The BREAKOUT! Issue

Asst.

Editor In Chief: Sarah Cassell

Director of Photography, Hair Stylist: Ovea Kaushik

Managing Editor, Production Assistant, PR: Kyla Rosin

Model: Shreya Gowducheruvu

Stylist, Jewelry: Phia Gregoire

Stylist: Aixmar Parra

Makeup Artist: Alissa Durakovic

Layout, Production Assistant: Irene Yoon

EEditor in Chief: Sarah Cassell

Managing Editor: Kyla Rosin

Creative Directors: Ovea Kaushik, Sarah Cassell

EDITORIAL

Director of Photography: Ovea Kaushik

Designers: Lynn Cheng, Phia Gregoire, Natalie Hearron

Lighting Operators: Dominic Kassing, Daniel Keane

Models: Fusion, Josh Austin, Betty Belew, Amanda Chen, Bridget Chen, Victoria Cheng, Amber Cheung, Grace Deng, Hallie Garcia, Shreya Gowducheruvu, Nadira Hassan, Steph He, Gabby Hilliard, Belly Horne, Kennedy Jacobs, Ovea Kaushik, Laila Kouli, Tola Omotayo, Winston Stukes, Sophia Waite, Jamie Yu, Michelle Zhao

Photographers: Oxford Photography Club, Ming Cui, LJ Henighan, Alice Liu, Amina Malone, Asana Mohammed, Kayleena Nguyen, Parker Tao, Samuel Varkey

Stylists: Josh Austin, Phia Gregoire, Chantel Mager, Aixmar Parra, Luka Salah, Winston Stukes

ART

Art Director: John Staton

Artists: Raymond Huang, Ellen Niu, Matthew Nguyen, Mandy Sun

BEAUTY

Beauty Director: Alissa Durakovic, Kierstin Robinson

Beauty Team: Amelia Briones, Sarah Cassell, Sophia Dietz, Nadira Hassan, Atiya Johnson, Ovea Kaushik, Zofia Killeen, Jennifer Lopez, Soryna McIntire, Sunjukta Vaidhyanatahn

LAYOUT

Editorial Curator: Irene Yoon

Layout Designers: Amelia Briones, Sarah Cassell, Atiya Johnson, Kaela Moscati, Jasmine Zhang

LOGISTICS

Events Coordinator: Grace Trent

Faculty Advisor: Alejandro Abarca

PR & Social Media Director: Nadira Hassan

Treasurer: Kayla Jackson

Club Collaborations: Fusion (Christina Fu), Oxford Photography Club (Elaine Li), OxSAPA (Zoe Ferguson)

WRITING

Fashion Editor: Belly Horne

Arts & Culture Editor: Amiee Zhao

“The Real World” Editor: Jocelyn Kaplan

Writers: Sarah Cassell, Alaina Cai, Phia Gregoire, Inesha Gupta, Steph He, Belly Horne, Aiza Kidwai, Amelia Persons, Lauren Purnell, Luka Salah, Karina Volkov, Sophia Waite, Cherry Zheng

EDITOR’S LETTER

Even while touring Oxford for the first time all the way back in my junior year of high school, I could already imagine my life here. I could see myself attending sophisticated art galleries in Atlanta, being surrounded by interesting fashion styles, and truly enriching the humanities side of my brain.

Safe to say that when I got here, I was in for a bit of a shock. I found myself feeling lost, creatively drained, and mentally exhausted. I longed for the inspiring existence I immersed myself in throughout high school, and narrowed it down to the one common denominator– a lack of a united arts scene. Of course, there were future doctors with a side hobby of photography, or business students who maybe spent a few hours putting together an outfit each day. But there was no place for these artistic interests to truly thrive. And it is only because of the months of collaboration, hours spent on set, and efforts of upwards of one-hundred students, this artistic scene can finally be brought to you.

So now, without further ado, I welcome you to Eternal Magazine’s very first issue: BREAKOUT!

Not only does this issue have that title because this is the very first fashion magazine on campus, but because of what “breaking out” means to me. Insecurities plague us all, but when you break away from your self-perception or the way that others view you, you are able to become the truest, fullest, most brilliant version of yourself.

It is completely mind-boggling to me that an early-November photoshoot that brought together a few people who slid up on an Instagram story has now manifested into an entire issue. Over sixty applications, twelve editorial photoshoots, three sections, and nearly one hundred collective straight hours, here it is.

Although it’s a statement that is commonly used, it is thoroughly applicable: I could not have done this alone. To my brilliant executive team, Ovea, Kyla, Grace, Irene, Belly, Amiee, Jocelyn, John, Kierstin, Alissa, and Kayla, this issue would be nothing without you. I am constantly in awe of your dedication and hard work, and “wonderful” is an understatement to describe our time working together. To Fusion’s brilliant performers, I feel deeply honored to have captured your overflowing talents and stylized them into a photoshoot. Christina, thank you for allowing this collaboration to happen! Fusion will always be one of my favorite clubs on campus. To Alex Abarca and Michaela Foronda for staff support, I am so happy to have worked with you this past semester. And of course, to my editorial mothers, Pilar and Gillian, who so kindly guided me and inspired me profusely. I have loved sending you all the behind-the-scenes pictures, ranting about concepts I’ve had, and your support genuinely encouraged me to continue despite the sometimes-difficult process. Working with Primadonna Zine truly changed my life, and I hope with everything in me to give other creatives the opportunity that you two gave me. Finally, to all of the contributors! It is a true honor to be someone that you each trusted to put your creative talents into, and I hope you are exuberantly proud of how this turned out.

And to whoever may be reading, whether you are analyzing each article or simply flipping through: I am viciously grateful to be part of a community that is so enthusiastic toward my goals. I hope that this magazine allows artists to flourish even further future, and day by day, we “BREAKOUT!” of what is already here and allow ourselves to create something beautiful and new.

