FLASH Issue No.14 Summer 2020 by FLASH Magazine

EXPRESSIONS OF THE UNSEEN

NO.14

SUMMER 2020

NO. 14

EDITOR-IN-CHIEF

STAFF CREDITS

NISHITA NAGA

CREATIVE DIRECTOR BAWILA IDRIS

MANAGING EDITOR

FASHION EDITOR

EMMA KOLAKOWSKI

SHAYLAH LLOYD

SOCIAL MEDIA EDITOR

BEAUTY EDITOR

CHLOÃ&#x2039; FELOPULOS

EMMA FEDERER

ASSISTANT SOCIAL MEDIA EDITOR

CULTURE EDITOR

VICKY CARMENATE

MARINA VERGARA

ASSISTANT CULTURE EDITOR JACLYN SKRELA

OPINIONS EDITOR ALANA RAMSAMMY

FLASH

SUMMER

2020

LETTER FROM THE EDITOR-IN-CHIEF No one can place a lifetime of pain into one article and feel as though the burden has been lifted. Sometimes that ache rises from the bottom of the chest to the throat, spreading fire through the shoulders and slowly burning the heart. As if the suffering in being human is not enough, there is also the pain of convincing those who are supposed to be part of your own species that you are one of them. That, as a human, you too deserve the rights they so readily enjoy without a second thought as to how they carry themselves, the volume of their voice, the smoothness of their gait, or even the kinkiness of their hair. I will never truly understand the privileges I have, only the privileges I must live without. I will never truly understand what I do not have to give a second thought to. On the other hand, the lack of understanding in others for what I am forced to live without becomes almost frustrating. Why must this sit at the front of my mind for the rest of my life while others are allowed to participate readily in a competition for who can battle racism the most in one day before returning to a “status quo?” Why must they have an activism “quota” that can be fulfilled before returning to near-oblivion? Why must I endure the expression of second-rate and tone-deaf thoughts in the presence of those who do not understand that every day chips at my soul, slowly eroding at what gives me the strength to live and fight, tooth and nail, for something greater than either of us?

FLASH MAGAZINE

There is a universal obligation to provide oxygen when people, human beings, part of our own species are screaming that they cannot breathe. How dare anyone shirk such a responsibility by taking no heed to help lift the centuries-old burden that was meant to bend proud shoulders. Expressions of the Unseen is a continuation of visibility. No one is allowed to hold a magnifying glass to the most pressing flaw in our society and suddenly re-angle the lens to set flame to that which has now been unearthed. Discomfort is not an excuse to refuse looking into the eyes of those that are being hurt or to change the conversation when the individual desire to discuss something “less upsetting” arises. We must be able to carry the conversation forward while taking care of ourselves, because returning to “normal” cannot and will not be an option.

With Love, Your Editor

EXPRESSIONS OF THE UNSEEN

CULTURE

6 BEAUTY

FASHION

EXPRESSIONS OF THE UNSEEN

ARTISTS SPOTLIGHT

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64 ARTISTS SPOTLIGHT

CON

A L L L AYO U T D E S I G N WA S D O N E B Y T H E CREATIVE DIRECTOR B AW I L A I D R I S

TENTS OPINIONS

50 5

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PHOTO BY: LO THOMAS

FLASH MAGAZINE

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Y R O T S HI e B To

Words by: Jaclyn Skrela & Marina Vergara Collage by: Bawila Idris

D U O R P f O 8

FLASH MAGAZINE

Stonewall, Marsha P. Johnson, and the Beauty of Drag

The 1960s was a vital period for gay bars and clubs. At a

rebellion were Marsha P. Johnson and Sylvia Rivera. Both

time when merely showing affection to someone of the

Johnson and Rivera were self-identified drag queens and

same sex in public was illegal, members of the LGBTQ+

activists, and the two joined together and founded Street

community found respites in the bars and clubs that al-

Transvestite Action Revolutionaries, or STAR for short, as

lowed them to express themselves freely. One such bar

a way to advocate for young transgender people, and for

was the Stonewall Inn, located in Greenwich Village in New

a time, even house, clothe, and feed them.² In addition to

York City. While the Stonewall Inn may sound like some-

Johnson and Rivera, a lesser-known figure associated

what of a safe haven for those in the LGBTQ+ community,

with the Stonewall Rebellion and LGBTQ+ political activ-

it had its dangers as well. Police raids were the norm, and

ism is Stormé DeLarverie. DeLarverie identified as a Black,

the raid that occurred in the early morning hours of June

biracial, butch lesbian, and drag king, and some historical

28, 1969 at the Stonewall Inn may have started out like

accounts position her as the lesbian woman who actually

any other, but it quickly developed into something that

threw the first punch at a police officer, and as the one

was much more intense. Instead of allowing for arrests

who motivated others to begin fighting back as well, thus

and humiliation to be doled out as usual or instead of sim-

inciting the riot, although DeLarverie herself denied the

ply making a run for it, the patrons of Stonewall as well

claim.³ After the events at Stonewall, DeLarverie became

as residents of the neighborhood decided to stand their

a bouncer (although DeLarverie preferred to think of her-

ground against the harassment and discrimination they

self as a “babysitter of my people, all the boys and girls”)

were tired of tolerating in fear, both from the police offi-

at several lesbian bars in the West Village and would later

cers and from society as a whole. And so, a riot broke out

become a board member of the Stonewall Veterans’ As-

in and around Stonewall, and while the police and fire de-

sociation.⁴

partments were able to control the damages and separate the crowds, the moment itself could not be paused. For

Bars and clubs like the Stonewall Inn provided not only a

five days afterwards, thousands of protestors took to the

space for the LGBTQ+ community, but for drag to emerge

streets, and the ensuing events would become known as

as an art form as well. Drag as we now know it is an in-

the Stonewall Rebellion or Stonewall Uprising.¹

tegral part of LGBTQ+ culture, but it didn’t always start out that way. As far back as Ancient Greece, men would

Yet, the Stonewall Uprising was not merely about the ri-

play female roles. Men dressing as women were also

ots themselves, but also about the ones taking part, who

seen in Shakespearian times, in Japanese kabuki shows,

helped to make Stonewall not just a one-off occurrence,

in minstrel shows, in vaudeville, and in burlesque as well.

but a spark that helped to further empassion LGBTQ+

The modern drag movement can be traced back to Ju-

political activism at the time. Two leading figures in the

lian Eltinge who was an American vaudeville performer

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and actor in the 20th century.5 It wasn’t until 1927 when

art of drag.6 Drag would not be what it is today without

the term “drag” was clearly associated with the LGBTQ+

Black queer people and other queer people of color. It is

community. A.J. Rosanoff’s 1927 Manual of Psychiatry

crucial we acknowledge this history, and the work of queer

defined drag as “an outfit of female dress worn by a homo-

people of color who have paved the way for drag to be the

sexual” or as an event, defining it as “a social gathering of

mainstream art form we see today. Drag will always have

homosexuals at which some are in female dress.” While it

roots in the LGBTQ+ community and culture, but we can-

wasn’t until the 1900s when drag was tied to the LGBTQ+

not forget the queer people of color who helped build drag

community and culture, the term itself can be dated back

culture as we now know and love it.

to as early as 1388, according to the Oxford English Dictionary. However, it wasn’t until the 19th century that it was used in conjunction with performing in clothes or a persona that differed from one’s own gender. This definition and the definition we know today likely originated from theater performers in the late 1800s, and it came from the fact that the petticoats men wore to dress as women would drag on the floor, and therefore these performers referred to dressing as women as “putting on their drags.” While we typically associate drag with men dressing as women, drag as an art form is not exclusive to men; women also performed as male impersonators. During the Harlem Renaissance, performers like Gladys Bentley, a Black blues singer, often wore a top hat and tails, and it is likely that the term “drag king” emerged during this time. During the 1920s, drag balls became more popular amongst the queer community. The earliest drag ball can be dated back to 1867 where both men and women at the Hamilton Lodge in Harlem in New York City dressed and competed for having the best gown or feminine appearance. These drag balls were often house parties where Black queer people would come together to celebrate and perform the

CULTURE

FLASH MAGAZINE

The drag community and drag culture has also paved the way for many modern makeup trends we see today, and yet they often receive little credit for their work. Cut-creases, overlined lips, baking, and exaggerated contouring are quintessential to drag makeup and yet we often attribute these makeup trends to beauty gurus and influencers, not the drag queens that birthed them. We consider these makeup trends to be the work of people like Kim Kardashian, but the reality is, Kardashian makeup is drag makeup. Even past and present makeup artists for the Kardashians admit that they take influence from the drag community. And yet these drag queens receive little to no credit for their work in establishing mainstream makeup trends and techniques. Before YouTube, Instagram, and beauty influencers, these makeup techniques were used by drag queens in various dressing rooms in clubs. They weren’t shared via a video tutorial, but instead were passed on via word of mouth by peers or older drag queens (sometimes called drag mothers) who would teach newer drag queens these techniques. Drag queens used makeup to exaggerate features so one wouldn’t be washed out under powerful stage lights and so audience members would be able to see their expressions from the back of the room. However, makeup for drag queens is more than just a theater technique. It is a tool used to transform oneself, and for many drag queens, to liberate oneself.7 It is clear that the drag community has a distinct influence on the entertainment industry, just look at the popularity of the show RuPaul’s Drag Race. However, their influence on the beauty community is often overshadowed by the popular Kardashians and other influencers. It is time that the drag community receives the recognition it deserves. Without drag queens, modern makeup would not be what it is today.

