TRIBUTE FEBRUARY 2018 1
Team EDITOR IN CHIEF Darby Hoffman DEPUTY EDITOR Eva-Delilah Weiland ART DIRECTOR Lauren Chung WUD PUBLICATIONS COMMITTEE DIRECTOR L. Malik Anderson WUD PUBLICATIONS COMMITTEE ADVISOR Jim Rodgers WUD PRESIDENT Iffat Bhuiyan ON THE COVER Max Goldberg by Marissa Haegele SPECIAL THANKS TO UW-Madison Campus Women’s center
ASSOCIATE ART DIRECTOR Channing Smith PHOTOGRAPHY DIRECTOR Marissa Haegele ARTS CURATOR Ben Golden CREATIVE DIRECTOR Geordon Wollner FASHION EDITOR Ashley Mackens LIFESTYLE EDITOR Cassie Hurwitz CULTURE EDITOR Haidee Chu ARTS EDITOR Margaret Duffey FINANCIAL MANAGER Margaret Brennan WEB MASTER Leah Leonidas CREATIVE TEAM Alexa McGoey Channing Smith Emily Woodzicka
2 MODA
STAFF WRITERS Claire DeRosa Amelia Faist Samantha Georgson Claudia Prevete Madeline Rasmussen Matthew Weinberger CONTRIBUTING WRITERS Naomi Gallagher Steven Jetteran Clarke Smith Molly O’Brien Molly Rapozo MODELS Saja Bilasan Molly Burki Max Goldberg Jake “Pflugey” Pfughoeft Jessica Webber Jonah Zamzow-Schmidt AND FAITH CHAMPA ART Channing Smith Madeline Rasmussen Mia Boulukos PHOTOGRAPHY Ella Guo Marissa Haegele
Table of Contents
February 2018
ARTS
24
05
A Glance at The Evolution of Modern Art Exploring the period through the representation of the flower.
08 Imitation in the World of Music From Lana Del Rey to Radiohead, the music industry is full of copycat techniques. 24
A Tribute to Madison’s Underrated Art Scene You don’t have to fly to New York to find artistic inspiration.
41
Tribute: Destination, World, Peace Paying tribute to personal experiences and culture
50
From Shrines to Zines: The Phenomenon of Celebrity Cult Build a shrine based on your reality, not someone else’s
LIFESTYLE 18
Talk Consenually to Me Redefining the blurry lines of consent
How #MeToo Helped Disclose the Open Secret To the women who stood up to step away from stigmas surrounding sexual assault.
FASHION 17
Former Badger Paves Way to Body Positivity with Style Founder of Megababe shares her success in the fashion industry
22
Dapper Dan: The Orginal The legend lives on
32
An Ode to Coco Chanel The iconic woman and her impact on society
FEATURED 10
Designer Aura Inspired by our favorite fashion houses. Can you guess which ones?
54 Anything Embodied inspirations.
26 Honoring Your Inner Child How youthfulness can improve your creativity
CULTURE 20 A Look Into Milwaukee’s “Inner Core” A history of the city’s fair housing movement. FEBRUARY 2018 3
LETTER FROM THE EDITOR
TELL THEIR STORY. Hello, readers! I would like to thank you all for your support throughout the last year and the love I’m anticipating from you all in 2018. While we’re well into the new year, and self-reflection has likely dropped off many of our priority lists, I’d like to share a lesson with you all. On January 19, 2018, I lost my best friend and partner of almost five years. It was sudden, tragic and left me and everyone around asking “How do we honor this life and let his spirit live on?” In the month since his passing, I’ve learned that there is no one way to pay your respects. I’ve witnessed so many variations of grief — sadness, anger and flat out confusion — and in my opinion, the way you process the situation is not what matters. It is that you acknowledge the situation at all. When recounting stories and their significance, I ask you all to truly acknowledge the histories you are hearing. Bear witness to the stories in this issue, such as those retelling Civil Rights triumphs and childhood memories. Rather than letting them fade out of reality, we can choose to let these stories be as real
4 MODA
and alive now as they were the moment they unfolded. Recognize who these individuals were — and who they continue to be after they’re “gone.” Remember their triumphs, their values and, most importantly, that they were here; that they lived. In my search for the most appropriate way to celebrate his life, I’ve asked how can I best pay my tribute to my partner. Although words never seem to be enough and saying the right thing feels impossible, my solution is to tell his story and fill it with life. I will remind the world of his name, his passions and his impact, as I hope you all will do with the subjects in each of this month’s articles. Continue to speak these stories into existence and demand that their memories lives on. For then, so do they.
NICHOLAS ALLEN JONES 05/07/95 - 01/19/18
ARTS
A GLANC E AT T HE
EVO LUTI O N OF M O D ER N A R T BY MATTHEW WEINBERGER, ARTS STAFF WRITER Starting in the early 1870s, attitudes toward what art could and should be began to change, with a gradual shift toward abstraction that lasted over 100 years. This period of artistic achievement is characterized as Modern art and can be broken up into a variety of artistic movements including Impressionism, Post-Impressionism, Fauvism, Cubism, Surrealism, Abstract Expressionism and Pop Art. The flower, a historically common painting subject, can be used as an example to highlight the changes from one art movement to another.
IMPRESSIONISM Bouquet of Sunflowers, Claude Monet, 1881 Modern art has its roots in Impressionism, an art movement that rejected the dominant styles of the time and incorporated new ideas regarding painting. Impressionism gained prominence in the 1870s with its main goal of accurately depicting light through thin, quick brushstrokes. Often artists would paint the same subject from a variety of angles and at different times of day to emphasize the changing quality of light.
POST-IMPRESSIONISM Vase With Red Poppies, Vincent Van Gogh, 1886 Post-Impressionism was a reaction against the naturalism of the Impressionists, taking place at the end of the 19th century. It strove to emphasize line, use vivid and often unnatural colors and regularly distort form for expressive effect. The movement was lead by Paul Cezanne but also included influential artists such as Vincent Van Gogh, Georges Seurat and Paul Gauguin. This movement allowed artists the freedom to explore and abstract the concept of line.
FEBRUARY 2018 5
FAUVISM Flowers, Henri Matisse, 1907 Fauvism did to color what Post-Impressionism did to line. The movement further abstracted the subjects that were being painted, emphasizing heavy brush strokes and expressive colors over natural depictions. This movement only existed for a few years after the turn of the 19th century, with only three exhibitions during its time. Still, it was highly influential to future art movements, asserting that blatant abstraction has a place in art.
CUBISM Flowers in a Grey Jug and Wine-Glass with Spoon, Pablo Picasso, 1908 Cubism took abstraction to a whole new level, abandoning any attachment to natural form or color, and simplifying the elements of the subject depicted into geometric forms. The style requires the artist to contemplate the form of the subject that they are painting. This movement is associated with the mechanization of modern life in the early 20th century, the period in which it was popularized. Notable Cubists include Juan Gris, Pablo Picasso, Fernand Leger and Georges Braque.
SURREALISM Meditative Rose, Salvador Dali, 1958 Surrealism takes the subject out of the context of the natural world in an attempt to explore the subconscious. Beginning in the 1920s, artists such as Salvador Dali, Rene Magritte and Max Ernst painted illogical, unworldly scenes with extreme precision, often having photographic qualities. Surrealism tackles abstract ideas through visual work and writings, including two rival surrealist manifestos, one lead by Yvan Gall and the other by Andre Breton.
