The Lexington Line Spring 16

what in CARNATION? S/S ‘16 FORECAST

catch a

break surfing in the city

real new yorker

PROFESSOR CHARLES FRADELLA

and Israel VIEWS FROM Palestine Race in America

THE NEWS

Bernie, Hillary, Trump

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YOUR SCHOOL. YOUR LOOK. LIM COLLEGE BOOKSTORE 216 E. 45th Street lim-shop.com

THE LEXINGTON LINE

spring 2016 5 16 22 27 36

Letter from the Editors A Look Into Palestine & Israel

Color Pages Profile: Professor Charles Fradella Editors’ Picks

6 19 24 30 38

Tell Me What You Want Album Review: Ego Death

Plump It Up

Student Writing Showcase Student Style

8 20 26 34

Fashion Forecast

Surf City NYC Spring Beauty Buys Accessories Through the Decades

the staff Editor in Chief ASHLEY HEINKE Managing Editor Maranda Janky Creative Director Pheanny Phen Art Director Brittany Minetti Styling Director Danyell Twyman Photography Director Caroline Giraldo Marketing Director Kristal Logan Fashion Editor Seth Jubb Accessories Editor Madison Roe Beauty Editor Angela Trakoshis Culture Editor Maggie Canty Lifestyle Editor Stephanie Buckingham LIM Life Editor Nicole Jezerski Digital Content Editor Clarissa Hernandez Staff Writer Tonya Burks Assistant Fashion Editor Emma Goodnough Assistant Beauty Editor Keely Schooley-McCormick Assistant Digital Content Editor Madison Ross Faculty Advisor Professor John Deming Faculty Mentor Professor Jess Novak Arts and Sciences Department Chair Dr. Denice Yanni

Thanks: Elizabeth Bracey, Dr. Daniel Chaskes, Laura Cioffi, Professor Terance Coffee, Christopher Conzen, Professor Andrew Cotto, Professor Michael Creagh, Professor Timothy Foran, Joshua Heller, Professor Jennie Jackson, Professor Kenneth Kambara, Todd Lotcpeich, Erikka Olszewski, Professor Liz Sweibel, MT Teloki, Anthony Urmey, The LIM College Bookstore, all LIM College faculty, Alvin Grant and Monique Lacrosse (photographer and makeup artist for Arnita Smith) and all contributors to The Lexington Line. Special thanks to Michael Londrigan, Dean of Academic Affairs; Dr. Christopher Cyphers, Provost and Executive Vice President; and Elizabeth Marcuse, President of LIM College. The Lexington Line is a registered trademark of LIM College.

#LexLine

letter from the editors

S

pring always evokes a feeling of newness, so it seemed fitting that given the mash-up of concepts in the contemporary fashion industry, our fashion forecast would feature looks that are fresh, crisp and clean. Through the use of denim, light pastels and soft fabrications, we pinpoint the pieces that you need in order to brighten up your wardrobe. We also can’t seem to get away from the floral motif just yet—but we are now seeing it in a different light, being prominently and creatively featured in menswear.

We are also experiencing this “newness” in our current political landscape, as we have been presented with an unusual crop of presidential candidates and with an increased media spotlight on serious issues, thanks in part to the influence of social media. In this issue, we touch on some of these critical topics, examining the latest news and presenting facts that you need to know now. We take a look at racism with “Dear Black America (pg. 32),” explore varying viewpoints on the Middle East in “Palestine and Israel: A Look Into the Conflict (pg. 16),” and solicit LIM students’ opinions on our presidential candidates—among other topics—in our poll, “Tell Me What You Want (pg. 6).”

If you are looking for a lighter read, take a look into the secret-not-secret New York City surf culture of Rockaway, Queens, in “Surf City NYC (pg. 20),” see how accessories and style have evolved in “Accessories Through the Decades (pg.

34),” tap into your inner musician with our review of the latest from The Internet (pg. 19),” or if you’re itching for a fuller pout, check “Plump It Up (pg. 24)” for some tips and essential products.

We also tell the story of LIM College’s own Professor Charles Fradella, who takes us on a tour of his childhood in Little Italy and ascent in the industry (pg. 27). And as always, check our “Student Writing Showcase” (pg. 30) and “Student Style (pg. 38)” sections for a look into what your fellow students have been working on this semester—and what they’ve been rocking on campus.

As we ease our way into nice weather, spring showers, and the end of the semester, we hope this issue delivers the same amount of freshness to your life as the season of spring does. From all of us at The Lexington Line, happy reading!

Sincerely, The Editors

tell me what you want

by Nicole Jezerski

what you really, really want

A

s millennial fashion students, nowhere, you’d be breaking out the we’re the up-and-coming sweatpants and rolling into class tastemakers of the world. So with unintentional bedhead every what exactly are we in to? We recent- day. Here at LIM, however, 42 percent ly asked students here at LIM College to complete a survey laying out our tastes, opinions and preferences.

12%

LIM students are notori17% Sanders ous for having hectic schedules, and 13% it’s no wonder: juggling internships, Definitely Not Trump classes, homework, and weekend jobs Clinton can be stressful. So we—like all New Yorkers—rely on coffee to keep our Trump energy up. Of course, there’s a coffee 58% shop on every street corner in the city, but we definitely have our preferences. We found that Starbucks is our fa- of students get gussied up and sport vorite spot to drop in for a latte by far, stylish outfits on a daily basis. Some taking 56 percent of the votes. students can take up to two and a half

If you were attending col- hours to get ready in the morning, lege on a campus in the middle of depending on how fabulous they’re

“I come to school to learn; I only dress for myself.”

Politics

feeling.

After a long, busy week of classes, LIM students like to hit the shops for some retail therapy, and we found that SoHo is our favorite spot to spend a paycheck. This shopping district is exciting and unique: small businesses, thrift stores, and trendy 12% 17% complement the typical restaurants Sanders chain retailers. Unfortunately, only 13% Definitely Not Trump 45 percent of students here claimed Clinton to shop consciously, trying to curate Trump a wardrobe that consists primarily of 58% clothing made in the United States from organic textiles and sustainable resources. As we rise to key positions in the fashion industry, we want to ensure we remember that it is incredibly important to support brands with strong values and that operate ethically.

Deep House

Deep House Pop Country

Pop

Mainstream

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Everything

Museums

Mainstream Everything

Rap Indie

Rap

12%

17%

Sanders

Indie Sanders

13%

Definitely Not Trump

Definitely Not Trump

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8%

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36%

56%

Coffee

Starbucks

56%

STEAL THEIR STYLE 1

2

4

3

5 the celebrities

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1. Alexa Chung 2. Gigi Hadid 3. Jackie O. 4. Jessica Alba 5. Kylie Jenner 6. Rachel Zoe 7. Rihanna 8. Selena Gomez 9. Danielle Bernstein

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BINGE-WORTHY TV

CAN’T LIVE WITHOUT MY...

1

3

2

6

7

4

8

5

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the essentials 1. Coffee 2. Cell Phones 3. Hats 4. Red Lipstick 5. Scarves 6. Sneakers 7. Watches 8. Sunglasses 9. Rings

Interested in supporting brands that operate as ethical businesses with strong values? Join the Philanthropy Club! Contact Public Relations Director Madison Ross.

where the WILD lf owers are

Photography by Caroline Giraldo Styling by Danyell Twyman Makeup by Suhanee Patel

fash forec Every spring, we’re faced with the reinvention of a tried and true fashion staple: the floral print. This season is no different. As we predicted in our Autumn/Winter 2015 issue, the era of romanticism is upon us, and it’s especially seen this season in pieces that embody ‘70s fashion. The ongoing trend of denim, overalls and lace-lined dresses is everywhere, so we’ve showcased our favorite ways to style these in this season’s fashion forecast.

—Seth Jubb

hion cast THIS PAGE: Model: Elina Hsiung.

Top, $49.99; Bottom, $59.99; Earrings, $9.99; H&M. Shoes and ring; stylist’s own.

OPPOSITE PAGE: Model: Elina Hsiung.

