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OPENWIDEZINE.COM

VOLUME 18, ISSUE 4


4-5 FAST FASHION

Thrift shopping is cool and cheap labour is not.

of

TABLE CONTENTS

6-7 MATERNAL MORTALITY AND REPRODUCTIVE RIGHTS

When a women is pregnant the baby is prioritized and no one is shocked.

8DOGS OF INSTAGRAM

Your favourite insta dogs are really just inbred and in pain.

9-11 MILLENNIALS: POPPING THE

18 POEM

BUBBLE WRAP

Bring back big ideas! (we can handle it)

12 WATCHING MOVIES THROUGH

Romanticizing a couple of streets

19 STICKER 20-21 NUDES WITH FOODS 22 COLOUR

FIMS-COLOURED GOGGLES FIMS: ruining your favourite movies since 1998

13-15 WELCOME TO THE ZINE SCENE London’s underground zine scene: profiles of local zine makers

16-17 IS THE DISNEY EMPIRE FALLING:

23 CARTOON

TAKE A BREAK ON THE REMAKES, IT’S GIVING US HEADACHES Where is the originality?

PHOTOGRAPHY


EDITOR’S NOTE

‘‘

VEronica KSENIA KOLODKA EDITOR IN CHIEF

It was revolutionary when black and white TVs started broadcasting in colour – viewers could finally imagine themselves in digital worlds that seemed so distant before. This is the real world and now you, the reader, are a part of it. Welcome to Openwide’s very first full-colour issue.

‘‘

It’s not quite virtual reality, but colour adds another dimension to the words and images that are printed on a page. We can see what the authors and our graphic designers see. We hope these colourful pages brighten your day! Inside this issue are critical perspectives that we hope you connect with.

kia andersen

world editor

Cheung

Managing Editor

brienna french arts & entertainment editor

HANNAH

alex prong

western life

ALBERGA

CREATIVE EDITOR

Openwide has (temporarily) entered a new dimension. Will you join us? Best, Ksenia

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ANMOL ALEXANDRA BURZA CHANDLA GRAPHICS EDITOR

Jill

SARA ding

GRAPHICS EDITOR

MURPHY PROMOTIONS

BRIELLE GOULART melissa hoffman PROMOTIONS

TALA Disclaimer: The sole responsibility of this publication lies with its authors. Contents do not reflect the opinions of the University Students’ Council of Western University (“USC”). The USC assumes no responsibility or liability for any error, inaccuracy, omission, or comment contained in this publication or for any use that may be made of such information by the reader.

GRAPHICS EDITOR

AL-RAMAHI

WEB EDITOR

Promotions

jeyasri pakeerathan photographer


Fast Fashion

If you read the Brothers Grimm classic The Elves and the Shoemaker as a kid, you probably remember the little naked elves who put together well-crafted shoes for the poor shoemaker. The shoemaker rewards the creatures with tiny suits of clothing in thanks for their work that makes his business a success. In the real world, however, our shoes and clothing are made by other human beings, and they are not treated as well as the little elves.

// VICKY QIAO

sweatshops. The majority of fast fashion clothing are made using cheap labour in developing countries, often under unethical conditions. �hen we �et a ��teen�dollar shirt from Forever 21, overjoyed at the An eight-story factory building located in the capital of Bangladesh, discount, we do not think about Rana Plaza was home to 3,639 workers who produced clothing for where it came from or who made it. Western retailers including Joe Fresh and Zara. Eighty percent When we see the tag “Made in China” of the workers were young women of 18-20 years of age. Their or “Made in India”, we do not think standard shift was around 14 hours, totaling up to 100 hours about the people in those countries who work 14 hours per day just for a few dollars. We do not think about them NEITHER HUMAN LIVES, NOR THE ENVIRONMENT, SHOULD because globalization BE THE PRICE OF FASHION. IT’S TIME THAT WE START disconnects us from CONSIDERING THE CONSEQUENCES WHILE WE SHOP. BUY the production process. Displayed fashionably LESS, AND BUY BETTER QUALITY ITEMS. in bright, colourful store settings – the garments a week with just two days off a month. Young are completely detached from their nasty history. “helpers” (child labourers) earned 12 cents an hour, while junior and senior workers received The business model adopted by fast fashion brands rely on customers’ desires to constantly purchase new items 22-24 cents an hour, bringing home less than $25 per month. in order to keep up with trends. Using a “low quality/high volume” approach, their goal is to make consumers buy the On April 24, 2013, the building collapsed maximum number of garments in the minimum time. Fast after a loud explosion. 1,137 confirmed fashion giants like H&M and Forever 21 receive shipments of dead at Rana Plaza. A year later, over new styles everyday, while TopShop launches over 400 new 200 remain missing. The collapse of the styles online every week. The clothing is designed to fall apart Rana Plaza building is, to date, the and is then replaced quickly by the newest styles. Remember that deadliest disaster in the history of the �lac� dress you �ou�ht online �or �aturday ni�ht� �on’t worry a�out garment industry. it being featured in another club photo, because It will likely end up in the �ar�a�e a�ter one wash� �ere comes the e�er�increasin� retail Globalization requires the waste. The average North American throws away over 68 pounds of modern retail industry to textiles per year. By throwing away, I mean being dumped directly into be heavily dependent on the land�ll� not �ein� donated to consi�nment stores li�e �ood�ill and offshore production and Value Village. It may take little time and cheap materials for fast fashion

