Moda Madison: September 2017 Issue

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TEAM EDITOR IN CHI EF Darby Hoffman

ASSOCIATE ART DIRECTOR Lauren Chung

DEPUTY EDITOR Eva-Delilah Weiland

PHOTOGRAPHY DIRECTOR Marissa Haegele

ART DIRECTOR Alix DeBroux

ARTS CURATOR Ben Golden

WUD PUBLICATIONS COMMITTEE DIRECTOR L. Malik Anderson WUD PUBLICATIONS COMMITTEE ADVISOR Jim Rodgers WUD PRESIDENT Iffat Bhuiyan

ON THE COVER Kaila Ruppel photographed by Geordon Wollner and Reilly Koch

SPECIAL THANKS TO Bloom Bake Shop Tailgate

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CREATIVE DIRECTORS Geordon Wollner Reilly Koch FASHION EDITOR Ashley Mackens

STAFF WRITERS Haidee Chu Lauren Chung Margaret Duffey Amelia Faist Cassie Hurwitz Ashley Mackens Michael Sachen Geordon Wollner CONTRIBUTING WRITERS Kim Drastal Emilie Enke

ARTS EDITOR Margaret Duffey

MODELS Sam Broadnax Alix DeBroux Claire Jacobs Morgan Jameson Reilly Koch Carlie Ostrom Kaila Ruppel Macky Rehm Allie Tarnoff

MEN’S EDITOR Michael Sachen

ART Haidee Chu

LIFESTYLE EDITOR Cassie Hurwitz CULTURE EDITOR Haidee Chu

PHOTOGRAPHY Margaret Duffey Emilie Enke Marissa Haegele Morgan Jameson Reilly Koch Kailie Starr Geordon Wollner

TABLE OF CONTENTS SEPTEMBER 2017

LIFESTYLE

CULTURE

05 Redefining the “Classy” Stereotype

43 Bidding Farewell to the Classic Mindset

An inside look of what it takes to re-

The common understanding of “classy” is outdated — let’s change that.

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Celebrating Not-SoClassic Beauty Icons

Beauty isn’t always about being conventionally pretty.

OTHER 07 The Lipstick Edit

“How many shades of red lipstick do

you need,” they asked.

She said, “that question is complex and intriguing.”

FASHION 16 Designer Profile: Kailie Starr

Making gameday fashionable.

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Take it from Tokyo Trend watch in Japan.

ARTS 30 Hail We Now Sing Joy

Rashid Johnson uses materials like shea

define priorities— mental health matters.

44 Departing from the Classics

Investigating the phenomenon of

diminishing interest in the humanities.

MEN’S 46 The Americana Resurgence

Re-think dad jeans.

FEATURED 08

Vintage Summer Hot weather, cool girl.

22 Understated is Overrated

Why be ordinary, when you could be extraordinary?

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Intoxicate A collection of intimate moments.

48 Tailgate

...is the word that you’ve heard. It’s got groove, It’s got meaning.

butter to illustrate the African-American experience.

32 Modern Music With Classic Potential

Beyond Beyonce— artists to add to your modern classics playlist.

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LETTER FROM THE EDITOR

B AC K TO B AS I CS I recently learned that the human brain is predisposed to crave change and novelty.

Meaning that by thriving off of our bodies’ physical responses to new, shiny things; we, as a species, are more likely to always want the next best thing, than to enjoy what we have right here and now.1 Being dissatisfied with our appearances, belongings, and the directions of our lives is a familiar habit for most. Yet, no matter how hard each of us tries, we still cannot redesign our existence to match the perfect image we set out for. Instead, we push ourselves to strive for an unattainable, everchanging reality.

I am not immune to this unfortunately situation. Because staying up-to-date on trends is such a central part of what I do at Moda and in my personal life, I constantly compare my Pinterest boards and wish lists to the reality surrounding me, causing me to always ask: “How can I reinvent my life?” However, after learning that our biology reward us with warm fuzzies each time we introduce the ‘new’ to our lives, I feel a bit of relief. Rather than finding fault in ourselves for being unable to achieve this fantasy, we can recognize that it is, truly, all in our heads. Why, then, should we not appreciate the things around us that don’t change, that don’t meet the inconsistent and impossible standards of today’s trends, the standards, the classics.

Bunzeck, Nico, and Emrah Düzel. “Absolute Coding of Stimulus Novelty in the Human Substantia Nigra/VTA.” ScienceDirect.com, Neuron, Volume 51, Issue 3, 3 Aug. 2006 1

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Whether you turn staple items into statement pieces or look to not-so-classic beauty icons to find a new appreciation for your current look, imperfections and all, this month’s issue celebrates what it means to get back to basics, as well as challenge the mold of “classic” altogether. Within these pages, our writers share personal tales of mental health, redefining feminine class and looking to a parent’s total disregard for fashion to showcase how imperfections exist, even within the classics.

The return of the academic year can elicit thoughts of who you are in relation to the thousands of other students oncampus. However, rather than paying attention to all of the areas that you wish you could reinvent; I encourage you to consider the building blocks of your life. Revisit your passions, what makes you a unique, amazing friend, and what aspects of your life are worth giving a little extra love (Answer: All of them). Appreciating different lifestyles and experiences is not synonymous with feeling jealous or disappointed in your own. Instead, use these encounters as fuel and remind yourself of what you don’t need to change.