6 MODA
ABSTRACT EXPRESSIONISM Flowers, Mary’s Table, Willem De Kooning, 1971 Abstract Expressionism blossomed in New York City in the 1940s, arriving to the scene as the seemingly logical next step after surrealism. Like Surrealism, Abstract Expressionism depicts the subconscious but with a very different approach. Instead of meticulously painting imagined scenes of the subconscious, Abstract Expressionism allows the subconscious to take control, with an emphasis on spontaneous creation. The artwork in this movement is intense, emotionally raw and seemingly nihilistic, with no emphasis on naturalism or really anything at all representational.
POP ART Flowers, Andy Warhol, 1964 Pop Art became all the rage beginning in the mid-to-late 1950s as an artistic movement that challenged what was considered fine art by using popular imagery to appeal to mass culture. It is widely regarded as a response to the seemingly elitist direction in which fine art had been heading with Abstract Expressionism, an art movement that did not appeal to the masses as it was hard to appreciate due to its lack of anything representational. In contrast, Pop Art included symbols that anybody would recognize, such as Campbell’s Soup Cans, the American flag and a variety of pop culture icons and advertisements. The movement featured mass produced works of art, often with bright colors and recognizable subject matter.
Pop Art became all the rage beginning in the mid-to-late 1950s as an artistic movement that challenged what was considered fine art by using popular imagery to appeal to mass culture. It is widely regarded as a response to the seemingly elitist direction in which fine art had been heading with Abstract Expressionism, an art movement that did not appeal to the masses as it was hard to appreciate due to its lack of anything representational. In contrast, Pop Art included symbols that anybody would recognize, such as Campbell’s Soup Cans, the American flag and a variety of pop culture icons and advertisements. The movement featured mass produced works of art, often with bright colors and recognizable subject matter.
FEBRUARY 2018 7
ARTS
I M ITATI O N IN TH E W
S O URC E OF F LATTERY O R BY NAOMI GALLAGHER, ARTS EDITORIAL ASSISTANT
DILTZ
Imitation may be the sincerest form of flattery, but in the music world, this compliment is not sufficient compensation in most artists’ eyes. The history of music copyright conflicts is boundless –– and for valid reasons. Artists justifiably feel a sense of ownership to the product they create, and without established legal implications, any aspiring musician could (perhaps unintentionally) rewrite “Yellow Submarine” and make a splendid profit from it. Some may argue that it is crucial, however, to consider the limitations of the music copyright system; where it is somewhat laughable in its meticulousness, but especially where it falls short of giving an artist the credit they deserve. Perhaps the most controversial copyright debate in the music world right now revolves around dreampop singer/songwriter Lana Del Rey’s
8 MODA
alleged plagiarism of Radiohead’s nineties hit, “Creep.” Del Rey recently released her album titled “Lust for Life,” which includes the song “Get Free,” written by the singer herself along with Kieron Menzies and Rick Nowels.1 Upon listening to this track, the star’s fans rather hastily identified similarities between the two songs, and it inevitably caught the attention of Radiohead itself. It currently is unclear whether or not Radiohead has taken any formal legal action against Del Rey, but negotiations between the artists are evidently underway, according to Radiohead’s publisher, Warner /Chappell.2 The plot thickens, however, when one dips into the alt-rock band’s own copyright reputation...for the Fabio, Michelle. Forbes, 8 Jan. 2018 Petrusich, Amanda. “Lana Del Rey, Radiohead, and the Difficulty of Making Original Music.”The New Yorker, The New Yorker, 16 Jan. 2018.
CLINCH
same song. Shortly after the release of “Creep” in 1992, Mike Hazlewood and Albert Hammond of The Hollies sued Thom Yorke and Radiohead, thereby seizing all writing royalties of the song on the basis of copyright infringement of their 1974 anthem “The Air That I Breathe.”3 And so it unfolds that Del Rey is not the sole culprit of the same melodic thievery. Moreover, it complicates the current dispute, dragging Albert Hammond into the picture, as he is listed as a co-writer of “Creep.” Another case is that of Clyde Stubblefield, perhaps best known as “The Funky Drummer.” Stubblefield originally played for Otis Redding’s band, but ultimately gained his fame for driving home some of James Brown’s biggest funk hits in the late
1
2
Melissa Locker. “11 Suspiciously Sound-Alike Songs.” Time, Time, 21 Aug. 2013. 3
WO RL D O F M USIC :
R P R O O F OF INEQUALITY ?
VOGUE
VOGUE sixties. In his time playing with Brown, Stubblefield pioneered what would later be the most sampled drum beat in the history of music. N.W.A, Public Enemy, the Beastie Boys, L.L. Cool J and Prince are amongst the artists who have borrowed his signature beat in their songs, illustrating his influence on the entire hip-hop genre.4 In 1971, he relocated to Madison and played in local venues with his own band before passing away in February of 2017. I had the pleasure of knowing Clyde through my parents’ music, where he and his band played each Monday night. At a young age, I remember asking my mom, “If so many famous people have used Clyde’s beat, then why isn’t he as famous as them?” Even as a six-yearold, it did not make sense to me why Kreps, Daniel. “Clyde Stubblefield, James Brown’s ‘Funky Drummer,’ Dead at 73.” Rolling Stone, Rolling Stone, 18 Feb. 2017. 4
PHILLIP FARAONE
this trailblazer of hip-hop received such minimal credit. In an interview with SF Weekly, Clyde was asked the same question. “Well, all the drum patterns I played with Brown was my own, he never told me how to play or what to play. I just played my own patterns, and the hiphoppers and whatever, the people that used the material probably paid him, maybe. But we got nothing. I got none of it. It was all my drum product.”5 This nasty habit of Brown’s to take full credit for the ideas of other band members arose in several other interviews with Clyde,6 and it seems that his inflated sense of authority as Port, Ian S. “Clyde Stubblefield, the ‘Funky Drummer,” on Playing With James Brown and Getting Sampled By Hip-Hop Greats.” SF Weekly, SF Weekly, 2 Nov. 2012. 6 Sisario, Ben. “Living Legend Tries to Make a Living.” The New York Times, The New York Times, 29 Mar. 2011.
FARAONE
the frontman effectively prevented the other members from receiving their earned acclaim. And thus is the story of how one of the most influential drummers in history ended up playing at neighborhood bars in Madison. So, why does this happens? One band can sue an artist who imitated their song –– despite the band themselves deriving it from something unoriginal –– while the most sampled drummer in history can somehow get through life without receiving a fraction of the credit his imitators did. Is this simply a “no art is original” case study, or is it perhaps an insight into the flawed power dynamics of the music industry?