4 //v.18.4


FORYOU FASHIONS

Neither human lives, nor the environment, should be the price of fashion. It’s time that we start

71 Wellington Street

considering the consequences while we shop. Buy less, and buy better quality items. Thrift

shopping is a good option; it offers a completely different experience than shopping from fast fashion brands, one comparable to “treasurehunting”. Instead of unconsciously dragging items into the shopping cart, digging through vintage pieces engages us with the history of clothing; it creates a sense of emotional attachment and thus makes us more likely to cherish the piece.

2

Although Blue Pepper Vintage - my favourite vintage store - is no longer in operation, here are some thrift shops in London that you can visit:

P.S. Give Value Village a chance, you’ll be surprised at what you’ll find!

RHONDA’S CLOSET

STYLE 360

1472 Dundas St. E

360 Springbank Drive

After all, what makes it unique if everyone is blindly following the “hottest trend”? From chokers to flare pants to embroidery, vintage fashion trends are hotter than ever. In addition to visiting the vintage stores, you can also find some stylish pieces from thrift chains like Value Village - and at a much lower price! When I interviewed Amber Smith, the owner of Blue Pepper Vintage (which unfortunately closed down recently), she advised students to “take the time to look” and “mix and match”. She thinks that everyone should take pride in what one wears because “you made the outfit”! You DO NOT need to keep your closet “up-to-date” to stay stylish. Mix and match the pieces you already own, you will be surprised by the new looks you create!

1

openWIDE// WORLD

garments to be made, but it takes decades for them to decompose in the soil - at huge costs of the environment.

3

NEW VINTAGE CHIC 2374 Main St.

4 C3 COCREATIVE CENTRE 637 Dundas St.

5

6 JACKPOT VINTAGE 122 Dundas St.


MERICA NEEDS A MOTHER-CENTRIC APPROACH TO MATERNITY CARE //Rebecca Heaton

Although it is mainly considered a problem of the developing world, maternal mortality remains a challenge in the United States where roughly 700 women die each year as a result of pregnancy or delivery complications. This is a human rights failure that no other developed country is experiencing today. In Save the Children's newest annual global motherhood rankings based on political status, economics, education, children’s well-being and maternal health, the United States sits at 33 of 179 surveyed countries. Given the barriers women face in accessing reproductive services and the absence of a mother-centric approach to maternity care, these numbers are not surprising. Since 2000, maternal mortality in the United States has been steadily rising as it declines in other developed regions. During childbirth the heavy focus on the baby’s safety and survival puts the mom’s health and well-being in jeopardy. In the maternity ward, babies

6 //v.18.4

are often monitored more closely than the mother. Managing a mother’s health post-partum is also another area which needs improvement. There are more mothers today that are older and have complex medical histories. We don’t pay enough attention to this and we are not being proactive about it. This is particularly upsetting because nearly 60 percent of maternal deaths are preventable. There are a number of complications

for unhealthy pregnancies, maternal mortality, as well as reinforcing the feminization of poverty. Given the risk associated with pregnancy and childbirth, women must have a choice over their bodies and their lives. The laws that limit access to birth control and abortion throughout predominantly rural areas in the United States make having a choice impossible. This means that for women with pre-existing conditions,

Maternal Deaths in the U.S. on the Rise      

I must disagree with Amazing Amy of “Gone Girl� when she said that America loves pregnant women. We have all heard that pregnant women have a certain glow and that motherhood is the most important job. However, too many women in the United States are tragically dying before they get to raise their babies and fully experience motherhood.



