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by Veronica Slipstream* What really drives Red Bull? Brains, guts, and girl power. Ah, Formula 1—the pinnacle of speed, strategy, and spectacular male egos on parade. Hannah Schmitz, Red Bull Racing’s top strategist, has been central to every one of Max Verstappen’s victories (yes, the four-time world champ now eyeing a fifth, like it’s the latest smartphone release). Yet, in a sport ruled by testosterone-fueled machismo, Schmitz's exceptional talent hasn’t always gone down smoothly. Fun fact: Verstappen himself has said that “our real racing genes are on my mum’s side. His mother, Sophie Kumpen, was a highly regarded karting rival to future‑F1 drivers; she stopped karting after she became pregnant with him.” 3 Enter Louis Dekker, F1 reporter and podcast commentator extraordinaire, with gossip that’d make even the most stoic race fan raise an eyebrow. On the December 1, 2025, Dutch NOS Formule 1 podcast, Dekker spilled the beans on how Hannah’s rise stirred tension among some male colleagues. Since Christian Horner left as Red Bull’s team principal, the team seems to have found a new groove. Hannah recently gave a formal F1 interview after the strategic pit‑stop call that snatched victory at the Qatar GP—finally letting her shine in the spotlight instead of hiding behind the timing screens. (Thanks, new principal Laurent Mekies, for allowing the talent to breathe?) “Some colleagues complained they, not just Hannah, deserved the attention.” -Louis Dekker on Red Bull colleagues’ reaction to Hannah Schmitz’s success. With that shift in mind, here’s the word-for-word breakdown of Dekker’s segment:1 Original Dutch (excerpt): “…zij (Hannah Schmitz) is wat op de achtergrond omdat ze die rol nu eenmaal heeft meer achter de schermen, maar er speelt nog iets anders, zij heeft wel eerder op het podium gestaan trouwens met Red Bull en ze is wel heel belangrijk, maar toen zij de eerste vrouw was in deze rol en succes begon te boeken doken alle media, journalisten, camera ploegen op haar en dat vonden de heren collega van Hannah niet fijn…” English translation: “…she (Hannah Schmitz) works more behind the scenes because that’s the role she has, but there’s another factor: she has appeared on the podium with Red Bull before and is very important. However, when she became the first woman in this role to start achieving success, the media, journalists, and camera crews focused on her—and her male colleagues didn’t like that…” Dekker continues: Original Dutch (excerpt): “…die begonnen te klagen dat zij ook en hun werk deden en ook complimenten verdienen en ook airplay verdienden en toen heeft RB besloten alle interview verzoeken met Hannah… We (NOS F1) hebben haar nog nooit in de podcast gehad, dat heeft een reden, want RB hield dat tegen…” English translation: “...They (Hannahs' male colleagues) began complaining, claiming that they also deserved the compliments and airtime while producing quality work. Red Bull's solution: they blocked all interview requests with Hannah. We’ve never had her on our podcast, and there’s a reason—Red Bull prevented it…”2 Yes, you read that right. Hannah’s male colleagues apparently found it scandalous that she only received media attention for doing precisely what they were paid to do. In a dazzling display of team spirit, Red Bull blocked her interview requests for a while—because, heaven forbid, one person actually gets credit in a team sport! Clearly, the solution to women breaking barriers is… keep them behind the scenes. As Dekker pointed out, the reactions were framed as shock: “Oh look, a woman can do that too!” Red Bull might argue they were trying to treat men and women equally by limiting exposure—but equality isn’t silencing everyone. If someone deserves recognition, that light can be shared. The lesson? True equality means celebrating all contributions while giving well-deserved acknowledgment to groundbreaking achievements like Hannah’s. Hannah is not alone in shattering motorsport’s glass ceiling. From engineers to team managers, women are making their mark—but often under more scrutiny than a pit lane speeding violation. Her story underscores how systemic biases can color perceptions of success even in a sport that prides itself on meritocracy. "Recognizing a woman's groundbreaking achievements in F1 isn’t just about credit—it’s about celebrating diversity and inclusion." In conclusion, Hannah Schmitz’s experience shows that in a world where every second counts, egos and outdated assumptions can move slower than a safety car mid-race. Celebrating her achievements isn’t about handing out gold stars—it’s about championing diversity, fostering inclusion, and proving that leadership and brilliance know no gender boundaries. Excellence triumphs—though grumbling about women getting credit still seems in fashion. Kudos to Formula 1 and the broader motorsport community for actively promoting the inclusion of women across all aspects of the sport. This commitment is exemplified by initiatives like the F1 Academy, a female-only, Formula 4-level single-seater racing championship founded by the Formula One Group. While there is resistance and cultural inertia to overcome, it's encouraging to see real, meaningful change underway that promises to reshape the future of motorsport. Source: NOS Formule 1 Podcast, Episode #28 WO_NOS_20308228, hosted by Afke Boven, aired December 1, 2025, with Louis Dekker commentary at 13:50–15:16. Spotify: Listen here (Dutch) Footnote: 1.Transcribed and translated from Dutch to English by the author. 2.This is Dekker’s observation and does not constitute an official Red Bull statement. 3.https://www.gpfans.com/us/f1-news/1067964/f1-news-max-verstappen-ended-racing-career-mom/ *Satirical F1 commentator & cultural commentary writer Veronica Slipstream (pen name). Editorial Contributor: Trudy Giordano.

