PRISM February 2019

LEGACY COLLECTION PRINCE WIREKO CELEBRATES BLACK HISTORY MONTH WITH POSTER SERIES

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February 28, 2019

Welcome to PRISM EDITED BY SARAH MOLANO prism@bupipedream.com

Letter from the Editor SARAH MOLANO

ASSISTANT EDITOR TYKEEM BANINI tbanini1@binghamton.edu

DESIGNED BY CORY BREMER design@bupipedream.com

DIGITAL MEDIA EDITOR DAQUAN TAYLOR dtaylor6@binghamton.edu

PHOTOS EDITED BY JOEL VELASCO jvelasc2@binghamton.edu

COPY EDITED BY LIA BERGER copy@bupipedream.com

COORDINATED WITH ANDY JEAN-BAPTISTE vpma@binghamtonsa.org

COVER PHOTO BY ROMEL ADAMS

PRISM is published monthly during the fall and spring semesters, except during finals weeks and academic breaks.

The content of PRISM represents the opinions of its authors, and not necessarily the views of Pipe Dream.

PRISM is back! Welcome to our February issue. Of course, we celebrated Black History Month these past 28 days. I hope everyone used this month to further educate themselves on the contributions, stories and struggles of Black people in this country. There was no shortage of Black History Month events going on at Binghamton University, and I expect that you all took advantage of that. I know a lot of the multicultural organizations on campus put in hours upon hours of work to put some of those events together. We see you and appreciate everything you do.

If you’ve paid any attention these last couple of weeks, a lot has gone on in the Binghamton community regarding people of color.

Most notably, the East Middle School incident, in which four 12-year-old Black girls were allegedly strip-searched at school, was incredibly disturbing. Everyone at PRISM hopes that the girls and their families get the justice they deserve, and that school officials are held accountable. In the face of this heinous act, though, I saw the community truly band together. I witnessed hundreds of people stand in solidarity with the girls, while thousands of people across the country voiced their support.

This month’s content honors Black History Month with a couple of different pieces. We feature a list of 10 notable Black figures, a discussion on the under-reported plight of Black immigrants and a spotlight on the Black Student Union’s nonstop work this month. On the cover is Prince Wireko, a senior double-majoring in graphic design and Africana studies whose “Legacy” series is featured for Black History Month. And what’s Black history without Black music? Check out our dancehall playlist that’s sure to get you moving.

As usual, PRISM also includes its share of reviews for the month. We take a look at Boogie’s new album “Everything’s For Sale,” the new Netflix series “Siempre Bruja” and the experimental documentary film “El Mar La Mar.” We preview the upcoming Mainstage production of “Baltimore,” which examines racism on college campuses. From what I gathered, it’s going to be extremely relatable and relevant to our own campus, and I personally can’t wait to see it.

This issue is also the PRISM debut for many writers! Among these pieces are a spotlight on new student group Decol A’s project “Through The Looking Glass: Remember At Least One Name,” a discussion on non-Spanish speaking Hispanic people and a piece drawing out the similarities between gentrification and imperialism. I’m so excited to be showcasing the voices of so many new contributors.

Our February issue has a little something for everyone, and I hope you all enjoy reading it as much as we enjoyed putting it together!

Stay warm, BU, and hopefully the sun will be out the next time you’re reading my letter.

February 28, 2019

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10 NOTABLE BLACK FIGURES JET VAZQUEZ × AARON MOK Black History Month is a time to educate ourselves on the contributions of Black individuals that have historically gone unknown, overshadowed and/or undervalued. It’s no secret that a large portion of popular American culture we enjoy today was influenced by African Americans, from music and literature to comedy and scientific achievement. Frankly, there are thousands and thousands of Black figures that should be acknowledged and appreciated, but we really don’t have that much space on this page. Instead, here are 10 influential Black figures that everyone should know. Though we only listed 10 here, we encourage everyone to do their own research on the countless contributions made by African Americans this Black History Month.

MALCOM X

BELL HOOKS

MARSHA P. JOHNSON

ANGELA DAVIS

LAVERNE COX

One of the most influential revolutionaries in U.S. history, Malcolm X was a Black nationalist, practicing Muslim and human rights leader who advocated for racial equality during the 1960s. He challenged the conventional, nonviolent nature of the Civil Rights Movement, believing that Black folks have the right to defend themselves against systemic oppression “by any means necessary.”

Gloria Jean Watkins, who publicly goes by the name bell hooks, is an American writer, academic and feminist theorist. Her writing addresses the intersection between race, gender and capitalism and its role in upholding systems of oppression.

She’s fierce, she’s brave, she’s radical: Johnson was a transgender LGBTQ activist and artist who fought for gay liberation. She is most known for instigating the Stonewall uprising, a pivotal moment in queer American history.

If you search up “badass” on Google, Davis’ name would probably pop up. An activist, scholar and public intellectual, Davis advocates for gender equality, prison reform and cross-racial solidarity. She was also involved in the U.S. Communist Party and the Black Panther Party.

Known for her role as hairstylist Sophia Burset in the hit Netflix series “Orange Is the New Black,” Cox is an actress and advocate for the LGBTQ community. She is the first openly transgender woman to be nominated for an Emmy.

JEAN-MICHEL BASQUIAT

JAY-Z

MAYA ANGELOU

DAVE CHAPPELLE

MAE C. JEMISON

Creative, ingenious, artistic, Basquiat pushed the boundaries of graffiti and street art culture. His work, comprising colorful imagery and complex shapes, influenced modern-day fashion, hiphop and contemporary art.