Earrings, $9.99; H&M.

fas fore

shion ecast THIS PAGE: Model: Baylen Edwards-Miller. Button-down, $19.90; Zara.

Belt, pant, and shoes; model’s own.

OPPOSITE PAGE: Models: Elina Hsiung and Baylen Edwards-Miller.

Top, $49.99; Overalls, $59.99; H&M. Button-down, $19.90; Zara.

Bracelet and ring; stylist’s own.

fas fore THIS PAGE: Model: Elina Hsiung.

Hair accessories, $4.99; Top, $49.99; Overalls, $59.99; H&M. Ring, bracelet, and shoes; stylist’s own.

OPPOSITE PAGE: Model: Baylen Edwards-Miller.

Pants, $39.99; H&M. Jacket, shirt, & watch; model’s own.

shion ecast

Photo: Angel a Trakoshis

fas fore THIS PAGE: Model: Baylen Edwards-Miller.

Sweater, $40.90; Zara.

Pants, $39.99; H&M. Button-down and shoes; model’s own.

OPPOSITE PAGE: Model: Elina Hsiung.

Earrings, $9.99; H&M. Dress and rings, stylist’s own.

shion ecast

ei

ic

PALESTINE & ISRAEL A Look into the Conflict

Y

ou stand with your toes in the sand, waves from the Mediterranean Sea sweeping past your ankles. You can taste the salty air as the sea breeze caresses your face. You watch as kids play soccer on the beach in the distance to your left; if only you knew the horror that you were about to witness.

On July 16, 2014, four young boys were killed on the beach of Gaza City harbor by missile fire. Sadly, this is a drop in the bucket compared to the many killed in the 50-day conflict in Gaza.

During this conflict alone, 2,200 Palestinians were killed, 1,492 of which were civilians, and 842 Israelis were killed, six of which were civilians. And this is no comparison to the hundreds of thousands who have been killed in what seems to be a neverending war between Israelis and Palestinians over the Holy Land.

Israelis are continuing to reclaim the Holy Land that was promised to their ancestors.

Palestinians, on the other hand, are being forcefully removed from their homes and land, never allowed to return. Who really holds claim to this “sacred” place, and how does this struggle affect the rest of the world? Many Americans are surprisingly uniformed about this conflict. Based on recent polls, a quarter of the population doesn’t have an opinion on the matter, and about a quarter actually follow coverage on the conflict. This is in part due to the lack of unbiased coverage in the media and the lack of relevant context available to understand this issue. American pessimism when it comes to the Middle East also seems to play into our country’s lack of knowledge.

It is important that we remain bipartisan on and educated about this issue if we hope to help these nations reach a peaceful solution.

This conflict has spanned a century and doesn’t seem to see an end. It is said to have begun with the Balfour Declaration in 1917, which sought to establish a home for the Jews within Palestine.

One issue with this declaration, however, is that it didn’t necessarily establish a unique Jewish state, but instead called for Jews and Palestinian Arabs to simply coexist. Another is that it didn’t protect the rights of the Palestinian Arabs who already resided in the region. The declaration led to a mass emigration of Jews to Palestine and encouraged occupation of Palestinian Arab land.

Then, in 1947, the U.N. presented Resolution

by Ashley Heinke

181, which was a partition plan meant to divide the region into Arab and Jewish states depending on population density. The mandate was rejected

by Palestinian Arabs and accepted by Jews. At the same time, many nations, including the U.S., were reticent about accepting Jewish immigrants who had no home after the war. In 1948, the Jews within Palestine declared their independence, forming the state of Israel. The atrocities of the Holocaust, according to University of California Santa Barbara researcher Tomer Kleinman, “swayed world opinion so that the U.N. approved the State of Israel.” Significant financial support was provided by Germany and other nations. Jews saw the establishment of a Jewish state as a way to act against the threat of extermination posed in the war. Palestinian Arabs eventually retorted by invading the new Israeli territory, but they were no match for the Israeli Defense Force, and so were forced to retreat. This started the first Arab-Israeli War, and the year 1948 ended with “Israel” having occupied most of Palestinian mandated land.

During the first Arab-Israeli War, more than 800,000 Palestinian Arabs became refugees, having fled from their homes; they were promised a safe return once the war was over. But the “Law of Return,” passed by the Israeli Knesset in 1950, barred Palestinian Arabs from returning to their homes in Israel and instead gave Jews the right to immigrate into and settle in Israel as automatic citizens. Thus began the struggle over the region and the push of Zionists to return Jews to the “promised land.” This was only the beginning of a series of wars, deadly attacks, corrupt media and politics, and numerous casualties on both sides.

Why does all of this matter today, and what does it mean for our generation and for today’s politics? This conflict has been raging for decades, and currently is directly affecting the presidential race and our country’s military spending, while testing the mettle of American media.

It’s important for us to be aware of what is going on in the world and how our government is trying to handle important issues. For example, did you know that the Obama administration is currently in negotiations to give Israel, as claimed by an American official, “the largest single pledge of military assistance to any country in U.S. history?” This package consists of $40 billion in U.S. military aid over a 10-year period starting in 2018,

“To remain unbiased and come to a logical conclusion, we must look at both Palestinian and Israeli coverage, ensuring that we are getting the full story.”

17

compared to the $30 billion 10-year package that was awarded Israel in 2008. To date, Israel receives the largest amount of U.S. military aid, which accounts for about one third of our foreign aid budget, and which covers about a quarter of Israel’s total defense budget.

Additionally, compared to other countries who receive their aid in installments and are only allowed to spend it on American weapons andservices, Israel receives theirs as a lump sum while also maintaining more freedom in how their aid is spent. If you’re curious how this all pertains to us as American citizens, we are paying with our taxes $16 million a day to Israel for aid. In comparison to Israel’s approximate $3 billion a year in aid, not including “plusups” or “gifts,” Palestine received $290 million in aid last year, 10 percent of Israel’s yearly total—and that number has been decreasing year after year. According to Congress’s CRS Report, this decline in Palestinian aid is due to “unhelpful actions taken by the Palestinians and constraints on our global assistance budget.”

Where do candidates stand on these issues, and have they stayed true to their views?

Strangely, the issue of Palestine has been absent from the political debates until recently, and the political candidates’ viewpoints on the topic have been all over the place. Bernie Sanders went from condemning Israel for Palestinian brutality back in 1988 to threatening Palestinian solidarity protestors with arrest at a campaign rally in 2015 to recently reverting to a more neutral stance. After being denied a videostreamed speech for the most recent AIPAC conference, Sanders called for an end to the occupation of Palestine and called out the Netanyahu government for “suggest(ing) that building more settlements in the West Bank is the appropriate response to the most recent violence.”

Clinton and Trump both addressed the

conference. Even though Trump was originally neutral on the topic, he tried to cast himself as a strong ally to Israel in his address to American Israel Public Affairs Committee. He stated that “the Palestinians must come to the table knowing that the bond between the United States and Israel is absolutely, totally unbreakable” and is in support of moving the American Embassy to the “eternal capital of the Jewish people, Jerusalem.”

Clinton, arguably the strongest ally of Israel out of all the presidential candidates, attempted to cast herself to Trump’s right on the issue through her address. She claimed as president that she “will make a firm commitment to ensure Israel maintains its qualitative military edge.”

How does all this pertain to us as citizens? If you are concerned about how your tax dollars are being allocated, then you should know where each candidate stands before casting your vote. And if you care about human rights violations, this conflict should be at the top of your list of important issues. The rights of human beings are being blatantly disregarded, and horrifying war crimes are being committed without any action being taken. As a nation who values our freedoms, shouldn’t we also fight for the freedoms of those who are being wronged and cannot fend for themselves?

Lastly, it is most important that we understand how certain issues are represented in the media. Are we getting the full story, or are headlines misleading or diverting us from the real point? There is unfortunately a lot of bias in the media, especially around this hard-hitting topic. This bias starts with coverage headlines, with both sides calling out the injustice of these discrepancies. Take for example the recent standoff between Israeli police and three

Palestinians. An initial CBS headline read, “3 Palestinians killed as daily violence grinds on,” which infers a much different occurrence than what actually happened. The headline was later changed to “Israeli police kill 3 alleged Palestinian attackers,” to more fittingly describe an attack by three Palestinian men on two female police officers, one of which was injured and the other killed, before the three men were fatally shot.