Director of Photography: Ovea Kaushik

Managing Editor, Production Assistant: Kyla Rosin PR: Nadira Hassan Layout: Irene Yoon

Sarah Cassell (Founding Editor-in-Chief)

Editor In Chief, Model: Sarah Cassell

TABLE OF CONTENTS

CREDITS EDITOR’S LETTER

EXECUTIVE BOARD

1. FASHION

a. BOW-MANCE: THE BOW OBSESSION

b. MAY THE ODDS BE EVER IN YOUR FAVOR

c. AN ENDLESS CYCLE

d. MELDING MODERN MODESTY

f. THRIFTING: COLLEGE COUTURE

2. ARTS & CULTURE

a. DECODING DIGITAL AESTHETICS

b. ROMCOM RENAISSANCE

c. GET INTO THE GROOVE

d. PEOPLE PARANOIA

f. BAROQUE ART MODERNIZED

CONTENTS

3. “THE REAL WORLD”

a. ATLANTA’S BEATS & THREADS

b. PROGRESSIVE OR REGRESSIVE?

c. BLUE BUBBLES AND THE QUEER EXISTENCE

d. ROUTES BACK HOME CITATIONS

KYLA ROSIN MANAGING EDITOR

KAYLA JACKSON

NADIRA HASSAN PR & SOCIAL MEDIA DIRECTOR

KIERSTIN

ROBINSON

BEAUTY DIRECTOR

BEAUTY DIRECTOR

JOHN STATON ART DIRECTOR

SARAH CASSELL

OVEA KAUSHIK

DIRECTOR OF PHOTOGRAPHY

EDITOR-IN-CHIEF

ISABEL HORNE

FASHION EDITOR

GRACE TRENT EVENTS COORDINATOR

AMIEE ZHAO

ARTS & CULTURE EDITOR

IRENE YOON EDITORIAL CURATOR

Writer: Amelia Persons

Photographer: Asana Mohammed

Stylist: Chantel Mager, Phia Gregoire

Bows have long since been associated with elegance and grace, as well as a way of unapologetically expressing femininity.

In the ever-evolving realm of fashion, some trends come and go with the seasons. But others, ever present, are timeless. Bows have long-since been associated with elegance and grace, as well as a way of unapologetically expressing femininity. But how has the bow obsession evolved into what it is today, and how does it reflect the world we currently live in?

When I was younger, my mom loved putting bows in my hair. I had an entire jewelry box dedicated specifically to hair accessories, and I never wore the same one twice in the same week. They were my signature accessory. As time went on, however, I wore my bows less and less. Eventually, I grew out of them entirely. They were too small to serve any practical use, and by this time, I had started experimenting with various braids and ponytails on my own hair. Abandoning the bow was my first true mark of independence.

As we start to see a return to the bow era, however, we can see this widespread idea of reclaiming that same sense of youth and nostalgia in the revival of the bow trend.

Throughout the centuries, the bow embellishment has taken many forms, from oversized statement bows to small, delicate adornments used to elevate casual outfits.

Throughout the Victorian era, bows were a symbol of dignified taste, worn most often by high society men and women as a display of wealth.

In the 20th century, the popularity of the bow motif persisted, adorning highend fashion brands like Coco Chanel and Christian Dior. In more recent times, the classic and elegant bow remains a potent symbol of femininity in modern wardrobes.

Trends such as the bow trend are commonly popularized by celebrities and recycled every couple decades. This is primarily because when the new generation of young adults begins defining and coming into their personal styles, they tend to adopt looks they consider to be ‘retro’ and add a newly imagined modern flourish. Watching old rom-coms is a prime example in which a new generation longs for an aesthetic they’ve never experienced before, thus leading to a resurgence of that particular trend. In fact, many renewed rom-com fashion looks are inspired by the playful, vibrant outfits of some of our favorite leading ladies, such as Cher Horowitz from Clueless and Kat and Bianca Stratford from 10 Things I Hate About You. As people who experienced those trends firsthand start to see the new generation wearing outfits in a style that they once loved, nostalgia becomes the primary motivation for those generations to re-adopt that style.

In addition to its aesthetic appeal, the current bow trend speaks to a larger cultural change in the way we view self-expression, primarily because of the variety of ways that bows can be worn. Bows are a reflection of the modern cultural shift away from traditional fashion practices in the way that they are able to transcend age, culture, and gender, making a seemingly unnoticeable accessory the elevating touch that allows personal style to shine through. The bow trend embraces all that is playful and charming, while still maintaining a vintage flare.

Although the origins of the bow trend are rooted in symbols of wealth, the more recent entry into the “coquette era” of fashion has altered the bow trend’s original meaning. While bows are still symbols of elegance, they are more so associated now with playfulness, youth, and nostalgia. For me, the resurgence of the bow trend is a return to simpler times. Whether bows are being used as hair accessories, worn in ribbons attached to an outfit, or even serving as charming room decor, I am constantly reminded of the influence they had on my fashion sense as a child.

Amid the natural chaos of our world, bows are timeless reminders of childhood innocence and youthful charm.

Editor In Chief: Sarah Cassell

Director of Photography: Ovea Kaushik

Managing Editor: Kyla Rosin

Model: Kennedy Jacobs

Makeup: Sophia Dietz

Beauty Director: Kierstin Robinson

PR: Nadira Hassan

Jewelry: Phia Gregoire

Graphics: Raymond Huang

Layout: Amelia Briones

Odds May the BE EVER in

EVER Favor in your

By using fashion as a powerful tool to show the gaping chasm between the haves and the have-nots in a dystopian future, The Ballad of Songbirds and Snakes, the latest installment of Suzanne Collins’ iconic Hunger Games series, paints a vivid picture of societal disparity. We find ourselves confronted not only with an elaborate visual spectacle but also with a piercing commentary on our own socioeconomic landscape within the Capitol couture, the epitome of luxury shaped by a background of widespread poverty. In the Capitol’s lavish world, fashion is more than just a statement but also a symbol of power, privilege, and profound inequality.

As a quick overview, The Hunger Games is set in Panem, where a luxurious Capitol rules over 12 impoverished districts under a totalitarian regime. Every year, a boy and a girl from each District are chosen to compete in a televised battle to the death as a means to commemorate and reinforce their subjugation. As wealthy capitol citizens cheer on their favorite competitors, taking bets and offering sponsorships, families in the districts sit, eyes glued to their TV screen, watching their children, their friends, and their neighbors meet a bloody, brutal end. The stark contrast between the Capitol’s ostentatious wealth and the districts’ abject poverty serves as a poignant allegory for real-world socioeconomic disparities.

Capital’s extravagant fashion culture is central to the narrative, as its elite citizens wear outlandish outfits that defy convention. Capitol fashion is not only about clothes; it’s also a form of expression, a way to flaunt wealth and status, and a way to exert power over others. From flamboyant hairstyles that defy gravity to avant-garde makeup that transforms faces into living works of art, Capitol citizens spare no expense in their quest for sartorial supremacy.

Even everyday attire is elevated to realm of luxury fashion, with glistening with metallic threads, colors vibrant they seem to seethe with and accessories so extravagant they could be taken for works of art

to

the fabrics colors so with life, they art.

The clothing choices of Capitol Hill residents reflect their distance from the harsh realities of each District. Embellished with luxurious fabrics sourced from the far corners of Panem, adorned with ornate decorations made by the most skilled craftsmen, and paired with expensive luxury accessories, they flaunt their wealth without hesitation. But behind the surface glamor lies a deeper story of exploitation and inequality. Each garment tells a story of privilege purchased at the expense of the less fortunate, reminding us that behind every luxurious outfit, there are traces of suffering and oppression. The juxtaposition of the opulence of the Capitol and the poverty of the District parallels our world and reflects the great divide between the wealthy and the marginalized in our society.