Hov, Jigga, Jay-Z, the infamous Shawn Carter changed the music industry through his cadence and lyrical prowess. His influence reaches far past music, however, as he brings light to important racial issues and shows continual support to the African American community through his production of Trayvon Martin’s “Rest in Power” and latest album, “4:44.”

Receiving multiple literary awards including NAACP Image Awards, renowned author and civil rights activist Angelou influenced the literary world. Her 1969 memoir, “I Know Why the Caged Bird Sings,” made literary history as the first nonfiction bestseller by an African American woman.

One of the most hilarious entertainers of the 21st century, Chappelle became widely known for his stand-up and social commentary. Retiring early at the peak of his career, Chappelle’s legacy is known throughout the entertainment industry and he remains one of the most respected comedians of all time.

Making history as the first African American woman to be admitted into NASA’s astronaut training program, Jemison inspired a young black generation to become anything they can dream of. Her contribution to science earned her numerous awards and accolades, cementing her legacy in the history books.

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Decol A talks Southeast Asian deportations The new student group’s installation aims to raise awareness

AARON MOK On Feb. 1, Decol A, a new campus organization dedicated to Asian American activism, put up an installation in Glenn G. Bartle Library titled “Through The Looking Glass: Remember At Least One Name.” This installation is a memorial that pays respects and brings awareness to Southeast Asian Americans who have been deported under the Trump administration.

The installation consists of two parts: a poster board and a mirror. Viewers of the installation are encouraged to write on the poster, whether it’s their personal thoughts on the nature of immigration in the United States or simply words of encouragement.

Comments like “We stand with you,” “No human being is illegal” and “We’re not deporting them, we’re deporting their dreams” cover the canvas.

Decol A curated the installation to encourage observers to reflect on their place in the United States and how their livelihoods are interconnected with the struggles of other Americans. This process of self-reflection is mediated by the mirror that’s placed in front of the poster, where observers who stand in front of the installation become a part of it. The edges of the mirror are covered by pictures of Southeast Asian deportees and flowers to symbolize loss. Written on the mirror glass is the phrase “All Just Animals,” which is meant to evoke a self-critical response.

According to Decol A, the purpose of the installation is to bring public awareness to an issue that isn’t talked about enough. Al-

though Immigration and Customs Enforcement (ICE) deportations, migrant detention centers and the separation of Central American families have extensively been covered by mainstream media, the Southeast Asian American deportations have only been marginally covered. Similar to the repatriation of documented and undocumented Latin American immigrants, Southeast Asian communities have also been experiencing this struggle long before President Donald Trump brought national attention to it.

According to the Southeast Asia Resource Action Center, a civil rights organization whose goal is to empower and achieve justice for the Southeast Asian American community, over 16,000 Southeast Asian Americans from Vietnam, Laos and Cambodia have been deported since 1998. Cambodian Americans who hold criminal histories, in particular, have been facing deportations since the beginning of 2002 under the Bush administration, their past sentences weaponized to justify their repatriation.

Migrants from Southeast Asian countries, mirroring the case of Central American migration, have poured into the United States to escape state violence in their countries of origin. Ironically, this violence was produced

by U.S. imperialism and military intervention. During the Vietnam War, for example, the United States dropped almost 3 million tons of bombs on Cambodia. The physical destruction of Cambodia resulted in the rise of the Khmer Rouge, a guerrilla-led government regime characterized by a period of bloody brutality and death.

Thus, Cambodian refugees fled their countries and poured into the United States to escape violent repression.

Fast-forwarding to the pres-

Provided by DECOL A Decol A’s installation in Glenn G. Bartle Library pays homage to Southeast Asian American people who were deported. ent, this trend of Southeast Asian American deportations has exponentially increased by the Trump administration’s loosening of refugee protection measures.

According to The Nation, ICE estimates that 1,900 Cambodian immigrants hold deportation orders since September 2018. This number of deportees is drastically larger than the 29 Cambodians who were deported in 2017, according to The New York Times.

Similarly, the White House is putting pressure on Vietnam to loosen a 2008 agreement that protects Vietnamese American refugees who arrived in the United States before July 12, 1995 from being deported — the date that diplomatic relations were re-established between the two after the Vietnam War.

Southeast Asians who’ve been deported are now faced with uncertain futures and unfortunate realities. Southeast Asian deportees who were born in the United States must now learn to adjust to living in countries that are foreign to them — one with a culture, lifestyle and language they are unfamiliar with. They must also deal with the fact that they are now living in a new country alone and separated from their families, residing in squalid housing conditions due to a lack of capital.

While Decol A aims to continue spreading public awareness on pertinent Asian American issues such as Southeast Asian deportations, its actions are all connected to a larger goal: to decolonize the Asian American diaspora.

“We are Binghamton’s first group dedicated to activism and liberation of the Asian-American diaspora,” said Dheiva Moorthy, president of Decol A and a freshman double-majoring in environmental studies and sociology. “We are committed to the fact that ‘Asian’ and ‘Asian American’ don’t refer to citizenship statuses or papers, but the ongoing political struggle of our pan-ethnic communities.”

Although the installation has now been taken down, Decol A wants to keep the conversation on Southeast Asian deportations going outside of BU. “We plan to send the poster along with packages of menstrual products and other necessities to D.C. and hopefully an ICE detention center,” Dheiva said.

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Addressing the plight of Black immigrants 21 Savage’s ICE detention shines light on the issue the two terms have even become synonymous with one another. At times, the two agencies will work together, but play different roles in the case of enforcing the law.

AIDA GNING America has a long, withstanding history of anti-immigrant and anti-black rhetoric. This state of intolerance has harnessed an environment in which black immigrant communities are facing a double burden of their legal status taking precedence over their humanity. Before I begin, there are a few misconceptions I’d like to denounce, as well as clarify the use of certain terminology.

