THE EDGE VOL. 14 ISSUE 1

BACK2BASICS

ROCK THE VOTE | THE BEAUTY BEHIND BRATZ ROOTS OF RAP | LET’S TALK ABOUT AAVE

letter from the editor

Since the invention of the 24-hour news cycle, we have been bombarded with content on a constant loop. At times, it feels like a blessing to have the world at our ngertips. No question needs to go unanswered, and there’s no way to truly get lost. ere’s a sense of security in having centuries of information available to us in milliseconds.

For creatives, the downside to this wealth of access is that it feels like everything has been done before. Our ethos here at e Edge is to produce thought-provoking content about topics you already know, but from an angle you don’t. As we were deciding on a print theme for this semester, we wanted to do something that felt di erent from our previous issues.

Back 2 Basics draws inspiration from the ‘90s and early 2000s. Selecting a time period allowed us to narrow down the focus of the issue, while still allowing our writers and creatives to explore a variety of topics. I am so proud of the content that has made it into this issue, and I am so proud of the team that made it possible.

I have had the privilege to oversee a team of brilliant individuals throughout the semester. e talent at this magazine never ceases to amaze me, and as I conclude my nal semester at e Edge, I can’t help but re ect on how much of an impact it has had on me.

I began my time with e Edge as a sophomore Beauty & Wellness writer before becoming editor of that section in the fall of my junior year. For the past year, I have served as the Editor-in-Chief for an organization that continues to impress me with the passion and drive they bring to each Monday night meeting and beyond. I have been lucky enough to see the magazine from all angles and though it saddens me that this chapter is coming to an end, I cannot wait to see where e Edge goes next — it’s only going up from here.

I’d like to take a second to say a huge thank you to my wonderful Creative Director, Leila Wilhelm. Nothing you see in the following pages would be possible without her creative vision and direction. From start to finish, she has worked so hard to carefully cra and execute the visual design of this magazine.

As you ip through the pages of this print issue, I hope you see the joy and creativity that spans these spreads. Each member of this team has put their heart and soul into what you hold in your hands right now. Without taking up any more of your time, let’s get Back 2 Basics!

Editor-in-Chief

Anna Cave,

THE EDGE

Anna Cave

Creative Director

Leila Wilhelm Assistant Design Chief Olivia Parks

Director of Photography Laney Daniels Stylist Mel Jones

Copy

Fashion

Editor Hope Suire

Assistant Editor Taylor Beach

Writer Olivia Nevin

Writer Hannah Parker Writer Lindsay Pearce Writer Madelyn Slattery

Beauty & Wellness

Editor Anna Grenier

Assistant Editor Lydia Buckius Writer Amanda Cantale Writer Ella Kucera

Writer Juliana Kuhno Writer Elizabeth Reucassel Writer Kennedy Smith

Travel

Editor Catie Mannato

Assistant Editor Maggie Smith

Writer Leah Dumaine

Writer Kelley Gosk

Writer Delaney Moore

Writer Kate Wunderlich

Features

Editor Amy Ellison

Writer Georgia Brucato

Writer Caroline Pirwitz

Writer Emma Ragaller

Writer Genevieve Smith

Lifestyle

Editor Sarah Hennis

Assistant Editor Ali Elliot

Writer Leslie Aviles Mendoza

Writer Margo David

Writer Julia Johnson

Writer Meg Walsh

Chiefs

Alejandra Gonzalez Emily Murrill

Videography

Director of Videography Sophia Gaeta

Video Editor Kate Guthrie Video Editor Kate Salvatierra

Social Media

Social Media Director Maddy Phillips Social Media Designer Jenna Mangan Content Creator Ella O’Brien Social Media Assistants Amanda McGee, Lexi de la Sierra & Gia Sylvester

Digital Media

Podcast Director Meg Healy Podcast Host Sami Engel Analytics Directors Steven Mmari Analytics Director Sarah Gombos Analytics Assistant Robert White Analytics Assistant Zach Summer

Layout Designers

Kailey Casl

Peter DeSantis Camille Duplechain

Emma Mitchell Ashley Soderberg Gracie West

Photographers

Paige Alexander Brendan Antrosiglio

Brynja Burton Grace Goggins Reese Williams

meet the staff

favorite 90s inspired trend?

Liv: One of my favorite 90s trends that resurfaced is the infamous Princess Diana biker shorts & oversized sweatshirt out t...so simple yet so chic.

Lydia: My favorite 90s-inspired trend is the Canadian Tuxedo. Although I have never rocked this look, some of my favorite internet personalities, notably Eli Rallo, make it work — it’s just so fun and simple.

Hope: Slip dresses!! Wearing a slip dress is elegant yet e ortless and a versatile option for your wardrobe!

Favorite throwback movie?

Anna: How to Lose a Guy in 10 Days. Andie Anderson is everything I want to be in life.

Laney: Clueless. All the out ts are beyond iconic.

Mel: elma & Louise.

Sarah: Dazed & Confused.

what look makes you feel like a badass?

Emily: My Doc Marten platform Chelsea Boot. I love the platform and feel powerful whenever I wear them.

Catie: Slicked back ponytail + red lip combo!

Alex: Any out t involving all black... so classy yet badass.

what travel spot makes you feel like the main character?

Leila: London has my heart a million times over. Riding the tube solo with a good podcast always makes me feel like the main character.

Emily: St. John. I grew up there, so I feel in my element whenever I visit.

Anna: New York City… not to be that girl, but “abroad” changed me. How can you not feel like the main character in a city that glitters?

1990s

1990s

MADELYN SLATTERY

“A sub ading doesn’t re ly w h t h art i e, Da y.”

What comes to mind when you think of the most iconic ‘90s movie ever created? e cult classic that you and your friends can quote daily? If you didn’t think “Clueless, duh,” then OMG, you are totally buggin’.

