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Next Race: 07/06/2021 + 4 others DUE TO PRESENT CIRCUMSTANCES, REGISTRATION IS ALL ONLINE. THERE WILL BE NO 'ON THE DAY' ENTRIES. REGISTRATION FOR EACH RACE CLOSES 7 DAYS PRIOR TO RACE DATE. RACE NUMBERS WILL BE SENT TO YOU BY POST. COVID REGULATIONS DO NOT ALLOW US TO HAVE A WATER STATION. PLEASE BRING YOUR OWN WATER. The Sri Chinmoy Marathon Team has been organising races in London since 1981. As a family of running enthusiasts we welcome competitive club runners, seasoned trailblazers, fitness lovers and novices. At all of our races you will experience a warm welcome, a supportive team of dedicated volunteers, efficient and professional race management and flat runner-friendly courses. Event Profile: Our 5K course is 2 laps on traffic-free avenues inside Battersea Park. The race is UKA Certified accurate and manually timed to UKA Standards. HQ Location: Find us on Carriage Drive East between the Boating Lake and Millennium Arena running track - 30 metres from Pear Treee Cafe. Registration Information: Due to the present situation we are asking all runners to register online. Your race number will be mailed to you the week before the race. Registration closes 7 days prior to the race to allow time for all runners to receive their race number. For safety reasons and to maintain social distancing there will be no Secure bag drop, so please bring as little surplus baggage as possible and make your own arrangements to keep your belongings safe during the race. The start line is 300 metres from the Race HQ. We are inclusive of all members of the LGBT+ community and welcome entrants as Female, Male or Non-Binary. Only Male and Female categories will be captured in results for ranking purposes, however all non-binary times are captured in the overall race results. The reason for this is we must adhere to the International Association of Athletics Federation (IAAF) Rules & Regulations.Inspiration: Our races focus on giving each runner a good experience, an opportunity to transcend their limits and achieve their personal goals. Our inspiration is Sri Chinmoy (1931-2007), the founder of our Marathon Team, who was not only an avid athlete and pioneer in the world of running and ultra-running races, but a teacher of meditation. He recognised the sport of running as a powerful way to develop concentration, confidence, determination, peace of mind and happiness. Speedy Steeds 5K£6.00 - £8.00 Dashing Deer 5K£6.00 - £8.00 Kangaroo Hop 5K£6.00 - £8.00 Silver Starling 5K£6.00 - £8.00 Hasty Hare 5K£6.00 - £8.00 By Car: Rosery Gate Car Park (SW11 4BE) and Chelsea Gate Car Park (SW11 8NF) are the closest places to park (inside Battersea Park). From either Car Park it is a 300 metre walk to the Race HQ (Blue Tent), situated on Carriage Drive East between the Boating Lake and the Athletics Track. By Train: Nearest overground train stations are Queenstown Road and Battersea Park (direct links from Waterloo, Victoria and Clapham Junction). From either station it is a 8 minute walk to Race HQ: walk north along Queenstown Road. At roundabout enter Battersea Park through Rosery Gate (SW11 4BE). Turn right inside Park along Carriage Drive East. Race HQ (blue tent) is 300 metres along between the Boating lake and the Athletics Track. By Tube and Bus: The nearest Tube station is Sloane Square (District and Circle Line). From Sloane Square Tube station walk 3 minutes to Lower Sloane Street and take Bus 137 from stop M. Get off at the 3rd stop: Chelsea Gate/Battersea Park. Enter the park through Chelsea Gate and follow directions to the Athletics Track. Race HQ (blue tent) is on Carriage Drive East between the Boating Lake and the Athletics Track. Allow 25 minutes for the journey from Sloane Square Staion to Race HQ.

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Updated: this reply was recieved 19th April from the main party headquarters Dear [first name], Thank you for your email. Please accept my apologies for the delay in replying The Liberal Democrats have a long and proud history of fighting for lesbian, gay, bisexual and transgender (LGBT+) equality. We strongly believe that trans individuals should enjoy equal rights and equal treatment in every aspect of their lives. For many years, trans issues were sadly ignored or misunderstood throughout our society. That’s why I’m delighted that the Liberal Democrats are helping to deliver real change. It was in 1998 that our party first supported the right of people to legally change their gender on their birth certificate. In 2011 we set out the first ever Government transgender equality action plan too. This is helping to break down barriers not just in schools and workplaces, but in healthcare and wider society too. The Liberal Democrats played a crucial role in helping to bring about the Marriage (Same Sex Couples) Act 2013, and we were the first of the three main parties to support equal marriage. The Marriage (Same Sex Couples) Act allows a person who is trans to change their legal gender without this automatically ending their marriage. Liberal Democrats passed a motion at our Autumn Party Conference in 2014 where we called for further progress. We support reviewing the Gender Recognition Act, which could lead to important changes. For example, trans individuals whose marriages were terminated should have them reinstated if both partners are in favour. Our 2015 manifesto includes a committment that we will help to stamp out transphobic bullying in schools, which we know can blight the lives of young people. Lib Dems also support the right of trans individuals to have an ‘X’ gender marker in their passport if they wish. And we support the inclusion of positive images of trans individuals in central government publications too, so that trans communities are more visible. Our party values fairness, celebrates diversity and challenges ignorance and conformity. We believe that every person, regardless of gender, should have the chance to lead a happy and fulfilling life free from prejudice and discrimination. The work of the group Liberal Democrats LGBT+ also helps to inform party policy on transgender issues. As of April 2015, 37 of the Lib Dem candidates standing in this election identify as LGBT – one of whom is trans. The Liberal Democrats will always campaign tirelessly for the rights of the trans community. Direct Communications Manager The Liberal Democrats Earlier reply via the LGBTI Lib Dems – [via email 16 Feb:] Dear [first name], Thank you for your email. “X” Gender Markers are policy of the entire party (Not just of the LGBT group, as with some other parties) – you can read more at http://lgbt.libdems.org.uk/en/page/x-gender-markers-on-passports. This the main focus of our non-binary work at the moment, as getting the implemented should convince the civil service and others opposed to such changes that it will not suddenly cause the end of the world and make it easier to roll out non-binary ID in other areas. We don’t have full party policy on gender neutral wording in marriage and other legislation because the latest regulations came in too late for inclusion in our latest equalities policy paper – it’s an area we’ll be looking to include when the opportunity for a policy change next arises. LGBT+ Liberal Democrats are working on the mental health motion to be debated at Spring Conference to include better access to gender clinics, with improved funding levels. Non binary inclusion is key to getting equitable treatment for all trans people and we fully recognise this in our policy development. Kind Regards, Zoe O’Connell LGBT+ Liberal Democrats

For Transgender Awareness Week 2021, why not choose one – or two, or three, or more! – of these superb books by trans and non-binary authors, and immerse yourself in a different world. There is something for everyone on this list. From novel to non-fiction, sci-fi to memoir, young adult to historical diary – trans and non-binary authors have range. And at a time when most of what is written about trans lives in the media is written by cisgender people, it’s never been more vital to read, share and celebrate the trans people writing about trans lives – and the trans people writing about literally anything other than transness, because we are not here for pigeonholes. This year, a real plethora of new trans books have been published, with bigger publishing houses and jazzier marketing campaigns to boot. Most of the books on the list below are brand new, but some older reads that people might not have come across have snuck in, too. It’s thrilling to be able to share so many magnificent books by trans and non-binary authors. 1. The Transgender Issue: An Argument for Justice, by Shon Faye (2021) The Transgender Issue has gone on to challenge the very terms of the “culture war” debate that trans and non-binary people find ourselves embroiled in, centring trans and non-binary people’s struggles in an attempt to correct the trans-hostile consensus in the transphobic British media. The book addresses actual issues that trans and non-binary face, including the class oppression faced by the majority of trans people, difficulties securing stable employment, homelessness, sex work and the crisis in trans healthcare. 2. Youngman: Selected Diaries of Lou Sullivan, edited by Zach Ozma and Ellis Martin, with a foreword by Susan Stryker (2021) Lou Sullivan (1951-1991) was one of the first publicly gay trans men, known for his successful campaigning for gay trans men to be permitted access to gender-affirming healthcare at a time when medical models of transness only recognised heterosexual trans people as valid. He was instrumental in forming support networks for trans men in the US and beyond, and in bringing together trans men through meet-ups, newsletters and relentless socialising at a time when the existence of trans men was nearly invisible, even within queer and trans circles. Lou kept a diary his whole life and intended for them to be published after his death; he died of AIDS-related complications in the early 1990s. His diaries are a frank, moving, exhilarating ride from his teenage life through to his death. The New Yorker described Lou’s diaries as a “radical testament to trans happiness” – and what could be better than that? Find a place to buy them from here. 3. The Hidden Case of Ewan Forbes, by Zoë Playdon (2021) This historical investigation painstakingly uncovers the real-life story of Ewan Forbes, a Scottish aristocrat and trans man whose life unexpectedly had a profound and long-lasting impact on trans people’s legal rights in the UK. Ewan transitioned in the 1920s, and The Hidden Case of Ewan Forbes gives us rare insights into life for trans people a century ago, including what options were available in terms of medical transition and how upper-class society treated what we would now call transness. Ewan’s 1968 legal case concerning primogeniture – as in, whether Ewan could inherit titles from his father that were supposed to only pass down the “male line” – was, until now, a fiercely guarded secret. Through solving this mystery, the book reveals how trans legal equality in Britain was taken for granted – and then taken away. Buy it from beloved LGBT+ bookshop Gay’s The Word here. 4. The Death of Vivek Oji, by Akwaeke Emezi (2021) This novel is everything: joyful, devastating, tender. Written in Emezi’s characteristically expansive and dynamic style, the book begins, as per the title, with the death of Vivek Oji, and then rewinds back to Vivek’s childhood in Nigeria. Vivek’s sudden death could be as a result of transmisognynistic violence, but as the story unfolds, non-linear, jumping between a Vivek who is dead and a Vivek who is alive, what happened becomes more complex, just as Vivek’s understanding – and that of their friends and family – of gender deepens and widens with age. 5. Black on Both Sides: A Racial History of Trans Identity, by C Riley Snorton (2017) This book tells the overlooked stories of Black trans people from the mid-19th century to the present, going back to how the system of slavery produced racialised gender and bringing us through time to the present day of anti-trans bills and racist violence, examining how Blackness and transness intertwine. From Lucy Hicks Anderson to James McHarris, the book examines how and why Black trans people’s lives have been largely erased from trans history. A whole chapter is dedicated to the story of Phillip DeVine, a disabled and Black trans man who was murdered in 1993 alongside Brandon Teena, a white trans man whose brutal rape and murder is one of the best-known modern murder cases of a trans person and formed the basis of the film Boys Don’t Cry, starring Hilary Swank. DeVine was left out of the film, allegedly due to racism. Black on Both Sides has won multiple awards, including the Lambda Literary Award for Transgender Non-Fiction (2018) and the Sylvia Rivera Award in Transgender Studies from the Center for Lesbian and Gay Studies. Buy it here from Blackwell’s. 6. What It Feels Like for a Girl, by Paris Lees (2021) This raw and unflinching memoir details Paris’s working-class upbringing in the 90s on the outskirts of Nottingham and takes us through to her arrival at university in Brighton. Told from the perspective of a young Paris, this book is memoir as novel – autofiction, if you will. Showing the reality, for one woman, of growing up trans and poor in the UK, What It Feels Like for a Girl is written with Paris’s distinct chatty humour and in a Midlands dialect. She takes us through the drama and the dreariness of drug use, underage sex, sex work, a dysfunctional family, school bullies, poverty and mental illness with a kindness towards her younger self that warrants emulating. Now a Vogue columnist, regular TV and radio presenter, and one of the most high-profile trans people in the UK, Paris’ coming-of-age story is one of the best trans memoirs of recent years. Buy it from Waterstones here. 7. Detransition, Baby, by Torrey Peters (2021) This glorious novel about love and motherhood was one of the most hotly-anticipated works of trans fiction ever, and it was received with critical acclaim by trans and cis readers alike. Detransition, Baby is set in New York and follows the story of three people: Reese, a trans woman, Ames, Reese’s detransitioned former partner, and Katrin, Ames’s boss slash lover, who is (accidentally) pregnant with Ames’ child. The ensuing pursuit of parenthood by the three is a delicious tangle, gleefully unconcerned with presenting a palatable version of transness or explaining any of the jokes, which is both refreshing and darkly funny. Longlisted for the Women’s Prize for Fiction, you can buy it from Gay’s the Word here. 8. Transgender Marxism, edited by Jules Joanne Gleeson and Elle O’Rourke, with a foreword by Jordy Rosenberg (2021) As might be expected, this book is theory-heavy, but if you want a thorough understanding of the relationships between labour and gender, being trans and being badly treated, with a thorough history of trans movements and working-class struggle, then it’s not one to miss. Buy it from Pluto Press here. 9. Top To Bottom, by Finlay Games (2021) This debut book from YouTuber and mental-health blogger Finlay Games is the first dedicated to detailing phalloplasty, also known as lower or bottom surgery, a series of operations to make a penis. Part memoir and part self-help guide, Finlay generously shares his emotional journey, relationship with his body, experiences of gender dysphoria and quest for a penis. Each stage of the surgery is documented – form the decisions that have to be made, the recovery, healing, and Finlay’s changing relationship with himself and those around him. It’s rare to be invited so closely in to someone’s medical transition, and Finlay tells his story with warmth. It’s published by Jessica Kingsley Publishers, and you can buy a signed copy here. 10. I Wish You All the Best, by Mason Deaver (2019) A tender high-school romance but make it queer. This young-adult fiction is the sweetest, most heart-wrenching story of a young non-binary person coming out, being rejected by their family, and falling in love with a fellow student. With a dreamily written narrative, what sets this book apart is its quietly groundbreaking approach to young people exploring their gender. That’s because it takes one to know one, and what Mason Deaver gives us with I Wish You All the Best is a triple threat: a high-school romance for older non-binary people who might have missed out on that experience, a gorgeously told story about non-binaryness for cis readers, and for younger non-binary people, hope. Buy it here. 11. Fierce Femmes and Notorious Liars: A Dangerous Trans Girl’s Confabulous Memoir, by Kai Cheng Thom (2016) A surrealist novel telling the story of a young Asian trans girl who runs away from home. Written for young adults, this Canadian book was a finalist for the Transgender Fiction category at the 2017 Lambda Literary Awards, and its fame grew in 2019 when Harry Potter star Emma Watson chose it for her feminist book club, Our Shared Shelf. Buy it from independent booksellers Queer Lit here. 12. Fairest: A Memoir, by Meredith Talusan (2020) This is both a trans and a migrant memoir, for Talusan is a Filipino-American trans woman living in the US. As such, it breaks apart both genres, recounting her coming-of-age as a person with albinism and delving into the messy overlaps of their identities. A finalist for the 2021 Lambda Literary Awards Transgender Fiction category, it was described by trans poet Ocean Vuong as “a ball of light hurled into the dark undertow of migration and survival”. Buy it here. 13. Duck Feet, by Ely Percy (2021) This novel is written in Scots dialect, which quickly brings readers in to the teenage world of Kirsty Campbell and her friends at school in Renfrewshire, Scotland. Duck Feet follows the group through school, exploring the dark and sometimes light messiness of teen crushes, family abuse, heartthrob boybands and homophobic bullying. Buy it direct from publishers Monstrous Regiment here. 14. An Unkindness of Ghosts, by Rivers Solomon (2017) This science-fiction novel was book of the year in the Guardian, NPR, Publishers Weekly, Bustle and Barnes & Noble – and those accolades are much deserved. An Unkindness of Ghosts tells the story of botanist and healer Aster Gray, who is on a ship ferrying the last humans living towards a mythical promised land. Buy it from Queer Lit here. 14. Gender Euphoria: Stories of Joy from Trans, Non-binary and Intersex Writers, by Laura Kate Dale (2021) Nineteen writers fill the pages of this groundbreaking anthology with their stories of joy, happiness and hope – the perfect antidote to the grim transphobia that abounds in the world. Framing transness as coming from feeling gender euphoria – rather than its more commonly seen inverse, gender dypshoria – this book speaks to a diverse range of experiences of joy. Feelings of pride, elation, confidence and freedom are the overriding themes, making the book a true joy to read. Edited by video game journalist and trans activist Laura Kate Dale, you can buy Gender Euphoria from Queer Lit here. 15. Release the Beast: A Drag Queen’s Guide to Life, by Bimini Bon Boulash (2021) Non-binary drag queen Bimini Bon Boulash skyrocketed to fame earlier this year as a contestant on RuPaul’s Drag Race UK Season 2, winning hearts and minds with her sharp east London gags and moving conversations about being non-binary with fellow contestant Ginny Lemon. Following their huge success on the show, Bimini went on to write a book – billed as a guide to transforming your life using lessons from drag – which was, satisfyingly, an instant Sunday Times bestseller. Release the Beast is an expansive offering, giving young people who are curious or unsure about their gender or sexuality something more than a guide to pronouns to help them. With images from trans illustrator Jules Scheele, this book is a must-read for Drag Race fans, young queer people and families of non-binary people alike. Get it here from Gay’s The Word.

Transgender Health Care Improving Ob-Gyn Care for Transgender and Non-Binary Individuals Transgender, non-binary, and gender non-conforming individuals often face discrimination in health care settings. Research shows that many are unable to find competent, knowledgeable, and culturally-appropriate health care. To assist faculty and staff, we created modules to prepare ob-gyns and other providers to better care for transgender, non-binary, and other gender diverse people. These modules were developed and produced by Daphna Stroumsa, in collaboration with physicians and activists across the country and with the support of Michigan Medicine and the Council on Resident Education in Obstetrics and Gynecology (CREOG). Dr. Stroumsa is a fellow in the National Clinician Scholars Program and in the department of Obstetrics and Gynecology at the University of Michigan. - Gender identity and care of transgender and gender non-conforming patients - Preventative care for transgender and gender non-conforming patients - Gender affirming treatment and transition-related care - Addressing common gynecologic issues among transgender patients - Health records, billing, insurance, and legal documents in transgender medicine Thanks to the following co-authors and collaborators: Zena El-Saghir; Anand J. Kalra; Gene de Haan, MD; Hadrian Kinnear; Sebastian Z. Ramos, MD; Halley P. Crissman, MD; Roopina Sangha, MD, MPH; and John F. Randolph Jr., MD.

Weekend Open Bar: Cynthia Rothrock and Roll Motherfuckers it’s the weekend, and that can only mean one thing. Fucking time to pop off our pants, turn off our motherfucking Ring Lights (if you’re a remote teacher like me), and get high as hell! You know, relax! Put on a good horror flick, stretch your gullet beyond reasonable measurement, and fucking gorge! Pizza! Martial arts flicks! Dead Cells! Diarrhea! Seriously though, you sublime bitches. Let’s gather! It’s time, my fellow Degenerates of the Round Table! The Bar is Open, my mood is good thanks to sunshine and a 48-siesta, and my heart throbs for you! Yes, for you! Let’s hang out! Tell me, what are you up to this weekend? Are you playing some Valheim? Are you scouring Reddit for implausible but equally exciting WandaVision theories? You know the ones! The ones that nerds buy into for no good reason (don’t do it!), and then complain when they don’t come to pass! Or, maybe you’re just talking a glorious walk during this week’s Great Thaw! Whatever the case, it’s time to be bros! You’re all bros! Gender neutral bros! He’s a bro! She’s a bro! Non-binary bro! It doesn’t matter. All’s fair in love and brodom. This is Weekend Open Bar!

Wild Skills Junior Ski Patrol Join us for Wild Skills Junior Ski Patrol, a day camp at Mt. Bachelor on Sunday, April 7! Young girls will learn mountain safety and first aid while working with the strong women & men of the ski patrol community. This event is intended for intermediate to expert skiers/snowboarders ages 8 – 17 who identify as female (transgender and cisgender) as well as non-binary people who identify with the women’s community. This SheJumps’ Wild Skills event is structured as full day camp experience, parents/legal guardians drop girls off, they are split into teams based on their skier ability and then rotate through different stations. Throughout the day, girls are taught a range of outdoor skills that are utilized by ski patrollers to keep the mountain safe. Girls will work alongside female patrollers and volunteers to learn more about the many facets of mountain safety and first aid. We will provide 1 to 2 female mentorship engaging all generations in the sharing of knowledge and understanding. Connecting experience, energy and love for our natural places with the technical and survival skills girls need to get out and adventure. To volunteer for this event, click here.

We Only Want the Earth Residency Award 3 A4 Sounds in partnership with Fire Station Artists’ Studios and Migrants and Ethnic-Minorities for Reproductive Justice (MERJ) invite applications from migrant and ethnic minority artists, including members of the Travelling community, for a four-month residency award as part of the We Only Want the Earth 2021 programme. The award will run from July to November 2021. The award opportunity aims to support an artist based in Dublin to develop their arts practice. About We Only Want the Earth We are living through a time of sudden and unpredictable social change caused by interlinked issues of global warming, the collapse of the neoliberal order, a resurgence of violent misogyny and nationalism, growing inequality, housing and homelessness crises, and the growth of ecofascism. We Only Want the Earth is a 12-month programme of awards, exhibitions, and events that seeks to interrogate the goals and strategies of social change: what kind of society do we want and how should we get there? More information about our programme here. About the Award A central aim of the We Only Want the Earth programme is to give material support and a platform to artists who are often silenced, or who are spoken about rather than listened to. As part of meeting this aim, this 4-month residency award will support an artist artists from migrant and/or ethnic-minority backgrounds, including members of the Travelling community, to a develop and exhibit a body of work, and will provide the selected artist with an opportunity to make contacts and identify resources that might help them to further develop their artistic practice. Please note that the artist is free to work on any topic of their choosing; there is no requirement that that the work deal with issues of race, ethnicity or migration. Proposals must respond to the theme ‘We Only Want the Earth’. What the award involves The award includes - Free 24-hour access to studio space at A4 Sounds. - A monthly stipend of €900 towards materials and residency costs (Total €3,600). - Artist fees of €690 for exhibiting a body of work and artist talks - A dedicated website for outcomes and digital dissemination* - Access to a range of professional development, training and technical supports. - Access to the facilities at A4 Sounds, including personal and shared workspace, sculpture workshop, photography darkroom, printing suite and equipment. - Gallery space and a materials/exhibition budget of up to €1000 will be provided to support an exhibition or series of dissemination events during the last month of the residency. - Access to all A4 Sounds public workshops and courses for the duration of the residency. Throughout the residency, advice and mentorship will be provided by A4 Sounds technicians and curators, a dedicated community engagement worker, and representatives from Fire Station Artists’ Studios (FSAS), Migrants and Ethnic-Minorities for Reproductive Justice (MERJ), and consulting artist Fiona Woods. *This residency takes place in a timeframe which may experience changing restrictions and gallery closures due to the ongoing covid-19 pandemic. To ensure that the selected artist is supported to exhibition we will work with them to develop digital outcomes and an immersive website that will act as a standalone body of work in the case of gallery closures, and complementary to a physical exhibition if galleries remain open. Please note: this residency does not include accommodation as part of the award. Aims & Expectations of the Residency The selected artist is expected to - Be available to work from the studio for the duration of the residency. - Participate in studio life and take full advantage of resources and learning opportunities available. - To disseminate their work in at least 2 ways. - We will work with the successful artist to document their progress and ask that aspects of the documentation be made available to A4 for use. Please note: this residency carries a significant workload for the successful applicant and will require a full time commitment. We have included a schedule template with our application form to help you map your time and to ensure what you are proposing is feasible and manageable for you. However, we do understand you may have additional work commitments to support your living costs. If you do, please keep these in mind when writing your proposal, and describe how you will balance those commitments and your studio time. Who is eligible? We invite applications from artists from ethnic-minority backgrounds including members of the Travelling Community and migrant artists who are currently based in the Greater Dublin area. Unfortunately due to unpredictable changes in restrictions due to the ongoing COVID-19 pandemic, we are limiting applications to artists based in the greater Dublin area only for 2021. Due to the significant workload of the residency, artists who are currently in full-time undergraduate or post-graduate education cannot apply. What what types of proposals are we seeking? We invite radical, risk taking, bold, mischievous and political proposals. This is a visual arts award, but we welcome proposals from artists with multidisciplinary approaches where the proposed outcomes can be disseminated in a visual ways. We are keen to hear from artists who use a wide range of approaches to explore their ideas; including but not limited to: socially engaged, collaboration, protest, organizing, writing, sound, conversation, food, performance, video, media, sculpture, research, installation and print. Please note that during the timeframe of this residency we may be affected by changing restrictions due to the COVID-19 pandemic. With this in mind, do consider how your proposal may work with possible changing restrictions. Unfortunately, the A4 Sounds studio building is not fully accessible. The studio space and bathrooms are accessed via a flight of stairs which may provide difficulties for people with movement impairments. We understand that this may exclude some artists from applying for the award, and we apologise for this. We hope to source funding to make the building more accessible in future. How to apply Selection will be made by a panel that includes representatives from A4 Sounds, Fire Station Artists’ Studios, MERJ and our consulting artists. The open call will be advertised through usual visual arts channels as well as other antiracism networks. Applications will be accessed on the following criteria: - How the proposal responds to the theme We Only Want the Earth - The artistic quality of the proposed work - The artistic quality of previous work - Potential of the artist to develop their artistic practice and how the award will benefit the artist - Feasibility of the proposed work within the timeframe of the award (3-4 months) The Assessment Process and Timeframe Proposals received are processed as follows: - Proposals acknowledged by email - Proposals checked for eligibility – all eligible applications then progress to the next stage - Eligible applications will be shortlisted. - A selection panel reviews shortlisted proposals, associated materials, then scores and make decisions - Decisions are communicated via email to applicants by July 1st - Applicants may seek feedback on their applications for two weeks after receiving the panels’ decision. About A4 Sounds & Our Partners Sounds is a non-profit artist-run workspace and gallery in north-inner-city Dublin. It is one of the biggest artist-led spaces in Ireland, currently providing facilities and professional development supports to 80 artists. Its mission is to transform the means by which cultural works are produced, accessed, and understood in Ireland, and by doing so to contribute to the development of a more just society. Guided by feminist, anti-racist, anti-capitalist, and LGBT-inclusive politics, A4 Sounds supports artists and activists who fight for change. Fire Station Artists’ Studios Located in north-east inner city Dublin, the Fire Station Artists’ Studios was established in 1993 to provide support for professional visual artists. Fire Station Artists’ Studios is a living and working environment where communities of professional practice, place and interest meet to develop art practices of quality and integrity. A key policy of the Fire Station is to contribute to the debate on collaborative and socially engaged arts practice, through processes that incorporate critique and commission . As an organisation they have a deep commitment to collaborative and socially-engaged practice that has developed sophisticated models of contextual art practice. Migrant and Ethnic-Minorities for Reproductive Justice (MERJ) MERJ are a group of migrants and ethnic-minorities living in Ireland fighting for reproductive justice for all people. MERJ was founded in September 2017 by migrant women of colour who had been actively involved in the campaign for abortion rights in Ireland for years. MERJ was started to create a platform for the often hidden faces and voices of migrants and ethnic minorities in Ireland that were all but missing from Irish feminism. They want to challenge the whiteness, maleness and settledness of the left and fight for their place in the movement. They want to fully participate in radical politics in Ireland on their own terms. They want to broaden the scope of their work beyond a single issue because as Audre Lorde said, “we don’t live single issue lives”. And most importantly, they want to create a space where migrant and ethnic minority women, non-binary and trans people could come together and share their politics and experiences, learn from each other and support one another in the struggle. They have made a significant contribution to the feminist discourse in Ireland in the short time they have existed. Consulting Artist for the award: Fiona Woods Fiona Woods works with aesthetics and critical spatial practice, often in a co-productive capacity with others. She employs social, public and institutional circuits to explore ideas of what we have ‘in common’. She is currently producing an event-space, Laboratory of Common Interest to coincide with the 12-day centenary of the Limerick soviet, April 2019. The work features collaborative actions and performances, including a temporary ‘currency’ project operating across the city.Her public art project, Walking Silvermines, is part of the Arte Util archive initiated by the Cuban-American artist Tania Bruguera. Woods has carried out commissions and research residencies in Ireland, the UK, Sweden, Lithuania, Australia, Canada and the US. She devised, curated and produced the Ground Up programme of rural public art for Clare County Council and co-curated Yak Yak, rural/art dialogues for the Swan Hill Regional Art programme in Victoria (AUS, 2013).Fiona lectures at Limerick School of Art & Design, at undergraduate and postgraduate levels, working across theory and practice. She has been a contributing lecturer on the MA in Social Practice, LSAD (2013 – 15); the MA in Socially Engaged Art at NCAD, Dublin (2017); a visiting lecturer at BAVA Sherkin, (DIT); the University of Newcastle (AUS) and the University of Flensburg (DE). She is currently a PhD researcher at TU Dublin, a recipient of the 2015 Fiosraigh scholarship. Fiona Woods | Collection of Minds Free*Space | Laboratory of Common Interest A4 Sounds acknowledges its responsibilty to safeguard the personal data of applicants to and beneficiaries of the residency award. Privacy and data protection rights are important to us and we are committed to protecting the privacy of individuals in relation to processing of personal data that we may seek, collect, and use or disclose. A4 Sounds will treat all personal information volunteered or sought with the highest standards of security and confidentiality, in accordance with data protection law and regulation and best practice approaches. A4 Sounds may seek, collect, and use or disclose personal information as part of its management of the We Only Want the Earth Awards. Information collected through the application process is used soley for the purpose of the management of the awards. Personal data will not be disclosed to any external third party, without consent, except where it is necessary to comply with statutory requirements. Application forms and supporting materials will be deleted after the selection process is complete. We Only Want the Earth is kindly supported by The Arts Council’s Art Grant Funding 2020.

(LifeSiteNews) — On this week’s episode of The Van Maren Show, Jonathon interviews British social media influencer and detransitioner Oli London. For those who don’t know London, he made waves in 2021 identifying as a non-binary Korean and then later as a Korean woman, making him one of the most high-profile “transgender” people in the world. Now having regretted his “transition,” London is converting to Catholicism and has been working to prevent other people (particularly teenagers and young adults) from giving themselves up to genital mutilation and the transgender lifestyle. London tells Jonathon that his struggles with identity issues stem from his childhood. He was bullied frequently up through high school; other boys had picked on him for being too feminine. So in that sense, identifying as a woman was London’s way of finally finding acceptance. Social media played a significant role in London’s decision to “transition,” too. “When you go on TikTok, you see these trends, influencers, these non-binary influencers, now teaching kids about pronouns, teaching kids to transition: ‘It’s easy. It’s fun. If you feel like you’re a boy and you want to wear a skirt, you must be trans, you must transition and have surgery,'” he says. “So social media can be very toxic. And I think it’s very unregulated.” London recounts that although he received tons of praise for “coming out as a woman,” he had first received hate for identifying as a Korean. He says he noticed the hypocrisy even back then. “So I can be one thing, but I can’t be the other?” he says. “But why couldn’t I identify as Korean? What’s the difference? Surely it’s less extreme than trying to change your gender.” “It wasn’t trolling at all. I was literally doing it to be happy,” he adds. “But it was also challenging this narrative that these people say you can do anything you want and everybody should respect your pronouns, respect who you are. And I was like, ‘Why aren’t these people respecting me? They’re complete hypocrites.'” Despite 11 surgeries (mostly on his face) and tons of validation on social media and in the press, London tells Jonathon that he came to regret his “transition” because he never truly felt “happy.” In fact, he felt perturbed living in the cycle of getting surgery, feeling unhappy, and thinking what he needed to finally be happy was more surgery. “It was just like a snowball effect. It was just a never-ending cycle,” he explains. “And then suddenly I took myself out that position. I was like, ‘Why am I even doing this in the first place? I’m kind of destroying myself.’ I was looking back at old photos of myself. I was thinking, ‘Why did I do this?'” “I posted old photos of me before and everybody says, ‘Oh, you look so much better.’ And I’m thinking, ‘God, I’ve really destroyed myself just to try and feel happy and feel acceptance in society.’ And then there was the moment when I started going to church. I was going quite regularly, and it just made me have some clarity. I was like, ‘You know what? All this surgery is not important. It doesn’t mean anything. It’s what’s inside that counts. If I can have a better connection with God, I can finally find happiness and inner peace. So that really helped turn my life around.'” For much more from Oli London, listen to this week’s episode of The Van Maren Show below: For a full listing of episodes, and to subscribe to various channels, visit our Acast webpage here.

Going to the same parks and hangout spots for family entertainment can get boring, especially when you’re a kid. But, while routine is important, variety can be like a breath of fresh air when you’re bored. So if you’re on the lookout for new Things to Do in Winston-Salem NC, you don’t want to miss this group of local fun spots kids love. Located at 390 S Liberty Street is a world of educational fun. This museum is great for kids who love climbing, playing, and discovering. Their exhibits like ToyTime, Enchanted Forest, Artspace, and more will encourage kids to explore, create and learn. When you need a break, stop by their library for even more fun things to do in Winston-Salem NC! Check their website for current seasonal hours and more exhibits. Located at 400 W Hanes Mill Road is a paradise of hands-on science, tinkering, creativity, and more in-depth exhibit fun. Live animals, Environmental Park trail, planetarium, Keva Works, and the many science-based exhibits will have your child solving problems, designing, building, testing, and learning with a smile. Check their page for their current seasonal hours and all their unique exhibits. Admission is the same at both locations This cozy Winston-Salem, NC bookstore, at 634 W. Fourth St. #110, has a great selection of kid’s books and more that they can immerse themselves in as you browse and sip on coffee. If you have a bookworm, they offer a monthly Kids Club subscription ($25) of handpicked books sent to your door. For more fun, they work with local businesses to add new events to their calendar for the whole family, along with their free monthly story time geared to kids 3-7. You can follow their calendar online or stop by during business hours. They are open Monday through Saturday from 10 am – 9 pm and Sunday from 12 pm – 6 pm. Calling all Winston-Salem NC race car lovers! Get your engines ready to view 33 years of Winston Cup Series stock car racing history. They have more than 20 authentic race cars on display, including ones driven by Dale Earnhardt, Sr. Jimmy Spencer, and Wendell Scott! Their tours are packed with information and incredible memorabilia. Never-seen-before photographs from the legendary Winston Cup Series, trophies, uniforms, helmets, and more. You can even have your photo taken at victory lane. Some exhibits do rotate out to keep you engaged every visit at this fun Thing to Do in Winston-Salem, NC. They also host birthday parties and have racing arcade games available. Visit them at 1355 N. Martin Luther King, Jr. Drive, 27101, Thursday through Saturday from 10 am – 5 pm. Kids learn the most through play, fun, and experiences. These fun Things to Do in Winston-Salem, NC, will have your kids learning without knowing it as they laugh, smile, and build great memories. Are you looking for more Winston-Salem content for families? Click on the links below! While you’re here, check out more of my portfolio and let’s chat about capturing your family journey! Thanks for reading! Do you have a question you would like answered or researched? I would love to hear from you – drop me an email to firstname.lastname@example.org so I can feature it on my blog! If you think we are a great fit for each other, let's chat. Fill out my contact form and I will be in touch! Talk soon! Are you a local mama or non-binary parent in the greater Triad region of North Carolina (or even a frequent visitor to the area)? Join my amazing Hearts Wide Open: Parenthood in the Piedmont Facebook group! You'll find an incredibly warm community, my dorky sense of humor on full display, support for all things parenting, and early access to my booking calendar!

Georgetown law professor decries ‘Morehouse Man’ mentality Morehouse College, the only all-male historically black college or university in the United States, promotes a “Morehouse Man” ideology based on ideals such as “acuity, integrity and agency.” This motto has produced civil rights leaders Martin Luther King Jr. and Howard Thurman, director Spike Lee, actor Samuel L. Jackson, and business-leader-turned-politician Herman Cain, among many other notable alumni from the 152-year-old, Atlanta institution. But to one professor, the Morehouse Man is actually a “toxic idea.” So says Georgetown University Law Professor Jill Morrison in a speech on campus last week as part of the Georgetown Women and Gender Studies Program’s “Gender+Justice Annual Faculty Research Colloquium.” Professor Jill Morrison argued that the standards at Morehouse College create an “exceptionally toxic environment for those who do not conform to the ideal for black masculinity.” Her presentation focused on Title IX discrimination of single-sex HBCUs in their transgender policies. During her speech, she spent time criticizing Morehouse College as a hotbed of toxic masculinity. Morrison quoted an alumnus of the college who claimed the Morehouse Man ideal “…represents the perfect storm of homophobia, racial and class anxieties of exceptional negroes, masculine gender trouble, class conflict and fundamentalist religious baggage, or as some might say, ‘heritage or tradition.’” Morrison’s comments came despite the fact that Morehouse has agreed to begin admitting transgender men, or biological women who identify as men, next year. “Most troubling,” she said, is that “if a student transitions from a man to a woman or identifies as a woman, that student will no longer be eligible to matriculate at Morehouse and graduate.” In contrast, Morrison reported that the historic, all-female Spelman College — Morehouse’s sister school — decided to accept trans women and let attending women who transition to men graduate. However, she said, Spelman must go further, citing a necessity for “more gender inclusive housing and bathrooms” at the all-women’s college. Meanwhile, the first-ever “male” Spelman graduate in 2017 complained of a “lack of understanding of the non-binary on campus and backlash from those who questioned his place at an all-women’s college,” she said. In spring 2019, prior to Morehouse’s decision to admit trans men, Morrison published a research project titled “Redefining the ‘Morehouse Man’: Sexual Orientation and Gender Identity at Morehouse College in the Wake of Spelman’s Decision to Accept Transwomen” in the Journal of Gender, Race & Justice. It argued that “although Title IX allows for single-sex colleges to discriminate on the basis of sex, this exemption should be read narrowly to require Morehouse to accept transmen.” It also reviewed “Morehouse’s record of being hostile to those who identify as gay and/or gender non-conforming, and its legal obligations to these students.” Meanwhile, at the colloquium, Morrison had high praise for one institution. She noted the crown jewel of her research was Mount Holyoke College, a women’s college in Massachusetts, which accepts every gender identity except those born male who identify as male. “The mission of women’s colleges is not diminished by the presence of anyone who supports that mission, regardless of their gender identity,” she said. The only counterpoint Morrison briefly considered is that “trans women” — or biological men who identify as women — “have received the benefits of having been male most of their lives,” and “trans men are the current beneficiaries of male privilege and might change the women’s college environment by asserting that privilege.” Additional discussions at the colloquium, held Oct. 25, included “The Discomfiting Truth About White Feminism: Meryl Streep, Amy Poehler & the Movement’s Long History of Racial Insensitivity” and “The Crucible of Sexual Violence: Militarized Masculinities and the Abjection of Life in Post-Crisis, Neoliberal South Korea.” The views in this article do not represent those of the Department of Defense or the United States Army. IMAGES: YouTube, Georgetown.edu screenshots

These are verbatim transcripts of interviews, reflecting spoken rather than written language. INTERVIEWER 1: So it’s the 27th of January, 2022, and this is a story interview for Out and About: Queering the Museum at RAMM and my name is Natalie McGrath and I am interview Katie Meldrew. Hello, Katie. PARTICIPANT 1: Hello. INTERVIEWER 1: Welcome. So we’re asking everyone to choose an object that they can connect to, so can you tell us which object you’ve chosen and can you describe it to us? PARTICIPANT 1: Yeah, so I’ve chosen a bronze age arrow flint from Fernworthy, which is on Dartmoor. It is triangular, you can kind of see all the notches on it from where it’s been carved and there’s two little indents at the bottom where I’m assuming that might have fitted into an arrowhead or something like that. INTERVIEWER 1: Brilliant, thank you. Why this object? And what was it that drew you to it? PARTICIPANT 1: So my first choice was a costume because I’m interested in costume history but then I saw this one and I know the area of Fernworthy well and Fernworthy Reservoir, which is where the archaeological dig that found this arrowhead was done and I actually went to Fernworthy for solstice because I am a pagan and so the kind of Celtic pagan ceremonies and dates are really important to me to celebrate. INTERVIEWER 1: That’s wonderful and do you go to Fernworthy for summer solstice as well or do you go-? PARTICIPANT 1: I haven’t been for summer solstice. I’ve been for winter solstice a couple of times. It’s quite a boggy area so you have to be a bit careful about where you go but it’s got a really nice sort of energy and stillness. I love just Dartmoor in general but I am disabled and so much of it is inaccessible to me so this is the only standing stone circle that I can actually go to myself. INTERVIEWER 1: That’s a lovely story about the standing circle and also about the fact that you’re really drawn to Dartmoor and that the object is from Dartmoor. You’ve chosen something in the collections that is within the locality and within our imagination and our perception for the wider kind of public to get hold of these objects and I wondered if you could say something about the fact that it’s an arrowhead and what the kind of and it’s Bronze Age and what that might mean to you and your interests? PARTICIPANT 1: So I think it’s still fascinating. At Fernworthy Reservoir you can’t see it very often, but when the water table is low you can still see the outlines of the structures of the people who lived there from the Iron Age. I started, I’m a little bit of a history obsessive, so I looked at this arrowhead and then I looked into a bit of the archaeology and the sort of archaeological digs around this area and was like why is something that is Iron Age, Bronze Age, been allowed to be underwater, why was it all removed? And it made me think a lot about sort of how the modern world interacts with the ancient world, so for example the standing stones on Dartmoor, originally it was just moorland and then there was reforestation in the 1930s I think it was or 1940s, and it’s actually disturbed some of the structures that are there and I find it very odd when that sort of thing happens and it was very much like the modern world, they wanted to reforest so they didn’t have to be dependent on other countries for wood, but in doing that it’s like they wiped clean the slate of the past and the same with the reservoir, the digs were done because they wanted to use that area to be a reservoir for Torquay because there were so many more people and it just makes me really sad, things like that, because our history is so precious and when modern desires and needs override that, it just is very short-termism rather than thinking about this stuff was 3,000 years old, what right do we have to come along and just take it away and not look after it? INTERVIEWER 1: I guess in a way it’s been preserved in a museum and I wondered the echoes of what you’re describing in terms of things that being wiped clean, that history kind of things get erased, and I just wondered if you ever imagine, when you think about that the history kind of buff in you thinks about the past and the Iron Age and the Bronze Age, that time, and LGBTQIA lives, obviously there wouldn’t have been the language that we have now but do you ever imagine and wonder about that time? PARTICIPANT 1: I mean I think about history a lot and how LGBT people have always been there, but they’ve never had voices so that’s kind of one of the reasons that I was excited about this, being able to be part of this installation, is because like having queer voices is really important because we are invisible in the past in lots of ways, but I like tactile things like when you can see an object from the past, it’s so much more immediate than learning about it in a book and I think that’s one of the really important things about collections like you have at the RAMM is that immediacy, but I think it’s also important to me because it’s an area where, especially around the standing stones, which is a sort of pagan area and I identify as pagan and I think that a lot of queer people that I know it’s sort of been their way to find spirituality when a lot of other religions might be homophobic or transphobic or things like that. For me it’s kind of like my spirituality which is, doesn’t have to be filtered through a potentially transphobic or homophobic organised religion. INTERVIEWER 1: That’s really interesting and that notion of the spiritual and spirituality and the fact that we’re talking about this, you’re so eloquent in talking about it in terms of finding meaning through a different spirituality that isn’t organised religion, if you like, to use one kind of phrase, but that that object in the RAMM collections has led you to thinking and talking about that and that other people will hear this story, that’s really interesting. So do you think another LGBTQ+ person would connect with this object? What do you think about that? Would they find other resonances or-? PARTICIPANT 1: I mean I am a history nerd. Not all queer people are. But I think sort of from the pagan aspect and the pagan people that I celebrate the different things for, like the past is important for them and I know for a lot of people Dartmoor is an important spiritual place so I think it would be interesting probably from that point of view, yeah. INTERVIEWER 1: Yeah, I really like the idea of that, because there is something about the moor, isn’t there? That just is unlike anywhere else that I’ve visited. Could you say something about having your voice represented in the museum? You’ve started to touch upon it but what’s the importance for you with that? PARTICIPANT 1: I think going to museums as a child, they’re very, whether you’re queer or not they can be very othering. And I think as a queer person and someone who is non-binary even more so, it’s sort of like not only have queer people been removed from history but they’ve been removed from the present if they don’t have their voices as part of projects like this. INTERVIEWER 1: Yeah. Absolutely. So there’s something about this collection of stories then that as someone who is involved in running the project that it’s important for those voices to be, that it’s important to have your voice there. Could you talk more, because you’ve talked on it as well, the importance of the project in a wider context for a broader range of people? What do you think the echoes of the effects of the project could be? PARTICIPANT 1: I mean I think it will be interesting for queer people but I also hope it will be really interesting for non-queer people and you are talking about like where it’s going to be in the museum, it’s going to be in a prominent area that people are going to go past, rather than stuck in a corner somewhere, I think that’s really, really good, because people are going to be able to interact with it in a way that’s very immediate. I think a lot of cis het people don’t think about queerness on a day-to-day basis, it’s not part of their life, so I think going and looking at it through the past and kind of through this installation could be really important for making them think about queerness in general. INTERVIEWER 1: And I think, could you talk a bit more about the importance, you know, there’s such a rich value in what you’ve just touched upon there, about having our stories heard; could you talk about that a wee bit more? PARTICIPANT 1: Sort of like just queer voices in general? INTERVIEWER 1: Yeah. PARTICIPANT 1: I think it’s important particularly in traditional places that museums which have not had a good history of queer representation. It is a way that you can have queer representation along with other things about queer people in history and things like that, but it’s making modern queer people have a place in the museum and I think that for me is really, really exciting to kind of feel involved and that will be part of this installation and that it’s going to have a permanent place at the RAMM as well, so it’s going to be leaving a permanent mark upon the RAMM and the people who come and see it. INTERVIEWER 1: Thank you. Now is there anything else that you would like to say about the object or about the project or anything that you started to talk about that you’d like to elaborate on or anything that you haven’t said that you think I wish I’d say that? PARTICIPANT 1: Let me just double check my notes. I guess it just makes me happy. I know that’s a bit of a basic thing to say but it does make me happy, things like this. Yeah. I’m really glad that you asked me. INTERVIEWER 1: You’re very welcome and I’ve really enjoyed listening to you and hearing particularly, I hadn’t thought about that around spirituality in that way, I’m tearing through my life and it makes so much sense what you said about having places where that sense of spirituality can be important to queer people and I think that could be really wonderful for people to hear so thank you so much. PARTICIPANT 1: That’s okay. [00:13:38] End of transcript

Political participation, civic engagement and caregiving among youth in Canada Research shows that political participation and civic engagement are important factors in youth development—they can effectively learn their rights, obligations, and responsibilities as citizens through a range of engagement activities, which can serve as a foundation for their transition to adulthood.Note However, defining civic participation or engagement is not easy. Broadly, engagement is participation in the political process and in organizations, groups or networks built around a common interest. Sometimes the goal is to address major social issues, while in other cases it is simply recreational. Engagement can also include caregiving, which is when individuals provide care and support to people in their families and communities. This report uses Statistics Canada survey data to describe the civic engagement activities and political participation of young people in Canada, defined as those aged 15 to 30.Note The first section of this report focuses on political participation. Specifically, it examines indicators such as voter turnout in federal, provincial and municipal elections; the main reasons why youth do not vote; and whether youth plan to vote in the future. Voting is not the only form of political engagement, though, so this analysis also focuses on non-electoral political activities such as expressing views on the Internet, signing petitions, and participating in marches and demonstrations. The second section explores other dimensions of civic engagement such as participating in groups, organizations and associations and formal and informal volunteering. Existing research shows that involvement in such activities can be helpful for youth to acquire meaningful democratic skillsNote and allows them to learn useful skills such as collaboration and problem-solving.Note Civic engagement can also improve youth health and well-beingNote and plays an important role in maintaining and enhancing the well-being of communities.Note The final section of this report focuses on unpaid caregiving as a form of engagement, with an emphasis on the type of care provided and the relationship between caregiver and primary care receiver. Providing care to family members or friends can have many benefits, such as reducing the social cost of health and other institutional services.Note However, research also shows that caregiving has adverse effects on caregivers, and young caregivers in particular. Although many young caregivers view it as a positive experience, there are greater social and academic risks, as well as mental and physical health risks, when caregiving interferes with other activities.Note The COVID-19 pandemic has drastically affected where and how youth are able to volunteer, provide care and engage in political and social activities. Although some of the data used in this report predate the pandemic, they provide insight into the challenges to and opportunities for youth engagement. Meanwhile, the data on political engagement and participation in organizations and groups were collected during the pandemic and indicate how youth pursued civic engagement while faced with public health restrictions. Section 1: Political engagement of youth in Canada Youth aged 15 to 30 are less likely to be interested in politics than older adults According to the 2020 General Social Survey (GSS) on Social Identity, 60% of youth aged 15 to 30 reported being somewhat or very interested in politics, which is significantly lower than the 68% among those aged 31 to 46, and 74% of those aged 47 and older. Among youth aged 15 to 30, a higher proportion of men (62%) than women (56%) reported being very or somewhat interested in politics; however, the difference is not significant. The results also show that youth who belong to population groups designated as visible minoritiesNote were significantly less likely than their non-visible minority counterparts to report being interested in politics. Specifically, just over half (52%) of youth who belong to population groups designated as visible minorities reported being very interested or somewhat interested in politics, while the proportion was 64% of non-visible minorities.Note More than three-quarters of Canadian youth voted in the 2019 federal election Although there are many factors associated with voter turnout, such as level of education and immigrant status, age plays a significant role on voting in Canada.Note Among those eligible to vote, Canadian youth aged 18 to 30 were significantly less likely to vote in the 2019 federal election (80%) compared with 86% of those aged 31 to 46 and 90% for those aged 47 and older (Table 1). This is consistent with data from previous federal elections, where youth were also the group least likely to vote.Note Previous studies and post-election surveys have consistently reported higher voter turnout rates than Elections Canada.Note For example, Elections Canada data showed that 54% of youth aged 18 to 24 voted in the 2019 federal election, compared with 78% reported in the 2020 GSS.Note Even though GSS data overestimate voting rates, existing studies have shown that the key demographic characteristics associated with voting (e.g., age and gender) are generally the same between the GSS and Elections Canada data.Note Using data from the GSS allows us to examine characteristics beyond age and gender, as well as the reasons people choose not to vote. |Election type||18 to 30 years (ref.)||31 to 46 years||47 years and older| |Last federal election||79.7||85.5Note *||89.9Note *| |Last provincial election||72.7||84.8Note *||88.7Note *| |Last municipal election||52.5||68.2Note *||77.7Note *| The results in Table 1 also show that youth are less likely to vote in provincial and municipal elections than older Canadians. For example, among those eligible to vote, 73% of youth aged 18 to 30 voted in the last provincial election, while the proportions were higher for those aged 31 to 46 and those 47 and older (85% and 89%, respectively). The same pattern is evident for voting at the municipal level, although voter turnout is lowest in this type of election. When examining youth voter turnout by gender, the results show that 81% of men and 77% of women voted in the 2019 federal election. Furthermore, youth who belong to population groups designated as visible minorities were less likely to vote (73%) than non-visible minorities (82%).Note More than 4 in 10 youth reported not voting in the 2019 federal election due to everyday obligations Respondents who stated that they had not voted in the most recent federal election were asked about their main reason for not voting. Obligations related to everyday life made up the largest proportion of all reasons for not voting given by youth (See Data, Methods and Definitions section). Specifically, 42% of youth aged 18 to 30 reported this as the main reason for not voting, compared with one-third of those aged 31 to 46 and those 47 and older (Table 2). When examining possible responses related to everyday life or health, 17% of youth reported a conflict with their work or school schedule as the main reason for not voting, followed by 14% who reported being out of town or away from home. In addition, one-third of youth reported political reasons as the main reason for not voting in the last federal election. Specifically, youth were less likely than older adults to report a lack of interest as the main reason for not voting: 11% for youth compared to 17% among those aged 31 to 46 and 19% of those aged 47 and older. However, a larger proportion of youth reported not being informed on political issues as the main reason (12%), followed by 8% of those aged 31 to 46 and 5% among those aged 47 and older.Note |Reasons for not voting||18 to 30 years (ref)||31 to 46 years||47 years and older| |Everyday life or health reasons||41.5||32.5||32.7| |Own illness or disability||2.2||4.2||11.4Note *| |Out of town or away from home||13.7||6.1Note *||9.8| |Conflicting work or school schedule||16.5||6.8Note *||3.1Note *| |Felt voting would not make a difference in results||4.6||8.2||8.3| |Did not like candidates or campaign issues||4.8||10.0||6.3| |Not informed on political issues||11.7||7.5||4.9Note *| |Electoral process-related reasons||2.7||1.3||3.6| |All other reasons||23.5||23.8||25.5| Fewer youth reported they were very likely to vote in the next federal election compared to older adults In the GSS 2020, respondents aged 17 and older were asked how likely they were to vote in the next federal election. The results show that the majority of youth (69%) reported they were very likely to vote in the next federal election. In comparison, the proportions were 76% for those aged 31 to 46 and 82% among those aged 47 and older. Among youth, there were no gender differences in the likelihood of voting in the next federal election. Specifically, 68% of men and 70% of women reported they would likely vote. There were, however, significant differences by visible minority status. Just over half (54%) of youth who belong to population groups designated as visible minorities reported they were likely to vote in the next federal election, which was significantly lower than the 77% among non-visible minorities. This difference may be partly due to the fact that visible minority youth are more likely to face barriers when seeking information about the electoral process and are also less likely to perceive politicians and political parties as being responsive to their interests and needs.Note Youth are more likely to sign internet petitions and participate in demonstrations than older adults Voting is not the only form of political engagement. People can also engage in non-electoral political activities such as volunteering for a political party, boycotting particular products for ethical reasons, signing petitions, and participating in marches and demonstrations. This bears considering when focusing on youth, since some research has suggested that young people are more likely to become engaged in ways other than voting.Note According to data from the 2020 GSS, just over a quarter (67%) of youth aged 15 to 30 searched for information on a political issue in the previous 12 months. In addition, 37% boycotted or chose a product for ethical reasons. The top non-electoral political activities were generally the same for those aged 31 to 46 and those 47 years and older. There are, however, some significant differences worth mentioning. For example, youth were significantly more likely to sign an internet petition in the past 12 months (48%) compared with older adults (37% for those aged 31 to 46, and 23% for those aged 47 and older). Youth were also significantly more likely to express their views on an issue through an Internet forum or news website (24%), compared to 20% among those aged 31 to 46, and 14% among those aged 47 and older. In addition, 15% of youth reported wearing a badge or t-shirt or displaying a lawn sign in support or opposition of a political or social cause, compared with 12% of adults aged 31 to 46 and 8% of those aged 47 and older. Finally, youth were also significantly more likely to participate in a demonstration or march (14%) than older adults (8% of those aged 31 to 46, and 4% of those aged 47 and older). It is important to remember that these data were gathered during the pandemic, so public health restrictions and school closures may have greatly limited opportunities for in-person engagement. Section 2: Civic engagement of youth in Canada Participation in civic organizations is often driven by people’s personal interests, and it has many benefits for both participants themselves and the community at large. For example, youth are often exposed to unique social and cultural opportunities through which they can nurture their interests in activities like sports, recreation, and education.Note Involvement in groups or organizations lets participants expand their social networks with new friends and contacts. Organizations can also bring together people from different cultural backgrounds and generations. This participation can have a positive impact on general well-being, as connectedness, social support and sense of belonging are well-known predictors of positive health.Note Finally, at the community level, wide participation in these organizations can foster social trust and cohesion.Note Youth aged 15 to 30 are more likely to participate in sports or recreational activities than other organizations or associations Data from the 2020 GSS show that 59% of youth aged 15 to 30 participated in any group, organization or association in the previous 12 months. The proportions are similar for other age groups (61% for those aged 31 to 46 years and 59% among those aged 47 and older). The results also show that youth were more inclined to be involved in sport or recreational organizations and cultural, educational, or hobby organizations. (Table 3). Specifically, more than half (52%) of youth were members of sport or recreational organizations, which is similar to the proportion for adults aged 31 to 46 (51%) but significantly higher than the 42% of those aged 47 and older. In addition, a third (34%) of youth were involved in cultural, educational or hobby organizations, while 26% of youth were members of school groups, neighbourhood, civic or community associations. Involvement in youth organizations is also most common among youth (16%), compared to 8% among those aged 31 to 46, and 5% for those aged 47 and older. |Type of group or organization||15 to 30 years (ref)||31 to 46 years||47 years and older| |Sport or recreational organization||52.9||51.1||41.7Note *| |Cultural, educational, or hobby organization||34.4||29.2||32.5| |Union or professional association||23.5||45.7Note *||31.5Note *| |Political party or group||4.3||6.8Note *||8.8Note *| |Religious affiliated group||17.2||18.2||24.0Note *| |School group, neighbourhood, civic or community association||25.9||30.7Note *||23.9| |Humanitarian or charitable organization or service club||16.5||18.4||25.3Note *| |Seniors’ group||2.0||2.3||21.0Note *| |Youth organization||15.0||8.4Note *||4.8Note *| |Immigrant or ethnic association or club||4.3||6.3Note *||5.5| By contrast, compared to older people, youth aged 15 to 30 were less likely to be involved with organizations such as unions or professional associations, political parties or groups, and religious affiliated groups. These findings are consistent with previous work that has found less youth engagement in these types of organizations.Note Participation in groups, organizations or associations varies by gender Existing research has shown not only that, among youth, women are more likely to participate in civic organizations than men, but also that women may participate in different types of groups, organizations or associations.Note In 2020, the results show that participation in groups or organizations varied by gender, but most of the differences are not significant. For example, young women were more likely than young men to participate in cultural, educational or hobby organizations (36% compared to 32%) and humanitarian or charitable organizations or service clubs (20% compared 13%) in the previous 12 months (Chart 1). Furthermore, young women were more likely than young men to participate in religious affiliated groups (20% compared to 15%). There are a couple of significant differences, however, as young women are significantly more likely to be members of youth organizations (18% versus 11%) and environmental groups (12% versus 6%). At the same time, men were significantly more likely than women to be involved in sports or recreational organizations (61% versus 45%). This is consistent with previous research which found that young women continue to face a range of barriers to participation in sport and other recreational organizations, such as gender stereotypes, lack of female administrators and coaches, and skewed media coverage of women and men participating in physical activity.Note Data table for Chart 1 |Type of group or organization||Men (ref.)||Women| |Sport or recreational organization||60.5||44.5Note *| |Cultural, educational, or hobby organization||32.3||36.0| |Union or professional association||20.4||27.0| |Political party or group||4.5Note E: Use with caution||3.6Note E: Use with caution| |Religious affiliated group||14.8||19.7| |School group, neighbourhood, civic or community association||25.4||26.0| |Humanitarian or charitable organization or service club||13.3||19.8| |Youth organization||11.4||17.8Note *| |Immigrant or ethnic association or club||4.7Note E: Use with caution||3.8Note E: Use with caution| |Environmental group||5.8||11.8Note *| Visible minority youth are more likely to participate in school groups and neighbourhood, civic or community associations than non-visible minority youth In 2020, youth who belong to population groups designated as visible minorities were significantly more likely to be involved in school groups and neighbourhood, civic or community associations than non-visible minorities (32% versus 23%). They were also more likely to participate in religious-affiliated groups (26% versus 12), youth organizations (21% versus 12%) and immigrant or ethnic associations or clubs (9% versus 2%). This is consistent with previous research which has found that religious, immigrant and ethnic organizations are important places for population groups designated as visible minorities, particularly immigrants, for their economic, social, cultural, and political integration.Note The results in this paper illustrate that this trend can be extended to visible minority youth. By contrast, a significantly smaller proportion of visible minority youth (45%) are involved with sport or recreational organizations than non-visible minorities (57%). Previous research suggests that visible minorities are less likely to participate in recreational activities than non-visible minorities, partially due to the use of non-official languages at home, lack of knowledge about such activities, and financial barriers.Note Youth and volunteering Another way to examine youth engagement is to focus on volunteering. Volunteerism is the participation in purposeful helping activities without monetary compensation.Note It can involve a number of different activities to benefit a range of organizations or groups, and it can take place occasionally over a year or on a more consistent basis.Note While the data used in this section were collected prior to the COVID-19 pandemic, they nonetheless provide insight into youth volunteering and the challenges and opportunities they face now. It is also important to note that volunteering refers to both formal and informal volunteering. Specifically, formal volunteers are those who do activities without pay on behalf of a group or organization, while informal volunteers work to improve their community on their own or give help directly to people outside their household, including friends, neighbours or relatives. The rate of formal volunteering was 46% among youth aged 15 to 30 According to data from the 2018 General Social Survey on Giving, Volunteering and Participating, the rate of formal volunteering was highest among youth aged 15 to 30, with 46% volunteering their time. Consistent with existing research,Note volunteer rates drop with age: 44% of those aged 31 to 46 volunteered in 2018 and 38% of those 47 years and older.Note In 2018, there was no significant difference in the volunteer rate between men and women among youth aged 15 to 30 (42% and 49%, respectively). However, among the older age groups, women were significantly more likely to volunteer than men. The higher rate of formal volunteering for youth may be partly influenced by “mandatory” volunteering.Note Among those aged 15 to 30, 16% were required to do unpaid activity by school or some other way in 2018.Note The proportions were significantly lower for the other age groups: 5% for those aged 31 to 46 and 3% for those aged 47% and older. When examining only youth aged 15 to 19, the results show that 31% were required to do unpaid activity. Among those aged 15 to 19 who reported they were required to do unpaid activity, most of them (91%) reported they were required by school either as a graduation requirement or co-op program. However, it is important to note that mandatory volunteering is a fairly small proportion of the total hours contributed by young volunteers.Note Almost a quarter of youth volunteered their time to organizations providing social services Youth volunteering varies across different types of organizations. Specifically, young volunteers were most likely to give their time to social services (24%), education and research (22%), sports and recreation (18%) and religious organizations (16%) in 2018 (Chart 2). This was consistent with research which has found that these organizations are where the greater proportion of people volunteer.Note Data table for Chart 2 |Organization Type||47 and older||31-46||15-30| |Business and professional associations||2.9||2.9||3.3| |Grant-making and fundraising||3.8||3.1||3.7| |Law, advocacy and politics||4.7||3.1||3.6| |Universities and colleges||2.2||4.0||9.9| |Arts and culture||7.6||4.9||6.1| |Development and Housing||12.0||9.7||9.0| |Education and Research||8.8||23.4||21.5| |Sports and recreation||22.2||24.9||17.7| Organizing or supervising events and fundraising are the top volunteer activities among youth Volunteering can involve a wide array of activities, varying in levels of commitment and necessary skills and experience.Note Youth between the ages of 15 and 30 were most often engaged in organizing events and raising money on behalf of an organization. In 2018, 21% of youth reported organizing, supervising, or coordinating events, and 17% helped with fundraising (Chart 3). The next most common formal volunteer activities included teaching, educating or mentoring (15%), collecting, serving or delivering food (10%), and sitting on a committee or board (10%). Data table for Chart 3 |Activity type||Youth (15-30)| |First-aid, fire-fighting or search and rescue||2.5| |Conservation or environmental protection||5.4| |Maintenance or repair||5.5| |Providing healthcare or support||6.4| |Coaching, refeering or officiating||7.6| |Counselling or providing advice||9.1| |Sitting on a committee or board||9.6| |Collecting, serving or delivering food||10.0| |Teaching, educating or mentoring||15.0| |Organizing or supervising events||21.3| More than three-quarters of youth engaged in informal volunteering in 2018 In 2018, over three-quarters (77%) of youth aged 15 to 30 were informal volunteers; that is, they provided direct help to people outside of their household or were engaged in community improvement outside of a group or organization. The proportions were 77% for those aged 31 to 46 and 70% for those 47 and older.Note Among youth, 74% helped people directly by providing assistance in activities such as housework and home maintenance; shopping, driving to store or appointments; paperwork; health-related or personal care; teaching, coaching or tutoring.Note The proportion was the same for those aged 31 to 46, and slightly lower for those aged 47 and older (67%). In terms of improving the community directly (that is, maintaining a park or public space; participating in public meetings; disseminating information; coordinating a group or event; developing an economic or social project), 3 in 10 youth engaged in such activities. Again, there were no significant differences by age group: 30% for those aged 31 to 46 and 25% among those aged 47 and older engaged in improving the community directly. Section 3: Caregiving among youth in Canada Many Canadians, including youth, play a central role in providing care to family members or friends with a long-term condition, a physical or mental disability, or problems related to aging. While young caregivers share many similarities with older caregivers, they are also a unique group since they are at a stage in their lives where they have not yet solidified their life plans and choices.Note As a result, being a young caregiver, especially a primary caregiver with many responsibilities, could potentially interfere with life pursuits such as education and career development or leaving home and starting a family. About one in five youth are caregivers According to the 2018 General Social Survey on Caregiving and Care Receiving, about 19% (1.5 million) of youth aged 15 to 30 provided care or help to family members or friends with a long-term condition, a physical or mental disability, or problems related to aging (Table 4). In comparison, 21% of those aged 31 to 46 were caregivers, while the proportion was significantly higher (31%) among those aged 47 and older. |15 to 30 (ref.)||19.2||20.6||17.9| |31 to 46||20.9||19.4||22.4| |47 and older||30.5Note *||27.3Note *||33.5Note *| Previous studies have found that women are more likely to be caregivers than men.Note However, in the case of youth, the proportion who provide care was similar among men (21%) and women (18%). Among older adults, women were significantly more likely to provide care. Youth were more likely to provide care to grandparents Research has found that young caregivers are most likely to provide care and support to their grandparents.Note This was the case in 2018, with one-third of all youth caregivers providing care primarily to grandparents in the past 12 months (Table 5). This was followed by caring primarily for parents (31%); friends, colleagues or neighbours (19%); and other family members (12%). These data were collected prior to the COVID-19 pandemic. Due to public health restrictions and isolation measures, many young caregivers who helped grandparents outside of their household may not have been able to provide care as they usually do. At the same time, youth providing care to parents in their home may have seen their burden of care increase, given the possible lack of outside support. |Caregiver’s age||Primary care receiver| |Spouse/ partner||Child||Parent||Parent-in-law||Grandparent||Other family member||Friend, colleague or neighbour| |15 to 30 (ref.)||2.8Note E: Use with caution||Note F: too unreliable to be published||30.8||Note F: too unreliable to be published||33.3||11.9||18.7| |31 to 46||7.9Note *||12.8||38.5||8.6||12.6Note *||7.9||11.5| |47 and older||17.6Note *||8.4||40.7Note *||10.5||Note F: too unreliable to be published||9.3||13.2| Across the life cycle, the relationship between the caregivers and the primary care receiver changes. As people age, they are less likely to care primarily for grandparents and more likely to care for parents, a spouse or children. For example, about 40% of caregivers aged 31 to 46 and 47 and older cared primarily for their parents. At the same time, 13% of those aged 31 to 46 cared for their children, and 18% of those aged 47 and older cared for a spouse. Youth participation in caregiving activities varies by gender Existing research has shown that caregiving activities tend to be divided by gender. Women are more likely to report helping with housework and personal care, while men more often assist with house maintenance and outdoor work.Note Data table for Chart 4 |Caregiving activities||Men (ref.)||Women| |Providing personal care||12.7Note E: Use with caution||27.7Note *| |Helping with medical treatments||13.0Note E: Use with caution||26.0Note *| |Managing finances||7.5Note E: Use with caution||8.1Note E: Use with caution| |Scheduling and coordinating appointments||9.6Note E: Use with caution||20.9Note *| |Helping with house maintenance/outdoor work||70.0||39.2Note *| |Helping with household work||46.3||62.1Note *| For example, among young caregivers, men were more likely than women to undertake house maintenance and outdoor work as part of their caregiving work (70% versus 39%) (Chart 4). Furthermore, young women were more likely than young men to participate in household work activities such as meal preparation, house cleaning or laundry (62% versus 46%) or scheduling and coordinating appointments for the care receiver (21% versus 10E%). Women were also more likely to participate in caregiving activities that often need to be completed on a regular basis or according to a set schedule, such as helping with medical treatments and providing personal care (e.g., bathing or cutting nails). Specifically, 26% of young women provided help with medical treatments, compared with 13E% of young men. And while 28% of women provided personal care, 13E% of men did so. Political participation, civic engagement and caregiving among youth are important areas to examine as they have a significant impact on youth development, not only in terms of learning rights and responsibilities but also because of the effects engagement can have on their health and well-being. The results in this chapter show that, although youth are less interested in politics than older adults and are less likely to vote in elections, they do engage in non-electoral political activities such as searching for information on political issues, signing internet petitions or boycotting or choosing products for ethical reasons. Youth also participate in groups, organizations or associations, especially those related to sports and recreation. There are, however, differences by gender, as well as for youth who belong to groups designated as visible minorities. Youth are also slightly more likely than other age groups to engage in formal volunteering, which can play an important role in improving the well-being of communities. Finally, many youth are primary caregivers; that is, they help and provide care to a family member or friend with a long-term condition, a physical or mental disability or problems related to aging. While caregiving can be time-consuming and could potentially interfere with education, work or leaving home, it can also be a positive experience, providing a sense of giving back to a loved one and strengthening the relationship between the caregiver and care receiver. Although this report used multiple data sources to offer a comprehensive look at youth engagement in Canada, there are some key limitations. Specifically, reflecting the diverse nature of youth voices, we examined how their engagement is impacted by key demographic factors such as gender and visible minority status, whenever possible. However, due to the small sample size, it was not possible to disaggregate the data further to highlight, for example, the experiences of non-binary or gender-diverse respondents or specific population groups. It is also critical to reflect on the context of the COVID-19 pandemic when seeking to better understand youth engagement, especially as some of the data included preceded the pandemic. The implementation of public health measures and restrictions forced youth to modify how they attend school, work, and function in other areas of their lives. It is important that Statistics Canada continue to work towards understanding the effects on youth during and after the COVID-19 pandemic. Data sources, definitions and methods This report is based on data from three different General Social Survey (GSS) cycles: the 2020 GSS on Social Identity, the 2018 GSS on Giving, Volunteering and Participating, and the 2018 GSS on Caregiving and Care Receiving. The target population for these surveys was all non-institutionalized people aged 15 and older living in the 10 provinces. All estimates in this report using data from the GSS are based on survey weights that account for sample design, non-response, and known population totals. A bootstrapping technique was applied when calculating all estimates of variance. Missing values including “don’t know,” “not stated” and “refusal” were excluded from the denominator when calculating percentages. As a result, percentages may vary between different products such as analytical documents and data tables. The question “what is the main reason you did not vote in the last federal election?“ included 17 categories that were divided into four broad groups for this publication: Everyday life or health reasons: illness or disability; out of town or away from home; too busy; family obligations; conflicting work or school schedule. Political reasons: not interested; felt voting would not make a difference in results; did not like candidates or campaign issues; not informed on political issues; did not vote to protest. Electoral process-related reasons: not on voters list or problems with ID requirements; too difficult, transportation problems or too far to travel. All other reasons: weather conditions; forgot to vote; religious beliefs; undecided; other. Aizlewood, A., Bevelander, P., and Pendakur, R. 2006. Recreational participation among ethnic minorities and immigrants in Canada and the Netherlands. Journal of Immigrant & Refugee Studies, 4(3), 1-32. Arriagada, Paula. 2020. The experiences and needs of older caregivers in Canada. Insights on Canadian Society. Statistics Canada Catalogue no. 75-006-X. Bleakney, Amanda. 2014. “Young Canadians providing care.” Spotlight on Canadians: Results from the General Social Survey. Statistics Canada Catalogue no. 89-652-X. Canadian Fitness and Lifestyle Research Institute. 2018. Sport Participation in Canada: Physical Activity and Sports Monitoring Program. Bulletin 1. Available from: https://cflri.ca/bulletin-1-sport-participation-canada Chadi, N., and Stamatopoulos, V. 2017. Caring for young carers in Canada. CMAJ, 189(28), E925-E926. Cicognani, E., Zani, B., Fournier, B., Gavray, C., and Born, M. 2012. Gender differences in youths’ political engagement and participation. The role of parents and of adolescents’ social and civic participation. Journal of Adolescence, 35(3), 561-576. Flanagan, C., and Levine, P. 2010. Civic engagement and the transition to adulthood. The Future of Children, 20(1): 159-179. Hahmann, Tara. 2021. Volunteering counts: Formal and informal contributions of Canadians in 2018. Insights on Canadian Society. Statistics Canada Catalogue no. 75-006-X. Ottawa. Kaida, L., Kitchen, P., and M. Stick. 2021. The Rise of Big-City Hockey Players and its implications for Diversity in the National Hockey League. Canadian Ethnic Studies, 53(3): 141-161. Kawachi, I. and LF Berkman. 2014. “Social capital, social cohesion and health.” In Berkman, LF, I. Kawachi, and MM Glymour, editors. Social Epidemiology, 2nd edition. New York Oxford, University Press, p. 290-319. Li, H., and Zhang, J. 2017. How do civic associations foster political participation? The role of scope and intensity of organizational involvement. Nonprofit Policy Forum, 8(1): 3-24. Mahéo, V. A. and Vissers, S. 2016. The Electoral Participation of Diverse Canadian Youth in the 2015 Federal Election. A Report Commissioned by Elections Canada. Elections Canada: Ottawa, ON. O’Neill, Brenda. 2007. Indifferent or Just Different? The Political and Civic Engagement of Young People in Canada: Charting the Course for Youth Civic and Political Participation. CPRN Research Report. June. Canadian Policy Research Networks. Sinha, Maire. 2020. “Volunteering in Canada, 2004 to 2013.” Spotlight on Canadians: Results from the General Social Survey. Statistics Canada Catalogue no. 89-652-X. Sinha, Maire. 2013. “Portrait of caregivers, 2012.” Spotlight on Canadians: Results from the General Social Survey. Statistics Canada Catalogue no. 89-652-X. Statistics Canada. 2022. Reasons for not voting in the federal election, September 20, 2021. The Daily, Wednesday, February 16, 2021. Statistics Canada Catalogue no 11-001-X. Turcotte, Martin. 2015a. Political participation and civic engagement of youth. Insights on Canadian Society. Statistics Canada Catalogue no. 75-006-X. Turcotte, Martin. 2015b. “Civic engagement and political participation in Canada”. Spotlight on Canadians: Results from the General Social Survey. Statistics Canada Catalogue no. 89-652-X. Turcotte, Martin. 2015c. “Trends in Social Capital in Canada.” Spotlight on Canadians: Results from the General Social Survey. Statistics Canada Catalogue no. 89-652-X. Turcotte, Martin. 2013. “Family caregiving: What are the consequences?” Insights on Canadian Society. 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"Let’s put it this way, before COVID my summer holiday plans were to hike across the Brecon Beacons," says Sasha with a little laugh. Now, though, they struggle to breathe doing far less. They're in the midst of describing how it feels to stop partway through sex because you can’t catch your breath. "It’s happened to me at points when I’m getting very close to climaxing and I’ve had to say 'No, I’ve got to stop. I can’t breathe.'" Having become unwell last March with COVID, the 33-year-old, who is non-binary (AMAB), has suffered from long-term effects of coronavirus ever since, with symptoms such as chronic fatigue, breathlessness and chest pain becoming constant companions. Once able to cycle long distances and a fan of bouldering and rock climbing, Sasha now struggles to go to the local shops unaided. "I have very little energy a lot of the time," they explain. "I can’t stand for long periods of time and if I do go out for a short walk in the day, I’ve started using a walking stick – partly so I have something to lean on if my energy drops but also as a visual aid for people to give me a bit more space." Post COVID-19 syndrome, or 'long COVID' as it’s often referred to, is a looming issue for healthcare. As many as one in 20 people who test positive for COVID-19 are likely to suffer from long COVID, according to a King’s College London symptom tracking study. The continuation of the pandemic could potentially add up to hundreds of thousands of sufferers in the UK, and millions worldwide. Confusingly, the chance of having long-term symptoms doesn’t seem to be linked to how ill a person is when they first get coronavirus, says the NHS. In fact, there are many unknowns when it comes to long COVID, with some experts highlighting an urgent need for more research into what they believe could present a "significant health burden worldwide". Our sex and breathlessness leaflets have been flying off the shelves in the post-COVID clinic. Rosie, respiratory nurse Rosie*, a 25-year-old respiratory nurse at a central London hospital, has seen the effects of long COVID firsthand through her work last summer in post-COVID clinics. "We had lots of people referred to us who’ve come in and they’re really breathless and fatigued, months after having had COVID symptoms," she describes. "They get breathless on exertion and people forget that exertion isn’t just going for a walk or climbing up stairs. It involves sexual health as well: masturbation or sex with your partner." She shares a fascinating insight: "Our sex and breathlessness leaflets have been flying off the shelves in the post-COVID clinic." Having noticed the popularity of the British Lung Foundation’s sex and breathlessness leaflet, Rosie and her colleagues made sure to address the topic with patients and nudged consultants to do the same. "It’s not something that is often talked about, or at the forefront of people’s minds, but it is incredibly important," she stresses, describing how long COVID symptoms such as fatigue, breathlessness and hair loss combine with trauma and the scars (literal and mental) of recovering from the illness to create a real change in an individual’s confidence and body image. "They’re all included in a person’s sexual health, body image and how sexy they feel." Jennifer, a mother of one from Yorkshire, can relate. Both she and her husband caught COVID-19 at the start of the first lockdown but while her husband recovered quickly, a few months later Jennifer started to suffer from long COVID symptoms. "It comes out of nowhere and takes a hold of you. Sometimes I become light-headed from getting breathless walking up the stairs. I’ve only felt fatigue like it once in my life and that was after being awake 40 hours following childbirth." What has really upset her, though, is the effect it has had on her relationship with her husband, emotionally and sexually. "We didn’t have the most consistent sex life pre-COVID, although I did feel we were a lot happier than we had been in a while, before the pandemic hit." Since falling ill last year, she confides that they’ve only had sex once. "It was completely different for me," she says openly. "Of course, I tried not to show it, but I felt breathless at times and super fatigued after." She describes feeling as if she’d done a major workout. I ask if she feels like the symptoms have held her back from having sex since? "Yes. I think about the fact that we’re not doing it and the effect it’s having on our relationship probably every day." "The symptoms are holding me back physically, yes, but I just don’t feel attractive anymore, not in a sexual way anyway," she says, explaining how hair loss has knocked her confidence while the fatigue, breathlessness and joint pain she experiences makes her feel three times older than she is. Another long COVID sufferer Sarah*, has also seen her relationship affected. Having had COVID more than 11 months ago, the 35-year-old says she still experiences frequent chest and muscle pain and is frustrated at how it's led to limitations when it comes to intimacy with her husband. Whilst, pre-COVID they were having sex twice a week, that's now dropped to once every couple of months. Plainly put, she says: "Mentally I want to have sex with my husband, but physically it's not possible, because after sex my body and chest pain get worse." Breathlessness is certainly a big issue when it comes to the effects of long COVID. Jessica Kirby, head of health advice at the British Lung Foundation, agrees: "We’ve heard from many people struggling with breathlessness after having COVID. Last year, more than 50,000 people visited our website to get advice on sex and breathlessness, an increase from 2019, so it’s clearly an issue people are worried about." I think about the fact that we're not doing it and the effect it's having on our relationship probably every day. While that figure will also include those suffering from other respiratory illnesses and long-term conditions such as asthma or COPD (chronic obstructive pulmonary disease), the increase does show – whether it’s COVID-related or not – that a greater number of people are seeking advice for this issue. So what adjustments can you make if you’re suffering from breathlessness when you get down to it? Kirby stresses that breathlessness needn’t get in the way of sex and relationships. "If you start to feel breathless during sex, try slowing down or taking a rest. If you have been prescribed a reliever inhaler, stop to take it if you need to." She advises building in frequent rests, changing positions or taking turns with sexual activity. Another thing the sex and breathlessness leaflet addresses is positions. Some will help reduce breathlessness, for example, lying on your side with your partner, either facing each other or with one partner behind the other. "The key is to avoid positions that put pressure on the chest," explains Kirby. "Positions that use less energy to maintain may be more comfortable and you could also try using pillows to maximise your comfort." From tips on how to choose a good time to have sex to ways to manage symptoms before you get started, the BLF leaflet also features several examples of positions to try (handily illustrated) and ways to frame a conversation with a partner or when seeking advice from a GP. We may have become more sexually liberated in recent years but there’s still a very real stigma when it comes to discussing the subject. "No one initially talks about it because they’ve put it really far down on a list of priorities," says Rosie. "But sex is a massive thing when it comes to quality of life...I guess young people, especially, take it for granted that they’ll comfortably be able to have sex." Sasha, meanwhile, is having to relearn sex. "It’s definitely had a major effect on my mental health and it’s quite distressing at times," they say. "I have a pre-sex routine: there’s a lot more psychological and physical prep now before I engage in sexual conduct. It’s an interesting new way of thinking." *Name has been changed