by Greta Gearshift* A satirical deep dive into McLaren F1’s “papaya politics,” exploring team strategy, social media spin, and the soft-power maneuvers behind the garage doors—where racing meets real-world politicking. Welcome to the thrilling world of McLaren politics, where the only thing faster than a pit stop is the spin on the latest policy! Forget about the House of Commons; the real drama unfolds in the McLaren garage, where the orange hue of papaya has replaced the drab palette of traditional politics. In this high-octane game, every tire change doubles as a debate, and the team insists they’re “not political” — a statement as believable as a driver claiming they just “love to race.” (Reuters, Mar 22, 2024) Behind those glossy smiles and social media filter-fabricated moments, the McLaren F1 Team acts like its own miniature monarchy. They've got whispers of deals in the FIA Commission, which Zak Brown firmly believes must be transparent, stating in a recent interview, “I think we’re living in 2024, not 1984… total transparency” (because nothing screams honesty quite like a billionaire in racing). They’re even pushing sustainability initiatives that could make activist, Greta Thunberg rethink her strategy, with a Climate Transition Action Plan promising net-zero emissions by 2040 and a circular economy focus — all while gracefully sidestepping the emissions of the engines that keep them going (McLaren Racing, Sept 2023). Our self-proclaimed team ambassador, Zak Brown, is practically an F1 diplomat, championing the mantra of “team integrity” while deftly orchestrating alliances that change directions faster than a car on slick tires in the rain. “I believe in transparency. I believe in putting your hand up when you get something wrong,” he confidently asserts, likely while casting sideways glances at Red Bull’s ongoing cost-cap dramatics (si.com). Meanwhile, Lando and Oscar’s “friendship” feels more like a bipartisan government rivalry, each vying for their share of the spotlight while pretending to share doughnuts in the team hospitality suite. Looking at McLaren's social media presence, it’s hard not to be lured into their glossy world of “behind-the-scenes” content. It’s almost wholesome enough to overshadow the covert backroom dealings. We ought to heed Brown’s advice about teams needing to “step back from governance” to keep everything fair—ironic when you realize that stepping back often just means strategizing from a distance. (formula1.com) Let’s not kid ourselves; this is Formula 1, not a tea party at grandma’s house. McLaren is locked in a relentless race not only against Red Bull, but against the relentless tide of competition that threatens to sweep them away. In an arena where the politics are as hot and heavy as the engines, McLaren’s flamboyant papaya revolution is a vivid reminder of a harsh truth: while you might not be able to outrun the established power structures, you can certainly find a way to slalom around them — as Zak Brown himself said, “the color papaya has become a brand” and a whole philosophy of renewal (motorsportweek.com+1). According to the latest GridPulse™ Poll—conducted between sips of overpriced paddock cocktails—62% of fans are convinced McLaren F1 Team will “probably win unless something ridiculous happens.” Meanwhile, 38% associate “something ridiculous” with McLaren’s entire branding strategy. Honestly, the vibes check out: they were voted the most popular team by 29.5% of fans in the 2021 Global F1 Fan Survey, many citing their “authentic leadership” and “fresh, open” culture. (Formula1.com; PR Newswire). When it comes to Zak Brown’s leadership style, fans are divided between “corporate cool dad” and “Formula 1’s version of a motivational TED Talk.” Brown himself chips in, asserting, “I think we have been extremely transparent … definitely a no-blame culture,” reflecting on McLaren’s ambitious internal rebranding (motorsportweek.com). Statisticians might quibble over the margin of error being about as wide as a Red Bull budget-cap loophole, but you can bet your last tire this one’s gonna be a classic! So buckle up, fans — McLaren’s papaya politics aren’t just about the podium. It’s about survival, strategy, and style. And remember: in this game, it’s not just Drive to Survive… It's Spin to Win. *This article was drafted with the assistance of AI tools, with all final content written, edited, and curated by Trudy Giordano. Greta Gearshift is a fictional persona created for satirical purposes.