The runways of Schiaparelli show models in shirts made of gold, their skin covered in crystals, wearing dresses adorned with computer parts—materials famously acquired and made off the backs of our world’s most impoverished—in the same country that children are absent from school due to lack of clean clothes. This apparent disparity is a stark reminder of the systemic inequalities that persist despite advances in wealth and technology. While the fashion elite enjoys excess, millions of people around the world struggle to meet their most basic needs.

Each garment tells a story of privilege purchased fortunate, reminding us that behind every luxurious suffering and oppression.

purchased at the expense of the less luxurious outfit, there are traces of

The deep divide between people who lack even the necessary resources is exposed, and it is clear. The Hunger Games emphasizes the transformative power of fashion as a medium of social criticism. By depicting Capitol Couture, the series not only highlights the grotesque excesses of the privileged classes but also challenges viewers to confront their complicity in perpetuating social inequality. By examining our own relationship to fashion and the broader socioeconomic structures that support it, we can begin to unravel the complex web of privilege and power that shapes our world. In doing so, we are taking the first steps towards building a more just society where fashion is not just a status symbol but a force for positive change. We must ask ourselves– are silks and gems ever truly beautiful when they exist off the back and in the face of those who shiver in homes unheated, struggling to survive.

Digging deeper into the world of The Hunger Games forces us to think about the inequalities in our own society. There, fashion often acts as a barometer of wealth and status. An analysis of the symbolism inherent in Capitol Couture reveals a poignant commentary on the corrosive effects of unchecked privilege and the urgent need for socioeconomic reform. In a world where fashion reigns supreme, we strive for a future where style is not just a privilege but a beacon of equality and inclusion.

Editor In Chief: Sarah Cassell

Director of Photography: Ovea Kaushik

Managing Editor, Production Assistant: Kyla Rosin

Models: Winston Stukes, Michelle Zhao, Betty Belew

Stylists: Phia Gregoire, Josh Austin

Hair Stylist: Jennifer Lopez, Nadira Hassan

Makeup Artist: Soryna McIntire, Sophia Dietz

Beauty Director: Alissa Durakovic, Kierstin Robinson

PR: Nadira Hassan

Photographer: Ming Cui (Oxford Photography Club)

Jewelry: Phia Gregoire

Garments: Natalie Hearron

Writer: Luka Salah

Layout: Kaela Moscati

MODERN melding MODESTY

writer: belly horne

The Little Black Dress. It’s iconic in every rendition, a timeless item found in the closets of ourselves and our mothers. Small, simple, and sexy is everything a good piece should be. What other garments can be worn at both a wedding and a funeral? Utterly universal, it has earned its reputation and appeal. Of course, that is unless you are one of the millions of American women who practice modesty.

k Dress. timeless

TheLiTTLe BLackDress .

People choose to dress modestly for different reasons and to different extents. Some hijabis wouldn’t be caught dead in the dresses worn by members of the church of Latter-day Saints, and there are street style enthusiasts in baggy jeans and oversized shirts who would sooner be shot than put on a floral maxi skirt. Some do it for their faith, culture, or personal preference, and while the feminism or antifeminism of modesty has been exhaustingly discussed, often overlooked is the artistry of it. In a culture that treats little black dresses, jeans, shorts, and crop tops as essential parts of the American wardrobe, women who practice modesty have created an innovative parallel fashion industry. In our Barbie dreamworld, modesty helps create innovative androgyny and creative collections of garments. Seeking to cover more, Jiwa and Eilish expanded the canvas of what it looks like to be a true Barbie Girl.

Less bright, bold, and a little more blue was the long denim skirt trend of 2024. It was Y2k. It was Britney. It was so incredibly Jewish. For years, long denim maxi skirts have been a staple of orthodox women’s fashion. According to Kelly Conner, a denim editor (yes, denim editor) at Vogue– the long denim skirt is a frum fundamental, and you cannot go wrong with it. For the frum, it is a little black dress. So, while you’re seeing many recent adopters wear the garment every which way, here’s some advice from Mestatik, writer of the blog True Tznius Beauty and an old pro of denim skirts– a denim skirt pairs best with earth tones like browns and olive greens, and if you’re looking for an accent try some fun turquoise jewelry.

Less fundamentally Jewish and more overwhelmingly WASPY is the trend of quiet luxury– the hallmarks of, whether you notice it or not, are the fashion hacks that every modest girl knows. Add a blazer if you want to elevate blue jeans and a white T-shirt. If you want to be modest in summer, try linen– which is flowy and chic. Add a turtleneck below to make a sweatshirt more Blair Waldorf and hijabi-friendly. The styles, materials, and trends of classiness that whisper are the very ones pulsing through the veins of the modest fashion world. While there are some girls you will never see in the small, simple, sexy of a little black dress, it doesn’t mean their style isn’t timeless. Parallel to mainstream fashion trends flows a stream of dynamic possibilities, staple pieces, and fashion hacks, innovating and influencing them. So, if 2023 was defined by Barbie, blue denim, and quiet luxury– then it was defined by the modest fashion that shaped and expanded it.

BLackD r e s .s

timeless sselemit

Editor In Chief: Sarah Cassell

Director of Photography: Ovea Kaushik

Managing Editor, Production Assistant: Kyla Rosin

Models: Michelle Zhao, Belly Horne

Stylist: Luka Salah

Hair Stylist: Atiya Johnson, Nadira Hassan

Makeup Artist: Amelia Briones, Sarah Cassell

PR: Nadira Hassan

Photographer: Amina Malone

Layout: Jasmine Zhang

Inan age of aesthetic Instagram stories, Pinterest mood boards, and sticker-brimmed Stanleys, fashion is at the forefront of creative expression—in the intensive liberal arts college education environment— fashion takes the form of an outlet, a space accepting of diversity and freedom of choice.

My own choices, prior to college, differ a lot from those I make today. As a girl from a private school in a conservative neighbourhood in India, my fashion before college was a lot of oversized things—oversized shirts, sweatshirts, and boot cuts. It was when I stepped foot onto a different continent, my wardrobe ballooned, now including low cuts, bikinis, quirky eclectic bright colours, and crop tops.

It was here, 30 miles from Atlanta, 7000 miles from my home, and in my first week of college, that I thrifted for the first time.

The nearest Goodwill, a 15-minute shuttle ride from campus, was a magical dream, my arms overflowing with tank tops, and flowy dresses as I swiped my card, scoring 20 items for 50 dollars. I was overjoyed—I could finally justify buying a black embroidered skirt that looked quirky, but I wasn’t sure I was going to wear.

Walking campus that first week was a public spectacle, in my brand new old clothes I felt the pressure to dress a certain way, to cater to an audience. But as college progressed, I found my close circle of friends, and the pressures associated with dressing subsided, clearing the initial fog.

Clarity brought forth an appreciation for dressing and nuanced aspects of my thrifting adventure beyond the benefits of a good bargain.

