FSM

‘In Control and In Charge’
by Michelle Sharp

“There are key differences between being in control and being in charge. Control is being able to dictate actions and itinerary, able to create choices for others, anticipating changes and having contingency plans. Being in charge is about handling whatever comes your way, regardless of if you are able to control it...”
Find this editorial in full: Volume 3 Issue 11, distributed across NE Wisconsin, now available on our website.
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Acclaimed poet Paul Tran will give a reading in Harper Hall the evening of Thursday, January 18th at 7pm.
Sponsored by the Mia Paul Poetry Series and the Lawrence University Pride Network, this event is free and open to the public. Paul is the author of the debut poetry collection, All the Flowers Kneeling (Penguin, 2022), winner of the California Independent Bookseller Association Golden Poppy Award and Wisconsin Library Association Poetry Award, finalist for the PEN Open Book Award, Lambda Literary Foundation Transgender Poetry Award, and the Kate Tufts Discovery Award, and named “Editor’s Choice” by The New York Times, “Best Book of 2022” by The New Yorker, and “Books We Love” by NPR. Paul is an Assistant Professor of English and Asian American Studies at the University of Wisconsin, Madison.
A reception will follow the reading in the Harper Lobby.
Thursday, January 18
Event by Lawrence University Pride Network ft
Harper Hall 7:00 – 8:30 PM

‘Algorithmic Aesthetics & the Sad Girl Archtype’
by Lauren Woodzicka

“n September 2022, Fiona Apple’s music was abruptly removed from TikTok. Speculation and frustration ensued regarding the intent and basis of the decision, largely focusing on how Apple’s music had come to represent the “sad girl music” archetype, along with the tracks of other female musicians like Phoebe Bridgers and Billie Eilish. Sad girl music had become an entire brand, from Spotify’s official “sad girl starter pack” playlist (with the subheading: sapphic songs that described your music taste as yearning) to Pinterest boards titled “sad girl aesthetic”. The typecasting of female artists is simultaneously seen as a method of empowerment and a trivial exercise in commodification. By creating new genre labels and associations, the music is rendered new and interesting, only to become mutated through algorithmic comfort.”
This editorial can be found in full, featured in print with Volume 3 Issue 11 and now available on our website.