by Trudy Giordano Boob Facts & Pink Myths: The Cult of Early Detection Let’s get one thing straight: getting your boobs checked isn’t “basic wellness.” It’s a rebellion. In a world that loves to tell women to “self-care” with candles and collagen, the real act of resistance might just be scheduling your mammogram. Here’s why — and the numbers don’t lie. When breast cancer is caught early , at a localized stage, the five-year survival rate is 99% . ( National Breast Cancer Foundation ) Once it spreads, that number nosedives to 27% . So yeah, that quick scan? It’s practically armor. Age Is More Than a Number Your risk climbs as birthdays pile up: At 40 , it’s about 1 in 65. At 50 , 1 in 42. By 70 , 1 in 24. ( Breast Cancer Research Foundation ) Translation: the “I’ll do it later” crowd is playing roulette with bad odds. The U.S. Preventive Services Task Force now says to start mammograms at 40 and repeat every two years. ( USPSTF ) That’s not paranoia — that’s prevention. The Race Gap They Don’t Print on the Pink Ribbons Here’s the plot twist nobody likes to talk about: Black women are 40% more likely to die from breast cancer than white women — even though they’re not the group most likely to get it. ( American Cancer Society ) They’re also more likely to be diagnosed younger , later , and with more aggressive subtypes like triple-negative breast cancer — 25.2 cases per 100,000 versus 12.9 in white women. ( JAMA Oncology ) Translation: inequity is the real killer. Join the Cult of the Checked So yeah, go ahead — light your candle, drink your green juice. But then, book your mammogram . Because self-care without early detection is just a scented distraction. The initiation ritual? Just one scan. Your future self will thank you. Tag someone or drop a comment right now : tell us when you’re booking your mammogram. No excuses. No lurking. We want to see who’s actually in the cult. This article is in memory of and dedicated to my mom, Jeannette and all those we’ve lost to breast cancer, and to everyone fighting it today. Image Credits:Kling AI

by Salma Ahmed, May 30th 2025 Salma Ahmed Explores How AI And Deepfakes Are Used To Target Women. A Deepfake Is An Artificial Image Or Video (A Series Of Images) Generated By A Special Kind Of Machine Learning Called “Deep” Learning (Hence The Name). Women have been a target for misogynistic men for years. To expand on this, the reasons are layered, involving gender dynamics, digital culture, and psychological motivations such as power, domination, and control (especially over women). However, this is a topic for another article. Misogyny causes women to face new challenges on a daily basis. There might be attempts to help them, but the attempts to harm them are superior. For example, a woman may be overlooked for a promotion in favor of a less qualified male colleague due to ingrained gender biases. Women have been haunted in a variety of ways in recent years, including image-based sexual abuse.They had to come to terms with seeing themselves naked or in pornographic content without their consent. No one should go through that, and yet, women do on a daily basis. This type of violation of privacy can have long-lasting effects on a woman’s mental and emotional well-being. It can cause feelings of shame, embarrassment, and helplessness. While the world is still behind in protecting women from all kinds of abuse, including image-based sexual abuse, new and more extreme methods of targeting women have emerged. They now have to face the weaponization of AI technologies. AI algorithms can be manipulated to target and harass women online by flooding their social media accounts with abusive messages and threats. Starting in 2017, a new type of technology appeared. One that is known as deepfakes. Deepfakes, as mentioned earlier, are videos, pictures or audio clips made with artificial intelligence to appear real. Deepfakes were initially used to create memes or perform other benign tasks, but this quickly changed. With the existence of misogyny and violence against women, many people, particularly men, saw deepfakes as another way to cause harm. They began manufacturing non-consensual intimate deepfakes with high speed and a wide target range. Not just female celebrities were targeted. It was enough to be targeted simply because you are a woman. The numbers and statistics are horrific. 96% of deepfake videos, according to a 2019 report by the AI company Deeptrace, were essentially pornographic.