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Words by: Nina Taubes Graphics by: Bawila Idris

FLASH MAGAZINE

The first time I knew I was Korean is one of the earliest

memories I have, probably around 6 years old, wearing a Hanbok, a traditional Korean dress, proudly bowing down to photos of deceased family members with my brother and cousins, side by side. The first time I realized I was Asian was in elementary school, when my closest friends plugged their noses and pointed at my amazing, homemade gimbab lunch. “Eww what is that?” is what I remember. But the first time I realized and was able to acknowledge myself as a woman of color was a year ago. I am twenty-two now. I am an Asian American woman. I grew up knowing I was Korean, but only until recently did I realize that I saw myself as white

see you. So my perception of the degree of my physical or visible Whiteness and Asianess was directly sourced from what I was told by other people. Living my whole life hearing, “You’re Asian? You don’t look Asian”, “I could totally tell you have some kind of Asian in you”, “You look so exotic”, I would look in the mirror and start to see those calculations I’ve never noticed before, only it’s not my reflection I’m looking at it’s a reflection of everyone else’s perceptions and opinions. That started to become my reality. Now that’s a real identity crisis. “I’ve never seen a face like yours before”, “What are you?”,

most of my life.

were the questions they asked the racially ambiguous one.

When I was in fifth grade I started to form a strong bond with

which made me look closer at my own reflection. What are my

I kept listening to people tell me what they think I look like,

my Korean culture. Every weekend I would stay over at my cousin’s house where she would teach me Korean, in addition to us watching dramas and obsessing over k-pop together. My love affair with my heritage became so strong that I wanted to immerse myself in it. I was ten years old when I traveled to Korea with my 16 year old cousin to stay with relatives. It was one of the most beautiful months of my life. And when it was over I came home by myself and my life went on. After that experience my love and appreciation for my culture was still strong but the bond that connected me to it slowly weakened. All this time adoring my Korean culture and I still had no knowledge of my other half, my White side. So I began to wonder now, how did I see myself as a white person when I had such a stronger and significant relation-

distinguishable Korean characteristics and what are my Indo-European ones? I started to notice that I had a lot less noticeable Asian features than I did White, I even looked whiter than my brother. I have lighter brown wavy hair, significantly more and blonder body hair than my mom, hazel eyes, double eyelids, sun freckles, and a higher nose bridge. This is when I began to realize why for so many years, under race I would only check the box for White. It was living through the culture of white suburbia and being surrounded by people telling me I was white-passing without having to use those words. No one could tell me to look white or make me look whiter than I did, however, internalizing those microaggressions enabled me to do it to myself. The power a second party had to forge my own

ship with my Asian heritage?

perception of myself is a power that scared me; but it’s now a

I was born and raised in an affluent, predominantly white Con-

it caused in the first place.

power I recognize and claim for myself to resolve the damage

necticut suburb. This town is around 90.5% White, 5% Hispanic and Latino, 3.5% Asian, 1% Black, and out of the population, 2.3% are of two or more races.¹ Those numbers weren’t just a census of my community but it was the catalyst for the development of my own identity. Identity starts with family, and that was my family. My dad was the 90.5%, my mom was the 3.5%, and I was the 2.3%, and they surrounded me with white friends up until I was old enough to make my own friends, to which I continued to be surrounded by mostly white people. My closest friends were all white and at the time I didn’t even see how that was influencing

It took me so long before I was able to call myself a woman of color. I strongly believe that it was because of imposter syndrome because I didn’t wear the face of my Korean ancestors, and that if I did call myself a woman of color I would be lying. I thought I would be taking space away from those who look “more the part” than I did, or that I was pretending to be something I am not. But I am. Once I acknowledged that I knew I couldn’t continue to whitewash myself. One day last year I was hanging out with my friend, she is half

me.

Chinese half White similar to myself. We were sitting in a cafe

When you look in the mirror what do you see? Do you calcu-

an of color?” She smiled back, “Yes, I do, because I am.” And

and I looked up and asked her, “Hey, do you identify as a wom-

late the genetic makeup of your ethnic history? No, you just

in that moment I knew I felt the same as she did. It was as if I was recognizing the power to identify myself for the first time.

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DONATE 01. MARSHA P JOHNSON INSTITUTE 02. SYLVIA RIVERA LAW PROJECT 03. THE OKRA PROJECT 04. LGBTQ FREEDOM FUND 05. TRANS JUSTICE FUNDING PROJECT 06. HOMELESS BLACK TRANS WOMEN 07. BLACK TRANS FEMMES IN THE ARTS 08. THE AUDRE LORDE PROJECT

01. ACLU: Don’t allow discrimination in health care 02. ACLU: Stop Trump’s ban on transgender military services

PAT I T I O N S

03. Justice for Tony McDade

04. NAACP : We are done dying 05. Black Lives Matter #Defundthepolice

BOOKS

FLASH MAGAZINE

01. So you Want to Talk About Race - By Ijeoma Oluo 02. How to be an Antiracist - By Ibram x. Kendi 03. Me and White Supremacy - By Layla F. Saad 04. Freedom is a constant struggle: Ferguson, palestine & the Foundation of a movement - By Angela Davis 03. Sister Ousider - By Audre Lorde

STATISTICS - According to a study by the Inter-American Commission on Human Rights. the life expectancy of a transgender woman of coloris 30-35 years old in the Americas - 39% of LGBTQ+ youth have seriously considered attempting suicide in the past 12 months, and more than hald of transgender and non-bianry youth have seriously considred suicide - 78% of transgender and non-binary youth reported being the subejct of dis crimination due to their gender identity and 70% of LGBTQ youth reported discrimination due to their sexual orientation - One in five youth in the junenile justice system identify as LGBTQ, 85% of whom are POC - LGBT POC face high rates of unemployment: 15% of African American LGBT adults are unemployed as are14% of Latinx LGBT adults and 11% of API LGBT adultsâ&#x20AC;&#x201C; compared to 8% unemployment for the general population

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PHO

BY:

VIV

IAN

Asian Representation

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Words by: Emma Federer Collage by: Bawila Idris

FLASH MAGAZINE The new Netflix original series, Hollywood, is

argues that the film industry could easily normalize diversity if

well-crafted fictional work that features the true story of

they just gave a little more thought to who they show on screen.

Anna May Wong. Through the series, Wong is finally being

Hollywood walks the line of attempting to uplift the voices of the

appreciated, represented, and seen for her work in Hollywood

silenced in revisioned past and floating a bit too close to the ide-

in the 1950’s. This new trend of giving recognition and credit

alistic Dreamland.

to underrepresented minorities through history could be ingraining diversity into the beauty community, and the world’s

How are TV and media connected to beauty? In a fantastic ar-

media, as the norm.

ticle by Allure3 Sara Tan interviews eleven Asian and Pacific Island-Americans that work within the beauty industry to ask

There have been amazing productions such as Crazy Rich

what sparked their careers. Mai Quynh, the Giorgio Armani Beau-

Asians, The Farewell, and To All the Boys I’ve Loved Before

ty Makeup Artist Collaborator, credits women of color such as

that are normalizing Asians and Asian Americans on screen.

Naomi Campbell, Yasmeen Ghauri, Jenny Shimizu, and Veroni-

However, the true story of this talented-Chinese American

ca Webb for sparking the ideas of many different shapes and

actress1 is told in the new Ryan Murphy show. Anna May

shades of beauty being represented on the runway and in mag-

Wong starred in the first technicolor movie, The Toll of the Sea

azines. Nam Vo, the trendsetting makeup artist that coined the

(based on the opera Madame Butterfly). She played many sup-

term #dewydumpling, notes that Asian American women spend

porting roles such as Princess Tiger Lily in the silent adap-

more money on beauty than the rest of the U.S. population as

tation of Peter Pan. However, she was also forced into small

a result of a taught obsession with Western beauty standards.

roles that fetishized her culture. The prohibition of interraical

Marc Reagan, a makeup artist and Hourglass Cosmetics Global

couples on screen prevented her from playing major roles.