— An immigrant is a person who permanently settles in a country that is not of their original origin.

Being undocumented does not negates one’s identity as an immigrant, as documentation or proof of citizenship is a means of recognizing a person as a member of a nation. A migrant is a person who moves from one location to another. However, this movement does not involve permanence. An asylum-seeker is a person who leaves their country of origin in search of protection from another country. In many cases, asylumseekers are in danger of being persecuted due to their religion, sexual orientation or other identity markers. Lastly, a refugee is a person who has been forcefully displaced from their country of origin due to war, natural disaster or other circumstances.

— Immigration and Customs Enforcement (ICE) officers are not the same as police officers.

There have been numerous cases where ICE officers have identified themselves as police officers, and legally, they are able to do so. In some cities, such as Los Angeles,

Black immigrant communities are often left behind in discussions regarding borders, migration and what it means to be a citizen in the United States. One factor that may play a role in this is the lack of knowledge that these two identities are capable of intersecting. There is no one singular narrative that all black people can relate to, and the presence of this phenomenon is unreliable in discussing black immigrants and black Americans. It is not helpful to the struggles of black immigrants to conflate them with the struggles black Americans face, as they may not be interchangeable. Media portrayal of the black experience predominantly alludes to our relationship with the police, but ICE are

also very much present in disrupting the lives of black communities.

In the media, black immigrants are often overshadowed by the plight of Latinx immigrants. According to the Center for American Progress, there are about 3.7 million black immigrants, and they constitute 8.4 percent of the United States’ immigrant population.

Despite compromising no more than 9 percent of the immigrant population, 20 percent of immigrants who face detainment and deportation on criminal grounds

by ICE are black. Given the numbers, a conversation surrounding the relationship between race and detainment bias is necessary.

Black people in general are more susceptible to racial profiling from law enforcement at exponential rates, meaning black immigrants’ experience with state violence only grows when factoring in the existence of ICE. 21 Savage, a 26-year-old rapper

Provided by GETTY IMAGES Locals attend an immigration rally in Boston

raised in Atlanta, was detained by ICE on Feb. 3 following allegations

by ICE that he had overstayed his visa. The rapper’s team had stated that he was brought to the United States at the age of 7. This is a circumstance many undocumented immigrants face as they’re brought to the United States as minors and are placed in circumstances where they lack agency, access and even knowledge of their own legal status. In a recent interview with The New York Times, 21 Savage detailed the stress and the mental fortitude needed while under ICE detention: “I think they really try to break you,” he said in reference to the law enforcement agency.

Fortunately for 21 Savage, he was released from detention on a bond with the help of his legal team. This is not the case for many black immigrants, as access to such privileges diminish when factoring in the element of socioeconomic status. Despite 21 Sav-

age’s socioeconomic status, he is still in the process of obtaining legal status. This process has been made more difficult for him as prior history with the legal system has made him ineligible for Deferred Action for Childhood Arrivals (DACA) despite the fact that he was brought to the United States as a minor.

The purpose of bringing attention to the plight of black immigrants isn’t to negate the experiences of Latinx and other immigrant groups, but to reach a state of equity in which the struggles of all immigrant groups are addressed. An ethical fight surrounding immigration cannot be partial in the context of race.

Black immigrants should not be criminalized for their legal status or race. This is not just because they contribute to the workforce or education system, but because as people, they should have access to basic human rights.

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February 28, 2019

Boogie’s ‘Everything’s For Sale’ stands out The rapper’s debut album displays versatility, introspection

MALACHI MITCHELL “I’m tired of that shit,” is the first thing you hear Boogie say on his latest album. It works as a great opener for not only that track, but for the tone of the album as a whole. His debut, “Everything’s for Sale,” is a gloomy, raw and honest listen. He sticks to his introspection all throughout the album: On the opening track, he raps, “I’m tired of working at myself, I wanna be perfect already / I’m tired of the dating process, I wanna know what’s certain already.”

The Compton rapper has been on the rise in recent years, thanks to some well-received mixtapes that heightened his buzz. Things started to heat up for him when Eminem signed him to his label, Shady Records. On his previous tapes, Boogie was no stranger to introspection, but now he seems to be looking more inward on “Everything’s for Sale.” Don’t let this introspection fool you — Boogie is not your typical “conscious” rapper; there’s no special lesson or spiritual journey going on. It’s just Boogie and his often sullen thoughts about himself as an artist, as a partner and just as a person.

Boogie’s rapping isn’t the only thing that is put on display in the album. There are a couple of tracks where Boogie leans more on his melodies instead of his rapping capabilities. Standout tracks, such as the 6LACK-assisted “Skydive II,” show off Boogie’s raspy, yet soulful singing. 6LACK delivers on his feature, as does Eminem on “Rainy Days,” which has one of his better verses in a while, albeit some questionable

lines. The production on the former track is beautiful and calm, as most of the album is, which is a nice contrast to Boogie’s more downer lyrics. The biggest example of this is the album closer, “Time,” with Snoh Aalegra. By casually listening, you wouldn’t realize it’s a song about a man confessing his lust and inability to actually be committed instead of just calling a woman for late-night hookups: “You tell me it ain’t right, though, I say it’s in your mind, but do it every time, though.” The sound is calming and somewhat endearing despite what he’s rapping about.

“Everything’s for Sale” never lets up its somewhat moody atmosphere and soulful, calming sound with a few exceptions, such as the aforementioned “Rainy Days.” Despite all this, Boogie is still very much the main draw for this album; his writing is charming and at times playful.

