Your Magazine Volume 10 Issue 2: November 2018

VOLUME 10 | ISSUE 2 | NOVEMBER 2018

YOUR MAG VOLUME 10 | ISSUE 2 | NOVEMBER 2018

ALESSANDRA SETTINERI Editor in Chief

N ATA L I E G A L E Managing Editor

ELEANOR HILTY Creative Director

FRANCISCO GUGLIELMINO Art Director

L I L Y WA L S H Co-Photo Director

MADISON DOUGLAS Co-Photo Director

DELIA CURTIS Style Editor

LUCY CAPPELLO Living Editor

M O R G A N DAV I E S Web Director

M O N I K A DAV I S Editorial Director

DAY S I A TO L E N T I N O Co-Head Designer

BOBBY NICHOLAS III Co-Head Designer

TA L L U L A H J O N E S Co-Marketing Director

BAILEY BOUCHARD Co-Marketing Director

L I N D SAY H OWA R D Copy Chief

ALAN PÉREZ Head Proofreader

TA L I A S M I T H Asst. Living Editor

LEE ANN JASTILLANA Asst. Web Director

CAROLINE BRODERICK Romance Editor ISABELLE BRAUN A&E Editor HANA ANTRIM YourMagTV Director RANA SAIFI Talent Manager NICK BUNZICK Style Director A M A N DA H A M P TO N Asst. A&E Editor A D R I A N A A L AV I Asst. Marketing Director

MICHELLE ROMERO Asst. Talent Director

COPY EDITORS: OLIVIA TOWNSEND, REBEKAH SCARBOROUGH, THERESA MIELE, ABIGAIL NOYES, KAITLYN HACKETT, CATE HAYES, LIU ESTHER, NATALIE MICHAUD, TIVARA TANUDJAJA, ANNA MOON, SHAWNA KONIECZNY, MEHER GUPTA DESIGN TEAM: TATIANA GUEL, OLIVIA CIGLIANO, SELINA HSIAO, KARINA SANCHEZ, LILLIAN COHEN PROOFREADERS: SHAWNA KONIECZNY, NATALIE MICHAUD, ESTHER LIU

YMEMERSON.COM | INSTAGRAM: YOUR.MAG | TWITTER: @YOURMAGEMERSON

CONTENTS ROMANCE 6

8 10 EDITORIAL 12 STYLE 20 22

24 EDITORIAL 26 YOUR THINGS 36 LIVING 38 40 42 EDITORIAL 44

UNDERSTANDING COMPERSION by Morgan Davies BAD AT LOVE by Melissa Rosales NEW ME WITH EVERY RELATIONSHIP by Diti Kohli GUYS N' GLITTER directed by Ellie Hilty VERSACE, VERSACE by Carly Thompson "I DON'T LIKE IT WHEN YOU WEAR YOUR HAIR LIKE THAT"

by Megan Ellis A DASH OF SALT by Emilie Krone DRESS REHEARSAL directed by Eloisa De Farias YOUR THINGS with Hana Antrim CULTURE AND COLLEGE by Kiki Vasquez ULTIMATE NORTH END CANNOLI by Lillian Cohen THE ART OF BEING EXTRA by Gloria Perez WHOLLY INNOCENT OF SUCH WICKEDNESS directed by Natalie Gale and Monika Davis

ARTS AND ENTERTAIMENT 52 J.K. ROWLING by Jordyn Cowen

54 HUNDRED ACRE WOODS COMES TO BOSTON

by Olivia Cigliano

56 MUSIC FOR A MOVEMENT by Kenneth Cox YM ADVISES 60 PERFUMES AND COLOGNES ARTIST STATEMENT 62 SPECIAL EFFECTS with Daniella Roberge

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EDITOR’S LETTER

W

e are living in strange times. I’m definitely not the first, nor will I be the last to say this.

When I started writing this letter, we were still a little over a week away from the 2018 midterm elections, with headlines that belonged in the alternate timeline from Back to the Future Part II. Our nation is faced with forces trying to suppress the voices of those who’ve fought for centuries to have them heard to begin with.

Everyday it feels like we’re falling back further and further into the past. It’s discouraging and confusing. So I decided to go to the MFA for some peace of mind.

I’d gone there with the intention of visiting the Winnie-the-Pooh exhibit that has been written about in this issue. But as it was a rainy Saturday, the place was packed and the Hundred Acre Wood was sold out for the day. So I wandered into the Art of the Americas Wing instead, specifically their Making Modern exhibition containing Modern art from the 20th century. Awestruck by the dramatic artforms on the walls, reading the histories of each piece, I was reminded that these artists too went through a transformative and unsettling era. These works were their reactions and those reactions spoke for a generation who told their elders they would no longer play by their rules.

Our generation has also found ways to channel our creative talents into statements, like collaborating with fellow artists to raise

money for the Massachusetts’ Arts Education fund: we’ve profiled a few of the musicians headlining an upcoming “performance art experience.” Our contemporaries have also gotten creative in expanding our vocabulary to encapsulate all the identities, relationships, and emotions that we acknowledge today, and new terms—like “compersion,” which we’ll explain later—are being created in order to do so. And while all this may seem “extra” now, for all we know, an MFA exhibit a century from now will be proudly displaying the mark we left on the world—a declaration of our refusal to back down.

By the time this letter is published, the election will be over. And although I can’t predict the outcome (although I’m hoping you all voted), I can safely say that no matter the results, we will not be silent.

Your Mag stands with you. We will always make sure that your voices are heard, respected, and given the space they deserve.

With love,

Alessandra

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UNDERSTANDING

COMPERSION

WRITTEN BY MORGAN DAVIES PHOTOGRAPHY BY DASHA GERMAN AND STEPHANIE PURIFOY

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“

“

Essentially, it’s a second-hand happiness that one feels when their partner is happy with another relationship.

S

o I was with this girl…” is probably not something people want to hear from their significant other. Yet, it’s been the start of many fulfilling conversations that I’ve had with various partners. I spent the first three years of college involved in non-monogamous and non-exclusive, but emotionally involved, relationships, generally seeking out polyamorous partners.

It started my freshman year when I was involved with two boys who I cared about and valued equally. The experience taught me a lot about what I wanted in my romantic life, but, more than that, it expanded my emotional responses. I began to find that, along with developing a feeling of deeper appreciation for both partners, I see and respond differently to jealousy surrounding their other partners.

As time went on, I began to feel happy when someone I was seeing would come to me about another relationship they were in. We’d talk about their apprehensions or excitements with their other partners as casually and normally as you’d talk to your best friend.

This feeling is called “compersion.” It’s an emotion so new that it hasn’t even been added to the dictionary. In an article for Psychology Today, Dr. Elizabeth A. Sheff describes the emotion as “the flip side of jealousy, compersion, or the warm glow of happiness that comes when one’s lover is happy with one of their other lovers.”

Essentially, it’s a second-hand happiness that one feels when their partner is happy with another relationship. It’s well known in the polyamorous and non-monogamous spheres, and has long been the key to keeping a balance, fighting off jealousy for those involved in multiple relationships.

In a world where we wait to watch girls fight on the Bachelor, it may seem impossible to control your jealousy when your partner is actually seeing someone else. However, relationship psychologist and Emerson professor Lindsey Beck argues that those in non-mongamous and polyamorous relationships might actually experience less tension and jealousy than those in monogamous relationships.

“We know that one of the most reliable triggers for jealousy is knowing that there might be other people in the environment who our partners might be attracted to or interested in,” Beck says. “But what also seems to heighten that jealousy is not having information on those other people, so having that sort of ambiguity and uncertainty seems to be something that can really drive us crazy.” Beck explains that in non-monogamous relationships, this ambiguity could actually be resolved. “For people who are in a consensually non-monogamous relationship, who know about their partner’s other partners—to an extent that they’re comfortable with—we actually might even be able to predict that they might feel lower levels of jealousy and stress…it

removes that certain ambiguity trigger.”