Director, thanks The Joy Luck Club and All-American Girl for giv-

Deciding America wasn’t giving her enough credit, she found

ing him a door to enter the fashion/entertainment industry. Since

fame in Germany in stage shows and films. She returned to

there is very little education on makeup tips for different ethnic

LA when she was offered a contract with Paramount Studios,

face structures/features, he created his own form of highlight-

but history repeated itself. She was refused the leading role

ing Asian features in order to embrace unique beauty instead of

of O-Lan in The Good Earth which was given to white actress

concealing it.

Luise Rainer, who received an Oscar for the role. Instead, she was offered Lotus, another stereotype side character. In real-

With this theme of Expressions of the Unseen, I want to make

ity, Anna May Wong never got the recognition she deserved

it clear the importance of having frequent and authentic Asian

because she died at the ripe age of 56 in 1961.

representation. It is not enough anymore to shove a stereotype into the shadows and call it square. Our society is being raised

In the world of Hollywood, Ryan Murphy and Ian Brennan

increasingly on media, which means the children of color in our

wrote the show to investigate the lack of inclusion of women

country are learning their worth and value in society based on

and people of color, especially those who fit into both cat-

representation. Rudine Sims Bishop once used a great meta-

egories, in front of the camera and behind-the-scenes. The

phor for the importance of racial representation for children: She

writers decided it would be more interesting and satisfying

sees children’s books as either mirrors or windows. A book can

to tell a story of what could have been in the Gold Age of

reflect back characteristics that a child sees in herself, or can be

Hollywood. Michelle Krusiec (who plays Wong) gets the op-

a window into introducing a new and different world to a child

portunity to openly (and bitterly) voice her frustrations with

(or even a fully grown adult). We should approach all media in

the industry. This revisionist retelling of Wong’s life gives the

this way. We want to be able to look into a Netflix original and

audience moments of victory to celebrate her along with her.

see a face that we can see ourselves in. We also want to be able to empathize with worlds that we aren’t necessarily a part of but

But are shows like Hollywood doing enough for Asian repre-

still coexist with. Anna May Wong will never get to live out the

sentation in the media? It casts Asian actors to play Asian

accomplishments and acknowledgement she deserved for her

characters, even representing mixed Asian Americans with

hardwork and talent, but her story could inspire some little girl

the presence of Darren Criss, a half Filipino actor that plays

out there to take to the stage. The retelling of her story exposes

Raymond Ainsely. While the show aims to show the perspec-

the nature of power within representations and how powerful im-

tive of minorities, there are criticisms2 that the main charac-

ages and reflections can be.

ter is a straight, white gentleman that leads us through his ‘struggles’ in becoming an actor in Hollywood. The show

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*** “As a brand built by black women, we exist to embolden women like us to confidently embrace their natural beauty. Through expertly-crafted, responsibly sourced, and tailor-made beauty experience, we’ll deliver on this commitment- making beauty products that work well for women of color.” - Bolden

07. BOLDEN*

*** “Each of our makeup products is perfectly pigMented to match your skin tones.” - Mented Cosmetics

MAKEUP

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02. JUVIA PLACE

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08. NAGI COSMETICS

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10. KENA LASHES 11. BLINK BEAUTY

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HAIR BRANDS

01. CAMILLE ROSE 02. CURLS 03. GIRL + HAIR 04. THE DOUX 05. PATTERN BEAUTY 06. JAY ORGANIX 07. MELANIN HAIRCARE

Picks by: Emma Federer

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FEMININE CARE

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MULTIDISCIPLINARY ARTIST

“I’ve pretty much always loved art in every form that I saw it whether it was animation or graphic novels. I just never thought

LO THOMAS 22

ARTISTS SPOTLIGHT

21 \\ CHICAGO BASED

FLASH MAGAZINE

it would be a career over playing basketball for the rest if my life (yesss I had hoop dreams). It took me until my sophomore year of highschool to realize that art was the thing that I loved doing more than anything else.â&#x20AC;?

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PERSONAL INSTA: YELL.L0 VIRTURE MAGAZINE INSTA: VIRTUREMAGAZINENOW

SCORPIO // CAPRICORN // ARIES

*** “I want my art to show the beauties within Black people and everything that we hold. We have so much that we hold close to use from the specific items that connect us to our grandparents’ houses to the way that Black women use their bathrooms as sacred spaces. I want to focus on the things that we use to relate and connect to each other with on a daily basis. I make my work to show that our “everyday” is enchanted.”

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ARTISTS SPOTLIGHT

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VIVIAN CHAN

CREATIVE 19 // BASED IN WESTMINSTER (LITTLE SAIGON), CALIFORNIA

*** “A lot of my photography is influenced by fashion and beauty. I love using these elements to tell stories through my photography. I started creating images like this due to my fascination with styling for the purpose of showing a bigger picture. I love creating mini-movies in images. But truthfully, photography has been an outlet to express me in ways I cannot. I struggle with expressing myself through words and through conversation and my hobbies such as dance and photography has helped me communicate in ways I cannot. “

ARTISTS SPOTLIGHT

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PERSONAL INSTA: CHAN.VIVIAN CREATIVE INSTA: C R E AV I V T Y G R A N PA’ S A R T : LUONGTRUONGTHO.COM

*** “I LOVE LOVE Sarah Bahbah and in general cinematography and film. Her use of captions and dreamy images reminds me of old timeless movies. I just love set designing and styling a shoot as you would for a movie or short film. Also, I’d say my grandpa is my biggest influence for pursuing a creative career and teaching me to use my cultural background as something to be proud of and unique to me.”

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*ABOUT THE POEM*

Growing up as a black girl in a predominantly white suburb, I have always struggled with feeling like an “oreo,” or a person who is black on the outside but white on the inside. In this poem, I grapple with the feelings that I face every morning when looking in the mirror, wondering if I measure up to the expectations of my race. However, I have come to realize that there is no one way to be a black person, and that the very notion that there is one way is oppressive, reliant on stereotypes.

DANIELLE DAVIS This poem is dedicated to all the young black people who feel like they don’t fit into the “mold” because they don’t listen to rap music, enjoy soul food, “talk” like a black person (or don’t naturally take to any other number of things associated with the race). I hope they recognize that their experiences are valid and more important than ever.

DANCER, POET & FICTION WRITER 19 // BASED IN KANSASITY

I N S TA : LO N G M AYS H E W R I T E

ARTISTS SPOTLIGHT

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â&#x20AC;&#x153;OREOâ&#x20AC;? Scrape away the skin on my limbs and...what do you see? Veins tangled against a milk-white marrow? Organs humming neatly in their places? A black hole, splintered and gaping, a shrewd muscle clinging to its bone? Do you see the gold shelled beneath my obsidian skin? The blood, beckoned out over centuries by the lash of a whip? The blood, alloyed with the bitter salt of the Atlantic. The blood, for which the fruit of America thirsts. Am I worthy of such history? Or is my heart bleached dry, all titanium dioxide and syrup and oil? And how is my face? Are my lips akin to the baobab tree, plump and bursting with life? Is my smile made of ivory? Or is it sweet, milkless, false? Is my color nothing more than a thin dusting of chocolate, eaten quickly and concealed, when the moment demands? And what is this reflection in the mirror? Does my spine mimic the curve of the Swahili coast?

ARTISTS SPOTLIGHT

FLASH MAGAZINE

Does it straighten when itâ&#x20AC;&#x2122;s supposed to? Does it duck and bend to the drums? Who am I to speak for that richest, blackest soil? Who am I? A descendant of those noble ghosts or a player in a mask? And what is this thing you have reduced me to? This thing that crumbles on the tongue and dissolves down the throat? What is this sweetened stomach ache that fills my waking moments? Will it ever go away? Is this the burden of my race? And when will I realize that these questions have no answers? That there is no ideal assortment with which to organize my insides? That the assortment was only an excuse to fit a noose around my throat? That the strength lies in the clay and not the mold?

JUSTIN

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FULLER

2 3 / / B A S E D I N A S B U RY PA R K , N E W J E R S E Y

*** “I started making clothes starting April, but I’ve been designing stuff since I was as young as I can remember. The real reason why I got into making clothes was originally for myself so no one else has something I got haha.” 32

FVLLER

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FVLLER

Photos by: Emily Oâ&#x20AC;&#x2122;Brien

ARTISTS SPOTLIGHT

“Most of my mental health pieces have to do with my own stories of struggling with it for a long road. So to turn my own experiences into images and art work just reminds me that a negative can become a positive.”

