Midas Magazine Issue 4, Spring 2022

SPRIN G | 2022 Vol. 2 Issue 2

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BE THE MAIN CHARACTER. MIDAS Spring 2022

THE TEAM Editors-in-Chief: Claire Hambrick & Kasey Varner Design Director: Kevin Ku Photography Director: Kavya Kumar Writing Director: Krishma Indrasanan Promotions Director: Kylie Johnson Writers: Reem Abnowf Leenah Newby Sierra Duckett Arin Garcia McCormack Josh Megson Janeissa Romero Vasiliki Gkoulgkountina

Designers: Aily Valencia Cervantes Christa Wickman Corina Hellmer Moi Tanchico Photographers: Alyssa Lopez Aslin Chavarria Ayala Ceci Atwood Illustration: Millicent Read

Promotions: Sanura Ezeagu Morgan Sims Mikayla Wells

GET INVOLVED: Join our mailing list to be notified of upcoming positions and ways to get involved. Follow us on social media to stay up to date on all things Midas Magazine.

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Editor’s note Welcome back to Midas Magazine, UNC Charlotte’s first culture and lifestyle publication. It has been five months since we celebrated our first print issue at the Dubois Center and have been hard at work creating the issue you see before you, our longest and most ambitious work yet. This is my fourth and final issue as editor-in-chief, this time with my wonderful co-EIC Kasey. With the help of our team, school, and community, we’ve been able to put together a fully student-run culture magazine two years in a row now, and this is only the start.

Midas came into fruition to fill a void on campus; to be a space for creatives to come together and tell stories worth telling. When I founded this magazine three years ago, I had no way of knowing just how special it would be. Getting to spend my time designing, writing, photographing, and promoting this magazine, while also getting to meet so many exceptional people along the way has made the last two years the absolute best it could be. Building Midas from the ground up has been the most fulfilling and meaningful experience of my college years by far, and I am so thankful and proud of the community that has emerged in the process. From the bottom of my heart, THANK YOU to everyone that believed in this idea back in 2020 and helped me grow it into what it is now. Midas Magazine exists for all of us.

Claire Hambrick, Founder & Co-Editor

For this issue, we were ambitious to declare a theme that encompasses our four pillars: lifestyle, artistry, culture, and identity. In Charlotte there are many self-starters and awe-inspiring stories waiting to be found. Hence why we grounded this issue in a sense of main-characterism. Main-characterism is a word I made up completely, but I believe it showcases what makes a main character in films, literature, and in real life. Going into the development of this issue, we asked each department how they can show a main-character in their work.

Stories and photo shoots were conducted with craftsmanship to showcase main-characters around Charlotte and even main-characterism in the individual Midas team member. The Midas team dives into the community to learn about Drag Queens in Charlotte, a high-fashion Hijab brand self-starter, two musicians embracing themselves within their passion for music, the topic of masculinity in the growing kpop music industry, and a poet who showcases the importance of culture and identity. Within themselves, there are pivotal moments of discovering oneself within their cultural identities, where folklore oral traditions in the Latinx community are explored and a writer who looks inward on their identity on the borderlands.

This magazine is embedded in the ideas of what a main character looks like. Who they are and most importantly, how each and everyone is a main-character. Claire and I both encourage readers to find main-characterism in yourself, and explore life with the boldness of each original moment.

Kasey Varner, Co-Editor

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Abnowf m e e R : y yphotos) b e ir la c Written b @ ( ck e Hambri r i a l ila Najih C : e y L , h s p e a r g g d i o Br Phot , Jourdan u g a e z E nura Models: Sa h s a r S he i k w o K : r e n ig Brand Des

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nheardofhijabi is a clothing brand that specializes in streetwear hijabs which offer a fresh and fashionable take on modesty. Back in October of 2021, I modeled for the brand’s debut campaign. After positioning the scarf on my head, Sheikh handed me a brown leather jacket to pair with my flowy, brown skirt, and chunky pleather boots.

At that moment, I was ignited.

In Islam, the hijab is worn by women who seek to cover themselves for the sake of modesty and morality.

The relationship each Muslim woman has with modesty and the hijab is different, ergo it is a very personal choice to wear it.

It was something about the aerial design elements fashioned on the hijabs and the creative direction of Sheikh that let me know UnheardofHijabi was about to shake up the entire culture. Wearing that hijab left me feeling chic and bold at the same time, something I had never felt while wearing a hijab before.

Aside from curating her brand full-time, Sheikh is also a Marketing student at the University of North Carolina at Charlotte. If you check out the brand on Instagram (@unheardofhijabi), the level of sophistication and attention paid to detail is uncanny. As such, the brand has received a lot of attention and has even been featured on HypeBae (a women’s editorial site depicting streetwear fashion and trends). Her keen knowledge of branding coupled with an unparalleled creative vision has enabled her to architect a brand that is as radically unique as she is.

The curation of UnheardofHijabi started with a journey inward. As Sheikh became more immersed in her din (Islamic compliance and humility), she realized a gap in the industry for modesty. She explained that the majority of modest clothing did not embody her style or identity.

“ I couldn’t find anything aesthetic or fun. I didn’t know how to be modest, and myself.”

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eing a natural creator, she knew that she had to be the one to change the narrative and fill that gap.

At two years old, Sheikh and her family immigrated to the United States from Somalia. She explained to me that she started sewing as a young kid, and would often create art for herself. Sheikh always knew that her future would include cultivating her visions and bringing them to life. Modeling in New York and seeing everyone express themselves fully inspired her to carve out her own identity in fashion.

Sheikh has charted her own course and created the unheard-of by emulsifying elements of high fashion and streetwear into her brand.

“I wanted to make a brand that aligns with my style, which is unique and gives off the same vibe as other streetwear brands without compromising my beliefs and religion.”

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HIGH FASHI ON st r e e t w ear 13

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After nearly a year of envisioning, designing, and negotiating with manufacturers, she released her first collection in November of 2021. The hijabs feature dashingly dotted and ornate patterns that create visual illusions and are exceptionally one of a kind.

Since then, support for the Unheardof brand has grown immensely. By creating UnheardofHijabi, Sheikh has helped other Muslim women express their identity by revolutionizing modesty. She expanded the market to meet her own needs and that of other badass and brilliant Muslim women.

Having always had an interest in fashion and creative directing, this brand allows Sheikh to highlight her artistic capabilities and vision. She tells me that hijabs are just the start for her brand, and she plans to release an entire modest clothing line.

“When it comes to creativity, I can talk about it all day and all of the ideas that come to me.

I work with a lot of patterns and designs to come up with different hijabs. Right now I’ve stuck to the basics, but I am currently working with hand-made patterns and tribal prints.

I want to be able to use my creativity to build a space for hijabis so that they feel comfort-

able and represented stylistically.

With this brand, I want to help those who struggle with wearing the hijab and get them to feel more confident in what they wear while they grow in their din. I also want to go beyond exclusively making hijabs and branch out to make more clothing and be that space for girls who dress modestly.

Not just hijabis, but also people of other religions who want to level up their look without going the extra mile of layering everything.”

Sheikh intends to bridge the gap that intersects different religions, where anyone can find a piece of them in what they wear.

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In the future, UnheardofHijabi hopes to work with different streetwear and fashion brands such as Bottega Veneta and Stussy.

As individuals, we all want the opportunity to express ourselves freely. The thing is, you have to dare to be different in a way that embodies who you are. UnheardofHijabi reminds us all that it’s up to us to carve out our own space in this world.

We often have many ideas about what we want to create, yet the execution seems so daunting.

“I know that’s something creators hear a lot, to just ‘start’, but it’s really that simple. Once you really take that leap of faith and do what others are reluctant to do, you’ve already taken a giant step. Starting a business can be hard, but when you have a passion for what you’re making, it can be so fun and rewarding!”

By following Sheikh’s lead, we can all become curators in our own lives.

Take a chance on yourself, take the lead, and create the conditions of your world.

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T ak e a chan ce on yo ur se lf, ta ke th e lead, an d cr ea te th e co nd iti on s of yo ur w or ld.