Conversely, Palestinian deaths in this constant war are not getting the proper coverage, with their people commonly being referred to as “others,” diluting the severity of these instances. One headline by The Baltimore Sun, which was part of an article covering the death toll of the Gaza conflict, read “13 Israeli soldiers, 70 others killed.” Referring to Palestinians as “others” diminishes the tragedy of these deaths and makes the statistic seem less important. The main issue with Western reporting on this topic is that it is biased from the start. Most journalists covering the conflict stay in Israeli-controlled parts of the country, and therefore, they are not exposed to both sides of the story, and generally both Palestinian and Israeli sources are not utilized, causing their coverage to be extremely one-sided. In order to stay correctly informed on the issue and be able to form our own educated opinion, it is imperative that we look at the issue from both sides, taking all stories into account. To remain unbiased and come to a logical conclusion, we must look at both Palestinian and Israeli coverage, ensuring that we are getting the full story.

It is important, especially as Americans, and especially in our current political climate, that we pay close attention to both sides of the story, deciding for ourselves what we believe to be right and just, rather than being influenced by bias.

Israel’s Separation Barrier, a 25-foot high concrete wall that, when completed, is expected to stretch 403 miles in length. Even though it is three times higher and four times longer, it has been compared to the Berlin Wall, which was 96 miles long. The wall was built to separate Palestinian and Israeli land for security reasons, but 90 percent of it has been built in the West Bank, the land promised to the Palestinian Arabs through U.N. Resolution 181 and partition plan. The barrier currently separates Palestinians from their families, communities, land, education, healthcare and work, but the Israeli government is in plans to close up gaps in the wall, completing the barrier. This project goes against U.N. Resolution 242, and the International Court of Justice has ruled the wall illegal under international law. Along with local graffiti, the artist known as Banksy has created a nine piece series along the wall, drawing attention to the “nature of the barrier.”

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ALBUM REVIEW: The Internet’s Ego Death

by Tonya Burks

T

he Internet, which must be hip-hop’s least search engine-friendly band name, did in fact originate on the internet. Back in 2011, two young producers, Syd tha Kyd (née Sydney Bennett) and Matt Martians (born Matthew Martin), met through MySpace, and the pair soon became part of California hip-hop collective Odd Future. By following the transition from their debut album, Purple Naked Ladies, to their sophomore album, Feel Good, to 2015’s Ego Death, you can feel seamless growth in the band’s sound.

Now that we can pick and choose which tracks we want, people rarely listen to an album as a complete whole, but Ego Death is one of those contemporary rarities that needs to be heard from start to finish. It begins with a story of romance and loss, then transports the listener everywhere from house parties to airport terminals. The album’s artwork reflects this scope and inclusivity—all of the band’s six members (Jameel Bruner, Patrick Paige II, Christopher Smith, and Steve Lacy) are featured in the cover art, a departure from

earlier records.

This album is an impressive feat for Syd, whose vocals have grown noticeably over the past few albums. Her soft, lush voice is filled with a confidence that she lacked on previous albums. Songs like “Go with It” and “Penthouse Cloud” showcase this new level of self-possession. In the double track “Just Sayin/I Tried,” she reflects on a past relationship and lets her ex-girlfriend know that there’s no need for her to keep trying.

“Tell me what it gotta be / To get you out from under me / Don’t need you all up under me / I already moved on / Was in love with you for too long.” These are the words of a woman who has done all that she can and feels confident that she’s made the right choice.

While many of the tracks feature the theme of love and lust, “Penthouse Cloud” digs deeper into the conscience. The song was written the morning after Michael Brown’s verdict, which is evident when Syd’s soprano

painfully intones, “Did you see the news last night? / They shot another one down / Does it even matter why? / Or is it all for nothing?”

The album brings the mood back up to finish, however, ending with another double track, “Palace/Curse,” which opens with Tyler the Creator saying, “Aye, y’all ain’t never been to a party before?” The song is strongly reminiscent of a house party track from early hip-hop—808 drums and all.

Nominated for a 2016 Grammy for Best Urban Contemporary Album, Ego Death has been hailed on multiple platforms as one the best albums of the year. This compilation has become The Internet’s breakthrough album, one that is adored by the masses.

While the band has been repeatedly labeled as alternative—and endlessly compared to Odd Future—this album has set them apart.

This is not a band you want to box in with labels.

In honor of the late Phife Dawg, here’s a playlist of ten classics by A Tribe Called Quest.

1. “Oh My God”

6. “God Lives Through”

2. “Award Tour”

7. “Check the Rhime”

3. “Scenario”

8. “Jazz (We’ve Got)”

4. “Electric Relaxation”

9. “Butter”

5. “Buggin’ Out”

10. “Can I Kick It?” 19

surf

city

nyc

by Maggie Canty

Culture

16

T

hroughout each of the five boroughs, more and more neighborhoods seem to be cultivating a sunny corner dedicated to the ocean waves and those who surf them. From the haughty streets of SoHo to the beatnik boulevards of Brooklyn and along the shores of The Rockaways in Queens, New York City’s eclectic surf scene is in the swim.

While fashion has its prominence here, what seems to be trending today is the desire to inhabit natural beauty—and what is more naturally beautiful than the relationship between people and water? These primitive elements—the waves, sun and sand—all seem to have had their share of influence throughout editorial spreads, Fashion Week runways and other media this season.

New York native and lifelong surfer Thaddeus O’Neil embraces his Fire Island roots as the cardinal inspiration for his self-titled fashion label, for which he serves as founder and creative director. The brand’s casual, American-made clothing manifest surfing in a poetic and luxurious essence while accentuating movement. In other words, beachy with the perfect New York twist.

I was fortunate enough to work with O’Neil these past few months, and his passion, creativity, and natural charisma are what set him apart both on the water and on the runway. In fact, he will be featured on the cover of a new photography book, Surf NYC, in one of his unique “metallic sequin wetsuits.”

But—as O’Neil will attest—surfing makes for more than a fashion trend. It’s a thriving local culture. The role of the “local” is central to this culture, and one of the most

important things to know about surf etiquette is that the locals tend to indirectly facilitate the lineup of surfers on the water. Positioned as the new guy, there is no better feeling than being waved on to a set by a native; it’s a big moment, and you better take it.

Mike Reinhardt is the quintessential local in Rockaway Beach, where he was born and raised. Reinhardt founded Locals Surf School alongside childhood friend and surfer Mike Kololyan. Established roughly five years ago, Locals Surf School was a natural step for the duo after they graduated from college.

“Surfing makes for more than a fashion trend.

It’s a thriving local culture.”

“The Mikes” derived their business from their passion for surfing, Rockaway Beach, and the growth of NYC surf culture.

“Rockaway Beach residents have developed their own unique city-surfer vibes and are happy to share this culture and community with whoever is willing to respectfully take part,” he says.

Easily accessible from the sometimes-reliable A train, Rockaway Beach is just around 25 miles south of Manhattan.

“Although Rockaway might not be the most pristine, it is definitely one of the most exciting,” Reinhardt explains. “Being a part of Queens with access to public transportation, the community regularly draws a very unique crowd of people to its seven miles of coastline.”

Offering surf and skate lessons year round, Locals provides an experience like no other. Rockaway’s exciting shoreline keeps both beginning and advanced surfers satisfied.

While there are numerous options in the area to grab a lesson, Reinhardt points out the authenticity of Locals.

“Growing up in this neighborhood, we and our instructors know the ocean very well and can give very educated advice based on our years of surfing here,” he says.

Apart from what they can offer professionally, Reinhardt and Kololyan create a fun environment, often catching up with students on the boardwalk or at a restaurant after a lesson (e.g. Rockaway Beach Surf Club), once again emphasizing the local experience.

“To a non-surfer, the idea of ‘surf culture’ might elicit thoughts of summer and the Beach Boys,” he says. “While these things certainly represent some parts of surf culture, albeit the tacky ones, there is so much more to this ever-growing sport and lifestyle.”