If you didn’t already know, Clueless is not an original movie plot. In the initial story, written by Jane Austen, we follow Emma Woodhouse, who has an unhealthy addiction to matchmaking. Cher Horowitz, the 1995 movie character version of Emma Woodhouse, bears tremendous similarities to the beloved Austen character and thankfully carries her same are for meddling in the lives of others. We all love Cher Horowitz for her ditzy one-liners, impeccable taste in friends and power to get what she wants when she wants it. Cher not only expresses her passion through the in uence she has on the lives around her, but through her fashion sense as well.

at said, the out ts in Clueless have tremendously impacted the cultural landscape of fashion. We’re not referring to the mass production of plaid skirts and jackets come Halloween, but rather the style in the real world. And believe it or not, that legacy developed on a tight production budget.

So, where did costume designer Mona May nd these sweet-lookin’ handbags and jackets on a budget of approximately $200,000? e answer is through a combination of searching for rare nds, connections, and pleading for help from others.

May didn’t stray from taking risks and reaching out to designers. In the lm’s Valley-Christmas house party, Cher prances around in a red Alaia mini-dress which was gi ed to the costume department a er a detailed letter from May, explaining how important good quality clothing was. Lo and behold, the designer fully agreed, especially considering the shoutout given to the designer in the lm:

Cher: It’s an Alaia. Mugger: An a whatta? Cher: An Alaia. It’s like a totally important designer.

May wanted to go against the status quo. e defining style of the ‘90s was grunge, a messy combination of punk and heavy metal. May craved creating a world where that style didn’t dominate everyone— she wanted to position the characters in their own aesthetic world. May was able to steer a speci c style of the ‘90s into something more diverse, not just full of grunge and grimace. May’s goal was to forge unreleased trends to impact fashion’s future, and that she did.

When watching the cult classic, you can easily spot out ts still famous today. I mean, Taylor Swi hit the nail on the head when she said ‘90s trends come back, and they come back with a vengeance. ese styles have not only returned, but also planted their roots and stood their ground for decades.

So, how much do you know? Are you just totally clueless about the origins of these closet staples? As if! Do you really think I wouldn’t know?

B ic e T s are A at, and

a Bag ips

With the help of a few basic white tees, you will be a total Betty instead of a full-on Monet. Usually, this white tee would be layered with the help of a dainty tank top. e look will never go out of style, whether you are wearing a basic white tee alone or with another item.

Layers - Tank Tops, T-shirts, Long S es, Oh My!

Many characters in the lm used white tees for layering. Cher layers a colored tank over a white tee, and Dionne pairs sweater vests over plain white t-shirts or sweaters over collared shirts. Layering is an oppor tunity to show o more items in your closet.

at's t 4 on Plaid?

Plaid is the classic pattern that makes the fashion depicted in the lm iconic. e matching skirt and blazer paved the way for schoolgirl chic. Cher and Dionne walked so Serena and Blair could run. With plaid being such an eye-catching design, the matching sets radiate power, class and beauty all in one.

Mini Anyt hing - No Duh!

May did something right when she put powerful women in mini skirts. e red Alaia and white Calvin Klein dresses are simple yet beautiful. Cher does not use these dresses to attain her sexual desires, but as a young woman who is in control of her circumstances. And what if she does eventually use the power of a mini skirt to get a certain someone’s attention? It’s Cher’s choice, and May uses the mini clothing to represent the more signi cant idea of self-empowerment.

Bu d Buns S el in a Un ard

Whether you’re playing tennis in gym class or sitting at home sur ng the crimson wave, a unitard is what you need. In the lm, unitards are seen more as athleisure, with Cher and Tai’s Buns of Steel workout and the tennis lesson at school. e good thing about a unitard is its ability to be dressed up or dressed down. row on a hoodie or a blazer, or wear a long sleeve under it! Versatile pieces are what make the world go round.

L k Y r Be in a Swea r Ve !

If you didn’t notice, hidden under the classic plaid matching sets of the lm are sweater vests! Adding a sweater vest to a plain canvas out t will make you happy and have you rollin’ with the homies.

S p Up Y r Shoe Game w h L rs

What’s the main thing we love here at e Edge? Versa tility! Loafers are chic, comfortable and casual all in one. e right pair of shoes can make or break your out t.

e fashion of Clueless is a character in itself. May provided a foundation where the pieces take on their own lives and create a legacy that is di cult to beat. So please, for your sanity, pull up Clueless on your browser while shopping for these items. We promise you, this attire is as timeless as the movie itself. ■

THE GREATEST OF ALL TIME

“MJ,” “ e Jumpman,” “Mr. Clutch” and “Captain Marvel,” among many more, are some of the classic nicknames coined to represent Michael Jordan. Known as the “G.O.A.T.,” or “ e Greatest of All Time,” he was given a legacy he still holds today as the greatest player in NBA history. Under that prestigious title stems the famous Air Jordan line. With what would later become one of the most famous sneakers of all time, Jordan, at a mere 21 years old, started a movement within both the NBA and the culture behind sneakers themselves. His talent, charm and competitive edge turned Jordan into a trendsetter on and o the court.

THE LINE THE LEGACY

Jordan’s partnership with Nike caused an astound ing shi within pop culture, starting in the late ‘80s and ‘90s. Jordan was making a name for himself, as he was the third overall pick in the 1984 NBA dra . Crowned Rookie of the Year in 1985, it’s inevitable that partnership o ers were being thrown at him from all directions.

Imagine this: the Air Jordan line almost didn’t exist. e iconic, history-making brand that has been around for 37 years almost missed the chance to become legend ary. Jordan originally wanted to represent Adidas on the court, but Nike’s o er was too good to turn down— the brand gave Jordan the freedom to design his own shoes and a ve-year, $500,000 contract (a high o er at the time).