Jacob Seitz, a journalism major at Emerson, who recently began an open relationship with his partner of two years, feels a little differently. “I think it’s hard not to be jealous,” Seitz says, but he adds that compersion has actually helped him manage those feelings when they come up with his girlfriend. “For me, as long as she’s having a good time and happy, then I’m happy for her.”

There are elements of compersion that can certainly be translated into monogamous relationships, helping to manage and understand jealousy when it does crop up. Beck explains that the easiest and most natural way to incorporate these feelings in monogamy is through a sister concept known as “capitalization,” which focuses on the benefits of verbally sharing positive experiences.

“The work on capitalization shows that it is sort of good for us personally, so when we share a positive event with someone we’re close to, it allows us to relive that event in the first place...and then also it actually allows our partners—or whoever it is, whether it’s a romantic partner, or a friend, or a family member—to show us that they value us, and they care for us, and they understand us,” Beck says.

By incorporating capitalization and prioritizing happiness towards a partner, even if you feel somewhat jealous or threatened, your relationship can gain a compersion-like feeling and benefit from a whole host of positive results as well. In particular, Beck says, “[Capitalization] has positive implications by boosting both romantic partners’ satisfaction, their happiness in the relationship, their commitment to one another, and also the stability of the relationship.”

Compersion itself can also somewhat be incorporated into monogamy through a more difficult development: coming to terms with your partner’s past relationships. Understanding that it is okay that other people have made your significant other happy can be very hard, but it is also an important step in accepting their history and the development of their character. Just as you look back on your own exes, your partner also had other people they cared for.

This doesn’t mean you shouldn’t be concerned if your partner keeps bringing their ex up in conversations; however, if your partner is merely friends with an ex, try not to overthink it.

It’s important to remember that compersion isn’t something we’re socialized to feel; it’s something we have to learn on our own.

Whether your relationship is monogamous or non-monogamous, managing jealousy in such a vulnerable and emotional way is not an easy feeling to obtain, but it is incredibly beneficial once you achieve it. YM

ROMANCE | 7

Bad at Love: Dating as a Bisexual WRITTEN BY MELISSA ROSALES ILLUSTRATION BY LILLIAN COHEN

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“I’m bad at love, but you can’t blame me for trying.”

— Halsey, “Bad at Love”

I

sing Halsey’s bisexual anthem, “Bad at Love,” whenever I’m frustrated with my dating life. Bisexuals in general are not bad at love, but sometimes I wonder if my love life would be much simpler if I were just straight.

I realized I was bisexual last year after years of believing I was simply “bi-curious.” It was exciting to explore my sexuality, but I still kept wondering if I was wrong. I found myself more into men, which worried me. “Maybe I am straight,” I would constantly think to myself. And deep down, I knew it would be easier to be straight in society—easier for my religion as a Catholic woman, and easier for me to stay in familiar territory.

Denis Yudin, a junior visual media arts major, struggles with this battle on a daily basis.

“Some days I wake up and I’m like, ‘Oh you know what? I’m not bi. I’m just somewhat heteroflexible’,” Yudin says. “And then sometimes I wake up and I’m like, ‘I need a strong man to make me mushroom risotto and tuck me into bed. But then some days I think, ‘Can’t I have both please?’”

It’s an internal battle when you want to be with someone, but there’s always a voice inside telling you it’s wrong. Yudin’s first time was during an OkCupid hookup. “Physically, it was quite reassuring, but emotionally and mentally and spiritually, it just felt gross and wrong,” he says.

When Yudin came out to his grandmother, she was confused as to why he was still single because he now had double the options.

Yudin didn’t have the heart to tell her that somehow, despite that, he’s equally terrible in both his relationship options.

Despite being more attracted to women than men, Yudin notices that men seem to like him more than women—however, it’s usually men who aren’t his type. When flirting with men, it can sometimes be as easy as just giving a look, whereas with women, he finds that he can easily come off as awkward, weird, and creepy.

In my case, when I see a boy, I’m very confident and flirtatious.

But once I see a pretty girl, I panic and just lose all my confidence.

“Look, I don’t mean to frustrate, but I always make the same mistakes.”

I rarely go far with girls. It’s hard enough navigating your own sexuality, but it’s even harder if you pursue someone who’s just as unsure about their own. Once I ask them out on dates, they suddenly get scared and stop talking to me entirely. The few times I have been successful with girls, they end up changing their minds and then dumping me for a guy. Yudin has had similar experiences where he would get together with friends who are experimenting with their sexuality, and shortly thereafter realize they’re straight.

“It almost makes me wonder if I turned them straight, but then I wonder if that’s just been my luck so far,” Yudin says.

Dating more than one gender can lead to extremely different

experiences. My personality, expectations, and sexual experiences change depending on who I’m dating.

Caitlin Thomas, a senior at Berklee College of Music, says her sexual relationships with guys are different than her ones with girls.

“I’m more comfortable having casual sex with a girl because with guys, it’s cemented in my mind that it’s kind of a more serious connection,” she says.

Thomas thinks there are more things to worry about when having casual sex with men. She worries about protection, getting pregnant, and that, overall, it means something more. Whereas with girls, she sees it as a fun, simple experience.

“With a girl, if anything, it’s a little bit more exciting because of the rebellious part of me,” she says. Thomas says it most likely comes from the idea of defying the social norm of being straight.

Thomas is currently seeing a man, but she doesn’t want to label it.

She says she’s confused because she wants to have fun with girls, but still be in a committed relationship.

Dating as a bisexual is difficult. You’re figuring out your own sexuality, figuring out somebody else’s, figuring out who you are with a person, and figuring out what you really want. Sometimes, we’re even bad at love, because even though we have more options, there are consequences with that, too.

“When there’s more options, there’s also more anxiety, more possibilities, and you just end up keeping yourself on the hook,” Yudin says. “You’re always wondering if there’s something more out there for you.” YM

ROMANCE | 9

A New Me With Every Relationship WRITTEN BY DITI KOHLI

M

ILLUSTRATION BY NIC SUGRUE

any people, including myself, like to believe we are unable and unwilling to change for anybody else. We rarely talk about how we have transformed for, and as a result of, our romantic encounters. In reality, each of us have, in the past, made our personalities malleable to cater to the likes and dislikes of another person.

The process of altering is so gradual that I didn’t even notice I had changed parts of myself until after the end of my nearly four-year relationship with Connor*. Post breakup, my sense of self was an eclectic pool of my likes, pet peeves, and desires, but it was littered with things I had forced myself to happily tolerate in order to make him like me more. Suddenly, I was vastly unsure if I really did enjoy country music with bursting banjo lines, The Princess Bride, or college football.

I had latched onto these because they were his existing interests, and I hadn’t even hesitated to question the intent of my actions. But I’m not alone in pursuing this default strategy for connecting with someone else.

Freshman writing, literature, and publishing major Brynn Rhodes jumped on the rap bandwagon once she discovered how much one of her high school boyfriends enjoyed the genre. “I would listen to it in the car and try to memorize everything, just so he would be impressed by me,” she says. And Sabine Waldeck, a freshman journalism major, watered down her partying to be accepted by her ex. “In the beginning, I didn’t go out to party as much as I used to because I knew that he didn’t,” says Waldeck.

All of our intentions are harmless. We don’t deliberately choose to introduce these falsehoods into the relationship. The problem really lies in the fact that we all adopt personas to please our partners, so we aren’t presenting our genuine selves. Instead, we offer up these separate entities we have created that are more accessible and convenient to our partners—identities created to be liked and accepted.

Waldeck viewed this in her most recent relationship. “When I would talk about things that I’m into, he would act a little bit more excited about them than I think was warranted,” she says. “He would be like, ‘I also love the Sims,’ but I could tell he didn’t really know what I was talking about.” His fabricated interest was an effort to gain her attention and affection.