5
FEBRUARY 2018 9
FASHION
10 MODA
DESIGNER AURA OSATO EKE, SHLOKA RATHI, DIANA XIONG PHOTOGRAPHED BY JING ZENG DIRECTED BY CLARKE SMITH, FASHION EDITORIAL ASSISTANT
FEBRUARY 2018 11
FEBRUARY 2018 13
14 MODA
FASHION
FORMER BADGER PAVES W
BODY POSITIV WITH STYLE BY CLAUDIA PREVETE, FASHION STAFF WRITER 18 MODA
Instagram @the12ishstyle
As far as tributes go, it’s important to recognize those who came before us. In terms of UW-Madison students, Katie Sturino, alumnus and successful fashion blogger behind The 12ish Style, seems to be worthy of not recognition, but praise. Her blog is built on the principle that fashion should include all body types –– size two or twelve (ish). Additionally, she’s started a line of products known as Megababe that “[takes] the Ouch and Ugh out of being a woman” from antichafe sticks to special woman-friendly antisweat sprays. Katie, a loyal Badger, answered a few questions about her time in Madison, her mission and of course, all things Megababe and The 12ish Style. MM: As a UW student, I have to ask: What was your favorite part about going to UWMadison and did you have any specific experiences as a student here that you would say have shaped you and your career today? KS: Going to UW-Madison really helped to expose me to people from all over the country, specifically NYC. Before college, I had never been to New York and school really opened my eyes to what else was out there in the world. I met so many classmates from New York that I, too, began referring to it as “the city.” MM: If you could give your college-aged self one piece of advice, what would it be?
WAY TO
ITY
KS: Two pieces of advice: One is to learn as much as possible from as many different people as you can. Internships are so important because you’re really able to shadow people and learn about their lives and their careers. And two, look at college as a time to get to know yourself better. You don’t have to figure out your whole career before you graduate –– or even in your 20’s –– but you should take a step towards something. This will help you discover what you like and what you don’t. MM: How did you decide to start? KS: I decided to start The 12ish Style because I was tired of not seeing my body type represented on fashion blogs. Man Repeller did a story on me and the comments from women were so positive. One of our most popular series on the blog is called “Supersize the Look” where we recreate celebrity looks in a size 12 and up. It’s really
empowering for followers to see that they can achieve star style at any size. MM: What has your journey been like in terms of self-love? KS: I used to be much harder on myself, but as I grew into my late 20s, you realize to take it a bit easier on yourself and you have more compassion. When you’re young, there’s a lot of comparison and unfairness, but as life evolves, you take it easier. MM: Tell me about Megababe and what that journey has been like. KS: Right now, Megababe consists of our Thigh Rescure, an anti-chafing stick for anyone without a thigh gap, and Bust Dust, a spray to reduce boob sweat. We have an aluminum-free deodorant and two more products for Summer 2018 on the way. I’m more proud of Megababe than anything I’ve ever done. I turned a shameful problem into something women can talk about and celebrate. MM: What is your hope for the future of fashion in terms of being inclusive to all bodies? What should the up-andcoming individuals entering the industry keep in mind? KS: I hope that the future of fashion gets on the right side of history sooner rather than later in terms of being inclusive to all bodies. It is truly hard to watch these massive retailers adapt so slowly. As far as designers entering the industry, they must keep in mind that being successful in this day and age means dressing people of all shapes and sizes. Fashion’s current business model is going to be changing, and up-and-coming individuals need to be aware of that. A Wisconsin alum, a style icon and a woman for all women making major strides in the fashion world as well as body positivity, Katie Sturino encompasses a multitude of characteristics and accomplishments that are both something to strive for and celebrate. She serves as role model to all Badgers looking to make a difference post-grad.
FEBRUARY 2018 19
CULTURE TOM HART
A LOOK INTO MILWAUKEE’S “INN ER CORE” IN THE 1960S BY STEVEN JOTTERAND, CONTRIBUTING WRITER “We hold these truths to be selfevident: that all men are created equal; that they are endowed by their Creator with certain unalienable rights; that among these are life, liberty, and the pursuit of happiness.”1 Whether it be the bloodshed during the Civil War or the hundreds of thousands walking arm and arm with Martin Luther King, it’s critical to not forget, neglect or ignore the cost of what it took to defend the idea that all men are created equal — especially locally. Milwaukee, Wisconsin was one of the most segregated American metropolises at the height of the Civil Rights era. 2 Drawn to manufacturing jobs and higher wages, many African Americans migrated to Wisconsin from states in the deep south, such as Alabama and Mississippi, after World War II.
As jobs became more readily available, more African Americans set their sights on America’s Dairyland. From the 1940s to the 1960s, Wisconsin saw a population increase of 600 percent,3 with many immigrants finding themselves in Milwaukee. By 1960, this demographic made up 15 percent of the city’s population,4 with 83.4 percent of Wisconsin’s African American population living in the city –– an 6.4 percent increase from 1950.5 A majority of African Americans in Milwaukee were living in what the community called the “inner core.” Charles T. O’Reilly, a researcher of the African American population at the University of Wisconsin-Milwaukee, describes the inner core as “grey” or “depressed.” There were some good residential areas to live in, but much of the infrastructure was crumbling.
Ibid. “Black History in Wisconsin.” Wisconsin Historical Society. August 03, 2012. Accessed January 29, 2018. 3
“The Declaration of Independence: Full text.” Ushistory.org. Accessed January 29, 2018. 2 “Desegregation and Civil Rights.” Desegregation and Civil Rights |Turning Points in Wisconsin History | Wisconsin Historical Society. Accessed January 29, 2018. 1
20 MODA
4
O’Reilly, Charles T. “THE INNER CORE-NORTH, A STUDY OF MILWAUKEE’S NEGRO COMMUNITY.” 1963. Accessed January 28, 2018.
Streets needed to be repaved and schools were in bad shape.6 There were many reasons for the division in American society throughout the 20th century, some stemming from pure hatred such as in the famous case of Emmett Till. This young boy was beaten and lynched because he, a young, black man, had “spoken” (disputes on what actually happened) with Carolyn Bryant, a 21-year-old white woman. Decades later, Bryant came forward saying she sensationalized her side of the story. The 16th Street Church Bombing in Birmingham, Alabama, too, killed four innocent lives.7 Whether it was in Milwaukee, or down south in Alabama, the African American community grew frustrated throughout this time. The government did nothing to change the treatment they endured as second-class citizens: the inequality entrenched in housing and schools laws remained unchanged, as did higher unemployment and
5
6 7
Ibid. Ibid.
poverty rates. This inequality remained a stitch in the American fabric. This government overlook occurred on the local and federal levels. Richard Rothstein, author of The Color of Law and a fellow at the NAACP Legal Defense Fund, explained to WUWM radio that the government had historically put effort into helping white families while completely overlooking the African American community. He said the Federal Housing Administration (FHA) not only refused to insure mortgages in and around African American neighborhood (also known as redlining) but also subsidized infrastructure builders in subdivisions under the condition that they don’t sell homes in the area to African American.8 Although Africans Americans were also, in principle, guaranteed the same loan as white people, many banks refused to loan money to them.9 African Americans who served time in the military, too, faced challenges. The creation of the GI Bill was a way to compensate Americans for their service to Uncle Sam. Although African American veterans were entitled to the same benefits as their white counterparts under the bill, they often found themselves being misdirected when asking for their fair share. VA job counselors, too, steered African Americans from university courses for which the GI Bill would help pay. In some cases, counselors told African Americans they did not need an education because the job market had no place for them. Even when they managed to obtain tuition money, universities imposed quotas on the number of African American student they could take in. The VA, too, conducted problematic redlining practices.10
Gross, Terry. “A ‘Forgotten History’ Of How The U.S. Government Segregated America.” WUWM. May 8, 2017. Accessed January 29, 2018. 9 “African Americans, women, and the GI Bill (article).” Khan Academy. Accessed January 29, 2018. 10 Ibid.