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“I’m really just having fun with my art. But I’d be lying if I said there’s no message in it. There are messages in each piece of mine that I do. I like to let out my emotions into my work. It’s very easy for me to convey feelings for something, someone, or an event in my work. Rather than say it bluntly.”

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“I’ve always been super interested in creating art ever since I was a kid. Art was always my

PA I N T E R

BRIDGET FONG

favorite class in school, and I have years and years of my art hanging all around my par ent’s house. I hope to continue painting and creating as an outlet for the rest of my life.” 20 // BASED CHESTER, NJ// INSTA: DEADLY_DENIM ARTISTS SPOTLIGHT

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V I S UA L B Y: N I N A TAU B E S

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FASHION FASHION

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the Importance of POC Voices Voices Voices Voices

Words by: Shaylah Lloyd Collages by: Bawila Idris

It’s no secret that the fashion industry has a race

were quick with attempts to show their support

problem. In the past decade alone, numerous com-

via social media. Though after intense scrutiny

panies have been called out for their racial insensi-

and criticism, many are learning that they can’t get

tivity, lack of inclusion, and representation. In her

away with posting a performative black screen to

2018 article, “Everywhere and Nowhere: What it’s

their feeds and go about their operations as nor-

really like to be black and work in fashion, Lind-

mal. Nor is it enough to release vague statements

say Peoples Wagner and over 100 Black creatives

of solidarity when it directly contradicts their prac-

discussed the clear racial disparities across the

tices.

industry and their own accounts of prejudice and discrimination. Wagner’s article had punched a

When you take a look at the high- level positions

hole through the industry, but immense fumbles

and teams that make up fashion companies across

still followed.

the industry, you will find that they are overwhelmingly filled by White people, either with a similar

In 2019, blackface designs were created by Gucci

background in education or wealth. According to

and even went down the runway at FIT (Fashion

Fast Company, a majority of interns who work at

Institute of Technology). A couple of months later,

fashion brands, publicity firms, and magazines are

Prada’s head designer Miuccia Prada justified the

unpaid and entry-level jobs pay very little. This of-

brand’s cultural appropriation by referring to it as

ten means that the only people who can afford to

a form of “appreciation” and “basis of art.” While

take these jobs- often in expensive cities like New

each designer eventually apologized, these are just

York and Los Angeles- are independently wealthy.

a few recent indications of a much deeper and per-

This allows for exclusivity and elitism to merge

vasive issue.

with racism, creating toxic work environments.

Systemic racism is embedded in every facet of our

Earlier this month Anna Wintour, Editor-in-chief of

society. It stems from centuries of racist policy

American Vogue, sent out an apology to employees

(both explicit and implicit) and operates through

after former staffers and freelancers shared their

institutional processes that work against the suc-

experiences with racism at the magazine. In her

cess and wellbeing of Black Americans. It directly

memo, she acknowledged and took full responsi-

affects our chances of achievement, economic mo-

bility for the racism that festered in the workplace

bility, and health in the United States. At its worst,

under her watch: “I know Vogue has not found

it can lead to the loss of Black and Brown lives. The

enough ways to elevate and give space to Black ed-

recent killings of George Floyd and Brianna Taylor

itors, writers photographers, designers, and other

are heartbreaking

creators. We have made mistakes too, publishing

Consequences that have ignited Black Lives Matter Protest across the globe.

images or stores that have been hurtful or intolerant,” she went to add that “it can’t be easy to be a Black employee at Vogue” and that the company

Amid this social unrest, many fashion companies

“will do better.”

FLASH MAGAZINE

feel safer to speak out about their experiences. Most importantly, companies are under pressure to actually make more than just surface changes. Wintour’s apology is one of many circulating in the industry from company heads as employees continue to come forward about their disturbing experiences at their companies. However, what makes Wintour’s apology questionable is her position and reputation in both the fashion and media worlds. She has established herself as one of the most formidable and influential women in mediaone who knew that POC were underrepresented and mistreated in the industry but didn’t use her power to change it. In fact, elitism, reluctance to hire and feature diverse talent in the magazine, and the severe mistreatment of employees is a part of Wintour’s repute in fashion. Perhaps this is why we didn’t see a black photographer’s work appear in the magazine until 2018 when Beyoncé (a powerhouse of the music business ) chose Tyler Mitchel to shoot her cover photo for the September issue. Anna Wintour’s apology sounds disingenuous because it appears that she only chose to condemn these harmful practices when it no longer served her. Although rumored to be stepping down from her position, Anna Wintour remains Editor -in- Chief of American Vogue, but the same can’t be said for other Publication leaders. On June 8th, Christene

However, If we are going to see any lasting change in the industry, companies need to not only hold themselves accountable for their disparities but to reexamine their company cultures. Many consumers are calling for fashion companies to invest in hiring and promoting black talent on their platform. While this is important, in order for companies to avoid making the same mistakes, they have to make sure that they set methods in place that guarantee a healthy environment for POC employees to enter. This involves addressing the discomfort around race and encouraging workers to talk about it. Commonly, The explicit discussion around race is considered almost too taboo at many companies and, more often than not, business leaders remain silent on the issue. That silence from the top seeps down into their organization, producing an uncomfortable work atmosphere for POC to operate in. According to race and public policy author, Ellis Cose, young Black professionals often remain silent about their experiences of racism with the fear of it affecting their chances of advancing to leadership positions or even losing their jobs. Companies

Barberich, co-founder of Refinery 21, resigned from her position after former staff members shared their painful experiences of racism and workplace toxicity. The accounts contained instances of microaggressions from their White managers, lack of opportunities/promotions, tokenism, and even stolen ideas. This is sadly nothing new, but with the resurgence of Black Lives Matter protest and public support, more people of color (across industries)

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NO. 14

must learn to create psychologically safe spaces at work to allow these conversations while also ensuring proper support and action during and after these discussions. These methods also include providing a pipeline that holds a clear and reliable path for growth. As mentioned above, people of color who break into the industry are more likely to end up trapped in insecure, entry-level jobs while our White counterparts receive steady promotions. This keeps POC from advancing to leadership roles where they are desperately needed. Currently, Teen Vogue’s Lindsay Peoples Wagner, British Vogue’s Edward Enninful, and Harper’s Bazaar’s newly appointed editor, Samira Nasr, are the only three Black editors-in-chief at major fashion magazines. In European luxury fashion houses, there are only two Black designers who hold the title of artistic director: Louis Vuitton’s Virgil Abloh and Balmain’s Olivier Rousteing. While these are milestones, it isn’t enough.

FASHION

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For far too long, Fashion has capitalized off of Black culture while continuing the cycle of White and privileged narratives. Wagner’s and Charles’ council will give companies a chance to make sincere changes to their organizations and to dismantle the systemic practices that have disenfranchised Black people within the industry. When there is finally more POC in the room (with multiple job titles), it will generate an atmosphere where different perspectives are welcome and give opportunities for the recognition and growth of diverse talent.

As consumers, it is important to continue to demand fashion companies across the industry to be more transparent about their hiring practices and their claims to uplift Black voices on their platforms. It is also important for POC who have established their positions within the fashion industry to continue to fight for inclusion and representation. Lindsay Peoples Wagner and Communication Consultant, Sandrine Charles, recently took a step by co-founding The Black in Fashion Council. Launching this month, the council is dedicated to securing the advancement of Black industry professionals by using measurable metrics. Composed of 400 POC editors, stylists, models, and executives, the group is looking to partner with companies across fashion for a period of at least three years during which those companies will share information about employee diversity. This data will then be used to create a “Quality Index Score” that can be shared freely as an annual, public report card.