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Source: World Health Organization



 



 







women can experience during pregnancy and childbirth that range from cardiomyopathy (pregnancyrelated heart failure) to preeclampsia (pregnancy-induced hypertension). However, low-income women living in places without access to state funded reproductive healthcare services such as Planned Parenthood, cannot be examined by an OB-GYN to confirm that their pregnancy is a healthy one. Drastic funding cuts to state’s family planning budget by Republican lawmakers are responsible

having a baby is a death sentence. Women’s ability to choose life for themselves should not be up for debate, but the fact that it is illustrates that women are seen as disposable in the United States of America. It sends the message that women are nothing more than walking incubators. The public health community has worked hard to prevent birth defects, reduce pre-term death, and improve outcomes for pre-mature infants. This is impressive and a tremendous example of what passion and hard


Maternal Mortality Rate per 100,000 Live Births by State    

 





 







 





        

  



 





 







 













 





Source: Moaddab, et al. “Health Care Disparity and State-Specific Pregnancy-Related Mortality in the United States, 2005-2014�, Obstetrics & Gynecology 2016; 128:869-75.

work by scientists and researchers can do. It is fair to worry about the infant and their health. However, the mothers matter too and also need resources and care. American hospitals generally remain woefully unprepared for a maternal emergency as most of the research and programs are targeted at helping the infant. We must re-evaluate the notion that babies deserve more than mothers. We must value women’s lives, both in the medical community and in society as a whole. "We worry a lot about vulnerable little babies, we don't pay enough attention to those things that can be catastrophic for women," said Barbara Levy, Vice President of Health Policy and Advocacy at the American Congress of Obstetricians and Gynecologists (ACOG) and a member of the Council on Patient Safety in Women's Health Care. While it’s never just one thing that causes an extraordinary amount of maternal deaths in the United States, it seems that the root of the issue is that we don’t have the desire to save mother’s lives. It’s not that we can’t do it, it’s that we won’t do it and often, politics and pervasive misogynistic discourses get in the way. This is a public health issue and thus should

be treated as one. We need to have a discussion on this issue - it needs to be reported in the news and in a bipartisan way. Obituaries need to mention how the mother died and we need to hold the medical community accountable when they are ill equipped or unprepared. Most importantly, we need to hold each other accountable in how we treat and perceive women. For all the children who grew up without a mother and for all the single mothers who raised children in poverty, we need to do better by them. We need to do better by them if not because it’s the right thing to do, but because it is the smart thing to do economically. There needs to be a federal effort to address this systemic failure and scrutinize every death of a woman during pregnancy or childbirth. We need to track these deaths. There needs to be review panels in every state. Policy affects real lives. It can help a nation thrive or bring its people to their knees. The state of maternal mortality in the United States and the GOP’s role in it is shameful. It is unacceptable, and it is wrong.

diseases and geriatric pregnancy. However, other countries have also seen rises in obesity, chronic diseases and geriatric pregnancy, yet they do not have anywhere near the same maternal mortality rate. Maybe for once, women are not to blame. Keeping women alive and healthy throughout pregnancy and childbirth is not rocket science. The United States has the technology to treat mothers of all ages and sizes. Why they’re not doing it should be shocking to everyone. This is not a foreign problem, it is American and the culture that is allowing it to happen has to change.

Finally, a lot of the discourse surrounding this issue pins the blame on mothers; on obesity, chronic

To learn more visit everymothercounts.org/pages/giving-birth-in-america

v.18.4// 7


openWIDE// WORLD

the inbred dogs of instagram

Everyone loves dogs. Statistically in the last 24 hours you have tagged a friend in at least one picture of a puppy in a teacup or a corgi wiggling to trap music. That statistic may be facetious, but love for cute dogs online can not be understated. Although many dogs are met with adoration and love from fans, there are certain dog breeds that have seen increased fame from their Instagram popularity – often referred to as “designer breeds”. Some of the most popular being French Bulldogs (Frenchies), English Bulldogs, and pugs. However the concept of a dog breed is purely a human construction. All dog breeds are the same species, meaning that any two dogs can breed and produce fertile offspring. Purebred dogs are valued at extremely high costs, and owning certain breeds has historically been a status symbol. The unfortunate truth to these purebreds is that they have significantly more health problems than other dogs. Purebred dogs share small gene pools, making them incredibly susceptible to genetic conditions. The image of the purebred is associated with health and purity, but in reality these dogs have higher rates of illness and often die younger. Take the Instagram famous pug @itsdougthepug. Doug has 3.1 million