Throughout the country as in Milwaukee, racism and segregation plagued Americans. Still, giving up was never an option, so began the fair housing fight. “Live where you want to live,” Alderperson Vel Phillip famously said. As the first African American woman to win a seat on the Milwaukee City Council, the Milwaukee native was a champion of equal rights.11 She wanted to empower her people from the “inner core” with a voice to fight the inequality they endured, motivating her hard fight for equal housing. She drafted the Phillips Housing Ordinance, a bill that would make it illegal to refuse renting properties to citizens on the premise of skin color, specifically African Americans. Despite her determination and resilience, in 1962 the Common Council turned down the fair housing law she introduced in a landslide 18-1 vote, with only her vote in favor. After five frustrating years of no action, Milwaukee’s NAACP Youth Council called for a march to Kosciuszko Park, and many others followed suit. These marches protested the Common Council’s reluctance to pass legislations for open housing. Phillips helped lead the charge alongside Father James Groppi,12 a first generation white, Italian-American priest and equal rights advocate who worked at St. Boniface Church in the city’s inner core.13 At these marches, Phillips, Father Groppi and other protesters often encountered angry white men and women who yelled obscenities and threw objects like eggs and bottles. Violence at Kosciuszko Park came close on the heels of eight days of rioting at a Milwaukee entertainment spot, which ended in 1,500 arrests and four deaths.14 Finally, in 1968, Milwaukee Common Council approved the forbid of racial discrimination in housing — the one Vel
Phillip wrote — following the ratification of the Civil Rights Act of 1968. Phillip and Father Groppi’s work took flight after that. Phillips became the first woman and African American to become a judge, working for the 13th District Children’s Court in her hometown. Then in 1978, she became the first African-American women elected as secretary of state in Wisconsin.15 Father Groppi went on to lead marches fighting for welfare, Native American rights and ending the Vietnam War. In his honor, 16th Street Bridge was renamed to the Jame E. Groppi Unity Bridge.16 This is just one example of the struggle Milwaukee’s African American population had to endure in the fight for their unalienable rights. Although Milwaukee has seen progress in housing equality, disparities continue to persist into 2018 — an astonishing six decades after the Civil Rights Act of 1968. Rothstein explained that although African Americans were legally freed to buy whatever, wherever, biases embedded in FHA and VA mortgages kept them from having the actual means to afford houses. While housing security has enabled white families to accumulate wealth and equity throughout the decades, African Americans have had a stagnant struggle.17 Similar racial struggles continue looming across the country today. On one hand, discrimination manifests in the disparate incarceration rates and employment opportunities, while African American communities around that country are also confronted by issues with gun violence and with police brutality. If America is to live up to its promise for liberty, then the responsibility to help one another and to end division falls on the shoulders of every American.
8
“Vel Phillips.” Wisconsin Historical Society. December 16, 2014. Accessed January 29, 2018. 12 Ibid. 13 “Father Groppi: Priest and Activist.” Wisconsin Historical Society. December 23, 2014. 14 Ibid. 11
15 16 17
Ibid. Ibid. Ibid.
FEBRUARY 2018 21
LIFESTYLE
SO YESTERDAY: EMBRACING YOUR INNER CHILD BY MOLLY RAPOZO, LIFESTYLE STAFF WRITER PHOTOS PROVIDED BY MODA STAFF
22 MODA
Picture this: a bright, warm morning in June, just after class has ended for the school year. You hop out of bed and immediately get dressed to meet your neighbors outside. Shoes are optional as you race out onto the glistening morning grass, still fresh with dew. Today’s game of choice is Sardines, because it’s a remix on classic hideand-seek that all your friends love. At this moment in time, playing is the most important thing for you and your friends. Your days are spent running around in nature, making up new games and taking in the world around you. Fast forward fifteen years and you are sitting in lecture upon lecture. Or, you are going to job interviews, practicing how to conduct yourself in a suitable way for future employers. You might be going to that job you interviewed for, sitting all day under harsh fluorescent lights and reminiscing about how fun it used to be to play all day in the sun. With the transition from teenager to young adult comes a heavy emphasis on professionalism. Twentysomethings are frequently looked at with the expectation of bringing a sweet sense of naivety and creativity to the table, while still conducting themselves in a responsible and controlled manner. As we enter our college careers, this emphasis is heightened, and frequently, our time and effort goes into what will propel us into our professional careers. While this is important, and qualities such as reliability, competence and ethics are essential to conducting yourself as an adult in society, so are the characteristics of youth and the unabashed creativity that stems from that age. Turning toward your inner child — rather than running away from it — might be just what we need to push us ahead in our productivity. What is the most youthful activity you partake in as a college student or twentysomething? One could argue, in relation to professionalism, that partying is a somewhat childish activity — technically an awesome networking activity, but youthful nonetheless. But, let’s say that you can get more playful and silly than
that. When was the last time you went on the swings? Or climbed a tree? These are commonly viewed as childish activities, but this type of play might actually move your creativity to a new level.
the present and future.”2 Reminiscing on your old favorite tunes might help you connect better with the world around you and encourage the creative process.
Innovation and readiness to adapt stems from this feeling of spontaneity and happy mood, argues author Paul Martin. In Play, Playfulness, Creativity, and Innovation, Martin writes “playfulness in adult life affects the readiness with which people develop new ideas and has a broad influence on human relations.”1 Your biggest asset to your professional career, whether creative in nature or not, is the ability to innovate, come up with new strategies and be agreeable. Those traits are the essence of professional life, and you can strengthen those
If you know any kids, whether through babysitting or family, spend more time with them. Children are imaginative and not yet psychologically developed enough to feel self-conscious. They create and do as they please without their minds telling them what they should be doing instead. Spending time with kids will bring you hours of non-stop storytelling and jokes, which can translate into your perception of the world as well.
“Turning towards your inner child, instead of running away from it, might just be what we all need to push us ahead in productivity.” skills just by having a little bit of fun. If you are struggling to regain that youthful liveliness, find your inner child with some simple, easy activities.
TURN UP THE VINTAGE TUNES
Make a playlist of your favorite Disney songs or throw on some Britney circa 1999 and see where that takes you. Feelings of playfulness can actually come from nostalgia, and this does great work in driving creativity too. Research by members of the University of Southampton’s School of Psychology suggests that “nostalgia harnesses the past for engaging with
Bateson, P. P. G., and Paul R. Martin. Play, Playfulness, Creativity and Innovation. Cambridge: Cambridge University Press, 2015. 1
PLAY WITH KIDS
CLIMB SOMETHING, ANYTHING
We all know that physical activity can amplify creativity, a reason why many of us choose to go to the gym. And, while the gym is fun for some people, many others feel dragged down or intimidated by large fitness centers. Getting outside — whether it be visiting a playground while babysitting, running around the woods during a hike or climbing rocks and trees — can bring an exciting aspect to your regular activities. For an even better blast from the past, join in on an activity from your youth! If you used to dance, take a class; join an intramural soccer team if that was your gig. Have fun while getting active, and you will reap benefits in creativity and happiness. Accessing your playfulness and childlike tendencies through nostalgia (or literal playtime) brings huge benefits to the life of any young professional. Through these habits, you can better grasp what it means to be an agreeable and adaptable person, while strengthening your innovation and creativity through your ability to act like a kid again. So go ahead and put on Hilary’s “So Yesterday.” Take it back to when you were a kid. Tilburg, Wijnand A.p. Van, Constantine Sedikides, and Tim Wildschut. “The mnemonic muse: Nostalgia fosters creativity through openness to experience.” Journal of Experimental Social Psychology 59 (February 12, 2015): 1-7. Accessed January 25, 2018. 2
FEBRUARY 2018 23
ARTS
24 MODA
MOLLY BURKI, MAX GOLDBERG, MACKY REHM, JESSICA WEBBER, & JONAH ZAMZOW-SCHMIDT PHOTOGRAPHED BY MARISSA HAEGELE CREATIVE DIRECTION: GEORDON WOLLNER CREATIVE TEAM: EMILY WOODZICKA, CHANNING SMITH, & ALEXA MCGOEY
FEBRUARY 2018 25
FASHION
DAPPER DAN:
THE ORIGINAL BY CLARKE SMITH, FASHION EDITORIAL ASSISTANT Many times, we leave pioneers in the fashion industry out of history. Their behind-the-scenes work goes unnoticed, and credit is given to the person that wears it. Of course, this is a part of the job, no complaints. Still, as inspiring as their work turns out to be, artists should receive credit from the community, rather than small tokens of recognition. Dapper Dan is one man in black fashion history who has been often overlooked and undermined, leading him to close his business despite revolutionary creativity and skill.