* The horror doesn’t stop here. When analyzing the content published on the top five deepfakes pornography websites, 100% of it was about women. We can look at the numbers again and again to try and comprehend them, but the gravity of the situation will never change. While companies such as Meta and X, praised the rise of AI and began to use it, they turned a blind eye to the technology’s negative aspects. Women have always been targets of deepfakes, but the issue received increased attention when nonconsensual deepfake pornography created for Taylor Swift was shared on X (formerly Twitter). Swift is a victim, as are many women, but not all women have the same resources. Not all women have millions of fans ready to defend them. So we were left with an example that overshadowed the rest of the issue: how normal women, not just celebrities, are also targeted. Both groups are victims, and they became victims because they are ordinary women. There are many truths to face when discussing AI and deepfakes, but one that no one should accept is how famous women, such as singers, actors, and YouTubers, have to get used to seeing deepfakes made about them. It is the kind of knowledge you cannot ignore, but you are forced to accept. We shouldn’t have to accept deepfakes. We should not be seeing an increasing number of women being used in non-consensual intimate deepfakes that are targeting women. We shouldn’t talk about how hyper-realistic the videos made are or how easily this content is distributed through social media platforms. Yet, here we are faced with another ugly aspect of what it means to be a woman. It’s not a surprise or news that governments don’t have laws in place to protect women against all forms of violence that they face. So it is not surprising that there aren’t enough laws to regulate AI and deepfakes, or to protect women. Organizations and victims have attempted to get big tech companies and governments to listen and change, but no one has acted. This shows how normalized violence against women has become. *Source: Adjer, H., Patrini, G., Cavalli, F., & Cullen, L. (2019). The State of Deepfakes: Landscape, Threats, and Impact. In https://regmedia.co.uk/2019/10/08/deepfake_report.pdf. Deeptrace. https://regmedia.co.uk/2019/10/08/deepfake_report.pdf @stylebyrahel1 @ genet11 @fashionweekbrooklyn

Interview with stylist Brandon Jerrod @brandonjerrod Brandon Jerrod is an innovative, ever-evolving stylist who views fashion as more than just clothing. To him, it’s unspoken freedom, confidence, and self-expression. Brandon incorporates history, personality, and a modern edge into every look he creates—from his deep dive into dandyism to his vintage leather jacket. In this open conversation, he discusses what inspires his style, his vision for the future of fashion, and how he balances trendsetting with environmental consciousness. He also opens up about his acting goals and his take on AI’s role in the fashion industry. He launched his first solo runway show, Dandysim, at Fashion Week Brooklyn in April. Ready to be inspired?  Let’s get off the runway with Brandon Jerrod. When and why did you fall in love with fashion? Since I was a kid, my mom always had me dressed to the nines! I’m an only child, so my Christmases and birthdays are always filled with tons of new clothes.) Who is your style icon and why? My style icon is anyone who confidently wears the clothes—rather than letting the clothes wear them! For example, Rihanna has that DGAF attitude that elevates her style and demands attention and respect. Prince was like that too, and of course, Michael Jackson.  What is your favorite part of fashion? Freedom! There’s something so empowering about expressing yourself without words, purely through your aesthetic. Your presence speaks before you do—why not make it fun? Fashion lets you be whoever you want to be. How would you describe your personal style?  My style is ever-changing. It doesn’t fit into a box. It’s unexpected and bold, yet refined (so I’ve been told). For me, confidence always comes before trends. Where did you get your ideas for your Dandy collection? Did you do any research? I knew dandyism would be a focus this year, especially after the Met Gala and the exhibit that followed. I did a deep dive into the history of the movement—its origins and how it’s evolved today. I was surprised by how broad the definition of a dandy can be, but the feel is consistent: bold, expressive, eccentric yet refined, and very confident. It instantly clicked for me. I consider myself a modern dandy, and this collection was my way of speaking to that. Describe the future of fashion from your point of view. The future of fashion will always, in some way, pay homage to the past. As we begin to truly respect fashion’s cyclical nature and understand its roots, we’ll see innovation built on that foundation. I hope future fashion brings even more sustainable methods—making style more accessible while reducing harm to the planet. Who are your top three fashion stylists? J. Bolin @stylistjbolin Daniel Hawkins @1800Dhawk Rahel Tadesse @stylebyrahel1 How can people elevate their everyday looks into one-of-a-kind moments? Look for statement pieces—unique items that stand out. A cool leather jacket, bold sunglasses, or an incredible pair of boots you find at a thrift or consignment shop. Those kinds of pieces elevate everyday looks and help you stand out effortlessly. What’s your favorite vintage find in your closet right now? Sheesh, I have so many! But my all-time favorite is a vintage rock ’n’ roll leather racer jacket with hand-painted ‘80s rock band names, studs, and all the goodies. I found it in Atlanta at my favorite thrift shop in Little Five Points. It’s simply timeless. What’s next? I’m hoping to work with bigger brands and expand into more national and international projects. I’m also exploring acting—currently testing my chops in a few projects.  