He proves that he is versatile by offering a couple tracks where his singing takes center stage and shines. He covers his insecurities, fears and shortcomings without hesitation, which might be his best quality. Boogie has an endearing lack of concern for filtering the way he presents himself, and this album feels deeply personal and almost confessional. The title itself may suggest this as well: Everything’s for sale, meaning Boogie’s not holding back. He’s giving us all of it — the doubts, the pains, the failures.

In a current rap climate that seems to value honesty and authenticity less and less, Boogie stands out from the rest in his introduction to the big league of rap. I’ll give “Everything’s for Sale” a 7.5/10, a very solid debut that makes the listener want to come back for more. You can check it out on all music streaming platforms.

Provided by SLIM SHADY RECORDS Boogie’s debut album “Everything’s For Sale” was released on Jan. 25.

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DANCEHALL PLAYLIST LORRAINE O’CONNOR With the lack of activities to do in Binghamton, here is some dancehall music to “tun up di vibes!” The playlist features some of the biggest songs in 2018 from hot artists Popcaan, Shenseea and current hot songs by upcoming artists such as Xyclone and Neeqah. The music featured is the real and raw version from the genre. You can find the extended Spotify playlist below to bring you the high energy and Jamaican musical flavor.

“MS. MELANIN” — NEEQAH Following her hot EP “Aura,” Neeqah proudly represents black women in her smooth and groovy song, “Ms. Melanin.” Colorism is one of the biggest problems in Jamaica, which affects women with darker skin tones economically, socially and politically. This problem drives insecurity within some girls and pushes others to bleach their skin. However, Neeqah is letting these melanin ladies know not to be afraid of being dark-skinned and loving themselves for who they are.

“BRAFF” — TEEJAY AND DING DONG

“NAH MAD (OVA NUH GYAL)” — MUNGA HONORABLE

A high-energy track featuring new dancing king Ding Dong and Romeich Entertainment new artist Teejay, “Braff” brings nothing but straight dancehall vibes! “Braff” is all about showing off one’s self and having fun while doing so.

The men deejay about how much they have money, how much they spend, the cars they have, their girls and more luxurious things about themselves. “Yuh nuh see we just a Braff and a floss cah we money nuff!”

After taking a long break from his career, Munga came back in December with a blazing hit!

The dancehall artist vouched for the men on this record, reminding them he “Nah Mad” over no woman. He sings, “She coulda pretty like dolly and spend nuff money (NO!) / We nah mad ova no gyal,” implying that regardless of a woman’s looks or qualities, she still cannot drive him crazy over her.

“TOAST” — KOFFEE Being a young female artist in the industry with great lyrical talent, Koffee released her first hit song, “Toast.” This song is all about remaining humble and being thankful for your blessings in life. Oftentimes we forget to do so as human being. She deejays, “Mi thank god fi di journey di earnings a just fi di plus (yeah) / Gratitude is a must.”

“SHENYENG ANTHEM” — SHENSEEA Launching off a successful career in dancehall with her collab song featuring Vybz Kartel in 2016, Shenseea grows more with hot song “ShenYeng Anthem.” This upbeat and high-energy song has gained so much love from the ladies (and men) in the Caribbean and abroad in the states, as well as Europe. The artist reminds the ladies not to fight over no man.

FULL PLAYLIST 1. “Ms. Melanin” — Neeqah 2. “Braff” — Teejay, Ding Dong 3. “Toast” — Koffee 4. “ShenYeng Anthem” — Shenseea 5. “Turn Around” — Tj Records, Konshens 6. “They Don’t Know” — Masicha 7. “Diamond Body” — Mavado, Stefflon Don 8. “Big Baller - Benzema” — Aidonia 9. “Champ” — Govana 10. “Richer and Richer” — Alkaline

11. “Trending” — Squash 12. “3ZN” — Rygin King 13. “Come Home” — Vybz Kartel 14. “Up Top Boss” — Teejay 15. “Cool It” — Spice 16. “It’s You That I Need” — Xyclone 17. “Touch Down - Remix” — Vybz Kartel, Stylo G, The FaNaTiX, Nicki Minaj 18. “Gwaan” — Dexta Daps 19. “Silence” — Popcaan 20. “Nuh Mad (Ova Nuh Gyal)” — Munga Honorable

LEGACY COLLECTION PRINCE WIREKO, a senior double-majoring in graphic design and Africana studies, was motivated to create his Legacy Collection this Black History Month. “I was inspired by the lack of representation of captivating individuals in the African Diaspora in the media and especially in our educational system,” Wireko said. The personal project consists of picking one adjective Wireko associates with each prominent figure and overlaying that word over the figure’s eyes, emphasizing how the legacy of each person makes them recognizable even without the viewer seeing their eyes.

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February 28, 2019

‘El Mar La Mar’ misses the mark A film about the U.S.-Mexico border neglects meaningful mention of race

STEVEN GONZALEZ When you take on a project dealing with immigration, especially something as sensitive as the U.S.-Mexico border, one cannot discount how race plays into it. This was my biggest concern after viewing “El Mar La Mar” by Joshua Bonnetta and J.P. Sniadecki. This was Harpur Cinema’s first screening of the semester, introduced by Chantal Rodais, a lecturer in the cinema department, as a film “that challenges borders.” Tomonari Nishikawa, an associate professor of cinema, added that it is a film less focused on how the shots are exposed and more focused on its structure. Further, the film was introduced by Bonnetta and was followed by a Q&A with him.