followers and is verified on Instagram. Although praised for their looks, pugs have a plethora of genetic health problems that are a result of a small gene pool. Due to the short face shape of the pugs, when they sniff around their bug eyes easily hit the things around them that they are sniffing causing painful injury. Unlike a natural long dog nose, there is no distance from a pug’s eyes to what it is sniffing. The large bug shape of their eyes also causes a condition called Distichiasis which means that eyelashes grow on their eyelid where they should not, causing great irritation to the dogs. The classic sound of breathing pugs is caused by an elongated soft palate that obstructs their airways. Also called ESP (Elongated Soft Palate) “The standard snoring of a Pug is a mild form of this condition, more severe cases can be heard through sounds such as honking, gasping for air and the blocking of the dogs’ vocal box.” according to a list of pug health issues at www.pugworld.co.uk. Like pugs, English Bulldogs like @bulldogholly face similar problems. In addition to breathing problems, English Bulldogs almost always need C-sections if they are having purebred puppies because the size of the puppies heads are too large for the Bulldog’s birth canal. This is a problem that also affects many Chihuahuas and pugs. @toastmeetsworld is an Instagram verified Cavalier King Charles Spaniel who was rescued from a puppy mill with over 378k followers. 70% of Cavalier King Charles spaniels suffer from “canine syringomyelia, a debilitating neurological disorder in which the brain is too large for the skull, causing severe pain in the neck and shoulders, along with damage to parts of the dog’s spinal cord” according to a 2014 Scientific American article by Claire Maldarelli titled “Although Purebred Dogs Can Be Best in Show, Are They Worst in Health?”

and yet good marketing strategies connotes them with ideals health and quality because they are “purebred”. These problems are often caused by irresponsible breeding in puppy mills, but reputable “breeders” also willfully produce dogs that they know will have genetic health problems in aspirations of looks. It is important to ask ourselves when this type of breeding becomes animal abuse. Human self-indulgent behaviour has lead to appearances being what matters the most, rather than the dog’s quality of life. We need to ask ourselves what value these types of breeding practices add to the world. As humans we have afflicted these painful conditions on animals that we love for simply for aesthetic purposes. But although the changes appear only aesthetic, they are not. They are a material ideology that takes the shape of misshapen noses, breeding problems, and mandatory dog C-sections. While real happiness and authenticity can come from canine relationships, the influence of consumerism and objectification is so powerful that it causes the companion to die sooner. The power of our consumerist culture is revealed in moments like this. Authentic emotion gets clouded and pulled in by the distorted views of consuming animal life, twisting and distorting it. When living beings become products, it alienates the individual from true experiences. Next time you see a cute pup in a taco costume drinking a “puppuccino” on Instagram, it is important to assess which values are privileged to allow the social acceptance of purposefully breeding animals with these conditions for aesthetics.

//KIA ANDERSEN


openWIDE// WESTERN LIFE

Millenials:

Popping the Bubble Wrap

//Helen Heikkila Let’s picture a millennial, lovingly bubblewrapped by doting helicopter parents. The naive babe with callous-free hands has been raised on a diet of organic sweets and Disney cartoons. It is dire when the millennial scrapes a knee, and worse still when the millennial breaks a bone. To hurt this babe’s bubblewrapped body borders on criminal behavior. There is no worse sin, however, than hurting a millenial’s feelings. To offend this babe is not only inappropriate; it is to spit in the face of purity. “That’s offensive!” cries the babe, and all must be silent.

task of educating students who have been inculcated with the belief that learning styles founded on bogus quasi-science are legitimate, that essays should form hamburgers, and that really wanting something is all it takes to attain it. Few would deny that good professors have been dealt a difficult hand. We might not be as tough as our great grandparents’ generation, which was asked to dawn uniforms and liberate Europe and the South Pacific, but we do have strength nonetheless. Nothing excuses compromising our education. No doubt, there is much we do not understand, but we want to understand, we are equipped to learn, and we deserve to understand. The good news is there are those who still stand up for intellectual discourse in academia.