Archie, a snarky genderqueer artist, is tired of people not understanding gender neutral pronouns. Tristan, a cisgender dude, is looking for an easy way to introduce gender neutral pronouns to his increasingly diverse workplace. The longtime best friends team up in this short and fun comic guide that explains what pronouns are, why they matter, and how to use them. They also include what to do if you make a mistake, and some tips-and-tricks for those who identify outside of the binary to keep themselves safe in this binary-centric world. A quick and easy resource for people who use they/them pronouns, and people who want to learn more! I've been waiting for this since Limerence announced it, and I'm super pleased with the result! The first 25 pages is set-up: what are pronouns and why is it important to use the correct pronouns when referring to or talking to a person. The middle section is the how-to portion of the book. How to use gender neutral pronouns in a professional setting, when you don't know a person's pronouns, etc. How to correct yourself if you accidentally misgender someone (hint: don't make it a huge thing all about YOU). How to stand up for a non-binary friend OR let them stand up for themselves, and how to know the difference. There are a few pages aimed toward non-binary folks, directly from Archie (the non-binary half of the creative team) about navigating the process of coming out, figuring out when to pick your battles, etc. It's written for non-binary folks, but that portion is also useful for cisgender (your pronouns match what you were assigned at birth, usually your sex) people as it gives you a source of understanding and empathy. The book wraps up with a few handy pages that are sort of like cheat-sheets. You could even photocopy them to hang in your work cubicle! (We do not condone copying pages and distributing them without written consent from Limerence because that's illegal and not cool.) In all - this is a great book and, at 70 pages, a handy reference to leave in the breakroom, your local library, etc. I really appreciate that the creative team put it together specifically to be readable and affordable, and that they made it clear that this is the start of a conversation and the start of the work we all need to do to make our society more inclusive and welcoming.

PARIS (AP) — Christian Dior on Tuesday was the first major fashion house to stage a traditional ready-to-wear runway show in Paris since the coronavirus pandemic hit in March. The show headlined the first full day of a hybrid-style Paris Fashion Week. A giant “DIOR”-emblazoned white annex in the chic Tuileries Gardens stood against the backdrop of the Eiffel Tower, hazy in the drizzle. Guests were unusually relaxed, with some fashion editors commenting that it was because they had not just flown in, exhausted, from a week of covering Milan. Italy had restricted travelers coming from Paris due to the virus. At Dior, many of the Asian and American editors were missing, making this season a largely European affair. . Paris, like Milan, is trying to kick off an unusual fashion season for spring-summer 2021. For nine days, the calendar flits between some 16 in-person, ready-to-wear runway collections, with masked guests, celebrities and editors in seated rows; around 20 in-person presentations; and several dozen completely digital shows streamed online with promotional videos. Some show highlights: It was serene and airy at Christian Dior. Masked guests -- including a smaller-than-average sprinkling of VIPs, such as model Natalia Vodianova -- were seated in church-like socially-distanced pews. On the walls, '70s-era magazine clippings helped provide flashes of bright color like stained-glass windows. It was part of an art installation by Lucia Marcucci that aimed to transform the space into a Gothic cathedral. A dozen singers, each behind a lectern surrounding the runway, broke into rousing a cappella singing, led by a conductor. The church was a clever theme because the congregation-style pews, sprawling by nature, allowed for social distancing without it seeming awkward in the context of a fashion show. There was little religious in the fluid spring-summer styles. Designer Maria Grazia Chiuri took as her starting point a reinterpretation of the house’s iconic Bar Jacket -- the staple of the New Look -- as designed for Japan in 1957. But Chiuri’s version was loose and patterned and featured ethnic motifs, re-creating the boho mood of the '70s. That decade pervaded the entire collection. Patchwork on scarves, paisley patterns, long flowing fluttery skirts, and sheer silk chiffon shirts captured the exuberance of that era. So did the accessories and makeup: Silk scarves were worn like turbans, and complemented Cleopatra-style eyeliner, long gold flower pendants and plaited leather Roman sandals. At moments, the exuberance went too far, such as a multicolored striped poncho that clashed with the delicate floral print on the bronze silk skirt. But some long embroidered cape coats that hung down regally, with silken patterned insides, more than made up for it. KOCHE GOES TO THE PARK The setting for Koché's fashion show could not have been more safe during a pandemic -- next to a lake outside in one of Paris’ biggest parks. The fashion-forward brand thinks outside the box for its clothes, and a rebellious spirit infused the presentation of its collection on Tuesday evening. Pipe players descended ceremoniously down a hill, providing a sound the house described as the “resonance of hope.” Dozens of quacking ducks were suddenly scared away by a house-run drone that buzzed around the water. Koché, a brand founded in 2015 by designer Christelle Kocher, celebrates diversity and difference. This season, members of the public who identify as transgender, gender-fluid and non-binary were selected to showcase the designs. Kocher said that “all the models are from Paris. They’re not pros, they’re just beautiful.” The black ribbed wading boots that opened the show certainly looked the part next to the lake setting. While that same look’s oversize laurel green and tangerine urban coat, champagne tube top and feather headdress set the quirky tone. Some of the nicest designs were the simplest. A little white dress worn with knee high black stockings had a lace fringe and a slight slit at the side of the leg that evoked subtle provocation. On a serious note, Kocher touched upon the existential uncertainly circling the fashion industry. She wrote in the program notes that “a fashion show is...like a newborn, like a ghost, like a beautiful memory that will stay forever...Maybe there will be no more shows for the years to come. So...enjoy this one!” The brand founded by former Courreges designers Arnaud Vaillant and Sebastien Meyer seemed to have a blast this season. Coperni put on the first runway show of Paris Fashion Week, atop the Montparnasse Tower skyscraper building. The show itself seemed to be about protection and exposure, themes understandably on many a mind in the virus-beaten fashion industry. Leggings with angular patterns on the knees that resembled padding mixed with garments featuring shell-like square paneling. A hexagonal shape, like a honeycomb lining a beehive, cut a funky style. A violet knit bodice wrap looked like it was protecting the model from the outside world. Silhouettes were streamlined, sporty and monochrome with a flash of color. Zippers exposed models' skin to the grim autumn weather. MARINE SERRE GETS SURGICAL French wunderkind Marine Serre found new fame last season for a series of masked looks in her Paris ready-to-wear show in February that were branded prophetic. This season, Serre, one of the best of a new generation of French designers, kept up her creativity and used the new, limited digital platform to its fullest by showcasing her spring-summer 2021 designs via an atmospheric video called “Amor Fati,” or “Love of Fate.” The clip, which fuses the line between fashion and art, features a naked model on a futuristic surgeon’s table. Models in utilitarian black combat gear, with chains and visors, push a tray of surgeon’s tools through a sanitized white space to unnerving Hitchcockian music. It seemed more like high-advertising than a platform to showcase new designs -- but it was slickly executed

Repealing the Eighth: Ireland, Gender Stereotypes, and Abortion Law Ireland is to have a referendum on repealing the Eighth Amendment to the Constitution, which recognises the right to life of the unborn as equal to that of the pregnant person. Ireland has one of the most restrictive abortion laws in Europe, permitting abortion to be carried out only where the pregnant person’s life is at risk from physical illness or suicide. Abortion is illegal in all other circumstances, even where there is a serious risk to health, the pregnancy is the result of rape or incest, or the foetus has a fatal abnormality. Those requiring abortions must travel abroad, with an estimated 170,000 pregnant people travelling from Ireland to access abortion services elsewhere between January 1980 and December 2016. The alternative for those unable to travel, most often minors, asylum seekers, those in abusive relationships, and people with the lowest incomes, is to have an illegal abortion, with the accompanying health risks and the risk of a fourteen-year maximum sentence. This article will address the significance of the ‘Repeal the Eighth’ referendum, by looking at how discourse around abortion has been controlled by Ireland’s cultural and religious identity and the historical stereotypes of women. Ireland is a largely Catholic country, giving religious institutions a dominant role in areas such as abortion, with Ireland’s prominently conservative politicians claiming that Ireland’s restrictive abortion law is premised on the country’s allegedly ‘profound moral views’ of when life begins. Ireland’s current abortion law is also rooted in oppressive stereotypes of women, valued primarily for their capacity as wives and mothers. Ireland’s Constitution determines a woman’s place as in the home; Article 41.2.1° states that ‘by her life within the home, woman gives to the State a support without which the common good cannot be achieved.’ Constitutionalising the relationship between women and the State entrenches the role of women as reproducing the population and reinforcing national identity through motherhood. Thus, narratives around the role of women and abortion have fed into Ireland’s national identity, allowing politicians to claim the ‘unity’ of the country’s moral views. The importance of national identity and unity is unsurprising considering Ireland’s complex history, and the desire to be distinct from Britain but undivided within the country. Ruth Fletcher identifies that discourse around abortion invokes ‘a concept of Irish ethnicity that needs protection from post-colonial Britishness […] in encouraging propagation of the Irish race and in distinguishing Irish cultural values.’ This racialising of abortion was obvious in an Irish case where the protection of the unborn was apparently not invoked for a Nigerian foetus, when a pregnant Nigerian woman was to be deported. This case is evidence against the claim that all ‘unborn children’ are equal to the lives of pregnant people and evidence that opposition to abortion originates from the need to ‘protect’ Irish national and ethnic unity. In 1983, four months after the Eighth Amendment was introduced, a 15-year-old girl, Ann Lovett, left her school and gave birth alone in a Grotto, after concealing her pregnancy. Both she and the baby died and, following her death, a radio show received an influx of letters from people who had also suffered while hiding their pregnancies. In 1997, despite the exception for suicide established five years earlier, a 13-year-old girl who had become pregnant from rape and became suicidal had to travel to the UK for her abortion. Last year, another young girl who became suicidal because of her pregnancy was told that an abortion was “not the solution” and was instead sectioned, despite psychological evidence that she did not have a mental health disorder. More recently, an asylum seeker who became pregnant as the result of rape,was unable to obtain an abortion on the grounds of suicide, was forcibly hydrated after she went on a hunger strike, and the foetus was delivered at 25-weeks, against her will, by caesarean section. The most sobering example is the death of Salvita Halappanavar in 2012. She was 17-weeks-pregnant when she began to miscarry and when she asked for a termination, she was refused, being told that “this is a Catholic country.” The foetus was only removed from her womb once it had died, but Salvita also died from septicaemia. An abortion would have saved her life. The UN recently found Ireland’s abortion law to violate the right to freedom from inhuman and degrading treatment in two cases involving women who were forced to travel to the UK to terminate their pregnancies, after being told the foetuses would not survive. Ireland’s extreme abortion However, attitudes in Ireland are changing. Continuous pro-choice activism and the results of Ireland’s Citizens Assembly have culminated in a referendum on repealing the Eighth Amendment which will take place at the end of May. The Citizen’s Assembly consisted of 99 randomly selected Irish citizens who were presented with submissions of first-hand experiences of abortions, and information from experts and advocacy groups for both pro-choice and anti-abortion campaigns; 87% of members then voted that Article 40.3.3 of the Constitution should not be retained in full. One of the Assembly members subsequently commented that the Irish public would vote to allow abortion in all circumstances if they were given the same information. Conservative politicians have also started to express support for access to abortion; in his speech announcing the upcoming referendum, the Taoiseach Leo Varadkar, who had previously taken an anti-abortion stance, said that Ireland could not ‘continue with a situation where women in crisis are risking their lives through the use of unregulated medicines.’ Abortion up to 12-weeks without requiring a specific situation is currently being proposed, as the Protection of Life During Pregnancy Act 2013 would also need to be amended or replaced with legislation regarding the new legal limits of abortion access. would be an incredible step for Ireland, but the autonomy and integrity of pregnant people will never be fully realised while a criminal offence with a 14-year maximum sentence is in effect. The reform of Ireland’s archaic stance on abortion, which affords no autonomy to pregnant people, is long overdue. Legalisation is not enough – the full decriminalisation of abortion is also necessary. The criminalisation of abortion does not protect foetal life and the punitive aims of the criminal law continue to stigmatise people that make the decision to terminate their pregnancies. This is a distant goal, however. The UK is yet to decriminalise its abortion law, with the Offences Against the Person Act 1861 imposing a maximum life sentence on people that have abortions outside the remit of the Abortion Act 1967. This act introduced exceptions to the offence but this was never extended to Northern Ireland, where abortion is illegal except to save the life of the pregnant person or where there would be serious, long-term injury to their physical or mental health. Even if Ireland does successfully vote to repeal the Eighth Amendment and liberalise its abortion laws, pregnant people in Northern Ireland will continue to suffer and so the fight for abortion rights across the UK and Ireland cannot subside. The term ‘pregnant person’ will be used to include transgender men and non-binary individuals that can become pregnant, except where gender is specifically relevant. Protection of Life During Pregnancy Act 2013, which put the Eighth Amendment and the AG v X IESC 1 suicide exception on a statutory basis. Irish Family Planning Association, Abortion in Ireland: Statistics <https://www.ifpa.ie/Hot-Topics/Abortion/Statistics> ABC v Ireland ECHR 2032 Lisa Smyth, ‘Narratives of Irishness and the Problem of Abortion: The X Case 1992’ (1998) Feminist Review 61 Ruth Fletcher, ‘Reproducing Irishness: Race, Gender, and Abortion Law’ (2005) Canadian Journal of Women and Law 365 Róisín Ingle, ‘The Ann Lovett letters: sorrow, shame, anger, and indignation’ (The Irish Times, 31 January 2017) <https://www.irishtimes.com/life-and-style/people/the-ann-lovett-letters-sorrow-shame-anger-and-indignation-1.1673920> Kitty Holland, ‘Girl sectioned after psychiatrist ruled out abortion’ (The Irish Times, 12 June 2017) <https://www.irishtimes.com/news/social-affairs/girl-sectioned-after-psychiatrist-ruled-out-abortion-1.3116111> The Irish Times, ‘Ms Y, asylum seeker refused an abortion, sues State’ (18 March 2016) <https://www.irishtimes.com/news/crime-and-law/courts/high-court/ms-y-asylum-seeker-refused-an-abortion-sues-state-1.2578920> Kitty Holland, ‘Woman ‘denied a termination’ dies in hospital’ (The Irish Times, 14 November 2012) <https://www.irishtimes.com/news/woman-denied-a-termination-dies-in-hospital-1.551412> Henry McDonald, ‘Irish referendum on abortion reform to be held by end of May’ (The Guardian, 29 Jan 2018) <https://www.theguardian.com/world/2018/jan/29/ireland-to-greenlight-referendum-on-abortion-law-reform> Ronan McGreevy, ‘Why did Citizens’ Assembly take a liberal view on abortion?’ (The Irish Times, 30 June 2017) <http://www.irishtimes.com/news/social-affairs/why-did-citizens-assembly-take-liberal-view-on-abortion-1.3138280> The Irish Times, ‘‘Safe, legal and rare’: full text of Taoiseach’s abortion speech’ (30 January 2018) <https://www.irishtimes.com/news/social-affairs/safe-legal-and-rare-full-text-of-taoiseach-s-abortion-speech-1.3373468> Fiona De Londras and Mairead Enright, Repealing the 8th (Policy Press, 2018) Chapter 2

Halsey’s third album Manic has arrived. It’s been quite the journey towards the record. She scored her first solo number one with Without You and then released Nightmare which doesn’t feature on the album. She then followed that with a string of genre-traversing singles. Manic pieces them all together. Titled after her actual name Ashley is as personal as it suggests. It’s a gentle opener to the album with strong rock tinges to her vocals in the chorus. There’s an anger to the song but it feels cathartic in a sense, like she’s going to come out of this on the album and find a happier space. Clementine was one of the early singles from the album that may have fallen through the cracks for some. It’s a stripped-back, raw moment that has Halsey declaring her independence. It makes more sense in the context of the album but it’s still not a noteworthy cut. Graveyard‘s popularity is still growing and it’s likely to become a hit for Halsey even if it takes a while. It’s a slow-burner of a pop song with a chorus that eventually latches onto you. Sonically, it sounds like Clementine was underwater and she’s emerging from it here. 4. You Should Be Sad Last week’s single still hits as hard as it did the first time. It’ the first country-tinged moment from an album we’re guessing will be full of them. It’s the strongest track from the first quarter of the album without a doubt. 5. Forever… (Is A Long Time) Lido, who has produced on all three Halsey albums, returns here for this minimal, floating cut that often feels as if its suspended in air. You can hear rain throughout the song and there are periods where piano fills the speakers without vocals. Halsey re-emerges at the end with an aggressive vocal singing, “talk to your man, tell him he’s got bad news coming.” 6. Dominic’s Interlude Dominic Fike delivers one of three feature-interludes on the album. His vocals are pitched-up at the beginning her before he comes into his full voice over spotty orchestrals. He continues the hook, “talk to your man, tell him he’s got bad news coming,” and it’s actually a really beautiful moment. There are Beatles-esque textures to it. 7. I Hate Everybody Quite a title. This one is not as angry as it sounds. It’s about dependency and it’s as lyrically personally as she gets on the record. “I’ve got a tendency to exaggerate what I’m seeing,” she sings acknowledging that he feels everything and falls quickly. Lido is back on production duties and he delivers a soulful, rich backdrop. What’s striking at the albums mid-point is how far from the modern pop world this album is. It’s a sweeping, dramatic album borrowing from ’00s rock, Beatles pop and country music. 8. 3 AM If you were waiting for a rock song here it is. The chorus of 3am is full of guitars and percussion. Halsey’s vocal is measured but it proves just how suited she is to the rock world. Think I Miss You-era Blink-182. “I need a digital because baby when it’s physical I end up along,” she sings, carrying on an album theme that she’s *too much* for some people. 9. Without Me “Your best song is the song that’s currently on the radio,” says a voicemail that introduces Without Me. It’s Halsey’s biggest song by a long shot and while we doubted how it would fit into the context of 3am it actually slots in nicely. 10. Finally // Beautiful Stranger Finally // Beautiful Stranger picks back up on the country guitars and ushers in a beautiful moment of calm for the record. We’ve already heard this one but it hits even harder on the album. For the first time on the record she sounds at peace. 11. Alanis’ Interlude “Your pussy is a wonderland,” sings Halsey in the hook for this before Alanis arrives with a powerful vocal which seems to be celebrating the queer and non-binary community. “He is she is her and her and he are love,” sings Alanis. 12. Killing Boys Day one Halsey fans are going to love this one from the outset. It’s an angsty, angry moment with thundering drums and fast-moving lyrics. “I don’t wanna Uma Thurman your arse anymore,” she sings showing that she’s not holding anything back on this record. The only criticism of this one is it’s too short. 13. Suga’s Interlude Suga’s Interlude introduces the last quarter of the album and it’s another moment of calm. You’ve already heard it but given it was odd to release an interlude by itself in the first place, it’s nice to hear it in context. More is the emotional suckerpunch you probably expected this album to have. It’s a minimal moment of beauty that features Halsey almost singing acapella at the beginning. “Somehow I just want you more,” she sings over rousing harmonies, continuing with, “I loved you for all of my life.” 15. Still Learning This is the one that’s being placed in ‘New Music Friday’ playlists and you can see why. The handclap beat and Halsey quick-sung verses are reminiscent of Eastside. “I’m still learning to love myself,” she sings, wrestling with loving others and also accepting herself. This is the most radio-friendly song on the record apart from Without You. Halsey was born at 9:29 on the 29th September and that fun fact begins this song. It’s a guitar-led, intimate song that recalls her early interactions with fame. She recalls her interactions with fans sharing one powerful experience where a girl with pink hair told her, “Ashley you gotta promise us that you won’t die because we need you.” She fits an incredible amount of detail into this train-of-thought song. Manic could not be more different than Hopeless Fountain Kingdom. It’s an intimate, honest album that’s largely bereft of typical hit material. In its place is the sort of music that Halsey really wants to make. Casual fans may be deterred by the slow pace of the record but that’s also something that’s likely to pick up new fans. As someone who has never loved a Halsey album, this one hits different. It establishes her as an artist who has found her own singular lane and while it seems she’s got more exploring to do it’s an exciting first step. Best Songs: You Should Be Sad, 3am, Still Learning, I Hate Everybody, Dominic’s Interlude Worst Songs: clementine, Forever … (Is A Long Time)

Cara Delevingne, known for her acting and modeling career is also a host of lesser-known facts that make her stand out even more. From her battles with depression and body image, to her ventures into the world of sex toys and her openness about her pansexuality Here are 10 fascinating facts about the multitalented Delevingne. Problems with depression and Body Image Despite her beautiful appearance, Cara Delevingne struggled with anxiety and depression about her body during her teenage years. Her body was constantly ridiculed due to her small chest and started menstruating later than her peers, being called “frigid” and “flat”. At the age of 15 depression struck her and she was forced to leave school. Interview with BBC she talked about the time when she admitted, “I hated myself for being depressed, I hated feeling depressed, I hated feelings.” However, Delevingne came from a extremely wealthy family and everybody believed she should be happy by default, but they were unable to comprehend her mental state. Homophobic in her Youth Cara Delevingne was unable to comprehend her sexuality while growing up in a world where it was not discussed. For a time she believed that same-sex marriages to be disgusting and was considered her self-defence homophobic. When she spoke to The Guardian, Delevingne said, “I know I’m the luckiest girl in the world, I understand all this and I wish I could appreciate it. It’s just that there’s something dark inside me that I can’t shake.” Delevingne considers herself pansexual and falls in love with the person, regardless of gender identity. The actress explained that she may also be attracted to transgender or non-binary people. in an interview for Variety, Delevingne said, “However an individual identifies, whether it’s a ‘they’, a ‘he’ or a ‘she’, I fall in love with the person – and that’s what it’s about. I’m attracted to the person as such.” Marriage and Relationships In the year 2019, Delevingne got married in Las Vegas to actress Ashley Benson, but they later ended their relationship. She’s also been romantically associated with the actress Michelle Rodriguez and singer Miley Cyrus. Her public display of her sexuality has received both praise and criticism. Threats emanating from the Film Industry Delevingne was a target of producer Harvey Weinstein, who threatened her career if she didn’t cover up her sexuality and find an appropriate male companion to be the role of a “cover”. However, Delevingne didn’t listen, and she continued to be open about her sexuality and relationship. Business with the Sex Toy Company Delevingne is a part of a business partnership with a sex-toy company and is the one who personally tests the products. She’s open and honest about her work in the business and believes it is an opportunity to spread the message of sexual wellness and liberation. Secret Vaginal Tunnel Delevingne has a secret vaginal passageway in her house, which was a gift from a close friend. The tunnel was made by an artist and serves as an emblem that women’s empowerment as well as empowerment. Delevingne recently ventured into the world of NFTs by making a video of her dancing in the secret vaginal tunnel inside her home and selling it as a special digital collectible. This showcases her bold and unflinching attitude, as well as her willingness to try new things and break boundaries. Despite some criticisms of her acting ability she continues to pursue her passion for acting and has appeared in several films and TV shows, including “Valerian and the City of a Thousand Planets,” “Suicide Squad” and “Carnival Row” It’s evident that Delevingne is not limited by others’ opinions about her talent and abilities and is constantly challenging herself. Inspiration and Role Model Delevingne’s story is an inspiration to many. She’s been candid regarding her struggle and progress towards self-acceptance. She is an example for others on how to be self-assured regardless of what others may think or say. She has spoken out about body positivity and inclusion and has utilized her platform to advocate for marginalized communities. Her actions show that it’s not necessary to have everything figured out and it’s fine to be unique and different. Cara Delevingne began her career as model at the age of 10, signing with Storm Model Management. She soon became famous and became an one of the top sought-after models in the fashion industry as she walked for the most prestigious designers like Burberry, Chanel, and Fendi. She’s an example of what it takes to go from being a model into the status of a brand and how to create a name for oneself in the fashion world. Delevingne is also well-known for her charitable work, she has served as a global ambassador for the Women’s Cancer Research Fund and actively promotes mental health organizations and charities like The Samaritans and the National Alliance on Mental Illness. She has also donated to organizations fighting against racism and discrimination. Delevingne can also be regarded as a performer. She has released several music videos and songs. She also has collaborated with a variety of artists including Pharrell Williams. Social Media Influence Delevingne has a strong presence on social media. She’s famous for her candid and honest posts and relatable content which has allowed her to cultivate a large fan base and a loyal following of supporters. Model who became actress Delevingne has made the transition from a model to an actress, and has been praised for her roles in films such as “The Face of an Angel” and “Tulip Fever”.

In this podcast, we pose the question: should athletes be allowed to consumer PED’s to make athletics more fair? CategoryFree Will on Steroids We don’t want to be too self-congratulatory in these posts, but I’d like to take the chance to give you some ‘mad props’ for a well-written piece of prose. The free-will continuum you outlined is an insightful idea that may be an effective way to gradually shift society towards a more ego-free, contextual understanding of human behaviour. That said, I’m still convinced that the fundamental insight that we do not possess free will does not, and should not, lead to a dystopian society. Take, for instance, your average Joe. You say he will blame himself less for committing a crime, and I agree, as he should! For certain psychopaths (the severely broken clocks) this may lead to a feeling of complete freedom (ironically): they can commit whatever heinous crime they want to because it’s not their ‘fault’. But these are exactly the type of people we should lock away! Good ol’ average Joe is not going to do this, and if he finds himself ‘at the wrong time, at the wrong place’, his reduced feeling of guilt may actually lead to a speedier recovery and a smoother transition back into society. Further, an important point here is one you bring up, but then sweep under the rug: practicality. The free-will shift you outline would be incredibly hard to implement practically. How can you possibly understand and categorize all the different factors that affect an individual’s actions? Clearly we can’t have separate entities that deal with different classes of people. Imagine: ‘immigrant courts’, ‘courts that deal with the top 1%’, ‘athlete courts’, ‘IQ > 120 courts’ etc.? Clearly, lumping people together like this has serious ethical repercussions. I think simply acknowledging the fact that all humans have a questionable amount, if any, ‘free will’ is a much more egalitarian and digestible way to effect change in the justice system. Finally, I come to the reason we started talking about free will: doping! How deliciously ironic is it that taking ‘performance enhancing drugs’ can actually level the playing field for athletes! Kudos for finding this quote: it’s quite obvious in retrospect. Instead of continuing the never ending cat-mouse game of drug testing vs. drug masking, perhaps sport federations should simply use drugs to standardize a certain level of blood chemistry for all athletes: ‘performance matching drugs’ if you will. Let’s push this further: imagine a world where all athletes are identical, a world where weight, height and muscle mass are all standardized. A perfectly fair, equalized world. This is the inevitable conclusion of this type of reasoning, isn’t it? Yet I can’t help but imagine this world as a bleak, depressing Orwellian dystopia. Should we then forget about levelling the playing field, and regress back into the comforting world of motivational speeches and inspiring quotes? I don’t think so. Perhaps in the sporting world, your ‘free-will shift’ would be most useful. Officials need to be more open to other types of ‘unfair factors’ that could provide clear advantages to athletes (apart from simply chemical compounds). They need to better characterize individuals and create more finely structured levels of competition (similar to those found in boxing, for instance). Can we do this without crossing too many ethical lines? I think this certainly stands a better chance than the justice system. The world is confusing and unfair: if sport can be a true respite, we need to be more honest about our own understanding of what it means to be an individual, and what parts of our life we are truly ‘responsible’ for. Mr. Valentin. Lots of points to discuss. Let’s start with the big one. Fundamentally, we can never know whether or not free will exists or not. It’s why it is primarily a philosophical discussion, and not one rooted in science. We’ve chosen to narrow the focus on this topic to a particular societal problem (performance enhancing drugs) and the implications that result from a world with free will or one without it. This conversation illuminates the word practicality. My argument is that by taking into account the way human beings have grown up evolutionarily and the “illusion” of free will we believe to possess, we cannot practically function in a society that operates under no free will. We need to feel that we can accomplish goals as a result of our decisive actions, that we can imagine and compose art by the use our creative mind, that we choose to love our wives or husbands, and that our children are ‘special’ in their own way. A lot of these very basic emotions and behaviours that we cherish as a species are rooted in a non-binary free world. (I’ll get to the non-binary part in a bit). If we assume there is no free will whatsoever, we cannot and should not take active ‘pleasure’ from positive experiences. And moreover, people will tend to hold less responsibility for their negative behaviours. Yes, there may be rules and governance set up to ‘fix’ these people — in extreme cases, sending them to a jail, or in less extreme cases, maybe cognitive-behaviour therapy. However, an average Joe will blame himself less for committing a crime, because “I didn’t choose this. It happened to me”. Now, he will still face consequences to his actions, but Joe himself, can he evolve, or improve his behaviour, without an active involvement? A society set up this way feels like every other failed attempt at an imagined utopia. So what is this non-binary free world I mentioned? This is what our society currently operates under. Specifically in regards to the justice system, in most cases, we consider the do-er responsible for their actions, with a few exceptions to this rule: people with a severely low IQ, young children, and as mentioned earlier, the insanity plea. In these cases, and others as well, we deem the person operating more reactionarily to their environment. You can argue that they still have free will, but with the given inputs they live under, the probabilistic range of actions they can choose from are inherently broken. And therefore, they cannot be held responsible for their actions. Taking to more extreme cases and ones that are more concentrated in time & context, we can make the argument that the individual only could have reacted in a certain way given the inputs, and had no free will. In certain cases, we deem people to possess free will and in others, we do not. So what does this all mean? It means that we operate under a spectrum of free will, with the same grey area that our society is pervasively befuddled with. And in this grey area, I believe, practically, it is best to live in. What I do contend to you is making a shift on this grey scale of free-will. For example, a young man, Jerry, who lives under overtly worse socioeconomic conditions than an another fella, Bill, should be treated differently under the justice system. If Jerry is malnourished, grew up in a world with inputs much different and much worse than Bill’s then, and consequently committed a crime, society should make an attempt to “fix” him, as you suggest, rather than put him away. The same may not be true for Bill. This whole idea speaks to the one of the few things I retained from my learnings of psychology in university: the fundamental attribution error. We place too much emphasis on a person’s internal characteristics to explain their behaviour, rather than the more-likely correct, contextual circumstances. Where does this all fit in with sports? I came across a fantastic article on the topic by Malcolm Gladwell. Give ‘er a read. It speaks to a lot of your points and has honestly shifted my thinking on the topic. To summarize briefly, Gladwell speaks about various natural beneficial genetic mutations that have arisen in the world: iodine enriched coastal regions boosting IQ, Eero Mäntyranta, a red-blood cell rich Olympic gold medalist, baseball players with 20/10 vision, to name a few. He further makes the point that, in the case of Lance Armstrong, his US Postal service team, and cyclists of his era, by injecting themselves with EPO and their own blood, they were “levelling” the genetic playing field. Tyler Hamilton, one of Lance’s teammates in his run, says in his book The Secret Race: “EPO granted the ability to suffer more; to push yourself farther and harder than you’d ever imagined, in both training and racing. It rewarded precisely what I was good at: having a great work ethic, pushing myself to the limit and past it. I felt almost giddy: this was a new landscape. I began to see races differently. They weren’t rolls of the genetic dice, or who happened to be on form that day. They didn’t depend on who you were. They depended on what you did—how hard you worked, how attentive and professional you were in your preparation.” You’re right when said I used the word “shortcut” unfairly . The drug, rather than a shortcut, enabled the individual to work their hardest and push their potential. So instead of letting random chance be in the control of this genetic lottery, you can argue that Armstrong, Hamilton and other competitors were taking genetic fate into their own hands, shifting the grayscale of free will into their own hands, and ultimately testing their particular range of will-power. Let me elaborate on three things you brought up: ‘fake trophies’, ‘chaos without free will’, and ‘shortcuts.’ 1) Fake trophies: While I agree with you that perhaps society doesn’t follow mathematics or science with the same scrutiny as some sports (for reasons that we partly discussed in our sport series), I don’t agree with you that there aren’t as many ‘fake trophies’ in math. There are tons! Fields’ Medal, Abel Prize, De Morgan Medal, Wolf Prize etc, the list goes on and on. Most of these even come with monetary rewards. So should these awards check for doping in all candidates? Perhaps the ultimate goal in science is a collective push towards ‘truth’, but in the same way you could argue that sport is a collective push towards ‘human potential’. 2) Chaos without free will Chaos would only ensue under the most basic reading of what it means to not have free will. Just because ultimately we submit that all of our actions have causal relationships, doesn’t mean that we should just ‘sit on the couch and do nothing since nothing matters anyways.’ In some sense, many people believe in some weird, hybrid version of ‘no free will’ called ‘fate.’ Somehow people can reconcile the fact that they were ‘meant to be with someone’ with the numerous arbitrary decisions they made that lead to that actually happening. In the same way, if we believe that we don’t have free will, it doesn’t mean we should just give up and wait for our metaphorical prince charming. No, life goes on just as it did before. With some important distinctions, however. The most notable of these being how we structure our justice system. Instead of assigning ‘responsibility’ to people (which is meaningless because ultimately no one is responsible for the fabric that makes up their brain and body), we treat people the same way we do wild animals, or broken clocks. Is a bear ‘responsible’ for attacking someone in the woods? On the most fundamental level of the word ‘responsible,’ yes, of course it is, it is the thing that did the attacking. But would we characterize it as murder? I don’t think so. We would take the appropriate action to either prevent similar circumstances in the future, or if the bear is simply too aggressive, we can lock it away somewhere where it can’t do more harm. In the same way, our attitude towards people breaking the law should not be assigning blame and ‘punishing’ behaviour, but instead should focus on finding solutions for fixing the broken parts within the person that caused this to happen. One man’s shortcut is another man’s treacherous path. Steroids and other drugs are not magical drugs that give you special powers overnight. Some people cannot get any benefits from them: so should we still reward those that can? What if someone was born with some genetic mutation that made them grow superhuman muscles whenever they eat chickpeas? Would we ban chickpeas in all sporting competition? When we deal with both positive and negative actions, the lack of free will should affect our attitude towards other people. If someone is misbehaving, we address the problem. If they win at some competition, they get the equivalent of a J.D. Power & Associates ’Top Rated Human’ trophy. I admit, this feels quite, ‘unhuman’. But is it better to live in ignorance, or face the reality or the world? A fresh, topical take on a timeless & riveting philosophical discussion. Don’t mind if I do. About Mr. Paul Erdos, apparently, he only started taking them at the age of 58 to cope with the loss of his mother, with whom he was very close with. So they may have revitalized his late-mathematics career, but he did not initially take them with intent to perform better. But even if he did do it intentionally, why doesn’t anyone give a crap? I’d say because namely, society doesn’t care about math competitively the way it does with major sports to raise a flag that Erdos was a cheat. It’s also to do with the dynamics of each respective game, where in one, there’s a communal effort to produce truth, and in another, you’re constantly competing for millions of dollars to win a fake trophy. Now what about free will? In fact, I don’t think it’s much of a discussion within the scope of steroids or anything to do with society and it’s subset of problems. Society is set up under the assumption that it does indeed exist. We set up laws and rules based on decisions each of us make, that fall on the right or wrong side of said laws and rules. However, I should note, there are such cases where we make exemptions to this notion, where a human being is said to be in a state of no control, and acting reactionarily to their respective environment. For example, defendants often use the insanity plea to escape criminal consequences. But if we are to assume the opposite premise, that there is no free will, then no one would be accountable for their actions (since it’s not up to them), and we would live in an anarchic dystopia. I realize this doesn’t go into the deeper philosophical layer of the discussion, but if we try and practically solve society’s problems sans free will, chaos ensues. Now, with respect to natural giftedness in contrast with environmentally earned talents, it’s always a balance of both. There are natural talents one is gifted with, such as consciousness, which we all possess, or an inclination to jumping very high, which unfortunately neither of us do. When an athlete decides to give himself an edge in their respective sport, we judge them on this because we operate under the assumption of free will. We realize that he or she is being dishonest (whether you agree with the merit of the use or not, it is illegal nonetheless), and choosing to partake in a ‘shortcut’. The interesting question you raise is with respect to a mother making that decision for the child. Would this ‘super’ child then be able to compete in sports, when the mother had made this decision for them before they were able to object? Does the lack of free will or choice of the child evade them of the responsibility of this decision? So it’s my turn to choose a topic, and I’ve given it some thought. I choose: free will. But wait, no, I didn’t choose free will. I had no control over the ‘background processing’ that lead me to come up with this topic. What does ‘choosing’ even mean? What exactly happened for that ‘decision’ to come into existence? At what point can you say that I ‘decided’ something? And for that matter, who is I? How and why do we form our incredibly strong sense of agency? Atoms. How do they work!? Does the matter that composes our body simply follow a set of predefined rules, acting out an incredibly complicated, but none-the-less, pre-determined play? Or can ‘we’ intervene? But wait, no, that means ‘we’ are something separate from our body, and obviously no one believes that in the 21st century? Or do they? I think free will is the most fascinating topic in all of philosophy. It seems to be a concept that everyone understands and no one can define. So what about us, Rachit? Just two regular ol’ pals who have just a minuscule morsel of philosophical insight, what are we supposed to add to this discussion? So we don’t rehash some of the same arguments, I want to spin this in a slightly unconventional route. Let’s talk free will, drugs, sports and science. Why do we restrict the use of performance enhancing drugs in sports, but not in science? Does taking LSD disqualify you from winning a Nobel prize? Why not? Haven’t you altered your body chemistry in ways that other people have not? Recently, I was reading about Paul Erdos, one of the most prolific mathematicians of all time. He was known to be ‘constantly’ on methamphetamines (ritalin). A colleague of his once dared him to not use the drugs for one full month. Erdos completed the challenge successfully, but famously said “You’ve showed me I’m not an addict. But I didn’t get any work done. I’d get up in the morning and stare at a blank piece of paper. I’d have no ideas, just like an ordinary person. You’ve set mathematics back a month.” Is Paul Erdos the Lance Armstrong of mathematics? So what does this have to do with free will? Well, I think the reason we make the distinction is a direct cause of this intuitive notion of ‘free will’. We can alter our bodies, which are just flesh and blood, and that’s just not fair. But our mind? Well that’s spooky and magical. Even if we are on some chemically induced craze when we discover something, we feel that it is still ‘fair’ to call it our own. Let’s blur the lines a little bit. When we say someone is ‘naturally gifted’, we mean they have some skills that they acquired without their direct intervention, by some external factors or genetic randomness. But what happens if we throw free will out the window? Well then, drugs consumed by the person are as much his ‘own doing’ as drugs consumed by his mom during pregnancy. To put it another way, if a mom could take a pill which would make her unborn baby taller, stronger and more intelligent, would we consider that to be a ‘performance enhancing drug’?

The lights dimmed in the Alumni Lounge of Ryerson’s Mattamy Athletic Centre and a hush fell over the crowd of well-dressed art students. Their attention averted to a screen projecting the words “Girl Talk.” The film is perfectly suited to open the Women in Art showcase hosted by the Image Arts Course Union (IMACU), which features films, paintings, photography and live music—all created by female and non-binary artists. “Girl Talk,” a short film by second-year film student Alessandra Sconza, highlights the different perspectives of four girls on what it’s like to grow up as a female. The girls discuss personal experiences with identity, body image, future aspirations and other women who have influenced them. “I feel very powerful being a woman,” says Leché Hope Whiteman in the film. These words seemed to radiate in the room for the rest of the evening. Evie Brooks, a first-year film student who was also featured in “Girl Talk,” emphasizes the need for proper female representation on screen and strives to fix this issue in her own film projects. “There are already so many men on screen that it’s nice—if you’re telling a new story—to also tell it with an underrepresented gender,” she says. When writing a new story for film, Brooks doesn’t make specific roles for women. Instead, she creates a multifaceted character whose storyline doesn’t revolve around a man, and casts a woman to play the role if she is the best fit. “That’s when you’re going to reach equal representation,” she says. Robyn Matuto, a second-year film student and the president of the IMACU, is also familiar with the problem of female underrepresentation on screen. Matuto aims to include women, especially women of colour, in her projects She knows that many of the industries Ryerson arts students aspire to enter are not the most welcoming spaces for women and non-binary folks. This is one of the reasons why she sees the need to showcase female and non-binary artistic talent. “Having this event and working with our team, which is all female execs, has really helped me see how we are making strides in the industry,” Matuto says. “And it could be something as small as this, where we’re just showcasing art made by people who don’t usually get the chance to have their own safe space for it.” However, Matuto says that despite being a show for women and non-binary artists, the art itself doesn’t necessarily have to focus on issues of gender. Conversely, some artists like Mara Goldbloom can’t help but incorporate their gender identity into their art. “Anything I do is inherently filtered through my own lens, which is of a non-binary person, so gender affects everything I do,” she said. “But [in] my pieces specifically, I explore gender as well as other topics.” She mixes concepts of gender with mental health, love and monogamous or polyamorous expression, and sometimes plays with the idea of gender stereotypes in her various art media. “There is this question of, ‘Do we define our art, or does our art define us?’” Goldbloom asks. The second-year film student says she is in a constant state of deciding whether or not to describe herself as a non-binary artist or a feminist artist, and what it means to use those titles. “I think that there’s a power to those words, but I also think that there’s a power from saying, ‘I’m just an artist. Take me as I am,’” she said. According to Goldbloom, having a show dedicated to women and non-binary artists means having a space where like-minded people can challenge each other, without feeling like their gender or worldview is threatened for being “outside of the norm.” That being said, she also thinks the art community has much room to grow when it comes to accepting all genders. “I don’t know if that’ll happen in my lifetime, which makes me a little sad,” she says. “But I think the only thing I can do is continue to support events like this, and continue to show my own art and encourage other women and non-binary people to show their art in any way they can.” All images by Madeline Cornacchia

Spotlight: Ultra Vixan Cosmetics Because I am all about Girl Power, I want to start interviewing girl bosses from all over the world to feature them here on my blog. First up is my fellow Boriqua, Annelise Marceline, a Latin American model who founded the small-but-growing cruelty free cosmetic brand called UltraVixen Cosmetics. Here we ask her a few questions about her brand, it’s ethos, and the new products she will be dishing out! What is your background? I am Uruguayan & Puerto Rican, I grew up between the U.S. and Uruguay! I spent my late teens, and early 20s bouncing between Washington, D.C., New York City, and Los Angeles. Which one of those cities was your favorite? Los Angeles of course! I currently live in Malibu, before moving I lived in New Orleans. I have very few family members who live in the United States, like only 4, but they live in Texas. So I do spend a great amount of time in Texas as well, it’s beautiful there! You live in the LA area, closer to Malibu, specifically Topanga Canyon, how do you like it? I love it! Despite my glamorous appearance, I am a total granola head. If I could describe my style, it would be Bohemian Regency; Old Hollywood mixed with the hippie era of the 60s & 70s! Who says you can’t go rock climbing in red lipstick? I also have two rescue dogs, a Doberman, and a Dachshund, they like nature. Living in Topanga allows me to take them on hikes and such, without dealing with outsiders, the privacy of this area is a huge plus. Any eras of fashion in particular you like more than others? Do you have any fashion rules? My favorite eras are the 30’s, 40’s, 60’s, early 70’s, and the early 90’s! The supermodel era (pre-Kate Moss) is fantastic! I reference these eras quite often in my cosmetic collections. My outfits reflect these eras, I will interchange them of course, creating a whole new look all together! I strongly dislike patterns. There are exceptions, like soft florals, but it is very rare that I sport a pattern. I am a minimalist at heart, so the less clutter the better. There are a lot of fashion aesthetics I do not favor, but It is not my place to judge, or tell you what to like. They are things that simply don’t work for me. I am sure there are things that I love, that you cannot stand! Also, even though I don’t dig rockabilly, I can still look at somebody who is decked out in a super rockabilly look and think they are beautiful! For example, I do not like how the Kardashians dress; casual sport is not my style, BUT I can recognize that they look beautiful & slay those looks! Those looks are simply not for me. Just because you do not like a certain aesthetic, does not mean you cannot appreciate somebody when they are rocking it! Nothing wrong, just different strokes for different folks. As long as you are being genuine, and not playing a role. Authenticity is key. Now that we know what inspires you, why did you want to start your very own makeup line? Well as a Latina who spent years working in the modeling industry (I was scouted at 16) I experienced first-hand what the world of beauty DID NOT want, and that was me! What I mean is that, women of ethnicity tend to be used as “tokens” or novelty items, we are never actually represented by major brands. It is very typical for casting agents to go “well we already have one ethnic person in the show/campaign, everybody else can go home,” and they’d send all the ethnic women packing. So my goal was to create a brand that kept every person in mind, and did not trivialize WOC. I also want trans, and non-binary folks to feel included when shopping! I want everybody to be included! I also like to feature a lot of history in my products and campaigns. We have collections inspired by women from various periods of history. It is important to give people access to role models. Your makeup should be inspirational, not something you do to feel pretty. They call it war paint, after all! And you can’t fight a proper battle, and win, unless you’re inspired! You seem to have a very glamorous aesthetic, how does this play into the creation of the ULTRAVIXEN brand? As a little girl I was always fascinated by Old Hollywood! I cannot speak for other cultures but I know that Latinas are naturally more inclined to be glamorous; it is part of our culture. My mother never left the house in sweatpants, it was Gucci, or death. Growing up in America was hard because my peers obsessed over Brittney Spears, while the only person who I could relate to was Cher, or Raquel Welch. As an adult, every time I would go shopping for makeup all the companies kept selling me trends, trends, trends! Thanks to social media, trends have a faster turnover, and consumers get bored way more easily than before. To be honest, I don’t care for it too much. I have specific eras of beauty and glamour that inspires me, and that is usually what I stick to. ULTRAVIXEN shoppers are like myself, we don’t need the trendy smoke & mirrors, we know how to get the job done! We practice our makeup every day we have our glamour routine down to a science! ULTRAVIXEN shoppers are looking for a reliable product they can depend on to incorporate to their glam routine. What is a major factor when you are making decisions for the ULTRAVIXEN brand? As mentioned before, you are less about trends, more about timeless beauty. So what factors go into creating your collections? Inclusion is a major factor. Every collection needs to be culturally aware, and include colors for everyone. When I started wearing vintage, and participating in vintage events, I immediately felt like an outcast. The scene was predominantly white, and I did not feel culturally included. I have light skin, so at these event certain people would mistake me for a Caucasian woman and would say racist things without realizing they were talking to a person of ethnicity. It was saddening, especially when it came out of the mouths of people who I once respected. After talking to other WOC vintage enthusiasts, I found that they felt the same way! Especially at burlesque shows, where Caucasian performers still use old racial stereotypes & racial tropes as costumes. It’s 2017, why do people still think it’s acceptable to watch a historically insensitive Opium Den and/or rhinestone “Native American inspired” burlesque act? It’s not, and the community castrates those who dare speak out against it. Now we can’t feel comfortable in those environments. Also, Caucasian allies don’t feel comfortable in to those scenarios either. Those allies who are culturally respectful within the community, and don’t appropriate, cringe when they see somebody doing it. It’s like there is no room for this new inclusive generation in the vintage community. Which is super unfair, we like silk & champagne too, where can we fit in? So when I created the ULTRAVIXEN brand I intended to carve out a nook for humanists, where we could embody all of that old school glamour, but with modern ideals of equality and modern culture. I also wanted to invite modern women into the glamour scene. Plenty of modern gals are afraid to embrace their inner Rita Hayworth because they think the hair & makeup is too complicated, so my goal is to provide simple products that give the highest level of glamour, for EVERYONE! Not just the chosen few. Amazing! What products does ULTRAVIXEN Cosmetics offer? Our MARBLEGLOSS liquid lip-plumping lipstick is a unique product that has gained a cult following. It’s a range of opaque cream lipsticks that actually plump your lips whilst delivering full coverage! We also just released a highly-anticipated collection of earth-toned vintage nudes called the BOUDOIR COMPANION Collection. It’s our new formula called ULTRIMATTE, which is a scent-free, paraben-free, opaque, long wearing, liquid to matte lipstick. Say that five times fast, yeesh! The goal was to create a unique lipstick collection that was perfect for sensitive skin, and felt like it was barely there! We currently are developing a MARBLEMATTE collection, and sister collection to our MARBLEGLOSS lipsticks, except instead of having a crème finish, it will be matte! This one is top secret so I can’t give out any more details! The last question, any final words for your shoppers, and perhaps future shoppers, about the ULTRAVIXEN Cosmetics brand? I hope you all do take the time to look at the website and try some of our items out. We offer a reliable range of products to add to your beauty arsenal. You are already sexy, we are just here to help garnish it! BESOS, ADIOS!

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Northern Nevada special event organizers are betting that by summer, vaccinations and fewer safety mandates will put most folks’ COVID-19 fears in the rear-view mirror. The area’s largest summer event, Burning Man, a festival held in the Black Rock Desert that attracts more than 60,000 participants, is cancelled for this year. Updates about the 2022 event can be found by subscribing to the Burning Man Journal and signing up for the Jackrabbit Speaks e-newsletter. Hot August Nights, an annual celebration of rock music and car culture, pulled to the curb last year, but will roll out again during the first weekend in August at multiple locations throughout Reno and Sparks. Some gatherings will rely heavily on outdoor events; others will be hybrids of in-person and virtual presentations. Artown, July 1 to 31 “Right now the registered presenters ratio for live events versus virtual is about 10-to-1 on the live side,” said Oliver X. Artown’s executive director. “We see many senior groups and historical tours with older demographics preferring to remain cautious and opt for virtual events.” Summer events have to be planned now, he said, even though no one can foresee the trajectory of the pandemic. Artown’s 2021 main stage festival footprint at Rancho San Rafael Park in Reno will host 28 of 31 days of live programming with three dark days, Oliver said. “We are expecting to be able to host a suitable capacity — Covid-19-related protocols notwithstanding — within the socially distanced ‘pods’ at Rancho for all of our live series programming. “There are some unknowns that we hope will be ‘knowns’ once May comes around and pandemic precautions are set by local governments… Not planning the event now would leave us flat-footed.” Oliver said that safety will be a major consideration at all venues. 100 years of Reno Rodeo Organizers said they are committed to holding the Reno Rodeo, set for June 17-26, at full capacity. Their statement follows Nevada Gov. Steve Sisolak’s recently announced goal of having businesses and venues in every county reopen to 100% capacity by the start of June. “We remain fully committed to holding a safe rodeo, first and foremost,” said George Combs, general manager of the Reno Rodeo, in a news release. “We have all been hard at work planning for the 2021 rodeo with some uncertainty around social distancing requirements. With these recent developments, we are confident that we can put on a safe event at full capacity while providing fans the exhilarating experience the Reno Rodeo is known for.” The rodeo arena capacity is a little over 8,600 spectators; 8,100 is considered a sell-out because of limited sight-lines in some seats. In the coming weeks, Reno Rodeo officials will be formalizing health and safety guidelines for staff, volunteers, competitors and attendees, including any mask mandates that may be in effect. More details about onsite policies and updates will be announced. The 100-year-old Reno Rodeo is the longest-running, biggest annual professional sports event in the area. It’s nationally televised event and is one of the top five regular-season rodeos in terms of prize money sanctioned by the Professional Rodeo Cowboys Association. The rodeo has an estimated annual economic impact of more than $50 million in Northern Nevada. Tickets may be purchased online at mynevadatickets.com. The river, balloons and BBQs The Reno River Festival returns on June 12 and 13 with a celebration of all things local. The Truckee River in the heart of downtown Reno is scheduled to host musical performances by Nevada bands and local vendors hawking craft beer, food and handmade crafts. Tickets are available online. The Street Vibrations Spring Rally is revving up for action June 4 through June 6. The 11th annual event includes live entertainment, Good Vibrations® Slow Bike Races, ride-in shows, poker runs, scavenger hunts, VIP parties and more than 80 vendors. The 25th annual Great Eldorado, BBQ, Brews and Blues Festival is set for June 11 and 12. The concerts are free at the festival billed as equal parts barbeque block party and microbrew tasting event. More than 50 microbreweries from around the world are scheduled to take part in the event that features two music stages. The Great Reno Balloon Race is scheduled to take to the skies Sept. 10 through Sept. 12. The event, which features about 100 hot air balloons at Rancho San Rafael Park, is free. Lavender, trees and plein air Wilbur D. May Arboretum and Botanical Garden at Rancho San Rafael Park will host the May Arboretum Society’s annual Artist Stroll and Wet Paint Sale on Sunday, June 13, from 10 a.m. to noon at the arboretum, 1595 North Sierra Street in Reno. The society invites residents to stroll through the gardens and groves of the arboretum and botanical garden while many of the region’s artists set up their easels and paint en plein air, capturing the essence of the flora and fauna that call the arboretum home. The event is free. The artists’ morning work will be displayed beneath the canopy of the arboretum’s Kleiner Oak Grove at 12:30 p.m. and will be available for sale. Proceeds support the artists and the work of the society. Masks or face coverings are required. The May Arboretum Society’s 7th Annual Lavender Day is slated for July 10 at the Labyrinth Garden. The event includes lavender plants for sale, demonstrations on harvesting, infusing, and cooking with lavender and other mini-presentations under the Red Tent throughout the morning. Local vendors include artists offering jewelry, mosaics and garden art, fairy garden accessories, and more. Lavender Day is free and scheduled from 9 a.m. to 2 p.m. Girls rock at camp Last year, the popular Girls Rock Reno summer camp was a virtual event limited to 10 digital campers making music online. This year, the rockers will be collaborating in person again from July 19 to July 23, with performances scheduled on July 24. Campers, ages 9 to 16, will learn an instrument, form a band, write a song, and play it at the showcase at the end of the week. In addition to jamming with their fellow campers, the kid rockers will see lunchtime performances by local and touring musicians and have the opportunity to explore different workshops that include screen-printing, music history and more. The camp, a part of the Holland Project, welcomes all self-identified girls, trans and non-binary youth to participate. No music experience is required. Participation is limited to 16 campers. Applications are open at girlsrockreno.org, with financial aid and scholarships available. Residents are invited to donate to the scholarship fund, sponsor a camper, or otherwise get involved in the summer program. Food trucks return Food Truck Friday is returning to Idlewild Park beginning in June. Organizers said they expect about 4,000 people each day, starting on Friday, June 4. Food Truck Friday organizers put out a call on Facebook for food and dessert vendors, with applications available until April 30. Those who want to apply may send an email with contact information to RenoStreetFood@gmail.com. Other festivals, events, summer camps and performances are being planned for the (hoped-for) post-pandemic season. We’ll be keeping up with those as they are announced. EDITOR'S NOTE: This story was updated April 27 to include the announcement of Burning Man's cancellation.

Everyone has the right to self-identify their gender, not just people born here. Organise Aotearoa and Tāmaki Makaurau Anarchists call on the government to amend the Births, Deaths, Marriages, and Relationships Registration Bill to be inclusive of overseas-born people residing or seeking residence in New Zealand, regardless of a person’s race, ethnicity, migration status, or place of origin. The Government should make the bill inclusive by extending self-identification to citizens by grant, migrants, residents, refugees, and asylum seekers through issuing secondary or evidentiary certificates supplementing any foreign birth records or travel documents, and permitting amendment of any New Zealand-issued official documents such as a visa or citizenship certificate. We also call on the public to make submissions on the bill in support of these changes. The right of self-identification of their gender is important for all people. Cis and endosex people, whose gender identity is affirmed by default, can often go about their lives with no consideration of it. However, for trans, non-binary and intersex people, barriers to gender self-determination are symbolic of their otherness to the rest of society and often have harmful material consequences. Being able to change identity documents to reflect one’s gender identity is an important part of gender self-identification. Currently, for someone to change their birth certificate sex marker to reflect their gender identity, they must go through a long, painful and costly procedure of getting it changed through the Family Court. The Births, Deaths, Marriages, and Relationships Registration Bill would change this, making it easier and more direct through a statutory declaration process, an important step towards dismantling the barriers to gender self-determination. However, in its current form, the bill unnecessarily excludes people who do not have a New Zealand Birth Certificate. The bill must be changed to account for overseas documents or allow for a Recognition of Details Certificate. All people have a right to gender self-identification, not just people born here. Making this bill more inclusive could be achieved in several ways. One option is accounting for overseas documentation as is already done when making name changes for people with foreign birth certificates. Alternatively, it could allow for the issue of a “Recognition of Details Certificate” or a similar document that might affect a change of details that applies to all documents that cannot be originally amended, at least within New Zealand’s jurisdiction. Either of these options would help ensure that everyone in Aotearoa could self-identify their gender. In its current form, the bill will not ensure that everyone in Aotearoa has the right to self-identify their gender. This is racist as the exclusion of overseas-born people affects migrants of colour the most. The majority of NZ-born people, those who therefore benefit from the proposal, are Pākehā. The majority of overseas-born people, who are left behind by the proposal, are non-white. Therefore, the bill’s denial of the right of overseas-born people to have their gender self-identification legally changed is a form of xenophobic and racist discrimination. In addition, overseas-born people also depend on various non-birth-certificate documents, unlike NZ-born people, such as citizenship certificates, visas, foreign passports and travel documents. Allowing changes to these documents sex markers should be included in the bill so that everyone in Aotearoa can self-identify their gender. The exclusion of people without New Zealand birth certificates is also transphobic, as the existing laws allow certain provisions for documentary status changes across borders, such as name changes and marriage dissolution (among others). In addition, existing cross-border provisions tend to benefit cisgender people coming from overseas. Similar cross-border provisions for sex marker changes would mainly benefit trans, non-binary and intersex people coming from overseas. Cross-border provisions for sex marker changes only are specifically disallowed by the proposal, making it intersectionally transphobic within the context of excluding overseas-born people. The bill’s racist and transphobic exclusions are entirely unnecessary. This is because there is an existing provision in the BDMRR Act itself for name changes contrary to overseas-issued birth certificates (the original name record). In addition, assigned-at-birth sex markers are given on the same document (birth certificate) as the name at birth which can be changed under the existing BDMRR Act. If a cross-border name change contrary to a foreign birth certificate can be supported by existing law in the BDMRR Act, a change to the adjacent sex marker should also be possible to support. Overseas practices also offer another feasible solution through documents like a “Recognition of Details Certificate”, as in some Australian states and territories. By implementing the proposed amendments, the right to self-identify their gender will be guaranteed to everyone in Aotearoa. Failure by the Government to implement the proposed amendments will demonstrate that their claims to being anti-racist and supporting queer communities are nothing more than rhetoric. We have come to this position following extensive discussion within our membership, particularly with our queer members. We have been unable to consult queer groups regarding this position for reasons of time constraints and capacity.