Once I finally recognized the fact that I had changed for Connor, I ran from the interests I had picked up for him. I thought that I could only be in a place where I loved everything he did to the extent he did, or I was myself again and liked none of it. It was a conclusion void of complexity and vulnerability. It was easy. But the existence of people in our lives is not so clear cut.

Neuroscientists at Stanford University have theorized that people are physically unable to invent faces. Therefore, everyone in our dreams is someone we have encountered before in real life. It’s evidence that the impact of the people we meet is eternal. If this is true and all relationships—big and small—are really immortal connections, then Connor and the things I learned to love for him are now forever a part of me.

Rhodes recently came to this realization as well. “I listen to rap all the time now,” she says. “It did resonate [after our relationship]. I didn’t really think that he was the foundation until now, but he really was.”

The lasting effect isn’t always so strong. Sometimes, the intensity of our love for these things diminishes, but stays ever present. Waldeck agrees: “We all play up how much we like stuff based on the partner’s interest. But, we just don’t like them to that extent afterwards.”

It is impossible for any of us to rewind and “un-change” these things that we injected into our personalities, so instead they linger around within us in small bits and pieces. I may not be a Princess Bride fanatic now, quoting lines in conversation to get that slightest nod of appreciation from him, but that doesn’t mean I don’t have a newfound respect for the cinematic classic.

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After these people leave our lives, it’s understandable that, at first, a lot of us try to disassociate with these interests entirely, like I did with Connor initially. Listening to that music, watching those movies, or doing anything that they loved takes us back to the heat of the moment and reminds us of them. It hurts.

But now that these passions are an integral part of ourselves, we must give them another significance that is unique to us. “You just have to find a different meaning for it,� says Rhodes. And for when the next person inevitably comes along, we should make sure we only attach to the interests of theirs that actually appeal to us and vow to remain more true to who we are. YM

*Name has been changed.

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DIRECTED BY ELLIE HILTY PHOTOGRAPHED BY FRANCISCO GUGLIELMINO ASSISTED BY RANA SAIFI STYLED BY CRISTIAN GANGES LAUREN DILLOW LAURA PHILLIPS MODELED BY TRAVIS CILIK DIMITRIE FLORES RYAN GEE JULIO VILLEGAS YOURMAG | 13

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YOURMAG | 19

WRITTEN BY CARLY THOMPSON ART BY FRANCISCO GUGLIELMINO

I

t’s sung in our rap songs, referenced endlessly in our movies, the center of an American T.V. show and, ultimately etched into our history: Versace.

But, recently, the household name is making waves in the national news circuit due to its $2.1 billion dollar purchase by Michael Kors Holdings.

Michael Kors Holdings, recently renamed Capri Holdings, is expected to close the deal in the fourth quarter of 2019 and start gathering profits from the company starting in year two of its ownership. So what does this mean for the luxury brand? Well, possibly, a lot of things. Before any major fashion news sources could take a stab at it, Twitter came up with some particularly bitter predictions.

“My new long term goal is to become so rich, I can buy Versace from Michael Kors and save the world,” writes Twitter user @AregHarutyunyan.

Other reactions included concerns that Versace would start showing up in discount stores like Marshalls and T.J. Maxx, the assumed fate of many Michael Kors products. Some people espoused that Gianni Versace was “rolling in his grave” over the sale and fans of the brand even took to Donatella Versace’s Instagram to beg her not to sell the family company. Many people seem to think that the purchase of the company will lead to the degradation of the brand name and its products, but is this really likely?

Many fashion insiders took to the platform to explain that Michael Kors will, in fact, have little to do with the design process of the brand. Those worried about the Versace design quality being affected should be somewhat reassured by the announcement that Donatella Versace will stay on as the creative director of the brand. The acquisition of the company seems to be a mostly financial move for the fashion conglomerate, as well as financial motivated for Versace. In fact, the brand ran at a loss from the late 90s to 2011, forcing the family to sell a 20 percent stake to Blackstone in 2014. This deal valued the fashion house at $1.4 billion. It’s believed that Versace has been able to keep its holding in the fashion world through brand recognition, domestically and internationally. Former chief executive Gian Giacomo Ferraris told BoF that the company was a “sleeping giant” in 2015.

After closing 42 stores in 2017, Kors embarked on a new retail strategy that included buying the shoe company, Jimmy Choo, that same year. Capri Holdings is faced with competing against other fashion conglomerates like U.S. companies PVH Corp. and Tapestry for dominance in the luxury sector.

The company’s purchase of Versace seems to be the second move in this strategy to stay relevant and spread their consumer appeal.

On the other side of this argument is the concern that the purchase will affect consumer view of the brand, and begs the question: Will people stop buying Versace because of its association with Michael Kors? The root of this concern comes from the idea that Michael Kors is a “mall brand” and not on the same level as brands like Versace. YM

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VE

ERSACE,

VERSACE...

AND MICHAEL KORS? STYLE | 21

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"I Don’t Like It When You Wear Your Hair Like That" WRITTEN BY MEGAN ELLIS PHOTOGRAPHY BY EMILY KING AND CAITLYN ONG

Getting ready for a shift at the ice cream stand I used to work at, my current girlfriend (who we will call Jane) sat on my bed as I changed and got ready for work. Positioned in front of the mirror, I threw my hair up into a high ponytail, took one look at my hair, and decided that it would suffice, until Jane said, “You should wear your hair in a low ponytail, it just...suits you better than that.”

After that instance, I never found myself wearing my hair up in a ponytail anymore. Instead of just throwing my hair up and moving on, I would try style after style before I felt okay enough to walk away from the mirror. Twenty minutes would be spent putting my hair in buns and braids just to eventually take them out again. Truthfully, I don’t even remember when Jane made this comment, but it has been over a year since it happened and I still go through this seemingly senseless process every day.

Though Jane never meant me any harm, the “harmless” comment that she made is still something that unconsciously plays over and over in my head. In all honestly, it was pretty innocuous. All she really said was that she likes my hair styled differently, so why am I still so hyper focused on it?

Anthony Rodriguez, a sophomore writing, literature and publishing major, expresses a similar feeling with an ex, but in a somewhat backwards circumstance. “When [we] met, he was like ‘I don’t date guys who don’t have beards,’ which was weird for me because I always shaved...so I grew out a beard, but whenever I shaved he would get mad.” Even though it isn’t a direct comment about our appearance, sometimes even these insinuated messages can affect us in different ways.

Although significant others seem to be a common source of this feeling, it is likely that if my mother or father made the same comment, it would have affected me much the same way. Olivia Luisi, a sophomore visual media arts major, has felt similarly, but in a different relationship dynamic. “So my sister’s having a Sweet 16, and I’m supposed to go out and buy a dress,” she begins. “I try on a few dresses, I snap a picture for my mom, and she’s like, ‘Oh, that doesn’t fit you well.’” Reflecting on what her mother said to her, Luisi was left wondering why her mother would make such an unnecessarily rude comment like that.

Jan Price, a relationship psychotherapist with Greenbridge Counseling and Wellness, has seen Luisi’s exact issue with some of her clients. “Mom is sort of acting out her own insecurities around it,” says Price, regarding a similar situation. “Mom herself struggles with eating issues and self image—so basically that’s getting masked and mirrored on top of the daughter. Which is damaging…you may recognize that [hurting you] was not her intention, but these are still abusive [types of] messages.”

We have a tendency to want the approval and acceptance from our family and significant others since they typically offer this sense of comfortability. “The people in our lives, like family or significant others, always feel like the safest places in the world,” Price explains.

“When we come home, we’re thinking that these are the people that know us best, and we’re going to take their opinions more seriously.”

When people we deeply care about make comments like these, we automatically assume they know the best decision for us. “Even those subtle messages,” Price specified, “if there even seems to be underlying messages, it sort of creates this ‘Why am I not good enough for you the way that I am?’ mentality.”

