Page 1

Off The Cuff. THE FUTURE Issue 10 SS18


Off The Cuff. spring + summer 2018 Issue 10


Letter from the Editor Off The Cuff is many things. It is a group of students – and a group of artists. It is this publication you are holding in your hands. It is fashion. It is inspiration. It is creativity. It is the product of hours of work. It is the photoshoots. It is late nights spent editing. It is culture. It is talent. It is drive. It is a community. It is a family. It is the future. As students we are in a constant state of flux. What classes should I take, what should I major in? Who will I end up with? Maybe I should have gone pre-med like my mom wanted. Where will I live when I’m older, not that it matters much because we’re going to destroy the planet before I would get to choose anyway… The future is bright and scary, and we at Off The Cuff decided to consolidate and face the beauty, anxiety, and uncertainty head on in Issue 10: The Future. This spring, OTC staff explored the concept of the future on individual, artistic, political, societal and environmental levels. These photoshoots are a collision of the past, present and future. Incorporating everything from our past counterparts’ ideas of what we in 2018 might look like, to our idea of the what the more distant future will look like, to our connection to technology and to each other and ourselves, Issue 10 digs deep. It features powerful art and probing interviews that delve into the future of art, music, food and more. This semester we welcomed an almost entirely new executive board, whose vision and drive are helping to bring OTC into the future. Creative Directors Zachary Thomas and James Krolewski built an amazing team of models and stylists to create astounding photoshoot concepts. Photography Director Lauren Moghavem and the team of photographers and editors brought those shoots to life. Managing Editor DeeDee Ogbogu and the writing staff filled these pages with thought-provoking work. Tianze Huang created a beautiful online space for OTC and continuously updates it with exclusive content. David Neary, our Finance Director, makes this all possible. Mili Hurtado and her PR, Brand Outreach, and Events team put on the most successful events OTC has seen to date. Sarah Cumming trained under Sophie Lindemann, the current Senior Art Director, whose incredible team has put this magazine together year after year. This year we must say farewell to Sophie and Zach, who are diving headfirst into the future of post grad. Both incredibly valued members of OTC, this issue is a beautiful testament to your talent and commitment. We cannot wait to see what the future has in store for you two. You will be missed! OTC is an incubator of talent. It attracts the best and the brightest. The most passionate students on campus come here with a common love for fashion, culture and art. A huge thank you to the whole OTC staff who committed their talent and time to this issue. None of this would have been possible without you and there is no one I would rather have by my side as we face the future.

‘Til next time, Maya Green Silver

2


Goodbyes

Off the Cuff happened to me by chance. For those of you who know him, Deric lived on my floor sophomore year. I was intrigued to know what he was spending all of his time doing and I went to the launch party where he became the creative director. Then, I went abroad. I thought I had missed my chance. When I came back, I still applied to become part of the staff and when I was accepted, I was beside myself. I was excited and nervous and so many emotions. I felt the same way when I became the one of the Creative Directors for this issue. It meant so much to me because, over the last year and a half, Off the Cuff has become a new space for me. It’s a space outside of IR, a space outside of politics, a space where creativity thrives. Although it makes me sad that I only was a part of this magazine for a short time, it was an epic time. Thank you to OTC and to everyone for giving me a space to let myself be creative in a world where I felt I wasn’t good enough to be creative. I’ll miss this magazine and I’ll miss you all.

Zach

Off The Cuff has brought me some of my most rewrding and satisfying college experiences, introduced me to some of my best friends I’ll ever meet, and taught me more about the world of printing and graphic design than any class ever has. I’d like to thank the entire OTC community for being my creative safe space and for turning my college experience upside down. I can’t imagine the past two years, or my time at BU any differently. To Sarah, I am beyond proud of you for taking on the role of Sr. Art Director, and I am so excited to see you grow and learn from the magazine as I have! Goodbye to everyone in OTC, I love you and I’m beyond proud of everything we’ve accomplished!

xo, Sophie

3


ISSUE 10 2

LETTER FROM THE EDITOR

3

GOODBYES

6-19

STARK

11

Hollow Future Forgotten Past

20

DJ and Producer The Magician, Stephen Fasano, Reveals his Musical Tricks to Off The Cuff.

24-37

FOCUS

27

Curated Youth

40-51

IMPRINT

54-67

OPULENCE

57

Less is More

72-85

DIVIDED

77

Divided

86

Interview With Robin Eisenson on Veganism

89

ETERNAL YOUTH

92-105

FUTURE PAST

106

STAFF


STARK

6


7


STARK

8


STARK

9


STARK


Hollow Future Forgotten Past Written by: Joseph Nell

Her head is a house with bright but hollowed halls Dark, silent evil waits outside the walls From dawn to day the night still calls Unspoken words and light just crawls on the floor of her new lover’s bedroom Sad to see him come but go too soon Transfixed by all who make her swoon But I can’t be the one to break the news So I decorate her house with little clues Pictures and phrases but no I love you’s I thought of marriage until I saw her pretty face give way to something pyrrhic At what cost must you win this game? Is worth money cars clothes and fame? To sacrifice yourself and taint your name? All for a lead role in a game so vain I hardly think you’ll be able to stand the pain Looking outside of your window one morning and realizing you’re the only one who loves you So hear me loud and hear me clear From the top of the place you hold so dear I’ve seen the people there I’ve seen the people here The ones who sit in cars and the ones who steer You might find safety in blindness but lend me your ear Even if just for the night, it’s only because I care for you 11


