Catching Up with B.U.G. Antman After The Drop of His Highly Anticipated EP, Y’all Ugly

It’s been one month since buzzing rapper, B.U.G. Antman dropped his highly anticipated EP, Y’all Ugly. Hailing from the epicenter of American trap music, Atlanta, B.U.G. Antman has emerged through the thickets of talent with his own unique sound in what I’ve personally dubbed, ‘suave trap’. Over the past year, Antman has rolled out singles, accompanying visualizers, and promoted himself with public guerilla marketing.  Around the time of Y’all Ugly’s release, I was able to sit down with Antman and discuss the project, his process, the development of his sound, and life after releasing the project. 

(This interview was conducted over the phone and has been edited for clarity.)

[Nathan Meline]: You just dropped a new project, had a release party, how does it feel? 

[B.U.G. Antman]:  I'm feeling amazing, even just everybody [at the release party] that popped out to show love and support and hear the project– definitely one of the top moments in my career so far. Just seeing everyone there was crazy 

Ant had his release party at Culture Lab Atlanta, filled with friends, family, and members of the ‘Ant Colony’ alike. Release season is a switch up in pace for Antman’s recent activity– It’s been just over a year since his last project, Bug. 

[BA]: It was a long time coming. I wanted to drop before, but there were a lot of things behind the scenes that I was trying to just handle. But, once we figured that out last year, it was like, man, it's go time. Now I'm in a position where I can just be consistent and keep dropping amazing projects I’ve been working on for years. 

Y’all Ugly was a long time in the making, with the project’s first recordings dating back to late 2022/early 2023. The time and effort has clearly paid off; This is B.U.G. Antman’s most cohesive, polished work thus far, highlighting a noticeable development for Ant’s sound as an artist over time. His early work featured trap induced ragers, underscored by raucous 808s and blaring synths- a sound that has become synonymous with today’s underground rap scene. 

With his latest project, B.U.G. Antman has taken on a more suave, psychedelic resonance. Still utilizing 808s, drum kits, and synths, Y’all Ugly offers a more spaced out, melodic vibe, sonically hypnotizing to the ears. 

[NM]: Was that a conscious development? How did that take place? 

[BA]:  I think it's just being intentional. Just repetition and being more intentional when I cook. Now I make 120 songs a month on some s*** and instead of just cooking to cook, I'm being more intentional going towards a sound to improve myself. I think that's the difference why my sound is changing for the better for sure.

Not only is it Ant’s cleanest sounding project, it’s also his most creatively ambitious one. Y’all Ugly centers itself around themes of vulnerability, self acceptance and embracement, the fleeting romances and coping mechanisms that come with road life. An exploration of what ‘being ugly means’ is central to Y’all Ugly’s message.  

[BA]: When I say ugly, it's not like an insult or nothing. I'm more so saying a lot of people are ugly on the inside. So it's like I'm trying to encourage people to look within themselves… To me ugly stands for U Gotta Love Yourself. 

That definitely flew over my head. Wow. 

[NM]: And the paper bag man… I’m very curious about that.  

[BA]:  I wanted a mascot for this project and I was like man, what do ugly people wear? Oh, a brown paper bag. So I started playing with that and kept building on it. I started swagging and s*** too… Rocking different color bags with the fits and s***. But it's more so to show just self-confidence

Antman’s paper bag man character has become a symbol of Y’all Ugly, appearing in both music videos and digital promo and physically with Ant at public events such as Complexcon and Art Basel Miami. 

[NM]: Do you see yourself as the bagman? Or is it more of an external character that you're interacting with?

[BA]:  I mean, s*** they're everywhere. Everybody's ugly man. If you spell it out, ugly starts with you.

As he has done numerous times in the past, Ant worked exclusively with one producer on Y’all Ugly: Frank Stacy. The two initially linked up after Antman discovered a Frank Stacy produced Highway2009 ‘type beat’. 

[BA]: That dude is a f** alien, bro. I swear he gonna be a legend in this s*** one day. It's just like all his beats are so different.  I love working with him– I got to meet him. We linked up in LA when I was out there for a content shoot. That boy got the swag. 

According to Ant, they cooked up around 400-500 songs throughout the recording process. The possibility of future projects and collaborations are very much on the table. 

[NM]: So what’s next? How do you keep bringing up greatness (B.U.G.)? 

[BA]:  After Y'all Ugly, it's Y'all 2 Ugly. So, we coming back. Me and Frank, you know what I'm saying? It's going to be exciting to continue building this world, but that's what the colony can be looking forward to, I’ll say. And, a bunch of collabs coming up. Be on the lookout for that. 

