where a racial minority group has been pushed into the shadows and tormented in mere daylight where everyone stands by as a witness. The hate crimes against Asian Americans right now serve to prove that once again discrimination in America still very much exists, and that every minority group deserves to be treated with equality and respect.

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Aleea Howe

Doing nothing is simply not an option, and in the world of social media, forming a supportive community, informing others, and voicing opinions is right at our fingertips.

Contributing to the racial insults as a joke is reckless and is causing more harm than many people think. Remember: Being Asian is not a virus. I

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Misogyny In the Rap Industry

Words by Olivia Sullivan

Illustrations by Reilly Moss

Layout by Kaeli Britt

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isogyny has a much longer history with the human race than rap does, arguably dating back to the beginning of time, or whenever men learned how to belittle women. The genre of rap has most historically been around since the ‘70s, but has since become a large staple of the music industry. From The Sugarhill Gang’s “Rapper’s Delight,” to Travis Scott’s “Sicko Mode,” it is no secret that rap has come a long way from where it started. It is difficult to say when certain slurs, directed at women, became popular, but we have seen it quickly become the norm.

Most of us have grown up listening to women be referred to as “bitch,” “ho,” “slut,” and “whore” in songs. It is the rap I grew up hearing and the type of speech that became expected or normal to me. Though it might have made me uncomfortable at one point, I eventually learned to accept and expect it, as most women do.

We happily sing along to these songs without a second thought, having learned to normalize the misogyny rather than question it.

In the case of rap and hip hop music, misogyny can be seen most in the act of normalizing the objectification of women.

It is no secret that men have been seen as the dominant and more successful gender in the rap industry. However, women have shown their ferocity and determination to remind avid rap listeners that they are just as much to thank for the rap genre’s success, especially in the last 10 years. Women such as Queen Latifah, Missy Elliot, and Lauryn Hill, are most famously known for taking the rap game by storm in the 90’s.

It was their work that opened the door for women like Nicki Minaj, Megan Thee Stallion, Rico Nasty, Doja Cat, Saweetie, Mulatto, and many more. As someone who has grown up listening to men rap about their experiences and opinions, I have found it quite refreshing to finally hear women become popular for doing the same thing. However, it is clear that some people do not agree with this sentiment.

Recently, while in discussion with a man, we came upon the topic of female rappers. He was quick to belittle the work of artists like Nicki Minaj and Megan Thee Stallion, saying that their clothing choices and vulgarity made them “unrespectable.” To bolster his opinion he compared the two artists to an artist he is a fan of, a female rapper named Raja Kumari. “She doesnt show off her body or make vulgar songs, why can’t they be like her? I respect her way more than I respect them,” he said with confidence.

I would like to point out that there are two very big problems with this way of thinking. First off, respect should not depend on how a woman dresses or speaks, and thinking that it does is a huge sign of misogynistic beliefs and tendencies. Second, comparing two groups of women by disregarding the validity of one group’s lifestyle is also a sign of misogyny. In my experience, it is men like this that have a picture of the ‘ideal woman’ in their head.

And though this version of the ‘ideal woman’ may vary from man to man, the fact probably remains that it is far too impossible and degrading to achieve. My final point to this man and to every man everywhere is that a woman shouldn’t have to fit into a mold, that you created, to be respected by you. All women deserve respect– not just the ones you deem worthy.

A song like “WAP” by Megan Thee Stallion and Cardi B is a perfect example of what some might deem “too vulgar to be respectable.” The song uses the same vulgar vernacular that most men use when rapping, but it was received much differently.

Some claimed that the song “set the feminist movement back,” “promoted rape culture,” and was “too vulgar.” They also had complaints outside of the music; specifically about the way the two female rappers dress. To this I say, where was all this concern for vulgarity when Kanye said, “I’m a sick fuck, I like a quick fuck, I like my dick sucked?” The blatant disregard of vulgarity when men talk about sex versus when women do it is what proves that people’s concern over songs like “WAP” has very little to do with the song itself and more to do with the gender of the rapper.

Throughout history, women have never been allowed the freedom of expressing their sexuality and self the way that they are able to now. Telling young women that the women who make these songs about themselves and their sexuality are bad can have extremely harmful long term effects. When a woman is made to feel uncomfortable with themself and their sexuality, they are left to deal with that shame for life. Wanting young women to have good role models, and bashing women for speaking about their sexuality do not have to be interchangeable.

