Looking for something family-friendly to do in Atlanta this weekend? As the weather turns to more fall-like temperatures, you'll find plenty of outdoor events celebrating the UGA Dawgs, your own dogs and more.

RELATED:10 Atlanta festivals you don't want to miss this October

And if you'd rather stay inside, you'll have your choice of activities including a sneaker convention and Chinese ribbon dance production.

Check out the following 16 things to do in metro Atlanta this weekend:

Cobb

HarvestFest. 9 a.m.-5 p.m. Saturday, Oct. 19. Free. Glover Park at Historic Marietta Square, 50 N. Park Square NE, Marietta. 770-794-5601.mariettaga.gov.

This annual festival features Scarecrows in the Square, arts and crafts, Touch-A-Truck, inflatables, a costume contest and more.

Owl-O-Ween Hot Air Balloon Festival. 6 p.m.-11 p.m. Friday, Oct. 18 and 4 p.m.-11 p.m. Saturday, Oct. 19. Fifth Third Bank Stadium, 3200 George Busbee Parkway NW, Kennesaw.https://owl-o-ween.com/.

Bring your family to the 7th annual Owl-O-Ween Hot Air Balloon Festival, which features tethered balloon rides, hot air balloon glows, live entertainment, trick-or-treating, costume showdowns, a kids' zone and more.

Sneaker Con Atlanta. Noon-7 p.m. Saturday, Oct. 19. $25 plus fees. Cobb Galleria Centre, Two Galleria Parkway, Atlanta. 770-955-8000.sneakercon.com.

Buy, sell or trade your kicks with other like-minded sneaker fans at Sneaker Con. You can also have your sneakers authenticated at the event.

Xfinity Movie Series. 7 p.m. Friday, Oct. 18. Free admission. The Battery Atlanta, 800 Battery Ave. SE, Atlanta.batteryatl.com.

The Xfinity Movie Series kicks off with a showing of "The Goonies." Bring a lawn chair or blanket if you'd like.

DeKalb

Dunwoody Community Tailgate. 1 p.m.-11 p.m. Saturday, Oct. 19. Free admission. Marlow's Tavern, 1317 Dunwoody Village Parkway, Suite 102, Dunwoody.https://www.facebook.com.

Watch UGA take on the Kentucky Wildcats on a big screen at the tree-lined lawn along the parkway. An on-site DJ will be featured during commercials, along with giveaways. You can buy tailgate-themed foods from Marlow's Tavern and play games such as cornhole and giant Jenga.

Stone Mountain Highland Games. 8 a.m.-5 p.m. Saturday, Oct. 19 and Sunday, Oct. 20. $18-$20 adults per day, $5 for children age 4-12, plus $20 parking per vehicle per day. Stone Mountain Park, 1000 Robert E. Lee Blvd., Stone Mountain. 770-521-0228.stonemountainpark.com.

Scots or "Scots for the Day" will gather for the Stone Mountain Highland Games and activities including Highland dancing, athletic events and piping and drumming.

Brookhaven Arts Festival. 10 a.m.-6 p.m. Saturday, Oct. 19 and 11 a.m.-5 p.m. Sunday, Oct. 20. Free parking and admission. Apply Valley Road, Brookhaven with parking behind the Brookhaven MARTA Station.https://www.brookhavenartsfestival.com/.

Over 120 artists from across the country will participate in the Brookhaven Arts Festival, which also features a new kids' section, music and food and drink as well as a classic car show from 1 p.m.-5 p.m. on Sunday, Oct. 20.

Atlanta Audubon Society Field Trip. 8 a.m. Friday, Oct. 18. Free. Murphey Candler Park, 1551 W. Nancy Creek Drive NE, Atlanta. 404-308-6279.https://www.atlantaaudubon.org/field-trips.html.

Explore lake, wetlands and mixed woods habitats as you look for resident and migrant birds. The walk is suitable for people over 14 years old.

North Fulton

St. Mary of Egypt International Fall Festival. Noon-5 p.m. Saturday, Oct. 19 and Sunday, Oct. 20. $1 admission, children 12 and under free. St. Mary of Egypt Orthodox Church, 1765 Woodstock Road, Roswell.stmaryofegypt.org.

Try exotic homemade foods and desserts, browse and buy from diverse vendors and artisans and enjoy musical entertainment and children's events.

Johns Creek Arts Festival. 10 a.m.-6 p.m. Saturday, Oct. 19 and 10 a.m.-5 p.m. Sunday, Oct. 20. Green space across from Atlanta Athletic Club, 1930 Bobby Jones Drive, Johns Creek.splashfestivals.com.

The 8th annual Johns Creek Arts Festival will feature 130 artisans and their paintings, pottery, metalwork, folk art, jewelry, glass and more. You'll also find a kids' zone and will be able to listen to varied live music.

Milton Haunted House on the Hill. From sundown to 10:30 p.m. nightly in October. 820 Dockbridge Way, Milton.https://www.facebook.com.

Michael Myers, the haunted forest and spooky spirits welcome you to drive by the annual Milton Haunted House on the Hill. If you'd like to find Pennywise, you'll have to get out of your car, but please stay off the yard. Props will be limited on rainy nights.

Music Under the Pines. 7:30 p.m.-9:30 p.m. Friday, Oct. 18. $27. Matilda's, 850 Hickory Flat Road, Milton. 678-480-6932.https://www.matildasmusicvenue.com/music.

Enjoy music from Granville Automatic, a duo of Nashville songwriters influenced by The Smiths, Emmylou Harris and Simon & Garfunkel. Bring your own food and drink and come by on the day of the concert if you want to put your name on a table to reserve it. Otherwise, it's first-come, first-served, so you may want to bring your own table and chairs.

Gwinnett

PAWFest. 10 a.m.-4 p.m. Saturday, Oct. 19. Free, with some activities extra. Praise Community Church, 329 Grayson Highway, Lawrenceville.https://gwinnetthumane.wixsite.com/pawfest.

Bring your leashed dogs to the Gwinnett Humane Society's PAWFest for activities such as lure chasing, a parade, disc dog demos, silent auction, carnival games, $5 nail trims and $12 rabies shots. Dogs will be available for adoption, and you can watch football games at the DAWG-Zone.

AutumnFest. 9 a.m.-4 p.m. Saturday, Oct. 19. Main Street, downtown Logainville.loganville-ga.gov.

Officially welcome fall with craft and food vendors, live entertainment and plenty of kids' activities.

Ribbon Dance of Empowerment. 7:30 p.m. Saturday, Oct. 19 and 2 p.m. Sunday, Oct. 20. $17-$24. Infinite Energy Center, 6400 Sugarloaf Parkway, Duluth. 770-626-2464.infiniteenergycenter.com.

This educational, entertaining production intertwines Chinese dance, history, culture and personal story telling. An original mini dance-drama also tells the story of Chinese-Americans growing up in the South.

Sugar Rush. 10 a.m.-6 p.m. Saturday, Oct. 19. 5039 West Broad St., Sugar Hill.cityofsugarhill.com.

Join in the fun at Sugar Rush, an arts festival celebrating performing, visual and culinary arts. Artist vendors, a juried art show, inflatables, an arcade, arts and crafts and more are featured.

RELATED:Diwali 2019: Where in Atlanta you can celebrate the festival of lights

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Dawgs and dogs: 16 things to do in metro Atlanta this weekend - Atlanta Journal Constitution

Melody Newcomb for BuzzFeed News; Nina Subin

Last August, when the writer Meghan Daum published her essay Nuance: A Love Story on the Medium publication GEN (where shes a biweekly columnist), it touched a nerve. The love story, as detailed in this 28-minute read, was about how Daum a lifelong self-described liberal fell into a YouTube hole populated by the intellectual dark web, the sticky neologism that applies to a loosely connected group of professors and podcasters, including Jordan Peterson, Christina Hoff Sommers, and Joe Rogan.

The groups members, first introduced to the mainstream by a 2018 New York Times piece by Bari Weiss, present themselves as self-styled public intellectuals who argue that their values of reason, which can easily be interpreted as hate speech, are under attack from todays politically correct attitudes. Daum refers to her new friends (which shes careful to note include a handful of this cadre of the intellectual dark web) as Free Speech YouTube. In the piece, she outlines how she went from watching Bloggingheads.TV to curling up with a two-hour interview with Evergreen College professor Bret Weinstein, the locus of a campus controversy on racism and intolerance, on The Rubin Report, a YouTube show hosted by Dave Rubin. I was invigorated, she writes, even electrified, by their willingness to ask (if not ever totally answer) questions that had lately been deemed too messy somehow to deal with in mainstream public discourse.

For longtime fans of Daum, Nuance was befuddling, dissonant, and troubling. Daum is something like a senior statesperson for the young, striving white nonfiction woman writer. Her 1999 breakout essay and subsequent 2001 essay collection, My Misspent Youth, is a cult classic about the pleasures and perils of pursuing a passion for an intellectual life. Her books captured a generations experience in funny and devastating prose: In 2010, she published a memoir about yearning for real estate, Life Would Be Perfect if I Lived in That House, and her fourth book, 2014s essay collection The Unspeakable, looked dead in the eye of traumatic events: sick parents, the question of motherhood, and near-death experiences. She was able to write personal essays from a white liberal feminist perspective that pulled off the neat trick of seeming utterly confessional while also sharply summing up the zeitgeist.