NO. 14

COLORISM

Defined in 1983 by author Alice Walker, colorism is

prejudice or discrimination between same-race people based on the color of their skin.1 With dark-skinned women often ridiculed and humiliated in their own communities, it is a weap-

Words by: Chanelle Dortch

on used by black and non-black communities against black women. Colorism stems from a European standard of beauty that was established in the United States during the era of slavery and was most commonly seen as white people favor-

one’s features. Similar to colorism, Eurocentric features are

ing lighter enslaved people. Harvard graduate Chika Okoro

seen as beautiful while more Afrocentric features are seen

explains that “[Colorism] started with the mass rape of slave

as undesirable . In the black community, those with dark-skin

masters with female slaves, and so now there’s this cohort

and more Afrocentric features are often bullied at a young age

of mixed-race children who have the lighter [sic] skin, […] and

and carry this trauma throughout their lives within their self

they’re given preferential treatment.” From the era of slavery

image. Colorism and featurism divides the black community.

in the United States today, white people have established a

Think of it this way, racism, because of the trauma it forces

standard of beauty that favors whiteness. The repercussions

upon all members of the black community, is a problem from

of such damaging ideology center around black people who

the outside. But, colorism and featurism, are discriminations

have darker-skin often turning to harmful skin bleaching meth-

forced on black people by white people and passed through

ods as a result of seeing themselves as lesser. However, the

the black community by its own members. The problem of

effects of colorism are not confined to the black community; it

colorism and featurism is cyclical; with each generation, the

has spread into the fashion industry, preventing dark-skinned

problem continues. It continues because of industries, like the

models from reaping the same success of their lighter coun-

fashion industry, that emphasize the proximity to whiteness

terparts. As a result, the fashion industry mirrors the black

and discards the proximity to blackness. The conversation

community’s problems with colorism as it too values a mod-

about colorism is often avoided in the black community, but

el’s proximity to whiteness.

with on-going Black Lives Matter and Black Trans Lives Matter

Within the black community, colorism runs rampant.

protests nationwide, the topic has gained attention. But, while

Due to the internalization of colorism, the black community

the black community may be working toward ending colorism

has absorbed the Eurocentric standard of beauty. As a result,

and featurism amongst themselves, the outside world has yet

being lighter in the black community is often seen as a sign

to follow.

of beauty. The people that find themselves directly affected

by colorism within and outside of their own communities will

verse representation in fashion. The degrading phenomenon

often see themselves as less beautiful than their light-skinned

manifests itself in fashion in the form of white or light-skinned

counterparts. In addition, colorism often causes long-term

models given more opportunities, lighter photo editing, and

mental health and self-esteem issues. To be clear, colorism

bleaching cream advertisements. The colorism of the past

isn’t the only discrimination the black community faces. Fea-

and the present is yet another representation of white su-

turism, colorism’s sister, is discrimination based on some-

premacy. Throughout history, black people with lighter-skin

Colorism is silent discrimination leading to less di-

have gained the favor of white people because of their proximity to whiteness and distance from blackness. Being lighter was considered more acceptable by white people while being darker was the opposite. The idea that white, and only white, is beautiful has made its way into fashion with a multitude of consequences. Models with darker-skin are often excluded from campaigns, runway shows, and magazine cover. In

FLASH MAGAZINE

a 2016 Yeezy casting call, Kanye West requested only multiracial women. When Complex correspondent Ivie Okechukwu-Ani arrived, she noticed women of all races, yet very few dark-skin women. After speaking to a few people in line, she spoke to a light-skinned black woman “wielding a Wilhelmina model portfolio [who] spent 30 minutes trying to explain to security that her agency booked her to be at the Yeezy casting, but they refused to let her in.”3 Later that day, Okechukwu-Ani saw that the gatekeepers let a white woman and an Asian woman in. She, like many other women there, later realized that West meant “multiracial” as mixed, light-skinned women. Kanye West, a black man, is an example of colorism and white supremacy rooting themselves in black minds and communities. In a 2016 interview with Vogue, West claimed he did not intend to “exclude anyone, least of all black women,” instead he wanted “all variations of black;” hence, the call for multiracial women. However, the dark-skin women at the call were overlooked in and turned away. In his search to find beautiful brown women for Yeezy Season 4, West turned his back on black women and instead gave fashion critics and the media what they wanted: another campaign that valued whiteness. Colorism in fashion doesn’t only affect black people; it affects the industry operated from the ground up.

For the longest time, the fashion industry has looked

white. By overlooking darker-skinned models, the fashion industry fails to provide representation for communities of color. Lupita Nyong’o, in a speech to Black Women in Hollywood, says “When I saw Alek [Wak],” a dark-skinned international model, “I inadvertently saw a reflection of myself that I could not deny.”4 She saw a reflection that was beautiful and was celebrated for it. When models like Alek Wak step onto the international stage, especially with the rise in digital fashion, darkskinned people are finally able to see themselves reflected in an industry that values proximity to whiteness. By utilizing the beauty of dark-skinned models, the fashion industry has come a long way. From the seemingly homogenous images of white models in the mid-2000s, the fashion industry has evolved to include brown and black models and designers more regular-

ly. Now, more than ever, black designers have seen an increase in support from both large fashion firms and magazines as well as an increase in public support. For example, Elaine Welteroth served as Teen Vogue’s first black editor-in-chief and Chrissy Rutherford served as Senior Digital Fashion Editor at Harper’s Bazaar, both of whom used their positions to represent and advocate for the black community in fashion. Besides magazine editors, many dark-skinned models have used their platform to advocate for black women in fashion and the black community in general. Nyakim Gatwech, a 24-yearold South Sudanese model, went viral a few years ago for her dark skin and has since embraced the nickname the “Queen of Dark.” Gatwech is a strong advocate for black women and has spoken out most recently on her Twitter and Instagram about Black Lives Matter protests. As the fashion industry becomes more cognizant of the issue of colorism, black representation of all shades is on the rise.

Black and brown models live in their skin daily, for

the industry to use them performatively and make their skin a trend would be a massive step back in the fight against colorism. Awareness is a tool for the fashion industry to use in tackling colorism. By becoming aware of the issue and how the industry perpetuates colorism, the fashion can move toward a culture that normalizes darker-skin. Normalizing darker skin by increasing the visibility and number of dark-skinned black models is a small step toward dispelling colorism from the fashion industry. By first normalizing dark skin, the industry can then promote inclusivity that is organic and not performative.5 If the fashion industry were to engage in organic inclusivity it would mean that it celebrates diversity instead of uniformity. In the end, steps away from colorism are steps toward creating a more inclusive and representative fashion culture.

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Brother Vellies is an NYC fashion brand that creates luxury accessories that celebrate cultural histories and timeless design. Creative Director and Founder Aurora James aims to keep “traditional African design practices, and techniques alive while also creating and sustaining artisanal jobs.”

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House of Aama is a Los Angeles based clothing business that is deeply rooted in “the folkways the Black experience.” With their raw and stunning clothing, The mother and daughter design duo, Rebecca Henry, and Akua Shabaka, seek to evoke social commentary and dialogs around heritage, remembrance and shed light on nuanced histories.

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Nigerian designer Dumebi Iyamah created her label Andrea Iyamah with the intention of designing clothing inspired by her ethnic culture, nature, and design elements. Andrea Iyamah is popularly recognized for its unique take on swimwear, and resort wear, using vibrant colors and cuts inspired by an array of African cultures with hints of a retro yet contemporary edge

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Founded by Telsha Anderson, T.A is a new concept store that features and collaborates with upand-coming designers in fashion. Her focus for T.A. is to distribute products that â&#x20AC;&#x153;presents a renewed outlook towards luxury living.â&#x20AC;? On her website, you can find products from brands that have been personally sourced from Tbilisi, London, Paris, Peru, Milan, South Korea, LA, New York, and other locations around the world.

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Known for her intricate patchwork shoulder bags and one of a kind clothes, Asata Maisé crafts all pieces by hand. Each is sustainably sourced and reclaimed materials. As her work continues to gain popularity, the designer hopes to expand her online business into brick-andmortar shops in different parts of the world and to launch a truly sustainable and eco-friendly textile manufacturing company and a free design program for upcoming designers.

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On, May 1st of last year, Rihanna made history after her brand Fenty launched under LVMH, making her the first woman to create an original brand under the conglomerate and also the first woman of color to lead a house under the LVMH brand. with her newer mainline collection, Rihanna reflects her own personal style while also hoping to express a “new facet of a woman and her wardrobe.”

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Pyer Moss was founded in 2013 by Kerby Jean-Raymond. Pyer Moss aims to use its voice and platform

to challenge social narratives and evoke dialogue through infusing its garments with powerful graphics and text, speaking to Black experience, struggles and activism.

