By JULIE HUANG  — arts@theaggie.org 

Album: “After Fillmore County” by Vansire (2020)

Vaguely describing a road trip through Vansire’s home county in Minnesota, the collection of songs featured on “After Fillmore County” slowly moves toward a discussion of love, loneliness and the existence of inescapable truths. These themes sit at the heart of the album and permeate every track with a sense of hazy uncertainty that grows larger the longer the songs go on. Do the words “fall short of something profound” or do they instead reveal the existence of such? The album itself strives to avoid certainty in its lyrics, enhanced by its sonic quality of dreaminess, and allows the listener to walk away feeling something intangible.  

Song: “Vapour Trail” by Ride (1990) 

With its distorted instrumentals, subdued vocals and melancholic lyrics, this song seems to perfectly encapsulate the bittersweet experience of nostalgia. Featured on English rock band Ride’s first album “Nowhere,” “Vapour Trail” is an elegant example of the shoegaze genre and its many merits. As I can attest, it is also a great song to play on solo walks in late spring or early summer, when the sun is shining down and stirring up the desire to reminisce and reflect on the passage of time. 

TV Show: “The End of the F***ing World” (2017 to 2019) 

“The End of the F***ing World” follows two teenagers who run away together to take a road trip across England, hoping to get different things out of their shared experience. The protagonist, Alyssa, seeks an opportunity to escape her messy home life with a thrilling cross-country adventure, while the other protagonist, James, seeks an opportunity to kill her and prove to himself that he is truly a 17-year-old psychopath. The intersection of these highly contradicting motives creates a dynamic between the two that is endlessly watchable and yet provides many opportunities for character development, leaving the protagonists in vastly different places than where they start out from. Although the show’s offbeat premise is often played up for dark comedic effect, it is also a way for “The End of the F***ing World” to contextualize its characters and their actions within circumstances which often feel uncomfortably realistic, creating a funny yet sharp and dramatic atmosphere for viewers. 

Book: “The Carrying” by Ada Limón (2018)

Ada Limón’s sophomore effort at a collection of poetry delivers on all accounts. Her poems showcase technical skill more than deserving of the National Book Critics Circle Award, but the most awe-inducing aspect of “The Carrying” is Limón’s ability to infuse each line of her poetry with feelings that are tender yet forceful in their intensity and vulnerable yet piercing in their clarity. The core concept tying this collection together appears to be an examination of what it might mean to live year after year in a changing world. What is constant, and what is certain? Limón’s exploration of these ideas encourages readers to widen their perspective and appreciate the smallest details. 

Written by: Julie Huang — arts@theaggie.org

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By SAVANNAH ANNO — arts@theaggie.org

Every Thursday, from May 2 to June 7, the UC Davis Basement Gallery is hosting its annual series of Senior Shows. Featuring the work of three different graduating fourth-years each week, the Basement Gallery gives students a final opportunity to exhibit all they have learned over the past four years. 

“I think it was enlightening being able to get it done and realizing how much we’ve learned since we first started,” Danielle Dizon, a fourth-year art studio major, said. “We’re so much more used to installing and showing works now compared to when we were freshmen. Our four years actually gave us skills to put towards what we were doing, and we were actually able to throw a show together.” 

Dizon, along with fourth-year art studio and sociology double major Madeline Dei Rossi and third-year art studio major Noel Bresson, were the artists of The Basement Gallery’s second Senior Show on May 9, titled “The Singular is Plural.” 

Each show is identified by a unique title chosen collectively by the three featured artists to reflect an overarching theme. 

“We noticed that all of our works individually are really self-referential and about self portraiture,” Dizon said. “But we were reading across the themes larger than that. Our work is not so much about ourselves but more about how we relate to the collective and how [we], as singular people, are bigger than ourselves.” 

Exhibiting 24 different works, “The Singular is Plural” includes photography, painting, sculpture, charcoal drawings and more. Each artist included a range of mediums and focuses in their pieces: the self, patriarchal social structures, the environment, depictions of truth and even insects. 

Despite varying artistic styles, the show was able to flow together and create a reflective, intimate space as visitors made their way through the room. Filled with close friends and fellow students, The Basement Gallery was alive with celebration as they studied and discussed the graduates’ final pieces as students. 

“Seeing Maddie [Dei Rossi] is really great, because I’ve always known that she’s really talented,” Chelsea Chhem, a fourth-year art history major, said. “It’s so nice to see all of her works in one space and really consolidate everything she’s been thinking of throughout the year.” 

“Showing your work is nerve-wracking, but in the best way,” Dei Rossi said. “I’m feeling deep gratitude.” 

Not only does The Basement Gallery function to congratulate the fourth-years, it also gives them a final opportunity to practice curation as well as gallery planning, providing hands-on experience for their future careers in the art world. 