Let’s stop teaching young women that embracing themselves and their (completely normal) curiosity of their sexuality is a bad thing. It’s a new world, and a new time--one in which we are all growing to adapt to. Misogyny is a deep rooted issue that will not go away overnight, but it is something that we can become educated against. I

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WOMEN IN

ROCK

Misogyny In the Rock Industry

Words by Kaitlin Venneman

Illustrations by Reilly Moss

Layout by Kaeli Britt

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he history of rock music is one ripe with complexities. Of course, there’s the extensive white-washing of its origins, the misconstrued ideals of it’s initial freedom, and the expansive collection of subgenres that have followed since its birth. But perhaps one of the most deep-rooted obstacles that still plays out today is rock’s constant erasure of women in the industry.

A quick look at any of Spotify or Apple Music’s rock playlists will show nearly every song, from classics to contemporary music is performed by men. It isn’t because there are no women out in the world making rock music. On the contrary, more women, now more than ever, are getting involved with the genre. For the first time in history, the nominees for best rock performance at the 2021 GRAMMYs Award Show are entirely composed of women, including Fiona Apple, Phoebe Bridgers, Brittany Howard, HAIM, Grace Potter, and Big Thief. So why do music platforms still ignore their roles in rock history and sustained presence? And why are we letting this happen?

In fact, women have been a vital part of the framework for rock music since its origins, with Trixie Smith even coining the term, “rock and roll,” in her song “My Man Rocks Me (With One Steady Roll)” in 1922. Sister Rosetta Tharpe is also prominent in rock’s creation, with many following rock musicians like Little Richard, Chuck Berry, and Elvis Presley, who have credited her rhythmic gospel music as a major inspiration.

Still, women in the rock industry were considerably rare in the rock and roll’s height during the 1950s and 1960s. As rock has progressed, more and more powerful women have broken the boundaries of the genre. Women in rock are not just musicians, but artists and innovators, constantly bending the rules to their will. And yet, they are not given nearly the same amount of credit as their male counterparts, nor are they ever recognized and placed in the forefront of the genre.

Women first started impacting rock with the rise of punk. Considering that punk was created as a method of protest against all norms, from politics to race to gender constraints. Women becoming a vital part of it makes perfect sense, as they were able to perform free of preset expectations that came with gender.

They finally had a scene that allowed room for their voices--albeit a bit hesitant. Patti Smith especially impacted punk rock, with her poetic lyrics landing her the title as the “Godmother of Punk.” Her debut album, “Horses” setting the scene for women in the field.

Others, like Blondie’s Debbie Harry, followed, and ultimately (yet slowly) became commercially successful, with the help of four male members. This was not uncommon, as most successful female-led bands were often “evened out” or overpowered by men.

In the ‘80s, Stevie Nicks made her mark with the band, Fleetwood Mac, through a much softer, ethereal kind of rock than that of punk. Still, the band was mostly men.

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Bands made entirely of women certainly existed, but often in the background of the popular music scene. Lead guitarist of the Slits, Viv Albertine noted this lack of equal recognition and said, “The A&R men, the bouncers, the sound mixers, no one took us seriously… So, no, we got no respect anywhere we went. People just didn’t want us around.”

Even Riot Grrrl, a rock sub-genre of the ‘90s, hardly gets any recognition, despite it being a vital breeding ground for third-wave feminism. All-female bands like Bikini Kill, L7, Bratmobile and Sleater-Kinney started an entire movement and music scene built from feminism. They were hardcore women playing fast drums and intense guitar, but they exist as a footnote in rock’s history.

In its history, there is perhaps no better example of a true rock star than that of Courtney Love, the lead singer of Hole. Love’s art extended past her music, and into a full blown grunge/edgy persona that dominated headlines. She was bold and brash, outspoken and in control of every spotlight. She was heavily addicted to heroin and was generally abrasive. She was exactly like every other rock star, but she was a woman, and as a result got triple the hatred for it.

Now, Courtney Love is certainly no saint. She physically assaulted Bikini Kill’s lead singer, Kathleen Hanna, and has famously been accused of using hard drugs while pregnant (which Love has repeatedly denied). She deserves to be held accountable for her actions, but so do the hundreds of male rock stars that do the same, if not worse, and manage to get away with it.

John Lennon, for example, is one of the most beloved rock stars in history as a member of the Beatles. His name is nearly synonymous with “peace and love,” and people all over the world still listen to his songs and think of him fondly. He was an incredible musician, but was also extremely abusive to his family, to the point where he once screamed so loudly in his young son’s ear, which caused severe hearing damage. Lennon’s darker history is hardly talked about, and it’s no accident that hundreds of other male stars like Marilyn Manson, The Smiths’ Morrisey or Led Zeppelin’s Jimmy Page have had long, successful careers with barely any mentions of their controversies.