Shot on 16mm film, the movie is split into three parts. Due to nature of the medium, how the shot is exposed and the film stock used is usually a quality that is appreciated. As a whole, the film seems to makes an effort of almost completely separating audio from video. Most scenes consist of long, static shots of the Sonoran desert followed by a dark screen with audio of interviews playing over it. Because there is very little to no sync sound — which is when someone is talking on screen and you hear them at the same time — it becomes very important when something is audible while we are also viewing something. One of the most striking shots early on in the film is striking for how difficult it is to initially decipher. Shot on a

telephoto lens, it is clear we are to the nature of surveillance it poem, they agreed it fit this in a car driving past shrubbery, evokes: a cone of light from a theme of being in one place and but the screen is interrupted by flashlight shines into the shrubs longing for another. Another aumultiple vertical lines cutting of the desert as the camera- dience member wondered why across the frame, almost in the men drive by. At this point, most of the monologues of peofashion of zoetropes. It slowly the film seems to position the ple interviewed were paired with becomes clearer that we are audience in a manner similar a black screen, to which Bonviewing beyond the border wall to U.S. Border Patrol, offering netta replied that this actually and that the lines are the rungs that the viewers may be part of wasn’t the case. He claimed it of the fence. Immediately we the problem. was actually footage of a storm, are given this imagery of being The Q&A started with a and as the film progresses, so trapped and a feeling of surveil- question about the title, which does the storm over the deslance, which beert. In the opinion comes a theme of this reviewer, throughout the this distinction is film. This is conquite moot as it is trasted with shots impossible to tell of the vast and due to the low exseemingly empty posure of the film, desert, allowing but I do agree the audience to with Bonnetta’s understand how point about it. daunting of a trip Having such an traveling through abstracted view the border is. “allows the stories One of the earto speak in a more liest monologues democratic form.” we get is by a I then asked woman who lives Bonnetta about by the border. She how interviewdescribes how ees were chosen late one night, a and whether the man came knockdirectors considing at her door, ered how interbegging to be let viewees’ backout of the cold. grounds could’ve Another man replayed into their lates escaping a responses. This patrol in the descame about after ert. He describes I realized a majorthat you can easity of those interily get lost, not so viewed seemed much because to be American of visibility, but citizens who hapProvided by CINEMA GUILD because it’s so pened upon casJoshua Bonnetta and J.P Sniadecki’s feature film “El Mar La plain and far that es of Latinx pain.

Mar” was released June 7, 2018. you don’t know This is not to say where you are or where to go. revealed it was a reference to that immigrants and those who The film goes on telling of what the Rafael Alberti poem. This have been in the thick of the gets left behind in the desert came about after Bonnetta and desert weren’t also interviewed, and the emotions experienced Sniadecki both agreed that the but I often wondered if maybe when finding objects like toys cacophony of sound present some context was considered or diapers. A shot toward the in the desert at night reminded in terms of bias and race. Bonmiddle stands out to me due them of a sea. After finding the netta was not very receptive to

the question and mostly stated they interviewed anyone who would talk to them — that they were “mostly accidental.” In terms of the monologues recorded from the immigrants, the translated subtitles from Spanish to English were questioned by an audience member.

Bonnetta confided that during filming, Sniadecki, who is “kinda like a polyglot,” was learning Spanish, so they decided to translate it themselves. It wasn’t until presenting it at the Berlin International Film Festival that they realized the translation was very wrong. Since then, it’s gotten multiple edits with the help of translators, according to Bonnetta.

This gets at my main issue with the film. When speaking on how it came about, Bonnetta mentioned that they were actually there to shoot another film, but being near the Sonoran desert made them want to record everything, and thus this film came out sort of by accident.

And that’s how it feels sometimes. Not to downplay the thought put into the film, but the approach feels like the point of view of a tourist, someone who happened upon this politically charged area and collected bits from it. There isn’t so much a political backbone or anything ultimately being said about this strife other than highlighting it and trying to characterize its nature.

Honestly, I’m kind of over white directors, in a sense, benefitting off human suffering, even if it isn’t explicit in this case. In a film highlighting the tensions between Latin American immigrants and U.S. citizens at the Sonoran border, it’s almost a glaring hole how sanitized the topic of race was presented.

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‘Siempre Bruja’ falls short of expectations Despite representation, the series depicts problematic situations

LIV BAERGA On Feb. 1, Netflix released a new original series called “Siempre Bruja,” or Always A Witch. The show is based off the novel “Yo, Bruja” by Isidora Chacón and revolves around an Afro-Colombian, time-traveling witch named Carmen (Angely Gaviria). Many people expressed their anticipation for the premiere via social media, excited for a new platform for Afro-Colombian representation at the start of Black History Month.

There is a severe lack of stories centering around Afro-Latina witches in popular entertainment, the casts of shows like “Charmed” or “Sabrina The Teenage Witch” being predominantly white. Viewers eager to watch what originally seemed like an inclusive show were quickly surprised and rightfully outraged by larger details of the show’s plot.

Carmen is a slave from the 1600s and is sentenced to burn at the stake for being a witch and for falling in love with Cristóbal (Lenard Vanderaa), the son of Carmen’s owner. The reason for Carmen’s time-traveling is wholly because of Cristóbal, as he is shot by his father. She journeys into the future in an attempt to save his life, granted the timetraveling ability by a wizard called Aldemar (Luis Fernando Hoyos) who wants Carmen’s help freeing him in return. The story depicts Cristóbal heroically in the scene where they meet when he helps Carmen to her feet and asks his father to buy her. The relationship between Carmen and Cristóbal is problematic because it portrays a relationship between slave and

Provided by NETFLIX The cast of Netflix’s original series “Siempre Bruja,” which premiered Feb. 1. master — what historically was sexual assault — as a romantic bond. Some have pointed out the fact that the creator and writer of the show, Ana María Parra, as well as the producer, Dago García, are white Latin Americans, which can explain why such inaccurate portrayals were included in the show.