Esther Jung, a fourth-year art studio major, discussed the importance of the gallery’s existence on campus, proudly identifying as “The Basement Gallery’s biggest fan.” 

“I love the student-centered nature of it all,” Jung said. “I think it’s really good at actually preparing art students for a future career. A big factor that college art curriculum lacks in general is practical application, actually getting involved in the art world, in the people, and actually setting up art in a gallery.” 

Solely student-led, The Basement Gallery is different from other UC student galleries, which often utilize outside curators. As a result, The Basement Gallery gives featured artists like Dizon, Dei Rossi and Bresson complete freedom in designing and preparing their shows. 

“There’s a lot of work that goes into this stuff,” Bresson said. “You don’t really know until you’re doing it.” 

“It’s mostly just a ton of doing and re-doing,” Dei Rossi said. “I think that’s the hardest part and what’s the most time consuming. Then, there’s leveling things out, considering how people will interact with the art and thinking about where each piece should go.” 

With the amount of time put into each show and the range of pieces exhibited by each artist, the Senior Shows serve as an intimate depiction of each graduate’s time and experience at UC Davis. While participating in the shows is optional, Mia Rassam, a fourth-year art studio major and co-lead director, explained that most fourth-years jump at the chance to be featured in the gallery and celebrate their final bodies of work. 

Hosting six different shows, The Basement Gallery will be featuring the work of 18 graduating seniors this year. Apart from “The Singular is Plural,” other past titles include “Still,” which featured the work of fourth-year art studio majors Rachel Li, Nelsy Perez and Evelyn Alvarez on May 2, as well as “Las Tres Chicas,” by fourth-year art studio majors Ary Calderón-Miramontes, Ji Ho Kim and Paola Vazquez on May 16. 

Their next Senior Show will open from 6 to 9 p.m. on May 23, showcasing the work of fourth-year art studio majors Mia Rossum, Cerina-Marie Smit and Mariam Tawfik. 

“Our show, ‘They’re Hysterical,’ is all about female-centric conversations, tension through material and healing,” Rossum said. “We’ve had such a great time organizing the show, and we’re honored to share it with the Davis community.” 

Exhibiting shows every Thursday up until June 7, you can find information on the following events through The Basement Gallery’s website or Instagram, @ucd_basement_gallery, and join the celebration, taking in the unique work and perspectives each artist has to offer. 

“It’s kind of overwhelming, especially when there’s a lot of people here, but it’s nice to feel like there’s an end point for all of this,” Bresson said. “This feels more like a graduation than anything else.”

Written by: Savannah Anno — arts@theaggie.org 

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By SAVANNAH BURGER — arts@theaggie.org

Nestled in the coastal redwoods along the Russian River in Sonoma County, the town of Guerneville has provided a sanctuary for local and visiting LGBTQ+ people for decades. Known affectionately as “The River;” it is regarded as one of the most safe and well-known havens in northern California for people of the LGBTQ+ community.

Although the gay scene has made Guerneville what it is today, it didn’t hit the town until somewhere in the mid-1900s. Before that, Guerneville was predominantly known as an ex-logging town, originally named “Stumptown,” because of all the clear-cutting that occurred in the area. When the town was established in 1877, it provided a large quantity of lumber used to build the first infrastructures and buildings in northern California following the discovery of gold.

The town was later named after one of the loggers that controlled the area and owned the sawmill, a Swiss immigrant named George Guerne. Because of the extreme logging practices, most of the redwoods in the Guerneville area are no more than 200 years old, as they were planted after the felling of thousands of old-growth redwoods. Now, only few remain, and a handful of them can be seen in Guerneville’s Armstrong Woods State Natural Reserve. 

After the logging industry went under, residents of California realized how beautiful of an area Guerneville is, and the town became a major vacation destination. Soon, train tracks were laid that connected the forest-encapsulated town with cities like San Francisco, which is a little less than two hours south of it.

During the 60s, however, as worldwide travel was becoming more popular, visits were starting to dwindle. Then the whole west of Sonoma County, where Guerneville is located, was hit with massive flooding. Just like that, Guerneville was practically wiped off of the vacation map.

Following this setback, a multitude of old, beat-up resorts and hotels were up for sale. It was here, in the 1970s, that a few members of the LGBTQ+ community began buying these properties. Soon, multiple gay-friendly resorts and bars were opening in the redwoods. Especially after 1975, when anti-sodomy laws were finally repealed in California, these queer spaces were able to be transparent and proud about their status of being gay-friendly and were able to directly cater to LGBTQ+ clientele.

Happening concurrently, the sexual liberation movement was in full swing, which attracted even more queer people to the redwood vacation town. Even when tragedy struck with the HIV and AIDS epidemic of the 80s and 90s, Guerneville remained steadfast as a refuge for those who were either personally suffering or had loved ones who were. 