Best,

LIFESTYLE

REDEFINING THE CLASSY STEREOTYPE

BY LAUREN CHUNG, ASSOCIATE ART DIRECTOR On a Monday night, you will always find me in front of the TV unapologetically watching The Bachelor. In fact, most nights I am accompanied by my mother, and if I’m really lucky, my father (who will deny this fact if you try to confirm it). Recently, we sat on our living room couch watching the spin-off series, Bachelor in Paradise, in which men and women from previous seasons vacation together in Mexico in an ‘attempt to find love.’

As one contestant was shown being intimate with the third man she’s been with this season, I watched my father’s nose wrinkle in disgust: “That’s the third guy she’s made out with… how unclassy of her.”

“Being classy should have a more broad approach and definition. It is a matter of not only understanding who you are as a woman in our world, but having the selfrespect to be true to yourself in a way that upholds your personal beliefs and values.”

Later in the show, my mother and I exchanged frivolous thoughts on another contestant’s choice of dress for a rose ceremony (or rather lack of a dress).

However, reflecting on our viewing of the show, I was ashamed at my judgement. I have made my fair share of poor social, fashion and behavior choices; so who was I to judge the “classiness” of the strangers in front of me?

With a quick Google search, I found the definition of a “classy woman” to be semi-vague. However, most articles did contain a handful of overlapping qualities women are meant to possess, in order to be deemed classy. These included, but were not limited to: being punctual, polite and having proper etiquette; an absence of profanity and having polished, tasteful, feminine and elegant style.

What troubles me with this list and many of the “tutorials” on how to be a classy woman is the outdatedness.

These guidelines bring back archaic notions of women needing to fit in with society’s standards. With the definition of being classy filed narrowly under such superficial constraints, how is any woman supposed to live their life in a way that pleases them, rather than pleasing others with proper manners and neatly filed nails?

Being classy should have a more broad approach and definition. It is a matter of not only understanding

who you are as a woman in our world, but having the self-respect to be true to yourself in a way that upholds your personal beliefs and values. If you enjoy a feminine lifestyle or the more traditional lifestyle of a “classy” woman, then so be it! Conversely, if you believe in a completely opposite lifestyle, then so be that as well.

You need not worry if your approach to life is more brazen than others or if you love to swear, have bad posture or would rather prioritize time outdoors without any makeup on.

You are not less classy if you enjoy partying more than your peers or have different views on the hookup culture than others. You should not feel pressured to leave behind those “unclassy” views, because some may deem it unwomanly.

Being classy is knowing who you are and behaving, living and respecting the lifestyle that accompanies it — no matter how minimal or extravagant, audacious or modest. Classiness should be a measure of authenticity, rather than a rulebook for the female population. Holding yourself with high regard and respect, having an authentic approach to your life and, most importantly, loving yourself are the keys to living a classy lifestyle.

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HARPER’S BAZAAR, IMDB

C ELEBRATING THE NOT-SO-CLASSIC BEAUTY ICONS

BY CASSIE HURWITZ, LIFESTYLE EDITOR When the words “classic” and “beauty” come together, what do you think of? Or, rather, whom? A quick Google search will give you answers such as Audrey Hepburn, Grace Kelly and Marilyn Monroe. There is no disputing the fact that these women are beautiful, and classically so.

However, when looking at the depth of these icons, there is not much.

They are stunning in classic ways — full lips, luscious hair and dreamy eyes. Additionally, they are always white.

When looking at the diverse landscape of today’s world, these women are not representative of all kinds of beauty. Their classic looks may speak to a portion of people, but often give the impression that in order to be “classic,” you must follow similar beauty regimens as these well-known stars.

However, more and more, models and celebrities have been praised for unconventional looks. One of the first

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successfully “unclassic” celebrities was Grace Jones, a Jamaican woman known for androgynous beauty and wild style. Her cropped hair, daring makeup and originality should be inspiration for everyone— sometimes beauty is about the anti-classic.

Additionally, Frida Kahlo made a name for herself by rejecting the idea of classic beauty. She depicted herself with areas of facial hair — something many women attempt to remove nowadays — and looked incredibly striking while doing so. Kahlo used her appearance as a way to redefine beauty and show that it is not always about looking conventional.

There are a few women throughout recent history that provide a similar kind of inspiration. Lauren Hutton’s career jump started because of the gap between her two front teeth.

Kate Bosworth’s different colored eyes only add to the depth of her beauty. Finally, Tilda Swinton’s icy, androgynous features help

distinguish her from the classicality of Hollywood.

It is easy to agree that many celebrities are beautiful. It is not so easy, however, to find many more that do not fit into the category of classic beauty.

These few icons with unconventional looks are inspirational, but there are not enough of them. The fashion, beauty and modeling industries have improved, but we still do not have a proportionate amount of not-soclassic icons to look up to.

Unconventionally beautiful models, actresses and celebrities must become more present in the public eye. Instead of only having classic icons to gravitate towards, women need to see a wider range of beauty types in the spotlight. When it comes down to it, everyone is beautiful.

However, not everyone will recognize this, when the majority of beauty icons are too classic. Let’s continue to celebrate the “unclassic” icons of the beauty world.

THE LIPSTICK EDIT

BY GEORDON WOLLNER, CREATIVE DIRECTOR CO-CHAIR

From the risqué and scandalous to the royal and powerful, the history of lipstick has been a rocky one. Since Cleopatra first crushed ants and carmine to mix her perfect shade (true story), red lipstick has been seen as a symbol of high status, a thing of shame and disgrace and everything in between.

“How many shades of red lipstick do you need,” they asked.

She said, “That question is complex and intriguing.”

In the world of beauty today, a set of red lips is as classic as it gets. No longer are these rich, sultry shades deemed sinful by a higher power, nor are they reserved for Hollywood carpets, New York galas and late nights. A fresh swipe of red undeniably comes with a newfound sense of strength which is guaranteed to put an extra pep in your step. In need of a pick-me-up this season? Well, as Coco Chanel once said, “If you’re sad, add more lipstick and attack.”