The secret is out. You can catch significant swell a couple hundred steps from an MTA subway stop. As New York’s surf culture continues to grow, we can thank the creativity of natives like Thaddeus O’Neil and the adherence of the Locals Surf School for keeping it a little grittier than The Beach Boys’ version.

To learn more about New York City surf culture, check out Surf NYC by author and photographer Andreea Waters. In the book, Waters captures the beauty of these urban beaches and shows what it really means to “test the waters.” Rockaway locals Mike Reinhardt and Mike Kololyan are featured in its pages, along with Thaddeus O’Neil, who graces the cover in one of his “metallic sequin westuits.”

Schiffer Publishing, 2016 $34.95

21

feisty

fiesta

Gucci Men’s Jersey Pant with Gold Embroidery $1,990

Alexander Wang Abby Tilt-Heel Suede Sandals $450

Acne Studios Look 16 Spring 2016 RTW

Clinique Sweet Pots Sugar Scrub & Lip Balm $20

Gucci Men’s Jersey Jacket with Gold Embroidery $1,980

Proenza Schouler PS1 Tiny Shoulder Bag $1,595

Dolce & Gabbana Dolce Matte Red Lipstick $37

Dolce & Gabbana Floral Lace Top $1,595

Rebecca Minkoff Grand 48MM Round Sunglasses $70

Task Essential Face Wash $34

Moschino Men’s Racing Sweatshirt $338

Gucci Men’s Flower Fil Coupé Pant $1,380

Rety Two-Piece Chiffon Evening Gown $1,895

Eugenia Kim Sunny Hat $455

Aquazzura Beverly Hills Leather Flat Sandals $595

Moschino Small Quilted Nylon Logo Backpack $595

NYX Color Correcting Liquid Primer $9

Versace Yellow Diamond Eau De Toilette Spray $455

OPI Primarily Yellow Nail Lacquer $5

blooming

Dior Homme Look 19 Spring 2016

buttercup

plump it up

by Angela Trakoshis

L

et’s face it: big lips are trending.

Surely we can blame Kylie Jenner for this, since she is the over-lining/lip plumper queen. Either way, if you are anything like me, you’re on this trend’s train—and if you are anything like me, you want the plump-ified lips minus the collagen and needles.

Lip injections are natural or synthetic fillers that are injected into the lips to keep them plump for months at a time. They are injected into your lips and around your mouth. The most common fillers today are substances that contain Hyaluronic Acid, a natural substance found in the body. Hyaluronic Acid fillers improve the shape of your lips by adding structure and volume. Once injected, the gel in the filler supports and shapes the tissues of the lips.

These fillers are a safer, less surgical way to get fuller lips, which to some might be preferable to lip implants, which could take up to a couple of months to heal. It may seem easy, but if you have considered it, keep in mind it is still a cosmetic procedure and could have side effects such as bruising, swelling, bleeding and redness.

Not to mention, fillers are usually priced per syringe. The cost will depend on how much material is required. Most people don’t need more than one or two syringes. Lip fillers are not cheap, either; total costs range between $500 and $2,000.

“I thought about getting lip fillers. I’m not scared of needles or anything, and I don’t think there is anything wrong with a cosmetic procedure, I just wish it wasn’t so expensive; on a college budget, it’s rough,” says Kasey LaRosa, junior at LIM College.

Why would you want to plump up your lips? For me, it has always been a physical trait of mine that I have been self-conscious about. I have always dreading smiling with my teeth because I feel like my upper lip gets lost. But I’ll admit it; the thought of injecting something into my body freaks me out. So to deal with my thin upper lip, almost every day I spend a good 5-10 minutes perfecting my lip line.

Whether I’m rocking a daring red, calm nude, bold brown, or even my natural color with my favorite lip balm, I always overline my lips.

Honestly, it gets tiring after a while, even for a beauty junkie like me. Constantly sharpening my lip pencils, matching shades of liners to lipsticks—the whole process is time consuming.

Recently, I have been on the hunt for an easier alternative to achieving my desired lip look. This led me to lip plumpers. No, I’m not referring to those suction cup lip enhancers that everyone went crazy over when the #KylieJennerChallenge was trending. I’m talking about lips plumpers that look like an average lip gloss or balm.

Normally, they are tinted or clear, and they traditionally fatten the lips temporarily. These treatment products contain ingredients such as peptides, marine collagen, and human growth factors.

Recently, companies have been using Maxi-Lip, which is a special peptide they infuse into the formulas of the lip plumpers. Peptides are known to improve collagen synthesis, which can lead to firmer, fuller, smoother-looking lips. Manufacturers claim that these products will stimulate your lips to produce more pout-boosting collagen and elastin.

I apply the product on both my upper and lower lips.

While I find my upper lip to be my problem area, applying product to both allows me to get the most natural look, my bottom being larger than my upper. After applying the plumper, I let it set for about ten minutes; this allows the ingredients some time to kick in and starting plumping.

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spring beauty buys What are the top beauty products on the shelves right now? Beauty assistant, Keely Schooley-McCormick, picks out her top ten products she can’t live without.

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MANAGING EDITOR

LittleC h aItaly’s Finest: rlie Apples A Profile on Professor Charles Fradella by Maranda Janky

27

“It

was a ‘New York City look,’” Professor Charles Fradella says as he reminisces about the impeccable style New Yorkers owned in Manhattan in the ‘50s and ‘60s. Sport coats, Italian knit shirts, and in some cases, ties, were “the way to look.”

“A navy suit with a white shirt was really the look—still is today, to some extent,” he says. A lot of these styles influenced this Italian-American’s idea of fashion.

Growing up in Manhattan’s Little Italy, he has seen fashion evolve as quickly as the neighborhood in which he grew up. He resided at the corner of Mott and Hester on the fourth floor of an apartment building above the world famous New York Italian clam bar The Original Vincent’s.

“I used to love the smell of seafood early in the morning going to school,” Professor Fradella laughs.

With his grandparents living in the apartment below him, Professor Fradella was used to being surrounded by family. At the age of eight, he helped out across the street at DeFalcos, a supermarket owned by his grandparents. He earned the nickname “Charlie Apples” because of his role selling fruit outside.

“I was also the stock boy, and then I graduated to cashier as I got older,” he recalls.

Professor Fradella didn’t mind working for the family business growing up. “I used to work in the store every Saturday as a kid and saved my money to buy clothes.”

Even throughout his college career, you’d still find Professor Fradella stocking shelves or ringing out customers at the supermarket.

“It was a family business, so it was good. I could always use the extra money.”

Aside from working for his family’s business, Professor Fradella did have the normal life of a child growing up in a Manhattan neighborhood during the ‘50s and ‘60s.

“We played in the streets. Don’t forget, in that time, there was a lot less traffic in the streets.” He enjoyed staying active around the neighborhood with his friends, playing games like stick-ball, stoop-ball and baseball.

But throughout the day, kids weren’t the only ones hanging around stoops and city corners.

“Growing up in Little Italy at that time, your idols were either Frank Sinatra, Yogi Berra, Joe DiMaggio or the local wise guy,” says Professor Fradella.

Organized crime was prevalent when Professor Fradella was growing up.

There were five families that ultimately ran Long Island, New Jersey and New York City’s five boroughs: Bonanno, Colombo, Gambino, Genovese and Lucchese.

“Growing up as a kid, [local mob28

sters] didn’t work. They were always hanging around, but they were always well-dressed,” he describes. This boggled young Fradella’s mind. Why didn’t these specific men—dressed to the nines—have to go to work like everyone else? He admired these style icons.

“I would say, ‘When I grow up, I want to dress that way.’”

Lucky for him, a formal dress code was required at his Catholic high school, La Salle Academy, which is located off Second Avenue in Manhattan’s East Village.

“We had to wear either a suit or a sport coat with a shirt and tie,” he says. “So it was a good opportunity for me to get into suits.”

Unlike depictions of modern-day mafiosos, characters like Tony Soprano from the award winning HBO series The Sopranos or Frank Costello from the American crime drama film The Departed look the same as any other American walking the streets.