Eventually, I’d love to work on the wardrobe side of film too. I’m always fascinated by the costume process on set. It looks like so much fun! What’s your favorite fashion time period and why? The 1970s, by far! Platform heels, flowy open blouses, bouncy long hair or Afros, and gender-fluid fashion. I would’ve thrived in the ’70s! What celebrity would you love to style, and for what event? I’d love to style actor Jeremy Pope. He’s a risk-taker and has the confidence to pull off anything. Plus, having a great personal style makes collaboration that much smoother. Before we finish, we’d like to delve a bit deeper into some pressing issues: How do you balance style trends with sustainable styling? What are some practical ways people can do the same?  Thrifting! First of all, it’s fun—the thrill of the “find” is unmatched. You often end up with pieces no one else has. There’s no need to toss perfectly good clothing when someone else could love it. Donating or selling clothes and shopping secondhand helps sustain the fashion cycle. What’s old to you is new to someone else—and vice versa. So next time you’re outfit-hunting, hit the thrift before clicking on fast fashion. How do you think AI will change the job of a stylist—from predicting trends to working with clients?  If used right, AI can be a major asset in trend forecasting. Plug in prompts about your client’s needs, and AI can scan the entire internet to give you more, faster. But at the end of the day, styling is personal. People want to work with people. Fashion is emotional, and AI can’t replicate that. Do you use AI in your creative work? Or avoid it? I don’t currently use AI for styling, but I’m open to exploring it for trend forecasting. That said, I’d be careful not to let it dilute the integrity of my work—especially when it comes to imagery. We can’t let ourselves get lazy just because AI can do the heavy lifting. It should be a tool, not a replacement for creativity. Conducted by Cyrene Renée, with additional questions and photo (c) by Trudy Giordano

INTO THE GRASSROOTS  HIP HOP CULTURE  OF NEW YORK By BUSINESSMAN El Chopz @elchopzfuckingsucks IN VENUES ALL OVER NEW YORK, YOU’LL HEAR THAT CRY. “YUUUURRRR!!!!” THE CROWD YELLS BACK. THE VENUE IS FILLED WITH ARTISTS HUNGRY TO SHOW THEIR CRAFT. AS A REGULAR ENERGIZER, THE HOST ASKS: “IS BROOKLYN IN THE HOUSE?” - LOUD CHEERS. “IS THE BRONX IN THE HOUSE?” - LOUD CHEERS “IS QUEENS IN THE HOUSE?” - LOUD CHEERS “IS HARLEM IN THE HOUSE?” - MEDIUM-LOUD CHEERS. “JERSEY? LONG ISLAND?” - TWO OR THREE VOICES. “IS STATEN ISLAND IN THE HOUSE?” - SILENCE. LAUGHS. “MANHATTAN” IS NEVER EVEN ASKED. NO REAL PEOPLE LIVE IN MANHATTAN.  Energetic crowds at Pass The Aux, Hell’s Kitchen T he Stairway To Stardom These Underground Showcases Are The Incubators Of Hip Hop. After The Street Corner And School Yard, The First Step On The Stairs To Fame Starts Here. Rappers From All Over New York And Beyond Flock To These Showcases. Here They Try Out Their First Rhymes For An Audience, On An Unlicensed Rental Beat Mixed On A Phone App, Mic Trembling In Hand. Often, Newbies Forget To Cut Off The Beat After The Rap Is Done, So It Keeps Looping. “Um Sorry... Dj, Next Song”.  They Screw Up, Try Again. Rap Better, Write Better Songs, Get Better Beats. Hire A Better Studio. Work Together With Other Artists. Get Invited To Bigger Showcases, Build Rapport With Djs And Bookers. At Some Point, Someone Makes A Banger That Catches Fire, Djs Start Playing It On Their Radio Shows And Feature It In Their Playlists, And If Really Lucky, It Becomes A Hit. Enter The “Rap Game”; Get Collabs With Bigger Rappers, And Charge Smaller Rappers Money For A Verse Or Hook On Their Track. Then The Record Labels Wake Up And Crawl Out Of Their Burrows, Burst Out In Mortal Combat Over A Deal, Artist Blows Up, Gets To Tour The Nation, Do Stadiums, Feature Superstars, And Then, Immortality.  At Least, That’s The Dream. But The Showcases, In Run-Down Rehearsal Rooms, Photo Studios With Thrashed Rolls Of Backdrop Paper, Bankrupted Restaurants, Abandoned Retail Stores, Party Centers, Mired In Weed Smoke, Tossed Speakers, Dented Microphones With Crackly Cables; Young Black Artists In Their Hippest Puffers, Balaclavas, And Sunglasses, That’s Where It All Begins.  