Once upon a time, Dapper Dan, born Daniel Day, was a pioneer designer in the hip-hop community. After a short success throughout the 1980s, the very use of the Gucci logo that won him his fame forced Dapper Dan to close his iconic, Harlem-based store in 1992. Now, rather than re-constructing the brand’s garments, Dapper Dan is finally seeing his name next to the label. Dapper Dan is like Trevor Andrew, also known as Gucci Ghost, but 10 times more dangerous as far as power goes because he has the ability to not only
visualize a design, but the team to construct it as well. Which explains why after all of these years of being seen as a threat to brands, Gucci finally decided to offer him an opportunity to work with them, officially. During the showing of Gucci’s 2018 Resort Collection in May, a puffy sleeved piece that looked extremely close to a 1980s Louis Vuitton version by Dapper Dan was sent down the runway. In 2017 however, we can expect that nothing goes unnoticed, so Alessandro Michele
RENELL MEDRANO
34 MODA
DREW CAROLAN
found himself a hot topic on Twitter as users demanded Dapper Dan be given his credit. After all, how could you penalize him for his creativity in the ‘80s, shut down his Harlem-based boutique, and then essentially copy the design 30 years later and send it down the runway as an original? Michele should have known better than that. Instead of suffering from what could have been a major social media attack, he turned it into a business opportunity. Gucci’s Instagram account quickly captioned the jacket “an homage to Dapper Dan,” and then later announced that Dan’s boutique would be reopening soon; this time, through an official partnership with Gucci. Pictures surfaced this past June of the reinvented shop. With the help of Gucci, Day could not only provide luxury status through his pieces, but create an entire in-store experience that accompanied that feeling. As Dapper Dan’s original fans saw him in a full red and green ensemble posing in his new red velvet-lined boutique, they could feel nothing but excitement.
Although this was a big milestone for the black community and its supporters, success was nothing new to Dapper Dan. In the ‘80s, his boutique went from a regular clothing shop, to a 24-hour factory that provided designing, constructing and tailoring. It quickly caught the eye of rappers like LL Cool J and Big Daddy Kane. As stylist June Ambrose described it, “You didn’t have to say [a garment of his] was ten thousand dollars, it just looked like ten thousand dollars.” From 1982 to 1992, the store gave celebrities and moguls the exact amount of status validation they needed. As his clients competed with one another, it only pushed him to continuously produce one-of-akind pieces that scream luxury. Soon, he realized just how much rich men loved visible luxury of all kind, and expanded his talents to accessories and even car detailing. Dapper Dan was the only one of his kind, hence why he was in such high demand. He recognized that people would pay top dollar for exclusivity, even if it wasn’t real. When he found himself printing brand logos on leather
WORLDS BEST EVER
within his own shop, he knew that he still had to set his prices high, in order to keep the feeling of exclusivity. One of the problems Day was always aware of was the luxury brand finding out about his inauthentic and unapproved use of their name. Still, he took risks and knew that his creations would live far beyond a closed boutique –– and he was right. It’s only over when you stop working, water down your image for others and believe in your lack of usefulness just as much as others do. Dapper Dan stayed true to his calling, and at almost 70-years-old, he is back open for business, bringing to the table the same creative opulence that he did 30 years ago. Those who missed his prime era can appreciate his work now, and those who didn’t know about him will never forget him. A legend, an idealist, a businessman to say the least and an almost immortal being, all due to his continuous influence on flashy, luxury fashion. Thanks to some long overdue, genuine recognition, Dapper Dan will now forever live on in every culture.
FEBRUARY 2018 35
FASHION
A N O DE TO
C OCO CHA NEL : THE U LT IMAT E #G I R LBOSS BY SAMANTHA GEORGSON, CONTRIBUTING WRITER; ILLUSTRATION BY MIA BOULUKOS If a diva is still defined as the female version of a hustler,1 Gabrielle “Coco” Chanel is the original diva and arguably one of the most influential fashion designers of all time. She revolutionized the way women wore clothes and turned the lower-class working woman into a fashion icon, capitalizing on the changing times and later, feminism’s second wave post WWII. Her unconventional use of fabric and materials as well as her radical style served as the forefront for her groundbreaking career as a designer and advocate for social change. Coco Chanel played a crucial role in women’s liberation by pushing the social limitations of fashion and defying gender requirements in the industry. She built her brand with the working woman in mind and her primary focus on comfort and practicality. As Chanel entered the world of fashion, the corset was still being implemented in the female wardrobe. She challenged this by designing relaxed yet sophisticated clothing that fit the female form as it was built. “Fashion has two purposes,” she said, “comfort and love. Beauty comes when fashion succeeds.”2 Shortly after opening her first store in 1910, Chanel released her first collection.3 She created a line of
women’s sportswear, consisting of loose-fitting yet still incredibly flattering pieces made from cheap, simple materials that were otherwise traditionally reserved for men’s undergarments. It was an immediate success. Along with her innovative use of materials, Chanel is known for incorporating many other avantgarde ideas into her designs. Chanel is celebrated for freeing women from the confines of the “corseted silhouette,” as she promoted a sort of sporty, casual chic look, which eventually became the new feminine standard of style.4 Chanel raised many issues with the current fashion trends, arguing that the designers of the time were disregarding the needs of their female clientele. “Fashion has become a joke,” said Chanel. “The designers have forgotten that there are women inside the dresses. Most women dress for men and want to be admired. But they must also be able to move, to get into a car without bursting their seams! Clothes must have a natural shape.”5 Chanel redefined women’s fashion simply by making clothes for the female figure instead of tailoring them to the ever-so-prominent male gaze. Although Chanel didn’t actively Graves, K. “LEGENDARY WOMAN IN HISTORY...COCO CHANEL.” VIEW WOMAN MAGAZINE. August 23, 2016. Accessed January 23, 2018. 5 Neel, Julia. “Best Coco Chanel Quotes.” Vogue. 4
“Beyoncé – Diva.” Genius. January 20, 2009. Accessed January 23, 2018. 2 Maloney, Maggie. “25 Coco Chanel Quotes Every Woman Should Live By.” Town & Country. October 11, 2017. Accessed January 23, 2018. 3 “Inside CHANEL.” Inside Chanel. Accessed February 02, 2018. 1
36 MODA
August 23, 2017. Accessed January 23, 2018.