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Legacy Written by Sierra Duckett

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Tú no sabes nada.”

It became an inside joke between my abuela and I—a familiar jab after she ropes me into another demonstration of her superior knowledge, the faux arrogance of the upturned nose softened by the teasing glint in her eyes. You know nothing, she would say, laughing when I parroted it back at her because we both know it’s not true.

L e g A c y

Visits to my second home were like that: I would find her in the sunroom, in her cat-scratched recliner, arms lifting to beckon me closer. I would lean over to hug her, she would press a kiss to my cheek, and would then proceed to tell me all about the chickadees and the doves and the frog that made a home in the mouth of her cat-shaped birdhouse.

She would ask me about classes, I would tell her what I’d been learning, and she’d waste hardly a second in proving her understanding of my college-level subjects, referencing the morning newspaper, the documentary she watched on TV, or the ever-amusing stories of her past.

Tú no sabes nada,” I would tell her, and she would laugh like it’s the most amusing thing she’s ever heard. Such a statement never had any merit when she always proved me wrong.

I wish I could do the same.

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mixed culgrew up in a family of y dad’s side, tures—German on m mom’s, the usual Panamanian on my ion. I got all of American amalgamat something my the European genes, tease me about. abuela never failed to skin, the wild My sister got the olive ereas I was hair, the dark eyes, wh king after my “the German one,” ta an one. My abuela dad in more ways th rely was); I’m wasn’t wrong (she ra ay from my three generations aw y biological conPanamanian roots. An ed, and yet the nection I have is mut nd—the home culture I grew up arou th her when she my abuela brought wi —is so very loud. moved to the States

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I’m stuck in the mid

dle,

ar that ’s unfairly a frustrating tug-of-w skewed to one side. ned if I don’t,” “Damned if I do, dam as the saying goes.

ough in my I’m not confident en im knowledge cultural heritage to cla claim, not mine of it. It’s not mine to know. to speak, not mine to e I was “quiet;” My abuela liked to jok t for “whispering,” she would call me ou was all in jest, my words too soft. It e ways (like of course, but in som . I am quiet. I don’t usual) she was right dness of the quite fit in with the lou love: the music, culture I’ve grown to e, the personalthe food, the languag experience that ity. I don’t quite get to loudness either.

my second My abuela’s house— osaic of the home—is a colorful m d. Its walls are country she left behin memade decor, covered in molas, ho g distant, . I have memoEven now, it’s soundin and old family photos watching it ditional music quieter, muted, like I’m ries of the food, of tra iliar, but not yet the rapid-fire, through a screen—fam played on old CDs, of nded sometions my own. I’ve been ha ed Spanish conversa sid n’t eca I on .” rt pa e th n’t yet know d I know—I don’t “look g precious that I do e as my abuela calle in on th ph e th ht er ug ov ca e I’v times pride in recall the number of how to hold. and family while I took ds e en nc fri re fe re I en wh d ar gu off o. ne tw eo or som a word understanding just ient of und, when I say An undeserving recip my Hispanic backgro , desperately ish. I’m not a family heirloom. something in Spanish I’m not fluent in Span n tio r; connec It’s familia wanting to prove my fluent in the culture. ow kn I t no sabes nada. bu t Tú g, but it en un flu yo be s t wa no I ay ce m I sin e it us n beca I’ve know something’s turally the way r say it enough to know how just doesn’t come na I wish I could hear he r he . ot ed y nc wa e ou th , on es supposed to be pr my native tongue do one more time. rtfo m co so fit ity . nt gh ide I know enou aspects of my the early hours e that My abuela passed in e’s a disconnect, on er .

Th n’t ly. ab do I e— tim e went to the And yet—at the sam tober 16th, 2021. She es itself known the Oc ak of m sly ou inu k nt loo co n’t. I don’t r lungs—and she to be At least, I feel like I do hospital—COVID in he to reach for it. I want try I e e. or ag m gu lan e th k the part. I don’t spea e, want to hear never came home. ent; I want to practic ian flu an m na Pa e th im I can’t quite cla them intuitively the words and know color that day. la could ue ab y m e lik t The world lost a little no e, ish an Sp heritag he —t up like I did growing g, I’ve learned; heart. I can’t Grief stains everythin to me, that I born and raised at its k ea sp uld wo la ue my ab once bright with of me that ’s so photos of the past— g to vin ha t quite claim this part ou th wi d an ghter—are would underst ems to recogies of smiles and lau or em . m ad he y m minuscule no one se in sh translate it into Engli e last birthday t I can’t neglect now tinted gray. In th nize it but myself, bu ly handrget the memmy culture, er got to give her, a sil in ev I t rd en ca flu be to nt it either. I can’t just fo I wa n, guage, erase ine to speak. drawn thing in marker and gel pe ories, abandon the lan t I feel like it’s not m bu so much color s lucky enough I told her, “You bring the culture that I wa y ibl ss po im e you for it.” even if it was a The disconnect grows into our lives, and I lov to grow up knowing , ish an nslating Sp on. wide. I’m Google-tra watered-down versi not confident phrases because I’m n knowledge. enough to trust my ow

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My abuela t; was loud; she was brigh she was color.

I want to know the true that was “Tú no sabes nada,” language, my abuela’s I never knew quite how e sh home my abuela native tongue, a piece of until she was gone. d ve mo e sh would tell me, and we brought with her when red inc ow so kn e s right. on want to would laugh, but she wa Not only did I lose some here and never forgot. I t what it I also lost the m that I know so very little abou ibly precious to me, but the people, the family fro I n tio try ec un nn s culture that the co means to be a part of thi closest, most present co little isthmus in the sea, from. I don’t gave me the enough to half of my family comes have to the culture she I visited once— familiar , l ng aki fee to bre w to make it ough know how to claim it, ho chance to love. It’s heart feel welcome but not en out of my h me so it lives music, the mine, how to carry it wit how I can feel it slipping home. I want to know the er; I want on. But I want t I had always on—so my abuela lives grasp. I want to rememb dancing , the rhythm tha painful language of learn— to try. I want to learn the to hold tight, despite the been far too hesitant to forgetting that now has my culture. I refuse to let the colors sting of memories, but I’m the melody of a memory g this world be I’m forgettin re than to take my abuela brought into the sound of her voice. me wanting nothing mo debates, the her spin me snuffed out so easily. our conversations, our my abuela’s hand, to let ng thi ery Ev or . flo are m sh roo stories she would around on the living ries of mo “Tú no sabes nada,” me , ted mu y, gra g is turnin one more time. old time’s no longer my I want to tell her—just for another lifetime that are ows. t—the heart to hold on to sake—but I know she kn I want to know the hear own. I want desperately so le that beat age, of our She knows everything. of a culture and a peop what I know of the langu to nt wa I t. es ch s fade away— strongly in my abuela’s proud I am to culture, before the color I hope she knows how beat in mine. it ke ma n ca I w ho nt. ow sile l kn fal , before they, too be her legacy. . ow kn nt to Now, more than ever, I wa

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“Indie rock and film stills were my inspiration behind this loud clashing aesthetic.

This team of twenty-somethings beautifully portrayed our inclination to defy traditional boundaries in music, fashion, and otherwise. It was so energizing to watch this group of models become friends as we carried out some spontaneous fun throughout the shoot! Even with masks on, you can see how free-spirited they are.

I hope everyone understands that there is never an inappropriate age for that.”