It is also important to note that it was this point in time that really brought lesbians and gay men together, as it was largely the lesbian community that took care of the gay male community struck by the epidemic. This is why the “L” in the term LGBTQ+, which represents lesbians, comes at the forefront of the acronym. It’s a way to give respect to the lesbians who were caregivers during the HIV and AIDS epidemic.

Many of the original resorts, hotels and restaurants are still alive and well today, such as The Rainbow Cattle Company, The Woods Cottages & Cabins @ the Russian River, The R 3 Hotel, The Highlands Resort and more. As of recent decades, there have been new openings, such as the lesbian-owned Boon Eat + Drink and Boon Hotel + Spa. The woman who owns these two businesses, Crista Luedtke, is a renowned chef who has been featured in the likes of the New York Times, Cosmopolitan, Forbes and Food & Wine magazine, among others.

Guerneville also has a wide variety of LGBTQ+ events that happen throughout the year. Lazy Bear Week, one of the largest and most successful gatherings in the world for bears, a subculture of gay men, fundraises for charity every year. It’s happening this year from July 29 to Aug. 5. Women’s Weekend Russian River, which took place last weekend, happens every year to hold space for LGBTQ+ identifying women. There’s also the Russian River Pride happening between Sept. 19 to 21. These are just a few of the limitless LGBTQ+ gatherings held in the town.

Also boasting itself as a chapter of The Sisters of Perpetual Indulgence, a group of LGBTQ+ nuns that raise money for charity and promote joy, the town is a strong and established hub for the queer community. 

Welcome to people from all walks of life, Guerneville is an exemplary safe space and community in the redwoods that’s definitely worth the visit.

Written by: Savannah Burger — arts@theaggie.org 

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By LORENA ALVAREZ — arts@theaggie.org 

With graduation around the corner, many students are in search of the perfect white dress to pair with their stoles, cords and navy cap and gown. The question still remains though, why do graduating students put so much effort into finding the “perfect” white dress for their graduation ceremony and pictures? The Aggie decided to explore this more in-depth, piecing together the history behind the tradition of wearing white for milestones while also working in commentary from members of UC Davis’ Fashion and Design Society (FADS). 

Although wearing white to weddings is a controversial “rule,” this tradition did not begin until “1840, when Queen Victoria defied the usual practice by wearing a white dress to her wedding,” according to The Washington Post. Before Queen Victoria, wearing white to milestones was unconventional and not the standard that it is today. Queen Victoria may have set the curve for this time, but it still doesn’t fully answer the question of why graduating students across America choose to wear white for graduation today. 

Pachia Vang, the cultural studies of fashion and textile surface design: patterns and resists lecturer, spoke about the cultural meanings behind the color white. 

“White means different things in different cultures and contexts,” Vang said. “In the West, it has generally represented purity and is seen as a blank slate for new beginnings. This is why brides wear the color for weddings as they enter into new phases in their lives. We also see the color adopted as a form of feminism, worn by suffragists and continuing to influence the women in Congress today who will wear white pants suits in solidarity with one another.”

That said, Vang also acknowledged that in some cultures, white is not appropriate attire for every occasion.

“In some Asian cultures, however, white can represent death, which is also a type of new beginning,” Vang said. “These different contexts influence why people may choose to wear or not wear white for certain occasions.”

Expanding on the idea that color holds specific meanings, Julia Dang, the executive director and president of FADS and fourth-year design and English double major, noted clothing’s value.

“Fashion and clothing is your way of showing your personality and your emotions from the inside out,” Dang said. “It’s an unsustainable environment and industry, but we [FADS] push for sustainability, creativity and innovation.”

As a Vietnamese-American, Dang went on to comment on the traditional clothing practices in Vietnam, noting a story her mom told her while growing up about how she felt following her school’s dress-code.

“Traditionally when you are in school, in Vietnam, you wear an Áo dài,” Dang said. “[An Áo dài] is a traditional style white tunic dress for girls. It shows that you are capable of being feminine but also powerful in pursuing education. I remember my mom saying that If she didn’t get her dress dirty in school, she’d be like, ‘I did all of these activities, I participated in these chem experiments with my classmates, but I was still able to keep it clean.’” 

When asked why she thought many students gravitate towards white graduation dresses, Dang noted UC Davis’ school colors. 

“White matches most with UC Davis’ gold and blue,” Dang said. “White just matches best under a robe, it shows through more than other colors.”

FADS’ Chief of Internal Affairs, Irena Song, a design major with an emphasis in fashion, noted the trend’s dominance in student culture and how white dresses have become a symbol for graduation.

“When you take photos or when you’re standing next to each other, it looks very cohesive,” Song said. “When you choose one consistent color, it looks like they’re graduating. For example, when you see girls wearing white dresses around campus and see the photographer, you know they’re graduating without even needing to see their stole. The trend is for unity and to mark the occasion.” 