So how did Daum, critically acclaimed and considered a voice of a generation (X, in this case) as well as a pioneer of the 2000s personal essay boom, end up publicly sympathizing with a cohort of self-described public intellectuals who make their money claiming to own social justice warriors?

In some ways, Daums pivot isnt surprising. For many years, she has been a writer committed to saying Hey, maybe its like this and not this. Part of that perspective is her love of nuance; its also a useful contrarian pitch against whatever might be the days accepted ideology among mainstream medias centrist liberalism. (For anyone looking to be published: Editors will often respond to pieces that can be sold as edgy and against the grain, especially when youre just starting out.) As a white woman who votes Democratic, Daum can explore more conservative perspectives and give credence to what she views as its more palatable ideas, if only because they wouldnt affect her day-to-day existence.

Her new book, The Problem With Everything: My Journey Through the New Culture Wars, out on Oct. 22, continues in this vein, wrestling back and forth with what the polarization of America means in a world where a significant part of life is played out on the extremes of the internet. But instead of documenting her life experiences, something at which she excels, Daum spends far more time arguing over simplified conservative and liberal talking points, exposing her blind spots to the current issues that color our experience: race, gender, capitalism, the internet, and power.

In 1996, a 25-year-old Daum had the break that most writers dream of, selling an essay to the New York Times Magazine about how Generation X reacts to the message of safe sex. Published under the title Safe-Sex Lies: the final edit was abrupt, not all that coherent, gratuitously provocative, and suggested that I might have had unprotected sex with upward of five hundred people, as Daum would write in the Believer years later. The Times received hundreds of letters in response, Daum appeared on NBC Nightly News in black leather boots, and she had her first experience of what it was like to be the voice of a generation.

Three years later, the New Yorker published Daums essay My Misspent Youth. Its a psychologically astute portrait of a suburban New Jersey twentysomething who accrued more than $60,000 in debt in order to achieve a life that had less to do with overt wealth than with what I perceived as intellectual New York bohemianism. She discussed her student loans from her Columbia masters degree, credit card debt acquired from dental care, freelance taxes, and daily purchases of fresh flowers. She was funny and self-aware about why she was pursuing a romantic version of poverty. Daum closes with the ultimate flex: While she had a very, very good time in New York, she writes that shes now moving to Nebraska, where she can afford the price of living. (Thanks to a freelance career that she says yielded around $40,000 a year 20 years ago good for her!) The essay is a wonderful piece of writing, and still feels fresh in 2019 even if the average debt for a suburban girl turned aspiring bohemian may be a little bit higher these days, and the possibility of making a living wage as a freelance writer is increasingly diminishing.

How did Daum, a pioneer of the 2000s personal essay boom, end up publicly sympathizing with a cohort of self-described public intellectuals who make their money claiming to own social justice warriors?

My Misspent Youth would also be the title of Daums first essay collection, published by the now-closed indie publishing arm of the late magazine Open City. Its best essays were concerned with the minutiae of Daums twentysomething life: On the Fringes of the Physical World discussed an internet courtship that consisted of enthusiastic emails; American Shiksa detailed what its like falling for Jewish men when youre not Jewish; and Variations on Grief is a tough, honest essay about a friends death at 22, in which Daum writes, Brian is someone who accomplished nothing in life other than his death.

In 2003, Daum published her first novel, The Quality of Life Report, a funny and light read that the original paperback cover marketed as edgy chick lit. By 2005, Daum had landed a weekly op-ed column for the Los Angeles Times, a position that she held for over a decade. In 2010, Daums second nonfiction book came out, Life Would Be Perfect if I Lived in That House, and it solidified her position as a writer who could be wry and heartbreaking.

When Daum released her second book of essays in 2014, The Unspeakable, I wrote in a review for Flavorwire that Daum was like a big sister to me, warm and realistic and not afraid to seem like an asshole. There are some duds in this book do I have to dig into Honorary Dyke, an essay whose cringey title really says it all? but there are resonant essays too, like Matricide, about her mothers death, and Diary of a Coma, about her own near-death experience. Instead of boilerplate reactions to brutal life events, Daum was willing to express her ambivalence in the face of subjects as heavy as death.

Theres an essay at the heart of The Unspeakable, one that shows the force of Daums talent, called Difference Maker. She writes about her experience as a volunteer court-appointed advocate for foster children, centered on her relationship with a young kid named Matthew. Age, race, and circumstances mean that as much as Daum wants to be a positive presence in this kids life, shes trying her best in a situation thats set up to hurt, and Matthew is well aware of it too. This attempt at caretaking contrasts with her own explorations of potential motherhood, a subject about which she is mostly conflicted, and she remains rooted in that ambiguity as she and her husband deal with the aftermath of a miscarriage. All of this familial questioning in her marriage is referred to as the Central Sadness, and it holds a lot of weight especially when compared with Daums faltering forays into the foster care system.

On the heels of this book, which won the 2015 PEN Center USA Literary Award in Creative Nonfiction, Daum edited Selfish, Shallow, and Self-Absorbed: Sixteen Writers on the Decision NOT to Have Kids. I interviewed her when the book was released, noting its calm, fair tone and lack of sneering at either side. She said, The conversation [on whether to have kids] gets framed in this hyperbolic way that doesnt serve anyone. At the time, I appreciated her thoughtfulness, and her willingness to discuss, off the record, the looming specter of my own mothers death. Daum was frank and unsentimental. It wasnt what youd expect to hear from a writer and death can inspire the most sentimental clichs. At the time, her words served as a kind of balm as I was stuck in a liminal space, waiting for the next terrible phone call that would change everything.

Daum didnt set out to write a book thats nearly punditry; as she writes in the introduction of The Problem With Everything, it began as a critique of the current state of the womens movement, delving into her frustrations about the lack of shading and the bluster from social media. Over the period in which she wrote the book, starting in late 2016 and finishing earlier this year, the work shifted from being solely concerned with feminism to looking at sexual harassment at work, sexual assault on campus, comedy, the #MeToo movement, identity politics, social media politics, divorce, the intellectual dark web, Bari Weiss, and aging.

Daum wrestles with both sides of issues in a manner that she would classify as the pursuit of nuance, but too often she just ends up seeming out of touch with peoples everyday lives and excessively attuned to arguments on the internet. She writes, for example, about the term woke in a manner that is wholly ignorant of the words roots in black activism she attempts, embarrassingly, to coin the term wokescenti about NPR-listening liberals turning the term into a catchall for yuppies who love to virtue signal and tone police.

As a white woman who votes Democratic, Daum can explore more conservative perspectives and give credence to what she views as its more palatable ideas, if only because they wouldnt affect her day-to-day existence.

Then again, Daum oversimplifies constantly. Take her perspective on #MeToo and its consequences. Discussing the Shitty Media Men list in the first essay, "Sign the Petition: From the Meat Grinder to #MeToo," she jokes, Weird lunch! Welcome to publishing! Im going to write a memoir of my early days in New York and call it Weird Lunch. Shes wary of the idea that #MeToo will fundamentally change how men and women treat each other in the workplace and in relationships.

For Daum, #MeToo is less about women coming forward with stories of sexual misconduct and potentially changing society, and more about younger feminists cluelessness. She takes special pleasure in criticizing an as told to Babe.net piece about Aziz Ansari, widely considered by conservatives and some older feminists (such as Daphne Merkin and Caitlin Flanagan) as a classic case of #MeToo run amok. Daum claims that the story, about a young womans experiences with Ansari, was received entirely along generational lines: Older feminists thought this was an unremarkably bad date, while younger feminists thought it was assault. She fails to recognize how many millennial feminists were skeptical of Babes decision to publish the story, and how many millennial feminists are, in general, skeptical or ambivalent about some of #MeToos influence. Weiss, whos made a career of pointing out that her peers are wrong, naturally pops up as the only millennial with a tolerable point of view because she claimed that Ansaris only problem was not knowing what his date wanted. (The two are now friends: Daum appeared at the Moderate Chic book party for Weisss How to Fight Anti-Semitism; Weiss will be interviewing Daum on her book tour.)

Daum is all over the place, arguing against one strawman after the next from a perspective that ends up feeling blinkered. She raves about her childhood, growing up in the 70s as a kid, gender-neutral, and not being classified as a girl. She argues that this shared childhood is why Generation X is invested in being tough. She compares this toughness to what she classifies as the millennial obsession with fairness, which, to Daum, creates a slippery slope toward a sense of protracted victimhood.

She argues against corporate feminism, circling back over and over to the idea of branded products imprinted with words like badass or male tears, which she views as part of the angry younger generation. Shes a bit obsessed with ironic feminism, in fact, citing memes that are nearly a decade old. (She mentions confused Betty White GIFs so often that Im convinced were not on the same internet.)