- Kavya Kumar

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Lunchbox Records

Photography: Kavya Kumar (@c apturedbykavya) Models: Jordan Moore, Troy St urdivant, Anthony Ikejiaku, Reem Abno wf

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BLACK LITERATURE: Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Wo

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Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words Living Life Through Words

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cannot remem ber a time as a child when I comfortable B e c a u se of th felt enough to spea is , b la c k w ri te k fr eely. My word rs h ave st ru gg often held fast d e c a d e s to b e s were le d fo r against my to co n si d e re d o ngue, lips stra n against teeth p a r in o w f in it A g h m th e ri c a . “A n e c , hands molded e re st d o ta lly, it se e into tiny shak my jean pock m s to m e th at ing fists in th e fi rs t co lle ets. There was c ti o n s of b la always a strang c k p o e ts oft e ness in my ch o n o ri gi n — w h e eagern c e n te r est that got st e re yo u u ck co so m mewhere bet e fr my heart and o m , w yo h o ra is e d u . T h is is c e rt ween my throat, whe ai n ly th e c a se ther it was thro alone or a refu in m ti y ug o fi rs t co lle c n h , fe In ar M y Fe e lin gs , sal to disrupt a n d I co u ld c the quiet. So it all the differen it e m e xa ade m a ny m o re m p le s,” T ill m ce when, abo a n e xp la in s. ut ten years la introduced to “…

W te e in vi r, g I e w p u b lis h a w b as o o k— gi ve n th Cedric Tillman e re la ti ve d is . He was invite African Amer a d w d va h to my ic h w e a re b o n ta ge in to ican Literature rn — a s a w o n class to speak one of his poet d ro u s a cc o m m ab e o n ut t, a n d w is h to sh p lis h ry books, Lilie o w, a s w e sa s in the Valley, lection so raw y in th e b la c c h u rc h , th at a colthat at times it k ‘G o d h a s b ro felt more like u gh t u s fr o m wound. His wo an lo n o g p w a en ay m rk details his ex .’” ig h ty periences as man living in A a black merica, everyt hing from gosp old love to the el and importance of legacy. I reache to him soon af d out ter for a one-o n-one intervie attempt to lear w in an n more about his passion fo ing life the way r capturhe does.

I was in love with the idea of b eing a poet, of bein g someone who cou ld write something b eauti ful and pithy.

I began by a sk in g h im to sh a re so m e of ra ti o n th at fu th e in sp ie le d h is w o rk : “L ike m a ny p I h ave a love o e ts , in te re st to th a n k fo r my in fo rays in to p it ia l o e tr y… I w a sn ’t co n sc io u s a b o u t my co of w ri ti n g m m u n it y at al l re al ly. I w a s e xp re ss in g fe m o st ly e lin gs of lo n gi n g a n d in fa tu T ill m a n says at io n ,” . “N o w th at I’m o ld e r a n d m w is e r—fa r m o u ch re kn o w le d ge a b le a b o u t A h is to ry, a n d m e ri c a n th e e n d u ri n g e ffe c ts of th la w s th at c re e ra c is t at e d d if fe re n c e s in b la c k q u al it y of life a n d w h it e A n d fo r T ill m — I fe e l m o re a n , h e c h o se of a re sp o n si p o e tr y to e xp ta lk a b o u t th b h is d e e p e st ili ty to re ss o se e ffe c ts in va lu e s a n m d y co w o rk .” A lt h o re m e m o ri e s. th e a rt of w ri e xp la in s to m u gh He ti n g h a s b e e e th e d e e p b n va lu e d fo r o n d b e tw e e n it ’s b e e n ga te c e a n n tu d ri h is favo re d m e s, h im se lf ke p t fo r a s lo e d iu m . “T h is n g a s A m e ri c b e e n fo rm al is n ’t a n o ri gi th o u gh t, b u t a has ly e st a b lis h e n al I’d say p o e tr d a s a co u n tr y c h o se m e .” ic al ly, e a rl y b y. sa S ys p e . c T “I w a s in love ifill m a n la c k w ri te rs w w it h th e id e a e re d e n ie d th to h o n e th e ir of b e in g a p o of b e in g so m e ri gh t c ra ft a n d ta ke e t, e o n e w h o co o n fo rm s of u ld w ri te so m e xp re ss io n th b e a u ti fu l a n a rt fu l e th ro u gh a n ti -l it in g d p it hy… B u t I al so e ra c y la w s d e a rl y a s th e 18 ta lk a b o u t fa a n d th e p e o at in g a s 4 0 s, se e n a s m ily p le w h o ra is e d m e la c ki n g th e co a b ili ti e s to p .

I d c o le it gn m to it y iv c h ro n iu t sa id e d u c u p b ri n gi n g fo e at io n to u se . r my o w n fa m b u t al so fo r p ily a n d fr ie n d s, e o p le w h o a re n ’t b la c k w h o to le a rn a b o wa nt u t a n d b e e xp o se d to a d if c u lt u re .” T h is fe re n t c a n e sp e c ia lly b e se e n in c e rt ai n

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a k in d f it a s o k in h t ld I oem, I —shou p t a e h h t t by my s e lf re s s e d e m in d r m in g .” o A s exp t e w it c o n ot g a t s I in I t id — s t a of Po a g e r y, a t p o in t to th la c k im ie r b g e r h p e it x w in t h e ev le in rsona r e r ic h it h m e e a d w p e t t d a is n e h t e ib le t a fh re p re s re s o n t io n o ly t a n g p ie c e s a n a ly ib z e f u d li t r o f a e t r o y c ’t or ne. tr y norm e s o in - on- o h a t is n ’s p o e n Mem t m e I n in t h e a n a a ’s c o h ic n m e l r g it l a Ti Ame u re w T il lm g ht s b m e e t in u g g le s d ia . I n is t h o u e n c e in a n ’s f ig e fo r e e h b m d y m o n a n t il l s t r w e m o w s v f k a r e — e d , a r y n t n a d a s e d t g e r s to ts a m a in t o t h is lo n g in r ls o r ot h c e w r it f f — u n e p a in o c o d o h il h x e l, r w w le ir tu the p un ne Dark G g ht s r in g m ix a li t y in omeo to co m e u s h n in o lm t s f h e io f A t t in h o y rw a L il y r m of l at te n sense t in g m a n ove t h e fo h e r e ’s lm in g s p e c ia it h le t li fe in T a in g w c ly in u in r a o s a iv y a e g e ay ’s s r e is ness, le f t of in t o d . Wh e r is t re c o rd io n s h e a r, t h e in h t s e k g a n h s u h e , t ) o p w e Song f te n s ju s t a s av in g l c la s s and de r r a c ia T in e y ’s t h in g o h in d is o r t a n t a r t of le e . e e t p s b m in M im y o ( e s c ’s n. a er Va ll e y rad s . I t is g a le g I fe e l it r e g ive od wh r “ e e o in . o n h v w y w e r a it u g o n le o y nre e hb mu , wher a n e ig h e li fe o n ly t a or futu s t f t e com t ld g r h h o d t g r o in n u o v w in is c ep he tho n t a s li o etr y t to re e , it ran de t im e , t f h is p ramou nguag a ll p a r o y a la m n p e m f s e c o v y n in h is a m e se —e to d o r t a lize ga nt u w a s li k d w it h s ig n if ic o e e le e v f m e h le li li T I b t is im h le ta he ha to ro ug h o m fo r e w ay e peop ome. T h c t io n s w r t c h s n e t r o u le c f e t t o it in ib s r g ou tu re es a s orks r a t io n ose w in g a b and na t the w r gene u r e a ls o p r ov id and pr t u o t o t a lk y a f b r s , n s t k d e e e r a o h le e r ie n c h is w o e fo r e n ia l, p bout t if t h a t git o n ly lo n g b t io n a wn exp m il le n lo o a e o r o n o m n f m r F o h o . o c c e own e in f te t o p ic s or tanc e t h e ir w h il e at h av an d own p ir t h d m t a p e im u s s h s r t h in s , o u n ta h us fe to surmo ck aut h ave p m a n li t in u e s h own in la u n d n h o b a n c f d l a o y e p le , carr h o w il ugh chang .” of p e o and w d th ro s h ave f t e r h im h a t a ll ie im a e r c r h c r u a n e c m v a v e e d t the cal ad ie s fo r hange t can b er tha c c a d a h ’t g in t n le s e m n ha er as f ir m r e ig h t , o s out n atu re on pap . I t ’s a b le w e le stand e a s r ib o g la r n u a lm a n , dp t ic st as t in g T il tr y an in p a r w ju im p o r e e ie o e m r v p h e a r t o e in te p in rr y f t e r in se hop we c a ve o n e a lm a n ’s s e x p la n , e s il e r lp li d T a e e n m n c h b a I s . im it But I n s k in w h o le e r e is st, as r tance y a re o h at t h e as a t h e re o t r e g p u h e n t t a o im m r am pt c k li t e le s t h e s h own of b la conce e has h r o n ic h e c lo n e . h e t h h tance , u g ht a oug ack the o r B h h in t t is t t h h a h s e th w n r ig Rea d T s t il l f r g a in s t in it s o o r y is a y m it c e t a g c m te of le il e t h e to p ro erain g w h a w ay it s r a w re g e n , f t u o t is t u f r a r a g in g fo f the p s a ke io n o n t e a e k m in d o it d a e ys s s e lf, a o a lw a k is a m h it c w e a r B e im t th h is sen se house by a fa g Rea d T e “ d n . h e i t s is t n f t io as ra e n I le e a ca l m at h . I w s ork . H i me wh w n a r t of e o ’t r n s e and de s g e a h in h w t e n c t r T n d wa in g t h a f por ta l it y i n heape a a ny t h no t h e im n t t i e lef t o u u s f o o u s b f a b i a c a o t t e s d b a e , h fo r ju f a m il y t ly t a lk no or d s. ing w w r t h at v e w it h equen f a r a f im o le e t o c l r ls it a m yo u s. made r is h in g he for e x p la in t e a ls o e H n H . i r ” of c h e e … ev you fe s p a n b e in g e s fo r r t a in li r e ve r, o n e li v e o f c t a s , d owe d e s n ’t la in g a n is o n e is s of a g ody do s the b r k in h e c n A a o m r y. “ t l pr n ’s w o a o a r h im m u lm t e il a The hu d f in d of m of T ate d he n n t s e it a s r il o y o t b lo e t l e l m a Rea d e in g d h e Va l s u b je c gradu ’t h ave ned b e s of t y, t h e n i io l ll l it e r 1 . i id a is L d v u I t k n @ct wr ,Ie e re boo . t eve n h m d a w e le o e m t a p ’d a the t agr e li fe I in a s t on Ins e n d of t on th b e in g , c ia le t f n e r e c it y t o by d e m l capa a t n e the m