Depending On The Show, There’s 10 To 35 Artists, Doing One Or Two Songs Each. The Artists Are Each Other’s Audience. Some Bring A Girlfriend. Some Bring A Friend Who Double As Manager. Some Are 4 To 8-Piece Rap Collectives Who Knew Each Other Since Kindergarten. Often There Are Artists Who Just There To Enjoy, Support And To Show Love.  The more ambitious artists pop out in different venues. The bigger artists bring friends that know the lyrics verbatim and perform as a group on stage.  Anyone who pays performs. Depending on the show’s clout $20-50, big ones with important radio DJs or industry execs present, run up to $100, $300, or more.  There’s no vetting, no pre-approval. What you do on that stage, is up to you. No one tells you it’s got to be rap, though it is the default. From oldskool to boombap to trap and drill and everything in between. The other 10% is RnB, poetry, spoken word, sometimes dancers. In one case, I even saw opera. Don’t You Leave! The host announces the artists, who should hope not be outside smoking a blunt at that moment. Host gives the mic. The DJ plays the music, the artists double their own track. If all goes well, success and new friends.  Only the host and the DJ know the order in which the artists will perform, so that everyone stays inside and gives energy. To keep artists from going home after they performed, some award prizes at the end. Studio time, money, awards, radio interviews, a slot at a bigger show. Or contacts. “Pass The Aux” a bigger showcase hosted by well-known rapper Phresher in a top floor club with an elevator as entrance, he often repeats: “Remember, after you perform, network! You never know who’s in the room! That elevator door is dangerous!” Show Love, Get Love. Hip hop showcases are all about energy, energy, energy. Show energy, partake in the hooks, or the artist’s signature dance moves. If the artist is loud, be loud with them.  Love is shown by flicking out your phone and filming. If it was good, share an Instagram Story. Stories bounced back and forth between rapper and fan several times, frame-in-frame-in-frame, until the video itself shrank to a tiny thumbnail in the middle. Networking is straightforward: if you like an artist, say it, give them your phone to let the artist type their unspellable IG handle, follow and follow right back; and you have a natural moment for conversation and possibly contact for more.  Energetic crowds at Pass The Aux, Hell’s Kitchen  Showcase organized by @naeemreign (dark hoodie in the middle) with @genuwinebeauty in the front (cosplay rapper, host for @mor.bookings) and @tj4playofficial on the left (boombap rapper from Philly), Brooklyn, Montclair, NJ. IYKYK Since the early days of hip hop in the 1980s, underground rap showcases have been around. It exists in every US city with a sizable Black community. But in New York, the Bethlehem of hip hop, it’s huge. I know roughly 50 promotors and venues who organize showcases regularly, and I discover new ones all the time. Which means there must be many, many hundreds more out there, nobody really knows how many. There are no web sites where you can find showcases. There’s no central cultural org or blog that keeps track of events, like you have in the world of fine arts. It’s all sharing fliers on Instagram and hearsay. Follow a promotor or artist, you find the next show, and the next and the next. If you know, you know. Even though it’s an open call, organizers put a lot of work into getting good artists. To stay in touch with new artists and keep the roster fresh, organizers often ask on Instagram “tag a fire artist” and then see who recommends who, and approach them. Likewise, getting yourself tagged by other artists in such postings, is a hustle of its own. Black Culture Hip hop showcases are a Black culture phenomenon. It is a Black audience with a Latino minority. White or Asian: usually none, sometimes one.  Despite the highest grossing rapper of all times, Eminem, being white, and the main NYC radio DJ, Drewski from Hot97 being white, very few white rappers circulate in the hip hop underground of New York. In general, aspiring white rappers have no clue about Black culture or the roots of hip hop, didn’t grow up in it, and consequently, are often not that good.  Think putting your hat backwards and say “yo yo yo I’m a rapper” is hot, or hip hop is just rhythmic bragging on a beat; they are welcome at showcases, they get applause, but not much is expected of them. That said, the few white rappers that are really good, and it’s felt they respect and understand the culture, get the genuine appreciation and fandom that Black rappers get, though a white rapper does remain a guest in the culture. And that’s how it should be. After all, pretty much every Black music genre except hip hop has been appropriated by whiteness and white capitalism... Beyoncé claimed Country back now, but that’s only a drop in the ocean.  