“[It’s] not like what you see today— wearing track suits, t-shirts and sneakers.

These guys were dressed in sport coats, suits,

“Growing up in Little Italy at that time, your idols were either Frank Sinatra, Yogi Berra, Joe DiMaggio or the local wise guy.” white shirts, nice shoes. They always looked impeccable and meticulous,” says Professor Fradella.

Were these so-called “wise guys” influencing the movement of well-dressed streetwear in the city of New York?

“Well, they influenced it in the sense that a lot of knitwear was being worn at that time.”

Canal Street shoppers picked up a majority of their luxury duds at local haberdasheries, small shops where men’s clothing was sold.

“Al Kaplan, Lever & Greenberg— they all sold high-end—at that time—menswear,” he says. “Petrocelli, Hart Schaffner Marx...I can’t remember some of the other brands, but they were all expensive for that period of time.”

Professor Fradella adds that “if you shopped in those stores, you were shopping in the right place to look a certain way.”

Having seen fashion evolve during the second half of the 20th century, Professor

Fradella still holds traditional and classic looks close to his heart. His favorites were “looks that weren’t too trendy, but were sustainable and could wear for a long period of time.” He feels the same today.

As he transitioned into his undergraduate college career, the New York native attended St. John’s University in Queens, excelling in statistics, probabilities and algebra.

He earned a B.S. and M.B.A. in marketing.

“My first job out of college was with an insurance company doing accounting,” he recalls. “I had just graduated...I was miserable.”

Luckily for Professor Fradella, having connections in the fashion industry was as important then as it is today.

“My brother had a friend who was working for J.C. Penney, and in conversation, he told my brother they were hiring,” he says.

He immediately sent in his resume and was called for an interview. After nailing the gig, he started in their training program for a catalog inventory control specialist position.

“So that was my entry into the fashion industry. After ten weeks of training, I was put into the men’s clothing and sportswear department.”

While Professor Fradella was engaged out of college to his now-wife, Laura, he made the difficult decision to leave his position as a buyer at J.C. Penney—his favorite and most enjoyable job while working in the industry—to work for The Arrow brand.

“I was the merchandise operations manager for their private label division,” he explains. “I made the move because I needed more money. Leaving J.C. Penney and going to the manufacturing end of the business sufficed with the salary that I needed in order to have a family.”

Another career highlight included working for Amerex Group—an outerwear manufacturing company—in the men’s division as the Vice President of Sales.

“I really loved it,” he says. “We did quite well—had a good team of people, great boss—president of the company was terrific...”

As he predominantly worked in menswear, he had a small stint in childrenswear at Jonathan Stone—another outerwear company—selling to national chains such as J.C. Penney, Walmart, Sears and K-Mart.

Professor Fradella had a number of industry jobs that any millennial college graduate would kill for. But eventually, LIM College’s current Dean of Academic Affairs, Michael Londrigan—formerly a colleague of Professor Fradella’s at J.C. Penney—helped compel his transition into the academic world.

Dean Londrigan had confidence in his ability to teach product development due to his experience as a merchandiser, according to Professor Fradella.

Photo by Jessica Feane.

“He basically told me, ‘I love the way you prepare yourself—I always admired that about you. If you could take that and prepare yourself to teach a course, you would be very successful,’” Professor Fradella remembers.

He began teaching product development in the evenings at LIM College in 2009 and transitioned from an adjunct professor to a full-time faculty member in 2013.

Knowing Professor Fradella (or as he likes to call him, Chas) for over 30 years, Dean Londrigan still praises him as a “professional and very respectful individual.”

“I had to laugh, though, about a semester or two ago,” he says. “He came to me and said ‘it’s not fair—all of my classes are always full to the max.’ He did not understand that this was a result of him being such a great professor. He did not realize that students talk and highly recommended him.”

Soukayna Dieng, a Visual Merchandising major at LIM College, is one of those students.

“Professor Fradella has been one of the most inspiring instructors I’ve come across. He’s passionate about his job and what he teaches. The energy in his class is positive and amazing. I learned so much from him,” she says.

Aside from product development, Professor Fradella has taught Fashion Fundamentals, Senior Capstone, and Applied Concepts in Fashion Merchandising—a course that he and Dean Londrigan created together. Professor Fradella is now the course moderator.

His favorite course to teach?

“I would say the Applied Concepts course,” he says. “I’ve participated in providing some of the content for that course and for the curriculum.”

When he’s not in the classroom, Professor Fradella spends time with his wife, Laura, whether in their Long Island home sipping a Ruffino Chianti Riserva or venturing into the city to eat his favorite dish, spaghetti carbonara, from the Manhattan Italian outpost AperiTivo.

“We do a lot together. We enjoy going to movies, we enjoy going to restaurants, drinking wine,” he says.

While he knows that hard work and dedication pay off, Professor Fradella feels that there is more to becoming successful in your career.

“Passion. Have a passion for something. Don’t get up every day and do something you don’t have a passion for.

Do something that you truly enjoy,” he says.

Laura is a retired teacher, and

his daughter Lauren is a current teacher, so the entire Fradella clan hones the academic world with their Italian charm and wisdom.

“I always wanted to be a teacher.

I always wanted to teach in a higher education institution. So, I’m really living the dream. I always dreamt about it, but never did it. So, here I am.”

“Passion. Have a passion for something. Don’t get up every day and do something you don’t have a passion for. Do something that you truly enjoy.”

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THE LEXINGTON LINE STUDENT WRITING SHOWCASE LIM COLLEGE ARTS & SCIENCES DEPARTMENT

It Ain’t Hard to Tell | Pheanny Phen New Media, Spring 2016

C

rack. Cocaine. Violence. Drugs. Sex. Prostitution. This is the rhetoric of rappers, shining light on the horrendous truth of the United States’ ghettos and projects.

Yet emceeing (or rapping) is often misconceived as provoking people, especially youth, to join a gang or sell drugs. In fact, it acts as a medium for portraying oppression of African-Americans and other marginalized groups in America.

And while many think of hip-hop as a negative entity looking to wreak havoc on America’s youth, it is often viewed by inner-city kids as a means of escape. Hip-hop has the ability to charge hope in people, especially kids who are in danger of being drawn into the oppressive life of a street hustler. Telling stories from a first person perspective is not the same as being the person you depict in your narrative. No one attacks Al Pacino for playing a gangster in a movie in order to tell a story; they celebrate him for it. But for some reason, there are people who attach a double standard to hip-hop artists, as though telling stories about violence is the same thing as advocating for violence.

In fact, some people say that hip-hop has saved their lives.

Rather than following the epidemic of joining a gang, Seattle-born DJ and b-boy Peanut found hip-hop to be a safe haven (disclosure: Peanut is my brother). Growing up in the rise of gang culture in the early ‘90s, he found that hip-hop “gave his community an identity.” Being Cambodian in the tough streets of south Seattle often set the stigma that you were gang affiliated. Peanut was surrounded by cousins who were in gangs, but he knew this was not the route he wanted to take. After spending time at a local community center and being introduced to b-boying (breakdancing), Peanut was able to stray from gangs by falling in love with a culture that would one day be his career, first as a b-boy, then a world-traveling producer and DJ.

With the popularity of hip-hop growing tremendously in mass media over the last three decades, it’s sometimes lost on consumers that hip-hop is more than just emceeing—it’s a culture stemming from the South Bronx of New York City comprised of four elements: b-boying, DJing, emceeing, and graffiti.

Hip-hop started in the ‘70s and ‘80s with b-boys on flattened-out cardboard boxes and rappers competing in the streets; it quickly grew into one of the most prominent musical mediums featured during the rise of MTV. And while it is true that some artists glorify violence and sexism, many artists have used it over the years to make extraordinary artistic breakthroughs and profound social statements.

Still, there are those who believe the commercial success of hip-hop is a threat to its existence. Questlove, the drummer for the

30

iconic hip-hop band The Roots, is worried that it is acting as a “resistance to mainstream culture” and is now “part of the sullen dominant.” Questlove believes that rather than being a protest art, hip-hop has become marginalized, its themes narrowed down to the artists’ personal victories and their successes in the genre itself.