As illustrated, women have been a part of rock since the beginning. But even women who do make their mark in rock tend to receive almost none of the same credit that men get, and even become demonized because of their femininity. If the recent, all-female GRAMMY nominations have taught us anything, it is that women in the rock industry are very much alive, and it’s about time that they start to earn the same recognition and respect that their male counterparts have had. I

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Kathleen Hanna (Bikini Kill)

St. Vincent

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Sister Rosetta Tharpe

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ARE MISGUIDED NO COMPROMISE N

Words and Layout by Ryan Almazan

Illustration by Sofia Lombardo

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teady your horses, and resist the calls for unity and a return to normalcy. The liberal-moderate Democratic candidate, Joseph Biden, won the bid for presidency, but the storming of the Capitol in D.C. makes it clear that this nation’s political problems—that is, the struggle for progress— aren’t a simple matter of unity. The immediate reactions from politicians and commentators were an attempt to pin these problems on a fractured country. But the problems, inflamed by the elections of 2016 and 2020, come from rather a horrible tradition in United States history, bound tightly to the political framework and DNA of the nation.

In the United States, there has always been a major struggle between two main political groups: the revolutionary and the reactionary. The revolutionary has always maintained the struggle for liberation in its many forms, and the reactionary has always worked to counter that struggle by maintaining the power structures, which uphold systems of oppression, often through violence. Progress and change have never manifested themselves in the face of so-called “unity”—they come from challenging and striking down reactionary forces in order to create avenues of freedom. The revolutionary’s goal is compromised as soon as liberation is conditional upon the approval of the reactionary. In other words, when someone proclaims to be progressive and tries to “reach across the aisle,” they are saying that they are willing to compromise on true progress.

The horrible tradition in this nation's history comes from the implications of this reality. Those who intended to advocate for (some vague notion of) racial equality during the abolitionist movement often collaborated and fraternized with those who were proponents of slavery. Such advocating was pure performance and for personal gain. The words and actions of these early advocates were limited by a subconscious lack of comfort that arose from abolition; that is to say, these advocates understood the threat that abolition posed against their lily white lifestyle and did not want to lose the pleasures they gained due to slavery.

The uncomfortable truth is that to challenge the system (and all those that uphold it) means to also challenge the very framework that one thinks within. It is to part with the comfort that comes from being complicit under the systems in place. It is to say that more diverse faces should sit at places of power and maintain them rather than abolish them. “Unity” is a buzzword, used to reason that ideas can always be reconciled, no matter if people get put in harm’s way as a result.

The moderate political fantasy of a nearing-perfect union appears increasingly out of touch, yet it has been adopted by self-proclaimed liberals and centre-right conservatives alike. Why? For those who consider themselves allies to the causes of liberation, this path towards performative unity is only one of sabotage to yourself and the people who you claim to advocate for.

Liberation cannot arise out of compromise. Unity does not put food on the table, nor does it protect women’s rights, nor does it solve the issues of systemic racism. In fact, unity only makes those problems worse. Unity is a death sentence to the marginalized, but a win for those that benefit from the systems in charge.

Unity is ugly, complicit and spineless. When a white liberal views issues of gender or race as simple matters of opinion, they forget that the political is not abstract. The political is personal.

It is impossible to separate politics from the humanity of an individual because politics do not exist in a bubble. Politics do not exist solely as ideas. Politics have consequences.

In my day-to-day life and even for just a moment, I cannot work with someone who is racist. And I would rather see to it that my rights are taken for the sake of decreasing the national debt or to protect the profits and revenue of large corporations. It is in opposition to my material interests—what I need to do and get for the sake of liberation: my struggle against white supremacy, heterosexism and the exploitation of my labor. Those who attempt to say it should be possible to work with that person despite my identity as an Asian American, male worker fail to understand how dehumanizing such a relation is.

Politics comes down to relations: It’s all about what we do with the people in power and how they relate to the material interests of the people they have power over. The people in power have agendas that might be in opposition to each other—and to the interests of the people they have power over. In a nation, like the United States, when people in power ignore these material interests in favor of a superficial unity, people die. The revolutionary force of today should not cede to the reactionary.

They must resist and prevail. They must prevail not only for themselves, but for the betterment of all people. I

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