But again, Daum fails to recognize the fact that millennial feminists have also been critical of the commodification of womens empowerment. Jia Tolentino discusses a similar scourge in a small section of her new book, Trick Mirror, called The Story of a Generation in Seven Scams, digging into #GirlBoss corporate feminism trends (she also cites the male tears mug). The difference between the two writers to some people, the voice of Generation X and the voice of the millennial generation, and who are both compared ad nauseam to Joan Didion is that Daums observations ultimately peter out after shes satisfied with berating angry millennial straw women. Tolentino, with the advantage of her experience at Jezebel, places the corporate feminism trend in a greater context; internet memes go mainstream, she argues, due to the celebration, exploitation, and mainstreaming of feminism under capitalism.

Its hard to know, according to Daums worldview, who the real villains are.

By writing that current feminism is angry, Daums arguments have more than a whiff of maternalistic condescension. She writes that young women swear a lot and that their language ruins the efficacy of their protests against the cruelty of the current age, a both sidesism that she admits can be boiled down to respectability politics. She applauds the Freedom Riders of the civil rights movement for being dressed well; she then, with all the cluelessness of white feminism, wonders why young women of today cant do the same.

Its hard to know, according to Daums worldview, who the real villains are. Shes correct in saying that when Justice Brett Kavanaugh was first nominated to the Supreme Court, the sexual assault reports distracted from Christine Blasey Fords testimony a subject thats reported on with far more authority in Jodi Kantor and Megan Twoheys recent book, She Said. But then Daum uses the bizarre rhetorical tactic of trying to establish that women can be abusers too by writing, Raise your hand if youve ever threatened to harm yourself if a man breaks up with you or doesnt want to see you anymore. She follows this up with seven other mundane and ridiculous hypotheticals. To quote Tolentino once again, Daum relies on the kind of whataboutism thats appealing to people who wish to seem both contrarian and intellectually superior.

Whats frustrating about Meghan Daum is that, ultimately, she is a good writer. She knows how to put together an argument (even when shes only arguing with herself). The effect can be seductive. But the aimlessness throughout The Problem With Everything is confusing even though, in some ways, it feels as if shes been writing toward this kind of contrarianism throughout her whole career. Exploring both sides is an obsession that doesnt feel particularly useful or urgent. It seems to me that these times call for action rather than intellectual hedging.

The conservative streak that blossoms here may turn Daum into a full-on professional pundit, someone with a future discussing the problem with something women, men, misogyny on someones angry podcast. Its a shame, however, as theres so much more to pay attention to these days so much more thats worth the time of someone as smart and concerned as Daum is. Younger writers like Tolentino have taken on the internet and expanded what it means to write about this new world from a feminist perspective, looking at how capitalism affects young people, even when they dont see themselves as consumers. The feminist perspective that Daum brings here isnt nearly as expansive, let alone accurate, at times.

The lasting image Ive retained from The Problem With Everything is one of a woman alone at her computer, in her New York apartment, reading as much as possible and arguing with herself. Its a lonely image of someone producing writing of the laziest sort: shaped by YouTube, Twitter, the 24-hour news cycle. It is the image of a working woman writer looking at something like her own impending obsolescence and lashing out at the present.

For the first time, Daums writing feels evanescent, and thats because shes solely interrogating the online world, and not herself. At the heart of things, these incoherent arguments seem to be someone wanting despite their best instincts to connect.

Elisabeth Donnelly is a journalist and screenwriter. She has written about books, culture, and other passions for numerous places from Oprah to Topic Magazine to New York City Ballet. You can find her writing at elisabethdonnelly.com. Shes currently working on a nonfiction book about wellness.

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How Did This Liberal Feminist Writer Fall In With The Dark Web? - BuzzFeed News

Your source for the latest NIKE, Inc. stories

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October 18, 2019

This holiday season, Jordan Brand celebrates the power and impact of the Air Jordan I franchise withnew interpretationsandcollaborationsin the Fearless Ones collection, along with fresh articulations of contemporary classic colorschemes. Eachpair servesto extend the defining spirit of the pioneering silhouette.

The Fearless Onescollection is led by theAJI High FlyEase, which exemplifies the symbolic power of the AJI as a conduit for stories thatshare what it means to be fearless. The remainder of the Fearless Ones collection follows this theme by highlighting communities,collaborators (cultural leaders from across the globe whoinspire people to reach new heights in their respective fields)and illuminating stories connected to MJ'sintrepid drive.

Taking insights and inspiration from adaptive athletes, the Air Jordan I is the first Jordan Brand shoe to feature Nike FlyEase technology. The AJI High FlyEase adds the new benefit of easy entry while staying true to the silhouettesiconic look, colors and materials. It features a zipper and strap FlyEase System for easy, one-handed heel entry andexit, and an adjustable eyestay hook and loop for top entry.

Women's Air Jordan I High OGFearlessMade to shine, this AJI features a textured upper with metallic rose gold panels and a Fearless Ones branded insole.

Air Jordan I High Zoom FearlessLike the OG, which was a culture-shifting movement disguised as a basketball shoe, the AJI High Zoom is more than meets the eye. Using an iridescent-inspired upper, the color shifts with the light, beautifully displaying another side to its appearance and challenging viewers to appreciate what lies beneath the surface. Additional details include full-length Zoom Air for superior cushioning and an icy sole with a color fade and Z (Zoom) graphic.

Air Jordan I High OG FearlessInspired by the first three AJI patent leather mid colorways, this version pays tribute to MJs basketball journey by combining University Blue and Gym Red on a patent leather upper. The original black/gold patent leather colorway sees its tribute come to life on the gold jeweled Wings Logo.

Sky Jordan

Theclassic "Shattered" colorway is now available in the kid-exculsive Sky Jordan silhouette. The shoe features a Wings-inspired forefoot strap for easy in and out.

Sky Jordan

ThisSky Jordan,featuringa Wings-inspiredforefoot strap for easy in and out, carries the famous University Blue colorway.

Air Jordan I Low React Fearless Ghetto GastroCreated in collaboration with the culinary collective, Ghetto Gastro, this silhouette brings a new flavor to the AJI. Inspirations include comfort, unity and the streets of New York City where design, art and empowerment intersect.

Air Jordan I mid SE Fearless Blue the GreatDesigned in collaboration with Los Angelesbased artist, Blue the Great, this AJI leans on his love for primary colors on a suede and corduroy upper with his BTG artist signature featured on the heel.

Air Jordan I mid SE Fearless FacetasmBrought to life by cutting-edge Japanese brand, FACETASM, this AJI is inspired by their expression of Tokyo and features their signature crinkled look, a woven brand label and heel tab for easy entry and exit.

Air Jordan I mid SE Fearless Maison Chateau RougeParisian lifestyle brand Maison Chteau Rouge applies African-inspired design cues and hand-stitched details to the AJI mid to honor its founders roots.

Air Jordan I mid SE Fearless Melody EhsaniLos Angelesbased designer Melody Ehsani brings her signature style and message of self-expression, female empowerment and paradox to the AJI mid. Highlights include a decorative gold watch dubrae and hand-lettered quote on the midsole that reads: IF YOU KNEW WHAT YOU HAD WAS RARE, YOU WOULD NEVER WASTE IT." Additional hidden inspirational messages from Ehsani are hidden throughout.

Air Jordan I mid SE Fearless Edison ChenCLOT founder Edison Chen adds his personal twist to the AJI with a woven nylon upper and fadeaway Swoosh that represents the hidden details revealed under the shoes upper by natural wear or customization. A Chinese token-inspired design detail spells out Jordan.

Three Air Jordan I releases this season will celebrate iconic MJ stories with a fresh perspective on the cherished colorways.

Air Jordan I High OG Black/OrangeHighlighted by a crinkled patent leather upper, this AJI uses Black, Orange and Sail for a fall-inspired colorway.

Air Jordan I Retro High BloodlineA new take on the iconic black and red colorway, this AJI High features a leather upper for a refined look and feel.

Air Jordan I Come Fly With MeDressed in a premium black leather upper, this AJI mid pays homage to a classic 90sJordan campaign that asked, Who said man was not meant to fly?

2019 Nike, Inc. All Rights Reserved

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Jordan Brand Fearless Ones Air Jordan I Collection - Nike News

THIS MONTH, Tate Modern will mark the third anniversary ofUniqlo Tate Lateswith a free evening of art, music and film.

These after-hours eventshave attracted over 350,000 visitors to since they began in 2016, becoming one of the UKs largest museum late programmes and providing a vital platform for Londons creative talent.

On the evening of October 25, Tate Modern will celebrate Kara Walkers spectacular Hyundai Commission,Fons Americanus.

Takinginspiration from thisbreath-taking 13-metre-high fountain in the atmospheric surrounds of the Turbine Hall, Octobers Uniqlo Tate Late will exploreideas of freedom, monuments and personal and collective memories.

The evening will include an eclectic array of music, art, discussion, film and workshops:Gal-demwill host a series of conversations and pop-up readings in the Turbine Hall from texts inspired by Walkers works, which will be performed by young creatives includingAbondance MatandaandKai Isaiah Jamal.