Despite Questlove’s speculation, the prominence of hip-hop culture in America suggests the acceptance of what is currently the most prominent form of black culture: hip-hop music. The subject matter may be fluid and changing, but it still sets hip-hop music, a medium that allows the oppressed to voice their concerns, on an influential platform.

Artists coined as conscious underground rappers, such as Talib Kweli and Mos Def, can now use this platform to voice the change they want to see in America. Atlanta rapper Killer Mike has actively campaigned for Bernie Sanders, calling him the only candidate for black voters.

Other artists utilize this platform as well, most notably J. Cole and Kendrick Lamar. With 11 Grammy nods and five wins this year, Kendrick is considered to be a mainstream rapper that uses his lyrical prowess to express the truth about growing up in the streets of Compton, resulting in a struggle with depression after becoming successful and feeling as though he deserted his hometown for fame.

Although hip-hop falling into the lap of the mass consumer may seem troublesome, it is important to look at how this can also make hip-hop an effective tool. Today, many people see hip-hop and believe it to be a negative aspect of American culture, when in fact it proves that the lyric form can be used systematically as a medium for the oppressed—more specifically, African-Americans and other marginalized groups. The true difficulty of life in the projects and ghettos of the United States can now reach an audience a rapper in the ‘80s would never have thought imaginable: the middle and upper classes.

Whether it’s Peanut from south Seattle or a 13-year old boy growing up in a bad neighborhood in Queens, New York, hip-hop has the ability to create a hopeful future that does not involve selling drugs or joining a gang. More and more, it seems the mass of consumers is realizing this.

Webslinger | José Álvarez New Media, Fall 2015

H

ow does one become a superhero? You can ask Maxx Reed, who ever since he was a little boy would tell his mother that this is all he wanted to be. Little did he know that at 26 years old, he would be just that: a superhero flying over people’s heads and saving the world. Eight times a week, I might add.

Born and raised in urban Memphis, this dancer and choreographer has already established himself as one of the best in his field.

Having worked with Usher, Beyoncé and Michael Jackson, he is what the media likes to call a success story. He is also what I like to call a hard working guy who just happens to

be one of my closest friends.

Why a success story? Well, Maxx comes from the rough part of Memphis; he didn’t have a lot of money growing up, and he suffered from Attention Deficit Disorder, which caused his teachers to claim he would never amount to much. But more than becoming another success story, he has paved the way for himself with talent and dedication.

Maxx wasn’t always a dancer, but he has always been a performer.

“My mom would take me to the park, and I would make sure everyone was watching as I did flips off of the monkey bars,” he says.

Unlike most kids, his spent his time after school doing flips and jumping around, doing what today we call parkour, along with his friends. He then moved on to breakdancing on street corners.

Then one day, he was discovered. Katie Smithe, CEO of The New Ballet Ensemble School, took him under her wing by giving him a scholarship and training him both technically and artistically.

After five years of dancing with Katie’s ballet company, he moved to Los Angeles to star on the short-lived ABC reality show competition “Dance War: Bruno Vs. Carrie Ann.” Even though the series didn’t last long, he remembers it fondly as a learning experience that ultimately set him up for bigger things.

Following the show’s cancellation, he went on to perform in professional regional productions of Cats, West Side Story and Jesus Christ Superstar. Then, having an extensive resume for such a young performer, he finally moved to Los Angeles fulltime in 2009, which is when he began dancing with Usher, Beyoncé and The Pussycat Dolls, as well as at the American Music Awards and Latin American Billboard Awards. He also did numerous commercials and short films. But what I regard as one of the biggest highlights of his career was being one of the profiled dancers in Michael Jackson’s This Is It, as well as in Jermaine Jackson’s tribute to Michael after his passing. And even though he didn’t get to talk to Michael Jackson himself, he was still in a room with him and remembers how charismatic and grateful he was to everyone who was there to work with him.

It is after all this hype that he found himself in a sort of work dry spell. He not getting as much work as he was used to, and he was also getting tired of the commercial scene.

Maxx decided to take a break and teach an acting class in Alaska. However, this break was cut short; he got a call to audition for the latest Broadway hit, Spider-Man: Turn Off The Dark. He recalls it vividly.

“I remember being at my parents’ house and YouTubing clips of the Spider-Man musical,” he says.

After the call, he flew back to L.A. to audition, and a few days later, while he was on-set shooting a commercial, he got the news that the job was his. He would need to move to New York in two weeks, rehearse for a week and a half, and then step into the show. He had landed his Broadway debut at just 22 years old—a bona fide superhero.

His track in Spider-Man included playing both Peter Parker’s bully as well as a flying Spider-Man, which included jumping off of platforms into the audience and flying through the theater. His favorite stunt, however, was a 30-foot pitfall near the end of the show, which he describes with excitement.

“The stage was in a giant mechanical rake that raised from stage level to a 50-degree incline angle towards the audience. And I

would climb up and have to duck down as the Green Goblin character would fly above me, otherwise I would get knocked down. Then I would slide down a panel and finally fall 30 feet into the pit underneath the audience,” he recalls. “Then I would land on a mattress and be caught by firemen who worked for the show, and they would pull me out so that the Green Goblin could fall into the mattress right after me. That show was the best roller coaster in the world.”

Maxx has nothing but good memories about the show. Even though it is no secret that Turn Off the Dark had a lot of problems, it ultimately brought him into the Broadway community.

“[Spider-man] allowed me to meet the people that I will be working with for the rest of my life,” he says.

Another reason why he cherishes his three years on Broadway is the night his mother finally came to see the show. She had just gathered enough money to make it up to New York, and he remembers coming on stage seeing her teeth and yellow coat in the audience. She had on a big smile that would remain through the whole performance.

Sadly, his mother passed away not long afterwards, and Maxx decided to take a break from work.

“She was a saint,” Maxx says. “I was always very honest. There were never secrets between us […] she was unnecessarily proud.”

Every time I hear him speak about his mother, I hear nothing but admiration and humility in his voice. As soon as he says “unnecessarily proud,” though, I correct him with a high-pitched tone exclaiming that she had a lot to be proud of—and I said this as both friend and fan.

It was after his mom’s passing that he got his directorial debut in a short film titled “Pas De Carole,” a tribute to his late mother, Carole Reed. The film was co-produced by actor-turned-producer Christian Campbell, who initially introduced me to Maxx. After the film, they co-founded Esotericam, a production company for which I occasionally work. Christian, a hard person to impress, has nothing but respect and admiration for Maxx.

“I can always depend on him to problem solve and contribute to the creative conversation in whatever we do. And he never breaks a sweat,” Christian says.

As far as future projects go, Maxx is expecting to choreograph a Broadway show within two years. He is also working with the Broadway Dreams Foundation as part of the faculty, and he choreographed Mariah Carey’s holiday concert, which ran last winter.

His personal and work lives are tightly bound together by his principles. Not only is he honest and driven, qualities that he applies to both aspects of his life, but he is also effortlessly nice, a trait that he considers to be crucial in this business.

Matt Wood, a mutual friend of ours, says, “I’ve been lucky enough to know Maxx for about a decade now. I can offer a slew of adjectives to describe who and how he is, but that would be akin to praise.

Maxx wouldn’t like that. I do know most people would trade nine more decades to experience one decade of a friendship like his. He’s that great at being a person.”

As an artist, he does have a big ego, but he can live up to it.

Maxx takes his art very seriously.

“There is nothing that I am not qualified for,” he says. “And if there is, give me a week and I will be.”

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Dear Black America | Danyell Twyman New Media, Spring 2016

A

t first this was an open letter to white America, but I realized it is not only white America that can provide the change we want. It is us. So this is to you, my brother, sister, fellow American, to show you that we are more than what society supposes. Open your eyes and see that you are more. Go and take what is owed to you.

President Barack Obama recently nominated Judge Merrick Garland to replace Anton Scalia on the Supreme Court. It is the president’s job to do so, but many Republicans have vowed to prevent this nomination—to push it to 2017 in case a Republican is elected and someone can be appointed who has a friendlier agenda.