Within the past 37 years, the Air Jordan line has continued to evolve in ways that re ect pop culture. e identity Nike received over time has proven how strong the brand is. is strength has stemmed immensely from Jordan, who still represents Nike today. e Air Jordan line has inspired more NBA players to create their own lines with Nike, giving others the opportunity to integrate their personalities through sneakers. Coach John ompson III followed Jordan’s lead and designed his own shoes for his alma mater, Georgetown University, a er their ‘84 NCAA championship win. NBA players continued to develop sneaker lines with Nike including Kevin Durant, Kyrie Irving, Kobe Bryant, Giannis Antetokounmpo and count less others. All of these numerous partnerships, collaborations and promotions can be accredited back to the G.O.A.T., Michael Jordan.

THE CULTURE

What started as just a pair of sneakers sparked media madness as the Air Jordan line made its entrance into pop culture. In the music industry, rap culture and sneaker culture have created an inseparable bond. Starting with Tupac in ’92 and Biggie in ’94, the mentions of Jordan in lyrics have only furthered his legacy in society. Artists such as Jay-Z, Drake, T.I., Kanye West, Lil Wayne and J. Cole followed shortly a er, turning Jordan’s life into lyrics. J. Cole sang, “Hoop Dreamin,’ hanging up pictures of my idols/Jordan was like Jesus, SLAM was like the Bible/I used to read it twice and cut the pictures out/Had the Jordan free-throw dunk, tongue stickin’ out” in his song “I Got It” in 2010, paying tribute to Jordan as an idol in his life. Jordan also took on acting as he played the lead in “Space Jam,” a feature lm for Jordan with the Looney Tunes. e lm’s plotline exhibits Jordan as a hero, saving the Looney Tunes from the “Monstars” by leading them to a win in a basketball game. is was another opportunity for the Air Jordan line to shine, and its lm presence developed even further with “ e Fresh Prince of Bel-Air.” Will Smith’s char acter held his sneaker collection close to his heart, and countless pairs of ‘90s-style Air Jordans are featured across all six seasons.

It’s simple: sneaker culture would not exist without Jordan picking up that pen as a freshly dra ed 21-year-old and signing his name to partner with Nike, unknowingly creating one of the greatest sneaker partner ships of all time. His strong presence within sneaker culture has inspired other NBA players to integrate their persona, on and o the court, into sneakers. All in all, Michael Jordan has earned a standing ovation to last a lifetime.

Let’s Vogue It” –– a little phrase emphasized and lived by the eccentric, brilliant actor and drama professional, Madeleine Potter, means fully releasing yourself into the erceness, coyness and re of the moment. O entimes, when you “vogue it,” the face of an iconic supermodel instantly pops into your head; the urge to try and emulate them takes over as you step into your power. Perhaps it’s the natural glam looks of Kate Moss, the allure of Naomi Campbell, or the enchanting e ect of Cindy Crawford that becomes your muse. No matter which look you choose, one thing that all these iconic ladies share is that they were the “faces” of New York City in the 1990s

NEW YORK, I LOVE YOU

e city was going through yet another renaissance and a large bout of social unrest during the ‘90s, and it had never been as aesthetically relevant as it was under the reign of its resident icons, including personalities such as Madonna, Winona Ryder and Mariah Carey. New fashion. New trends. A whole new persona transformed the city into an almost neon illusion.

If places were personi ed, NYC was the ingénue becoming the femme fatale. It was the protagonist in a rebellious coming-of-age narrative. It’s the grunge, the drama, the edgy, the experimental — the home of the glitterati. e whole era was a glori cation of fame and was oh so public, and yet the true heart of the city’s elite life was shrouded in mystery. e city had an underbelly, littered with hidden gems, dives and prime retail… So, if you’re looking to nd the best place to dance on elevated surfaces and live within your perfectly curated Pinterest aesthetic, look no further. Here’s how to DO New York City like it’s the 1990s. It’s time to dress, serve and strut like you’re already famous.

Existing as the spotlight of Planet Earth, New York City in the 1990s was the aesthetic “center of the universe.” NYC truly was, and still is, a vibe of its own, existing in the sparkling area between life and dreams. It’s like a living, breathing entity, growing with time the same as a teenager who gradually takes on adulthood with a tube of red lipstick, some liquid courage and the yearning for self-discovery.

LETS VOGUE

LETS VOGUE IT LETS VOGUE LETS VOGUE IT

WHEN KATE MET JOHNNY

Kate Moss: heroin chic, a fresh face, a creative at heart. Johnny Depp: universal, eccentric, the typical “bad boy.” is collision would be still pop culturally relevant today — a union of shared famous friends, a partnership painted with scandal, a duo of extreme intrigue. One of the most iconic celebrity couples of all time… and they met in New York. Café Tabac, the legendary spot of the in uential and hub for the dealings of white-collar illicitness, was the meeting grounds for one of the most prominent couples of the decade. e restaurant served as more than just a spot to get great fries; it was a social club for the icons of New York. Boasting regulars such as Madonna herself, the cafe had the ideal balance of bar to restaurant and was perfectly private. More intimate than a club and more palatable than a dance oor, the cafe was the great success of East Village native Roy Liebenthal. An article from theface.com shared quotes from frequent attendees that described not only the atmosphere, but some of the club’s culturally historic moments, such as a quote from gossip columnist AJ Benza who said, “Everybody was there. When you ask me who was there, it’s easier to say who wasn’t.” Also documented on theface.com is an account of the rst meeting of Kate Moss and Johnny Depp from journalist George Wayne: “Kate walks in with Naomi, I remember one night, and Johnny Depp was sitting at the back of the restaurant having dinner