BroadcasterZezi Ifore,poet Bridget Minamoreand curatorPriyesh Mistrywill be part of a panel discussion reflecting on Walkers work and how artists can communicate unsettling histories.Visitors will have the opportunity to come together in a round table discussion on monuments, museums and (post)colonial memory organised by researcherShelley Angelie Saggar.

A Vibe Called Techwill run a series of workshops exploring the role of technology as both a tool of empowerment and oppression. Artists, writers and activists includingShiraz Baujoo,Tanya Compas,Inua EllamsAnya Rao-MiddletonandRyan Lanjiwill discuss the theme of memory in15 minute art chats.

In a full gallery takeover, events will spill out into the Terrace bookshop where spoken word artist and writerIsaiah Hullwill be reading from his debut poetrycollectionNosebleeds. NTS Radio have programmed a special soundtrack for the evening with DJs in the Terrace Bar and The Tanks, featuringLA Timpa,Oli XL,Sandra JP,Cherrie FlavaandChampagne Funk.Visitors can also enjoy pop-up food stalls and bars serving Ume Lager, a new bespoke brew created in collaboration with Tate Modern, UNIQLO and Harbour Brewery and available exclusively at the gallery.

Taking place on the last Friday of every month, Uniqlo Tate Lates have quickly made their mark on Tate Modern and Londons wider cultural scene, offering a free and accessible creative hub for people to come together, socialise and exchange ideas.

Over the past three years, pioneering programmes have created memorable moments for hundreds of thousands of visitors, from celebrating women in the arts to exploring the global influences that shape our arts and culture.

These evenings have also showcased emerging talent alongside well-known DJs and world-famous artists. Highlights from previous nights have included an international premiere by Kahlil Joseph, a major installation of Jenny Holzerstruisms, a specially-composed version of Yoko OnosMend Piece, and unique video projections from Solange Knowles Ferguson and Wolfgang Tillmans.

Uniqlo Tate Lates will continue into 2020, exploring themes inspired by Tate Moderns programme of exhibitions and displays, and turning the volume up on Londons creative talent.

October 25, then every final Friday of each month (except December)18.00 22.00 (with the Terrace Bar staying open until 22:30)Admission freeFor information call +44(0)20 7887 8888 or visit tate.org.uk

Excerpt from:
Celebrating three years of Uniqlo Tate Lates - The Voice Online

On a recent weeknight in midtown Manhattan, a trickle of professional women wearing sheath dresses and smart blouses swept into a delicately lit penthouse. The space they entered was filled with women quietly working and chatting, seated on an array of curved pastel furniture, designed to fit the precise ergonomic specifications of the average woman. The womens computers bore stickers reading Im With Her, Hermione 2020, and Cornell. The colour-coded bookshelves behind them included works such as 50 Ways to Comfort a Woman in Labor, Suffragette: My Own Story, and Cunt: A Declaration of Independence.

It was a typical Wednesday night at The Wing, an exclusive club that describes itself as a network of work and community spaces designed for women of all definitions. For between $185 and $250 per month, US Wing members or Winglets, as the company sometimes calls them can use the space to work, eat, socialise, breastfeed, shower, network, exercise, nap, reapply their makeup, meditate or all of the above. In other words, The Wing is a one-stop shop for the performance of contemporary mainstream feminism, a meticulously curated space where women can blow-dry their hair or stage a small coup, depending on the day.

Audrey Gelman, the companys co-founder and CEO, often tells The Wings origin story roughly as follows: she was working as a press secretary, and later as a political consultant, dashing from city to city and from meetings to parties. This lifestyle forced her to change her outfits in Starbucks and Amtrak bathrooms, places she found semi-degrading. She dreamed of having a more dignified place to go, where women like her talented, outgoing, highly ambitious could find like-minded souls, get changed and charge their phones in peace. Thus the idea for The Wing was born.

The company now has eight locations three in New York City, and one each in Los Angeles, San Francisco, Chicago, Boston and Washington DC, with five more scheduled to open imminently. Its first international outpost, on Great Portland Street in London, opens next week. Second locations in London, San Francisco and LA are in the works; there will be 20 Wings by 2020. Over the past two years, The Wing has raised $117.5m in funding, attracting a formidable and diverse array of investors, whose ranks include Serena Williams, President Obamas friend and former senior adviser Valerie Jarrett, and members of the US womens soccer team.

Since the moment it opened its doors three years ago, The Wing has attracted the kind of buzz, funding and controversy usually reserved for projects involving Gwyneth Paltrow or Lena Dunham. (Not totally coincidentally, Dunham is a close friend of Gelmans and a Wing founding member. Gelman had a cameo on Girls, and was famously the basis for the character of Marnie.) The attention The Wing generates is, in large part, because it was founded upon a paradox: its brand is steeped in the feminist language of emancipation, empowerment and equality, while its business is based on one of societys most elitist institutions: the private members club. The result is that the company has become a kind of proxy for national debates over issues of gender, race, inclusivity, intersectionality and the limits and possibilities of neoliberal democratic politics. And yet, the number of people who actually belong to The Wing is still pretty small it aims to have about 15,000 members by the end of the year, slightly less than the monthly circulation figures for The Cricketer magazine, and 16 times less than the total youth membership of the RSPB.

Because The Wing is in part a co-working space, many of its members hail from professions in which office space is a rare commodity the creative class of writers, editors, freelancers, artists and influencers who make up the media. Handily, these are precisely the same kind of people who like to tweet, Instagram and write about the world as it looks from The Wing. This has ensured that even its minutest details, from the coffee to the furniture to the lunch offerings to the customised scented candles in the gift shop, have been deemed worthy of an article of their own. It also means that The Wing has been the subject of seemingly endless criticism accused of being too rich, too white, too cis-gendered, too feminist, not feminist enough, too liberal and not liberal enough. One former employee described it as a super-toxic place, while a British member told me that upon walking into The Wing in New York, she felt that she had found her holy grail.

That Wednesday evening in Manhattan, Wing members sat with their guests, sipping ros and snacking on seasoned popcorn as they waited for the evenings event to begin. It was nominally a talk by the writer Caitlin Moscatello, whose new book tells the stories of first-time female candidates running for office, but it was more like a political strategy meeting for women who were thinking of running themselves. Sitting in the audience felt like being entrusted with trade secrets. Moscatello sat between Kimberly Peeler-Allen, co-founder of Higher Heights, an organisation that works to elect black women, and Catalina Cruz, the newly elected assemblywoman for New Yorks 39th district.

After the three speakers finished their discussion, a woman in the audience raised her hand and introduced herself to the group. She was planning a run for local office, but had yet to announce. Please dont repeat this! the woman told the crowd. Cone of silence! exclaimed Peeler-Allen. As Cruz went on to describe the personal and financial strains of campaigning, the woman who had announced her run looked increasingly stricken. Youre scaring me! she said. Youll be fine, girl, said Cruz. Just get yourself ready.

It was just the kind of exchange that The Wing has been designed to generate. One of its press representatives described it to me as an accelerator for the coming revolution, a place where women are preparing to leap year into a more egalitarian future. In the US, it has become an almost compulsory campaign stop for women, trans and non-binary political candidates. Three of the women running for president have visited in the past year, and a Wing spokesperson told me that the other two front-runner Elizabeth Warren and Senator Amy Klobuchar are actively discussing doing so. The companys corporate ranks are stacked with former Democratic political operatives who worked on Hillary Clintons presidential campaigns or in the Obama administration.

To belong to The Wing is to join this in-crowd, a kind of utopian shadow government. Theres a secret smile that you share with the other women in the elevator, said Jess Lee, a partner at the Silicon Valley venture capital firm Sequoia, which led the The Wings latest $75m funding round. And it was true I found myself giving a look of ambiguous fellowship to the women I encountered in The Wing, and felt a slight twinge of embarrassment at the check-in desk as they swiped their membership cards and glided away, while I announced myself as a journalist, there to report on the workings of their private club. At Moscatellos event, I laughed and clapped along with the women in the audience as they shared strategies for their political triumph. In the elevator on the way out, an older woman turned to me and two young women and gave us the secret smile. So, are you all going to run? she asked.

The Wing opened its doors on 10 October 2016, four weeks before the presidential election. One of the very first events it held was an invitation-only very adult sleepover featuring face masks, monogrammed pyjamas and pillow fights. The next one was a public phone bank and debate watch party in partnership with Clintons presidential campaign, which invited women to spend three hours calling members of the public and urging them to vote the first woman into the Oval Office. Gelman and her co-founder Lauren Kassan hoped that their company would flourish alongside a Clinton administration, buoyed by the arrival of feminisms golden age.

On election night, about 175 women gathered in the Wings Flatiron location to watch the results come in. Like just about everyone else in New York, they expected it would be a celebratory event, a coronation. But as the evening drew on, and it became increasingly clear that Clinton was not going to win, the mood shifted. Oh my goodness, you could feel it getting colder, says Nol Duan, a Wing founding member. At one point, Gelman, wearing a backwards baseball cap and a pink Madam President T-shirt, sat down and held Duans hand.

The Wing was heavily aligned with Clinton, yet among the Democratic partys young, progressive voters, Clintons strain of establishment politics was swiftly disavowed. In no time at all, the former secretary of state had become both a feminist martyr and a political liability, a flawed candidate whose defeat everyone felt they should have seen coming.