Having accurate representation is important both on- and off-screen in order to ensure that valid narratives are being told.

The show features another romantic plotline involving Carmen that is problematic for other reasons. In the 1600s, Carmen is 18 years old, and she is still that age when she lands in our time. She starts taking classes at a university, and as the story progresses, there are suggestive moments

between her and a professor. The suggestive moments lead into a full-on confession from the professor that he loves Carmen. Not only is the age difference between the two concerning since Carmen would be just out of high school, but entertaining a relationship between a professor and a student is extremely inappropriate.

The show also inappropriately deals with how Carmen reacts and adjusts to the 21st century.

She is shocked by television, cars and electric lighting, all understandably so, but she hardly has any reaction to the social changes that have taken place since her time. Some of the first people she encounters are a black female doctor and an interracial gay couple, yet the show mostly focuses

on her navigating Instagram and Tinder. No doubt Carmen would have marveled at the sight of free women and people of color, and would want to know about the history of their fight for equal rights, but enough attention is not given to this aspect of the storyline.

The lack of emphasis on the crucial points of race and gender is not the only thing poorly done in “Siempre Bruja.” Without revealing the plot twist for readers who may still want to see the show, I will say that it was quite predictable.

I am not one to usually guess the surprise ending, but the show makes it fairly obvious for viewers with a watchful eye. Compared to the buildup across the episodes, the ending is anticlimactic and underwhelming. For all the ten-

sion and drama that the plot twist creates, the ending wraps up in a matter of moments. Minor plot inconsistencies also add to the disappointment.

Overall, the concept of a timetraveling witch is interesting, but in my opinion, the show was poorly executed. While I join the side of others who were let down by the troubling inclusions to the story, I encourage readers to look into “Siempre Bruja” themselves and develop an opinion through their own observations. Watching “Siempre Bruja” was an exciting experience because of its representation, but it took some steps in the wrong direction. We need to work harder in the future to have more accurate and representative stories told.

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February 28, 2019

PRISM

BSU celebrates a month of resilience The organization held events almost every day of Black History Month

CHRISTIAN CUATATL Many organizations do not get to see a continuation after 25 years, while some manage to prosper after 50 or 100 years. It is no surprise that the Black Student Union (BSU) at Binghamton University made 50 years in 2018 and has shown a strong presence on campus, holding events every week. As February comes to an end, we come to the conclusion of a month focused on the celebration and accolades of African Americans and the legacy many influential figures have left behind on the United States. BSU at BU took it upon itself to have a month full of events, which included workshops, general body meetings, guest speakers and entertainment.

One month dedicated to the plight of African Americans in our current soil and their achievements to overcome obstacles in the face of systematic oppression is what the second month of the year is about. Black history was not always celebrated in February, and the month first began as a week. The history goes back more than a century ago to 1915, when Carter G. Woodson and Jesse E. Moorland founded the Association for the Study of Negro Life and History. Today this organization is known as the Association for the Study of African American Life and History, which focuses on highlighting and showcasing achievements of Americans with African background. The organization held a national Negro History Week in 1926, which led to a rise in the celebration of African American achievements. During

the 1960s, the week expanded to a month as a result of a decade of resilience and fight for equality. Another decade later in 1976, President Gerald Ford recognized Black History Month, making February an annual and national month of celebration.

This fiscal year, BSU has hosted many events open to the public that emphasized community engagement and discussions based on issues currently plaguing our campus and society. Through general body meetings and its colossal 50th Anniversary Fashion Show, the students involved in this organization have shown dedication to a community that lives within a predominantly white institution. This year, BSU’s theme for Black History month was Resilience: Achieving Black Excellence in All Aspects. The purpose of the theme was to highlight the accomplishments of African Americans as shown through the community’s ability to continue to strive in the face of oppression.

Its general body meetings during this month focused on politics, society and history. Collaborations with organizations such as the Latin American Student Union, Bert Mitchell Minority Management Organization and the Juvenile Urban Multicultural Program, among others, allowed BSU to execute this month full of events with the help of other multicultural organizations on campus.

In order to involve the campus community and create a month by the people and for the people, all the events hosted by this organization during this month were completely free of charge. Events such as its hair show Hairspressions created a sense of love for oneself and natural features.

Keynote speaker Marc Lamont Hill spoke about overcoming any obstacles in one’s way. From personal experience, it was not only

ANASTASIA FIGUERA Keynote speaker Marc Lamont Hill speaks on his journey to students during BSU’s event for Black History Month 2019. a month with historic importance, but as a result of the work of this organization, many students on campus were exposed to African American culture.

Speaking to Janiera Headley, current president of BSU and a junior majoring in economics, offered us more insight regarding the purpose of the events and the determination it took to pull off such a successful month. As president, Headley said a main obstacle she faced throughout these past few weeks was the amount of work involved in creating an event that was not only

linked with the theme, but also successful individually. She gave thanks to each and every one of her executive board members for giving the BU campus a proper Black History Month. When spoken to about the theme, Headley said she birthed the title “Resilience” as a result of an Africana studies class that she took at the University. Her association of Black History Month with the word that defines the ability to get back on one’s feet and continue fighting had a clear resonance to the stories of her ancestors’ plight in the United States. The

horrors that would be seen in the centuries to come could only be overcome by resilience.

As the month of February comes to an end, we take a look back at the achievements of the African American community and its impact on American society.

At BU, the events created by BSU for Black History Month during its 50th year on this campus not only shows the determination of the group to provide events that cater to the community, but also the resilience to manage daily life while being part of this successful organization.

February 28, 2019

PRISM

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‘Baltimore’ confronts racism on stage The Mainstage production debuts on Zero Discrimination Day “Because as a college-aged male, a black male, I relate to my character in that aspect and like, these are things that I’ve had to deal with in my life.”