make use of the word “feminism,” her designs came about at a crucial time for women who were fighting for their political and economic rights in the workplace. Chanel’s philosophy was to emphasize understated feminine elegance through her designs. She created a style that was appropriate for both the social and corporate world. There were many aspects of Chanel’s designs that made her stand out in the male dominated fashion industry during her time. Two of her major, progressive designs were her revolutionary Chanel suit and her institution of trouser for women –– a concept I’m sure we are all thankful for as we pull on our pants each morning, one leg at a time without thinking twice. Chanel not only adopted styles, fabrics and articles of clothing that were intended for men, but she gave them a feminine elegance in their own right. During the war, women often had to wear trousers when working in traditionally male jobs. However, Chanel played a huge part in accelerating their popularity as a fashion item.6 Her iconic Chanel suit is recognized as a fashion-forward step for women, propelling them toward being taken seriously in a world of business. Its details consisted of a collarless, boxy Dunne, Eleanor. “SEVEN WONDERS: HOW COCO CHANEL CHANGED THE COURSE OF WOMEN’S FASHION – Wonderland.” Wonderland. September 4, 2013. Accessed January 23, 2018. 6
wool jacket with braided trim, fitted sleeves and metallic embellished buttons. Paired with an accompanying slimline skirt, the outfit was the perfect choice for the post-war woman who was trying to build a career in the male-dominated workplace.7 Chanel’s designs were revolutionary for her time. Her progressive style served as inspiration and motivation for women to continue pursuing their rights in the workplace as well as on many other political, economic and social platforms. In fact, women have been known throughout history to use fashion as a feminist tool. Although Chanel might not have Dunne, Eleanor. “SEVEN WONDERS: HOW COCO CHANEL CHANGED THE COURSE OF WOMEN’S FASHION – Wonderland.” Wonderland. September 4, 2013. Accessed January 23, 2018. 7
owned the title of “feminist,” she certainly contributed to creating a platform for the second wave. She understood and acknowledged the power of fashion and is famously quoted saying, “Adornment, what a science! Beauty, what a weapon! Modesty, what elegance!”8 She provoked and encouraged the fierce femininity that came after WWII. The trademark Chanel look was one of girlish ease, modern physicality, and feminine confidence. Her designs were crucial in the liberation of women, physically and symbolically, and today they still serve as inspiration and motivation for women to continue
their fight for equality – elegantly, comfortably and confidently. Chanel’s influence extended beyond couture clothing. She is credited with having liberated women from the restraints of the corset and popularizing a much more progressive and sophisticated feminine standard of style. Coco Chanel is a widely known name, and her brand is still dominating the fashion industry today. Her life’s work has inspired and motivated many young women to pursue their dreams, whatever they may be, and most importantly, to do so in style.
Maloney, Maggie. “25 Coco Chanel Quotes Every Woman Should Live By.” Town & Country. 8
October 11, 2017. Accessed January 23, 2018.
FEBRUARY 2018 37
ARTS
A TRIBUTE TO MADISON’S UNDERRATED ART SCENE BY AMELIA FAIST, ARTS STAFF WRITER
When seeking a visual art experience, we tend to reach far. While we long to explore the Guggenheim, the Louvre or the Museum of Modern Art, we sometimes forget to explore the existing, vibrant art scene within the town we call home. Take a moment to explore some of the most underappreciated art hubs right here in Madison.
HATCH ART HOUSE, 1248 WILLIAMSON ST. A curated selection of artisan crafts including pottery, scarves, wall hangings and stationary. This location also exhibits paintings and drawings from local artists, making it a great one-stop shop for any gifts, housewarmings and higher-caliber addition to one’s existing collection. FAIST
MADISON MUSEUM OF CONTEMPORARY ART, 227 STATE ST.
FAIST FAIST
38 MODA
This under-the-radar collection is located in one of the most iconic arts centers of downtown Madison, the Overture Center. Take a break from the Wisconsin cold on your way to Capitol Square of State St. and enjoy the beautiful collection of mostly large, abstract paintings.
CHAZEN MUSEUM OF ART, 750 UNIVERSITY AVE. UW-Madison’s Chazen Museum features an abundance of pieces for you to get lost in for hours. Located on campus, this hub is perfect to use as an enriching source of entertainment between classes. Some of its most notable works come from names such as Grant Wood and Francis Bacon. BARRETT-WILT
JAMES WATROUS GALLERY, 201 STATE ST. This under-the-radar collection is located in one of the most iconic arts centers of downtown Madison, the Overture Center. Take a break from the Wisconsin cold on your way to Capitol Square of State St. and enjoy the beautiful collection of mostly large, abstract paintings. YELP
YELLOW ROSE GALLERY, 122 STATE ST. This venue is easily accessible, relaxed and holds a wide range of local art. Pieces are unique, beautiful and available for purchase at a variety of price points. Employees are ready to help with a wealth of knowledge that will put casual browsers at ease. YELLOW ROSE GALLERY
With so many vibrant galleries dotted all around Madison, it is easy to find something up your alley. Rather than waiting for your next trip to New York or Paris to engage in the local art scene, take advantage of what Madison has to offer.
FEBRUARY 2018 39
ARTS
TRIBUTE: DESTINATION, WORLD, PEACE PHOTOGRAPHED & WRITTEN BY ELLA GUO Everyone has a tribute to what is sacred to oneself. It’s the tribute to someone’s identity, life experience, personal belief, etc. People demonstrate their “tributes” through decorating themselves with body art, jewelry and other various forms. Through zooming the lens closer to each vivid individual, a deeper connection between the photographer and individual is formed, through insights into the meanings behind their “tributes”. For Saja, her stunning jewelry is her tribute to her Middle Eastern background and her past experience in Palestine. For Pflugey, he attributes his dreadlocks to 70s rock culture that advocates love and peace. With his dreadlocks, he wants to be an approachable person to spread welcoming and positive energy to the people who he meets. For the third person I worked with, who wants to remain anonymous, she got each one of her tattoos at different places she has traveled to. It is her tribute to her intangible and inseparable experiences from her travels around the world. Leaving a destination, one can always take away memories, but these may fade over time, while the tattoos, as a permanent body art form, acts as tribute to those intertwined incidents that shape their sacred life path. This is a tribute to diversity, gender, personal backgrounds and all life experiences.
40 MODA
The opinions, beliefs and viewpoints expressed by the author and participants in this article do not necessarily reflect the opinions, beliefs and viewpoints of Moda Magazine. We understand that the content in this article may elicit responses from our readers, and we welcome conversation on the topic. If you have any questions or concerns, please email moda.wudpublications@gmail.com.