Almost everyone I spoke to about the company said it would be a different place if Clinton had won. Instead of being just a beautiful space for women to revel beneath a shattered glass ceiling, it became, for its members, a place to take shelter. It was a really sobering moment, Kassan told me. I think there was already the demand and excitement, and I think that we realised just how important it was now.

A few days later, The Wing briefly opened its doors to all women who felt they needed a place to regroup. Gelman and Kassan gave the organisers of the Womens March on Washington access to the space, and in January, they hired buses to take 100 Wing members to Washington to participate. The Wing began to emphasise civic and political programming, ramped up hiring and continued planning to expand. In interviews, Gelman has articulated the mission in overtly political terms: Being a girl is no longer politically neutral. Your identity, whether you like it or not, is now political, she told Elle in 2017.

Clintons loss marked the unravelling of the already tenuous coalition of American feminists. The 2017 Womens March was the largest single-day protest in US history, but it quickly became known more for its controversy and in-fighting than for its transformative politics. The Wing was born into a world in which women were banding together in new and enlivening ways, but often doing so in competing camps. To many, Clintons Sandbergian, Lean In brand of corporate feminism had been fully discredited and a more radical approach was needed, while others felt that the emergency of President Trump in the White House meant that this was a time for progressives to unite, rather than pursue potentially divisive new policies.

The Wing has found itself trying to please all sides, in the process finding itself attacked from all sides, often within its own walls. It is an easy target, and the fact that it is owned and operated by women makes it all the more so. Where its programming and brand have conflicted with the aims of progressive politics, its members have called the company out. Yet anyone who criticises The Wing may expect to be swiftly criticised in turn, on one side for poking holes in an otherwise admirable project, and on the other for paying it any attention at all. All parties involved might expect their exchange to be followed by a polite reminder of the specific actions that The Wing has taken to respond to the initial criticism, and perhaps an invitation to continue their discussion in a panel event. To begin to reckon with The Wings project is to risk entering an ouroboros of doom, as the writer and illustrator Shelby Lorman put it. It feels like such a perfect metaphor, she said, for the many tangled and charged disagreements over what it means to be a modern woman, feminist and political subject.

Before any woman sets foot in The Wing, she will, in all likelihood, already know what it looks like. Every corner of every branch seems to have been designed specifically for Instagram, which is to say that the furniture and art and food and plants and people feel as if they have been carefully chosen to telegraph that they are coveted, consumable goods. The company posts mock-ups of every new space months before it is built, so that women between the ages of 26 to 35 living in major metropolitan areas and possessing roughly $2,000 of annual disposable income can begin to imagine themselves wandering around there. (The companys omnipresence on social media is another reminder that its power derives from not letting everyone in and letting everyone know about it.)

Every outpost contains careful local touches, and each projects an air of strained yet somewhat soothing whimsy. In the Soho premises in New York, I walked up a set of stairs that read Its not a reach when we climb together, before settling in to enjoy a fork the patriarchy grain bowl on a blue pastel desk. In its Washington DC outpost, located above a spa in Georgetown, one of the toniest corners of the city, there is a conference room named K Street, after the citys main lobbying thoroughfare, and a phone booth named after Anita Hill, legal eagle. The Wing London, a five-storey penthouse in Fitzrovia, will offer a tearoom, terrace, fitness room and floral patterned tile floors, as well as a portrait gallery featuring the likenesses of Diane Abbott, Mary Beard and Amal Clooney, among others. It is the first members club in London that has signed on to the mayors living-wage pact, and proceeds from its cafe and its programming will benefit local charities. There will be trellises, black-and-white tiles and chandeliers. I was very inspired by the British countryside, Laetitia Gorra, the companys director of interiors, told me.

Walking through one of the Wings premises can sometimes feel like exploring what would happen if Oliver Bonas were to design a luxury corporate office: lots of pastel and very few sharp edges. The walls, cushions and seating offer an array of muted pink, mustard and rose-gold hues, a colour scheme chosen in part for its calming effect. The air conditioning is usually set at 22C (72F), to accommodate womens slightly lower skin temperatures. Chiara de Rege, who helped design the first few locations, said that the goal was to make them feminine, but not girly girl or precious. Hilary Koyfman, who collaborated with De Rege on the early design, has described the overall aesthetic as kind of like Mad Men without the men.

There is certainly something beautiful and powerful, even alchemic, about being in a women-only space. For some women, it is a place to find support, friendship and inspiration, where they do not have to apologise for anything or worry about their things being stolen or their drinks being spiked. Two locations currently offer childcare services, while every location features a private nursing room for new mothers. Each Wing also offers a luxurious beauty room with a wide array of hair and makeup products. These beauty rooms, staff told me, are a key part of the companys storytelling. They are designed to make life easier, as Gelman once said, for the kind of woman for whom part of being successful is not only making sure that you know everything thats going on in the news and that youve responded to every single email in your inbox, and that nothing is on fire in your house, but also looking good because it is whats expected of you and can make you feel more confident.

Yet, for its critics, this point of articulation is where the alchemy dissolves: instead of being a place that seeks to lift all women up, it becomes a place where one must constantly consider how well one is performing both feminism and femininity. And with any performance, this can be exhausting, and always carries the risk of failure. Spending time at The Wing, I was reminded of the kind of ideal woman that the writer Jia Tolentino described in a recent essay: she has expensive hair and expensive skin, she is successful and svelte. Todays ideal woman is of a type that coexists easily with feminism in its current market-friendly and mainstream form, she writes. This sort of feminism has organised itself around being as visible and appealing to as many people as possible; it has greatly over-valorised womens individual success.

Some of the tensions within this brand of feminism can be glimpsed, not too surprisingly, at The Wings in-house shops, where it sells T-shirts, bags and hats with slogans like casual business woman and annihilate the patriarchy on them. There are workout clothes and $17.50 keychains. When I visited the Soho location in early August, the shop was selling a range of colourful award ribbons, printed with lines such as Wow, youre not sexist, Best ally, and Youre my Wingman of the year. As Jezebel has reported, some of the merchandise resembles that of other feminist artists. The ribbons, for example, seem to be emulating the work of Shelby Lorman, whose book Awards for Good Boys satirises the low standards to which men are held. Lorman first spotted The Wings version of the ribbons on Instagram. I thought it was amazing and hilarious, because they are awards for men, for sale for $6, but theyre stripped of humour, so its literal, she told me. I truly dont think that anything could be funnier because if they did borrow my work, they have totally missed the point. And they are monetising the missed point, which is kind of genius. Its so sinister and so evil that I kind of love it.

Ever since it first opened its doors, The Wing has struggled to define who exactly it is for. Its representatives, describing its membership policy, use the words exclusive and inclusive in the same breath. No one gets rejected, they told me. Applicants are merely placed on the waiting list 35,000 people have applied so far when their preferred space is at capacity. Yet, in a 2018 presentation to the New York City Commission on Human Rights, The Wings attorneys stated that it is highly selective and that only around 40% of applicants are admitted. Aspiring members must explain how they have promoted or supported The Wings mission of advancing women, and also describe the dinner party of their dreams.

The commission was investigating the company for discriminating on the basis of gender. (New York law requires it to investigate any complaint it receives. The investigation closed in March 2019.) At first, the club refused to allow men into its spaces, even as guests. A former employee told me that one of the first things they were taught was how to keep men out: Block them with your body, push them to the elevator, push the elevator button. But outward appearance does not always correlate with gender identity; the employee witnessed instances where individuals who presented themselves to the check-in desk at The Wing were misgendered by staff. In August 2018, a serially litigious 53-year-old man sued The Wing for up to $12m for rejecting his application, claiming that he had been denied entry because of his gender. After the lawsuit was filed, and as a result of conversations with its trans and nonbinary staff and members, The Wing adopted a formal membership policy that would evaluate applicants based on their commitment to The Wings mission, regardless of their perceived gender or gender identity. In a letter to members announcing the new policy, Kassan and Gelman wrote that they would be working to actively incorporate the perspective of trans and non-binary members into our offerings. The language of guest emails was changed from shes landed to theyve landed. The policy also meant that men could enter the space as guests and apply for membership, if they really wanted to.

The companys success is partly due to the fact that, over the past five years, the identity-based members club has emerged as a powerful trend. In the US, The Wing already has too many competitors and imitators to list, which have names such as The Lola (Atlanta), The Broad (Richmond), The Assembly (San Francisco), The Riveter (Seattle) and The Hivery (Mill Valley). In London, womens clubs such as The AllBright and The Trouble Club already occupy part of The Wings target audience. In November, Ethels Club, the first private social and wellness club designed with people of colour in mind, will open its doors in Brooklyn. The Wing was created for a certain type of woman, which, from my point of view, is not for me, Ethels Club founder, Najla Austin, told me. Im looking for my people. Its not unlike religion. If you write down the similarities of Catholicism and a social club, theyre not that different.