Recently, Scary Mommy ran one of my stories on raising a TGNC, non-binary child. They changed the title and added a stock photo, as often happens in the hands of editors. For a few days, my piece had top billing and was prominently featured on the front pages of both their LGBT section, and LGBT Kids section – something I want to commend Scary Mommy for, because when they first published a piece of mine a while ago, there was no LGBT Kids section (at least not to my knowledge). So, major points for that addition – something that was needed for a long time, since we now know the “T’ part of LGBT includes children. It’s hard to keep up with the fast-moving research on this, but currently, it shows that for the most part, all children firmly know their gender identity by age seven, and some even know as early as toddlerhood, by the age of two or three. Though it’s only anecdotal, my 3rd child was only two-and-a-half when (he, then) told me with assurance, “Mommy, you know I’m only a boy because of my parts, right?” At the time I knew nothing about TGNC children, and it certainly wasn’t in my plans to be raising one. So, I’m so excited to see places like Scary Mommy growing these resources in any way possible. Nine years ago when my TGNC child was already going full steam ahead against the grain with regard to expected stereotypical male behaviors, mannerisms, play, clothing choices, accessories, shoes, and toys, resources to help me understand what was going on were scarce. It’s wonderful that there are now so many more online avenues where parents, often frightened by the unknown, can privately google and access a wealth of information at their finger tips. When they need research or advice on how to support something they in no way planned for, they have numerous credible sources to go to now. But, with the good comes the bad; the online info often comes with the internet trolls. It seems that many people are bitterly resistant to change, even if it has no direct impact on their own life. But we see this obnoxious behavior amplified times a hundred when these resistant people are allowed a platform on social media to give their careless, hate-filled, intolerant, unsolicited opinions – most often, in the “comments sections.” Scary Mommy pushed my piece on their Facebook page the same day it was published on their website. I’m not usually one to read the comments sections anymore, because I’ve found that they tend to be neither helpful nor informative. In fact, many of the comments left in those areas are just downright ignorant. Some of them are posted by internet trolls hiding behind a fake account for the twisted purpose of conducting online bullying. But the rest of them who are spewing intolerance, hatred, bigotry, transphobia, homophobia, etc., are real people, using real names, sometimes with their occupation or workplace visible. Many of their profile pictures show a child posing with them, and you hope to God their child never grows into an LGBTQ+ identity one day, because they’ll likely be kicked out of their homes. Judging by their parents’ comments on these things alone, it seems likely, at least. That night as I got into bed, I was winding down with TV in the background, mindlessly scrolling through my Facebook feed when up rolled my piece, from Scary Mommy’s Facebook page. I’ve been subscribing to them far longer than they’ve published any of my pieces, so occasionally articles from their page show up in my news feed. I thought I’d check it out. I saw that it already had over 100 shares, and about 900+ comments. Wow. If anything, it had accomplished my desired outcome, which was to get people talking – maybe even thinking in a different way – whether they agree with what I write or not. That’s what it’s all about. I decided to scroll through these 900+ comments, see if anything jumped out. It was as expected. It was what I’ve always seen in the past when I’ve looked at the comments sections: typically more “likes” or positives than “angry face emojis” or negatives, but definitely no shortage of ignorant, downright hateful comments. Normally I ignore. This time, I decided to do a few things. First, I posted my own thoughts to the conversation, because, from what I saw, the hate comments seemed out of control. In this current nightmarish political climate that’s ever present above us like a dark cloud, bullying & harassment seem to be back in vogue. So I believe now more than ever, it’s especially important to say something if you see something. Then, I took screenshots of several of the more negative, or ignorant comments, and decided to place them here in this blog post. Not because I’m trying to punish or expose these people – I’m removing names. Not because I think folks shouldn’t be allowed to disagree. I’m all for respectful, intelligent debate; I expect and even welcome it when dealing with concepts that a lot of society hasn’t embraced yet, like the gender spectrum. And not because I think critique shouldn’t come with the territory. No one is beneath scrutiny. Even former President Obama said he expected to be questioned, criticized, and critiqued, because a thriving democracy depends on free speech. I’m posting them because I think it’s important for people to see the kind of hatred and intolerance, and the absolute resistance to change that is currently out there. Also, I guess my question is, where do we draw the line between free speech and hate speech? I write for a lot of different media outlets. I may be wrong about this since I don’t regularly read the comments sections, but compared with some of the other negative comments I’ve read in the past, Scary Mommy’s readership takes the cake for spewing hatred. Hear me: these are women, and most are moms. I don’t get it. Actually, after my first piece was published with them, which wasn’t even about anything controversial, the Scary Mommy readers on Facebook filled the comments section of my piece with absolute IRE over the fact that I chose to let my second and third-born children sleep in the hospital nursery at night after my c-sections, an offer I turned down with my first child and then later regretted. That one thing – that was completely my choice and my right – drew venomous ire from all these other moms in the comments sections. How is it 2017 and women are still their own worst enemies? Do women honestly never learn that it’s not okay to tear one another down? (Okay, not all women. Just some.) Anyway. Here’s a few I randomly picked of the (now, over 1000) comments. Bear in mind, as I said earlier, there actually appeared to be more “likes” and “positives” than negative stuff. But these are some of the instances where clearly, people were not looking to have educational dialogue or debate. Some of these comments teeter on borderline hate-speech: We must do better. And we have a lot of work to do. When those of us who are brave enough to symbolically strip naked and stand before a national audience by way of sharing our honest, raw, very real, very often painful testimonies, it has nothing to do with us wanting to be “trendy,” or hyping up some sort of “fad.” Because when we share these thoughts – particularly the unpopular ones, the ones that seek to break down ingrained but harmful stereotypes – we gain nothing; there is no societal benefit for a parent who’s swimming against the current. As anyone can see, the graphic above is just a small sample of the very discriminating public we have to face all the time. I join with the handful of other parents of TGNC children across the country – Lori Duron, Debi Jackson, Sarah & Ian Hoffman, Julie Tarney, Eric Maison, Peter & Sarah Tchoryk, and so many others – who are bravely advocating for a transgender, gender non-conforming, or non-binary child. We tell our stories because we recognized that someone had to start the national dialogue and keep it moving forward if we are to collectively become better people, and a better society in general. It’s not enough anymore that we teach our own children to be loving and accepting of those who look different, act different, or express their gender “differently.” Our democracy, with its current political climate (which has seeped its noxious hate speech into the hallways of elementary schools, and has also appropriated itself throughout the country), demands its people to do better. So we tell our stories. We shed light on our narratives in hopes that one life will be saved, one family will change their mind and not oust their teen (and render them homeless). We do it so that maybe one less child will be bullied, because one more parent can appreciate our stories and use them as educational opportunities. Yet, we do so at our own risk. We do so knowing that we will without a doubt be ridiculed by bullies, and then in turn, the bullies will resort to classic victim-blaming, saying, “Well, that’s what you get for being public! If you can’t take the heat get out of the kitchen!” My answer to that is simply “no.” “No, I will not ‘get out of the kitchen.'” I chose this advocacy work. I signed up for it. But just because I signed up for it, that doesn’t in any way justify hate speech. I will always be willing to engage in educational dialogue, respectful critique and criticism, or even intellectual debate on the subject matter, but I will not let hateful, ignorant words stop me – hateful words from people hiding behind computer screens who’ve probably done less to make a difference in their whole lives than I have in just one year. I can take the heat. But you know who can’t? That trans youth who walked into oncoming four-lane traffic of a busy interstate highway because harassment, bullying, and non-acceptance pushed them over the edge; they decided death by an oncoming, full-speed, 18-wheeler truck was the better option than facing another day of society’s willful ignorance and chosen hatred. That was someone’s child. By the grace of God, I pray it’s never yours. Anyone can dole out condescending judgment from their laptop. That’s easy. That could be called cowardice, even. What takes guts is throwing yourself in the arena and getting dirty, getting involved, doing something to actually try to make a difference. Even if that *something* is just a willingness to listen and expand your mind on a topic you aren’t familiar with. But do something that makes a difference. The time is now. Get involved before our democracy completely dies in darkness. And whether you fail or you succeed, at least you tried. To quote Teddy Roosevelt, a man who understood that democracy is not a spectator sport: “It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat.” – excerpt from Theodore Roosevelt’s speech, Citizenship in a Republic, delivered at the Sorbonne, in Paris, France, on April 23, 1910.

Patty is passionate about pushing the sonic envelope of music creation and experimentation, and creating opportunities for women and non-binary folk to learn all aspects of music production using Ableton Live. - Cairns Queensland Australia Patty Preece is an audio engineer and electronic music producer with a background in occupational therapy, currently lecturing in music production at CQUniversity. She is passionate about pushing the sonic envelope of music creation and experimentation, and creating opportunities for women to learn all aspects of music production using Ableton Live. Patty has extensive experience working on a variety of music projects, from workshops with mental health music groups and First Nations hip hop programs, to producing podcasts, film sound and singles as well as EPs and albums for artists in a wide range of genres. Patty’s major project is the Ironing Maidens, where she plays a key role in developing MIDI controllers and custom synthesizers inside domestic irons to use as performance instruments. She has a passion for experimentation with non-traditional instrument design and its influence on the creative practice of music composition in Ableton Live. Please note: Ableton Certified Trainers and Ableton Certified Training Centers are private entities or enterprises and neither employees nor agents of Ableton. They are not administered by Ableton AG, Ableton Inc. or Ableton KK. The trainers and centers are solely responsible for their own course offerings and curricula. Ableton takes no responsibility or liability for the actions of the trainers or centers.

In the past few years, the number of terms used to identify gender has grown. It’s becoming more common for people to be open about their gender expression and how they would like to be addressed. We are familiar with the pronouns he/him and she/her, which most cisgendered males and females would go by. What about the people who identify as non-binary and don’t go by either terms? The gender neutral pronoun ‘they’ was recently added to the Merriam-Webster dictionary. With the definition, “Used to refer to a single person whose gender identity is non-binary.” Non-binary individuals now have their preferred pronouns validated. People who are very fervent with their grammar might find this shocking coming from America’s oldest dictionary. Times are changing and people are more accepting of one another in this generation. It’s all about respecting one another’s identity. “The gender community is really pushing using proper pronouns and even gender neutral pronouns as the transgender and nonbinary community come out more to the forefront,” Executive Director of Adirondack North Country Gender Alliance Kelly Metzgar said. “We are demanding that these changes and our lexicon be made in referring to ourselves and others.” According to the report of the 2015 U.S. Transgender Survey, non-binary individuals make up 25-35% or more of transgender populations. The vocabulary in conversations about gender identity is constantly changing. Some people may not be used to different gender neutral terms yet but they will continue to appear in literature. No one should assume someone’s pronouns. It’s considerate to ask. Some individuals may have gone by other pronouns before but now they prefer they/them. Singer-songwriter Sam Smith, was proud to announce on Twitter that their gender pronouns are now they/them. We should always be accepting of one another and treat people with the same respect you would want from them. When introducing yourself to others you might say your name and your preferred pronouns, that way the other person feels comfortable with sharing theirs as well. Even email signatures now commonly include preferred pronouns. However, it’s common for people to not know how to address someone and they may accidentally be misgendering. “It’s really not pleasant to the person who is being misgendered especially when you are trying to live your authentic life and present as you want to be presenting,” Metzgar said. In fact, if someone does purposely use the wrong pronouns and proceeds to behave in that manner, it can be a form of sexual harassment. Learning people’s preferred pronouns can take time and it’s OK to make mistakes as long as you’re correcting them. The language and terms can be confusing but Metzgar puts it as “reorienting our thought process.” International Pronouns day is on October 16 so share your preferred pronouns with the world. When professors send out emails to their students before the start of a semester, they might include their pronouns and in return ask for yours.

Day 26 of #PrideLibrary20. Today’s blog post is a guest post by the amazing Lauren @ Northern Plunder, I know Lauren as a British blogger and bookstagrammer in the bookish community. Lauren is the ultimate fantasy reader, her Instagram is packed full of gorgeous photos of a variety of novels from Other Words For Smoke by Sarah Maria Griffin to The Order of the Pure Moon Reflected in Water by Zen Cho. If you’re in need of fantasy novel recommendations, just take a look at Lauren’s Instagram! Lauren’s blog Northern Plunder is a mix of reviews, blog tours and discussion posts, head on over there and give her a follow. One of Lauren’s favourite authors is Rin Chupeco, sadly I have only read Wicked as you Wish by Rin Chupeco so far, but as they are a queer Asian author the rest of their novels are very high on my TBR! Lauren has very kindly agreed to write a piece explaining five reasons as why you (and me) should read The Bone Witch by Rin Chupeco, so it’s over to Lauren: First of all, thank you to Hâf for inviting me to write a guest post for Pride Month. Especially about a series and author I’d happily scream about daily. Also, thank you to Imi @ Beyond A Bookshelf for being a great inspiration for this piece and encouraging me that yes it is possible to narrow down my love for this series. For anyone who doesn’t know, The Bone Witch is a completed fantasy trilogy which follows Tea after she accidentally resurrects her brother from the dead. Rin Chupeco is a nonbinary author from the Philippines and has also written The Girl from the Well duology, The Never Tilting World duology, and A Hundred Names for Magic series. In the captivating start to a new, darkly lyrical fantasy series, Tea can raise the dead, but resurrection comes at a price.When Tea accidentally resurrects her brother from the dead, she learns she is different from the other witches in her family. Her gift for necromancy means that she’s a bone witch, a title that makes her feared and ostracized by her community. But Tea finds solace and guidance with an older, wiser bone witch, who takes Tea and her brother to another land for training.In her new home, Tea puts all her energy into becoming an asha-one who can wield elemental magic. But dark forces are approaching quickly, and in the face of danger, Tea will have to overcome her obstacles and make a powerful choice. So here we go… 5 Reasons to Read The Bone Witch: Who would I be if I didn’t start with the reason that made me pick up this series? Whilst there is a distrust towards the Dark Asha (necromancers) within the books, Rin never actually portrays them as evil which is what I truly loved. Instead they explore why there is a distrust in this world, how they’re being relied upon, but also how they’re lied to. The life of a Dark Asha is a heavy path to walk, but it’s not one you can choose. The magic system within this series is one you’re born with, and those with access to the Dark are few. This is what provides Tea point of view to be an exceptional one, especially as she’s such a strong and bright character. 2. Hate to Love Romance Honestly this one is entirely Imi’s reason. I absolutely adore the Hate to Love Romance within TBW, it’s so beautifully crafted and impossible to not root for the couple. However, I’m not someone who actually pays attention to any tropes very well! Whenever anyone asks my favourite I get a bit stunned and never know what to reply. But for Imi and everyone else who is out there craving a Hate to Love Romance, then yes, this is 110% for you. There is so much angst and fighting with little jabs at each other. The banter is so much fun. 3. Great Queer Rep Across the Spectrum Throughout the trilogy there are many LGBT+ characters. They all fit seamlessly into the story, just like in everyday life. A key character arc is them coming to terms with their gender which was such a heartwarming read and exploration over the books. Rin is also non-binary so you don’t need to worry about this being handled incorrectly. 4. Incredible Friendship Across the Board A whole lot of this story is wrapped within incredible friendships. It creates some wonderful found family bonds but also Tea’s bond with her brother is never forgotten either. The two are always mindful of each other, giving them space and protection as and when is needed. Additionally seeing all the found family friendships bloom and grow over the trilogy is wonderful. 5. Alternating Timeline (past/present with storytelling) Finally, I really can’t talk about my love for The Bone Witch without addressing the alternating timeline. It’s told with a chapter in the past then one in the present with storytelling from a bard. The two are intertwined, reflecting, and expanding upon each other – it really is something beautiful. This method of telling Tea’s story is honestly one of the most beautiful things about it, as when coming to the end of the trilogy we’re essentially given two great endings. Thank you so much Lauren for taking the time to create this amazing list of reasons to read The Bone Witch by Rin Chupeco, I am now even more excited to read this trilogy. Don’t you just love it when a series is already completed too? No waiting! Have you read The Bone Witch? Is it on your TBR? At the beginning of every month I’ll be bringing you a list of all the highly anticipated (as well as the hidden gem) fiction releases that are being published during that month. This list includes a mix of children’s, young adult and adult books, listed in UK publication date order. Each book is a link… Continue reading May 2021 fiction releases The Beautiful Ones by Silvia Moreno-Garcia Disclaimer: Some of the links in this post are affiliate links, meaning I will earn a small amount of commission on any purchases made through these links at no extra cost to you.I was sent a copy of this novel by the publishers to review, however this has no… Continue reading The Beautiful Ones Review Kate in Waiting by Becky Albertalli Disclaimer: Some of the links in this post are affiliate links, meaning I will earn a small amount of commission on any purchases made through these links at no extra cost to you.I was sent a copy of this novel by the publishers to review, however this has no… Continue reading Kate In Waiting Review

We are living in the absolute Golden Age of SFF short fiction. There is so much brilliant writing happening and being published, and I love the sheer magnitude and variety we are blessed with on the internets. So here are a handful of stories I read in May and loved. Please enjoy! A Promise of Flight by Lee S. Bruce (Fireside) This story is so fricking cute: a simple promise leads the narrator on a journey of self-discovery, and the ending is hilarious, sweet, and so perfectly earned. I loved everything about this. Plus, the artwork by Maggie Chiang is gorgeous! Never underestimate the power of the human spirit. Treat yourself and read this. 😀 Bride Before You by Stephanie Malia Morris (Nightmare) Wow, this story. So creepy and evocative and full of voice. A story about family and loss and need. Stunning work—Morris builds a fascinating, gut-punch portrait of a family, of human and monster. The ending is perfect, because it brings us full-circle and allows compassion and hope into the darkness, a light to guide the future forward. Cherry Wood Coffin by Eugenia Triantafyllou (Apex) In less than 1,000 words, Triantafyllou builds a complex, haunting, heart-wrenching slice of life surrounding a coffin builder, and the wood that speaks to him. It’s evocative and surreal and the ending is spot-on and wickedly perfect. Emperor All by Evan Marcroft (Pseudopod) This is really fucking effective horror brought to a nearly cosmic scale, while deceptively stationed within the bounds of a single unnamed city. A man named John discovers that he has a nearly infinite power to alter reality around him and makes himself the king of the city. At first he just wants to make his life better for him and his wife. But as they say, power corrupts: and this story takes a horrifying brutal look at just how far power can corrupt, and the extents that people in power will go to keep what they have. The subtle manipulation of the narrative as the story progresses is brilliant and I love how it ends, with the chaos never-ending. With evocative, compact, seemingly effortless prose, Marcroft builds the layers of corruption and horror the longer John is in power. It’s almost entirely told, without dialogue, and it’s incredibly effective: within a few thousand words, we cover decades of stagnation and entrapment horror within this city. The narrative is relentless and brutal and unflinching. It’s damned good, and will haunt you long after you finish reading. Trigger warnings: rape, genocide, atrocity, suicide, torture, gaslighting, abuses of power. This is a dark story and very much full of horrible things happening to people, as done by other people. Godmeat by Martin Cahill (Lightspeed) This story is a stunningly delicious sensory feast of fucked-up gods and broken mortals and it is amazing. Such layered, savory detail, blended with a cup of anger and garnished with hope at the end. Rich and exciting, with a dash of horror and a thick aroma of dread; fantastical and frightening; luxurious and lush; a story that will kindle hunger in your bones. Cahill has cooked up a masterpiece of gorgeous language and breathtaking imagery, of too-real people and the choices they make, of gods and monsters and mortals all adding to the narrative’s distinct, perfectly weighted flavors. Trigger warnings: eye trauma, suicidal ideation, mass destruction. Humans Die, Stars Fade by Charles Payseur (Escape Pod) SO GOOD. SO POWERFUL. A star learns to live again after grieving the loss of their love, and connects with the humans who find them; it’s beautiful and brilliant and full of wonderful queers and hopeful at the end. It made me cry in a good way and I cannot recommend it enough. This is the kind of uplifting science fiction I want to see so much more of in the world. ❤ One Day, My Dear, I’ll Shower You With Rubies by Langley Hyde (PodCastle) In this story, Hyde gives us a thoughtful, emotional, and nuanced look at the aftermath of war and the war criminals involved, and the complications of what makes people human. It’s a hard read, but worth it. Hyde builds up all the people involved in complex ways, not shying away from the good or the bad. It offers no easy solutions and no pat ending. This is a quiet, difficult story and it takes its time—no flashy finale, just a sad, necessary end that has as much catharsis as room for the narrator to come to terms with her past, herself, and her future. Reliving My Grandmother’s Youth by Charlotte Huggins (Flash Fiction Online) A sweet story about family and support and coming into your own voice. Also I love the narrator’s familiar! So It Was Foretold by Mimi Mondal (Fireside) Damn. This one is powerful, emotional, beautifully written and full of rage and loss and grief and refusal to give in, be forgotten, let the stories of one’s history and ancestors die untold. Mondal delivers a powerhouse narrative in few words and it will haunt you long after you read the last lines. Sucks (To Be You) by Katharine Duckett (Uncanny) This is a delightful mashup of modern tech and succubi mythos. Duckett blesses us with a great voice and gorgeous prose, a funny, sweet and bittersweet story about connections and all the threads that tie us, as people, together. Full of shiny yet grounded in all-too-relatable needs, this one will stick with you. Take Pills and Wait for Hips by Anya DeNiro (Catapult) DeNiro’s story about a trans woman who is transitioning is powerful and moving and hopeful, and there is such a wrenching, breathtaking sense of self in this narrative that it feels autobiographical. The prose is electric and sharp, the voice transcendent. Gorgeous, gorgeous work. ❤ The Paladin Protocol by Sydnee Thompson (Fireside) What a fascinating look at tech and consent and the use of power; with a non-binary protagonist! I love seeing that. It ends a little abruptly, but in a way that makes you think. There is a lot packed into this, layers to unpeel and examine upon further re-reads. Thompson has created an awesome near-future world and technology that seems all too real and possible, along with the implications of its use. The Pine Arch Collection by Michael Wehunt (The Dark) Creeping and unsettling, this story about a found-footage horror movie project that two unsuspecting filmmakers get drawn into is eerie as fuck. “Heavy black lump” as a descriptor has never been more chill-inducing than in this story. The arms of the heavy black lump reach closer to your windowsill. This reminds me in an excellent way of “each thing i show you is a piece of my death” by Stephen J. Barringer and Gemma Files. Found-footage as a genre is an uneven patchwork in the history of horror, but when done well, it can be brilliant. “The Pine Arch Collection” captures the horror and terror and sensory wonder of the best found-footage and metafictional insights into horror, movies, and our darkest selves. It is visual in just the right ways, and the format—a collection of emails—adds to the sense of reality and inevitability. It’s amazing and I recommend it a lot. Variations On a Theme From Turandot by Ada Hoffmann (Strange Horizons) In a word: magnificent. This story (which, disclaimer: I beta read in several different versions) is a pièce de résistance; a triumphant, harrowing, brutal, beautiful, operatic tour de force story taking on Puccini’s Turandot and the troubled narrative of dead women in the composer’s work. Hoffmann weaves an ever-more-complex series of narratives: Liu’s story with the Princess in the opera itself; Liu’s realization of who she is and what her role is; the Soprano who sings the role of Liu; the layers of ghosts and stories both Liu, the Princess, and the Soprano must navigate to find their own ending. This is full of grief and loss and pain and rage and hope and triumph. It is metafiction in the way it examines the opera, and changes the reality of the story through the agency of the women who take their destinies into their own hands; women who will not be forever silenced by the pen or words; women who find solace and who aid each other and build a better future, a truer ending for them all. Trigger warnings: rape, genocide, torture, suicide. We Feed the Bears of Fire and Ice by Octavia Cade (Strange Horizons) A brutal and wrenchingly sad, satisfying story about climate change and complacency and guilt; gorgeous visuals both searing and hauntingly cold. Cade’s prose is a masterclass of exacting language, tone, and pacing. The story builds and builds until you don’t think you can endure any more, and then like a breath, like a scream, it lets go, lets you release the tension and rage knotted taut inside, and then you can bask in fierce satisfaction at the end. Fantastic work. Big shout-out to these awesome authors and their excellent stories! Check back next month for another round-up, or feel free to follow me on Twitter @Merc_Rustad for instant recommendations as I have them. Cheers!

With the wide-spread acceptance of alternative gender identity and relationships in western countries, those who hold to the Biblical model of marriage and family have been ridiculed and their voices stifled. Pride Parades have become annual celebrations on all continents during the month of June, with the Israeli cities of Tel-Aviv, Jerusalem, and Haifa each holding their own such events. Tel-Aviv is said to host the Middle East’s largest parade, with approximately 250,000 participants in 2019. This year, for the first time, secular and religious Israelis organized a countermarch in Haifa in support of traditional family values. The event focused on supporting conservative families; at no point was dislike expressed towards the LGBTQ community. Instead, it aimed to resist the “progressive” censorship experienced by those who don’t support non-binary sexual identity and family structure becoming the social norm. Almost 1,000 adults and children participated, including members of 5 Messianic Jewish congregations, despite Facebook deleting the page that had been used to publicize the event. In the attached video, a woman says, “Our family is made up of a mom and a dad. We’re tired of not being allowed to say that that’s what we believe to be correct.” One of the march’s organizers was Attorney Na’ama Selah, who describes herself as decidedly secular. “The traditional family a society’s cornerstone. Societies without traditional families go extinct,” she said at the march. “Traditional families are disappearing in Europe and being replaced with strange hybrids. We don’t want the same to happen to us.” “Identity politics dictate the way we speak. We are made to believe that we need to be careful about expressing certain beliefs.” What worries her most is what is being taught to children in the Israeli school system, not unlike schools in North America and Europe: “The Ministry of Education puts [ambiguous sexuality and flexible family structure] in kindergartens. I call on the Minister of Education to stop this madness.”

#Introduction Howdy y'all! 🤠 I'm a black person from Louisiana currently living in Minnesota. I'm considering moving out of the United States to Africa or India. I'm the feminist killjoy of your dreams, enjoying all things fantasy while pointing out the races and the misogyny and everything. I'm non-binary leaning trans masculine - pronoun fluid, but I usually feel comfortable with "he". I love being social, hanging out, and food... so potlucks. Homelessness is the symptom of capitalism. @ikora I want to move to India because I love the people in India! Everything I already know about the culture and people that I met from there! Africa is relatively new, but I've spent all my life up until this point believing that Africans don't like us only for to turn out to be a white capitalist lie. Africans want us to come home. It's just Africa has so many problems. It's hard to get healthcare in some places and have lgbtq rights in others. @toriyoujo the people you meet from India are Brahmin usually from the highest caste. So they probably would think that. And yes about Africa too. They do want us to return. But often we need to do a lot of deprogramming to avoid being a coloniser when we get there. @toriyoujo we chose Australia. And are considering Aotearoa (New Zealand) because of healthcare and just a better mindset. A community that builds us.

Sidonie from our Health Information Team is a football fanatic. She shares why she plays football and the health benefits of exercise. 2019 is the year of women’s football; at least, that’s what everyone is saying with the FIFA Women’s World Cup final between the USA and the Netherlands looming this Sunday. But for me personally, 2018–19 really has been my year of football. When I was younger, I wasn’t into sport; quite frankly, I was barely into exercise. For me, being physically active meant being sweaty, looking red, not understanding the rules, and feeling like I was letting down any team I was forced to play with. Put it this way; if we had to play rounders at school, I would go outfield as far away from the ball as possible, or would miss the class entirely. If I had to exercise, it was only to keep fit and it was in solitude. I’m not alone in this attitude towards sports. Girls aged 7–16 are less likely to enjoy being active than boys, with only 31 per cent feeling confident when taking part in sports. And while it is improving, there is still a gender gap when it comes to physical activity. Many girls feel like sport in general isn’t for them, let alone football. Sidonie and team-mate celebrate with medals from their first tournament. This all changed for me in April 2018 when I joined Goal Diggers FC, a football club for women and non-binary people whose motto is “availability not ability”. I’d known about the club for over a year, but after some convincing I finally went to a free training session with a few friends for moral support. I was incredibly nervous, completely out of my comfort zone, and out of breath. But I have never regretted it. Over a year later I still attend training sessions (almost) weekly and even scored the winning penalty in my first tournament in London. Play sport, prevent cancer Of course, working at World Cancer Research Fund means I know the advantages of being physically active. Exercise helps maintain a healthy weight and protects against bowel, breast and womb cancers; plus insufficient physical activity has been linked to cardiovascular disease, strokes, diabetes, poor bone health and depression. But for me, football is about more than just health. I feel empowered, have made amazing friends, and have finally found a sport in a setting where I feel confident. If you've been inspired by the World Cup and want to try playing the beautiful game, I totally recommend finding a local football club. It needn't be difficult to find football near you, as the FA’s handy tool helps locate clubs or casual kickabouts. Or why not simply get a group of friends together to have a kickabout in the park? With so many health benefits, don't let anything hold you back!

In this week’s episode of the Gay City News podcast “Thank You For Coming Out,” creator and host Dubbs Weinblatt (they/ them) welcomes Peppermint (she/her). A longtime key figure in queer nightlife, actress & singer Peppermint regularly performs to sold-out crowds around the world. She has released five albums which are available on all streaming platforms. Peppermint can currently be seen on OUTtvgo’s “Translation.” In this weekly roundtable talk series, former contestants of RuPaul’s Drag Race; Peppermint, Jiggly Caliente, Sonique, and Carmen Carrera sit together to discuss various topics including politics and dating as they relate to their trans identities. Peppermint, who is the ACLU’s first-ever Artist Ambassador for Trans Justice has raised six-figure sums for prominent LGBT rights groups, partnered with MAC Cosmetics’ “M.A.C. AIDS Fund” and is involved in the HIV Vaccine trials network. She partnered with RuPaul Drag Race Winner Sasha Velour for a college speaking tour that focused on the challenges faced by transgender and non-binary people in today’s political climate among various other topics. Peppermint takes every available opportunity to speak at universities and to various communities on the issues. Peppermint is currently nominated for a 2022 GLAAD Media Award in the Outstanding Online Journalism category for her contribution to the Discovery+ “Legendary” series. Previous honors include; GLAAD Media Award nomination alongside Lady Gaga & Kehlani for Outstanding Music Artist (2021), was named one of Out magazine’s “OUT100” portfolio of the most influential LGBTQ people of the year, plus many more! You can catch Peppermint in the upcoming summer rom-com movie, “Fire Island” alongside Saturday Night Live’s (and TYFCO alum) Bowen Yang & Margaret Cho premiering on Hulu June 3. As queer people, we are constantly coming out, and each coming out story is unique in its blend of humor, heartache, worry, and wonder. “Thank You For Coming Out,” inspired by Dubbs’ beloved live comedy show of the same name, pairs them as host with lesbian, gay, trans, bi, non-binary, and more members of the queer community to discuss their coming out stories. Listen in to our latest incredible journey into the LGBTQ communities’ vulnerable and often hilarious stories of coming out.

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Respecting Blackness and understanding systemic racism were among lessons learned at the summer camp. While other fourth graders had the summer off, Zahra spent hers protesting detainee conditions, quizzing the founders of an international social justice movement, and learning Capoeira. When she wasn’t, she was hanging out with newfound friends also enrolled in Black Lives Matter Toronto Coalition’s Freedom School. Taking its name from alternative free schooling offered in the United States post-segregation, Freedom School was mostly known as a free summer camp for kids ages four to 10 that used arts to teach a Black-positive curriculum. What may have been overlooked about the Freedom School was how it embraced an early LGBTQ education. Funded by BLMTO and a crowdfunding campaign that raised more than $15,000, Freedom School called itself a queer-positive and trans-feminist summer camp, spearheaded by Toronto Africentric School teacher LeRoi NewBold. A BLMTO steering committee member and a former Gladstone Hotel queer night organizer, Newbold’s initiative was welcoming of queer and trans students. “My brothers, sisters, and siblings are kings, queens, and non-binary royalty and their Black lives matter,” reads Freedom School’s code of conduct. In turn, this signalled to queer-positive Black families that this summer program would celebrate their children’s identities wholeheartedly. Of Black and Indigenous background, Zahra is proof that the personal is political. Her mother Victoria Herrera is a trainer and community educator for an Indigenous non-profit. As someone both Latinx and Indigenous who grew up in Texas, Herrera’s education rarely featured who she was positively. When she was told of the Freedom School, she leapt at the chance to enrol her daughter. “When I had Zahra, I was very aware that representation was important,” Herrera says. “This was something she did on her own, I gave her the choice and she wanted to do it. I felt really proud, she grew up a lot. It was three weeks, but it seemed like she grew up a lot in that time.” Waking up at 6:30 a.m. for three weeks might have been a dreary reminder of September for others, but for Zahra those 15 summer days taught her five valuable lessons. “I like snacks and lunches!” Any kid who says lunch is their favourite class of the day is certain to have access to more than just the typical cafeteria staples. West African and Caribbean hot lunches were served daily for kids, with black-eyed peas, roti, and fried chicken enthusiastically liked by Zahra. Students spent lunchtime slurping Haitian soup joumou, wolfing down hominy porridge, and gobbling veggie patties. While appreciating a good meal might seem unrelated to learning to love yourself, it’s especially important when many people of colour have lunchtime horror stories of being ridiculed for their hot non-Wonder Bread meals. “Everybody should be respected.” Gender pronouns were explicitly discussed in the camp’s early days. “If someone uses she or him or they, we call them that,” Zahra says. This is not a new lesson for Zahra, who joins her mom in Pride marches and has known people who use gender-neutral pronouns. “For us, we’ve always been involved. Zahra grew up surrounded by with queer and trans people,” Herrera says. This respect was reiterated during field trips. Students brewed herbal tea and learned about Indigenous food values while visiting a community garden at the Six Nations farmers market, located in Ohsweken, Ontario and of the Grand River Territory. At Neshama, an accessible playground in midtown Oriole Park, students touched ringing pipes and swung on saucers. They would later learn that everything they played with was to make playing more inclusive for kids, and other basic tenets of disability justice. (This spurred students to create their own accessible playgrounds, out of jynx wood.) “[It’s all] normalizing what should be normal,” Herrera says. “I learned about Nanny Maroon and Blue Mountain.” Freedom School didn’t shy away from historical icons. Zahra names Nanny Maroon as a notable figure for rescuing more than 1,000 enslaved Black people. She also retells how Maroon and her brothers escaped being sold and set up a base in Jamaica’s Blue Mountains. “Political prisoners should be freed.” “The police should apologize to any Black person they put in jail for no reason,” reads a demand scrawled by a Freedom School graduate on a poster. To cap off the summer camp, caped Freedom School graduates made headlines for protesting in front of the U.S. Embassy in late July. They stood there after learning that detained migrants in Lindsay, Ontario, were on a hunger strike. They also learned about various unjust arrests, including that of Jasmine Abdullah, a queer Black Lives Matter activist in the U.S. who was convicted of “felony lynching” after pulling someone out of police custody during a protest (a crime that was historically used to prevent white mobs from lynching and murdering Black individuals). The protest hits close to home for Zahra and Herrera. Herrera is the daughter of an undocumented migrant, who was deported and incarcerated. Zahra’s met her grandfather, but their conversation has been limited; she can say “Hola” (hello) and “Bebo leche” (I drink milk) to him, for now. “Blackness is not scary. It’s beautiful.” Towards the end of Torontoist‘s conversation with Zahra, the 10-year-old says this. While young, she has already learned an implicitly negative stereotype about Blackness, one that she has decided to correct. Freedom School was part of that decision. Herrera remembers it starting from day one, when she dropped Zahra off for the first time and being greeted by a wall of Black dolls. “They’re Black people from the community, one of the parents made them,” Zahra adds. Throughout the program, Zahra has contributed to a collage celebrating darkness, danced with friends, and drew superheroes that looked like her—in a program that encouraged her to do so, respecting where she came from and where she was headed. Out of all the opportunities, field trips, meals, and dances, Zahra had only one thing on her mind when asked what she would miss most of all: “I’m going to miss my beautiful Black friends and teachers,” Zahra says. “That’s it!”

What Does Feminism Look Like In The Electronic Music Biz? Female and queer artists will make up a majority of the lineup at this year’s Moogfest in downtown Durham. It’s a roster that pushes back against the prominence of men as the creators, performers and promoters in the electronic music industry. To me a lot of women and nonbinary artists are making some of the most exciting music around. -Michelle Lhooq As part of the event, music journalist Michelle Lhooq is moderating a panel entitled “Electronic Music and Feminism in the Wake of Me Too.” She has gathered artists and industry leaders to discuss their own challenges promoting their talents and sometimes fighting off harassment in the music scene. Host Frank Stasio speaks with Lhooq and local Durham-based DJ Queen Plz (aka Laura Friederich) about how to raise up women DJs and how to promote structural change in the electronic music scene. Moogfest runs Thursday, May 17 through Sunday, May 20 in downtown Durham. The panel conversation "Electronic Music and Feminism in the Wake of #MeToo" takes place Saturday May 19 at 11 a.m. at the American Underground Bullpen. Laura Freiderich on organizing a women-inclusive DJ lineup: When I started “Party Illegal” we had the goal of having at least one woman or non-binary artist on every lineup. And a lot of times that involved going and looking for female artists. It involved hiring female artists that had less experience. It involved teaching people how to DJ. And that was several years ago at this point so I think, like Michelle was saying, it sort of has grown. A lot of the people that were novices then are now creating their own collectives of other female DJs and teaching more women how to DJ, so it's growing fast. Michelle on the scourge of the all-male lineup: I think in the past it was just the norm to see an all-male lineup. People didn't even really question it. But now that women started carving out their own spaces and challenging this idea that: Oh there are no women in electronic music! It’s like: Of course there are! You just haven't been paying attention … And I think that's a really important shift that I've seen in the last four, five years. It's happened so quickly. Michelle on not tokenizing women DJs: In the past I think when this all female collective line-up started to become, like Laura said, a bit trendy, a lot of promoters sort of glomed on to the trend and just sort of started booking women for the sake of booking women. But I think that these DJ collectives are really leading the way in showing that it should always be about the music first and the community that you are bringing out. And that you need to book a lineup that's interesting, that's empathetic to the people who are coming and that has style and attitude. If you just have tunnel vision for the sake of booking women it doesn't even make sense and the party feels incoherent. Laura on experiencing harassment at parties: As [Party Illegal] got more popular I do feel it got straighter, and I do feel like as more men, and particularly more men that were not familiar with queer ethos came in, the creep factor increased. The creep factor being people putting their hands on my butt. The creep factor being people commenting on my breasts instead of on the music I was playing. Michelle on the culture of consent at parties: I think that people are becoming much more aware of issues of consent and harassment and how sexual harassment is endemic to the nightlife industry and that something needs to be done about it. And if that means having to educate the people who come to your party about what's OK and having very strict rules about: OK if you cross this line you are going to get kicked out. You are going to get called out. I think that the conversation and awareness around this issue has really improved, especially in certain corners of DIY parties and underground parties where the community is much more tight knit versus a big commercial festival where you're having thousands of random people coming together. But I think that the change is trickling upwards.

Name: Yazmin Harris Job title: Yoga instructor and freelance writer/content creator Currently lives in: Toronto Education: Two years of a Bachelor of journalism, Ryerson University First job out of school: Hosting yoga and meditation workshops for beginners Here are the first words you’ll hear if you take one of Yazmin Harris’s yoga classes: “Hi, my name’s Yazmin. I don’t give a shit if you can touch your toes with your fingertips. I am just here as a guide. You are the master of your own practice. You have full permission at any time to ignore everything that I say because you know your body better than I do. That being said, it’s imperative for you to realize that this is more than just a fitness class. This is the time and space for you to become better acquainted with your mind and body with an attitude of non-judgment and oozing compassion.” This affirmation has become a cornerstone of Harris’s classes. A fierce body-positive advocate, she believes that you don’t require a specific body shape to love or embrace the practice—in fact, it’s been an essential part of her teaching ever since she started in the industry. She now divides her time as both a freelance health writer/content creator and a yoga instructor, teaching at Equinox, Ten X Toronto, Good Space, Yoga Space and her own home studio. After dropping out of university, Harris began hosting yoga and meditation workshops geared toward beginners. They were for “anybody who at any point had felt too nervous or intimidated to walk into a studio because of perceived limitations on what they think they should be capable of before walking into a yoga studio,” she explains. The practice also taught Harris—a trained dancer who was also fairly competitive growing up—to be kinder and more compassionate to her body and herself. Harris’s body-positive messaging is also a major part of her social-media presence. She uses the platform to promote the body-hair movement, employing words and images with equal candour. “My hope and the reason that I share so much of my body so vulnerably is to try to inspire or to show other people—specifically queer and non-binary and female-representing people—that we do have the power as individuals to decide for ourselves what we think is beautiful.”

For non-binary visitors, however, internet dating programs – which are often designed across gender binary – could be complicated, or even downright exhausting. In recent years, some software need experimented with make programs more comfortable for non-binary everyone. Tinder began experimenting with permitting consumers to choose from nearly 40 gender choices in November 2016 (ranging from transfeminine to agender and pangender) before fully running the function out internationally as of July 2020. Hinge and Bumble, as well, posses launched several sex solutions within the last couple of years. This type of posts haven’t been plain-sailing if you aren’t cis. In 2019, Pink reports reported that trans consumers were continuously becoming prohibited from Tinder after updating their gender to “trans”. This looked like because potential fits happened to be reporting all of them with no reasons, and lots of trans people at that time said to get zero response from Tinder whenever they attempted to fix the matter. Non-Binary Visitors Inform Us Why They Want Appropriate Acceptance Tinder’s a reaction to pinkish Development was actually fairly non-committal. “We understand the transgender neighborhood faces difficulties on Tinder, like getting unfairly reported by possible matches more frequently than all of our cisgender members,” a spokesperson said in a statement. “This try a multifaceted, complex concern so we are working to continuously improve their experience.” Usually, there are more roadblocks for non-binary men and women making use of these software. On Tinder, Hinge and Bumble, after picking your gender, you may be then requested whether you wish to be contained in pursuit of “men” or “women”, which efficiently causes one to decide anyway. Tao, a non-binary people, states that getting expected what gender they wanted to be revealed alongside “pissed myself down a great deal!” They downloaded Hinge since it was basically suggested in their eyes by their own queer and genderqueer family. “however I noticed this question. It’s such an unusual method of inquiring, in essence, exactly what genitals have you got.” Whenever VICE hit out over Hinge, they mentioned that this was an issue these were doing, declaring: “We definitely see the issue about non-binary people being able to customize their own potential fits predicated on their sex,” they blogged. “At the moment, the audience is doing constructing a refreshed matching experiences that will develop a more comprehensive, enjoyable and safe experience that finally cause significant affairs.” Many non-binary folk decide not to ever reveal her sex on software whatsoever, instead choosing “man” or “woman”. This could be for various factors. Izzy, that is in addition non-binary, states, “I don’t need that is all that somebody is targeted on. I’ve come out to individuals, then they occasionally spend entire nights asking me every matter in the sunshine about my identity. Everyone see you since the educator, but we don’t possess power for that. I just wanna chill.” Services Sucks, Particularly When Individuals Get Your Pronouns Wrong Julian, who is genderqueer, furthermore picks never to in the beginning reveal their unique gender identification on most platforms. “I am not afraid therefore, but I respond arranged in the event they puts individuals down,” they clarify. “Luckily, we commonly accommodate with individuals who seems sympathetic to trans and non-binary people in any event. If I read any personal cause inside their bio I’m like ‘OK, you seem reasonably woke, which is comforting, you’re most likely not a dickhead.” Also on PrzejdЕє tutaj software designed for the LGBTQ neighborhood, non-binary someone can often feel just like an afterthought. Grindr industries alone because earth’s largest social networking app for “gay, bi, trans and queer people”. However, in practice, Grindr feels intended for the homosexual men community. You’ll be able to enter personalized alternatives for gender, however they are unable to filter people in this manner. Instead, you could select “tribes” – like “Otter”, “Bear”, and “Twink” (terminology usually employed by gay males to explain system types and hairiness). Really the only “tribe” that defines gender character try “trans”, without having any specific mention of the non-binary. Some trans folk get the “tribe” features useful, particularly for locating some other trans customers. But, as Julian highlights, it is a feature with which has lots of possibility abuse. “In my opinion the way that group continue Grindr especially to find trans people [can getting] predatory. I’d anybody query myself easily would cross-dress and permit them to fuck myself. First of all: we don’t cross-dress. Second, I’m perhaps not probably let you fetishize me. They performedn’t appear to respect myself as someone, they simply tried to objectify me personally.” I’ve truly got negative activities on Grindr, as well. I say during my biography that We determine as non-binary, but nonetheless get lots of information beginning with “Hey, man”. I am aware that app is certainly caused by utilized by cis gay males and therefore in my own images i will be masc-presenting, nonetheless it merely requires a second to read a bio. Upon advising people that I prefer to not ever end up being described as a “man”, lots of people just who in the beginning seemed enthusiastic would possibly get peaceful, stop me personally, or even in one specially terrible case, threaten myself with sexual assault. This type of dangers happened to be disconcerting for on Grindr, when I could notice that it had been sent from an individual who was only 400 yards away. The application is rather special because you aren’t needed to match with somebody before chatting all of them, and it’s really easy to understand how long away men and women are away from you. This makes it better to find potential hook-ups, but it addittionally substantially advances the prospect of misuse. When two in five non-binary folks have practiced a hate crime or experience during the area of a year, these risks can feel very real. Most non-binary people have located alternatives to standard dating programs entirely. Izzy wasn’t utilizing apps after all: “The method I’ve regarding men is by joining on line organizations. I’ve signed up with a queer stitching party, I’ve joined a non-binary, really, it’s not a therapy group it style of is actually,” people say. “I’d instead do stuff that’s organized versus aimlessly talking to someone on software. I have found it is simpler to talk to folk because there is some thing in common.”

PLEASE NOTE: THE FOLLOWING DISCUSSION 'SPOILS' PLOT DEVELOPMENTS THROUGHOUT PARALLEL LIVES. VIEWER DISCRETION IS ADVISED. * * * MATT SENECA: Parallel Lives is the new book by Olivier Schrauwen, following up his 2014 opus Arsène Schrauwen. I believe both of us are on record as being huge admirers of that book, and Schrauwen’s work in general. I think the guy’s never put a foot wrong, and I personally count him as the most interesting European cartoonist currently being translated for the English-speaking market. So this book is a big deal! It collects six stories of varying length, all but the last of which appeared by themselves in other venues before being presented as part of a cohesive work here. What jumps out at me about the book as a whole is its focus on the future. All of these short comics fit into the science fiction genre, if a typically bizarre, Schrauwenesque reading of it. Some of them have an explicit future setting, while others contain glimpses of times to come or advanced technology. This is interesting to me because the great majority of Schrauwen’s previous works have been investigations of the past. One could make the argument that the two main concerns of Schrauwen’s pre-Parallel Lives work are European colonialism, and early-20th century styles of cartooning. This book leaves both behind, and though it’s clearly animated by the same sensibility that powered Arsène Schrauwen, it’s unmoored from that book’s essential narrative concerns. Then again, this book and Schrauwen’s others also have a lot in common… JOE MCCULLOCH: That’s very true. In fact, it goes back a little further. For context’s sake, here’s a list of Schrauwen’s book-format comics: My Boy (Bries, 2006) Le miroir de Mowgli/Mowgli's Mirror (Ouvroir Humoir, 2011; Retrofit/Big Planet, 2015) The man who grew his beard. (Fantagraphics, 2011) Arsène Schrauwen (Fantagraphics, 2014) Parallel Lives (Fantagraphics, 2018) What all of these books have in common -- save for Mowgli’s Mirror, which is not quite 48 pages -- is that they’re all compilations of short pieces. My Boy is a series of vignettes; The man who grew his beard. is a traditional collection of previously-published stories; and Arsène Schrauwen, while ostensibly a graphic novel, was originally released as self-printed comic books by the artist. Schrauwen even goes so far as to urge the reader at each chapter break to put the collected edition away for one or more weeks, to foreground its nature as a compendium. He’s currently working on a new project, Sunday, which only has one self-published chapter out as of now, so it looks like this practice will continue. In addition, while all of these books focused intently on the past, they do it in a somewhat algebraic manner. My Boy was, by the artist’s own estimation, a “forgery” of early 20th century comics, a la Winsor McCay; Mowgli’s Mirror is a wordless parable of man’s incursions on nature, nodding towards and ironizing Kipling; The man who grew his beard. presents an indistinct, phantasmagoric past, with added colonial coloring; and Arsène Schrauwen, of course, imagines the life of Schrauwen’s own grandfather in the Belgian Congo as a sort of very aloof, very formalistic slapstick comedy. I bring all this up because, although I think Schrauwen’s work has a reputation for being surreal or weird, I’ve found him to be the type of artist who really ‘shows his work’ on the page. Arsène Schrauwen is powered by very literal visual similes, some of which are explicitly defined on the book’s cover: a person with a blank circle for a face representing “The Unknown”, or a goblet of trappist representing “Freedom”. The man who grew his beard. revels in juxtaposing drawing styles against one another, which provokes contemplation of what is on the page, rather than immediate absorption. My Boy places the early period of American newspaper cartooning in as firm a pair of quotes as can be imagined. And, because Schrauwen tends to work in short bursts, you get the sensation that you’re following his thoughts from idea to idea along a relatively straight line, from the early pastiche of My Boy to the thorough imagineering of familial/national/colonial history of Arsène Schrauwen. And though some of that is surely an illusion -- a realization on the reader's part as fictive as the ‘facts’ of Arsène Schrauwen’s life -- it encourages a lot of thought. Or even identification; I bought a copy of My Boy off the Bries table at the last MoCCA festival held at the Puck Building, in 2008, and I liked it so much that I scampered back home immediately to Pennsylvania to write about it on my Blogspot dot com webpage. Critics love to do that with artists who show their work, because the systems provide a ready-made chassis on which to build essays; the artist has done some of the critic's labor for them, and the critic is grateful. Now Chris Ware praises him, Art Spiegelman praises him; he’s in the New Yorker, discussed on NPR - Schrauwen is a big deal, and I have to check myself so as not to be overly precious about his work and thereby prove myself the superior analyst, because I read his first book when it was new. The fine German critic Oliver Ristau reminds me that Schrauwen did some work for the venerable Belgian children’s magazine Spirou early on, before the limitations of that venue proved ill-fitting; he’s a guy who likes jokes, a lot. MATT: Shall we indulge him then? A good joke, Schrauwen knows as well as anyone, is all about putting the pieces in sequence. The subject matter of Parallel Lives diverges from earlier Schrauwen comics, but at the same time it reads very much like an answer to Arsène Schrauwen (though the first piece collected here came out during the serialization of Arsène). Where that book presented the highly fictionalized story of Schrauwen’s colonialist grandfather, this book begins with a story starring the artist himself, before its subsequent chapters trace the travails of his descendants far into a future that only this guy could dream up. You suggested dissecting this book into its component parts to see what makes it tick. Let’s climb the family tree... Greys (previously published as a standalone comic by Desert Island, 2012) MATT: I’m a big fan of fictional comics that present their creator as a character, especially in the art/lit comics world that Schrauwen’s work, and The Comics Journal for that matter, resides in. It’s a great way of pulling the rug out from under the reader - of playing a joke on us! Readers of what Dan Nadel (RIP) called “shmart momics” have been so conditioned by years of hard-realist, painfully honest autobio pieces from Crumb on down that the bare fact of seeing the cartoonist themself drawn on the page wraps everything that happens in a story, no matter how absurd, in a gauze of presumed reality that has to be actively torn away. To me, making yourself a character in your comic is almost like making the reader a character too - going from giving a presentation to having a conversation, if you will. Schrauwen does a great job of leveraging that baggage in “Greys”, loading the reader down with more and more absurdity until whatever credence you’ve lent him inevitably collapses. This story, while it establishes the science fictional milieu of Parallel Lives, feels more like a send up of autobio comics than anything else. It’s also a great forum for Schrauwen’s deadpan humor, which is the signature aspect of his writing to me. He never breaks kayfabe, beginning his story at the drawing table (autobio comics cliche #1) before discussing masturbation (cliche #2) and unsuccessfully attempting sleep (shades of Kevin Huizenga’s hyperquotidian Ganges). A close encounter with a group of aliens - the titular Greys - immediately follows, but even this isn’t totally foreign territory for autobio comics (see Barry Windsor-Smith’s testimonial in Streetwise... and who could forget that Grant Morrison alien abduction video?). JOE: Fantagraphics put out two volumes of Windsor-Smith’s Opus around the turn of the century, which had a very serious treatment of paranormal autobiography, yeah. MATT: So personally, I felt like it was at least possible that Schrauwen might be relating something he believed had really happened to him -- and given the fake-autobio nature of this comic, was inclined to give him the benefit of the doubt -- up until the panel where the aliens “found the time to release me from my underwear,” which is illustrated with a medical-text style closeup of Schrauwen’s hairy, uncut dick and balls. This is a funny comic whose first joke doesn’t come until more than a third of the way in, but boy does that joke, which packs the accumulated weight of the thousand more seriously intended penile self-portraits from Important Cartoonists we’ve been assured are No Laughing Matter, kick hard! The opening of the book states that Schrauwen felt comics was the only medium that could put across the nature of his experience successfully. It’s a punchline by the time it’s repeated at the comic’s end, given that this is the medium at its most basic: narration rendered in text over very literally illustrated panels. But as funny as “Greys” is, I find its overall emotional tenor to be surprisingly in line with the kind of comics it deconstructs - a vague, permeating melancholy. After Schrauwen’s orgasmic adventure, he’s shown a vision of humanity’s every act of mass self-destruction, one after the next, that extends from primordial times into the future and culminates with the destruction of the universe after a miniature black hole is stolen from the Large Hadron Collider. This isn’t earth-shakingly innovative content by any means, but the deadpan affect of Schrauwen’s narration, so adept at underlining his funny pictures or ludicrous plot twists, can be quite bracingly sad too, like listening to an autotuned voice sing a song of heartbreak. The sections of Arsène Schrauwen that focused on its main character’s unrequited love for his cousin’s wife had a legitimate emotional charge, and this comic’s narrative crest does as well. JOE: It’s interesting how much this comic has changed from the first time it was presented; of all the pieces in this book, “Greys” is the one that bears the most weight of a contextual shift. The 2012 Desert Island edition is a stapled comic book with no cover stock, its story ambling out onto the back cover - the art is presented at two panels per page, quite fuzzily; it looks like a bootleg, which belies the sophistication of a comic published under the auspices of an arts-focused comic book store, the owner of which was at that time co-organizer of a prominent alt comics show, the Brooklyn Comics and Graphics Festival (now Comic Arts Brooklyn), where "Greys" was made available for sale. The aesthetics of the printing, then, can be read as a way of accommodating Schrauwen storytelling approach, which, as you’ve said, is very akin to that of Arsène Schrauwen. The two works even begin with the same type of image: a big, jolly close-up of “O. Schrauwen,” graphic novelist, who does not especially resemble the real Olivier Schrauwen. MATT: That image of “Schrauwen’s” face, which repeats throughout this book as the first panel of a few stories, with increasingly absurd hairpieces or makeup added onto his identical future “relatives” a la that Key and Peele Shrine Game sketch, sums up his approach to the autobio comics genre better than I ever could. It completely short-circuits the reader’s ingrained reaction to seeing an author draw themselves - where most cartoonists are interested in generating some kind of empathy or other with their self-portraits, Schrauwen’s goofy ass slack-jawed grinner functions as a punchline in and of itself, one that only gets funnier as it repeats throughout this book. It reminds me of that Dan Clowes comic where a professional caricaturist’s ultimate act of self-annihilation is drawing himself as ugly as he possibly can. JOE: "Greys" was a very funny comic to read at the time of its original release, in a form that evoked a sense of haste, like the whole thing was stolen from somebody’s bedroom and printed in secret. I don’t know if it was conceptualized in the same way as Arsène Schrauwen, with the artist writing out a stream-of-consciousness text and then pairing some of that text to drawings which deliberately repeat some of that text’s information, but it feels very similar. “Greys” is much more straightforward, though - it lacks much of the word/image punning of Arsène Schrauwen, instead focusing, to my eyes, on the pleasure of odd drawing. A weeping graphic novelist clad only in a hospital gown rising up at gigantic size to prevent the 9/11 attacks by swatting an aircraft away from the Twin Towers and then storming around the city like Godzilla in a fit of emotional agony is served well by the direct approach. JOE: In Parallel Lives, “Greys” plays a much different role. It’s been almost totally rearranged as six-panel pages, with the visual quality much clearer and sharper; there’s a handful of new panels to expand the story, the punctuation of the text has been corrected throughout (to less humorous effect), and some of the wording is different - this is the Graphic Novel version of a comic book. Or, if you want, the BD album collection of a magazine comic. And, as part of a graphic novel, it now functions as a sort of prelude, explicitly beginning this new book with evocations of Schrauwen’s prior book, Arsène Schrauwen, as if to demarcate a point of departure for the new thinking that animates the rest of Parallel Lives. The form of “Greys” is similar to the artist’s older work, we can see, but the science-fiction content is new, and in subsequent stories the form too will evolve, as humanity does in the future. It’s all quite integrated. So, the grey tones of this story come to represent the past, like a long, pre-credits flashback in a movie, and I think its individuality is dulled by this new context. I found myself anxious to get on to the later stories this time. And, as if to anticipate my reaction, “Greys” also now sets up plot points for later… but we’ll get to that when we come to it. Hello (previously published in the anthology Mould Map 3 by Landfill Editions, 2014) MATT: This story kicked off a streak of Schrauwen having the best comic in a number of very high-quality anthologies. Mould Map 3 today looks as emblematic of the 2010s in art comics as Kramers Ergot 4 was of the 2000s to me. As in today’s wider comics marketplace, Schrauwen’s contributions felt a little outside of the space everyone else was working to carve out. Where piece after piece in Mould Map 3 predicted a sweaty, gritty, dystopian future that would put humanity through the sluice, “Hello”’s rendering of our eventual fate is more Peter Max than Mad Max. Arsène Schrauwen was where I first noticed Schrauwen’s facility for writing and drawing parties, one matched only by his fellow Belgian Brecht Evens. This might not sound like a particularly special skill to have, but think about it. Most people never go on adventures or solve mysteries or face shattering personal crises, but they do party, and in so doing they feel more alive. So much of drama is about harrowing characters in order to reveal the grain of selfhood that lies beneath the facade they present to the world, and parties do that work on people in a singularly pleasant manner. Schrauwen’s work shows an innate understanding of this, and “Hello” showcases the first of a few parties in this book, with rising action that climaxes in a futuristic bacchanal. The Schrauwen family member spotlighted here is Armand Schrauwen, who is actually an inhabitant of our past - 1986, to be precise. But Armand is an experimental scientist or artist, who a dinosaur that plays a bit part in the story casually compares to John Baldessari, and through videorecording or perhaps some much more highly advanced process, is able to beam his extremely YouTubesque video diary into an antique TV purchased on a lark by an citizen of the future. Thus he communicates the details of his banal, pathetic life to the inhabitants of a fantastical world that looks like a cross between Pixar’s Up and the cyberpunk rave scene in Matrix Reloaded. JOE: It’s interesting that you refer to Armand as an artist! He identifies himself as “an amateur technician,” but he really is an artist by the terms of the story, isn’t he? When I read Mould Map 3 -- a crowdfunded anthology from the UK, heavy on young contributors, the down-to-the-wire financing of which became sort of a community cause -- I was also struck by Schrauwen’s contribution, but for how skeptical it seemed in the midst of that blazing moment. I mean, a lot of pieces in the book expressed ambivalence about the social and technological state of things, or the role of the Artist, but Schrauwen seemed to despair of the very idea of addressing the future through art, framing the process as a screwball comedy between protagonists that never meet. MATT: But that’s not presented as being a big deal or anything. Authorial remove is an interesting (and I think under-discussed) aspect of Schrauwen’s writing. He never evinces much concern or empathy for his characters - everything that happens to everyone could be cause for emotional reaction, of course, but more often than not it’s all a big joke. This is especially notable given that he uses “himself” and his “relatives” as characters. Anyhow, you’re correct: Armand’s communications with the future are strictly one-way. The 20th-century TV the futurians half-interestedly watch his spiral into despair on obviously has no option for sending messages into the past. And anyway, everyone in the year whatever is way more interested in the big house party they’re planning, at which they fuck, snort, and drink everything they can, eating cans of Heinz pork and beans in homage to their new favorite screen star’s diet. The party climaxes with the disillusioned Armand receiving an ecstatic vision, or maybe a legitimate transmission from the future, and achieving a brief moment of actual communication with the inhabitants of the far-flung age whose perspective we watch him from. Of course, he’s housed an entire bottle of vodka by then, so who knows what he’s seeing, and the thrust of his communication with a far-off age is looking for a woman who’ll flash her tits at the screen. The story concludes with a typically callous, Schrauwenesque reasoning for the artist’s transition from historical drama into sci-fi: why would people be interested in stuff that’s already happened? JOE: Right. Armand, as is very clear from the dialogue, is totally concerned with communicating his work to the future, because he feels he is neither understood nor appreciated by the present. He is A Certain Type of Artist. But the peril of making Great Work with an eye toward posterity is that you can’t control the attitudes of the future audience. Rereading this story, I was struck by the texture of Schrauwen’s future society. Armand’s gizmo is discovered by a nameless, seemingly non-binary future person who appears to be the big influencer of their leisure circle. They’ve gotten everyone into the bygone drink of margaritas, and, moreover, they seem to interface with past culture in a slightly deeper way than the others. Some of their friends have adopted racialized body modifications -- the talking dinosaur you mentioned before is one thing, but another one of them is a white person wearing blackface all the time, and another has become a walking kabuki woodblock print anachronistically colored piss-yellow (the skin color is made much more prominent in the Parallel Lives version of the comic, so I presume we’re supposed to notice the racial character) -- but the influencer themself is rather sensitive in trying to incorporate aspects of Armand’s culture into their own life; when they break up with a lover using some of Armand’s language, you can see they desire to learn from the past, rather than just consume it. They are a good reader, a good audience. Yet it’s a doomed effort; there is always a screen between the artist and his future. Not just the literal screen of the monitor from which Armand broadcasts, but the fact that he can’t see outside his own cultural conditioning. Some of what he says is total Al Bundy stuff, just hyper-heteronormative dross about future blondes with big tits fucking robot studs, which Schrauwen contrasts against the future-tense influencer working a dildo in their ass with their male-presenting partners. The future, in this way, is a gulf that cannot be crossed by someone fixated on present norms: gender norms, sexual expectations, etc. The thing is - this isn’t really the future, right? There were contributors to Mould Map 3 who were not cisgender, and there was work in there that addressed gender and sexuality -- to say nothing of, you know, the rest of comics history -- and seeing Schrauwen’s work among those was striking in that it centered the perspective of a character who does not understand things outside of the circumstances of his own identity, and therefore exists in the metaphorical ‘past.’ He’s empathized with, for a while, by younger people, but eventually forgotten: maybe for the best. Given the predominance of men who can’t get over themselves throughout Parallel Lives, it’s often like the book itself is positioned as a befuddled observer, uneasily navigating the present-as-future. And then we remember that Schrauwen’s works have otherwise lingered on the past... MATT: Yeah - Arsène Schrauwen, especially, spun comedic gold out of what we in the present inevitably see as the banality of the past… but that stuff is still banality. Even toward the end of that book, its artist seemed decidedly tired of the period drag he’d draped his story in, pivoting first into fantasy with an attack of half-human leopard men, then into a very specific quasi-futurism with the construction of a technological wonderland deep in the African jungle. The past is pork and beans, the future is whatever you want it to be. Maybe Schrauwen just didn’t want to hold back his prodigious ability to invent from whole cloth anymore! His vision of the future is basically a point-A-to-point-B extrapolation from our own present - or just the intensification of a culture shift that’s already begun, as you suggest. But powered by Schrauwen’s unique creativity, which forgoes the big sweeping visions sci-fi usually affords and focuses in instead on the ins and outs of leisure, it feels novel. This is in part due to Schrauwen’s switching up the structure of his pages. Where his previous work mainly used a gridded structure seen in any number of comics (usually a 6- or 8-panel page layout), here he scales up to a 6x4 24-panel grid, usually broken up slightly by one or two larger keystone images. The grid will get even denser in subsequent stories. This obviously enables Schrauwen to pack more information into less pages; “Hello” and later chapters of Parallel Lives could have filled out album-format graphic novels if they’d been illustrated more expansively. But it also forces Schrauwen into a highly elliptical visual treatment of the future, with the technophilic landscapes we expect from sci-fi comics relegated to a few geometric shapes and bold colors in the backgrounds of tiny panels. Schrauwen is focusing on people, using the futuristic setting not as a character itself (as we see so often in comics), but only the push that puts the personalities he’s playing with in motion. The narration in Arsène and “Greys”, as well as all the other comics in this volume, is absent from “Hello”, robbing it of some absurdity and giving it a cracked sitcom feel. I didn’t enjoy returning to the story as much as I thought I would: put in context among other Schrauwen works rather than Mould Map, it feels a little less distinct. Still, as the only story here to straddle our world’s past and its future, it’s an important piece in the puzzle Parallel Lives presents, acting as a pivot point for the book’s subject matter. Cartoonify (previously published in the anthology Volcan by Lagon Revue, 2015) MATT: This is my favorite of the anthology shorts that Parallel Lives reprints. It’s the funniest thing in the book to me, and contains some smart use of the comics medium that only someone who understands exactly what they’re doing could pull off. The setup for “Cartoonify” is head-smackingly obvious once someone else has thought of it. Oly, who isn’t explicitly identified as a Schrauwen descendant but shares the hereditary vapid visage, downloads an app called Cartoonify that allows him to experience his life as a cartoon rather than reality. A buddy shows up and hijinks ensue. Though many of Schrauwen’s comics through the years have involved altered states of consciousness, whether due to mental illness or exhaustion, alien contact or paranoia, this is as close to a straight-up drug comic as he’s ever come. I’m burying the lede though, because Schrauwen’s handling of the app’s hallucinatory effects is brilliant. Oly’s buddy Helger takes a double dose and cranks up the cartoonishness setting, resulting in drawings that look to Oly like regular Schrauwen pictures, and to Helger like dashed off doodles of the same subjects. The narration is as droll as it gets, using the by-now familiar trick of literally describing the panels’ contents, and its very dumbness, perfect for the subject matter, creates effective punchlines. The use of comics’ idiomatic shorthand devices - starbursts, sound effects, et cetera - moves from background noise to subject matter, encouraging readers to revel in the uniqueness of the medium, to experience reading comics as a lavish consciousness shift, a designer drug. That feeling is held up by the structure of the story, which begins the moment Oly downloads the app onto his brain’s nanocomputer, and ends with a series of panels that show the iconic Schrauwen-face accruing greater and greater levels of detail as he fades back into reality. “Cartoonify” is a formal coup. MATT: I see a strong savor of Steve Ditko’s psychedelic-era style in a lot of this comic’s panels, with our boys dressed in outre fashions that could easily have escaped from an issue of Shade the Changing Man and hopping across boxy cityscapes in stiff poses that feel traced from some nonexistent dictionary of heroic cartoon poses. I also found the same kind of hilarity in “Cartoonify” that I have to imagine heads in the days did in Freak Brothers comics, so adept is Schrauwen at nailing the mundane minutiae not of the drug experience, but the drug affect. Oly and his buddy Helger goggle around town in the private cartoon world they’re sharing, causing a ton of property damage, looking with awe at (and drawing the ire of) the poor schmucks who are stuck in the desert of the real. The intensity and novelty generated by looking at things, walking places, taking pictures of stuff, and the big hurdle, interacting with un-high human beings on drugs, are all rendered with deadeye accuracy. This comic feels very late ‘60s, both in its visual style and its utterly decadent foregrounding of individuals’ pleasure-seeking at the expense of the consequences thereof. It’s funny you mentioned how the world projected by “Hello” leaves the depressingly binary, normative, self-involved Armand Schrauwen stuck in the past, because “Cartoonify”’s future carves out a ton of space for Men Behaving Badly. The stories have similarities too, though. Both Armand and Oly are boors whose pursuit of technological ecstasy inevitably leads to personal failure. Oly’s girlfriend, after being coerced into what for him is a bizarre, exploratory sexual encounter and for her is utterly unsatisfying, even calls him “clownish” before she breaks up with him in an echo of the language used in “Hello”. This is an uproariously funny comic on a grim topic: a dude whose recreational drug use makes him into something completely unfit for society. JOE: I also think this is the best of the reprinted shorts, but from the opposite end - I found it completely bleak and horrifying, if funny at times. When Oly’s friend comes high-stepping in, I totally cracked up, yeah, but I think there’s often an element of comedy in horror, or at least a sense of absurdity to things going extremely wrong, and by god is that relevant here. Like: the guy rapes his girlfriend. Her reactions to this are kept mostly internal, but it’s obvious she’s alarmed by what’s happening and doesn’t actually want to have sex, which he forces on her. But, at the same time, Schrauwen is throwing in these diegetic cartoon effects like her clothes sproinging off her body, which represent what Oly is seeing because he’s transformed the world into a cartoon - and, to become a cartoon like this is to abrogate any responsibility for your actions. MATT: The narration in the panel after Oly climaxes literally says “And, zap, he is back on the streets.” The cartoon Schrauwen creates isn’t a story telling us about Oly’s cartoonified world - the two are one and the same, fused. JOE: What’s the old Understanding Comics line? “The more cartoony a face is… the more people it could be said to describe.” In cartoonifying the world, Oly reduces other people to a miscellany, and the world becomes a playpen for his personal realizations. Like you said before, Schrauwen doesn’t break character: everything is presented in a light and silly manner, but I found a deep grotesquerie lurking beneath all of this unreliable narration. Cartooning here, the altered state, is like a cocoon,where the altered consciousness allows no input but that of the self. When Oly’s girlfriend breaks it off with him, he cries this big, fat, cloying solitary teardrop, which his even-more-spun-out buddy flicks away... and they’re smiling again! MATT: There’s a great bit right after that where Helger wanders off to a pinball parlor holding his clothes in a bundle, completely naked! The solipsism is total. I suppose one’s level of willingness to go along with it, or alternately step outside and consider the effect of the characters’ actions, is what determines how funny or scary the story will read. JOE: Oh, I don’t think Schrauwen is interested in overt moral statements; nothing in his work suggests that to me. But I think the way in which pits formal characteristics of comics against one another undermines the certitude of the story’s reality, and in a story powered by a character’s certitude, that becomes a means of undermining them. At the end of “Cartoonify”, Schrauwen begins to makes his images more realistic, which is a technique he used at the end of Arsène Schrauwen - where, for four pages, the heretofore monochromatic coloring of the book shifts to an approximation of ‘full’ color, and suddenly Arsène himself is talking like a ‘normal’ person, and characters speak in realistic language, and through this Schrauwen-the-artist allows that the cartooniness of his art in the rest of the book is an imposition of his own perspective on a person who had an interior life, private desires, and a sense of nostalgia, perhaps, about the colonial project Schrauwen-the-younger leaves as self-evident farce. There, he is undermining himself as the author: a fallible god dictating the reality of the page. In "Cartoonify", he undermines Oly, who slowly comes down into reality, panel by panel becoming more realistic, like a process in animation, where Schrauwen has also worked. The sequence as presented in Parallel Lives is longer than what was printed in Volcan - there’s a whole added page where we stare at this huge image of Oly’s very realistic face, wordlessly. And though it’s poised in the same ‘funny’ way as the closeups of other awkward Schrauwen family faces elsewhere in the book, it’s now very disquieting, because Oly realizes what’s happened - the funny narration is now silent. I found it a very sinister and fucked story, so obviously I liked it the most. The Scatman (previously published as “Ski-ba-bop-ba-dop-bop” in the anthology Gouffre by Lagon Revue, 2017) JOE: This, on the other hand, is probably the most optimistic thing in the whole book, and -- coincidentally or not -- is the only one to feature a woman of the Schrauwen lineage: Ooh-lee Schrauwen. That it’s not immediately certain if “Ooh-lee” is how her name is spelled, or if we’re hearing a phonetic pronunciation of something spelled differently, is arguably part of the scheme. (PLEASE OPEN THIS LINK IN ANOTHER TAB AND PLAY THE AUDIO OVER THE REMAINDER OF THIS SECTION.) “The Scatman” is similar to “Cartoonify” in several ways. For example. both were published in anthologies from Lagon Revue, a French outfit that put together very fancy, small-run risograph-cum-offset books with the support of various arts- and print-focused continental entities, among them an endowment fund by the fashion house agnès b. (Parallel Lives doubles as a tour of the ways a arts-focused European cartoonist and publishers thereof can try and make things work under the economic conditions of today.) The Lagon-published stories were initially lettered in French and came with an English translation booklet, but the Parallel Lives versions have been re-lettered in English, with essentially the same translations - presumably by the multilingual Schrauwen himself, as nobody else is credited in that capacity. For English monoglots, this makes “The Scatman” far easier to read than it used to be, since, like “Cartoonify”, it exploits a prominent element of the comics form: text. Ooh-lee is experiencing a problem in her life - she’s had her brain hacked by a neuro-troll (because she couldn’t afford a better firewall for her head), and she can’t get the condition treated (because she can’t afford that kind of medical care). No longer restricted to social media, online men now literally mess with women’s heads, and the way Ooh-lee’s troll does it is quite sophisticated - he recites a miserablist narration over her life which she cannot help but hear, and what we see on the page as captions, as if we are reading a gruelingly unhappy slice-of-life comic. MATT: Both this story and “Cartoonify” also detail the perils of keeping a nanocomputer in your head - a state of being Schrauwen’s future inhabitants will have transcended by this book’s conclusion. We’ve mentioned a couple times now how light Schrauwen’s authorial touch is for someone who includes third-person narration in pretty much every panel he draws. There isn’t a lot of explicit opposition to or even judgment rendered on the actions his characters take. Sometimes the perspective we’re given by the narration is even indistinguishable from the characters’ own, as in “Cartoonify”. Here, though, the pivot is striking: instead of drolly counterpointing the main character’s actions, the narration, a formal element of the comic’s very structure, is weaponized against her. It’s difficult not to read this story as a criticism of male privilege: definitions and narratives that we’ve been conditioned to read as objective are revealed as intensely, caustically biased. It’s a real 180 from “Cartoonify”, or maybe a dark mirror image of it: usually in Schrauwen-world, men aren’t failures, just hapless boobs whose shortcomings we’re encouraged to laugh off before everything works out more or less agreeably in the end. Women, meanwhile, are quite literally forced to bear the emotional weight of male failure and neurosis in addition to that of their own. Sound familiar? I used to, uh, marvel at comics written by Stan Lee in his mid-’60s heyday because of the casual fluency with which they used all the various avenues the comics medium has developed for incorporating text. The best-written Lee comics would have a speech balloon, a thought bubble, a narrative caption, and a sound effect in almost every panel, each one making a distinct contribution that was also separate from the information the picture they went with communicated. Those old Marvel books showcase a potential for sophisticated narrative forms that comics has largely left fallow since turning to “serious” subject matter - maybe because it’s too much work! Here, Schrauwen uses tools that every cartoonist has at their disposal but most never touch to pull off a comic with a great degree of formal sophistication. It’s every bit as inspired in its use of the comics medium as “Cartoonify” is, but far, far subtler. JOE: And even more so than “Greys”, “The Scatman” feels like a lampoon of certain stereotypes in comics, with its protagonist openly resisting a malevolent writer/troll’s bad faith Eeyorisms: Ooh-lee is unhappy about her weight, he says; she is sad about her living conditions, her economic position; she knows, deep inside, that her interests are facile and meaningless and that everyone she calls her friends are laughing at this clownish, self-deluding failure. If there is any truth to these statements, it is not this man’s place to announce it in so reductive a way. Luckily, Ooh-lee has a plan to fight back against this abuse... and it involves a certain 1994 Eurodance single by Berlin’s own Scatman John! Do you know about Scatman John, Matt? He suffered from a stutter for all his life, but was able to incorporate it into his music by learning to scat - harmonizing a communications obstacle by transforming it into art. I don’t know if Schrauwen means to allude to Scatman John’s real life in this story, but Ooh-lee also uses scat singing to combat mischievous speech. Probably nothing is more dangerous in comics than trying to depict music on the page - especially if you’re throwing down lyrics, you run the risk of slamming the brakes on the reader’s engagement as they try to sift among purely visual and ‘auditory’-visual cues. Schrauwen uses this confusion as a means of literally attacking a weaponized aspect of the comic, which is pretty fucking clever. It also leaves Ooh-lee herself at sort of a remove, however, because we’re not privy to her thoughts - in this way, the toxic male antagonist is given the same narrative primacy as the not-exactly-flawless Schrauwen men elsewhere in the comic, which really does underline the running theme of masculine failings throughout Parallel Lives. MATT: The constant antagonistic narration is also a springboard for some great humor. The “revelation” that all the friends Ooh-lee’s talked into watching her performance are only there because they want to see her fail spectacularly in public is set up and written perfectly, daring you not to snicker at it. JOE: Ooh-lee’s interiority, meanwhile, is only occasionally expressed through snatches of spoken dialogue, or maybe allusively, through the unusual coloring scheme of the story, in which color fills vanish for several panels at a time, leaving monochrome line art. Maybe this is her emotion. In the Gouffre version of the story, the filled colors were riso-printed in a very luminescent style, so that the colors almost glowed - this stood in contrast to the monochrome line art pages, which sometimes presented only a few elements of the panel in ‘glowing’ style, to signify the presence of holographic characters (essentially ‘online’ in the story’s metaphor). Such special effects are absent from the Parallel Lives version, as Fantagraphics was presumably not inclined to riso-print however many thousands of copies, though the reader can still discern the rush of sensations upon the heroine when she backs away from communication and moves experientially through space. MATT: Even without those crazy colors, Schrauwen creates a concrete visualization of his characters’ future habitat here. I was struck again by Ditko vibes, but more so by how gnarly everything in Ooh-lee’s world looks. I think of Schrauwen as a very “clean” cartoonist - minimal figures, geometric shapes, little or no rendering and line weight - but he creates a very convincingly inhabited, run down future-tech world. My favorite part of this whole comic might be the neon graffiti tags populating the backgrounds of the street scenes: it’s awesome to see such bold markmaking qua markmaking hanging around the edges of such a crisply drawn work. Schrauwen pulls off music-in-comics pretty well, which, yeah, is saying something. Alan Moore can’t even do it! Scat singing is a smart choice of musical idiom to use in a comic book, given how verbal it is, and how frequently it eschews the established Western harmonic and melodic structures. The ending of this comic reminds me a little bit of the part in “Cartoonify” you mentioned where roiling emotions are solved by the flicking away of a cartoon teardrop: our heroine uncovers the identity of her tormentor and calls him out in a crowded karaoke bar with all their mutual acquaintances as witnesses. In real life, as we’ve learned in agonizing detail the past couple years, that would hardly be the end of it. But the sequence, and the tear snaking down Ooh-lee’s cheek as she does her best Scatman John, feel earned as a narrative climax. Yet I don’t want to overstate the emotional tenor of this comic. It still operates from a remove, studying more than attempting to impart its characters’ emotions - and trying to make you laugh at them above all. Mister Yellow (previously published in the anthology Dome by Lagon Revue & Breakdown Press, 2016) MATT: This is the shortest and maybe the strangest story in Parallel Lives, a shaggy dog that’s downright wooly. The circumstances of its creation might have something to do with how random it is: Dome was an event-specific anthology jointly created for the Angoulême comics fest by Breakdown Press and Lagon Revue. It features comics by the editors of Lagon and a number of Breakdown’s stalwarts, with Schrauwen and Simon Hanselmann sticking out as the creators whose overall catalogs have the least to do with the publishers involved. Dome is a large, short book, and while most of its other participants’ stories are necessarily light on narrative, Schrauwen breaks out the shoehorn and crams more onto two pages than I’ve seen since the giant-size issue of Kramers Ergot. “Mister Yellow” is rendered in absurdly dense 70-panel grids, continuing the trend of Schrauwen squeezing way more story out of way less real estate than anybody should be able to. The plot is almost stream of consciousness, meandering from point to point with the bare minimum of logic necessary to maintain a narrative. It concerns a string of highly unusual events befalling one Olver Schrauwen, seemingly a citizen of the present day. An encounter with a mysterious yellow-garbed, yellow-skinned man leads to exotic animal sightings, a hospital visit for Olver’s poisoned son, a new set of lounge furniture, an act of heroic violence, and (perhaps) a healthier marriage and an increased appreciation of life. This is a story that passes by in front of you more than acting on you - “dreamlike” is overused as a descriptor, but it really fits here. The events described all make sense, more or less, but they don’t really fit together into anything sensical, anything you can take away from it after reading. This isn’t a knock on “Mister Yellow” - quite the opposite. It’s a comic that isn’t really like anything else; even in this book of weird shit it’s a bit of a sore thumb. I tend to remember individual tidbits of the story more than its overall shape. Olver’s son saying a poison dart frog looks like a candy; the way Schrauwen draws his hero running with completely stiff, straightened arms and legs; the casual grace with which the red and yellow two-tone printing is manipulated. JOE: I have a real galaxy brain take on this one, Matt, buckle up. One of the many ways in which my mind has been ruined by reading Chris Ware comics since I was a teenager, is that when I see a huge number of tiny panels on the page, I immediately think about time. I suspect anyone hardy enough to read this far down can picture any number of post-Jimmy Corrigan layouts by which Ware demonstrates the generational qualities of families (or locations, or whatever) by spatial means. One tiny panel links to another tiny panel linking to clusters of larger panels, with the reader sitting in a sort of God’s eye view of things, the comic’s point of view pulled back so far that the inhabitants of Ware’s comics are isolated in the panels, every moment in time frozen like a film strip and pasted together with other strips and excerpts to collage a statement of being. JOE: Schrauwen has mentioned taking inspiration from Ware in the past, and Ware is on the record with his admiration for Parallel Lives (“a series of funny and frightening psychosexual ruminations on the nature of relationships that feel as fresh and strange as human life actually is”), so let’s apply these qualities to “Mister Yellow”. Reading the story, I’m impressed by how stuck in his own mind the protagonist, Olver, seems to be. He’s paranoid about his wife’s fidelity, interpreting extremely innocuous behavior as evidence of the alienation of her affections. He frequently neglects his son, leaving the kid to go through an entire school day holding the broken zipper of his pants together, and later ignoring him (possibly for hours) as he lays on the floor vomiting. He drops $300 on a ‘free’ lounge suite, redecorating the house without telling anyone, and when he wife leaves in frustration, he immediately takes it as conformation of all his suspicions about her. He’s as self-absorbed as Oly from “Cartoonify”, with the old-stock, un-futuristic masculine outlook of Armand from “Hello”; he wants to beat the shit out of every threat to his home. MATT: And don’t forget he loves his vino! He destroys three bottles in about a day and a half by my count. JOE: In other words, he is stuck in chronology, as trapped by his own perspective as he is physically trapped, frozen by the tiny panels of the page. This is the engine of the plot - everything Mister Yellow shows him, he misinterprets: a poisonous toad, Olver thinks is a fun pet; a psycho on the loose, Olver thinks is his wife’s lover. In fairness, Mister Yellow, who seems to flit in and out of time, is not very clear with his warnings, but you’d think the guy could pick up on a pattern eventually; Olver cannot, eventually luxuriating in the heroic satisfaction of Saving His Family… at which point Schrauwen springs the punchline, which is set up all the way back in the first tier of panels. Pity Olver, who cannot see outside of time! He is a prisoner of the grid, which is his era. MATT: Here’s something you might find interesting, Joe: “Mister Yellow” as reprinted in Parallel Lives isn’t necessarily the complete story. Dome featured a 4-page “centerfold” that reprised each of the stories the book collected with daily strip-format epilogues. In Schrauwen’s, a blue woman wearing a brooch or button identical to the one Mister Yellow wears in the middle of his chest materializes next to a doofy looking dude at a bus stop and the two stare at each other silently for a few panels. So the comic’s reality itself, as originally imagined, isn’t even a prisoner of its own grid, or the pages on which that grid is printed - use your fourth-dimensional perspective, flip over a couple leaves, and there’s more! Olver Schrauwen, however, is nowhere to be seen in the story’s enigmatic coda, which I think tends to support your conclusions. JOE: Ahhh, it’s the Twilight Zone! I’m a big fan of ‘definitive’ editions of works that actually cut things out. MATT: Honestly, I think my favorite thing about “Mister Yellow” is just looking at it. Especially as it’s printed in Dome, on big 11”x14” pages, it’s a pretty amazing visual work. I like spreading out the book in front of me and letting faces, cars, figures swim out from the assortment of red-yellow postage stamps clumped neatly together into what looks like a comic-book version of a half-done Rubik’s cube. Schrauwen’s no-fuss style scales down well, never anything but perfectly legible despite the fact that he probably had to keep a microscope handy when he was drawing this thing. Simply drawn yellow characters and all, it feels a bit like a visualization of an unusually imaginative kid’s epic Lego play session. Equally impressive is how Schrauwen tells a story without being able to get more than ten words or so into each panel, and the way he manages to vary the compositions of his pictures within their tiny frames enough to avoid visual tedium - a lesson plenty of “serious” cartoonists drawing at normal size would do well to heed. “Mister Yellow” is merely good, while some of the other stuff in Parallel Lives is legitimately great, but it speaks just as clearly to the depth of its creator’s very unique talents. JOE: I laughed really hard at the final bit in this one - guys hitting their head is always funny. But pay attention to how many times guys get hit on the head in Parallel Lives: it happens to Oly, Olver, and another guy in the final story, at which point this most fundamental of slapstick gags becomes a punctuation at the end of the sentence of men facing a future agnostic to their obsessions... which is how I see the message of this book. Space Bodies (created for Parallel Lives, 2018) JOE: And so, we come to the final story of Parallel Lives, which actually takes up about half the book. MATT: If the dense short stories reprinted in Parallel Lives are albums-as-anthology shorts, the original bonus cut “Space Bodies” is an album proper - 64 pages, with plenty of big splash panels and full-page drawings. Good thing, too! This, for my money anyway, is by far the best looking comic Schrauwen has ever made. As you mentioned, the other comics in this book are printed at a significantly lower wattage than in their day-glo, risographed original forms. This one starts with the same muted hues, a CMY coloring approach that reminds me of John Pham’s "Deep Space". But halfway through, as the story’s intrepid crew of space adventurers lands on an alien planet, it explodes into a lush bouquet of pastel tones, bathed in overlapping washes of pale, luminous digital gradients. Schrauwen hasn’t made work this colorful since The man who grew his beard., but while it in that book it looked pop-arty and purposefully naive, here it feels like the sun coming up. The drafting, too, is noticeably subtler and more elegant than anything else we see in Parallel Lives. Reading the first half of this book it’s easy to forget how visually stunning Arsène Schrauwen was because of how tightly everything in the pictures is packed. In design and drafting, “Space Bodies” approaches a Curt Swan level of casual naturalism. The story too feels a bit like something Eisenhower-era Superman editor Mort Weisinger might dream up if he, like main character Olivier Schrauwen, were cryogenically reanimated 200 years from now. MATT:Yes folks, alien abductee Olivier Schrauwen of “Greys” makes an encore appearance as the protagonist of the far-flung space opera that closes Parallel Lives. To open the comic, he addresses the audience, saying that the very act of telling a story about himself is a “return to an archaic notion of the self…” In the future that “Space Bodies” forecasts, by far the most developed and most utopian vision of things to come in this book, the idea of individual identity is largely a thing of the past. “In the end, we function like organs in a body; our individual qualities are useless,” says Olivier’s friend Bo, a native of the future rather than a transplant. Indeed, Schrauwen and his team of astronauts function as “experiencers”, taking in the wonders of the cosmos for the benefit of the terrestrial population, who presumably see no difference between the experiences of others and themselves. Does that sound a little like being an Instagram influencer to you, Joe? The very first thing that jumped out at me about this story was that Schrauwen was making a comment on social media, and sure enough, a few panels after explaining his job, he basically describes the act of storytelling as a form of social media (the first?). Certainly, spinning a narrative plot is just as much “creating a persona” or “making yourself someone else” as, say, catfishing is. I remember riding the L train back from Comic Arts Brooklyn together with Schrauwen and yourself, and asking how much of the then-recently released Arsène Schrauwen was based on his grandfather’s real life. Would I ever have asked him the same question about Ooh-lee Schrauwen? Yet both are equally fictional: “experiences” sent back from one man’s brain for the brains of many to enjoy. If “The Scatman” treats of social media’s dark side, “Space Bodies” describes an almost identical phenomenon, the technological erosion of one’s sense of selfhood. But here it is presented as cause for celebration. JOE: Well, that’s an ideological character of utopia. Some of the political discussion happening now in the United States concerns the notion of individualism as conservatism, demanding a recalibration of the U.S. perspective towards social good; individualism, of course, is so baked into the U.S. concept of the self, it typically goes unquestioned as to its political character - it’s as neutral as the sun shining in the sky. Schrauwen was born in Belgium and lives in Germany, and probably has a different perspective… Ooh-lee, for example, lives in a society where economic needs are met by the government (or whatever is running the show) on a flat basis, and her economic disadvantage stems, we’re told, from her own desire to live beyond the normal lifespan that the society is prepared to cover. Had those ideas come from a U.S. writer, it might seem like libertarian advocacy, like a dire warning of our direction, but Schrauwen treats it as just another step in a gradual evolution, which the Olivier in the story accepts readily. MATT: Schrauwen is doing sci-fi on its most basic and essential level here: politics aside, his projections feel less like fantasy than forecasts of conditions humanity might actually be moving towards. I’ve been repeatedly surprised in recent years at the vehemence with which people ask me to post pictures online whenever I tell them I’m going on vacation, equally so at my own excitement when I see someone else’s posts from a place I wish I could visit. Few people’s experiences are their own sole property these days, and most of us seem to find some enjoyment in that aspect of modern life. There’s another leap the world of “Space Bodies” makes at some point in the next 200 years. It’s probably a necessary one on the road to a truly communal consciousness: the almost total destruction of gender as a social construct, and binary gender itself by extension. The species is perpetuated through unmentioned technological processes; at one point Bo says that she can’t imagine the possibility of someone having a personal relationship with their biological parent. (Imagine if you had to be best friends with the assembly line worker who put together your phone!) The gender gap closed by hormone treatments, characters seem generally unsure of one another’s gender identities, and entirely unbothered about them. Physical intercourse as a medium of eroticism is out; instead, people use a “sexotron” (lololololol), where a group of people’s “individual bodies become one supercharged erogenous entity… operating like an orchestra that joins in a majestic, symphonic buildup, culminating in a crescendo of profound pleasure.” Everyone has access to pretty much everything, it seems. And so the kind of toxic masculinity this book foregrounds in other stories -- the drawing of a sacrosanct magic circle around the people, things, ideas, experiences, and self-image that a man believes he deserves unmitigated access to, often at the expense of the well being of others and sometimes the individual himself -- has become a thing of the past. Or has it? Like any good comic book villain, the dreaded nemesis that dogs the Schrauwen clan through time and space begins to narrow its focus on Olivier once he begins the story of his own experiences as an individual - inevitably privileging himself. The Olivier of the 21st century bequeathed a box of treasures to be taken with him on his journey to the future, textual totems containing the germs of the contagion that time has wiped away: a Tarzan comic, a Bukowski novel, a Bible, and a hardcore porno magazine. These are treated by all as hilarious, baffling artifacts of an unfathomable past. But a series of technological failures besiege Olivier and Bo’s spacecraft and their technologically calibrated hormone balance succumbs to their own rude biology. Soon they are stranded without food or shelter on an inhabited alien planet, and the ancient texts, taken together, provide a blueprint for a brutal brand of survival. More and more illogical tics of behavior are attributed to rising testosterone levels in Olivier and estrogen in Bo, physical sex is somewhat anticlimactically rediscovered, and an attempt at first contact with the planet’s inhabitants goes disastrously awry in a manner anyone who’s read their history will recognize. The characters retain enough of their culture to burn Olivier’s books for fuel after a reading of the Original Sin story, but nonetheless they end up living a gender-bound Robinson Crusoe existence, with a now-bearded Olivier going out each day to fish for dinner and a long-haired Bo minding the crude house they’ve constructed. Then Olivier comes up for his turn in the parade of whacks on the head you mentioned earlier, and is killed by a falling coconut in the most absurd example of the punchline yet. Immediately, Bo is saved, recovered by the rest of the crew that’s been searching for her all this time. Olivier, the Last Real Man, is left moldering and utterly alone on the beaches of an alien world. The spell woven by the past’s stories of its own glories is broken, presumably for good. JOE: Reading this story, I was reminded an older French album: 1988’s The Gardens of Edena, where Mœbius presented these two sexually indistinct characters who land on an Edenic planet, and by consuming natural foods recover ‘male’ and ‘female’ characteristics - the man, though, tries to rape the woman, and she leaves him, and then he undergoes a whole vision quest full of captive princess imagery, and he fights a huge kaiju… there’s an element of examining possessive qualities and the fear of abandonment on the part of the male protagonist, though it’s also very clear that Mœbius is advocating for a ‘natural’, rather conservatively gendered state. “Olivier Schrauwen” in this story, meanwhile, is comedic for his general inability to fit in. He’s much whiter in skin tone than anybody else on the spaceship crew, and his fascination with the past of his origin is treated as a sort of lovable eccentricity by the other characters - a very touchy-feely group, always embracing one another, thinking nothing of pulling out their genitals, everyone having Future Sex with everybody. MATT: In reading “Space Bodies”, I was struck by how pointed Schrauwen’s literary criticism of the texts Olivier has brought into the future with him was. We’ve talked a couple times about how uninterested this author seems in rendering judgment on anything, but boy do the Killer B’s of Bukowski, Burroughs, and Bible brave a bashing here! Using the incremental form of comics, Schrauwen shows how the cultural artifacts of an imperfect, inferior past can infect the host body of a present that’s moved past any practical use for them. It’s almost like Schrauwen is trying to create a text that will undo some of the poisonous program that books like these (and David Deida, and Jordan Peterson, and The Game, and superhero comics, and and and) have created. Like he’s trying to put forth something unique and tantalizing enough in its depiction of what could one day be possible that it changes the way its readers think about their own lives. That’s the point of telling stories, right? That’s why we think about the future, isn’t it? JOE: There’s a lot of melancholy here, though - more so than with “Hello”, or anything else in the book. Unlike Armand Schrauwen, Olivier is totally welcomed by the new society, but still he fixates on the arch-masculine author god archetype of Bukowski, whom he imagines himself to be, though he probably never fit into that gendered designation either. The thing is, Schrauwen is both parodying these texts, and also showing their embodiment in the future, through Olivier's eyes. The whole encounter Olivier and Bo have with the alien natives - it’s a Tarzan comic, like the one Olivier reads (student of colonial literature he is). They discover a lost civilization, fight a big ape, swing on vines; there’s a creature they very self-awarely name Cheetah. In this way, the book reverses the situation of “Hello”, where the future society is informed by the past in small, ephemeral ways. Now, Olivier witnesses the situations of these books echoing in the future, and they act to bind him to his own past. JOE: It’s wistful, isn’t it? How he narrates the amazing sights of the future, but how these sights are freighted by his own interests in a past art and culture, so that we can’t entirely see them with his authorial intervention. This was a big theme of Arsène Schrauwen too, but the focus of Parallel Lives on the behavior of the male characters - it’s not so surprising to me that this one is attracting a little more generalist book world attention, because it’s a bedrock literary topic: men like this, thinking about themselves, or versions thereof. MATT: “Space Bodies” points up a very strong through line in Schrauwen’s work: the damage wrought to human beings by systems of control. The man who grew his beard. looked memorably at the plight of schoolchildren (or were they mental patients? Or both?). Arsène Schrauwen, to me, was a rendering of the European colonial project as the ultimate absurdity of concept. To clearly achieve this rendering, Schrauwen simply deleted the elements of atrocity that accompanied the absurdity when it went from concept to practice. Arsène focused on pointing up the inherent flaws of a cause, perhaps hoping to inform the reader’s interpretation of that cause’s effect. There’s an argument to be made against doing this, but I think that book is the most eloquent speaker in its own defense: it zeroes in to render its subject as both hopeless and useless, without imputing to it the elements of glory that our culture primes us to see in all tales of conquest. Instead, it follows Arsène as he traverses the softer, more harmless edges - unrequited love, a yearning for achievement, fear of the unknown - of the same toxic masculinity that forms Parallel Lives’ antagonist. This book grapples with darker aspects of that toxicity, painting them onto the blank canvas of the future rather than a past or present utterly in thrall to them. But it doesn’t leave the effect to your imagination: it illustrates how benighted and dangerous the scripts our society is running can be. It’s almost like introducing a foreign culture (ha) to a petri dish and watching as it turns everything to slime mold. In the cold, clinical light of tomorrow, our culture’s masculinized, individualistic ideal of selfhood is again pictured as a total absurdity. Schrauwen’s authorial eye stares at it with utter bemusement before ultimately leaving it in an appropriate place: dead and very far away.