She continued talking about how students can add their own touch to their attire despite their choice to follow the trend, speaking about the value of wearing accessories that hold sentimental value. 

“Wearing something that feels meaningful to you, in terms of accessories, is a great way to show your personality,” Song said.

Eesha Bhagwat, one of the FADS officers and a fourth-year neurology, physiology and biology major, noted how graduates could add their unique style while still following the tradition.

“A cool thing to do would be to really go all in on the makeup and do really like out there kind of eyeshadow, like jazz it up rather than just a clean look,” Bhagwat said. 

She went on to note that wearing a white dress is a celebratory tradition that does not transcend people’s style or achievements. 

“When it comes to graduation, this moment is bigger than what you want to wear,” Bhagwat said. “You’re celebrating something you’ve worked so hard for. I hope people don’t get lost in that alone and forget that you can do what and wear whatever you want.”

While wearing white to graduation is an easy way to show unity and ensure that the attire pairs well with UC Davis’ cap and gown, graduation ceremonies are much more than just simply picking up your diploma. Graduation is a time to come together with friends and family to celebrate graduates’ accomplishments, whether that be through traditional cultural clothing or a minimalist dress. 

Written by: Lorena Alvarez — arts@theaggie.org 

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By NATALIE SALTER — arts@theaggie.org 

“Bridgerton” has been an icon of current pop culture since its initial break onto the scene in 2020. Since its debut, the show has aired two seasons and a spin-off mini-series and has returned this spring for a third season. Following the lives and loves of the affluent Bridgerton family, Netflix’s hit has taken a turn with each sibling as the season’s star. The first was the lovely Daphne, the second the uptight Anthony — and now, brother Colin steps into the spotlight, though perhaps the season’s true star is his best friend (and future lover) Penelope Featherington. Between Penelope’s secret life as the gossip panelist Lady Whistledown and her long-held feelings for Colin, this season has certainly been teased as one of great drama and romance. But has “Bridgerton” stuck the landing a third time?

At first glance, “Bridgerton” season three possesses all of the glamor and vibrance of its preceding installments. As always, the show is all glittering dances, pastel gowns, magnificent gardens and exquisitely adorned ballrooms. The first episode has a ball of its own, which is familiar territory, if not a little too familiar by now. Many of the show’s sharpest moments of romantic tension or most incriminating moments of drama happen on and around the ballroom floor, and without much variety in the way of dress and color, these sequences are perhaps becoming a little worn. 

It might be worth acknowledging that some of the most iconic and enjoyable moments of
“Bridgerton” — Kate Sharma and Anthony racing horses through the woods, Eloise Bridgerton shunning high society to explore feminist movements in the city’s poorer corners — happen when the show pushes itself beyond territory that is already so well known. Still, the series which once provided escapism during a global lockdown offers pleasant comfort in its resplendent sets, and the viewer who is willing to suspend their disbelief for its most audacious moments (a mishap with a hot air balloon comes to mind) will be delighted by the third season’s story. 

“Bridgerton” does not just follow its central couple but rather includes storylines for its supporting cast as well. In season three’s case, this section of the show’s runtime is a mixed bag. Second brother Benedict Bridgerton was next in line for a season, being the next book in the source material novels after Daphne and Anthony, but was pushed off in favor of Colin and Penelope. As a result, Benedict’s arc this season feels stagnant and at times downright unnecessary, as if the writers were uncertain of where to put him as the last Bridgerton sibling without a clear romance in line. 

Still, there are places where the season thrives, such as in the unexpected friendship that blossoms between Eloise and the once-mean girl Cressida Cowper. Their scenes are surprisingly delightful, and the strong-willed Eloise continues to enchant in each of her scenes. Likewise, the quiet Francesca makes her debut, and though her scenes are understated in comparison to the dramatic romances of her siblings, she still makes a lovely impression on the viewer. The preceding season’s leads Anthony and Kate hover in the background of the story in domestic bliss; Kate’s authoritative personality and clever wit inject a wonderful dose of energy into the family dynamic, and she fits in as perfectly as if she were meant to be a Bridgerton all along. 

What about the season’s stars? After two seasons of Penelope’s bashfully longing glances and Colin’s awkward obliviousness, tensions between the two have reached a head thanks to the former’s new fearsome attitude. “Bridgerton” is known to employ classic romance tropes to move along each love story, such as Daphne and the Duke’s faux relationship plot or Kate and Anthony’s relentless arguing which alchemizes into affection. This time, Penelope calls upon Colin to teach her how to find herself a husband, a setup that clearly makes way for the two to fall in love with each other instead. Though Colin and Penelope are meant to fall under the trope of “best friends to lovers,” one might argue that their supposed friendship has been lacking in its appearances on screen (in previous seasons, Penelope spends much more time laughing with her now-estranged friend Eloise, and Colin is more often found with his brothers than his childhood companion). Still, the chemistry between the actors is enough to electrify their scenes even without a solid foundation, and fans who have long awaited their tale will likely be satisfied with all the highs and lows of their romantic journey. 