Over the summer, a few of my friends and I decided to visit a flower field in the middle of August. It was beautiful, but it was probably one of the hottest days Massachusetts had seen in a while.

I kept my hair down until I decided to tie it up as we were leaving and one of my friends said, “You look so nice with your hair up like that...I feel like you never wear it up!” It made me realize just how much the opinions of our loved ones vary. Although their opinions may seem like small wounds, they are in fact mini traumas that do need to be cared for in the journey of self love and acceptance. YM

STYLE | 23

A DASH OF SALT

An Interview with TheSalting’s Michael Ward WRITTEN BY EMILIE KRONE PHOTOGRAPHY BY DASHA GERMAN AND STEPHANIE PURIFOY Michael Ward is a New York based fashion designer and the cocreator of TheSalting, a luxury unisex clothing brand. He is the former interim Creative Director of Diane von Furstenberg, and also held positions at Rachel Zoe and Burberry.

Q: When did you know that you wanted to get into fashion?

At about 14. We had a school trip into [Manhattan] and I had the opportunity to see a lot of billboards, including the iconic Calvin Klein billboards. It kind of sucked me in, the glamour of the Calvin Klein advertising of the time. All of that was very appealing to me.

I felt that was my calling. With all that I was studying in school... drawing and fashion had the most attraction. It’s just my soul.

Q: After that you went to Parson’s. What was that like?

It was incredible. I took a fashion course at Parson’s for the entire summer leading up to my senior year [of high school]. I kind of got my feet wet in draping and drawing, and a chance to meet some friends that I still have today. At Parson’s you had a one year foundation program where you’re doing all different kinds of applied arts, and then you declare your major in your sophomore year.

[Parson’s] had the full creative experience. It’s just a fantastic opportunity to build on all your talent, find out what you’re good at, and develop personal relationships with the faculty. They have a critic program where they pair you with a designer of accomplishment and you do projects with them and put on a fashion show. My junior year critic was Jeffrey Banks, who I’m still very good friends with. He’s a mentor, and he was actually a guest at my wedding last year. And for my senior year I had Donna Karan who’s…well, Donna Karan. I still benefit from some of the relationships, for example Lisa Smilor.

She was the assistant chairwoman of the fashion department. She’s a big supporter of all that I do and now that I have my own brand, she comes to my openings and our market. So yeah, that’s Parson’s.

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Q: Speaking of your brand, can you tell me a little bit more about TheSalting?

My last job was as the interim Creative Director of Diane von Furstenberg. I think it was the biggest challenge of my career in many ways. It was the highest volume and had all the bells and whistles that you want in a fashion brand. You have Diane herself, who is an extraordinary woman and philanthropist, and when you put on a fashion show you’re working with the best in hair, the best in makeup, the best in set design, music, casting...It was really a dream opportunity, and I loved it. I proved a lot to myself at that job.

After leaving there, I felt it was time for me to start my own business. I reached out to someone to be a partner, and we sat together and built the philosophy. We wanted a brand that doesn’t exist. When you fill a niche, you’re telling people that they need something they didn’t realize. That’s the success of a brand.

So we sat down and listed out some buzz points that we thought would be important to the brand. We wanted it to be simple, philanthropic; we wanted to challenge the industry. We were part of a lot of narratives of what’s wrong with fashion, what’s wrong with the industry, what’s wrong with how companies are growing. We wanted our brand to stand for quality...and we wanted that to be our first talking point. Unisex was the right step. There’s no reason why I can’t wear a few items that my girlfriends can wear. So we zeroed in on categories that we felt were chic and hit the mark. We focused on caftans, coats, and fedoras, and we wanted everything to be made in America. So we visualized...that in the warmer months you’re wearing a straw fedora and a caftan, and then in the cooler months you’re wearing a wool fedora and coat. So our product hugs you. That’s what we want our consumer to think of.

So we kinda talked the talk, we launched in February, and now we’re walking the walk. It’s been extraordinary...It doesn’t matter height, weight, sex, age. There’s something for everyone...You can bring a piece of TheSalting into who you already are. We don’t want to dress somebody head to toe or dictate that you have to wear us. We just want to be a part of where the industry is going. We want to be a voice for the future of fashion...a source for luxury clothing, made in America. We spent a lot of time in this theory of “Why does the world need another fashion brand?” And we came up with this philosophy.

Q: Your designs were on the cover of Oprah Magazine.

What was that like for you?

It was completely nuts. We had our first market, and we were thrilled that O was one of the teams that came through and saw the collection. And following, they said, “We think Oprah would love if you could make a few caftans and hats.” So of course we did.

We worked with her studio and with our hat manufacturer— which is the oldest hat manufacturer in America—and we made custom fedoras and caftans. We also made some really beautiful white shirts. So we sent them over, did our work and followed up with them, and tried to engage them in conversation. There was a time when they said it was for a possible August cover, and we were like, “Oh my gosh! That’s wonderful!” But August came, went, and nothing really happened. We were like, “Oh well, we don’t regret making the pieces.” And then one day we got an email from Adam Glassman, who’s the head of Oprah Magazine, and the title line was, “I hope this makes you smile.” We clicked on it, and it was the September cover! It was just extraordinary. We’re so grateful. There’s this tiny video of [Oprah] dancing at the shoot, which the world got to see.

You can’t wish for more than that. It really fueled the business to keep its momentum going upward.

Q: One last question for you. What advice do you have for young people who are interested in going into the fashion industry?

I definitely think you have to pay your dues. That’s super important. Every job that I’ve had made me the designer I am today.

So my advice is to jump in, make mistakes, learn, be respectful, be humble. You can’t have too much of an ego. You have to be ready for criticism. Get ready to be pushed down and stand up again if you believe in the vision. Work on having a very strong inner voice...and a very humble voice when you’re working within a team. That’s my advice.

Ward can be found on Instagram @michaelwardnyc or on his brand’s website, thesalting.com. YM

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YOUR THINGS ILLUSTRATION BY FRANCISCO GUGLIELMINO

YOURMAG TV DIRECTOR HANA ANTRIM'S FAVORITE THINGS

BIKE At the beginning of this semester, I inherited this really cool bike.

I identify as a biker girl now—I don’t really even know what that means but I love biking so much. It’s the best for getting places that public transportation doesn’t help with ($12 Lyft to get from the green to the orange line? Forget about it!) and I can get to school in the same time or less than on the T, while exercising and being outside and seeing the world. Probably my favorite thing ever to do in Boston is to bike along the esplanade and across the river over to Cambridge. Try it some time!

T-SHIRTS FROM MY BROTHER If there was a fire and I had to grab a few things before running out, these two T-shirts would be among them. The David Bowie one was the very first shirt my older brother ever screen printed, back when he was in high school. Since then he has started his own little clothing brand so I take great pride in owning what I consider to be his very first prototype. The Strokes T is one my brother got at one of their concerts when he was in junior high and the fact that this shirt from when he was a 13-year-old skeleton fits me is a cotton miracle. Also The Strokes are my favorite band #of #all #time.

REMINDERS APP This is how I organize my life. Anywhere from reminding myself to wish my dad a happy birthday, to turning in an assignment, or to just being a better person—it’s got me covered. Having six expired reminders means that I’m having a really stressful and negligent day/ week—and that’s pretty much how my whole semester has been thus far.

ALWAYS TANGLED HEADPHONES Like many people, I need headphones with me always. Mine are usually all tangled and have now come to a point where the tubes are detaching so you can see the wires coming through and the headphone jack needs to be at a specific angle or else the sound comes out distorted, but I refuse to get a pair of wireless headphones because I use the microphone to record the songs I make on GarageBand or in Voice Memos, and also because I can’t tell if I think the wireless ones just look too silly. I know I will succumb one day, but for now I resist.