with a few friends. I just grabbed her hand and took her back there. I said, ‘Kate, this is Johnny. Johnny, this is Kate.” While stars like Moss have ourished with time, other’s legacies — notably Depp — have become ones marred with controversy and contention. While we can appreciate this era from an aesthetic viewpoint, we acknowledge that when rose-colored glasses are removed, there are deeper issues at hand. e Edge Magazine does not condone the actions of Depp and others in any form. e cafe did more than introduce one A-lister to another; it also was a speakeasy, supermodel clubhouse, lounge and refuge of celebrity. It was almost as if there was a gravitational pull around it, attracting the biggest names to its doors: Liza Minelli, Valentino, De Niro, Naomi Campbell and Leonardo DiCaprio, just to name a fraction. While the bar closed in the East Village in 1997, you can still visit restaurants of its nature in NYC to get that glitzy, vintage vibe. Some restaurants we recommend adding to your city itinerary include the Polo Bar, where many of the regulars of Café Tabac have been spotted, and LAVO Italian Restaurant (a favorite of Mariah Carey). Just make sure you book in advance and bring extra change — they can be a bit on the pricier side. e socialite life is one of the whispered promises in bar corners and friendly handshakes across the table, and in NYC, you too can get a glimpse of the coveted madness.

LETS PARTY LIKE ITS 1999 1999

It was a spectacle. e party scene was a freeing invention forged and beauti ed from the ashes of governmental failure and neglect. It was the openness, sense of liberation and self-expression that made the club scene in New York City the revolution that it was. Everyone mingled regardless of race, ethnicity, class, gender, sexuality or status — it was the music that attracted them. Just like there was a mix of people, there was a mix of styles, and the clubs were a place of experimentation not only in the musical sense but also stylistically, sexually and socially.

If it were the 1990s, according to Blind Magazine, the nightclubs you’d

want to add to your list would be the Tunnel, Roxy, Palladium, Club Expo and Webster Hall; these were the places where everybody –– from Wall Street brokers to drag queens, to musicians and movie stars –– would be spotted letting loose. Let the music guide you to your destination; whether your ear is pleased by techno or hiphop, there is somewhere perfect for you. Sadly, many of these ‘90s hotspots are now closed, so instead, we recommend checking out Elsewhere in East Williamsburg (music styles: indie-rock, underground, Latinx party) and Avant Gardener in East Williamsburg (music styles: electronic dance).

SIT T ING ON A BENCH IN CONEY ISLAND…

A vibrant, picturesque postcard to a skeleton of metal and back again, Coney Island is one of the most iconic locations south of Brooklyn. So, it’s only tting that NYC’s biggest supermodel icons were photographed having a chill day at the globally recognized amusement park. In a famous photo, models Naomi Campbell, Linda Evangelista, Tatjana Patitz and Stephanie Seymour were all spotted having a drink together

while enjoying a day out at the park. Unlike some of the other pricier options, emulating your favorite icons at Coney Island is a much more doable and a ordable option to add to your schedule. Just grab your favorite sun hat and best thri ed denim and head toward the amusement park for food, rides and live music — just make sure you avoid stopping by during the o -season.

THE STOMPING GROUNDS

To close out, we’ve compiled a short list of Manhattan neighborhoods to visit like your favorite icons once did during your vacay, or perhaps as part of a stint in the Elon in NYC program. Whether it be for a quick hot dog or an Instagram story moment, we hope you nd something of note in these celebrityfrequented locations.

The East Village: birthplace of punk, popular spot to visit elite bars, artsy. If you’re looking for a piece of history, stop by McSorley’s Old Ale House, the oldest Irish saloon in NYC, to grab an ale (light or dark) and bask in the same upbeat energy that icon John Lennon once enjoyed.

Gramercy: formerly home to the Gramercy Park Hotel, it was one of the most frequented spots by some of the world’s biggest musicians including e Clash and Madonna, complete with great views, and home to an arthouse vibe.

e Upper East Side: upscale, oozing with style and posh. is neighborhood is lled with prime New York spots every visitor should witness. A blend of classic brownstones and cultural

institutions, this district is home to Museum Mile, a stretch of Fi h Avenue containing the Metropolitan Museum of Art ( e Met), e Guggenheim and El Museo del Barrio. De nitely make the trip to the Met in your favorite trendy slip dress like Naomi Campbell and Kate Moss did at the infamous Met Galas of the ‘90s, and take blushingly chic photos in front of the Monets and Van Goghs. Walking the streets of New York City is like walking through a museum — every street corner has a story and every alley has more secrets than most people. Traveling to the city is like seeing snow for the rst time; it’s indelible and feeds one’s inner romanticism. Even if you’re physically far away, New York is never gone because it’s more than just a place, it’s a feeling — it’s a state of mind. Wherever your travels lead you… New York, New York will always be ready to greet you as an old friend because it never really le you.

Let’s Talk About AAVE

The Subtle

“SLAY.” “YASS.” “PURR.” “FINNA.” “CHILE.”

“

Slay.” “Purr.” “Yass.” “Finna.” “Chile.” e list goes list goes on and on. ese words serve as examples of African American Vernacular English, more commonly known as AAVE.

What exactly is AAVE? Let’s talk about it. AAVE is essentially a vocabulary created by African American communities, including, but not limited to, the following: “chile,” “asf,” “woke,” “lit,” “snatched,” “bae,” “shook,” etc. e common misconception surrounding AAVE is that it was created by Gen Z, but that is not the case — we just embody the generation that has taken it as our own. However, the issue comes from a lack of knowledge and awareness. e increasingly frequent usage of AAVE by non-Black people can happen without the realization of its harmfulness.

Appropriation of Black culture does not solely pertain to AAVE, and it’s important to recognize the other avenues through which Black culture has been stolen. e issue of white people adopting certain elements of Black culture is nothing new. e appropriation of Black culture has been so normalized that it is o en not seen as cultural appropriation since it’s only obvious to those having their culture stolen. While I’m not here to “whitesplain” the concept of cultural appropriation, it’s important to discuss and bring awareness to it. So, let’s dive into an example of appropriation of Black culture. e most prominent and complicated form of appropriation of Black culture comes down to music. We owe almost all popular music forms to the Black community. Jazz, rap, techno, disco, rock ‘n’ roll — you

So what is wrong with using AAVE as a non-Black person?

name it. roughout history, these genres of music have all been subject to whitewashing, which is the act of altering something in a way that caters to white people. A prime example of this is Elvis Presley, who became known as the “King of Rock ‘n’ Roll,” despite rock ‘n’ roll music being pioneered by Black musicians. is serves as just one example of the appropriation of Black culture.