Kaela Gabi (‘25 Ox) tells me she feels this benefit in terms of creativity and art. She says that at a liberal arts college like ours, thrifting is an appreciation for arts, history, and fashion. Oxford is a safer space, filled with perspectives, freedom, and comfort in self-expression, so it’s only natural that people gravitate towards the eclectic collections of second hand shops.

At our Saturday brunch, sipping on her tea, Kaela furthers this, observing that “It’s like you’re constantly being inspired and seeing fashionable people: if you’re not seeing fashion around you, you’re not inspired to be creative with your pursuits.” Oxford is a college of creative people creating creative ensembles.

My classes have helped me piece together this narrative around thrifting further, where, studying subjects like environmental science, I understand the grievous implications of fast fashion on human rights, and environmental & habitat degradation. I realize, the creative pursuit of thrifting doesn’t just come from giving old clothes new life, but also in the ways it pushes you to be fashionable without resorting to the fast fashion Tartarus of Shein, Cider, and the like. You’re putting together an outfit that hasn’t been pre-predocued and pre-planned by boardroom executives. Thrifting is radical in this way– a means of opting out of the overconsumption, climate destruction, and predatory capitalism that does its best to define us.

This opt out (and opt in regarding affordability) is so popular on college campuses that you can pick it out of a crowd. Picking at her dining hall eggs, Kaela Declares that she can tell when someone has thrifted an outfit. ‘They just look more artsy, their outfits just seem more put together,” she says, and I’m almost bound to agree. Thrifted clothes are put together with the care of someone introducing clothes from different decades, styles, and designers to one another as if they are close friends.

Thrifting is the calling card of a college campus– the creativity of self conception, consumption, and outfit curation.

Etymologically, the word “thrift” is still not a verb, but an adjective referring to the careful use of money. Yet, this activity, yet to be recognised by the Oxford Dictionary, has become synonymous with college fashion as we know it.

Artist: Ellen Niu

Writer: Inesha Gupta

Layout: Atiya Johnson

DECODING DIGITAL AESTH

DECODING DIGITAL ETICS

Writer: Karina Volkov

Stylist: Aixmar

Photographer: Samuel Varkey

Parra

How are aesthetics defined? Philosophically, aesthetics is the branch of theories concerned with the nature of beauty and the nature of taste, and functions as the philosophy of art. The word aesthetics has been used recently on social media to describe your look/vision. There’s an abundance of different aesthetics, like downtown girl, cottagecore, office siren, etc., each designed to produce emotions and attachments to specific images. There are also roots of consumption underlying the creation of aesthetics. Oftentimes, aesthetics are marketed in such a way that forces someone to purchase certain items in order to fit in with the rest of the group. For example, in the clean girl aesthetic, you need to buy all the expensive skincare in order to fit in with the group. There are numerous other examples of this, including certain clothing, hair products, accessories, food, books, water bottles, etc., all centered on making your life fit into the aesthetic vision you have internalized from prevailing social images. Generally, different aesthetics are restricted to dressing a certain way, doing their hair and makeup a certain way, and generally behaving a particular way as well. That’s how you are able to identify people who are like you.

This raises the question of how do you possibly decide which exact aesthetic you fit into? It almost feels like everyone is completely committed to one. Especially on social media, people like to portray themselves as perfectly as they can, and particularly when their platform is based on aesthetics, only like to post things that fit into it. It also seems very easy, looking at influencers, to have one aesthetic and stick with it. The influencers buy up everything that’s associated with the aesthetic so they can hopefully be the gold standard that everyone compares themselves to. For example, Emma Mac (@0emmamac on TikTok), who has over 800k followers, bases their whole social media page on the clean girl aesthetic. Usually these social media influencers try to teach other people how to conform to a certain aesthetic. For example, Emma Mac has numerous videos talking about how to do your makeup like a “clean girl” or how to act like a “clean girl”, all while advertising certain products for people to buy—like certain makeup or skincare or clothing.

Models: Sophia Waite Hair Stylist: Jennifer Lopez Makeup Artist: Amelia Briones

Not just clothing and makeup, some people really focus on making their platform fit into their supposed aesthetic. They curate their social media pages with the hopes that everything looks coordinated, organized, and pretty. Curating pages takes a lot of effort and ability, to make every piece of the puzzle fit together. For Instagram, for example, using specific colors, stories, story highlights, profile picture, posts, and bio to portray a specific version of yourself. Social media curation can also be an incredible creative outlet. The effort to synchronize all the different parts of your page can be incredibly rewarding. Additionally, for the people who don’t completely fit into one aesthetic, taking different parts of different aesthetics and making them their own is very fun and creatively stimulating. Mixing and matching aesthetics also eliminates the pressure of making yourself fit into a specific one.

Curating your Pinterest is not as much work as it seems. I personally have a different board for each part of my life that I’d like to improve. For example, I have a summer outfit board, winter outfit board, hairstyle inspiration board, makeup inspiration board, and a board to romanticize studying. Ultimately, social media curation is entirely subjective and a personal experience. You are meant to be having fun on social media, and social media curation should not be a stressful thing, but rather, a creative outlet.

“...people like to portray themselves as perfectly as they can...”

- Karina Volkov

Editor In Chief: Sarah Cassell

Director of Photography: Ovea Kaushik

PR: Nadira Hassan

Layout Design: Amelia Briones

1100110 100100 01100 1010 010 10

RomCom RENAISSANCE

Written by Phia Gregoire

RENAISSANCE

Take a moment and look up recommended romcoms—short for romantic comedies—on Google, or anywhere, really. Ask your friends and families what their favorite romcoms are. Chances are, whatever they say is at least 15 years old, like Love Actually (2003), Clueless (1995), or 10 Things I Hate About You (1999). So, where did all the romcoms go?

Romcoms are a cinematic version of comfort food, idealistic movie dramas that always guarantee a happy ending. The genre is the modernization of the classic fairytale love stories.

Starting from the 2010s, however, there has been a growing sentiment that the age of romcoms is coming to an end. The golden age of romcoms started in the late 80s and early 90s, and the genre blossomed in the 2000s. The unburdened realities of inaccurate portrayals of corporate jobs and the protagonists’ infinite amounts of money created fantastic escapism for the viewer. So, if romcoms were so wellloved, why did they die?

There are many theories as to what brought about the “death” of the romcom, and all of these theories are feasible to some degree. The answer to the question is, in my opinion, a combination of all of them. We will examine these together.

Some people are of the opinion that romcoms died due to the shortage of leading actors. Huge faces in the world of romcoms, like Julia Roberts, Tom Hanks, and Hugh Grant, all left the genre to avoid being typecast, and while they explored new genres romcom lovers weren’t all to enamoured by their replacements.

