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I V I S M STAFF PHOTOS BY SHAWN PAIK AND DANIEL COLE, TOP TO BOTTOM

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WASHINGTON SQUARE NEWS PRESENTS

A R TI V I S M

6 WOMENS RIGHTS

10 MENTAL HEALTH AWARENESS

RACIAL JUSTICE

8 LGBTQ RIGHTS

12 CLOCKWISE FROM TOP LEFT, STAFF PHOTOS BY SHAWN PAIK, DANIEL COLE, DANIEL COLE, DANIEL COLE

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STAFF PHOTO BY SHAWN PAIK

LETTER FROM THE EDITOR

As progressive as today’s society appears to be, spaces about stigmatized issues like mental health, racial injustices, LGBTQ rights or the unequal representation of women are not readily available. We can no longer turn our back and avoid these difficult and sometimes uncomfortable conversations. We have seen the unfortunate consequences of evasion. The arts, however, provide an impeccable platform for catalyzing change and igniting these difficult discussions. I chose the theme of Artivism for this issue to reinforce the potential power the arts hold. The arts have long coincided with social and political thought, which still remains true through contemporary movements including LGBTQ rights, suicide prevention and mental health awareness, women’s rights and racial injustices. Far too long in various entertainment sectors have racial and LGBTQ communities been misrepresented through stereotypical portrayals, have women been excluded and poorly represented and has mental illness been a topic that was typically avoided. The issues remain, and we are far from successfully defeating them. Mental illness is still a subject that people approach too delicately, in a manner that avoids open discussion. Women, such as Kelly Clarkson and Adele, are being criticized immensely for gaining weight. Certain television shows and films are still portraying the LGBTQ community stereotypically. Until “Fresh Off The Boat” premiered on ABC, far too little television shows accurately portrayed Asian-American families without relying on Hollywood’s yellow peril — the racist stereotyping of Asian-American communities. However, we are moving toward a progressive arts world — one where races are properly and accurately represented, where the LGBTQ community is not depicted in a one-dimensional manner, where organizations like To Write Love On Her Arms are writing books about mental illness to raise awareness and encourage others to seek help and where women are at the forefront of their respective industries, providing the foundation for equal representation. The arts are catalyzing this shift in depiction, but until then, they are providing a foundation for eradicating racial injustices, LGBTQ misrepresentations, unequal women’s rights and eliminating mental illness’ stigma.

ALEXA SPIELER Arts Editor

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SOCIAL JUSTICE AND ARTS THROUGH THE YEARS BY AUDREY DENG

199

Banksy emerges as in the graffiti world would launch the notoriously anon acti

1970’S:

Gay culture leaps forward in the 1970s as prominent artists and musicians such as Andy Warhol and Freddie Mercury reveal their sexualities to the public.

1947:

British mathematician Alan Turing conceptualized the idea of the modern computer. In 1947, Turing writes the theory for a computer system to play chess and he was later persecuted for his homosexuality and forced to undergo chemical castration.

1937:

Picasso paints “Guernica” in response to the bombing of the village of Guernica in the Spanish Civil War.

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1960:

John F. Kennedy and Richard Nixon participate in the world’s first televised presidential debate. Television viewers favored Kennedy to win, while radio listeners believed Nixon won. From this point onward, every presidential debate is televised, creating a “visual election.”

198

The Berlin Wall is with the miles of p Germany

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2012:

Hurricane Sandy hits New York City. Humans of New York photographer Brandon Stanton captures the wreckage and the first responders. Through Indiegogo, Humans of New York and the founder of Tumblr, David Karp, team up to raise $318,530 to fix the city.

2001:

90S:

a prominent figure d of Britain, which non-career of the nymous artist and vist.

Post-9/11, entertainment takes a dark turn. In television shows such as “CSI: NY” and “Homeland,” terrorism plots become more and more commonplace. Artists create an outpouring of art in response to the tragedy. The Tribeca Film Festival comes into being in an attempt to revitalize Lower Manhattan.

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2010:

Piper Kerman publishes the memoir that would become the critically acclaimed Netflix series “Orange is the New Black,” generating discussion on women’s rights in prison.

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89:

s torn down, along protest art by West painters.

1996:

The Motion Pictures Association of American rating system — G, PG, G-13, R — creates recommendations for age-appropriateness of films. An ongoing debate persists to this day as to whether this is a form of censorship.

2015:

Intelligent and empowered women take the lead in numerous TV shows such as “The Mindy Project,” “Parks and Recreation” and “Jane the Virgin.” NYU alumna Gina Rodriguez of “Jane the Virgin” wins the Golden Globe for Best Actress in a Comedy Television Series.

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RACIAL JUSTICE

Unequal, discriminatory representation of minority races has long been problematic in the arts, particularly in television shows and films. Issues pertaining to race are still prevalent in film today, including the Oscars’ snub of “Selma” and the thinly veiled racism in sports films like “McFarland USA.” There are advocates at the forefronts of their industries, however, including J. Cole with his song “Be Free,” the all-black cast in “Shuffle Along,” and Lin Manuel Miranda’s race-blind casting in his play “Hamilton.”