Now let’s talk about AAVE. Everyone wants to throw the word “slay” around, but no one wants to discuss where it comes from. anks to platforms like TikTok and Twitter, the usage of AAVE by nonBlack people has become increasingly frequent in recent years. Although we have seen many examples of appropriation of Black culture, this speci c abuse of language is uniquely harmful because it has been able

to spread more quickly and anonymously through social media. Social media guarantees a certain amount of anonymity that users o en hide behind, making them more comfortable using language that they might not use in real life.

AAVE has a long and complicated history as a dialect. According to the History News Network, a probable origin of AAVE is the Creole Hypothesis, which theorizes that AAVE was a bridge created between English and other various West African languages. is dialect spread through events such as e Great Migration, the movement of thousands of African Americans to northern cities

It’s all about the adoption of Black culture.

from the South. is event was crucial for the spread of AAVE and explains why it became so prevalent in Black culture. AAVE is o en viewed as “slang” or “broken English,” which is extremely disrespectful and harmful to those who use it. Despite disregard for the validity of AAVE, it functions as a structured dialect that follows a set of rules just like any other form of language and deserves to be recognized for what it is.

So what’s wrong with using AAVE as a non-Black person? It’s all about the adoption of Black culture. Using these words and phrases ultimately makes it seem like users are trying to portray

and identify themselves with the Black community. is becomes harmful because users can adopt this personality online, but can detach themselves from it in real life. White people can use AAVE without su ering from the racism and discrimination that Black people endure on a daily basis. ey can remove Blackness when it is not convenient for them anymore, which is unfair to the Black communities that have endured constant pain and su ering.

A prime example of this harmful adoption of AAVE is within celebrity culture. Many celebrities, such as Billie Eilish, have adopted AAVE language, with Eilish eventually being called out by her brother on an Instagram live stream. Her brother questioned her choice of words and way of speaking, claiming she sounded nothing like herself, displaying her use

JUST BECAUSE THE USE OF AAVE CAN BE CONSIDERED SUBTLE, DOESN’T MEAN IT IS NOT A FORM OF APPROPRIATION.

of AAVE combined with a purposeful tone that is also known as a “Blaccent.” While Eilish can adopt this personality online, she can detach herself and return to her true, white form in real life, making it even more disrespectful.

Just because the use of AAVE can be considered

subtle, doesn’t mean it is not a form of appropriation. It’s time to cut it out. rowing words around le and right without any regard or knowledge of their origins amounts to carelessness and disrespect. We are better than that. So, let’s start thinking twice before describing everything as “slay.”

■

It’s time to cut it out.

The true cost of Streetwear

ong gone are the days of over-the-top e comfortability, style and edge that streetwear provides are e rise in popularity of streetwear fashion dates back almost 40 years with the emergence of brands like Stussy that sold skate and surf apparel. When worn outside their intended environments, these baggy and bright athletic pieces turned into fashion staples that would transform the industry for years to come.

Today, the global streetwear market is valued at 173.4 billion USD. It has become cut-throat, with resellers buying out drops and reselling pieces at two to three times the initial market value. e re-selling of sneakers and luxe apparel is a lucrative business that keeps many sneakerheads in a chokehold, but is it ethical? Despite serving as just a side hustle for many, the most skilled resellers can make upwards of $10,000 a month with little to no overhead or time commitment.

From a business standpoint, this is golden; but, what about those who are attracted to the sneaker styles continuously being bought and sold for exorbitant prices in this online cycle? Underprivileged populations that birthed these trends and styles are being priced out of the market and cannot dress as they want.

In the Bronx, hip-hop music started fashion trends and styles that were unique to Black communities and were initially very niche. With the rise of social media in uencers and the appearance of more casual styles in runway shows came the mass in ux in consumer interest in brands like O -White, KITH, Aime Leon Dore and Bape. e streetwear industry saw a jump in consumer demands, but it did not increase production quantities in an e ort to remain exclusive and competitive. As a result, highly coveted items such as The Air Jordan have been gentri ed. Now, consumers with a xed budget are forced to buy dupes, adding yet another ethical dilemma to the equation.

Unregulated fashion dupes are not produced in clean, safe environments, and factory workers are o en underpaid –– if paid at all. e cost of a pair of Air Jordan sneakers on a foreign site may appear to be a steal for only a hundred dollars, but with a price that low, consumers must know that their money is not being morally allocated. Many factory workers in China are paid less than minimum wage, an amount already meager at 55 cents per hour, leaving the majority of the pro t in the pockets of corrupt business personnel. is parasitic relationship continues each time a duped item is ordered online today due to streetwear’s out-of-control authentic re-sell culture. Global companies such as Nike have noticed this and are trying to reroute the industry to become more accessible and equitable. In a recent interview with NPR, a Nike spokesperson announced that the company would be rolling out new bot-detecting technology on the Nike SNKRS app that will prohibit bots from buying

is increased monitoring from Nike is promising and will hopefully lead to increased accessibility across the board. Today, the best way to secure streetwear styles for your collection without paying an arm and a leg is to explore sustainable thri ing sites such as Depop and Grailed. Buying second-hand styles is a great way to reduce land ll waste, lower your carbon footprint and freshen up your wardrobe with the hottest new styles, all while being ethical and nancially savvy. Next time you are tempted to buy a streetwear dupe or an authentic item from a re-sell site at an excessively high price, ask yourself if it is worth the negative environmental and social impacts that will occur as a direct result of your purchase.