BRACELETS The gold cuff is my mom’s grandma’s and the silver one is my dad’s grandma’s. My mom has worn the silver one for as long as I can remember, and on my 21st birthday I opened a gift from her and it was this bracelet. I’m so scared to lose it. I hope to pass these down to my kids one day :’)

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BAG This bag has won me so many compliments from strangers in elevators. They always ask me where I got it and the only answer I have is that my mom’s ex-boyfriend got it for me when he was still in the phase of trying to win me and my brother over with presents.

Thank you Mom’s ex-bf !

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CULTURE WRITTEN

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t took me about a month living in Boston to really think about how different the people and culture are from those back home. I lived in San Antonio, Texas until this August, when I started my time at Emerson. Which means that even though as a Latina I’ve always technically been an ethnic minority in the United States, I’ve never felt like one in my own home. San Antonio is 63% Latinx, and growing up surrounded by my own culture wasn’t something I noticed, it was just apart of my daily life. It wasn’t rare to hear people speaking Spanish in public or in school, and there was always Mexican food around—if not at ridiculously good restaurants, then at the paleta truck that parked itself outside my high school, anticipating hungry students every afternoon. I didn’t consciously think about these things at the time, but after living at Emerson for a while, I definitely noticed the absence of them. Knowing that the little pieces of culture that make up my hometown aren’t as prevalent in Boston has definitely made me feel an odd sense of homesickness, almost like I’m on vacation.

I know the feeling of suddenly being thrown into a world where it seems like no one looks like you, or can relate to you because of your ethnic background.

This change in dynamics affects students of color in so many different ways, including ones that I personally have yet to experience.

Eryn McCallum ‘22, a black journalism major from a predominantly black area of Chicago says, “I feel like here, I feel a certain pressure to make sure that I find black friends. And I didn’t feel that in high school. I guess because maybe I had already came in with them… but here, whenever I see other black girls, or other black girls see me, they’re like, ‘Hi, you’re black, we should be friends!’ We’re surrounded mostly by people who are not black or brown usually, so we just feel like the sense of community needs to be built somehow.”

Many students can feel the natural awareness of your ethnicity or race when stepping onto a predominantly white college campus. Liza Xiao ‘22, a marketing major from Shanghai, explains the feeling of needing to navigate being a person of color in college. She says, “Sometimes I don’t feel super comfortable staying with a bunch of Chinese kids, because when we stick together, we don’t speak English, and that’s exactly a stereotype for most Asians, that we don’t interact with other people. Even though I personally feel super comfortable around them, I don’t feel comfortable in this big environment.”

When I went to my first meeting for AMIGOS, Emerson’s student organization for Latin and Hispanic culture, it felt so odd to think that this was the first time since move-in that I had been in a place where Latinx students were the majority. And sure enough, I finally felt a sense of community. This feeling that even though we didn’t know each other well yet, we clearly all had something in common. This rediscovering of who I am as a Latina since I’ve been here has been incredibly new to say the least, but it’s also been exciting! McCallum says that in the end “navigating being happy with yourself is a huge thing. It’s part of your self journey when you’re a minority in anything.” And it’s true, exploring this new world of what it means to be a minority in college is a lot, for me, and for many other students of color. But maybe if we do this together, and embrace the fact that we’re all dealing with varying degrees of culture shock, we can make the experience as comfortable as possible. YM

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LIVING | 39

the ultimate

North End Cannoli WRITTEN BY LILLIAN COHEN PHOTOGRAPHY BY TIANNA LOVERDE & KENNETH COX

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he North End is known throughout Boston as “Little Italy,” its streets lined with restaurants, bakeries, and cafés with styles and flavor stemming from the boot-shaped country.

It’s the perfect place for a night out with friends, a date, or, in my case, a cannoli.

When walking around Hanover Street, the main gate of entrance towards this Italian peninsula of culinary excellence, one will find that the longest of lines, day and night, are at bakeries selling cannolis. Bostonians take these ricotta-cream filled pastries very seriously, as I have found standing in lines for three of the famous distributors. There’s a side to be had.

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Modern Pastry - $3.50 257 Hanover Street, Boston, MA Sun-Thurs 8am-10pm Friday 8am-11pm Saturday 8am-12am

The line was 25 minutes long from start to finish, with those in front of us arguing about the distinction of its recipe and Mike’s which was barely an earshot away, just down the street on the opposite side. I got very excited, maybe more than I should have.

Mike’s is arguably the most famous cannoli shop in The North End, even according to those trashing it in the Modern Pastry line, claiming that it’s “tourist trap.” So, I thought that I was about to have the inside-scoop on being a “local,” tasting the real North End high-class cream. But, sadly, that wasn’t the case.

In terms of taste, I didn’t think the cannoli was bad, though my roommate disagreed. It was so creamy the filling was spilling out of its shell in the box within minutes of being wrapped up. The shell had a good crunch, the true test of an artisanal cannoli, and the whole thing exploded on me after my first bite. The proportion of cream to shell was perfect, even on the ends. But, the cream itself was an issue. My roommate literally said “no” upon biting into the dessert. It was very thick and yet too smooth and sweet. I couldn’t taste the ricotta and it was more like a thick stew texture. I could appreciate the intent--a effortless gentle creaminess--but something didn’t seem right. It was definitely not worth the wait or the saved 50 cents.

Bova’s Bakery - $4 134 Salem Street Boston, MA 24 hours/ 7 days a week. No joke.

I am not kidding when I say there was no wait. We walked in, picked the cannoli, and walked out. On previous Saturday nights I have seen a line, but it wasn’t even that large. This alone gives it a boost, my legs still tired from the Modern line.

The taste was smooth and fresh. The cream was sweet, but not too sweet and tasted like a cannoli, something I didn’t know I had to look out for. Not too thick, but not too creamy. It overpowered the shell a bit in the first bite, but the second was perfect. The shell had a crunch and just seemed fresh. It was messy by extension, but “definitely one of the best cannolis I’ve ever had, but I’m about to have more,” according to my roommate.

Mike’s Pastry - $4 100 Hanover Street, Boston, MA Sun-Thurs 8am-10pm Fri-Sat 8am-11pm

This was actually our last stop, seeing the line bend at the curb and heading to Bova’s before enjoying both that and Modern in line. We got there at five on-the-dot and it took us half an hour to get up to the counter. The line was longer from the sidewalk view, but the outside length actually went fairly quickly, tricking us with false hopes because maneuvering the small indoor lines afterwards proved to be the most strenuous, using 20 of the 30 minutes.

It was actually a decent cannoli. The cream was good, not too thin or thick. It had a good ricotta flavor to it, rather than it being completely sweet. The shell was crunchy but still light and airy, almost flakey. I made a huge mess.

Overall, it was a good cannoli. No complaints on my part. I would have one again, if asked. It just wasn’t the best I’ve ever had.

With the shortest line, longest hours, and overall best tasting cannoli, the winning cannoli will always be at Bova’s.

No question.

I am sorry that I looked confused when my editor told me to add this bakery onto my original list. I am sorry that I looked surprised when a different one of my roommates moaned with adoration when mentioning it was on the list for cannoli options, apparently being an Emerson College secret hot-spot.

Days later, I am still thinking about that cannoli.

Don’t believe me? Try it for yourself. YM

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WRITTEN BY GLORIA PEREZ

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he word “extra” has become a common phrase in our generation’s ever-expanding vocabulary. To best define the word, I would say it means that you’re doing too much, or “the most,” and being excessive. It’s bad to be “extra,” it means you’re trying too hard. It originated circa 2015 and is derived from the same place most of our slang terms come from these days, AfricanAmerican Vernacular English, otherwise known as AAVE.

The world ran with it, which is already incredibly problematic regarding white people adopting (stealing) language from people of color. But there also are more overarching connotations that this word has. It could mean that someone is too loud, opinionated, or dramatic. It’s a word that’s often directed towards women (especially women of color) and the gay community, which puts a completely misogynistic and, not to mention, racist lense over the term.