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eople e these p serve life, k li t o n s Say I wa ely think they de h Who blit ed ones rage eve in hurt, t e v g lo I don’t beli too short. e if y s e o r h o h t , W g ld et o omethin ent was When I g back to me. against s think the mom ing. m o is c h t y it d e e Rea I saw when th r owed any tim me that ve autiful e b Remind g n u I was ne got. o vuls be y d y n a a tI l lw a u a h if t but w w ng beaut would no ent llow, hat I kne I knew I r when I was you want nourishm ind me t and become sha , s m a ) y e n lg r a , u w lw v o ld a d it ot and If I get o ould attenuate t to keep I would n s way w gar, that able at some poin e moved to tear my soul uld slowly leak a b y n o d w le d it (being u ould not always iful woman in m d pu that t w d mostly . a h it I knew I thetics of a beau il t un ce s other pla by the ae drapery in some founded b m u , d , e r p e o la when th a seash diness this back bling in its rea hands by r d u a e o R in s m to ir ft, Tre hes, and moji ould lose the ha h in the that is le swaddling clot r ignorance g w u I o r w ’s h e ff t h o n o t n y u Ik lip in u for dea used to r s could s speak to ak to me. u o y t a the wind le, that my hand so happiness is wh h to spe e, visit me n you wis convertib into catastroph e h W hen you w l e g e in h w in n pla the otio and com y er an em m crying ally wasting awa was nev l by itself. a I If e n fi fe e r am I could t instead I was he where I e pity, bu ot know isease’s v n a t h h t ig o n m d Do knew I t some a favor.

I always ment, not just a o us both uck up, d o m d this ob At any ge Tell me t e that I preferre a t s d e c m advan Remind n death, e. to yours e d d u or old ag ng, s eyes up note. a o y t d u lo u c o ick, t-It If I die y Lift my s e back this Pos m d a e r and

ack Read This B

an

-Cedric Tillm

e…

her

,w lips

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our to y n i y. ove rl ce.

It d se lips. ere gra ck k gi r d ni a a o l w n d b h a s T fa ted like t. r lip ry o You y were lost ou orruga o c m e e, The r pink softly eon d littl In m a fte were was n kgroun teeth. a u o , y n e c y t . e.

The r tongu ht’s ba betwee ugh sing mis n I tho should over m m You nst nig to see o.

I a e tha han I vers l ow i to, a h had aga as easy y els s v m Mor more t irit ho r o o p od n It w with er f de and your s ing u. bett solitu nish go stare e you y e a t r l o p Bu ish. se for we ur o fi top ng y You poems hting t s in yo rain to Imp must s p letti t t g o like bad li secre h the s You ould st now. t e e h The re wer it wort you ou ht. n s id you.

I go a , r e g e e . f i o l h l d k r a T ve no wel Sho ma ’m ma me anin, I ed all o hat ld you ts with t w o l . th u kn ng eak me I co asemen arm ulbs, You as the ry, It l lterati w e e th eb in b ge It w as wat no adu kness ed, l for out thf an ur ng e , l c e f g w g a n o ri w It ld ixin ohol bl he tan cou ad blo e heat pull st m I t s o c l N in a n a th th eam eve n, tha follow rip out ydr ks, Gra rated urls a d dow d d e c l e n n u e i t u a n m h a o d g s er tc ur c iste erei tha ush d . sov idly tw d on yo , l s s u t n o s o tion uw you mmere otion. r brea nclusi r yo y lora y i u o m s p c O o e t x y an r I e l ta iled nto thei illm slow pelling d not s T c a ve eped o rst at i r com l I coul -Ced It se re it bu i t . t n e u nigh wh the

There’s a Lily in th e (Ms. Tin ey’s Song Valley ) There’s s ome lilie s in bright as the morn the valley ing star more lili es down here than on t he slippe ry slopes of mount academy thug hill and kint e’s peak combine d in the va lley they got more movies tyler per ry than spik e lee join ts but th both ey proud of in the va lley they got dread in the va s and na lley ther tura e are per good one m s but only ls s

in the va lley som e niggas in the va use the n lley jean -wo s come w so every ith belt lo rd body wea ops rs belts in the va lley the la ck of tho police ca ught, n taze yo ass if yo without draws sh a Mirand owing a warnin g in the va lley Adam and Stev takin’ a lo e ng time t o get use d to in the va lley they think Ste stay up o ve and ’n n the mo em untain But they be in the valley to o in the va lley they play john elton joh mayer & n in the va t h e y lley the h li k e m ichael an air shops stores they got and liquo chris bro d george michael r are run b wn and b clapton a y people ob nd luthe born in t who kin r and rea by brown they are he valley to people d that v e ry aware from the who like shit of the stin street lit valley people fr k of their om the v they hav alley e never h in the va ear there’s jo lley ther y in the v d of eckhart tolle e is no bu (there’s alley lletproof peace in glass the valle in the va y) lley a pic in the va nic is jus that’s all lley they t a damn go to chu ’cause th picnic in the va rch ey still m ll e y t ore worr h Jesus e p o etry girls the digit ied abou s will give t than the you even if y color he o u d is in the id n ’t s ay “peac even if y stained g e” ou don’t lass in the va snap lley Jesu sa he Jewis there’s lo h like his in’t black, ve in the momma valley Bright as the morn in the va ing star in the va lley the M lley they uslim br politic s a treat the y the hill others ca m like dr spirits n and build ink mixe could an with you r n e x a tion ? even if y engende ou eating r some s pork rind (there’s ort of Ha m ore lilies s love in th rmony o e valley) less swoo n the mountains n into va in the va lleys lley, if yo u walk wit you have A men Am h made a c en Amen onscious a pimp so decision t o d and don’t o mind bein g called o n it

-Cedric Til

lman

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SPO “It was a gloomy day but we knew that was not going to stop us from transporting ourselves to the 90s and creating our own spotlit party. We got a playlist going, turned on all our multi-colored spotlights, created a set, and next thing we knew we were in another era! After that, pictures flowed organically as we sang along to TLC, Lauryn Hill, and Spice Girls. It was a shoot I’ll never forget.”