FEBRUARY 2018 41
42 MODA
FEBRUARY 2018 43
44 MODA
FEBRUARY 2018 45
LIFESTYLE
TAL K CONS EN S UA LLY TO M E BY MOLLY O’BRIEN, LIFESTYLE EDITORIAL ASSISTANT ILUSTRATION BY CHANNING SMITH “Gross, dirty. Hurt… I felt powerless than I know I am.”
more
This is how one UW-Madison female describes her feeling following a sexual encounter which took place while under the influence of alcohol. As students on a campus where going out is part of the social scene and hookup culture is prominent, many sexual interactions come following a night out. Amidst sexual assault allegations circling those in power, it’s important to strike up a conversation about consent on campus. After talking to nearly twenty individuals on the UW-Madison campus, each had a clear idea of what “consent” means. Answers featured words such as “actively saying yes,” “mutually agreeing” and “[a] clear and voluntary yes.” These working definitions highlight affirmation and importantly are not just “the absence of a no.” That being said, they sound very textbook. Although these are all correct, the clear cut boundaries become hazy in many sexual encounters. Consent, specifically when drunk, can be confusing for both parties, but should happen at all stages of sexual interactions, from both parties — despite any prior expectations.
“Providing an opportunity to say what you are comfortable with empowers an individual and makes for a more pleasurable experience” 46 MODA
No person should wake up the next morning feeling how this student did. Having a conversation about what both parties are comfortable with can remove the possibility of regret. The National Institute on Alcohol Abuse and Alcoholism says approximately one half of sexual assaults happen with the victim, perpetrator or both under the influence of alcohol.1 It is important to note that, even if the victim has been drinking, this in no way pegs them as responsible for any assault. Many sources say that consent can’t be given when under the influence of alcohol; however, there are extremely varying levels of intoxication, and to say one must be completely sober to give consent would be naive. Plus, alcohol can often serve as a dose of liquid confidence. As another female UW-Madison student put it, “being drunk gives me an insane confidence boost, and I can actually successfully flirt with guys, dance with them and hook up with them. I know I could do that sober too, but it doesn’t come as naturally, and I get really awkward. Alcohol has allowed me to have lots of sexual experiences with lots of different guys and feel in control of the situation.” Rather than leave young people wondering if they should feel guilty about their actions from the night before, implementing consensual conversations can mobilize a happier, healthier sexual experience. This can be expressed through nonverbal cues — leaning in for a kiss, making eye contact and moaning — in conjunction with those that are affirmed aloud. Consent should “Alcohol and Sexual Assault.” National Institute on Alcohol Abuse and Alcoholism. 1
always be enthusiastic, freely given and specific to the activity. Simply asking “what do you want to do?” can put both parties at ease and creates boundaries. Providing an opportunity to say what you are comfortable with empowers an individual and makes for a more pleasurable experience. Additionally, this can lead to more fun and sexy conversations. Consent is powerful. It affirms that opinions and feelings matter. The reality is that people are engaging in sexual activity under the influence of alcohol. Instead of suggesting consent cannot be given in this state, learning ethical and respectful ways to do so are all the more important.
CULTURE
HOW # M E TO O HEL PED D IS C LOS E THE O PEN SECRE T BY CLAIRE DEROSA, CONTRIBUTING WRITER I was at dinner with several guy friends who had worked as camp counselors insisted all little girls were sexist. Although I immediately found several things wrong with their assertion, we continued discussing the evidence behind this claim. One of the guys had been nicknamed “fun killer” by some of the girls, and some others didn’t even bother to give him the time of day. Although kids aren’t always as polite and mature as we want them to be, I suggested that her distaste for male counselors may come from her own experiences with male authoritative figures. What if she has a poor relationship with her older brothers or father? What if her weariness of male counselors
comes from an experience of being sexually abused? My friends at the table immediately shut down the possibility and shook their heads in disapproval. They immediately changed the subject and moved on because I had made the subject awkward for them. Yet, I felt uneasy just ending the conversation there. I suppose I understood the reluctance to jump to touchy subjects during their one relaxed part of the day, but their dismissal of my suggestion irked me. I picked at my food while my mind ran to a million places, thinking of all the things that were wrong with what just happened: why they made my point about assault seem so far fetched, why they ignorantly said, “all little girls are sexist.” If I were to say, “All men are sexist,” they would have thrown a fit and talked over me like they usually do. Why were they the ones who get to decide when the conversation was over? Why were they so quick to put down my counterpoint about sexual assault, to silence me when I could have been standing up for that camper? Why were they so uncomfortable talking about it? The men at the table could not even stomach the thought of it, let alone dare utter that idea aloud. Their silence points to a bigger part of the problem. Though most men do not condone sexual violence, their immense discomfort in talking about it — and more importantly, refusal to listen to women’s experiences — is detrimental to making any progress. Shutting out women’s testimonies belittles and invalidades what women have to say related to sexual violence.
However, the recent #MeToo movement provided a way for women to break through the man chatter and force them to listen. It enables the potential to alter conversations about sexual violence — conversations like the one between me and my friends — by bringing the subject to the top of our Twitter feeds and to the forefront of our discussions. Tarana Burke –– an activist who founded Just Be Inc., a youth program focused on the wellbeing of young women of color –– first introduced the term #MeToo to empower young women of color who have been sexually violated. About a decade later, actress Alyssa Milano catalyzed the movement as we know it when she tweeted the hashtag.1 The two recognized the importance of the meaning behind #MeToo and respect each other’s role in spreading the movement. “I think it is selfish for me to try to frame Me Too as something that I own,” Burke said. “It is bigger than me and bigger than Alyssa Milano. Neither one of us should be centered in this work. This is about survivors.”2 Garcia, Sandra E. “The Woman Who Created #MeToo Long Before Hashtags.” The New York Times. October 20, 2017. 2 Garcia, Sandra E. “The Woman Who Created 1
“The #MeToo movement is only one of the first steps in a series of change that needs to happen.” FEBRUARY 2018 47
First to break the silence against multi-million dollar producer Harvey Weinstein, Judd remembers his predatory behavior as something nearly everyone knew about but never took to the public eye. It was an “open secret,” actor Ashley Judd recalls.3 Much like an unwanted family heirloom, Weinstein’s secret passed down from generation to generation, from one movie star to the next wideeyed girl eager to make it in show biz.
it recognizes the severity and sheer magnitude of the people affected by sexual violence and harassment. It deals with the issue sensitively in that it doesn’t pressure victims to detail their trauma or explain anything that they don’t want to. #MeToo provides a medium through which victims can stand up for themselves and in solidarity with other survivors and allies, without being pushed into social ostracization.
Judd’s brave testimony — along with those of the 63 women who ensued — changed that.4 Their stories not only inspired other women to speak out against their aggressors, but also began to reshape the way we view previously well-liked men like Larry Nassar and Bill Cosby. We seem to have begun holding untouchable figures in wealthy industries accountable for their wrongdoings. Even when the sexual misconduct convictions involve men with good reputations, people seem to be more likely to side with the victim instead of the assailant.
These women are role models for
These women rose up and led sexual violence victims to the first step of healing; they stood up so that victims could step away from stigmas. They assert the idea that both overt and passive shaming, dismissing and discomforting directed towards these people would normalize sexual violence culture.
Sure, there is some truth to this; unsolicited touching is different than forcing someone to have sex. However, in my opinion, this rhetoric misses the mark a little. #MeToo is about giving a voice to victims who have been manipulated with the power to keep them silent for so long. Whereas these men have both the means and platform to defend themselves, survivors have had close to nothing before the movement. Certainly though, this does not give the green light for anyone to go around accusing whomever they please.
The rhetoric of #MeToo is simple: it consists of two words that say it all. Yet, it recognizes the severity and sheer magnitude of the people affected by sexual violence and harassment.