12


13


STARK

In this game you gamble with your soul on the line Bourgeois stores will break your back and spine And it’s not to say that at first it’s death but keep on listening I’ll tell you the rest First you’ll dress yourself, decorated like a Christmas tree To be set apart from the other forestry Yes you’ll shine bright for a little while But without your roots and a little stand You’ll fall over on your side carried away with the wind I’m talking about getting lost Maybe when your soul’s blowing down that desert road you’ll end up in Hollywood And in someone’s home Who likes how you look and not what you know But by now you’ve already forgotten You’ll con yourself into thinking that this time it’s love And you’ll believe in everything said by god above Until one day he gets restless and you start to worry You worry so much that you start gaining weight Eating all in sight when he’s not awake But you’re afraid to sleep Because you buried your dreams a long time ago But that day does come and he says goodbye You look in a mirror and start to cry Ten million tears out of each eye One for each woman whose soul blew into the same home that yours did And on that day you think and sit Thinking wow is this really it At a bar, heels in your hands on the sunset strip… Only then will you remember me You’ll remember that time I said I’d die for you On the dock, that summer afternoon A real love then you rejected, too And to that I say I died then and there And so did you.

14


15


STARK

16


STARK

17


18


<body> <h2>Credits</h2> <ul> <li> <h2>Creative Direction</h2> <p>James Krolewski</p> </li> <li> <h2>Photography</h2> <p>Julieta Rakover</p> </li> <li> <h2>Featuring</h2> <p>Haley Lerner</p> <p>Emma Purtell</p> <p>Angel Tsang</p> <p>Janna Collins</p> <p>Michelle Chocron</p> </li> <li> <h2>Styling</h2> <p>Nour Nabhan</p> <p>Tatyana Khashoggi</p> <p>Sam B. Morse</p> <p>Sophia Zephir</p> </li> <li> <h2>Hair & Makeup</h2> <p>Afnan Tabidi</p> <p>Elicia Chiu</p> </li> <li> <h2>Art Direction</h2> <p>Julieta Rakover</p> <p>Charlotte Kershaw</p> </li> <li> <h2>Photo Editor</h2> <p>Julieta Rakover</p> </li> </ul> </body>

19


DJ and Producer The Magician, Stephen Fasano, Reveals his Musical Tricks to Off The Cuff. Written by: Mikaela Ty

With his famous monthly Magic Tapes, remixes, and original tracks, the Belgian DJ and producer Stephen Fasano, known by the alias The Magician, transports listeners to a magical world of innovative and psychedelic music. Using refined and distinct beats and mixes, The Magician has the ability to transform the room into a dance party. Off the Cuff had to opportunity to discuss his successful career and what’s in store for the future with The Magician himself.

You’re releasing your 78th Magic Tape on March 22 in Miami. What pushes you to continue creating this monthly mixtape? How do you choose the music?

You’ve played in many different cities and countries. What is your favorite place to perform and why?

From when you began your career as a DJ to now as The Magician, how do you think your music has evolved?

The event was great and right after the Magic Tape me and Hamza performed the new single “Love Break” live. What pushes me to continue is that I love music so much and mixing great tracks together is something I love to share with my fans.

I like to play in Japan and South Korea as people are so open minded and faithful! I also like to play in the US and I always go home with a lot of positive energy. But my job doesn’t stop at playing - I like to visit cities, find the best restaurants, go shopping and enjoy art galleries etc.

Funny you ask that because I met an old friend recently who had followed me in my early sets, and after hearing me play now he said “nothing has changed - you still share your love and energy”.

What advice would you give to those who want to DJ or produce music?

Who or what inspires your music?

Be yourself, don’t try to be someone else. You can get inspired by others but never copy.

Everything. It can be music, obviously, but also images, scents, a movie, a conversation with someone I don’t know...

What impact do you want to create with your music?

Who is your favorite artist or musician right now?

I want to share my passion and make people happy, help them forget their problems for a moment.

The Blaze

You released your latest single “Las Vegas” (feat. Ebenezer) in January, are you working on anything else right now? I just released another single called “Love Break” featuring French rapper Hamza. It’s a similar vibe to “Las Vegas” but it’s sung in French. As a French speaking person, I felt like I needed to release a French song at some point in my career. Hamza is amazing - he’s so melodic. Even if you don’t understand the French lyrics, you will definitely vibe on it. After this, I’m going to release a 3rd single in the same vibe, but at the moment I’m working on many tracks which could become my first album (TBC)