TLIGHT Ceci Atwood

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Photo graph y: Cec i Atw ood (@ Mod peace e l s: _ceci) Ren ée J one s, K i n ja l Pa te l

SPOTLIGHT

5 OTLIGH IN THE

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SP

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s n a i c i s u t he M k g c e a n r i l n h B e s G u w P f o H a r e ds o n u Bo n

y: Jo B n tte Wri

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o egs M sh

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he community of Black musicians in Charlotte is in good hands as it continues to expand and diversify.

Despite being a relatively newer city with growth predicated on the banking industry, the rise of musical artistry in Charlotte is evolving year after year. At nearly any gas station pump or light post, QR codes are posted to access a rising artist’s music. While national publicity is focused on North Carolina artists such as DaBaby or J. Cole, there arenumerous artists in the city of Charlotte creating beautiful music and pushing the bounds of genre.

Two artists I had the pleasure of speaking with about the continued development of Black music in Charlotte were Te’Jani and Nia J. Te’Jani is a songwriter, singer, producer, and musical engineer who creates a fusion of electronic, punk, pop, and hip hop music. He describes his music as “for Black kids who grew up on Guitar Hero 3” and cites the video game as the origin of his obsession with music. I asked what his favorite song from the game was and he mentioned “Sabotage” by The Beastie Boys as a major influence in his music. I was impressed by the range of Te’Jani’s influences as they traversed multiple genres including pop/ indie rock band Florence the Machine, metalcore band August Burns Red, producer Sam Gellaitry, and rappers Chance the Rapper and Donald Glover. I also learned that Te’Jani has begun focusing on short films to accompany his songs, which immediately reminded me of much of Glover’s work on his album Because the Internet.

“You don’t know how it feels when someone says “Black people don’t do that” Te’Jani expressed mixed feelings toward his childhood in Atlanta, as he often felt ostracized by the people around

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him due to his musical interests. During that time, many rap acts such as Soulja Boy and Akon were exploding in the city, yet Te’Jani preferred listening to more punk or metal artists. However, he felt some pressure to begin his artistic pursuits as a rapper because he felt it was easier to write rap verses than lyrical choruses. I was interested in his growth as an artist, as many of his newer songs have strayed from hip hop and while he still maintains some of the drums associated with rap, he now merges many genres into a style of his own. “I am a super nerd about music arrangement and engineering,” Te’Jani told me, and he prides himself on his knowledge of the technicalities of music.

“I Want People to Know that it is Okay to ask for Help” When speaking to Te’Jani about the message he wants to portray, he mentioned that it was something he has really focused on over the last few months.

He says the main message he wants to convey is that it is okay to ask for help. As someone who has struggled with acceptance, self-harm, and feeling like they were not living in truth in regards to religion, Te’Jani sees asking for help as one of the hardest but most important things he has done in life, and as something that has changed his life. Though he feels he is a perfectionist when producing or arranging music, he has found that there is just as much importance in his lyrics and his message.

Te’Jani calls Charlotte home base for him and appreciates the city as it is where he really came into his own as a musician. As an intern at Black Pearl Studios, Te’Jani was able to meet and learn from many artists in the city, as well as starting to ingratiate himself in the community of Black artists in Charlotte. One artist he has met and befriended during this time is Nia J, who I also had the opportunity to speak to about her musical endeavors.

“You don’t know how it feels when someone says ‘Black people don’t do that’.”

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A Melting Pot of Many Different Genres

It is Okay to Not Know, and it is Okay to be Who You Are

Nia J is another upcoming artist in Charlotte who views her music as a mix of many different genres. She is influenced

by RnB, pop, and alternative music, and while her music is often labeled as RnB, it does not necessarily fit in with that genre as nicely as other artists’ music may. When speaking of her live performances, Nia told me that by listening to other performers at shows, she knows her music does not only fit the RnB genre.

Nia’s main musical influences are Frank Ocean, Ray LaMontagne, John Mayer, and many other classic RnB artists. She also sees her parents as a main influence in her life, as they have allowed her to take a less-tangible, more unconventional route in life as a musician. She has also found that music has impacted her relationship with her sexuality as a gay woman and told me “writing about sexuality has also led to me being more comfortable with it”. Music has given her a way to be more accepting of herself and interact with others who have dealt with similar struggles.

While Nia has sung her entire life, she did not begin making music until her sophomore year of college. When she began, she was very focused on sound and putting together words that sound nice, yet as she has grown as an artist, she has found it beneficial to be more vulnerable in her music. She told me she sees herself as a “pretty private person”, yet has found it beneficial to show a side of herself she may not feel is her best. I asked what provoked this change, and she cited added experiences in life as her main catalyst for improved songwriting.

She hopes that through her music, people will feel a sense of love, hope, and pride. She hopes she can let her listeners know that it is okay to not know, and it is okay to be who you are and that everything will happen for a reason.

When asked about why she makes music, Nia told me “Sometimes it seems like the only thing I’m truly good at.

It feels natural”. She also feels that as long as she is making music, she will be okay.

“It is okay to not know, and it is okay to be who you are” 46

We Need a Centered Spot for Black Music to Thrive Both artists told me that Charlotte has been extremely accepting and welcoming of them and their musical pursuits. They each mentioned that the scene is really small right now, which gives them the opportunity to connect with a lot of people in a more personal way than artists in more established cities. Nia told me “being able to work with other musicians has helped me develop a sense of purpose by collaborating with people that have the same drive”. As for the future of Black music in Charlotte, both artists feel that the future is bright, but there is also a need for change in the city as well. I asked Te’Jani what he believes will really spark this change and he told me he believes with more Black people in positions of power, more artists will begin to blow up and succeed. He also hopes for a more central spot for Black artists to succeed.

As for Nia J, she hopes to see more opportunities for female artists to be showcased in the city. Many of the shows she has played at have been male-dominated, and she hopes that is something that will begin to change.

Both artists can be seen performing live at different venues throughout the city. Te’Jani performs at The Evening Muse every Monday, and there are also many other Black artists featured there. Both Te’Jani and Nia J’s music is also available on all streaming platforms.

Nia J recently released an EP titled “Rabbit Hole” and a single titled “Baby it’s Cold”. She plans to drop more singles throughout the year. Nia can be found online @theniaj.

Te’Jani also plans to release an album, GIMP, in May and plans to continue to make more music throughout the year.

He can be reached on all social media platforms @middlenametj. Be on the lookout for both artists as they continue to progress and create amazing music.

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Illustration by Millicent Read

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by Janeissa Romero

B

eauty, while universal, stands to be controversial. We hold standards as a society to define the borders of beauty, but this varies in every country. How does beauty differentiate in the U.K from in the United States, Mexico, or South Korea? South Korea is notorious for its beauty industry with its abundance in cosmetics, plastic surgery industry, and skincare. Typically, beauty is thought of as feminine, but in South Korea, the pressure is not solely directed to women but men as well. The rise in Korean beauty can be attributed to its pop-cultureK-pop. Beauty is seen as purely visual but does not demasculinize men.

The standards often include slim facial features, fair skin, dyed hair, androgynous body, and fashionable outfits. South Korea has pushed the boundaries of K-pop and male idols.

Appearance is important to South Koreans in fashion and visuals.

In K-pop’s early blossoms, idols, such as Seo Taiji and Boys, wore dark clothing with minimal cosmetics except for occasional eyeliner. The boy band H.O.T was the first to introduce cosmetics and a feminine color palette into K-pop. With their song Candy, they painted three stripes under their eyes and wore vibrant colors compared to the contrast black shades previously introduced.

This received criticism and backlash from South Koreans, but thus it marked their unique style and gained popularity. The first two decades of K-pop consisted of dark themes with a mix of choreography and hip-hop styles. Most groups, such as BigBang, began with the trend of dark clothing and eyeliner, a more masculine approach to K-pop, but begin shifting to a more androgynous look after 2010 as the Korean beauty industry began to shift as K-pop grew in popularity. The beauty industry is directly correlated to the recognition of idols, both sides feeding off each other.