I’ve definitely been called “extra” a few times in my life. I’m a loud, excitable person when I’m comfortable enough. Hearing someone say, “Oh my God, you’re so ‘extra,’” eyes wide and tone dripping with judgement, immediately has the the power to shut me up. I would grapple with myself in my own head, “How could I be accused of being ‘extra’? They’re being ‘extra’ by calling me ‘extra,’ right?”

So I decided to talk to other students about their thoughts on “extra”—whether they consider themselves “extra” or not and what they, themselves think about the term.

Senior visual media arts major, Meredith Nestor, explained her affinity for the term:

“I think being a little ‘extra’ in my daily life makes me exactly who I am—someone who cares enough about everything and anything to ‘over speak.’ I see being a little ‘extra’ as something that enhances the levels in which I think about detail to everything around me, until someone makes me feel bad about it. If I’m taking something not that serious too far, I’m having fun in doing so, so I truly don’t understand why someone is trying to make me feel bad for being who I am.”

Emma Newsome, a senior marketing communications major, brought up another point: “I don’t consider myself as ‘extra’ but I’m sure other people do because I’m definitely loud and intense.

I feel like a lot of people—especially younger women of color in white spaces who are more expressive—get called ‘extra.’ There’s something really jarring to us about women who are loud. And just calling it ‘extra’ obviously has a negative connotation.”

And why do we have to do that? Why do we police the behavior of women of any kind or anyone more “feminine” than your typical straight-white-cis-dudebro? As women, we are so quick to shrink ourselves, to not take up space, to apologize for making any sort of misstep. Men are allowed to be unabashed and loud. They are allowed to speak their minds, and they’ll likely receive praise for this behavior. Meanwhile, women are taught to practice restraint and passivity. And there is nothing wrong with having self-control, it’s an important part of how we communicate and behave. The point is, men can be emotional, assertive, and energetic and be seen as powerful. When women and queer folk do it, it is seen as hysterical, bitchy, and excessive.

This comes from the behavioral policing of the feminine, something that has always existed in patriarchal societies. The feminine is seen as inferior, and the masculine as superior so in turn, anything that a woman does is scrutinized.

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ART BY ISABELLA GONZALEZ

Claudia Castañeda, PhD, is a professor in the interdisciplinary studies department at Emerson, and teaches classes relating to feminism, gender, and sexuality. She broke down how masculinity and femininity pervades our societal norms:

“There is a patriarchal system in place that understands and reinforces the status of men as higher than that of women. So that functions through, for example, notions about biological make up, what is men's biological makeup and also their qualities and skills and capacities. So through valuing those things that are associated with men and devaluing those things that are associated with women, we get a system that is always situating men above women. It's a hierarchical system that maintains the dominance of men.”

This is why the gender roles that exist in our social structures produce terms like “extra”—to ultimately place these straight-whitecis men above anyone who isn’t traditionally masculine on the gender binary that was created by society.

This calls back to movements like the one started by Facebook COO, Sheryl Sandberg, #BanBossy, a campaign that influential women such as Michelle Obama, Christiane Amanpour, and Beyonce have supported.

Sandberg’s most famous quote, “I want every little girl who’s told she’s bossy to be told instead that she has leadership skills,” changed the perspective of so many, and got people thinking about why young girls are shut down so quickly from reaching their potential.

A movement such as Sheryl Sandberg’s directly links to words like “extra” and how they can so quickly shut women down from expressing themselves. We use these words to devalue any semblance of passion or pride that a woman might have. Our society loves to invalidate women’s thoughts, behaviors, and opinions so much that we don’t even bother listening to them half the time, which is so incredibly frustrating and exclusive.

Recently, I had a moment of clarity, and thought to myself, why am I so afraid of being perceived as “extra”? I should be “extra”. It is the most courageous and liberating thing to take ownership of your true self. We all want to live our most authentic lives, right? Why keep up with this “cool” facade we as a society has deemed acceptable? It’s just boring.

There are ways to unlearn this toxic way we have been taught to think. When I spoke with Castañeda, she mentioned, “The first thing that's important is to understand that the differences that seem to ascribe to male and female are not biological or natural. They're actually created by and for a system of male dominance. And it's not individual men who create the system. They’re born into it, but they do reinforce and reproduce it. And that happens through our institutions and systems of knowledge-making as well. Understanding that that is actually a function of oppression on women rather than our own weakness or failure or lack of value.”

So to my fellow women, people of color, and queer community, yes, you’re allowed to be excited about what you’re passionate about.

You’re allowed to dress the way you want to. You’re allowed to lead the conversation every once in a while. Be loud. Be unapologetic. We have to deconstruct these roles that patriarchy has decided for us. And that goes for everyone (including you, straight-white-cis-dudebro). In a world where it’s a radical act to be yourself, do it. You’ll never turn back.

YM

The Art of Being “Extra”

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WHOLLY INNOCENT OF SUCH WICKEDNESS DIRECTED AND PHOTOGRAPHED BY NATALIE GALE MONIKA DAVIS MODELED BY EMMA DAVIS YOHANNA PEREZ ALEXANDRA HIROOKA TAL PESSO STYLED BY DITI KHOLI TESSA LEIBOWITZ

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J.K. ROWLING: A PROBLEMATIC HISTORY WRITTEN BY JORDYN COWEN | PHOTOGRAPHY BY ABBEY FINN

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antastic Beasts: The Crimes of Grindelwald, is coming out this November, and the final trailer revealed a surprise twist that brought the constant struggle for diversity and representation throughout the series to a boiling point. Nagini, Voldemort’s pet snake, was an Asian woman who was transformed by a blood curse.

Claudia Kim is the fourth Asian woman to join the cast of the Harry Potter franchise, and she will be playing the snake. The Fantastic Beasts cast has faced criticism for being incredibly white, with the exception of Carmen Ejogo’s role of Seraphina Picquery. However, this last-ditch effort at representation misses the mark entirely.

The Fantastic Beasts universe definitely needs more people of color. There’s a clear racial analogy within the Harry Potter world with the idea of muggle-born wizards versus purebloods, with the latter echoing Nazi ideology. This contributes to the theme throughout the books of good triumphing over evil. However, the lack of people of color in prominent roles makes it seem like Rowling can only talk about racial equality in terms of metaphors, but fails to see it through with diversity on screen.

Additionally, Claudia Kim’s role is harmful representation.

Casting people of color only as villians is destructive as it sends a message when heroes are always white and villains are always people of color. It’s not that people of color should never be villains, but there should be enough representation in a cast so there can be a balance rather than throwing them in as a token villain.

Nagini isn’t even the villain; she’s the villain’s property. To break it down, Kim’s character is a snake controlled by Voldemort, played by a white man. Although the trailer didn’t delve into the intricacies of the character, it seems that Nagini’s portrayal could be fueled by Orientalist stereotypes that Hollywood perpetuates time and time again.

Rowling defended the casting decision on Twitter, claiming that the character was inspired by Indonesian mythology. Author Amish Tripathi debunked the claim by responding that the Naga, snake-like creatures, emerged from India and “Nagin” is actually a Sanskrit word. This is not the first time that it seems Rowling failed to do her research before referencing other cultures.

The four-part series “History of Magic in North America” released on Pottermore in 2016 displayed a similar cultural

ignorance. Rowling repurposes the Navajo legend of skinwalkers— evil witches with the ability to transform into animals—reducing a living tradition to the likes of fantasy, stating on Twitter that “in [the] wizarding world, there were no skinwalkers,” and that they were made up to demonize wizards. But it isn’t her world, not when the legend is appropriated from beliefs still practiced today. The impact is disturbing whether or not Rowling lacked the knowledge to represent Native Americans respectfully or with an ounce of tact.

Other aspects of the short series further incriminated Rowling.

The narrative reinforced the white savior complex as explorers taught the natives to use wands to make their magic “more precise.”