Where does this leave the season as a whole? It’s difficult to say, considering that only the first four episodes of “Bridgerton” season three are released and the next four are slated for June 13. The fourth episode of this cluster leaves viewers with a shocking moment between the season leads, as a promise of even more excitement to come. As it stands, the third season of “Bridgerton” is a bumpy one, but even with its lows, the highs are high. If the second part is able to cut loose the threads that are bogging it down and truly give its central romance room to blossom and breathe, it may very well be a diamond of a season. If not, there are still plenty of Bridgerton siblings left to be wed off and plenty more chances for Netflix’s dazzling drama to shine. 

Written by: Natalie Salter — arts@theaggie.org

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By NATALIE SALTER — arts@theaggie.org 

In September of last year, Icelandic-Chinese singer-songwriter Laufey released her long-awaited sophomore album, “Bewitched.” A beautiful blend of jazz and bedroom pop elevated with magnificent orchestral elements, the album proved Laufey’s prowess as an artist while simultaneously launching her into new levels of stardom through hits such as “From The Start.” From the playful “Dreamer” to the cinematic “California And Me (feat. Philharmonia Orchestra)” to the melancholic “Promise,” “Bewitched” shines as an album encompassing Laufey’s skills in emotional songwriting and atmospheric instrumentation. 

On April 26, Laufey returned to the spellbinding world of “Bewitched” to expand the album by four songs, crafting a new version known as “The Goddess Edition.” This extended release brilliantly captures her range as a musician, enchanting an already delightful album.

The first new track is “Bored,” a playfully crafted piece that lyrically chastises an unnamed lover for their vain self-absorption. In its sound, the song falls into Laufey’s lighter, bedroom pop-esque creations, upbeat but restrained. Instantly, Laufey demonstrates her vocal talents, her voice infectious with emotion and flowing seamlessly against the soft piano and drum-led background. 

“Trouble” follows suit in terms of its instrumentation. It is a gently composed song that reflects upon the singer’s difficulties in overcoming her feelings. Midway through the piece, Laufey’s love of jazz finds its way through a striking chorus of trumpets, bringing a pop of brightness. “Trouble” boasts relatable lyrics and a soothing rhythm, making it a pleasing backdrop to the listener’s own emotions.

Laufey shifts to try her hand at another jazz standard on “It Could Happen To You.” More fast-paced than the prior two tracks and far more jazzy, the song is an injection of energy well-placed among the more reflective tracks surrounding it. Laufey’s voice shines against the classy musical backdrop, and it is an absolute delight to listen to from start to finish. Likewise, the song’s playful nature shows that the singer shines in every direction of lyricism, and she can dance from melancholia to youthful whimsy with remarkable ease.

The final track also lends the extended album its name: “Goddess,” a withdrawn and emotionally poignant song that opens up Laufey’s most vulnerable side. A tragic listen that muses upon a toxic relationship steeped in unrealistic expectations, the artist’s hurt is felt pervasively in every note of the song’s piano. Near its end, the prior quietness of the piece is shed, allowing Laufey’s voice to stun while laced with anger and despair. Though a surprisingly sad note to leave the album on, “Goddess” is unforgettable and moves the listener time and time again.

If Laufey’s newest clutch of songs is any indication, her career is sure to only move upward. The singer teased fans that she may release an album of jazz standard covers in the future, a promising choice as “It Could Happen To You” is an absolute standout. Just as the album title suggests, Laufey is nothing short of bewitching, and she’ll continue to spellbind us in the future.

Written by: Natalie Salter — arts@theaggie.org

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By SAVANNAH ANNO and JULIE HUANG — arts@theaggie.org

From May 10 to 12, the 55th Whole Earth Festival (WEF) filled up the entirety of UC Davis’ Russell Field. Featuring live music, food and vendor booths, and a variety of different interactive spaces, the Whole Earth Festival attracts over 30,000 visitors each year. 

The festival is entirely student-run — featuring areas like the Kids, Experiential and Art Spaces, WEF organizers aim to educate visitors on topics like wellness and sustainability through creative activities. 

At this year’s Art Space, visitors were given the opportunity to interact with a wide variety of work, ranging from poetry to textiles. 

Cindy Chen, a fourth-year design major and one of the co-coordinators for the Art Space, explained the process for receiving art submissions and creating their annual outdoor art gallery. 

“When we were accepting work, we didn’t set any limits,” Chen said. “Art is not just painting. People are good at different kinds of art; we wanted to see artworks from different people and forms.” 

Receiving submissions from almost 30 different artists — both students and community members — the outdoor gallery was able to fill up six different walls of work, each set up and curated by student volunteers. 