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Hanging poolside with bold colors, feminine details and a hint of edge CARLIE OSTROM PHOTOGRAPHED BY MORGAN JAMESON DIRECTED BY ASHLEY MACKENS, FASHION EDITOR

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FASHION

Designer Profile:

KAIL I E STAR R

BY ASHLEY MACKENS, FASHION EDITOR CLAIRE JACOBSON, MORGAN JAMESON, KAILA RUPPEL AND ALLIE TARNOFF PHOTOGRAPHED BY KAILIE STARR

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A designer, like any other entrepreneur, strives to be different than their competition. Even more so, they strive to be better. It takes passion, intellect and a strong work ethic to stand out in a crowd, especially when everyone in that crowd is wearing Badger Red. Kailie Starr, creator of the cleverly named 608 Tailgate, is doing everything she can to make her line of women’s gameday apparel a success on UW-Madison’s campus. The economics major entering her senior year at the university has always had a love for the fashion industry. With hopes to double major in retail and consumer science, Starr combines business knowledge and experience with her interest in women’s fashion.

A: W here does your interest in fashion come from?

K: I have always had a passion for the fashion industry. I started taking sewing classes at the beginning of high school and continued them throughout. I decided to go into business coming into college, and the reason I am adding on a retail major is because I want to apply my business skills to an industry I am passionate about.

A: How did you get the idea for 608 Tailgate?

K: I got the idea for starting a tailgate line last fall, when I was getting ready for game days and realized all I could really wear were T-shirts. I found myself cutting up T-shirts trying to mimic trends or make them fit better and have a cuter cut. Then I thought, “Why don’t I just make clothes that already fit well and already have more of a fashionable cut and style to them?” It was in the middle of football season, when I got this idea, and I kinda just tucked it in the back of my mind. This summer, I kept coming back to the idea; and I had some free time, so I decided to just go for it and try this thing out. It has been going pretty well so far. I have gotten a lot of good feedback from friends and girls I don’t even know.

A: Other than knowing how to sew, do you have a background in fashion?

K: I have worked and still work for Urban Outfitters as a Sales Associate, so I do have a little bit of experience in the retail industry. I am constantly surrounded by the latest trends, and I can see what girls are buying.

A: What made you want to pursue this project other than just wanting cuter game day clothes?

K: It was also about starting my own business. In the future, I want to have my own fashion label, so this is a step in that direction. I wanted to do this for the business experience and for my passion of the fashion industry. I also just didn’t want to make clothes for myself, I wanted other girls to feel cute and confident on game days and wanted them to wear something they like wearing, not just another shirt from the book store.

A: How did you know where to begin?

K: I did some research on the latest trends in terms of tops and dresses.

Then, I started a couple designs and sketched them out. I tried to recreate

them in a way that would be fit for Wisconsin. I also tried to tweak what was already popular and make it my own and make it different. I went and bought fabric and started playing around, creating different pieces and found what worked and what didn’t and kind of went from there.

A: Do you have a staff or anyone that helps you manufacture and market your products?

K: I pretty much do everything all on my own. The girls in the photos are my models and have been doing a little influencing on social media.

Otherwise, it's pretty much just me.

A: Do you consider your business methods and approach to fashion conventional or unconventional?

K: I would say unconventional, just because a lot of people who start smaller clothing companies where they are selling T-shirts are outsourcing to big manufacturers, whereas I am creating everything on my own, from scratch. I am not using a template for designs. I am designing, sewing and screen printing everything on my own.

That is pretty unconventional compared to how other people have gone about starting a clothing company.

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“[The 608 girl] is someone who loves Wisconsin and supporting her Badgers but wants to do so in a way that is fashionable and comfortable on game day.�

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A: How do you set yourself apart from other student designers?

K: I have seen a couple girls from other universities who have started game day clothing lines, and a lot of them just take pre existing items such as T-shirts and cut them up, dye them or alter them in some way. I think I am unique in that I do make it myself, and I am trying to make things girls actually want to wear and stick to the trends.

A: How many pieces do you have for sale right now?

K: Right now I have four pieces, and one of them comes in two different colors. I have a red bodysuit that says “Wisconsin” on it in white and a black bodysuit that has a graphic of a girl

with sunglasses and lollipop. Then I have a red dress that says “Wisconsin” on it in white, and I also have a bandeau that comes in red and black that says “Wisconsin” on it.

A: How can people buy your product?

K: You can buy my product on my website which is 608tailgate.wixsite. com/608tailgate, and I also have an Instagram (@608tailgate) where you can get a closer look at my items.

A: What’s next for you and your line?

K: If this line goes well, which I am hoping it does, I want to add a couple more pieces later in September. After that, I want to do a spring line for “darties” and maybe a couple specialty pieces for holidays like St. Patrick's day or for events like the Rose Bowl.

Further in the future, I would like to expand to other schools. If Wisconsin responds well to 608 Tailgate, I would love to expand to other universities.

A: Who is the 608 girl?

K: She is a trendsetter. The 608 girl is someone who loves Wisconsin and supporting her Badgers but wants to do so in a way that is fashionable and comfortable on game day.

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TA KE IT FROM TOKYO The world’s largest city integrates rapidly-changing fads into deeply-rooted customs WRITTEN AND PHOTOGRAPHED BY EMILIE ENKE, CONTRIBUTING WRITER In a city of ancient heritage and traditions as strict as they are old, eccentric and innovative fashions disrupt the conformist society that is Japan.