Labour and the Conservatives have clashed on the issue of trans rights, as Sir Keir Starmer said it was wrong to say “only women have a cervix” and the health secretary, Sajid Javid, said this was a “total denial of scientific fact”. The Labour leader called for laws to go further to protect trans rights after he was asked about one of his MPs, Rosie Duffield, who said “only women have a cervix”. She is not attending the party conference in Brighton after receiving threats and being called transphobic. Starmer called for a “mature and respectful debate” about trans rights, as he warned that trans individuals are among the “most marginalised and abused communities”. He declined to call her remarks transphobic but asked about them on The Andrew Marr Show on BBC One, he said: “It is something that shouldn’t be said. It is not right. “I spoke to Rosie earlier this week and told her conference is a safe place for her to come. “We do everybody a disservice when we reduce what is a really important issue to these exchanges on particular things that are said.” In response, Javid accused Starmer of a “total denial of scientific facts”, adding: “And he wants to run the NHS”. He drew criticism from trans rights activists and allies, with many pointing out the NHS advice that trans and non-binary people with cervixes should make sure they get smear tests. Trans men registered with their GPs as female automatically get invited, while trans men registered with their GPs as male have to ask for smear tests. Trans Actual, an organisation campaigning on trans issues, said it was “disgusted to see [the health secretary] denying the reality of trans men and non-binary people].” It added: “Lots of us have cervixes. Lots of us would like them removed actually.” Some Tory MPs weighed in behind Javid’s position. Jackie Doyle-Price, a Tory MP and former minister, said: “But it is right Keir. Only women have a cervix.”

- Problem Solving - Critical Thinking - Computer Systems - Working in Command Line - Troubleshooting and Diagnostics - Ticketing Systems - Cloud Based Systems - Introduction to Coding - Introduction to Data Analysis - Introduction to User Design and Research Our flagship, jobs-focused, TechUPWomen programme at Durham University retrains women from underserved communities into tech careersSUE black Led by Durham University Professors Sue Black OBE and Alexandra I. Cristea, TechUP’s pilot project TechUPWomen 2019/20 funded by the Institute of Coding, trained a cohort of 100 women from underserved backgrounds. It’s over-whelming success led to two award wins including a 2020 Impact Award and a transformational effect on the lives of participants. New for 2023 We are very excited to be running a new #TechUPWomen programme with a focus on general IT skills for those wanting to make their first steps into the tech sector. Working with our new partner, Catch22, the programme will provide technical and soft skills training plus mentoring, coaching, job search and in work support. What is TechUPWomen 2023? A programme to provide learners with the knowledge and skills they need to start a career in the tech sector. - IT training programme - Flexible – offer a choice of teaching days, independent study time, recorded sessions for catch-up and tutor support via email or online learning community - Developed with tech industry specialists - Delivered with our partner, Catch 22 - For women and non-binary people - For people resident in the North and North East of England - Intensive 12-week training programme foundation in IT skills, IT support skills and specialist career path taster sessions along with workplace readiness skills such as public speaking, clear communication and effective team-working. - 4 hours per week live online learning - 2 hours per week independent study - 1 hour per week webinar with industry guest speaker - 2 in person training events at Durham University - Access to online portal - Pastoral support (provided by specialists, Catch22), to ensure every learner gets the personal support they need. - One-to-one industry mentor - Job support (provided by Catch22) to help find and apply for jobs, apprenticeships and internships at the end of the programme - Careers fair in Durham |2nd February 2023||Applications open| |20th February 2023 at 5pm||Applications close| |31st March 2023 or before||Offers made| |13th April 2023||Deadline to accept the place and return signed learner agreement| |22nd April 2023||Welcome event in Durham| |16th – 17th September 2023||Celebration event and careers fair in Durham| How to apply Once applications open: - Complete the form below. - Catch22 will contact you via email to arrange a phone appointment to complete your application with a career coach (please let Catch22 know if you require an alternative format of appointment). - Complete the second part of the application process, supported by a Catch22 career coach.

FOUNDER & PRESIDENT Born in Toronto, living in Calgary, Kira Dunlop’s done a few things in her 23 years. She’s dropped out of university three times, figured out that her alcohol and drug use were taking her down a dark path, fallen in love with Alberta and found out that her voice matters. Founding the Boring Little Girls Club in November 2018, Kira’s on a mission to bring women, non-binary and trans folks together to create a community that focuses on having fun without alcohol and drugs. Unapologetically loud, exuberant and a supporter of personal autonomy (as long as it doesn’t do harm), Kira’s ready to shout her story from the tallest building in Calgary in the hope that it will remind others that they are not alone. My name is Marie Ferraro. I'm 38, queer and sober. I'm originally from the interior of British Columbia but I now call Calgary home. Getting sober and remaining that way was the hardest thing I've ever done. Years of excessive drinking and drugging had taken its toll and I was dying. I was left with two choices, I could blot out reality to the bitter end or choose another way of life. I'm happy to report I went with option number two. I became a member of the Boring Little Girls Club because I firmly believe humans thrive when we are surrounded by like minded individuals. I felt there was a lack of visibility in Calgary's sober social scene. Sobriety is a vital act of self love that can leave us feeling isolated and invisible. We all need community. The BLGC was created to shine a light on those who are looking for pals in the sober sphere. We are not a recovery group. We are not here to tell you how to live your life. We are just a group of rad sober babes doing rad stuff sober! SOCIAL MEDIA BABE Maya is the face behind all of the social media updates. She is a Public Relations student at Mount Royal University who took interest in the BLGC after seeing it on Facebook. While she isn’t sober herself, she prides herself on learning from those who are to provide content and help to those who need it. She was drawn to BLGC as a space to get away from the drinking/party culture of college. When she isn’t grabbing coffee with Kira to discuss content, she runs her own blog/youtube channel and plays hockey. CAPTAIN OF SOBER SUPPORTERS (CSS) Rebecca is a born and raised Calgarian and she is our head Sober Supporter. She isn’t sober 365 days of the year but she chooses to support her sober babe squad by understanding what those in recovery or living a sober life are going through and by creating and upholding safe spaces for them. “Growing up in the Calgary rave scene, I am not a stranger to drugs and alcohol. Over the years I have seen the devastating impact that substances can have on people’s lives, especially in the party scene; and I truly believe that anyone can live a full and happy life substance free”. Rebecca’s role is to engage and empower all boring little girls, and their friends and family to understand how to create safe spaces and how to strengthen relationships between all folks regardless of their relationship with sobriety. “I’m here to open up the dialogue with those who love and support their friends and family in sobriety!”

Thursday, June 8, 2017 at 6:30PM. Kiki explores the underground ballroom scene, a larger-than-life world in which LGBTQ youths of color are empowered by staging elaborate dance competitions that showcase their dynamic choreography, fabulous costumes, and fierce attitude. It’s also a safe haven for struggling, at-risk teens who find acceptance, support, and friendship within the Kiki community. This film brings together heartrending personal stories with incredible displays of creative expression. Screening Sponsored by: Meet our panelists Chi Chi Mizrahi(he/him) Francisco Gonzalez Jr., better known as “Mother Chi Chi Unbothered Mizrahi” is a Stakeholder and Community Advocate for the House and Ballroom Community. He has been an active member of the Kiki scene and Ballroom scene for over 10 years. Entering the HIV Prevention Field at the age of 19, his work with youth affected by HIV and youth advocacy has provided him with many opportunities such as appearing in an Adidas Campaign, Paper Magazine’s “Night Life” issue, the AMFAR Gala opening act, and as a principal dancer Icona Pops’ “All Night” music video. After getting his professional start as a community health specialist at FACES NY, Inc, he is currently a Program Coordinator for Mount Sinai Beth Israel’s Peter Krueger Clinic. Chi Chi continues his work with the house and ballroom community and the Kiki Scene. He is the Founding Mother and creator of the House of Unbothered-Cartier and Empress of the Legendary House of Mizrahi. He has dominated the Voguing category from state to state, as one of the most popular voguers. His playful personality, endless love, and nurturing ways are a representation of how he keeps the youth of his community safe. “Live In Your Truth “ is his life-long motto for himself and for those with whom he’s affiliated. Shepard Verbas (they/them) Shepard Verbas joined The LOFT team in November 2015 as Program Manager for Silver Connections and Helpline. Since then, their title has grown to include The LOFT’s Intimate Partner Violence program, as well as facilitation and oversight of many LOFT groups and volunteers. Shepard also works with LGBTQ youth through their role as Program Specialist with the organization Center Lane. Graduating in 2014 with a B.S. in Special Education/Early Childhood Education, Shepard has over five years experience working with youth and adults in educational and therapeutic settings. For two years, Shepard co-chaired GLSEN Hudson Valley’s LGBT youth outreach initiative, Shared Stories Open Minds, and was an active member of the chapter’s board. Shepard has an unrelenting passion for LGBT advocacy and shares The LOFT’s commitment to Advocate, Educate, and Celebrate diversity wholeheartedly. They are particularly passionate about the transgender, gender non-conforming, and non-binary communities. Shepard presents at various trainings and forums about the importance of trans rights and visibility. Laurel Golio (she/her) Laurel Golio is the co-founder and photographer of We Are the Youth, an ongoing photographic journalism project chronicling the individual stories of lesbian, gay, bisexual, transgender and queer youth in the United States. We Are the Youth addresses the lack of visibility of LGBTQ young people by providing a space to share stories in an honest and respectful way. Her work revolves around the examination of community and its various subcultures, with a focus on using portraiture to investigate issues of self-presentation and identity. Her work revolves around the examination of community and its various subcultures, with a focus on using portraiture to investigate issues of self-presentation and identity. Laurel has been a contributor to The New York Times, New York Magazine, Metropolis Magazine, The Fader, Fast Company, The Oxford American, and the British Journal of Photography. She graduated from Smith College.

WHAT is Archivist’s Alley? Archivist’s Alley is a safe conversational space designed for casual and lively discussions about how to preserve our work and identities in the professional landscapes and media that we work and create in. It is an open and dynamic arena to talk about archival ideas, new projects and to celebrate the power of each guest’s voice as a critical part of this community and our world at large. Every city, every town, every village has an alley. Most are not acknowledged, they are simply viewed as invisible thoroughfares. But alleys provide access; alleys are necessary. Alleys provide living communities with a variety of uses: short-cuts, storage, business exits, secret spots for lovers to meet. Whether they have allowed for covert exchanges or indispensable business work, the primary purpose of an alley is connection. This is the trajectory of Archivist’s Alley. WHO is Archivist’s Alley? A collection of voices gathered from the world of the lesser represented or marginalized populations in media or media preservation. These voices are women’s voices, queer voices, trans voices, non-binary voices and voices of color. These are indigenous voices and the voices of the differently abled. Let’s just say that here on Archivist’s Alley, the volume will most certainly go to 11. Everyone’s officially invited to this party. Get comfy and hangout for a bit. Let’s jam!

Finding solutions in the ongoing discussion about trans and non-binary gendered housing on university campuses is a sensitive process. Many state universities require students to spend at least one year living on campus. This ensures those universities have to make housing inclusive enough to accommodate different genders, religions, sexual orientations or disabilities. Youngstown State University — a commuter school — isn’t necessarily beholden to the same requirements that schools with mandatory residence policies are, but that doesn’t mean efforts to make campus housing more inclusive should be viewed as less critical. As reported in today’s piece, “Transcending Gendered Housing,” Eddie Howard, associate vice president in the division of student affairs, Danielle Meyers and Carol Seawood — the director of Housing and Residence Life and the property manager of the University Courtyards, respectively — will be meeting to address housing issues, including inclusivity. The meeting — and any forward thinking action borne from it — comes at a pivotal time in YSU’s history as a commuter campus. Since the beginning of President Jim Tressel’s administration, there has been a push to not only increase enrollment numbers, but increase the number of students living on campus. The new Honors College encourages participating students to live on campus to enhance their involvement with school events. International and out-of-state students — another demographic marked for increase by the new administration — also tend to live on campus. To prepare for this increase in campus living, two new housing structures — University Edge on 5th Avenue and The Enclave on Wick Avenue — have been cleared for construction. As YSU physically builds and prepares for an influx of on-campus residents, policies emphasizing liberty and inclusivity must also be built and prepared. There’s a few quick fixes YSU can begin working on to help improve conditions for transgendered or non-binary students hoping to live on campus. Providing students with housing applications that include a space to self-identify and a specific service for matching LGBT students with LGBT friendly roommates are some options. Better still, change the policy to assume that students in 2016 will be accepting of their LGBT classmates, and instead provide an “opt-out” selection for those who — for whatever reason — cannot tolerate an LGBT roommate. Gender-inclusive shower and bathroom options should also be included in the construction of the new housing units. It’s understandable why the dorms and Courtyard apartments would be hesitant to tear up their existing buildings to add in a third set of bathrooms. That defense runs dry, though, when talking about brand new construction. Hopefully the contracting companies responsible for building the new apartments have been instructed to build transgender and non-binary students into their plans. We hope that YSU’s plans to increase enrollment through out-of-state and international student recruitment is successful, but we also hope that those students will find YSU a university ready to accept them as they come and willing to work to find them appropriate housing. The editorial board that writes editorials consists of the editor-in-chief, the managing editor, the copy editor, and the news editor. These opinion pieces are written separately from news articles. They draw on the opinions of the entire writing staff and do not reflect the opinions of any individual staff member. The Jambar’s business manager and non-writing staff do not contribute to editorials, and the adviser does not have final approval.

hey, thanks megabucks for yr posts on apora- and aliagender. i was wondering if you’ve read biyuti binoahan, who afai could tell *was* arguing that white ppl cannot have a non-binary gender as it would be appropriative/racist? i feel like that particular discourse took root in many (white, masculine-nb) circles, and was The Citation about binarism. (also, my norse pagan ergi friend got bullied off tumblr for stating they had a cultural nb gender as a white person.. bluh. Emotions run Strong) hi! 🙂 i know of biyuti (b. binaohan), but i’m not sure whether or not i’ve read the writing in question. this, perhaps? i’ll have to check it out later when i’m not running on 2hrs of sleep and short on spoons. either way, based on what you’ve said about it, i’m fairly certain that i have come across arguments about binarism and non-binary genders on Tumblr that more than likely spawned from that person’s writings. arguments that i personally have not agreed with, but i can’t say how much of that is actually related to what b. binaohan actually wrote. when it comes to anything intersectional with race, emotions do indeed run strong. which is why i need more spoons for these kind of discussions lol… thanks for the recommended reading, anon.

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On Wednesday, the Argentine Senate voted 38 to 29 in favour of legalising elective abortion until the 14th week, with one abstention. We have interaction advocates from across the globe and from multiple work disciplines to advance the rule of law. The WJP is an unbiased, multidisciplinary group working to advance the rule of legislation worldwide. They are proud of their European website, but they also display more arrogance than girls in neighboring countries. They consider themselves separate genetically and culturally from Latinas. The Appeal Of Argentinian Girls From the Plaza del Correo we’ll then head to the house of Mariquita Sánchez de Thompson, a political activist for equality and women’s rights. Did you realize that the National Anthem was sung for the primary time in her house? Although it’s a matter of debate, we’ll find out all about it along with many other of this unimaginable girl’s achievements. Following President Juan Perón’s enactment of women’s suffrage in 1949, First Lady Evita Perón led the Peronist Women’s Party until her demise in 1952, and helped enhance the role of ladies in Argentine society. Women’s rights in Argentina progressed in important ways following the return of democracy in 1983. President Raúl Alfonsín signed legal guidelines in 1987 each limiting Patria potestas and legalizing divorce, helping resolve the authorized status of three million adults residing in authorized separation.

After a spectacular 40th anniversary in 2018, Sydney Gay and Lesbian Mardi Gras is back this year with a fearlessly fabulous program of celebration and diversity. This year’s theme of ‘fearlessness’ aims to reflect on LGBTQI activism of the past whilst acknowledging those who courageously express themselves today. Mardi Gras Arts CEO Terese Casu adds: ‘Being fearless is more than making a lot of noise, it’s also about acknowledging a person’s own vulnerability, and being able to express who they are, even if it’s not bold.’ The festival kicks off on February 15th with over 100 events and 400 artists scheduled over 17 days, culminating with the annual parade on March 2nd. The Seymour Centre will be transformed into Mardi Gras Central, a festival hub set to host an array of events from burlesque through to cabaret, as well as nightly parties as the official post-show venue for Mardi Gras events. Among the headliners will be Club Briefs, a ‘trash glamour disco circus’ featuring dance and burlesque performances from cabaret hooligans and mischief makers handpicked from around the queer globe. The inaugural Bent Burlesque is another not to miss, featuring the crème de le crème of queer burlesque artists from New York to Venice, including winning queen of queer cabaret Yana Alana. You can look forward to the return of longstanding favourites like the Sissy Ball where you can vogue battle it out on the runway for titles in fashion and flair. Mardi Gras Fair Day returns with a feast of food trucks, picnics, dancing, community stalls and performances at Victoria Park. The Ivy Pool Party is back on the 25th of Feb, while the Strictly Kaftan Party will also grace this poolside venue with a dress code of glamorous poolside couture. New events to look out for are Cake Daddy, an interactive cabaret banquet while you witness one queer man’s experience of fatness in a fat-phobic world. Meanwhile, Queer Thinking will bring together a program of talks covering topics like Safe Schools, what it means to be non-binary and the experiences of queer Iraqis. This annual exploration and celebration of diversity, equality, sexuality and vulnerability will all come to a rise in a glittering explosion of pride during the parade in the heart of Sydney’s LGBTQI district on March 2nd. The team at Darlinghurst Fine Wines are all looking forward to celebrating with the community for another exciting parade day this year – the one day in the calendar where our shop feels more like a dance party than a hard day’s work! Check out the our full newsletter here: http://darlinghurstfinewines.com.au/2019/01/31/february-e-newsletter/

Michaelmas Newsletter 2022 Hello, and welcome to PCBC’s Michaelmas Newsletter! Words from the Overall Captain PCBC has had a wonderful start to the 2022-2023 season. We started with a training camp in Budapest, Hungary where both seniors and newcomers were able to strengthen their technical skills and build a solid foundation of fitness going into the term. We got to train in everything from 8+s to single sculls, and having the week devoted to training allowed for rapid improvements. A special thank you to Bálint Homonnay and his family for allowing us all the opportunity to row on a beautiful river. We returned to Cambridge excited and eager to begin rowing, as well as recruiting a new group of fantastic novices. Our LBCs organised our annual Big Rowing Day to allow freshers to give rowing a try and speak to both current and previous rowers, and were able to recruit our biggest ever intake of freshers! I am incredibly impressed and inspired by our novices this year – they are eager, determined, and devoted, giving me much excitement for the future of the club. They have started the year off brilliantly! All of our senior boats did wonderfully, especially as we all focused on rowing in 4+s for the beginning of term before transitioning into the 8+. As our captains will expand upon below, we can point to multiple great performances during term, culminating in the Fairbairns Cup. I must give particular congratulations to the Novice Men, who won Emma Sprints! Quite a start to what will be, I am sure, many successful years on the Men’s side. I must also congratulate our Senior W1 Boat, who pushed through multiple injuries to achieve 2nd place in Fairbairns by a mere 3 seconds! We feel very strong as we look to Lent Term, and missing out on first place has certainly stoked our competitive spirit as we prepare for Bumps. I want to thank all of our coaches and captains, as well as Kevin Bowles, our boatman, who is celebrating an incredible 40 years with the club. It is a true asset to the club to have a boatman with such experience on the Cam. I also want to thank all of our alumni for their involvement, encouragement, and support. It motivates and excites us and I am very grateful for everyone in the PCBC community, past and present. I look forward to the next term of rowing and hopefully meeting more of our fantastic alumni community at this year’s annual Regatta Dinner, held on 18th February. W1 had a very strong Michaelmas. Despite a number of changes in the crew due to injuries at the start of term, the rowers never lost drive or momentum and worked hard to gel together as one crew. Even with subs, W1 performed very well in each race, showing how effort and commitment to sessions leads to speed and rhythm on the water. We had two strong fours in the University Fours, knocked out by only a couple of seconds. The crew’s highlight of the term was their performance in Fairbairns, where they stormed their way to second place overall – just 3 seconds away from first place. Their strong start and finish to the term bodes well for Lent Term, where I expect to see their passion and determination reap benefits once again in Lent Bumps. W2 began Michaelmas as a squad of 12. There was a lot of enthusiasm in the boat and everyone was excited about what could be achieved. Within a few weeks, the squad split into a set W2 and W3 crew. W2 improved leaps and bounds in their training. In Winter Head, they placed 6th out of the other W2 and W3 boats on the Cam. Their aim for Fairbairns was to progress further up the rankings, and they achieved this: they came 4th out of the other College W2s, with a time of 18:43. Their strong start to the year promises some great results for Lent and May Bumps. W3 became a set crew in Week 4 of Michaelmas, and came together to perform well in Fairbairns. Their success as a crew was down to their enthusiasm. In particular, there was a lot of commitment from the novices, who made up half of the crew. We are one of the few colleges on the river with a W3 in Michaelmas term competing in several races, which is a credit to the boat club. Our hope is that W3 continues in their progress to compete in Lent Bumps. M1 has had an encouraging term. Despite having only one returner from last year’s Mays crew, they have begun rebuilding. Starting the term with a disappointing Winter Head result, they worked towards a terrific Fairbairns row, miles ahead of where they were 8 weeks before. With this steep upwards trajectory, engendered by their commitment to every outing, and desire to push themselves beyond their limits, a strong Lent Bumps performance is theirs for the taking! M2 had a fantastic Michaelmas. Coming together as a crew at record pace, we went straight into turning our enthusiasm into speed on the water. Because a lot of our rowers graduated last year, M2 this term ended up recruiting a couple of novices into the boat. Their keenness and energy spread to the seniors, making nearly every session an absolute treat to row in. All this translated to stellar results, with M2 coming 3rd in their division at Winter Head by only 9 seconds (with an exciting overtake on a tideway crew down the gut), and 5th in their division at Fairbairns (with an even more exciting overtake on St Edmunds M1 just before the finish line). Between this current crew’s successes, and the excellent work of the lower boat captains, M2 has great momentum going into Lents. I’m certain we’ll maintain our upwards streak in Lent Bumps. It was wonderful to see that many of our senior coxes had kept up their training over the summer vacation: coxing with town clubs and participating in our online video analysis sessions. We’re happy to welcome back our (rather large!) team of coxes from their year abroad and those returning after taking a break from rowing. Coxing at PCBC was an attractive choice for many freshers at Big Rowing Day this year, with over 35 of them expressing interest in trying it out! Several semester students got on the water as well, with some of them racing with our novices towards the end of term. We also saw several PCBC rowers, past and present, catch the coxing bug. We look forward to seeing how combining the two skill sets can improve the standard of rowing all-round. Looking forward to Lent Bumps, already we have keen Pembroke students signing up to embark on their coxing journey before term even begins. After the disruption of Covid, we can’t wait for this growing bank of institutional knowledge to pay dividends for our crews. The Novice Men’s and Non-binary side had an amazing start to the term, with some of the novices moving into the M2 boat almost immediately. They kicked off their campaign with Qergs, finishing with an average split of 1:36.3. This pace was soon joined by strong crew energy and spirit, leading to an excellent Winter Head race for NM1 and winning Emma Sprints! They finished with an incredible row at Fairbairns, placing 6th in their category. NM2 were not to be outdone, also winning their Emma Sprints division and placing 8th in their category at Fairbairns. The LBCs expect many more good results to come: fuelled by the same team spirit and work ethic we’ve seen this term, and by semester students joining come Lent. The Novice Women’s and Non-binary side took to the river with good spirits and enthusiasm, and their LBCs could not have been prouder. Several of our keener novices moved up to W2 and W3 in the first weeks of term, making the performances put in by our NW1 crew at Clare Novice Regatta and Fairbairns all the more impressive. Having ended the term on a high, finishing in the top half of Women’s Novice boats, we can’t wait to see what our novices have in store as they move into senior rowing. Going into Lent, we are looking forward to welcoming a cohort of semester students at PCBC! Last season’s Men’s and Women’s Captains are now trialling with Cambridge University Boat Club. Molly Foxell is training with the Openweight Women and Hamish Elder is training with the Lightweight Men. They have written a summary of their experiences thus far. Molly Foxell – I’m about halfway through my first season trialling with CUBC and it’s been quite a term! Preseason started at the beginning of September and we finished with a 5k on the 19th December, so it’s a long training block but an incredibly productive one. The first major event was Fours Head, for which I raced in the second four in the Champ 4- category and came 7th. The highlight so far has been Trial 8s. This is where the coaches select matched crews to race the full length of the Championship course, almost like a Boat Race dress rehearsal. It was an incredibly eventful race which my crew won by only 6 inches after over 20 minutes of racing, including a restart… I would recommend watching the livestream back – it’s a very exciting race! After a short Christmas break we’re going on a training camp to Spain and then it’s not long until the Boat Races. Hamish Elder – I’ve had a great few months trialling with CUBC. While it certainly has been a serious commitment, it’s really enjoyable to be part of such a professional setup. I missed out on Four’s Head through injury, but made a return for Lightweight Trial Eights. Like most of the Cambridge races, I was part of a close battle. Down by 3/4 length at Hammersmith, my crew moved to almost level around the outside of the Surrey bend, before the other crew edged away past Barnes Bridge. While it’s disappointing to miss out on winning, the squad is in an exciting place for taking on Oxford in March! For the first time in recent history, we had 5 alumni crews race this term. For Fairbairns we entered a Men’s 4+ and a Women’s 4+. The men, in particular, came together well and were the 2nd fastest alumni boat. The following day PCBC took to the river again for Christmas Head. Thankfully a shorter race this time, we entered a Men’s 1x, a Men’s 4+ and a Women’s 4+. Credit again goes to the men who were the fastest alumni 4+. The strength and depth of our alumni squad is a testament to the history of the club and the enthusiasm of our alumni. Our ambition is to enter a Men’s 8+ and a Women’s 8+ for Pembroke Regatta. Please get in touch if you are interested in racing – no 2k tests required! THOUGHTS FROM THE HEAD COACH This term has definitely been a mixed bag of results due to a lot of injuries and inexperience, but I look forward to continuing to develop the athletes we have and go on to a really strong Lent term. The main highlights for me were NM1 and NM2 winning Emma Sprints and W1 finishing second at Fairbairns. I would like to say a massive thank you to all the coaches this term that have helped me, and also Bálint for hosting us at our Budapest camp in September. PEMBROKE REGATTA 2023 Planning for the Pembroke Regatta 2023 is now underway, which is taking place on Saturday, 18th February 2023. If you would like to take part, please get in contact at email@example.com. We hope that many of you will be able to join us at the Regatta Dinner, which will take place on the same night. Details about booking your place for this will come in due course. LENT TERM DIARY DATES For anyone who lives in Cambridge or fancies making the trek on a weekend, we would love to have the support of PCBC members past and present on the bank at our upcoming races. Our crews will also take on the Thames in Lent, so do come along to cheer for them – it will certainly make them row faster! January 9th – Pre-Term Cambridge Training Camp January 21st – Winter Head to Head January 29th – Quintin Head February 4th – Newnham Head February 18th – Pembroke Regatta March 3rd – Lent Bumps Getting on Race March 4th – WEHoRR (London) (TBC) March 7th-11th – Lent Bumps March 18th – HoRR (London) March 26th – The Boat Race (London) VOLUNTEERING AND STAYING CONNECTED Alumni support is crucial when it comes to coaching of Pembroke crews – we can all think about the alums who sharpened our catches back in the day! If you would like to contribute to the ongoing success of PCBC through coaching, please get in touch with the Head Coach Seb Matthews or the Sponsorship and Alumni Representatives Lily and Jasmine. It would be fantastic to see our current crews inspired by previous successes. And, as always, follow our social media for the latest news. FB: www.facebook.com/PCBCCambridge Twitter: twitter.com/pcbccambridge Pembroke Regatta Twitter: twitter.com/pemregatta We also post regularly on our PCBC Alumni Facebook group for the latest news and alumni rowing opportunities. If you are not already connected, please visit us here to join! Row on PCBC!

Tax season is gone, but a problem remains: students should receive help from the College with filing taxes. Late emails about campus events have become increasingly common and shows the communication problem the College faces. Women and non-binary students in the English Department are struggling to connect to professors, as, currently, most of them are men. A shortage on teachers in New Mexico has caused the National Guard to become substitute teachers. How will this affect the future of teaching, and education? Olympic athletes, some of world’s best athletes, are expected to endure intensive training and compete without proper pay.

In 2020, it regarded like Janelle Monáe had come out as non-binary after tweeting “#IAmNonBinary.” They later clarified in an interview, although, “I tweeted the #IAmNonbinary hashtag in help of Nonbinary Day and to convey extra consciousness to the group. I retweeted the Steven Universe meme, ‘Are you a boy or a lady? I’m an expertise,’ as a result of it resonated with me, particularly as somebody who has pushed boundaries of gender because the starting of my profession. I really feel my female power, my masculine power, and power I can’t even clarify.” Nonetheless, now, Monáe has gone forward and declared as immediately as potential that they’re actually non-binary: In a brand new Pink Desk Discuss interview (as Billboard notes), Monáe instructed Jada Pinkett Smith, “I’m non-binary, so I simply don’t see myself as a girl, solely. I really feel like God is a lot greater than the ‘he’ or the ‘she,’ and if I’m from God, I’m all the pieces.” Monáe continued, “I’ll at all times, at all times stand with ladies. I’ll at all times stand with Black ladies, however I simply see all the pieces that I’m, past the binary.” Monáe additionally mentioned why they determined to come back out now, saying, “Anyone stated, ‘If you happen to don’t work out the issues that it’s essential to work out first earlier than sharing it with the world, then you definitely’re going to be working it out with the world.’ That’s what I didn’t wish to do.” Watch the total Pink Desk Discuss episode right here.

The fact that modern patterns of the treatment of trans individuals are not based on controlled or long-term comprehensive follow-up studies has allowed many ethical tensions to persist. These have been intensifying as the numbers of adolescent girls declare themselves to be trans, have gender dysphoria, or are “boys.” This essay aims to assist clinicians in their initial approach to trans patients of any age. Gender identity is only one aspect of an individual’s multifaceted identity. The contributions to the passionate positions in the trans culture debate are discussed along with the controversy over the official, not falsifiable, position that all gender identities are inherently normal. The essay posits that it is relevant and ethical to investigate the forces that may have propelled an individual to create and announce a new identity. Some of these biological, social, and psychological forces are enumerated. Using the adolescent patient as an example, a model for a comprehensive evaluation process and its goals are provided. The essay is framed within a developmental perspective. This essay derives from my clinical experiences with individuals of all ages who have sought psychiatric care for their discomfort about their gender. I have been involved with these problems since 1973. The clinical process with adults is markedly different than with younger patients. With children and adolescents, the work is fraught with greater worry about outcome, legal uncertainty concerning consent, and ethical tensions. Larger issues are in play, however, with everyone who is contemplating gender change, requesting hormones, or wanting surgery. It is increasingly recognized that the long- term mental health outcomes of these interventions are not clear. Parents, who almost always state they “want the best for their child,” look to professionals for the best management approach based on science. The trouble is that current treatment patterns are far more dependent on fashion, politically influenced beliefs, and hope. This is often referred to as best clinical practices. The media has provocatively, if not sagely, termed the controversies about gender transition as a culture war. Its debates are occurring at federal, state, and community levels and are increasingly taking place in courtrooms in the U.S. and the UK. The most common arena of intense disagreement is perhaps the least publicized one—within the family. Many concepts about trans phenomena have evolved since the early 1970s when few mental health professionals had ever encountered a transsexual person (Pfäfflin, 2011). Psychiatric, psychological, medical, and nursing organizations continue to declare the efficacy of various forms of transition for emancipated adults. Similar pervasive endorsements did not exist for children and early adolescents where ethical concerns, policy, and science conspicuously clashed until 2018 when the American Academy of Pediatrics supported the social transition of grade school trans children and criticized watchful waiting (Rafferty, 2018): “The approach [watchful waiting] is also influenced by a group of early studies with validity concerns, methodologic flaws, and limited follow-up on children who identified as TGD [transgender and gender diverse] and, by adolescence, did not seek further treatment (“desisters”).” Gender patients and their families often face excruciating dilemmas, some of which they feel but cannot articulately express. It is my hope that the following considerations might help clinicians to assist patients and their families with these situations. Gender Identity Is One Element of Individual Identity Erikson’s (1968) body of work advanced the understanding of human development by introducing the concepts of age-expected developmental tasks, developmental lines, and virtue vs. failure labels for eight developmental phases of life. Success in the tasks of development, always individually varied because of familial and larger cultural influences, eventually created competence in the developmental lines of vocation, friendship and love, sexual behavior, stability of sexual identity, and self-management. He emphasized that how well previous tasks were accomplished determined when and how completely subsequent ones could be achieved. He proposed that psychiatric symptoms were generated by developmental failures. Today’s concepts of identity in general, and sexual identity in particular, are far more multifaceted than Erikson’s descriptions (Stevens, 1983). Modern adult psychiatry has not emphasized adult development; it is preoccupied with symptom patterns and their treatment. Psychiatry recognizes trauma-induced dissociation, personality disorders (particularly borderline type), psychosis, and gender dysphoria as containing identity struggles. Child-oriented and psychodynamic therapists tend to be more attuned to developmental processes than those committed to treatment primarily based on DSM-5 diagnosis. The larger world understands identity in broader terms. Identity crises occur when individuals lose their jobs, retire, are widowed, get divorced, discover homosexual attraction or have their first affair, etc. There are numerous elements of human identity that can create crises. Here are some other elements: religion, ethnicity, economic status, intelligence, vocation, size (height/weight), athleticism, sense of attractiveness, sociability, political, and dietary. A consideration of an extended list of identity elements clarifies the dimensions of individuality and illuminates lives as multifaceted processes. Many of the aspects of identity are not clinically relevant at any particular time. National identity, for instance, may not be germane until one travels to another country or one is an immigrant. Racial identity heightens in the face of flagrant violations of individual rights. The number of identity elements in play at any given time is not as important a foundational concept as the idea that every person’s sense of self is multifaceted. Most elements of identity are: Associated with unique values and sensibilities The source of a person’s personality development, relationships, and career The explanation of individuality Shapers of friendship patterns Evolve from youth to old age, predictably or unpredictably, subtly or dramatically Capable of enhancing, limiting, or destroying one’s life. The source of emotional and physiological symptoms because of intrapsychic or interpersonal conflict A cursory statement of a larger subject One academic gender identity topic that receives considerable attention is the intersectionality of identity components (Abed et al., 2019). For example, it is well known that the physical disease and mortality risks to poor black trans females with a high school education compared to wealthy white college educated trans women are far greater in terms of HIV infection (Baral et al., 2013). But when all the elements of a person’s current identity are considered, the degree of intersectionality becomes far broader than what is usually emphasized. Intersectionality introduces the clinician to a paradox. It helps clinicians to view each trans patient as unique and to plan accordingly. When thinking about public health, political, legal, and civil rights, however, we then view trans communities as a unitary group. Transgender Phenomena Evoke Intense Countertransferences Atypical gender presentations elicit strong responses in most individuals. This is perhaps less so today than decades ago, but opinions can still be intense and polarizing. Numerous factors contribute to their intensity making it difficult to discern which of these factors organize a person’s viewpoint. 1. Fascination with sex and gender change. The question, “Can sex be changed?” has long been explored in the arts, where men and women have for centuries been presented as the opposite sex in humor, drama, dance, opera, and popular music. Today, it is better understood that, in a basic biological sense, sex cannot be changed, but gender presentation can, with or without medical assistance. 2. Political sensibilities. The political Right may consider transgenderism morally wrong and dangerous to societal health. Its approach to studies and clinical services is skepticism. The political Left may consider transgenderism the courageous pursuit of self-expression, a civil right, and another praiseworthy social movement to eliminate discrimination. Its approach to studies and clinical services is positive. 3. Religious sensibilities. Theological assumptions may resemble either political position. In the United States, Christian religions tend to lean to the political Right. 4. Orientation sensibilities. Membership in the heteronormative or sexual minority communities may influence unease with, or endorsement of, transgender phenomena. 5. Intuitive sensibilities. When people are neither religious nor political, they may have a “gut instinct” that one should be supportive or wary of trans phenomena. Such sensibilities are best reflected through age; younger and older people have different life experiences with which to be intuitive. Professionals overlay their attitudes from the above forces with the aspiration to be morally, politically, and religiously neutral in their clinical work. Three additional factors may also contribute to their private reactions. 1. Personal clinical experience. Before the evaluative gatekeeping functions of mental health professionals were downgraded in the 7th edition of the Standards of Care by WPATH (World Professional Association for Transgender Health) (Coleman et al., 2011), clinicians occasionally encountered hostile adult patients who demanded hormones or a surgery recommendation. A disrespectful hostile patient tends to create clinical wariness toward future trans individuals. With WPATH’s policy change, gender specialists became wedded to affirmation. The frequency of unpleasant clinical experiences diminished when patients were efficiently given what they desired. Nonetheless, when an affirmed patient does not do well after affirmation, a medical or surgical intervention, clinicians may hesitate more with subsequent patients, 2. Clinical reports from innovators. Pioneering studies of transgender treatments were compassion-based attempts to improve the lives of adults with convincing long standing painful gender/sex incongruity. The seemingly largely successful interventions were felt to not require controlled studies. Such studies might have compared predetermined comprehensively outcomes of those given hormones or a particular surgery with those who were delayed or provided psychotherapy. Conviction about the efficacy of these increasingly popular interventions made it seen to be unethical to withhold hormones and surgery to those who desired them. Individual follow-up studies that were done tended to be of short duration, with a relatively small number of patients using differing outcome measures from study to study. Many individuals in some studies were lost-to-follow data. Nonetheless, the findings encouraged gender specialists about the helpfulness of transition, hormones, and surgery. Once clinicians facilitate any form of transition, they tend to believe they are rescuing patients from endless despair and enabling happy, successful, productive lives. 3. Knowledge of scientific studies. Many believe that science has already firmly established the ideal way to treat gender patients. Many institutions and clinicians ignore studies that do not support their preferred concepts. For example, high desistance rates in trans children have been demonstrated in 11 of 11 studies (Cantor, 2020) but a committee of pediatricians created a policy of supporting transition of grade school children (Rafferty, 2018). One of these studies, recently published, reported follow-up of 139 Canadian boys, 63% who met criteria for gender identity disorder and 37% were subthreshold for the diagnosis. The study found that 88% had desisted at a mean age of 20.5 years (range, 13–39 years) (Singh et al., 2021). In 2020, three critiques of trans supportive interventions demonstrated that published scientific papers were flawed (Biggs, 2020; D’Angelo et al., 2021; Kalin, 2020). In 2020, a UK court put a halt to puberty blocking hormones and the use of cross-sex hormones for those under age of 16 and required 16- and 17-year-olds to individually have court approval before beginning hormones. (https://www.judiciary.uk/judgemenets/r-on-the-application-of-quincey-bell-and-a-v-tavistock-and portman-nhs-trust-and-others/). By evidence-based medicine standards (Masic et al., 2008), it has long been clear that the quality of science underlying interventions is low (Byne et al., 2012). In an objective evaluation of relevant transgender Standards of Care, WPATH’s guidelines, which clinicians have long used to justify their care, was given poor scores on relevant domains (Dahlen et al., 2021). The interplay of the above ten factors make every clinician and family a bit uncertain what the limits of knowledge are and why this topic creates partisan passions. What Is Sexual Identity? In my view, childhood and early adolescent sexual identity is incompletely formed. Later adolescent and adult sexual identity consists of gender identity, orientation, and intention components (Levine, 1989). Each of the components has internal erotic and external behavioral dimensions. Answers to three questions define an individual’s private, psychological, conscious, erotic sexual identity components: When I think of myself in terms of maleness and femaleness, who am I (gender identity)? Which gender (with biological sex assumed) attracts me romantically and sexually (orientation)? What do I want to do with a partner’s body or have done to my body during sexual activity (intention)? Erotic dimensions are not necessarily reflected in the behavioral aspects of the three components. A masculine appearing boy may privately think he is a girl. A lesbian may have heteroerotic attractions and fantasies. A sexually conventionally behaving adult may have recurrent sadomasochistic desires. The tripartite sexual identity portion of the self is not usually appreciated in transgender evaluations, clinical care, education, or research. Sexual orientation, which WPATH asserts to be entirely distinct from gender identity (Coleman et al., 2011), has become less important in trans care because all sexual orientations are observed in trans populations and because a person’s orientation may adapt with social opportunity (Diamond et al., 2017). From its inception, most research has ignored the intention component as though it has nothing to do with the development of the sexual self and has no influence on either the origins or evolution of gender identity or orientation at any time in life (Green, 1987; Zucker et al., 2016). An unknown percentage of trans individuals have conventional intentions, but when paraphilic interests are present, the individual’s private sexual identity reflects this. A bisexual trans man who advertises himself as a submissive reflects all three dimensions of sexual identity. Is Transgenderism Maladaptive? The many specific clinical, political, legal, and moral uncertainties concerning transgender phenomena ultimately stem from one underlying question: Is transgenderism an abnormality? The words “abnormality” and “psychopathology” seem to quickly move clinicians into camps and appear to some as politically incorrect (Levine & Solomon, 2009). “Is a trans identity maladaptive?” may be a somewhat less incendiary phrase. There seem to be almost three answers. It is not inherently maladaptive! The official policy of the American Psychiatric Association (Byne et al., 2012) and other professional organizations is that all forms of gender identity are normal: “Being transgender or gender variant implies no impairment in judgment, stability, reliability, or general social or vocational capabilities.” Although relatively uncommon, trans binary and non-binary identities are viewed as manifestations of human developmental diversity. The argument is made that psychiatry considered gay and lesbian identities to be abnormal until 1974. Today, when this question is asked about trans people, it is skeptically viewed as the reinvention of past erroneous policies toward homosexual persons. The “No!” answer has found powerful expression in the ICD-11’s renaming the diagnosis of Gender Dysphoria as Gender Incongruence and moving it from the Mental Disorders section into Factors Affecting Sexual Health (WHO, 2018). Asymptomatic individuals who are not distressed by their unconventional gender identities bolster the argument (Askevis-Leherpeux et al., 2019). Advocates of the ICD-11 change have stated its motivation to normalize is to diminish symptoms due to self-hatred and to lessen discrimination (Reed et al., 2016). Institutional declarations of normality have not been accompanied by its evidential basis. It is inherently maladaptive! For a several decades, trans phenomena were considered developmental abnormalities. The evidence was suspiciously intuitive but was also based on the high prevalence and persistence of psychiatric symptoms (Mayer & McHugh, 2016). Cross-sectional studies of these individuals, before and after social, hormonal, or surgical transitions have repeatedly affirmed this (Bränström & Pachankis, 2020a; Dhejne et al., 2016). The “Yes!” view assumes that the crystallization of trans identity is a well-intentioned, but unrealistic, solution to an unsatisfying family, interpersonal, biological, or intrapsychic environment. The new identity promises an escape—a temporary exhilarating rebirth that is fueled with intense passion. This view gains strength from health services research that describes trans populations as vulnerable groups in need of numerous protections (Liszewski et al., 2018). Data have demonstrated the need for continuing psychiatric assistance after surgical transformation (Bränström & Pachankis, 2020a, 2020b; Dhejne et al., 2011; Simonsen et al., 2016). This population’s substance abuse rates, although rarely measured in trans outcome research, is known to be significantly elevated (Compton & Jones, 2021). If persistent disabling psychiatric symptoms with frequent suicidal ideation do not qualify as maladaptive, clinicians might wonder what does? Assumptions that all trans phenomena are maladaptive solutions to prior life adverse circumstances seem too extreme when highly functional otherwise asymptomatic transgender individuals are encountered. It is an irrelevant question! This view asserts that changing social roles and modifying the body of trans people is the only way to eliminate the distress of incongruence. Since these treatments cure gender dysphoria, the relevant social issues are how to increase access through insurance coverage, better education of health care professionals, and reduce discrimination (Ard & Keuroghlian, 2018). This answer seems to position the civil rights of gender diverse individuals over other considerations. The Natural History of Transgender Lives Is Not Known The question for any treatment is, “How does it alter the natural course of the condition?” “Natural history” means the typical untreated course of a condition. Is the problem self-limiting, does it leave a permanent deficit, or cause early disability or death? Dramatic treatments have been offered to trans patients over a 50-year period: support through affirmation, transitioning in society, cross-sex hormones, mammoplasty or mastectomies, genital reconstruction, orchiectomy, facial feminization surgeries, and lately puberty blocking hormones. The assumption has been that these treatments create superior outcomes compared to no treatment. However, no controlled study has tested any of these treatments nor has prospectively designed follow-up studies of those undergoing treatment been accomplished (Kalin, 2020). Bränström and Pachankis’ (2020a) optimistic conclusions that claimed that transgender surgeries reduced subsequent mental health services utilization was retracted after seven critical letters to the editor and two statisticians reanalyzed their data (Bränström & Pachankis, 2020a, 2020b). What clinicians know must be distinguished from what they believe about the natural history and the effect of treatment on the course of trans’ lives (Zucker, 2018). Psychiatric disorders are known to impair the quality of life. Clinicians should be concerned about what happens to these individuals as they move through their lives. There are only a few comprehensive national studies of this relevant question and these have worrisome results (Bränström, & Pachankis, 2020a, 2020b; Dhejne et al., 2011; Simonsen et al., 2016). In its place numerous cross-sectional studies converge on the understanding that trans communities fare less well than the general populations along many important dimensions. Disagreements arise when these differences are explained. The minority stress hypothesis asserts that the psychiatric co-morbidities derive from social stigma that originates both in families and the culture. Young people internalize a negative attitude in the form of self-castigation, which is labeled transphobia. Transphobia is analogous to internalized homophobia within some gays and lesbians. This hypothesis is only controversial because some proponents invoke it as the only explanation of the co-morbidities. There must be other sources as well, as cis individuals also have similar but less prevalent mental problems. Incongruence itself is difficult to bear; the deeply felt aspiration to change gender expression is not fully possible, trans people have their own fears about the social, sexual functional, and relational costs of transition, and the transitions do not necessarily create lasting worry-free self-confidence in their new gender identity. When patients appear to be mentally ill or functionally impaired, clinicians confront the paradox between the policy that there is no psychopathology inherent in any trans gender form and the patient in front of them, WPATH provided a way around the paradox: “if significant physical or mental health concerns are present, they should be reasonably well controlled” (Coleman et al., 2011, p. 34). “Reasonably well controlled,” however, is a subjective appraisal by individual clinicians (Janssen et al., 2019). While professionals employ the term co-morbidity, our understanding of how they relate to one another—entirely separate or vitally interconnected—remains poor. Who can assert with clinical certainty that an individual’s symptom pattern and functional impairments have nothing to do with what the patient is trying to achieve? A survey of European endocrinologists reported ethical discomfort from not knowing the answers to fundamental questions about their adolescent patients, including “Is a trans identity a normal phenomenon?” (Vrouenraets et al., 2015). It is not unreasonable to worry about the long-term outcomes. Gender Dysphoria May Appear Anywhere in the Life Cycle Some children express discomfort with their assigned gender and manifest strong cross-gender interests as early as age three. Dramatically increasing numbers of adolescents, particularly girls who never before expressed interest in or manifested cross-gender behavior are now declaring a trans identity (Nieder et al., 2011). Late adolescents and young adults who thought of themselves as gay, polyamorous, or kink may later consolidate a trans identity. Heterosexual men who long have been sexually aroused by female garments may announce that they are trans in mid-life. Inmates in male and female prisons, many of whom were bisexually behaving adolescents, are increasingly declaring themselves to be transgendered (Levine, 2016). Rarely, a person over age 60 who never recognized any homosexual or paraphilic interest or behavior changes gender. While the modal age of onset is decreasing in many countries (de Vries & Cohen-Kettenis, 2012; Eisenberg et al., 2018), gender identity, orientation, and intention can evolve throughout life (Diamond et al., 2017; Friedman & Downey, 2010; Lawrence, 2013). It Is Relevant to Consider “Why Now?” Whenever trans identities emerge, many of the patients feel a drivenness to express themselves in ways that often make them and their family uneasy. Family members, clinicians, and an occasional patient ask, “Why is this occurring now?” Posing this question is a principle of good clinical management for any new symptom, for example, asking what occurred that precipitated a depressive state. Many affirmative therapists find this question to be irrelevant and unethical because of the greater need to respect patient autonomy. They may offer the idea that a trans person, at any age, knows best what is needed. It is worth recalling that today’s passion can be tomorrow’s regret. Making a diagnosis of gender dysphoria is easy. Thinking about what it is a response to is not. Causal Models of Gender Dysphoria (Incongruence) Because the mechanisms of production of gender incongruence are not scientifically established, clinicians may explain the phenomena with their preferred assumptions. The ethical issue is how the clinicians’ beliefs are represented to patients, families, and colleagues. Some assume that the cause of a trans identity is ultimately from combinations of genetics, neural development, prenatal hormones (Roselli, 2018) or post-natal environmental-induced gene expression. A more interactive nature-nurture explanation is illustrated by the elevated incidence of gender dysphoria among the autistic (Leef et al., 2019; Mahfouda et al., 2019). Autism is understood to be primarily the result of embryonic processes on brain development (Estes et al., 2019). The condition often generates social isolation, unusual interests, and rigid idiosyncratic thinking. These impairments may predispose patients to a pervasive discomfort with the self and intense degrees of loneliness, which eventually generates a hopeful search for relief through changing gender expression. A third group of explanations involve processes that may begin with poor early life bonding that leaves the youngster nervous, unconfident, or unwilling to be like a particular parent. A separation from a parent, either literally or emotionally, seems to be an inciting factor in some children and teens. At times a failure to separate from mother seems germane (Coates & Person, 1985). Trans children are over represented among runaways, those in foster care, and among adoptees (Salazar et al., 2018; Shumer et al., 2017; Zucker & Bradley, 1998). The prevalence of trans identities in prisons is much higher than in the general population (Osborne & Lawrence, 2016); inmates often have profoundly disruptive early life histories. Most child victims of egregious levels of physical, verbal, and sexual abuse and/or parental neglect do not become trans, but those who do in childhood or adulthood raise the question whether trans identity is simply an unusual outcome of common adversities. Adolescent onset of gender dysphoria must bear some relationship to puberty when the body is changing, sexual drive appears, and awareness of social interactions and social status are heightened. One cannot discount the pervasive influence of the Internet in influencing current adolescents. Most adolescents undergo psychological strains and stresses that are only partially understandable to them. It may be possible that some adolescents who declare a trans identity are responding to ordinary developmental angst in an extraordinary manner. Some may be attracted to the cause of improving the world through expanding notions of gender. New declarations of a trans identity among early adolescents might also be understood as part of the search for how to define the self rather than the final resolution of this search (Littman, 2018). This hypothesis is in keeping with the view of adolescence that encompasses a conflictual search for a consistent sexual sense of the self (Blos, 1962; Erikson, 1968). In the light of current knowledge (Kendler, 2019), it seems unwise to assume that there is one etiology for these phenomena. One View of an Evaluation While there have been reports of psychotherapeutic approaches to trans children and adolescents (Evans & Evans, 2021), the vast majority of the recent literature on management of these patients emphasizes the importance of affirmation, support for transition, diminishing internalized transphobia, and optimism about having a fulfilling life in what is labeled the authentic gender. Some advocates have declared the topic of trans care to be under researched (Winter et al., 2016). This idea relates less to the explosive number of articles being published (Sweileh, 2018), and more to the relevant unanswered questions about the efficacy of the well-known treatments and alternative approaches. The evaluation process that precedes affirmative social and medical support focuses on the criteria of the diagnosis and screening for conspicuous mental illness (Coleman et al., 2011). This represents an almost singular intense focus on gender identity as though other aspects of identity and function are irrelevant. Today, the diagnosis of gender dysphoria generates such management for older teens and adults in as little as one session, as reported to me by numerous patients and families. Using the adolescent patient as one example, I want to discuss another approach. Any approach is modifiable based on factors such as, where the family resides, their economic resources, their structure, custody of the patient, the degree of emancipation, and previous transition. Evaluation is a bit of a misnomer as the process I am describing is also educative. Duration and Elements of the Process For out of town evaluations, two days provide an ample opportunity. The evaluation begins with a joint session with patient, parents, and siblings and is followed by separate processes, including psychological testing. The first meeting with the patient generally lasts two hours, a third meeting the next day lasts an hour. Parents are seen for two hours and offered a chance to meet again the following day. Siblings are seen for an hour. We also like to have a 50-min educational session about gender dysphoria and the state of science with the family. For in town families, the evaluation can be spread out to gain the advantage of seeing the patient and family in different mood states and after the initial anxiety somewhat dissipates. The time slots are the same, although more time can be taken with the patient and the parents if it is deemed necessary. The educational session is done prior to the final formal session for recommendations and treatment planning. The final meeting usually requires 45–60 min. The parents choose whether the siblings attend. One professional is the primary evaluator, with others playing defined roles. The primary evaluator and the professional who will spent the majority of time with either the patient or the parents are present at the initial and final family meetings. The initial session clarifies the family’s expectations, reviews the process, and provides an overview of sequence of events that led to the evaluation. It often reveals layers of conflict between the patient and parents and between the parents. Other therapists can meet with the siblings to ascertain their views of the family circumstances, their worries about and support of the patient. The participation of these additional professionals necessitates a professionals-only meeting to create a consensus about the relevant issues. Subject Matter for Inquiry One cannot expect a teen of any age to provide a comprehensive developmental history. Parents can share the circumstances of the pregnancy, the health of the pregnancy and post partum period, and the developmental sequences of their child’s life. This includes the child’s challenges, previous physical and psychological treatments, characteristic patterns, quality of relationships with each family member, and behavioral and verbal manifestations concerning gender nonconformity. The patient can provide the vital subjective narrative about the development of gender identity and can share concepts about personal orientation and intention, sexual involvement with others, what has been learned from the Internet, fears about their trans identity, and what they desire for their future. Siblings often illuminate other relevant aspects both about parents and the patient. The goal is to reveal an accurate picture of the patient’s capacities, accomplishments, developmental challenges, symptom patterns, and motives for and degrees of gender incongruence. Concepts to be Communicated Professional values are communicated to the family. Some of these are stated in the initial meeting with the family. They are repeated or introduced when it is apparent that one or more of the family members do not yet grasp them. 1. We aim to reestablish or to maintain the family’s bond to one another (in most instances). Parents and patient are not to reject one another. 2. Parents are not the trans teen’s enemy when they express concerns about their offspring’s future; they have the right and responsibility to do so. The patient may be too young, unwilling, or unable to verbalize his or her concerns about the new identity. The parents may be expressing what the patient actually thinks, but is unable to say. 3. The adolescent is in charge of determining his or her gender identity, now and in the future. 4. It is important to identify and discuss the forces that moved the teen in the direction of a new identity. 5. Humans always have ambivalence about major life changes even when they deny it. Types of Recommendations We begin the final session by asking the family members how they view what has occurred. Parents are usually relieved about what has been revealed. The patients often say that the process increased their self-awareness and that they appreciate being recognized as having more dimensions than just gender identity. Most forcefully add that they are not abandoning their trans identity. The adolescent patient and family circumstances vary considerably. The evaluation seeks to clarify many aspects of the patient’s identity as well as the patient’s past and current developmental challenges. Our recommendations begin with the identified mental health issues. These often include: separation anxiety (particularly for boys), social anxiety (most intense among those with autism), dislike of a parent or parents (particularly among divorced and chronically dysfunctional parents), depression and anxiety about peer relationships, suicidality, paraphilic excitements, substance dependence, eating disorders, other identity conflicts, and autistic traits. The idea that “I am simply trans,” is viewed as either a defense against understanding what has been going on within the person and within the family or simply a lack of understanding. We do not recommend puberty blocking hormones and think it is prudent not to initiate cross-sex hormones prior to age 18. As many state that they desire hormones, we want to clarify what they hope the benefits will be now and in the future. We recommend an informed consent process for those seriously considering endocrine therapy. This consists of extended discussions to consider what is known about the medical, social, relational, and psychological risks of transition with or without hormones (Levine, 2019). We emphasize that this subject should not be covered quickly with a surrogate document or video. Some patients, however, come to the evaluation surreptitiously on hormones. We recognize the vital importance of the patient’s gender identity and its impact on the future of the entire family. We want to maximize the patient’s ability to meaningfully address the identified problems and to increase the chance for success if the patient persists over time in the current gender identity. For local patients we offer our staff for psychiatric and psychotherapy services. We share our view that, despite our experience with this problem, it is the team of parents and patient, not the professional staff, who will have to discern if and when further transition is to occur. We recommend that they consider our findings at home over time. Regardless of their decisions, we ask for at least one follow-up session in three months in person, virtually, or by email. If the family desires, the primary evaluator will issue a report for their use in the future. The report will have input from each of the involved professionals. It is particularly recommended for those coming from out of town. A Concluding Observation The gender revolution has taught that there are more than two possible gender outcomes (Levine, 2020). The transsexuals of the 1960-1990s are increasingly the non-binary people of today (Motmans et al., 2019). Bodily discomforts and sense of not liking one’s sex have always existed in some individuals, but now there are new cultural options to deal with these discomforts. Increasing numbers of older trans adolescents and young adults are labeling themselves as genderqueer, gender fluid, pangender, third gender, hybrid gender, and more. 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(2018). 11th revision, International classifications of diseases: Conditions related to sexual health. http://id.who.int/icd/entity/577470983 Winter, S., Diamond, M., Green, J., Karasic, D., Reed, T., Whittle, S., & Wylie, K. (2016). Transgender people: Health at the margins of society. Lancet, 388(10042), 390–400. https://doi.org/10.1016/S0140-6736(16)00683-8 Zucker, K. J. (2018). The myth of persistence: Response to “A critical commentary on follow-up studies and ‘desistance’ theories about transgender and gender non-conforming children” by Temple Newhook et al. (2018). International Journal of Transgenderism, 19, 231–245. https://doi.org/10.1080/15532739.2018.1468293. p13 Zucker, K. J., & Bradley, S. J. (1998). Adoptee overrepresentation among clinic-referred boys with gender identity disorder. Canadian Journal of Psychiatry, 43(10), 1040–1043. https://doi.org/10.1177/070674379804301011 Zucker, K. J., Lawrence, A. A., & Kreukels, B. P. (2016). Gender dysphoria in adults. Annual Review of Clinical Psychology, 12, 217–247. https://doi.org/10.1146/annurev-clinpsy-021815-093034 The author did not receive support from any organization for the submitted work. Conflict of interest The author has no conflict of interest to declare that are relevant to the content of this article. This essay did not require approval from an IRB. Springer Nature remains neutral with regard to jurisdictional claims in published maps and institutional affiliations. The original version of this article was revised due to a retrospective Open Access order. About this article Cite this article Levine, S.B. Reflections on the Clinician’s Role with Individuals Who Self-identify as Transgender. Arch Sex Behav 50, 3527–3536 (2021). https://doi.org/10.1007/s10508-021-02142-1 - Human identity - Sexual identity - Gender identity - Gender dysphoria