Next, let us acknowledge all millennials whose eyes rolled as they read the above description. The stereotype picture of the bubble wrap generation has been reprinted more often than a Warhol soup label. It has been so finely Good teachers since Socrates have known that crafted that it seems to have charmed some true teaching involves teaching people how to universities. Somehow, many in academia have think, not what to think. Anything less is mere decided that millennials must be coddled and indoctrination. To keep people from ideas protected; they seem to have decided that the is unconscionable. It is one thing to protect best way to protect them is to shield them from people from things; it is another to keep things difficult ideas. from them as though Worse, many that protects them. It omehow, many in academia have decided that seem to have doesn’t. Ideas aren’t millennials must be coddled and protected decided to tell always the constructs millennials what of one power group to think, and in to victimize others. their enthusiasm have forgotten to teach how to Well-defended ideas have merit in themselves think. Perhaps they themselves have forgotten and belong to all groups. Good ideas can be how. defended rationally, and most millennials want a chance to develop and to defend them. Many millennials will grant you that we were ensnared in bubble wrap when we were young. Communications teaching assistant at Wilfrid University professors have the unfortunate Laurier University, Lindsay Shepherd, is a

S

v.18.4// 9


openWIDE// WESTERN LIFE

good example. One does not need to agree with everything Lindsay Shepherd says to appreciate the extraordinary bravery she demonstrated in standing up to those at Laurier University who would badger her into silence. She did not underestimate her millennial students, even as university authorities did. Laurier has become the most recent media focal point for discussions about intellectual discourse, but it is not the only university that needs to face the issue Shepherd highlights: should we use our free speech at a university? Of course we should, but how? While I have experienced professors and students at Western who ascribe to certain ideologies with fervour, sometimes at the expense of critical thought, I can honestly say that I have also had professors who never shy away from challenging their students, and from encouraging students to think for themselves. They also encourage students to speak to each other, especially when they disagree. That’s where learning takes place. As far as I can tell, no bubble wrap millennials were injured in the process. In fact, we are stronger than ever as a result, and that has to bode well for the future. There will be those who insist on shouting down ideas they disagree with. That is going to carry on for a long time, but with good education, all sides can talk, because they will know how. Many millennials attending university know it is a pleasure to learn from professors and students who take us seriously enough to expose us to all types of ideas. If we value progress and mutual understanding, difficult conversations must continue. To offend some millennials in the process is not dangerous; to withhold ideas is. 10 //v.18.4


openWIDE// WESTERN LIFE

List of people with big ideas Pictured Adam Smith Albert Einstein Alicia Garza Ann Coulter Ayaan Hirsi Ali Barbara Amiel Ben Shapiro Bernie Sanders Camille Paglia Carl Jung Charles de Gaulle Che Guevara Christopher Hitchens Claudette Colvin Confucius David Suzuki Descartes Donald Trump Elijah Harper Émilie du Châtelet Eva Perón Gloria Steinem Hunter S Thompson Jacques Derrida Jean-Paul Sartre Jordan Peterson Karl Marx Kim Campbell Lauren Southern Lech Walesa Lee Maracle Lindsay Shepherd Louis Riel Maajid Nawaz Mahãtmã Ghandi Malala Yousafzai Malcolm X Margaret Atwood

Margaret Fuller Margaret Thatcher Marie Le Pen Marsha P Johnson Marshall McLuhan Martin Heidegger Martin Luther King Mike Harris Munira Ahmed Nelson Mandela Paul-Michel Foucault Pierre Trudeau Richard Dawkins Ronald Reagan Salah al-Din Sam Harris Sarah Haider Sigmund Freud Simone de Beauvoir Socrates Subcomandante Marcos Sun Tzu Susan B Anthony Tarana Burke Theryn Meyer Thomas Jefferson Voltaire

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We l c o m e

t o

t he

Z i ne

Sc e n e

//Angela McInnes

You are the boss of your own zine. Sometimes we need to tell our stories on our own terms. A zine (derivative of “magazine”) is a medium by which today’s writers, poets, and visual artists can do so. It is a self-made booklet, oftentimes mass produced on the creator’s own dime via the local print shop. They can be sold or simply given away; it is entirely up to the maker.

ended it as many might assume. I interviewed four dwellers of the Forest City and asked them to explain how and why they choose to create zines, and why you should too. Crow and Moon Press

Zines were originally popularized in the 1930s by sci-fi lovers wanting to tell their own original work. The independent format of these zines also allowed fans to correspond and establish a tight-knit community. Later, the rebellious spirit of the 1970s embraced independent publishing to promote its punk rock movement, with ever-evolving Xeroxing technologies facilitating the free dissemination of band posters, fan art, op-eds, and music reviews. By the 1990s, zine-making aligned with the grunge and riot grrrl subcultures that skirted the edge of the mainstream. Youth and young adults enjoyed using the medium to share art, poetry, photography, and personal stories. In a way, the ‘90s zine had established itself as a tactile precursor to today’s Facebook. And while the swift rise of social media has challenged the notion of applying pen to paper to express one’s thoughts, it hasn’t altogether

A snapshot of Crow and Moon Press’s work space. If you told Lanh Hrafn five years ago that they’d eventually be making zines for a living, you’d hear loud, disbelieving laughter. Hrafn, 28, always loved to write and make art, but back then they foresaw a conventional future for themself and their wife, Rin Vanderhaeghe, 30. Both worked ordinary jobs and went to school, pursuing artistic endeavours only on the side. But life never turns out the way we think it will.