Show Your Steez, Brooklyn Getting Inside Can Be Uncomfortable Security ain’t playing. Empty your pockets, full-body pat-down, belt check, crotch check, no exceptions, no “he wit me, he ok”. As Coi Leray says: “Cus girls is playas too”, women are not exempt. But because everyone gets searched down so thoroughly, no one thinks about bringing weapons or making trouble. There’s gangs and guns out on the street, of course. There are rappers inside who brush with the law. Some have unfinished business with one another.  But inside, everyone’s cordial and supportive; I never felt aggression in the air. I only saw a handful of escort-out moments, mostly between women. The showcase itself is a pretty non-violent, safe space. DJ Smoov @iamdjsmoove. 420 Friendly The average rapper sparks up blunts like a smoke stack. In regular bars and clubs, they have to huddle outside to keep up they THC levels. Traveling to a venue, the first sign you’ve come to the right place is seeing artists smoke weed outside.   “420 friendly,”  meaning smoking weed inside is allowed, is regarded as an advantage. It can result in a dense grey fog that obscures the other end of the room, and over time, too-low energy. You can and will get high from secondhand smoke if the place is poorly ventilated. Performing in such air is like breathing powder-ground asphalt.  Mixxy Gods (rap collective) Summer Festival, rapper Chris Welchs @chriswelchs_ Underground Hip Hop Fashion Even though it’s about music in hip hop culture, most artists take their drip very seriously. They need to stand out in a consistent way. As an artist, you have to be recognizable, original and how you look, should express who you are.  Rappers are true masters at looking super hip by simple means, reasonably priced streetwear with accessories like funny hats, furry balaclavas, gloves, face masks, make-up or a creative hairstyle. Some make their own accessories or t-shirts. Honorary mentions: rock rapper ElChopz just draws things on his face with a sharpie. Producer Dav the Ninja wears a neon-lit space helmet.  It doesn’t have to be designer label stuff, that’s for the superstars... hip hop is street culture and most rappers grew up in with few privileges in poor neighborhoods where you have to make something out of nothing, and that includes how you look.  Some even flaunt clearly fake luxury brand wear or leave the labels on as if they’re stolen, which the jeans manufacturers quickly absorb as part of their product. Some artists just wear the plainest of clothes to express that they are real and from the block. More experienced rappers often wear busy-print leather jackets from Avirex or Pelle Pelle, or if really oldskool 80/90s, custom made ones.  Female artists, about 1/4 of the performers, put a huge lot of work in matching colored hair, make-, and very long nails. Large, thick rimmed sunglasses are in. But it’s often the shoes that are the most outspoken. Furry moon boots, glitter Crocs, Uggs, long boots, you name it.  And of course, no rapper goes without a chain. How many chains a rapper wears, size, degree of customization and the amount of sparkly stones indicate the degree of experience and success. And the chain expresses identity—where a rapper’s from, a personal motto, referral to a family member or what their art is about. The real OGs have slabs of real gold and real diamonds, but since custom jewelry is extremely expensive, most chains are inox steel or silver “made yellow” through some chemical rinse and glass rhinestones. As long as it shines, we gucci.  What We Do It For The artists do it to either express themselves, show their art and craft, be creative, show off, impress with freestyle skills and thrills, get the hot shower of applause, get famous, or all of the above. The showcase’s side wall-lining hustle-micro-economy of food, drink and weed vendors is, of course, about making a buck, but at least as much about being part of the energy, see the artists, have fun, party, sing along, dance, get high, meet their friends, be part of that wonderful and feel the love for that intangible thing called hip hop culture.  Show love. Get love.   Who dis? Businessman (@businesman_nyc) is a (white) rapper/producer from East Harlem, originally from Amsterdam. Businessman is a frequent performer and is often-invited to showcases all over New York. He also performed in Atlanta for Quality Control DJs and opened for The LOX (Jadakiss with original crew) in a sold-out theater in Clairmont, NJ, at the day of the earthquake. Which he insists was the DJ sound-checking his new bass-heavy single, “New Ferrari.” Available on all streaming platforms under “Businessman NYC,”  including a ridiculous cat meme music video.