She clearly modeled the natives and their ability to do wandless magic in the first place under the “noble savage”—a trope that was constantly used as a justification for colonization.

Nagini’s casting isn’t the first time fans have expressed outrage about the upcoming film. Frustration arose in January 2018 when director David Yates stated in an interview that Dumbledore’s sexuality would not be explored in the upcoming film.

After the publication of Deathly Hallows, Rowling revealed that Dumbledore had been gay all along. Shruti Rajkumar, a freshman journalism major, considers the retroactive representation to be indicative of Rowling’s awareness of the platform she has as the author of such a loved series. Watching the Goblet of Fire when she was only eight, Rajkumar was excited to see the Patil twins dressed in traditional Indian lehengas, which were a familiar part of her own heritage, at the Yule Ball. However, as a member of the LGBTQ+ community, Rajkumar says that “If [Rowling is] going to say it, she needs to incorporate it into the film to actually represent the community.” It becomes easy to theorize the true motives of Rowling’s claim as a self-serving attempt to win ally points when this thread is not addressed in a movie that has Grindelwald, Dumbledore’s love interest, in the title.

Throwing in representation that requires reading between the lines leaves LGBTQ+ individuals in the closet. Adding in diverse characters without considering the implications reinforces racial stereotypes. It’s time to demand more from storytellers, especially those as influential as J.K. Rowling. YM

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The Hundred Acre Woods Comes to Boston WRITTEN BY OLIVIA CIGLIANO PHOTOGRAPHY BY ANNA MOON

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he night I was born my big sister gifted me an Eeyore doll with a tail that removed with velcro. I cherish it to this day and it cemented me as a Winnie-the-Pooh fan at heart. I was so excited to check out the exhibit on the phenomenon to learn more about its background and to revisit an old favorite.

Winnie-the-Pooh: Exploring a Classic has hit the Museum of Fine Arts in Boston and runs until January 6th (make sure to bring your Emerson ID for free admission!).

The highly-anticipated exhibit begins with a display of vintage books in various languages, board games, and figurines dating back to its beginning in 1924. The exhibit progresses into a room reminiscent of an old London nursery, complete with pale pinstripe wallpaper, a window nook, and a small bed for children to get cozy and read old storybooks. In this room and the sage green room following, you will learn about the series’ origin and get to see the first sketches and notes of the writer and creator A. A. Milne. As you turn to exit the London bedrooms you enter the storybook world that is the Hundred Acre Wood.

Sounds of birds chirping, bees buzzing, and trees rustling can be heard throughout the space. Along the walls children can follow stories of Winnie and friends, and older visitors can enjoy historical notes on the series. Interactive elements such as a sketching table, several scattered reading nooks, a glowing bridge scene that aligns with the story posted along the walls (a great instagram spot!), and even a little slide invites the public to be a Hundred Acre Wood resident for the day. After passing the model staircase and toddlersized tent, you can continue into the next room to view the evolution of Winnie and his friends and their character development. The exhibit concludes with publications of the series on display as well as some available to read.

Overall, the exhibit left me with feelings of playfulness and nostalgia. The MFA did a great job at mixing the informative with the imaginative. I interviewed freshman Mia Stegner about her experience.“I learned so much,” she says. “Growing up, I was mostly exposed to Winnie-the-Pooh through the Disney movies, so I didn’t

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know much about the books, which were the focus of the exhibit. I really enjoyed looking at the amazing sketches and finding out more about the conception of Winnie-the-Pooh and how it grew into what it is now.”

It’s evident that the exhibit was designed to entertain both children and their parents and to appeal to the soft spot we all hold for the characters. Cracking open a book that was published in the late 90s instantly transported me to early childhood and I swear one of the framed illustrations at the beginning of the exhibit was hanging in my grandmother’s house. It’s amazing how personal these stories feel to me and so many people.

I was somewhat surprised to see that young children were still so excited about Winnie—I guess part of me thought the phenomenon had faded but I’m glad to see it hasn’t. In the exhibit space, I heard various languages spoken and saw people ranging from toddlers to grandparents equally enjoying it. “I thought it was a wonderful exhibit; it was so whimsical and really appealed to the childish whimsy of the books and universe and made it very welcoming for everyone,” says junior James Manley.

So why are the stories of Winnie and friends so universal?

“Winnie-the-Pooh is just so wholesome,” says Stegner. “Like a child, Pooh speaks in simple sentences and sometimes misunderstands what people are saying, but in a way that usually leads to something either wise or funny or both. I also think it’s clear that each of the characters have been crafted with such care. They each approach situations with fairly consistent attitudes—Pooh with innocence, Piglet with worry, Eeyore with cynicism, Tigger with excitement— and these emotions and perspectives are universal, so we see ourselves in them. These traits also allow the characters to play off of each other in really interesting ways.”

Winnie-the-Pooh: Exploring a Classic is definitely worth the visit, especially for longtime fans. It’s equally entertaining and interesting and revisits a childhood staple. Manley concludes, “I wanted to unleash my inner child again.” YM

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MUSIC FOR A M O V E M E N T :

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L I F WITHOUT

E ART WRITTEN BY KENNETH COX ART BY ELLIE HILTY

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ne in every five people in Boston is a college student!”—this is something I heard on almost every college tour I took around the city. Boston certainly is unique because of the 152,000 college students living in the city. From Harvard to Emerson, the opportunity for collaboration among students across campuses is within reach at any moment. But how often is this truly ever done? A group of ambitious Berklee students are looking to bridge the gaps of collaboration between our city’s colleges.

Life Without Art is an upcoming event slated for early December that hopes to bring schools, including Emerson, together in a celebration of artistic expression. The idea was created in response to falling funds for arts education. Life Without Art features musicians, painters, dancers, stylists, and more from area schools like Berklee College of Music, MassArt, and Emerson. The event will raise funds for the Massachusetts Arts Education Fund, which supports arts programs in elementary, middle, and high schools, as a way to help the next generation of artists have their voices heard. Your Mag had the chance to sit down with three of the musicians that will be headlining the event.

Elijah Stavena, known by Kahleo, is a Californian rapper currently studying at Berklee College of Music who aims to merge surf culture with the hip hop world.

His music evokes the feeling of a summer spent by the beach—smooth, laid-back, but also full of energy and excitement. His single “Top Floor” is a standout of his, combining waving trap beats with a chorus that sticks with the listener for days to come. Outside of music, Kahleo has acted in several films, and is an advocate for ocean conservation.

YM: You describe your music as a blend between hip hop and surf culture.

How did you create this idea and develop it in your music?

ES: All of my family is from Hawaii, so I grew up with Hawaiian culture and surf culture all my life. When you think of surf culture, you think more of people like Jack Johnson and ukulele music, but I’m creating my own music that is more of a trap and hip hop sound but is still true to my roots.

ask why art isn’t being considered a priority in our country, especially in elementary and high schools. I thought this was really frustrating. At the same time, there are great art programs at schools like Emerson, Berklee, MassArt, and so many others. Why aren’t we collaborating and creating content together? I think it is important that some of the biggest art schools in the country are coming together to say what art means to us and why it is important.

YM: Your music videos for “Hawaii” and “Top Floor” are both fantastic, what was the process of making both of those videos like?

ES: “Hawaii” was interesting because it was my first major music video. I wanted to hire a cast and crew so I held interviews with Emerson kids, which was one of the first collaborative projects I did with any other school besides Berklee. It was fun because it had a college theme and setting, and it was fun to have a bunch of college kids together making it. “Top Floor” was very different. I never knew I wanted to make a video for that, but my mom’s friend heard “Top Floor” one night and wanted to help manage me and promote the song. When I was developing the video, I contacted one of my friends who made surf videos, and he was super down to make it. Working on the video is an entirely different process from making the song.