20


Photography this page: Jacqueline Zhou


22


Lauren Moghavem @openforedit

23


24


FOCUS

25


FOCUS

26


Curated Youth

Author: Melissa Dalarossa Copy Editor: DeeDee Ogbogu

The term “social media” is broad enough to encompass professionally oriented sites like LinkedIn as well as dinosaurs that are dead and buried like MySpace, but today it’s largely used to refer to Snapchat, Instagram, Twitter, and Facebook. These platforms make up the cornerstones of contemporary social media, and practically every young adult, and teen is on at least one of them, if not all. But how are they affecting our perceptions of ourselves, each other, and even our realities? More importantly, how have we responded to that? In his 1980 book Camera Lucida , Roland Barthes discusses the way in which photography reduces its subject to an object, going on to describe his visceral reaction to being photographed. As he poses for the camera, he says, “I transform myself into an image,” and although he’s talking about a literal image, interpreted more figuratively, his observation is easily applicable to modern social media. At its heart lies this same transformation: the tweets, shares, statuses, comments, and pictures we post are all a form of self-objectification that goes towards creating an image of ourselves for the consumption and judgement of others. And that’s just it—we create our images. The self that we project on social media is invariably curated, and it’s impossible to escape that fact. Every picture we post, tweet we retweet or even status we like is done so publicly and deliberately, and though that can be said of a lot of the choices we make in our lives, the difference is that on social media we consciously put our choices, and more importantly ourselves, on display. The consequences of doing so are threefold: our decisions, given the possibility of magnification

and amplification, gain more weight; we invite examination and evaluation from outside parties into our lives and ourselves; and our activity online, be it voicing an opinion, sharing a picture, or uploading a video, becomes performative in nature. Social media has created a microcosm, existing on a plane of reality that is inherently public and curated, and altogether separate from the one that we physically inhabit. It provides an opportunity to advertise parts of ourselves as the comprehensive whole, to frame our ideal selves as our authentic selves, and to invent a novel identity. Barthes again becomes relevant in saying “Myself never coincides with my image.” The image of ourselves that we craft can never fully align with our true selves, but much of the success of social media is dependent on the illusion that what you see is truthful and organic. It is this illusion that sustains the industry which has capitalized on the self-objectification intrinsic to social media. This industry is flooded with brand ambassadors and Instagram models whose success is dependent on the image of themselves that they’ve cultivated and on how well they’re able to sell it alone, or in conjunction with a product. Social media brand ambassadors become so based on the amount of followers they have and whether or not their internet personas embody the ideals that a brand upholds, meaning the reputation they’ve built for themselves and their social media presence is all the credit they need to sell products like watches, detox teas, and waist trainers, to name a few. Models like Charlie Barker and Brian Whittaker, now signed to the major modeling agency Select Model Management, were first

27


FOCUS

28


FOCUS

scouted on Instagram, where their massive followings provided the exposure they needed to be discovered and served as a testament to their legitimacy as models. In this sense, selfhood has become a commodity: your identity now functions as a brand or a product to be promoted and consumed, a possible way to make some extra money or even your living. Whereas in the past only traditional celebrities, like movie stars or pop singers, were offered this opportunity, now anyone can build a career out of their influence or their image on social media. Yet one of the main selling points of social media models or spokespersons is the apparent authenticity and transparency that social media platforms offer. The inherent selectivity and self-objectification of social media prevents the self from becoming anything but fragmented and inauthentic, and the commodification of selfhood allowed, even encouraged by social media only reinforces this idea. And teenagers are the ones suffering the most for it. The traditionally teenage concern with popularity, image, and fitting in is now manifesting itself on the digital landscape of social media platforms, with palpable consequences. These platforms exacerbate the desire for acceptance that typifies adolescence, and in doing so they perpetuate the culture of the curated self. We can now quantify how popular or funny or beautiful we are—all we have to do is look at how many likes, shares, or views we get on any given post of ours. It has become dangerously easy to seek validation through social media and to base our self-worth on the amount of likes we get. We’ve started using social media not just as a way to navigate our adolescence but as a way to mediate it, to soothe the anxieties characteristic of adolescence. We put filters on what we feel and experience, post pictures that are deceptive about our appearances, skills, or lifestyles, and hide the parts of ourselves that we don’t like. It’s become not only possible but attractive to internalize the fragmentation and inauthenticity that social media produces, and to reject the parts of ourselves that aren’t pleasing, either to us or to others. We can not only lie to others about our true selves, but also lie to ourselves, and have that image validated and upheld by likes, retweets, shares, and views. But by the same token, not getting the right amount of likes on a post could deal a huge blow to our selfesteem. Social media is changing the way our generation views itself and the world. Tavi Gevinson wrote about the way the internet is affecting us in her January editor’s letter for Rookie : “Rather than providing a shadow of reality, these platforms shape reality. They’re not pure outlets for our feelings and experiences; they are catalysts for what we feel and experience, how we feel and experience, and our shrinking capacity to process any of it.” But this is where it gets tricky. Because to some degree, we know exactly how harmful social media can be, but we continue to buy into all of it. It’s obviously very unhealthy to determine your self-worth based on how many likes you get on that one picture you posted, and we’re aware of that. But that doesn’t stop us from