Akilah Cadet, who runs a diversity and inclusion consulting firm in Oakland, had a similar first impression of The Wing, and decided that it probably was not for her. But then Yari Blanco, at the time The Wings senior manager of culture and diversity, reached out to her about her work, and Cadet decided to join the club. Being a member, she rightly predicted, would bring in business. Honestly, my objective was like, get this money, so thats what I did, she told me. She said her application to the San Francisco location was fast-tracked, and soon she found herself at an event thrown specifically for black women. At one point, a white woman stood up on the couch and announced that they would be giving away T-shirts reading phenomenally black. Cadet raised her concerns about the event to Blanco and her team, criticising what she perceived to be a lack of serious thought about the way the event was organised. Two days later, she found herself on a panel at The Wing sponsored by Secret deodorant, where she got a new client.

The company has made similar missteps along the way, and has almost always made concerted efforts to correct them wherever they arise. Nol Duan, the founding member from New York, who is Chinese American, told me that when The Wing held an event for Asian women, they posted an Instagram story intended to celebrate the clubs women from Asia. Duan did not attend, but some of her friends did. They were like: were not women from Asia, were American, she said. What I really love about Wing members is that they are willing to speak out, including against the company, Duan added, noting that the company had changed in response to criticism. I can see from personal experience that it has come a long way since they first launched, she said.

Cadet took it upon herself to point out instances where The Wing could be more attentive to diversity and difference. Eventually, she was doing so much work for The Wing that she said they offered her a complimentary membership, and she frequently used the space to hold meetings in San Francisco. Like many of its critics, Cadet tries to view the company with generosity.

Lately, however, maintaining this nuanced view has come to require a more intricate set of mental gymnastics. At the end of May, a racial confrontation occurred at the West Hollywood branch. According to reporting by the online magazine Zora, Wing member Asha Grant, the director of The Free Black Womens Library Los Angeles, and her guest were harassed in the parking lot by an unaccompanied white woman guest who began yelling at them after Grant took what she felt was her parking space. The harassment and racist threats continued inside, where the white woman gave the middle finger to Grant, her guest, and another black club member, Stephanie Kimou. In an attempt to ease the situation, staff offered Kimou, Grant and her guest a free meal, but the white woman was not asked to leave the premises.

News of the incident spread quickly. In mid-August, Kimou and Grant posted on Instagram announcing that they were cancelling their memberships. After the initial allure of their perfectly designed co-working spaces, beauty rooms stocked full of Glossier and Goop, the lattes and their commitment to diversity, the facade started to crack and what was underneath all that pink felt oppressive and debilitating, Kimou wrote in her post.

Other black members began quitting The Wing. They didnt think it was going to get to this level, Cadet told me. On 5 September, Gelman and Kassan sent an email to all Wing members that finally acknowledged what had occurred: Our handling of it left everyone feeling disappointed, and the black member felt especially unprotected and let down, they wrote. In the following weeks, they would hold gatherings in every city with the goal of improving community understanding and mutual trust, which the executive team would attend. Eleven days later, members received another email from Kassan and Gelman in which they apologised for the ways weve fallen short, and made commitments to pay more attention to racial inclusion, including reworking the clubs code of conduct and changing member orientation to address issues of race and racial empathy. Two days after that, on 18 September, Gelman appeared on the cover of Inc. magazine in a long-sleeve black knit dress, her hands resting on her pregnant torso. She became the first visibly pregnant CEO to grace the cover of a business magazine.

On 6 September, the day after the first email from Gelman and Kassan went out, I visited the companys new headquarters in the East Village in New York. Zara Rahim, senior director of strategic communications, gave me a tour around the four-storey office, which is located in what was once a hospital for German immigrants and later expanded to include a dedicated womens wing. In the basement, the only place in the building where I spotted several men, the tech team was hard at work. Upstairs, we popped our heads into a mint-green conference room, where a planning meeting for the London launch was underway.

Rahim and I settled into a couch in Kassans office, where Kassan greeted us wearing a yellow plaid jacquard blazer and a logo necklace bearing The Wings hero W, which looks something like the Wonder Woman logo, but softer, rounder, cuter. While Gelman, as CEO, is the public face of the company, Kassan, as COO, tends to handle operations behind the scenes. Before this venture, Kassan was the first employee at the fitness chain SLT, which specialises in high-intensity reformer pilates (motto: better sore than sorry), and then moved on to Classpass, a fitness class app. She rarely gives interviews, but by the time we spoke, Gelman was busy preparing to go on maternity leave and Kassan was taking over some of her duties.

Kassan was excited for the London launch, which she told me had been years in the making. She would be bringing her whole family over to celebrate the opening. I asked her about the recent email to members and about the common criticisms of the company. Diversity had been a part of who we are and what weve cared about since the beginning, she explained. That shows up through our programming and through our products. When things happen, we want to be transparent and clear about that because there are things that happen outside in the world that we cant control. And we want to create a space to be able to have these honest and hard conversations.

Kassan had less time for the criticism that membership is too expensive. I think the price point is just she lowered her voice to a whisper bullshit. The Wing is, indeed, more affordable than the vast majority of its competitors. As women, we undervalue what were providing and serving, Kassan said. We get criticised about that, and we feel proud of what were doing. In London, membership will cost 170 per month for access to a single location, and 240 for access to all locations. Approximately 7% of Wing members are awarded scholarships, which last for two years and cover the full cost of membership, and the company is planning tiered membership rates to expand access in the future.

The more time I spent speaking to the companys critics and supporters, the clearer it became that the controversy it generates has far more to do with what it claims to be rather than what it actually is. Last month, for instance, it debuted a members-only job marketplace that allows members to post listings and hire one another. From a business perspective, this is a savvy move giving ambitious women yet another reason to want to join, while connecting bosses who are members with a pool of promising candidates. But this is a very narrow vision of feminism. Of course, many talented people will gain new opportunities through this service but, equally obviously, its exclusivity threatens to exacerbate the same kinds of inequality that The Wing claims to want to combat.

Feminism, for me, is fundamentally about collective struggle, not individuals, says Sarah Banet-Weiser, a scholar of communication and gender studies at the London School of Economics. The Wings strain of feminism, she argued, is something else: Theyre empowering women to be better economic subjects within capitalism, empowering women to network, to get a raise, to address the pay gap. Those are real things, but they are really tied to capitalist logic. As a former employee put it, The Wings feminism is less about making the world more equitable as it is about making sure women are given equal opportunities to make money: Its like, you only make $1m? Well, this man makes $2m! You could make $2m if only it werent for misogyny. (One recent post from The Wings Instagram feed read: Mood: CE0,000,000.)

Progressives often talk about The Wing in the same way they talk about the Democratic party: its not great but maybe things will get better, maybe the politicians will figure it out, maybe the world The Wings founders imagined they would serve will one day emerge. One vocal supporter of The Wing is, somewhat surprisingly, Alexandria Ocasio-Cortez. Gelman hosted a fundraiser for Ocasio-Cortez at her home in Brooklyn last summer and, a few months later, the politician told Glamour: The Wing isnt just a functional space, its a real symbol of whats happening in our country. She called the company one of the most potent forces that weve seen emerge in politics this year.

Many of the people I spoke to for this piece were disappointed in The Wing for a variety of reasons, but hesitant to publicly criticise it. They had made good friends there, and saw all the work that staff were putting in to make it a better place. They had low expectations for corporate behaviour, and saw The Wing doing a better job than most companies when it comes to addressing its failures. They understood the paradox of a company whose profitability rests upon both expanding its tent and guarding the entrances. I really wonder what the plan is to grow while staying true to their values, one San Francisco-based member told me. Maybe they have something up their sleeve, they have a ton of really smart women working for that company, but I dont see it. Cadet also felt burned out by her experience. I want this to go well. I want this to be a good thing, she said. I dont know, maybe Ive done all that I can do. (And when you write that, say that I was gazing off into the distance, she joked.)

The opening of the London branch comes as The Wing seems to be reckoning with its first few years. Last week, The Wing unveiled a mural advertisement on a street corner in Shoreditch in east London. In a bright coral hue, it introduces The Wing as the first place in London to solve the dual epidemic of mansplaining and manspreading. After it went up, Rahim texted me a photo of a handful of men and women pausing in front of it, presumably wondering what a thing called The Wing could be and what it might become.

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The Wing: how an exclusive women's club sparked a thousand arguments - The Guardian

Ashley McBryde will be presented with a special honor at this year's CMT Artists of the Year ceremony:McBryde will be receiving the Breakout Artist of the Year Award for 2019.

The country music newcomer has had a whirlwind couple of years: She released her debut album,Girl Going Nowhere,in 2018, to widespread critical acclaim, and received a Grammy nomination for Best Country Album in 2019. She's also nominated for New Artist of the Year at the upcoming 2019 CMA Awards, and was named New Female Artist of the Year at the 2019 ACM Awards.At the 2019 CMT Music Awards in June, McBryde received the Breakthrough Video of the Year honor, for the music video for "Girl Goin' Nowhere."

The "A Little Dive Bar in Dahlonega" singer has already begun preparing her sophomore album. She recently released the lead single, "One Night Standards," from the project. McBryde hasn't reveled much about the unnamed album; however, the singer says it will be out in 2020, according to Nash Country Daily.Early next year, she'll be hitting the road with Luke Combs, on his What You See Is What You Get Tour.