J. Cole speaks up for Ferguson By ALEXA SPIELER Arts Editor

Various hip-hop artists responded to the death of Michael Brown in Ferguson, Missouri, but after releasing “Be Free” J. Cole found himself the leader of hip-hop activism. Cole constructed “Be Free” to express his grief and to combat racial injustices. In its original version, Cole said, “All we wanna do is take the chains off/All we wanna do is break the chains off/All we wanna do is be free.” Cole also visited Ferguson, where he reportedly spent hours with protesters listening to their thoughts. While there, Cole refused to speak with press, showing that none of this was for exposure, but rather for forming a genuine connection with the

people of Ferguson, and letting them know that someone with the power to draw attention to their protests was there and paying attention. Following the release of “Be Free,” Cole performed the song on the “Late Show With David Letterman” and debuted a new verse instead of performing a song from his new album “2014 Forest Hills Drive.” Cole could have easily used the platform to boost album sales, but instead he made the conscious decision to perform “Be Free,” utilizing the platform he was granted for altruistic reasons and pushing aside monetary gains for a greater purpose. In the new verse, Cole focused on issues pertaining to President Barack Obama allegedly not bringing any changes concerning race relations. He

sings, “No disrespect, in terms of change I haven’t seen any/Maybe he had good intentions but was stifled by the system/And was sad to learn that he actually couldn’t bring any.” He also addressed the lack of African Americans in influential positions who were college-educated. He sings, “Since all the ballers leaving college early/I turn on the TV and don’t see no brothers with degrees lately.” Cole, an alumnus of St. John’s University, observed how various basketball players leave college early in order to pursue their athletic aspirations instead of continuing their education. He argues if athletes emphasized the importance of education more, then more people could

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be persuaded into earning degrees. Cole’s involvement in Ferguson, whether it was releasing “Be Free” or visiting the area, presented himself differently from other hip-hop artists who only used social media to respond. Cole instead placed himself at the forefront of activism, demanding that his and others’ thoughts be heard concerning their immense grief. At a pivotal time, J. Cole utilized his voice and power to represent those who may feel as though they have no voice, continuing to support hip-hop’s potential to be a political force.

Color-blind ‘Hamilton’ fantastic By ELLIOT LITTLE Highlighter Editor

Lack of diversity has been a common issue in show business, as the prevalence of all-white casts has been criticized for not accurately representing the United States’ demographics and limiting opportunities for minority actors. Largely minority casts are often considered gimmicks and isolating to white audiences, however, as seen in Tyler Perry movies. However, as the 21st century progresses, producers and casting directors are finally realizing the beauty and necessity of color-blind casting, an obvious solution to this glaring problem. The most recent example of this is Tony Award winner Lin-Manuel Miranda’s musical, “Hamilton.” “Hamilton,” based on Ron Chernow’s biography of first Treasury Secretary Alexander Hamilton, received critical acclaim and financial success after premiering at the Public Theatre.

Along with making history enjoyable and accessible, Miranda created one of the most diverse musical theater performances this year. Despite all of the founding fathers being white, the cast of “Hamilton” comprises black and Latino actors, including the Puerto Rican Miranda in the titular role opposite Leslie Odom Jr., the black actor who phenomenally portrays Hamilton’s rival, Aaron Burr. As Miranda continually notes in interviews, Hamilton was an immigrant. He came to America as an orphan from the Caribbean with nothing and worked his way to becoming one of the most important figures in United States history — he is the embodiment of the American Dream. Although “Hamilton” includes the numerous feats Hamilton accomplished during his life as well as Notorious B.I.G.-influenced numbers, neither of these are the most important part of the play.

The most significant part, rather, is the realization that the races and ethnicities of the characters were irrelevant. The writing of “Hamil-

doing so, the cast of “Hamilton” reflects the diversity of our country. The founding fathers were white, but Americans are not, and Ameri-

THE MOST SIGNIFICANT PART, RATHER, IS THE REALIZATION THAT THE RACES AND ETHNICITIES OF THE CHARACTERS WERE IRRELEVANT. ton” is fantastic, but each actor is brilliant in his or her role. By opening the roles to everyone, each actor truly earned his or her role. In

can art should reflect that. It is time for Hollywood to adapt, because with “Hamilton,” Broadway’s already way ahead.

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‘Fresh off the Boat’ refreshing By ANUBHUTI KUMAR Contributing Writer Rarely does a comedy come along that so effectively portrays Asian-American culture in a realistic, intelligent and nuanced way as ABC’s latest hit, “Fresh Off the Boat.” Margaret Cho attempted to portray Asian-American culture 20 years ago with “All American Girl,” but it was canceled after only one season due to poor ratings and the show’s heavy use of stereotypes. Since the cancellation of “All American Girl,” Asian-American television characters have often been relegated to playing stereotypical welleducated and hyper-competitive best friends or office rivals. “Fresh Off the Boat,” created for television by Nahnatchka Khan and based on a memoir by Eddie Huang, who is also a producer of the series, successfully

subverts these stereotypes. The show successfully walks the thin line between making the story revolve around a family that happens to be Taiwanese rather than a Taiwanese family. In “Fresh Off the Boat,” the main character, 12-year-old Eddie Huang, is constructed as the odd one in the family due to his passion for hip hop. The interplay creates an unsteady dynamic with his parents

as they try to support him, but are baffled by his interests. The creators mix Eddie’s exasperation and his parents’ bewilderment to create realistic depictions of familial relationships and the conflict and love that goes behind standing together. “Fresh Off the Boat” avoids making overused jokes that get cheap laughs by presenting caricaturist accents. Instead, it gets

its laughs with an insightful and honest portrait of a family trying to get its bearings in a new home. It adds dimensions to characters that could very easily be flat and stereotypical. This heartwarming portrayal of a family trying to make it against the odds finally brings to the spotlight a sitcom that sketches a candid, sincere representation of the Asian-American family.

THE CREATORS MIX EDDIE’S EXASPERATION AND HIS PARENTS’ BEWILDERMENT TO CREATE REALISTIC DEPICTIONS OF FAMILIAL RELATIONSHIPS AND THE CONFLICT AND LOVE THAT GOES BEHIND STANDING TOGETHER.