But for many, the death of romcoms goes beyond the actors. This brings us to the second theory, the romcom genre’s fatal flaw, a sense of falsity. As previously mentioned, most romcoms exist in worlds of semi-realism, where everything is romanticized. The problem with these perfect worlds is that there is no realistic drama in them. If you were to give Sandra Bullock– whose main job as a boss entails mostly stapling and looking important–any realistic conflict, the characters’ whole world would collapse, and there would be no room for romance or comedy. Ultimately, the plots became very predictable and people eventually got bored.

Another theory as to what happened to romcoms says that the Marvel universe superhero, Iron Man, killed them with the start of blockbuster movie series. What these opinion-holders do believe is that the death of the romcom is actually the death of the mid-budget studio movie. The thing is, romcoms have always kind of been looked down upon by Hollywood, so when 200 million blockbuster superhero movies came along with expansive cinematic universes and enormous budgets, romcoms were placed on the back burner and looked down upon even further. Capitalism may be part of the reason why the golden age romcoms has gone.

ROMCOMS

HAPPY

are a cinematic version of comfort food, idealistic

ROMCOMS

idealistic movie dramas that always guarantee a

ENDING

If that’s how and why romcoms died, are they ever going to come back?

In fact, I believe romcoms never actually died; they just got a lot worse. Golden age romcoms used to make a lot of money because people would keep returning to these movies as a source of comfort. Therefore, even as romcoms were breathing their final breaths, their potential did not go unnoticed.

In the same vein of thinking, perhaps streaming platforms like Netflix can be the key to romcom salvation in an age where people “Netflix and chill” for entertainment. From a money-making perspective, streaming platforms are the perfect places to house romcoms because they provide a standardized, easy format for romcom makers to follow, and people can return movies over and over again, whenever they want.

Yet, despite its advantages, streaming platforms have revived romcoms in a degrading quality that has brought not enjoyment, but only profits. Since most streaming platforms require their viewers to renew their subscriptions each month, they need to produce romcoms at rapid rates. It is important to remember that Hollywood is a risk-averse industry, so they have relied on making sequels or spin-offs of already-popular stories to guarantee success. However, many of these aren’t as popular as Hollywood would like, and don’t do much for making romcoms popular again. For example, “The Kissing Booth” (2018) should be noted as one of my personal least favorites.

So now, our final question is whether the “good” romcoms will come back. Well, looking back at some of the most well-loved romcoms of all time, I’ve found that a great deal of them are modern retellings of old love stories by Jane Austen or William Shakespeare. Clueless (1995) is actually a retelling of Emma by Jane Austen. She’s The Man (2006), 10 Things I Hate About You (1999), and Get Over It (2001) are all retellings of the Shakespearean plays, Twelfth Night, The Taming of the Shrew, and A Midsummer Night’s Dream And now, this subsect of the romcom genre has finally returned to us in the form of the blockbuster film, Anyone But You (2023), a modern-day retelling of Shakespeare’s Much Ado About Nothing

Another way to add this new spin on love stories is to queer the heteronormative nature of romcoms with LGBTQ+ representation. In recent years, we’ve had an uptick in queer romcoms, some examples being television shows like Heartstopper (2022) and Our Flag Means Death (2022), and films like Red, White & Royal Blue (2023). These queer romcoms are well-loved with IMDb scores of seven or higher.

Romcoms where there is romance, comedy, and added elements for a new spin is the closest we’re going to get to good old-fashion romcoms in our modern day. We shall wait with bated breath to see if the romcom will return to its full and former glory.

Editor In Chief

Director of Photography

Models

Photographer Stylist

Hair Stylist

Makeup Artist

PR

Location

Layout Design

SARAH CASSELL

OVEA KAUSHIK

LAILA KOULI, BRIDGET CHEN

LJ HENIGHAN

AIXMAR PARRA

JENNIFER LOPEZ, KIERSTIN

ALISSA DURAKOVIC, SOPHIA

NADIRA HASSAN

AMC CONYERS

KAELA MOSCATI

“I don’t even know life would look I didn’t dance.”

– Vicky Cheng (25’ Fusion Dancer

“I’ve always

know what my look like if (25’ Ox),

always danced.”

- Jamie Yu (25’

Ox),

Fusion Street Dance Captain

“Once you are on the stage, and you know you know it, the world tunes out around you and you focus on yourself.”

- Amanda Chen (25’ Ox), Fusion Chinese Traditional Dance Captain

In the frantic blur of college lives, making time for dancing has become increasingly difficult.

“I used to practice 3 to 4 times a week for 3 to 4 hours [each],” Fusion’s Chinese Traditional Dance Captain Deng said.

Even though the workload has gotten heavier, these dancers still free up whatever time is left to practice what they love.

“Dancing helps me relax and take my mind off stuff,” Deng said. “Dance has become such a part of me that it’s necessary to find time to do it.”

Similarly, Christina Fu (25Ox), Fusion’s President, mused that she was sent to many different ballet academies since 4 – one of which was a Russian ballet academy that pressed her for hours upon hours of practice– but found much less time devoted to dancing when she grew older.

Apart from time, family pressure is also prevalent in dancers. Amanda Chen, another one of Fusion’s talented Chinese Traditional Dance Captains, reflected on how she was pushed into Chinese traditional dance and ballet by her parents.

“[It was] hard to get the hang of it, hard to make yourself flexible enough and catch up with everyone else,” Chen contemplated.

As with parental expectations, instances of pressuring often come from unfulfilled dreams seeping through from parents to children.

“I felt like my mom was pressing traditional dance onto me,” Chen said. “She really wanted to experience it as a kid [but never did], so she decided to push it onto her child, to see me do what she couldn’t.”

However, along with coming-of-age came maturity to tackle these pressures from parents.

“I’m so glad I was able to pull through with that, and I don’t think that anymore,” Chen commented. “After experiencing community and connecting with the people in it, learning how to express passion and emotion easily through different types of Chinese traditional dance, I am really grateful for the abilities dancing gave me and how I can share it with people around me.”

Jamie Yu (25Ox), on the other hand, shared a different perspective on dancing that drives home the aspect of always dancing, whenever and wherever. Getting into the groove may just be moving to the music blasting in your ear, or finding ways to practice dancing during hard times.

“There weren’t really any moments I wanted to give up because I really enjoy dancing, whether it is just for fun or with a dance company,” Yu said.

While success and failure are both temporary, the courage to persist is what will never change for dancers. Dancers Victoria (Vicky) Cheng and Deng shared that the most challenging part of their dance career was the time during COVID-19, where they lost access to their second homes–dance studios, the stages, and the spotlights. Nevertheless, Deng dug into newer areas of dance, where she found an increasing passion in choreographing songs for modern and contemporary dance.

“My passion [for dancing] comes like a wave,” Cheng states, tracing the ups and downs of her determination to continue dancing, “Sometimes I think to myself: I don’t know if I want to continue this.” That thought, however, often becomes overpowered by another dancing video, or performance she watches.