Tokyo is the country’s – and the continent’s – beating heart of modernity, setting the standard for eloquent trends that embrace self-expression, yet respect firm societal norms.

Walking the sidewalks of the world-famous Ginza-6 and Harajuku districts, there is an undeniable rush of femininity and finelyexecuted detail in every outfit. It goes by the face of dainty prints on blouses, frills which softly frame the shoulder, scalloped trim that falls beneath the neck and bell sleeves that grace every movement.

Imagine 1950s ultra-femme meets 1970s hippie.

Perhaps the greatest facet of Tokyo’s fashion is its versatility. Flowing, widelegged pants strut every subway station, office, nightclub and café. Wear it with a tucked blouse and necklace for a professional day-time look, or swap the briefcase for some suede platforms and untucked lace top to achieve the ultimate evening wear. Japanese women have a little trick for making any pant look go from day to night: just untuck the top!

When it comes to platforms, it matters not the style, only the height. From sneakers and Teva-inspired outdoor sandals to boho block heels, platforms compliment every outfit and body type.

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Ask any Japanese woman what compliments a great pair of sneakers or strappy sandals, and they will likely all agree, it’s socks. Despite what most may think of as the screaming “American teenage boy” look of socks and sandals, in Japan, socks are the perfect addition to accentuate any outfit. Short-rise with a couple frills or mid-rise with boots are among the countless ways to show your brother he’s not the only one who can rock the socks-on-Stocks trend.

It is no secret how ungodly humid Tokyo’s summer months are. To add a hint of modesty to sheer comfort, camisoles and long-line bralettes are accompanied by a simple tee. Long or short sleeves keep the look respectful, while the femme details get their time to shine. Mildly gracing the spring likes of Free People and American Apparel, layering tees under tanks is here to stay, especially as fall weather makes it otherwise impossible to sport spaghetti straps.

Tokyo’s high-fashion sense does not derive from consumer-oriented practices, rather it completely opposes it. The polished look Japanese women hold standard for themselves originates from pride and meticulous attention to detail, as well as honor for themselves and the representation they hold for their families.

Despite the ever-changing fads the city so quickly adopts, this age-old praise for precision will always be the timeless touch so unique to Tokyo.

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understated is overrated KAILA RUPPEL PHOTOGRAPHED AND DIRECTED BY GEORDON WOLLNER AND REILLY KOCH with a special thank you to Bloom Bake Shop

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white button down (models own) denim (jeans) urban outfitters (models September 2017 23 own) vintage inspired white sunglasses shein gold bauble drop earrings kate spade new york

girl power t-shirt the blou shop vintage denim jacket watch L.A.

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princetown slippers gucci industrial belt off-white black and white dots drop earrings kate spade new york rings kate spade new york, madewell, and h&m scarf thrifted

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gold bauble drop earrings kate spade new york September 2017 27 own) white button down (models

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vintage yellow dress thrifted gold wire sunglasses dolce & gabbana pearl drop earrings forever 21

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ARTS

HAIL WE NOW SI NG JOY A visual diary of the African-American experience WRITTEN AND PHOTOGRAPHED BY MARGARET DUFFEY, ARTS EDITOR Written in a bold yellow color, “Rashid Johnson: Hail We Now Sing Joy” covers the glass wall which leads into the Milwaukee Art Museum’s first floor exhibition.

Antoine’s Organ, a complex contemporary work which utilizes black bookshelves and hundreds of live plants, is visible through the glass and acts as a frame for the title of the exhibition. Towering over viewers, the shelves hold stacks of books and display films which focus on the black experience.

The prominent location of the piece introduces the relationship between African history and modern racial identity which persists throughout Hail We Now Sing Joy. Johnson drew inspiration from the intersection of different identities, including personal, cultural and racial, to construct an exhibition which discretely operates as a visual diary.1 The exhibition title itself draws on African American history as the name of a jazz song by the Art Ensemble of Chicago.

Johnson uses unique materials like shea butter and black soap to draw on West African roots in the majority of his pieces.

Their traditional healing powers Milwaukee Art Museum

1

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make them widely used in African American households and tied to identity formation. Johnson uses materials involved in his personal development to mark change throughout the exhibition. In addition to Antoine’s Organ, the exhibition features three series— Falling Man, Escape Collage and Anxious Audience. In the Falling Man series, Johnson used white ceramic tile, mirror pieces and black soap to create figures which appear pixelated – like video game characters – and pay reference to his gaming as a child. While the figures are highly abstract, they appear violent and disturbing. In the middle of the room, Johnson created a sculpture by stacking shea butter on top of a worktable which is covered with a Persian rug.

The piece has a balancing effect in the room which is otherwise graphic in its video game depictions.

you could actually live in a place with palm trees, if you could get away from this city and the cold, that meant you definitely made it,” Johnson says.

For the Escape Collage series, Johnson splattered black soap and wax across canvases, depicting tropical imagery. Growing up in Chicago, Johnson viewed tropical environments as ideal and reflected on it in the series description. “As a kid, I remember thinking that if

Through the use of African materials closely related to Johnson’s personal identity, he constructs an exhibition packed with double meaning and an important record of the individual African American experience.

Filling the final room of the exhibition, the Anxious Audience series uses repetition to cause an unsettled feeling in viewers.

Several canvases feature rows of sketched faces; but instead of creating the images through adding color, Johnson scratched off black soap applied to white ceramic tile to make the faces. The removal process causes the series to give off a feeling of emptiness which pushes audience members to seek out what is missing. Anxious Audience prompts conversation on modern racial tension and societal instability, because it evokes feelings which are associable with the helplessness they inflict.