Both Dias and Edwards emphasized the importance of getting more students of color involved in the performing arts at BU. Part of the push for more diversity within the theatre department comes from the formation of Diversity in Action. The committee, which aims to get chartered by the Student Association (SA) soon, was created to bridge the gap between the performing

is the first time that I can actually look at a show and be able to tell myself, ‘Oh, I could do that one day,’” Dias said. “Like, I could actually be on that stage or I could be a part of that production.”

After two of the shows — on March 1 and 9 — a talkback will be held to continue bridging that gap between the production’s cast and the audience. Talkbacks serve as an opportunity to open a dialogue by debriefing, clarifying anything that wasn’t clear during the show and just facilitating a conversation on the themes of the play. For a

was just a play and it doesn’t really affect me’ type of attitude. The talkback creates conversation between the communities that are coming to the show.”

Above all, the goal of “Baltimore” is to tell a realistic story about racism on college campuses from all sides of the conflict. The SARAH MOLANO play not only focuses on the victims of racTo kick off its spring season, Binghamism, but also gives the audience a glimpse ton University’s theatre department will into the mindset of those perpetuating ractackle “Baltimore,” a play that almost blurs ist attitudes and actions. Dias stressed that the line between a Mainstage production the play is not meant to antagonize or cast and the everyday life of a student of color. blame on anyone, but rather aims to speak The Kirsten Greenidge play is openly and honestly on how inciset at a college not unlike BU dents like that continue. and follows the campus comBecause the play offers mulmunity dealing with a racist act tiple perspectives, Dias said that committed on school grounds. audience members will likely Guest-directing the production feel many conflicting emotions. is Godfrey L. Simmons Jr., a se“You can relate to all nine of nior lecturer in acting at Cornell the characters at some point or University’s department of peranother, like at any moment of forming and media arts. the show, you understand why The subject matter of “Balthey’re doing what they’re dotimore” clearly calls for a diing,” Dias said. “And then there’s verse cast. Fortunately, BU’s an internal conflict inside you multicultural community really because then you start quesshowed up for auditions — 45 tioning your own morals and bepercent of the people who auliefs basically, which opens up a ditioned were people of color. conversation with yourself.”

According to Cindy Dias, an Edwards agreed that emoassistant director of the show tions will certainly run high, but and a sophomore majoring in that makes the show all the theatre, “Baltimore” will feature more worthwhile. He said that the largest cast of color the at the very least, the audience theatre department has seen will gain knowledge and underin a long time. To add to the standing from all sides. significance, the play’s opening “It makes ignorance no night falls on March 1, which is longer an excuse for people,” Zero Discrimination Day. he said.

In the play, Robert Edwards “Baltimore” will premiere portrays Bryant, a college March 1 at 8 p.m. in Watters freshman who begins to deTheater in the Anderson Center. velop feelings for a girl. Those Tickets on opening night are $5 Provided by the THEATRE DEPARTMENT feelings get complicated, howfor students. Subsequent perforPromo for the upcoming Mainstage production of Kirsten Greenidge’s “Baltimore,” guest-directed by Godfrey ever, when Bryant realizes that L. Simmons Jr. mances will be held on March 2, his potential love interest is 8 and 9 at 8 p.m. and on March racist. Edwards, a senior majoring in theatre arts and BU’s multicultural community. Dias production with themes so closely tied to 10 at 2 p.m., with talkbacks after the perforwho has acted in many Mainstage produc- hopes that having “Baltimore” as the theatre both the actors and the audience, Edwards mances on March 1 and 9. Tickets are $10 tions before, said he related to Bryant on a department’s spring opener will give stu- said the talkbacks will help everyone really for BU students, $16 for BU faculty, staff, very personal level. dents of color the opportunity to see them- digest the material. alumni and seniors and $18 for the public.

“It’s difficult being so close to the subject selves and their stories on stage.

“This show calls for a conversation,” Ed- Tickets can be purchased at the Anderand not being uncomfortable to the point “As a woman of color on this campus, wards said. “It’s not like you see it and then son Center Box Office or on the Anderson where the story can’t be told,” Edwards said. with everything that happens, I feel like this it’s over. It kind of eliminates that, ‘Oh, that Center website.

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PRISM

February 28, 2019

What does it mean to be Hispanic?

How the ability, or inability, to speak Spanish impacts one’s identity

KIM GONZALEZ About 18.2 percent of New Yorkers can speak Spanish. That includes everyone from Colombians, Dominicans, El Salvadorians, Mexicans and more, but most infamously, the “Nuyoricans” — Puerto Rican New Yorkers. Puerto Rico has two official languages: Spanish and English. Iremis Lorenzo, a freshman majoring in economics, is one of many to notice that many Puerto Ricans are infamous for “either speaking Spanish weirdly, mispronouncing words or not

This idea of assimilation comes comes at a time where we are witnessing the very same attacks on language. speak it at all.” But they’re all still Puerto Rican, right? I had to ask myself this question growing up while I heard Spanish being spoken at home, yet engaged with it only in English terms and was presented only with English concepts outside my home. I knew Spanish, but I didn’t know Spanish like my sisters. I spoke Spanish in my high school Spanish classes as a prodigy, yet when I spoke it to my family, they would chuckle at my English accent.

I went to visit family members who only spoke Spanish and continuously felt insecure about my skills. Is there a checklist to what it means to be Hispanic? Celine De-

larosa, a freshman double-majoring in Italian and human development, is a fluent Spanish-speaking person and one of many who have witnessed the divide between nonSpanish-speaking Hispanics and Spanish-speaking Hispanics.