 The space also included a table display and a free screen printing activity for visitors. Relying on close ties with their community, Jessica Wong, a second-year art studio major and the other co-coordinator for the space, was able to borrow portable screen printing bikes from a Bay Area organization that she had previously volunteered with.

“Yesterday I biked it over and it was crazy,” Chen said. “It’s terrible to bike, but it’s really good for art making.”

Designed by Wong, the Art Space screen print consisted of 12 small squares, each filled with a different symbol. Ranging from a crab to an orange slice to a shovel, the design was able to convey what the Whole Earth Festival holds most dear: celebrating nature, building community and emphasizing the importance of the arts. 

Kaya Kurtz, a second-year sustainable agriculture and food systems and sustainable environmental design double major, highlighted the benefits of participating in WEF as a student volunteer. 

“Everyone is so open and happy and just willing to share, talk and become friends,” Kurtz said. “I feel like all of the different spaces where you can volunteer are so unique, [and] it’s really interesting to see all the planning that goes into it.” 

Rosalie Sinclair, vendor and owner of Citrussloth — a business that boasts dice, paper crafts and “other goods with wellness and joy in mind” — confirmed the considerable range of hobbies, activities and creations represented at WEF. As an instructor for the UC Davis Craft Center, Sinclair was part of their yearly booth at the festival. 

“I instruct the sun catchers, fused glass, screenprinting [and] nature journaling, all sorts of classes,” Sinclair said. 

Sinclair originally saw the activity of dice making as one that only involved herself and her friends, but she decided to transform the hobby into a business after ending up with a surplus of dice. This decision has allowed her to expand her personal network and foster a deeper sense of connection with the overall Davis community. 

“I love selling them to the community,” Sinclair said. “It really helps me engage with the public a lot, especially younger people trying to find their place in Davis.”

Developing bonds within the community has consistently been a significant aspect of both Sinclair and the Craft Center’s experience with WEF. 

“We have [a booth] every year, we make the stickers for WEF and they let us come and vend,” Sinclair said. “There’s always some sort of arrangement [for] all of us and it’s a great way to build more community and work with WEF.” 

Most Craft Center course instructors are community members or graduated students, like Sinclair, while the courses themselves are available not only to students but to anyone interested in joining. This policy has helped further expand the WEF network and the personal ties between members of the community. 

“We get a lot of people [coming to the booth] wanting to take classes, especially with summer coming up as our next semester,” Sinclair said. “It makes it a lot easier for community members to get into classes when there are less students, so it’s really nice to be able to reach out, talk about it and get some new people into the center afterwards.” 

Apart from providing invaluable community space, WEF also allows its vendors to engage with their personal artistic interests in a productive manner, intertwining the values of community with their personal values and individual processes of creating art. 

“I try to make community through my art and make art more accessible for everyone that way,” Sinclair said. 

Lisa Rogers, vendor and owner of Slowdigz botanical prints, explained that her niece, a former Davis undergraduate, introduced the festival to her as a unique way to engage with her business and her interests. 

“I liked thrifting, and I love nature and hiking, so [my business] kind of combines both,” Rogers said. “I have an upcycled line, so a lot of pieces are second-hand.” 

The festival provided Rogers with a community space in which she was able to display her craft. WEF’s focus on environmental sustainability and sustainable action allowed Rogers to promote her business to a wider audience while honoring the personal values that influenced her business choices. 

“I like to [buy secondhand items and upcycle], and I like to go out into nature, and I like to garden, so [a sustainable practice] allows me to bring those two together,” Rogers said. “[My products] only use natural fibers and not any synthetic fibers or dyes.” 

Similarly, the array of products displayed at Sinclair’s booth demonstrated a range of artistic expertise and interest that hinted at the personality behind each creation.  

“I’m a big caster: I cast in resin, I cast in metal, I cast in glass,” Sinclair said. “That’s part of how I’m able to do a lot with glass, because I’m used to working with the medium. I do a lot of glass screen printing, which is my main forte.” 

Citrussloth and other vendors will also make appearances at the upcoming Davis Pride Fair and Festival on June 1, which similarly features local creatives and art booths. 

As an event designed to showcase the artistic creations and interests of individuals within the broader context of a welcoming environment, WEF encapsulates the best of the Davis community.

 “All of it comes together,” Kurtz said. “It’s fun to share the community we have and show what Davis is about.”

Written by: Savannah Anno and Julie Huang — arts@theaggie.org 

The post Annual Whole Earth Festival brings together artists of all kinds — ‘Can You Dig It?’ appeared first on The Aggie.

By AALIYAH ESPAÑOL-RIVAS — arts@theaggie.org 

On May 6, 2024, the Metropolitan Museum of Art hosted their annual Met Gala, organized by Vogue Editor-In-Chief, Anna Wintour. 