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N IN PROTEST P H O T O S & C O L L AG E B Y: PAT R I C I A A N G E L E S

NO. 14

The Unheard Speak Many

Words by: Obadiah Williams-McBride

FLASH MAGAZINE

On May 25, 2020 the murder of Georgle Floyd, a

riots and looting without addressing the cause – institution-

46-year-old Black man in Minneapolis, Minnesota at the hands

alized racism. Racism is so embedded into American society

of police officer Derek Chauvin lit the nation ablaze. The rage

that we fail to recognize it in everyday practices. Failing to

and frustration of black people and allies across America

address the root cause of an illness would be condemnable

reached a peak unseen since the police abuse of Rodney King

in the practice of medicine-- so why is it not so when we are

ignited the L.A. Riots. The police were called on him at a con-

trying to cure the sickness that is racism in America?

venience store after his alleged use of a counterfeit bill to pay for cigarettes. This call to police for a non-violent offense led

Martin Luther King, Jr.himself, although commonly associat-

to police officer Derek Chauvin kneeling on George Floyd’s

ed with peaceful protesting, was quoted saying, “That a riot is

neck for eight minutes and 46 seconds, with three officers

the language of the unheard. And what is it America has failed

standing watch to protect Chauvin from bystanders and wit-

to hear? It has failed to listen tothe plight of the negro poor

nesses. George Floyd is not the first or the last black person to

that has worsened over the last twelve or fifteen years. It has

die unjustly at the hands of police brutality but the brutal video

failed to hear that the promises of freedom and justice have

that surfaced of his death sparked something in the hearts of

not been met. Perhaps the worst of all, America has failed to

many across the nation. A powerful desire for changes mixed

hear that large segments of white society are more concerned

with the unbridled energy to enact it manifested itself in multi-

about tranquility and the status quo than about justice and

ple forms as some black people and allies took to the streets

humanity.” The unheard speak many languages, whether it

to protest peacefully under the banner of Black Lives Matter

be peaceful protests, boycotts or riots, all of them are a valid

while others took a less organized approach and decided to

reaction to many lifetimes of mistreatment. Redlining, Police

riot and loot. All forms are valid.

brutality, Healthcare disparities, Stereotypes in media, Criminal conviction disparities, Education disparities and amongst

Many people have chosen to condemn rioters and looters

other things are issues black people face in this country to

including the current president , Donald Trump, who tweeted

this day.. Peaceful protests can bring awareness and boycotts

this in response to riots, “These THUGS are dishonoring the

can disrupt society financially, but riots disrupt society in a

memory of George Floyd, and I won’t let that happen. Just

way that cannot be ignored by those who choose to shelter

spoke to Governor Tim Walz and told him that the Military is

themselves from the plight of others. The plight of black peo-

with him all the way. Any difficulty and we will assume control

ple in America cannot go ignored any longer. As long as one

but when the looting starts, the shooting starts. Thank You!”

can turn off the TV or social media and forget that this is hap-

Others have chosen to misconstrue the teachings of Martin

pening, then the problem will persist.Riots are a call to action,

Luther King Jr. to censor black people’s expression of grief,

making institutionalized racism so damaging to the general

anguish and general frustration over the countless instances

public that there is no other choice but to address it.

of police brutality and general injustice that exist not only in the justice system, but in America as a whole against black people. American history has shown that fighting oppression does not have to be peaceful. It is a privilege to condemn the

OPINIONS

NO. 14

Words by: Simone Hall, M.P.P.

Differences Between the

These past few months have shown us two different

worlds of protests. Starting with protests to reopen businesses, schools, gyms, and parks from those stricken with cabin fever, despite the magnitude of a global pandemic, to the protests we are seeing now against police brutality, racism, and social injustice. Although both kinds of protests involve mobilizing individuals to assert their disapproval of perceived

COVID-19 &

injustices, there are stark differences between the two groups that must be recognized and unpacked. First, there is a fundamental difference in purpose between the two groups. The fight to reopen the country is rooted in

BLM Protests

a desire to return to American normalcy. Before the onset of coronavirus, we were experiencing low unemployment and a thriving economy, preparing for another warm spring and an active graduation season for millions of students, myself included. In addition, many people (those who were not essential employees) found themselves sick of being stuck at home, often with the overwhelming responsibility of working full-time and becoming novice teachers to their children. For some, their eagerness to return to normalcy trumped their concern for the health and safety of themselves and others, hence, the outcries to repeal stay-at-home orders as we saw in Michigan and North Carolina. In contrast, the perennial fight against police brutality, racism, and social injustice was reignited after the murders of Black Americans George Floyd and Breonna Taylor, both at the hands of police. Feelings of anger, grief, and frustration led thousands of people nationwide to march in acknowledgment of the continued plight of Black people and in demand for systemic reform. We have seen grandiose street murals of the words â&#x20AC;&#x153;Black Lives Matterâ&#x20AC;? in Washington, D.C. and Seattle, city and county proposals to remove police officers from public schools in Minneapolis and Prince Georgeâ&#x20AC;&#x2122;s County, Maryland, and the introduction of federal legislation to ensure greater accountability in law enforcement.

OPINIONS

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Second, it is important to note the demographics of protesters in each faction. The “reopen” crowd is largely white and more likely to believe that the outbreak’s risks have been exaggerated, just as the president does. From calling coronavirus a “hoax” to encouraging governors to begin reopening their states prematurely, he has successfully indoctrinated his supporters by making them believe the pandemic is not as perilous as it has already proven itself to be, therefore emboldening them to demand the lifting of stay-at-home orders. Not all in the “reopen” crowd are supporters of the president, but many are. On the other hand, the social justice crowd has become increasingly diverse, with people of all ages, ethnicities, abilities, religions, and sexual orientations--several of whom have experienced some form of social injustice themselves--joining together to push a common message against oppression. These protests are often accompanied by anti-Trump sentiments.

across the country. The use of the equipment at demonstrations, which is increasingly being utilized to impede on our first amendment right to peacefully assemble, has only further called into scrutiny the role of police in our communities. Some have called for greater police accountability, while others are pushing for the divestment of funds from police departments and reinvesting that money into education, affordable housing, and mental health services among other things. The stark contrast between these two protest groups should serve as reminders of the disparity in privilege that exists within this nation. Race, gender identification, and sexual orientation are a few aspects that assist in determining one’s position of privilege in society. In addition, the strength of individual immune systems has played a role in the ability and willingness of one to participate in protests. Violations of social distancing rules ensued in both camps, but the social

Finally, and perhaps most importantly, the roles of police in

justice camp is fighting against issues that have stained this

both protest groups are vastly different. As you can see in

country for centuries, and advocating for transformative and

this video and this photo, reopen protests frequently consist

systemic change, whereas the end goal for the “reopen” camp

of armed civilians screaming in the faces of police their demands while officers remain composed. Very few, if any, arrests take place and very little equipment police use for the purpose of quelling the masses. On the other hand, many of the protests against police brutality rarely occur without the large presence of heavily armed police officers. From military vehicles and tear gas to long-range acoustic devices (LRADs), which blast painfully loud sounds in order to get protesters to disperse, local police have access to such equipment through a few avenues, including the federal 1033 program administered by the U.S. Department of Defense. Named after Section 1033 of the National Defense Authorization Act of 1997, the program allows for the transfer of surplus military equipment to local law enforcement agencies. The Obama administration placed limits on it by prohibiting certain items that can be given to law enforcement in 2015, but the Trump administration reversed those restrictions two years later. Since then, several thousand military items have been transferred. In 2019 alone, 15,750 items were given to local law enforcement agencies

was short-term and a relatively easy fix. I am not condoning the social distancing violations, as we still need to take caution and ensure we are maintaining a safe distance from others, but if one feels so moved to go outside and participate in a protest, it would be prudent to fight for justice for all. Returning to American normalcy will not help those who have been and continue to be disenfranchised, discriminated against, and killed by the institutional structures that currently exist. It never did and it never will. As we look toward the future, it is important to do some introspection. Identify and unlearn your internal biases. Have candid conversations with peers from different backgrounds to gain perspective. For those with greater privilege, use it to uplift others with less. Be slow to speak. Listen. Learn. Work to dismantle oppressive systems in your city, town, or county: consider what you can do to ensure communities of color are not subject to voter suppression or raise awareness of the militarization of police and its impact in our public schools. Whatever your method, always remember the end goal. Change must come.

NO. 14

Br ea k in g Words & Uncredited photos by: Elisey Sergevnin

The Black Lives Matter Brighton march took place

alike since there is minimal representation.

on the 13th of June 2020, a sunny Saturday of what had been a stormy week. The town was roaming with thousands and

Then, after moving to England at the age of 14 to attend high

thousands of attendees, with the socially distant, silent pro-

school, I was hoping to reverse the effects of my white Rus-

test that took place before the march stretching out for about

sian environment and gain a deeper understanding of my

2.5 miles. Witnessing such a large turn out show up support-

identity. With my English improving dramatically, I was able

ing an anti-racist cause made me remarkably hopeful for the

to access educational resources on race, which allowed me

future, considering Brighton’s history of racism and lack of

to engage in the discourse surrounding it. However, once

inclusion and diversity.

again, I couldn’t help but feel trapped and limited. Living in a predominately white, middle-class boarding school, I often

Growing up in Moscow, as a child of a white Russian mother

found myself unable to freely discuss not only my own expe-

and a black Nigerian father, was confusing, to say the least.

riences of racism and oppression but also about the broader

Unlike America and the UK, Russia does not have a centu-

global implications. Any attempts of using my voice to raise

ries-long history of anti-blackness, thus the concept of race

awareness about racial injustices present within the school

within the Russian community society and the vocabulary sur-

structure, Britain or the world, were often dismissed and inval-

rounding it is very limited but also widely misunderstood. With

idated. This veil of ‘colour-blindness’ eventually made me shut

a population of over 144 million people, only 1% are Black. In

down, and shut up, leading me to become less consistent in

effect, this causes a lot of identity issues for Black Russians

my activism.