THE ROOTS OF RAP Los Angeles

CATIE MANNATO | TRAVEL EDITOR

From the streets and city neighborhoods to an international phenomenon, hip-hop has developed into one of the world’s most dominant genres of music and culture. rough the iconic ‘90s hip-hop scene — from its artists, producers, record labels and more –– let’s look at the three music capitals around the United States that cultivated the industry.

Los Angeles marks the hub for all things West Coast rap, and it is one of the cities involved in the most signi cant disputes in music history — one that resulted in the death of two of the coast’s star gures, Tupac Shakur from the West and e Notorious B.I.G. from the East. While hip-hop originated in NYC, LA mimicked the party-rap style of the East, until the late ‘80s when gangster rap allowed the West Coast scene to discover its own sound within the genre. West Coast hip-hop is known for its dance and rhythmic beats, while also having slower, chiller vibes compared to its Eastern counterparts.

LA artists in the ‘90s began to move up in the mainstream music charts, speci cally with the release of the gangster rap group, N.W.A.’s Straight Outta Compton (1989) and the establishment of the LA-based label Death Row Records by Suge Knight, representing hip-hop legends such as Snoop Dogg, Coolio and Tupac (1992).

A er Tupac’s tragic death in a drive-by shooting in Las Vegas, the attention of the hip-hop scene slowly dri ed back toward a NY and East Coast focus once again, as well as to the emerging subgenres of Atlanta rap in the south. Hip-hop legends like LA’s Snoop Dogg also called a peace summit a er Tupac was murdered to end the feuds between the East and West.

New York

New York City, the other half of the infamous hip-hop rivalry, marks the origins of the genre –– the 1970s in the Bronx. When hip-hop was rap everywhere was considered “East Coast rap” since the artists were from NYC. Hip-hop’s golden age, beginning in the late ‘80s and lasting throughout the ‘90s, launched mainstream work in the New York metropolitan area from The Notorious B.I.G. He was the most in uential gure for East Coast rap, up until his death in March 1997 in a drive-by shooting fueled by the East and West Coast rivalry. Both his fame and mostacclaimed album Ready To Die called attention to the East for gangster rap at a time when the West’s popularity for the genre surged.

When you think of New York hip-hop culture, you’re reminded of breakdancing, DJing, MCing and gra ti ––the main identi ers of the East’s scene. e East Coast and New York artists were set apart from others across the country by their complex lyrics with multisyllabic rhymes, wordplay and metaphors. e messages of the NYC songs of ‘90s rap entice people to listen, rather than just simply hit the elevated surfaces on the d- oor like LA hip-hop made you feel.

South in the late ‘80s and continued throughout the ‘90s. In the early ‘90s, gangster rap de ned the Atlanta hip-hop scene, serving as a platform for artists to express their adversity from living in the city’s ghettos. Hip-hop’s allure spread beyond the African American groups creating it, which resulted in its mainstream success. Hip-hop production collectives in the ‘90s, such as Dungeon Family and Organized Noize, were the keys to the claim to fame for groups like Outkast, Arrested Development and Goodie Mob. Groups under these collectives paved the way for the ‘90s “Dirty South” music –– the term given to the hip-hop scene of that classic crunk Atlanta rap popularized a er the rise of gangster rap.

AtlantaWhile NYC and LA took the headlines for their raging East vs. West Coast rivalry marking its territory in the ‘90s, Atlanta’s rap scene took the spotlight later in the decade. Hip-hop rst emerged on the Georgia scene in the 1980s, but it didn’t gain immediate traction beyond local artists performing across the vibrant Atlanta rst genres of hip-hop in Atlanta were labeled as part of the “Miami Bass” or “booty music” subgenre of hip-hop, characterized by heavy bass, sustained kick drums, dance tempos and sexually explicit lyrics. The earliest star, Atlanta-based rapper and producer MC Shy-D, brought his Bronx-style hip-hop roots to

By the middle of the decade, Atlanta’s most wellknown record label of the time was producing hit albums for acts like Usher, Kriss Kross and TLC, earning the city the title of “ e Motown of the South.” Atlanta had discovered its own sound as the turn of the century approached with the emergence of trap music, a derivative of hip-hop that remains popular today. e signi cance of trap is critical to the city, speci cally for those who lived in lower-class neighborhoods and grew up during the crack cocaine epidemic, as the lyrics of its songs express the resilience of their experiences. With its easy access, crack cocaine proliferated in these lower socioeconomic areas since it was a highly inexpensive drug that resulted in a quick high. The ‘90s defined the southern hip-hop scene like no other in Atlanta, bringing it forward amongst the two powerhouses in the East and West and establishing the city as a pivotal gure in the country’s growing rap domination.

Te term Chicano or Chicana describes Americans of Mexican descent and is a chosen identity for many Mexican-Americans. It di ers from the term “Mexican-American” because the word Chicano was originally used in a derogatory way to refer to the Mexican working class. However, MexicanAmerican people took the classist and racist term and used it as a form of empowerment.

e Chicano Movement, also called El Movimiento, was a social and political movement that began in the 1960s. During this movement, Chicanos fought against discrimination, segregation and stereotypes, as well as for voting rights. e Chicano Movement was caused

in part by the Treaty of Guadalupe Hidalgo, which marked the end of the Mexican-American War and promised to uphold pre-existing land grants to those who decided to remain where they were. e border moved when the States won the Mexican-American War. e U.S. took over California, Nevada, Utah, New Mexico, most of Arizona and Colorado, and parts of Oklahoma, Kansas, and Wyoming. As many like to say, “We didn’t cross the border, the border crossed us.” Unfortunately, these land grant promises made by the U.S. government were not ful lled, causing many Mexican-Americans to su er due to the loss of land and not being treated as equals to white Americans.

LESLIE AVILES MENDOZA

e Chicano Movement emerged through all of this to bring to light the issues and injustices faced by an entire community.