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well. For example, BTS’s Boy with Luv MV is dipped in pinks, yellows, and music that was being produced during the time of its release. BTS’s debut album, 2 Cool 4 Skool, also gives affirmation of a masculine appear-

W

hile the perception of Korean beauty began to shift, many

K-pop idols still gravitated towards a darker look to match the themes of their lyrics. In 2013, Bangtan Sonyeondan, more commonly known as BTS , debuted. Similar to the beginnings of K-pop, BTS started off with what is viewed as a more ‘masculine’ appearance. Their first music video, No More Dream, consists of the members wearing black and white, dyed hair, and eyeliner. Aside from appearances, the lyrics challenge the audience, speaking of dreams and accomplishing them with rasp and grip, reflecting the style of

ance with minimal design and black.

Since the beginning of K-pop in 1992, idols gave a masculine impression while wearing jewelry, minimal cosmetics, and sparkling shirts but when Big Bang debuted in 2006, they revolutionized the industry. Bang Bang members were the first idols to dye their hair in vibrant colors.

Big Bang is also the first band to have western influence, thus expanding what is called the Korean Wave.

This refers to the global popularity of Korean Culture. Because of the Korean Wave, the beauty industry in South Korea sparked. Following this global phenomenon, in idols, there’s a visual transition to softer and more feminine colors, along with flowery lyrics and fashion not only in music videos but in live performances as

blues. The members have different colored hair and each is wearing jewelry with foundation and gloss.

The lyrics in the song are softer, appealing to a boy who’s in love.

The lyrics match the aesthetic of the music video of the upbeat track and yield more feminine than masculine with the touch of their choreography.

The choreography for Boy with Luv involved soft jumps and luring movements in contrast to tough and harsh expressions in previous music.

Fourth-generation K-pop groups (those who debut in 2019-2025) have followed the trends of K-pop with their own unique style. Groups like Tomorrow x Together, more commonly known as TXT, have created their own colors with pastel colors and cropped shirts. Their tunes are a pop-punk rock that is reflected in their clothing and lyrics, but outside of the industry, they express themselves through their own clothing which largely consists of hoodies and beanies. Still, the pressure to conform to beauty standards makes idols aware of their appearances.

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During a V-live, a live streaming platform, one of the members, Yeonjun, stated that he would take pictures with MOA (the name of their fandom) if they promised not to post it. With the competitive Korean beauty standards, idols feel the pressure of fitting in and fear that being seen as “raw” can ruin their image.

While South Korea has adopted men into the beauty capital, it still remains traditionally patriarchal. The men are still the head of the household and the women are still expected to perform their gender roles. While idols seem feminine performing in “girly ” outfits, wearing cosmetics, singing high notes, and dancing on stage, masculinity is still ingrained in Korean culture but is overseen because of what is portrayed in the media as feminine idols. It does not demasculinize men— because K-pop has created a norm of visuality, it makes them look good.

K-pop and idols are redefining the idea of masculinity and it is impacting the culture in South Korea. Many idols

Yeonjun (TXT member) has even worn skirts before because he does not believe that it makes him less masculine. It’s a choice of fashion.

Westerners may think that idols look like “girls” because they dress more feminine or wear cosmetics, but it’s picking up attention. With the expansion of K-pop brushing up the edges of the western world, it is slowly dipping into society. People are noticing the fashion trends of South Koreans via K-pop. Many are experimenting with Korean beauty and skincare because of idols. Back in their homeland, their success has become the nation’s pride, branching out to impact Korean actors and models as well. K-pop idols have impacted the beauty industry in South Korea as much as it has impacted them and many idols have become beauty brand ambassadors.

and Little Nas X) prove a growing departure from traditional masculinity, there is nothing on the scale that of South Korea’s male idols.

The K-pop industry has overcome the obstacles of demasculinization, and idols have not conformed to the western’s norm of masculinity.

They are living in an entirely different world where androgynous and even feminine appearances are not seen as less masculine. In the dictionary, masculine is defined as “having qualities or appearance traditionally associated with men.” However, K-pop has proven that “traditionally” is a magic word that can be modified.

While there are exceptions to this case (be they Prince, David Bowie, or in more recent times- Harry Styles

do not find having feminine appearance emasculating. For instance,

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FOREST NYMPHS

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Kasey Varner, Millicent Read, Adriana Villalpando

Models:

(@aslinchavarria)

Aslin Chavarria

Photos by:

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FOREST NYMPHS FOREST NYMPHS

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S FOREST NYMPHS FOREST NYMPH

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Leyendas Sobremesa: Ghost Stories as told by UNCC’s Students

Illustrated and Written by Arin Garcia McCormack

Some of my earliest memories entail sitting around the wooden kitchen table at my Abuelita Irene’s house in Mexico City, and staying late into the night after dinner as my family members recalled their experiences “con el mas alla.” Warm cafe con leche in hand, and crumbs of recently eaten pan dulce still on the table, the stories I heard my aunts and mom recall would leave me hanging on to every word usually resulting in my hesitation to go up the stairs to bed by myself in a house that was especially dark after nightfall. Through oral tradition by friends, family, and loved ones, leyendas have survived through the generations and have become forever ingrained in the culture and popular memory of their respective countries.

For this article, I had the privilege of hearing some of these leyendas told to me from our Latino students at UNCC. While there are various types of leyendas and myths from across Latin America, it’s interesting to see how some stories feature similar figures and characteristics even across different countries. For example, both the leyendas of La Llorona from Mexico and La Novia from Puerto Rico features ghostly nighttime apparitions from a woman in a bride’s dress. While La Llorona, or the Weeping Woman, is the ghost of a woman who wanders the earth forever haunted by guilt for drowning her children, La Novia is the ghost of a bride-to-be who never made it to the altar. In this article, you’ll hear about the apparition of La Novia in Puerto Rico, the tale of El Silbon from Venezuela, as well as my great-great-grandfathers’ encounter with El Jinete Negro as told by my Abuelita.

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he apparition was “The apparition wa woman with pitch a woman with pitc ack-hair, dressed black-hair, dresse D in all white.” in all white.

LA NOVIA Y LA CALLE DEL INDIO

ayana Gonzales Trinidad is a junior at UNCC majoring in International Relations. She speaks 3 languages—Chinese, Spanish, and English—and lived in Puerto Rico until 2016. Today, Dayana sits with me and tells me about

the sightings of La Novia that haunt la Calle del Indio.

If you live in Puerto Rico, you’ve surely heard of La Novia, the apparition of a bride who never made it to her wedding

day. In the city of Isabella, there stands a rock on which the likeness of a Taino Cacique is carved—La Cara del Indio, or The Face of el Indio. It is on this street, which houses La Cara del Indio, highway 113, that people see La Novia.

he apparition was “The apparition woman with pitch a woman with ack-hair, dressed black-hair, dr in all white.” in all white.” he apparition was “The apparition w woman with pitch a woman with pit ack-hair, dressed black-hair, dress in all white.”

The apparition was in all whit “The apparit a woman with pitch “The apparition was womanwith wit a awoman lack-hair, dressed pitch black-hair, black-hair, 62 in all white.” dressed in all white.” in all The legend goes that on the day of her wedding, La Novia and her fiance died in a car accident on La Calle del Indio,

never making it to the altar. As a result, she now haunts this same street, where many claim she shows up around 11 or midnight, the same time the car accident that killed her took place. Upon seeing her, it’s said your car instantly loses

control, and due to the steep curves in the road, many people end up crashing their car along the side of the highway.

“I’ve never seen her, but my aunt says she did,” says Dayana. “One night, when she was passing through La Calle del Indio, she saw a blurred figure, sort of like a shadow, but white instead of black.

The apparition was a woman with pitch black-hair, dressed in all white.”

Thankfully though, her aunt’s car was able to drive past the ghost without incident. I ask Dayana if there are any other local Puerto Rican legends.