Welcome to my world, Joyce. Wait until she broaches honor killings, FGM, forced marriage, child marriage, etc. Something tells me she enjoys the blacklist. The sharp, piercing shrieks against the truth speak volumes and expose the left for the monsters they are. 'Rape Culture' vs. 'Islamophobia' Wall Street Journal, July 6, 2013 (thanks to Jack K) A clash of conversation-stoppers. ..... Joyce Carol Oates set off a twit-storm Friday with a pair of tweets about sexual violence in Egypt: The first coyly referred to recently deposed president Mohamed Morsi's Muslim Brotherhood: "Something dispiriting about 'Brotherhood' political parties--wonder what it is." The second was explicit: "Where 99.3% of women report having been sexually harassed & rape is epidemic--Egypt--natural to inquire: what's the predominant religion?" "Don't miss @JoyceCarolOates coming out publicly as a serious bigot," tweeted Umair Haque, an economist who writes for the Harvard Business Review. "Check out her tweets today, they're awesomely gross!" Salon.com's Prachi Gupta described Oates's tweets as "Islamophobic." Lauren Rankin--whose Twitter bio describes her as "feminist. writer. activist. graduate student. reproductive justice. sour jelly bean enthusiast"--insisted: "this is islamophobia embodied. islam doesn't encourage rape or sexual assault. you know what does? PATRIARCHY." "Another day, another white woman #islamophobe," mused Lucy Homan, another white woman "trouble-making, invisibly disabled, non-binary gender, queer, sexqueer, trans femme" whose passions include "kink, parenting, disability, polyamory, feminism, and sex talk." Oates defended her line of inquiry: " 'Rape culture'; has no relationship to any 'religious culture'--how can this be? Religion has no effect on behavior at all? How possible?" To which Anita Felicelli responded with a tu quoque: "Do you also think that mass gun violence in schools bears a relationship to Christianity?" That turned out to be an illi quoque, for Oates answered: "Yes. There is a Christian Crusade culture. All religions are 'militant.' Secular law needed to restrain them." Here Oates goes off the rails. While the Crusades were an example of militant Christianity, there is no factual basis for asserting a connection between Christianity and "mass gun violence in schools," whether of the psycho-killer or the street-thug kind, in 21st-century America. As for Egypt, it's certainly true that sexual violence is a problem. As NPR reports: Human Rights Watch reports a sharp rise in sexual assaults here since anti-Morsi protesters took to the streets in record numbers last week. Activists report more than 100 sexual assaults in or near Tahrir Square during the past week alone, many of them gang rapes. . . . The rights group says the latest attacks follow an all too familiar pattern since mass protests began in 2011: A few men force a girl or woman away from the people she's with; rip off her clothes and assault her. Passersby join in the attacks, which range from groping to gang rapes that can last more than an hour. "Key players in the current political crisis are using the attacks for political leverage," the report adds. While the Muslim Brotherhood blames the opposition, London's Daily Mail reports that "the assailants operated in a climate of impunity--encouraged by religious zealots within the government who had called female protesters whores and who had blamed rape victims for not staying home. It is even believed that the gangs were paid by the Muslim Brotherhood." Oates's question, then, is a pertinent one. And "Islamophobia" is no more than a conversation-stopper: one of many politically correct buzzwords that would be listed as synonyms for "shut up" if there were a Gramsci's Thesaurus. The multiculturalist left is not ecumenical in its taboos. Felicelli and Oates, for instance, were not testing any boundaries when they baselessly linked Christianity to violence in schools. Even for the left, it is a legitimate question whether there was something in the culture of Catholicism or the Catholic Church that led to child-sex-abuse scandals. (That, by the way, would have been a more fitting analogy, though it would have undercut Felicelli's argument and supported Oates's.) There are a couple of ironies in the Oates kerfuffle. One is that she herself, a lapsed Catholic, has expressed the same sort of loftily indulgent attitude toward Christianity that multiculturalists usually reserve for Islam and other mostly foreign religions. In a 2007 interview with The Humanist, she was asked: "Do you identify as an atheist?" She dodged the question, though she implied that she is one: I'm not averse to acknowledging it, but as a novelist and a writer, I really don't want to confront and be antagonistic toward people. As soon as you declare that you are an atheist, it's like somebody declaring that he is the son of God; it arouses a lot antagonism. I'm wondering whether it might be better to avoid arousing this antagonism in order to find--not compromise--some common ground. . . . I'm not sure it's a good idea to wave a red flag and annoy other people because we do have to live with them, even the very antagonistic and messianic fundamentalist Christians in our country. The other is that "rape culture" is itself a politically correct conversation-stopper. Your humble columnist was accused of promoting it last month, by ThinkProgress.org and RawStory.com among others, because we defended both the rights of the accused and the proposition that women and men are equally accountable for their own actions. The case we wrote about didn't even involve rape but an unproven allegation of a lesser sexual assault. The slogan "rape culture" is right out of Orwell's "1984": "All words grouping themselves round the concepts of liberty and equality . . . were contained in the single word crimethink." Rape is a crime, and culture is a product of thought: The parallel is perfect. This column is sufficiently ornery that conversation-stoppers have the opposite of their intended effect on us. But no doubt they do deter a lot of people from speaking or even thinking, because they don't want to be thought of--or to think of themselves--as mean or unenlightened. Meanwhile, the lesson of the Oates twit-storm seems to be that for today's politically correct left, protecting Muslims from insult is a higher priority than protecting women from sexual violence.

It happens every year: you’re bored at the weekend, mindlessly scrolling through Instagram when suddenly you are hit by an influx of posts and stories: seemingly everyone you know is out enjoying themselves at a festival you’ve never even heard of! When did they all plan this? How did they find out about it? It’s a tale as old as time. If you’d like to be a step ahead of the curve in for 2023, read on. These are the best of London festivals 2023 – from music to food, art to literature – for the festival hopefuls looking for fun in the city. London Festivals 2023: The Best in Music, Food, Art & Culture The Ultimate London Festival Calendar - March: WOW London - April: Marylebone Food Festival - May: Pub in the Park, Balance Festival, Wide Awake Festival - June: Mighty Hoopla, Meltdown, Hampton Court Palace Festival, Fitzrovia Arts Festival - July:Wireless Festival, Kaleidoscope Festival - August: All Points East, YAM Carnival - September: London Design Festival, Meatopia - October:London Literature Festival, Queen’s Park Book Festival WOW – Women of the World When? 10–12 March 2023 Where? Southbank Centre What? As London festivals go, WOW is one of the most wholesome. Now in its 13th year, Women of the World celebrates women, girls and non-binary people across three days filled with speakers, activists, musicians and comedians. DISCOVER MORE: southbankcentre.co.uk Marylebone Food Festival When? 25 – 30 April 2023 Where? Marylebone, London What? Hosted by food critic Jay Rayner alongside a handful of top London chefs, the Marylebone Food Festival will see restaurants, bars and food stores across the neighbourhood hosting special events across a five-day period. The kick-off seven course dinner tends to sell out quickly (so prepare yourself), but there will be plenty of masterclasses, supper clubs, tastings and themed nights to enjoy after the fact. Proceeds from the event will go towards charity partner The Food Chain, which supports people living with HIV in London. BOOK IT: marylebonefoodfestival.com Pub in the Park When? 12–14 May 2023 Tom Kerridge’s Pub in the Park sees a top line-up of chefs and music artists touring around the country, all with one mission: to celebrate everything there is to love about the glorious British pub. The chef line-up for 2023 is yet to be announced, but you can always guarantee a great turnout – last year featured names like James Martin and Michael Roux Jr, plus pop-ups from numerous UK restaurants. Music is a big part of this one too, with performances from Sam Ryder, Clean Bandit, Tinie Tempah and The Jacksons on the cards for 2023. BOOK IT: pubintheparkuk.com When? 19–21 May 2023 Where? The Old Truman Brewery, London What? Work out with global fitness experts, learn from top wellness gurus and sample some of the hottest health foods of the moment at Balance Festival, which returned to The Old Truman Brewery in London this June. As well as classes from London’s top fitness studios (Barry’s, Boomcycle, and KXU), expect a meditation dome, a market and start-up village to see the latest venues in the wellness sector. BOOK IT: balance-festival.com Wide Awake Festival When?27 May 2023 What?With emerging talent front and centre, Wide Awake Festival debuted in 2021 ‘for music fans looking to discover something different’. This year’s line up is headed up by Caroline Polachek, alongside the likes of Ty Segall, Osees, Oneohtrix Point Never, Daniel Avery and Shygirl. BOOK IT:Tickets from £10. wideawakelondon.co.uk When?3–4 June 2023 What?Staying in Brixton’s Brockwell Park, this LGBTQ+ friendly music festival always promises a good time. And 2023’s line-up is a stonker: Kelly Rowland, Years & Years and Aqua are all confirmed, alongside deep-cut Vengaboys and many more. BOOK IT:Tickets from £69.50. mightyhoopla.com Christine and the Queens’ Meltdown When? 9–18 June 2023 Where? Southbank Centre What? The Southbank Centre’s annual celebration of music, art, performance and film is this year being curated by French phenomenon, Christine and the Queens – following in the footsteps of previous big-name curators, from David Bowie to Patti Smith, Morrissey to Jarvis Cocker. ‘What an honour to be picked by the fantastical teams of the Meltdown festival to be a curator,’ says Chris. ‘I will pick musicians that have some gut-wrenching quality, and I wish for all of us to stroll around in those ten days being rejuvenated by artistic gestures.’ DISCOVER MORE: southbankcentre.co.uk Hampton Court Palace Festival Hampton Court Palace Festival Where?Hampton Court Palace, Richmond-upon-Thames What? More low-key than many entries on this list, at Hampton Court Palace Festival, artists perform to a beautiful backdrop in Henry VIII’s open-air Base Court for an intimate audience of 3,000. This year’s line-up includes Grace Jones, Kaiser Chiefs, Björn Again and Rick Astley, with more to still be announced. It’s also the perfect festival if a picnic on the lawn pre-show is on your check-list. We’re very much in. Fitzrovia Arts Festival poster, 2022, jesse brown, watercolour on paper courtesy of Rebecca Hossack Art gallery Fitzrovia Arts Festival When? TBC June 2023 What? The rich and artistic past of Fitzrovia is celebrated in the Fitzrovia Arts Festival, which returned for its sixth edition last summer. Internationally-acclaimed artists, performers and writers who live in the area (and famous residents from the past) were celebrated with a programme of concerts, exhibitions, poetry readings, talks, walks and performances across multiple venues in the area. Keep an eye on the website for updates for the 2023 edition. DISCOVER MORE: fitzroviaartsfestival.com When?7–9 July 2023 What? One of the most well-known London festivals, Wireless is a celebration of the newest and best in hip hop, grime and R&B, welcoming the likes of Stormzy, Travis Scott, SZA, Nicki Minaj and Cardi B to the stage in recent years. This year’s line-up is yet to be announced, so watch this space. BOOK IT: Early bird tickets are on sale now. wirelessfestival.co.uk When? 15 July 2023 Where? Alexandra Palace What? The iconic Ally Pally is back with its very own festival, Kaleidoscope, for summer 2023. As if the spectacular backdrop wasn’t enough, Hot Chip is headlining this summery music day festival, with more acts to be announced soon. BOOK IT: Adult tickets are £59.15. kaleidoscope-festival.com All Points East Where? Victoria Park, London When? 18–20 & 25–27 August 2023 What? All Points East takes place annually in Victoria Park across two weekends in August. Music traditionally leans towards the alternative genre, though there’s a bit of everything: the 2022 line-up included Gorillaz, The Chemical Brothers, Disclosure and Tame Impala. 2023’s first announced headliner is none other than Stormzy. BOOK IT: allpointseastfestival.com When? TBD August 2023 Where? Clapham Common What? One of the newer London festivals, Clapham Common’s YAM Carnival, was designed to celebrate Black culture from around the world, and 2022 was headlined by none other than Wizkid. What better way to spend an August weekend? 2023 details to be announced. BOOK IT: yamcarnival.com Sabine Marcelis’ rotating chairs, from London Design Festival 2022. (Image courtesy of London Design Festival) London Design Festival When? 16–24 September 2023 Where? South Kensington What? The London Design Festival will return to the capital this September for its 20th edition, complete with an eclectic mix of events, exhibitions and installations. Highlights will include a landmark outdoor exhibit from Rotterdam-based designer Sabine Marcelis, located in St Giles Square, plus a project at Greenwich Peninsula from Stanton Williams and Webb Yates in collaboration with experimental design, inspired by the Neolithic stone structures that ‘create a space separate from the outside world’. DISCOVER MORE: londondesignfestival.com When? TBD September 2023 Where? Tobacco Dock What? Now over 10 years old, Meatopia is a London festival dedicated to meat, with a focus on quality and sustainability. Taking place in Tobacco Dock each year, the event sees over 60 of the world’s best live-fire chefs gather to cook up exclusive dishes over sustainably-sourced wood and charcoal, with previous names including Ottolenghi, Niklas Ekstedt and Francis Mallmann. All this is to be enjoyed alongside live music from roaming brass brands and DJs, plus craft beers and cocktails. DISCOVER MORE: meatopia.co.uk London Literature Festival When?TBC October 2023 Where?South Bank Centre What? There’s always a heavy-weight line-up of the biggest authors and speakers at this London festival, one of the most talked-about literary festivals of the year. Previous speakers have included the likes of Hilary Clinton, Philip Pullman and Tom Hanks take to the stage for individually-ticketed events. The equally sensational programme for 2022 includes Graham Norton, Anne-Marie, Malorie Blackman, plus a panel of climate voices hosted by Greta Thunberg. Keep your eyes peeled for 2023’s announcements. Queen’s Park Book Festival When? TBC October 2023 Where?Queen’s Park, London What?Queen’s Park Book Festival boasts a wonderful literary history as a home to authors, artists, poets, and actors, carrying on this legacy by creating a platform for other young aspiring writers to be discovered. Visitors this year had the chance to see names like Robert Harris, Clover Stroud and Juliet Rosenfeld, plus Oskar Jensen and Dr John Woolf discussed the hidden stories of marginalized Victorians. Featured image: Kaleidoscope Festival (c) Lloyd Winters. July 20 – August 20 – 2023 FIFA Women's World Cup in Australia and New Zealand. July 23 – 2023 Cambodian general election. August 25 – September 10 – 2023 FIBA Basketball World Cup in the Philippines, Japan, and Indonesia. September 8 – October 28 – 2023 Rugby World Cup in France.What's the most interesting local festival in London? › - Vaisakhi Festival in Trafalgar Square. … or Celebrating the Sikh New Year in London. ... - Eid Festival in London. ... - RHS Chelsea Flower Show 2022. ... - Trooping the Colour: The Queen's Birthday Parade 2022. ... - Open Garden Squares Weekend. ... - London Fashion Week: June 2022. ... - Royal Ascot 2022. ... - Wimbledon Lawn Tennis Championships. - 1 Glastonbury Festival55% - 2 The Proms46% - 3 Isle of Wight Festival42% - 4 Edinburgh International Festival42% - 5 BBC Proms40% - 6 BBC Proms in the Park39% - 7 Radio 1's Big Weekend35% - 8 Reading and Leeds Festivals34% Wireless Festival returns to London's Finsbury Park from 7-9 July 2023!Why 2023 is a special year? › Government of India decided to put forward a proposal to United Nations for declaring the year 2022-2023 as the “International year of millets”. The proposal got support from over 70 countries and the United Nations declared 2023 as the international year of millets.What is the color of the year 2023? › Pantone: Viva Magenta Go bold in the new year with Viva Magenta, Pantone's 2023 Color of the Year. The crimson hue is inspired by the red of cochineal, one of the strongest and brightest dyes in the world. The best time to visit London is from April to June and September to October when the weather is mild and there are fewer crowds. However, keep in mind that prices for hotels and flights are generally higher during these months.What festival is held in Notting Hill? › August 2023 (Exact dates to be confirmed) The streets of west London come alive every August bank holiday weekend with a huge Caribbean party at Europe's biggest street festival: Notting Hill Carnival. What is the most famous festival in England? Diwali in Leicester, Sidmouth Folk Festival, Shambhala, and Glastonbury Festival are some of the famous festivals in England.Which is the most exciting festival? › - Kumbh Mela | India. ... - Albuquerque International Balloon Fiesta | New Mexico. ... - Running of the Bulls | Spain. ... - Oktoberfest | Germany. ... - Toro Nagashi | Japan. ... - Yuan Xiao Festival | China. ... - Burning Man | USA. ... - The Carnival of Venice | Italy. Easily known as the best and biggest UK festival around, the iconic Glastonbury takes place every summer in Somerset. Over the course of the weekend, Glastonbury hosts over 100 stages and 2,800 performances. Wireless is not suitable for young children and children under 5 years of age will not be permitted to enter the site. Children between 5-15 must be accompanied by a parent or guardian. You can enter on your own if you are over 16 years of age. Photo ID is required and ID checks will be in place.How much is Reading festival? › In 2022, day tickets cost between £90 and £100 and weekend tickets came in at £264.What is Wireless Festival London? › The Wireless Festival is a rap and urban music festival that takes place every year in London, England. It is owned and managed by Live Nation. While it started as primarily a rock and pop festival, in recent years it has focused on hip hop and other urban music.What is the lucky color in 2023? › You can also wear the lucky color of the year 2023, such as green, pink, red, or blue, to attract positive energy and good fortune.What country sees 2023 first? › 2023. The first country and city to celebrate New Year's Eve annually is Kiritimati, Kiribati.What is the theme of 2023? › People with intellectual and developmental disabilities (IDD) still face exclusion, social isolation, and social abuse in schools, workplaces, and communities.What color is replacing gray? › The shades of gray that are out of style Overall, home decor trends are moving in a warmer direction. Colors like rust, brown, amber, and ivory are taking over, as well as burgundy and olive colors. That means cool-toned shades of gray, especially pale ones with blue or silvery undertones, are starting to look dated. WGSN, a global authority on consumer and design trends, and Coloro, a global authority on the future of color, have announced Apricot Crush as their Color of the Year for 2024.What is the lucky color of the year? › The lucky colors for the year are believed to be Fuchsia Pink, red, green, and blue. These colors are thought to bring prosperity, love, and good health, and incorporating them into your gifts can be a way to pass on these blessings to the recipient. The wetter season lasts 8.3 months, from May 27 to February 5, with a greater than 26% chance of a given day being a wet day. The month with the most wet days in London is November, with an average of 9.2 days with at least 0.04 inches of precipitation. The drier season lasts 3.7 months, from February 5 to May 27.What is the nicest month in London? › The best time to visit London is March through May when the temperatures are mild and the city's parks are green and blooming. However, late spring – along with summer – is also prime tourist season, and hotel and flight prices reflect the surge.What is the cheapest month to travel to London? › Top tips for finding cheap flights to London. Book at least 4 weeks before departure in order to get a below-average price. High season is considered to be June, July and August. The cheapest month to fly from the United States is February.What are the three major festivals? › Diwali, Eid and Christmas are the major festivals celebrated in India.Which is world's biggest festival? › The biggest festival in the world is in fact, the Kumbh Mela. A gathering in India of more than 130 million people at a time and place dictated by astrology.What are the five traditional festivals? › - Traditional Festivals. ... - Homowo – May. ... - Aboakyir – May. ... - Bakatue – July. ... - Asafotufiam – August. ... - Oguaa Fetu Afahye – September. ... - Hogbetsotso – September. ... - Akwasidae – Once every six weeks. Which is the better day at Carnival? If you're after a more chilled NHC experience, go for family day on Sunday, or if you like the sound of a hard-partying parade, make sure to go on Carnival Monday. The festivities kick off with an opening ceremony on Sunday morning, with the parade starting at 10am.What festival is Harry Styles at? › Harry is equally renowned as an incredible live performer with 2022 seeing him headline the legendary Coachella Festival playing to a crowd of over 100,000.Is Notting Hill Carnival free? › Notting Hill Carnival is free to attend, although certain events and after-parties may be ticketed. For example, Panorama, the UK's biggest steel pan competition on the Saturday evening, requires a ticket.Is Glastonbury the biggest festival in England? › The UK's biggest festival is Glastonbury Festival . With huge headliners and an enormous site - an 8.5-mile (14-km) perimeter and a capacity of around 200,000 - you'll never forget it. One of the most popular traditions in the United Kingdom is visiting pubs. Almost every neighborhood has its fair share of pubs that locals visit regularly. A visit to a pub can include playing darts, drinking beer, watching sports on TV, and British food.What festival is considered as the most vibrant? › The best known of India's religious festivals, Holi, has gone international, with revellers celebrating it across the world each spring.What is the most colorful festival in the world? › One of the most famous colourful festivals, you'll know it from those famous powdery plumes of paint being thrown through the air in a kaleidoscope of colours. A Hindu festival celebrated in India and Nepal, Holi honours the arrival of spring with a riot of hot pink, magenta and lemon. Pahiyas Festival – Lucban, Quezon Every famous festival in the Philippines is always colorful, and Pahiyas Festival, without a doubt, is one of the most colorful and vibrant festivals in the Philippines. Notting Hill Carnival is the second largest carnival of its type in the world, and the largest in Europe. Its origins date back to the 1950s when Trinidadian human rights activist Claudia Jones began organizing gatherings after racially motivated attacks in the area.Which holidays festivals are the most important ones in UK? › Christmas is one of the biggest annual celebrations in the UK, and the festivities are not limited to one day.Where are most festivals in UK? › Glastonbury Festival is one of the world's most famous music and performing arts festivals. Embracing each and every genre across the spectrum, from rock and pop to, hip-hop, funk, jazz, minimal house, techno, full-throttle drum and bass and beyond; music-lovers flock to its spiritual fields down in Somerset.Is 40 too old for music festivals? › At some point, you'll probably feel like you're too old to attend a music festival. First, allow me to speak for a significant percentage of the people reading this when I incredulously yell, "Quarter-life crisis?!" Yeah, no, you're not too old to go to music festivals. That said, you're never too young to feel old.Is 30 too old for music festivals? › If you're like us, then you live your life show to show and festival to festival. Our schedules demand a work hard, play hard kind of lifestyle. But, there's always that overlying fear in question — “How old is too old to party?” Thankfully, the answer is never.Do you sleep at Wireless Festival? › There is no campsite at Wireless, and all festival-goers will be required to leave the festival after the music has finished. Showers. If you're at the festival for the whole weekend and need a proper wash, there are showers dotted around the campsites in case you didn't book the luxury camping. The white, yellow, guest and disabled access camping areas normally have showers, but beware of queues.Do you have to pay for showers at Reading Festival? › Yes and yes! There are free showers on site, so you don't have to wet wipe yourself for the whole weekend if you don't have to.Is Reading Festival worth it? › Fair enough, if the line-up for you is amazing and there are lots of people you want to see, then it is definitely worth it.Can you drink alcohol at Wireless Festival? › Banned from Event: Aerosols, Airhorns, Alcohol, Animals (except for assistance dogs), Balloons, Barbeques and any kind of cooking apparatus, Bicycles, Blowtorches, Cans, Chairs of any sort (including stools, floor seating and shooting sticks), Drinks including bottled water, Drones, Drugs, Gas canisters, Gazebos/ ...What date is Wireless 2023? › Wireless Festival returns to London's Finsbury Park from 7-9 July 2023! Wireless is one of London's… More most loved music festivals!How much does Wireless Festival cost? › Tickets to Wireless 2022 are available to buy from Ticketmaster. Prices for tickets range from £85 up to £230 depending on the package and how many days you wish to attend. See the full breakdown below: Weekend – 3 day (tier 1) - £230 + fees.What will happen in 2023 technology? › Artificial intelligence will become more prevalent in 2023 with natural language processing and machine learning advancement. Artificial intelligence can better understand us and perform more complex tasks using this technology. It is estimated that 5G will revolutionize the way we live and work in the future.What technology will we have in 2023? › - New chatty assistants. ... - Virtual reality, a.k.a. the metaverse. ... - Electric cars beyond Tesla. ... - More options for social media. There is a 35 percent chance of a U.S. downturn in 2023, bank economists say. Mild recession likely beginning in the first half of the year. An economic downturn is "all but inevitable" in the United States and Europe, the bank says in a recent report. No recession.What will be the next biggest technological advance? › Human-Like AI Will Likely Become A Reality By 2030, there will be exponential improvements of computer processing power, voice recognition, image recognition, deep learning and other software algorithms. Likewise, natural language processing technologies like GPT-3 are constantly being updated and surpassed. Older technology like landline phones, USB drives, alarm locks, and more will likely become obsolete in the next 10 years. Eco-friendly changes in the manner technology is created will likely render one-use plastic products and incandescent light bulbs useless in the coming decade.Where will technology be in the next 5 years? › We can expect a large transition to cloud computing in the next five years in many organizations, businesses, and industries. There also will be more advances in alternatives to cloud computing, including edge computing (which we detail on this list) and fog computing.What trends will be popular in 2023? › - Baggy (and Baggier) Jeans. Estrop. ... - Supersized Blazers. Albert Urso. ... - Maxed-Out Hems. Victor VIRGILE. ... - Sheer Everything. John Lamparski. ... - Drop-Waist Dresses and Skirts. ... - Sleek, Simple, and Crisp Tailoring. ... - Bubble Trouble. ... - High-Octane Sequins. The Pantone Color Institute named Viva Magenta as its official color of the year for 2023 for its joyous yet powerful nature. A red with subtle notes of purple, magenta flawlessly complements many different color palettes from those on the richer, jewel-tone side of the spectrum to even a lighter, earthy palette.What will the internet be like in the next 50 years? › In 50 years, internet use will be nearly as pervasive and necessary as oxygen. Seamless connectivity will be the norm, and it may be impossible to unplug. From amazing advancements to dystopian developments, experts imagine a wide array of possible scenarios for the world 50 years in the future.What will be created in 2050? › According to Forbes, by 2050, IoT technology will be in 95% of electronics for new product designs. And by 2050 it is expected to have everything connected to the cloud and to the internet. According to Business Insider, Space tourism could be feasible in 2050, but likely only for the very wealthy.How advanced will we be in 2050? › In 2050, artificial intelligence can outperform humans in a majority of professions. AI software can outmatch humans in white-collar jobs involving constructing company reports, market research, and most administrative functions. In some scenarios, they can also write screenplays, make music, write novels, and more.Will there be a recession in 2023 UK? › Britain remains the only G7 economy with gross domestic product (GDP) below its pre-pandemic level. The Bank of England expects the recession to last for at least the whole of 2023 and the first half of 2024, before only a gradual recovery thereafter.Will 2023 be a year of recession? › NEW DELHI: Two-thirds of private and public sector chief economists surveyed by the World Economic Forum (WEF) expect a global recession in 2023, but pressures on food, energy and inflation may be peaking.Will recession end in 2023? › The Centre for Economics and Business Research (CEBR) predicted that the world will experience a recession in 2023, Bloomberg reported. According to research, a global recession will start in 2023. A number of economies contract as a result of new borrowing costs introduced to combat inflation.

|Publication number||US6807329 B2| |Application number||US 09/907,252| |Publication date||Oct 19, 2004| |Filing date||Jul 17, 2001| |Priority date||Jul 17, 2001| |Also published as||US20030021519| |Publication number||09907252, 907252, US 6807329 B2, US 6807329B2, US-B2-6807329, US6807329 B2, US6807329B2| |Inventors||Zeev Zalevsky, Naim Konforti, Efraim Goldenberg, Gal Shabtay, Yehuda Miron| |Original Assignee||Civcom Devices & Systems Ltd.| |Export Citation||BiBTeX, EndNote, RefMan| |Patent Citations (19), Non-Patent Citations (3), Referenced by (11), Classifications (25), Legal Events (9)| |External Links: USPTO, USPTO Assignment, Espacenet| This invention is generally in the field of switching techniques and relates to a method and device for all-optical switching. Optical communication networks require cross-connect or switching mechanisms enabling direction, diversion, multiplexing or broadcasting (multicasting) of a plurality of information channels in a manner to meet the requirements of the network. Optical switches can also be used in Dense Wavelength Division Multiplexing (DWDM) telecommunication systems for routing the information, enabling optical add/drop multiplexing (OADM), as well as for protection purposes. Switching modules have various forms, such as structures whereby N input channels are directed simultaneously to M output ports in various configurations. In a dynamic switch, this operation can be reshuffled in time. The so-called “all-optical switches” are capable of performing the switching function without converting the signals from the optical domain to the electrical domain and back. Such an optical switch is disclosed, for example, in U.S. Pat. No. 6,041,151. This switch device utilizes a double refracting crystal operating as a polarizing beam displacer in conjunction with a controllable half wave gate that is able to rotate the polarization of an incident light beam by 90 degrees in accordance with a control input. There is accordingly a need in the art to facilitate a switching technique by providing a novel all-optical switch device of a simple and compact design. An all-optical switch device according to the invention does not depend on optics-electronics-optics (O-E-O) conversion, and does not need movement of the elements of the switch device. The switch device is characterized by fast operation exhibiting low insertion loss and minimal cross talk between output channels. The switch device is based on the electro-optic effect exhibited in a material of the kind capable of dynamically producing a phase delay for each polarization component of an incident light beam as a function of a voltage applied to the material. Such a material may be Lead Lanthanum Zirconate Titanate (PLZT), BSO or LiNbO3. The varying phase delay may result in a controllable polarization rotation. The main idea of the present invention consists of designing a switch device having a polarizing beam splitting surface, controllable polarization rotating (CPR) means, and beam directing means. The CPR and/or beam directing means may be separate elements accommodated at opposite sides of the polarizing beam splitting surface. The polarizing beam splitting surface may be the surface of a beam splitter (e.g. cubic beam splitter). The CPR and beam directing means may be integral with the beam splitter, by making the entire beam splitter or respective portions thereof from a polarization rotating material and making respective surfaces of the beam splitter reflective. Alternatively, the CPR and beam directing means may be separate elements accommodated at respective surfaces of the beam splitter. An input beam (either unpolarized or of a specific polarization) impinges onto the polarizing splitting surface, and can be split into two linearly polarized beam components (in the case of unpolarized input beam), which propagate along different optical paths. The beam components of the input beam interact with the CPR means and beam directing means, and return back to the polarizing beam splitting surface, where at least one output beam (e.g., of no particular polarization state, namely, consisting of different polarization components) is produced. It should be understood that, when a polarized input beam is used, the device of the present invention provides for directing this beam to a selected one of two output channels. If the entire beam splitter is made of a polarization rotating material, then, in the operative state of the beam splitter, the different polarization components of an input beam undergo polarization rotation prior to being split by the polarizing beam splitting surface of the beam splitter. Depending on the current mode of the CPR means (which may and may not be integral with the beam splitter), namely, operative or inoperative modes of the CPR, the output beam can be directed towards one of the two output channels of the device, or two output beam components can be directed towards both output channels, respectively. The CPR in the inoperative and operative modes thereof does not affect and does affect, respectively, the polarization of the beam passing therethrough. The controllable portion rotating medium is shiftable between its inactivated and activated states by application of an electric field to the medium. Depending on the type of the medium being used, one of its states presents an operative mode of the medium, and the other state presents an inoperative mode of the medium. Polarization rotating medium of the kind based on the electro-optic effect (e.g., ferroelectric crystals or ceramics) is in the operative mode (affecting the polarization of a beam), when in the activated state of the medium. The polarization rotating medium of the kind utilizing LC materials is in its inoperative mode (i.e., does not affect the polarization state of a beam), when in the activated state of the medium, and is in its operative mode (i.e., affects the polarization state of a beam), when in the inactivated state of the medium. Hence, the terms “inoperative mode” and “operative mode” of a CPR medium are associated with effect of the medium with respect to an incident beam, irrespective of the terms “activated” and “inactivated” states which are associated with the application of an electric field to the CPR. In the inoperative mode of the CPR, it does not affect the polarization of the beam, and in the operative state of the CPR, it affects the polarization of the beam. Thus, according to one aspect of the present invention, there is provided a switching method for selectively directing an input beam to at least one of two output channels, the method comprising the steps of: (i) providing incidence of the input beam onto a polarizing beam splitting surface to thereby enable splitting of the input beam into two beam components of different polarizations propagating along different optical paths; (ii) passing the input beam components of different polarizations through a controllable polarization rotating medium capable of affecting the polarization of each of the beam components; and (iii) directing the beam components that have passed through said medium onto said polarizing surface, thereby producing at least one output beam propagating towards at least one selected output channel, depending on a current mode of the polarization rotating medium. It should be understood that the input beam may be unpolarized, namely a randomly polarized beam (of no specific polarization state), containing beam components of different polarizations. Alternatively, the input beam may have a specific polarization. In this case, the interaction of the input beam with the polarizing beam splitting surface will result in the beam propagation along a specific optical path. It should also be understood that the input beam may pass the CPR medium prior to being split into the two beam components of different polarizations. This may be implemented by utilizing a beam splitter having the polarizing beam splitting surface and being made from a controllable polarization rotating material. According to another aspect of the present invention, there is provided an all-optical switch device operable for selectively directing an input beam to at least one of two output channels, the device comprising: (a) a polarizing beam splitting surface capable of splitting an input beam into two beam components of different polarizations and directing the split beam components to propagate along different optical paths, and capable of combining two beam components of different polarizations to produce at least one output beam; (b) controllable polarization rotating means accommodated in optical paths of the input beam components, and selectively operable to affect the polarization thereof; and (c) beam directing means accommodated in optical path of the beam components passed through the polarization rotating means for directing the beam components onto said polarizing beam splitting surface to thereby produce at least one output beam propagating towards at least one selected output channel. Preferably, the polling beam splitting surface is a surface of a cubic beam splitter. The polarization rotating means may be in the form of two elements accommodated at opposite sides of the polarizing beam splitting surface. For example, the polarization rotating means may be accommodated at surfaces of the beam splitter that intercept with the plane of the polarizing surface. In this case, the beam directing means may be in the form of two pairs of reflecting surfaces, each pair located at opposite sides of the corresponding one of the polarization rotating elements. The two polarization rotating elements may be incorporated in two corner prisms, respectively, located at the adjacent surfaces of the beam splitter that intercept with the plane of the polarizing surface. Two corner prisms accommodated at said adjacent surfaces of the beam splitter and made from a polarization rotating material may be used, thereby function as both the polarization rotating and the beam directing means. The polarizing beam splitter may be configured such that its two adjacent surfaces that intercept with the plane of the polarizing beam splitting surface are shaped like two-part right-angle prisms. In this case, the polarization rotating means are two elements, each located inside a groove-like space of the respective prism, and the beam directing means are represented by reflective surfaces of the beam splitter (the surfaces of the prisms). Alternatively, such a beam splitter may be made from a polarization rotating material, the polarization rotating means being thereby presented at two parts of the beam splitter at opposite sides, respectively, of the polarizing surface. The beam splitter in another configuration may have three locally adjacent truncated corners forming three facets, the intermediate facet being that intercepting with the plane of the polarizing facet. In this case, the polarization rotating means are in the form of two plates located on the other two facets, respectively, and the beam directing means are represented by the rear reflective surfaces of the polarization rotating plates and by the intermediate facet of the beam splitter. Alternatively, in such a beam splitter with three facets, the polarization rotating means may be in the form of only one plate located on the intermediate facet, the rear reflective surface of this plate, and the reflective inner surfaces of other two facets serving as the beam directing means. According to yet another aspect of the present invention, there is provided an all-optical switch device in the form of a polarizing beam splitter made of a polarization rotating material. The all-optical switch device according to the invention may be used as a basic block in a multi-stage switch structure. In tis case, a required number of such basic devices are arranged in an array, and additional beam direct means are used for directing an output beam of one device to input a successive device. Thus, according to yet another aspect of the present invention, there is provided a multi-stage all-optical switch structure comprising an array of at least first and second switch devices, each constructed as described above; and at least one beam directing element accommodated in an optical path of the output beam produced by the first switch device to direct said output beam onto a polarizing beam splitting surface of the second switch device. The multi-stage switch structure composed of three switch devices, each constructed as described above, may be used for reducing crosstalk between output channels and/or for increasing the switch speed. In this case, the switch devices are arranged such that two output channels of the first device serves as two input channels of, respectively, the second and the third devices. One of the output channels of the second switch device and one of the output channels of the third switch device are blocked to prevent light output therethrough. By this, light signals collected at unblocked output channels of the second and third switch devices are characterized by reduced crosstalk. By increasing the number of switching stages in the switching structure, the crosstalk between output channels can be even more reduced. To increase a switching speed with the same switching structure composed of three switch devices, the polarization rotating means is operated to provide rotation of the polarization of the incident beam at an angle other than 90°. The switch device according to the invention, can be used for multicast switching (generally, variable beam splitting). This is implemented by utilizing a CPR of the kind, where any desired difference in phase delay (from 0 to λ/2) can be created between the two principle axes of the CPR material. This enables to obtain any desired partition between the output beam polarization components it the CPR output, and, consequently, any partition between the output channels of the switching device. The above concept can be utilized for using the device according to the invention as a variable attenuator. This is implemented by blocking one of the output channels of the switch device, and, optionally, further combining several switch devices in series. The present invention also provides for correcting errors that can be introduced by the splitting on the unpolarized input beam at the polarizing beam splitting surface. This is implemented by including an additional polarizing beam splitter cube in the beam directing means, and, optionally, also a polarization rotator (e.g., λ/2 plate) in front of the additional polarizing beam splitter cube. The present invention also provides for compensating the hysteresis phenomenon that can be observed with a CPR. This is implemented by appropriately controlling voltages applied to the CPR. Additionally, the present invention provides for reducing switching differential voltage requirements. This is implemented by applying appropriate voltages to the CPR (depending on the CPR type) to cause phase delays of λ/2 and λ between the split beam components, rather than the phase delays of 0 and λ/2. In order to understand the invention and to see how it may be carried out in practice, a preferred embodiment will now be described, by way of non-limiting example only, with reference to the accompanying drawings, in which: FIGS. 1A and 1B schematically illustrate a basic block of an all-optical switch device according to one example of the invention; FIGS. 1C and 1D illustrate two examples of a basic block of an all-optical switch device according to the invention utilizing filter means for correcting errors of two different kinds, respectively, that may be introduced by the interaction of an unpolarized input beam with a polarizing beam splitting interface; FIGS. 2 to 8 illustrate more embodiments of the basic block of the all-optical switch, differing from each other and from that of FIGS. 1A-1B in the accommodation and/or configuration of a polarization rotating element; FIG. 9 illustrates a multi-stage all-optical switch device composed of an array of the basic block switching elements; and FIG. 10 illustrates an all-optical switch device according to the invention, aimed at reducing cross talk between outputs of the device, and also for increasing the switch speed. An all-optical switch of the present invention utilizes such main functional parts as a polarizing beam splitter, controllable polarization rotating (CPR) means, and a beam-directing means, e.g., retro-reflective means. The CPR may be any medium that dynamically affects the polarization of incident light either in response to the application of an electric field (“activated state”) or not (“inactivated state”). An electric field is referred to hereinbelow as an electro-static field. CPRs suitable to be used in the present invention may be of two common types. CPRs of the first type utilize such materials as ferroelectric crystals, e.g., lithium niobate (LiNbO3), which are usually based on the linear electro-optic effect, or ceramics, e.g., Lead Lanthanum Zirconate Titanate (PLZT), which are based on the quadratic electro-optic effect, also known as Kerr effect. The electro-optic effect consists of the following: If a transverse field is applied to such a CPR material, the material becomes birefringent (i.e., the refractive index along the electrostatic field direction is different from the refractive index along the orthogonal direction). This causes a phase delay between the two optical field's components, and 90-degrees polarization rotation can be achieved, provided that the optical field of incident light is linearly polarized and oriented at 45 degrees relative to the applied electrostatic field. CPRs of the second type utilize liquid crystal (LC) materials. Here, the effect of polarization rotation is associated with the fact that LC molecules have an un-isotropic shape, and therefore act as a birefringent material (i.e., different index of refraction for the two transversal (orthogonal) axes). With such a CPR, an electrostatic field parallel (longitudinal field) to the direction of beam propagation is applied. If nematic LC is used, in order to achieve 90-degree polarization rotation, the polarization of an incident light should be linear and oriented at 45 degree with respect to the Nematic LC principal axes. In addition, the phase retardation (delay) should be λ/2. if twisted nematic LC is used, no 45degree incident angle is needed, since the polarization tracks the twist of the molecules (step-wise). The application of an electro-static field to the CPR of the second type cancels the birefringent effect thereof. It should be noted that for any type of CPR, whenever a phase retardation (delay) other than λ/2 is considered, an elliptical polarization is obtained. When using a ferroelectric LC, the polarization states of the output beam can be only one out of two possible states (a so-called “binary CPR”). The CPR of the first type is in the operative mode (i.e., affects the polarization of an incident beam), when in the activated state of the medium, and is in the inoperative mode thereof (does not affect the polarization state of a beam), when in the inactivated state of the medium. CPR of the second type is in its inoperative and operative modes, when in the activated and inactivated states, respectively, of the medium. Thus, the application of an electrostatic field (voltage) to a CPR of the first type (i.e., shifting the CPR into its activated state) affects the polarization state of incident light. It is common to use a zero electrostatic field when the polarization state should not be affected, and to use a non-zero electrostatic field for the opposite situation. However, instead of using a zero electrostatic field, a non-zero field can be used as well for the same purpose (not affecting the polarization state). Hence, any such pair of operative and non-operative modes of the CPR can be selected, provided that a difference of λ/2 exists between the two modes. When using the CPR of the first type, it may be advantageous to operate the CPR in such electrostatic fields that cause phase delays of λ/2 and λ instead of 0 phase delay and λ/2, and by this reduce switching differential voltage requirements. It should be noted that, although in all the embodiments of the invention described below the use of a CPR of the first type is exemplified, a CPR of the other type can be used as well, keeping in mind that operative and non-operative modes of the CPR of the second type are provided when in the inactivated and activated states, respectively, of the CPR medium. It should be understood that for the purposes of the present invention (i.e., switching), an input beam can be any light beam, visible or invisible, having any frequency, and being either of non-specific polarization (unpolarized beam) or polarized. To simplify the description of the invention, the input beam is referred to hereinbelow as an unpolarized beam. For splitting an unpolarized beam into two linearly polarized beam components, various optical means having a polarizing beam splitting interface can be used, such as a beam splitter (thin films coating), natural crystals (e.g., calcites), synthetic crystals (e.g., YVO4). These elements split an unpolarized beam into two linearly polarized components, or combine such linearly polarized components into an unpolarized beam or two polarized beams, depending on the polarizations of the beam components impinging onto the polarizing beam splitting surface. Referring to FIGS. 1A-1B, there is illustrated an all-optical switch device 10 according to one example of the invention. The device 10 comprises a polarizing beam splitter cube 12, that has a polarizing beam splitting surface along its diagonal 13; CPR elements 14A and 14B; and beam directing elements 16A-16B and 18A-18B. In the present example, the beam directing elements are two-part retro-reflective elements, wherein each part of each of the retro-reflective element is a mirror, e.g., right-angle prism with reflective coating on its hypotenuse. The CPR elements 14A and 14B, and the elements 16A-16B and 18A-18B are placed on the adjacent surfaces 12A and 12B of the beam splitter cube 12, such that the CPR element 14A is located between the parts 16A and 16B of one retro-reflective element, and the CPR 14B is located between the parts 18A and 18B of the other retro-reflective element. It should be understood that the use of the polarizing beam splitter cube 12 is a non-limiting example of the invention, and any other configuration of the polarizing beam splitting surface appropriately oriented with respect to other electro-optical elements can be used for the purposes of the present invention. For example, a wedge with proper coating on one of its surfaces can be used. The switch device 10 of the present invention can operate as a 1×2, 2×2, or 2×1 switch device. The operation of the 1×2 switch utilizing an unpolarized input beam will now be described with reference to FIG. 1A. An unpolarized beam L1 (m) supplied from an input port IP1 passes through the device 10 and ensues therefrom either through an output channel OP1 or an output channel OP2. The beam L1 (m) impinges onto a surface 12C of the poling beam splitter 12 and propagates towards its polarizing beam splitting surface 13, where the beam L1 (m) is split into two linearly polarized components L1 t and L1 r, which are respectively, transmitted and reflected light components. The linearly polarized components L1 t and L1 r propagate towards the retro-reflective elements located on the beam splitter surfaces 12B and 12A, respectively. The beam component L1 t is reflected from one part 18B of the retro-reflective element and propagates towards the other part 18A thereof through the CPR 14B. The beam L1 r is reflected from one part 16A of the retro-reflective element and propagates towards the other part 16B thereof through the CPR 14A. It should be noted, although not specifically shown, that in order to eliminate or at least significantly reduce back-reflections from an optical element accommodated in the optical path of a beam (e.g., CPR) towards the input port(s), the beam should impinge onto the respective surface of the optical element (e.g., the beam component L1 t onto the CPR 14B) with an appropriate angle of incidence. This is relevant for all the examples of the present invention described herein. When considering CPR of the first type, in order to obtain a 90-degrees polarization rotation of an incident linearly polarized beam, the polarization of the beam should be oriented at 45 degrees relative to the electrical field applied to the CPR medium. These can be achieved either by adequately orienting the polarization direction of the incident beam, or by adequately orienting the CPR itself. It should also be noted that the reflections inside the switch device (either total internal reflection (TIR) or not) may result in phase changes between the incident and reflected beams. Such changes may cause the phase shift between the transmitted and reflected beam components (former p- and s-polarization components), and will act as noise in the system or as unwanted signals in the output channels. These effects can be compensated by the appropriately applied voltage over the CPR, so as to appropriately increase or decrease the phases (i.e., fit the phases) of the beams passing through the CPR. The appropriate application of voltages to the CPR can also be used for compensating for the hysteresis phenomenon (that can be observed with a CPR. Turning back to FIGS. 1A and 1B, it should be understood that, during the operation of the switch device, the CPR elements 14A and 14B are either both in the inactivated state, or both in the activated state. Considering the CPR elements based on the Kerr effect, if the CPR elements are inactivated, the beams L1 t and L1 r impinge onto the retro-reflective parts 18A and 16B without being affected by the CPR elements 14A and 14B, and are reflected back into the beam splitter. Here, the beams L1 t and L1 r impinge onto the surface 13 to, respectively, pass through and be reflected from the surface 13. The beams L1 t and L1 r are thus combined into an unpolarized output beam L(out) 1, which ensues from the beam splitter through the same input surface 12C to propagate though the output channel OP1. This presents the switch commutation on one of the two-output channels. If the CPR elements 14A and 14B (which are CPRs of the first type) are in their activated states (operative mode), they change the polarization states of beam components L1 r and L1 t, respectively, into the opposite ones, Lrt 1 and Ltr 1 (shown in dashed lines), The beams Lrt 1 and Ltr 1 are reflected by the retro-reflective parts 16B and 18A, respectively, and impinge onto the surface 13. Here, due to the opposite polarizations of the beams, as compared to their original state created by the first interaction with the polarizing surface, the beam Lrt 1 is transmitted through the surface 13, while the beam Ltr 1 is reflected by the surface 13, thereby resulting in a combined unpolarized output beam L(out) 2, which ensues from the beam splitter through the surface 12D to propagate towards the output channel OP2. It should be noted, although not specifically shown, that the case may be such that the splitting of the unpolarized input beam at the interface 13 may introduce errors that can generally be of two types associated with the following: (i) A small part (e.g., 2%) of the input beam component to be transmitted by the polarizing beam splitting spice 13 is reflected therefrom, and this “unwanted” light component joins the other (reflected) beam component Lr 1. This 2%-reflected light component will propagate through the output channel OP2 (assuming the CPR does not change the polarization state of the beam, i.e., is in its inoperative mode), thereby introducing an unwanted output signal. As shown in FIG. 1C, in order to correct such an error, the reflective surface of the corner-prism part (e.g., 16A) could be replaced by a filtering means in the form of a polarizing beam splitter cube 17 that transmits the unwanted component L1 (on) out of the switch device. (ii) A small part of the beam component to be reflected from the surface 13 of the beam splitter is transmitted therethrough, and this unwanted beam component L1 (un) joins the transmitted beam component Lt 1. As shown in FIG. 1D, to correct for this error, the corner prism part 18B can be replaced by a filtering means, including a polarization rotator 17A (e.g., λ/2 plate) followed by a polarizing beams splitter cube 17. In addition, the operation of the CPR 14B should be adapted to change the polarization state accordingly. With regard to a non-binary CPR, the following should be noted: Since any difference in phase delay (from 0 to λ/2) can be created between the two principle axes of a CPR material, any partition between the beam polarization components in the CPR output can be achieved. When the input beam component L1 r (reflected by the surface 13) enters the CPR 14A, the case may be such that the passage of this beam component through the CPR results in a new polarization state (elliptical) different from that of the incident beam component L1 r. Consequently, the beam component with the new polarization state, after being reflected by the corner prism 16B to the surface 13, will then be split by the surface 13 into two components: one reflected from the surface 13 and propagating towards the output channel OP1, and the other transmitted through the surface 13 and propagating towards the output OP2. The similar situation takes place with respect to the input beam component L1 t (transmitted through the surface 13). Hence, by the above operation of the switch device, each of the input beam components L1 r and L1 t is divided between the two output channels OP1 and OP2 by controllable divisions, and, consequently, any partition of the input energy between the output channels of the switching device can be achieved. This provides for using the switch device of the present invention as a variable beam splitter, e.g., multicast. If one of the outputs is blocked, the device can be used as a variable attenuator. Such an attenuator can be improved by combining several switch devices in series. As shown in FIG. 1B, to operate the device 10 in a 2×2 switching configuration, two input beams L(in) 1 and L(in) 2 are supplied through input ports IP1 and IP2 so as to impinge onto the surfaces 12C and 12D, respectively, of the beam splitter 12. The propagation of the beam L(in) 1 is similar to the above-described example of FIG. 1A, and is therefore not shown here. This beam can be supplied to either one of the output channels OP1 or OP2, depending on, respectively, the inactivated or activated states of the CPR elements 14A and 14B. The beam L(in) 2 impinges onto the diagonal surface 13, and is split into two different linearly polarized beam components L2 r and L2 t, and, is directed to that output channel where the beam L(in) 1 does not arrive. It should be understood that in order to operate the device 10 as a 2×1 switch, a respective one of the output ports is blocked (presenting the so-called “dead end”), for example, by using an absorptive element. It should be noted that all such switching functions as 1×2, 2×2, 2×1 can be implemented with either one of the exemplified configurations (FIGS. 1-8), and therefore will not be described in details. Reference is made to FIG. 2 illustrating an all-optical switch device 100 according to another example of the invention. Here, in distinction to the example of FIGS. 1A-1B, the single-part retro-reflective elements 116 and 118 in the form of corner prisms accommodated at the surfaces 12A and 12B, respectively, of the beam splitter 12 are used, instead of two-part right-angle prisms. In this case, CPR elements 114A and 114B are incorporated in the elements 116 and 118, respectively. The beam propagation is generally similar to the above described example, and therefore need not be described in detail, except to note the following. In this configuration, the polarization state of the beam component is affectable by the CPR, when in the activated state thereof, prior to the beam reflection within the corner prism. FIGS. 3A, 3B and 4 illustrate all-optical switch devices according to the invention, where the beam directing means are incorporated in the polarization rotating means, namely, the polarization rotating and beam directing functions are performed by the same element, functioning both as a retro-reflective element and a CPR. FIG. 3A illustrates an all-optical switch 200A, in which two such polarization rotating and beam directing elements 215A and 215B are accommodated on the surfaces 12A and 12B, respectively, of the beam splitter cube 12. In the present example, the elements 215A and 215B are in the form of corner prisms made of a polarization rotating material. It should be understood that this configuration might provide for a longer optical path of beams within the elements 215A and 215B. By this, the operational electrostatic field required to activate the CPR media can be reduced, as compared to the previously described examples. It should be noted, although not specifically shown in the figure, that two pairs of λ/2-plates may be used, the λ/2-plates of each pair being accommodated in the optical path of the beam propagating towards and ensuing from the CPR, respectively. The λ/2-plate located in front of the CPR element (with respect to the direction of beam propagation) is needed to orient the polarization direction of the incident beam at 45 degrees with respect to the electrostatic field applied to the CPR medium, and the rear λ/2 plate serves to re-orient the polarization direction of the CPR output by 45-degree rotation. FIG. 3B illustrates an optical switch device 200B designed so as to substantially decrease the area of CPR elements 215A′ and 215B′, as compared to the example of FIG. 3A, and subsequently, reduce the area occupied by the polarizing beam splitter cube 12. The CPR element presents a penta-like structure. As shown, a beam impinging onto the CPR element undergoes four reflections. This might provide an optical path equal in its length to that provided by the similar CPR 215A of the example of FIG. 3A having a surface area a few times larger than that of the CPR 215A of the device 200B. In order to provide reflections, which are not total internal reflections (TIR), the CPR element can be designed with various angles in conjunction with appropriate coatings on those surfaces where no TIR occur. FIG. 4 illustrates an all-optical switch device 300 designed so as to increase the optical path within the CPR elements, as compared to the examples of FIGS. 1A-1B and 2. This is achieved by using V-shaped corner prisms 315A and 315B made of a polarization rotating material. In is case, as clearly shown in the figure, a polarized beam entering the respective corner prism undergoes multiple reflections from the prism's surfaces, and returns into the polarizing beam splitter cube 12. FIG. 5 illustrates an all-optical switch device 400, in which two surfaces of a polarizing beam splitter cube 412 are configured as two-part right-angle prisms 416A-416B and 418A-418B (similar to the prisms used in the example of FIGS. 1A-1B) and are reflective, thereby presenting the beam directing means. In this case, each of CPR elements 414A and 414B is located inside a groove-like space between the two pats of the respective prism. This construction is more compact has less protruding parts, and has less alignment procedure requirements during the manufacture of the device, as compared to the previously described examples. FIG. 6 illustrates an all-optical switch device 500, which is constructed generally similar to the device 400, but has a somewhat different design of its CPR and beam directing means. Here, two surfaces 512A and 512B of a polarizing beam splitter cube 512 are shaped like two prisms, respectively, and the entire beam splitter 512 is made from a polarization rotating material. In this case, a surface 513 of the beam splitter is formed with a polarizing coating (not shown), so as to enable to split an unpolarized input beam into two polarization components. It should be understood that the unpolarized beam, when entering the beam splitter in the active state of the CPR material, undergoes the polarization rotation of both polarization components in the beam prior to being split at the polarizing beam splitting surface 513, and the two polarization states of two beams having passed the diagonal surface are again affected by the beam splitter medium at the other side of the diagonal surface. When in the activated state of the beam splitter medium, each of the beam components (produced by the splitting of the input beam at the polarizing beam splitting surface 513 of the beam splitter) undergoes 90°-rotation until being combined again. FIG. 7 illustrates an all-optical switch device 600, in which the beam directing means are partly incorporated in a polarizing beam splitter 612 (i.e., is presented by the reflective surfaces of the beam splitter) and partly incorporated in CPR elements 614A and 614B (i.e., is presented by reflective surfaces of the CPR elements). The beam splitter 612 has three truncated corners forming three locally adjacent facets 613A, 613B and 613C, wherein the intermediate facet 613B is that intercept with the plane of the polarizing diagonal surface 613. The CPR elements 614A and 614B are located on the facets 613A and 613C. The surfaces 615A and 615B of the CPR plates 614A and 614B, respectively, and the surface 615C of the facet 613B are reflective (as far as TIR cannot be achieved by the incidence angles), and serve as the beam directing means. The incidence angles of the beam components with respect to the CPRs 614A and 614B, respectively, are of 45 degrees. In order to effect a 90-degree polarization rotation by the CPR, λ/2-plates 617A and 617B are mounted, respectively, between the CPR 614A and the facet 613A, and between the CPR 614B and facet 613C. Alternatively, the front outer surfaces of the CPRs 614A and 614B may be formed with specific coatings to act as λ/2-plates. The λ/2-plates 617A and 617B are mounted at 22.5-degree orientation with respect to the CPRs, thus rotating the beam components by 45 degree, prior to the beams' interaction with the CPRs. In total, the angle between the incident beam component and the respective CPR axis will be of 45 degree. FIG. 8 illustrates an all-optical switch device 700 which has a beam splitter 712 constructed similarly to the beam splitter 612 of the previously described example, namely, having three facets 713A, 713B and 713C. In this case, however, only one CPR plate 714 is used being located an the facet 713B intercepting with the plane of the polarizing diagonal surface 713, and having a reflective surface 715. It should be noted that, in each of the above-described switch devices, the input channels and the output channel can be relocated, replaced or interchanged, and the beam propagation paths within the devices will be reversed or changed accordingly. Each of the above-described switch devices can be utilized as a basic block in a multi-stage switch structure, such as 1×n, 2×n, n×1, n×2, etc. The 1×n switching structure needs an array of (n−1) basic blocks (nodes) and (n−1) additional beam directing elements (e.g., appropriate mirrors with relay lenses, appropriate fiber optics with collimators) for directing the output beam of one block to input a successive block. The basic-block devices can be built as one block or may be separate blocks attached to each other. The spacing between each two locally adjacent blocks is defined by opto-mechanical or electronics requirements. FIG. 9 exemplifies such a multi-stage all-optical switch structure 800 constructed to operate as a 1×4 switch. The structure 800 comprises an array of three switch devices 802A, 802B and 802C, each constructed as described above (either one of the previously described examples). An input beam (channel) may be supplied through either one of input ports IPA (1) and IPA (2) of the switch device 802A, and can be output at either one of output channels OPA, OPB, OPC(1), and OPC(2) associated with the switch devices 802A, 802B and 802C. In the present example, the input light beam L(in) A enters the switch element 802A through input port IPA (1), and propagates within the element 802A as described above to be supplied to either the output channel OPA or output channel OPA′. Here, the output channel OPA is one of the four outputs of the entire structure 800, and the output channel OPA′ with a pair of beam directing elements 804 (e.g., mirrors combined with relay lenses or fiber optics combined with collimators, which are generally called “mirrors”) installed therein serves as an input channel of the switching element 802B. These mirrors direct the output beam propagating through the channel OPA′ to input the switching element 802B (input beam LB (in). Hence, if an output port OPB (i.e., the output of the switching element 802B) is considered as a currently operating output port of the structure 800, the beam propagation through the device 802A ensures the beam output at the channel OPA′, and therefore the beam propagation within the switch device 802B. Similarly, the active output of the device 802B may be either one of the channels OPB or OPB′. If the output channel OPC (i.e., the output of the switching element 802C) is considered as the operating output of the structure, the beam leaves the switching element 802B at the output channel OPB′, and is directed to the switching element 802C as an input beam LC (in) by mirrors 806. Thus, one of the output channels of each switching device (except for the last switching device in the array) presents one of the n outputs of the structure 800, and the other output port serves for directing the beam to enter the successive switching device in the array. It should be understood that the same configuration can be alternatively used with the input beam LC (in). A 2×N all-optical switch can be implemented by a structure generally similarly to the above-described structure 800, but distinguishing therefrom in that both input ports of the first switching device in the array (802A in FIG. 9) are simultaneously used. In this case, either one of the two output channels is operated at a given time. Additionally, each of the two output ports OPA and OPA′ of the structure 800 may be conveyed to, respectively, one of the input ports of the switch devices 802B and 802C. It is important to note that in order to eliminate or least substantially reduce an unavoidably existing cross talk between the output ports of an all-optical switch (e.g., a basic block structure), such a basic block structure may be composed of two identical switching elements. The existence of the cross talk effect is associated with the following. Whenever one of the CPR elements (such as the PLZT) changes the polarization state of a beam, a certain error may occur. For example, if the CPR was set to rotate the polarization of a linearly polarized beam by 90°, it practically may rotate it by an angle slightly less than 90°, e.g., 88°-angle. Thus, assuming a 1×2 switch device with two active output ports, most of the beam energy is conveyed to the first selected output channel, the part (e.g., 2%) of the energy being, however, directed into the second output channel and presenting noise in this second active port. A manner, in which such a 2%-error can be corrected will now be described with reference to FIG. 10, showing a block diagram of an all-optical switch structure 900 aimed at eliminating crosstalk between the output channels of a 1×2 switch device using a multistage switch such as 1×4 (e.g., the structure 800 of FIG. 9). The all-optical switch structure 900 is composed of three identical switch devices 902A, 902B and 902C. The switch devices are arranged such that two output channels OPA (1) and OPA (2) of the first device 902A serve as input channels of the devices 902B and 902C, respectively. As for the two output channels of each of the devices 902B and 902C, one of them is an active output OP1 (and OP2) of the device 900, and the other one OPd is the so-called “dead end”, on which the cross talk is discharged. An input channel IP supplies an input beam to the first switch device 902A, assuming that CPR element(s) thereof (not shown) is in its activated state. As a result of the aforesaid rotation error, each of output channels OPA (1) and OPA (2) contains a signal: one of them, e.g., OPA (1), contains most of the energy, and the other output channel, OPA (2), contains the noise-energy caused by the polarization rotation error. The signal from the output channel OPA (1) is directed to the switch device 902B that produces the substantially similar rotation error. Most of the output energy of the device 902B is directed to an output channel OP1 and the residual energy of the rotation error in switch device 902B is channeled to a dead end OPd. The error output signal from the channel OPA (2) is channeled to the switch device 902C. However, in order to prevent the error signal from reaching the active output channel OP2 of the switch device 902C, the beam will be switched to a dead end OPd. Assuming 88°-polarization rotation angle instead of 90°, the secondary residual energy arriving at the output channel OP2 due to the error in switch device 902C is 0.1% (OP.cos(88)2 of the input energy of the structure 900. In a similar way, in order to further decrease such crosstalk, additional switching stages can be added between the input port IP and the output ports. The above-described technique can also be used for increasing the switching speed of the device. Since the operation of a CPR element (e.g., PLZT) is similar to a capacitor behavior, in order to rotate the polarization to a certain degree, a certain voltage should be applied across the PLZT device. The charge (discharge) rate of a capacitor is in general as follows: where V0 and V are, respectively, the initial and end-point voltages. The PLZT speed is mainly restricted due to the systems constant RC. For example, to obtain V/V0=0.999 and V/V0=0.92, the parameters t=5RC and t=2.5RC, respectively, are needed. Thus, to charge the PLZT to 99.9% of its capacity, twice a time is needed than that needed to charge the PLZT to 92% of its capacity. By short the charging time in a similar way to the aforesaid examples, the polarization rotation angle of the PLZT will be less than 90°. Nonetheless, the resultant crosstalk will be treated using a multistage system such as that of FIG. 10 or a system similar to the system of FIG. 10, but with an increased number of switching stages and dead ends based on the cross talk requirements. Consequently a faster switching device can be achieved. Those skilled in the art will readily appreciate that various modifications and changes may be applied to the embodiments of the invention as hereinbefore exemplified without departing from its scope defined in and by the appended claims. In the method claims which follow, characters which are used to designate claim steps, are provided for convenience only and do not apply any particular order of performing the steps. |Cited Patent||Filing date||Publication date||Applicant||Title| |US5363228||Mar 5, 1993||Nov 8, 1994||General Electric Company||Optical device with spatial light modulators for switching arbitrarily polarized light| |US5414541||Jun 1, 1993||May 9, 1995||Bell Communications Research, Inc.||Optical switch employing first and second ferroelectric cells with alignment layers having alignment directions offset by 45°| |US5694233||Jan 8, 1997||Dec 2, 1997||Macro-Vision Communications, Llc||Switchable wavelength router| |US5724165 *||Jul 23, 1996||Mar 3, 1998||Macro-Vision Communications, L.L.C.||Fault-tolerant optical routing switch| |US5960133||Jan 27, 1998||Sep 28, 1999||Tellium, Inc.||Wavelength-selective optical add/drop using tilting micro-mirrors| |US5987040||Feb 28, 1995||Nov 16, 1999||British Telecommunications Public Limited Company||Optical and gate| |US6041151||Aug 12, 1996||Mar 21, 2000||Ramot University Authority For Applied Research & Industrial Development Ltd.||All optical switch| |US6049404 *||Apr 21, 1998||Apr 11, 2000||Macro-Vision Communications Inc.||N+M digitally programmable optical routing switch| |US6097518||Mar 10, 1998||Aug 1, 2000||Chorum Technologies Inc.||N x M optical wavelength routing switch| |US6137619 *||Sep 22, 1998||Oct 24, 2000||Nz Applied Technologies, Incorporated||High-speed electro-optic modulator| |US6160665 *||Jun 4, 1999||Dec 12, 2000||Chorum Technologies Inc.||High extinction ratio polarization beamsplitter| |US6166838||Mar 6, 1998||Dec 26, 2000||Chorum Technologies, Inc.||Optical add/drop wavelength switch| |US6275312 *||Oct 12, 1999||Aug 14, 2001||Chorum Technologies Lp||Optical routing switch| |US6331910 *||Jul 15, 1998||Dec 18, 2001||Deutsche Telekom Ag||Arrangement and method for electrically controlling the intensity of unpolarized light| |US6360034 *||Dec 30, 1999||Mar 19, 2002||Jds Uniphase Corporation||Reflection based nonmoving part optical switch| |US6360037 *||Jun 16, 1999||Mar 19, 2002||Nuonics, Inc.||Polarization-based fiber-optic switch| |US6470132||Sep 5, 2000||Oct 22, 2002||Nokia Mobile Phones Ltd.||Optical hinge apparatus| |GB2191302A||Title not available| |WO1997009536A2||Aug 12, 1996||Mar 13, 1997||Marom Dan M||All optical switch| |1||Masashi, H. et al.; "Programmable Optical Parallel Processor Based Upon Polarization Modulation: Cascade Operations;" Applied Optics; vol. 28; No. 20; Oct. 15, 1989; pp. 4305-4312;XP000071267.| |2||Urushidani,S. et al.; "A High-Performance Switch Architecture for Free-Space Photonic Switching Systems;" IEICE Transactions on Communications;vol. E82-B; No. 2; Feb. 1999; pp. 298-305; XP000940180.| |3||Wu, C.S. et al.; "Liquid-Crystal-Based Switchable Polarizers for Senor Protection;"Nov. 1, 1995; Applied Optics; vol. 34; No. 31; pp. 7221-7227.| |Citing Patent||Filing date||Publication date||Applicant||Title| |US7050230 *||Feb 2, 2005||May 23, 2006||Fujitsu Limited||Optical switch device| |US7412175 *||Jun 20, 2006||Aug 12, 2008||The United States Of America As Represented By The Administrator Of The National Aeronautics And Space Administration||Interferometric polarization control| |US7550701||Feb 25, 2004||Jun 23, 2009||Omnivision Cdm Optics, Inc.||Non-linear wavefront coding systems and methods| |US7605775 *||Dec 20, 2005||Oct 20, 2009||Canon Kabushiki Kaisha||Displaying optical system| |US7609978||Mar 27, 2008||Oct 27, 2009||The United States Of America As Represented By The National Aeronautics And Space Administration||Interferometric polarization control| |US7616903||Mar 27, 2008||Nov 10, 2009||The United States Of America As Represented By The Administrator Of The National Aeronautics And Space Administration||Interferometric polarization control| |US7840100||Feb 5, 2009||Nov 23, 2010||Civcom Devices & Systems Ltd.||Devices for dispersion compensation, beam displacement, and optical switching| |US8064036 *||Apr 30, 2009||Nov 22, 2011||Oclaro (North America), Inc.||Liquid crystal optical switch configured to reduce polarization dependent loss| |US8094979||Aug 6, 2008||Jan 10, 2012||Teliswitch Solutions Ltd.||Polarization-based optical switching| |US20040165253 *||Feb 25, 2004||Aug 26, 2004||Cathey Wade Thomas||Non-linear wavefront coding systems and methods| |US20050128585 *||Feb 2, 2005||Jun 16, 2005||Fujitsu Limited||Optical switch device| |U.S. Classification||385/16, 385/20, 385/22, 385/18| |International Classification||G02B6/35, G02B6/34, G02B6/26, G02F1/31, H04Q11/00| |Cooperative Classification||H04Q11/0005, H04Q2011/0035, G02B6/2773, G02B6/355, G02B6/272, G02B6/266, G02F2203/07, G02B6/2766, G02B6/29302, G02B6/29395, G02F1/31| |European Classification||G02F1/31, H04Q11/00P2, G02B6/26C2, G02B6/293W10, G02B6/293B| |Sep 6, 2001||AS||Assignment| Owner name: CIVCOM INC., DELAWARE Free format text: ASSIGNMENT OF ASSIGNORS INTEREST;ASSIGNORS:ZALEVSKY, ZEEV;KONFORTI, NAIM;GOLDENBERG, EFRAIM;AND OTHERS;REEL/FRAME:012156/0866;SIGNING DATES FROM 20010729 TO 20010731 |Dec 16, 2002||AS||Assignment| |Sep 4, 2007||RF||Reissue application filed| Effective date: 20061019 |Apr 28, 2008||REMI||Maintenance fee reminder mailed| |Jul 14, 2008||SULP||Surcharge for late payment| |Jul 14, 2008||FPAY||Fee payment| Year of fee payment: 4 |Jun 4, 2012||REMI||Maintenance fee reminder mailed| |Sep 24, 2012||SULP||Surcharge for late payment| Year of fee payment: 7 |Sep 24, 2012||FPAY||Fee payment| Year of fee payment: 8