Many went out to the streets to protest. Posters and banners reading “Chicano means Power,” “Unite for better schools,” “We will not be intimidated,” “Be brown and be proud,” “Viva la Raza,” and “Education not eradication'' could be seen in big, bold letters. ey were protesting for their rights and for equality. is movement was a form of expression for Chicanos as they stood up for their people.

Chicanos also protested by expressing themselves through fashion. ey used fashion to counter forced assimilation into American culture. During World War II, when women and men were told to spend less on clothing, Chicanas and Chicanos did the opposite and started wearing Zoot suits. Zoot suits had jackets with extra-wide shoulders that narrowed at the waist, paired with baggy slacks and a wide-brimmed hat. Chicanos stood out because of these suits and people didn't like it. Many people, including servicemen, were upset. ey viewed Zoot suits as an unpatriotic waste of resources. Chicanos were seen as thugs and delinquents and were targeted as the victims of violence and police brutality. On some occasions, police beat them with clubs and other weapons they could get their hands on. Even though they faced many obstacles, Chicanos never stopped ghting for their rights, particularly through their embrace of fashion as a form of expression. Because of this, fashion has been a long-lasting element associated with Chicanos expressing their culture.

Many of the clothes that Chicanos wore stayed popular throughout the early ‘90s and 2000s and some were even modernized. roughout the movement’s history, Zoot suits, tapered trousers, bold lip liners and big hairstyles, to name a few, were very prominent. Now, we can see the movement’s in uence through the use of lip liners, bandanas and hoops as key pieces.

Clothing and fashion helped Chicanos and Chicanas express themselves and support their identity as an example of the love and respect for the culture, traditions and the Chicano movement itself. From Zoot suits to straight-leg khaki pants, Chicano fashion has continuously evolved and caught the attention of many. eir fashion has helped inspire many of the trends we see today. It helps remind people of what they were ghting for and why they still ght.

Although they have continuously been targeted for their form of expression through clothing, Chicanos have never shied away from styling themselves as a form of protest and rebellion to those they are ghting against. Fashion has played a key role in El Movimiento and will continue to do so.

Overall, the goal of the Chicano Movement was to ght for the restoration of land grants, rights for farm workers, better education and the right to vote. El Moviemento also contributed to various aspects of society such as fashion, art and political and social issues. e outcomes of this movement have impacted more than just Chicanos— El Movimiento has shaped an entire generation.

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Music and fashion have us all in a chokehold. It’s hard to imagine a world where one doesn’t directly in uence the other, and the evidence is obvious. roughout history, music movements have created the styles of each decade — ‘60s mods and hippies, ‘70s punk and glam rock and ‘80s goth. We even see it now with Harry Styles fans wearing bright colors and boas to shows, or Swi ies rocking the red lip. Music and fashion dominate pop culture and are widely loved because anyone can participate in them. e ‘90s are no exception. If anything, the ‘90s had a stronger in uence than any other decade because of the wide variety of popular music genres. ese genres birthed fashion styles like grunge, glam, hip-hop streetwear and athleisure.

Grunge style was one of the most popular trends of the ‘90s. Grunge was like a new era of punk, where the goal was to look e ortlessly cool but also slightly unkempt. It gave “fuck the rules” vibes and was heavily in uenced by the music artists themselves. Kurt Cobain from Nirvana, as well as the members of Pearl Jam, formed this raw look dominated by combat boots, graphic tees, ripped jeans and annels. e grunge style truly embodied the feeling of songs from these bands and ones like them — just listen to “Smells Like Teen Spirit” or “State of Love and Trust.” Layering patterns was popular at the time, and thri stores were a grunge lover’s best friend. is style took the ‘90s by storm and continues to show up in current trends.

GRUNGE ATHLEISURE

Athletic wear is one of the most popular styles of clothing to wear today, but it didn’t really exist outside the gym until the girl groups of the ‘90s started rocking the look. Mel C, aka Sporty Spice, basically invented athleisure. e tracksuit trend started gaining trac(k)tion — pun intended — at this point in time, especially a er Mel C started regularly rocking Adidas in both her everyday style and her concert out ts. All Saints, another English girl group that was popular in the ‘90s, started the “dad shoe” trend before most people rocking it nowadays could walk.

STREETWEAR

‘90s streetwear is arguably one of the most in uential styles ever. e revival of this style is still seen heavily on pop culture idols nowadays. is style was popularized by Black culture through hip-hop icons such as Lauryn Hill, Notorious B.I.G., Snoop Dogg, Tupac and TLC. is style was made up of baggy jeans, graphic tees and overalls combined with a *good* amount of accessorizing. Bucket hats, chains, rings and sunglasses were necessary to pull o the style correctly. Shoes were also an important factor in this look, as Timberlands and stylish or unique sneakers were frequently used.

GLAM

‘90s glam will hold a special place in our hearts forever. It was a time of experimentation that heavily in uenced the style of the early 2000s as well, aka the “Y2K” style. Some of the most well-known glam gals of the ‘90s were the Spice Girls (as a whole), Jennifer Lopez and Gwen Stefani. Everyone had their own spin on their version of glam which is what made this trend so fun; glam was anything you wanted it to be. Each Spice Girl combined their personal brand with elegant pieces. J-Lo rocked the stunning chainmail tops before they were mainstream, and Gwen Stefani combined the punk “No Doubt” vibes with chic skirts and pumps. Not only were these styles popular in the ‘90s, but we have seen uences from the iconic “Y2K” era morph into today’s fashion. History repeats itself, and in this case, we’re

GRUNGE

You’ve likely heard the song “Smells like Teen Spirit” before. Or, maybe you went and saw e Batman (2022) in theaters and bobbed your head along to another one of Nirvana’s Nevermind songs, “Something in the Way.” You might’ve jammed along while Evan Peters’ character on American Hor ror Story: Freak Show (2014) sang a cover of “Come as You Are,” or maybe you had an “emo” phase in mid dle school where you listened to punk bands and wore black eyeliner, Doc Martens and oversized band tees. Recently, as autumn has set in, a few TikTok fashion pages have begun to rule out the summer’s most popular look, the “clean girl aesthetic” (stolen from the slicked-back hair, light makeup and glossy skin look that Black and Latinx women have been doing for years) in favor of a more messy, low e ort and, dare we say, grun ge-y vibe, with smudged eyeliner and dark lipstick.