“Actually, just down the street from La Calle del Indio, there’s another spot they say is haunted: El Tunel de

Guajataca—it’s in Quebradillas, another town about five minutes away. In 1910, a train was passing through the tunnel at high velocity and lost control over a closed curve. Dozens of people were killed in the wreck.

They say that at night, people hear the wails and voices of those who died in the accident.”

as ch ed e.”

n was pitch ressed ” was tch sed te.” tion was th pitch dressed white.”

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El Silbon

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dmari Correria De Castro is an International Business Major and Junior at UNCC. Edmari and her family lived in Venezuela for several years. Edmari tells me the leyenda of “El Silbon,” or The Whistler, below.

This leyenda will make you think twice the next time you hear whistling. Edmari Correria De Castro tells me about El Silbon, the apparition of a man whos presence is marked by his distinctive whistle.

“In the countryside of Venezuela, you can see steam rising off mountains in the distance on day’s when it’s really hot.

On these days, many people claim to see the figure of El Silbon among the mist. People take it really seriously.

One night, my parents were whistling at night as a joke, and all our neighbors shut the doors and windows, like, immediately,” Edmari laughs.

El Silbon was once a young man who farmed the countryside plains with his parents. One day, when returning home from work, he caught his father in the middle of cheating with another woman. Enraged, the young man murdered his father, ripping out his entrails. When his grandfather found out what had taken place, he tied his grandson to a post and lashed him with a whip until the skin on his back broke open. Then, he poured alcohol into his grandson’s open wounds before untying him, releasing two starving, rabid dogs to chase after the brutalized young man.

The grandfather curses El Silbon to wander for eternity, carrying his dead father’s bones as punishment.

The most chilling aspect of El Silbon is his whistling, which, along with the clinking of bones, people often hear when traveling alone in the forest or through the plains. If you hear this whistling nearby, you may be safe, but if you hear whistling in the distance—that means El Silbon is within your close proximity. The only thing that can save you from El Silbon is the sound of a dog barking, which reminds him of the dogs that mauled him to death, or the sound of a whip. Many also say that if you hear El Silbon’s whistle while alone in your everyday life, it means your close death awaits you.

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“It means your close death awaits you.”

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El Jinete Negro This is one of my favorite stories that my abuelita, Irene, has told me. When visiting her grandfather in the ranch at her dad’s old home, he’d tell her about his run in with El Jinete Negro, or “The Black Rider,” a man dressed in an all black traje de charro riding upon a black stallion, who many believe to be the devil himself.

My grandfather would say that, in his famous years, he was part of a group of musicians. Even though they were only three members, they’d always do an excellent job livening up the parties they were paid to play.

One night, after playing in a nearby town and making their way back home, walking by foot through corn fields and plains, they suddenly met a jinete, or horseman, dressed in a charro suit with silver adornments all throughout his clothing, riding within a shining carriage.

He asked if they would like to play at his Hacienda, which wasn’t very far from where they were, as he had guests and needed musicians. None of them remembered having seen a Hacienda nearby, but seeing as the pay would be good, they gladly accepted anyways.

When they arrived at the man’s estate, they were astonished by the luxury of the place, which they found strange as many elegantly dressed people were there; the women were very beautiful, and everything was jovial. The musicians played all night, and as they were about to leave, The Man asked if they would like to stay the night as they were very far from home. The group accepted, although hesitant, as they found the whole thing very strange. They spent the entire rest of the night praying until they passed out from fatigue.

The next morning, to their surprise, they awoke in a narrow pass between two cliffs.

There were no houses around them for miles.

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earing these stories as a child instilled in me a sort of fascination for the mysterious and unexplainable, and I think that’s true for all Latino children who grew up hearing these stories told by our grandmothers, aunts and uncles, or cousins. An oral tradition of these mythical stories are both a unifying factor for Latinos culturally, as well as a tool with which to express the unique differences and perspectives within each culture. What do these stories tell us about how these people see the world around them? What do they believe in? What do they value? What are they afraid of?

“I think leyendas are important because they are part of our culture,” says Edmari. “They symbolize stories of our people and people’s beliefs as well. I think leyendas remind us of our nationality and ethnic roots, as they are tied to our childhood and to the urban stories of our countries. I particularly believe you can use leyendas to teach other people a little more about your culture and country, as many of them have specific cultural distinctions.”

Jacinto Martinez, a junior year Computer Engineering student, says that Mexican Leyendas are telling of both gender and racial factors within our culture. He says that leyendas like La Llorona reflect the cultural role of women who often have to undertake parenting alone, and that the feminine characters that are featured in these stories are a sort of scorn to women who have “failed” at motherhood or performing their role as a woman.

“I mean, one could bring up the whole nature of La Llorona. She was an Indigenous Mexican woman, and the guy was from Spain. And they had kids or whatever, but then he left her…then she drowns her kids, you know how it goes. One could have commentary on that sort of trend, I guess—in Hispanic cultures, many times the Fathers aren’t always present, and it’s up to the Mothers to both raise their kids alone and support their family. And then, when they can’t, and something bad happens, they’re Lloronas themselves, y’know?”

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In a formative sense, the exchanging of leyendas are an intimate way of bonding—the memories I have of my abuelita telling me about El Jinete in the kitchen, or those late nights spent with family around the dinner table, will stay with me forever, along with the stories that were told. These tales offer a chance to learn more both about the person telling the story, and about their own people. It was very interesting to see how each student interpreted these stories differently, in a way that was uniquely important to them.

It’s interesting to think about the future of this Latin American oral tradition. Will children not in the immediate future— but hundreds of years from now—be hearing the same stories that were told to us? Or will new Lloronas and Silbones become immortalized—figures of tragedy or success from our current timeline—and become stories of their own, perhaps products of the unique experiences of Latinos living in a land different from their ancestors? Who knows?

For now, though, I do have another question to ask: Did you hear that whistling just now?

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11 Asian is not A monolith Photography: Alyssa Lopez (@butterflyeffectmedia) Models: Angel Doo, Rose Rudd, and Gavin Sidhu

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The

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Drag Q ueen S cene in Q ueen Cit y

Written by Vasiliki Gkoulgkountina Photography by Kavya Kumar

The Drag Show Experience & History

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mystic vision unfolds before me; a room filled with Drag Queens, dressed in fuschia bodysuits and diamond-studded fishnets, their faces painted with delicate lines and glitter eyeshadow, pop music blasting to match their painted lip-syncing mouths, flashes of colorful bright lights, and the booming of laughter. Within those tight four walls, there is a sense of home and acceptance in the air, where love and kindness overpour from generous souls.

Every Drag Show is different, but that feeling sticks with me in every one I attend.

The art of Drag picked up traction in the 1970’s New York Drag Balls. These events focused on Drag Queens taking the stage, showing off their outfits and marking glamorous poses. The TV series Pose does a beautiful job of portraying these Drag Balls and their roots in Queer culture.

I had the honor of speaking with five of the best Drag Queens in Queen City, and one thing they all had in common is that they feel Drag is a vibrant place with the duty of celebrating people of color and the LGBTQ+ community.

I only discovered the wonderful world of Drag when I was 15 years old when my love and admiration for this rich community began, but it has been around for a whole lot longer. Drag can be pinpointed to the 16th and 17th century when male actors dressed up as female characters for Shakespearan shows.

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The Queens of Queen City The Q Onya Nerves has been doing Drag for close to five years and describes her drag style as more on the campy side because she doesn’t like to take herself too seriously. When she first started Drag, she started doing trivia shows and stand-up routines because it made more sense for her to do funny things.

Q: How is Drag important for the LGBTQ+ community?

ON: Finding your own space where you’re accepted is always hard, especially when a lot of us

deal with families that don’t recognize us as who we are. Being able to go up to a Drag Queen and say you feel like home. That’s a safe space for a lot of people.

Q: What do you think or hope the future of Drag in Charlotte will look like?

ON: I would love to see more Drag King representation. I would love to have more spaces where younger queer kids that aren’t 21 could perform if they wanted to. Also, a family-friendly environment where you could bring kids and younger folks that can’t necessarily come to bars.