- Beauty Secrets - Season 1 - Episode 60 Watch Kylie Jenner Do Her Lip Liner With Her Eyes Closed—and More For the mogul and new mom, “the more makeup the better,” she says while detailing her extensive routine from inside her Calabasas bathroom. Filmed by Lucas Flores Piran Edited by Theo Rosenthal Released on 06/27/2018 It's Kylie, for anyone who doesn't know. I am about to show you guys how I beat my face. First, I start with my brows. I already moisturized and put chapstick on. I'm gonna brush 'em up. I never used to be good at brows. Jordyn was always, like, used to do my brows, but then I kinda just learned what I like. I conceal right underneath to shape the brow, and then I apply it all over my lid as a base for my eyeshadow. I take my Beauty Blender and I just blend it out. A face powder. Eyeshadow, and I'm using one of my new palettes. I'm going in with some of the matte shades in my crease, and I'm just pretty much shaping my eye. I'm just gonna do kind of like a simple eye today because I have some meetings and I'm not tryna be too crazy. Oh, there you go. I'm gonna put this under my brow bone. I test out most of my stuff on Jordan because we live together, so I'm like, 'Jordyn, I need you.' Everyone that comes in my house has red tinted arms from swatches and shadows. Now I'm gonna go in with this darker brown, kinda gives me more of a cut crease. I go right in the center. My new favorite gold shade, perfect for the summer, and I'm gonna just take it on my finger because I feel like that just works best sometimes. It's such a bright gold, and it has kind of like a copper hint to it. It's definitely, I think, my favorite gold I've ever created. I think I'm gonna do something a little crazy and take Juicy, this orange, it has some shimmer to it, and put it in my tear duct. So, that's amazing, and then I'm gonna take a makeup wipe and just wipe the excess. That's why I do my foundation after eyeshadow. Eyeshadow falls down and then your face isn't cute anymore. Well, I just found these Marc Jacobs Fantasy Dew Drops and I'm kind of obsessed. One squirt of this. I do have a spray tan right now, so I'm gonna do like four squirts Take my foundation brush and just mix it all around. I'm gonna clip my hair up. I kind of like my freckles to show through my makeup. I know it looks like I'm putting loads on, but I blend it out really good so that it doesn't look too heavy, and then I always take it down to my neck. I just blend it all in. I've always been really into makeup. I think I just used to watch my mom a lot, maybe, and I used to steal all her makeup, and she had these two little Chanel loose eyeshadow powders. I just can't get 'em out of my mind. It was this baby blue and this baby pink and I would just put 'em all over my face. They were bomb. My mom always let me wear makeup. It was more my dad that didn't really want me to wear makeup but my mom always let me be creatively wild and go to my sixth grade class with purple eyeshadow and a cut crease. I haven't thought about letting... when I'm letting Stormi wear makeup. I mean, I'm gonna let her wear makeup, but when is the question. Okay, once I'm done blending this out like crazy, I'm gonna take the same foundation I used and line the top of my brows since I did my brows before. I didn't want to get too close with the bigger brush. Blend that out. I like to mix my concealers 'cause I like to use a pinkier one and a beigier one. Pink cancels out the under eye bags. I used to conceal my forehead, but I don't do that anymore 'cause I feel like when you have a caky forehead, it gives away that you're wearing makeup. Me and Kim do not compete. A lot of people think we might, but we just... We really like making completely different products, and we both enjoy each other's stuff. So, it's just the more makeup, the better. So, I'm gonna use Kim's setting powder. Chanel is actually a sunscreen and a foundation. Sunscreen is important to me. I have naturally really fair skin, and I don't... I can't ever get a tan, I just burn. A little bit of this never hurt. Now for a little bronzer, and I'm just gonna go right under my cheekbone. For my face, I place my contour mainly right at the edge, and then I kinda blend it out, and then I do the side of my forehead. I kinda do a three, right. After I contour, I'm going to bake this. It's important you do this after your bronzer because I feel like that's what is... I don't know, I really don't know, but it's important you do it after your bronzer. I can't do my makeup without baking. I think it really does help, and for anyone who doesn't know what it is, It's like powder is soaking into your skin and leaving a residue of color. So, I'm actually... I'm trying to make this lighter here so I have more of a... It just shapes my face. I hope that was a great explanation. I'm gonna leave this for the rest of my makeup. I do pretty much color my whole lip with lip liner. I think I could do it with my eyes closed. That's pretty good. It was actually a funny story. My mom did her lip liner in the car real quick. We were actually at Disney World, my whole family a long time ago, and she accidentally took out her black eyeliner instead of her lip liner, and she lined her whole lips with black eyeliner and Kourtney was dying, I've never... I think Kourtney peed her pants. I'm using Nova lipstick today. I had Kylie Lip Kit trademarked like two years before it even launched and I was bugging my mom about it. I see it, I need to do this. She was like okay, put up your own money, stop talking about the lip kit, and then I didn't even order a lot. My mom was like okay, if this doesn't work out, you're gonna have a lot of lip kits in your garage. I didn't even make it to my launch party. I refreshed the page and in two seconds everything was gone, and I just remember me and all my glam people and my friends, we were screaming, and then the Kylie Instagram used to be kylielipkit, and then the day after I changed it to kyliecosmetics, and I was like this is gonna be something I can actually do. Yeah, so Kendall modeling all over the world and that was always her dream and just, you know, then finally finding something that was mine and I loved was the best feeling in the world. When I was insecure about my lips, I turned to makeup to help me feel more confident. So, now I'm gonna do... shade my under eyes. I'm gonna go in again with Alcoholic. I feel like this just completes the eye. I think I'm gonna do something a little crazy and take Juicy, the orange color again, and drag it underneath. Brightening, just gonna do a little bit under my eyes and clean anything up. Contour my nose a little bit. Now I'm gonna do blush, which is my favorite part, and I'm gonna use Barely Legal from Kylie Cosmetics. I love this pink color. I smile so I know where to put it. I put a little on my forehead too and my chin and I guess my nose. I just love blush, and I just put it all over my face. I'm done with this for now, and just wipe this off. Diorshow black mascara on top. It's actually against the rules in lash world to mascara your lashes, but I don't care. I use brown on the bottom because I don't like too much mascara on the bottom. So, this just gives me more of a subtle look. I feel like when I put black, it's too much. Now I'm gonna do some highlighter. I'm using Salted Caramel, my fave. I like to use a small brush when I highlight because I just like it to be precise. A little on the tip and then right down the middle. I use my finger because I think it helps blend it in. It doesn't look too powdery either. Sometimes I'll do above my lip, maybe on my chin. I'm gonna try one of my new glosses and see if this really works out, might not. It's kinda fun. I take the tip, which holds the most product, and I wipe all the product on first, and then I brush it up so it's extra product. Extra blush always at the end. Blush doesn't work for everybody, but it just makes me just feel amazing. Drowning in blush right now, but it just makes me feel like my whole look is complete, and then I just let my hair down and I'm actually gonna spray because I feel like spraying just makes your makeup look better in person and less powdery. So, you kinda drench it, and you get a little scared at first because you're like, did I ruin my makeup? But then once it dries, it looks way better. Alright, well, that is my beat face. 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Hunt Transforms Her Daytime Glow into Night-Out Glam Winnie Harlow Does Afterparty Beauty—Just in Time for New York Fashion Week Jourdan Dunn Reveals the Secret Behind Her Model Off-Duty Glow Cara Taylor's Guide to Model Makeup—And Fighting Fashion Month Fatigue Camille Rowe’s Guide to Effortless French Girl Beauty Miranda Kerr Reveals Her Guide to Glowing Pregnancy Beauty Watch RuPaul’s Drag Race Star Trixie Mattel Do Her 33-Step Beauty Transformation Busy Philipps's Guide to Retinol, Rollers and Real Talk Swedish Pop Star Zara Larsson’s Guide to On-Tour Glam Hayley Kiyoko’s Guide to Wake-Me-Up Makeup Laura Dern Breaks Down Her Everyday Self-Care Routine Tracee Ellis Ross’s Guide to Fabulous Curls and Going Foundation-Free Princess Nokia’s Guide to Getting Goddess Skin Poppy Delevingne’s Guide to a Fresh-Faced Glow Camila Mendes on Riverdale, Concealing a Zit, and Achieving a Flawless Glow Bishop Briggs’s Guide to Running-Into-Your-Ex Makeup Ashley Graham Shares Her Pregnancy Beauty 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inPERSPECTIVE / RESTROOMS: A Better Future Safe Public Restroom Practices & Design 2020 was a difficult year for all, especially anytime you decided to venture outside the home. Things that used to be part of everyday life were marked with caution tape and signage to keep proper distance from one another. In the coming months, as we return to a somewhat normal state and more public spaces start to reopen, we need to have other certain life conveniences available to us as well—we're talking public restrooms. To make people feel safer using public facilities with less anxiety, we need to do two things: continue to follow health guidelines, and take greater considerations when it comes to future restroom design. Parks, trails and open spaces are great places for people to get physical activity and fresh air during these trying times to maintain and improve their mental, emotional and physical well-being. Social distancing still must be followed, but being outside is great for people to unwind and relax after spending too much time indoors. Now more than ever, it is critical for restrooms to be cleaned and sanitized on a daily basis. According to the CDC, restrooms should be maintained if they are open, and restrooms should have "functional toilets, clean and disinfected surfaces, and handwashing supplies." Hand soap and hand sanitizer (with at least 60% alcohol) are recommended to not only be present, but well-stocked. For restroom closures or those park restrooms without running water (e.g., portable toilets or vaults), it is recommended that visitors bring their own hand sanitizer and park operators notify visitors of any closed facilities prior to their visit through their website or other online communications. A New York Times article about public bathrooms and the coronavirus quoted Yvonne Maldonado, M.D., a professor of pediatric infectious disease at Stanford University, who stated, "If you look at the data on transmission, some of the most important transmission occurs in the home, because there are lots of high-repetitive touch areas over time." Whereas in a public bathroom, an infected person will most likely only touch a surface once—not over and over again. So, another way to keep yourself healthy is by using disinfectant wipes on any common surfaces before touching them yourself to help prevent transmission. According to the CDC, the primary method of COVID-19 transmission is through close person-to-person exposure (within six feet) and respiratory droplets in the air. So, keeping a safe distance from others is still the best policy and most effective means to staying safe. A few other tips can help put bathroom users at ease: - Wash hands or use hand sanitizer frequently, especially after using a restroom. - Avoid touching high-touch surfaces with your hands as much as possible. - Wear a face covering over mouth and nose to help prevent inhaling air particles. - If the restroom has multiple stalls, wait until the other person is finished and stand outside to practice social distancing. Additionally, restrooms that experience higher volumes of users should be cleaned more frequently than daily when possible. High-touch surfaces should be cleaned and disinfected with EPA-registered disinfectants with cleaning staff wearing appropriate PPE at all times. High-touch surfaces include, but are not limited to: - Toilet flush handles. - Door handles, latches, panels and edges. - Faucet handles. - Soap dispenser levers. - Changing tables. The next thing to address is restroom design and the floor plan layout—more specifically, single-occupancy vs. multiple-occupancy. Not only do single-occupant restroom designs help with social distancing practices during a pandemic, but they also address the growing need for gender-neutral restrooms. A private, non-gender-specific restroom is more inclusive to several groups of people: people with disabilities who need assistance by a caregiver, parents with small children of the opposite sex, and transgender or non-binary gender people. Another benefit of single-occupant restroom design is security and the ability to lock the door. Whether you are in a location with transient populations, have small children or are assisting a person with a disability, having the ability to feel secure while using a restroom is important. Looking beyond the floor plan, interior restroom components and exterior building materials are just as important. For example, introducing fresh air to restrooms is a better way to provide ventilation than mechanical fans and can help reduce airborne transmission of pathogens. This can easily be achieved through incorporating stainless-steel woven vent screens on the building's exterior. These open vents also provide the ability to call out for help if needed while in the restroom, enhancing overall security. Another big consideration is that all door hardware and flush levers should feature an anti-microbial finish, to help kill germs on contact and offer a level of built-in protection against bacteria transfer in between cleanings. Make every effort to eliminate as many "high-touch surfaces" as possible by choosing fixtures that have hands-free activators. This should be considered for faucets, soap dispensers, toilets, urinals, hand dryers, paper towel dispensers, lights and hand-sanitizer dispensers. Selecting occupancy-activated LED light fixtures eliminates yet another high-touch surface, but also reduces electricity waste when the restroom is not in use. Examining every last detail is critical to design a safer, cleaner restroom for the future or to modify a current one. The pandemic has proved to be trying for everyone, but if we can adapt for the future and employ good hygiene practices, we will all end up in a better place for years to come. RM

By Rachael Tao, AsAmNews Intern Emma Eun-joo Choi is the energetic host of NPR’s new podcast Everyone & Their Mom, and as a young Korean American with a huge platform, she is attracting a lot of attention. Choi describes Everyone & Their Mom to AsAmNews as “a comedy club for your ears with everyone from comedians to the most random people. It’s definitely super chaotic and super high-energy and super fun.” The new, short-form podcast comes from NPR’s Wait Wait… Don’t Tell Me!, the company’s 24-year-old flagship comedy show. Wait Wait is a weekly hour-long quiz program about the news. Everyone & Their Mom began releasing episodes on February 23 and will have its third episode out this Wednesday. As Choi explains, each episode begins with an interview of a Wait Wait panelist and a discussion of an odd or entertaining news story of the week—one that everyone and their mom is talking about—“and then explodes out from there.” Choi’s show is meant to carve out a dedicated space for NPR’s younger listeners. Choi is only 22 years old, but she has been interested in comedy for many years. She tells AsAmNews, “I remember the first time I realized comedy could be a job was when I read Mindy Kaling’s book Is Everyone Hanging Out Without Me? (And Other Concerns).” In high school, she created and ran a comedy magazine, consumed improv comedy videos on YouTube, and developed a love for stand-up comedy. In college at Harvard University, she became even more involved in comedy by directing a sketch show and running an improv team. Then, she applied for an internship with Wait Wait, and to her surprise, she was granted her wish. She only rose further from there, quickly winning over Wait Wait’s team. One of her intern responsibilities was guest research, so she started doing “incredibly wacky, insane” PowerPoints every Wednesday to present a guest. However, the presentations would mostly consist of “memes, saying crazy things, and threatening to quit all the time.” On Wait Wait’s Instagram page, she became known amongst fans for her zany graphics and hilarious TikToks. She describes her Instagram duties as enjoyable because “it wasn’t about making the cleanest graphic but just making something stupid and putting it out there.” A recent Instagram post described reactions from fans. Everyone & Their Mom was conceptualized as an attempt to expand the Wait Wait umbrella and create new content. Choi says, “We set out to make something we’ve never heard before. We wanted to make something highly produced, very dense with jokes and content, and effortful in how it’s put together.” For Choi, the podcast has been a “really cool opportunity to use the podcast form to produce something not visual but very stimulating the whole time.” As compared to Wait Wait, Everyone & Their Mom “showcases a different sense of humor than we usually showcase and appeals to more diverse and younger audiences than the main show does.” Originally, she was not in the running to host and was just assisting with the process of creating the podcast. For her, becoming the host was an unexpected “whirlwind.” She didn’t realize it at the time, but her internship “ended up being a kind of audition.” Even though NPR did a nationwide search for a podcast host, they kept coming back to her guest research presentations because “they really liked that energy.” Choi acknowledges there were many reasons not to choose her as a host—mainly her age and her relative lack of experience with podcasting and radio. She confides, “I am an experiment in a lot of ways.” Nevertheless, as she says, “My voice is new enough that I was the right person to start experimenting with this new voice of the show.” She was clearly a wonderful pick because of the delightful, joyful humor and effervescent vitality she brings to the podcast. She adds, “If you’re going to try to make something for a young audience and a diverse audience, why not pick someone who fits into your audience to make it?” While the world at NPR is “incredibly diverse,” Choi characterizes comedy overall as “very White-male-centric right now.” And because of comedy’s overall exclusivity, “comedy podcasting is also going to have a dearth of White guys riffing about nothing.” Even so, podcasting presents unique opportunity for accessibility in the comedy industry. Choi evaluates podcasting as the “democratization of content-making.” Unlike other media, like television entertainment, “anyone can record a podcast on their phone and put it out, which is a good thing and a bad thing.” For her, “the best way to make comedy is just to make things until someone starts paying attention. Podcasting is a great way to do that because you don’t need a theater, you don’t need a camera, you just have a mic and then you start making stuff.” As a second-generation Korean American from northern Virginia, her ethnic identity deeply affects how she goes about podcasting. As they developed the podcast, she was surprised by how much the marketing and conceptualization of the podcast was based on her personality. Eventually, she realized, “I am this podcast.” And because being Korean is an essential part of who she is, “inherently, that’s part of the podcast, too.” She emphasizes, “We never shy away from Korean stuff.” The most recent episode was about improving her grandmother’s kimchi recipe and included a conversation with celebrity chef Roy Choi. “That’s been really special because I love hearing about Korean things in pop culture, and it makes me really happy to make that on my own show, too.” She certainly plans to incorporate similar ideas in the future whenever they come up. Many of her conversations with panelists center around talking about their lives, and as she says, “My life is Korean. So if that kind of stuff comes up again, and it’s funny, for sure.” Choi concludes, “The best comedy is personal, and part of personal is heritage.” On this recent episode about kimchi, her mother and grandmother made appearances. Choi knew that her family would naturally be included in the podcast and intends to include them many more times as the podcast continues. “I’m just really close with my family, and I find my family super funny, and my producers also find my family super funny.” She repeatedly thanks her team for encouraging her to be so authentically herself. Her team consists of all women and non-binary people, which she loves. “It’s amazing because comedy spaces are so male and white, and I feel so much more comfortable being funny and pitching ideas in a room like that. We really like each other, and we’re a small team—there’s only five or six of us—so everyone gets to pitch everything, and all the meetings are all of us. So I think everyone’s super involved in the creation in the podcast.” Choi provides some insight into her team’s creative process. After choosing a zany news story, she records the interview with the panelist that will play at the top of the show. Then, the team will “go crazy based off of that one conversation.” Behind that craziness is a lot of “very organized riffing.” For example, on the first episode, after discussing a news story about an English zoo that hired a Marvin Gaye impersonator for its monkeys, Choi interviews the Marvin Gaye impersonator. When asked about tips for young Asian Americans wanting to enter podcasting, Choi has a lot of advice to give. “There’s just so many podcasts in the world, so you have to ask yourself, ‘Why am I making this? Why do I think this is great?’ As long as you think it’s great, then it’s fun.” Her chief guidance for young Asians like her, or for anyone really, is that “you can’t make something thinking about who’s going to listen to it. And that’s something I’ve learned making this podcast. We’ve been getting a lot of feedback since we aired for the first time, and you have to tune out a lot of the feedback and just make things that you love to hear.” Dealing with feedback has been a challenge for Choi. Although it has all been positive thus far, it has still been understandably overwhelming. “For me, as an anxious person, it’s hard to feel like I’m being looked at all the time. I’ve had to tune out all the noise around what I’m making and just focus on what I’m making.” She adds, “As long as I feel good about what I’m making, it doesn’t really matter what everyone else wants me to do.” Balancing podcasting and being a Harvard student has been another challenge. In fact, right before our interview, Choi attended office hours for one of her professors. To say the podcast takes a significant amount of time would be an understatement. Fortunately, Choi has found setting boundaries and prioritizing to be positive steps in reducing the pressure. She says, “The podcast is my first priority, and I care about school, but sometimes you have to choose which to tackle first. I would rather go into a taping and then focus on my essay.” In addition to comedy, writing is a crucial passion she makes time for. “I always knew that I wanted to do some combination of writing fiction and comedy, and they’re both equally important to me and both equally as much who I am. Part of being me right now is figuring out how to stay true to both those parts of my life.” Everyone & Their Mom allows her to fulfill both passions at once. “Podcasting’s been really cool because it’s a place where I can both write and perform.” She and her team strive to bring other young comics on. “Comic accessibility is changing really fast, and it’ll be so exciting to create a space in which those new comics can come and be showcased to our audience, too.” She particularly wants to have more Asian comics because as she observes, “There’s not that many of us.” She has been inspired by female comics like Tina Fey and Amy Poehler, and her dream guests include Ali Wong and Mindy Kaling. When expressing her admiration of these women, she says, “I love female comics who are making things because it’s really hard to make things, and even harder to do that when there’s not that many people like you making that stuff.” For Choi, it can sometimes be disheartening to try to create fresh content. Yet the podcast has been invigorating in that regard. “Comedy is a really brutal world, and this podcast reminded me that making comedy is supposed to be fun.” Choi is certainly making comedy more fun. By hosting Everyone & Their Mom, Choi is not only diversifying the comedy space, but adding a vibrant new energy to it as well. AsAmNews has Asian America in its heart. We’re an all-volunteer effort of dedicated staff and interns. Check out our new Instagram account. Go to our Twitter feed and Facebook page for more content. Please consider interning, joining our staff, submitting a story, or making a financial contribution.

He and she in Mandarin looks like this: Male tā: 他 Female tā: 她 What would a non-binary tā look like? 也? 它 is for animals and inanimate objects, not exactly fitting. 祂 is for gods, not really appropriate. 牠 is the same as 它. For practicality purposes 你 could work the same: male nǐ: 你 female nǐ: 妳 non-binary nǐ: 尔?

We are rather used to reading this disclaimer (or some variation thereof) in mutual fund prospectuses or investment vehicle webpages. Despite warnings, investors and advisors insist on considering past performance (and some other related metrics) as important factors in asset selection. But, are they really wrong? In this post, I will try to shed some light on this topic by means of some metrics inspired by the information retrieval community. I will focus on weekly return data for current components of the DJIA (Dow Jones Industrial Average); a total of 30 stocks. More specifically, I will try to gain some insight on the joint movement of the returns by visualising how their weekly rankings have historically evolved. This would answer questions such as: what is the probability that past week’s best-performing asset turns out to be this week’s best-performing one? Or, more generally, what is the probability that the i-th best-performing assets turns into this week’s j-th best-performing one? This information is depicted in the following Hinton diagram where the area of each square reflects this probability: If we take a close look at the bottom left corner,we notice that the first ranked asset one week seems to consistently be the first one during next week. This is somehow an artifact of the amazingly good performance that Apple Inc. has consistently exhibited during recent years. However, if I leave aside this fact and remove the iCompany from the sample, data tell us a different story: there does not seem to be statistically significant persistence in return rankings. But wait a sec! what if we look closer? A traditional approach to comparing two rankings has been in using correlation-based metrics which, rephrased to fit the problem at hand, would do the following: - Pearson’s correlation coefficient: measures how linear the relationship between consecutive returns is. - Spearman’s rank correlation coefficient: measures how linear the relationship between consecutive rankings is (indeed, it’s mathematically equivalent to the Pearson’s correlation among rankings). - Kendall’s rank correlation coefficient (a.k.a. Kendall’s tau): counts the number of pairwise disagreements between the two ranking lists. In the following picture, these metrics are applied to real returns and what I refer to as independent returns, that is, a situation in which consecutive weekly returns are statistically independent. Note that a remarkable difference between real returns and independent returns shows up. However, as real scores are marginally different from zero, it may be difficult to use them to carry out successful predictions. The problem with this family of metrics is that they give the same importance to what’s happening in any part of the ranking. In finance, however, we usually worry about what’s going on in extreme parts of the ranking. So… What if the best-performing asset is the only relevant to you? In case we only care about what happens in very specific parts of the ranking, we can think of applying metrics borrowed from information retrieval systems. Namely: - Point-biserial correlation coefficient: measures how linear the relationship between the return and the fact of being relevant or not is. - Precision at best (worst) N: fraction of next week’s N best (worst) assets represented by this week’s best (worst) asset. - Average precision: average of the previously described precision values for all possible N. - Average precision at best (worst) N: average of the previously described precision values for all possible n from 1 to N. What if the N best-performing assets are all relevant to you? All the aforementioned metrics can be trivially extended to the case where several assets are considered relevant (for example, the top 5). Other related metrics are: - Recall at best (worst) N: fraction of all relevant assets that fall inside the best (worst) N positions of next week’s ranking. - R-precision: it may be useful in the particular case that the number of relevant assets fluctuates from case to case, due to changes in the asset universe size or assets deemed relevant if certain performance requirements are satisfied. This allows for a fair comparison among cases, and matches the precision at the number of assets that equates precision and recall. - F1 at best (worst) N: if we are looking for a good tradeoff between precision and recall, the F1 score will provide us with this as the harmonic mean between precision and recall. The relative importance of each can be controlled by generalising this idea in what is usually referred to as F-beta score. - Reciprocal rank: the inverse of the ranking position occupied by the single highest- (lowest) ranked relevant item. It is appropriate to judge a system when there’s only one relevant result, or when you only really care about the highest-ranked, even if several of them are relevant to you. What if they are not equally relevant? Having multiple relevant assets opens the door to another family of metrics: those in which graded relevances are taken into consideration. This is when relevance is not binary and we want to specify multiple levels of relevance. For example, we can consider that finding this week’s best asset among the top five assets next week is twice as important as finding the second best asset among them. Such a preference can be encoded as a vector of non-binary relevances, which gives rise to a bunch of other metrics: - Cumulative gain at best (worst) N: accumulated relevance value among the N best (worst) assets. The computed value is unaffected by position changes among the N best (worst) assets. - Discounted cumulative gain at best (worst) N: the same as cumulative gain but with the additional consideration that highly relevant assets appearing lower in next week’s ranking list should be penalised. This is achieved by diminishing the relevance value logarithmically proportional to the position of the asset. - Normalized discounted cumulative gain at best (worst) N: again, as in the R-precision metric, when the number of relevant assets fluctuates from case to case it is useful to normalise the discounted cumulative gain with respect to its maximum achievable value. This value would be achieved only when assets are ordered according to the relevances we give to each. In this example I have assumed that relevance scores go from 5 to 1 as we go from the first to the fifth asset: One may also think of applying inequality-inspired metrics, borrowed from the socio-economic literature, and rooted in the concept of Lorenz curve … but that will have to wait for a different post. But if you want to know more right now, here are some pointers: Gini, Atkinson, entropy, and Theil (generalized entropy) indexes. After evaluating dozens of scores we can conclude that all of them are consistently better for real returns than for independent asset returns. Sometimes only marginally better, but they show that past performance is telling us at least a bit about the future. Keep in mind that this analysis has been conducted, intentionally, in some of the most difficult to predict asset classes and time horizons: stocks and one-week returns, respectively. Now it’s up to you to find out in which situation, and how, you may take advantage of this.

And just like that, wokeness has ruined another once-popular Hollywood franchise. HBO Max’s Sex and the City reboot — titled And Just Like That — is getting savaged by mainstream TV critics who have concluded the new series’ embrace of wokeness is not a good thing. Some have found the show’s virtue signaling to be “exhausting,” while others said it “felt more self-serving than self-aware.” One critic even compared watching the new show to reading Ibram X. Kendi’s How to Be an Anti-Racist. Many seemed to agree that the show badly needs actress Kim Cattrall, who played sexual libertine Samantha Jones in the original HBO series. Her absence throws the ensemble off balance and casts a long shadow over the new storyline, as does the surprise death of a major character in the first episode. And Just Like That aims to address revisionist criticism that Sex and the City was too white. The new cast features four minority actresses, including gender non-binary Broadway star Sara Ramirez, who reportedly has a five minute scene in which the character delivers a lecture on the lack of representation of gender non-conforming characters in TV. EW‘s critic concluded the show “tries too hard to bring its cultural brand into a new era.” It’s also “a sweaty enterprise, stretching to include vast political sensitivities in a way that feels more self-serving than self-aware. I miss Samantha, man, and I miss how Kim Cattrall was the last SATC star willing to look utterly ridiculous.” Indiewire’s critic said “all this virtue signaling can be exhausting,” as the show’s new minority characters “spend most of their time onscreen reassuring our main cast that they’re not being racist.” The New York Times blasted the show’s efforts at wokeness as “cringey” and “painful.” With its self-conscious attempts at racial sensitivity, “the whole production feels as if it speed-read How to Be an Antiracist in June 2020.” Rolling Stone also panned the series, saying the series’ “attempts at wokeness… are so often self-conscious and clumsy.” The show’s minority characters “are mostly being viewed through the eyes of the returning characters, rather than as people with their own inner lives.” Follow David Ng on Twitter @HeyItsDavidNg. Have a tip? Contact me at firstname.lastname@example.org Please let us know if you're having issues with commenting.

2015 has seen the female-led Hunger Games end, a black Hermione announced, along with a black stormtrooper and strong-female roles in the new Star Wars (sadly erased by Hasbro’ Action Figures). It also has a cis-male actor playing an intersex-trans woman in The Danish Girl, a film which also features a trans woman playing a cis-role. Can Doctor Who regenerate as a woman? Could James Bond be black? Do diversity and representation matter or does acting trump accuracy? Has 2015 been the year of film equality, and if so for whom? “2015 was the year everyone called ‘a benchmark’ for women in film. Rey to Imperator Furiosa, Cinderella to Katniss Everdeen. The powerhouse performances of Carol’s Cate Blanchett and Rooney Mara, or Joy’s Jennifer Lawrence. 2016 – Ghostbusters: the female-fronted movie of the year” – The Independent Geena Davis has had swashbuckling and assassin female roles in Cutthroat Island and The Long Kiss Goodnight, been the eponymous and iconic Thelma in Thelma & Louise and been the US President in Commander in Chief and is not a woman to be messed with if her screen roles are anything to go by. In 2005 she helped launch a venture aimed at balancing the number of male and female characters in children’s TV and movie programming and in 2007 founded The Geena Davis Institute on Gender in Media: “for every one female-speaking character in family-rated films (G, PG and PG-13), there are roughly three male characters; that crowd and group scenes in these films — live-action and animated — contain only 17 percent female characters; and that the ratio of male-female characters has been exactly the same since 1946. Throw in the hypersexualization of many of the female characters that are there, even in G-rated movies, and their lack of occupations and aspirations and you get the picture.” – Geena Davis Tomorrowland (2015) had not one but two strong female leads who talked to each other, and not about men or sex at all, easily passing the Bechdel Test – popularized by Alison Bechdel’s comic Dykes to Watch Out For, in a 1985 strip called ‘The Rule’. A test that has come in for its own criticism for failing women and feminism. The film’s main lead was originally written as male though: “There is a completely false perception of, “Well, our main character is interested in space travel, so it’s gotta be a boy,” but the first time I said, “Well, what if it was a young girl … It just felt like it was exactly right for us. I also think that if you have a female lead, people suddenly go, “Oh, there has to be a romantic entanglement.” Like, if you’re doing Hunger Games, it’s not enough that you’re dropped into an arena and everyone’s trying to kill you — there has to be not one, but two romantic entanglements! So Brad and I thought, What if she doesn’t get distracted by romantic entanglements? What if her “romance” is with the future? It’ll be nice in 10 or 15 years for this not to be a thing anymore. I think we’re now in this post–Hunger Games, post-Twilight, post-Insurgent era where these movies make tons of money, you don’t even think twice about it, and they’re great characters. But for us, it was always more interesting — particularly the energy for Frank to be pulled along, kicking and screaming, by these two young women.” Does film give us the opportunity to experiment and fantasize? We’ve had more female Presidents of the USA in film and TV than in reality (none) and 2016’s forthcoming Independence Day sequel “Resurgence” is to portray another woman as POTUS. Star Wars was one of the original gun-toting films for Sci-Fi fantasy as Princess Leia was less a princess and more an armed rebel leader, despite the other sort of fantasy scene where she is chained as a sex slave for Jabba the Hut. Well Han Solo also got encased in carbonite… The prequels Epsiodes I-III feature a strong Amidala, Queen of Naboo, despite impossible outfits to battle in, and in the latest release The Force Awakens, we have Rey, a female lead, though she has been completely erased by Hasbro action figures and the new Star Wars Monopoly set. Meanwhile Carrie Fisher felt it was sexist that film pressure, fans, twitter and social media commented excessively on her age, beauty and weight, not on any of the returning male stars. Jennifer Lawrence has written about gendered pay equality in Hollywood, despite being the highest-paid female actor of 2015 and in the upcoming film, Passengers (2016) is paid more than her male co-star: “When the Sony hack happened and I found out how much less I was being paid than the lucky people with dicks [in American Hustle], I didn’t get mad at Sony,” she writes. “I got mad at myself. I failed as a negotiator because I gave up early. I didn’t want to keep fighting over millions of dollars that, frankly, due to two franchises, I don’t need.” She writes that a need “to be liked” and the fear of seeming “difficult” or “spoiled” kept her from demanding more money. “This could be a young-person thing,” she writes. “It could be a personality thing. I’m sure it’s both. But this is an element of my personality that I’ve been working against for years, and based on the statistics, I don’t think I’m the only woman with this issue … Could there still be a lingering habit of trying to express our opinions in a certain way that doesn’t ‘offend’ or ‘scare’ men?” Lawrence joins a long list of actors including Patricia Arquette, Cate Blanchett Meryl Streep, and Emma Thompson, who have hit out about misogyny and inequality in Hollywood’s film industry. Chris Rock has responded by suggesting they try being a black woman if they really want to experience inequality. Can Cis Actors play Trans or Intersex Roles? Transparent features a cis-male playing a trans woman and an older trans actress playing a cis-role. Boy Meets Girl features a trans actress playing a trans woman, hailed as a breakthrough in the UK, yet she also plays a cis-gendered female nurse in The Danish Girl – the trans/intersex lead of which is played by a cis-male actor, Eddie Redmayne – but originally offered to Nicole Kidman. Rebecca Root has shed light on the film’s consulting of trans people and casting of some in. Redmayne had played Viola in Twelfth Night before, one of several Shakespeare genderbending roles, of course, originally, all female parts in Shakespeare were played by men and boys. Intersex activists have complained about Redmayne’s character’s historical intersex erasure as too have the trans activists! There is a lack of opportunity for trans actors in cis and trans roles. Director, Tom Hooper, explained that: “Lili is presented as a man for two-thirds of the movie, and her transition happens quite late on, so that played a part in coming to a decision.” Hooper also said that the production had reached out to the trans acting communities in the cities where they shot – London, Brussels and Copenhagen – and ended up casting “40 or 50 trans supporting artists” [in 2 roles]. He said: “I’m pleased we achieved what we did, but I’m sure there’s more to do.”” “heteronormativity also most certainly shapes what Hooper, the film’s director, refers to as the problematic lack of “opportunity for trans actors to play cis and trans roles.”” Orange Is the New Black has featured a trans actress playing a trans role, and her brother playing her pre-transition, and has now added a non-binary genderfluid actor, Ruby Rose, to its groundbreaking cast. Acting is acting though and ability should trump lived-experience surely, unless telling a true story, perhaps. We don’t automatically look for disabled actors to play disabled roles, nor even gay to play gay and straight to play straight. In the past gay actors played straight roles and vice versa, but is that still acceptable now? Can Doctor Who regenerate as a woman? Could/should the Doctor regenerate as a woman? We’ve had a sex-change Time Lord and Master/Missy. “In ‘The Doctor’s Wife’, the Doctor mentioned that The Corsair was sometimes a bad boy…or girl depending on his mood. Apparently Time Lords/Ladies can change their gender at will.” Do we need a female Doctor when the companions continue to evolve into feisty intelligent scene-stealers and Missy and River Song put the Doctor in his place so easily? Should Sherlock or Watson change sex or Moffat be more feminist? “Moffat, unsurprisingly, doesn’t agree. “In the original, Irene Adler’s victory over Sherlock Holmes was to move house and run away with her husband. That’s not a feminist victory.” He says he found Jones’s argument “deeply offensive”. “Everyone else gets it that Irene wins. When Sherlock turns up to save her at the end it’s like Eliza Dolittle coming back to Henry Higgins in My Fair Lady: ‘OK, I like you, now let me hack up these terrorists with a big sword.’” Moffat has bizarre views on what is feminist or unfeminist…” Is Sherlock a “misogynistic throwback…you’ve got to worry when a woman [Irene Adler as dominatrix fantasy rather than female adventurer] comes off worse in 2012 than in 1891″, “In Moffat’s hands the power of Irene Adler, Sherlock Holmes’s female adversary, was sexual, not intellectual. A regressive step” – Jane Clare Jones, Guardian Can Harry Potter’s Hermione be Black? “Canon: brown eyes, frizzy hair and very clever. White skin was never specified. Rowling loves black Hermione” “Is Hermione Granger black? This is the question prompted by the casting of a black actor, Noma Dumezweni, as Hogwarts’ cleverest pupil in an upcoming theatre production of Harry Potter and the Cursed Child. The answer is twofold. First, why the hell not? Second, what a stupid question! A better one to ask is whether Hermione – or indeed any fictional character – is necessarily white. The answer is no. The decision to cast Dumezweni, an Olivier-award winning actor currently performing at the Royal Court in a lead intended for Kim Cattrall, challenges our assumption that characters are white unless we’re told otherwise.” Cf. http://www.theguardian.com/childrens-books-site/2015/dec/23/hermione-is-not-black-or-white-or-any-ethnicity-harry-potter; http://www.theguardian.com/books/2015/dec/24/harry-potter-race-muggles-black-hermione Can James Bond be Black? Could Bond be black? for example, Idris Elba, Denzel Washington or Chiwetel Ejiofor. He was only made Scottish after Sean Connery played him, whilst David Tennant dumped his Scottish accent to play an ‘English’ Doctor Who. The reasons why and why not are a battle of story versus bottom line. The issues include those of “the power of the default” and the power of “commercial argument”. Historically, we had blacking-up in film, now considered a no-no (despite Anthony Hopkins in Othello, 1981, and more recently Ridley Scott’s white cast in Exodus) with the range of BAME actors now available, perhaps the question should be availability of quality actors with appropriate experience, but acting skill and character research/consulting with represented people groups for better accuracy and understanding, as with The Danish Girl.

The following journals and magazines specialize in writing by / for / about women. Some of these publications feature women exclusively; others are simply committed to amplifying marginalized voices, drawing attention to women’s issues, or advancing a feminist agenda. The description of each is taken directly from the associated website. I have tagged these publications according to country of origin, but please note that many—particularly the ones publishing online only—welcome international contributions and readership. All links are current as of October 2015. If you find a non-working link or newly defunct publication at anytime in the future, or if you know a journal or magazine that should be added to this list, please do let me know. I appreciate your help in making this list as comprehensive as possible. Thank you! — Nicole Melanson 13th Moon: A Feminist Literary Magazine is a home for women writers, and people who want to read their work. While this journal is dedicated to women, it is not exclusive, and it welcomes our counterparts and their thoughts about women today. Submissions to Adanna must reflect women’s issues or topics, celebrate womanhood, and shout out in passion A literary zine for dangerous women Bitch Media is a nonprofit, independent, feminist media organization dedicated to providing and encouraging an engaged, thoughtful feminist response to mainstream media and popular culture. Bone Bouquet (USA) Bone Bouquet is a biannual online journal seeking to publish the best new writing by female poets, from artists both established and emerging. CALYX Journal (USA) A forum for women’s creative work—including work by women of color, lesbian and queer women, young women, old women—CALYX Journal breaks new ground. Each issue is packed with new poetry, short stories, full-color artwork, photography, essays, and reviews. Canthius accepts submissions of poetry and short fiction from established and emerging women and queer-identified writers. We are a quarterly online magazine, sharing the work of cis women*, trans women, and nonbinary artists, writers, and creatives. We are particularly interested in work that relates to a sense of spiritual life, ecology, and community, but we welcome submissions of all kinds that reflect one’s unique stories. At Crone: Women Coming of Age, we believe that the experience of aging is rich with spiritual meaning. That’s why we have created a unique magazine that honors our deep wisdom as eldering women. damselfly press (USA) damselfly press seeks to promote exceptional writing by women. We welcome work from female writers of all experiences. We accept fiction, poetry, and nonfiction We are looking for previously unpublished work by women writers and artists. We want work that is brief and powerful. We want art and photography that make us feel something profound. FemAsia was conceived as a magazine for women, in which issues and events which impact on girls and women in our contemporary world are discussed and explored. We wish to showcase the talents, experience and perspectives of women across Asia. THE FEM is a magazine of inclusive, diverse, and feminist poetry, fiction, nonfiction, and spoken word. For the Sonorous is a literary journal dedicated to empowering and publishing women and non-binary people of color. GUTS is a digital, volunteer-run feminist magazine and blog. Our biannual magazine publishes literary essays and reviews, long-form journalism, interviews, fiction, poetry, and new media to further feminist discourse, criticism, and community engagement in Canada. It is an award-winning, nationally acclaimed magazine for thinking young women at U.Va. and beyond. Jahanamiya (Saudi Arabia) Jahanamiya is a feminist literary magazine that publishes written work exclusively by Saudi women, as well as accompanying artwork created by regional artists. Lady is an online literary magazine for women, by women of all ages. Lavender Review is an international, biannual (June & December) e-zine dedicated to poetry and art by, about, and for lesbians, including whatever LGBTQ might appeal to a lesbian readership. Independent, Jewish & frankly feminist since 1976, Lilith magazine charts Jewish women’s lives with exuberance, rigor, affection, subversion and style. Literary Mama (International) Literary Mama publishes literary writing about the many faces of motherhood. Lumen is a project for (and by!) women and nonbinary people. We are interested in poetry, fiction, personal essays, and interviews that examine how we move through the world, both as complex individuals and as members of larger communities. Online zine dedicated to women who are mostly over 35. A web journal devoted to formal poetry by women. Minola Review fosters the conversation between women, publishing strong, honest work safe from the gaze of patriarchy. Mothers Always Write (USA) A monthly, online literary magazine for mothers and mother writers who consider parenting to be their highest calling. We publish essays and poetry about the mothering experience. Minerva Rising (USA) Minerva Rising is an independent literary journal celebrating the creativity and wisdom in every woman. We publish thought-provoking fiction, non-fiction, photography, poetry and essays by women writers and artists. Mom Egg Review (USA) Mom Egg Review is an annual literary journal by and about mothers and motherhood. Ms. continues to be an award-winning magazine recognized nationally and internationally as the media expert on issues relating to women’s status, women’s rights, and women’s points of view. At Mslexia we are committed to helping women writers progress and succeed, through our quarterly magazine, writer’s diary and annual writing competitions. Exploring real-life motherhood, from every angle, at every stage. Na’amat Woman (USA) Na’amat, Hebrew acronym for “Movement of Working Women and Volunteers,” strives to enhance the quality of life for women, children and families in Israel, the U.S. and around the world. Not Very Quiet (Australia) Not Very Quiet is a new twice yearly online journal for women poets of all ages, ethnicities and backgrounds to publish their work. Persimmon Tree (USA) Persimmon Tree, an online magazine, is a showcase for the creativity and talent of women over sixty. PMS poemmemoirstory (USA) PMS poemmemoirstory is a 140-page, perfect-bound, all-women’s literary journal published annually by the University of Alabama at Birmingham. We proudly feature the best literary writing by emerging and established women writers. Quaint Magazine (USA) Quaint Magazine accepts submissions from female-identified and genderqueer/non-binary folk only. We are strongly committed to publishing work from traditionally marginalized writers, and in exploring identity performance, particularly as it pertains to subverting the cultural cliche of femininity. ROAR is a print literary journal that exists to provide a space to showcase women’s fiction, nonfiction, and poetry. We are committed to publishing literature by emerging and developing writers and we aim to support the equality of women in the creative arts. ROOM Magazine (Canada) Room Magazine is Canada’s oldest literary journal by and about women. SageWoman Magazine (USA) Celebrating the Goddess in Every Woman. Sinister Wisdom (USA) Sinister Wisdom is a multicultural lesbian literary & art journal that publishes four issues each year. So to Speak (USA) A feminist journal of language and art. Southern Women’s Review (USA) By showcasing well-known and emerging southern women writers and artists, SWR amplifies their unique voices while exploring both traditional and innovative literary themes. Torch Journal (USA) Torch Journal is published by Torch Literary Arts, a nonprofit organization established to support and promote creative writing by black women. Understorey Magazine publishes literary writing and visual art by and about Canadian women. Since 2011, Vela has taken steps to help close the byline gender gap by publishing exceptional nonfiction writing by women, and by drawing attention to outstanding work by women writers at other online publications, print magazines, and publishing houses. Founded in 2001, wicked alice is an online journal dedicated to women-centered writing and art. WomenArts Quarterly Journal (WAQ), an initiative of Women in the Arts, aspires to nurture, provide support, and challenge women of all cultures, ethnicities, backgrounds, and abilities in their role in the arts and seeks to heighten the awareness and understanding of the achievements of women creators. Since 1972, WSQ has been an interdisciplinary forum for the exchange of emerging perspectives on women, gender, and sexuality.

So a friend of mine wanted to write a story with a dystopian/sci-fi setting and I wanted to finally make a go at publishing a game so I suggested doing something in choicescript. The thing is we both have so many ideas an have only narrowed it down to the fact that we want the MC to have a close group of friends and that we want to try and make this “unique”. So does anyone have any ideas of what they would like to see for a more specific setting or story elements in a dystopian/sci-fi setting? You’ve already got a bunch of ideas. Your problem isn’t that you need ideas is it? It’s that you need to focus on what idea you want to do most. I say keep brainstorming with your friend until you come up with an idea that you both love so much that you have to write it. Brainstorming is fun! Throw out weird and wild ideas! And ask yourself some questions What caused the dystopia? What type is it? How do people survive? Is it apocalyptic with Aliens! Zombies! Robots! Plague! Nuclear War! Global Warming! Killer Plants and a meteor storm! An influx of magic! Or has it just evolved from society? Are there killing game shows? Are you the plucky teen in the centre of a love triangle who’s going to make it all right? Sci-Fi as in multiple planets or Sci-Fi as in one planet with advanced tech(robots mutants ect)? We might need a starting point if you want our ideas. I’ve just entered my creative brain state. Totally didn’t use any drugs for it… Now, if you want an original idea, emphasis in original, read this: In a galaxy not too far away, there is an Empire ruled by cats. They once dominated the galaxy, surrendering the Dog Republic with the power of meowth. With this, the Dog Republic was destroyed and biscuits and frisbee were lost. Then, after almost a cat-ury the Dog Republic starts pushing back, returning with a new design of ships known as Republic Bonesaders. The Cat Empire, alarmed by this sudden invasion, wage war against the dogs, hoping for an easy win, but what they found was… DOGFEAT! After being humiliated by the dogs, the cats find out a new method of defeating the bonesaders called pie. Behold the power of the ultimate prologue, mortals. I don’t mean to be flip but if you’re looking for ideas simply imagine the world fifty years after a Trump presidency. That’s what I’ve been doing for my dystopian piece right now and it has been highly effective. This is pretty much the plot of Cats vs Dogs meets Good Boy!. HOW DARE YOU? This is basically a masterpiece that came out from the depths of my mariju-I mean creativity! You have no right to criticize this work from the heavens! You son of a cake! I’ve lived with people on coke. Had to. It wasn’t a very artistic experience. I mean, I’d play it. As long as it didn’t turn into some kind of political allegory like Animal Farm. I am more of a dog person, but do I love my cat too. His name is Mr. Bee. Thank you guys so much. Any help is great help honestly. Along with the close knit group of friends, a squad if you will, we have also finally agreed on the MC backstories. The female and male MCs will be some kind of higher up, middle management, or scientist person but definely human. Whereas the genderless option will be a robot that has gained sentience. Through that we have agreed on androids (and maybe cyborgs too but I’m not too sure about that one because they are basically just people with hi-tech prosthetics), being a subjugated group and seen as machines despite displaying intelligence. I’m just going to try really hard to not make it too like the Quarians and Geth from ME. Thank God that I managed to scratch out the killing game shows and teen love triangle stuff. I think I’m going to make him agree to narrowing it down to one planet. Since we are trying to narrow ideas down in the first place maybe that will make the process easier? That sounds absolutely adorable but probably not what we are looking for. And Happy Birthday dear~ Omg. I can’t imagine that. That’s like asking the people who voted for Lex Luthor to imagine that he would go insane from the weird synthesized drugs he was secretly taking for months while a giant hunk of kryptonite is about to smash into the earth in Superman/Batman: Public Enemies. I don’t think these things can be predicted. That has kind of a derogatory connotation, that nonbinary or agender people are not human and are not normal to the human mind. Unless you’re going to show prominent human non-binary people in your game I’d suggest staying away from giving a nb protagonist a wildly different existence than that of the binary ones. That was a jo… coughs loudly Jok… Joke. If i may give you a suggestion, even though i guess it won’t do, why not a military person? I mean, he could work as security, if it doesn’t fit the main storyline. And i’m yet to find a CoG that lets me play as a psychopath/serial killer, but that will probably never fit in the dystopia you are planning. One thing that’s important about dystopian fiction is that it criticizes social problems and current trends the author is worried about by basing an entire society on that problem or trend. Nineteen-Eighty-Four is about George Orwell’s fears of Stalinism, Brave New World is about Aldous Huxley’s fear of runaway consumerism/hedonism, The Hunger Games is about Suzanne Collins’ fear of reality television turning war and personal turmoil into public spectacle, etc. It’s the author’s critique of the trends they worry about that gives dystopian fiction its force and meaning. You and your friend need to decide what you want to warn people about. What do you see as the biggest problem facing your society? That’s what your dystopia has to be about. Otherwise your antagonists will just be a bunch of cartoon villains committing evil for its own sake. As for specific ideas, you might crib some of the weirder practices of real totalitarian regimes, just to add verisimilitude. For example, perhaps the MC and their friends are part of the first generation of “genetically pure” orphans bred by the Regime’s elite soldiers and raised by ultra-loyal families, or perhaps in special orphanages. Just like Nazi Germany’s Lebensborn! If your going the route MrsObedMarsh suggests you could go with the mutant master race thing psychic powers giant hulk like monsters insane genius inventors with giant brains etc. you spend the backstory (and possibly some of the intro) showing mutants being repressed exploited by the government as basically slave soldiers then a mutant uprising occurs and suddenly your the top dogs planning on conquering the neighboring nations do you revel in your new found power/superiority or do you start to wonder if it is worth all this destruction/death your causing. I was thinking the Lebensborn would be the beloved children of the Regime, given the best the society has to offer and groomed for leadership, but sheltered from most of the atrocities the Regime commits until they come of age. It depends on what kind of themes OP wants to explore, though. I’m a sucker for anything related to Blade Runner, Deus Ex and Shadowrun… specially if they have a 80’s vibe to them. Alas there’s not that many text games set in a dystopian world for us to enjoy. Uh, that’s the point. I… don’t get it? Sorry I woke up a little while ago so my brain is still in the booting process. A dystopia is a world that is undesirable, degrading, dehumanising and unpleasant with little to no exception. By definition you’re not supposed to enjoy it. Doh, I feel stupid now! What’s worse is that I may have mixed cyberpunk with dystopian… usually these games go hands in hands together with their similar cultural style (neon lights, 80’s vibe, evil corporations, cyborgs, etc). Nevertheless a lot of people enjoy reading and playing into those worlds (myself included) which is ironic. I dunno…1984 made Oceania seem like SUCH a fun place!

A Hub of Support For Sydney Ziegler, the LGBTQ+ Culture Center is all about connections. A senior and media advertising major, Ziegler has been involved with the LGBTQ+ Culture Center since her first days on campus. Now, as she prepares to graduate, Ziegler has had the chance to reflect on the impact of the LGBTQ+ Culture Center during her time as a student at Indiana University. “Connecting with so many people, whether they’re alumni or new students, has really guided me toward what I want to do afterwards,” Ziegler says. Ziegler was first introduced to the LGBTQ+ Culture Center during her first semester on campus, when she attended one of the center’s Connections events. A series of gatherings designed to help foster connections between female-identifying and non-binary students on campus, the effort gave Ziegler the opportunity to form lasting friendships that helped her navigate IU. At the same time, events like the center’s Brown Bag Lunch Series broadened her understanding of topics and issues relevant to LGBTQ+ communities. And though Ziegler was able to come out in a supportive family environment in high school, she sees the support that the LGBTQ+ Culture Center offers students who face different circumstances as critical. It is this community of support, friendship, and curiosity that inspired Ziegler to begin working for the center as an administrative assistant. She strives to provide the same initiatives that initially welcomed her to campus as a freshman, ensuring all students who walk through the center’s doors have the resources to live openly and honestly. “Just seeing all the freshmen come in, so excited that it’s a resource for them and it’s something that is so accessible, is definitely something that keeps me coming back,” Ziegler says.

Trans, Genderqueer, Nonbinary? Just Be You Advocacy It’s easier than ever to find trans-queer voices online, but that doesn’t mean it’s easy to come out. Consider these tips on safety and communication as you develop your coming out plan. From YouTubers Ash Hardell and Brendan Jordan to celebrities Amandla Stenberg and Jazz Jennings, there are a lot of trans and nonbinary voices out there. This can make it easier for gender diverse youth to come out to themselves and to discover they are not alone. But it doesn’t mean that it’s easy to come out to others. The coming out process Coming out is an important part of the process of living authentically as you are. You deserve love and support. You also deserve to be safe. Coming out is an important part of the process of living authentically as you are. It might involve telling people about your correct pronouns. Or it may involve asking family and friends to call you by a name that accurately reflects who you are and to recognize you have a gender identity that differs from the one you were assigned at birth but fits your internal sense of yourself. When coming out to family and friends, it can help to first find others who understand what you are experiencing and learn from them. If you live near a major city, there may be support groups available. But even if you can’t locate or attend a support group, you can still find others online who’ve already come out to family. Watching Ash Hardell’s videos about transitioning and coming out to others can answer some of your questions. The importance of planning Think about who you want to tell. A parent? Another trusted adult? A school guidance counselor? A best friend? You may have to ask some initial questions about people’s attitudes toward LGB and T people to learn who might be the safest person to start with and who else to come out to after that. There are lots of ways to come out. Think about what to say and how to say it. Practice with a friend or ask someone to accompany you when you come out if that feels safer. Are your parents better reading about something or hearing it in person? Think about whether it might help to give your parents a copy of “Some Assembly Required, Beyond Magenta: Transgender Teens Speak Out,” or “The Transgender Teen: A Handbook for Parents and Professionals Supporting Transgender and Non-Binary Teens.” It might help to remember that while you have had time to understand your gender identity, for some parents and guardians, it will be a big surprise to learn that their child is transgender or non-binary. They will need time, and some may even need peer or professional support to learn and understand what the terms transgender, nonbinary and genderqueer mean and to come to terms with or support any medical gender affirmation treatments that some people may want or need. Remember that you are not the first and you are not alone. There are supports and resources out there for gender diverse youth, including Fenway Health’s resource page on transgender health, BAGLY and the Trans Youth Equality Foundation.

G9 Fluid: Blake (66 MB) Our price only THIS IS FLUID The FLUID character system (FLUID) is a combination of everything I've learned over the years about creating characters, customer feedback and the opportunities that DAZ's Genesis 9 presents. As well as offering the ability to create a true gender fluid character, FLUID was designed with the highest amount of flexibility, interoperability and customisation in mind. Morphs have long been flexible in terms of interoperability and customisation, but FLUID also offers this with textures and materials. FLUID features three basic skin shade groups LIT, MED and DRK (or light, medium and dark). All characters, add-ons and accessories within the FLUID range and the same skin shade group, all work perfectly together with each other. Want to use the head texture of one character, the body of another, the arms of another and the legs of another? While dialling in exactly the way you want your character to look and what gender variation you want them to have? You can, thanks to FLUID. THE ICON BELOW SHOWS WHICH FLUID SKIN SHADE GROUP THIS CHARACTER BELONGS TO CLICK THE ICON TO SEE ALL CHARACTERS AND ADD-ONS YOU CAN MIX WITH THIS CHARACTER This pack includes: - Textures, material presets, morphs, character presets and attachments to create a true gender fluid character for Genesis 9 - A complete highly detailed photorealistic skin texture set for Genesis 9, created from real life photo references - 3 makeup options and natural option. All with no eyebrows for you to use any eyebrows you like (Fibermesh eyebrow attachments also included) - 3 eye colour options - A complete highly detailed photorealistic skin texture set for both female and male Anatomical Elements, created from real life photo references - Advanced skInRAY 2 Iray shader presets for Genesis 9, complete and separate for all separate body parts for use with the FLUID character system (see above) - Advanced PBR Skin shader presets for Genesis 9, complete and separate for all separate body parts for use with the FLUID character system (see above) *UPDATE* - Advanced AC Default IRAY shader presets for Genesis 9 (the default skin shader used in the Anatomically Correct series), complete and separate for all separate body parts for use with the FLUID character system (see above) - Unique hand sculpted custom head and body morphs for Genesis 9 created from real life photo references: G9 Fluid Blake Body.dsf G9 Fluid Blake Body F.dsf G9 Fluid Blake Body F+.dsf G9 Fluid Blake Body M.dsf G9 Fluid Blake Body M+.dsf G9 Fluid Blake Head.dsf G9 Fluid Blake Head F.dsf G9 Fluid Blake Head F+.dsf G9 Fluid Blake Head M.dsf G9 Fluid Blake Head M+.dsf The body and head morphs are non-binary or gender neutral, the F+ morphs can be set to make them more female and the M+ morphs can be set to make them more male. The F and M morphs are the two types combined for ease of use. The one click character presets combine the morphs with the Base Feminine and Base Masculine morphs and take care of everything for you, or you can set the morph dials however you like. - 7 "one click to add to your scene" character presets that load Genesis 9 with textures, material settings, morphs, Anatomical Elements and included attachments (see below): Blake F without genitals.duf Blake M without genitals.duf Blake TRANS F.duf Blake TRANS M.duf F and M are female and male versions of the character, N is a gender neutral or non-binary version of the character, TRANS F and TRANS M are transgender female and male versions of the character. - Male and female Fibermesh eyebrows and pubic hair attachments - Envirolight HDR Lighting. 2 hand crafted HDRI light/environment maps, a scene file, a set of 11 different HDR light/tonemap/environment presets, camera and render settings. All of the promo renders were created using only the included Envirolight HDR Lighting and render settings with no postwork. - Full instructions in the ReadMe - Promo Products - also included in the download is full information on the other products that were used in the promo renders e.g. hair, clothing etc. DAZ Studio 4.21 or newer PLUS Genesis 9 Base Figure NOTE: The Anatomical Elements will greatly enhance using this character package, but they are not a requirement. Product Support: email@example.com We Are Here To Help You - All Emails Answered Within 24 Hrs Please note that the product images available for download below feature the G9 Fluid: Blake genital details that can be used with the Anatomical Elements and contain a very realistic representation of the nude adult male and female anatomy >>DOWNLOAD PRODUCT IMAGES<< You can also purchase just the female or male versions of the character if you prefer. This complete package is the best value and offers the most choice though. The female and male packages below include ONLY female OR male options. Customers also purchased Click here to see more of our products

A second openly transgender person has signed up to the US military The second openly transgender person has enlisted in the US military, despite multiple lawsuits over President Trump’s potential ban on trans people serving. Earlier this week an official from the US military confirmed to ABC that an openly transgender service person had successfully enlisted in the Navy on March 1. The unnamed trans person is the second person to enlist after the Pentagon was forced to comply with a federal court ruling which tossed out President Trump’s proposed ban on trans troops. Despite the court order successfully allowing new trans recruits, different court actions have halted the implementation of the ban on current transgender service members. The first trans person to enlist during the Trump presidency did so earlier this year and is expected to enter their basic training in the next three months. It is believed that since January 1, around 15 to 20 trans people have begun the process to join the US military. Trans people are still subject to a large list of specific new guidelines, revealed as part of a Pentagon memo outlining how trans people in the military are to be treated in areas including bathrooms and changing rooms. These state that applicants will only be allowed to join if a medical provider can confirm that the individual has been stable without “clinically significant distress or impairment in social, occupational, or other important areas of functioning” for 18 months. They must also certify that an applicant “has completed all medical treatment associated with the applicant’s gender transition, the applicant has been stable in the preferred gender for 18 months, and if presently receiving cross-sex hormone therapy post-gender transition, the individual has been stable on such hormones for 18 months.” Those who have undergone gender confirmation surgery must have a medical provider certify that “a period of 18 months has elapsed since the date of the most recent surgery, no functional limitations or complications persist, and no additional surgeries are required.” Non-binary applicants, however, will be forced to select their sex at birth on official documents, as the military does not yet have a third gender option The Trump Administration’s final policy decision on transgender servicemembers is reportedly expected at the end of March. Four separate lawsuits moved through courts across America to challenge the order which was first revealed by Trump on Twitter in the summer. Trump wrote that trans individuals would not be permitted to enter the US military “in any capacity” because of the “tremendous medical costs and disruption.” Despite being legally allowed to enlist, a trans man was denied entry to the Air Force in January of this year due to his gender identity. More from PinkNews Parker, who did not disclose his full name, said that when contacting recruiters in Washington, DC he faced rejection. “I was pretty appalled,” Parker said. “When I contacted the Air Force Reserves, I was hopeful that all the roadblocks would be levelled and I could be processed. However, to my dismay, they were not.” The Pentagon and The Air Force Reserves have condemned the rejection of Parker and insisted that transgender Americans are being enlisted given that they meet the criteria. The incident was described as an “error” by Col. Bruce Bender, a spokesperson for Air Force Reserve Command.