The Met Gala, otherwise known as the Costume Institute Benefit, hosts one of the most prestigious events in society, with only a small number of attendees invited each year. The gala, meant to highlight the Metropolitan Museum’s newest fashion exhibit, calls for attendees to dress to impress, incorporating the theme chosen by Wintour herself.

This year’s exhibit, “Sleeping Beauties: Reawakening Fashion,” sought to highlight rare pieces in the museum’s collection and incorporate Earth’s natural scenic beauties. As per the exhibit, the dress code for guests was “The Garden of Time,” which many interpreted literally, and for some, not at all. 

One of the most creative looks of the night came from Zendaya, coming off of the buzz from her most recent film, “Challengers.” Zendaya, who wore two outfits both by designer John Galliano, absolutely embodied the theme. 

On the other hand, her two co-stars, Mike Faist and Josh O’Connor, went for a more traditional look, experimenting with far less color than Zendaya did. Faist, who wore a simple black tux, merely incorporated the theme with a radish brooch while O’Connor wore a tux with extended tails and floral boots. 

Other noteworthy breathtaking looks came from Ariana Grande, who wore a mother-of-pearl bodice dress from Loewe, Tyla, with a dress made from actual sand by Balmain and Bad Bunny, dressed in a custom-made Maison Margiela suit. 

“Saltburn” star Barry Keoghan wore a suit that embodied Brendon Urie during the “A Fever You Can’t Sweat Out” era of Panic at the Disco. Other forgettable looks include Gigi Hadid, Jack Harlow and Kendall Jenner. 

Other than looks, the night also included a surprise performance from Grande, who sang both past hits and new songs from her latest album, “Eternal Sunshine.” Whimsical and fairy-like, Grande shocked everyone when videos of her performance were posted on social media, given the strict rule against photos and videos once inside the gala.

Additionally, many Met Gala regulars such as Blake Lively, Rihanna and Timothee Chalamet were nowhere to be seen this year. Overall, many stars left something to be desired in regards to their outfits. While there were many looks that garnered a double-take, most simply fell short. As someone who sits in her dorm watching the Met Gala in her pajamas, all I can hope for is for better looks next year, and men who aren’t afraid to defy traditional gender norms — because sticking a flower on your black tux is not enough. 

Written by: Aaliyah Español-Rivas — arts@theaggie.org

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By SAVANNAH BURGER — arts@theaggie.org

As the longest franchise in movie history boasting 38 films and counting, the Godzilla franchise has been a part of our world for multiple generations. The monster and his film series were originally created by Tomoyuki Tanaka, Ishiro Honda and Eiji Tsuburaya of the Toho Company, Ltd. Godzilla has been everywhere in worldwide pop culture throughout the last few decades, appearing in movies, TV shows, comic books, videogames and countless other forms of media. With the first film of the series, “Godzilla,” released in 1954, this year marks the franchise’s 70th anniversary. 

Many forget that the conception of Godzilla came from the conclusion of World War II, when the United States unleashed two atomic bombs over Nagasaki and Hiroshima on August 6 and 9 in 1945. This is where Godzilla was born both in the minds of creators and the canon of the Godzilla franchise. 

After the end of the war, America continued with atomic testing in the Pacific, which caused a crew of Japanese fishermen to contract radiation sickness in 1954. This tragedy is referred to as the Lucky Dragon 5 Incident and was hinted at in the first Godzilla movie, especially in the scene of Godzilla attacking a fishing boat. Released two years later, the American version of the film, which was dubbed, “Godzilla, King of the Monsters!” cut all of the scenes related to the incident so as to not paint America in a bad light. Not only this, but they added scenes with Hollywood actor Raymond Burr to attract American viewers.

Godzilla thus is understood to be the product of nuclear waste and radiation contaminating islands off the coast of Japan, morphing him into a larger-than-life, atomic radiation-breathing monster. He is a walking metaphor that represents the terror of the atomic bomb and the pain that the Japanese people suffered in the wake of the American attack.

The biology of Godzilla varies in different versions of the eras of the films. Sometimes, he is a prehistoric marine animal that resided at the bottom of the Pacific Ocean and was disturbed and altered by the Hiroshima and Nagasaki bombings. Other iterations paint Godzilla as a mutated reptile, dinosaur or some sort of amphibian, all being altered by radiation or nuclear bombing in some way.

All 38 films in the franchise belong to one of four eras. These are the Shōwa era (1954 to 1975), Heisei era (1984 to 1995), Millennium era (1999 to 2004) and Reiwa era (2016 to present). Separate from these eras but happening concurrently, there is also the group of American-made Godzilla films.

In the Shōwa era, the first four Godzilla movies portrayed the titular character as an evil force to be stopped, who attacked the innocent civilians of Japan and the friendly monster, Mothra. Following that, the character of Godzilla shifted to be more of a heroic protector. The fight scenes between Godzilla and other monsters are often humorous, and there is little to no continuity between films.