Working regular hours became impossible when the couple began to experience various health complications. With rent to pay and a cat to feed, Hrafn and Vanderhaeghe decided to work from home and turn their side ventures into a full-time career. In summer 2016, Hrafn and Vanderhaeghe combined their separate brands to create Crow and Moon Press (CAMP). Under CAMP, the two produce experimental science fiction noise music, handmade dolls, fictional stories, comic strips, photography, and zines. Hrafn and Vanderhaeghe then market their wares online and at various craft shows in and around London, Ontario. Making a living as independent artists is financially challenging, but Hrafn and Vanderhaeghe are garnering immense satisfaction that they wouldn’t find in any other vocation. “To know that we’ve put everything into a piece, that we did that and released it and sold it, it’s an amazing feeling of accomplishment at the end of the day,” says Hrafn. In less than a year, CAMP has made its mark on the London arts community. While each of their products reflects a unique vision and extreme work ethic, their work in zines has generated a profound

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openWIDE// ARTS & ENTERTAINMENT buzz nationwide.

Vanderhaeghe had selective mutism when she was a young child. As an adult she reflects on how it impacted her life in her zine “Forest City”.

than Vanderhaeghe’s and more sci-fi oriented. However, both agree that the medium is remarkable in its applicability to any kind of storytelling and level of skill. The key to making a good zine, says Hrafn, is to simply get started. While Hrafn’s first eight-page booklet took almost a year to complete, in the past 12 months they have released six zines, with three being almost 50 pages long.

A page out of Vanderhaeghe’s perzine, “Forest City”.

“Your first zine is probably going to be weird,” says Hrafn. “It’s probably going to be crappy. You might look back later and think it’s one of the worst things you’ve produced, but if you don’t do that first one then you’re not going to get to the second.” Just do it, says Hrafn.

“I think that it has helped me, especially knowing what’s going on now. With zines it has helped me push myself to use words more, to articulate myself,” she says.

The rest will follow. Jillian Clair

“It definitely encourages me to keep making zines, and that there are people out there that are interested in them and we can be connected because of them. I’ve never made a personal zine like ‘Forest City’ before that was so directly about me. It’s weird having people come up to me telling me they relate, or that it helped. I think that’s a really positive thing for me moving forward,” she says. Hrafn’s own zines are less personal

14 //v.18.4

The zine scene in London was at its most vibrant during the 60’s and 70’s, as was the rest of the local arts scene. But the urge for artists to create self-published work never fully dissipated, and Clair insists it never will. “A very cool thing I’ve learned about zine culture is that it’s very much a pre-Internet thing,” says Clair. “If you look at any resources about how to deal with self-care in a constructive way, a big one is taking a step back from technology. It’s really important to create spaces where you can do things that are tactile and have face-to-face interactions.” Through Zine Fiends, Clair intends to create that space and offer artists a refuge from the bombardment of technology while connecting over their work. Clair first started working with zines as she was developing her skills as a comic book illustrator. Inspired by both comic books and Riot grrrl culture, she published her first zine, entitled “The Abyss Stares Back”, at the age of 23.

“Forest City” was nominated for Broken Pencil Magazine’s first ever national Zine of the Year award, in the “perzine” (personal zine) category. The nomination is a huge deal both professionally and personally.

Zine Fiends is Clair’s up and coming pilot project to revive London’s zine community.

Jillian Clair gets candid about life as a Western student and working in a comic book store. Jillian Clair, 27, is a believer in the power of zines. When she’s not studying for her Masters of Library and Information Science at Western University or working at London’s beloved Heroes Comics store, she’s organizing meetings for Zine Fiends at the East Village Arts Collective.