Antman was recently seen on social media in the studio with Teezo Touchdown, so a future collaboration between the two could be in the cards. 

Check out and follow B.U.G. Antman social media pages for more music and stream his newest EP Y'all Ugly! 

Interviewed by Nathan Meline

School Girl Aesthetic: Powerful or Problematic?

Often depicted in media as a symbol of innocence, rebellion, or transformation, the schoolgirl aesthetic has been a defining feature of both fashion and media in the West for decades. The look, from collared shirts and overwhelming amounts of plaid patterns, has evolved over the decades and has produced different cultural impacts, whether it be shaping pop culture or influencing real-world fashion trends. While it has been criticized for its problematic undertones, it has also been reclaimed as a source of empowerment primarily for women. From film to music videos, the aesthetic has been reinterpreted in various ways over the years, reflecting shifting social values around fashion, identity, and power.

What is the Schoolgirl Aesthetic?

The schoolgirl aesthetic is rooted in traditional school uniforms in the West, particularly those found in private schools in the United States and the United Kingdom. Typically consisting of plaid skirts, button-up shirts, blazers, and loafers, this style is often associated with an air of innocence, privilege, and discipline as perceived about private schools and other types of exclusive academic institutions. However, while inspired by real-world uniforms, media portrayals and pop culture tend to exaggerate elements for stylistic appeal: shorter skirts, fitted tops, and more playful accessories. This transformation characterizes the traditional uniform into something more provocative or rebellious. Depending on how it is presented, the schoolgirl aesthetic can either reinforce societal expectations about its wearers—adolescent girls—or challenge them, depending on how it is styled and contextualized in different narratives.

Evolution in Media

The dramatic shift in the portrayal of the schoolgirl aesthetic in media can be seen in iconic films that used the aesthetic to define characters undergoing personal growth or social reinvention. Initially associated with youthful innocence, the aesthetic gradually became more fashion-forward and, at times, provocative. Ally Sheedy’s character Allison Reynolds in The Breakfast Club (1985) experiences a makeover that turns her from an outcast characterized by her dark clothing and neutrally gendered accessories into someone more conventionally attractive—partly through the adoption of a more feminine color palette and polished version of the schoolgirl aesthetic. Similarly, Clueless (1995) and Legally Blonde (2001) played with schoolgirl-inspired fashion to emphasize preppier styles as aspirational for adolescent women. Other films like The Princess Diaries (2001), Mean Girls (2004), and Easy A (2010) used the aesthetic to showcase transformation narratives, where characters either embrace or reject the schoolgirl look as they develop their identities. More recently, To All the Boys I’ve Loved Before (2018) reintroduced the aesthetic in a way that aligns with modern preppy fashion trends—cardigans, bolder sweater prints, and the inclusion of pants—making it more approachable and contemporary.

Beyond film, the schoolgirl aesthetic has been a staple in music videos, particularly in the work of female pop stars. Britney Spears’ ...Baby One More Time (1999) famously cemented the look in pop culture, using a playful yet controversial take on the uniform to portray youthful confidence. Years later, Iggy Azalea’s Fancy (2014) paid homage to Clueless, further solidifying the enduring appeal of the schoolgirl aesthetic.

Problematic?

Despite its popularity, the schoolgirl aesthetic has been criticized for being infantilizing and reinforcing outdated gender dynamics. By emphasizing youth and innocence, especially given that its wearers both in media and in real life tend to be adolescent girls, it can contribute to the fetishization of young women, particularly when stylized in a way that sexualizes the uniform. The dynamic raises concerns about how the media portrays adolescent femininity and the messages it sends about power and desirability. Additionally, the aesthetic is often associated with class privilege. The polished, private-school-inspired look is frequently linked to wealth and exclusivity, and making it an aspirational style may not reflect the reality of most students. The glamorization of the schoolgirl aesthetic in media often overlooks the rigid structures and social hierarchies that exist in real-life academic institutions.

The Case for Reclamation

While the schoolgirl aesthetic has its problematic elements rooted in its subservient portrayal of young women, it has also been reclaimed in ways that challenge traditional narratives. The incorporation of pop-punk elements in fashion, such as plaid skirts paired with combat boots and band tees, has added a rebellious edge to the look, subverting its associations with innocence. This reinterpretation allows women to take control of the aesthetic, using it as a tool for self-expression rather than adhering to societal expectations. The aesthetic can provide dimension to female characters in media, giving them space to be more than just their youthful appearance. When used thoughtfully, it can highlight the complexity of young women’s experiences—balancing societal pressures with personal agency and growth. Rather than being a passive symbol of conformity, the schoolgirl aesthetic can be wielded as a statement of individuality and defiance despite patriarchal standards and restrictions for female expression.