29


FOCUS

30


FOCUS

31


FOCUS

seeking the validation that a certain amount of likes, retweets, shares, can bring us. We know that’s not what Instagram models look like all the time, yet we still believe it is; we know that picture on Instagram probably went through an extensive process of selection and refinement, but we still believe it’s spontaneous; we know that a lot of thought probably went into that tweet, but we still believe someone came up with it off the top of their head. That’s why so many of us go on social media “cleanses” or “detoxes”—we understand the detrimental and toxic effects of social media, and we decide we need a break from them. But they’re still just breaks. Few of us actually cut ourselves off from social media completely, despite knowing its adverse effects. There’s some sort of cognitive dissonance going on here that, like doublethink in George Orwell’s 1984, allows us to hold two conflicting ideas in our minds at the same time. But perhaps my allusion to the dystopian nature of all of this is going too far. Social media, while damaging in many ways, does have many redeeming qualities that are important to take into account and that, for many, outweigh the negative ones. It’s made the globalization of knowledge that the advent of the internet brought about even more accessible; it’s taken the opportunity of connecting people from around the world to a new level; it’s afforded young people a platform on which to make their opinions and ideas heard; it’s given visibility to many important issues and raised awareness about many others. It’s done more than what’s listed here, and it’s also just fun. But it has a dark underbelly that it’s in our best interest to recognize and acknowledge. Unfortunately, I don’t have any answers to the mystery of why we continue to play into the harmful effects of social media despite being aware of them. I myself am guilty of doing just that. This is not to condemn social media or its users, but to bring to the surface what for many of us is a recognition hibernating in our subconscious, something we know but perhaps haven’t yet verbalized, and hopefully incite some productive conversation or probing of the mind. Another appropriate Tavi Gevinson quote from the same editor’s letter: “[A]ntiquated: trying to determine if the internet is simply good or bad. Possible and necessary: thinking more deeply about how it’s rewiring our brains and warping our experience of time, about the vistas of reality it’s revealing and creating, and what to do with our positions therein, so that we do not go mad from it all nor flee altogether.” For better or worse, social media is not going anywhere, and what’s important and necessary is that we learn how to handle, and if not eliminate, then curb, its negative effects. But youth culture has always been elastic, and I am confident that we will come out on the other side intact.

32


FOCUS

34


FOCUS

35


36


FOCUS

<body> <h2>Credits</h2> <ul> <li> <h2>Creative Direction</h2> <p>James Krolewski</p> </li> <li> <h2>Photography</h2> <p>Madeline Carpentiere</p> </li> <li> <h2>Featuring</h2> <p>Maya Taylor</p> <p>Lauren Oubre</p> <p>Jurnivah Desir</p> <p>Fiona Lin</p> <p>Miguel Hernandez</p> </li> <li> <h2>Styling</h2> <p>Mikaela Ty</p> <p>Nour Nabhan</p> <p>Logan Carter</p> <p>Sophia Zephir</p> </li> <li> <h2>Hair & Makeup</h2> <p>Sophia Zephir</p> <p>Lauren Obre</p> <p>Mili Hurtado</p> </li> <li> <h2>Art Direction</h2> <p>Fiona Lin</p> <p>Sarah Campbell</p> </li> <li> <h2>Photo Editor</h2> <p>Madeline Carpentiere</p> </li> <li> <h2>Videography</h2> <p>Elena Lee</p> </li> <li> <h2>BTS Photography</h2> <p>Cameron Cooper</p> </li> </ul> </body>

37


38


Olivia Ghalioungui @oliviaghalioungui 39


40


IMPRINT

41


IMPRINT

42


43


IMPRINT

44


IMPRINT

45


IMPRINT

46


IMPRINT

47


IMPRINT

48


IMPRINT

49


IMPRINT

<body> <h2>Credits</h2> <ul> <li> <h2>Creative Direction</h2> <p>Lauren Moghavem</p> </li> <li> <h2>Photography</h2> <p>Lauren Moghavem</p> </li> <li> <h2>Featuring</h2> <p>Gigi Telvi</p> <p>Eve Worobel</p> <p>Nicki Hymowitz</p> <p>Cyrus Ettehadieh</p> </li> <li> <h2>Styling</h2> <p>Sam Morse</p> </li> <li> <h2>Art Direction</h2> <p>Eunie Jang</p> <p>Naomi Tenenini</p> </li> <li> <h2>Photo Editor</h2> <p>Lauren Moghavem</p> </li> <li> <h2>Lighting</h2> <p>Cyrus Ettehadieh</p> </li> <li> <h2>BTS Photography</h2> <p>Rae Lin</p> </li> </ul> </body>

50


52


Rae Lin @Rae422lin

53


54


OPULENCE

55


OPULENCE

56


Less is More

Written by: Rhoda Yun Copy Editors: Barbara Kangw & Tyler Chin

exploding. Despite this fact, I’m probably going to buy another pair of the same sneakers I already own but in a different color. We are all part of a consumer culture. We are all drawn to the charms of capitalism. So simmer on this—have you chosen minimalism as a lifestyle, or has it chosen you? In the midst of all the consuming, have you been coaxed into believing that you need to live minimally just like you need to buy that limited edition item? Will we get to a point where we desire so much minimalist product that it won’t be considered minimalist anymore? Generally speaking, minimalism is the act of renouncing the current standards of society. In art, it has enabled artists to relish the freedoms of being able to create for the sake of creation. Minimalist art encapsulates sleek, geometric silhouettes breaking conventional ideals that had once enshrined art. In 1962 at the birth of the Minimalism movement in art, Tony Smith created his sculpture “Die”, a 500 pound steel cube. Ten years later, American artist Sol Lewitt created “Two Open Modular Cubes”, which looks exactly like what you would imagine it to. If you’ve ever been to a contemporary art museum and stared endlessly at a single red line slathered onto a canvas, you will have experienced an epiphany. It is the realization that none of it makes sense because it is not supposed to. Minimalist art challenges the notion that art must have an explanation. This results in the creation of pieces so abstract that people can project their own interpretations onto them. In fashion, minimalism resembles neutral tones and boxy,