One barometer by which you can gauge the impact of a play is by whether it can be interpreted in wildly different ways by different audience members. Woolly Mammoth’s production of Taylor Mac’s darkly absurd HIR, with its microcosmic collapse and reinforcement of the patriarchy within the claustrophobic confine of one suburban home is a brilliant example of this litmus-test quality—it presents a world that is simultaneously a paradise and nightmare, depending on the minute and your particular perspective. Just from its title, you know that shifts in once-rigid paradigms are going to be at the center of this play. “Hir” is a pronoun that some transgender and non-binary people adopt (ze/hir/hirs being the equivalent of she/her/hers) and is a homophone for the word “here”—which in and of itself is an added layer of wit from Mac. (Mac’s own preference is to use “judy” not as a name but as a gender pronoun.) The basic plot is as simple as it is outsized—it’s the performances and subtle power dynamics that Mac weaves into it that make for a thought-provoking and unforgettable piece of theatre. Isaac (Joseph J. Parks)—simply “I” to his mother—is a young soldier who’s just returned from a stint in the Marine Corps’ mortuary corps during an unnamed war to a home that’s dramatically altered from the one he left. His abusive father, Arnold (Mitch Hébert), has suffered a stroke that has rendered him the shell of the angry, violent man he once one. This has created an opportunity for his wife, Paige (Emily Townley), to get a job, feed her husband estrogen to keep him docile, and abandon all responsibilities in terms of cooking and cleaning. Isaac’s lone sibling, Max (Malic White), has begun transitioning while he was gone and proudly sports a beard and powerful sex drive. As the audience enters the theater, we are confronted by set designer’s Misha Kachman’s chaotically beautiful interpretation of a house not just surrendered to clutter but actively nurtured into its current state as an act of resistance. Arnold was tyrannical about the cleanliness of his house when he was in charge, and now that he’s out of power, Paige is reveling in the two-fold victory of being freed from the bonds of housework and vengefully forcing her husband to live in extreme clutter. (A huge shout out goes to the unnamed stagehands, who do heroic work during intermission.) Colin K. Bills’ lighting design and James Bigbee Garver’s sound and music all come together to create a space that’s both mundane and insane at the same time. Director Shana Cooper does a masterful job of highlighting the subtleties in Mac’s script while maintaining a heightened sense of both tension and humor. (Have I mentioned that, in spite of its heavy themes, HIR is funny—often hysterically so? Because it is.) Parks plays Isaac as our audience cypher at first, all dumbfounded confusion, but soon becomes a more complex figure, one who deeply resents his father and his cruelty but also is eager to take up his powerful mantel of controlling patriarch as his own. Hébert’s Arnold is an unsettling mix of pitiable clown and sinister presence still capable of wielding terrible power. closes June 18, 2017 Details and tickets The real scene-stealer for me, however, is Townley’s Paige. As a woman recently out from under her husband’s authoritarian thumb, we simultaneously revel in her newfound freedom and cringe at her cruelty. She’s a woman who’s trying to create a better life for herself and her children but also can be just as dictatorial as her husband, even if it’s in the opposite direction. White, who’s making a DC debut, imbues Max with an equally intriguing ambiguity as a person who’s equally exploring hir new identity and desperately craving hir brother’s traditionally masculine respect and approval. Nothing’s black and white in the world Mac has created and each character slips on and off the title of hero, victim, and villain as easily as a silk nightgown. Mac started working on HIR more than a decade ago, which is remarkable because it feels like it could have been devised yesterday—or tomorrow. HIR by Taylor Mac. Directed by Shana Cooper. Cast: Emily Townley, Mitch Hébert, Joseph J. Parks, and Malic White. Set design: Misha Kachman. Lighting design: Colin K. Bills. Costume design: Ivania Stack. Sound and music design: James Bigbee Garver. Fight choreographer: Robb Hunter. Production dramaturg: Olivia Haller. Production stage manager: John Keith Hall. Produced by Woolly Mammoth Theatre Company. Reviewed by John Bavoso.

All Gender Restrooms Stetson University students, staff, faculty and visitors should have access to comfortable, safe public restrooms that correspond to their gender identity. All gender restrooms provide facilities that are inclusive to all individuals, including transgender, gender non-binary and gender non-conforming. In keeping with the principles of nondiscrimination and inclusion, Stetson is committed to advancing protections for the LGBTQ+ community. Since 2017, the university has provided all gender restrooms on the DeLand campus and at the College of Law.

Sent to you by moya via Google Reader: Again, I stress the importance of being inclusive. We cannot simply overlook that reproductive rights are also the rights of male, trans*, non-binary minorities. It seems that too many activists/allies forget that there are people who are not female-identified but who are also denied reproductive rights. via 道 on 2/20/11

Is my relationship dying, or am I being paranoid for no reason? Is he trying to tell me it’s over without actually saying it? Humans have agonized over these questions since the advent of coupling. To be sure, wondering whether your relationship is sinking or simply transforming into something more mature is an all-consuming stress to carry around. So to help you better assess your situation, today, we’re unpacking signs the relationship is over for him. [Side note: In this online course for couples, learn healthy communication skills and build the intimacy you’ve always wanted in your relationship.) - Typical Phases of a Relationship Breakdown - 13 Signs He Is Done with the Relationship - 1. He’s Not Around as Much - 2. He Forgets To Tell You Good Things - 3. He Nitpicks - 4. Communication Dissolves - 5. You Feel Anxious Around Him - 6. He Acts Paranoid - 7. You No Longer Laugh Together - 8. He Talks About Other People Incessantly - 9. He Stops Talking About the Future - 10. He’s Passive-Aggressive - 11. Intimacy Slows - 12. You Catch Him Lying - 13. He’s Never Around Anymore - Red Flags That a Relationship Is About To End - How To Know if it’s a Temporary Breakup or Permanent - How To Turn a Problematic Relationship Around Typical Phases of a Relationship Breakdown People cite denial, anger, bargaining, depression, and acceptance as the five breakup phases. But those are the stages we go through after splitting, which begs the question: What are the typical phases of a relationship breakdown? While no two unions are identical, romantic decay has a universal pattern. Let’s review how it usually goes down. 1. Outside Friendship Dynamics Shift Have you been together for a few years? Have you developed routines and understandings? Do you know each other’s friends, and are you comfortable with your partner spending time with them? That’s all good. Great, even. But what does it mean when he starts hanging out with folks you’ve never heard of? Does he invite you? Please don’t read us wrong: You and your man can make new friends. And no, you don’t always need to include the other. But suppose someone’s being cagey about the situation and doesn’t want to answer questions about their new buddies. In those cases, something is probably up, and it’s a common occurrence toward the tail end of a relationship. 2. Disdain Sets In Regarding relationship trajectories, disdain is one of the surefire end-of-relationship signs for a man, woman, and non-binary individuals. When it rears its ugly head, things are likely derailing. It’s a potent form of resentment, and if your partner starts flinging disdain in your direction, it’s almost always a sign they’re fed up and want out of the relationship. Universally speaking, contempt — a form of disdain — is one of the “four horsemen” of relational dissolution developed by John Gottman, Ph.D., a leading relationship psychology expert. The other three are criticism, defensiveness, and stonewalling. 3. Spending More Time Apart In the beginning, you were glued together. As things progressed, that behavior subsided, but you still spent considerable time in each other’s company. These days, though, you spend more time apart than you are together. Plus, you’re not always sure where he is when not with you. Even more troubling is his huffy annoyance when you ask. Does this shift sound familiar? If so, you may be dealing with a dissatisfied partner who wants to end things. 4. Lying Commences There’s a direct correlation between an uptick in lying and the end of a relationship. The higher the fib quotient, the more likely a breakup is in the offing. People desperate to make the relationship work may turn the other cheek and pretend not to notice their partner’s prevarications. Ignoring them allows problems to fester and metastasize, setting you up for an even uglier breakup. 5. Cue the Constant Bickering Are you constantly at each other’s throats? Do you find yourself arguing over minuscule differences? Sure, some couples are natural debaters, but if things have reached a frustrating level, the union’s end may be nigh. 13 Signs He Is Done with the Relationship We’ve covered the general phases of a relationship’s winding down, but what about the telltale signs that he’s over the partnership and ready to break up? 1. He’s Not Around as Much We touched on this above: When men are done with a relationship, they spend less time with their partner. It’s a form of “quiet quitting” the partnership. Now, don’t confuse being busy with stepping back. His absence could be a matter of increased professional or personal obligations. So don’t jump to conclusions. But if everything is otherwise status quo, and he pulls back, he may be over the relationship. 2. He Forgets To Tell You Good Things People share things with loved ones. Think about it: When something big or wonderful happens in your life, your romantic partner is probably one of the first people you tell. When this stops happening, it’s probably time to start reassessing the relationship. After all, why wouldn’t a partner want to share their joys with the person they love? Do you see where we’re going with this? 3. He Nitpicks Does he suddenly have an issue with everything you do, say, and wear? Is he constantly nitpicking? Can you do nothing right? If this sounds all too familiar, get out. For starters, nobody needs this energy, especially from a partner. Secondly, if he has so many issues with you, then his reasons for being in the relationship may not be on the up-and-up. 4. Communication Dissolves Has his communication devolved into a series of grunts and one-word vocalizations? Okay, sure, this is standard fare for some dudes (and dudettes), but if your partner was once a vibrant, communicative person who now struggles to string three words together, things might not be heading in a positive direction. Communication is the backbone of any healthy pairing. When it breaks down, so does the partnership. 5. You Feel Anxious Around Him Supportive, healthy partnerships feel good. You enjoy being with the other person, and their presence adds something positive to your life. When things are trending downward, it’s common to feel anxious when together. You don’t know where you stand, and every conversation feels laced with negative subtext. So if you’re feeling uneasy around him, it may actually be a sign that you’re not vibing and he wants out. 6. He Acts Paranoid Is your cool-as-a-cucumber man starting to act paranoid? Is he always on the defensive? Does he snap at you for asking innocent questions? Ladies and gents, don’t brush this behavior aside. It’s telling. In 90% of cases, this type of personality shift indicates that someone is trying to hide bad behavior. Who knows, the reason behind his paranoia may have nothing to do with you — or it might. Better to unearth the truth now than let it balloon until it bursts. 7. You No Longer Laugh Together Humor and laughter are huge parts of any romantic union. Of course, partnerships go through tough, dark times when few things are funny, and merriment isn’t on tap. However, if everything else is otherwise fine, yet the two of you cannot find anything to laugh about, he may want out. 8. He Talks About Other People Incessantly Here’s a hard truth: None — (that’s right, none) — of us hide our true feelings as well as we think we are. Mannerisms and communication quirks always give us away. A common telltale sign that your man is ready to move on (and may find another person interesting) is that they always talk about said person. They can’t shut up about them. Now, there are exceptions to this rule. For instance, if your partner has a new boss, that person will likely come up in everyday conversation. But if someone pops up out of the blue, apropos of nothing else, the situation deserves a side-eye. 9. He Stops Talking About the Future When your relationship is over, he’ll stop talking about the future. Granted, the partnership may be over before he says anything or realizes it himself. But once you no longer share similar goals and cannot see the other person in your future, it’s probably time to pack it up. 10. He’s Passive-Aggressive There are few things in life as frustrating as being the recipient of passive-aggressive barbs. It’s an awkward dance, doused in plausible deniability, rendering the experience maddening. If he starts chucking passive-aggressive quips in your direction, bring it up and ask for an explanation. If he’s mealy-mouthed and accuses you of being the problem, it may be time to start wrapping things up. 11. Intimacy Slows Sure, sex is not a static entity. Couples experience ups and downs in this department all the time. It’s normal. But if your intimacy has slowed to a grinding halt, and neither of you is asexual, things may be amiss. As tough as it may be to consider, you may want to inquire if he’s getting it somewhere else — which is a sure sign he no longer wants a commitment with you. (At least not a traditional one.) 12. You Catch Him Lying We all tell small lies to avoid inconsequential but uncomfortable conversations; we also do it to spare people’s feelings. But giant lies to a spouse or partner are unacceptable. They’re also a clear sign that your relationship is sick. The lie could be about anything, from infidelity to work-related matters. If it’s significant, it matters. And if you catch him smearing untruths all over your face, he probably wants out but doesn’t have the guts to be forthright. 13. He’s Never Around Anymore Has he all but disappeared? Is he but a faint whisper on your texting screen? This is a form of ghosting, and you can bet it means he’s over the relationship. If you’ve been dating for two months or less, cut your losses and move on. If you’ve been together for years or live together, set time aside to have a serious conversation. If he doesn’t want to talk about it, that’s another thumbs down. More Related Articles 15 Unnerving Signs He Won’t Commit but Doesn’t Want Anyone Else to Have You 9 Surprising Reasons Married Men Flirt And How To Respond 17 Subtle Signs A Guy Likes You But Is Playing It Cool Red Flags That a Relationship Is About To End We’ve discussed the signs that he’s ready to end things, but what indicates the relationship is, indeed, tottering on its last leg and bound to collapse? - Jealousy: Is either one of you consumed with jealousy — to the point of dysfunction? It’s a sign that things are heading south. - Communication Issues: Is he unwilling to have tough conversations? Are you? If one of you doesn’t have the wherewithal to work through challenges and communicate effectively, there’s nowhere to go but in separate directions. - No Compromising: One of the most comforting and beautiful things about a healthy relationship is each party’s willingness to compromise. It’s easy when you’re with someone you genuinely love because a part of you strives to make them happy and vice versa. When this give-and-take breaks down, the partnership usually crumbles alongside it. How To Know if it’s a Temporary Breakup or Permanent Did you know that 50% of couples reunite after breaking up? So, statistically speaking, it’s safe to say that all goodbyes aren’t necessarily gone if things seem like they’re on the brink. But how can you tell if your current relationship rough patch is temporary or permanent? Again, every partnership has unique contours, but there are a few signs that the relationship isn’t completely done and dusted, including: - He always texts and messages you - He acknowledges things are rocky but expresses a genuine interest in working through them - You take a break, and he doesn’t start dating other people - He always asks you to hang out - He interacts with your social media positively - He asks mutual friends about you How To Turn a Problematic Relationship Around Sometimes, relationships are unsalvageable because of petty reasons. Other times they’re unhealthy, and breaking up is the best possible outcome. But if the partnership has potential, and neither of you is ready to throw in the towel, try some of the suggestions below to steady the bow and resume smooth sailing. When a relationship is experiencing growing pains, sometimes all it takes to make things right is an injection of honesty. So before ending things, have a brutally honest conversation about what’s bothering you. Many couples in this situation are pleased to discover they’re more aligned with their partner than they thought, and the fix turns out to be easy. Establish Relationship Rules Kids aren’t the only ones who can benefit from rules. Adults navigating rough relationship patches also find them helpful. We’re not suggesting you give each other bedtimes or treat one another like children. But promising to be open and honest is a healthy standard, as is committing to a certain amount of time together each week or month. Enlist a Professional Have you invested lots of time, energy, and resources into the relationship? Do you genuinely love your partner? Do they love you but are currently dealing with difficulties? If you believe your partnership is worth saving, enlist a professional psychologist, counselor, or relationship coach. The objectivity a therapist affords can be exceptionally helpful. Moreover, someone trained to shepherd couples through tough times can easily spot patterns and give you practical tools to make the process easier. Sometimes, relationships need space. It happens — often. So why not give it a shot? If during the separation, he immediately runs off and starts dating anyone with a pulse, he’s probably not ready for anything serious with you. Finding out will hurt, but it’s better to know. You don’t want to waste energy pasting something together that’s destined to fail. Conversely, a trial separation may be the thing that makes him realize how much he loves and wants to be with you. Focus on Yourself If your union isn’t filling your love cup at the moment, maybe the right thing to do is step back and pamper yourself. Work on your self-confidence and pay attention to your goals and personal aims. As they say: When you’re feeling your best, you can bring your best to the table. We hope we’ve helped you better understand what’s going on in your relationship. Of course we hope everything works out for the best — but don’t forget that sometimes means moving onward and upward. You’re a superstar who deserves to be treated with love and respect — so don’t settle for less!

Lately I’ve found myself wondering about some of the categories we place people in, and whether those people would find those categories welcome. I was looking at a photo of a really pretty person on Tumblr and went to reblog it, when I got held up by the tags I’d put on the post. The post is here, but if you don’t want to click the link, it’s of a super pretty fat person in a dress. I’d initially thought to tag the post as fatshion, but then I had to think – would the original poster appreciate me declaring them and their outfit part of fatshion? I know that if any outfit posts of me ended up being reblogged around, I’d be happy to have the fatshion or fat tag added – they have become part of my identity as I try to love my body. But would someone else like me to make that decision for them? If they consider what they wear to be fashion and not part of the sub-culture of fatshion, is it offensive to them that I declare them part of it anyway, simply because I see a fat body wearing a lovely dress? The person is gorgeous and wearing a beautiful dress either way, but I worry about labelling them as something they may not identify with, and indeed, with a label they might have problems with. Putting labels on people is something that happens naturally, I think, but people have such complex identities and being accurate can be incredibly hard. For example, here is a photo of me in the woods: (LMAO I know, super attractive photo) I would be totally ok if you wanted to tag this as “fatshion, girl, dress” – but apart from the dress tag, if you don’t know me, how do you know I’m fine with the fatshion tag? How do you know I’m a girl? I am a cis woman, but just because I present in this picture as feminine, that doesn’t mean there aren’t a plethora of identites that I could actually be. It’s really difficult to know how to categorise people and photos sometimes – one way to avoid the problem is to avoid tagging/categorising altogether, but if you want some organisation to your blog or whatever, you do have to organise somehow. Similarly, something else that I’ve seen and have been curious about is the tendency of Sci-Fi conventions to have panels like “Women in writing…” or “Female characters….” – panels that revolve around that one aspect of a person/character. Is it wrong to group all women authors/characters together like that? By prefixing author with ‘women’ are we singling them out and separating them from ‘normal’ male authors? I think that it is important to hear and draw attention to the experience of women, trans* and non-binary people within any cis/male dominated field, because without highlighting problems, how can anything change? But equally, you have to be really careful not to come off as patronising or othering. It’s a difficult line to walk – redressing the balance and ensuring that more than just white cishet male voices are heard, without suggesting that women or trans* people or non-binary people need their own space to play in, far away from all the serious, normal men. I will say that it’s very rare I’ve seen a “Girl cooties are in this panel, the rest are safe” attitude, but it’s easy to see why it’s a worry for people taking part in conventions. In the end, I suppose we should always try not to assume too much about the people we see and hear – if we don’t know how someone identifies, then it’s best to be neutral, right? Have you found this? Have you been mis-identified before? Have you given up on categories?

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University of Chicago 5550 S. Greenwood Chicago, IL 60637 Everyone and every-body is welcome to this special figure drawing session presented by the Smart Museum of Art and the UChicago student organization Outside the Lines. Draw along with Sky Cubacub of Rebirth Garments and Carrie Kaufman, artists for whom modeling is an integral part of their art practice. The sessions feature clothed models in the lobby and nude models within the special exhibition Embodying the Self. FREE, all materials provided. Participants of all skill levels, ages, and gender identities are welcome! Carrie Kaufman is a white, queer femme, physically disabled, Jewish activist and artist raised outside of Chicago. Her painting, writing, and modeling focus on the intersections of sex/uality and disability. She works with other disabled activists facilitating workshops and developing curriculum to help organizations create more accessibility across the board. She is a member of the Chicago chapter of Jewish Voice for Peace, a Palestinian solidarity organization and she is a board member of Project Fierce Chicago, an organization creating housing for LGBTQ young adults. Sky Cubacub is a non-binary Filipinx human from Chicago, IL. Rebirth Garments is their line of wearables for the full spectrum of gender, size, and ability. They maintain the notion of Radical Visibility, a movement based on claiming our bodies and, through the use of bright colors, exuberant fabrics, and innovative designs, they refuse to assimilate and are spearheading a Queer and Disabled dress reform movement. They are the editor of the Radical Visibility Zine, a magazine for Queer and Disabled teens based off of their manifesto. Images: Photo of Carrie Kaufman courtesy of the artist. Photo of Sky Cubacub by Ryan Burke. Sketching photo by Erik L. Peterson

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A review of Tom Wright's Paul: A Biography from Alan Mordue Member of the Society of Bible Literature In his latest book on Paul Tom Wright has produced something which I didn’t think was possible, a genuine biography of the Apostle Paul in the same way as other historians have done so with characters such as Alexander the Great and Julius Caesar. This book will be extremely useful to Christians of all persuasions from the most evangelical to the most liberal as well as people of no faith, which perhaps is its greatest strength. Most Christian books live their lives in a kind of Christian bubble and are read by like-minded people, whereas this book will be enjoyed by people who simply buy biographies of great figures in history and it will challenge some of our contemporary world’s misgivings with Paul, especially in regard to the many half-truths that are generally held about him. As usual he challenges the post-enlightenment dualism that is at the heart of modern western society and takes issue with the way we all split off religion from the rest of our daily lives. Once again he is to be commended for a book that will engage the general reader with Christian and Jewish themes and will be the first time many people engage with the letters of Paul which are liberally quoted in the text in a style totally devoid of the kind of pious religiosity which we usually find in books on Paul. From the very start Tom Wright reminds us that Paul was brought up in the Pharisee tradition, a school of Judaism which strictly adhered to traditions. It is especially useful to have a work which places religion back into its first century setting, a world that had no distinction between the religious and the secular. The key question he asks is how did this legalistic Pharisee come to see Jesus of Nazareth as lord and master, literally the messiah of old testament scripture, the chosen one and the man of history. He takes us through Paul’s famous travels in the eastern Mediterranean and shows how he interacts with the classical culture prevalent everywhere and looks at how Paul is not only heir to the scriptural tradition of the Hebrew Scriptures but also to the Greek rationalist tradition of Plato and Aristotle. After all in following Jesus Paul rejects much of the legalism of parts Jewish tradition and also the cynicism/scepticism of parts of the Greek tradition. However he also shows the way Paul uses classical techniques in the letters and explains the cultural veneer in someone brought up in a Hellenistic Jewish culture and how that influenced his thinking, either directly or indirectly, he is saying Paul was a Roman citizen in the Greek speaking Eastern Roman Empire and that is very important and pertinent to understanding him. One other thing the book does very well is to show that Paul very much saw himself as going from faith to faith from Pharisaic Judaism to belief in Jesus as Christ, after all Paul believed this is very much the same faith. That the covenant between God and the Jewish people reaches its climax in the person of Jesus the Messiah. Paul is the apostle to the gentiles proclaiming a renewed covenant for all humanity as Jesus is the climax of the covenant. The current trend of seeing a kind of Jewish Christianity being led by Peter after the death of Jesus and a gentile Christianity emanating from Paul is discussed briefly. This book underlines Paul as seeing Jesus as the climax of the covenant, this links in to the way Jesus is seen as the replacement to the temple in Jerusalem his followers. Tom Wright shows us how this unique cultural heritage laid the way to the Christian world that developed, after all the New Testament is written in Greek and is imbued with the Greek spirit. The great sweep and general understanding of the first century world and Hellenistic Judaism in particular is this book is truly staggering. He brings into the narrative his critique of the way many Christians think belief is all about “going to heaven” and demonstrates how unhelpful this thinking is. He spends time trying to demonstrate how this and other far away views of God and salvation are not in Paul’s writings or the New Testament generally. In this way the book also has a lot to say about the modern philosophy of life which says it’s all well to have religion but let’s keep it out of the way, its private and doesn’t really impact on our lives. Again Tom Wright is arguing that the modern western world is a form of Epicureanism and a kind sophistry which is the antithesis of Jesus message as disseminated through Pauls writings. He is advocating actually following the New Testament writings and not the writings of the 16th century reformers or the enlightenment philosophers. There is a great deal on the subject of morality in this book, especially Paul’s change from legalism to gospel of Jesus. One of the main backgrounds to the book is of course the key place in Paul’s thought of the death and physical resurrection of Jesus. Tom Wright looks at the great works and faith debate in the book which has obsessed the Christian world since the reformation and seems to be particularly in vogue today and he advocates a non-binary understanding of that in Paul’s world. However there is surprisingly little on two of the great issues that obsess the church today, same sex relationships and the role of women in the church. Perhaps it isn’t surprising that there is a lack of in depth analysis in what is a biography of a first century Jew and the obsession the Church has today says more about the modern western world than the world of the first century. There is an overall sense of the sheer energy of Paul as he goes on his travels and meets people from all backgrounds. He combines the coverage of Paul’s travels with a very helpful and brief analysis of the letters that Paul wrote for each community that he visited which adds a lot of context to both the letters and the travels. This approach also includes a close look at the key messages of the letters in a non-technical way that will be helpful to people who know little about the letters and their context, as well as a superb overview for people more familiar with the letters. This is a great book; it has Tom Wright’s customary grace and wit as well as his constant artistic asides on literature, visual art and classical music, which will speak volumes to his admirers. It is very detailed yet very accessible and doesn’t smooth over the various theological issues at the heart of studying Paul. The book is of course very sympathetic to Paul and presents him very well indeed; it defends Paul well from a lot of those misconceptions that have built up in recent years and places his stature at the top of the great figures of history. There are few figures that have impacted on the world more than Paul, and to Christian believers Tom Wright brings fresh reasons and perspectives to hail Paul as the beloved apostle. Due for release on the 27th February 2018, order your copy of Paul A Biography today. February 7th, 2018 - Posted & Written by The Editor

Daring, honest and authentic There are moments in Man Booker nominee Ottessa Moshfegh's new novel that bring to mind some of Bret Easton Ellis's best work. 'Ambien plus Placidyl plus Theraflu. Solfoton plus Ambien plus Dimetapp'; as the unnamed protagonist in My Year of Rest and Relaxation meticulously lists the cocktail of pills she has taken to aid her sleep the grooming regime of fellow New Yorker Patrick Bateman is brought to mind. Moshfegh's decision not to name her protagonist means she becomes an every-woman for post Millennial New York at the time in and around the inauguration of President George W Bush. There are hints of Eileen in the relationship with Reva who, along with Whoopi Goldberg, is one of the few constants in a life lived in between drug induced comas. This is a novel that very much responds to the self help obsession over the last couple of decades. Characters in the novel are few but brilliantly crafted. No less in the case of therapist Dr Tuttle, 'herself a piglety shade of pink' who casually enquires 'Do you have a family history of non-binary The narrative moves quickly and builds to a dramatic and unforgettable conclusion that changes everything. My Year of Rest and Relaxation is daring, honest and authentic. My Year or Rest and Relaxation by Ottessa Moshfegh published by Jonathan Cape, 289 pages

As queer terms are not always understood intuitively, we’ve come up with this FAQ section. We’ve tried to keep it as short and simple to understand as possible, but have provided some great links to use as resources if you wish to do some further reading about these queer terms. When reading this, please feel free to e-mail us with any feedback/concerns about any wording or phrasing. We are always aiming to improve and are aware that terminology, and the queer world, are continuously evolving, and we want to evolve with it! The word queer can have different connotations. One is the umbrella term for LGBTQIA+, and another one is the defiance of heteronormativity and the gender binary. Some people use the term queer when they don’t feel any real connection to other terms, or find other terms too restrictive. These acronyms mean “assigned male at birth” and “assigned female at birth”. After a very quick assessment, almost always based on the appearance of external sexual organs, most newborns are assigned to one of two genders: male or female. The terms AMAB and AFAB are terms some people use to express which gender was assigned to them in relation to who they are. Not everybody is comfortable with using these acronyms. A person who has no gender. Born in the wrong body: A popular image of transgender people is that of a “woman trapped in a man’s body” and vice versa. However, this isn’t entirely accurate for all trans people. A more accurate description for a lot of people is that transgender people are born into bodies which society does not associate with their gender, or were assigned a sex that does not match their gender. To be cis means you identify with the gender you were assigned at birth. But, like most dyadic systems, gender is in fact more of a spectrum between and beyond the dominant categories. Some people, for different reasons, can’t be assigned a gender at birth (see “intersex”). Female-to-male is a term that is often seen as outdated and inappropriate by many people. However, there are people who still like to use this term and identify with it. It is a term used by people who are changing, or are seeking to change, their physical selves, via surgery/hormones/other medical interventions. Gender is a convoluted linking between your sex and also your understanding of yourself as male, female, both, or neither, and how you express this. Sex and gender are both social constructs, which means they exist only because of humans’ historical and cultural developments. Queer theorists like Judith Butler even reject dividing sex and gender because of the constructiveness and tight correlation of both of them. Gender is performative, which means we reproduce gender by “doing gender” every day. A construct that divides people into two genders: male or female. Using this binary model excludes areas of grey and is a rigid idea, one that is seen as absolute. You are either male or female, and this is clearly a destructive and divisive idea. This sucks, and the gender binary is the root of all evil regarding many forms of inequality. Refers to gender which can vary over time, or at random, or in response to different circumstances. A genderfluid person may at any given time be non-binary, a man, a woman, any combination of these, or simply no gender. For some people this “switch” between genders may happen a few times a day or every few weeks or months–every person’s experience is unique and valid. A genderqueer person is someone who does not live by traditional ideas of gender. Rather, they can have an overlap between several genders (for example, woman and non-binary; man and woman; man, woman and non-binary), having more than one gender, having no gender, and/or being genderfluid (see above). Intersex people are people who are born with bodies that are not typically or exclusively “male” or “female”. This usually only applies to external sex organs, as nothing else is generally examined at birth. In some countries, parents have recently been given the opportunity to leave the gender assignment blank when their child is intersex. However, a lot of social pressure still exists for those parents, as being either “female” or “male” is of fundamental importance for human beings within many societies. A lot of intersex people have been, and still are, put through gender reassignment surgery after birth, against their will (as infants cannot consent), and very often parents are very misinformed about the decisions they are making. Some intersex people may only notice that they are intersex during puberty. Intersex people are men or women, cis or trans, intersex, non-binary, genderqueer, gay, lesbian, bisexual, straight, etc. Male-to-female, the equivalent of FTM. Is a term used by people who do not fit within the gender binary. It is also called NB or “enby”. The way people refer to themselves and prefer others refer to them. Pronouns can include: they/them, she/her, he/him, ze/zer, zie/zim. Always use the pronouns someone asks you to and never assume a person’s pronouns. Sex and Gender are both social constructs, which means they exist only because of cultural developments throughout history. However, sex is most often used to describe biological and anatomical differences. This can be defined by using: hormones, chromosomes, enzymes, and internal and external sex organs. However, this is not as simple as “masculine” and “feminine”. Modern biology speaks of at least 6 different sexes, if only looking at chromosomes. Add enzymes, sex organs, and hormones to that – well, you can do the math. Sex is not the simple “masculine” and “feminine” thought by many. People who are trans often have a different gender identity, or gender expression, than that of which they were assigned at birth. But, like most dyadic systems, gender is in fact more of a spectrum between and beyond the dominant categories. Some people, for different reasons, can’t be assigned a gender at birth (see “intersex”). Transmasculine or transmasc: Used for people who were assigned female at birth, but now tend to relate with masculinity more than with femininity. This can include a variety of identities, not limited to: trans men, demiguys, multi gender people who relate more with their masculine gender, gender fluid people who also tend to relate with masculinity more often and any other non-binary person who relates more significantly to masculinity. Transmasc can also be used as its own gender identity. Being transmasc, of course, does not mean the person presents or feels stereotypically masculine or undertakes stereotypically masculine roles. Is the feminine equivalent of transmasculine. Attraction and Romance A person’s sexual attraction does not necessarily have any bearing on their romantic attraction. A person’s romantic attraction does not necessarily have any bearing on their sexual attraction. Many people identify with more than one of the below terms. An aromantic person is someone who doesn’t experience romantic attraction to any gender. This does not mean aromantic people do not feel love: love is a complex emotion, and exists on many levels: between parent and child, friends, cousins, siblings. Like most things, many see this as a spectrum. Also known as “Ace”. Traditionally, asexuality was considered to mean people who do not experience sexual attraction towards any gender. However, it is now understood to be a spectrum. Some asexual people never have sex. Some asexual people fall in love. Some asexual people are disgusted by sex. Some are not fussed, and will participate to keep their partner happy or to reproduce. A person who experiences sexual attraction. A person who experiences romantic attraction. A person who is romantically attracted to two or more different genders. A person who is attracted to/falls in love with two or more genders. It does not just mean two, and those two genders can be any! There’s a misconception that it must be “your gender” plus the “opposite” gender. However, you could be a woman attracted to men and non-binary people. Or a non-binary person attracted to other non-binary people and women. Or a man attracted to women, men, and genderfluid people. A person who is demiromantic only develops romantic attraction after a deep, emotional connection has developed. A person who is demisexual only develops sexual attraction after a deep, emotional connection has developed. Men who are attracted to and/or fall in love with other men. This word has, at times, been used in the same way as queer, meaning anyone who exists within the LGBTAI+ spectrum. At Queer Pack, however, we only use gay for men who love/are attracted to men due to the strong connotations this word has with only men. We feel it cannot be inclusive enough. A person who sits in the greyer area between sexual and asexual. A person who is romantically attracted to people of the same gender. A person who is romantically attracted to people of a gender different to their own. Women who are attracted to and/or fall in love with other women. A person who is romantically attracted to a person irrespective of gender. Pansexual people are attracted to a person regardless of gender. A term meaning cisgender and heterosexual, often used as a term to mean “not queer”. However, it’s important to be careful when using this term as this can exclude some people who are ace and/or aro. An alternative to this is “allocishet”, which ensures ace/aro people are not being included in a sense that means “not queer”. A person who experiences romantic and sexual attraction, and is cisgender and heterosexual. A person who only wants one romantic and/or sexual relationship at a time. Loving/liking/being affectionate with a person without it being sexual. Not monogamous. Having more than one romantic and/or sexual relationship at a time, in which all people involved are aware and consent. A relationship made up of three or more people. Having a close relationship with someone that is more intense emotionally, and more intimate, than is considered common for a friendship. The level of commitment involved is sometimes thought to be similar to a typical romantic relationship. Some people in a queerplatonic relationship will use the terms partners/life-partner etc. Suggested Links to Learn More About Queer Terms Here you can find a small selection of links to explore more about queer terms. If you have any more to suggest, we’d love to hear from you at firstname.lastname@example.org. - Asexuality Archive - Genderspectrum: Understanding Gender - Ginger Bread Person: Explaining Gender - Nonbinary.org: Nonbinary Gender - Nonbinary.org: Gender Binary - Nonbinary Resource at Tumblr - The United States affiliate of the Organization Intersex International (OII) - What Is Asexuality?

Why don’t radical feminists and trans activists always get along? While it’s not a view shared by all feminists, some feminists see it as necessary to preserve the distinction between transgender and cisgender women. The argument put forward is that transgender women don’t experience the same forms of oppression, and cannot meaningfully contribute to the radical deconstruction of male supremacy. This is often referred to as “Trans Exclusionary Radical Feminism” it’s adherents commonly referred to as TERFs. It is a worldview understood by many as hostile and discriminatory towards transgender people. Critics assert that feminism must be inclusive of all types of women if it is to be a meaningful force for equality. Do non binary people really exist? Ultimately yes. There’s a growing number of people acknowledging a commonality of experiences that are to be taken seriously. While the way non-binary gender is currently understood and described is perhaps more recent, there are significant historical and cultural precedents for non-binary gender all over the world. If ‘intersex’ refers to biological variation, is it really an identity? It is important to understand that intersex characteristics are present from birth, regardless of when they may be detected, and represent very specific variations in sexual characteristics. The idea of an intersex “identity” or “pride” commonly misunderstands that endosex (those born with typical sex characteristics) people are able to make a choice to be identified as intersex. Instead intersex “identity” should be understood as a term to describe the diversity of intersex experiences, including those that are heteronormative. Meanwhile intersex “pride” perhaps describes those who are out and visible and fighting for human rights. As a descriptive term that identifies a number of human rights issues, it’s important that intersex is understood specifically, without being co-opted by other movements. What happens to people with intersex bodies? Due to significant social and medical pressure, intersex people and the parents of intersex children are pushed to “correct” traits that do not conform with more typical sex characteristics. In many cases this involves medically unnecessary surgery, and a chance of needing to take hormones or other medications for the rest of your life. Even worse, this is often done without the informed consent of the intersex individual. Parents are pushed towards these medical interventions long before a child is able to consent, or even present a gender identity. Even as adults, intersex persons can be pressured into making decisions without the best available information offered first. It’s an issue that’s particularly difficult to deal with. Doctors are often quick to put the blame on the demands of the parents, parents can often feel like they weren’t given enough information to make the best possible decisions. When there is oversight, it is often in the hands of those without enough experience, such as the family courts. The upshot is that medical intervention is still performed on intersex people without their consent. This is why advocates are currently pushing for legislative prohibition / protection.Back to FAQs

Time for a sharper focus on gender equality in corporate giving: Champions of Change and AIIW 5 October 2021 Corporate giving could become a powerful lever for accelerating gender equality according to the recommendations in a new resource released today by Champions of Change Coalition and Australians Investing In Women. Sharpening Our Focus on Corporate Giving: Keeping Gender Equality in the Frame sets out a framework to assess corporate giving and community partnership programs to better understand the beneficiaries of the money, time, product and in-kind investment given to the not-for-profit sector to assist and solve some of the most challenging social issues in our communities. “We need to pull every lever to achieve gender equality. Philanthropic dollars are limited – being more intentional about bringing women and girls into focus brings the greatest opportunity for social change,” Sam Mostyn AO, Chair, Australians Investing In Women. “When people want money there is a great opportunity to drive cultural change. There is a vital responsibility and unique opportunity to shape the program you are supporting for the power of good. If an organisation is provided with funding there should be gender strings attached,” says Professor Doug Hilton AO, Director WEHI. The Australian not for profit sector includes almost 60,000 registered charities, employing 1.38 million people (11 % of the workforce) and engaging 3.6million volunteers. The sector is regulated by the Regulated by the Australian Charities and Not For Profit Commission (ACNC). Corporate giving in Australia is estimated to range between $4.5billion to $17.5 billion, depending on what is measured and included. Independent studies show the top 50 Australia Corporate givers donated a total of $1.1billion in 2020. Although many organisations are reporting their giving activity in sustainability reports, companies are not required to report donations in a consistent way that allows direct comparison or gender analysis. Testing the equity in corporate giving Over the past year, Champions of Change Coalition Members and Australians Investing In Women have worked in consultation with leaders in the not-for-profit sector, to identify the potential opportunities for corporate giving programs to accelerate gender equality. Corporate giving practices and processes were reviewed to understand the extent corporate giving is benefitting women and girls* equitably compared to men and boys, and also to determine if well-meaning ‘gender neutral’ giving programs were underserving women and girls unintentionally. Working closely with not-for-profits including OzHarvest, STREAT, Foundation for Young Australians, Foundation for Regional & Rural Renewal, Stars Foundation, Community Council for Australia and large corporate foundations, Members of the Champions of Change Coalition and AIIW considered: how organisations address gender equality in their giving strategies; the importance of data to understand the impact and outcome of corporate giving across all programs; and the potential for giving processes to be adapted to build in an intentional focus on women and girls. The review found that many organisations prioritise gender equality in their own business but do not take an intentional approach to gender equality in their corporate giving strategy or the programs they support. “Oz Harvest is run like any large business we are data driven and have hundreds of corporate partners. Gender equality has never featured in the questions from our funders about who their giving benefits. I see there is a huge opportunity to collaborate and be more intentional about giving as a lever for gender equality,” said Ronni Kahn Founder and CEO OzHarvest. Gender equality is a strategic priority but not one that is consistently and intentionally supported through corporate giving In many organisations, in spite of a strategic commitment to gender equality, there is a surprising lack of understanding in leadership teams of how the causes they are funding impact or are benefitting women and girls. “We must acknowledge that many of us really haven’t applied a gender lens on our corporate giving – it has been a blind spot,” Graham Ashton AM APM Programs that support women and girls specifically, such as education or supporting people experiencing domestic and family violence, feature in many organisation social impact activities, however the value or proportion of these programs is rarely measured or reported with any degree of certainty. “At STREAT we are really passionate about evidence-based practice, as are many non-profits. I am often really surprised at how little funders ask us for a bigger data set including gender. I would really encourage funders to ask the projects that they fund for more data so they can get that bigger picture as well,” said Rebecca Scott CEO and Co-Founder STREAT. ‘Gender neutral’ best describes the approach of most corporate giving strategies, driven by an effort to be as inclusive as possible. This approach assumes that gender doesn’t come into play, in issues such as environment or animal welfare, or that women and girls make up a large or equal proportion of the impacted population, such as First Nations or homeless people, so by default they benefit equally. But this is rarely tested. “When we focus on the theme of gender equity – giving for women and girls – we actually meet so many needs, unify so many different motivations. Why not use this in your tool-box as the reason for giving?” says Tim Costello AO, Chair Community Council for Australia. “In our experience as a beneficiary of funding, where giving is done with a gender lens, we’ve been challenged to think more boldly, not just about the way we ensure female scientists flourish, but also to ensure the research we do doesn’t have any unintended consequences in perpetuating gender inequity in the workplace,” Professor Doug Hilton AO, Director WEHI. Keeping gender equality in the frame Sharpening Our Focus on Corporate Giving: Keeping Gender Equality in the Frame addresses the potential of considering women and girls in every social issue and demonstrates how intentional corporate giving with a gender lens: - supports both priority issues and gender equality - understands how issues specifically affect women and girls - safeguards against women and girls being overlooked at critical times - invests in solving the problems for the long term “It’s not about only giving to women and girls, or giving more, it’s about being intentionally equitable in our giving to every cause,” says Elizabeth Broderick AO, Founder Champions of Change. “Equitable giving starts with the question how will your giving benefit women and girls,” says Julie Reilly OAM, CEO Australians Investing In Women. “Gender equality can’t be left to chance or be the responsibility of one individual – gender equality must be built into our systems and processes including corporate giving,” says Tony Frencham Senior Group Director Worley. The framework also includes a staged approach and practical actions for organisations and not-for-profits to work together to ensure corporate giving becomes a powerful lever to accelerate gender equality in society. “It’s more important than ever that business takes a leading role in helping to address the big issues in our society like gender inequality. Collaboration with not-for profit partners is fundamental. Working together we have more impact on complex social problems than when we are working alone,” says Tom Seymour CEO PwC Australia. Champions of Change Coalition The Champions of Change Coalition includes CEOs, secretaries of government departments, non-executive directors and community leaders who believe gender equality is a major business, economic, societal and human rights issue. Established in 2010 by Elizabeth Broderick AO, our mission is to step up beside women to help achieve gender equality and a significant and sustainable increase in the representation of women in leadership. Australians Investing In Women Australians Investing In Women is a leading national not for profit organisation that advocates for gender wise philanthropy. AIIW encourages all Australians – particularly philanthropic corporate and community leaders – to apply a gender lens to their giving and increase investment in women and girls, to help create a fairer and more inclusive society. Media enquiries contact Lisa Jervis: Director Communications, Champions of Change Coalition Australian Charities and Not-for-Profit Commission (ACNC) 2021. Australian Charities Report, 7th edition McLeod, J 2018. The Support report – The changing shape of giving and the significant implications for recipients, JBWere. Burns, W, Wang, S and Arias, D 2017. Business Giving and volunteering. Giving Australia 2016, report series commissioned by the Australian Government Department of Social Services. Sydney NSW: Centre for Corporate Public Affairs, The Australian Centre for Philanthropy and Nonprofit Studies, Queensland University of Technology, and the Centre for Social Impact Swinburne, Swinburne University of Technology. Miles, J 2020. Giving Large Report 2020, Strive Philanthropy. *The terms ‘women and girls’ includes all cisgender, transgender, non-binary and intersex people who identify as women.

The Impossible is Reality I once asked myself, “when will my transition be complete?” After which I questioned the underlying assumption, wondering “how can my transition ever be complete?” As a non-binary person this seemed impossible. How could I ever feel like my journey was over if I could never physically, socially, or legally attain my goals? As a person who wanted to remain in-between (or outside of) a gender binary that envelopes the world, I did not know what that end state – or what I – would look like. At the time I was blind to one particular point: as I changed, my goals would change with me. For starters, I couldn’t even conceive of my idyllic plans as falling within the realm of possibility. Everything I’ve done with my body – from top surgery to gradual low dose hormones to a hysterectomy – was, at some point, a new discovery, its mere existence surprising. Researching how that process could be made accessible to me was an even more difficult undertaking. Yet here I am: all the things I dreamt of, as well as those I could not yet conceive of, are a done deal. A little over two years ago, I candidly agonized over pronouns: whether I had the right to change them, whether others would respect the change, and what the heck I should even change them to! Instinctively, I knew what would make me more comfortable, but it would take work, and I was afraid of the risky repercussions. So I resorted to my favorite defense mechanism: rationalization of the status quo. As for my name, it was only a matter of time before I stumbled on the perfect one. With one big leap of faith, I quickly made it official. And since I’m already doing all of that – I thought – I might as well go full circle and get that stupid little piece of paper changed. Ironically I was always more confident in my decision to legally declare myself capital-M-Male than in being referred to as one by my friends. But I’m still not there yet. My experiments with testosterone are ongoing, having taken up my hormone regimen again as of April 1st after recently suspending it in January. Currently I’m in the middle of the harrowing process of changing my legal gender on my Mexican birth certificate. And I can’t stop thinking of everything that lies ahead. So why do I feel done? The Case of Disappearing Trangst The measuring stick for my trangst (transition-angst) has been whether I start our Saturday morning off with a “Honey, we need to talk.” While transition will likely be a part of my life for a long time – after all, being trans has sort of become my second profession – I can’t remember the last weekend we spent flooded by such conversations. Regardless of what I no longer feel, it seems illogical to declare myself post-transition when I’m still in the middle of everything: the name and pronoun switch happened less than a year ago, I’m barely 4 months fresh out of my latest surgery, and while my name and gender have been legally recognized for 6 months (at least in this country), my new driver’s license arrived just a few weeks ago. Nowadays, wrapping up the loose ends seems more of an exercise in paperwork rather than self-reflection. The best description I can offer for my current position is that I’ve got everything figured out, it’s just a matter of going through the motions. I’m much more sure of the path I’m taking. I feel I’ve made not only tremendous progress, but that I’m certainly closer to the “finish.” What that looks like I still don’t know, but – as with life – nobody knows. I just finally feel complete. 14 thoughts on “Complete” So happy for you! Thanks for sharing your journey. What made you start T again? I started T with the idea of stopping too but 5 months on and I don’t see myself stopping any time soon. Like you, I had top surgery prior to taking T and thought that would be “enough” but now I know I don’t have an answer for what is “enough” or what being complete means. The reason I started T again is a bit simple: it’s still calling me. No reason to ignore that anymore, or to try and explain it any further. Essentially, what I have done so far is “enough” for today… I don’t need to get anywhere else at the moment. I’m also taking T is so that it will be “enough” for tomorrow. Does that make sense? I’m working on another post explaining this more in depth. However, it did take me a while to realize what “done” meant for me – or rather, “enough” – and to understand that it will always be a moving target. It totally makes sense to me why you started again. I started T with many of the same ideas. I don’t necessarily know my exact destination but I am really happy with where it is leading me. My transition has also been a very long and unfurling process (I suppose all transitions are). I too was pre-t when I had top surgery nearly two years ago and at the time felt surgery was “enough”. However, late last year I realized I was ready to start T and so far I feel so good about that decision. I look forward to reading your post about the topic. Awesome! I think this Dr Seuss quote is well-suited for the occasion: “Congratulations! Today is your day. You’re off to great places! You’re off and away!” Also, I’m intrigued with what you mean by “I’m also taking T is so that it will be ‘enough’ for tomorrow.” I think I have a sense of what it means –at least, it resonates with me in certain ways– but I’m looking forward to reading your post about it. You know, I don’t use the word “complete” for myself (it sounds kind of morbid to me, like my life is over), but I can relate to what you’re talking about here – I just call it “being at peace with myself.” 🙂 For all of us, it is a different journey, and I’m not sure it’s decided by which paperwork we’ve filed or how long it’s been since we last had surgery…. I know I didn’t get this feeling until AFTER I’d lived stealth for a few years and tried really hard to be “normal” — and then, after five years on T, finally accepted myself as a gay guy who won’t be “normal” until everybody watches Golden Girls re-runs and would rather watch modern dance than baseball. I guess I think of it as this moment when you realize you don’t have to “try” anymore – you can just “be.” 🙂 Your writing is incredibly fluent. A pleasure to read <3. We're always becoming I imagine. But how pleasing that you have found comfort. =D

Triss Finley Smythe identifies as Agender and has spent the last 4 years serving in the Royal Navy as an Air Engineer Technician. “Being a sailor I had to come out 2-3 times, but coming out in the Navy was very easy. The Royal Navy has made a huge emphasis on inclusivity and pushing that they don’t care how you identify, as long as you’re doing your job, we will do what we can to support you. They asked what my pronouns were and what I needed from them in the future, there weren’t any issues.” However, Triss hasn’t always been greeted with open arms and in the last year has received a number of death threats outside the Royal Navy, alongside losing multiple friends because of their identity. “When I came out as Agender, a lot of people who I considered friends went ‘nope’ and disappeared.” How did the death threats affect you? “It was difficult, I will never forget the first one I ever got. I was already going through a bad battle with depression and anxiety and my self-worth wasn’t where it should have been. So to get a death threat when I’m already facing what feels like an abyss it was like, ‘actually I don’t need this push’” Luckily for Triss, they had the support of their family and partner, alongside the support of the Royal Navy’s sexual orientation and gender identity network named Compass. With this support they found themselves being able to navigate receiving death threats and find a sense of security once again. Triss experience with death threats is one that is sadly shared by many, in 2020 Galop UK released a report which highlighted the severity of hate crimes towards trans and non-binary individuals. Its findings found that 4 in 5 had experienced transphobic hate crimes and 1 in 4 had experienced physical assault or the threat of physical assault. “The support I had was outstanding, but it still hits hard because it is a death threat. It was someone saying to me they don’t want me to exist, it was personal.” How has the Royal Navy supported you as Non-Binary? “Last year there was an RMTM which is an explanation of regulations coming out. It stated where possible, you’d have a gender-neutral bathroom. My squadron within 2 hours of this RMTM coming out had made the changes and one of our toilets were gender-neutral. It gives me as an Agender individual a place where I don’t feel gendered walking into.” Triss goes onto say: “There is no better feeling knowing that who I’m serving, i.e the Royal Navy, is also serving me. They’re standing by me saying ‘whatever society says, we know you exist and stand by you’. To know that whatever happens outside, I’m safer at the base and it goes a long way”

Working with young people has its own challenges and considerations, and working with GSRD youth is a unique experience. Evolving language and identities, alongside contentious media coverage of gender expansive young people, mean this module is relevant to all practitioners working in this field and with this client group. Touching on some of the most current issues around transition, conversion practices, and how young people are identifying, this module provides a solid introduction to many of the issues GSRD youth are facing and bringing to therapy. Much of the reading provides in-depth insight into the day-to-day experiences of young people navigating their identity. This 15 hour CPD module offers you the opportunity: - To improve knowledge and awareness of experiences of GSRD youth. - To build practitioner competence and confidence. - To encourage a person-centred, empowering approach to working with young people. By the end of this module, you will be able to… - Engage in self-reflection around own knowledge levels, beliefs, and biases. - Understand unique challenges and experiences faced by GSRD young people. - Have an awareness of some current issues and emerging identities. - Understand some of the specific challenges facing trans and non-binary young people. You can gain the 15-hour CPD Certificate of Study issued by Pink Therapy by submitting and passing a tutor-marked assignment. About the Author: Cat Johnston is a Person-Centred Therapist who has been working with GSRD Youth since qualifying from their Post-Graduate Diploma in 2014. They have experience of working with young people in different roles including as a therapist, youth worker, school counsellor, and as both a counsellor and supervisor in helpline services. Cat is the co-founder of Kaleidoscope Counselling Scotland, an accessible service for GSRD young people.

I’ve never been much of a fangirl. Or a teenybopper. Or shipped my name with a fictional character. My celebrity crushes have been few and far between and fleeting at best. But there is one notable exception, my lifelong (well, since I was ten) adoration of Spock and the man that brought him to life, Leonard Nimoy. Clearly I am not alone in this, as evidenced by the recent outpouring of love and acclaim in response to Nimoy’s death earlier this year. For some, it’s Spock’s cool composure and his unerring devotion to logic that’s so compelling. For others, his unspoken depths coupled with his pointy ears that inspire. For myself, though, it is his inherent contradictions, his very Otherness that caused my ten-year-old soul to soar with recognition and my heart to flutter with tweenly adulation. Spock was the first character I’d encountered who, like myself, was mixed race. He embodied similar struggles and desires and his Otherness, like mine, was physically visible in the world–a constant source of commentary, curiosity, and derision. And though Nimoy himself was not mixed race, he clearly understood the tensions of that identity as he so movingly illustrates in his 1968 letter to a biracial teen fan. Arguably, Spock’s half Vulcan/half human heritage is what makes his character so enduring and endearing to millions of fans. In this regard, Spock can be seen as the predecessor and inspiration for a number of contemporary YA sci-fi/fantasy characters whose otherness is based in their mixed race (or mixed species as the case may be) identity. From the Half-blood Prince to Percy Jackson to Seraphina, YA abounds with sensitive souls alternately emboldened and embittered by their uncommon parentage. Considering the popularity of these books, the appeal of these characters extends far beyond the mixed race readers who can relate to them. So, what is so universally appealing about these “hybrid” characters? Rick Riordan’s wildly popular Percy Jackson series can give us some insight into the matter. The son of a mortal woman and the Greek god Poseidon, Percy Jackson’s demigod status provides no end of excitement and adventure as he must learn to understand and control the powers he’s been born with. This, of course, is an obvious reason why the series is beloved to so many, it’s quite simply a riveting read. But delve deeper and there’s also an emotionally arresting message at the heart of Percy’s mixed race identity: namely, that your curse can also be your gift. Fans will know that Percy suffers from both ADHD and dyslexia. For most of his young life, these were a curse getting him kicked out of multiple schools and negatively impacting his sense of self. Only after finding out that he’s a demigod does he understand both the origin of his problems, as well as the fact that they serve to make him stronger and more respected in his newfound community. And who doesn’t need to learn that those aspects of your existence that most plague you can also make you stronger? And that you will find others in life who not only share your experience but value you for it? The Harry Potter series offers some similar lessons while providing a more in-depth exploration of some of the complexities of the mixed race experience. What I loved about J.K. Rowling’s treatment of half-bloods (characters with a pure or half-blood parent and a Muggle or Muggle-born parent) in her novels is the range of experiences she provides, as well as the focus on what is essentially race-based discrimination. On one end of the spectrum, we have the self-hating half-blood, Voldemort, who obsessively calls for blood purity. On the other, the half blood Professor Dumbledore who aims to protect Muggles, half bloods, and purebloods alike. And somewhere in between, lie Harry Potter and Snape, each coping with the tragedies of their respective childhoods. What we learn from Harry Potter is that while on the surface, one’s identities may appear to be the same, we each experience the world differently and make different choices even if our experiences may be similar. The universal truth here is twofold: one, there is no single story that defines an entire group, and two, we all possess the free will to shape our lives for better or for worse. Furthermore, none of us can choose our parents as much as we might like to, particularly for those born into a world of discrimination. That said, the powerful message at the heart of the series is that although you cannot choose your parents or change your upbringing, you can transcend and transform the hand that’s been dealt to you. And do so in a way that neither sacrifices parts of yourself nor negates someone else but rather honors your whole self. Rachel Hartman’s recently completely duology, Seraphina and Shadow Scale, is perhaps the most nuanced depiction of both otherness and the mixed race experience described here. Seraphina also reminds me most of Spock in her struggle to reconcile both halves of herself. Born into a society where her half human/half dragon existence is not only taboo but grounds for imprisonment or worse, Seraphina must hide her identity from all. When conflict between the dragons and humans escalate, Seraphina is thrust into an all too familiar scenario for mixed race people, the bridge-builder. It is a role often required of those who blur society’s boundaries and necessitates a certain resilience born out of hardship. Both novels do a superb job of detailing the hardships of constantly hiding who you are, not the least of which are living under the strain of both fear and loneliness at all times. Hartman also explores the tragedy of discrimination and its emotional effects on those that are its victim. Indeed, more than any of the other YA novels I’ve read, Shadow Scale counters this discrimination by addressing the falseness of forcing a choice between two sides when there really an infinite number of options beyond the binary. In fact, it’s when Seraphina allows for the possibility of one’s identity being fluid, adaptable, and non-binary that she is able to triumph and make peace not only between dragons and humans but within herself. The lessons from these novels are clear and compelling and offer good reasons why mixed race characters are so appealing to a YA audience. Nonetheless, in thinking of the many other sci-fi/fantasy stories I could have written about, I feel like there is something even more fundamental that connects them all. From Hex Hall to Vampire Academy to Guardians of the Galaxy, the characters constantly struggle with the knowledge that they do not belong in the society they live in. And really, is there any more quintessentially teenage feeling than the one of not belonging? Regardless of class, race, gender, or sexuality, teenagers grapple with many of the issues discussed above. They wish they had other parents and battle soul-crushing loneliness; they are asked to build bridges between adolescence and adulthood; they long for families that will love and accept them and societies that will see past their exterior to what lies beneath; they are constrained by expectation and closeted by fear; and ultimately, viscerally, they want nothing more than to belong to themselves, to another, to a world that exalts and accepts them. Don’t we all? ~Alegria Barclay, currently reading Bone Gap by Laura Ruby You may also like: Latest posts by Alegria Barclay (see all) - What Star Wars Taught Me About Social Justice - May 4, 2015 - Spock’s Legacy: Teens, YA, and (not) Belonging - April 9, 2015 - Black Lives Matter: Building Empathy Through Reading (Part II) - January 20, 2015

Middlesex University London is pleased to announce the British Council Early Academic Fellowships for Women in STEM for the 2023/24 academic year. In partnership with the British Council, Middlesex University London is hosting 4.5 (12-month each) fully funded Fellowships for female post-docs to join in one of the following research groups as a visiting scholar. The Fellowships aim to support girls and women from East Asia (Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Thailand, Vietnam) who have received their PhD within the last 12 months. AI in Medical applications, Machine Learning, Computer Vision - Department of Computer Science System verification, Model checking, formal methods, software engineering - Department of Computer Science Digital Twinning, 5G/6G Systems - Department of Design Engineering and Mathematics Software Engineering,Novel interaction technology and design, Data Visualization - Department of Computer Science To apply for a British Council Fellowships for Women in STEM, you mush - be a woman (cis-gendered or trans) or identify as non-binary - be a passport holder and permanent resident of either Cambodia, Indonesia, Laos, Malaysia, Myanmar, Philippines, Thailand, or Vietnam - be available to commence your academic visiting in the UK in September/October 2023 - have not previously studied at degree level or higher in the UK or lived recently in the UK - have received your PhD in any STEM subject within the last 12 months - demonstrate a case for financial need - be active in the field with work experience or with a proven interest in the proposed subject area. - demonstrate that you are willing to contribute in the future to capacity-building and socio-economic advancement through the benefits achieved after visiting Middlesex University London - agree to maintain contact with the British Council and act as an ambassador for the UK and engage with activities as part of a Scholarships for Women in STEM alumnus during and after your visiting in the UK. - demonstrate in your application a plan and a passion to engage other women and girls in STEM from your home country You can apply by completing either an online Scholarship Application Form or Download the WORD Form and email to firstname.lastname@example.org . The deadline to apply for the scholarship is April 23 (extended from 19 March) 2023 whereby the intervewing is expected to take place between 3-7 May 2023. - monthly stipend for 12 months - return air fare - visa (inclusive NHS health care surcharge) application fees - Child care fees if applicable There are four 12-month and one 6-month Fellowships available in total. You must agree for your personal data to be shared with the British Council, who will be jointly responsible with Middlesex University London for allocating the Fellowships. Please email any team members email@example.com with "Women in STEM" as the subject header if you have any question.

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Since May, the Nothing’s Binary project has grown to the point that it needs its own dedicated home in cyberspace. Find it at nothingsbinary.com I’m thrilled that what started off as me writing one song about being non-binary and recording it with Billie Bottle, has expanded to this point now. It’s included performances, hosting events and running workshops, by myself or with Billie too. I’ve also spoken on BBC Radio Devon, and Beyond The Binary magazine. I’m grateful for the opportunities to contribute to the breaking down of gender stereotyping and celebrating all genders. Long may it continue. Kimwei & Billie play “Nothing’s Binary” and new track “Spell Out Your Name” at Exeter Street Arts Festival Billie and I had such a great time playing at Exeter Street Arts Festival at the weekend. Thanks to all those who came, and who stayed on to chat with us too. We’re cooking up more so stay tuned if you’re up for a Nothing’s Binary gathering in the near future. This week I’m talking about gender, being non-binary and gender stereotyping in a series of Pause For Thoughts for Laura James’ Early Show on BBC Radio Devon. There are 7 in total, so stay tuned. Billy and I had a wonderful time at Queer Spirit Festival doing a workshop on “The Healing Power Of Being Seen As We Truly Are”. It was a huge success and already we’re being asked to do more, so watch this space! Great news! Billy and I will be at Queer Spirit for this workshop and will play a few songs to boot. Click here for more info. The video of my song “Nothing’s Binary” has reached over 6K in views and 100 shares on Facebook in less than a week. This vlog responds to the wonderful reception Nothing’s Binary has had, and to Piers Morgan on This Morning (16.05.2017) on the topic of gender. Please keep sharing the Nothing’s Binary video, also available on Youtube. SO happy that the magnificent Billy Bottle agreed to sing this song with me. They were/are fantastic on every level, and I’m very proud to present this video we created to co-incide with Exeter Pride. Our idea was to show us dressed the most masculine and feminine we both tend to dress. We’d love to make a collaborative video for this song with more people, in time for International Non-Binary Day on July 14th. Stay tuned. The song is about being non-binary, but also celebrating LGTBQ as a whole, this goes out to anyone who seeks to be seen for who they truly are. When we accept each other, we love each other, and when we love each other we change the world. So please, please share this video with someone who truly sees you / someone you truly see/ someone else. Billy and I would love it if you did. Find Billy’s music at: billybottle.co.uk A first try at Daily Vlogging, I answer all manner of interesting questions from how to find your life’s purpose to how to spatch cook a chicken (if you are a newt). For music videos, check out the Kimwei Youtube Channel. It only takes 2 clicks and could get me to the live rounds in Poland this November. Vote with a YouTube ‘like’ (click though to YouTube and then click ‘thumbs up’)! It would also be fantastic if you would share the video on social media and encourage others to vote too. After Guitar Star last year (click here to view my appearance in Series 1, 2015 in which I got down to the top 4 in the acoustic category) I’ve decided it’s probably good to enter a competition every year. Guitar Masters 2016 is judged by an esteemed panel including Tommy Emmanual and Martin Taylor so wish me luck! Am proud to say this is my first 10min video shot in a continuous take (as stipulated by the competition rules) and although I was disappointed that the main camera came out a little fuzzy I think the dual-camera effect has worked well. Looking forward to doing more in this way, but with a better main camera. Hope you enjoy the pieces and please do press “like” (on youtube), share it with your friends and encourage them to press like too as it could make all the difference for me.

Brian Murphy, Ph.D.(c) : Featured Queer Engineer Brian Murphy is a Ph.D. candidate in Astronomy at the University of Edinburgh. Murphy was selected as an Astronaut Scholar by the Astronaut Scholarship Foundation and was also chosen to be the 2021 Out Astronaut by the Out Astronaut Project. Read on to learn more about Murphy's exceptional work as an astronomy researcher, astronaut-in-training, and more. QE: What is your current job? I am an Astronomy Ph.D. student at the University of Edinburg’s Institute for Astronomy. As a Ph.D. student, I am also a teaching assistant in the School of Physics and Astronomy. Within the Institute, I research the coma of comets and perform the requisite astrophysical observations. QE: Where did you complete your education, and in what disciplines? I completed my undergraduate education at the Florida Institute of Technology in May of 2022, earning my B.S. in Planetary Science with the distinctions of Magna Cum Laude, Apollo Scholar, and Astronaut Scholar. I am also currently enrolled at the International Institute for Astronautical Sciences as a student-trainee in their Scientist-Astronaut Candidacy program. QE: In your own words - what kind of engineering do you do? What does a typical day in your life usually look like? At first glance, one might not associate engineering with the fields of Astronomy, Astrophysics, and Planetary Sciences, however I would ask you to think again! While these fields are not pure engineering, I employ various engineering techniques and knowledge on a daily basis; whether evaluating the limits of a telescope based on its engineered constraints or constructing a new bit of code to interface between hardware. One can find the core tenants of engineering in my office every day. QE: What has your experience been like as an out LGBTQIA+ engineer? As an out and proud gay, non-binary individual, my personal and professional experiences have been varied over the years. In the first year of my undergraduate career, I was outed by my best friend and left utterly alone in my university as an LGBTQIA+ scientist and engineer. No matter my efforts, I couldn’t identify any open LGBTQIA+ role models within STEM fields and almost changed majors Junior year because of this. I then found a program that gave me the two things I had been seeking: a welcoming community and real opportunity to create change. This program was the Out Astronaut Project, which aimed to select, fund, train, and fly one talented LGBTQIA+ STEM professional into space – I knew I had to apply. Subsequently, I was selected the summer before my Senior year after a National competition with dozens of competitors and rigorous interview phase. The Out Astronaut Project gives me hope for the future of inclusivity in STEM fields and for our next generation of LGBTQIA+ explorers and engineers. QE: Why is it important to you to bring your whole self to work? In other words - how do your intersectional identities impact your work? The pursuit of sciences is the pursuit of truth, and what greater truth is there than truth to yourself and to others? This is why it is so crucial to accept yourself and bring your whole self into professional and personal circles. Without the freedom and self-assurance of knowing and accepting your truths, there are marked reductions in productivity, creativity, and personal wellbeing. Peer-reviewed research shows that closeted professionals in STEM are more likely to experience significant mental and physical health issues over the course of their career than their out or heterosexual counterparts. Increasing the diversity of our workspaces also allows for greater opportunity for innovation, diversity of thought, and new breakthroughs. Through being yourself, you are directly improving your own wellbeing and the greater wellbeing of the field. QE: What does effective mentorship mean to you? Until college, I attended Catholic schools for 14 years. Being who I am wasn't easy throughout middle and high school as a result of this. Like many LGTBQ+ kids who grew up in rural areas, I had to find out who I was and where I belonged all on my own. This was very difficult because my local community in rural Maryland had zero LGBTQ+ and zero STEM representation. It felt like I had to build the wheel, engine, and car – all while driving it uphill at the same time. Effective mentorship is defined by accessible role models – people who can help guide youth through difficulties in life. Mentorship is a powerful tool because it can help protect individuals from harmful experiences, much like my own. Often times, I look back and think how I would have changed my actions if only I had the foresight to have acted differently. While I cannot change my past, I can help guide someone’s present. That is why I love being an effective and accessible mentor. QE: How can we break down barriers and inspire the next generation of explorers and engineers? Barriers have existed in STEM fields since its conception, excluding women, racial minorities, and sexual/gender minorities. It is crucial, as we progress into the future, to reflect upon the field’s past. We must acknowledge these barriers and build a more accessible STEM field. In my time as an STEM LGBTQIA+ advocate, I have found three techniques that can help break down barriers for our next generation. First and foremost, being out in professional circles is one of the most profound ways to change the field from the inside out – ensuring that biases are checked on a daily basis. Grassroots efforts are equally vital to removing these barriers, albeit on a longer timescale. If we can show the next generation that it is possible to succeed as an LGBTQIA+ scientist, engineer, or explorer, then the field will change with them. Lastly, congressional and national activism is crucial to wider equity and accessibility efforts. With the support of institutional leaders, we can ensure greater and long-lasting change from the top down. QE: You were a 2021 Out Astronaut as well as an Astronaut Scholar. What do these distinctions mean to you? Do you have any words to share about your experiences with these programs? Being named the 2021 Out Astronaut and a 2021 Astronaut Scholar is the highest honor of my life, and an extremely humbling experience. Oftentimes, I think back to 4 years ago, when I was freshly outed and alone in my field. I could have never imagined coming this far from such a low, yet now I look forward to reaching even higher. It is through the support and opportunities of the Out Astronaut Project and the Astronaut Scholarship Foundation that have forged me into scientist, advocate, and individual I am proud to be today. Both organizations are working to increase access in engineering and STEM fields, and I am truly blessed to have been selected to join and represent them. QE: What does the future look like for you and your career? Do you have any goals that you are looking to achieve that you would like to discuss? My long-term career goals culminate in being selected as a NASA Astronaut, exploring the Solar System, and pushing the boundaries of the human condition for all. However, life is not about the destination, rather, it’s about the journey. Before that goal comes to fruition, I hope to have held teaching positions where I can share my passion for sciences and be that accessible role model for future students. In these positions, I would work every day to ensure the safety, happiness, and successful future of my students. As a lifelong explorer, I also hope to have worked extensively in the international sector – meeting people and cultivating connections across the globe. For me, true happiness comes from looking beyond the horizon and deciphering what that new world holds. As I grow into my professional career, I hope to fulfill this aspect of me wherever I may end up.