” in
our
The rhetoric of #MeToo is simple: it consists of two words that say it all. Yet, #MeToo Long Before Hashtags.” The New York Times. October 20, 2017. 3 “TIME Person of the Year 2017: The Silence Breakers.” Time. Accessed January 29, 2018. 4 Desta, Yohana, and Hillary Busis. “These Are the Women Who Have Accused Harvey Weinstein of Sexual Harassment and Assault.” HWD. October 30, 2017. Accessed January 29, 2018.
48 MODA
“
lumps together all assailants without regard to the severity of their transgressions. They point to the problems of categorizing them all into one monolithic group who will then be ousted by the rest of society. They also argue that the movement can damage men’s careers and reputations without giving them a chance to defend themselves, all with one tap of a “share” button.
their strength; they are role models for opening the door to discourses about victimization, manipulation and vulnerability — all difficult but necessary subjects to discuss; they are role models for criticizing and alluding to the implicit biases that are deeply entrenched in the consciousness of our society. However, critics of the #MeToo movement contest that the hashtag
#MeToo brought to light injustices that have been closeted for years. According to Pew Research, 66 percent of Americans saw recent sexual misconduct reports not as individual case issues, but as indicative of larger social problems.5 This is a critical step away from victim blaming and one towards reforming the way we respond to assault.
With the help of easy internet access, the hashtag breached social cleavages to unify victims of sexual assault globally. Those who sought to tell their stories found solidarity in the many others tweeting out #MeToo and took comfort in the knowing they weren’t alone in experiencing these atrocities. Oliphant, Baxter. Pew Research Center. December 07, 2017. Accessed January 29, 2018 5
The fact that the movement took place primarily across social media platforms also provide a certain degree of anonymity and depersonalization. Under usernames with limited images and information, victims could share their experiences without the discomfort of confessing face to face. However, speaking out still comes with certain social ramifications of being seen as “buzzkills” or “attention seekers.” Sometimes, to others, they become nothing but symbols of the assailants’ crimes. This exasperated kind of rhetoric discredits women’s traumas and pushes them to internalize their feelings of shame, forcing them to stay silent for even longer. This is problematic not just because it is not their shame to feel, but also because they should not suffer from someone else’s crime for any longer than they already have. The Hollywood community may have popularized the #MeToo movement, but sexual violence has been happening in less privileged communities for much longer. It can be extremely difficult for celebrities to remain in the spotlight when enduring vulnerable situations like these. However, those who we see in our everyday life also deserve our empathy and solidarity. What about blue-collar workers who can’t speak out because they can’t risk losing their jobs? If it is already extremely hard for millionaire movie stars to report abuse, what about the people that have the most to lose?
of the first steps in a series of change that needs to happen. For one thing, the ways in which authorities handle sexual assault must improve. Although law enforcement needs to maintain the integrity of the truth, they should also become more victim-oriented to encourage reporting. Companies need to take measures that put their at-risk staff first; they must hold powerful moguls fully accountable for their actions. For example, in Chicago, hotels mandated the addition of panic buttons for employees that are often left alone with patrons.7 We must continue to propel the progressing social shift that’s changing the way we view victims. This can be a shift from perceiving victims as attention-seekers to brave confessors. We can work to empower sexual violence victims by amplifying their voice with movements like #MeToo, or by simply listening. Perhaps we should start by informing our youth in elementary and middle schools about sexual misconduct, consent and sex. We need to have uncomfortable conversations like these in order to break silences and stimulate positive change. If we continue to stifle these conversations, we perpetuate normative codes of suppression and sexual violence in our own communities. We should strive to move onward from here with less “open secrets” and more open dialogue. So, go out and empower at least one woman in your life today, tomorrow and the next day by simply, listening.
The movement must recognize those who are the most susceptible to abuse and silencing, such as the LGBTQ+ community, immigrants, people of color and low-income workers.6 Because they are already forced to the outskirts of mainstream middle-class, cis, white culture, these groups are often forgotten or afraid to speak up. The #MeToo movement is only one “TIME Person of the Year 2017: The Silence Breakers.” Time. Accessed January 29, 2018. 6
“TIME Person of the Year 2017: The Silence Breakers.” Time. Accessed January 29, 2018. 7
FEBRUARY 2018 49
ARTS
FROM SHRINES TO ZINES:
THE PHENOMENON OF CELEBRITY CULT WRITTEN AND ILLUSTRATED BY MADELINE RASMUSSEN, ARTS STAFF WRITER People tend to inflate what they love, such as devotees who inflate the impact, the genius and the importance of adored celebrities and icons. The Beatles, Oprah and even films such as The Rocky Horror Picture Show are notorious for having something of a pseudo cult. In many scenarios, enthusiasts need outlets to express their undying fascination. The phenomenon of shrines, the physical evidence of worship, can be dated back thousands of years and are an integral component in almost all religions on earth. The focus of these shrines is usually enveloped in legend. Martyrs, saints and heroes are all venerated for the sake of their reverence and wonder.1 But what about secular shrines? What about celebrities transfigured into deities, their brands becoming the obsession of laymen? Teenagers are especially drawn into this mindset. Picture a 15-year old’s bedroom in 1998. A 4’ x 4’ poster of Leonardo DiCaprio hangs, his glossy face illuminated by candles. A VHS copy of Titanic or Baz Luhrmann’s Romeo + Juliet sits among other objects –– perhaps an alleged lock of Leo’s hair –– or maybe rose petals to invite the premonition of romance and obsession. For the most part, this expression of fandom is relatively harmless. Sometimes the creation of shrines is purely for aesthetic purposes, an artful (albeit creepy) statement in interior design. The practice could even be seen as one’s first step into curation, with the collection of idol-specific artifacts presenting itself like a gallery. If anything, the creation of a shrine seems almost natural. What else is there to do with your collection of Saved by the Bell fanzines?
50 MODA
There is a moral debate, however, corrupting the foundation of not only shrines but celebrity worship as a whole. In general, celebrities are talented and successful, which tends to gain them a status that floats high above that of “regular” people. With status comes influence, and celebrities are able to use their status and platform to push their ideas onto the public. Often times, however, celebrities opt for brands instead of real human personalities, and those who consume celebrity media are actually consuming a constructed self, a strategic arrangement of appearances, tweets and even relationships. When exposed to the barrage of celebrity archetypes, it can become difficult to sort out what a real person is and does. As adolescents and young adults create their own identities, celebrity culture can create feelings of inconsequentiality. Describing celebrities as conspirators set out to persuade the youth isn’t helpful either. The dehumanization that comes with fame is psychologically damaging. The constant attention
and overexposure of one’s entire life is something that most people cannot imagine. Expectations placed on those in the public eye continuously become more severe, and many celebrities experience a fall from grace. It is important and necessary to build an identity for one’s self. Media and role models are key components in this formation, and there is a lot to learn from those who have status and influence. However, the fixation on the unrealistic ideals that celebrity culture perpetuates can be detrimental and make regular people turn toward a projected ego that is not a compilation of their own traits, but a compilation of expectations. Perhaps instead of making shrines aimed at far away luminaries, these displays should be created to celebrate the uniqueness of reality. The messy desk of a creative or the sprawl of makeup over a bathroom sink could be interpreted as a shrine. A celebration of quiet beauty and authenticity, two things sparse in modern society. 1
Werblowsky, R.J. Zwi, “Miracle.” Britannica.com.
FEBRUARY 2018 51
52 MODA