Seated in a chair that looks sleek but could not possibly be comfortable, a white man in his mid 40s wearing beige linen trousers is reading the latest issue of Kinfolk magazine. His hair is slicked back cleanly and his clear-framed glasses grace his face. His expression is nearly as empty as the room he sits in. This is what opulence looks like today. If you Google Image the word “opulence,” you’ll come across a series of pictures of ornate gold rooms with chandeliers, heavy velvet curtains, and women in decorative gowns. This is an outdated vision of opulence. Opulence in the modern world is almost undetectable. Wealth is much less flashy, much more subdued than ever before. Gentrification plays into its invisibility. You can see this in big cities, where people desire the charisma of older buildings but the contemporary, minimalist interior that only the wealthy can afford. The wealthy are trying to blend into urban environments, adopting the character of the environment as their own. Wealth is no longer determined by how much you have, but how little. Minimalism is a glorified aesthetic disguised as a radical act of self-care. The essence of minimalism is that purging yourself of physical belongings will subsequently cleanse your mind. The less you need, the more you will gain. Keeping up with the clean minimalist aesthetic can’t possibly be as easy as it seems. Though I would love to have a couple monochromatic uniforms to rotate and a single pair of shoes handmade by an Italian craftsman who lives far out in the countryside, the reality is that my closet is on the verge of

57


OPULENCE

androgynous silhouettes. In the 90s, brands like Helmut Lang and Jil Sander dominated minimalist fashion. Today, designers like Yohji Yamamoto and Issey Miyake have adopted minimalist design as their signature. In terms of design, minimalism refuses conformist concepts of color and shape, opting for neutral tones, blacks and whites and ignores any rules in terms of fit. Minimalism is a rebellion, like pixie cuts and heavy eyeliner. It is a movement much less flamboyant but significant all the same. When we sacrifice the quantity of things we own, we substitute it with quality. Minimalism from a consumer perspective is having a few really expensive things, instead of having a lot of inexpensive things. The simplest designs can often carry the heftiest price tags. How much financial strife are we really saving ourselves when we purchase the Scandinavian chair imported from Sweden? Do we really need the $600 Yeezy Season 2 hoodie? “It’s an investment piece,” we tell ourselves.

Some people can afford to live their utopian minimalist illusion, whereas others, shrouded in poverty, are forced to live minimally. Those with plenty have fetishized the impoverished by dressing minimally, living minimally, and even eating minimally. It is important that as a privileged human being, at any level of wealth, we do not mistake our minimalist aesthetic for an act of morality. We are doing no one but ourselves a favor when we throw away half of our wardrobe in the name of minimalism. Recognize this cleanse as a selfish act, a privileged act. Accepting minimalism as a performative, curated gesture is an important step in respecting the culture it is borrowing from. This is a trend that we adopted as our own from some obscure and disadvantaged place and soon, we’ll move onto the next big thing. And the cycle will ensue endlessly, so long as we keep buying into it.


OPULENCE

60


OPULENCE

61


OPULENCE

62


OPULENCE

63


OPULENCE

64


OPULENCE

65


OPULENCE

<body> <h2>Credits</h2> <ul> <li> <h2>Creative Direction</h2> <p>James Krolewski</p> </li> <li> <h2>Photography</h2> <p>Justin Santinelli</p> </li> <li> <h2>Featuring</h2> <p>Teddy Tron</p> <p>Logan Carter</p> <p>Bidemi Palmer</p> <p>Clare Stonich</p> <p>Eve Worobel</p> <p>Tatyana Kashoggi</p> </li> <li> <h2>Styling</h2> <p>Jose Alberto Orive</p> <p>Richard Furman</p> <p>Megan Kalili</p> <p>Jessica Miller</p> </li> <li> <h2>Hair & Makeup</h2> <p>Elicia Chiu</p> <p>Nicole Haftel</p> <p>Hannah Xue</p> </li> <li> <h2>Art Direction</h2> <p>Sarah Cummings</p> <p>Teddy Tron</p> </li> <li> <h2>BTS Photography</h2> <p>Meera Sabeh </p> </li> </ul> </body>

66


Godesses, JosĂŠ Gabriel @oliviaghalioungui

68


TWIN BED “You block my mouth as I’m about to speak. I feel so weak as you pull me close when you’re just trying to sleep. I hide the way my eyes fade out as you kiss me down starting at my cheeks. I made a decision long ago that I’d be happy alone, Now I’m lacking both. Fury fills my veins as you breathe into me. Can’t tell if I’m in love or just lacking sleep. I dreamed about you being my guide but all you are Is the walking embodiment of Pride.” -Alice Sol