In the Heisei era, however, Godzilla’s character shifts again to be something of a serious anti-hero that provides much more social commentary than the last iterations. Throughout this era’s films, there are comments on world relations, politics, deforestation and oil production. For instance, in “The Return of Godzilla,” (1984) there is an obvious take on the then-ongoing Cold War, as the entire subplot of the movie revolves around nuclear tensions between the U.S. and the Soviet Union, with Japan acting as an intermediary, attempting to protect Godzilla from the two world powers.

Godzilla has also taken jabs at oil production, such as in the 1989 film, “Godzilla vs. Biollante.” The movie starts with scientists attempting to fuse Godzilla’s genetic material with modified plants in the hopes of creating a new source of fertility and plant growth in their barren deserts. All of this effort was directed towards the goal of shutting down oil wells and their monopoly on the economy.

In the last decade, the Godzilla “MonsterVerse” is the first Godzilla series to be made by a company other than Toho. The American film company, Legendary Pictures, is well into its era of Godzilla movies, with four films and an Apple TV series underneath their belt. 

Godzilla has always been popular in the United States. In the second half of the 20th century, Toho Company movies were aired every week on national television. This new American-produced line of media, however, has hit viewers with a new wave of Godzilla obsession. The casting of certain popular actors, such as Tom Hiddleston, Millie Bobby Brown, Brie Larson, Kurt Russel and Anna Sawai, have played a big part in MonsterVerse’s success.

70 years later, the famed Godzilla is just as, if not, more popular than he was in his debut in 1954. While he has been increasingly Americanized in some iterations of his character, the Toho Company is still making current films to remind the world of Godzilla’s tragic, atomic conception, as depicted in the 2023 film, “Godzilla Minus One.” Whether he’s on the side of humanity fighting other monsters or plowing his way through Tokyo or San Francisco, Godzilla is showing no sign of losing his status as an all-time pop culture icon.

Written by: Savannah Burger — arts@theaggie.org 

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By NATALIE SALTER — arts@theaggie.org 

Springtime is upon us, and with the change of seasons comes a new environment to get dressed up for. With temperatures ranging from delightfully cool to pleasantly warm, spring offers a variety of conditions that allow plenty of unique fashion choices to shine. If you are looking to do some spring shopping to freshen up your wardrobe or want to play around with what you already have, here is some inspiration for what looks will shine during this season.

It’s hard to beat the classics when it comes to fashion trends, and as always, floral prints will stand the test of time for yet another spring. The light, yet memorable design of these flowering pieces emulates the lively bloom of the season and brings us closer to nature. A simple floral dress or top can stand out on its own and bring an outfit to life, and there’s no better time to don flowers than during the months when they are blossoming to the fullest.

Beyond just florals, spring is the perfect time to play around with whimsical and delightful prints and patterns. Gingham is a great style for the season; likewise, if you’re fond of more playful looks, try a piece patterned with fairies, fruits, cats or anything else that’s youthful and fun. After all, springtime is associated with childlike innocence and delight, so there is no better time to open your imagination and try daringly adorable styles.

You might want to save your most saturated colors for summer, as springtime fashion thrives in the realm of pastels and neutrals. A simple white blouse paired with denim jeans or overalls is a sweetly simple look and proves that you do not need to overcomplicate your styles. Consider taking notes from the natural colors of the season: pale greens, pinks, purples, blues and cream shades evoke the lovely sights of a flower garden and pair well together in any combination. Do not be afraid to get creative with these mashups! Playing around with the pretty colors available in your closet may give you unexpectedly wonderful looks.

For chillier springtime days, consider a cardigan with a cute top or a neutral-toned jacket you are fond of. Spring’s generally warmer weather conditions mean that layering is no longer strictly necessary to create an outfit that is both cute and comfortable, but that should not stop you from playing around with the lighter layering pieces you have available to you. 

Your shoes deserve just as much attention when putting together your outfits! If you have a pair of chunky dark shoes such as Doc Martens to spare, try experimenting with their existing look by replacing their shoelaces with ribbons of your favorite color. Floral-printed Converse, pastel ballet flats and natural sandals are other cute ideas to accentuate your look. Don’t be afraid to mix and match colors and styles to craft a look that is memorable and unique. 

Lastly, one of the best ways to bring an outfit to the next level is to accessorize. On a sunny day, consider donning a shaded hat to protect yourself while also brightening your entire ensemble. If you are partial to jewelry, rings and necklaces are always a reliable styling tool; a pretty heart locket or flower-shaped ring fits the energy of spring flawlessly. 

Consider taking a shopping trip or going through your current closet to maximize your styles for this season. The most important part of dressing up is to have fun, and spring is the perfect time to embrace the most lovely and whimsical of fashions.

Written by: Natalie Salter — arts@theaggie.org

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