Conclusion

As fashion trends continue to evolve, the schoolgirl aesthetic will likely undergo further transformations as gendered expression in fashion and media continues to see broader horizons and possibilities. With shifting cultural conversations around gender, power, and representation, the way this aesthetic is portrayed in media will be crucial in determining whether it remains problematic or becomes an empowering symbol. Trends like gender-neutral school uniforms and alternative takes on preppy fashion suggest that the aesthetic may continue to be redefined in unexpected ways. Whether it’s seen as a symbol of innocence, rebellion, or empowerment, the schoolgirl aesthetic remains a powerful tool for storytelling and self-expression.

Written by Arushi Sen

Directed by K Pereira @kaleb.pereira922

Photography by Roberto Meadows @_.rubbertoe & Garrett Hoy @ghoy2000

Styled by KateLynn Herrera @katelynn.herrera

PA: Tayja Whyte @tayjaa.x, Chloe Kaleah Stewart @chloe.kaleah

Talent: Sammie Butters @sammiebutterss, Natasha Teiman @natasha_teiman, Gabrielle Clemons @gabrielleebiancaa, Cade Ostermeyer @cademeyer_, Cecil Atkins @its._cecil, Malia Corinne Louie @malia.corinneeee

Origins of CAMP Culture: Why Lady Gaga is the Perfect Example

The word camp is essential vocabulary for the queer community and almost anyone who believes in the importance of EXTRA. The word “camp” is thought to have originated from a French-derived word that means "to pose in an exaggerated fashion."

The way I feel the word or action ‘camp’ is used, especially in my generation, is to describe something of extreme exaggeration or spontaneity, but in the best and largest way. CAMP in queer dialect is a way in which we express our admiration of one’s fashion, style, attitude, personality, etc. Being called camp or described as “campy” is nothing less than a compliment. Knowing this information, I’m sure you can draw your own conclusions on how and why Lady Gaga is justifiably a perfect example of ‘Camp’ and what camp culture represents. 

Lady Gaga is a queer icon and is inevitably recognized by millions of people worldwide. Yes, her music is very fun and lyrically beautiful. Still, she has gained most of her recognition for defying the limits of stage presence, show quality, and iconic fashion statements never seen or worn by anyone before. 

Gaga’s ability to push boundaries has paved the way for creativity for hundreds to thousands of other artists and people in general. Gaga is unafraid of difference and if anything embraces it. A community such as the LGBTQ+ that was established on our people being labeled “different” and “not normal”, we thrive in someone such as Gaga. We have found comfort in her developed chaos and why she had adopted the name of MOTHER. She gave us the approval that we needed to be the extravagant, spontaneous, “campy” people we know we all want to be. 

In the early stages of Gaga’s career, she really used the ideologies of ‘CAMP’ to her advantage to help build her success. She adopted camp culture to help create some of the most iconic songs, music videos, stage performances, and fashion styles. In Gaga’s probably most well-known music video, Telephone ft. Beyonce, she showcases some of the most legendary and most unique outfits that the music industry had seen at that time. From the diet coke cans as curlers in her hair, to a bodysuit made entirely of yellow yielded caution tape, to sunglasses made from lit cigarettes, she built the foundation of what it meant for an artist to showcase ‘CAMP’. 

Gaga found this loophole in fashion that everyone knew existed, but never actually acted upon it to highlight one’s creative abilities. She used items that could have been seen as trash or disposable and converted them into top-tier fashion in a way that presented extravagance. This is quite literally what “camp” is. 

The ability to use what you have and artistically create something new, upscale, extra, different, weird is “camp” and camp culture. Lady Gaga knew what she was doing and did it well. Now, our society cannot think of “camp” or being “campy” without thinking of Gaga, the queen of camp herself. 

Written by KateLynn Herrera

Directed by K Pereira @kaleb.pereira922

Photography by Mark Bluemle @barks.mindd

Styled by Margaret Wells @margymarg_

MUA: Alex Venus @alexv3nus

PA: Amanda Manson @_.amanddaaa

Talent: Alexia Hill @aaalexia23

Talent: Kira James @kiraystalmeth

Talent: Zuri Palmer @zuri.palmer