Olivia Ghalioungui @oliviaghalioungui 69


Double Rainbow Teddy Tron @tedtron

70


Olivia Ghalioungui @oliviaghalioungui

71


< DIV > IDED

72


< /DIV > 73


DIVIDED

74


DIVIDED


DIVIDED

76


Love and Religion Author: Deean Yeoh Copy Editor: Tyler Chin

DIMLY LIT BEDROOM – NIGHT

Growing up, I loved watching classic American sitcoms. Even as I watch them now, I still get that familiar “feel-good” vibe. Over time, I realized that these feelings were derived from the satisfaction of watching characters resolve problems at an unrealistically fast pace. You could imagine then, that it came as a big disappointment to my adult-self when I realized that Friends and The King of Queens had inflated my expectations for problem solving. In reality, society’s biggest problems cannot, and will not, be solved in 22 minutes. Problems don’t stop after one episode; they perpetuate through history and transcend generations. All actions bear consequences, and each episode of life, death, war and revolution today have consequences on society tomorrow. Religious discrimination is one of society’s deadliest antagonists. Humans are naturally an adaptive species who have a distaste for the unknown. But what happens when our presentday prejudice on someone’s race, religion, or political stance is impacted by century-old historical phenomenon? I recently had a conversation with Someone regarding the prejudice and cultural stigmas around loving someone outside of your own, or your family’s, religion. His family is of Sikh decent, a religion that originated in India. Sikhs have been victims of Islamic genocide since the 1500s. Over the years, genocides turned into political divide and fueled the Partition of India in 1947 – the split of colonial British India into India and Pakistan. Bloodshed continued as Muslims migrated to Pakistan, while Sikhs resettled in India. Centuries later, animosity between the two religions continue to divide people in all walks of life, including politics and love. My conversation with Someone went something like this:

SOMEONE and DEEAN are lying on the bed. Both have their eyes closed, in midst of deep conversation about ethics, morals, love and religion. SOMEONE has arm around DEEAN. Her head nestled in the crook of his shoulder. SOMEONE: My uncle’s wife is Pakistani. DEEAN: opens her eyes, cocks her head, and looks up at SOMEONE. She grimaces. DEEAN: Muslim? SOMEONE nods. DEEAN lies back down and rests her head back on his shoulder. She sighs. DEEAN (cont.) A Sikh man and a Muslim girl… Shit, that must have been tough for them. DEEAN hated that she even knew about the prejudice. It showed the prevalence of discrimination. She wondered what it would be like to raise a child in a world where prejudice is just a historical concept – a world where society is not divided. END SCENE 77


DIVIDED

The Partition of India is not the only example of religion creating socio-political divide. Reflecting on the Crusades to the Protestant Reformation to the Arab-Israeli War to ISIS, I ask myself why people allow this inhumanity to continue I have no solution for this sitcom tragedy that is our reality. I am but another character in this show who coexists with prejudice. But unlike a sitcom, a scriptwriter has not predetermined my life, my speech, or my actions. I am writing this today not because I believe that religion has divided society. I am writing this today because I hope to highlight how unbelievably long religious discrimination has perpetuated throughout history, how it has creeped its way into political endeavors, and how it will continue to spread through generations into the young minds of our future unless we make a change. In his book Thinking Fast and Slow, psychologist Daniel Kahneman writes that he believes humans often overestimate their judgement abilities and that “human reason left to its own device is apt to engage in a number of fallacies.” The human mind is too malleable in the face of fear and the unknown. We cannot re-write the past, just as Ross cannot undo hooking up with “Chloe, the hot girl from the copy center.” But instead of arguing about The Break, we can choose to forge forward and make like Calvin and Hobbes by “create new versions of history for ourselves.”

78


DIVIDED


DIVIDED

80


DIVIDED

81


DIVIDED

82


DIVIDED

83


DIVIDED

84


DIVIDED

<body> <h2>Credits</h2> <ul> <li> <h2>Creative Direction</h2> <p>Zachary Thomas</p> </li> <li> <h2>Photography</h2> <p>Jia Spiggle </p> </li> <li> <h2>Featuring</h2> <p>Jordan Fessehaie</p> <p>Lindsey Smith</p> </li> <li> <h2>Styling</h2> <p>Preston Park</p> <p>Jessica Miller</p> <p>Mikaela Ty</p> </li> <li> <h2>Hair & Makeup</h2> <p>Hannah Xue</p> </li> <li> <h2>Art Direction</h2> <p>Patricia Ho</p> <p>Saumya Chugh</p> </li> <li> <h2>Photo Editor</h2> <p>Jia Spiggle</p> </li> <li> <h2>BTS Photography</h2> <p>Bradley Noble</p> </li> </ul> </body>

85


Interview With Robin Eisenson on Veganism Written by: DeeDee Ogbogu

Veganism is a word that elicits strong reactions. It is a lifestyle that emphasizes ethical consumption through abstaining from animal products. Becoming much more prevalent, veganism will progress in the future. An interview with Robin Eisenson, a passionate vegan who is the founder and was the president of the Vegan Club at Boston University, gives more insight into her thoughts, and maybe a more interesting view of why some individuals choose this lifestyle.

transition from omnivore to vegan legit happened overnight and i eliminated all non vegan foods from my diet ever since. i find so many vegan alternatives that replace cheese, meat, or milk, and a lot of the food i liked before becoming vegan was vegan food (like veggies, carbs, and fruit). So, while its hard to say fully committed in a not-so-vegan-friendly world, i manage to substitute my cravings with vegan alternatives.