In response, presidential candidate Bernie Sanders stated, “What you are seeing today in this Supreme Court situation is nothing more than the continuous and unprecedented obstructionism that President Obama has gone through, to say, well, he’s not really the president.

He wasn’t born in the United States, which is nonsense. My dad came from Poland. I’m running for president. Guess what? Nobody has asked for my birth certificate. Maybe it’s the color of my skin, I don’t know.”

The delegitimizing and undermining of the president shows that there are substantial segments of the population that have a lack of respect for the position he holds. Over the course of his presidency, the issue of race has become as prevalent as ever, from the killing and mass incarceration of African-American males to the spike in membership of white hate groups like the Ku Klux Klan. Racism is not a new development in America, and this response to the Obama presidency shines a spotlight on this fact. Having experienced my own share of racism, I can tell you it is alive and well, and that it comes from people closest to you.

According to Jonathan Chait of New York Magazine, “Race, always the deepest and most volatile fault line in American history, has now become the primal grievance in our politics, the source of a narrative of persecution each side uses to make sense of the world.” It is not an unknown fact that the mass incarceration of black men has increased since the 1994 Violent Crime and Law Enforcement Act, also known as the “Crime Bill,” was passed. The bill led to longer mandatory sentences and transformed less serious crimes into felonies.

“This phenomenon refers to the current American experiment in incarceration, which is defined by comparatively and historically extreme rates of imprisonment and by the concentration of imprisonment among young, African-American men living in neighborhoods of concentrated disadvantage,” says sociologist Christopher Wildeman.

I think President Obama said it best.

“We have more work to do when more young black men languish in prison than attend colleges and universities across America.”

A 2013 census reported there are 18,508,926 black men in the U.S, and out of that number, 745,000 are incarcerated. For-profit private prisons also play a major role in the mass incarceration. Statistics from the Federal Bureau of Investigation show that out of the 1.6 million prisoners in the U.S., 128,195 are in private prisons, a number that grew 37 percent from 2009 to 2010. Among all black males born since the late 1970s, one in four went to prison by their mid-30s; among those who dropped out of high school, seven in 10 did, according to Ta-Nehisi Coates.

The Guardian reports that in 2015, “black people were killed at twice 32

the rate of white, Hispanic and Native Americans. About 25 percent of the African-Americans killed were unarmed, compared to 17 percent of white people. This disparity has narrowed since the database was first published on [June 1st], at which point black people killed were found to be twice as likely to not have a weapon.”

It is sad to say—the number of black men who die at the hands of police officers is far too high, but this is not the beginning of excessive violence in the African-American community at the hands of the police.

This has been going on for a long time, but this generation of young African-Americans is now fighting back and refuses to take no for an answer.

A study completed by The Washington Post stated, “A year after Michael Brown’s fatal shooting, unarmed black men are seven times more likely than whites to die by police gunfire.” The Post also found that in three out of five police shootings, the victims are non-threatening and of the black or Hispanic race.

“Race,” the Post reports, “remains the most volatile flash point in any accounting of police shootings. Although black men make up only 6 percent of the U.S. population, they account for 40 percent of the unarmed men shot to death by police this year.”

Oppression is defined as prolonged cruel or unjust treatment and control. According to David Horsey in The Los Angeles Times, “From the arrival of the first slaves in the 17th century until emancipation in the 1860’s, most blacks not only had no economic opportunities, the fruits of their very hard labor were stolen from them by their slave masters. After the Civil War, most continued to be locked in servitude as sharecroppers and servants. They were cheated, they were robbed, and they were marginalized, brutalized and lynched. Economic advancement was nearly impossible.”

The systematic oppression of the African-American race is still obvious in society today and has yet to be acknowledged by many in America. It is easy to single out a race that has been through severe trauma that has yet to be overcome. It is the stagnant progress of this race that has kept them in low-income housing, a poor education system and violence-riddled neighborhoods.

Being multi-ethnic, I identify myself (as might anyone who sees me) as an African-American. Although I am not a native (nor is the bulk of the American population, really), we identify ourselves by the color of our skin. We look at the color of one’s skin and threaten to subconsciously predetermine who they are and what they are without getting to know them. I was fortunate enough to grow up in a two-parent home in a middle class neighborhood.

I was the token black girl and would hear comments on a day-to-day basis that I was their “favorite black person.”

I didn’t completely understand then; I was young, and my parents didn’t tell me about the struggles of being black.

I was raised in Raleigh, North Carolina, and my grandfather and uncles used to tell me and my brother that if we were ever stopped by the police, we should just cooperate and listen and to not open our mouths unless spoken to. I didn’t understand until now what they meant. Black men being mistreated or even killed by the police is not new; it’s just being brought to the public eye.

The first time I dated a white man, I got looks and stares that were nothing short of evil. We were invited to a Fourth of July party, where his next door neighbor proceeded to tell me about the “nice negro man she encountered once.” Racism isn’t always something that is blatantly intended, but it’s the often subtle action and treatment of an-

other based purely on skin color. It’s the assumptions people make. It’s 2016, and we have had a black president for eight years now, and there is still so much further we have to go.

Jane Elliot, an internationally known teacher, diversity trainer and lecturer, is famous for experiments she conducts about race. She gave a lecture to a group of white adults and asked the question, “If you as a white person would be happy to receive the same treatment that our black citizens do in this society—please stand!” No one stood. She asked again, and again, no one stood. Elliot then stated that the mere fact that no one stood shows that there are still known prejudices and racism towards the African-American race.

It is hurtful yet informative that people know about the inequities we face but decide to overlook it because it isn’t their problem. But it is everyone’s problem when a person doesn’t get the same opportunity or can’t progress for their families because of the color of their skin. As Dr. Martin Luther King Jr. once said, “Injustice anywhere is a threat to justice everywhere.”

And as Horsey wrote in The Los Angeles Times, “Of course, black Americans must do their part—and a great many are trying with all their might to break out of the cycle of violence, despair and economic insecurity in which they find themselves.

But white Americans need to break out of the lazy smugness that allows them to ignore their own responsibility to their fellow citizens.”

I agree as an African-American that we have to be the change we want to see— and fight back. Fight back by educating ourselves and putting ourselves in a position to make a difference. Yes we had a black president, but that’s just the beginning. Let us not be the stigma that society portrays us to be. Remember: our ancestors fought and died for the freedoms that we have now while playing a major part in what we call America.

So stand up for what is rightfully yours and take back what is owed. The systematic and often institutional oppression we face threatens to continue affecting our psychology—as James Baldwin once said, the way that we think about ourselves and our sense of personal worth. Never feel inferior. The killings at the hands of the police, the lack of respect for the president and the mass incarceration of your loved ones should be enough to help you stand up and know your worth.

Innately Curious | Patrick Conner New Media, Spring 2016

H

ard work and persistence are the backbone of any successful fashion industry professional’s career, but London-based Art Director and Creative Consultant Mark Quinn might suggest a different quality is needed to reach the top. Just as a baluba is a person gone mad, Baluba is also the name of a creative consultancy firm based in both London and Dublin that has successfully pioneered brand images of wildly successful fashion retailers.

Their client list, nothing short of astounding, boasts long term relationships with H&M subsidiary C.O.S. (Collection of Style) and the U.K.’s Harvey Nichols. Even fashion giants Calvin Klein and DSquared2 have recruited the firm for special projects. Specializing in creative direction, marketing, branding and buying services, the nine-person team develops new ways to represent brand identity and engage audiences through innovative techniques.

The volume of dedication Baluba invests to assure this success makes time for a student interview a rarity. But after relentless attempts, I was able to secure time for a Skype interview with the man behind Baluba: founder, owner and creative mastermind Mark Quinn. I eagerly awaited Quinn’s call from overseas in hopes of receiving insight into his career path and approach to new projects as well as any advice he might have for students trying to find their path in our rapidly changing industry.

His personal presentation was crisp, refined and aesthetically reminiscent of projects he had shaped. He spoke softly, yet intelligently.