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@varum.mahatme

the

a bi-racial person to not only show solidarity to our American brothers and sisters, but to all Black people because racism and anti-blackness are global issues. Thatis what I want people to remember. Unfortunately, George Floyd, Breonna Taylor,

For these reasons, attending the Brighton protest was not even a question for me. It seemed that finally, white and non-

and Oluwatoyin Salau are not isolated incidents but are victims of systemic racism that has existed for centuries.

black people were willing to not only recognize the stark realities of anti-black oppression but also dismantle it. Black voices were finally being listened to, and I thought it was imperative to use mine, after so many years of feeling silenced. Yet, I find it incredibly unsettling that it took this long and the murder of yet another innocent Black man. I remember writing about police brutality and the Black Lives Matter movement for my schoolâ&#x20AC;&#x2122;s magazine in 2016, and unfortunately, these issues have only gotten worse. I felt that it was my responsi-

@ Brigh ton

bility to attend the protest and use my voice and privilege as

Elisey (eh-lee-say) is a student of Russian and Nigerian origin, currently living in Brighton, England. Below they are depicting the struggles of navigating this biracial identity, the racism surrounding and their relationship to the Black

@varum.mahatme

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Anti-Vietnam War protest in D.C. 500,000-600,000 - protesting the thousands of deaths associated with the Vietnam War - Protest resulted in increased public awareness - Vietnam War officially ended in 1975.

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The March on Washington 250,000 people - march advocating for a civil rights bill - ended with the Civil Rights Act of 1964 and Voting Rights Act of 1965

Solidarity Day March 260,000 people - demand for increased wages and safer working conditions.

POLICING THE PROTEST

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Anti-Nuclear March In NYC 1,000,000 protesters called for the federal government to withdraw nuclear weapons from e n u US military J J

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Upwards of 1 Million protestors around the world demand global action regarding climate change and protest budget cuts by the Trump administration to the Environmental Protection Agency.

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March for Our Lives 1.2- 2 Million people protesting for stricter gun control legislation in response to the Marjory Stoneman Marc h Douglas High School shooting.

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POLICING THE PROTEST

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During unprecedented times we must be able to use our voices to invoke change. As recent protest have shown, the voices of our generation have the potential to reshape our society. I want to participate in a community that ensures all are protected, acknowledged, respected and validated. No matter how difficult situations become, we must be able to navigate our circumstances with the intention of moving forward. Divided we can acquire nothing other than chaos; but together we have power and strength. This section is dedicated to those who have suffered loss as a consequence of dysfunction and this is a promise that we will not stop fighting for justice and equality and for all voices to be heard. Forward ever, backwards never! -Alana Ramsammy, Opinions Editor

Words by: Alana Collages by: Alana & Bawila Idris s Photo on this page by: Patricia Angele

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Tens of thousands of people protest police brutality and systemic racism. Demanding that the voices of George Floyd, Ahmaud Arbery, Breonna Taylor, and others be heard. Calling for revision of the police.

OPIONIONS

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20// BASED IN SAN FRANCISCO

SELF-TAUGHT ARTIST \\ INSTA: AHJASART

AHJA HENRY

*** “I have been making art since I can remember, but it didn’t become serious until about a year ago. I am definitely a creative person and love discovering new ways to make art and exercise that creativity.”

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*** “I think I am just beginning to discover my style and the art that is true to me. While the art I produce is not one uniform or signature style, my art is definitely a reflection of me and my personality. I love nature and art that makes you feel calm so I naturally happen to make art that reflects that love. But I also love art that is groovy and stylish and makes you feel inspired to go out and do you. I strive to

make art that reaches out to all kinds of people. I want everyone to be able to relate to my creativity in their own way and I think that is the beauty and power of art: to connect all kinds of different people in all different kinds of ways. I think if I had a message for some of my art it would be inclusivity, especially for black women. We don’t always see ourselves in art or even portrayed in natural, normal and beautiful ways.”

ARTISTS SPOTLIGHT

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*** “This piece is a celebration of the colorful aesthetic of pride, with a loose connection to questions about my physical form and the fluidity of my gender and sexuality. I’ve been exploring my body and “the self” throughout my more recent art, experimenting in this expression through various mediums, such as glass, plaster, charcoal. I just moved back into digital collage (which I do a lot of for social media) to work with these themes. This piece is related to my current project, in which I’m printing similar collages on transparency film, and using them to make a multi-layered piece about distortion and body.” *** At first look, this piece can be read as purely an aesthetic vibrant pride piece. But on a more nuanced level, the pictures and text are swirled together to compose a piece about the connection to my body and my gender and sexuality.

*** “I feel like I had a lot of crazy fun energy at 6, I was just like a huge diva with feather boas and sunglasses. I would definitely tell her to keep channeling that energy because that kinda self-love and vibrancy is a superpower.”

ARTISTS SPOTLIGHT

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INSTA: ELLA.BASEMAN.ART

19// BASED PRINCETON NJ OR OBERLIN OHIO

ELLA BASEMAN MULTI-MEDIA ARTIST WITH A FOCUS IN ILLUSTRATION

NO. 14 22//BASED IN WESTCHESTER & NYC

“I am a multimedia visual artist; but I like to call myself a creative because I do more, and have goals to be more than what is defined in the bounds of visual 66arts.”

INSTA: TAUBOONIE

NINA TAUBES

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“I love pop culture and my art is very much influenced by it. And because of that I feel like my art can be very straight forward without any deep message to it. This is why sometimes I miss working analog because I find that those pieces usually have more of a message to A NINA it.” N NIN

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“I also founded a collective with my friend Claire that I’d like to plug called CAVA Collective @cava.collective. Gen Z is one of the loneliest generations ever, and although our obsession with social media creates the illusion of an increasingly hyper-connected world, it is

ARTISTS SPOTLIGHT

actually pretty hard to find creative friends and collaborators outside of our social circles. CAVA Collective is a new media platform dedicated to connecting young creatives and visionaries. Our mission is to build a space in which young artists can connect, create, and grow together as the new frontier of art. Right now our collective is just on instagram but once we start gaining some kind of funds we will expand to a website and even more in the future.”

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*** “I have always had an interest in art. My great grandparents were artists, my dad worked in the art industry for years and my mom studied it for a little in school. I grew up with my grandparent’s art hanging up around my house; and I knew before I could even write that I wanted to draw for the rest of my life.”

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DEMUERTE ARTISTS SPOTLIGHT

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“It’s hard for me to articulate what’s in my head and I’m always coming up with new ideas during the process of creation so I usually end up making collages. They’re kind of chaotic and the process always feels really cathartic and raw.”

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ARTISTS SPOTLIGHT

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INSTA: B3XIST

BECCA KIM 19// BASED SAN FRANCISCO

NO. 14

*** “The subject of my art is usually just what’s been occupying my mind, and lately, I’ve been thinking about hypersexuality and sexual trauma and how no one really talks about the causal relationship. And about colorism in the Asian community (adolescence was just putting kojic acid in my soaps and lotions and a lot of “are you sure you’re Korean?”s). Also corporate “activism -- hence “Vogue, hyperpigmentation, and Anna Wintour’s ‘race related mistakes.’”

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ARTISTS SPOTLIGHT

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MYCHAEL GREEN

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22// BASED LA/NYC

MYCHAEL GREEN

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ARTISTS SPOTLIGHT

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*** “For this issue, I want people to know that protesting and activism comes in many forms. Art is an underrated form of protest that provides a new perspective into a serious issue that is undervalued and/or maybe isn’t being covered by mainstream media. In recent weeks, I think the mainstream media has placed a negative connotation on the “Graffiti” in Soho. However, I want to show people that these creations are meaningful works of art meant to give light to issues that are overlooked and swept aside.”

INSTA: ANGELES.NY

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PHOTOGRAPHER

*** My biggest influences are my parents who made the decision for our family to immigrate to the US. They came to this country to give me a better education and better life. I admire their perseverance and strength during the early years when all they wanted to do was go home to the Philippines. Being halfway across the world from home and leaving 98% of family behind is difficult, so their sacrifice is something that drives me everyday to work hard.