“The Call of the Wild.” by Michael Sorkin (1987, March 1,Vogue. )

A Talk with Fashion Designer SUZA VOS We look into how digital fashion can change the way we wear clothes. Vos thinks that digital fashion can make people more creative and change the way we think about fashion for the better. Rendering (c): Designers Suza Vos and Harriet Blend. @suza_vos- @harriet.blend Can we overcome our human limitations and become more than we thought? With digital fashion, technology can improve our physical appearance and mental well-being. Technology and humanity create endless possibilities for creativity and self- discovery, challenging us to redefine what it means to be human. Suza comments “The line between human and machine is faint, leading us to constantly utilize technology to extend ourselves. How much can we add to ourselves before we cease to be human? This question, echoing through centuries of mythological tales, profoundly influences my work. Mythology serves as a lens to comprehend mortality and the primal aspects of human nature. But what if we are on the edge of embodying these mythologies quite literally?” Suza’s innovative designs push fashion’s limits and make us consider how technology affects us.As we explore uncharted territory, we must face what it means to transcend humanity and become something else. Will progress make us lose ourselves, or will we find a way to live that combines the best of both worlds? We’re still defining humanity, so time will tell. Suza continues “With my feminine view of the world, I aim to engage a broader audience within the technology sector, showcasing that beyond being merely technical, mundane, or even apocalyptic, technology can also embody expression and aesthetics.” She makes a place where new ideas and old traditions can live together peacefully, paving the way for a future that is more open and diverse. She challenges the idea that technology is only useful by showing through her imaginative designs that it can also be used for art. We can find a balance that lets us grow as people while still being human by loving both old and new in art and fashion. Her creations make us think about how we can be open to new ideas while still staying true to our roots. In her work, Suza invites us to consider the possibilities of a harmonious coexistence of tradition and progress in a rapidly changing world. Finally, her visionary designs serve as a reminder that our connection to the past can inform and enrich our journey toward a constantly changing future. Suza was creative lead assistant at The Fabricant. She has been a freelancer for 1.5 years, showcasing her designs at Amsterdam Fashion Week, NFT Paris, and Digital Fashion Week New York. She lectures on 3D fashion in addition to her art. @suza_vos , www.suzavos.com

We spoke with Jimmy Meagher, Government Affairs Policy Director at Safe Horizon, and Tesa Arozqueta, Acting Deputy Commissioner for Community Initiatives and External Affairs at the Mayor’s Office to End Domestic and Gender-Based Violence.

THE DANDY ACCORDING TO... A dandy—to me—is someone who dresses with rebellious elegance. They dress not just for the sake of fashion, but also to make a statement. A man or woman who goes against the grain—not loudly, but sharply and stylishly. They express their rebellion through refinement, showcasing their uniqueness akin to a well-fitted suit. Picture a mechanic, not in greasy overalls, but in a perfectly cut denim jumpsuit. Imagine a schoolteacher, dressed in a crisp three-piece suit, delivering lessons to a class of children. That’s dandyism—rebellion in silk gloves. Dandyism, as a philosophy, is about elevating the self—putting extreme care into one’s appearance, but not out of vanity. It’s an art form. A posture. A stance. This stance serves as a means of resisting conformity and asserting one’s individuality. Historical sources tell us that dandyism emerged as a form of resistance during the French Revolution around 1790. A true dandy doesn’t take himself too seriously—that’s what separates dandyism from snobbery. It’s always been a paradox: the dandy aims to please but often pleases by offending. The concept of elegance served as a provocation. This style exudes charm and defiance. From my perspective, she embodies rebellious chic. A rebel, yes—but one with polish and grace. Sharply dressed. Always deliberate. Think Peaky Blinders—power stitched into every seam. Pim Fortuyn, Roy Beusker, CC BY 3.0 , via Wikimedia Commons A perfect example of a political dandy? Pim Fortuyn was a Dutch politician known for his flamboyant style and controversial statements. His bold fashion choices and unapologetic attitude challenged societal norms and expectations, making him a true embodiment of rebel chic. He was openly gay, distinctively dressed, and unwavering in his political vision. Now — Fortuyn may not be everyone’s cup of tea (he’s certainly not mine), but that’s beside the point. What matters here is how style, in his case, became a weapon, a brand, a disruption. Like it or not, he understood the power of tailoring identity — and that makes him a political dandy worth studying, if not celebrating. He named his home Palazzo di Pietro, carried himself like a Roman senator, and spoke like a man ahead of his time. Fortuyn, clad in a tailored suit, was a revolutionary. He was born in 1948 and tragically assassinated on May 6, 2002. Fortuyn’s death was, in part, because his dandy-like views clashed with the rigid expectations of political discourse. His bold ideas didn’t fit the mold—and that was precisely the point. A professor. A provocateur. He was a well-dressed outsider who firmly believed in the principles of freedom of thought and expression. That was precisely why he was assassinated. So yes—the dandy, as I see it, is the well-dressed rebel. Like the punk or the rock ‘n’ roller—both fight the system, but where one wears leather and studs, the other chooses silk and pocket squares. Both stand firmly against the standard—refusing to blend in, determined to express who they truly are. Images generated with KLING AI 1.5 by Trudy Giordano