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Play looks at black culture By JOSEPH C. MYERS Contributing Write Six-time Tony Award-winner Audra McDonald is set to star in an upcoming musical based on the 1921 musical “Shuffle Along.” Though this lesser-known musical has a cast of all black characters, in the original cast several white actors wore blackface. Despite the racist nature of blackface, the show’s writers were black themselves and supporters of the NAACP. The show was also a big break for many monumental black performers, such as Josephine Baker, Paul Robeson and Adelaide Hall. The upcoming musical, “Shuffle Along, Or the Making of the Musical Sensation of 1921 and All That Followed,” will tell the story and explain the context of “Shuffle Along” with an entirely black cast. The casting speaks volumes for the theater’s progression over the

past 95 years. A cast featuring actors in blackface is unthinkable by today’s standards. The allblack cast of the new adaptation highlights the admirable qualities of the original “Shuffle Along” while also exploring the context of its less favorable qualities. Unlike the race-blind casting in the off-Broadway musical “Hamilton,” it is incredibly important that this musical has an all-black cast considering how prominent race was in its creation. Reclaiming this show and adapting to the standards of modern social mores allows “Shuffle Along” to be examined as a piece of theater, rather than just the blackface show. “Shuffle Along” was originally important because it incorporated jazz-influenced music into the realm of Broadway musicals and celebrated black culture through a mainstream platform. Through a re-examination of “Shuffle Along,” the musical can finally achieve its goal.

White savior sports movies ignore minorities By NORA BLAKE Staff Writer Arguably some of the most satisfying and heart-wrenching films from recent memory have been about the struggles and triumphs of sports teams. There is something inspiring about watching a group of underdogs start from the bottom and come out on top. If one considers the real hero in many of these kinds of films, however, then the feel-good sentiment about the victory of a group of unsung heros is not quite as lighthearted as it seems. Though sports dramas try to portray team solidarity as the ultimate reason for success, there is a not-so-secret hidden agenda that most of these films have in common — they employ a well-off, influential middleaged white male to be the catalyst for the change and

eventual accomplishment that these characters experience. Minority characters are underrepresented in the media, and sports films are no exception. The team players in classic films such as “Cool Runnings” and “Coach Carter” are notable, not for their athletic abilities, but for their negative stereotypes. Though the audience wants them to succeed, it seems that the reason behind that is because the male leader is responsible for softening viewers to these individuals, as though they need to be introduced to people from different backgrounds from a privileged perspective. It may seem like these realities would be less prevalent today, but unfortunately they still hold true. Just this year Disney released “McFarland USA,” a film that belongs among the ranks of those mentioned above. Coach Jim

White transfers to a predominantly Mexican-American high school and coaches the unmotivated track team. Through increasingly intense pep talks before meets and becoming a father figure to most of the young boys in town, White becomes the official hero of not only his small town, but also the viewers. Without his influence, the film would probably not even be possible, and audiences would not be able to see an increase in minority representation that seems to only occur when a character like White is a major part of the storyline. Sports films featuring a promising and worthy group of individuals should be celebrating the impetus behind their creation, yet there seems to be an incongruous idea of whom that commemoration belongs to.

WASHINGTON SQUARE NEWS | THURSDAY, APRIL 9, 2015 | NYUNEWS.COM

WOMEN'S RIGHTS Thanks to contributions from the likes of Tina Fey, Amy Poehler and Ellen DeGeneres, among others, there’s been a surge in the number of female empowerment memoirs. Women empowerment plays are also becoming more prevalent, such as Vanessa Hudgens’ new Broadway show “Gigi,” demonstrating an increase in equal representation for women in the arts. While the arts are progressing, women still face challenges pertaining to body image stigmas and competition with their male counterparts.

Female comedian biographies spearheads feminism By TALIA KUHEL Contributing Writer It is no secret that comedy is no longer a man’s game. The book world is awash with autobiographies of beloved female comedians who are redefining what it means to be funny onstage and onscreen. Welcome to the era of the funny woman. With the likes of Tina Fey, Amy Poehler, Lena Dunham, Ellen DeGeneres, Sarah Silverman and Mindy Kaling scribing their wisdom, it is time to reflect on why this trend is picking so much speed. Perhaps it is because people want

life advice from funny people, the kind of people whose views on life invigorate the mundane with levity and joy. Or maybe it is because society has always been intrigued by the inner workings of the female mind. Perhaps the strongest argument for this trend is society’s need for a canon of autobiographical origin stories where people redefine and actively change the norm. Maybe an autobiography is less intriguing if it captures the life of someone abiding by an obvious path without making change. Shelves have long been stocked with stories of people fighting for change and deviating from the mainstream. Soci-

ety needs these stories to act as a sort of Rosetta Stone for translating old behaviors into new norms. With this, society will be able to build a foundation for an equalized industry, using the female comedian books for catalyzing this change. In this case, that means that the funny women who have written their stories and marketed their wisdom are formulating a canon of works on which the future of comedy can rest. Recent collections exhibit the vulnerability of real, comedic women who are working towards a goal that defies the norms — Tina Fey’s “Bossypants,” Sarah Silverman’s “The Bedwetter” and Mindy Kaling’s “Is

PERHAPS IT IS BECAUSE PEOPLE WANT LIFE ADVICE FROM FUNNY PEOPLE, THE KIND OF PEOPLE WHOSE VIEWS ON LIFE INVIGORATE THE MUNDANE WITH LEVITY AND JOY.