ARTISTS SPOTLIGHT

LETTER FROM THE CREATIVE DIRECTOR

To Whom This May Concern,

2020

Following my late elementary/middle school years, we moved to my current hometown and I became the greatest actress in the state. I completely reinvented my personality to be able to appeal to both Black students and my white counterparts. I embodied every garbage stereotype placed on Black people and lowered my standards toward academics to not seem too threatening to anyone. I was rude, angry, got detention and adopted the typical slang in order to fit in. But even after all that, my plan did not work out the way

SUMMER

Looking back at my life, I have definitely had a whirlwind of experiences. Growing up in Toronto, then moving to a small town in Jersey, then to yet another town closer to NYC, attending 8 different public schools each filled with different groups of people and never having a stable friend group, my perception of myself was skewed to the point where I questioned who exactly I was . In Toronto, one of the most diverse cities in the world, I never felt insignificant compared to my classmates, to random people on the street, not even to my neighbours. Even though most of my friends then were white/mixed race I never felt like an “other”. Eventually, this came to an end, as all fantasies do, and my family and I moved to the US. Unlike Toronto, we lived in a predominantly Black/Hispanic town, and my sense of “otherness” began to manifest. I was just your typical Black transfer student, but there was a twist. I was a Black Canadian with an East African background. I got comments on my name being too hard to pronounce, comments asking if I spoke “Canadian”, even comments saying the way I spoke and wrote were too “white”. It was hard to fit in with everyone, because I was faced with a new set of problems. I did not understand the “Black American experience”. My upbringing, my Sudanese background and the way my parents went on about life never gave me the idea that Black people suffered in this country. So, my perception of myself compared to my fellow Black students was not the same.

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I never would have thought my life would come to this. As I sit and watch headlines pass, see explicit Instagram exposé posts pop up, hear conversation after conversation about the same thing. “Black lives matters”, “justice for George Floyd”, “justice for Brenna Taylor”, “defund the police” and the phrases go on. At first, I was completely overwhelmed by the gravity of information that would come my way. Everywhere I looked, I saw someone’s traumatic experience with racial injustices that will haunt them forever. I saw people getting “cancelled” left and right after problematic pasts were revealed. I saw people showing their true colours and where their allegiances lie. But something clicked in my head shocked me and gave me a new perspective on myself. Why am I reacting to all of this as if I am not affected as well? Why am I behaving as if I am an “other” to my fellow Black brothers and sisters? Who exactly am I?

NO. 14 I wanted. I was still the butt of jokes, whether it was about my appearance or my name. I was the subject of many rumors even though most of them were not true. I was liked but no one really liked me. As a dark skin woman, I did not understand what that meant then, but in high school and even now, I understood it perfectly.

way to light skin girls. And at the time, all of this was so foreign to me. Why would my own brothers and sisters view me in such a way? Why is it that I’m not worthy to both White and Black people? What am I doing wrong? So, after graduation, I was back to square one. Who am I? Looking back at my life, I realized that I did not only just deal with the occasional racism sprinkled along my path here and there, but I dealt with the horrid consequences of calculated racial tactics to pit one race against itself. Things like the paper bag test, eurocentric beauty standards, racial stereotypes, racial fetishization and many more that not only destroy Black communities with toxic information to create hierarchy amongst ourselves, but also furthers the agenda of our oppressors to keep inferior groups “in check”. To say “you are not like the others’’ or “you just speak so eloquently” while at the same time name other people from the same group “ghetto”, “difficult”, “can’t be handled” etc. fuels the fire dividing Black communities. Because it’s not our fault that things like colourism exist. It is not your place to turn around and say, “well black on black crime is higher than xyz”. It is not your place to “be an advocate for Black people’’ if that person in mind does not encompass the whole. Because the only thing you need to understand is that it starts from you.

I definitely did not peak in high school. My memories of that unnecessarily huge building have mixed reviews. The two separate middle schools both came together and met up at one school which had a plethora of people. Over 2,000 students at the time. So, I thought it would be the perfect opportunity to reinvent myself… yet again. I still maintained the stereotypes placed on Black people but toned it down a little. I then decided to see what would happen if I let a small part of my actual personality leak through the body cast I placed on myself that seemed unrecognizable to my true identity? So, I tried it. And the results? Mixed. On one hand, the image of myself to others became overwhelmingly positive. But on the other hand, the focus was no longer on who I was as on the inside, but who I was on the outside. It was around then my interest in improving my personal style really started to take off. I experimented with all kinds of styles and I genuinely liked myself. However, the realities of being a Black woman, specifically a dark skin woman, began to set in. I got remarks about not fitting in with the hyper sexualized mold carved out for dark skin women. I did not have the “curvaceous body”, or the “insta baddie look” or the “strong feisty Best Regards, attitude” dubbed strictly for Black/Hispanic women. I was (and still am) short, thin, had no hips, had a flat FLASH Creative Director chest, was too “passive/kind” to even be considered worthy or attractive to anyone. It even got to the point where people thought I was anorexic because of how thin I was compared to my fellow Black classmates and how I was always sick/in and out of hospitals. And the strangest thing was that it wasn’t white students who mentioned these things, but instead other Black students. Ranging from dark skin boys all the EXPRESSIONS OF THE UNSEEN

credits Culture History to be Proud of: Stonewall, Marsha P. Johnson and the Beauty of Drag History.com Editors. “Stonewall Riots.” History.com, A&E Television Networks, 31 May 2017, www.history.com/topics/gay-rights/ the-stonewall-riots.

“About MPJI.” Marsha P. Johnson Institute, marshap.org/about-mpji/. Pak, Eudie. “Sylvia Rivera.” Biography.com, A&E Networks Television, 7 Jan. 2020, www.biography.com/activist/sylvia-rivera. Chan, Sewell. “Marsha P. Johnson, a Transgender Pioneer and Activist.” The New York Times, The New York Times, 8 Mar. 2018, www.nytimes.com/interactive/2018/obituaries/overlooked-marsha-p-johnson.html.

Tran, Chrysanthemum. “When Remembering Stonewall, We Need To Listen to Those Who Were There.” Them., 11 June 2018, www. them.us/story/who-threw-the-first-brick-at-stonewall.

Goodman, Elyssa. “A Drag King’s Journey From Cabaret Legend to Iconic Activist.” Them., 29 Mar. 2018, www.them.us/story/ drag-king-cabaret-legend-activist-storme-delarverie.

Sanders, Sam, and Josh Axelrod. “How Drag Queens Have Sashayed Their Way Through History.” NPR, NPR, 27 June 2019, www.npr. org/2019/06/27/736320026/how-drag-queens-have-sashayed-their-way-through-history.

Riedel, Samantha. “Trixie Mattel Breaks Down the History of ‘Drag.’” Them., 20 Sept. 2018, www.them.us/story/inqueery-drag.

Rodulfo, Kristina. “Everything We Know About Beauty We Learned From Drag Queens.” ELLE, 29 May 2019, www.elle.com/beauty/ makeup-skin-care/a25426378/drag-influence-beauty-industry/.

Face to Face: Reflecting on identity “U.S. Census Bureau QuickFacts: Ridgefield Town, Fairfield County, Connecticut.” United States Census Bureau. Accessed June 15, 2020.

Beauty Asian Representation and Black Beauty Gaffney, Adrienne Hollywood: Who Was Anna May Wong, The Film Star Played By Michelle Krusiec? By Elle Magazine.

Snow, Phillippa, “Hollywood Keeps Trying to Rewrite Its History” by Culture Mass

Tan Sara, “Why 11 Asian and Pacific Island-American Beauty Pros Started Their Careers” by Allure Magazine

Fashion Colorism Tharps, Lori L. “The Difference Between Racism and Colorism.” Time, Time, 6 Oct. 2016, time.com/4512430/colorism-in-america/.

Pinkett, Jada, director. Facebook Watch, 2020, www.facebook.com/redtabletalk/videos/2191961487615665/.

Okechukwu-Ani, Ivie. “A Firsthand Account of the Yeezy Season 4 Casting Call.” Complex, Complex, 7 Sept. 2016, www.complex.com/life/2016/09/yeezy-multiracial-casting-call-black-woman-model.

“Black Girl Magic Flashback: Watch the Lupita Nyong’o Speech Heard Around The World.” Essence, Essence, 28 Feb. 2014, www.essence.com/awards-events/red-carpet/black-women-hollywood/lupita-nyongo-delivers-moving-black-women-hollywood-acceptance-speech/.

Givhan, Robin. “Fashion Is Finally Figuring out Diversity - in Ways That Actually Matter.” The Washington Post, WP Company, 6 Sept. 2017, www.washingtonpost.com/lifestyle/style/fashion-is-finally-figuring-out-diversity--in-ways-that-actually-matter/2017/09/06/a16333a6-88f0-11e7-a94f-3139abce39f5_story.html.

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