Written over the span of a series, the work predominantly deals with negotiations between female identity and the patriarchy. Her first story, for instance, questions why women shave their pubic hair. Making the zine gave Clair the chance to freely express something she needed to release. “I am a feminist, and I feel there is a lot of misunderstanding in a broader context of what exactly that means. I’m finding that zine making


is a way for me to talk about some of my frustrations of identifying in that way, and existing in a body that identifies as female in a culture that always says it’s not good enough, and will always see me as somehow less than because of that.” Building upon a budding community is no easy task, but Clair says the empowerment she experienced in self-publishing her own work is something she is determined to bestow on others. In addition to Zine Fiends, she hopes to help publish anthologies and create a zine library in London. “I want to emphasize how friendly and open London’s DIY art community is,” says Clair. “How prepared everyone is to share resources, how welcomed everyone tries to make you feel. Come to Zine Fiends, everyone. Make some zines.” Megan Arnold Megan Arnold is known for her work illustrating “Nihilist Dog”, an online comic about a golden retriever experiencing existential nihilism, written by fellow Londoner Maverick Summers. Her own zines are less about philosophical animals, and more

openWIDE// ARTS & ENTERTAINMENT

about her own intimate thoughts – thoughts that are sometimes easier to express using art.

making art afterwards. My idea of success at the time was getting an arts job right away,” says Arnold.

“I find a lot of strength in vulnerability,” says Arnold. “That’s been a huge theme since I started making zines and comics. I’m not a person who opens up readily, so it’s much easier to just put it on paper and then slide it over casually to somebody.”

Like many young graduates, Arnold didn’t immediately find the job of her dreams, but she’s okay with that.

Arnold, 24, had begun her undergraduate degree in fine arts at Western University when she first got into zines. Her first zine, “Sorry”, was about saying sorry too much. Another, “Valuable”, explored valuing oneself. As part of her final project, Arnold created a retrospective of her fourth year at university using printmaking techniques and photocopying. One scene includes her finding pizza in a garbage can; another shows her and her classmates on a trip to New York City. She also predicts the futures of her peers. The booklet also includes scenes of herself confronting a personal fear of failure. “I was worried that I wouldn’t be

Arnold works as a barista, teaches zine-making classes to young children at the London Public Library, and creates art in downtown’s Good Sport studio. Alongside zines and comics, Arnold also creates music, performance, and installation art. She has developed solid footing in London’s tightly-knit arts community, and has enthusiasm that the Forest City zine scene will persevere in the midst of changing times. “Zines bring you back to the real world,” she says. “Physical things make you think of physical beings and physical people. My favourite part of creating zines is putting them together and using my hands. Zines have survived for that reason. If they weren’t important, they wouldn’t be around still; we wouldn’t have need for them when information is so available. It really is about physicality and connection.”

Megan Arnold uses zines to articulate some universal anxieties.


openWIDE// WESTERN LIFE

US

TAK

IS THE

H ES AC AD

EA

HE

BR E

AK

REMAKES, IT’S G E IVI TH NG N O

Disney EMPIRE FALLING

//KRISTIN LEE

The Disney empire was built on animation. Its cartoon characters are beloved globally, but is all of this changing? The multimillion-dollar enterprise’s work continues They’re creating a new group of films, however it seems to appear beyond our youthful days: its advertising is they are just tedious reproductions of their old gold. present on our social media pages, on TV, and well, it’s nearly impossible to avoid. Disney has recently announced their upcoming remake of The Lion King (2019), which isn’t the film’s first re- Disney has been perfecting their art of animation creation, and most likely won’t be the last. storytelling since 1923, and they’ve left a significant mark on many of our childhoods. They’re trying to recreate the magical experience we had in our childhood days with the most popular and “I think Disney’s intention with the remakes is to make prominent celebrities. The Lion King casted well-known money, [it’s] pure and simple,” said Graeme Rooney, and cherished celebrities including Beyoncé, Donald a long time Disney fan. “The fact that they are getting Glover, James Earl Jones, Chiwetel Ejiofor, Christopher good reviews is a bonus, but Disney’s originals are stories Walken, John Oliver, and Seth Rogen. Even American people know and love, which removes the risk of failure rapper, Desiigner, is officially joining the cast as Ed, the if a new story doesn’t get any love. It’s a guaranteed hit.” Hyena- I don’t think he’ll be needing a script. It can be argued this blatant, cash-grabbing strategy all started with the live action reboot of Cinderella (2015). It can’t be helped but noticed that Disney’s latest business In this remake, Disney manages to stretch their original model is quite simple: take an idea that’s already been trite plot into a two-hour blockbuster. Not to mention, done, throw millions of dollars into it, and cram it full this film already has two modern-day remakes! of big-name celebrities. There you have it—a cinematic masterpiece. 16 //v.18.4


openWIDE// WESTERN LIFE

Anyone who has watched the original Lion King (1994) is familiar with the plot. Yet, there is still so much attention towards the remake, not only because the original movie had touched our hearts as children, but because it’s being replayed by some of our most loved celebrities.