Everyone Hanging Out Without Me,” Ellen DeGeneres’ “Seriously … I’m Kidding” and Lena Dunham’s “Not That Kind Of Girl” all coming to mind. These books have the power to motivate anyone facing a hurdle to leave fear in their wake, to not take things too seriously, and to greet challenges as Amy Poehler would, with a resounding, “Yes Please.”

Singers fight back against body shaming By RACHEL A.G. GILLMAN Staff Writer

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Despite 2014 being the Year of the Booty, musicians are never free of body scrutiny. Nicki Minaj is frequently criticized for oversexualizing her assets, while Meghan Trainor has been slammed for being proud of her plus-sized figure. Both Minaj and Trainor have been accused of skinny shaming, as well. Adele and Kelly Clarkson recently drew criticism for their fuller pre- and post-pregnancy frames. The body shaming that occurs in the media is not female-exclusive — Sam Smith is often put down for not emulat-

ing the ideal muscular male body type, while Ed Sheeran’s weight loss after cutting back on drinking frequently made headlines. Many musicians are fighting back on social media. For instance, Lady Gaga took to Twitter to comment on the ongoing controversy. “I am proud at any size,” Gaga said following online chatter about her weight gain. Demi Lovato, who underwent treatment for bulimia, also used the social media platform to comment on her weight criticism. “I’m happy and healthy, and if you’re hating on my weight you obviously aren’t,” Lovato said. Body positive songs have blown up the charts as well. Colbie

Caillat video for “Try” shows women with natural hair and without make-up, proving prettiness is not dependent on primping. Trainor’s “All About that Bass” promotes the message that “every inch of you is perfect from the bottom to the top,” regardless of size. Both videos feature women who are beautiful without adhering to the traditional music video vamp standards of revealing outfits and highly sexualized dance moves. The bottom line is that musicians are in the business to produce great music. Adele commented on the subject best. “I don’t make music for eyes, I make music for ears,” Adele said.

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New age feminism in ‘Gigi’ By ALEXA SPIELER Arts Editor In the new production of Alan Jay Lerner and Frederick Loewe’s “Gigi,” Vanessa Hudgens makes her Broadway debut embodying female empowerment. Dramatist Heidi Thomas updated Colette’s original 1944 novella with adaptations that fit better today, including decreasing the age gap between Gigi and her love interest. The musical takes place in 1900 Paris, detailing Gigi’s journey to finding herself. “Gigi” spans for two-and-a-half hours in two acts, with the cast including Corey Cott as the confident bachelor Gaston, Victoria Clark as Gigi’s cautious grandmother and Dee Hoty as the aggressive Aunt Alicia, demonstrating a strong, predominantly female, cast. “Gigi” features choreography by Joshua Bergasse, scenic design by Derek McLane and costume design by Catherine Zuber. The elaborate costume design spans from bold, exquisite gowns to white ties and suits.

The costumes are attention-grabbing, lavish and formal, what is only swapped during one scene at the beach. Standout choreography numbers include “The Night They Invented Champagne,” which features Aunt Alicia, Gigi and Gaston enthusiastically performing after drinking champagne, which is a new experience for Gigi. Another notable number is “The Contract,” a humorous song during which Gigi’s guardians comically negotiate with lawyers on Gigi’s behalf. With celebrity Broadway castings, debates typically occur over whether or not the celebrity can handle the stakes. In Gigi’s witty commentary and energetic personality, Hudgens unequivocally shines. Hudgens demonstrates her immense career growth, captivating audiences with a strong vocal power that is fit for Broadway, predominantly exemplified by “I Never Want To Go Home Again.”

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Gigi and Gaston have an intriguing dynamic, constantly playing off their mercurial relationship through witty commentary. Gaston, as one of the most eligible bachelors, is used to having his pick of women. However, with Gigi, he is challenged upon realizing his true feelings for her, as she keeps Gaston on his toes by refusing to be just another one of his mistresses. During first scene of the second act Gigi conveys feminist ideals, pointing out to Gaston why his life is easier. “Do you think life is easy for me, just because I’m wealthy?” Gaston said. “I think it’s easy because you are a man,” Gigi said. “You can choose what you do. You have opportunities. I’ll find something I can do, but you can pursue your passions.” “Gigi” depicts the story of a young

girl in Paris finding her way and maturing, evinced by her etiquette lessons to learn how to become a woman, which she frequently mocks. More so, “Gigi” evokes themes of feminism and remaining true to oneself. “Gaston, I could never be happy if I couldn’t be myself,” Gigi said. Ultimately, Gigi refused to just be a prize for Gaston to win, well aware of the limitations women of her time faced, and determined to conquer them. While most women flocked to eligible bachelors because of their status, Gigi opposed that conventional wisdom. Instead, Gigi is a strong female character who is reluctant to give into mistreatment and prevailing opinions that she disagrees with, as she will only stand for obtaining what she desires.

‘Ghostbusters’ shows gender divide By ZACH MARTIN Staff Writer In January, when the main cast members for the all-female “Ghostbusters” reboot were announced, many celebrated the small step forward in the ongoing battle for equal gender representation in the film industry. Featuring two well-established comedy stars, Melissa McCarthy

CREATING BOTH A MALE AND A FEMALE VERSION REPRESENTS A TWISTED, MISGUIDED PERSPECTIVE ON GENDER EQUALITY.