Emily Joy tweeted out her #ChurchToo story a full decade after the alleged abuse had ended. “I’m sure I’ll tease this out more in the months to come,” Joy wrote, “but after ten years I finally felt like now I could come forward. It’s a weird story. It’s ‘not that bad.’ It’s the kind of story women self-gaslight about.” Taking direct inspiration from Tarana Burke’s #MeToo movement, she accused a youth group leader who was then in his 30s of “grooming” her for abuse when she was 16, and named him, in a Twitter thread that began: (Joy’s alleged abuser did not respond to Jezebel’s request for comment.) Joy had conceived of the hashtag earlier that evening in a flurry of text messages with Hannah Paasch, a friend from college. An hour later, Paasch tweeted a quote from Luke and “#ChurchToo”: Joy went to sleep expecting a retweet or two, maybe some engagement from a few acquaintances in her feed. She woke to thousands of tweets, close friends, and complete strangers all telling their own stories of sexual harassment and abuse in and around evangelical institutions under the tag #ChurchToo. Over the next 48 hours, the hashtag reverberated across evangelical Twitter. Within a few months, the Christian blogosphere was attaching the hashtag to its coverage of the #MeToo movement, and eventually major church leaders began reluctantly resigning (semi-recently to the applause of #forgiving congregations—we’re looking at you, Highpoint Church). The fact that there are abusive leaders in the evangelical church is utterly, unremarkably unsurprising. Where there are men in power, there will be men abusing it. What separates #ChurchToo from #MeToo are the power dynamics (at the intersections of gender, race, and sexuality) entrenched in evangelical purity culture, a sex-obsessed, white Christian moralism. #ChurchToo, like #MeToo, is concerned with calling out abusers and culling them from positions of power. It also echoes #MeToo in what it asks of society (and, respectively, the evangelical church) as a whole. Namely, How exactly did we get here? and How exactly do we address this? Paasch and Joy met at Moody Bible Institute, an evangelical college in Chicago. Moody is extremely conservative in its views on gender and sexuality; the college’s “Statement of Faith”—a document that outlines the institution’s doctrinal positions—includes this sentence: “We conclude that non-marital sex, homosexual sex, same-sex romantic relationships, and transgender expressions are deviations from God’s standard, misrepresenting the nature of God Himself.” Moody also adheres to a complementarian view on gender roles within the church. (Complementarianism suggests that men and women have different but complementary roles when it comes to church leadership and family dynamics.) The institution recently terminated Janay Garrick, a professor who helped a student file a Title IX gender discrimination complaint against Moody in 2016 over its policy that only men could major in “Pastoral Ministry.” Faculty and students have also clashed in the past several years over whether or not discussions of “white privilege” were appropriate within “Christian discourse.” A former professor wrote a letter to the editor of a campus publication in 2015 titled Rescinding the Term ‘White Privilege.’ “I often see a lot of ‘white love’ as the American church reaches out to the needy,” he wrote. “Why must we criticize our Caucasian brothers and sisters?” Lord have mercy, indeed. Whether or not the church is willing to interrogate its own hetero-patriarchal white supremacy is integral, not tangential, to they way it will (or will not) be able to grapple with sexualized violence. Dr. Eboni Marshall Turman, assistant professor of Theology and African American Religion at Yale University Divinity School accounted for this reluctance in an interview with Jezebel: “Oppressions are always interconnected.” In other words, the roots of the church’s systemic violence against women are wrapped tightly around the roots of the church’s systemic brutalization of black and brown and queer bodies. “Whiteness and evangelicalism are such extraordinarily effective and well-integrated partners,” said Christena Cleveland, a social scientist, theologian, and professor at Duke Divinity School. “The white evangelical church would cease to exist as we know it if it started to seriously address these issues. The entire power pyramid would topple; the church is based on that hierarchy.” Paraphrasing James Baldwin’s thesis in his seminal essay, “On Being ‘White’ and Other Lies,” Cleveland explained: “Whiteness can’t exist without being over and against blackness. In a similar way, the evangelical church cannot exist without having this propped up figure over and against all of these other identities.” Joy and Paasch are both queer women and no longer consider themselves conservative evangelicals. “It was just a bunch of small things one after the other over the course of many years,” Joy told Jezebel. “Then one day you wake up and you realize that you don’t believe any of the things you used to, but you’re not quite sure how it happened.” Joy’s slipping away from her tradition ultimately led her to question the role the church played in her alleged abuse 10 years ago. The man she calls her abuser went on to continue to work with minors in church settings. She said that she, then 16 years old, was punished, shamed, and silenced. According to Joy, #ChurchToo is concerned with “the why question rather than strictly just the what. The what of the situation is sexual abuse, obviously. The why includes religious patriarchy, purity culture, forgiveness theology, and anti-LGBTQ theology.” Rev. Dr. Neichelle Guidry, dean of chapel at Spelman College in Atlanta, goes a step further. “To get at the heart of sexual violence,” she said, “the church must deal not only with sexism, racism, homophobia, and transphobia, but also with misogynoir, capitalism, and Christian respectability politics.” Purity culture, in a modern evangelical context, is preoccupied with heterosexual women’s premarital virginity, chastity, and, of course, “purity.” (You may remember David Magnusson’s blindingly white 2014 photo series starring young women posing with their fathers, to whom they’d pledged their premarital virginity.) According to purity culture, virtuous sexuality can only be realized within the confines of heterosexual marriage. Women are deemed responsible for the sexual “sins” of men and they must dress and act in accordance with that responsibility. Sara Moslener, author of Virgin Nation: Sexual Purity and American Adolescence, writes, “The purity movement seeks to construct a moral economy, not simply a code of morality, in which the assurance of emotional, marital, and sexual fulfillment is provided in exchange for bodily control and spiritual obedience.” It is no wonder, then, that purity culture and rape culture dangerously overlap. Moslener explains that Protestants have historically appealed to the logic that immoral sexual practice is inextricably linked to national decline. She traces the current iteration of purity culture back to mid-century fundamentalists who came of age in the Cold War era, a time in which “religion, politics, and morality were shaped by fears of national decline and pending nuclear apocalypse.” World War II had ended, young men were flooding back into America from their tours abroad, and evangelical religious leaders decided to target them specifically. According to these leaders, “The wellbeing of the nation was dependent upon curbing the latest tide of adolescent irresponsibility.” Billy Graham, who died in February, was one of the most prominent figures in evangelical history, and was a product of this targeting. According to Moslener, his earliest sermons centered on youth revivalism, nationalism, and Christian piety. Graham preached that sexual obsession and sexual deviance (including premarital sex and homosexuality) went hand in hand with decaying civilization. By the late 1950s, the nationalistic religiosity espoused by the evangelical church was embraced by cultural conservatives in ways that mirror and have directly informed the religious right as we know it today. According to Moslener, “Concurrent with Graham’s rise to national prominence was a federal anti-gay initiative that presumed homosexuals to be an imminent threat to national security.” This initiative, now known as the Lavender Scare, was at least partially orchestrated by Roy Cohn, Trump’s former lawyer and fixer. As the threat of nuclear holocaust faded, neo-fundamentalist leaders like Jerry Falwell and James Dobson would pick up the torch that Graham ultimately set down. He eventually distanced himself from the still-popular strategy of attacking sexual “deviancy” in the name of nationalistic piety. In 1993, Graham publicly apologized for calling AIDS God’s judgment on the queer community. In true Falwellian fashion, Jerry took the idea a step further. “AIDS is not just God’s punishment for homosexuals,” he explained, “it is God’s punishment for the society that tolerates homosexuals.” By the early 1990s, through the work of men like Falwell and Dobson, the organized movement known as “purity culture” today had emerged. A document entitled “Sex, Dating and Purity” by Dobson, which outlines some of the belief system’s central tenets, is available online. After giving Dobson’s team my address and telephone number and offering a $0.00 donation, I was able to download it. The contents are frighteningly regressive, but not at all unusual. “Some girls are so bold sexually and have such a hard-charging approach that males are intimidated and anxious to escape that firepower,” Dobson explained. “The male ego is constructed in such a way that many men are uncomfortable if not in pursuit.” He went on to say that safe sex is a scam because condoms don’t work and that pornography begets violent rapists because, and I am not kidding, Ted Bundy told him so. Jessica Valenti, author of The Purity Myth: How America’s Obsession with Virginity Is Hurting Young Women, has written that “Dobson’s fear of women and the feminine is so great that he often writes that boys will potentially turn gay if they are not raised with appropriately masculine role models around them.” “The deep cognitive dissonance of purity culture demands that women trust men as leaders, protectors, and providers while blaming ourselves when our boundaries are inevitably crossed,” wrote Paasch in a piece for HuffPo in 2017. And it is no wonder boundaries are inevitably crossed when the idea of “purity” is built around the notion that men are natural “initiators” and women should be “quite content to be the responders.” (That’s Dobson again.) Men are understood to be naturally, biologically aggressive and this aggression is never labeled dangerous. Porn is dangerous. “Sexual aggressiveness among females” is dangerous. Dobson waxed poetic about the dangers of STDs, bestiality, and sex addiction. He never once mentioned consent. This is not an accident or an oversight. According to Joy, “In some circles, ‘consent’ is considered a dirty word. It implies agency and autonomy, and a fundamental teaching of Christian purity culture is that your body does not belong to you.” #ChurchToo amounts to a generation of evangelical women who were not taught the importance of consent publicly grappling with the violence they’ve experienced at the hands of evangelical men who were not taught the importance of consent; men who came of age in a culture that violently asserts and upholds their supremacy—sexually, spiritually, and racially—at any cost. This supremacy is not just a byproduct of evangelicalism; it is intrinsic to it. Marginalized people suffer in (or, rather, on the margins of) evangelicalism because their very existence is an affront to it. According to Valenti, “Since the time of U.S. slavery, men have benefited from positioning black women as naturally promiscuous because it absolves them of guilt when they sexually assault and rape women of color.” She goes on to quote bell hooks’ 1998 essay, “Naked Without Shame”: “[I]t was impossible to ruin that which was received as inherently unworthy, tainted, and soiled.” “Centering the voices of women who are trans, queer, and/or of color highlights the limitations of popular critiques that reduce purity culture to images of girls and women as naturally chaste, delicate, and in need of patriarchal protection,” T.F. Charlton explained in a piece for Rewire.News, “I remember how church folks presented ‘godly’ and ‘natural’ femininity as chaste, quiet, and submissive, in the same breaths that they stereotyped Black girls and women as hypersexual, domineering, belligerent.” In a now-deleted Twitter thread responding to #ChurchToo, Rachel Virginia, a North Carolina-based writer and undergraduate student, echoed Charlton: So on top of being worried about harassment from men, I was worried that I would not be believed by my peers (white women) because of racist stereotypes they consumed about black women and the attitudes white women at my church had about my body. Cleveland told Jezebel, “The primary idol of the evangelical church is this white, male, cisgendered, straight Christ. And everything revolves around the worship of this Christ.” In response to the #ChurchToo movement, we are seeing evangelical leaders giving in to a very second-wave impulse to “stand with women.” And yes. It is important to stand with women. Unfortunately, there is no real way to reckon with abuse in the evangelical church until the church is first willing to examine ways in which, as an institution, it is historically racist, classist, transphobic, and homophobic. According to Joy, “If your ‘justice for women’ doesn’t extend to lesbian, bisexual, trans and queer women, and non-binary folks, then your ‘justice’ is shit.” Turman told Jezebel that “simply listening to women within the context of white evangelicalism—the heartbeat of slavocracy, where black women were historically seen as subhuman, as beasts, as workhorses, as mules, as property—isn’t enough.” Participating in surface-level anti-violence work (like establishing abuse policies, integrating background checks, and offering preventative training) is important, but, according to Joy, “At a certain point you’re almost putting a bandaid on a bullet wound. And that wound is the theology; that wound is the ideology.” The evangelical church will not be able to reckon with the problem of sexual violence without first trusting, centering, affirming, and amplifying the voices and experiences of the individuals (and communities) it has most violently, most systematically marginalized. “Whereas patriarchy does become the primary object of a white feminist approach to justice in evangelical churches,” Turman explained, “We should be addressing intersectional oppression.” According to Cleveland, “There are theological elements of the evangelical church that make it impossible to affirm the image of God in some people. There is no way of getting around that.” And if the evangelical church is unable or unwilling to see that the image of God is black, brown, queer, poor, and assaulted, the evangelical church will continue to sanction, even to mandate violence. “For a church that has so much power, I think the solution is the crucifixion of this white male cisgendered middle-class Christ. I really do believe that it’s that drastic,” said Cleveland. “Christ came and said, ‘I make all things new’ and that is not a comfortable process. A lot of the attachments that we have—to success and wealth and security and certainty—those all have to fall away. And it should feel like an actual death.” “Truth telling is a wonderful pathway to that cross, a wonderful pathway,” she said, “And this is a truth telling moment right now.” Laura Bullard is a queer, Lumbee writer and editor based in Durham, NC, whose work focuses on the interplay between identity and power structures with a focus on gender, sexuality, race, and mental illness. You can find more of her work at laurabullard.com.

I don’t like the concept that a girl can’t be pretty and smart, or that we can’t be girly and intelligent. These things are not mutually exclusive. I do not take well to being told to be more “ladylike”, as being “ladylike” implicates sitting there looking pretty, or being a good little house wife; I have no intention of becoming those things. I want to feel pretty, but I won’t exist just to be a pretty little accessory. It’s like we can only be one or the other, a smart girl is too good for petty like things like make-up, and a pretty girl isn’t good enough for academia. Being a girl is one big contradiction; don’t be a prude, but don’t be a slut, no make-up looks lazy, but too much makes you a slut, boys don’t like it when you blah blah blah. I don’t care what boys think of me, I am who I am for me. Like it or lump it. I was a tomboy as a kid and hated everything girly. I was happy in jeans and a t-shirt, I loved baseball hats, and runners, my knees were scratched, and I hated pink. I loved Pokemon and I wanted to work with animals because I loved the Discovery Channel – this didn’t make me “better” than the other girls, or “better” than the girly girls but it was who I was. The girliest thing I liked was Bratz dolls but instead of playing “shopping trips” we took them on all sorts of weird adventures. I also thought that being girly was being weak, and boring, and unintelligent because we’re sold the idea that femininity is all about going shopping, needing saving, and boohoo I broke a nail, not about being strong or empowered. I’m often in the kids section in work, and I hate that all the science, outdoor, and educational toys are in the boys section when the girls side is full of pink boxes, fake make-up kits, and even little replicas of kitchens, because hey, we gotta domesticate them young? Typically, sure boys and girls like different thing, but hearing boys tell their sisters to stay in their section while they pick up a cool spy toy makes me sad. Little girls can read about history while wearing pretty princess pink false nails, and little boys can play with dolls if they want to. However, if little girls want to be princesses that’s fine too, and boys can like dinosaurs. You do you is what I’m saying, and I also don’t want to exclude any trans or non-binary friends here too. Gender is literally a social construct with outdated and restrictive gender roles, but that’s a blog for another time. The rare gems who begged to differ like Lisa Simpson, Belle, Elizabeth Swann, and Hermoine Granger where characters I clung to. I think I grew up to be a lot like Lisa and I’m not ashamed of that, and instead of being a damsel in distress Elizabeth became a goddamn Pirate King. I also still hold a grudge against an English lecturer in college who said that Hermoine was the princess of Harry Potter (assuming solely on the premise that she was a girl) when Harry & Ron would have literally died in the first book if not for her. No one in the Golden Trio of Harry Potter is a “princess” in a literary sense, but maybe the closest is Ron? These women are amazing without having to become “one of the guys” – and even then, there’s nothing wrong if you are a girl who likes being one of the guys. I know they’re fictional but they represent so much. I’ve grown up to embrace my femininity and not see it as weakness. I love make-up and nice clothes, I can go from talking about Keeping up with the Kardashians to talking about politics in the space of a second. I can embrace being a girl and still be smart, strong, and valued. I still don’t like the colour pink, but that’s because I see myself as a future Morticia Addams. I still also embrace the “masculine” side of myself; like tattoos, rock music, and exercise that isn’t yoga. I swear like a sailor and wont do it if someone tells me that language makes them uncomfortable, but if you tell me not to because it’s not “very becoming of a lady” I will tell you to suck my dick. A guy I know nearly shit himself when he asked what I do in the gym and I said dead-lifting. When I was 12 and said I wanted to learn guitar I was told to maybe try piano or violin, “girly instruments”, but I was adamant that I wanted to be in a rock band and later thought myself bass – which lead to me being the only girl in the band and a whole lot of “it’s nice to finally see a female bassist!”. Those people meant well, but I would rather have been treated no different than the other musicians who happened to be guys. However, I still get told people are disappointed in me when I “succumb” to the likes of selfies or wanting to feel & look attractive. Apparently I’m “better than that”. Sure, I like to read, I like knowledge, and politics, but that for one second does not mean that I am “above” or not entitled to also like trashy reality shows on E, or short skirts. I don’t and wont have to sacrifice my femininity to be taken seriously as a person. I’m just as valid in a pair of heels as I am in converse. There is nothing wrong with being a girl. You are empowered, and amazing, and to quote Lisa Simpson: “The whole damn system is wrong”

Vermont college hands out 'pronoun pins' to incoming freshmen - In an effort to become more inclusive for gender nonconforming students, Champlain College handed out hundreds of pronoun pins during first-year orientation advertising the wearer's preferred gender pronouns. - Options included "she/her," "he/him," "xe/xer," and even "Hello, my pronouns are fluid. Please ask me!" In an effort to become more inclusive for gender nonconforming students, Champlain College handed out hundreds of pronoun pins to students and faculty during first-year orientation. The pins contain a number of preferential pronouns, including "she/her," "he/him," "xe/xer," and even pins that read "Hello, my pronouns are fluid. Please ask me!" According to the Burlington Free Press, the pins were created by the office Residential Life, which expressed a desire to “accommodate students in the LGBT community.” Student orientation leaders can be seen wearing the pins on Champlain College’s Facebook page. “We have a number of students who identify as transgender or on the non-binary spectrum, and about a week before orientation while we were pulling together materials, the idea just kind of came out of the air," Director of Residential Life Danielle Berube told the Free Press. "It just seemed like a no-brainer—a very easy way to make the first day of college for a number of our students maybe a little bit easier." Maggie Melvin, The Center’s associate director, described the pronoun pins as a natural extension of student recognition that using correct pronouns is a “way of showing respect,” pointing out that Champlain also opened a new Women and Gender Center on Monday in response to student demands for a place on campus dedicated to gender education and collaboration. “We have seen a lot of students who have really taken hold of pronoun use as being something they recognize as being an important way of showing respect and acceptance and support to their peers and to themselves," Melvin explained. However, Berube and Melvin admit that not everyone is on board with the inclusion of pronouns outside of the normal gender-binary. "It would certainly be a generalization to say everyone is on board," Berube conceded. "Certainly there's resistance or folks who maybe it just doesn't jive with their beliefs or their own thinking, but we're in an educational atmosphere, so this is the place where people are supposed to confront their values and beliefs and understand them or push on them. This is the place where we should be doing this." New York University launched a similar effort during its 2015 Welcome Week, featuring its buttons in a post on the Facebook page for the event. “We have gender pronoun pins for you! You can pick them up from the Welcome Table in the Kimmel Lobby,” the post advises students. “NYU strives to create an inclusive environment. It is important to offer opportunities for everyone, including trans* and non-conforming folks in our community, to indicate their gender pronouns.” Follow the author of this article on Twitter: @amber_athey

News and Media Thank You TIMARA Family and Friends for Your Support! December 19, 2019 Dear TIMARA Alumni, Parents, Colleagues, and Friends, A few days ago we successfully concluded the TIMARA Founder's Fund campaign. We raised over $53,000 to establish TIMARA's first endowed fund. I want to express immense gratitude to everyone for their support, and especially Peter Flint ('92) whose matching gift of $25,000 helped inspire all of us to exceed the original campaign goal. The TIMARA Founder's Fund celebrates the 50th anniversary of the first electronic and computer music courses taught at Oberlin. Every year, beginning this coming spring, we will reward two oustanding TIMARA students with the Olly Wilson and John Clough ('53) honorary awards. My colleagues and I are exceedingly grateful to embrace the generosity of the TIMARA community and we are thrilled to recognize the innovative and inspiring work of our students for years to come! With sincere gratitude, Tom Lopez ('89) TIMARA Chair Aurie Hsu Performs at Fata Morgana December 12, 2019 TIMARA Professor Aurie Hsu recently performed at Fata Morgana, a three day festival of music, film screenings, talks, and multimedia performances hosted at Indiana University-Purdue University Indianapolis. Named after a 1971 Werner Herzog film, the festival featured a wide variety of experimental film screenings and musical performances from pioneering experimental figures, including "cyborg" musician Onyx Ashanti, interdisciplinary artist CandyStations, flutist Margaret Lancaster, and percussionist Scott Deal. Praising the "wonderful synergy" that characterized the weekend's performances, Hsu noted that she played a different set on each of the three nights. The pieces included CandyStations improvising interactive video. The other sets involved pieces with interactive dance and the EMMI robotic instruments and the premiere of a new collaboration with Steven Kemper for dance, ISIS wings, and amplified, processed motors on a toy harp. TIMARA Presents: Kaleidosonic Music Festival! November 4, 2019 On November 16th, the Kaleidosonic Music Festival will take place in Finney Chapel at 7:30 PM. Organized by Professor Thomas Lopez, this free event will feature a large number of Oberlin ensembles and musicians joining together for an extended single inter-woven performance. Some of the local groups involved include Oberlin Choristers, Northern Ohio Youth Orchestra (NOYO) musicians, the Oberlin College Black Musicians Guild, the Obertones acapella group, and many community members, faculty, and students from Oberlin College and Conservatory of Music. Lopez describes the roughly four-hour festival as "an exciting evening-length event with musicians representing a wide array of styles: Gospel, classical, rock and roll, jazz, early music, marching band, serious, funny, and avant-garde." He notes that "Over 250 musicians will perform in a single extended musical collage: Imagine a brass fanfare alongside taiko drumming, and then organ alongside bagpipes, and over 16 speakers surrounding the audience for a fully immersive sonic experience." Colin Holter, the director of NOYO's Lab Group (a collaborative composing ensemble that is part of the Northern Ohio Youth Orchestra) expressed enthusiasm when speaking about the massive collaborative endeavor. Discussing Lab Group's role in the event, he explained that the ensemble "will contribute short interstitial pieces between larger works on the Kaleidosonic program. At the halfway point of the concert, we'll pass the baton to our remarkably inventive colleagues in OINC (Oberlin Improvisation and New Music Collective), with whom we've had a few energizing and fruitful combined rehearsals." Holter sees the festival as a valuable musical experience for his students, continuing a rich history of collaboration between NOYO and the Oberlin Conservatory. "For Lab Group's middle and high-school musicians to showcase their work alongside that of so many distinguished musicians in celebration of TIMARA's fiftieth anniversary is a true honor. NOYO's partnership with the Oberlin Conservatory is almost as old as TIMARA itself; our ability to bring our unique and innovative programming to the young musicians of Lorain County and beyond depends on it. This evening of forward-looking music promises to galvanize our shared musical community as we reflect on the past and turn our ears toward the future. I'm tremendously proud that NOYO's Lab Group will be a part of it." Marie Cox, Director of Cantate Music at the Oberlin Choristers, noted that the Kaleidosonic Music Festival presents a distinct and exciting departure from the normal context in which her ensemble performs. "The singers range between 5th and 9th grade, and this is something that they have never experienced before. It is quite unusual for us to be a part of this level of creativity. We are used to performing in a very formal setting, and for Kaleidosonic we are going to be part of a "rainstorm including lightning flashes, rain sounds, lighting effects, prepared umbrellas, etc. A very cool experience for our singers. Kaleidosonic is sure to open their eyes to experiencing music in a whole other dimension and I'm certain it will be an unforgettable experience!" The show serves partly as a tribute to Professor Olly Wilson, who taught the first electronic music course in 1969 and recently passed away. It is also a general celebration of Oberlin's rich musical scene. Professor Lopez has drawn inspiration from specific performances he was involved in at Finney Chapel during his time as a student at Oberlin. While performing works by composers Sergei Kuriokhin and Pauline Oliveros, he witnessed large collages of sound involving several performers and various musical styles colliding; the Kaleidosonic Music Festival will see a continuation of that tradition in the same space. The festival is free and open to the public, and music will commence at 7:30 PM. Audience members can come and go as they wish, and there will be 3 food trucks from 7-10 pm in the parking lot of Finney Chapel with pizza and bagel sandwiches. September 30, 2019 TIMARA's 50th anniversary celebration begins next weekend with the Crafting Sound Symposium. On October 4th and 5th, a group of guest artists, local artists, and students will present their work in a series of panels and workshops, culminating in a performance on Saturday evening. Crafting Sound seeks to "turn a critical eye towards the technologies of sound...[and] examine unspoken and unquestioned value systems inherent in these technologies." The symposium will feature a variety of lo-fi and DIY alternatives to traditional musical technologies in an exploration of "how these alternatives might engage new audiences in creative sound-making practices." The event kicks off with a 'Sonic Super Buffet," in the Birenbaum on October 4th at 7:30 PM, featuring a variety of homemade instruments. The next day (October 5th) there are two workshops by guest artists at 10 AM and 1 PM in the TIMARA studios (RSVP now as space is limited). At 4 PM, there will be a panel of guest artists discussing their use of technology in creative practice in the Cinema Studies black box theater above the Apollo. Rounding out the symposium, a concert will take place at 7:30 PM in the Birenbaum. The event, co-organized by TIMARA Technical Director and Lecturer Abby Aresty and Instructional Technologist Kyle Hartzell, has been in the works since last spring when Aresty reached out to Hartzell about organizing the event together. As an Instructional Technologist with Oberlin's Cinema Studies and Studio Art Departments, Hartzell has worked extensively as a Sound Designer and has "embraced the history of the form in terms of making individual devices for creating sounds." Discussing the weekend's events, he expressed particular enthusiasm for Saturday's panel discussion, nothing that "it's going to bring up a lot of interesting questions about how people see their own work and how they came to their current practice via craft... in some cases it will be a learned craft from their past in others it will be a conscious decision to embrace a different mode of creating work." Made possible through the generous financial support of TIMARA, the Center for Convergence (StudiOC) at Oberlin College, and by the Alumni Office at Oberlin College, each Crafting Sound event is free and open to the public. Guest artists Afroditi Psarra, Jess Rowland, Asha Tamirisa ('10), and Jimmy Kuehnle, and local artists include Kyle Hartzell, Eli Stine, Abby Aresty, Rachel Gibson, Drew Smith, Dirk Roosenburg, Max Addae, and Max Kramer will all be presenting their work. September 17, 2019 2019 marks the 50th anniversary of the first electronic music class taught at Oberlin. The department has organized several performances and special events throughout the academic year to commemorate the historic milestone. The Crafting Sound Symposium will mark the first of these events, taking place on October 4th and 5th. Co-organized by TIMARA Technical Director and Lecturer Abby Aresty and Educational Technologist Kyle Hartzell, Crafting Sound will feature a series of workshops and panels which have been made possible through the generous financial support of TIMARA, StudiOC, and the Alumni Office at Oberlin College. Aresty notes that the department is "...excited to be hosting a diverse collection of artists whose creative practices engage sound through handicraft in a variety of different manners. We have packed a lot into a short time - we will host an interactive listening event, workshops, a panel discussion, a concert, and a reception. We are particularly pleased to be able to showcase some excellent works by Oberlin students alongside the featured projects presented by guest artists." On November 16th, the Kaleidosonic Music Festival will take place in Finney Chapel. Organized by Professor Thomas Lopez, this event will feature a large number of Oberlin ensembles and musicians coming together for one collective performance. The show serves partly as a tribute to Professor Olly Wilson, who taught the first electronic music course in 1969 and recently passed away (a composition of his will be included). It is also a general celebration of Oberlin's rich musical scene. Lopez has drawn inspiration from specific performances he was involved in at Finney Chapel during his time as a student at Oberlin. While performing works by composers Sergei Kuriokhin and Pauline Oliveros, he witnessed large collages of sound involving several performers and various musical styles colliding; the Kaleidosonic Music Festival will see a continuation of that tradition in the same space. Once the spring semester arrives, the events will continue. On March 7th, TIMARA will be hosting the Exquisite Electrophonics Concert of Student Works in Fairchild Chapel. TIMARA Professor Aurie Hsu writes that "this concert celebrates student works in diverse media, including electroacoustic composition, live electronics, video, sound art, and custom instruments for performance. Experience immersive exquisite electronics in Fairchild Chapel, a favorite venue for the TIMARA community." The next day on March 8th, the department is hosting the Sound in the Round TIMARA Faculty Concert in Wurtzel Theater. Visiting Assistant Professor Eli Stine explains that "surround sound technology enables the construction of 360-degree-enveloping sound environments, the choreography of sound through spatialization, and the creation of immersive 'cinema for the ear' experiences. The Sound in the Round concert showcases works by TIMARA faculty that take advantage of this unique sound technology using a state-of-the-art speaker system in the Irene and Alan Wurtzel Theater. The history of spatial audio within the TIMARA studios dates back to 1989, when quadraphonic (four speaker) surround sound systems were installed in the studios. Last year the studios were upgraded to a 15-speaker half-dome system, greatly increasing the potential for the creation of immersive soundscapes." All of the events are free and open to the public, and the TIMARA Department encourages all to join in our 50th anniversary celebrations! Find more TIMARA 50th events! TIMARA Inaugurates GEAR May 2, 2019 In just over a month, the TIMARA studios will host its first ever Girls Electronic Arts Retreat (GEAR). Led by Technical Director Abby Aresty, the Girls Electronic Arts Retreat (GEAR) is a 5-day day camp for local 3rd to 5th grade girls that fosters curiosity, creativity, and confidence through playful, collaborative projects that integrate science, technology, engineering, arts, and math. Aresty will be joined by a team of current TIMARA majors, graduating seniors, and other Oberlin College students. At GEAR, kids will make their own contact microphones to paint with sound, make their own paper speakers, and listen to hidden electromagnetic fields and much more! Asked why she is launching GEAR, Aresty said, "according to a recent study, the perception that certain fields require an innate brilliance is enough to deter many women from pursuing careers in these fields. Another study found that girls as young as six years of age tend to believe that brilliance is a male trait. By the time they reach college, women in technical fields are often already at a disadvantage since their male peers have been immersed in the culture for years; without the right support system and peer group, it is easy for them to think that a career in technology is simply not for them. At GEAR, we are committed to helping girls build confidence in technology in a supportive environment through fun, hands-on activities." The pilot session of GEAR has been made possible by generous funding from the Oberlin Conservatory Dean's office, the Oberlin College and Conservatory's grants office, the TIMARA Department at Oberlin Conservatory, the Bill Long Foundation, and OCA, with additional support from Oberlin Conservatory's summer programs and the Oberlin City Schools. Registration ends May 22 - visit the website and sign up your child for GEAR! - KR Josh Augustin interns at Columbia Records April 22, 2019 Josh Augustin, a third year TIMARA and Cinema Studies major, has spent this past semester in New York City attending the New York Arts Program. The NY Arts Program is run by Ohio Wesleyan as part of the Associated Colleges of the Midwest (Oberlin is a member school). It's structured in 16 credits - 12 are for one or two internships in a creative field of your choice, and the other four are a weekly seminar with an advisor where you make, learn, and talk about art. "The music seminar was small this year, it was just me and one other student from Kalamazoo College, but we had a wonderful time making music together and discussing all things music-related with our advisor." To fill the program's internship credits, Augustin is interning at Columbia Records in the Marketing Department. He says, "At a big label like Columbia, Marketing sort of functions as the glue that pulls together all the various departments as they work to promote the label's roster. They develop and execute campaigns and release strategies that involve a wide array of promotional pursuits and logistics, pulling all of these facets of the major-label system together into a precise and cohesive plan surrounding the release of a new single or album. These plans are executed over the course of several months. My favorite part of working at Columbia has been watching these campaigns play out in real time. I've watched artists like Solange, Hozier, Gesaffelstein, Lil Nas X, Vampire Weekend, and several others release new music during my internship. It's really impressive watching the coordinated efforts of Columbia's employees come to fruition." Augustin speaks to how being in NYC for the semester has influenced him as an artist. "Musically speaking, it's left an indelible impact on my work. Most of the music I make, whether it's solo or with my friend Sam as Vansire, is a soundtrack to wherever I'm currently living or spending time. For most of my life, that's been southeastern Minnesota or Oberlin, both rural locations. The soundtrack to walking around Midtown at 6PM is obviously quite different from what I'd be spinning while driving through an uncrowded Rust Belt interstate. I don't think my compositional process has changed, but the geographic immediacies which inform the scenes and sensations I'm interested in depicting have shifted drastically." Since geography plays such an important role in Augustin's music creation, being in New York has been a game-changer in his creative life. He speaks to what he misses about being in the more familiar and comfortable environment, of Oberlin: "In the most literal sense, I miss open rural spaces. Three and a half months spent trotting around the streets of New York has made me realize how much my understanding of the world around me is predicated upon plains, fields, and empty spaces. What I mean to say is that New York isn't really a creative “stasis” for me. It's an exciting and bustling place, somewhere I aspire to become a part of, but in my own personal narrative, it's a place that represents a culmination of the things I've learned and people I've met along the way. Which is very cool and exciting in its own way. On the other hand, Oberlin bears more similarity to where I grew up, and making music somewhere reminiscent of that time in my life sort of centers me in a creative capacity." Sometimes a change in pace and surroundings can be invigorating. Augustin reflects on some of his biggest learning moments from his time in The Big Apple and beyond, "I think there's value in spending some time away from the places and people that you love. While challenging on occasion, the absence of locations and figures central to your life can help you more clearly determine why they're important to you, and how they've shaped you as an individual. So in that sense, I think I've learned to not shy away from opportunities which might seem onerous in their lack of normalcy. When I look back on my short time alive, the experiences in which I went for something outside of the norm have usually been the most memorable and meaningful. Life's fleeting as it is, so eh, you might as well give things a shot if you have the chance." - KR TIMARA Offers SAW 2019 March 28, 2019 From June 16-22 this summer the TIMARA Department will host the Sonic Arts Workshop (SAW). The electronic music workshop, which has been offered for many decades, will continue this year with exciting recent facility upgrades. During summer 2017, the entire TIMARA studio complex was renovated, including the addition of two new studios. We are very happy in our new facilities and look forward to sharing them with SAW participants. Dedicated to high school students ages 15 years and older, SAW provides broad exposure to the world of electroacoustic music and offers a variety of technical and creative resources. Topics will include field recording, real-time techniques, audio processing, and the repertoire of electronic music. The program is great for students headed towards conservatory studies, as well as those interested in experimenting with electronic and computer music. You can find more information, including the application, here (financial aid is available). When I attended as a high-school student the program provided gave me a direction and a passion. I couldn't recommend anything else if you are interested in exploring sound as a medium of creation. - Will Johnson (see Will's work with Fawn featured on NPR's First Watch) March 25, 2019 Swendsen Dance Collaborations TIMARA Professor Peter Swendsen will present a handful of collaborative performances with choreographers over the month of March. Swendsen states, "collaborations with choreographers represent a large part of my creative work over the last twenty years, starting with projects I did as an undergrad at Oberlin. By now, I've made nearly 50 scores for dance, and working with dance is one of my very favorite things. This confluence of dance events in March is a fun combination of new projects and old, long-time collaborators and new ones." The first performance took place on March 8th at the Kennedy Center's Millennium Stage. Swendsen shared his piece coldness and lightness, in collaboration with Ashley Thorndike. Swendsen speaks about his collaborative history with Thorndike, and his piece: "Ashley and I have been working together since 2003. Along with a third collaborator, Dinah Gray, we co-directed a small dance company in Charlottesville for several years, during which time we made many pieces together. A shorter version of coldness and lightness was first performed in Oberlin in 2009. We premiered the evening-length version in Washington DC in the fall of 2017, which led to this performance at the Kennedy Center. As Ashley says, this pieces is a portrait of the moment at which the ground cracks—a sudden destabilization of an icy landscape." You can find more information about coldness and lightness here. On March 22nd, at 7 and 9pm, at the Pilgrim Church in Cleveland, Peter Swendsen, Dana Jessen and NYC-based Pam Tanowitz Dance will share five small dances for Cleveland. "The music for these pieces comes largely from Dana Jessen's album, Carve, which includes a piece Dana and I made together called Fireflies in Winter. Dana and I perform live with a combined cast of dancers from NYC-based Pam Tanowitz Dance and Cleveland-based The Movement Project in a beautiful old church in the Tremont neighborhood of Cleveland." On March 22nd and 23rd, at The Theatre at Gibney (in NYC) Swendsen showcased his collaborative work LUNA. Swendsen speaks about LUNA and his collaborations: "David Shimotakahara and I made LUNA in 2013. It's one of four pieces I've made for GroundWorks, and last fall it was revived for a performance at Playhouse Square in Cleveland. There are many connections between GroundWorks and Gibney Dance in NYC, where the performance will take place. Chief among them is another long-time collaborator of mine, Amy Miller, who is the Senior Company Director and Gibney, and with whom I have performed there several times prior. LUNA explores the nature of desire and its deeply held and often opposing motivations. "These polarities developed into a series of physical relationships that reveal many facets in a cycle of experience," writes my collaborator, David Shimotakahara. "That cycle is like the moon, as primal and unknowable as it is familiar." - KR March 8, 2019 (T)echs Machina Music Festival The TIMARA (T)echs Machina Music Festival will be taking place March 13th-15th. The festival will serve as a celebration of electronic music and creative music technologies. The two concerts will be in The Birenbaum on the 14th and 15th, at 7:30pm, and will be free and open to the public. The festival will feature special guests including renowned composer and scholar George Lewis(Columbia University), Onyx Ashanti, Akiko Hatakeyama, Eli Stine ('14), and Alex Christie ('09), and Steven Kemper. Performances also feature Beverly Acha, Contemporary Music and Improvisation faculty, Dana Jessen, and TIMARA faculty members, Peter Swendsen ('99), Tom Lopez ('89), Abby Aresty, and Aurie Hsu ('97). The concerts will showcase exciting and innovative performances with electroacoustic music, interactive electronics, interactive scores, Ashanti's "sonomorphic" bodyware system, robotic instruments, sonic-visual ecosystems, and multi-channel digital instruments. For more information on the schedule and details of events, click here. This event is organized with support from the TIMARA Department, Office of the Dean of the Oberlin Conservatory, Office of Oberlin Conservatory Professional Development, and the Alumni in Service to Oberlin College (ASOC) Fund. - KR February 25, 2019 Students Present at NSEME This year, TIMARA had four student participants in the National Student Electronic Music Event (NSEME), this year, held at the University of Virginia in Charlottesville. TIMARA majors Ian English, Will Bertrand, Drew Smith, and Helen He attended six concerts, and got the chance to present their work and experience the works of others. The accompanying picture has (l-r) Ian English, Will Bertrand, Drew Smith, and Eli Stine (class of 2014 and co-presenter of NSEME) Second year TIMARA major Drew Smith presented their piece, written in TECH 201, Open Your Window, written using using a Ciat Lombard Plumbutter, an instrument made by Peter Blasser ('01), the ARP 2600, and guitar - processed using the Buchla 200. "The piece goes from pleasant and calm to really intense, and then there's a disillusion of intensity. This piece was fueled by anxiety that gave me trouble sleeping." - Drew Helen He presented her installation Memories of Light, her final project from TIMARA's technical director Abby Aresty's sound installation class. "The installation consists of five box modules, each containing a light sensor and speaker. Lights are programmed to turn on and off at certain intervals, and the light sensor triggers sounds from Max MSP. Memories of Light was inspired by a cemetary, because people always associate cemeteries with words such as creepy and unsettling. I see them as a place where the dead live. They are the land of our ancestors." - Helen Will Bertrand, third year TIMARA and physics major, presented Dregs-Magic, a collaborative audiovisual piece with Austin Covell, student at SMFA. "I did sound and Austin did animation, and all the sounds came from a recording session we did with pots and pans with the excitement of using a good contact mic for the first time. I assembled all the sound stuff, and then he did the animation/video to go along with it." - Will Ian English, third year TIMARA major, showcased their piece Organism 2.5. "It is basically the culmination of about six months of recording sounds. The piece was originally mostly bells and electric organ. I got most of the percussive blip blop sounds by using sidechain compression, phase inversion, and gate. There are earlier incarnations of the piece that are much more ambient and less genius." - Ian Bertrand reflects on his experience at NSEME: "Helen's installation was great, the concerts were all cool! Someone did a piece where they did a broadcast from a local radio station and then drove people around the perimeter of the broadcast area to hear it come in and out of focus. The highlight for me was the late-night show, where I saw Aaron Dilloway (owner of Oberlin's very own Hanson Records) give a really pummeling noise set to close out the conference." December 20, 2018 Students Performing at Festivals "Repressed Memory is a piece I wrote in my second semester of freshman year, and was my second piece for acoustic instruments and electronics. I wrote the piece in a very quick span of time, it was inspired largely by the experience of remembering a traumatic memory and attempting to relive it through sound as a sort of therapy. It's been performed twice: first at Oberlin, and recently at the SPLICE Festival at Bowling Green State University. Now having it selected for N_SEME, it's incredibly exciting to be able to hear it played again. It's also wonderful to see such a strong TIMARA presence at the event, I think it's really a testament to the program, having such a supportive environment from both students and faculty." - Drew Smith (TIMARA second-year Major) "Electronic Music Midwest (EMM) 2018 took place at Lewis University from Thursday, Oct 11 to Saturday, Oct 13 and over the course of one weekend boasted 9 concerts with 61 pieces. Unfortunately, I was only able to make it to the last two concerts on Saturday, but that didn't stop it from being worthwhile. The curators of the program did a wonderful job at filling the concerts with a variety of quality pieces that were both interesting enough and different enough from each other to keep me awake through more than two hours of new music in the same evening--which is an achievement considering my attention span. Aside from the music, what really surprised me was the warmth of the community that I found at EMM. I had never been to a new music festival before, so it was a very pleasant surprise just how invested everybody there was in everybody else's work. Even people who weren't able to make it to the concert my piece was in asked me about my work, exchanged contact information, and welcomed me into the community with open arms. I don't know what I was expecting to come out of the experience with, but the new friends I made were a great surprise. Many thanks to the conservatory dean's office for their financial support in letting me attend the event! - Tori Ervin (TIMARA fourth-year Major) The Arts of Conflict Resolution December 11, 2018 This Wednesday at 10 PM, a StudiOC production entitled Some Things Cosmic Are These will be performed in Warner Main Space. Created by the thirteen students who took "Mixed Media Collaborations" (TECH 360 taught by Tom Lopez) and "Somatic Approaches to Conflict Resolution" (DANC 347 taught by Holly Handman-Lopez), the upcoming performance is the culmination of a semester in which the students collaborated on new works across a wide range of artistic disciplines. Second-year TIMARA student Claudia Hinsdale explained that in the class, “a group of artists - music, dance, writing, circus arts, theater, etc - collaborated on work, and learned how to resolve conflicts inside and outside of this work creatively. We all got a chance to work in various group sizes, time frames, and under many leadership structures. Over the course of the semester, we have all created a massive amount of material that has taken many different shapes.” Piper Hill, a fifth-year TIMARA student noted that “This StudiOC class has catalyzed a huge shift in my creative process… all art is collaboration whether we're actively thinking about everyone who's helped us make what we make. Being forced to work together to churn out a ton of work with very quick turnaround has been very liberating. I now feel really great about making art with my friends. I am now able to make faster creative decisions, because worrying about whether it will be the right choice or not is not super productive.” Regarding the performance, Hill stated “I don't want to say too much, but I will say that I've gotten the chance to design lighting and sound, compose, act, sing, play guitar, perform choreographed movements, wear a fancy vest, and be a part of something absolutely magical! Come see me get sculpted from silk, perform in a mediocre rock band, and ride a bus. Watch as we thirteen humans and beings alter the fate of the cosmos!” Some Things Cosmic Are These is a free event, but seating is limited. The show begins at 10 PM in Warner Main Space this Wednesday. - JA November 12, 2018 This Tuesday, TIMARA will hold a student recital in The Birenbaum at 8:00 PM. The concert is free and will feature works by six students (Claudia Hinsdale, Jack Hamill, Drew Smith, Daniel Markus, Sophie Shalit, and Piper Hill). Hinsdale, a second year, will premiere a new composition entitled Phase Canon which draws inspiration from 15th century vocal works. Describing the piece, she explains that “live input processing and improvisational percussion contextualize and create a narrative for the predetermined structure of a 36 voice canon from the 15th century.” The piece will feature performances from percussionist Jeremy McCabe and alto saxophonist Noah Hellman. Second year Drew Smith will also premiere a new piece, entitled Axiomatics. Describing the piece's inspiration, Smith explains “I wrote the code for the electronics in the program Supercollider, which contains both synthesized material that is triggered by the saxophonist, as well as live processing (running the saxophone to a set of guitar pedals and through a guitar amp). . . I've been really interested by the idea of speakers as instruments in electronic music, so having a speaker that's disconnected from the rest of the electronics with totally different sets of processing parameters was something I wanted to explore.” The piece will feature Gabe Heinemann on alto saxophone. - JA TIMARA @ NIME 2018 October 19, 2018 TIMARA was represented this year at the New Interfaces for Musical Expression (NIME) conference at Virginia Tech in Blacksburg, VA from June 3-6. NIME is an international conference featuring research, demos, musicians, and performers specializing in cutting edge and forward-looking musical interface design from all over the world. This year, third-year student Rachel Gibson presented a poster-demo of her research on The Textural Theremin Expander (TTE), which explores textures the theremin can produce when its sound is processed and manipulated through a Max/MSP patch and controlled via a MIDI pedalboard. Gibson worked with TIMARA Technical Director Abby Aresty on this project. Her work was met with great enthusiasm from conference participants. NIME 2018 also included performances by Oberlin alums Hunter Brown (Percussion Performance/TIMARA, minor '17), Alex Christie (TIMARA/Composition '09), and Eli Stine (Computer Science/TIMARA '14). TIMARA faculty Aurie Hsu performed a collaborative piece with Rutgers professor, Steven Kemper, Why Should Our Bodies End at the Skin? for sensor-equipped belly dancer, robotic percussion, sound exciters, and live sound processing. Why Should Our Bodies End at the Skin? was commissione by the Ammerman Center for Arts and Technology for the 2018 Biennial Symposium. - AH What I Didn't Say installation October 10, 2018 On October 12th, TIMARA Technical Director and Lecturer Abby Aresty will lead the creation of an installation entitled What I Didn't Say. The collaborative sound installation is part of the Crafting Sound: Hidden Voices workshop for non-binary individuals and women in cisman-dominated STEAM fields. This event was created by Oberlin's Center for Learning, Education and Research (CLEAR) and the TIMARA department. What I Didn't Say will consistent of a series of cards arranged on a single collective paper quilt. Each card will have an individual electromagnet made out of copper tape with a small recording and playback module. With the module, participants will record responses to the prompt “When x, what I didn't say was…” The final paper quilt will be hung in a quiet public space. Aresty explains that “the installation puts the onus on visitors to seek out and actively listen to the experiences and thoughts of women in STEAM. Installation visitors are given equipment that allows them to find and hear the participants' recordings - entirely inaudible to the naked ear - transmitted through electromagnetic waves.” The Hidden Voices workshop will take place October 12th from 4:30 - 7:30 PM in the Science Library. All non-binary and women students, faculty and employees working in cisman-dominated fields are welcome. The event includes free food, a panel and facilitated discussion, and a DIY electronics workshop. RSVP here. - JA Students Learning Machine Learning October 1, 2018 On October 1st, media artist Eunsu Kang will visit Technical Director and Lecturer Abby Aresty's TECH 350 class: Workshop in Media and Music Technology. Kang is Special Faculty at the Carnegie Mellon School of Computer Science, focusing on Machine Learning and Art. A three-time recipient of the Korean National Grant for Arts, she has presented research at ACM, ICMC, and ISEA. Her work, which focuses on “audiovisual spaces that interact with people,” has received praise internationally for its “seamless integration of arts disciplines and innovative techniques” (University of Akron Ohio). Last September, Kang's solo exhibition “FACE” was shown at Youngstown State University. The installation featured machine learning neural networks which generated a series of faces after studying 200,000 real human faces. Described as “gorgeously diverse and intriguingly unique” by the Carnegie Mellon University School of Art, the project is just one example of the wide breadth of work created during her career. Kang's TECH 350 visit will be at 7 PM on October 1st in the TIMARA recording studio. The class is open to anyone who wishes to attend. While at Oberlin, she will also visit Professor Cynthia Taylor's CSCI 313 class: Human Computer Interface. - JA TIMARA visits Laurel School during Tinkering Week May 23, 2018 The TIMARA Department recently visited a group of 6th grade students during their annual Tinkering Week at the Laurel School, a private all-girls school outside of Cleveland, OH. Laurel's Tinkering Week has become something of an annual tradition for TIMARA, as students and faculty have visited Laurel for the past 6 years to lead sound-related workshops, take students on soundwalks, and to teach students the basics of field recording. This year, TIMARA staff and faculty Abby Aresty and Aurie Hsu designed a new, hands-on, interdisciplinary workshop for Laurel, blending physics, technology, and sound into a fun-filled 90-minute adventure in making art with sound. TIMARA students Margaret McCarthy, Helen He, and Julia Mills joined Aurie and Abby in co-leading the workshop. In the workshop, students and mentors used induction coils and amps to go on a scavenger hunt for invisible electromagnetic fields. We used magnets, electromagnets, and index card diaphragms to make their own microphones and speakers. Then, we built homemade contact microphones from piezo discs and used surface transducers to turn everyday objects into speakers. We wrapped up the day with a rousing improvisation to a frog-themed cartoon, using all of our homemade technologies as well as one of a kind instruments created by TIMARA friend Kyle Hartzell. The Laurel students were enthusiastic and bonded immediately with their Oberlin mentors, asking wonderful questions such as "How do I study this in college?" and "Can you come back for seventh grade?" Reflecting on the experience, Aresty said, "It was so rewarding to see our students mentor these girls - they did an incredible job, and the Laurel students clearly got so much out of working with them. Who knows, maybe there were a few future TIMARA majors in the room?" Plans are already in the works for next year's tinkering week, scheduled for Fall 2018. - JA Rainforest IV in new TIMARA Gallery May 16, 2018 Under the guidance of Technical Director Abby Aresty, six students in TECH 301 (Sound Art Installations: Design and Construction) recently performed David Tudor's "Rainforest IV" as a class project. Tudor, a pianist, composer, and renowned figure in the new music community, created "Rainforest IV" during a 1973 workshop in New Hampshire. Born out of a 1968 piece entitled "Rainforest" (originally commissioned by choreographer Merce Cunningham), the part-performance part-installation is a compelling experiment in space and audience interaction. Composers find resonant objects to suspend in the performance space, and then use their own sonic materials to excite the objects. In a video reflection, student Julia Mills noted, "My friends had a lot of fun in 'Rainforest IV' even though this kind of experimental installation is not usually their kind of bag... I know they had a really great experience. They knew I'd worked really hard on it, and I think that kind of motivated them to scope out every object and stay for quite a long time. It was very cool to see them interact and have fun with it." The two hour installation and performance took place in TIMARA's recently renovated gallery space; attendees were encouraged to experience the installation at their own desired pace, wandering and interacting with the resonant objects along the way. - JA Aurie Hsu tenure-track April 25, 2018 This year, composer Aurie Hsu accepted a tenure-track position in the TIMARA department. Hsu taught as a visiting professor at Oberlin during the 2015 and 2016 academic years. Previously, she taught at the University of San Diego and the Mason Gross School of Arts at Rutgers University. Her hiring is an exciting milestone in the program's growth, marking the first time in department history in which there have been three tenure-track TIMARA professors (instead of two with one visiting professor). Hsu, a prolific composer, pianist, and dancer, brings an impressive array of talents and knowledge to the department. Her compositional work has been performed by ensembles including the Da Capo Chamber Players, Relâche, NOW Ensemble, and the Talujon Percussion Quartet, with presentations seen at NIME, ICMC, SEAMUS, MOCO, SIGCHI, Pixelerations, Third Practice Festival, Acoustica 21, the Logos Tetrahedron Concert Hall (Belgium), the Cité International des Arts (France), and the TivoliVredenburg (The Netherlands). Hsu's compositions span acoustic, electroacoustic, and interactive realms. This includes the development of the Remote electroAcoustic Kinesthetic Sensing (RAKS) system, a wireless sensor interface for belly dance designed in collaboration with composer Steven Kemper, which was utilized in her ICMA award-winning piece Shadows no. 5 (2010) and Why Should Our Bodies End at the Skin? (2018), an Ammerman Center for Arts and Technology commission. Beyond her compositional work, Hsu is also an accomplished pianist. She frequently performs her own prepared piano pieces. The San Francisco Classical Voice has praised her playing as "incendiary" and as having "dazzled the audience." Hsu is also a skilled dancer; a former member of the Fire in the Belly Dance Co. (2005 - 2012), her interest in dance and composition often overlap in engaging studies of physical and musical gesture. Hsu says "I am elated to join the Division of Contemporary Music faculty at the Oberlin Conservatory. I am excited for the opportunity to work alongside incredible my colleagues in TIMARA, Peter Swendsen, Tom Lopez, and Abby Aresty. I am constantly inspired by all of the students involved in TIMARA. Their creativity, dedication, and imagination is unparalleled. Oberlin was essential in shaping my own musical and creative life from my piano performance training to my interest in experimental and electronic music. It is an immense privilege to have the chance to teach and grow at Oberlin, which is so special to me." - JA TIMARA Re-Launches SAW 2018 March 20, 2018 From June 16-23 this summer the TIMARA Department will host the Sonic Arts Workshop (SAW). The electronic music workshop, which has been offered for many decades, will relaunch this year after a skipping 2017 due to renovation work. Last summer, the entire TIMARA studio complex was renovated, including the addition of two new studios. Official announcements (with photos!) about the renovations will be posted here shortly. Needless to say, we are very excited about our facilities and look forward to sharing them with our SAW participants. Dedicated to high school students ages 15 years and older, the SAW provides broad exposure to the world of electroacoustic music and offers a variety of technical and creative resources. Topics will include field recording, real-time techniques, audio processing, and discussion of electronic music repertoire. The program is great for students headed towards conservatory studies, as well as those interested in experimenting with electronic and computer music. You can find more information, including the application, here (financial aid is available). When I attended as a high-school student the program provided gave me a direction and a passion. I couldn't recommend anything else if you are interested in exploring sound as a medium of creation. - Will Johnson New TIMARA Technical Director March 7, 2018 2017 saw the hiring of Abby Aresty as Technical Director and Lecturer for the TIMARA department. A renowned sound artist and composer, Aresty's work explores human relationships to the natural world and built environment through engaging sound experiments which "seek to provoke audience reflection on habitual listening practices in contemporary sonic environments." Aresty's installations have been featured on NPR's All Things Considered, and praised by news outlets such as the Seattle Times and the Pittsburgh Post-Gazette. She's held fellowships at the Studio for Creative Inquiry at Carnegie Mellon University, Grinnell College, and the Acoustic Ecology Lab at Arizona State University's Herberger Institute of Design and the Arts. Her hiring coincided with a major renovation of the TIMARA studios. In her arrival, she's played an integral role in the reorganization and updating of the studio spaces. The job of Technical Director and Lecturer was previously held by John Talbert, who retired in 2017 after nearly forty years in the role. Aresty says "I met my first group of TIMARA students by chance at a winter residency at the Banff Center for the Arts in January 2013. They were a great bunch -- friendly, funny, creative, supportive and welcoming. When I visited TIMARA last Spring, I found this same wonderful sense of community among the students and the faculty here on campus. It's a privilege to be a part of such a wonderful creative community and I am grateful for my students and colleagues every single day." - JA Premieres and Reunions at TIMARA Faculty Recital February 22, 2018 On February 23rd, the TIMARA faculty will hold a performance of original works at 8 PM in Fairchild Chapel. The program features music by all four faculty members, including premieres of new compositions by Tom Lopez, Aurie Hsu, and Abby Aresty, with instrumentation ranging from live electronics to found objects, percussion instruments and prepared piano. This event marks Aresty's first performance as an official TIMARA faculty member since her hiring as Technical Director and Lecturer. TIMARA Chair, Peter Swendsen, will reunite with bassoonist and Director of Conservatory Professional Development, Dana Jessen, to perform a collaborative piece from Jessen's album "Carve." The composition, entitled "Fireflies in Winter," has not been performed in Oberlin by the pair for two years. He notes that since then, Jessen has performed the composition across Europe and America, and that he looks forward to presenting it again on campus. - JA Stephan Moore shares industry insights February 16, 2018 The first week of classes was especially busy for the TIMARA Department this semester! On February 8th, sound artist Stephan Moore visited a combined group of TECH 204 Performance Technology Workshop students and TECH 202 Real-time Techniques students to deliver a lecture about his work. Moore teaches at the Sound Arts and Industries program at the Northwestern School of Communication. As a past president of the American Society for Acoustic Ecology and member of the Wingspace Design Collective, Moore has led a career of diverse sonic pursuits. From six years spent touring with the Merce Cunningham Dance Company (2004-2010) to curation of several art installations across the globe and collaborative engagements with popular artists such as Animal Collective (2010), his experience in the world of art, music, and composition made for a lecture of great insight to the TIMARA community. - JA Eastman Presser returns February 12, 2018 Oberlin alumnus and TIMARA graduate Eastman Presser ('14) will perform an original work entitled "Good Listener" tonight in Bibbins 237 at 8:30 PM. According to Presser, "Good Listener is one possible iteration of an ongoing practice that examines listening critically. It is an invitation to listen, in different ways, to different sounds, some of which might happen to be music. This partially improvised performance combines and borrows from live music, lectures, stand-up comedy, and installation to create an auditorium in which how we make meaning through listening is questioned." Presser is currently studying Performance Practice as Research at the Royal Central School of Speech and Drama in London, in pursuit of a Master of Fine Arts degree. His visit to Oberlin included a lecture to the collective TIMARA studio and to the TECH 204 Performance Technology Workshop class. - JA John Talbert retires May 12, 2017 John Talbert began working at Oberlin during the summer of 1978 when the Ohio Scientific Instruments microcomputer was brand new. John has been instrumental in helping the TIMARA Department embrace every technological development since then: from reel-to-reel tape to MIDI and the DX7; from simple circuit design to Arduino programming and iOS apps; and everything in between. "That's what was so cool about the job," he says. "Every year it was a new job. Every year things changed." Erich Burnett interviewed John recently, you can read more here. You can also learn more about John's various projects on his personal site. The photo above shows John in his studio circa 1989. Hunter Brown wins Allen Strange Award May 8, 2017 Hunter Brown '17 was awarded the Society for Electroacoustic Music in the United States' (SEAMUS) Allen Strange Award for "Best Composition by an Undergraduate Student" at the 2017. Brown's winning piece, "Bicorporal," is described in its program notes as "an interactive electroacoustic performance system that uses timbre and amplitude tracking to manipulate digital signal processing modules. This enables the performer to control all electronic components of the performance by simply playing the acoustic instruments." Brown's interests include free improvisation with percussion and electronics, audio-visual work, sound art, audio engineering, composition for dance, and machine learning. This summer Hunter will be working as a recording engineer at the Marlboro Music Festival and School, and in the fall he will be attending Dartmouth College to pursue a Master's Degree in Digital Musics. More information and works by Brown can be found on his website: www.hunterbrown.net. Hunter appears in the photo above (on the right) receiving the award from Eli Fieldsteel at the SEAMUS Festival. Sounds of TIMARA...Today! April 19, 2017 Judy Jackson (18') is featured in this online article. She can't pick her favorite part of Oberlin Conservatory's TIMARA Department. She loves everything about it. "I'm 100 percent adamant that it's the best major on campus," she says. "It's a really strong community with some really wonderful people. There's a good exchange of ideas that happens within the department." March 3, 2017 The Talbertronics Festival is underway! Join us in our celebration of John Talbert and his nearly 4 decades of incredible work in the TIMARA Department. We are thrilled to have many guests on campus, including former faculty: Gary Lee Nelson, Lyn Goeringer and Joo Won Park; former students: Peter Blasser, Leif Shackelford, Travis Johns and Patrick Richardson. We have a studio open house, two workshops, three lecture/demonstrations, and three concerts. The studios are buzzing today as folks set up their open house installations. If you're nearby, please join us. If you're far away, drop John a message! TIMARA releases vinyl February 28, 2017"Electroacoustic Music at Oberlin" was just released by Hanson Records. It features music by current and recent TIMARA students and faculty: Lyn Goeringer, Mitchell Herrmann, Sarah Snider, Evan Zierk, Matt Omahan, Paulus Van Horne, Charlie Abbott, Tom Lopez & Stephen Sloan. Judy Jackson performs on the Alles Machine January 30, 2017The Alles Machine, also knows as the Bell Labs Digital Synthesizer, was built in the 1970's. This video recording features Laurie Spiegel in 1977. In 1981, the instrument was donated to the TIMARA Department, although it was barely functioning and lay dormant till recently. TIMARA engineer, John Talbert, has repurposed the machine for future generations of TIMARA composers - thanks, John! You can read more about John's creative technical work here:

Sign-up deadline: Wednesday 16th January 2019 Arts & Humanities Research Cluster Event: Critical Theory in Hard Times International Anthony Burgess Foundation Wednesday 27th February 2019, 12:00 – 17:00 What does it mean to be critical in our current situation? What are the basic tasks of critical theory in the twenty-first century? To what extent have past critical theories diminished in their capacity to articulate visions of emancipation via the transformation of existing social orders? In the twentieth century, successive generations of critical theorists advanced visions of emancipation that sought to explain and overcome the obstacles to the realization of freedom. According to Adorno and Horkheimer, instrumental rationality and the ‘culture industry’ were barriers to emancipation; for Habermas, it was the colonization of communicative and deliberative space by formal mechanisms of money and power; more recently, Honneth has diagnosed moral grammars prohibiting processes of genuine intersubjective recognition. For all of these thinkers, social reality remained in a state of pathology. As a new generation of engaged scholars, we view it as an urgent task to reconsider the role of critical theory in our own times, examining the distortion of life processes expressed in terms of reification, alienation, misrecognition, anomie, ressentiment, subalternity, and beyond. How can we engage the traditions that produced these concepts to address the contemporary socio-political malaise? We are seeking to broaden the lines of communication between different currents of oppositional and emancipatory investigation: from postcolonial and critical race theory, feminist and queer theory to critical disabilities studies and critical ecology, from deconstruction and genealogy to the theories of praxis inspired by critical streams of Marxism. How do these traditions intersect and (mis)communicate with each other? There is a real and urgent need for intense cooperative and impactful research on the varieties of intersecting social pathologies and misdevelopments endemic in current neoliberal capitalist society. We are interested in papers that address, but are not limited to, the following areas: – Democratic crises: the rise of populism on the Left and Right; the decomposition of contemporary public spheres; electoral fraud; demonization of expertise; breakdown of trust; reification of national identity. – Reactionary politics: significant threat to legal and social achievements of feminist activism since the 1960s; explicit and unabashed forms of racism and xenophobia, particularly immigrant-baiting; nationalist, colonialist, fascist, imperialist imaginaries contra globalized political narratives; transphobia both in some feminist movements and from social conservative attitudes; push-back to gender neutrality and non-binary gender categories; multi-level resistance to #MeToo; multi-level resistance to #BlackLivesMatter. – Ecological crises: rapid escalation of global warming due to human practices; non-willful environmental ignorance; willful environmental ignorance. – Social crises: ever-increasing homelessness; unfettered rental markets; ever-increasing mental health problems; ever-increasing levels of wealth and income inequality. Like previous events of its kind, this research cluster event is designed to encourage and stimulate interdisciplinary and multidisciplinary collaboration between researchers based in the Faculty of Arts & Humanities who are currently considering the cultural, historical, material, environmental, political, and philosophical dimensions of contemporary social crises. Contemporary social reality necessitates that critics produce and promote new theoretical models, new conceptual schemes, new discursive vocabularies, new ways of making sense of crisis situations that both accurately describe currently deficient social reality and provoke ways of meaningfully transforming social reality out of a state of pathology. The event hopes to attract colleagues working in these areas to start an important and needed series of conversations. The convenors are: – Dr. Sadiya Akram [email@example.com] (Politics – Department of History, Politics and Philosophy) – Dr. Paul Giladi [firstname.lastname@example.org] (Philosophy – Department of History, Politics and Philosophy) – Dr. Robert Jackson [email@example.com] (Politics – Department of History, Politics and Philosophy] The event will take the shape of a half day, starting with lunch. The event will follow a format similar to ‘speed-dating’, with each participant invited to deliver a (short/pithy/memorable) 5-minute presentation on their work. (This means definitely no more than 2-3 powerpoint slides!). There will then follow 5 minutes for Q&A. The aim is to create an inspirational ‘buzz’ from listening to what everyone is currently working on and what they are hoping to achieve in the not-so-distant future. In addition, there will opportunities for productive mingling during refreshment breaks. Each event will conclude with a plenary discussion of next steps (chaired by the three lead researchers). To sign up, please email Linsay Horsfall L.Horsfall@mmu.ac.uk by no later than 16thJanuary 2019. Please provide: · Whether you are a member of staff or a PhD student · Your research specialism · Title of your presentation · Any special access or dietary requirements Ideally, we would want everyone to deliver a short presentation but, always provided there is a plausible reason, attendance-only is also perfectly acceptable. For further information please contact the event convenors directly.

Libby Mayfield is back to discuss why the phrase “not all men” completely misses the point. Reminder that we are always looking for blog submissions! Email email@example.com with your words! “No, I know it’s not all men, but that’s not the point”. It’s a phrase I’ve had to say too many times, to too many people, when I’ve told someone that I felt intimidated on the street by a male stranger. Everyone who’s ever heard someone say, “but it’s not all men”, will know what it’s like to be stumped, trying to explain to someone you know, someone you might care about or trust a lot, that if you didn’t know them and saw them on the street at night and you were on your own, you’d be as wary of them as you would be of any stranger. Sometimes it’s hard to explain how you know it’s not all men that may hurt, frighten or harass you, but there are situations where it feels like it could be. I find it interesting that whenever I say something that apparently requires this response, the person, nine out of ten times a man, says not “all” men – never not “just” men. Women and non-binary people can also attack or harass vulnerable people of any gender, but for some reason the rhetoric, the line everyone hears and knows, is “not all men”. Everyone knows that not all men are the “problem”, as it seems so often portrayed, but such a high percentage of women of victims of street harassment, and every few months there will be a news story on a kidnapping, mugging, or attack on someone walking late at night. The average woman walking down a poorly lit street to get home at night, even upon seeing a shadowy figure across the road, will know that these incidents are not all that common – but it won’t feel like that in the moment. Of course, some people will be of the belief that if you don’t feel safe walking down the street, then you should call a taxi, get a lift, or walk another route, but as a human being, I see no reason why I should sacrifice my freedom just because street crime is so high. Again, it’s not all men, but on a dark night, it feels like it could be. This happens up and down the country, and throughout the majority of the Western world. It’s at such a level that it’s not a personal issue that only a handful of victims are having problems with, but a social one. It’s not a bout of paranoia caused by a story I heard from a friend – it’s the fact that every time I’ve waited for a lift in the early hours of the morning on my own, I’ve been intimidated by someone on the street. Sometimes approached, sometimes groped, and sometimes threateningly. Unfortunately whenever this happens , it’s been a man who’s intimidated me, so forgive me if I sigh and say, “I’m sick of drunk men’s attitudes late at night”; because I am. But I also know that not all men are to blame. If I tell you a story about an incident where I’ve felt unsafe at night, and you respond with, “yeah, but not all men are like that”, you’re undermining the purpose of me telling you. On almost every occasion when I’ve spoken to men my age about the street harassment I’ve received, they’ve been surprised. I talk about it to make more people aware of how scary it is, and to have my story swept aside by telling me “not all men are like that” is insulting. Stop using the phrase. No one has ever said all men are the problem. In future, instead of leaping to your own defence, try to help the victim – offer to wait with them if you’re both out late, or offer to call so that they might be less likely to be approached. But don’t dismiss their story by trying to clear away an accusation that was never made.

ANTIGRAVITY Presents: NO MAN Photographs from the Collection of Adrienne Battistella December 9, 2020 – January 9, 2021 Physical Opening: Saturday Dec 12, 2020, 7-10pm NO MAN features images from the collection of Adrienne Battistella, a New Orleans-based photographer who has worked in film and digital media for over a decade. Many of these photos have been featured in ANTIGRAVITY Magazine, a black-and-white monthly publication focused on New Orleans artists and culture bearers (and those passing through). NO MAN celebrates the energy and spirit of female and non-binary musicians, such as Dolly Parton, Alynda Segarra (Hurray for the Riff Raff), Kallie Tiffau (GLAND), Valerie June, Adia Victoria, Ani DiFranco, and more.

Feminism, Fat and Hair. Tumblr. These were the ingredients chosen to create the perfect little Social Justice Warrior. But Professor Misandry "accidentally" added an extra ingredient to the concoction CHEMICAL male tears. And thus Sunflower Punk of Social Justice was born! Using her ultra super powers she dedicates her life to fighting oppression and the forces of patriarchy! Puerto Rican, non-binary queer, atheist, intersectional feminist, artist and mom to the best kid in the world. I write mostly about my experiences with homelessness, feminism and being a person of color raising a girl child.