“Whenever I watch a dance, I feel inspired,” Cheng reflected. “During COVID, I went to watch VIBE, a dance competition, and that made me want to continue doing it.”

A source of inspiration for a lot of dancers is, undoubtedly, other accomplished dancers. From appreciating dance shows like Women Street Fighter and the Red Bull Freestyle Dance Competition, to watching renowned dancers such as Sean Lu, Waxxy, and the intricate Nick Joseph, Cheng has gained both inspiration and expertise from watching them.

“Choreographers I really like are J Ho, Vata, Bada Lee, and Groot,” Yu also brought up dancers she loves.

“They are all part of the street dance title, but all have such different styles and it’s very rewarding when I am able to pick up all the different styles from watching their dances, battles, and choreographies.”

Most of the dancers mentioned were also major competitors in dance reality shows such as Street Dance of China. Starting only with Chinese people, it eventually branched out to people globally as the seasons went on which diversified the street dance concept. Accomplished dancers inspire sometimes, but they could also pose as an unreachable goal for aspiring dancers.

“Will I ever be able to become like them?” Yu said that she has often posed this question to herself, and “the answer is most likely not because I cannot do all the things I see online.”

Instead, she turned these negative thoughts into “motivation to improve a little at a time and that learning something small can become a big improvement over time.”

In the face of the new generation of aspiring dancers, anxiety and stage fright may also be a prevalent problem.

Editor In Chief: Sarah Cassell

Director of Photography: Ovea Kaushik

Models: Jamie Yu (Street Dance), Amber Cheung (K-Pop), Amanda Chen & Grace Deng (Traditional Chinese)

Photographer: Alice Liu (Oxford Photography Club)

Stylist: Aixmar Parra, Phia Gregoire

Hair Stylists: Jennifer Lopez, Atiya Johnson

Makeup Artist: Soryna McIntire, Sophia Dietz, Amelia Briones

PR: Nadira Hassan

Jewelry: Phia Gregoire

Gloves: Lynn Cheng

Lights Operator: Dominic Kassing, Daniel Keane

Production Assistant: Sunjukta Vaidhyanathan

Writer: Stephanie He

Layout Design: Atiya Johnson

I believe there is always anxiety before any type of performance, whether you are a professional or not,” Yu said. “Going through the dance moves and suddenly forgetting what the first move even is is truly one of the most frightening moments before every performance.”

“Over the years, most of the anxiety goes away,” Cheng adds, “When you go onto the stage, all you can feel is the base, and the music blasting in your ears; you can’t really see or hear anything else and all the hard work you put in, it all just comes out.”

In her most recent project that spanned over several months, Cheng felt just that: “We trained almost everyday,” Cheng laughs, “Half of us ended up going crazy, but how much hard work and how much fun it was even though we were pulling crazy hours really made it worth the while.”

When asked what advice they would have given to their younger selves, an overwhelming response was to “make the most of all the opportunities,” Fu said. “Don’t overthink it, have fun. Don’t think more of it than what it is.”

Don’t be afraid of “showing off”, according to Yu, because these are the opportunities that allow you to not only learn and grow, but also for others to get to know you “not just as a person but also a performer”.

Matthew Nguyen

Acrylic on Paper

8” x 11”

Baroque Art Modernized

Written by Aiza Kidwai

The Baroque era, which characterized the majority of European post-renaissancepost-renaissanc art in the 1600’s a tumultuous symphony of grandeur and passion. It unfurled amidst the clash of religious and social ideologies, as well as the crescendo of artistic revolution. The artistic style followed the high Italian renaissance- and it had some big shoes to fill. The artists from that time period knew that they had to find a way to upgrade the renaissance style, and took on the task of revolutionizing the already-revolutionary Renaissance art. Elaborate and ornate patterns, rich and decadent mediums, and dramatic storytelling all characterized this era of Baroque art.

Although the late 1500’s art style has since died out, the remnants of this period are prevalent in every element of our daily lives. The Baroque aesthetic has woven itself into the fabric of contemporary artistic practices, influencing everything from painting and sculpture to architecture and design.

One of the most enduring legacies of the Baroque era is its dramatic use of light and shadow, known as chiaroscuro. Baroque artists, such as Michelangelo Merisi da Caravaggio and Rembrandt van Rijn, mastered the interplay of light and darkness to create heightened emotional intensity and depth in their works. This technique continues to captivate modern artists, who harness its power to evoke mood and emotion in their creations. Whether in photography, film, or painting, the play of light and shadow serves as a potent tool for conveying narrative and imbuing scenes with a sense of drama and atmosphere. This can be seen in pieces such as Cravaggio’s “Calling of Saint Matthew”, which was made right at the start of the Baroque era, in 1600 in Rome.

Emotional Intensity and Theatricality

Baroque art is characterized by its theatricality and emotional immediacy, reflecting the fervor and turbulence of the era. Artists sought to elicit strong emotional responses from viewers, often through depictions of intense religious fervor, dramatic narrative scenes, and dynamic compositions. This emphasis on emotional expressiveness resonates with modern artists who explore themes of human experience, identity, and social commentary, e More and more, modern art is channeling the spirit of Baroque art through its functionality as a critique and analysis of society. In the Baroque era, it was a critique and analysis of religion and class, and to this day, art remains a powerful tool in contributing to discourse about social, economic, and political issues. Through bold gestures, expressive brushwork, and dynamic compositions, contemporary artists channel the spirit of the Baroque to engage audiences on a visceral level and provoke thought and reflection. This appeal to emotion is highlighted in pieces such as “Girl with a Pearl Earring” by Johannes Vermeer, where the expressive nature of the subject evokes an emotion in the audience.

Writer: Aiza Kidwai

Layout: Jasmine Zhang

"...a tumultuous symphony of grandeur and passion"

Ornate Detailing and Opulence

The Baroque era was a time of opulence and extravagance, both in the acquisition of art and the materials used to carve, paint, and buildbuilt art and architecture. The 1600’s were marked by intricate detailing and lavish ornamentation. From the elaborate architecture of churches and palaces to the sumptuous textiles and decorative arts of the period, Baroque aesthetics celebrated the richness and grandeur of the world. In modern art and design, echoes of this ornate sensibility can be found in works that embrace decorative motifs, intricate patterns, and luxurious materials. The detailing of this time period is especially prominent in architectural pieces, similar to the interior of the Il Gesu church. Whether in fashion, interior design, or sculpture, artists and designers draw inspiration from the Baroque tradition to create visually stunning and immersive experiences that captivate the senses and evoke a sense of wonder and awe.