and Kristen Wiig, as well as two rising talents, Leslie Jones and Kate McKinnon, the Paul Feigdirected film has potential to be not only a blockbuster and a loving homage to the 1980s smash. The movie will also be a heavy addition to the debate that Hollywood films can still generate high box office revenue while passing the Bechdel test, meaning that women are talking about something besides men. One gender-reversed franchise reboot might not magically fix everything, but in a world where only 30.9 percent of named characters are female and not a single nominee for Best Picture at this year’s Oscars featured a female

lead, it is a small step in the right direction. The celebration was short-lived, however, because then came the inevitable Internet backlash. The cries of ruined childhoods rose loudly to the forefront of the conversation about the project. Granted, this type of vitriol exists every time production begins on a remake of a beloved classic, but only a remake featuring women would receive so much ignorant, misogynistic abuse. A short time later, Sony announced plans for a standard remake of the original film featuring an all-male cast. It remains unclear whether the second announcement was a response to the backlash or whether the two

counterparts had been developed separately. Regardless, creating both a male and a female version represents a twisted, misguided perspective on gender equality. Sony has backtracked on the one progressive, clever choice in an where seemingly every successful franchise in film history is getting new additions, including how Marvel Cinematic Universe has sequels planned through 2019. What they have crafted instead is an inevitable competition between the two films. It is now unknown what message this will send to the rest of Hollywood, but and giving equal parts to men and women is paramount.

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LGBTQ RIGHTS

A number of television shows and films have relied on creating LGBTQ characters only to emphasize their sexual orientation. With shows like “Transparent” and “Looking,” television is progressing toward a dynamic that presents LGBTQ characters as a way for establishing commonality. Meanwhile in music, transgender artists like Laura Jane Grace of Against Me! are sharing personal stories about transitioning. This comes in conjunction with artists such as Lady Gaga and Lana Del Rey, who have both become gay icons by garnering a large LGBTQ fan base and supporting LGBTQ rights, paving the way for change.

Stars promote trans acceptance By LOGAN BAKER Staff Writer With the public transition of Chaz Bono and Laura Jane Grace, transgender activism has become more mainstream in the music industry over the past 10 years than ever before. Chaz Bono, son of legendary musicians Sonny and Cher, has reached out to the transgender community in many ways. Consistently promoting positive views to those struggling with gender dysphoria, Bono has authored four books and was featured in a documentary about his transition. Bono also holds the distinction of being the first openly transgendered man to appear on a major network show, though for reasons other than his sexuality, when he appeared as a competitor on “Dancing with the Stars.” Laura Jane Grace, lead singer and frontwoman of the punk rock band Against Me!, has reached further with her activism, focusing on creating music that can increase the general public’s understanding of transgender issues. The band’s sixth studio album, 2014’s “Transgender DysVIA WIKIPEDIA phoria Blues,” largely dealt with gender dysphoria and the confusion surrounding it. Grace, who was inspired by a fan to begin her transition, described gender dysphoria to Rolling Stone magazine. “It’s a feeling of detachment from

Gay icons entertain, defend LGBTQ community By E.R. PULGAR Music Editor

The term “gay icon” is thrown around constantly in the entertainment world. Cher and Madonna come to mind for their strong connection to their gay fans. Their chart-topping dance pop pushed the boundaries of sexuality and gave listeners a haven for expression. In an increasingly accepting world, the term gay icon is becoming less about activism and more about fan base. The artists are more often than not making pop music, though there are exceptions like Against Me! and their punk songs about gender dysphoria. The gay icon is transient, with different parts of the community fawning over different pop musicians. The major artists considered. considered gay icons in recent years including Beyoncé, Britney Spears, Lana Del Rey, Marina and the Diamonds and Lady

Gaga. The last of these performers is perhaps the most embracing of her title of gay icon. Openly bisexual, Lady Gaga, who attended the Tisch School of the Arts for drama prior to dropping out to pursue music, is known for her philanthropy and political forwardness. She even started the Born This Way Foundation for empowering youth to be more accepting and raise money for charities that benefit LGBTQ teenagers. As of late, Gaga has been letting the spotlight shine on other artists while she focuses on rebranding herself as a jazz artist. Despite not being outright involved in activism recently, she is still considered a prominent gay icon due to the size of her LGBTQ fanbase. Even though she is not currently involved in activism, she took her world tour to Russia as a form of subversion. Interestingly enough, feminist punk band Pussy Riot’s pro-gay protest in the Moscow

your body and from yourself,” Grace said. “And it’s really fucking shitty.” Mykki Blanco, a transgender rapper who recently performed at NYU with fellow LGBTQpositive rapper Le1f, has already made her mark in hip-hop history. As one of the first rappers to truly embrace and represent the LGBTQ community within an increasingly globalized culture, she stands out in an unforgettable moment in music history. Hip-hop, traditionally misogynistic and occasionally homophobic, has not had a place for gay or transgendered rappers. In fact, it has been notorious for its male dominated perception. Blanco is at the vanguard of a new age of artists that the genre previously ignored, opening the doors of hip-hop even wider and making a diverse genre even more inclusive. Unfortunately, success stories such as these have only been recent developments. Sara Davis Buechner, a classical pianist and former NYU faculty member, has said in a 2013 New York Times piece that her promising career in the United States dissipated after she began her transition. “In the United States, once I came out as Sara, I couldn’t get bookings with the top orchestras anymore, nor would any university employ me,” she said. Buechner’s career thrived upward and eastward as she experienced great success in both Canada and Asia, however. Although her struggles regaining a foothold in her home country are a testament to the view of transgender people in the United States, musicians such as Blanco and Grace are leading American music into a more progressive future.

Cathedral did not garner the band much of a gay following. Whether outright standing up for the LGBTQ community in an active way or garnering approval from their target audience, several factors go into giving an artist the title of a gay icon.

THE GAY ICON IS TRANSIENT, WITH DIFFERENT PARTS OF THE COMMUNITY FERVENTLY FAWNING OVER DIFFERENT POP MUSICIANS. Nonetheless, the fact remains that the gay community is a powerful driving force in music and is showing no signs of slowing down.