“Johnson uses unique materials like shea butter and black soap to draw on West African roots in the majority of his pieces. Their traditional healing powers make them widely used in African American households and tied to identity formation.�

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MODER N M USI C WI T H CLASSIC POT ENTIAL Content derived from Spotify.com artist biographies

BY AMELIA FAIST, ASSISTANT ARTS EDITOR When thinking about classic music, the songs our parents played as background music while we were growing up often come to mind.

They are the songs that stand the test of time and take our parents back to when they were our ages.

They are tied to memories and make them feel nostalgic. But what about modern classics? What artists will we be listening to 30 years from now?

While artists like Ariana Grande, Beyoncé and Justin Bieber will make most throwback playlists, there are

many other hidden gems that have the potential to become personal classics. This list includes some of my personal favorites, which I think have the potential to make your modern classics list.

1 . “ C HIL DHOOD DREAMS” BY ARY 23 year-old Ariadne Loinsworth, aka ARY, hails from Norway, not far from her main audience in Oslo. With her latest single, “Childhood Dreams”, she is creating some serious international buzz, attracting new U.S. listeners from NYC, LA and Chicago. With only three singles out, ARY reaches almost 700,000 listeners per month on Spotify. She once told her mother she never thought she would be a singer, because it felt like people could see right through her when she sang.1 However, her haunting sound is capturing a notable audience, and she is just getting started.

Watson, Elly. “New Noise: Ary | Wonderland Magazine.” Wonderland. February 27, 2017. Accessed September 06, 2017.

1

2. “ FA DE D HE ART” BY BØ RNS Michigan native, Garret Borns has gained popularity over the past couple of years under his stage name, BØRNS. His most popular track, “Electric Love,” has reached about 115 million listeners on Spotify and is featured in two Southwest Airlines commercials, as well as the hit movie, “Nerve” (2016). His new single, “Faded Heart,” boasts his signature synth-y, grainy sound which makes BØRNS stand out.

3. “ J A N GL IN ” BY EDWARD SHARPE AND T HE M AGN ETI C Z EROS This 10-piece ensemble of folk-rock stars is most known for its smash hit “Home.” The song peaked at over 200 million streams on Spotify, with several other tracks receiving more than 20 million. The group draws inspiration from music communities in Southern California and values spreading good vibes through their music. One of their more under-the-radar tracks, “Janglin,” is a groovy track that is worth a listen.

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4. “ SHE ’ S A LADY” BY LI O N BABE Jillian Hervey (daughter of Vanessa Williams) and her producer Lucas Goodman, make up this dynamic, retro R&B duo. They pack a full sound, with feminist power songs such as “Treat Me Like Fire” (their most popular track), “Got Body” and a fiery spin on the classic “She’s a Lady.” They boast 635,000 Spotify listeners per month and seem to be quickly garnering more visibility.

5. “ A LL MY L IF E” BY JAY RO CK, LI L WAYNE AND WI L L I A M Popular in LA and Chicago, rapper Jay Rock hails from Watts, California. Classified as a hardcore rap artist, he delivers a gritty-smooth voice perfectly laid over full-bodied instrumentals. Two gang-related incarcerations act as a source of material for his music. Drawing from tough experiences growing up and in prison, Rock produces heartfelt lyrics. He garners more than 900,000 Spotify listeners per month and has partnered on tracks with big names like Lil Wayne and Kendrick Lamar.

6 . “ LOSE IT ” BY O H WO NDER Anthony West and Josephine Vander Gucht create the airy, laid back sound of Oh Wonder.

They had a huge wave of success in 2015, as live dates sold out across Europe for an album not yet released. Even more impressive, the self-titled debut “Oh Wonder” was a self-produced collection. They set a goal to write and produce one song per month for a year, and the challenge helped them reach more than 4 million monthly users.

7. “ C OCA INE JESUS” BY RAI NBOW KI TTEN SURPRI S E Started in a North Carolina dorm room, this group of five delivers an echoing, folky sound in their freshman and sophomore albums. It all started with Sam Melo and Darrick Keller, with Ethan Goodpaster, Charlie Hold and Jess Haney joining later to release their 2013 debut, “Seven.” Their popular track, “Cocaine Jesus,” is full of enchanting harmonies and a beautiful blend of voices and instrumentals that will make you swoon.

8. “ FOR E L ISE ” BY SAI NT MOTEL Vocalist and pianist A.J. Jackson, guitarist Aaron Sharp, bassist Dak Lerdamornpong and drummer Greg Erwin make up the indie-pop group Saint Motel. Their popularity began shortly after releasing their debut E.P., “ForPlay,” in 2009, and have since released two more equally successful albums as a group. Their latest, “saintmotelevision,” was born as an idea for a multimedia performance event (with music, dance, art and more) but was shut down. The band ultimately reclaimed it as the title for their equally spectacular album, titled after the event.

360 degree virtual reality experiences accompanied each track, the first album of its kind.

9. “ DIE YOUN G ” BY SYLVAN ESSO Amelia Meath and Nick Sanborn make up Sylvan Esso, an electronic folk duo from North Carolina. Popular mostly in the United States, with top listeners in LA and Manhattan, Sylvan Esso averages 1.6 million monthly listeners. “Die Young,” released on their latest album “What Now,” boasts alternately grainy and bubbly instrumental tracks, stunning complements to Meath’s folky voice.

Check out these talented artists, because their timeless sound may earn a place on your own personal list of classics.