The 2019 CMT Artists of the Year ceremony will also honorDan + Shay, Kane Brown, Thomas Rhett, Luke Combs and Carrie Underwoodas this year's artists of the year. Additionally,Reba McEntire will be honored with the prestigious honor of Artist of a Lifetime.

The 2019 CMT Artists of the Year will be celebrating its 10th anniversary on Oct. 16. The ceremony, set to take place in Nashville at the Schermerhorn Symphony Center, will air live on CMT at 8PM ET.

29 Songs from Women You Need to Hear Today:

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Ashley McBryde to Receive Special CMT Artist of the Year Award - Taste of Country

The first time I listened to the Call Her Daddy podcast, I was utterly appalled by both the profanity and absurdity of the ideas that the show was overtly promoting. And yet, every Wednesday, I find myself eagerly refreshing the app anticipating the source of weekly entertainment.

The blunt and provocative nature of vloggers Alexandra Cooper and Sofia Franklyn has given the Barstool podcast a five-star rating with more than 65,000 reviews. Although the audience includes both male and female listeners, the podcast is supposed to be revolutionary for women because it delves into the nitty gritty details of the modern dating scene from a heterosexual female perspective.

Through sharing their own personal experiences with men, Cooper and Franklyn provide all the necessary tips and tricks on how to master the daddy game a game of manipulation and winning the power dynamic. While it seems like an inspiring and empowering way to include women in the conversation of casual sex, Cooper and Franklyn seem to do so through a dominantly male perspective.

Despite the entertaining and sometimes helpful advice, female listeners should refrain from using the podcast as a golden standard of rules in the dating game. The podcast exposes the manipulative tactics of men and explains to women how to play their game and ultimately win it.

One of their recent episodes, Milf Hunter, contained the most provocative dialogue yet. This episode featured a guest on the show whose identity remains a secret, but who goes by the moniker Milf Hunter. Cooper and Franklyn consistently make references to him as the ultimate player who vivaciously dates, has had more than a hundred sexual partners and has supposedly mastered the daddy game a term used to describe the stereotype of male players who attain emotional control of women and juggle several partners at a time.

In his guest appearance, he consistently referred to women as holes as he educated listeners about his successful strategy of lies and manipulation. Through recounting various sexual experiences, he revealed that he has yet to take a woman on a date and rarely even opens the door for them. He also gloated about the fact that although he has never been in love, he tells women he loves them so he can continue hooking up with them.

For a female listener, this behavior sounds degrading and for most people in general these assertions sound uncommon and irrational. Yet Cooper and Franklyn not only expressed full support of his general apathy and treatment towards his partners, but encouraged the same behavior from women. In fact, Cooper even expressed gratitude to Milf Hunter for teaching her how to manipulate men the way he does with women.

Girls, most men are like this so I hope your ears are perking up and I hope youre feeling like shit about yourself, Franklyn said.

This kind of advice wrongfully shoves all men into a negative category and simultaneously conditions women to normalize and accept this kind of treatment. Cooper and Franklyn routinely remind women that adopting this mindset will make them better off. Yet learning to treat the opposite sex in a worthless manner does not equate to female empowerment.

In support of these outlandish notions, Cooper and Franklyn put an emphasis on performance in the bedroom and encourage women to drop everything else that might be included in the realm of a normal relationship. They advise women to remove any expectations from men, and to brainwash themselves into believing that they are merely a hole.

The conversation about casual dating and open relationships isnt the problem with the podcast. But constantly re-enforcing that casual sex is all men want and women should cater their own desires and expectations to fit this rigid and extreme standard is worrisome.

You dont want him calling you babe, you want him calling you a whore, Franklyn said.

Furthermore, the idea that women need to downgrade their status to the level of a sex object is even more dangerous to the conversation of casual dating. Rather than empower women to pursue the relationships they desire, Call Her Daddy teaches self-deprecation and limits their options.

Cooper and Franklyn put an emphasis on keeping up exceptional performance in the bedroom, remaining low maintenance, refraining from conversations about the relationship status, abstaining from any expression of emotion and staying noncommittal to anyone.

If your behavior changes, especially if youre starting to act more needy, hes going to be terrified of you, Cooper said.

The podcast routinely stresses that any demonstration of emotion or attachment is a turn off and that any progression towards a relationship must derive from the males end. For some women, this dynamic works. But for the women who may desire something other than sex, this kind of advice can be toxic and minimizing.

Cooper and Franklyn overgeneralize the dating world and normalize an abnormal pattern of treatment to a varied audience of listeners and subscribers.

By teaching women to replicate the strategies of certain men and blatantly ignore their own feelings and others, they contribute to a never-ending cycle of this power game. According to Cooper and Franklyn, the game never ends, not even in marriage.

They still hate you and theyre still cheating on you, until they prove otherwise, Cooper said.

This mentality is not only harmful to women, but it places men in an unfair category as well. To assume that all men or even the majority of men solely share an interest in sex, is unfair and inaccurate. It morphs the expectations of both genders and creates an endless power dynamic game that results in a toxic cycle for both parties.

So while Cooper and Franklyn may have cracked the code of the so-called daddy game, women should take this advice with a grain of salt. Not all men solely want sex, and women who want more should not neglect their own desires. Women might benefit more from a game that they create and write their own rules to one that doesnt abide by the aloof standards that certain men of the 21st century have regimented into the modern dating culture.

Read more here:
Opinion | Call Her Daddy podcast entertains and degrades - University of Pittsburgh The Pitt News

A few weeks ago I wrote about Presbyterians. Today I want to talk about Methodists. Both of these groups possess good biblical church order and governance. Presbyterians are governed by elders (Greek, presbuteros). Methodists first developed out of a method - small house groups. This was an alternative place for converts to gather, to pray, to study the Bible, and to confess their sins. These home meetings were needed because the historical churches were resisting the revival. In fact, some Methodist pioneers (my ancestors) were tarred and feathered and driven out of town, simply for believing you could know you were saved. They were pioneers in the faith.

The Methodist denomination came about from the preaching of John Wesley and his genius for organizing small groups. Like most revivals, it was a movement before it was a denomination. Movements begin with individuals encountering God. They morph into movements as more people get on board, then organizations develop. Other revival movements had amazing leaders like Jonathan Edwards (Presbyterians) and William Seymour (Assemblies of God).

Personally, I have a love-hate relationship with denominationalism. I love the church, but I dislike what religion has done to Christianity. Sadly, many parts of the body of Christ (believers everywhere who are born again) have mostly been boxed into sectarian groups who rarely interact with each other, pray together, or witness together.

Denominations started off to protect the orthodoxy of the faith, to prevent heresy. Upholding faith in Christ Jesus or teaching historic doctrine is good, of course. It isn't that denominations are wrong, it's just that when you add an ism to it, that it becomes sectarian. "We are right! You are wrong!" Maybe so, but we still need to love one another in the Lord, right?

The fervor of a revival movement, the freshness of rediscovered biblical truth, the presence of the Holy Spirit: these things characterize a move of God in its beginning stages. In the movement stage, there is very little organization, just key men and women used by God to proclaim the message. Denominations started off with an aspect of neglected truth the church had forgotten. It could be justification by faith, the reliability of Scripture, experiencing the new birth, receiving the empowerment of the Holy Spirit, or our personal obligation to evangelism. Today, I'm watching charismatic renewal movements reveal genuine prophets and apostles. I'd love to see evangelists emerge again. Where is Billy Graham when you need him?

My late sister Carol and her husband Fred were wonderful Methodist pastors in Florida. We had many theological and practical discussions. I admired their work. I vividly recall being invited to come forward and pray in one of Fred's churches. It was a very old historic church in Jacksonville, Fla. As I stepped behind the ancient wooden pulpit - surprise! I was suddenly enveloped in the presence of the Holy Spirit. I knew instantly that members of the church had for generations prayed for whoever stood in that church pulpit, that they would be anointed by the Spirit to declare God's word. What a wonderful heritage!

Denominations today are institutions that hold assets and property and uphold fundamental doctrines. In some cases, they are still anointed by the Lord. We owe it to those pioneers of Christianity to be true to the Lord as they were, and if necessary, to claim new territory for God and His world.

If you want to learn more about Methodists, a new book will soon be out- Marks of a Movement: What the Church Today Can Learn from the Wesleyan Revival, by Winfield Bevins.

--RON WOOD IS A WRITER AND MINISTER. CONTACT HIM AT WOOD.STONE.RON@GMAIL.COM OR VISIT http://WWW.TOUCHEDBYGRACE.ORG. THE OPINIONS EXPRESSED ARE THOSE OF THE AUTHOR.

Religion on 09/18/2019

Print Headline: Methodist Movement Came From The Preaching Of John Wesley

Originally posted here:
RELIGION: Methodist Movement Came From The Preaching Of John Wesley - NWAOnline

When Courtney Hill, a doctoral candidate in the University of Virginias School of Engineering, was invited last year to speak at her high school in eastern Arkansas on girls empowerment day, she eagerly agreed.