NYUNEWS.COM | THURSDAY, FEBRUARY 26, 2015 | WASHINGTON SQUARE NEWS

Addressing prejudice with standup By AUDREY DENG Entertainment Editor “Mom... Dad...” said stand-up comedian Wanda Sykes in a viral video from 2010. “I gotta tell y’all something. I hope you still love me. I’m just going to say it. Mom, Dad…” Sykes builds suspense in silence. “I’m black.” Sykes’ performance, which was featured on HBO, is a contemplation on what it would be like if people had to come out as black. Sykes, who is black and lesbian, approaches coming out with extreme and hilarious hyperbole, enacting a situation in which race is treated like sexuality. “‘Give her cancer, Lord,’” she said imitating her parents. Comedians have long been leading the way for the LGBTQ community. From talk show host Ellen DeGeneres to entertainer Neil Patrick Harris, comedians’ sexualities do not lead or define their careers. Viewers saw as much when Harris played Barney, a ragingly heterosexual playboy, on “How I Met Your Mother,” which

simply proves Harris’ skill as an actor. DeGeneres and Harris are leaders of a community that has long faced discrimination on screen. For stand-up comedians, however, sexual orientation is more of a talking point. Standup comedy is based on personal experiences and observations, which LGBTQ comedians use to their advantage. Wanda Sykes is just one of many LGBTQ standups who directly addresses problems the community faces. Sampson McCormick, the first openly gay black man to headline the Howard Theater in Washington, D.C. and a self-described “double minority,” uses the stage to pinpoint issues such as HIV and hate crimes. Onstage, comedians are able to be loud and abrasive about issues. In many ways, stand-up comedians are activists. By

discussing and commenting on flaws of human nature, they reveal that there is always something that could be improved, whether it is airplane food or gentrification. For LGBTQ standups, some choose to criticize the stigma about coming out as Sykes did, while others choose not to, such as James Adomian who opened an act by shouting gleefully to the audience in “Meltdown” in 2011. “Where are my gays at?” he asked. In this bit, Adomian discussed the vilification of gay people in media, from the chortling villain of the Gummy Bear video to Javier Bardem’s Raoul Silva in “Skyfall.”

Both approaches create open discussion of the very pressing and very serious issues the LGBTQ community faces. Stand-up comedy is a humorous way to communicate to general audiences. Using personal anecdotes and observations, audiences of all genders and sexualities are able to understand the injustice minorities face. For this reason, standup comedy is one of many paths which will exact justice for the wronged. Stand-up comedians use the stage to wryly point out the many wrongs with the country, and LGBTQ comedians are at the forefront of change for the better.

USING PERSONAL ANECDOTES AND OBSERVATIONS, AUDIENCES OF ALL GENDERS AND SEXUALITIES ARE ABLE TO UNDERSTAND THE INJUSTICE MINORITIES FACE.

TV shows about people, not clichés VIA WIKIPEDIA

By ALEX GREENBERGER Editor-at-Large In the second-season finale of “Looking,” which turned out to be the HBO show’s final episode, a couple has an argument. They walk in and out of an elevator, down a hallway and into a parking garage, debating whether they really belong together — shot all in one take. Every couple has been there, and it just so happens that these two are men. In creator Michael Lannon’s version of San Francisco, the city seems to be filled with only LGBTQ people. Almost every character on the show is gay. Still, for some, the first season

did not feel gay enough. If this show is about three gay 30-somethings soulsearching in California, where was everything that would make them truly seem gay? The second season fixed that problem by sending the three protagonists to a gay orgy in the woods and having one work at a center for transgender teens. Excepting these events and the fact that the three men talk about how much they like other men, “Looking” does little to make its characters seem overwhelmingly gay, and that is the point. They spend more time trying to figure out who they are than chasing bears and daddies. “Looking” is proof that, regardless of sexual orientation or gender, everyone tries to figure out who they are at that age. “Transparent,” the amazon.com dramedy about a patriarch of a Jewish family who realizes that all he ever wanted to be was a matriarch, is similarly effective because it is the rare show with a range of sexual orientations. There are men who like women,

women who like men, women who like both, men-turned-women who might be interested in women and more. But despite all the mix-and-match sexuality, the show is ultimately people revealing who they always wanted to be: sexual orientation is only a part of that. “Transparent,” like “Looking,” has a number of LGBTQ characters, and it often makes it clear that they are not straight. But in the most surprising twist yet, the Jill Soloway-created show also makes it obvious that the straight people on the show are like the LGBTQ characters, not the other way around. That is a testament to the fact that, while these LGBTQ characters have different sexual interests, there is something universal that binds everyone on this show. While “Transparent” and “Looking” are both about LGBTQ characters, they are not about being LGBTQ. Instead, they use gayness to ponder something more universal that everyone has in common, and that is as progressive as television can be.

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MENTAL HEALTH AWARENESS Conversations about mental illness have long been neglected due to the overwhelming stigma surrounding disorders such as anxiety and depression. Contemporary artists are using their platforms to increase education and awareness to begin those difficult conversations. Ranging from the video game “Life is Strange,” where the player is placed in a suicide prevention scenario, to artists like Lana Del Rey speaking about struggles with depression, the arts are paving the way for these conversations.