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intoxicate ALIX DEBROUX PHOTOGRAPHED AND DIRECTED BY MARISSA HAEGELE

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CULTURE

BIDDING FAREWELL TO THE C LASSIC MINDSET The importance of prioritizing mental health WRITTEN BY KIM DRASTAL, CONTRIBUTING WRITER We are confronted by countless messages every day; these messages tell us to do more, to be more, to try harder. These messages come in both subtle and overt ways; they come from friends, family members and, most of all, ourselves. Rather than taking a day off, or leaving the library—or even just taking a breath—we labor tirelessly, ceaselessly pushing ourselves to the limit. It seems that mental health almost always comes last on any college student’s ‘to-do’ list. Study after study shows that the vast majority of college students are struggling: not only have more than 80 percent of college students felt overwhelmed by all they had to do in the past year, 45 percent of students have felt things were hopeless.1 The really somber thing is that this is probably not surprising to many. We all hear our friends complaining about stress; we all hear ourselves belittling our anxiety and sadness. It seems normal, it’s just the “classic” college student mindset.

However, I want to break the mold.

I want to rid the standard that says mental health has to come last.

I spent my entire life putting myself last.

Every day was about juggling school, my social life and my job—everything mattered more than the pain I was feeling inside. I put on a smile, and I said what I needed to say to keep everyone appeased… but I cried myself to sleep every night.

College, I thought, college would be the answer. I could finally get away from my demons, I reasoned. All I needed was to get out of this town and leave behind all of its history. All I needed was a fresh start, so that I could be a new me. College was supposed to be amazing, people said. It was supposed to be the best time of your life. It was bound to bring me joy— I just had to be far far away from here. So, when Darcy Gruttadaro & Dana Crudo, “College Students Speak: A Survey Report on Mental Health,” NAMI, the National Alliance on Mental Illness, 2011 1

the time came to choose a school, I crossed out the whole Northeast, where I am from. The more distance, I reasoned, the better I would be. I finally found my dream school, but that did not stop the pain. I told everyone it did; and I said I was better, because I really wanted to be. I wanted my school to become synonymous with a better life, but I think I knew deep down that it wouldn’t be... I tried to end my life the month I found out I got into school.

I reassured my parents that I was okay, as we began our travels to Wisconsin.

School would be the best—I would meet the best friends in the whole world, I would be in love with all my classes and I would be happy. For the first time in months, I felt hope— hope about things finally being alright. But it only took 48 hours for me to realize that I had made a huge mistake, not because Wisconsin wasn’t a great school, but because I was still the broken girl with the mask— because I had never really talked about anything.

I had never actually fixed anything.

I had only applied a bandage. I felt completely trapped and utterly alone. I thought there was no way out, because the only plan I had ever imagined was going to college and finishing in four years with no deviations. So I tried, once again, to get away from it all forever.

Then, I made the hardest decision of my life— I left school. For the first time in my life, I put my mental health first. I packed up my things, and I was gone within 24 hours. I only said a few goodbyes, and the only trace of me was the name tag on my door. I was ashamed and completely mortified: What would people think? What would they say? All I saw on social media was people having an amazing time at college— and I had just left my freshman year after only a month.

Only a week later, I was admitted to a residential treatment center for eating disorders, mood disorders and drug abuse. It was the most horrific and

“Then, I made the hardest decision of my life— I left school. For the first time in my life, I put my mental health first.” terrible, yet amazing and beautiful experience I have ever had. After 19 years of wearing my armor, I had finally stripped it off completely. After spending almost half my life in therapy, I actually began to “do” therapy. I finally started opening up and talking about the hard stuff. I became honest and vulnerable; and though I was just starting my ascent from rock bottom, I had never been more relieved and genuinely hopeful in my entire life.

Regardless of what society makes us believe, it is imperative to put your mental health first. It is completely and totally okay to not be okay. It does not make you weak, pathetic or anything— it makes you normal human being. I spent most of my life putting myself last— I thought my happiness didn’t matter, but it does. Trust me, accomplishing everything you want to cannot be done until you are healthy.

There is absolutely no shame in asking for help, it only makes you incredibly strong. As much as we fear rejection, the right people will stand by your side and help you weather any storm.

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DEPARTING FROM THE CLASSICS A look into the phenomenon of diminishing interest in the humanities WRITTEN AND ILLUSTRATED BY HAIDEE CHU, CULTURE EDITOR Before Madison became a haven for its growing health tech industry and prolific startup scene, it was once epitomized by its accomplishment in the humanities. Whereas Foxconn’s plans to open a new Wisconsin plant has been dominating the state’s economic discourse recently, “the Wisconsin Idea” has been a guiding philosophy that is deeply instilled into not only the university but also the city, and perhaps even the state, for over a century.1 The impact and reach of ideas in the humanities to Madison is further evinced by the lasting effects of progressivism.

Nonetheless, in the face of recently changing societal demands, both ideas have faced immense adversity and turbulence. The future of progressivism, which is motivated by the desire to expand democracy and to resolve newfound challenges in the face of technological development,2 looked grim under Governor Scott Walker’s “budget repair bill” in 2011, despite political activism and resurgences that served to sustain the very same idea. In his 2015 budget, the governor also proposed scrapping the century-old “Wisconsin Idea” to reframe the university’s mission to “meet the state’s workforce needs.”3 Although both trajectories—focuses in technology and in the humanities—are a testimony to the city’s intellectual vibrancy, Madison continues to observe diminishing emphasis in the humanities, a once prized part of its identity. This paradigm shift is not unique to this idyllic isthmus, nonetheless; diminishing interest in the humanities is a widespread phenomenon nationally and globally.4 “The Wisconsin Idea.” University of Wisconsin– Madison.