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"I AM A DR AG Q UEEN" Erica Chanel

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Queens of Queen City The Queen Erica Chanel works with The Vanity House (who you can find online at thevanityhouseinc.com/events) and has been doing Drag for the past seven years. The stage name ‘Erica’ is what her mother would have named her if she was assigned female at birth, and the last name originates from her admiration of the brand Chanel, which she describes as “timeless and classy.” Her Drag character is a “diva” she created which she describes as “powerful, strong, and driven.”

“drag “drag really really did did save save my my life” life” Erica Chanel

Q: How does Drag make you feel represented/included?

EC: I think in Charlotte it’s definitely a hit or miss, especially me being a black queen. In Charlotte,

it was not very easy for me. I had to work very, very, very hard to get to where I’m at now in Charlotte, to be one of the top Queens there. But I will say that now that I’m in the space where I am there, it’s very much exciting and rewarding.

Q: Why is Black Drag important to have in small towns?

EC: Often on the flyers and TV, you always see people celebrating white queens and the skinny queens and things like that. So it’s not often that you see a black queen being celebrated for their accomplishments and things that they do in life. When I started doing Drag in Charlotte, one of my main goals was that we definitely need to see black Drag Queens that are posting their own shows, because there are kids that want to do Drag but they’re like, “I don’t see anyone that looks like me on the flyer so how can I do it?” I want to be that person for the younger generation that wants to start Drag.

Q: How is Drag important for the LGBTQ+ community?

EC: When you come to a Drag show, it’s like all your problems from everyday life go away. That’s one

of the main reasons that I do Drag, because you don’t know at that moment when you’re performing on stage whose life you are changing.

Q: How does performing in Drag make you feel?

EC: Drag really did save my life. It helped me become a better person in my day-to-day life as a boy, it made me more confident, it made me feel a sense of community and love that I didn’t have. It just makes me feel empowered. It makes me feel like I can inspire other people to be who they want to be.

Q: What do you think or hope the future of Drag in Charlotte will be?

EC: I hope in the future it doesn’t matter what type of Drag you do or what skin color you are. I feel like there are so many different aspects when it comes to Drag. I want people to know that just because you’re not a dancing queen, or you don’t have the best looks and the best hair, that doesn’t mean that you can’t do Drag. Drag is an art form. So whatever your art is, you should be able to do it.

Closing thoughts from Erica Chanel: “I will say that it did take a long time for me to understand the difference between doing Drag and being Drag because I call myself a professional drag queen because this is my life. This is my career. This is what I live my life with. So I think that people don’t know the difference between doing Drag and being a Drag queen and like I am a drag queen.”

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Skylar Michele Monet works in venues all over the Charlotte area such as The Scorpio (thescorpio.com/copy-ofhome), but I met her and watched her perform at The Casual Pint-Rivergate (rivergate.thecasualpint.com/).

Skylar has been doing Drag for the past 15 years, but she originates from a dance background. She admires the makeup and theatrical aspects of Drag.

Monet was the first Queen of the event and she entered the main area with an air of elegance. Her blonde hair was blown out, body padded to an hourglass figure, and covered in a pink and gold sequined gown with a cape attached, high heels covering her feet. Her makeup was tones of pink and purple to match her outfit. She began by lip-syncing Adele’s “Rolling in the Deep,” and once the music changed to a more upbeat tune, she removed the skirt of her gown and danced around in her bodysuit.

Q: How does it feel performing in Drag?

SMM: It doesn’t matter how tired I am or if I’m not having a great day; the second music comes on and I walk out, it’s just this release of tension. It’s just being in the moment.

Q: How would you describe the Drag Queen community in Charlotte?

SMM: When I was caught up in the business side of everything, it was very pageant oriented,

but it has grown to be who you want to be because now it’s expanded. Anything is Drag as long as you represent and you’re being yourself on stage. I think it’s evolved to a place where it doesn’t matter who you are, but what you’re doing on stage matters.

Paris Nicole Brooks and Shelita Bonet Hoyle both spoke with me and performed at The Casual PintRivergate. Brooks is the current reigning Miss Gay North Carolina and she has been doing Drag for the past 16 years.

She describes her Drag style as a “sexy woman.” Hoyle is the former Miss Gay North Carolina and the current Miss Gay Southern America. I had the honor of meeting and watching her perform at The Casual Pint-Rivergate.

The second performer was Brooks who came out in a bodycon multicolored maxi dress, heels, and a short black wig.

She danced around the room lip-syncing to a slow and intimate song. When the music changed, she was squatting low to the floor, kicking her feet forward, and twirling around. It was amazing to watch her perform; all of her movements were filled with energy and passion.

Q: How has Drag made you feel represented/included?

PNB: When I’m on stage, I’m home. Drag makes me feel loved, but as a person of color, I know that a lot of people look up to me, so I have to set a standard for them to live up to all of that— because if I can do it, so can everyone.

Q: Why is Black Drag important to have in small towns?

PNB: Drag is objective. Everyone can do Drag, but when it comes to people of color, it’s a little bit

harder because we have to work two times harder than our white counterparts. We have to be upfront and we have to make our presence known because there are not a lot of women of color, especially in North Carolina.

Q: What would you say to that you that just started Drag?

PNB: Do it. Don’t be afraid or scared. Take a chance. There were so many people when I first started

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Drag that told me, “You’ll never be good at Drag,” “Stop it,” “Don’t do that.” When they told me that, I said, “Thank you,” because that gave me that fire. Don’t be scared, do it. You only live once.

Skylar Michele Monet

“IT’S JUST BEING IN THE MOMENT ”

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ere’s a place at the table for EVERYONE There’s

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a place at the table for EVERYONE There’s a pla Hoyle was the MC of the Drag Brunch and she kept the heightened energy of the room through her humorous jokes and interactions with the audience. She entered the room with a black and white striped dress, a short ginger wig, and black glasses, immediately cracking jokes and creating a warm environment. Hoyle was also the third performer to come out on stage in a black fur-lined robe and brown waves, which she removed to reveal a black diamond-studded bra and highwaisted stockings and lingerie.

Q: How has Drag made you feel represented/included?

SBH: Doing Drag has taught me not so much more about me being included, but for me to

make sure that I leave a place at the table for others. I think with Drag constantly evolving right now with RuPaul’s Drag Race putting Drag into the mainstream, for it to no longer be in like seedy divey gay spaces in the underground scene, it’s really showed me that there’s a place at the table for everyone.

Q: How does it feel performing in Drag?

SBH: I would say Drag is my creative outlet. I not only do it for other people, but now I also do it for myself. I truly believe that if I didn’t have Shelita, my life would be much less beautiful. It’s my process. If I’m feeling something, I’m going to put it on stage. If I am confident and sexy, I’m going to put it on stage. If I’m upset or sad, I’m going to put it on stage. It’s how I sort of process my own therapy. And it’s a lot cheaper than a therapist.

Q: What would you say to the you that just started Drag?

SBH: I would say stay true to yourself. But at the same time, I need you to understandthat

you’ve got to remain humble. The people that you go above the ladder of success are going to be the exact same people that you see again whenever you fall back down. As long as you remain humble and kind you’ll go very far.

Conclusion Drag is a beautiful community with a powerful history, and it’s important to identify and uphold the marginalized people it represents. For many of these wonderful Queens, Drag is their home where they can truly express themselves, and it’s important to cherish these communities. The Queens at The Casual-Pint Rivergate not only opened their hearts to me, but they also gave me insight into the ups and downs of Drag and their hopes for making Drag an altogether more expansive and inclusive space. I hope the readers of this story will go out and support our local Queens and share the sense of home and acceptance I first felt.

Here are some general tips for attending Drag Queen brunches, dinners, events, etc: Bring cash to tip the performers ($1-$15 is acceptable but more is always appreciated) Respect the Queens and do not touch them unless they say it’s okay (Consent is key here) Be engaged and present with the performers Have a good time!

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MIDAS MAGAZINE

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