Violent video games affect mental health By JESSICA TIEN Contributing Writer Controversy over violent video games dates back to 1976, when the arcade game “Death Race” was pulled from markets after being criticized for promoting violence. In the game, players run over monsters with a car. More recently, first-person shooter games, including “Call of Duty” and “World of Warcraft,” have sparked research into the effects of violent video games on mental health. After tragedies such as Columbine and Newtown, many question whether violent games lead to an increased likelihood of civilian violence. In 2002, Iowa State University professors Brad J. Bushman and Craig A. Anderson published a study showing that playing violent video games increases aggression levels. The 224 participants were asked to play either a violent or non-violent video game. After gameplay they were to listen to a story and choose an appropriate ending. Those who played the violent game were more likely to give an aggressive or violent ending to the story. Bushman and Anderson’s study suggests that violent games teach children to react aggressively

when they feel wronged. However, in the March 2014 edition of the Journal of Personality and Social Psychology, Oxford Uni-

VIOLENT VIDEO GAMES GLORIFY EXCESSIVE VIOLENCE AND TRIVIALIZE DEATH. versity researcher Andrew Przybylski noted that all video games cause increased levels of aggression, regardless of the video game’s

content. He argues that players feel frustration after losing any video game, a phenomenon known in the gaming world as rage-quitting. Violent video games glorify excessive violence and trivialize death. This could, in turn, desensitize players to the consequences of brutal violence. Even so, violent video games cannot be the sole culprit. Mental health is dictated by genetics, familial situations, peer networks, school environments, workplace conditions and several other factors. While first-person shooter games might add to poor mental health and increased levels of aggression, they are not the only contributors. The video game industry can help alleviate these effects by clearly labeling game packages with the amount of violence in each game. Games can also give players the option to opt-out of the games’ more disturbing aspects and include disclaimers to remind players that actions within the game should not be imitated in real life. The video game industry should also target its advertising campaigns toward older gamers, who might be less impressionable than younger children and teens.

Artists confront mental illness By E.R. PULGAR Music Editor

From the infamous members of the 27 Club to Ke$ha and other celebrities, the music industry is creating a better environment for open discussion about mental health, despite activism lacking at times. Openness aside, mental disorders have always trod murky ground as far as medical conditions go, partially due to them being difficult to diagnose, but more so because they are misperceived as frivolous rather than serious problems. Lana Del Rey’s sad girl persona has come under scrutiny, for example, as a glamorization of depression, and a construction of an image rather than soul-baring artistry. Del Rey has always been polarizing, but when her open battle with depression is minimized as a stunt, critics must step back and realize nobody is being as transparent about these issues as she is. Her vulnerability being labeled as false only damages how people perceive mental illness. Australian hitmaker Sia has been making headlines lately for keeping her face covered in performances and public appearances, bringing to the public eye a struggle with social anxiety. She refuses to photograph for magazines — even appearing on the cover of Billboard with a bag over her head — and prefers to use stand-ins when it comes to music videos like the one for “Chandelier,” which features an interpretive dance by Maddie Ziegler. Sia’s public disregard of her shyness and her own fame are accompanied by past struggles with depression, alcoholism and drug abuse. But public reception to her openness has been more positive than Del Rey’s. Critics need to realize both artists are exposing vulnerabilities that correlate with their struggles with mental health, which could encourage others to come forward and help bring validation to the often misunderstood aspects of mental health. Having influential musicians write songs about their depression and bring their battles with mental demons to the forefront is a phenomenal way to heighten the conversation and help those that need to be helped.

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Video game handles suicide By CARTER GLACE Staff Writer As video games have developed into an art form, there have been sincere efforts for games to tackle serious subjects — with varying degrees of success. A perfect example of this difficult transition is “Life is Strange,” an episodic adventure game centered on the high school challenges of a girl who can manipulate time. In the latest episode, the game took on suicide prevention with mixed results. The installment showed protagonist Maxine attempting to help a friend who had just been publicly humiliated after a video of her drugged at a party was leaked. Despite gamers’ best efforts, the friend becomes desperate and the bullying pushes her to climb to a building’s roof. The game forces Maxine to watch the friend jump twice, then the player is able to make it up to the roof with one chance to talk her off the ledge. Forcing the player to tackle this

tragically realistic scenario demonstrates the intense amount of influence video games can have. By putting the player in the shoes of the persuading character, the game has more impact on the person playing than many other mediums allow. The level of maturity and seriousness the situation is meant to be handled with demonstrates that video games can be more than just a fun way to pass the time. They can help players to handle life issues. When the level ends, the game presents statistics on choices other players made. The final bar shows how many players saved their friend and how many could not. There is something off-putting about turning suicide into a high score. While the developers took these matters very seriously, they did not take into account the poten-

VIA MILLENIUM.ORG

tially unpleasant nature of this rating system. The concept of competition, high scores and rankings are so ingrained in gaming culture that developers include them without thinking of their implications. Gaming has proven a powerful medium when it comes to artistic advocacy and commentary. In “Life is Strange,” maturely depicting a suicidal situation and its solutions is heroic, but if gaming is to evolve, the industry must learn when to remove its conventional chains and when to be direct about the messages it tries to present. As long as there is agency and immersion, video games have the ability to impact the viewer like no other medium.