The Lion King is yet another film jam-packed with notable celebrity names, which will make Disney their sum of profit. Admittedly, the A-list filled cast is tempting, but if you think about the fact that Disney is a corporation, you have to realize that they have underlying reasons behind their casting choices. Even Jon Favreau’s The Jungle Book (2016) has garnered substantial attention from viewers, in its “live-action” remake. Celebrities like Scarlett Johansson, Bill Murray, Idris Elba, Ben Kingsley, and Christopher Walken got involved, so of course people (including me, admittedly) flocked to theatres to see it. This begs the question of whether Disney is casting celebrities for their talent, or for the money they’ll make from them. “It’s so hard to see original content from Disney these days, they’re just regurgitating their old content and it’s probably so that they’ll keep gaining popularity, and money of course,” said Jasmine D’Souza, another avid fan of Disney. Along with these films, other reproductions of originals include Maleficent (2014), casting Angelina Jolie and Elle Fanning; Beauty and the Beast (2017), casting Emma Watson, Luke Evans, and Ian McKellen; and Alice in Wonderland (2010), casting Johnny Depp, Anne Hathaway, Alan Rickman, and Helena Bonham Carter.

So, yes, you and I will probably enjoy the spectacular experience of Beyoncé and Donald Glover in the remake of the film we came to love and cherish as children. However, we should at least recognize that Disney, a successful multinational corporation, doesn’t care for the art film. Their sole concern is the bottom line, which is why they’re remaking films to bank off of our childhood memories. Many scholars, such as Theodor Adorno and Max Horkheimer, have also expressed concern over this commodification and monopolization of art that would otherwise critique norms and institutions. But regardless, whether you’re someone who still rewatches original Disney movies, or you’re someone whose left the fantastical world of animation behind in your childhood, most of us still hold a deep place in our hearts for these nostalgic films. Our favourite films and celebrities are merging into one, so frenzy away we shall. v.18.4// 17


openWIDE// CREATIVE

mechanical flower

The intersection below my balcony is romantic: the smooth curve of traffic taking turns, the temporary pause before engaging That second of mid-drive reflection, the look exchanged between pedestrian and lingering driver, recognition? or longing. The scent from the aspen out front mixes with gasoline and tobacco, a mechanical flower Sometimes, the weight of the car won’t register, and the light won’t change from red, a little man will jump out of the driver’s side, run onto the sidewalk, push the button, and run back a second of pure action or romance. //alex prong

18 //v.18.4


//Jenna Li

Inspired, I started doodling this little mascot; a character so heavily conditioned by machines that he literally becomes a machine-man. In honour of McLuhan, I have named this character Marshall Machineman.

MARSHALL MARSHALL machineman machineman

In MIT 1020E, Professor Dyer-Witheford lectured on Marshall McLuhan’s “The Medium is the Massage.” To quote McLuhan directly, “we make our tools and our tools make us.” The medium we utilize can change us both physically and psychologically. In my mind, it finally clicked. Our FIMS’ Orientation week shirts had a man with a television for a head and our Orientation Week cheer featured a segment of Charlie Chaplin’s speech in The Great Dictator in which he states, “we think too much and feel too little.” He further explains that love is what sets us apart from machines.


Nudes This collective came out of a desire to speak back to the many corporate food advertisements that objectify women’s bodies, commodify female sexuality, and reproduce rape culture to sell food items. As a means of reappropriating the constant depiction of women as consumable objects, I reached out to women in my life to pose for photographs in which various foods would stand in for the often taboo, shamed, and underrepresented parts of a female body.

//Nikky // Nikkymanfredi Manfredi


with foods

While these photos do not encapsulate every conception of the female form/femininity/ what it means to be a woman, these photos are about a woman’s agency over her own sexuality and body. Often, the women in these photos chose their pose, chose between food items, provided direction, were photographed by a significant other or photographed themselves. The project quickly became collaborative and communal at every stage. I feel immense gratitude for how forthcoming, supportive, hilarious, and vulnerable the women in my life have been through this process. I see all of that when I look at these photos.


C O //BECCA L SERENA O U R


Openwide v.18.4  
Openwide v.18.4  
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