Reinterpretation and Innovation

While the Baroque era represents a distinct historical period, its influence transcends time and continues to evolve through reinterpretation and innovation. Modern artists draw inspiration from the Baroque tradition while infusing it with contemporary styles, pushing the boundaries of artistic expression and exploring new forms of visual language. Through experimentation with materials, techniques, and concepts, artists pay homage to the legacy of the Baroque while forging new paths and redefining the boundaries of artistic practice in the 21st century.

The Baroque era stands as a testament to the enduring power of art to transcend time and space, leaving an indelible imprint on the collective consciousness of humanity. Its influence on modern art is undeniable, permeating every aspect of contemporary artistic practice and continuing to inspire generations of artists to explore the depths of human experience and imagination. As we look to the future, the legacy of the Baroque reminds us of the transformative potential of art to illuminate, provoke, and inspire, bridging the gap between past and present in a timeless dance of creativity and innovation.

BeatsAtlanta’s &

Atlanta’s Threads &

Atlanta, Georgia:

home of 512,047 people, is a bustling fashion city. There is no place like it: everyone is wearing eccentric outfits, creating all genres of music, and rising to stardom due to their incredible creative talent. Known for its vintage and luxury items, Atlanta is a hub swarming with clothing and accessory creators. The most popular trend Atlanta has brought to the table is luxury streetwear. Hip-hop and urban culture had a big impact on mainstream fashion in the 1990s and early 2000s, when Sean John, FUBU, and Tommy Hilfiger became well-known la bels. Fashion shifted its focus to logos and branding, reflect ing consumerism’s rise and the need for status symbols. Similar components are still used in luxury streetwear today to pay homage to this historical period. Fashion labels such as Off-White, Supreme, and Balenciaga incorporate street-inspired aesthetics, large silhouettes, bright logos, and graphic prints that harken back to the 90s and 2000s fashion scene into their creations. To list a few iconic moments, one notable appearance by Pharrell Williams in the “Frontin’” music video displays Williams combining hoodies and sneakers with designer items. He also collaborated with BAPE, a Japanese streetwear brand, curating what we now know as the BAPEsta sneaker. These sneakers have been worn by notable celebrities like Kanye West and Lil Wayne, and many current streetwear influencers have these shoes on display in their closet.

Andre 3000, best known as one of the members of the hip-hop group OutKast, is also very influential in current streetwear fashion. Providing an avant-garde look to his brand, he is never afraid to experiment: bright colors, kilts, and jumpsuits, Andre 3000’s commitment to gender-fluid fashion has helped challenge traditional notions of masculinity and inspire a new generation of artists and fashion enthusiasts to embrace their own unique identities. Andre’s willingness to push boundaries and challenge societal norms has paved the way for greater inclusion and diversity within the Atlanta fashion scene, encouraging people to express themselves authentically and without fear of judgment. Additionally, Andre 3000’s influence can be seen in the rise of Atlanta-based designers and brands that emphasize creativity and individuality in their collections. From streetwear brands like A Ma Maniére and Wish ATL to highend designers like Virgil Abloh and Kerby Jean-Raymond, the spirit of innovation and self-expression that Andre 3000 embodies is reflected in the work of these talented creatives. Atlanta creatives push the boundaries of fashion and redefine what it means to have ATL swag.

In recent years Atlanta fashion has shifted to embrace sneaker culture. Atlanta has become a vibrant and influential scene, drawing enthusiasts from all walks of life to the city’s sneaker boutiques, events, and local community gatherings. From collectors looking for the latest releases to fashion lovers showcasing their unique personal style, Atlanta has become a mecca for sneaker culture and cemented its reputation as a trend-setting hub in the world of sneaker fashion. At the forefront of Atlanta’s sneaker culture are influential figures like 2 Chainz and Gucci Mane, whose passion for sneakers and distinctive style have helped shape the city’s sneaker scene and take it to new levels. Both artists are known for their extensive sneaker collections and frequent collaborations with top brands, making them icons within and outside the sneaker community. 2 Chainz in particular has been instrumental in putting Atlanta on the map as a sneaker destination. As a rapper and entrepreneur, 2 Chainz has used his platform to highlight local sneaker boutiques and designers and introduce the diversity and creativity of Atlanta sneaker culture to a global audience. His sneaker collaborations, including partnerships with brands like Versace and Ewing Athletics, have further cemented his status as a fashion icon in the world of footwear.

As Atlanta continues to evolve as a fashion capital, its influence on streetwear and sneaker culture will undoubtedly continue to grow. With a thriving community of artists, designers, and enthusiasts pushing the boundaries of stylistic and musical expression, the city’s legacy as a pioneer in the fashion world is sure to prevail for years to come.

Editor In Chief: Sarah Cassell

Director of Photography: Ovea Kaushik

Models: Gabby Hilliard, Joshua Austin, Tola Omotayo, Nadira Hassan

Photographer: Samuel Varkey

Creative Director, Stylist: Winston Stukes

Asst. Stylist: Luka Salah

Hair Stylist: Atiya Johnson

Makeup Artist: Sophia Dietz, Alissa Durakovic

Beauty Director: Kierstin Robinson

PR: Nadira Hassan

Writer: Luka Salah

Layout: Atiya Johnson

Artist: Mandy Sun

Writer: Alaina Cai

Layout Design: Jasmine Zhang

Progressive Regressive?

Progressive or Regressive?

I’m eleven years old, standing beside my mom at the dining room table with her phone in hand. I’ve just downloaded Instagram, and I’m fervently scrolling through my friend’s profile, desperately trying to demonstrate to my mom why it is vital that I have my own account. My mom leans back from the phone with a vaguely confused look, and asks, “Why? What’s the point?” My eleven-year-old self is not capable of articulating the necessity of Instagram, so I, in response, frustratedly respond, “Because! Everyone else has it!”

As I’ve grown from my initial pre-teen debut on Instagram, social media has revolutionized how we consume news. In its infancy, social media was a place for people to escape the reality of our world; to look at mindless pictures and posts about people’s daily lives. Initially criticized for the creation of idealistic portrayals of life separate from reality, social media and the real world have begun to blur by connecting our actions online to tangible results capable of irrevocably altering a person’s life. This has most notably occurred with social media activism, a “form of activism that uses the Internet and digital media as key platforms for mass mobilization and political action” (Fuentes).

Some of the biggest movements within the past decade have utilized social media to expand awareness, with the BlackLivesMatter and #MeToo movements taking the world by storm. Social media skyrocketed the sheer amount of public awareness these movements garnered. According to a report published by the Pew Research Center, around two-thirds of Americans think the statements “social media highlights important issues that might not get a lot of attention otherwise” and “social media helps give a voice to underrepresented groups” describe social media somewhat well (Auxier and McClain). History has underscored social media’s power in amplifying critical issues and the voices of marginalized groups.