SOMEBODY HAS TO INITIATE THIS CONVERSATION BETWEEN SOCIETY AND MENTAL ILLNESS, AND SPEARHEADING THIS CONVERSATION COMES WITH A RISK. By MARY HESS Contributing Writer The dialogue the mainstream public maintains with mental illness has proven to be limited and hesitant. One of the biggest obstacles to treating depression, anxiety and various other mental disorders is the stigma. These diseases are associated with fear and apathy, and as long as the stigma remains, the conversation remains jilted and lives remain at stake. Jamie Tworkowski attempts to shake this standard with his book “If You Feel Too Much,” which will release

‘If You Feel’ raises funds, awareness

on May 19. Tworkowski is the founder of To Write Love on Her Arms, a nonprofit organization that focuses on the mental illness stigma and raises funds for treatment for those who seek it. A dollar for each presold book will go toward funding TWLOHA. Tworkowski’s new publication has similar goals to TWLOHA, but is more accessible by featuring a collection of blog posts and isolated stories of struggle that hopefully can connect a larger audience and get people talking about the taboo of mental health. The stakes for “If You Feel Too Much” are high. Somebody has to initiate this conversation between society

and mental illness, and spearheading this conversation comes with a risk. There is no guarantee that a book will encourage someone to tell his or her story, and there is no promise that people can become enlightened on the condition of the mentally ill, but it is important to try nonetheless. As long as someone can connect to Tworkowski’s work, there is potential for change. And with an issue as serious as mental health, the potential for change suggests a will for change itself, making “If You Feel Too Much” a step toward the conversation that society needs to have, in addressing mental health and making those who suffer feel more comfortable openly discussing their disorders.

NYUNEWS.COM | THURSDAY, APRIL 9, 2015 | WASHINGTON SQUARE NEWS

2008

Many artists, including Bruce Springsteen, Jay-Z, Conor Oberst, Stevie Wonder, Arcade Fire and Usher align themselves with thenSenator Barack Obama during his presidential campaign.

1994

MUSICAL ACTIVISM

Pearl Jam, a band that has aligned itself with a number of political stances throughout its career, including criticizing U.S. foreign policy and the Bush administration, performs at Rock for Choice, a concert to support abortion rights in the United States.

BY CARTER GRAY SHELTER

1978

Political punk rockers The Clash perform at a Rock Against Racism festival in England, largely cementing punk’s politics as firmly left wing, though there have been exceptions.

2014-2015

The police killings of Michael Brown and Eric Garner, among others, spark outrage, and artists like Common, J. Cole, and Killer Mike publicly speak out against racial injustice in the United States.

1963

Bob Dylan and Joan Baez perform during the famous March on Washington, D.C., putting the weight of their voices alongside Martin Luther King Jr.

2000

In protest of the United States’ twoparty system, the fiercely political Rage Against the Machine perform across from the DNC in Los Angeles. Angry crowds face off with police forces.

1941

Folk singer Woody Guthrie paints “This Machine Kills Fascists” on the front of his guitar, strongly linking his political views with his music.

1985

Live Aid, a dual concert to raise relief funds for the famine in Ethiopia, is held in London and Philadelphia. Featuring artists including U2, Neil Young, Queen, Madonna and Bob Dylan, the live broadcast is watched by an estimated 1.9 billion people worldwide.

1968

1950S

Folk singer Pete Seeger popularizes the song “We Shall Overcome,” which becomes an early anthem for the Civil Rights movement.

Detroit proto-punks MC5 perform in Chicago during the 1968 Democratic National Convention, subsequently inciting a riot between police and students protesting the Vietnam War and the assassination of Martin Luther King Jr.

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NYU record label gives back By KIERAN GRAULICH Staff Writer

OneReasonRecordings is the world’s first social label, defining themselves as “a music label dedicated to social justice and awareness.” Johnathan Chen, a senior majoring in food studies at the Steinhardt School of Culture, Education and Human Development, founded the organization during his freshman year at NYU. Since 2012, OneReasonRecordings has increased awareness about social and humanitarian issues worldwide, raising over $29,000 for various charities through its powerful combination of music and philanthropy. “What we do is partner with musicians around the country that focus on topics that we choose every year,” Chen said. The charity does year-long programs that focus on a specific social justice issue, with this year’s focus being hunger. All programs the organization creates focus on that topic, and at the end of the year, all proceeds go toward their partner charities. One of the nonprofit’s main fundraising tools is an annual compilation album. “In terms of the artists, it really varies,” Chen said. “We’ve had some from the United States, some from overseas, some that I do know, local artists and even NYU students that make music with us.” Along with being charitable to those in need around the world, One-

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“YOU CAN MAKE THAT SOMETHING POSITIVE AND MAKE AN IMPACT OUT OF IT AND GET IT GOING.” Reason is exceedingly charitable to their artists. “I think it’s hard for most artists to make a living in a major record label because an artist signs on and gets an advance, where you essentially do what they say, and stuff in a way that the label is happy with,” he said. “With an advance, an artist is extremely limited and we find it’s just like a really bad loan.” “It’s not money that’s in the pocket,” Chen continued. “Rather, it’s money that will eventually go back to the record label, and it’s all used for music production, the videos and the promotion. It’s like a band telling their audience ‘We made all this music, we got all these awards, but we’re still in debt to our record label.’” The idea of OneReasonRecordings revolves around Chen’s charitable experiences, coming from a family that was involved in philanthropy. Chen claims this is what led him to start his foundation. “In New York, the environment was extremely different,” Chen said. “You pass homeless people on the street, something I’d never seen before. For me, that was really a shock that pushed me to make some kind of impact. That commute from Third North to campus, seeing all these people pass by, it came to the point where everyone was used to it. I couldn’t believe no one was doing anything about it.” After living in New York and witnessing the different attitudes toward homeless people, Chen has learned from these experiences. “You can make that something positive and make an impact out of it and get it going,” Chen said.

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TATIANA BAEZ, NICOLE BROWN, ALEX GREENBERGER, CLIO MCCONNELL, JORDAN MELENDREZ About WSN: Washington Square News (ISSN 15499389) is the student newspaper of New York University. WSN is published Monday through Thursday during NYU’s academic year, except for university holidays, vacations and exam periods. Corrections: WSN is committed to accurate reporting. When we make errors, we do our best to correct them as quickly as possible. If you believe we have erred, contact the managing editors at managing@nyunews.com or at 212.998.4302.

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