Grunge, a huge music revolution and subcul ture of the ‘90s, has bled into the lives of younger gen erations despite the downfall of the sound. e e ect is evident in the post-grunge music genre that arose a er the death of grunge, in online aesthetics such as so grunge –– popularized on Tumblr around 2012 ––as well as in the way the laid-back style of grunge kids has extended into our closets. With low-maintenance annels, ripped-up and baggy clothes, oversized sweat ers and stomping boots circling back into the fashion scene, as grunge style seems to always crop up with the colder weather, we might as well analyze how this sub culture has in uenced Gen Z. So, you may be wondering –– what is grunge? For many, the word “grunge” brings to mind an era full of burnouts, sludgy guitar sounds, authenticity and teen angst. Grunge is an alternative rock genre that hit peak popularity in the early ‘90s, born out of the punk and metal genres of music. e music genre originated in the underground music scene of Seattle and neigh boring towns, but thanks to the record label Sub Pop, it became popular around the world. Small-town bands became big-time sensations in no time. Big names like Nirvana, Pearl Jam, Soundgarden and Stone Temple Pilots helped to make grunge commercially success ful as the ‘90s went on. Kurt Cobain, the frontrunner of Nirvana, has been dubbed “the father of grunge.”

Many argue that with Cobain’s death came the death of grunge, as a er his passing in 1994, many grunge bands broke up or became less visible. Unfortunately, many grunge icons are no longer alive today as addiction and mental health issues seemed to plague musicians in this bracket. But, grunge’s introspective lyrics that addressed themes such as social alienation, self-doubt, abuse, ne glect, betrayal, social and emotional isolation, addic tion, psychological trauma and a desire for freedom led to the growth of the grunge subculture. Grunge’s in uence was felt in music, fashion, movies, literature, politics and even culture. Many mod ern bands, such as Wolf Alice, Mitski and Big ief have taken inspiration from grunge or been labeled as grun ge. e followers of grunge culture were nonconform ists, but not to the extent of punk. Grunge was more laid back, literally a “come as you are” aesthetic, with min imal e ort put into the super cial aspects of life. eir indi erent demeanor was a heavy contrast to the con tent of their music, which o en focused on ghting for social rights and equality. ese kids just wanted to play music and talk about societal downfalls. Grunge bands were passionate about the issues that they had with soci ety. ey weren’t necessarily “activists,” just normal peo ple that got pushed into stardom. Most of the musical artists that gained fame during this short time were sur prised by the uptick in their popularity as grunge arose from the under ground. Shows felt like intimate kickbacks, and the bands only played if they felt like it. e energy of these shows encour aged listeners to just be them selves while existing in that space.

WHAT IS GRUNGE?

However, grunge wasn’t just about the look and the vibes. Many grunge songs are attacks on inequal ities that still run rampant today. e key players of grunge were not as outwardly political as punk bands were, whose lyrics would o en overtly call out the gov ernment. But, since grunge was inspired by punk, the attack on social inequality and embrace of authenticity did grow within this genre. Many bands were involved in raising awareness for social and political issues, or at least got their listeners to think about these topics. Some concerts even had booths with political informa tion.

ough subcultures in general aren’t as preva lent nowadays and the grunge subculture didn’t survive much past Cobain’s death, that doesn’t mean that this way of life didn’t a ect the generations of today. Grunge synthesized many ideals and philosophies of the mod ern era, including feminism, liberalism and cynicism. e angst and frustration that fueled grunge music was something many Gen X-ers could relate to and later trickled down into the values of the younger genera tion. Gen Z runs on nostalgia culture and a yearning for a time before their own, o en taking inspiration from older generations. Much like the kids of grunge, Gen Z is concerned with LGBTQIA+ rights, gender equal ity and the climate and is more le -leaning politically. But, while the kids of grunge o en put their energy into making their music, Gen Z has a lot more opportunities for outlets and gathering information with social me dia. Gen Z is concerned with authenticity, and they tend to question rules and authority –– much like the grunge kids before them.

e grunge revolution was inclusive, meaning that female musicians were a vital part of the scene and feministic ideals became a part of the new sensi bility. Before grunge, rock was predominantly a white, male-dominated genre. When grunge came around, the way women were viewed was transformed. e way the grunge scene treated women was drastically di erent from the metal bands of the 1980s, who of ten sang about women as conquests or items for them to overpower. Grunge rock avoided the exploitation of women; instead, grunge challenged gender norms. Hole front-runner Courtney Love was a very im portant feminist gure during the ‘90s. With her thought-provoking lyrics and trend-setting image, she helped put in the work to solidify this idea that rock is not just a man’s world.

Many other grunge artists also commented on misogyny. People like Cobain outwardly detested any misogynistic audience they gained. “At this point, I have a request for our fans,” said Cobain. “If any of you in any way hate homosexuals, people of di erent col or, or women, please do this one favor for us — leave us the fuck alone! Don’t come to our shows and don’t buy our records.”

So, what can we take away from this? Grunge was a short-lived phenomenon, beginning in the mid1980s and dying around ‘94. But, its impact has been felt far into the future. We recommend listening to bands such as Nirvana, Hole, Silverchair, Veruca Salt, Pearl Jam and more. ere is a lot you can learn from looking at the world in the way that they did during this era. ■

There is a lot you can learn from looking at the world

this era

in the way that they did during