However, the emergence of “slacktivism” challenges the efficacy of digital activism, prompting debates about social media’s true impact. Slacktivism, a blend of the words slacker and activism, is “an online form of self-aggrandizing, politically ineffective activism,” requiring very little effort or commitment (Cabrera et al.). Pew Research Center finds that roughly eight in ten Americans believe the statements, “social media distracts people from issues that are truly important,” and “social media makes people think they are making a difference when they really are not” describe social media very well (Auxier and McClain). One of the most prominent examples of this practice is Blackout Tuesday. In the wake of George Floyd’s murder on May 25, 2020, around 28 million people posted plain black squares to Instagram in support of the Black Lives Matter movement (Ho). The black squares flooded social media and consequently flooded the #BlackLivesMatter tag, burying “videos, helpful information, resources, [and] documentation of the injustice” (Willingham). Information became more inaccessible with black squares filling feeds everywhere. Freedom March NYC lead organizer Chelsea Miller noted that the black squares were a harmful form of activism, “What it ultimately did is mute… the conversation. In a time when we are trying to amplify our voices, we were inherently silenced” (Ho).

Whats thepoint? Why?

The real question shifts from whether social media activism is progressive or regressive to how we can navigate and evaluate online engagement, especially in terms of intent versus impact. Slacktivism critiques superficial engagement under the pretense of substantive action. Nonetheless, the reach and awareness created by these platforms and users’ superficial engagements cannot be ignored. Social media’s ability to both educate and mislead makes discerning intent and impact crucial in evaluating social media’s effectiveness as a tool for activism.

Moving forward, digital activism must concentrate not just on raising awareness, but also on fostering a more informed and engaged audience. It is undeniable that social media plays a pivotal role in shaping public discourse and mobilizing collective action. However, truly impactful activism goes beyond digital declarations, it involves tangible actions that resonate beyond social media. While posting on social media about issues is a start, the digital conversation surrounding any movement should inspire many online advocates to take concrete actions, such as participating in protests, writing to legislators, and engaging with the community. The true measure of digital activism’s success lies in its ability not just to spread awareness, but also to inspire people into taking action beyond the scope of what can be accomplished on a screen. Engaging superficially in activism superficially may be preferable to complete inaction, but without a translation of these intentions into real-world actions, we risk settling for a semblance of change, rather than achieving genuine progress. Continuing forward, we must critically evaluate our actions and ensure that our actions go beyond performative allyship and instead catalyze genuine change. In doing so, we transform the good intentions into substantive efforts that pave the way for lasting change.

For the first eighteen years of my life, I lived in a rural, mainly conservative area. Growing up as a queer person in this environment made me eager to move to a more liberal city with a larger LGBTQ population. A big city meant more queer spaces, queer friends, and the potential for queer romance, which are scarce in small, rural communities. Similar to many LGBTQ people, I have a complicated relationship with my hometown. Although my town had a pride festival in June and a Parent, Families, and Friends of Lesbians and Gays (PFLAG) division, there were not many resources to offer queer people. I felt alone in my experiences. It was difficult to find straight friends who were allies, let alone LGBTQ friends. Most schools in my district do not have a Gender Sexuality Alliance (GSA), and spaces for queer people, especially youth, to gather are scarce. There are no gender-affirming healthcare clinics in my area, and gender-neutral pronouns were a foreign concept to most people I encountered.

There is a noticeable difference between the level of support for LGBTQ people in rural areas compared to urban areas. Due to the volume of people in urban areas, it is easier to thrive as an LGBTQ person. In urban areas, there are more resources and opportunities to connect with other community members. In Atlanta, it is extraordinarily easy to find events thanks to the prevalence of organizations like Southern Fried Queer Pride (SFQP). Many inclusive therapists and health professionals are concentrated in cities as well. Cities have more access to legal aid, LGBTQ-inclusive churches, health centers, and safe spaces for members of the community to gather and receive emotional and social support (Movement Advancement Project 16-19). This difference is caused in part by the “geographical isolation”of small towns and rural areas, which refers to a lack of resources, infrastructure, and other kinds of social support. This geographical isolation stems from distance to major cities and populated areas (Movement Advancement Project 4). Movement Advancement Project, an independent nonprofit providing research to create inclusive and equitable communities, notes how LGBTQ people have fewer places to go for “social support, legal support, or just basic information.” and emotional harm. This makes LGBTQ people in rural areas more vulnerable to discrimination. Geographical isolation does not manifest the same everywhere and attitudes towards LGBTQ people are drastically different depending on the location.

There are documented instances of anti-LGBTQ violence occurring in small towns and rural areas. For example, a drag show in Pikeville, Kentucky was forced to cancel an event after anti-LGBTQ townspeople threatened gun violence (WKMS). In Chesterland, Ohio, arson was attempted at a drag show, which was held at an LGBTQ-accepting church (Newrepublic). While LGBTQ-aimed violence occurs in cities, queer people in rural areas have less legal protections, often due to bias and a lack of resources (Movement Advancement Project 46). Rural areas have smaller populations than cities, which means anyone who is “different” from the societal norm stands out. Being different, and also being in the minority, exposes a person to more discrimination and violence. Increased visibility, without increased acceptance and protection, will cause LGBTQ people more harm.

I was able to move to an urban area with a larger queer population, but not every queer person is able or wants to make the change. Dismissing every person in a rural area as bigoted and conservative, especially in the south, does a disservice to rural queers. Instead, we should find ways to lessen the effects of homophobia and transphobia in rural communities. We should create more safe queer spaces, as well as locations for building allyship and solidarity. We need to support members of the queer community, no matter where they live, what they have experienced, or where they come from.

One way to address this issue is through education (Movement Advancement Project 68). Informing people in rural communities who may not be familiar with LGBTQ identities or the issues they face will help erase the stigma and contribute to widespread acceptance. Policies that promote queer protections written by governments, employers, and organizations can facilitate change in rural areas (Movement Advancement Project 73). Another important action to be taken is investment in resources and infrastructure specifically designed to help the LGBTQ community, such as inclusive legal services, community programming, and healthcare.

Artist: Raymond Huang

Writer: Lauren Purnell

Layout: Amelia Briones & Kaela Moscati

Somedays, I wake up to the phantom scent of my mother’s perfume. Somedays, I see the black curtains of her curly hair, flowering and escaping into the crisp scent of Australian dawns. Somedays, when I wake, sunlight is falling in shuttered curtains, baby mynas are bathing in gilded mornings, and shadows of gums leaves are dipping on windows growing warm. Those days, time was holding in the late morning. There was no one to be found, and for a moment, I couldn’t understand why. Then, blinking morning fog out of my eyes, I realize I’m fifteen thousand five hundred and ninety-two kilometers away, staring at the blank ceiling of my college dorm room.

I see wisps of an old home in this new country. In cold, crisp mornings, different colored skins, in English that rolls off the tongue. Not because everyone else could see that I was an imposter in my own skin, but because they spoke that way too. In a way, I felt more at home here than I did in China. But this is one piece of irony I know my parents would not entertain.