Does veganism influence your fashion, and make-up choices? (e.g., cruelty-free make up, vegan leather, etc)

Why do you think some people tend to be so antagonistic towards veganism? Have you ever had an experience like that?

I don’t wear much makeup but I happen to buy ones that are cruelty free, same with shampoos and stuff, and these products are usually better for you because less [harmful] chemicals. And I don’t own real fur but I do have leather jackets. There’s no such thing as a “perfect vegan”, and I make a valiant effort to make “veganminded” choices with almost everything.

Yeah, a lot of people are so offended by the fact i don’t consume dairy or meat. Thats because its part of their culture, and i understand that.. humans have consumed meat and diary for thousands of years. I was never, and will never be, the vegan that pushes their beliefs and ideas onto the ‘haters’. People are going to do what they want. You have to lead with an open mind and show others how it’s meaningful to you and maybe why they should consider it. I don’t mind being the butt of the joke when im at a steakhouse or hearing people say you need animal protein to survive. Its never truly bugged me; i just wish people took more than a minute to consider the benefits of the lifestyle and how it directly impacts their health, wellbeing, and the environment. Animal agriculture is the top contributor of deforestation and meat production is the leading cause of water consumption. When people hear facts, they tend to take a step back and listen, and thats all i ever truly want.

What prompted you to become a vegan? At first i became vegan because i wanted to be healthier and more active. After reading many vegan diet books and watching vegan YouTube vloggers, i decided to make the switch basically overnight. Ever since, i found that many other aspects of a vegan lifestyle are important to me. Ive learned more about the ethical, environmental, economical, and cultural aspects since becoming vegan and it has made me stick to the lifestyle for almost 4 years. It became less of a diet and more of a lifestyle for me.

Do you think societally, the United States has a responsibility to move towards a more sustainable way of living that includes veganism?

How was the transition, did you ever consider switching back for any reason?

Their are many documentaries like Cowpiracy and Earthlings, countless Youtube videos, and endless books on the vegan lifestyle. There are so many resources available to anyone wanting to learn more about veganism. Since these resources have become available, we have seen changes in the way people consider what to eat and stuff. The trendy vegan diet is becoming more and more

I was either a vegetarian, vegan, or carnivore- there really was no in between. However, more and more i chose vegetarian foods and soon switched steak and hotdogs for potatoes and veggies. the hardest part for me to commit to a fully vegan diet was cheese. i love cheese nd used to eat cheese sandwiches daily. but my initial

86


popular across the U.S. and is spreading all over the world. If more people in the US adopted vegan habits, millions of people will be able to live healthier and sustainable lives. Not everyone has it in them to be fully vegan, but by canceling out certain non vegan foods or making more mindful food choices, we can become a healthier and happier planet.

are just extreme in anyway— but thats a huge myth to the vegan lifestyle and diet. Technically you can get all the nutrients and vitamins you need from potatoes and spinach and thats like 5$ a week of groceries. But i choose more staple carbs like potaotes, bread, pasta, oatmeal, fruit, and veggies. Starches and carbs are usually cheap and vegan and i never had trouble finding reasonably priced veggies or fruit. Fruit and veggies also don’t seem expensive when you eliminate meat or dairy products from your diet. So, yes, you can be boujee and buy all organic or only shop at expensive health food stores, but you can also find many vegan foods at a reasonable and decent price anywhere.

In conjunction with the former question, is this pertinent to all classes, and ethnicities regardless of socio-economic statuses, or cultures? I would say, yes, only because it is not hard to make small steps or changes to become more vegan or vegetarian. Many cultures depend on certain non vegan foods as staples and consider those who don’t eat those products to be a sin, but everyone has the ability to give it a try, even if not fully. Its all about adopting a different mindset and being more open to new ideas and lifestyles.

Photography: Rae Lin @Rae422lin

Is veganism costly? One often assumes the vegan lifestyle is extravagant, or not a cost-effective way of living, do what degree do you think this is true, if it is even true at all? As a college student, i defiantly have a food budget, but i have never found it hard to keep. The “extravagant” vegans will prepare dishes with so many ingredients, or are the ones who only eat organic, or

87


Saumya Chugh @saumya_chugh

88


FUTURE PAST

Eternal Youth

Creative Direction: Zachary Thomas, Photography: Bradley Noble, Featuring: Gia Spargo, Rumin Shaik, Ruqi Ma, Styling: Sydney Cairns, Lena Otalora, Hair + Makeup: Saumya Chugh, Photo Editing: Lauren Moghavem, Vidography: Harrison Rusk 89