In the farming community where she grew up, not many of the students had met someone let alone a woman with an academic career in research, said Hill, who was the first woman in her family to go to college.

Now, Hill is one of two UVA scholars to win a Ford Foundation Fellowship. Hers will help her finish her dissertation on testing the effectiveness of water-purifying devices in Limpopo, South Africa.

Anthropologist Roberto Armengol also won a Ford Foundation Fellowship in the postdoctoral category, to research how Cuban workers in small urban businesses and sustainable farms are managing during a time of social transition.

The Ford Foundation Fellowship Programs, which also include the category of predoctoral work, seek to increase the diversity of the nations college and university faculties by increasing their ethnic and racial diversity, to maximize the educational benefits of diversity, and to increase the number of professors who can and will use diversity as a resource for enriching the education of all students, its website says. The national academies of Sciences, Engineering and Medicine administer the programs, which awarded fellowships to 130 outstanding scholars from across the country this year.

Hill and Armengol are among 19 UVA scholars who have secured one of the fellowships over the past 34 years. Last year, Isola Brown, a research scientist in the School of Medicine, was awarded a 2018 postdoctoral fellowship.

Armengol, who earned his Ph.D. in anthropology from UVA in 2013, was pleasantly surprised when he got the news about the fellowship. At first I thought it was a mistake, he said. Only 24 scholars received postdoctoral fellowships this year.

With the Ford Foundation Postdoctoral Fellowship, hell be contributing groundbreaking scholarship about how Cuba is changing right now.

Previously, he served as a College Fellow in the inaugural group that developed the cross-disciplinary courses for the College of Arts &Sciences new general curriculum, an appointment that concluded after the spring semester.

As a Ford Fellow, Armengol will return to Cuba in the spring, where he has been doing fieldwork on self-employed workers since the early 2000s. Now his focus is shifting toward worker-owned and organic farming cooperatives that have grown in number in recent years. As part of his research, he plans to work at a farm outside Havana. Since the economic crisis of the 1990s, Cuban farmers have almost by necessity, rather than choice, turned more and more to traditional and more sustainable principles of growing crops, he said.

This fall, hes wrapping up a book manuscript based on his dissertation, the everyday life of small business entrepreneurs and economic practices that draw on an ethic of cooperation that is unusual as compared to the mainstream market logic based mostly on self-interest, he said.

During the economic crisis, working-class people became so enterprising in creative ways, he said. Theres so much red tape, however, that a lot of practices are illegal.

Take bicycle vendors, for example. These individuals sell and fix bicycles, which are in high demand because not that many people can afford to own cars. The vendors help and support each other through reciprocal exchanges so their businesses can survive.

The small business phenomenon has been misread as capitalism breaking through socialism, but its really a socialism of their own, distinct from the socialism imposed by the state, he said.

More recently, fledgling business schools, workshops and entrepreneurial support networks are being established by both private and public actors. Armengol wants to look at what effect the conventionalization of economic activities that previously took place under the table is having on small business owners and operators. He suspects theyre learning more about being profit-motivated, but also might be continuing their ethics of cooperation and support, changing the conventions imposed in formal business education.

I think theres a larger message for rethinking how we understand working-class people all over the world, Armengol said.

His adviser, Latin American history professor Tico Braun, agrees.

Roberto Armengols research suggests that what may well be emerging in Cuba has elements of both socialism and capitalism, and in the combination, both are altered. Roberto has detected market-like relationships that are imbued with a sense for the moral, for the collective, Braun said.

If, in the early 21st century, we are coming to a consensus that with neo-liberalism we have gone too far toward the privatization of the market, Braun wrote in an email, Cuba may well point us toward a more balanced relationship between the private and the public. If so, as appears to be the case, this needs to be known and known everywhere. Robertos research is vitally significant as we think about the good society, or at least about better ones.

Hill is excited to join the nationwide community of Ford Fellows, she said, with whom shell continue to learn about inclusion in higher education.

This fellowship is an invaluable opportunity to connect with like-minded academics who are dedicated to using diversity as a resource for enriching the education of all students, Hill wrote in an email. The network provides professional, academic and even personal support for members of the community as we wrestle with what it means to create an inclusive environment at every level of higher education.

Hill said she knows what it feels like to be the only one in the room as a woman and someone from a working-class community, she said. She wants to continue to help students feel accepted and welcome no matter where youre from.

She knows how meaningful mentorship can be to students, Hill said, especially if theyre first-generation college students from a low socio-economic background or from an underrepresented group. She said its important to share information with students and peers about opportunities such as Fulbright scholarships or National Science Foundation grants, for example.

Hill currently holds an NSF Graduate Research Fellowship and a Jefferson Fellowship from the Jefferson Scholars Foundation, given to graduate students who demonstrate outstanding achievement and the highest promise as scholars, teachers, public servants, and business leaders in the United States and beyond, as the website describes them.

Working with James Smith, Henry L. Kinnier Professor of Civil Engineering and the lead developer of the MadiDrop water purification tablet, Hill is focusing on low-cost ways to treat water in rural South Africa. She has worked in South Africa during several summers for two months at a time, mentoring students in the program from all over the U.S., as well as students from South Africa. She learns from them, too, she said.

Last spring, she served as a Mirzayan Science and Technology Fellow at the National Academy of Science through the InterAcademy Partnership, an organization that makes scientific recommendations to international bodies like theUN. Before graduate school, she taught high school English in South Korea as a Fulbright Scholar.

Last year, Hill was awarded UVAs first Global Water Initiative Graduate Prize for the most outstanding presentation.

Smith praised Hills ability to balance her research with other academic projects.

Her dissertation research is strong, but that is only a part of her professional activities, he wrote in an email.She mentors many undergraduates and less-senior graduate students.She participates in conferences and has been very active in promoting diversity in engineering. It is rare to find a Ph.D. student who can excel in their research while participating in so many other service activities.

On Grounds this year, Hill is working with students on developing another device for delivering the ionized silver that disinfects water.

I chose this topic, she said, because water is essential to life, and I believe that everyone should have access to a reliable, clean water source.

See the rest here:
Ford Foundation Fellowships Boost Two Rising UVA Scholars - University of Virginia

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Do you feel more or less in control of the world than you did five years ago?

This is a question I have been discussing with researchers, authors, executives, and others I encounter in my life as editor of MIT Sloan Management Review. You will not be surprised that the majority answer less, usually without hesitation and often quite adamantly.

I set the time span of five years for the question so it is not directly tied to the Trump presidency or Brexit, although its hard to imagine those developments are not central in many peoples answers.

The last five years have also seen the rise at least in our consciousness of several other phenomena that threaten our sense of agency.

Perhaps most obviously, the climate change conversation has taken a dramatic turn. We have reached a point where any rational, thinking human cannot help but be, well, terrified. Among all the things we may feel powerless against, the impact of an increasingly angry planet sits high on the list. Public discourse has evolved from if to when, and the question of when from centuries to decades to years.

Within this same half-decade, we have experienced a sharp turn in our feelings about intelligent technology. The cresting digital wave circa 2014 that we associated with freedom of expression, access to information, and promise of a hassle-free lifestyle has crashed into fears for our privacy, anxiety about replacement, and an absurd twist on the search for truth. We techno-optimists find this particularly distressing, as technology should be a source of great empowerment across our work and home lives and across economic boundaries.

As humans, we are all prone to bouts of exceptionalism. We get caught up in the moment and fool ourselves into believing we are experiencing something truly unprecedented. Later, with the benefit of perspective, we recognize that others have seen or experienced the same thing before.

I am certainly exceptionalism-prone, so I have challenged myself to look at history for context. Indeed, there is strong and near-term precedent for the type of angst we are experiencing. Consider how humankind reacted in the moment to the upheaval of the Nixon administration, for example, and to pretty much every major technological transformation of the industrial age.

But weve reached a new level of angst. Taken together, todays attacks on our sense of personal power across all walks of our lives and our economy amount to a crisis of agency.

I feel no pity for myself, nor do I have overwhelming sympathy for any other have in this world. I can only imagine how our feelings of discomfort pale in comparison to the stresses of simply trying to survive and put food on the table.

But shrugging our shoulders and accepting anxiety and impotence as the new normal is a sure road to disaster. We cannot let threats overwhelm or inhibit us, no matter how existential they may appear.

The answer, I think, is to do whats within your immediate power and do it right now. Do that thing you can do today that makes a positive contribution. Maybe thats making a financial contribution to a nonprofit organization or a political campaign. Maybe its taking the bus to work instead of driving, skipping meat for a meal, or staying off Facebook for the rest of the day.

Or maybe its seizing on the opening provided by the long overdue change in guidance from the Business Roundtable. Take five minutes and write the first paragraph in a memo outlining the change in strategy youve been contemplating. Your expanded set of stakeholders recognizes whats at stake.

While some of these actions may border on the trite, doing small things can make you feel more powerful. And you know what they say about a taste of power.

Paul Michelman is editor in chief of MIT Sloan Management Review. He tweets @pmichelman.

Read more:
Can We End the Crisis of Agency? - MIT Sloan