2 “Progressivism and the Wisconsin Idea.” Wisconsin Historical Society.

3 Herzog, Karen. “Walker proposes changing Wisconsin Idea — then backs away.” February 04, 2015. Milwaukee Journal Sentinal.

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Diminishing interest in humanities in higher education The late 1960s to mid-1980s witnessed the most extreme decline in humanities studies for at least the past century.

The steepest drop in completion of humanity-based bachelor’s degrees was from approximately 17 percent in 1969 to just about 7 percent in 1986.5 While the following decade saw a slight revival in interest, it was overshadowed by another steady decline since 1994. In 2015, the same numeric indicator of interest dropped to about 5.5 percent, an all time low.

Data by College Board also indicates continuously decreasing interest in the arts and humanities among incoming college students.6 Shrinking social investments in the humanities also manifest at the state political level: in addition to Walker’s bygone, aforementioned intentions to replace the UW System’s “Wisconsin Idea” with more vocational goals,7 many other governors proposed similar cuts to humanities departments at universities, in hopes of reallocating resources towards more “practical” fields.8 In March, President Donald Trump’s first budget proposal suggested eliminating not only the National Endowment for the Arts and the National Endowment for the Humanities but also the Corporation for Public Broadcasting, a major revenue source for PBS, NPR and the Woodrow Wilson International Center for Scholars.9 The call to end Delany, Ella. “Humanities Studies Under Strain Around the Globe.” December 01, 2013. New York Times.

5 “Bachleor’s Degrees in the Humanities.” Humanities Indicators by American Academy of Arts & Sciences.

6 “What Do Changes in the Intended Majors of College-Bound Seniors Portend for the Humanities?” American Academy of Arts & Sciences.

7 Herzog, Karen. “Walker proposes changing Wisconsin Idea — then backs away.” February 04, 2015. Milwaukee Journal Sentinel.

8 Tworek, Heidi. “The Real Reason the Humanities Are ‘in Crisis’.” The Atlantic. December 18, 2013.

these programs is unprecedented since their installations in 1965, when Former President Lyndon B. Johnson declared in legislation that “advanced civilization must not limit its efforts to science and technology alone, but must give full value and support to the other great branches of scholarly and cultural activity in order to achieve a better understanding of the past, a better analysis of the present, and a better view of the future.”10 The U.S. aside, international arts and humanities funding has also faced a persistent decline since 2009.11

“Madison continues to observe diminishing emphasis in the humanities, a once prized part of its identity.”

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Boom in STEM fields Whereas the humanities is tackling a dearth of interest, science, technology, Deb, Sopan. “Trump Proposes Eliminating the Arts and Humanities Endowments.” The New York Times. March 15, 2017.

10 “National Foundation on the Arts and the Humanities Act of 1965 (P.L. 89-209).” National Endowment for the Humanities.

11 “Trends in Arts & Humanities Funding 20042012.” Research Trends.

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engineering and mathematics (STEM) fields are experiencing an incremental influx of interest. Not only did numbers in science and engineering degree completion grow twice as fast as other fields between 2009 and 2013,12 graduate enrollment in the same fields has increased by almost eight percent since 2009.13 Among suitors for a graduate degree in science and engineering fields, the leap in enrollment is most drastic among temporary visa holders (i.e. non-U.S. citizens)— enrollment increased by more than 30 percent just between 2009 and 2014.14 Understanding choices in educational and career endeavors by women and non-U.S. citizens To understand this societal phenomenon in its entirety, one must return to the roots of its decline. In the late 1970s, college enrollment rates for women exceeded that of men for the first time. That disparity would continue to widen until present day.15 The National Center for Educational Statistics projected in a report in 2008 that about 284,000 more women than men are to receive bachelor’s degree in 2017. Similar, but less extreme, patterns are also observed in master’s and doctorate programs. Considering that women now constitute the majority in many higher education institutions, their scholastic and career choices play an increasingly potent role in educational and societal trends. Although women remain disproportionately underrepresented in STEM fields, they also possess a solid history of deserting subjects in the humanities.16 Starting from the mid-1990s, women have obtained Bidwell, Allie. “Science, Engineering Degrees Grew Twice as Fast as Others, Report Says.” U.S. News & World Report. November 21, 2013.

13 Arbeit, Caren A., Peter Einaudi, and Kelly H. Kang. “National Science Foundation.” Influx of Foreign Graduate Students and Inclusion of Newly Eligible Institutions Lead to a Significant Increase in U.S. Graduate Enrollment in Science and Engineering - NCSES - US National Science Foundation (NSF). March 29, 2016.

14 Arbeit, Caren A., Peter Einaudi, and Kelly H. Kang. “National Science Foundation.” Influx of Foreign Graduate Students and Inclusion of Newly Eligible Institutions Lead to a Significant Increase in U.S. Graduate Enrollment in Science and Engineering - NCSES - US National Science Foundation (NSF). March 29, 2016.

15 United States of America. U.S. Department of Education. National Center for Education Statistics. Digest of Education Statistics 2010. By Thomas D. Snyder and Sally A. Dillow.

16 Tworek, Heidi. “The Real Reason the Humanities Are ‘in Crisis’.” The Atlantic. December 18, 2013.

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more than 50 percent of their bachelor degrees in pre-professional fields. While the reasons behind this gendered trend go mostly unarticulated until today, some attribute the transition in interest to increasing equality between the genders.

Despite other obstacles gender inequality poses to their various career endeavors,17 women have in this decade been more free to pursue fields that are traditionally c o n s i d e r e d “masculine.”