“There is not a list that you have to check off to be Hispanic,” Delarosa said. “It is not a black-andwhite thing. Myself, as a vegan, people have told me you are not Dominican because you’re a vegan … That’s not how it works. There’s not one specific way you gotta be.”

Lorenzo also acknowledged this divide.

“I know that growing up, all the kids that did not speak Spanish, their ass was cut,” Lorenzo said. “It happens unintentionally because you see that one not Spanishspeaking person in a friend group that is alienated … unnoticed.”

Lorenzo’s discussion of how this natural barrier occurs is an imperative notion that must be looked upon. Language is a fundamental part of how we speak to each other, how we bond, and it is not surprising that it binds many factions, especially cultural ones, together. But could some Hispanic people’s inability to speak Spanish create more divides within our broader society? One student, who wished to remain anonymous, touched upon that barrier.

Is there a checklist to what it means to be Hispanic?

“You can’t speak up in the same way like someone that knows the language … To have that sincere, genuine connection to your culture, you need to know the language of your culture,” the anonymous student said. “We have seen English-only move-

ments as an attempt to make an assimilation to forget your culture. I feel like if you don’t know your language, you are falling into the trap of assimilation.”

This idea of assimilation comes comes at a time where we are witnessing the very same attacks on language. For example, Arizona used to require under federal law that voting materials be translated into six Native American

“I know that growing up, all the kids that did not speak Spanish, their ass was cut” languages, but after 2015, only Apache and Navajo were required.

This leaves Native Americans who only speak the other four languages at a loss unless they learn another language. It comes at a time where one can be harassed by English-only radicals for speaking their native languages in the United States. The unity that language serves cannot be downplayed because it is integral to the sustainability of a culture and leads to bonding. But, as noted by Jailine Grullon, a freshman majoring in philosophy, politics and law, language isn’t everything.

“The language is a big part of the culture but it is not the only thing,” Grullon said. “If you can enjoy different aspects of tradition and culture … it does not make you less Hispanic.”

Language divides occur within and outside culture, but it must be remembered that culture, although bound with language, is not restricted to only existing within the boundaries that language seems to constrict. It is how we fashion and define culture that creates those restrictions.

February 28, 2019

PRISM

Gentrification is the new imperialism Residents get displaced while their resources are exploited

FERNANDO RAMIREZ Yes, another article talking about gentrification — but that just shows how important talking about it is. I grew up near Yankee Stadium, so I am accustomed to the sudden spike in prices during game days. I am accustomed to my neighborhood, mainly composed of African Americans and Hispanics, overflowing with white sports fans for a couple hours. I am accustomed to the occasional movie sets in my neighborhood; if there is a scene being filmed outside a court in New York, the chances that it is in my neighborhood are high. I am accustomed to the breach and exhibition of culture that is found in my neighborhood — a culture forged by people who live in there. Recently, I witnessed a steady change in the people who moved into the neighborhood: middle-class white people. That gives a context to how I formulated my opinion on gentrification; specifically, I think gentrification is a form of imperialism. Gentrification is not to be confused with urban revitalization. The communities I speak of are stable economically and socially, so they need not be revitalized. The cultures are what’s being erased and used as aesthetics by gentrifiers.

This is not to take away from the global imperialism that is still going on, but this is something that cannot be ignored.

The side effects of gentrification are similar to the effects of imperialism. Imperialism within this argument will has a loose definition: the act of exploiting a group found in a location for not

only monetary but also cultural gains. Gentrification has some good components, but also bad components that are undeniable.

For instance, once more shall we talk about Amazon. It’s commonly known that Amazon, a multibillion-dollar company, planned to establish one of its headquarters in Long Island City, Queens. Fiftyfive percent of LIC is composed of a minority demographic and about 46 percent of the population has less than the educational equivalent of a bachelor’s degree.

Amazon’s introduction to the neighborhood would have negatively affected the community by creating an economic strain in the area by raising rent prices and ultimately pushing the natives of the community out.

Some might argue that Amazon’s location in LIC would have created blue collar jobs for those who don’t have a college degree, which demonstrates positive reasoning for Amazon moving in and gentrifying the neighborhood. However, because Amazon is a tech company, most of its jobs would consist of white collar computer science jobs, which would make it difficult for those living in the area without the specific skills needed to apply for positions. Fortunately, because of the news that Amazon had plans to create a headquarters in LIC, there was a controversy that prompted people to protest, causing people to discuss the fear of being displaced. Ultimately, these protests were successful, as Amazon announced that it will no longer be locating its headquarters in LIC. Gentrification still persists throughout the United States. It has pushed families out of communities that they have lived in all of their life due to rent and everyday expenses increasing.

This trend is similar to imperial-

ism where people were removed from their land due to exploitation for the resources in their land. Because of gentrification, businesses that were tailored to the previous residents are shutting down, while new businesses catered to the new residents are opening and thriving. Simply put

by Sharon Zukin, a professor of sociology at Brooklyn College, “[Gentrifiers] reject dominant local modes of consumption and display, and impose their own preferred places and practices.” I make the comparison of imperialism to gentrification because the ultimate result of gentrification is the removal and change of the culture found previously. Gentrification is a new way that imperialism subtly manifests itself.

Provided by GETTY IMAGES New Yorkers protest against Amazon’s proposed HQ2 in Long Island City.

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ISAAC SONAIKE Students participate in the Black Student Union’s (BSU) and BU L.O.C.K.S’ (Ladies Owning Their Curls, Kinks And Straights) official hair show, “Hairspression.”

JOEL VELASCO Students attend the Bert Mitchell Minority Management Organization’s and BSU’s collab event, where they bring awareness to student entrepreneurs and black-owned businesses.