HK Highrise

90


Silhouette GianCarlo Lobo @oginstalobos

91


FUTURE

PAST 92


93


FUTURE PAST

94


FUTURE PAST

95


96


FUTURE PAST

97


FUTURE PAST

100


FUTURE PAST

101


FUTURE PAST

103


104


FUTURE PAST

<body> <h2>Credits</h2> <ul> <li> <h2>Creative Direction</h2> <p>Zachary Thomas</p> </li> <li> <h2>Photography</h2> <p>Tamara Soueidan</p> </li> <li> <h2>Featuring</h2> <p>Bradley Noble</p> <p>Kevin Leonardo</p> <p>Angel Tsang</p> <p>Janna Collins</p> <p>Michelle Chocron</p> </li> <li> <h2>Styling</h2> <p>Jose Alberto Orive</p> <p>Lena Otalora</p> <p>Kendall Caputo</p> <p>Antonia Frank</p> <p>Mikaela Ty</p> </li> <li> <h2>Hair & Makeup</h2> <p>Briyana Martin</p> <p>Saumya Chugh</p> </li> <li> <h2>Art Direction</h2> <p>Sadie Devane</p> <p>Abby Kolnik</p> </li> <li> <h2>Photo Editor</h2> <p>Tamara Soueidan</p> </li> <li> <h2>BTS Photography</h2> <p>Nairobi Jeanniton</p> </li> </ul> </body>

105


EBOARD Editor in Chief Maya Green Silver

Managing Editor DeeDee Ogbogu

Creative Director James Krolewski

Director of Finance David Neary

Creative Director Zachary Thomas

Web Editor Tianze Huang

Senior Art Director Sophie Lindemann Junior Art Director Sarah Cummings Photography Director Lauren Moghavem Brand Outreach, PR, + Events Director Mili Hurtado

106


STAFF Art Directors

Finance Team

Teddy Tron, Naomi Teninini, Sarah Campbell, Eunie Jang, Charlotte Kershaw, Sarah Cummings, Abigal Kolnik, Kristen Cabera, Saumya Chugh, Sadie Devane, Fiona Lin, Juli Rakover & Patricia Ho

Sylists

Hair & Makeup

Nicole Haftel, Niko Cohen, Afnan Tabidi, Hannah Xue, Briyana Martin, Saumya Chugh, Elicia Chiu

Samantha C Morse, Tatyana Khashoggi, Jessica Miller, Jose Alberto Orive, Ellicia Chiu, Logan Carter, Sydney Cairns, Nour Nabhan, Lina Otalora, Richard Furman, Megan Kalili, Nicki Hymowitz, Antonia Frank, Sophia Zephir, Preston Park, Mikaela Ty, Janna Collins, Kendall Caputo

Illustrators

Videographers

Michelle Chocron, Saumya Chugh

Jamie Ferguson, Sarah Stipanowich, Selen Terzi, Audria Hadikusumo, Seiji Wakabayshi, Elena Lee, Giancarlo Lobo

Models

Bidemi Palmer, Clare Stonich, Giovanna Spargo, Holly Stewart, Jordan Fessehaie, Kaitlin Tsai, Lauren Oubre, Miolani Grenier, Ruiqi Ma, Samantha B Morse, Samantha C Morse, Sarah Wu, Teddy Tron, Nicki Hymowitz, Bradley Noble, Fiona Lin, Tatyana Khashoggi, Janna Collins, Logan Carter, Haley Lerner, Eve Worobel, Rumin Shaik, Emma Purtell, Maya Taylor, Michelle Chocron, Angel Tsang, Anika Dhar, Lindsey Smith, Cyrus Ettehadieh, Sarah Feather, Natalie Pienkowska, Jurnivah Desir, Kevin Leonardo, Miguel Hernandez, Vic Spero

Writers

Allie Antonevich, Amanda Greenidge, Barbara Kang, Calvin Anthony-DuScheid, Deean Yeoh, Dena Al-Fadhli, Desmond Molloy, Dora Agali, Doreen Zhao, Elsa Herri, GianCarlo Lobo, Ina Joseph, Jade Fisher, Jailyn Duong, Joseph Nell, Kelsey Van Fleet, Logan Carter, Lucia Tonelli, Matthew Dougherty, Melissa Dalarossa, Melony Breese Forcier, Mikaela Danielle Ty, Mustafa Yazdani, Nessa Foxe, Rhoda Yun , Sarah Arment, Sofiko Pipia, Stefanie Rubin, Tatiana Webster, Tyler Chin, Vinamre Kasanaa, Zoe Pantazelos

Photographers

Juli Rakover , Sarah Cummings, Cameron Cooper, Nairobi Jeanniton, Zhishan Lin, Bradley Noble, Meghan Cronin, Jacqueline Braunstein, Jia Spiggle, Yi Zhou, Meera Sabeh Jacquelyn Obrien, Justin Santinelli, GianCarlo Lobo, Madeline Carpentiere

PR + Events + Brand Outreach

Alexandra Silver, Blau Ramos, Deeksha Kandan, Juli Rakover, Abigail Kolnik, Wallis Perry, Olivia Spina, Kellie Egan, Joshua Hollis, Alicia Shamji, Sydney Oâ&#x20AC;&#x2122;Neil, Allegra Kevorkian, Jacquie Jakimowicz, Nisa Tarlaci

107


OTC.

ISSUE 10

Profile for Off the Cuff Magazine

Off The Cuff - Issue 10 : The Future  

Off The Cuff - Issue 10 : The Future  

Advertisement