Kayelee Ayers, who goes by her first name as an artist, is a Berklee student who creates pop music that reflects not fantasy, but fact. She describes herself as an artist that is willing to “not only own, but fully embrace the imperfections in her life” and her music is all the more truthful and real for this. Her song “Don’t Wanna Be With You” builds from serene verses into a cathartic chorus, with synths blazing and wobbling as she realizes it is time to move on from the “you” in the song. Her most recent single, “What Love Is,” carries the same theme of love, but is backed only by simple guitar and percussion, showcasing her vocals as well as her unabashedly honest lyrics.

YM: Life Without Art is all about the importance of arts education—why do you as an artist think this is such an important issue?

ES: The idea of this started when I heard that the National Endowment for the Arts was being cut this year, which made me

YM: What is your songwriting process like?

KA: It differs on each song depending on whether I’m writing alone or co-writing.

If I’m just writing by myself I usually sit down and play off of melodies and draw words. I grew up playing piano since I was five but am learning guitar now, so that’s been part of my songwriting process recently. With co-writing, I like collaborating with others and like to hear people’s thoughts and ideas.

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YM: Your music is unafraid to be honest and vulnerable regarding emotion.

What is it like as an artist to be so willing to share with your audience?

KA: You have to push yourself to be able to get yourself into that space where you can say “I am who I am, and that’s ok.”

For me, I’m loving getting to know myself more and getting to know what I want to speak about as an artist, and that others can relate to whatever I’m going through.

YM: You have said you want to use your platform as an artist to speak out about living with a disability? How does that impact the art you create?

KA: I started having seizures at the age of 15. I haven’t had one in about a year and a half now, but it impacted my life a lot growing up. My life switched from going out and being really social to becoming really organized and sticking to a time schedule, because my seizures were due to sleep deprivation and stress. Music became my escape because I felt frustrated with being diagnosed with epilepsy, and it became an outlet for me.

Yanina Johnson, who goes by Yanina as an artist, makes R&B music that sounds simultaneously futuristic and timeless.

Her single “She” is a powerful work, as she shares her struggles of overcoming negativity in her life over a minimalist, subdued composition. Other songs of hers, such as “Sticky Situations,” showcase another side of Yanina, one that combines rollicking, fast-paced beats with her soulful singing. This summer, she began performing onstage from places as local as Cambridge to festivals across the country. As an artist, she wants to use her platform not only for music, but to inspire socio-political change as well.

YM: This summer you had the chance to perform at Essence Festival in New Orleans, what was that experience like?

YJ: It was an amazing experience.

It was the first time really that I put together original music and performed it onstage because I had only recently began performing. It was through the Berklee Popular Music Institute, and they had five

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students manage and handle social media, and helped me put together a setlist and get a band together, so it was the first time I had done any of that.

YM: Your song “She” and the music video for it are both very powerful. What was the process of making that song like along with the video?

YJ: There was a time in my life where I was trying to pray, and it felt like everything was against me, whether that was being sad or not knowing where I was in life. I personified this negative energy I was feeling and called it “She.” I’m speaking to this presence and saying “You’re not gonna overcome me.” At the end of the day, I will get through whatever emotions I’m going through. For the video, I used ultraviolet paint to represent “She,” and the negative energy that’s trying to take over you. Towards the end of the video, there’s a handprint on my back, and that symbolizes the fact that you can try to get rid of this negative energy, but its always gonna be a theme in your life. So instead of trying to get rid of it, how do you live with it and go forward?

YM: In addition to your own art, you also helped create the art collective SheReigns. Could you tell us about that?

YJ: I got the chance to travel to Valencia, Spain a year and a half ago, and that was the first time I performed on stage.

I realized there weren’t enough women empowering each other and supporting each other. I wanted to make an allwomen’s artist collective that gets together once a month and gets to do a painting, or a song, or a dance, or poem that is political or social and also gives us a chance to lift each other up. YM

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Ym YM staffers share their favorite PERFUME/ COLOGNES “Since it’s fall I’m wearing Brown Sugar by Fresh, the scent that’ll always smell like that weekend trip to Vermont last year. When I dress up to go out, I wear Mademoiselle by Chanel. But not the perfume — the hair mist that I got in Paris over the summer. It’s half the price and smells just as strongly of walking down the Champs-Élysées in June.”

- Natalie Gale, Managing Editor “The relationship I have with my Dior Addict perfume is one of the only stable ones I have in my life! We’ve been going steady for nearly a year and a half now, but we’ve been flirting on-and-off since I was fifteen. I’m twenty-one now, so you do the math. No, really — I can’t math to save my life.”

- Alessandra Settineri, Editor in Chief “My signature scent is free perfume samples from Sephora... or my Old Spice Fiji deodorant. It all depends on how recently I bought new eyeliner.”

- Ellie Hilty, Creative Director “I just shower a lot.”

- Bobby Nicholas, Co-Head Designer “Honestly, anything the salespeople at Bath & Body Works will sell me on this time. I can never seem to leave that store empty-handed…”

- Lindsay Howard, Copy Chief “Kind of a weird one but I’m really digging the essential oils they sell in the gift shop at the Mosque in Roxbury. And yes, there is a gift shop in the Mosque in Roxbury.”

- Rana Saifi, Talent Director “It sounds cliche but if I want to smell like me, I wear Glossier You. I constantly get complimented when I wear this scent and it makes me so happy.

It’s strong enough to last all day and lingers on your clothes but it’s not overpowering. It’s my go to perfume that I always go back to.”

- Monika Davis, Editorial Director

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ART BY BOBBY J. NICHOLAS III

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A R T I S T

S TAT E M E N T

DANIELLA ROBERGE S P E C I A L

E F F E C T S

DESCRIBE YOUR WORK IN ONE SENTENCE.

WHO

The transformation of actors and models to physically embody a

PHOTOGRAPHERS/ DESIGNERS/ ARTISTS/ MUAS?

ARE

SOME

OF

YOUR

FAVORITE

character or elicit a feeling.

The first one that comes to mind is Lesley Vanderwalt, the brilliant mind and Oscar winner behind the hair and makeup in Mad Max:

DO YOU HAVE AN ARTISTIC PROCESS?

Fury Road.

I had never thought of it as such, but I’d say so! I tend to wear the same paint and synthetic adhesive-covered jeans, the same black

WHAT’S ONE OF YOUR FAVORITE LOOKS YOU’VE

Labrynth T-shirt, wear my hair in a big messy bun with paintbrushes

DONE? WHAT MAKES IT SPECIAL?

stuck in my hair, and listen to a playlist of songs ranging from Ultra

One character I was able to do for the haunted house Shocktober

Light Beam by Kanye West, to This Feeling by Alabama Shakes, to

back home in Virginia. He was bald and so I was able to have some

American Woman by The Guess Who.

fun and make it look like he had exposed brain. All my work at Shocktober was special to me because it’s the annual fundraiser for

WHEN DO YOU FEEL MOST CREATIVE?

Paxton School for Disabilities. I have over 600 volunteer hours there

I don’t know about creative, but I feel most empowered and capable

working with the children and on the haunted house. I was lucky

of creativity after watching a film seamlessly blending SFX and emo-

enough to have my makeup included in The Washington Post and

tional breathlessness. The most recent example of this would have to

Sports Illustrated, as well as do a demo on Fox 5.

be either Logan or A Quiet Place.

WHAT IS THE BEST PART OF DOING SPECIAL EFFECTS WHAT INSPIRES YOU?

MAKEUP?

Strong women excelling at what they love. Also, my mom. She’s the

The ability to reside in a space somewhere between art, chemistry,

strongest, and most resilient woman I’ve ever known.

and biology. I’ve always felt like I’m cheating the system in calling myself an artist because I can’t draw or paint or sculpt whatsoever.

WHERE CAN READERS SEE MORE OF YOUR WORK? WWW.DANIELLAROBERGE.WIXSITE.COM/PORTFOLIO INSTA: DANIELLA.SFX

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