That said, some hypothesize women’s departure from the humanities to be an intentional, strategic combat against the gender wage gap.18 Women are hoping that a degree in high earning fields would compensate for the wage gap and/or make them more appealing compared to male candidates.19 If this hypothesis holds true, one could also attribute the soaring STEM enrollment among nonU.S. citizen to the same rhetoric. In 2016, the Department of Homeland Security implemented an initiative that enabled qualified, visa-holding students with STEM degrees20 to be eligible for a 24-month extension to their Optional Practical Training (OPT), a 12-month postgraduate employment authorization available to all eligible visa-holding students.21 With STEM fields possessing the fastest growing job market,22 it’s easy to see why they have overshadowed interest in the humanities— it all comes down to submitting to practicality in our attempt to make ends meet.

Hill, Catherine. “Solving the Equation: The Variables for Women’s Success in Engineering and Computing.”

18 Miller, Kevin. “The Simple Truth about the Gender Pay Gap.” 19 Tworek, Heidi. “The Real Reason the Humanities Are ‘in Crisis’.” The Atlantic. December 18, 2013.

20 “Optional Practical Training Extension for STEM Students (STEM OPT).” USCIS. 21 “Optional Practical Training (OPT) for F-1 Students.” USCIS. 22 Williams, Joseph P. “STEM Roundup: Fastest-Growing Jobs Are in STEM”. U.S. News & World Report. November 19, 2017.

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Looking forward Regardless of the fate of the humanities, it is undeniable that the STEM fields are becoming increasingly important to our economy, politics and social life.

However, the humanities and STEM are not, and should not be, mutually exclusive— neither of them should advance in the expense of the other.

Ultimately, we study the humanities so that we can better project and fathom our technologically driven futures; so that we can continue to sustain and cultivate individuality and citizenship in the face of rapid technological advancements; so that we can interact ethically with newfound knowledge and technology, without letting it perturb social harmony or disrupt the core of our human identities.

Likewise, we study science as an attempt to explain our humanity in a explicable, logical manner. Ironically, whereas the latter is heading towards a fertile future, the former lags behind in stagnancy due to a desperate shortfall in interest— guided not only by local, personal interests but also by institutional agendas that prioritize one over the other.

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MEN’S

TH E A MERI CANA RESUR GENCE

BY MICHAEL SACHEN, MEN’S EDITOR My father is, perhaps, the pickiest man that I have ever met when it comes to clothing. Not that he is a particularly stylish man— it is more that his shopping habits come from something outside of looking fashionable. For him, the concept of the trend is completely alien. The clothes he wears on a daily basis revolve around different principles.

It is undeniable that the trend as an ideal dictates the current consumer’s fashion cycle— This has created a new dependence on fast fashion as a means to stay stylish, as well as the antithesis, movements meant to slow down the pace of consumption.

Hence the Artisanal Americana movement: although the look is commonplace, it opts out of the trend cycle. More so, it gives value back to the clothing the we consume and power to its consumer. Through opting out of the consumer cycle and buying hardwearing clothing, we give back to the sustainable fashion ecosystem.

The Americana movement can be reduced to a pride in craftsmanship and a basis in practical and classic design. Though the aesthetic is based upon Classic American looks (1880-1950) it has found its niche in Menswear of today through brands like Visvim and Junya Watanabe— albeit this new context allows different interpretations today. What stays in

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the reinterpretation of the aesthetic is the craft and quality which are often left out of mainstream men’s clothing.

These principles have been absent from male fashion since the 1970s, and only until the resurgence of raw salvaged denim (perhaps the crucible of this movement) were they reintroduced and adopted in the United States. In early 2000s, forums like Superfuture globalized the style that had been developing in Japan since World War II, when G.I.’s had left their jeans with local children.

Perhaps like many other costume-like stylings within Japan, the authenticity of hardwearing American blue jeans provided a pocket for personal identity. Regardless, Japan eventually claimed the aesthetic as their own.

While American Gen X-ers were overwhelmed with poorly produced clothing, the likes of the Osaka 5 in Japan had gone on to master denim manufacturing with the same fetishization of process championed throughout Japanese culture. As these master crafted jeans began reaching the savvy hands of internet ‘denim bros,’ the classic and well produced American blue jean was reintroduced for the first time since the 1970s.

After coming stateside, hipsters popularized the trend, and though they are often ill remembered, the

hipster movement reintroduced a sense of pride in the consumer. Before it became its current point of irony, hipsters were a departure from the indifference that plagued consumers through the early Naughts (and even today). Also with the Hipster, classic american manufacturing came back into style, and like everything that comes into style— it quickly fell out.

This is, in part, due to the concept of the aesthetic not matching the ethics of the consumers.

However, what remains today is more interesting. For many Gen X-ers, hipster styling has stayed in.

Many find the aesthetics and pride in manufacturing to match their own ethics. For example, my own father has been put on to Redwing Boots and Pendleton Flannels, in part due to their increasing availability in recent years; but more importantly, because they are the type of goods he remembers from being a kid.

Although the idea of quality clothing may seem intangible as a young adult— I recommend spending a spare hour at Context on King Street and chatting with their employees.

Although it may not be clothing you see yourself in— it is clothing that has ethics behind it, something rare in today’s fashion climate.

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Tailgate 101 Brought to you by @tailgatewisconsin x @modamadison MACKY REHM, REILLY KOCH AND SAM BROADNAX PHOTOGRAPHED BY MARISSA HAEGELE, PHOTOGRAPHY DIRECTOR DIRECTED BY GEORDON WOLLNER, CREATIVE DIRECTOR

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n i s n o c s i On W

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U-Ra-Rah! September 2017 53

Go Badgers!

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