He seemed quite shy, but at the same time genuinely inquisitive about me and my own career goals.

What does Quinn do for his agency?

“Everything. As creator and founder, I do everything and see everything we do with each client from start to finish,” he says.

Quinn explained that his career developed over three phases. Phase one was working for Prada and Donna Karen in brand communications.

The second was working with Singaporean businesswoman Christina Ong, handling fashion distribution in the Asian markets. Mark was then hired to work alongside Ong’s development of luxury holistic wellness retreats. He then proceeded to consult independently, being hired by small brands to refine the creative vision and develop innovative marketing strategies.

He worked with a variety of smaller lifestyle brands before founding the now highly respected Baluba Group. I asked Mark about his personal creative process and approach to new projects.

“The most fundamental thing is the brief. I mean, a brief is a brief, but if it isn’t just right the whole thing will go wrong… far more important even than the execution.”

His favorite part of the process? The concept—giving his imagination permission to go “balubas” before refining a foundation on which the brief will be built. Having now mapped out Mark Quinn’s exciting career from infancy to adulthood, I asked my final pressing question before we ended our call: his advice for young creatives hoping to pursue a similar career.

“Advice? If you’re not naturally curious, do something else. If you’re not curious about finding the right collaborators, who to work with, who is doing what or who is the best in your field, this isn’t for you,” he says. “To succeed in this, you must be truly, innately curious. If you don’t possess an infinite sense of curiosity about the world around you, this will be much harder—I truly believe that.”

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‘10s

Theda Bara

‘30s

As the archetypal movie star of the decade, Theda Bara starred in the most-watched films of the time. Known for her acting and risqué costumes, she had style that set tones and distinguished her from other actresses. Her snake bra, worn in Cleopatra (1917), is still showcased in museums today.

‘20s

Greta Garbo

Aside from her successful international acting career, when it came to fashion, Greta Garbo had a personal style that was classic but unique. Garbo would balance her wardrobe of old Hollywood elegance with an androgynous twist. She would mix button-downs and trousers with feminine touches like dancer flats and strings of pearls. She has a truly unforgettable style.

Josephine Baker

Although Josephine Baker caused a sensation in Paris as a provocative, humorous and sensual dancer, she also made her mark as a style icon in the 1910s. She was the Lady Gaga of her time. Epitomizing a bold, beautiful aesthetic, she adorned herself with oversized gold baubles, sparkling bikinis, quirky caps and mile-long pearl necklaces. Baker was a glittering presence on stage, and her wardrobe reflected her personality.

‘70s David Bowie

Pushing gender boundaries with unitards and high heels, David Bowie was one of the most influential style and cultural icons of the century.

He paired suspenders with sailor hats and bedazzled caps with oversized belts.

One could also never forget his fashion eye patches and bold neckties. He could pull off anything with confidence, creating a glam rock style that’s worth remembering.

‘60s Twiggy

At the age of 16, Twiggy was declared the “face of ‘66” with her it haircut, long eyelashes and skinny limbs; she blew up as a model. Twiggy pushed boundaries and was not scared to experiment with menswear. She’d throw on thick-striped ties, waistcoats and men’s hats with her miniskirts. Knee-high boots and loafers were her go-to footwear. Equally noteworthy, she began the fringe bag trend in the late ‘60s.

‘80s Madonna

Madonna became a fashion leader the moment her fame began to rise. In the ‘80s, she pioneered the messy-chic look, layering and decorating her outfits with all types of accessories.

She would layer multiple bracelets and necklaces that were often adorned with crosses and other religious symbols.

Her disheveled hair was usually topped with an oversized hair bow, and her earrings were always long and dangly.

Accessories through the Decades

by Madison Roe

‘50s

Grace Kelly

‘40s

Katharine Hepburn

Actress Grace Kelly—later Princess of Monaco—wore some of the most talked about outfits in the industry.

For the film To Catch A Thief (1955), costume designer Edith Head managed to wrangle a budget for a Hermès bag from director Alfred Hitchcock.

This choice led to Kelly introducing America to the first-ever it bag that would eventually be renamed “The Kelly” in the actress’s honor.

Oscar-winning actress Katharine Hepburn wore some striking, memorable outfits, both on- and off-screen.

She pioneered menswear-inspired looks, which was unorthodox in the ‘40s, favoring blazers with high-waisted trousers. Hepburn carved out an androgynous style that was all her own. Accessorized with loafers, simple belts and the occasional paperboy-styled hat, she made menswear fashionable for women from head to toe.

‘90s

Courtney Love

From grunge goddess to fashion star, Courtney Love has undergone perpetual evolution. She and her late husband, Kurt Cobain, both influenced the fashion game in the ‘90s. With smudgy, dark makeup and tousled hair, she rocked a grunge tiara better than any prom queen. While she wasn’t the founder of flower crowns, she might as well have been: she ultimately made formal headwear casual.

NOW A$AP Rocky

A$AP Rocky is undoubtedly today’s most wanted “fashion killa.” As if the eight style references in his newest album aren’t enough, this hip-hop star’s swagger is evolutionary.

This fashion week regular has reinvented classic hip-hop trends like gold teeth, braided hair, high top sneakers and backward leather hats.

editors’ picks I was raised alongside three older brothers and was constantly driven to a simple, tomboy aesthetic.

CG’s S/S ‘16 collection is just that, with a taste of spring’s necessary touches. Blossom prints and floral embroideries fit in with the standard New Yorker who’s comfortable in a black uniform but craves a taste of color this spring. After seeing this show, I’m inspired to do the unthinkable: wear more color.

Aritzia pant, $60. Banana Republic top, $58. ASICS sneaker, $90. ColourPop lip stain in Beeper, $6. Daniel Wellington watch, $199. 3.1 Philip Lim bag, $1,050. Jo Malone cologne, $125. Photo by Caroline Giraldo.

Pheanny Phen [creative director]

CG

Brittany Minetti [art director]

Aritzia jacket, $245. Topshop sandal, $90. Z ara top, $40. American Eagle jean, $55. Bite Beauty lipstick in Pepper, $26. Banana Republic tote, $168.

Photo by Caroline Giraldo.

The S/S ‘16 ready-to-wear shows were full of romantic silhouettes and dramatic lace. I have always loved floral prints, which Alice + Olivia incorporated beautifully this season. The fringe and subtle pops of vibrant colors cause my mind to drift to some tropical island surrounded by crystal blue waters with reggae playing in the background.

Alice + Olivia

editors’ picks

Giambattista Valli

Danyell TWYMAN [styling director]

Stuart Weitzman boots, $798. Bobbi Brown face cream, $58. Alexander McQueen dress, $3,745.

NARS lip gloss in Tieber. Zara backpack, $30.

Photo by Caroline Giraldo.

“Less is more” has always been my motto, and this S/S ‘16 season definitely delivered. Collections were simple yet bold, and nothing short of elegant and graceful.

Designers’ collections comprised subtle colors and Roman-inspired themes. Future collections will have a hard time topping this season’s looks.

ANGELA TRAKOSHIS [beauty editor]

Anastasia Beverly Hills liquid lipstick in Pure Hollywood, $20. Givenchy bag, $2,435. Voluspa candle, $29. Adidas Yeezy sneaker, $200. Ouai dry shampoo, $24. Rag & Bone tank, $295.

Photo by Caroline Giraldo.

Yeezy

While most S/S ‘16 designers worked with vibrant colors from the Pantone Spring 2016 color palette, Yeezy Season 2 stuck to neutrals like Iced Coffee and Lilac Grey. My style is simplistic, much like the Yeezy collections.

Monochromatic outfits inspire me—I top them off with a thick cat-eye, bold lip, and glowing highlight. These are the looks I feel never go out of style no matter what season it is.

Edel Singh ‘16

Student Style

STUD STY

Keely Schooley-McCOrmick ‘19

DENT YLE

Photo: Chris Nightengale

Arnita Smith ‘16

STUD STY

Wa rdrobe : American Attitude s

DENT YLE

Tyra TILLOtson ‘18

Clarissa Hernandez ‘18

STUD STY

DENT YLE

Amy Cooper ‘17

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